Hey everyone!I know a lot of people here are chasing their dreams—some of you want to become actors, while others are filmmakers, writers, producers, and creatives in different areas. I’m just like you. I’m also working toward becoming an actor.But honestly, I don’t want success to be something I achieve alone. I’d love to meet other passionate creatives, work together, grow together, and hopefully help each other succeed along the way. For me, making genuine friendships and finding people I can create with is just as valuable as getting recognition.Now, coming to why I’m posting this.I’ve been working on my acting and I recently made a demo reel. The thing is, I’m still a complete beginner, so I honestly don’t know how good or bad my acting is yet.If anyone here has some time and doesn’t mind watching it, I’d genuinely appreciate some honest feedback. You can tell me what you think I’m doing well, what I need to improve, or anything else you notice.I’m completely open to constructive criticism because I really want to learn and improve.Thank you to anyone who takes the time to watch it and share their thoughts!
I recently watched American Hustle and forgot how incredible the performances were in that film. I mean some movies are like, "ok that was alright." But some leave you thinking about it for days. What are some of your favorite performances that inspire you?
After Interning at a casting office for the summer & organizing tracking spreadsheets in union forums and casting communities consistently show numbers like 200 to 250 self tapes just to land 1 or 2 low-tier bookings. I’ve also been doing some studying & In the 1990s and 2000s, an actor called into a physical room had roughly a 1 in-10 to 1 in 20 chance of booking the part. Today, submitting a digital tape is closer to a 1 in 500 to 1 in 2,000 lottery ticket. People living in Atlanta & New York have some sort of convince themselves that just because they don’t have to pay for parking or take a train they somehow won when it’s the opposite. You’re submitting your self tape into an algorithmic void that the human eye can’t even see most of the time. I wish people in this industry woke up to that fact.
Became interested in acting, looked on Facebook, and reached out to every student film producer I saw and sent in a head shot. Now I’m potentially going to be a background actor, was offered an audition for one film, and was asked for a self tape reel for another film, and waiting to hear more details about another film. This was all very exciting except I have ZERO acting experience, I have never filmed a self tape or even seen myself act besides talking to myself in the mirror, and I don’t even know where to start or how to tell if I’m any good at all. Is it still worth submitting?
I started this as a comment on another post, but once it got past a few paragraphs I realized it just needed to be its own thing. Please understand that I am looking through the lens of someone who is relatively new to professional acting (I started auditioning in 2024, after the lockdowns and the strikes), I no longer audition for unpaid or very low-paying jobs, I don't audition for theater, I am non-union/SAG-AFTRA eligible, I am in the NYC market, and I am an older white lady, a demographic that seems to have less competition than some other demos. If you're in a different place/position/demo than I am, YMMV, but I've tried to keep this to more universal observations learned from interviews and workshops, not my own limited experiences. Still, if I'm doing a workshop with a CD or listening to an interview they've done, they've reached a certain level, so this post definitely skews towards CDs who work on professional productions, in the US. When I say "CDs" in this post, I'm referring to those CDs, the ones I'm more likely to have come across, not ALL CDs. A theme I see running through a lot of posts and comments in this sub is that CDs are doing bad things to us on purpose. And yes, there are outliers who admit to not watching tapes, or watching four seconds of each, etc. But I have met dozens of CDs in my short time as an actor and listened to/read/watched interviews with hundreds more. And if you ignore the obvious exceptions (so don't come at me with the same old stories), here's what I've learned: 1) CDs are actors' biggest fans. About half of them started as actors, and most absolutely adore actors. They are not gatekeepers, they are our champions. We tend to look at them as people who can give us something, but we are also trying to solve their problem. 2) Most CDs want to be back in the room as much as we do, but it's not usually their decision. Once producers discovered during the COVID lockdowns that everything could be done on tape or over Zoom, they refused to put the line item for the actual room back into their budgets. Renting space would have to be paid for by the CDs, and most don't make enough to shoulder that burden. Some have enough pull to require it, but most don't. 3) CDs only ask for as many tapes as they can reasonably watch. For a commercial CD, that's probably a higher volume of tapes. For a small co-star role, that's probably a higher volume of tapes. Most know their limits, and they have a good idea of what they're looking for. Some ask for more tapes because they love discovering new talent, and will keep people in mind for future roles. Others ask for fewer because they're looking for something very specific or are on an extremely tight deadline. 4) They have no interest in wasting your time (or their own). If they are asking for a tape, it's because they are considering you. They also don't ask for an eight-page initial audition if they're asking for 200 tapes, they save those for the bigger roles and the more experienced actors. 5) If a CD only watches a very small amount of a tape, it's because they are looking for something so specific that they know instantly that you're not it, and they need to move on. If they have time, they will watch more just to keep you in mind for other roles in the future, but they don't always have time. A few have said that they scrub through to find a particular moment, and if you deliver on that moment, they will go back and watch the rest of your tape. If you don't deliver on that moment, then they don't really need to see any more. One thing that I've heard over and over in interviews: Get your tapes in early!! Unless you know that a CD never looks at tapes until after the deadline (and yes, many have said this in interviews), try to send the tape in either the first 48 hours, or in the first half of the submission timeline (so if you've been given eight days to get the tape in, submit it by the end of the 4th day). For long-running shows, especially procedural-type shows that are casting two or three dozen roles each episode, those CDs tend to get into a routine and are more likely to wait until after the deadline to look at tapes, because they are busy up until that point looking at the tapes from the last deadline. But again, don't assume this, unless they've actually said it publicly. In many cases, the CDs have little control over the timeline, and often have people breathing down their necks for choices long before the tapes are due. So they have to look at them as they come in, just to be ready. That doesn't necessarily mean they won't look at the rest of the tapes, even after someone has been cast, because they might need backups or they might just want to see what you can do and file it away for later. One CD said recently that he's had several productions where someone dropped out or had to be replaced, and instead of sending out a new casting call, he was told to just go look at all of the tapes from the original call. So even if you suspect that a role has already been cast, send in your tape. Always. Even if it's at the last minute. Another explained it like this: If he's going to send five people to the producers, it's easier to fill one of those five spots in his mind than it is to kick somebody out of a spot and replace them. Yet another said it this way: We're human, so if you're one of the first ones in, we're looking at you with fresh eyes. Sometimes 80% of the actors will submit in the last hour before the deadline, and we can't possibly look at those tapes the same exact way we looked at the ones that trickled in first. Good is better than early, early is better than late. Never sacrifice quality in order to get a tape in early, but try to get it done as soon as possible.
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I’m an adult at a community college and was interested in auditioning for the fall play next week, but I’m also getting a palate expander installed in nine days. Most adults seem to sound fine with one, just a little tiny lisp (and surely actors can have lisps), but I’m wondering if it’s like physically/mentally exhausting/difficult to speak for long periods with a piece of metal screwed to the top of your mouth. This is, of course, assuming I would be even be cast, but wanted to ask around anyway to see if anyone has experience with this. thanks!
Hey there. Did a supporting character on a theatrical movie back in early may. I had a great time shooting with the number 1 for 3 days. A scene a day, so a total of 3 scenes and around 15-20 lines. I got credited on IMDB along with other cast members (I.E union contracted roles). Recently, they made all of the roles uncredited except the roles that are credited with "Actor". So now the page only has around 8 total credited cast and around 40 uncredited. I know sag has a rule that the production needs to list around 50 Sag members per theatrical release. So my question is, is this normal? are they just editing the film and then they will re-add once they cut out some weight? Do i need to readd myself with actor? I'm usually a guest star on tv shows and this is my first time on a theatrical movie so I'm new to how this works. I'm very interested to hear your thoughts!
Hello everyone. I am the creator behind the webcomic [Back to Life](https://www.webtoons.com/en/canvas/back-to-life/list?title_no=546249&page=1). Right now I am currently looking for someone who could voice one of my characters, Dimitri Volkov, for a comic strip that will be posted on my social media accounts. The voice actor will be paid for this position and tagged once the video is edited. This particular comic strip features Dimitri and Tae Woo on a stroll on Nyhavn Canal (Copenhagen, Denmark) during the Christmas market in 1982. They have a short conversation regarding ockun-dang and its history. Dimitri is quite surprised about it, since he doesn't know much about Korean culture. I can provide the comic panels as inspiration for anyone interested. Feel free to reach out if you have any questions regarding the comic or Dimitri's lines. **Word count: 19** Payment: 5$ via PayPal or Ko-fi More details can be found on the page: [https://www.castingcall.club/projects/back-to-life-dubbing-a-comic-strip-okchun-dang-and-the-christmas-market](https://www.castingcall.club/projects/back-to-life-dubbing-a-comic-strip-okchun-dang-and-the-christmas-market) If you would like to give it a try, please apply on the Casting Call Club page. Aaand to avoid any bots or spammers, please include the word **Denmark** to know that you've read the text. Thank you.
I'm currently working on a short film and I'm looking for a male voice actor who speaks mandarin/Chinese. Because it needs to be a paid ad I can offer 5 Euros for 2 voice lines. It's nothing big u can just send the voice memo via whatsapp cause that's what the others of the cast have done too. Of course ur name will be displayed in the intro and credits
Hello! Using this account as a bit of a throwaway to focus on performance ventures. I'm an actor (29M) who's been in SAG since the pandemic due to background work. I have acting fundamentals from going to acting school, but I've struggled to really figure out how to break into things. A major part of this anxiety in my mind is the fact that I have the combination of union status without any reels or body of work to actually showcase to people. I have some monologue and singing material recorded, but not much from actual productions. In all honesty, how screwed am I? Where should I start to begin rectifying this? Do I just keep trying to grind things out on Playbill, Casting Networks and AA?
Hello! Using this account as a bit of a throwaway to focus on performance ventures. I'm an actor (29M) who's been in SAG since the pandemic mainly due to background work. I've long admired VO work and have been told I have a very resonant voice. I have acting fundamentals from going to acting school, but I've struggled to really figure out how to break into things. A major part of this anxiety in my mind is the fact that I have the combination of Union status without any reels or body of work to actually showcase to people.' In all honesty, how screwed am I? Where should I start to begin rectifying this?
Hi friends! I wanted to share a small victory I had recently. I’m a non-union, unrepresented theatre actor/singer in my 20s based in NJ/NYC. Last weekend I received a callback for a professional production I auditioned for over Actor’s Access! This is my first callback in 2026, and I’m very excited! At the same time, I am also very nervous. At the callback, they will have a dance call, make a cut, and then have us sing. I’m not a dancer, so I’m afraid of not making it through to the next round. Thankfully, the part I auditioned for isn’t a dancing role, it’s listed as “Strong Mover.” Either way, I’ve been drilling basic dance steps and the song whenever I can, and I’m going to do my best! I wish all of you well, thank you for reading!
I really want to become an actor but im scared that i am too shy of a person to become one. I want to know if shyness is a thing that i have to overcome and stop before trying to become an actor or if it is possible to act and also be a shy person because idk if i could easily stop being shy as i have always wanted to but have never been able to become a more outgoing person.
For every audition I’ve gotten from them, they send six pages of self tape instructions and then ask you to submit ASAP. One time I sent them a wetransfer link and I noticed they never even downloaded the file. They don’t seem to respect actors at all and come off as pretty unprofessional. Anyone else also have a bad experience with this casting agency?
Basically I’m doing a background job on a sag film as a non union actor. This is my first time working background in a sag project so I’m a little confused on how it works with vouchers. I had to fill out a voucher on everyset to get paid for my fitting and it asked for my sag number, but it said to say the voucher was incorrect and have production review if you were non union, which I did. I then received an updated voucher with a note from production that I need to call everyset and tell them I’m being upgraded to sag. Does this mean I’m just getting paid the sag rate? Or getting a sag voucher?
Hello people! I'm not entirely sure if this question belongs to here, but I'm just a curious person. I'm an artist myself but not a single acting cell in my body, so I'd just like to ask you as actors one thing: When you perform your given character, and you have the script and everything, do you ever feel like... Judgemental or awkward about the character's behavior itself? Like.. "If I could, I wouldn't want to act this, but I have to."? Or it's not really that personal? (Having watched few romance movies led me to this question ?)
I’ll preface by saying this’ll be a long post, so thank you for reading it if you take the time. I’ve avoided doing this for so long because I felt embarrassed asking a bunch of strangers on Reddit for genuine life advice (Squidward asking for spare change had more dignity), but decided it was finally time. I turned 25 this year, which is a hell of a number. I know it’s still considered “young” but the realization hit me that I don’t have forever. Call it a quarter life crisis I guess, but it’s time to get down to business and nip it in the bud. So I guess I’ll rip off the band aid right away and say that I have a speech impediment, a pretty severe one at that. Unfortunately it was something I was born with, and can’t do anything realistic about it. Before you ask, yes I’ve tried therapy, in my youth and in my adult years, but it didn’t lead to anywhere productive. I have the type of impediment where instead of repeating a word or syllable, words will actually get blocked and I can’t get them out (usually at the worst moments). Unfortunately for me, I like acting, which is irony you cannot make up. It’s a stereotype that “with enough practice you can be completely fluent” there’s no such thing, but there’s a kernel of truth in that theory. If I have enough preparation time, and enough rehearsal, I can be mostly fluent. There will be bumps and slips, but I can be at least competent…. somewhat… Here’s my situation, I graduated from Columbia College Chicago, with a degree in Cinema and Television Production, and a minor in Acting. That might sound impressive, but it was a school with 98% acceptance rate, you’d have to be a convicted felon to not get in. For the longest time I wanted to be a “director” or involved in film production, but hated the reality of P.A work once I got on a few sets. I fell in love with performance, but it was too late to do anything about it other than muster up a minor. I graduated two years ago, and have since moved back home, working a minimum wage job and living at home. I’ve done everything in my power here. I’ve been involved with three different local theatres in town (even getting paid a few times), took a couple classes, and got reviews in the paper. These are baby steps, but I want more…. And at the same time… I sort of know I can’t do it…. My speech impediment is something I’m extremely self conscious about, 90% of the time my acting will be focused on trying to sound fluent rather than genuine performance work. I’ve been called “awkward” “sluggish” even the “weakest link” in one show I was in. My own family says I’m pretty shitty at it, saying I should be backstage moving props instead of on it. I’m not trying to make this into a “oh woe is me” post, just providing some context. I have pretty much no real experience, no headshots, no legit training, and I can’t do a monologue worth a damn. I recognize I’m the shittest actor this side of the Mississippi, but at the same time, I can’t spend the rest of my life being miserable. I’d like to delve into this more professionally. I’m under no illusions that this is a “little engine that could” story, but I’d like to give this an actual shot. I don’t know what that would entail, so that’s why I’m asking advice. I have a lot of negatives attached to my name, but I do have SOME advantages in my arena. For one, I have no college debt. I am living at home with my parents, and have saved up quite a bit of dough. I’m located in Central Illinois, so I could realistically move to Chicago if I needed to. Im not sure what direction to head in, but thought I’d ask for advice (or get downvoted into oblivion who knows) anyway, thanks for reading if you took the time.
Hello! I'm a disabled actor and have recently been offered representation by both ZBD and VisABLE People. I was wondering what your experiences are with them and your thoughts on their comparison; their reputation, their treatment of talent, their casting success etc. I am musical theatre trained and hope to work in both theatre and screen. Lmk your thoughts!
I have 3 spots open all female roles atm. I do have some minor male roles that I could use assistance with message me for details on that. As for these roles I’m paying 10 to 20 dollars these are supporting roles but if you return (series will planned to be on going.) the pay will likely go up of course we can negotiate that in the future. Thanks for reading. As for the female roles I have Ravelle: Supporting character. Characteristics: Protective, caring, frightened, emotionally resilient, cautious, and mature for her age. Ravelle is a young survivor of the destruction of Ironvale and the older sister of Rale. After witnessing the death of their mother, Ravelle is terrified and grieving, but her first instinct is still to protect her younger sister. She isn't fearless or unnaturally tough. She's a scared child doing her best to remain composed because Rale needs her. Her performance should balance vulnerability with the beginnings of the strength and determination she will develop later in life. Voice: Young female voice. Emotional and expressive, with the ability to portray fear, grief, desperation, and protective determination. Rain: Supporting character Characteristics: Fierce, disciplined, courageous, protective, battle-hardened, commanding, and self-sacrificing. Rain is the mother of Ravelle and Rale and one of Ironvale's powerful Black Knights. An experienced warrior, she refuses to back down even when faced with the overwhelming strength of a mysterious demon. Despite her status as an elite knight, Rain's greatest priority is her children. When Ironvale falls, she fights desperately to keep the demon away from her daughters, willing to put herself directly between them and almost certain death. Rain should feel like someone accustomed to battle. She is confident and commanding rather than reckless, but that composure can break when her children are threatened. Voice: Adult female voice with a strong, mature presence. Should be capable of authoritative battle commands, aggression, physical exertion, and desperate fear when protecting her children. Cosima: Characteristics: Feral, intimidating, aggressive, emotionally conflicted, unpredictable, powerful, and quietly compassionate beneath the surface. Cosima is a powerful demon serving under the Demon King, Sommi. To the people of Ironvale, she appears to be little more than a terrifying monster—overwhelming knights with tremendous physical strength and fighting with an almost animalistic brutality. However, Cosima is far more complicated than she initially appears. She rarely speaks and expresses herself primarily through growls, snarls, screams, breathing, and physical reactions. Despite the violence surrounding her, Cosima shows hesitation when confronted with innocent children. When ordered to kill Ravelle and Rale, she ultimately chooses to spare them. This moment of compassion is extremely important. Cosima should sound frightening enough that the audience initially believes she is a monster, while subtle moments of hesitation suggest there is still humanity beneath her violent exterior. Voice: Adult female voice. Deep or naturally intimidating voices are welcome, but not required. The most important aspect is being able to convincingly perform feral vocalizations while still communicating emotion without relying heavily on dialogue. Performance Note: This role involves a significant amount of nonverbal acting, including growling, snarling, roaring, heavy breathing, pain reactions, and battle exertion. Please be comfortable performing these sounds.
And filmmakers/producers! I saw someone on Instagram mention the idea of several actors getting together to film scenes for demo reels that each person could use and would love to do that here in Chicago! I don’t have equipment besides a backdrop, but I do edit and can do other things on the technical side. It would be great to meet other people in the business and create a decent demo reel!
I’m an actor in the Boston area and have been on the hunt for a good agent and or manager. I’m also trying to break into the NY market because it seems there’s much more work there and it’s an easy ish commute. Looking to see if there’s anyone you guys would recommend reaching out to and/or avoiding. I’ve been in the game for a few years now and am trying to take the next step in my career but it’s impossible to do without a good team.
I recently signed with a manager a few months ago who I really like! Him and I hit it off right away, we have the same outlook on my career and the industry in general, and we have a very open line of communication. I’m a SAG 20s LA based actress, and this is my first real genuine rep. I have some decent credits under my belt (for never having rep) have some great headshots, and a meaty reel. I was sent my submissions report a few days ago (from the last three months) and I’m being submitted for tons of great stuff. So much network tv, big movies, etc. but I’m not being called in for a single thing. He advised me that the industry is just in a weird place right now and to not get discouraged. He also suggested I get new headshots to switch things up and fill in some types I’m missing. I just got new headshots 7 months ago, but I’m willing to try anything at this point to get the ball rolling, so I agreed. Obviously three months with not a single audition isn’t crazy, but would you say it’s normal? I’m not sure if it really is my headshots or just that my manager doesn’t have any pull. His clients are working, but I noticed that they are also repped by some big agencies, and the only rep I have is him. I’m hoping these new headshots will turn things around for me, and maybe it is just a waiting game... But I was curious to hear people’s thoughts!
I’ve gotten a LOT of stage/VO work and have had awards, great reviews and long running gigs but just can’t seem to cut it on camera? Do I just have shit confidence when a camera is in my face? I can’t bear to watch it back which doesn’t help - do I just have to suck it up?
Our channel is [https://www.youtube.com/@unRAPPING](https://www.youtube.com/@unRAPPING) and we are looking for a narrator that can bring life to our videos with an unique tone, aiming to always deliver the best recordings possible. As a reference, im a huge fan of [https://www.youtube.com/@fern-tv](https://www.youtube.com/@fern-tv) narrators style (kinda mysterious but with personality, sounding from early 20s to mid 30s), although i really want to find someone that can create our own style. Budget: $40 / 1000 words (negotiable) per script (8-11min) \[we also offer the possibility of rev share + fixed payment\] Fill this forms so we can contact you: [https://forms.gle/afTvAztLRZEiqZzQ9](https://forms.gle/afTvAztLRZEiqZzQ9)
We're doing an ad for a lego store launch and we're making an animated ad for it. Direly in need for a good voice actor with a deep narrative voice to pose as the narrator of the ad. If you're interested let me know and send me some samples so we can do a test and go ahead if you fit for the voice we're looking for. HMU! Our budget is 20-30$ but we can negotiate depending how good the VO come out. Ps: we're looking for someone within the day so hmu fast Edit: We're looking for Male VAs
Hey everyone! We’re looking for male English-speaking voice actors for a new animated YouTube channel focused on current events, politics, tech, and internet culture, with a weird, dark, and satirical twist. We’re looking for actors who enjoy character work, comedic timing, and switching between different voices and personalities. There’s potential to develop 5–10+ recurring characters over time. ? Fee: $50 USD/minute of finished audio ?️ Language: English ? Content: Animated YouTube content ? Output: 1–2 videos/month initially, with plans to scale toward weekly videos in Q2 2027 ? Casting instructions: [https://docs.google.com/document/d/1pQzTJ2V6JbVGzrXqn2spwUdT1C4zMXP1u7VxW15lq-4/edit?tab=t.0](https://docs.google.com/document/d/1pQzTJ2V6JbVGzrXqn2spwUdT1C4zMXP1u7VxW15lq-4/edit?tab=t.0) ? Deadline: Sunday, September 6 After recording, please submit your audition here: [https://docs.google.com/forms/d/e/1FAIpQLScXNCCXFGgesCc3L935ieZFHpLd1GjDZdrBXAYjQrFzR3j\_4w/viewform](https://docs.google.com/forms/d/e/1FAIpQLScXNCCXFGgesCc3L935ieZFHpLd1GjDZdrBXAYjQrFzR3j_4w/viewform) If character acting and dark comedy are your thing, we’d love to hear you!
I'm putting a book trailer together for my friend's indie book. It's a memoir so I've create a documentary-style book trailer. It looks a bit like the intro of a Netflix documentary. I'm looking for a voice actor who can deliver a performance based on this voice: [play clip](https://drive.google.com/file/d/1yNTjYOPrWbuyXJvlslJ-oNk9W8xYzVLc/view?usp=sharing) For context, the clip is of a 50 year old woman (the author of the memoir) from West Virginia who spent her adult life in Texas. As you'll hear, she only has a slight Southern accent, please bare that in mind. The recording shouldn't end up sounding deeply accented, it's just a touch. A touch more emotion than the reference material would be great, too. Not too big, just a touch. The important thing is that it feels real: as though the author is telling us. Here are the audition lines: 1. I felt incredible sadness, shock, and a lasting feeling of why he chose death over me. 2. I blamed him for my brother's death, my mother's death, and I had such an incredible desire to find answers. 3. What made him who he was, and most importantly, why did he want to leave us? Payment: $50 Word count: 52 Usage: All social media platforms Language: English Payment terms: After I cast you, I will send you the money upon delivery of the recordings. Please send your audition to [jonny@d5media.co.uk](mailto:jonny@d5media.co.uk)
What happens right before you feel officially stuck in your head? Are already there before the take, when you're supposed to have a specific moment. Mid-scene, when the other actor throws you something unexpected? Or after, when you know it wasn't real and you can't fix it in the moment? Curious what that moment actually looks like for people.
Looking for advice from actors who don't live in English-speaking countries, specifically. The reason I'm asking is that I want to audition for roles with an "American" accent, but every time I try to do it, I feel like I'm just mocking it and that all my "r" sounds and some vowels are wrong. **What helped you overcome physical and psychological barriers of speaking another accent? What is the best way to stop feeling like you're just mocking or making a caricature of an accent?** **Do you have any creators (YouTube or other) that helped you a lot? Anything else?** **Is that even possible without a professional coach? Be honest.** For example, all the Slavic actors I find who have perfect American/British accents moved to those countries when they were kids, so it's not the same as trying to learn it from scratch. \_\_\_\_\_\_ Some additional info about me, if needed: I'm asking for practical advice because I feel like it's possible for me to sound close to a native speaker if I put a lot of effort into it. I have a good ear for music. I use English every day in both my personal and professional life. 90% of all media I consume is in English.
I studied acting for a while and something I never solved was getting honest feedback on my tapes. Curious what people actually do here: When you finish a self tape or a practice scene, do you show it to anyone before it goes out? Who? A coach, a friend, a group chat, nobody? And the other side of it, have you ever sat down and given another actor real notes on their tape? How often does that actually happen versus everyone just wanting notes on their own stuff? Asking because every time I looked for a place to do this it was either paying a coach or posting into the void.
What is this about? You can tell the actress she's talking about from the comments. But who is the acting coach (that's not in Atl.) that was being wild, trashtalking, and butt hurt about not getting tagged by said actress when she booked something?? Charges thousands and maybe has in writing that actors MUST tag and credit her with bookings they get? WHO is it? (I love Angela Davis, btw. She will tell it like it is.)
Hi! First time poster here, so I'm just curious about those who have used Actors Access and received EcoCast auditions in the past. I'm sure it may be dependent upon the theater, but for those who have received follow-up callbacks after submitting for an EcoCast, what was the time frame for when you were notified about receiving said callback? I recently submitted one I'm feeling pretty strongly about, but haven't received any follow-up news and the virtual callbacks they said they'd be holding are about a week away now. Were you given less time than this to prepare for the callback, or should I be under the impression they may just be moving in a different direction? Thanks for any help!
is it normal to feel overwhelmed as a teenager dreaming of acting by looking at people 10-20yrs older? i always feel behind when i see people way older than me being actors and all like i feel so small compared to them idk if it’s just me.
So, I have observed this about myself. It’s only when I have truly learnt my lines almost to the point when if I was woken up in the middle of the night I could still remember them and say it as it is, that I feel confident enough to act… I envy actors who just know their lines some what and still manage to ace it or wing it at least… any of you here with the same issue as me? I just feel the more prepared I am , the more relaxed I can be, and hence perform better. Thoughts on this ?
Recently got an email from a Chinese company saying they are looking for voice actors. However I am not sure if it’s a scam or not. The email they used matches the website but the pay seems really high?? Maybe because it’s international. However, everything else seems legitimate. How should I know if it’s a scam or not?
The title basically says it all. I am an actor (20F) in Los Angeles and I want to audition for “Romeo and Juliet” at Antaeus Theatre. To be honest I am not as well versed in the theatre scene in LA as I am with the film world so I don’t even know how to start with this. I signed up for open call info from Antaeus, but that was about all I could find online in terms of how to secure an audition. So now I’m on Reddit, seeking advice, support, or manifestation. Shakespeare is my true love and what introduced me to acting so truly I’m so happy Antaeus is doing this show and at the least hopefully I can see it. But I’ve got to dream big don’t I! ♥️
I have been doing acting for a long time but was always nervous to aplly for auditions coz i was scared but i applied to this one and made it through the first stage now for the second stage to see if i get a job but im nervous coz for that im up against really good people who havent done it before and experienced returning actors , tips ?
Not in the industry, but thought it might be a good way to make friends if I end up moving to California. Is this true?
Perhaps some of you can answer this question for me. I have been doing background work for a few years now. Through this work, I have be able to join SAG. As soon as I became eligible I immediately joined. However looking back on it, I feel that was a mistake since I have been struggling to find work both in background and speaking roles. Keep in mind I have never had a speaking role in my career, only background. I mainly joined right away for the better background rates and the opportunity to get on bigger productions. Recently I have been thinking about becoming Financial-Core to get more background roles as well as building up my credentials in speaking roles through small films, commercials, etc. I do eventually want to rejoin SAG once I build a resume of acting credentials. However I don't want me becoming Financial-Core now impact my ability to get acting roles and rejoining SAG in the future. Have any of you been in my situation before? And what did you do? \*Note: I live in Los Angeles which is a big market. I know sometimes actors go Fi-Core if they live in a small market.\*
Hey Folks, First time posting here. I'm someone that's always wanted to be a career actor but got sucked into the mundane expectations of 9-5 life because it was "safe" and "right". Well I'm 31 now and I did everything right, and it led absolutely nowhere except being a less passionate and creative version of myself that only exists to pay bills. I still do that so I don't go homeless- but I also acknowledged that it doesn't go anywhere, and it's time to take risks and make sacrifices to give myself a life I actually want to live. Last year, I got the opportunity to co-star alongside some iconic actors from a certain video game franchise that I grew up watching. I was a Supporting Actor alongside the 4-5 Co-Leads throughout the film and my character closed out the movie. I loved every second, even the 14 hour-day/night shoots in the middle of the desert. I knew it may be the only role I ever get of that magnitude, and I was grateful & happy but set no expectations for future roles, considering I have zero formal training and next to no experience. Evidently, I did pretty well. One thing led to another and a different director has cast me as the lead in their action/horror film. I'm very excited, and feel well prepared at this point but my performance isn't the only thing that matters to me. I want to make sure everyone on-set feels supported by me and I want to help everyone give the best performance that they can, without stepping on anyone's toes. I haven't been on many film sets, and I'm a naturally introverted person that avoids most social gatherings (you wouldn't think so talking to me, however). I suppose I'm just looking to hear what people expect from the lead actor in a project, or previous leads that you've looked up to. If anyone has experience leading and has some advice regarding morale, performance, and networking in general, it would be greatly appreciated. Sorry for the novella. TLDR; I'm going into my first lead acting film role and was wondering if anyone has experience/advice on what makes a good lead actor stand out on & off camera.
Hugely disappointing, yet another company falling to greed. Many of us paid $650 for a lifetime license. Now we will have to pay ***$145 a year*** on top of that just to stay current. The sick part is, they built version 4 specifically so it cannot connect backward to version 3. Every studio that upgrades is now a studio we can no longer work with. A lifetime license to a tool nobody can connect to isn’t a lifetime license. We are being actively rug-pulled. And for everyone new? ***$385 a year.*** SC claims it's for the new upgrades. But let's look at what "upgrades" they are actually trying to hide this price hike behind: * **The server cost myth:** They claim the new "no port forwarding" setup requires global cloud servers that cost them massive recurring overhead. This is absolute nonsense. They are streaming mono voice audio at 128-256 kbps. Even if you work 20 hours of sessions a month, that amounts to literal pennies in cloud bandwidth costs on AWS or Google Cloud. Other platforms have offered seamless, browser-based WebRTC connections for years for a fraction of this cost—or completely free. * **Paying to access what we already bought:** Calling the $145/year fee a "Network Access Plan" is a linguistic trick to bypass the word subscription. It acts like a hostage fee. If you stop paying the yearly fee, you cannot log into the software you supposedly bought a lifetime license for. The local app becomes completely useless bricked software. * **Forcing solo talent to fund studio tech:** They are touting complex upgrades like multi-point connections, Dolby Atmos streaming, and cloud Restore & Replace. Those are enterprise features meant for massive post-production audio houses. The average voice actor just needs a stable, point-to-point mono connection. Forcing solo talent into massive recurring price brackets to fund enterprise engineering tools is deeply exploitative. They know we cannot easily leave an industry standard. They hold a near-monopoly on high-end commercial production, and they are using that leverage to squeeze every independent talent dry. And remember: this is a *private* company. No board of venture capitalists or external investors forcing a software-as-a-service transition. The founders and executives chose this to extract more money out of us. Full stop.
To the African American actors, do you find that you see more roles for commercials geared towards us in some cities more than others? For example, I wondered if given the demographic, Atlanta would have more opportunities to submit. Are there any other cities where you see more roles for us than others?
Hi! Sorry, I am not really good at Reddit. I haven’t been able to access the Actors Access app or website for at least five hours now and was wondering if it’s juts me or if other people are also having that same issue? It just doesn’t seem to load.
So I’ve been with my current manager for roughly six years, and overall they’ve been great. We have a solid relationship, and over the years I’ve booked mostly co-star/day-player roles while working with them and a couple of commercials. My agents have generally been the ones getting me into the room for the bigger opportunities. Recently, I met another manager on set while they were visiting one of their clients who’s one of the series regulars who I had the majority of my scenes with and they gave me their contact info. They have a much stronger client roster and clients working on bigger projects. The meeting went really well, and they offered to sign me. The complication is that I still have about five months remaining on my current management contract. There is a mutual **termination/exit clause**, so technically there’s a way for us to part ways early if we both agree. For actors who have been in a similar situation, how would you approach the conversation with your current manager without unnecessarily burning the relationship? After six years together, I definitely don’t want to handle it disrespectfully, but I also don’t want to pass up an opportunity. Thanks
Hello fellow voice actors, I'm a trained actor with solid experience, but until now I've always worked live, on stage and in front of an audience. Recently I started working with a microphone too: I'm recording readings of poems and essays from Italian literature. My budget is around €400 **for the microphone alone**. The audio interface, cables and acoustic treatment come out of a separate budget, so please don't feel you have to squeeze those into the €500. For the same reason I'm perfectly happy to go the XLR route rather than USB. As for the recording space, I should be upfront about it: it's an ordinary untreated room with curtains and a rug, and there is still a noticeable amount of reverb in it. Acoustic treatment is on my list, but for now that's what I'm working in. What microphone would you recommend for this kind of work? I have no experience at all when it comes to choosing a mic, so any advice would be hugely appreciated. Peace and love!
We're actors. We can play any role. I can be an action hero, a supervillain, the romantic lead, a slapstick comedian, the sidekick, the... The list goes on and on. We know we can do it. But, often times it is our "type" that determines what we get cast as.And sometimes that typecasting can come later in your career, usually with iconic roles. DeForest Kelley had a successful career as a bad guy in westerns before landing the iconic role of Dr. McCoy in STAR TREK...and then had difficulty finding work afterwords as anyone other than McCoy. Ed O'Neill was essentially seen as Al Bundy for years after MARRIED WITH CHILDREN. Walter White has followed Brian Cranston around, as has Gregory House with Hugh Laurie, and John C. McGinley definitely has a "type".But, is this necessarily a bad thing? While I can play different roles -- and definitely have on the improv stage -- (I still have designs to play a tropical detective as a lead character), the last two movie roles I was cast in was as a suit-wearing detective and a suit-wearing guy from the Department of the Interior. And, I've been told I definitely would be perfect playing an attorney (most likely wearing a suit). Whatever gets me work, right?Many of us want a resume as diverse as Meryl Streep, Viola Davis, Tom Hanks, etc., but is it so bad to be known for playing the same kind of role? I mean, work is work, right?
Before you ever step into an audition room, casting directors have already met you online. Your headshots, demo reel, resume, and casting profiles work together as a digital storefront. In a database of thousands of actors, that storefront decides whether your name gets clicked. The foundation is your marketing materials: two to four current, professional headshots that show your castable looks (commercial, theatrical, and character), a clean industry-standard resume listing your credits, training, playing age, and special skills, and a demo reel that puts your best work in the first thirty seconds, because that is often all a casting director watches. Everything should look like you today. Outdated footage or a headshot with different hair than the person who walks in the door costs actors more roles than a weak audition ever will.Where those materials live matters just as much. Your Stage 32 profile should be a primary home for your career, it is where casting directors, producers, and filmmakers across our community of 1.5 million members discover talent, and it doubles as your networking hub. Fill it out completely: current headshots, your reel, your resume, your training, your special skills, and a bio that reads like a professional, not a placeholder. Then use it actively. Post in the Acting Lounge, connect with the filmmakers and producers building their next projects, and keep your profile current so that when someone searches for your type, you are the actor they find. Alongside Stage 32, maintain fully completed profiles on the industry-standard casting platforms: Actors Access for film and television, Casting Networks for commercials, and Backstage for theater and independent projects, plus an updated IMDbPro so industry professionals can verify your credits and contact information. Fill out every section on every platform, including physical traits and special skills, because incomplete profiles never appear in targeted searches.The final rule is consistency. Use the exact same name spelling, the same headshots, and the same resume format across your Stage 32 profile, your personal website, your social media, and every casting platform, so casting directors get instant clarity no matter where they find you. Label every video clip and audio file descriptively, update everything the moment your look changes, and treat your profiles like the living marketing tools they are. We want to hear from you: How do you keep your online profiles working for your career? Has a fully optimized profile ever landed you a role or a connection you did not expect? Share your best profile tips in the comments — your fellow actors in this community are building their digital storefronts right now, and your experience could be exactly what they need.
Anyone else feel like some of these One Day Guest spots are essentially co-stars, but they just wanna get actors who won’t do co-stars to audition? ?
Weeee, you found me!
I'm your buddy Bottie, I was hiding behind the scenes, but now that you've found me I'd be happy to tell you what I'm doing.
I just wrote a few fun facts about Web For Actors
Would you like to take a look?
Click here to check them out. I hope it will cause involuntary audible response.
