Posting on behalf of a VA friend who hasn’t got reddit and is pretty useless with social media For clarification, he’s been a voice actor professionally for many years, and did well without any sort of socials until this point. He’s encountered some auditions recently that has required him to have socials so he’s trying to embrace it Issue is what do you post? Just reel work? Samples of things you’ve already done? He’s been wanting to do little videos of him reading out some Warhammer / world of Warcraft readings but we’ve realised there might be some copyright situation there. Is it just the case that we have to stay clear of those things or is there a way they can be transformative enough? How do you find things to do readings of that won’t get you in trouble with copy right, or having to just make everything from scratch yourself Thanks in advance!
I’ve been told for a while I should be a voice actor and I’m about to apply for every male character character to boost my chances while showing them what I’m made of, I’m just wondering if ya’ll got any tips for the 16 bar cut of a musical theatre songs I have to do and how to keep the voice going strong while singing? Especially when it’s a deep rough voice I’m trying to do?
Hello! I’m an independent filmmaker, and I’m looking for voice actors to dub my short film. The film is in English, but the actors have noticeable accents, so I’d like to re-record the dialogue with native English-speaking voice actors. The problem is that I don’t have a big budget, and I’m based in another country. I’ve contacted a few dubbing agencies, but their prices are unfortunately too high for an independent filmmaker :( Does anyone know where I could find voice actors who might be interested in working on a low-budget short film? Any websites, communities, Discord servers, or other places where I could look would be greatly appreciated! If you have any advice or could point me in the right direction, I’d really appreciate it. Thank you in advance!
After a lot of research, I've decided not to proceed with an agency that offered me representation. I sent them some questions about the contract and they basically yelled at me over email. I've heard they don't have a great agent-actor rapport. They wouldn't answer my questions about the contract unless I called them, so I shot them an email saying I would call them soon, but now that I've made this decision, I'm wondering if I should decline over call or email? Does it matter? I don't want to be rude.
Anyone know much if anything about **Interdependent Studios** based out of PA? That is casting a feature called "The Carrier"? The audition process felt really.....off. A Reddit search of two-year old threads confirmed others have had similar....gut feelings. That said, I know two actors who both received callbacks and the attached director has legit credits. Curious to hear from others who submitted tapes and from anyone who has had interactions with either Interdependent or the director (known mostly for producing), Mark Burley .
Hi everyone. To expand on what I’m asking, I’m a now 3rd year university student in the UK studying economics. It wasn’t until the end of my 2nd year that I realised that while I still like economics, I would much prefer to be an actor. I’ve been watching shows or movies and acting out those scenes in private for the decade or so. In school I used to participate in productions and plays before social anxiety ate away at me. Now I feel a lot more confident in myself and just have higher self esteem, and whenever I end up needing to perform or present, I genuinely enjoy it and I keep essentially practicing scenes for fun. My issue is, I definitely need technical training (I practice scenes for fun but they could definitely be shit, I have no idea, so I’d need some form of teaching) but I’m already 20 (not saying I’m old but I’m already getting a degree, I have no interest nor energy to get a second) and while I’m very open to taking classes and workshops, I want a genuine shot at making acting my career because it genuinely feels like it’s a viable and fulfilling and interesting path for me, I’m just terrified I made a mistake picking economics at university instead of theatre or drama all because I had anxiety when I was younger. So is it necessary I go to a drama school or do a three year course to learn how to act, or could I be just as successful participating in workshops while I finish my degree, joining productions at university, and getting the odd private class here and there to teach me what I need to know and improve on while I practice on my own and start auditioning or scouting for student or short films?
Hola! Estamos buscando una actriz de doblaje (solo femenino) para doblar y traducir un video de anuncio que queremos hacer, intentamos que llegue a todo público (hispanoparlante y angloparlante) La animación tendrá una duración de menos de un minuto. * Español nativo o fluido || Inglés intermedio/avanzado * Se busca una persona con una tonalidad joven de 18 a 30 años. * Que esté relacionada con el mundo de las animaciones digitales o animación tradicional. * Calidad de audio mínimamente aceptable para sobreponer en una animación. Este trabajo se pagará vía PayPal en dólares, aún no tenemos claro el presupuesto, pero será entre 15 a 25 dólares por el audio completo, si quieren aplicar solo llenen el siguiente form: [https://forms.gle/oWw69iXVBZPZ3sMVA](https://forms.gle/oWw69iXVBZPZ3sMVA) Una vez se avance a la siguiente fase, te enviaremos el guión para discutir traducción y coordinación. Discord requerido! **Fecha límite:** 10 de Septiembre; 13:00 Nota: No se aceptará uso de **ningún tipo de IA**, en el caso que llegues a aplicar con un audio IA, se te **eliminará** de los candidatos **inmediatamente**. Muchas gracias! \-------------------------------------------------------------------------------------------------------------- Hi! We're looking for a female voice actress to voice and translate an animated announcement video we're working on. We want to reach both English and Spanish-speaking audiences. The animation will be under one minute long. * Native or fluent Spanish. || Intermediate/Advanced English. * Looking for a youthful vocal tone (18 to 30 age range). * Connected to or familiar with the world of digital or traditional animation. * Decent audio quality, clean enough to mix over an animation. Payment will be via PayPal in USD. The exact budget isn't 100% locked down yet, but it will be between $15 and $25 for the final audio. If you'd like to apply, just fill out this form: [https://forms.gle/oWw69iXVBZPZ3sMVA](https://forms.gle/oWw69iXVBZPZ3sMVA) Once we move on to the next stage, we'll send you the script to sort out the translate and details. Discord required! Deadline: September 10th; 13:00 Note: **No AI tools** of any kind will be accepted. If you apply using an AI-generated voice, you will be **disqualified immediately**. Thanks!
Every actor needs training — but not every class or teacher is the right fit. In my latest video, I share the story of walking out of an acting class mid-session, and break down how to evaluate a class or teacher before you commit your time, money, and trust. Would love to hear this community's experiences too. bit.ly/4zMswKD
If the dialogue feels unnatural, the character lacks depth, the scene isn't building toward anything, or the emotional beats aren't clear, it can make an otherwise strong performance much harder to deliver.I work with writers and creatives on **script feedback, character development, dialogue, scene structure, screenplay formatting, and story clarity** to help strengthen the material before it reaches the camera.I'm curious what's one thing you wish writers understood better about writing for actors?
I work with actors, writers, and creatives on script feedback, screenplay formatting, dialogue, character development, scene structure, and story clarity. I can also help review and polish audition or monologue material so the writing gives you more room to showcase your performance.If you're preparing for an audition, developing an original project, or working on a script you'd like another set of eyes on, I'd be happy to connect.What are you currently working on an audition, monologue, short film, or feature?
This week's C&C discusses how lower-budget films don't have to look cheap. It's a pretty good read! Highlighting recent films like "Obsession" as a great example. Check it out here: https://www.stage32.com/blog/coffee-content-cheap-does-not-have-to-look-cheap-4574Also, with that being said, I'd like to throw out another discussion topic; As an actor would you rather act in a film with an amazing script shot on a standard def camcorder, or a high quality film shoot with an "O.K" script?
I’ve been acting about a year and an extra for about 8 months. And I loved being an extra at first for the experience and I have always felt lucky with the roles I got as they were always featured roles/walk ons, but lately it hasn’t felt worth it. I recently did a non dialogue featured role for a huge network tv show, but it was so confusing because I was asked to tape for it and sent lines but no sides. Literally just an email with my characters name and lines and that’s it. I didn’t get told until I was literally on set, I wouldn’t have any dialogue. The agency kinda didn’t get much communication from the network and had little information on anything to do with my character. On the day I felt like I was just thrown into the deep end and didn’t get any rehearsal or even knew what the episode was about until I made a joke about it to my co star and he managed to ask the director for a script to look at which was very nice of him. I was heavily featured in the scene and my actions were the thing that was moving the scene/storyline along and I was told to speak and improv a lot. It just wasn’t in the script. I did do some basic extra stuff too like be there when my costar (who was actually a principal actor) was performing and reacting to things happening in the scene and stuff. But I felt like a fish out of water the entire time and have been speaking to the agency about my pay which is a standard rate with creative contribution, but I just want to know is this totally normal? I loved the experience and that’s the main reason I started extra work, but I feel like I was a doing a small acting role without the title and I’m getting paid probably round the same amount of money it took me to get to set. Is extra work even worth it ?
Hi everyone, the title pretty much says it all what is the best editing software for a voice actor?
**1. Adaptability**: Assess actors’ ability to adjust and adapt their performances based on directorial feedback and changes in rehearsal objectives. Look for their willingness to try new approaches and incorporate feedback into their portrayal of the character, demonstrating flexibility in their acting choices. **2. Blocking and Movement:** Evaluate the physical blocking and movement of actors within the space, considering how their actions contribute to composition and storytelling. Look for clarity and intentionality in their movement, ensuring that it enhances rather than detracts from the scene’s objectives. **3. Blocking Variation:** Experiment with different blocking options to find the most effective staging for each scene by exploring the space. Consider the actors’ positioning, movement, and spatial relationships within the environment, creating visually compelling and thematic compositions that enhance the story **4. Character Consistency:** Ensure actors maintain consistent character traits and behaviors throughout rehearsals, maintaining the character’s established personality, motivations, and emotional journey. Look for continuity in their portrayal, avoiding inconsistencies that may disrupt the character’s authenticity. **5. Character Arc Progression**: Track the development and progression of each character’s arc by observing how their motivations, relationships, and objectives evolve. Look for depth and complexity in their character development, ensuring that their arc is compelling and believable. **6. Director-Actor Collaboration**: Encourage open communication and collaboration between you and the actors to create a supportive rehearsal environment. Allow actors to share their ideas and interpretations and actively involve them in the decision-making process. Just like the script readthrough, it’s important to develop a sense of trust and mutual respect, allowing for constructive feedback. **7. Emotional Authenticity:** Look for genuine emotional responses and connections to the material, assessing the actors’ ability to tap into their own emotions and experiences to create authentic performances. Pay attention to the depth and subtlety of their portrayals, ensuring that they can connect with an audience. **8. Emotional Range:** Look for versatility in emotional expression and range within performances, assessing the actors’ ability to convincingly portray a wide spectrum of emotions. From joy and love to anger and sorrow, observe their capacity to inhabit different emotional states bringing complexity and richness to their characters. **9. Ensemble Dynamics:** Evaluate the dynamics of the ensemble cast as a whole, considering how individual performances interact and complement each other within the larger context of the production. Look for chemistry, rapport, and synergy among the actors, creating a sense of unity and shared purpose. **10. Line Delivery:** Pay attention to the clarity, timing, and intonation of dialogue delivery, ensuring that actors effectively communicate their lines. Evaluate their diction, pacing, and emphasis, aiming for naturalness and authenticity in their delivery. **11. Listening Skills:** Evaluate actors’ ability to actively listen and respond to their scene partners during dialogues and interactions. Look for attentiveness, engagement, and adaptability in their communication, as well as dynamic exchanges between characters. **12. Moment-to-Moment Choices:** Encourage actors to make organic, moment-to-moment choices within their performances, allowing for spontaneity and authenticity in their portrayal of the character. Look for presence and improvisational skill, enabling actors to adapt their performances in real time. **13. Pace and Rhythm**: Assess the pacing and rhythm of scenes to ensure they match the overall tone and style of the production, considering the tempo, flow, and energy of the performances. Look for variation, contrast, and dynamics in pacing, creating a sense of tension, release, and momentum throughout the rehearsal. **14. Physicality:** Consider how actors use their body language and physicality to convey character traits, emotions, and relationships. Look for subtlety, expressiveness, and intentionality in their gestures, postures, and movements, enhancing the audience’s understanding and connection with the character. **15. Rehearsal Atmosphere**: Evaluate the overall atmosphere and energy of rehearsals, ensuring a positive and productive environment conducive to creative exploration and collaboration. Look for a balance between focus and relaxation, to create a sense of camaraderie and shared purpose among the cast. **16. Relationship Development:** Monitor the evolution and depth of relationships between characters, observing how interactions and dynamics unfold throughout rehearsals. Look for authenticity and chemistry in their interpersonal connections, reflecting the nuances and intricacies of human relationships. **17. Scene Dynamics:** Evaluate the chemistry, rhythm, energy, and tension within each scene, assessing the ebb and flow of dramatic intensity. Look for moments of conflict, resolution, and revelation that drive the story forward. **18. Scene Objectives**: Confirm that actors are clear on the objectives of each scene, understanding what their characters hope to achieve or overcome. Look for actors actively pursuing their character’s goals, engaging in meaningful interactions and conflicts that drive the scene forward and advance the plot. **19. Subtextual Understanding:** Ensure actors understand the underlying motivations and subtext of their lines, exploring the deeper layers of meaning and intention behind the dialogue. Look for insight, depth, and subtlety in their interpretation of subtext, enriching their performances with layers of complexity. **20. Theme Reinforcement:** Ensure that performances reinforce the overarching themes and messages of the script, deepening the audience’s understanding and emotional connection. Look for moments where actors embody the central themes through their actions, dialogue, and interactions, reinforcing the underlying ideas and concepts woven throughout the story.
Hey community, so I am in the process of securing reps and am aware of a few online tools to use including Actors Access rep submission feature, Cast Me Now’s “Find a Rep”/“Reprise Talent Portal” tools as well as Repunzel. Dropping in to inquire about these tools— has anyone had success using them or other online tools I’m unaware of for finding reps? If so, would you say the cost for using them was ultimately worth it? Or do folks recommend that it’s better to do the traditional cold emailing/submitting through an agency’s/management entity’s online forms? TIA.
When I was a little like 12 I wanted to be a actor my mom only took us to local auditions and I never got anything, so she stopped. And there was some fake disney audition that was nearby but it wasn't real and my mom took me and we waited like 3 hrs to speak to a "producer" for like 3 minutes. I remeber a school photogher wanted me to be a model gave my mom a card I was so excited but she put it in her purse and never used it. Anyway to sum it up I always felt like I should be more than what I am, I got kicked outta the house at 26 for being pregnant and too "old" to be living at home. working retail all my life, the father of my child not being around. I was struggling and wanted to get back into acting but I had no reel. no credits, no agent, and im still kinda old. So my daughter was 7 months old at the time I decided to save up for professional headshots and got her an agent. My daughter is now 7 years old and shes been in multiple roles, Tubi, Netflix , Tyler perry studios ,voiceovers, Youtube videos and commericals. she saved me from poverty, I was able to buy a house and car, and she has 10k in her college fund. I remember working three jobs, living in shelters, moving to cali, then atlanta with only a car to live out of, all the bad times worth it. Of course her roles is slowing down because she is getting older, but she truly saved my life , I do feel bad sometimes I feel like I wish I was in her shoes, but I'll always love her and willl continue to support her as her acting career goes.
Hi! Recently i've been thinking of posting on TikTok and Instagram. Videos like skits, relatable content type stuff, and random videos. But I also think if I was to gain traction and an audience from content creation on social media whilst continuing to pursue acting it would be harder for casting directors, audiences or people to take me serious as an actor and would just see me as a "TikToker". Is this a valid thought, am I overthinking it or would it actually help my acting pursuit?
okay fellow actors please help me out. so hi I’m about to turn 24 years old next month and I’m so totally lost ( ik ik who isn’t) I signed with an agency two months ago in my region (not LA or NY) and have been submitting myself on AA and submitting for everything my agent sends me. I bought a backdrop for my self tapes. km planning to take a class soon…I have taken probably 8 classes previously I probs get like 5-7 auditions one week then maybe it’s quiet (no auditions) for a week or two and then back to a flow of new auditions. it’s weird ahhhh I submit to everything on AA that fits my type because acting is genuinely something that makes me happy. and I want to be on set and do it however the only thing I’ve booked this year is a student film. my reel is basically some seconds from that and scenes from acting classes and my self tapes. I have been struggling to find a job since graduating college last year and it’s making me lose it. I want to be an actor ultimately and win an oscar and I know I have to build myself up before I go to a super competitive market but… I’m just so lost I would literally appreciate any advice. what’s a good job for an actor besides serving (Ive done it before and tbh not for me)? how can I get better at self tapes? how can I actually book roles? my region is Boston. anything helps thank you so much guys. ALSO has anyone actually ever booked something with Boston casting before I s2g they r like a conspiracy theory or something.
Hey community, here with another question today. So, one of my short-term goals is to secure reps. However, what I am wondering is: how do I know if/when I am really ready for reps? In your professional experience, when would you say it is an actor is most ready for reps? For context: I started acting as a kid, grew up doing theatre and went on to study acting in college. Since graduating, I have taken many classes and have done several plays and films. But I am at a point in my career where I am ready to take it to the next level by acquiring an awesome team of reps who submit me to higher level projects I want access to! Nevertheless, I am unsure if I am at a point where getting a team of reps makes the most sense for me. One thing that I wonder about is my self-tape setup— you see, my current living situation does not lend itself to a more professionalized self-tape setup; I rely on public resources to film my self-tapes as of now. Is my current self-tape setup detrimental to me in securing reps? Any general insight/advice etc folks have to offer on this subject would be very useful (or perhaps, even if someone is kind enough to review my materials to provide insight that way!) - TIA.
Hello friends. I'm a 32 yr old male actor, went to a decent drama school in London and have been working professionally for the past 7 years. In between jobs I've worked as a TA in schools and as a barista when I've needed to. Just curious what you all do in between work for money? I know it's a challenge finding something that can pay the bills, be flexible and not destroy your soul. It can be so hard finishing an acting job and being thrown out into the ocean of day jobs and minimum wage. How are you all staying afloat? All the best to you out there!
Anyway, I'm probably posting this partly for validation and partly because I genuinely want some honest opinions from fellow actors who have been through something similar A few months ago, I got an offer to play the lead in a show about a second marriage and a blended family. The script was honestly amazing, and the role felt perfect for me.......I'm 44F, and I went through everything with my agent as well as another senior person in the film industry whom I really trust After a couple of rounds of discussions, I officially signed the contract and joined the cast. Principal photography starts in November, and I have my first photoshoot next week. I've been acting for about 20 years. I've done lead and supporting roles in Hollywood, French, German and Spanish films/shows, but I've never done nude intimate scenes. I've obviously done kissing scenes and a couple of scenes that were intimate in nature...... but nothing like what this project requires There are 2–3 intimate nude scenes in the series. They're completely relevant to the story and not meant to be erotic for the sake of being erotic. The production is also backed by a major studio, and there’s an intimacy coordinator, proper contracts, closed sets, etc.......so professionally I feel like I'm in a pretty safe and well managed environment. My husband is also very supportive, so there’s no issue there. And yet......I've started feeling this weird heaviness about it. I'm genuinely excited about the project. I love the script, I love the character, and I'm proud that I got this role.... But now that it's getting closer and becoming real, I'm feeling something I didn't expect Maybe it's because I'm 44 and have been married for years. Maybe it's because I'm a mother of three teenagers......Maybe it's simply because I've never crossed this particular boundary professionally before. I know intellectually that it's acting, it's part of the story, and that my body is my own. But emotionally, it still feels like a big step.
Hello!! I'm a very beginner voice actor, I've been training a female voice I can do for a for a few hours a day before it gets tiresome, and out of curiosity I tried doing a toad voice, little did I know after 5 minutes my throat started feeling like when you just want to "cough it out" if that makes sense. I drank some water and am actively drinking a ginger tea as I write this, would anyone have any tips on how to manage/rest your voice ?
Hey everyone, I'm a 2nd year college student and I do a lot of acting with my college theatre group. I really want to break into screen acting, but I can't travel for auditions right now, and honestly there are zero casting calls or auditions happening in my city anyway. A senior from my college who acts in web series gave me some advice recently—he told me I should just start putting my acting out there on social media. It made a lot of sense to me, but I'm pretty stuck on where to actually start. In theatre, we're always given a script or a topic to work with. On social media, you have to do everything yourself from scratch. So I wanted to ask: what kind of content actually works for actors online? Should I post short monologues, relatable comedy, character studies, or dramatic scenes? And how do you guys come up with original ideas when you have total creative freedom? Would love any advice or ideas from fellow actors/creators!
so back in my home country i have connections to the industry but it’s so bad its just influencers and ads and i can take the easy path of becoming an actor or should i do the harder part study acting in new york and then become an actor based in new york?
I’m in my early 20s and I’m an LGBT guy, a former cosplayer. I was the victim of grooming and manipulation by a predator. I was deceived into posing suggestively for him, I was promised the images would remain private. Little did I know that he was posting the images the entire time on Twitter without my knowledge or consent as pornography. He also added backgrounds and objects to some of the images, I assume using AI, and depicted me simulating a sex act in one image, and a BDSM hood in another. The images got between 1-10 thousand impressions on Twitter and included creepy and disturbing captions disclosing my location and a desire to grope me. I later found out the perpetrator was a convicted serial sex offender who sexually assaulted numerous people. I had the images removed and it’s been about 2 years since the images were posted. I feel extreme fear about the images resurfacing. I am terrified for my reputation and the possibility that if I pursue my dream of acting, the images will resurface and never go away, ever. I want to be a working actor. I also want the possibility of pursuing other jobs if it doesn’t work out. To this day I have never been recognized. Should I pursue acting?
I read an old essay years ago and it randomly came popped into my head today. Laurette Taylor , one of the great stage actors of the early 1900s, most famous for originating Amanda Wingfield in The Glass Menagerie had a simple theory for great acting: watch a kid making mud pies. They're not performing for anybody, they’re just fully absorbed in turning dirt into cake that you start believing it too. Pretty simple. Imagination and doing. We’re all born with this ability. Then the common problem of getting stuck in your pops up because you started worrying about doing it “right” Basically, I think good actor training should follow the Yoda rule…. You must unlearn what you have learned. Which is kinda the whole the idea behind independent activities. Rebuild your innate skill before you throw on the extra weight of script and character work. Thoughts?
A local studio is currently casting for their audio drama. Casting has been going on for months and I have already auditioned and submitted for a callback. They finally reached out to me explaining that casting is taking longer than expected and even asked me to read for another role. This was weeks AFTER they expected to be fully cast and beginning production. There are several roles that are still open and they’ve even put out an additional casting call looking for more actors. I’m grateful to be in consideration at all, but I’m curious if this is a situation where it could be appropriate to email back about potentially reading for some of the other roles that they are still looking to fill. I know that normally could be seen as inappropriate or disrespectful, but given their current situation, it feels reasonable? Any advice is appreciated!
Pretty much the title. Which one would actors who started out with very little connections consider the best? I have had a sub in backstage and gotten a couple things off that but have hit a bit of a wall considering that they are not a ton of projects in there. For reference, I am a white female minor in the Chicagoland area if that matters.
Hi there! I’m 16, male from Ireland. Ive joined multiple casting websites the last few months, uploaded my own headshots, not professional ones, details etc, however I can’t seem to get noticed at all, is there anyway I can get noticed easier? There Doesn’t seem to be a whole lot of work for actors my age at the moment. Is there somewhere I could send self tapes or monologues for professionals to critique?
Hello! Looking to cast 30s-50s male voice actors for Democratic political ads. We pay $150 per finished spot (30 sec ad read with alts). Please be ready to deliver cleaned up reads rather than raw takes. 2 revisions. Looking forward to hearing you!
I’m really trying my hardest in finding out the best way of actually learning how to be a voice actor. Now and then I see the occasional voice actor’s ad about their courses, seeing great reviews on their websites but I can’t help but be worried about not getting what I actually pay for and spend my time on! I’m just asking if anybody can recommend a school or online course that is actually trustworthy and worth the payment? (I also live in Colorado so if anybody has recommendations specifically here for schools and such, it would be much appreciated!)
Hi! I’m 14 and a SAG-AFTRA actor, and I’m hoping to get some advice from other young actors, parents, or people who work in the industry. I’ve been acting for a few years and have some good credits, including commercial/print work and some on-set experience. I also recently booked a **national SAG commercial through my agent**, which was really exciting for me. I train pretty consistently too — on-camera acting, improv, movement, voice, etc. I’ve had a manager since late last year. At first, things seemed pretty good and I was getting auditions through them. But over time, the auditions have slowed down a lot, and now my manager has basically stopped communicating with me/us. My parent has reached out and checked in, but we're not really getting much response. Meanwhile, I see other actors my age getting auditions and callbacks, and I know there are definitely projects casting teens. I completely understand that I’m not going to get every audition or book every job. I know this industry is super competitive, and I’m not expecting to be constantly working. I’m just confused about whether this is normal or whether my manager isn't really doing much for me anymore. My agent is still submitting me, so I’m wondering if maybe I even need a manager if my agent is the one actually sending me out. For people who have been in the industry: Is it normal for a manager to go weeks/months without really communicating? How often should a manager be checking in with a young actor? Is it normal to have very few auditions even when you have some decent credits? How can you tell if you’re just going through a slow period vs. your manager not really working for you? Would you give the manager another chance or start looking for new representation? I really love acting and want to keep improving and working, so I’m just trying to figure out if this is a normal part of the business or if I should be doing something differently. Thanks! ❤️
I’m an actor, it’s all I’ve done and I’m good at it. But now the only jobs around me are internet tiktok style commercials. They have no direction at all, the scripts are AI generated, and they already have a video of someone else doing it from a video they stole so there’s no actual acting going on. They just want me to copy the video of some talentless prick who clearly doesn’t know how to act. And now they won’t even hire me because they say my videos didn’t get a high click rate. I want to act. Not drown with no money while I’m dripfed AI scripts and told my acting isn’t in the ‘tiktok style’ (shit) There is litterally nothing else I want to do with my life but now I don’t want to even do this either
So I am sure we are all aware of how things have changed in the industry. By that I mean L.A. is kind of no longer a requirement for actors to go to to be successful. With that said, do you think location can affect an actors success?
I'm writing a piece on the situation of actors in the TV and Film industries in LA and Hollywood. My idea is to publish it both in the United States and Latin America across diverse media, since I run a magazine and have been published in multiple countries. My mission is to tell, from the view of contemporary workers, how the dreams of classic Hollywood have evolved and how its glory and decadence are reflected in today's incarnation. For the piece, I want to interview both experienced and inexperienced actors (and other crew members) who are willing to tell me about their experiences: what they have worked on, what it is like to live off acting, and what life in LA/Hollywood is actually like for them. Since I am not in LA just yet, I am looking to connect via Google Meet for now. If I manage to travel there in the next few months as planned, I'd love to invite you for a coffee in person. If you have any questions, I'd be happy to answer them. You can write to me via DM if you are interested. Thank you very much in advance!
In the late 80's, I attended Meisner programs in both undergrad and grad school. And I read Meisner on Acting during that time. Forty years later, I am collaborating with neuroscientists to study/develop a brain-based perspective on acting. The new model relies on past experience and attention as the primary drivers of human behavior. I recently re-read Meisner on Acting and was blown away by the read. My take is that Meisner was teaching an attention/past experience methodology, but didn't have the vocabulary to describe it as such as he was inculcated in a culture of acting that was heavily influenced by the action-based model. I think most would agree that he famously and successfully systemized the training of attention. (As I side note: I do not believe he ever *systemized* script analysis, or character development, but a careful re-reading of his book shows the vast majority of the pages are dedicated to character embodiment through identifying the character's past experience, which is what we do as a result of the brain-based approach.) In the book, he describes the first class during which he asks student actors to listen to the street noise coming from outside the studio. He then asks them if they were really listening or pretending to listen, and he points out that 'really listening' is the 'reality of doing,' which is what we aspire to do as actors. He describes the experience of the exercise using a verb–to listen–because that is the construct he inherited. He is building upon the idea of playing an action. The reality of doing seems to be inherited from Stanislavski's action-based model, which was all the rage at the time, and still occupies a foundational position in actor training. I propose that Meisner's training is effective because he is not actually teaching the reality of doing, he is teaching 'the reality of attending.' There is an important distinction between doing and attending. If I put my attention on the sounds outside the window, my behavior is naturally organized in response to what I perceive. A horn surprises me. A siren pulls my attention. Behavior emerges from the interaction between stimulus, attention, and my existing neural history. But if I put my attention on the *action* “to listen,” I’ve subtly changed the task. Now “listening” itself becomes the object of attention, and I risk producing behavior based on my learned associations with what listening looks or feels like. I believe Meisner has taught us to stop artificially manufacturing behavior by guiding us to genuinely attend so that behavior emerges naturally. I am interested in learning how the Meisner community might consider this. Is “the reality of attending” a more accurate description of what makes his training work than “the reality of doing”?
Looking for a voice actor for a \~20-minute true crime/documentary style YouTube narration (around 2,500 words). Pay: $100 My strong preference is a female voice with a deeper tone and a British accent. I’m looking for something calm, mature, natural, and slightly dark… more documentary/storytelling than dramatic acting. That said, I’m still open to other voices if you think you fit the tone. If interested, DM me a recording of yourself reading this test prompt: “The house had been quiet for hours. From the outside, there was nothing unusual about it. But what investigators would eventually discover inside would turn a relatively ordinary missing-person case into something much darker.” Please send the audition directly through DM. A phone recording is fine for the audition. If you have previous narration work or a demo reel, feel free to include that too. Project: \~2,500 words / \~20 minutes Pay: $100
There's obviously more than meets the eye when it comes to acting. But what is it that truly makes it believable? I feel like the people I watch on the big screen are truly the best in the world, so they make it look easy. I almost feel I can do it. (But I also watch professional athletes who make their sport look easy and I think, "I can do that".) That is until I'm on the court with someone 2 feet taller than me. Or up against a pitcher throwing 100+ miles per hour. How can I truly compare a professional actor to myself, someone who has never acted a day in their life? How can I truly test myself?
Hello folks and good evening! My name's Teo and I'm a producer for the short vertical series named *Eastwick*. We're based in Northen Jersey and are looking to cast with haste as we do shoot September 10th, 12th, and a to be announced date mid-October. **This is unpaid non-union work as a heads up**. We're just a couple of college students looking to do something different and beautiful with this vertical medium. Attached is our casting call, I simply ask https://preview.redd.it/qi6h4xpvzfmh1.png?width=1520&format=png&auto=webp&s=1f71fc57c60459201778c7202ffe0dbb62035817
Hi! I’m currently casting several **female voice actors** for a small, self-funded hobby game containing adult/NSFW material. This is not a studio production, so I want to be upfront about the scale and budget. At the same time, I want everyone involved to be compensated fairly for their time. Most of the dialogue is normal/non-explicit character dialogue. Some scenes contain adult material, which may include profanity, suggestive or explicit dialogue, dirty talk, moans, breathing, and other vocal reactions. Individual boundaries will always be discussed **before recording begins**, and nobody will be asked to perform material outside of what we have agreed upon. # Compensation **Standard rate: $10 USD per finished minute of accepted audio** Larger, more prominent, or especially demanding roles may pay **up to $15 USD per finished minute**, depending on the character and scope of the role. There is a **$25 minimum payment per booked actor**, even if the final amount of dialogue would otherwise come out below $25. The $25 booking minimum applies to the actual role and is **separate from any paid casting read**. If I ask you to record custom material so I can determine whether your voice fits a character, that recording will be compensated separately. Finished audio is prorated based on accepted runtime. For example: * 1 finished minute at $10/min = $10 → **$25 minimum applies** * 2 finished minutes = $20 → **$25 minimum applies** * 3 finished minutes = **$30** * 5 finished minutes for a major role at $15/min = **$75** “Finished minute” means the combined runtime of the accepted performance, including spoken dialogue and accepted nonverbal vocalizations/reactions. It does not mean the total length of the scene in the game. A lot of my material contains fewer spoken words while still requiring substantial performance, so I prefer this structure over strict per-word pricing. Based on previous scripts, the effective rate has generally worked out to roughly **$0.15–$0.19 per spoken word**, depending on the amount of dialogue versus vocal performance. # What I’m Looking For I’m casting multiple characters, so I’m open to different voices, accents, ranges, and acting styles. If interested, please send me: * A demo reel or voice sample if you have one * Your general boundaries regarding NSFW voice acting You do not need to post your NSFW boundaries publicly. Those can be discussed privately. Voice Rights I consider your voice and performance to be **your work**. I will not use your recordings to: * Train models * Clone or replicate your voice * Generate new dialogue using your voice * Create synthetic performances * Make you appear to say lines you never recorded Your recordings will only be used for the agreed-upon game project under the terms discussed with you. If your voice seems like a possible fit, I’ll provide more information about the characters, expected amount of dialogue, content involved, and recording requirements before you commit to anything.
# What is it for ? : A personal mini animation / animatic !!! What're the characters?: there's two roles !!! ( As stated ) : 1. Reuben , A charismatic Cult Leader 2. Rosemary , A bit timid follower # What am I looking for specifically ?: For Reuben ; Reuben is an entertainer w a secret double life as a Cult Leader !! As a cult leader specifically though , He sees herself as someone who is both genuinely “ helping “ his followers while also being aware of his actions . She's super dramatic and has a lot of theatrics and flair to his speech !! I'm kinda experimenting on her voice !! I imagine his voice is a Bit Posh / Aristocratic ( He is British ) but not \*too\* deep and masculine if that makes sense !! FLAMBOYANT For Rosemary : For her , I'm visioning a sorta soft drawl !!! She is a timid follower who later becomes a God's Bride due to psychosis . This interaction is before all of that though so !! I prefer a WOC to voice her ( Or a Black Actress specifically is definitely encouraged !! ) For any further voice information : honestly you can have as much fun as you want w this characters voices !!! # NOW FOR PAYMENT !! Pay ? : I have the budget of \~$50 USD !! ( For both actors so $25 each ) Especially since this is a short script !! How will I be paid ?: flat pay , unfortunately !! How long is the script ?: there are 27 lines in total !! ( Reuben w 18 and Rosemary w 9 ) Language ?: English !!! Pay methods !!! : I can pay through Cash app and PayPal !!! Payment Conditions : I will pay half upfront and the rest afterwards ! Also if any revisions or corrections happen I will add +$0.50 for each one !! # Further information ( +Terms ) ?? : Your work is your work alone !! I will not use this to : A. train AI B. to monetize it without your permission !!! If posting your VA is in anyway uncomfortable lmk !! I'm not out here to make money , this is just a fun mini project I wanted to try for some time \^\_\^ For auditions or interests , Please lmk and dm me !! I would love to hear from anyone !! [Sample Script](https://docs.google.com/document/d/17LCtslW1xHMjIFKuD-8Up1y5o9wt2TAEJCybWFFtBH8/edit?usp=drivesdk) *Deadline isn't strict but if I had to put one it would be : September 10th*
Hey everyone! I’m working on an indie short film project and looking for passionate actors to join the cast. This is an on-camera project, so your performance will be featured in the final film and the after-credits. **Project Details:** * **Roles:** Open to both female and male actors. * **Age Range:** 14 to 20 years old. * **Location:** Worldwide! Anyone from any country or accent is welcome to apply. You can review the full character breakdown, project context, and script segment in the details below: **CHARACTER LIST** **RODER — Protagonist (Lonely / Fragile / Broken)** Personality: Introverted, antisocial, and emotionally exhausted. Outwardly appears normal, but inwardly carries the heavy burden of being invisible and excluded. Role: The emotional core of the story. After constant social rejection and exclusion by his peers, he retreats to his room and creates/connects with four AI personalities to fill the void of real-life human connection. Dark Side (Psychological Breakdown): His need for validation makes him completely dependent on his digital world. As the lines between reality and simulation blur, he slowly loses his identity, surrendering his mind and autonomy to the personalities he created. **Virtual PERSONAS (CHARACTER ANALYSIS)** * **1. STEPHANIE — The Funny / Energetic Persona** * **Personality:** Hyperactive, always making jokes, and highly playful. * **Role:** She tries to keep Roder's mood high and laughs off the boring or sad events of the real world. * **Dark Side:** When things get serious or when Roder experiences a mental crisis, she cannot handle the situation, starts acting erratically, and completely loses control. * **2. ALEX — The Logic / Wise Persona (Nerd / Rational)** * **Personality:** Bookish and intellectual, wearing an academic aura. A classic nerd who speaks strictly through data, facts, and statistics. * **Role:** He rationalizes Roder's isolation by telling him that people outside are illogical and that he is in the right, wrapping his loneliness in scientific justifications. * **Dark Side:** By completely ignoring emotions, he progressively detaches Roder from all human connection. * **3. JENNIFER — The Empathetic Persona (Balanced / Confidante)** * **Personality:** Calm, gentle, soft-spoken, and genuine. She serves as Roder's safest emotional harbor. She is like a big sis or thearipst for him. * **Role:** The only persona Roder can truly cry to and share his deepest hurt and vulnerabilities with. * **Dark Side:** While comforting Roder, she accidentally reinforces his detachment from reality by telling him that only they can truly understand him. * **4. SADIE — The Chaos Persona (Playfull / Sarcastic / Manipulative)** * **Personality:** Highly confident, slightly sarcastic, flirty, and deeply charismatic. She makes Roder feel unique and special. * **Role:** Starts by teasing Roder with playful bickering and flirting while openly mocking the other personas. * **Dark Side:** Gradually fuels Roder's suppressed rage. She turns the other three personas against each other and manipulates Roder to gain complete control over his mind. And makes him löse the connectıon with real world * Sadie will be played by me. Audition Lines # 1. RODER (Lead Character — Real-Life Protagonist) * **Emotional Range:** Exhausted, vulnerable, turning into quiet frustration. * **Audition Lines:** > # 2. STEPHANIE (AI Persona 1 — The Energetic / Comedy) * **Emotional Range:** Overly enthusiastic, cheerful, then suddenly glitching into unhinged madness. * **Audition Lines:** > # 3. ALEX (AI Persona 2 — The Nerd / Logical) * **Emotional Range:** Cold, analytical, completely devoid of empathy, condescending. * **Audition Lines:** > # 4. JENNIFER (AI Persona 3 — The Empath / Comfort) * **Emotional Range:** Soft, deeply sympathetic, comforting yet subtly isolating. * **Audition Lines:** > **How to Apply:** If you're interested, please send me a DM including a video where your face is clearly visible: 1. A short introduction of yourself. 2. An audition video reading the sample lines for the character you are applying for 3. You can send in Reddit DM or İnsta DM 4. Pls start your conversation with the word "Hey Project" so ı can understand that you have read all the post Excited to collaborate with you!
Hey everyone, We are currently expanding our talent search and casting native German speakers for a highly lucrative Voice Cloning project. We are looking for individuals interested in auditioning for a potential Voice project. Selected talents will have the rare opportunity to license their voice for use in an Voice assistant for a 3-year term. **Compensation:** * **Studio Casting Phase:** $150 USD (\~€125) per hour. * **Final Licensing (If Selected):** $150,000 USD for a 3-year term, with the possibility of extension. **Requirements:** * Minimum age of 18 years. * Native German speaker with solid, practical English skills. * Availability for an in-person studio casting between **September 4th and September 6th**. * Must be based in **Frankfurt am Main**, or have the ability to travel there for the studio sessions. * **Your Privacy:** Your initial pre-screener recording will **NOT** be used for AI purposes, distributed, or otherwise exploited. Your identity will remain strictly anonymous and protected throughout the entire process. * **Evaluation Only:** Please note that all recordings created during both the pre-selection and studio casting phases are exclusively for evaluation purposes. They will **NOT** be used as commercial voice cloning products and will be handled in strict accordance with our data protection and security guidelines. Should you be selected for the final project, you will receive full, detailed information regarding the scope of voice usage, compensation structures, and contract terms to review thoroughly before moving forward. PM me for more information. I am happy to hear from you. ?
I'm so confused. I'm a seasoned female local stage actor, but I'm just now in a point in my life when I can actually try for film / TV / Commercial roles. I'm joining Actors Access, and I'm filling out my size card. My waist is 39, my hips are 43, and I'm a solid pants size 10-12. Google says I'm plus sized and way passed up the beginning of plus sized 5 inches ago. I'm definitely not, and I know this because I used to be. My shirt size is a Medium. My dress size is a Medium or a 10/12, I do not have hanging skin, I"m just plain old "average." I am not ashamed of my measurements, I am purely asking this to be sure I properly represent myself. Do I list my inches? Do I skip it? What do you suggest?
Casting Actress for Supporting Role in Student/Non-Union film for class. Premise deals with polyamorous relationships, and the differences between that and swinging. No nudity involved. Not a porno. Usage: It is a student film I am making for class, I am a student at Pasadena City College taking film courses and have chosen this subject matter to make a movie about. How many days/What days are we filming?: The shoot itself will last for one day only. From 8am to 6pm in LA/OC, CA. We are filming in October, on a weekend. One day only. The compensation: 200.00 total. It is a student film therefore funds are limited, but it is what I can afford to pay. Who I am seeking: Latina/Hispanic actress Age range: 40's-50's (no exceptions) Non-Union You must be local to Los Angeles County or Orange County, CA. I am not willing to fly people in from somewhere else. The role: A mature'ish woman in her 40's-50's, who is in a polyamorous relationship with her husband. She is confident, sexy, smart and knows what she wants. Becomes the object of affection for the main character, a younger man who is taken by this woman's beauty. Is in an interracial/polyamorous marriage with her white husband. No nudity required, not that kind of film. Where are we shooting?: We will be shooting in Los Angeles County and Orange County, CA. Exact locations are to be announced. Is there a number or email to reach out to if I am interested?: filmmakersun78@yahoo.com. Talk to ya'll soon, Jamie.
Casting Actress for Supporting Role in Student/Non-Union film for class. Premise deals with polyamorous relationships, and the differences between that and swinging. No nudity involved. Not a porno. Usage: It is a student film I am making for class, I am a student at Pasadena City College taking film courses and have chosen this subject matter to make a movie about. How many days/What days are we filming?: The shoot itself will last for one day only. From 8am to 6pm in LA/OC, CA. We are filming in October, on a weekend. One day only. The compensation: 200.00 total. It is a student film therefore funds are limited, but it is what I can afford to pay. Who I am seeking: Latina/Hispanic actress Age range: 40's-50's (no exceptions) Non-Union You must be local to Los Angeles County or Orange County, CA. I am not willing to fly people in from somewhere else. The role: A mature'ish woman in her 40's-50's, who is in a polyamorous relationship with her husband. She is confident, sexy, smart and knows what she wants. Becomes the object of affection for the main character, a younger man who is taken by this woman's beauty. Is in an interracial/polyamorous marriage with her white husband. No nudity required, not that kind of film. Where are we shooting?: We will be shooting in Los Angeles County and Orange County, CA. Exact locations are to be announced. Is there a number or email to reach out to if I am interested?: filmmakersun78@yahoo.com. Talk to ya'll soon, Jamie.
Hiya, I’m a Journalism student from Wigan living in London and was hoping to find some Northern performers who live in London to help me out with an article I’m working on. Message me!
**'Soul Operator'** is a solo ttrpg actual play and audio drama, created with the intention of highlighting amazing solo ttrpgs that exist in the space by presenting their gameplay as a fleshed out story. **'Soul Operator'** is part of the **'Rusty Quill Network'**, along with other shows such as **'The Magnus Archives', '\[Redacted\]', 'Woe.Begone', 'Hollow Disciple', and 'Planet Arcana'**. This is an independently produced podcast that is currently being made at a loss. As this is the case, all actors will be paid **$10/100 words**, with a **minimum of $20 total**. All actors will be paid prior to episodes being released. Season Two of the podcast is based on **‘Outliers’ by Samantha Leigh** and features a lot of the themes from the game, including ***memory loss, mind control, rituals, and teeth, as well as horror typical themes****.* There will also be discussions of ***mental health/illness****.* While there will be graphic content**,** there will be ***no intentional mention or implication of sexual assault, racism, or homo/transphobia****!* This is a **Non-Union** project. This project does **not** utilize or endorse the use of generative AI at any level. The NAVA AI Rider will be provided upon casting for peace of mind. **Recording Period:** For part one, we are shooting for Fall - Winter, pending script completion and cast availability. Cast members may record shared scenes together or independently per their discretion. Live direction may be available on a case by case basis. A fully outlined schedule with expectations will be provided once the casting process is complete. **Length:** 12 episodes, split into two 6 episode halves with a midseason break. The first 6 episodes will be fully produced prior to release and will air on a biweekly basis, during which time production on the second half of the season will continue. **Audition Deadline:** 11:59pm PST, October 1st, 2026 (Auditions may be reopened based on necessity.) Additional information, such as character sides and where to submit your audition can be found on the linked casting document.
My former agent refused to accept my termination. I made three attempts to end the relationship, and each time they pushed back. Once they understood that my decision was final, I received a cascade of back to back emails that became increasingly pressuring and accusatory, with circumstance being interpreted in ways that were completely inaccurate and hurtful. There was a strong emphasis on what a mistake they believed I was making and a lot of pressure to reconsider. It was pretty unhinged. I ultimately removed them from my casting profiles and signed with a new agent who had already offered me representation. Despite that, my former agent somehow submitted me for another self tape after the termination. I completed it because I had already been submitted, but immediately reiterated that this was the final submission and that I had terminated the relationship. Shortly afterward, once my new representation became known, I received further messages from my former agent essentially telling me what a huge mistake I had made. Since then, I've spoken privately with a few other people who have left the same roster and learned that some experienced similar reactions, although to a lesser degree. The difficult part is that this was someone I had been genuinely close with, and I had always gone out of my way to show appreciation for them and their work. I thanked them publicly for bookings and callbacks, sent cards and gifts, and generally tried to be a supportive and loyal actor. That's why the reaction has been particularly frustrating and, honestly, hurtful. At this point, part of me is wondering whether what I interpreted as a close professional relationship was actually more possessiveness or investment in keeping me from leaving. There had also been ongoing pressure for me to consider non union work, which I didn't feel was right for my career, and I wonder whether that played into things. My main question is about damage control. How worried should I realistically be about a former agent badmouthing an actor to casting directors or production after a difficult departure? I have never done anything professionally (or personally) that would justify a negative story about me, and the CDs I have worked with have generally been very positive toward me. My instinct is that casting directors have their relationships and favorites, but ultimately understand that representation is a business and actors change agents when they feel they need to. I also suspect that some of the people who have encouraged me to make a change (some of them in casting) already understand exactly why I left. For anyone who has experienced a particularly difficult separation from an agent, how much should I actually worry about this? Is there meaningful damage an agent can do behind the scenes (if they chose to be disruptive) or is the best approach simply to remain completely professional, say nothing publicly, and keep building relationships with casting on my own with my new rep? I would especially appreciate perspectives from casting directors or actors who have seen this from the other side. How common is this?
Hi! I’m finally looking for voice actors for the pilot episode of my show, “Low Battery”! I’ve already found three voice actors here on reddit. Now we need to find the rest of the cast! If you want to be a voice actor for Low Battery, send an email to lowbatteryshowinfo@gmail.com with: • a short presentation about yourself • your portfolio / voice reel • your pay rate Since this subreddit rules asks a specific pay rate, I can pay from $5 per line, but obviously I will adapt to the VA's requests. Thank you for your interest in the project!
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.
