We have found 18,899 posts across 4 actor forums:
Jess Salgueiro Interview: (Talks Frasier on Paramount+, Kelsey Grammer, Monarch: Legacy of Monsters) by Dustin Richardson • last post Feb 28th
I'm super proud of this one! I had an amazing time chatting with Jess Salgueiro, the talented actress from hit shows such as Frasier on Paramount+, Monarch: Legacy of Monsters, The Boys, and many more.
She discusses what it's like playing Eve on Frasier, working on a multi-cam show with a live audience, and playing Barnes on Monarch: Legacy of Monsters. She also shares fantastic advice on acting and the importance of staying true to yourself. I hope you check it out! It's a lot of fun. :)
https://youtu.be/2-kAM6l-7QA?si=oAoLW83qIBia4VUN
Self Tape Auditions: Get It Right The First Time! by Tammy Hunt • last post Feb 27th
A slate is not accurately done. A full length head to toe shot is not included, or the various takes of the scene(s) they need are not included.
You have one mission when it comes to the self tape auditions - read the instructions at least 5 times to insure you know exactly what to do then do your best performance possible and be off book.
This is always the only impression (often the first impression) that casting, producers, and directors have of you. Make sure you know you've done everything you can do to separate yourself from the other actors submitting their tapes for the same role.
The peace of mind you have when you are certain you had nothing left to give is priceless.
#actor #tv #film #casting #audition #selftape
This Amazing Acting Job Just Crushed Me by Aaron Marcus • last post Feb 27th
This Amazing Acting Job Just Crushed Me https://youtu.be/ORJrmbWzSZA
Have you ever been really disappointed because of an acting job?
If so, share your experience so we can learn from you.
If so, share your experience so we can learn from you.
How to take an Acting Headshot by Adam Hammudeh • last post Feb 27th
Hi everyone!! Please take a look at my recent blog post about Actor Headshots. I am giving some tips and discussing industry standards to help you improve your portfolio and get those jobs rolling!!
https://www.framedduckstudio.com/blog/how-to-headshot
Ensemble Building Course by Inga Ryazanoff • last post Feb 27th
Where: online
When:
1 April 2024 - 1 July 2024
2 May 2024 - 2 August 2024
3 June 2024 - 3 September 2024
How to apply: https://www.nipai.org/the-director-and-ensemble-building
Fee: €1950 / 3-month
The "Ensemble Building Course" offered by the New International Performing Arts Institute (NIPAI) is designed to equip students with the skills necessary to create a cohesive ensemble of performers, even under the constraints of limited rehearsal time. This course is particularly focused on overcoming the challenges of
working with unfamiliar performers and aims to develop a welcoming and creative atmosphere.
Key aspects of the course include:
- Physical Training for Ensemble Building: Students explore the role of physical training in the ensemble-building process. This involves understanding how to use physical actions and movements to foster group dynamics and cohesion.
- Playful Techniques with Actors: The course teaches techniques for engaging with actors in a playful and effective manner. This approach helps in creating an environment that is conducive to creativity and collaboration.
- Atmosphere, Cohesion, and Group Dynamics: Students learn strategies to build a specific atmosphere within the group, promoting cohesion and effective dynamics among performers.
- Practical Relationship Development: A significant focus of the course is on the practical relationship between the director (or choreographer) and the performers, aiming to develop this bond for targeted outcomes.
- Comprehensive Learning: The course includes a variety of acting techniques and theories, such as K.Stanislavsky's "Physical Action", Vs.Meyerhold's "Theatre Biomechanics", and M.Chekhov's "Psychological Gesture", along with improvisation and spontaneity skills, and director's communication skills.
- Professional Growth and Application: This course is tailored for those already in the field who seek specific knowledge and skills in theatre directing. It emphasizes practical learning and offers a professional approach.
- Certification and Application: Upon successful completion, students receive a certificate of completion, which can be a valuable addition to a professional portfolio or resume. The knowledge gained can be applied in various theatre forms like physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage.
The course is offered in a flexible, online format, making it accessible to students worldwide. It emphasizes practical learning, offering a unique and renowned program for professional growth in the specific field of theatre directing.
Official Website: https://www.nipai.org/
Facebook: https://www.facebook.com/nipai.org/
Instagram: https://www.instagram.com/nipai_org/
Email: info@nipai.org
"The Director and Play" Course by Inga Ryazanoff • last post Feb 27th
Where: online
When:
1 April 2024 - 1 July 2024
2 May 2024 - 2 August 2024
3 July 2024 - 3 September 2024
How to apply: https://www.nipai.org/the-director-and-play-course
Fee: €1950 / 3-month
The course "The Director and Play" offered by the New International Performing Arts Institute (NIPAI) is a unique educational program designed for drama theatre directors and actors who wish to develop their skills in analyzing plays for stage production. The program stands out as one of the few in the world that focuses on teaching deep, active analysis of plays, providing participants with the necessary tools for effective work with performers.
Key elements of the course include:
- Play Analysis: Students learn how to dissect and understand the text of a play, considering its historical and theoretical contexts.
- Active Analysis: The course emphasizes practical, hands-on approaches to play analysis.
Storytelling/Retelling: Participants are encouraged to explore different methods of storytelling and retelling within the context of theatrical production.
- Dramatic Structure: Understanding the fundamental elements of dramatic structure is a crucial part of the curriculum.
- Character Development: The course covers the basics of story elements such as structure, character, and dialogue, focusing on how to analyze units and objectives to build a character’s through-line.
The course objectives are aimed at helping students gain a firm understanding of play analysis, the role of historical context, developing skills through real-life scenarios and case studies, and constructing a relationship between the director, author, and text.
The program format is tailored for professional development, with flexible timing and a mix of practical exercises and theoretical readings. It offers a 3-month duration of study, conducted entirely online in English, culminating in a Certificate of Completion for students who successfully complete all tasks and assignments.
Upon completion, students will have not only a deeper understanding of theatrical texts but also the practical skills to apply this knowledge in various theatrical genres such as physical theatre, dance theatre, drama theatre, musical theatre, mime theatre, puppetry theatre, and circus on stage.
This course is particularly beneficial for those who are already practicing in the field and feel the need for specific, up-to-date knowledge and skills in theatre directing. It's designed to provide professional growth, up-to-date knowledge, first-hand experience, an individual approach, and an emphasis on practical learning.
Official Website: https://www.nipai.org/
Facebook: https://www.facebook.com/nipai.org/
Instagram: https://www.instagram.com/nipai_org/
Email: info@nipai.org
The "Choreography and Blocking in Performance" course by Inga Ryazanoff • last post Feb 27th
Where: online
When: 1 April 2024 - 1 July 2024
2 May 2024 - 2 August 2024
3 June 2024 - 3 September 2024
How to apply: https://www.nipai.org/choreography-and-blocking-course
Fee: €1950 / 3-month
The "Choreography and Blocking in Performance" course offered by the New International Performing Arts Institute (NIPAI) is a specialized program designed to equip directors and choreographers with essential skills and tools for creating compelling mise-en-scene, blocking, composition, and movement direction in their productions. This 3-month, fully online course is targeted towards professional growth in the field of performance-making, focusing on choreography, composition, and blocking as key components.
Key aspects of the course include:
- Core Topics: The curriculum covers a range of topics essential for performance creation, such as Blocking and Mise-en-Scene, Tempo and Rhythm, Montage, Movement for Actors, Acting for Dancers, Improvisation and Spontaneity, and Composition.
- Professional Approach: The course emphasizes a professional approach to performance-making, providing directors and performers with up-to-date knowledge and first-hand experience. It's designed to facilitate learning through practice, ensuring an individual approach and focusing on practical learning.
Who Can Benefit: This course is ideal for directors, dancers, choreographers, physical theatre actors, contemporary circus and musical theatre performers, and performance artists. It's also suitable for practitioners from related fields seeking a deeper understanding of movement in contemporary performance.
Certification: Upon successful completion, students are awarded a certificate of completion, which can be a valuable addition to their professional portfolio or resume.
Application and Study: The program offers flexible timing and is conducted in English. It employs a mix of self-study, virtual classroom, and text-based learning methods. Students receive weekly assignments and tasks for self-study to gradually develop their understanding of the topics and the ability to apply knowledge to their projects.
Eligibility: The course is open to international students and professionals with varying levels of experience. The main requirement is a commitment to developing skills in theatre directing and choreography.
In summary, the "Choreography and Blocking in Performance" course by NIPAI is a comprehensive program aimed at enhancing the skills of professionals in the performing arts, particularly those involved in directing and choreography. It combines theoretical knowledge with practical assignments, making it a hands-on learning experience for participants from diverse backgrounds in the performing arts.
More: https://www.nipai.org/choreography-and-blocking-course
Official Website: https://www.nipai.org/
Facebook: https://www.facebook.com/nipai.org/
Instagram: https://www.instagram.com/nipai_org/
Email: info@nipai.org
The Theatre Directing Diploma Program by the New International Performing Arts Institute (NIPAI). by Inga Ryazanoff • last post Feb 27th
Where?
Offered online or blended with options for in-person sessions in Germany or Austria, enabling global access.
When?
The next intakes are in April 2024 and September 2024.
For Whom?
Ideal for individuals aiming to become professional directors, the program is open to students worldwide.
The New International Performing Arts Institute (NIPAI) is an educational institution focused on providing practical and hands-on training in various disciplines of the performing arts since 2000. It offers a diverse range of programs, including theatre directing, movement directing, and arts management.
These programs are designed to be accessible in multiple formats, catering to a wide array of learning preferences through both online and blended (a combination of online and in-person) educational modalities.
These programs are designed to be accessible in multiple formats, catering to a wide array of learning preferences through both online and blended (a combination of online and in-person) educational modalities.
NIPAI is notable for its international scope, drawing a varied and multicultural student body from across the globe. This diversity enriches the learning environment and reflects the Institute's commitment to fostering global perspectives in the arts. The emphasis at NIPAI is heavily placed on practical, experiential learning and preparing students for real-world application in their artistic pursuits.
The program aims to foster artistic impact, community engagement, commercial success, and personal growth, offering pathways to careers in theatre production, puppetry, classical and contemporary theatre, opera, etc.
What Sets Our Programme Apart?
- Upon completion, receive a diploma that acknowledges your qualifications as a theatre director, paving the way to professional endeavors.
- Benefit from a blend of distance learning with in-class sessions in Germany or Austria, depending on your preference. A fully online learning option is also available, providing flexibility to accommodate your lifestyle and commitments.
- During in-class sessions, immerse yourself in a multicultural and international setting, collaborating with artists from across the globe. This exposure enriches your creative process and broadens your professional network.
- Our curriculum is built on practical learning. You'll engage in assignments that directly contribute to your growth, ensuring you acquire the skills necessary to succeed.
- The program concludes with you directing your own performance, showcasing your skills and vision in a real-world scenario. This final project is not only a test but a significant milestone in your career as a director.
Cody Ganger, a graduate of the distance learning course in theatre directing, shared her experience: https://youtu.be/9vIPjFbMnnQ?si=UswRMhECEmPDIe9t
For more detailed information about the program, please visit the NIPAI website at: https://www.nipai.org/theatre-directing-diploma
For more detailed information about the eligibility criteria, and admission process please visit the NIPAI website at: https://www.nipai.org/admission-process
Action & Physicality in Performance by Inga Ryazanoff • last post Feb 27th
▪️ How to develop character & work in an ensemble.
▪️ How to use your body as an expressive tool and develop your stage presence.
Dates:
Monday, 5.08.2024 -Thursday, 8.08.2024
10:30 am - 6:00 pm
Friday, 9.08.2024
10:30 am - 3:00 pm*
Venue:
Breite Str. 43, 13187 Berlin
Who is this program for?
The program is tailored for performance makers, directors, choreographers, and professionals working with stage performers. It's ideal for both seasoned professionals and newcomers to the field. Performers who are eager to create and direct are also encouraged to join. This in-class session demands dedication and discipline, and welcomes strong, committed professionals and pre-professionals who are ready to engage fully from start to finish.
What will you be able to learn?
How to develop awareness of your body and its connection to your voice, emotions, and character.
How to use your body as an expressive tool and develop your stage presence.
How to develop a character and work in an ensemble.
In the workshop program:
Five days of classes from 10:30 AM to 6:00 PM.
The opportunity to receive an international certificate upon completion of the program at NIPAI with Sergei Ostrenko.
Support, feedback, and advice from the mentor during the workshop.
The program will also introduce the Ostrenko Brothers' Method, a widely recognized approach to performance that generates innovative productions by utilizing concepts, ideas, and existing playtexts. This method offers the tools and support necessary for performers to reach their full potential.
The program's working language is English. It is a multidisciplinary, intensive lab that encourages collaboration among performers from various techniques and countries. By emphasizing multidisciplinarity and multiculturalism, it fosters a diverse learning environment.
This is a great opportunity for you to expand your knowledge, improve your skills, and connect with other like-minded individuals in the industry.
Tuition fee for the 5-day / 35-hour workshop and registration details can be found at https://www.physicalityinacting.com/berlin-august-2024 .
Email: info@nipai.org
Website: https://www.physicalityinacting.com/
DEVELOP IN WHAT YOU REALLY LIKE
SUMMER RESIDENCE: International Physical Theatre Lab & Conference at Laubegg Castle (Europe) by Inga Ryazanoff • last post Feb 27th
Dates:
July 13, 2024 - July 22, 2024
Location:
Laubegg Castle, AUSTRIA
Who Should Attend: Dancers, Choreographers, Dance Teachers, Actors, Directors of Physical, Drama, and Musical Theatre, Circus Directors, Acting Coaches, Circus Performers, Physical Theatre Artists and Drama Teachers.
This program features intensive physical theatre workshops, lectures, and forums with the renowned Ostrenko Brothers, alongside the IUGTE annual International Conference. It brings together performing arts academics and practitioners from around the world. To explore physical acting as your primary creative tool, fill out the application form.
OSTRENKO LAB PROGRAM
The Ostrenko brothers' approach integrates theory and practice to create innovative performances. It provides performers and directors with a comprehensive understanding of how to develop novel productions or adapt classical material. The method emphasizes hands-on guidance, blending traditional and modern techniques in the study of physical actions.
CONFERENCE PROGRAM
The conference includes practical workshops, presentations, lectures, and discussions led by performing arts professionals. It offers a full-day program with breaks for meals and between sessions. Registered participants will receive a detailed schedule. The conference's language is English.
For more information, visit: https://www.iugte.org/
SCHEDULE
- Arrival: July 13 from 13:00. First group meeting at 17:00.
- Departure: July 22 at 9:00.
- July 13: Group arrival and check-in from 13:00, followed by a short tour and an introductory meeting.
- July 14-17: Morning warm-up, practical training with the Ostrenko brothers, and evening activities including lectures and discussions.
- July 18: Morning to afternoon practical training, followed by the IUGTE Conference opening in the evening.
- July 19-21: Full-day conference program with practical workshops, presentations, and discussions.
- July 22: Breakfast followed by check-out and departure.
Learn more about the tuition fee for the 10-day program and early bird fees at https://www.physicalityinacting.com/austria-2024-july-conference
Contact Details:
Email: info@nipai.org
Website: https://www.physicalityinacting.com/
DEVELOP IN WHAT YOU REALLY LIKE
Physicality in acting by Inga Ryazanoff • last post Feb 27th
New International Performing Arts Institute
Dates:
17.05.2024: 10:00 AM - 1:00 PM
18.05-19.05.2024: 10:00 AM - 6:00 PM
The international program is designed for performers, directors, choreographers, and performing arts practitioners who are interested in the practical investigation of theatre biomechanics and physical theatre. Focus of the training: What makes performance interesting? How we can be more engaging on stage.
Venue:
DOCK 11: Kastanienallee 79, Berlin - Germany
Who is this program for?
This workshop is for all theatre makers and story tellers to come together from different backgrounds (dance, acting, directing, choreographing, circus, clown, mime etc), in order to learn new tools for their professional performance toolkit.
You will be able to find answers to these questions:
What to do when you have zero inspiration?
How to tell a story in a more interesting way?
How does a performer enter a stage?
How does a performer grab/take focus?
How does a performer warm up their body from head to toe?
Key Points Performers Will Learn During The Workshop:
Stillness, specificity, and awareness of the audience.
What is boring/interesting on stage.
How to take/give focus to fellow performers.
Teacher: Jeremy Vik is a multi-disciplinary performer with 20 years of professional performing experience in acting, circus, and physical theatre. Jeremy believes in blending skill, character, and story-telling together in order to engage, provoke, and entertain audiences all around the world.
Participant Requirements: A healthy physique, a creative mind, and a playful spirit :)
The working language is English.
Costs for participants:
Tuition Fee for 3 Days / 15 hours workshop see here: https://www.physicalityinacting.com/3-day-2024-berlin-may
To register, visit: https://www.physicalityinacting.com/regist-2-berlin-3-day-may
Contact details:
Email: info@nipai.org
Website: https://www.physicalityinacting.com/
DEVELOP IN WHAT YOU REALLY LIKE
Physical action in performance making by Inga Ryazanoff • last post Feb 27th
Join us in Berlin this April 2024 for a dynamic international workshop focused on Physical Action in Performance Making by New International Performing Arts Institute
Dates:
Monday 1.04.2024 - Thursday 4.04.2024
19:00-21:00
Venue:
DOCK 11 EDEN, Breite Str 43, 13187 Berlin (Pankow)
Who is this program for?
This workshop is ideal for directors in Physical, Drama, Musical Theatre, Choreography, and Circus, as well as actors and dancers seeking to enhance their directorial skills for contemporary professional productions. Designed for dedicated and disciplined professionals and pre-professionals, this program demands full participation.
Performers will explore:
Building images and characters through physical movement and interaction with space and partners.
Integrating isolated elements into cohesive performance fragments.
Developing actors’ creativity, improvisation, and spontaneity in rehearsal and training.
This intensive training, based on the Ostrenko Brothers Method, includes techniques from Meyerhold's "Biomechanics," M. Chekhov's "Psychological Gesture," and Stanislavsky's "Physical Action".
The working language is English.
For the tuition fee for this 4-day, 8-hour workshop, visit: https://www.physicalityinacting.com/3-day-germany-2024
Sign up at https://www.physicalityinacting.com/registration-3day-workshop-berlin
Contact Details:
Email: info@nipai.org
Website: https://www.physicalityinacting.com/
DEVELOP IN WHAT YOU REALLY LIKE
The Uncanny Valley: When AI Actors Take the Stage by Robert Kiesling • last post Feb 26th
Have you ever watched a movie and felt something was slightly off, but you couldn't quite put your finger on it? Could the day come when the line between human and digital actors blurs so much that we start questioning the authenticity of every performance?
In the rapidly evolving landscape of filmmaking, AI's integration has been nothing short of revolutionary. But as we march towards a future where artificial intelligence plays a central role in the creative process, a dystopian shadow looms large over the industry. The concept of AI actors is no longer confined to the realms of science fiction; it's a burgeoning reality that's both fascinating and, frankly, a little unsettling.
Imagine settling into your seat at a premiere, the lights dim, and the movie begins. On the surface, the performance is flawless, but there's an underlying coldness to it. The actor on screen, created entirely by sophisticated algorithms, delivers lines with precision but lacks the subtle imperfections that make human performances so relatable. This is the uncanny valley – a realm where the almost-human becomes eerily alien.
The rise of digital performers presents a paradox. On one hand, it's a testament to human ingenuity, a breakthrough that could revolutionize storytelling by transcending the limitations of physical existence. Characters can now be ageless, boundless, and capable of performing feats far beyond human capacity. But on the other hand, it raises profound ethical questions. What happens to the art of acting when the actor becomes an algorithm? Does the essence of performance – the raw, unfiltered expression of human emotion – get lost in translation?
As AI continues to infiltrate the director's toolkit, the implications extend beyond the screen. The technology that enables a director to manipulate a digital actor's performance with a few clicks could also lead to a homogenization of storytelling. When machines start dictating the nuances of a performance, do we risk creating a monotonous cinematic world devoid of the idiosyncrasies that make each actor unique?
The prospect of AI actors is a double-edged sword. It offers a glimpse into a future where storytelling is unbound by the physical, yet it also poses a stark reminder of what might be lost in pursuit of technological advancement. As we stand on the brink of this new era, one question remains: Will we embrace the allure of digital perfection, or will we cling to the flawed, unpredictable beauty of human performance?
What do you think? Are AI actors an exciting innovation, or do they herald a dystopian future for cinema where the soul of the performance is sacrificed at the altar of technological progress?
Problem by Jed Power • last post Feb 25th
How come I can't share my script listing to FB? Says App not working. HOW long will this be?
Coffee & Content: Do These Stars Remember Their First Audition? by Maurice Vaughan • last post Feb 25th
Stage 32’s founder and CEO, Richard “RB” Botto, shares two videos in today’s blog.
In the first video, some of today’s most well-known and critically-acclaimed stars answer viewers’ burning questions.
In the second video, you’ll get an in-depth look into what it takes to be a showrunner through the eyes of John Hoffman, the man behind the hit Mystery series, “Only Murders in the Building” on Hulu. He also gives a great look at being a showrunner and guidance on being a Comedy writer.
Grab your coffee/tea/hot chocolate/etc. and jump in!
www.stage32.com/blog/coffee-content-do-these-stars-remember-their-first-audition-3652
Oscar winning actor & writer Tom Hanks gives the Oxford Union an acting lesson - OxfordUnion by Florin Şumălan • last post Feb 24th
https://youtu.be/gWnMgMEVABM
Tom Cruise & Alejandro Inarritu Team Up by Nick Phillips • last post Feb 23rd
I'm really glad to see this. Tom Cruise has been playing it too safe for years now, working only in action franchises and only with directors he could exert some measure of control over. Now it looks like he's headed back into working with auteur filmmakers again. Within the first 10 years of his career, he worked with Coppola, Scorcese, Barry Levinson, Ridley Scott, Tony Scott, Curtis Hanson, Oliver Stone and Ron Howard, among others. He needed to challenge himself again and re-elevate his game. There aren't many movie stars left of his caliber.
https://screenrant.com/tom-cruise-alejandro-inarritu-movie-oscar-nomination-win/
Looking for agent - commercial/VO/film/TV by Lee Kim • last post Feb 23rd
I was represented by a very large agency in NYC doing commercials but they recently shut down their commercial division. I am in interested in pursuing any freelance opportunities with agencies in the NY/NJ area. I'm interested in commercial, VO, film/TV work. I've done some films and VO work over the years. By way of background, I'm a cybersecurity and AI expert with a significant media portfolio (including podcasts, TV, radio, etc.) and public speaking experience (domestically and internationally). I combine my expertise in tech and law (as I am an attorney). I believe that my experience would give me a unique perspective in a commercial/VO/or acting (film/TV) role). However, my interests in acting are much broader than simply the tech and legal sphere. I have a lot of creative pursuits, such as in photography and poetry. But I do think that I have some things that I can potentially capitalize on. Thank you for any ideas. Lee
The Top 5 Things Casting Directors Look for in a Self-Tape by Tammy Hunt • last post Feb 22nd
1. Performance. When you’re self-submitting, casting folks have high expectations. Even though you may have just received the copy, we assume that you’ve had time to work on the material and can bring your A-game.
2. Personality. Since casting is asking for your self-submission in lieu of an in-person audition, we miss out on getting the chance to meet you. If possible, we’d like to get to know you a little through your self-tape. One way to do this is to use your slate as a chance to show some of your personality as well as your professionalism.
3. Technical Quality. Ultimately, we need to see and hear you. If we can’t, this could immediately take you out of the mix. It may sound obvious, but you’d be surprised how many times talent will submit clips that are lacking in one of those departments. And if they are, even if we love their performance, we won’t be able to send them through to the client to consider due to poor recording quality. Your best bet is to solve all of these technical issues ahead of time. Find a space in your home that you can designate as your self-tape spot. Set up a camera, lights, background, etc. and have it ready to go.
4. Following Instructions. Make sure you read and follow the format and size specs for the clip. Also adhere to any slate, wardrobe, and direction that is given in the breakdown. Casting directors share these helpful instructions, which are usually passed along from the client, because they’re expecting to see them in the recordings.
5. Fitting the Role. Make sure you’re appropriate for the role before going through the trouble of self-submitting. If you’ve specifically been asked to self-tape then by all means send something over, but if it’s a general call, save yourself the time and effort if you don’t fit the breakdown. Time is limited and valuable for everyone, so focus your efforts on submitting for roles best suited for you!
- Melanie Forchetti, Casting Director for Netflix, Amazon, CNN, Oxygen, among others.
#casting #selftape #audition #actor #script #sides #hollywood #slate
Congrats Jacqueline Elyse Rosenthal, winner of the Empowering Women Screenplay competition! by Elaine Chang • last post Feb 21st
BACKLOG sounds like an amazing project on a crucially important subject, the staggering number of completed rape test kits that have gone untested. Time's still NOT up for all these survivors. Well done and all the best with your screenplay, Elyse!
(FWIW, as a semi-finalist, I feel honored just being sort of in your company. :))
Congratulations!
Elaine