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AI Actors Now Ineligible for Oscars. What This Means for YOU as Performers by Sandra Correia  •  last post May 1st

Big news from the Academy this week, and it directly affects actors more than anyone else.


The Academy has officially ruled that AI‑generated actors and AI‑generated performances are not eligible for Oscars. Only real human performers giving real, consented, on‑set performances can qualify for acting categories.

This comes after a wave of AI‑driven experiments in recreating actors’ likenesses, including a recent public demo of an AI version of Val Kilmer. The Academy clearly felt the need to draw a line.

 What does this mean for actors?

1. Your craft is being protected.
The Academy is saying that acting is not just a “look” or a dataset, it’s a human experience. Emotion, presence, instinct, vulnerability… these can’t be replicated by a model.

2. Consent matters.
They were very clear: a performance must be given by a human with their consent. This is a huge step in safeguarding actors’ likenesses and preventing unauthorized digital doubles.

3. AI can be a tool, but not a replacement.
The ruling doesn’t ban AI from filmmaking. It just says AI cannot stand in for an actor. Motion capture, VFX, digital makeup, all still fine. But the core performance must come from a human being.

Read here: 
https://www.france24.com/en/culture/20260501-ai-actors-and-writers-will-not-be-eligible-for-oscars-academy-rules

We’ve all seen the conversations about AI replacing background actors, scanning performers, or recreating faces without permission. This decision doesn’t solve everything, but it’s a strong signal that the industry still values the human heartbeat behind a performance.

 I’m curious how this lands for everyone here:

Do you feel this ruling gives actors more security, or does it raise new questions about where AI fits into performance work?

Let’s talk about it. This is a big moment for your craft.

On-Set Support by Jordan Butler  •  last post May 1st

Happy to announce that the Steady Hands website is live for the summer! I’m based near Atlanta/Trilith and wanted to share 

I offer on-set emotional support + wellness for film and production environments — something designed specifically for the pace and intensity of sets.
Think:
• grounding support during heavy scenes
• a reset space between takes
• help managing stress/overwhelm during long days
It’s something I felt was really missing in this space, especially with how much production is happening here now.
If you’re in the industry locally (or working on something upcoming), I’d love to connect or just be a resource!

steadyhandstherapy.com

Laura Dern replaces Helena Bonham Carter in The White Lotus by Amanda Toney  •  last post Apr 29th

Two totally different actors….what do we think? 

Opposing Views by Suzanne Bronson  •  last post Apr 29th

How do you reconcile your personal beliefs with a charaacter who holds opposing views? 


This is a good one for writers too. How do you write characters with a different value system than yours?

Great Performances Where You Wouldn't Expect Them by Doug Kayne  •  last post Apr 29th

Nicole Kidman...Al Pacino...Viola Davis...Robert De Niro...Harrison Ford...Denzel Washington...Gary Oldman... The list goes on and on of amazing actors and their stellar performances.  So many performers have taken the craft to a higher level, encouraging many other actresses and actors to want to improve their skills.

And then there are those off the beaten path.  Ones that don't get enough recognition.  Ones where you watch them and you are blown away because they either transcend the material or you just didn't expect it from that performer.

A few examples I can think of off the top of my head:

- Bob Hoskins in WHO FRAMED ROGER RABBIT.  Not only did he play it completely straight, but his performance showed tons of layers and emotional depth in what was, undoubtedly, a special effects-laden movie.  I completely bought that he lived in a world where humans and toons lived side-by-side.

- Michael Caine in A MUPPET CHRISTMAS CAROL.  This is definitely my favorite adaptation of Dickens' classic tale, and that is in no small part due to Caine.  He treated the Muppets as actors, and gave 100% in his portrayal of Scrooge.

And, in one definitely off-the-beaten-path...

- Joonas Suotamo as Chewbacca in STAR WARS: THE RISE OF SKYWALKER.  This is my least favorite Star Wars movie (and I am a big Star Wars fan), but the moment when Chewbacca learns that Leia has died is truly heartbreaking.  His anguish is felt strongly without a single utterance of dialogue, only his growls and physical reaction.  It's a highlight that was unfortunately shoved into the background.

Who would you add to the list?

The "Tap on the Shoulder" that lead me to my passion by Aleisha Moore  •  last post Apr 28th

Hello everyone,


I’ve been part of this incredible community for a while now, and I’m always struck by how much "movie magic" is hidden in the history of our craft. For instance, did you know that in my favourite film, Jurassic Park, the iconic water-in-the-cup ripple scene was created using practical effects, specifically by a guitar string attached to the car and plucked from underneath? It’s a perfect reminder that in this industry, we are all about layering different elements to create one believable truth.

That philosophy is exactly how I approach my work.

I never actually intended to be an actor. Growing up quite shy, I was more comfortable in the background (but I did perform some jazz dances to close family members) - until a literal "tap on the shoulder" changed everything. While walking through a convention in Auckland at 17, a talent agency director spotted me and asked if I’d ever thought about being on screen.

That one moment of serendipity turned into a career spanning New Zealand and Australia. I started in commercials and local TV, eventually finding my way to Brisbane in 2011. Since then, I’ve been fortunate enough to work on a variety of film projects, including a career highlight: playing a lead role in an ensemble cast in a feature film opposite the legendary John Jarratt.

The "Analyst" Edge:
When I’m not on set, I work as a Business Analyst / Implementation Specialist in computer software. While some might see IT and Acting as opposites, I see them as two sides of the same coin: one is about the integrity of data, and the other is about the integrity of human emotion. My BA background means I bring a high level of preparation, punctuality, and "whole-product" thinking to every production I join.

The Vision & Influences
I have a deep passion for high-stakes storytelling - the kind of "grit and heart" found in procedural and sprawling dramas. My North Star is often found in shows like The Pitt, Silo, Sons of Anarchy, and Yellowstone, or the epic scale of Game of Thrones.

When it comes to film, I’m drawn to the immersive, "big-screen" experience. My tastes range from the technical genius of Jurassic Park and Inception to the raw emotional stakes of Saving Private Ryan, The Shawshank Redemption, and Parasite. I love projects that aren't afraid to be bold, intense, and deeply human.

If you are working on a project that needs a dedicated actor who can blend vulnerability with professional precision, I would love to collaborate. You can find my reel and credits here on my profile, and on IMDB: https://www.imdb.com/name/nm4101656/ 

A Quick Recommendation:
If you're looking for inspiration on your own journey, I highly recommend the Masterclass series - it’s been a fantastic tool for me to keep my craft sharp between roles.

I wish you all immense success in your upcoming projects. As the great Steven Spielberg says, "Every time I go to a movie, it's magic, no matter what the movie's about."

Let's make some magic together.

Choosing audition monologues--my longtime strategy by Colin Hussey  •  last post Apr 28th

Since I got into acting after college and started auditioning, over 35 years ago, my strategy was to avoid the monolgue books and seek out material that I could be pretty sure no one else was going to bring to an audition. These included monologues from less produced plays, like Shakespeare's Troilus & Cressida, Richard II and Coriolanus, Lorca's Blood Wedding, O'Neill's The Great God Brown, Georg Büchner's Danton's Death, Don DeLillo's The Day Room, Tom Stoppard's The Real Inspector Hound, a couple from David Mamet's Goldberg Street and one from a Plautus comedy, whose name escapes me. Additionally, I gleaned material from New Yorker articles and a couple of books by Connie Fletcher that were a collection of anonymous comments from police officers she interviewed, like Studs Terkel did with American workers, titled What Cops Know and Pure Cop. And finally, there was one of the Devil's monologues from Dostoevsky's massive novel, The Brothers Karamozov. (A friend of mine shot it in the hallway of the building where I was living at the time, in 2010: https://www.youtube.com/watch?v=K7i5pvIsfaU )


Later, in the 2000s, when I got more involved with new play development, meeting many playwrights and reading a plethora of scripts, I would use monologues by local writers I befriended, showcasing their work as well as mine. Again, it's something different from the parade of done-to-death monologues I'm sure casting directors are tired of hearing. Here's one that's under two minutes that I shot in my apartment, a few years ago: https://www.youtube.com/watch?v=emJBsyoiXr8

The Streaming Landscape Has Changed — Here Is What Actors Need to Know Right Now by Laura Hammer  •  last post Apr 28th

The acting landscape is shifting faster than most performers realize — and the opportunity for those who adapt is genuinely significant. Vertical micro-dramas are the most dramatic development of the past two years: short-form series shot in portrait mode, often under two minutes per episode, are generating hundreds of millions of daily views on platforms like TikTok, ReelShort, and DramaBox. Actors who can hook an audience in the first three seconds — with a look, a line, or a physical choice that immediately communicates character — are in high demand for this format. At the same time, global streaming platforms including Netflix, Disney+, and Amazon are investing heavily in local-language content designed to travel across territories, which means actors with international sensibility, bilingual skills, or culturally specific backgrounds are finding more opportunities than ever before. AI-driven content is also expanding the voiceover and motion-capture market significantly — which means actors who develop these technical skills now are positioning themselves ahead of a curve that is only going to grow.


The most actionable thing an actor can do right now is treat their social media presence as a professional portfolio rather than a promotional afterthought. TikTok and Instagram are functioning as micro-streaming channels — platforms where actors who consistently create original, character-driven short-form content are building audiences and attracting industry attention simultaneously. A compelling original character posted consistently over six months will do more for your visibility than a hundred generic headshot posts. 

Alongside that, expanding your technical range into voiceover, motion capture, and green screen performance is no longer optional — it is the fastest-growing corner of the acting market and the one where new talent is being actively sought. The performers who will thrive in the next five years are the ones who can walk into a traditional drama audition, voice a character for an animated series, perform in motion capture for an interactive experience, and deliver a vertical micro-drama hook in under three seconds. Versatility is not just an asset — it is the job.

What streaming trends are you noticing most as an actor or filmmaker — and which ones are you actively preparing for?

Casting Scams Were Announced on Actors Access and SAG-AFTRA by David Veal  •  last post Apr 28th

I just wanted to alert my fellow actors that casting scams are being announced on Actors Access - so there must be a lot of them. They are basically outlining what to look out for in their breakdowns. 


Also, SAG-AFTRA had some casting scams related to their breakdown terms as well.

To top it off, all of this happening today, for my writer friends, my short film producer forwarded an emailed invite to submit to a film festival that ended up being fictitious. The email included links and promises and had FilmFreeway references all over it.

Please use due diligence in responding to casting, invitations, etc. If it looks too good to be true, or they ask for money up front, or send links with their really great deal, you get that goosebump that says you are soooo special...just, triple check and never give money or information directly to unknown emails.

These things just happened today. yikes.

Crying on cue by Jason Raymaker  •  last post Apr 27th

I was curious about crying as an actor.  I have watched some videos about it, but could never quite get to the point of tears.  What are some techniques you have used?  Have you used it very often?

Case Study 01 — Aras Bulut İynemli by Salima Qribis  •  last post Apr 27th

Performance. Precision. Intention.

A breakdown of craft beyond the frame.
Now live on IG. Check it out @theintake_

Developing a Drama Series – Illegal by Design by Alex Mutnyi  •  last post Apr 27th

I’m developing a character-driven drama series titled Illegal by Design.

The project is built as a standalone-episode format centered around a single protagonist, with each story exploring morally complex situations across different environments and cultures.

The series is based on real-life experiences, shaped into a structured narrative system designed for long-term development. The pilot is completed, with multiple episodes already written.

The tone sits somewhere between grounded realism and psychological tension — focused on behavior, choice, and consequence rather than exposition.

At this stage, I’m open to connecting with producers and development partners who work with bold, character-led storytelling and internationally scalable material.
Created by Alex Mutny.

Happy to connect.

10 Best Side Hustles For Actors (That Actually Work) by Aaron Marcus  •  last post Apr 27th

10 Best Side Hustles For Actors (That Actually Work)

 https://youtube.com/watch?v=Eu-N7KfxH3k

Please share your side hustle jobs with us. 

Beyond the frame by Salima Qribis  •  last post Apr 27th

Everything goes by rules.

No one shows you how to see beyond them.
The lens that was never explored.

A space built for every creative who knows there is always more to the story

Beyond the frame.
IG: @theintake_

Link: https://www.instagram.com/theintake_?igsh=MWZlZ2sya21ibHRyOQ==

#Storytelling #films #acting #filmmaking #production.

Where is the line? by Suzanne Bronson  •  last post Apr 23rd

As actors, I am wondering if you think it's ok to have ethical boundaries, or do you feel like that is not a luxury you can afford to have, or we are artists, so a job is a job?


I would like to know: Have you ever taken a job that was against what you personally believe in, or have you turned down a job because it was against what you personally believe in?

For example, I have strong feelings about certain corporations, and would never audition for a company that I boycott. To me, endorsing a product that I don't use because of ethical reasons, is the epitome of hypocrisy, while some actors see it as just a job. However, when it comes to portraying a politician, or any real person,  it doesn't matter what side of the political spectrum they fall on and if I agree with them or not. I can do a positive or negative protrayal depending on the material regardless. How I feel about someone personally is irrelevant. But when it comes to commercial work, that is me, Suzanne Bronson, adveritising this product, so it matters. 

My question is: if you have ethical boundaries when it comes to accepting a job, and if so what are they? Do you draw the line at certain kinds of jobs or companies (commercial work) or do you not have one?

Please share your comments below.

The Official Cannes Roll Call Blog from RB Botto is Available Now! by Ashley Smith  •  last post Apr 23rd

Are you thinking about Cannes from an actor’s perspective?


Today’s Stage 32 blog is our annual Cannes Roll Call, and it outlines everything we’ll be doing this year, panels, events, partnerships, and opportunities to connect.

Read it here: https://www.stage32.com/blog/cannes-roll-call-2026-whos-going-who-has-films-stage-32-events-4446 

Cannes isn’t just for producers and filmmakers, it’s a powerful place for actors to build relationships, learn the business, and position themselves globally. I met so many incredible performers from all around the world last year!

We’ve had a lot of members asking how to prepare, so this blog is a great place to start.

Actors attending, what are you hoping to gain from being there, connections, knowledge, future opportunities?

Explain How Storyboard Helps Performance by Abidoye Ezekiel  •  last post Apr 22nd

Actors — imagine knowing exactly how your scene will be framed before shooting.


Storyboards help you understand:
• Where the camera is
• The emotional focus of the scene
• Timing of your performance

It creates better coordination between actors and directors.

I create visual guides that bring scenes to life even before filming starts.

Would you find this helpful on your projects?

Radford Studios- Studio City, CA by Catherine Cole  •  last post Apr 22nd

Radford Studios has been filming/taping television for decades! A former CBS studio.

'Netflix plans to buy historic Radford Studio Center'
That's the headline from the L.A. Times. Roger Vincent says Netflix is in talks to snap up the lot — once known as "Hit City" — "that has been home to generations of landmark television shows" for "between $330 million and $400 million" after the studio's previous operator "defaulted on a $1.1-billion mortgage in January."

Children Actors by Meriem Bouziani  •  last post Apr 21st

Hello, I hope you’re having a great week.

This is my first time posting in this lounge, and I have a question I’ve been genuinely curious about for a long time.
How do children younger than four learn to act? And how do directors guide them on when to laugh, cry, or react with wonder?
At that age, they still seem too young to deliberately produce those emotions on command, and I assume producers cannot just wait for those reactions to happen randomly and capture them… right?

SCIFISPY