We have found 20,151 posts across 4 actor forums:
"You know, sometimes I amaze even myself." by Doug Kayne • last post Jun 8th
The above quote by Han Solo from STAR WARS struck me today, as far as acting goes. And, strangely, it goes hand-in-hand with imposter syndrome (I've named mine "Izzy".) Izzy has led me to look with a highly critical eye at an acting performance I'm in the process of doing, and think, "If they ever find out I can't act, then I'm done for."
And then...there are those moments when I am taken aback with how good I actually can be. And, there's no ego there (okay, maybe a little...), but it's these moments when Izzy retreats into a corner and lets me bask in the notion that I actually can do this craft I enjoy so much.
I'll give an example:
I was in a dramatic improv class years ago (side note, I will never stop extolling the benefits of improv, but that's for another time), and was performing a scene where I was a surgeon who had just lost a patient on the operating table, and was wrestling with how I was going to tell the parents their son died. My scene partner was the Chief of Medicine who was reminding me it was not my fault, and that I shouldn't feel guilty that my son was okay, while my friend's was gone. Now, comedy is usually my bread-and-butter, especially improv-wise. I couldn't even begin to tell you what was going through my mind, but I was incredibly dialed in. Izzy was on an extended lunch break. Somehow, I delivered a performance that I still recall fondly to this day (along with the instructor and my scene partner). Truth be told, I surprised even myself -- in a good way!
So...now's the time to toot your own horn. Shout it out from the rooftops. Let us celebrate your acting victories and breakthroughs with you. Tell me a time when you not only knocked a performance out of the park, but surprised yourself with how good you really are. Don't be shy, be proud of your talent, hard work, and dedication to your craft!
The Rocberti Writer's Festival by John Snell • last post Jun 8th
Hi everyone. I wanted to share a link for this years Rocberti Writer's Festival. One writer will also have the opportunity to win a FULL SCHOLARSHIP to attend The Rocaberti Writers' Festival.
DEADLINE: Monday, June 15th, 2026, 12 midnight Pacific Time. Good luck! https://click-149601.icptrack.com/icp/relay.php?r=30519384&msgid=781976&act=ZME6&c=149601&pid=3546155&destination=https%3A%2F%2Frocabertiwriters.com%2Fscholarships&cf=2307&v=50fd95dcd9422689832a615bbb475afb3e39b6fcbeac0fa0a78ff88897ed9274
In person or self tape auditions by Jason Raymaker • last post Jun 6th
Which one do you think is more effective? In my opinion I think in person is more effective because you get to feel the energy of the people in real time.
I want serious professionals ONLY! by Jaela Miller • last post Jun 6th
So Sydney Reed is extremely unprofessional and rude. I need someone who's actually serious about their work and won't get rude when they're held liable by producers.
I don't feel comfortable working with racist people either, treat me with respect and you'll get the same from me.
My only thing is to be an actor, whatever you need me to do that comes out of my pockets, it's not like people on this app pay; this is a free app for free work, which means you shouldn't have me coming out of pocket for anything that you have no intentions on paying me for.
Now, let's try this again.
My name is Jaela Lackas and I'm open and ready for work.
If anyone has an idea about a script, please let me know.
I also have my own script as well and can send it to anyone who might need script ideas.
If you're ready to connect, please email me at: jaelamiller11@gmail.com
My name says Miller because that's the maiden name I had before I got married a few days ago.
Little stars by కాండూరి వాస్ • last post Jun 6th
LITTLE STARS
A Heartwarming Emotional OTT Story Featuring Nine Children
In an apartment, four families live together, and among them are nine children. They share a beautiful friendship and deep affection for one another.
When two of the families are transferred to different towns, the children begin to suffer from separation anxiety because they cannot bear the thought of being apart from their friends. Eventually, the families decide to stay back for the sake of the children.
But fate takes a tragic turn. Bannu, the eldest and most loved among the children, falls seriously ill with a high fever that develops into jaundice and passes away.
The parents know that the children, who are already struggling emotionally, will not be able to handle this heartbreaking loss. So, all four families come together and make a difficult decision: they hide the truth and make the children believe that Bannu is still alive.
Despite carrying unbearable grief in their hearts, the parents continue smiling in front of the children. They carefully motivate and guide them psychologically, gradually leading the children to believe that Lord Ganesha will one day come and take Bannu Anna with Him.
In the climax, while the children happily jump, laugh, and wave goodbye to Bannu, believing he is going with Lord Ganesha, the parents silently struggle to hide their pain and tears.
The story is about friendship, love, loss, sacrifice, and the extraordinary lengths parents will go to protect the innocence of their children.
Genre: Emotional Family Drama
Format: OTT Feature Film
Title: LITTLE STARS ❤️
Kanduri vaas
8317621660
Ready for new projects! by Jaela Miller • last post Jun 5th
If anyone has any projects that they need actors for, I'm available for gigs!
I'm curious by Allyson Parker • last post Jun 5th
Hey everyone! I’m Allyson from Tulsa, born and raised in the Black Wall Street community. I’m a screenwriter working on a character‑driven series called Fish & Grits, and I’m looking for actors who might be interested in performing a short monologue for me.I don’t act myself, so I’m hoping to connect with someone who enjoys bringing characters to life and wants a fresh piece for their reel. If you’re open to reading a monologue or collaborating, I’d love to connect
Voiceover - American Accent by Divyam Jha • last post Jun 3rd
Hello Stage32!
I'm a writer-director based in Nepal looking for a favor for a small voiceover for my short film that's coming out in a week.
It's for the role of a (preferably middle-aged but mid20s works too) American Anxious Cop. I'm having a hard time finding anyone to do it. I would really appreciate it.
Vulnerability In Performance by Suzanne Bronson • last post Jun 3rd
Hey actors! I would like to explore how vulnerability can transform a performance. What's a moment from your acting journey when you felt truly vulnerable on stage? (or in front of the camera or in rehearsal or in a class)
Share your story, or tell us what scares you most about being that open?
Question for voiceover artists and voice actors when you are the one doing all the voices or recording your part alone:
Is there a way to show vulnerablity or emotion with just your voice and without being connected to another performer? If so, how do you go about that?
Let's start a conversation!
What makes an actor stand out in subtle, understated roles? by Macorey Trotter • last post Jun 2nd
I’m a writer, but I’m also serious about acting—especially in my own projects. I’m currently developing a series called Arcadia Hill, and there’s a character in it named Nas that I fully intend to play.
He’s quiet, observant, creative—a filmmaker/music producer type who’s always watching everything but not always saying much. He's basically a splitting image of me as a person. A lot of his presence is subtle, so I know it’s not something you can fake—it has to feel natural.
For actors who’ve played more internal or understated characters, what helped you make those performances feel real and not flat? And for anyone on the casting side, what makes someone stand out when going for roles like that?
From Stage Fright to Stage Ready: Managing Performance Anxiety as an Actor by Laura Hammer • last post Jun 2nd
Performance anxiety affects the vast majority of working actors — and the ones who manage it best are not the ones who have eliminated their nerves, but the ones who have learned to redirect nervous energy into their performance rather than fight it. The physical symptoms of anxiety are not so different from the physical state of genuine emotional aliveness on stage or camera, which means the goal is redirection, not suppression. Before you walk into an audition room or onto a set, give your body a way to discharge the adrenaline that has built up — shake out your arms and legs, run vocal warm-ups, use your breath deliberately. A slow inhale followed by a longer exhale triggers your body's natural relaxation response. Shifting your focus outward — onto your scene partner, your character's immediate objective, the specific details of the environment — is one of the most reliable tools available, because anxiety lives in self-monitoring and dissolves in genuine attention to something outside yourself.
The deepest antidote to performance anxiety is preparation thorough enough that your body trusts itself. When you know your material — not just the words but the physical blocking, the emotional logic, the character's specific desires in every beat — there is far less room for doubt to take hold. Rehearse under conditions that approximate real pressure, because your nervous system adapts to what it is repeatedly exposed to. Pair rigorous preparation with positive visualization, picturing the room and the moment in specific sensory detail, and you train your mind to treat the performance as familiar territory rather than a threat.
Long-term management requires the same discipline you bring to your craft. Avoid high caffeine and sugar on audition and shoot days, eat a balanced meal beforehand, and prioritize sleep the night before significant performances — creative presence and emotional responsiveness are directly tied to rest.
Which performance context is hardest for you to manage — the last-minute audition, the live stage, or the on-camera set?
Booking Even One Line On TV/Film Is Much Harder Than You Think by Aaron Marcus • last post Jun 2nd
Booking Even One Line On TV/Film Is Much Harder Than You Think
https://youtu.be/Jp51Y4Xp6EQ
Has anyone outside the industry ever made you feel like a role you worked hard to book was no big deal? Or, made you feel bad because you haven’t even booked a small role.
Drop it in the comments below
The Prince of Egypt by Jessica Dardarian • last post Jun 1st
Hello, everyone!
I hope everyone is doing well!
I just finished my run as Hotep in The Prince of Egypt and it was such a great experience to be a part of this epic story!
Take a look when you can!
The show officially begins at the 5:45 mark!
Thanks and enjoy!
https://youtu.be/-1s25XDY7W0?si=xCWm6s5ZKzJespG4
I would love some roles! by Seth Lackas • last post Jun 1st
If anyone has any projects that they are working on and would like to connect, please let me know! I'm excited to give my acting skills a try!
Shows like Euphoria really motivate me to want to act because I love how the characters are able to captivate the moment so well that it leaves the audience in sadness, but also surprised, but also wondering what's next; they're on the edge of their seats! And THAT is what I'm looking for.
Something raw, something REAL, but also something natural!
Hit the inbox and let's talk!
Hey, I’m starting my acting journey and building my list of roles and experience. I’m focused on learning, improving, and taking on new acting opportunities. Open to indie films, student projects, and collaborations by Somkene Udalor • last post Jun 1st
I want to start acting and get my first real opportunities and roles
Is this acting technique cheating? by Doug Kayne • last post Jun 1st
Have you ever channeled an other actor's portrayal of a completely different character while creating your own character?
For example, I did a lot of childrens' theater (which is a great test of whether your performance is entertaining or not, as kids will let you know immediately if you are or not). Many times, I would use other actors/characters to help formulate my character onstage. For example:
- When performing in Alice Thru The Looking Glass as the White Rabbit, my baseline for the character was C-3PO, as portrayed by Anthony Daniels.
- When I was cast as the Lion in Dorothy and the Wizard of Oz, I purposely chose not to do an impression (or even an homage) to Bert Lahr, instead opting to go with a portrayal similar to that of Barney Fife (with a bit of Macho Man Randy Savage and Hulk Hogan thrown in when he found his courage).
- When I was in Treasure Island, the director gave me a wide berth when it came to ad-libbing (I asked how much ad-libbing I could do, and she actually told me, "I'll let you know if it's too much," which is potentially dangerous for an improvisor like myself). Thus, it kind of made sense that my performance of Ben Gunn (whose sanity was a bit questionable as is) was kind of reminiscent of Robin Williams' performance as the Genie in Aladdin.
In my opinion, it's a valid part of the process (plus,not one co-performer, director, or audience member ever clocked that I was doing it, as I did put a bit of my own spin on the performances), but is it a bit of cheating to borrow someone else's process and character work to base my own performance on, rather than starting from ground zero myself when letting the character dictate the mannerisms, voice, etc.?
Now, I don't do this all the time. There have been quite a few roles where I wholly generated the character myself. But, I do wonder how "pure" the process is otherwise.
On a side note, I was literally reading today that Tom Holland based his performance of Peter Parker/Spider-Man on Michael J. Fox. In thinking back, I can now see how some of his actions were colored by this choice.
What say you?
Is this how you break it to Hollywood as an actor? by Kaylon Langford • last post Jun 1st
Is it true to Break into Hollywood as an actor, I would have to become a screenwriter.
Your Complimentary Access Awaits by Tracey Collis • last post May 31st
Actors — this is a room worth being in.
On 17 June at 6pm BST, we’re going Live From The Cockpit with award-winning writer-directors Barnaby & Preston Thompson for a live 90-minute masterclass and Q&A on script analysis, actor choices, and what writer-directors are really looking for.
Barnaby Thompson is a producer/director and founder of Fragile Films, with credits across more than 30 films, including Wayne’s World, Spice World, St Trinian’s and An Ideal Husband. Preston Thompson is the writer behind Vanished, starring Kaley Cuoco and Sam Claflin, directed by Barnaby Thompson.
Live only. No replay. Complimentary access.
Register via this link to receive reminder on the day - NO SPAM!
https://preview.mailerlite.io/forms/2253688/188634212129048440/share
#ActorsLife #ActingTips #ScriptAnalysis #ActorsOfInstagram #ActingClass #AuditionTips #WorkingActor #TheActorsCopilot
Tracey Collis
Actors, I’m back… and I have a question for you. by Ashley Smith • last post May 29th
After a whirlwind few weeks at Cannes, a lot of travel, and a head cold that decided to follow me home, I’m finally getting caught up with all of you. If you’ve been waiting for a reply from me in your inbox or DMs, thank you for your patience. I’m working my way through everything now and should be fully caught up by next week.
One of the things I missed most while I was away was hearing the incredible stories that always pop up in this lounge. So let’s jump back in with a fun one.
If you’ve been acting long enough, you’ve probably received a piece of direction that made absolutely no sense at first.
I’ve heard actors talk about getting notes like: “I need less confidence but more certainty.” or "Be more purple."
The creative process can be wonderfully strange, and directors, acting coaches, and casting professionals often use unusual language to help actors unlock something unexpected in a performance.
What’s the weirdest piece of feedback or direction you’ve ever received?
Did it help? Did it completely confuse you? Did it become one of those notes you’ll never forget?
And for the directors in the room, what’s the strangest note you’ve ever given that somehow got exactly the result you were looking for?
Why Agents and Managers are Vying for the Top Spot of Being the Dumbest People in Hollywood. by Philip Lee • last post May 28th
I’ve never had an agent or manager in my life. When I first tried to get one, I was harshly dismissed because I didn’t come with a referral from someone within the film industry—and not just anyone, but someone they knew personally. I’ve known people who worked for established industry figures who still couldn’t introduce me to these pompous asshats because those were the “rules.” From that point on, agents, contacts, and managers all fell straight into the category of parasites to me.
As anyone on the creative side, especially actors, well knows, SAG is not responsible for getting you jobs. They can easily stop you from getting paid work on a non-union project, but they won’t take an ounce of responsibility if a union worker says something stupid in public to poison anticipation for an upcoming film—their excuse is that they aren’t responsible for an actor’s conduct when they aren’t on the clock. If you think that through for a minute, it makes no sense at all. It makes even less sense when you realize a production has to pay 23% of an actor’s salary into a health plan that the performer may not even be eligible to use. One might call that fraud, but if you grease enough politicians' hands, they can legalize just about anything as a labor clause.
So that leaves your manager or agent to supposedly make finding a job a little easier, because according to the Hollywood gospel, “you need one” to get anywhere. Is that truly the case? I mean, if a casting director is already interested in your client, handling the paperwork doesn’t take much effort. Sending a client out for an audition to compete with hundreds of other performers doesn’t take much effort either. Yet, they still expect to suck a percentage right off your skin the second you land the gig.
God forbid they try to be proactive. They boast about their "connections," but they don’t seem to do anything except shake hands or climb into bed with whoever they can influence to use their signed talent. I knew one manager who constantly bragged about his client winning a participation Oscar for 22 minutes of screen time in a Best Picture winner. He acted like he wrote the damn screenplay himself. Meanwhile, when you looked at that client’s IMDb page, you saw he hadn't booked an actual acting job in eight years.
This same manager represents a wonderfully talented woman who had a past role on a highly popular show and is currently in her peak earning age. She has a great voice and has been putting numerous songs on YouTube for the last four or five years. She would be absolutely perfect for a screenplay I have that incorporates all of her specific charm and talents—a project with a highly reasonable budget designed to grab the teen-to-young-adult audience back to theaters, something major studios have failed to do for a decade.
What did I get from this clown? Crickets.
When I followed up and merely pointed out his complete lack of interest, he wrote back that same day claiming I insulted him. Hey, the truth hurts. But in reality, the only person he’s hurting is his client. It’s no skin off my nose if you choose to squander a massive opportunity to build a project from the ground up. I just hope there’s enough bacteria left on her skin to keep you fed.
So, for all of you struggling actors out there: if you happen to catch the eye of a creator who thinks you’d be great for a project they're preparing, we have no problem going through your agent to log the deal. But when it comes time to find the financing for it, I would hope your rep uses those years of hand-shaking to actually help bring the money to the table to secure his percentage off your sweat and tears. Otherwise, that audition line goes straight around the block.
I hope you brought some bottled water.