We have found 20,219 posts across 4 actor forums:
Actors: Would you rather... (And also, check out Week 4's of July's Filmmaker's Club Challenge) by Jackie Letkowski • last post Jul 22nd
Actors, would you rather star as the lead in a low-budget indie with "unknowns" or take a much smaller role in a prestige film with A-Listers? As an actor myself, I always found that this question leads to very different perspectives on an interesting subject matter. I would love to hear everyone's thoughts! (Feel free to comment below.)
Also, if you haven't already (because let's face it, time's running out), check out Week 4 of the July Fillmmaker's Club Challenge: https://www.stage32.com/blog/july-filmmakers-club-week-4-the-myth-of-the-overnight-success-a-conversation-about-visibility-4534
Procuro Feedback | Série "AMOR NO LUGAR ERRADO" - Drama Romance Angola by Natalia José • last post Jul 22nd
Olá pessoal!
Sou Natália, roteirista de Luanda, Angola
What Tom Hanks Told Me Changed How I View Working On Sets by Aaron Marcus • last post Jul 21st
I had a scene with Tom Hanks in A Man Called Otto. Between takes, I thanked him for something he did — and what he said back has genuinely changed how I show up on every set since.
https://youtu.be/UgLJwTQtUto
Have you ever experienced a well-known actor being generous or kind on set? Share it here and on the channel.
Same story. Different actor. Different story. by Doug Kayne • last post Jul 20th
Last night, I had the good fortune to be in the audience for THE PHANTOM OF THE OPERA at the Pantages Theatre out here in Hollywood. This was the third time I'd seen it -- the first time, the Phantom was played by Michael Crawford (who originated the role), the second time was with Davis Gaines in the title role, and last night, the role was played by Isaiah Bailey.
For those of you who have not seen the play (or are unfamiliar with the story), I will remain as spoiler-free as I can. Needless to say, there's the (spoiler) Phantom who (spoiler) tutors the young ingenue, Christine Daae.
In Crawford and Gaines' portrayals, there is a sense that the Phantom has genuinely fallen in love with Christine, and is actually quite tender with her. This gives the production a strangely romantic note (pun intended), and he is very much a tragic figure, given the circumstances that led to his situation as well as the events of the production.
Interestingly, Bailey's performance last night had a different quality to it. He seemingly infused his portrayal with possessiveness, turning his actions and relationship with Christine into one that was more sinister in nature. This seemed to make his Phantom into more of an antagonist and villain, even to the object of his desire.
This made last night's performance a different experience for those of us in attendance who had seen it previously. It opened up a different perspective to the story, one separate from how it is usually publicized. And it gives its sequel (no spoilers!), LOVE NEVER DIES, a very different implication.
It's interesting to see how different actors can color a role, living in stark contrast to those who had inhabited it previously.
I remember taking a Shakespeare intensive workshop, where one of the instructors (Armin Shimerman, who was fantastic!) pointed out something rather interesting. Well, a few things.
- One, you can easily tell "good Shakespeare" from "bad Shakespeare", because in "good Shakespeare", the actors actually know what they're saying, as opposed to merely saying words in iambic pentameter.
- The second, was how each actor who plays Hamlet can change the character just by where they place their emphasis on "To be, or not to be, that is the question." It depends on where you put the emphasis. "TO BE, or not to be, THAT is the question," is quite different than "To be, or NOT to be, THAT is the question," for example. And it is the actor's decision therein to show Hamlet's mindset: Does he want to live, or does he want to die?
Which brings me back to THE PHANTOM OF THE OPERA. Crawford's performance was layered, and showed depth of character. Gaines' performance was layered, and showed depth of character. Bailey's performance was layered, and showed depth of character. And other actors bring their own take to the character as well.
The script was the same. The music was the same. The songs were the same. The story was different.
So... I accidentally became a web creator today. (〒﹏〒) by Bliss Ganza • last post Jul 20th
like HONESTLY BRO
I never thought I'd say that.A while ago, all I wanted was a place where people could learn about my project, Savage Smile. Today, that idea turned into a real website.
And then something happened...
Someone visited it.
Making ends meet. by Jason Raymaker • last post Jul 19th
I am curious. On our journey as actors not very many of us make much money right away in this highly competitive field. So what are some of the best and flexible sources of income you have found to help you on your journey?
A Piece of Advice from Keanu Reeves That Stuck With Me by Chinedu Princess • last post Jul 19th
One piece of advice that really stayed with me from Keanu Reeves was:
"Try not to be a f--king a--hole. And go to work and respect who you're working with until they prove they don't get your respect."
As someone beginning my journey as a screenwriter and actress, I think this is a reminder that talent is only part of the equation. The way you treat people, collaborate and carry yourself matters too.
Every project is built by a team and respect is a great place to start. Looking forward to learning from and working with amazing people in this industry.
Neeru - The water by Basha Penukonda • last post Jul 18th
"The farmer who believed in the soil returns to it when the rains betray him. Not even his tears could wet the fistful of earth he clung to."
Keanu Reeves shares advice for aspiring actors in new interview by Amanda Toney • last post Jul 16th
https://tribune.com.pk/story/2601381/keanu-reeves-shares-advice-for-aspiring-actors-in-new-interview
Staying mentally well by Suzanne Bronson • last post Jul 15th
"Where do you draw the line between pulling from personal, real-life trauma for a scene versus using pure imagination? How do you protect your mental health while doing it?"
Improv, you're my hero! by Doug Kayne • last post Jul 14th
For those of you who have been snooping at my various blog posts (especially during the Introduce Yourself Weekends), you would know I am an improv guy. I've been performing improv as a member of one group or another since 1994, and been teaching it in some capacity since 2005. I could talk for hours about improv -- games, exercises, characters, techniques, you name it. I recommend that everyone studies it -- not just to build your resume, but to gain the skills to be comfortable improvising when necessary. There is power in the embracing of "Yes, and..."
I know improv gets a bad rap at times -- for some reason, if you ask someone to come to your improv show, it will be occasionally met by sneers of disgust. But, it truly is a fantastic art form. And a useful technique as well -- in fact, from what I understand, improv training is something that casting directors for soap operas look for, given the sheer amount of pages being shot at any one time.
(This is where I put in a completely shameless plug for my improv group, THOSE FOUR MISFITS (www.ThoseFourMisfits.com, our next show is on Friday, August 7 in North Hollywood).
Now back to our regularly scheduled blog post.
Improv can also be a show-saver at times. I can't tell you how many times improv has saved a scene during a play when something goes awry. One of the things improv helps build is trust in your fellow performer, and when you're doing a show, this trust is key. And when things go sideways (as they always seem to do in live theater), improv can help things get back on track.
I'll give an example...and I'm going to praise one of my fellow performers, Andrew Schub, for this one. I'm an improv guy, but his improvisation helped set the play back on track.
I was doing a production of PETER PAN AND WENDY (not the one you're familiar with -- same story, different script, different music, different songs, different dances). I was playing a dream role -- Captain Hook. And, while the material itself was....less than stellar, the cast was awesome, and we had a great time together I enjoyed it immensely -- even the week when I had lost my voice and had to strain just to get a whisper out to be heard in the back row (we weren't mic'd) for back-to-back shows. I still have the hook that was made just for me, and it has appeared in other stage productions of Peter Pan as well.
There were two swordfights in the play, both between Hook and Peter Pan. In the first fight, the tech crew was waiting for a particular sequence to be performed to signal them to hit the sound cue of the crocodile. Rehearsals went off without a hitch. As did the first couple of weeks of shows. And then...on this particular show in question...as I pull out my sword...the blade starts to separate from the hilt (for those who are in the know, we discovered at that time that the sword being used was a push tang, not a full tang). The blade just sort of drooped. In slow-motion. Peter and I looked at each other, with him offering me a "What do we do now?" look. Without missing a beat, Andrew (who played one of my pirate crew) said, "It's all right, Captain. It happens to the best of us sometimes." The adults laughed. The kids didn't get it (when they're older!). We were able to have some banter going on until the sound cue arrived as needed. The scene was saved. And we were able to get the sword repaired in time for the next show.
That wasn't the only time a play I was in had to be saved by improv. Remind me sometime to tell you about the time the thick wooden sword broke at the beginning of the choreographed fight, flying upstage and almost hitting a cast member in the head. I could tell you all sorts of stories. We had to now improvise elements of the fight. And it's not just fight scenes either. What do you do when a piece of furniture isn't moved when the scene changes, and someone has to go get it in character? Improv helps there as well.
Improv isn't just a skill to build your resume with. It's a valuable tool to hold in your arsenal, helping you stay in the moment, flexible, and at times save the production.
Wait a minute...now that I think about it...maybe it's just shows I'm in... Am I the cause of all these mishaps?
Yes, and...
A Movie Star Flipped Out On Set - Still Can't Explain by Aaron Marcus • last post Jul 14th
A Movie Star Flipped Out On Set - Still Can't Explain
https://youtu.be/5Q4VmBi-0ow
Have you ever had a weird experience on a set? If so, share it so we can learn from you.
Sam Neill, ‘Jurassic Park’ Star, Dies at 78 by Geoff Hall • last post Jul 13th
Well, this is sad news, the death of Sam Neil.
I’m amazed at his versatility as an actor, for someone who will probably be best remembered as palaeontologists, Doctor Alan Grant in the Jurassic series. However, there was so much more to his career.
Thank you Sam Neil for passing our way.
https://variety.com/2026/film/obituaries-people-news/sam-neill-dead-jurassic-park-1236809330/
How does a young writer earn enough trust for someone to take a chance on their story? by Bliss Ganza • last post Jul 12th
Hey there,
and over the past few months I've been developing my feature screenplay, SAVAGE SMILE. I've rewritten it, built a pitch deck, studied storytelling, and spent a lot of time here on Stage 32 learning from all of you.
sense—but you could see they were serious about learning—what would make you think:
One thing I've started wondering is this:
At what point does a writer become "trusted"?
Not just trusted to write a good screenplay, but trusted enough that a producer, collaborator, or investor believes they're someone worth building a project with.
I understand that experience matters. So do relationships, budgets, professionalism, and collaboration. I'm not expecting someone to hand me millions because I have an idea.
What I'm really trying to understand is how trust is earned in this industry.
If you were looking at a young writer with no credits, no budget, and no connections in the traditional
sense—but you could see they were serious about learning—what would make you think:
"This is someone I'd actually like to work with."
I'd love to hear your honest opinions. I'm here to learn.
Interesting perspective on how acting careers work. by Jason Raymaker • last post Jul 12th
Here Josh Brolin talks about the unpredictability about casting and how an acting career can fluctuate so much. I think it is pretty accurate. What do you think based on your experience?
https://www.youtube.com/shorts/H_zWE6MIoXk
Vulnerability by Suzanne Bronson • last post Jul 10th
Can vulnerability be learned, or is it something actors either have or don't have? If it is something you learned, what has helped you become emotionally available in your work?
Puedes guionizar las relaciones públicas, pero ¿puedes guionizar el cuerpo? Una mirada al video de Baldoni by Catherine James • last post Jul 9th
Hola a todos. Quería conocer su opinión sobre esto desde una perspectiva de dirección, actuación y relaciones públicas.
Justin Baldoni publicó recientemente una declaración en video sobre la situación legal con Blake Lively. Como cineastas y actores, pasamos nuestras vidas estudiando el comportamiento humano, el subtexto y el lenguaje corporal. Al ver su video, noté algo interesante en su comunicación no verbal.
Cuando niega explícitamente las acusaciones y afirma que la "verdad" prevaleció, rompe el contacto visual, aparta la mirada y cierra los ojos.
Tengo curiosidad por saber cómo interpretan esto:
¿Es un reflejo genuino de agotamiento emocional y trauma?
¿O es un mecanismo de distanciamiento subconsciente? En el análisis de comportamiento (y al dirigir actores), cerrar los ojos a menudo se considera un "delator" cuando las palabras de alguien no se alinean completamente con su realidad interna.
También hay que tener en cuenta el elemento de relaciones públicas en crisis. Baldoni se apoya fuertemente en la narrativa de la justicia porque las acusaciones más explosivas fueron desestimadas. Pero la realidad de la maquinaria de relaciones públicas de nuestra industria es que una desestimación solo significa que las demandas no cumplieron con una carga de la prueba legal rigurosa. No significa que la irregularidad nunca haya ocurrido, especialmente considerando que varias de las otras demandas de Lively sí sobrevivieron antes de su discreto acuerdo extrajudicial.
Cuando las figuras públicas entran en modo de crisis, guionizan cuidadosamente sus palabras. Pero no siempre pueden guionizar sus cuerpos.
¿Cuál es su lectura de esto como profesionales de la industria? Al evaluar una declaración altamente calculada, ¿le dan más peso al resultado legal, a las palabras habladas o al lenguaje corporal?
(Nota: Pueden encontrar el video en su Instagram publicado el 8 de julio).
You Can Script the PR, But Can You Script the Body? A Look at the Baldoni Video by Catherine James • last post Jul 9th
Hey everyone. I wanted to get your thoughts on this from a directing, acting, and PR perspective.
Justin Baldoni recently released a video statement regarding the legal situation with Blake Lively. As filmmakers and actors, we spend our lives studying human behavior, subtext, and body language. When watching his video, I noticed something interesting about his non-verbals.
When he explicitly denies the allegations and asserts that the "truth" prevailed, he breaks eye contact, looks away, and closes his eyes.
I’m curious how you all read this:
Is it a genuine reflection of emotional exhaustion and trauma?
Or is it a subconscious distancing mechanism? In behavioral analysis (and when directing actors), closing the eyes is often viewed as a "tell" when someone’s words don't fully align with their internal reality.
There is also the crisis PR element to consider. Baldoni leans heavily into the narrative of justice because the most explosive claims were dismissed. But the reality of our industry's PR machine is that a dismissal just means the claims didn't meet a rigorous legal burden of proof. It doesn't mean the impropriety never happened—especially considering several of Lively's other claims did survive before their quiet out-of-court settlement.
When public figures enter crisis mode, they carefully script their words. But they can't always script their bodies.
What is your read on this as industry professionals? When evaluating a highly calculated statement, do you put more weight on the legal outcome, the spoken words, or the body language?
(Note: You can find the video on his Instagram posted on July 8th).
Favorite and least favorite thing about being an actor by Suzanne Bronson • last post Jul 8th
I love getting to play different roles, living lives I would never get to. Being on stage or set is such a high. My least favorite part is the uncertainty of not knowing when the next job is, sometimes the hustle is more exhausting than the actual job. What about you?
Compitiendo con "Tilly": Navegando contratos en la era de los actores de IA. by Catherine James • last post Jul 7th
Hola compañeros Actores y talentos multifacéticos.