Hey I’m wondering if anyone else experienced this, but I’m realizing that I get really bad anxiety whenever I attempt to self tape. Like I start over-analyzing each minor action, gesture, pitch change, pronunciation.... it just drives me insane. This doesn’t happen whenever I’m performing. In fact I feel most confident when I’m in front of an audience. With the whole covid thing going on, a music video that was originally supposed to be choreographed in person will now be choreographed virtually. The choreographer asked for me to send video of a hip hop freestyle performance and I was about to record and after procrastinating for hours, I finally mustered the courage to set up my camera and as soon as I started dancing it was as if I had no idea how to move lolll and I’m actually a good dancer. (I know this is technically not an “acting” example but I’m also an actress; this is just something that happened a few minutes ago and the feeling is still fresh) I’m just wondering if anyone else has had this sort of anxiety about self taping and how they overcame it/are working through it. I see a lot of people say that they have anxiety with performing on stage or in an auditioning room but no one really talks about self tape auditions.
Hi everyone! I had a limited experience with theatre acting when I was a teenager but I had some friends who took acting far more seriously, did commercials and tv shows, had agents, joined ACTRA (Canadian actors union), and so on. I got in to a discussion today about credits and crediting practises which lead to the questions at hand. What are the main differences between the (American) stunt persons's union SAMP and the (American) acting union SAG-AFTRA? Why would a stunt person be in SAMP and not SAG as I can see stunters are eligible for SAG? I gather they protect those with different skill sets in different ways. I'm looking for advice from those with intimate experience to help me navigate the nuances. To join the actors union you need a certain amount of credited acting (ie. speaking) roles. To join the stunting union I assume it's the same/similar. Do more stunters not do "acting" in the traditional sense but sometimes actors do stunts and are therefore covered by SAG for both? Thank you so much in advance everyone!
For some reason I’m unable to find any good scripts to practice while at home. Does anyone have any recommendations or links to any good ones. It can be a male, male or male, female scripts
Hi I'm an international student in France and I'm about to graduate from a film school where all the methods are taught in English, but i'm not sure if there are jobs for someone like me who can only perform in English. also if i don't find a job , i have to leave France. on the other hand i really want to build a strong resume here and there as an actor/MoCap artist/voice actor so i could travel to L.A. someday to get better opportunities and reach higher levels. is my plan even possible ? what do you recommend ? thank you.
Like The Witcher, Sex Education, etc... how does an actor who is not represented by an agency get the attention of the UK Netflix CDs?
What is a good number of auditions that a voice actor should do in a day?
Hey everyone, I've just moved to London and I'm looking to get into background acting/Being an extra, I do not have much experience besides filming a few long lost documentaries à few years back and being in a few just yammering about a music scene for a few minutes, Anyways does anyone have a few pointers of where to start? I've looked up a few of the more popular websites but getting mixed feelings about them at the moment, if anyone has any experience with them please do share.
Recently, I started working on a short film to pass the time during quarantine. However, I'm the only actor in it. Usually, I am a better actor when I can play off of people. Any ideas of how to express myself without anyone there?
Whenever I see actors (Martin Freeman and Cate Blanchett come to mind) doing anxious roles/scenes, I can't help but notice how, even though they do a really good job at seeming anxious, they also seem maintain impeccable bodily/facial coordination. I mean, they have to, or else the scene wouldn't work, right? I'm not an actor nor an expert on acting but I believe actors usually get themselves to start crying or getting emotional not by pretending, but by actually thinking of something emotionally distressing to elicit a real, physiological response. But with real anxiety, generally you get tunnel vision and lose fine coordination skills & overall "control" of your actions. You can see how this could make a meticulously crafted dramatic scene fall apart pretty quickly. Still, somehow on top of creating the impression they're under a great deal of stress, good actors are able to time and deliver their lines+facial expressions so naturally and coordinate themselves reactively to whatever's going on in the scene - things that require tremendous control over your actions to pull off. This leads me to the question of: Are they really getting themselves to feel anxious and somehow overcoming the side effects, or are they actually calm, cool and collected before, during and after the cameras are rolling?
Looking for casting directors that give out helpful tips to actors on their Instagram for example @ccrcasting has Q&A’s on her stories and they very helpful. Or any that you would suggest that are a good follow. I enjoy seeing their content. Thanks!
Time for a question. I was watching the film Black Swan the other day, and there a few scenes of the main character setting up and practicing rudiments in front of a mirror in her own dance studio at home. I then re-watched Whiplash, which has similar scenes of the main character going over and over and over his rudiments. These films, along with conversations I've had with friends on how rehearsals in our living rooms feel vs. rehearsals in our studio space, and acting being a art form to be witnessed, coupled with the state of the world right now got me thinking; is there any equivalent way that actors can practice the rudiments of their craft at home, beyond the obvious and necessary vocal and physical/movement exercises? What form would those rudiments take? Would they be mechanical and technique based, or more free form? Would it be a case of picking up a new script every week and deep diving into character building and line learning to develop those skills, or is there something simpler or more complex that needs to be done? It's a question that's been bouncing around my head for a few days, so i thought I'd get everyone's opinion and maybe have a quick discussion.
hello everyone! my name is Araika, i am from Kazakhstan. I am just curious about 'getting an agent' topic as an Actor. Perhaps I will need this information for the future. Does anyone here experienced such a thing which I've mentioned above? Is Agent in Acting industry is as the same as for example Manager in Music one? Maybe some of you has stories with an agent, where he/she got a role for you, but where you did not want to be involved in? I just do not know how this stuff works.. thanks!
Hi everyone, My name's Anna, just joined the site. I was wondering if anyone knew how the new Voice123 packages work? My premium subscription recently ran out and I'm unsure which one to subscribe to... I did try emailing the Voice123 helpdesk twice but didn't get a response before my subscription ran out (they're usually pretty good). Anyway, the stats seem to vary massively from week to week (it says they change monthly and 'can't be guaranteed' in their T&Cs). For example, the difference between the number of competing actors for the 2 middle premium packages ($325/$395) has changed from 301 for the lower premium and 25 for the higher premium at the start of the week, to 306 for the lower and 292 for the higher today! Seems like a massive difference and makes it very difficult to know which package is best value for money. I know that Voice123 algorithms have always been baffling but they seem to be taking it to new levels with these new packages! Thanks Anna