All your actor related feeds in one place  •  Actor's Forum

Log in to Actor's Forum to favorite the posts you're interested in and discard the ones you don't want to see again.
Access filtering functionality, search and more... It's FREE!

We have found 20,219 posts across 4 actor forums:

See yourself as a CEO by Timothy Miller  •  last post Apr 16th

in any acting job your wanting to land you must see yourself as the "brand".

investing in yourself by getting current headshots and body shots to "Represent your brand" because you are the brand you are representing.

following up with demo reels and keeping them around 1 minute 30 seconds. never exceed 3 minutes because most casting directors will skim past the longer videos.

make sure to have a professional resume for acting, include training you've gone through as well as credits "if any"  to show your experience in acting.

don't forget to include your unique skills and traits that make up who you are and why you would best fit the role.

Acting and celebrity -- two distinct jobs by Colin Hussey  •  last post Apr 16th

As an actor, it is natural that I'd like to be publicly recognized and appreciated for my talents and contribution to projects. However, celebrity scares me. It's its own job with its own demands. The actor is on the production side--Joe Mantegna aptly calls acting a blue-collar job. You show up on a job site and fulfill the work order. Celebrity is on the sales side of things. It requires a sizable fan-base to maintain and the ability to talk up a project and sell it to the general public, even if the script sucks. (Of course, the star's job is easier when the script is superb.)


Some actors handle celebrity better than others. I shudder to think of what the pressures of fame would have done to me, if I became a star at a young age, when I was more neurotic and less self-aware. It's a rare talent who can manage acting & celebrity with equal facility, like Denzel Washington. Rarer still is the child star who survives the initial burst of fame without going nuts. Bill Mumy comes to mind. He was iconic as Will Robinson in "Lost in Space" back in the 1960s, and he's still working, today, enjoying his family and leading an otherwise normie life.

If one is a celebrity actor, I imagine it helps to compartmentalize the acting and the celebrity side of things. Doubtless, the pay and the perks are great, but the pressure to earn and make millions of people happy must be ongoing, even when off-duty. It's why I'll never bug a celebrity for an autograph or photo.

Who is on your dream list? by Suzanne Bronson  •  last post Apr 16th

As actors we all have had people who have inspired us, or whose work we really admire. We dream of working with those people someday. So my question to you is:


Is there anyone you would like to work with someday, either a director or fellow actor?

Recommendations for Actors by Robert D. Carver  •  last post Apr 16th

Based on my experience as both performer and acting coach, I'd strongly recommend that aspiring, and even seasoned Thespians research and read every book they find on the subject of theatre--both its historical and current movements--whether it's specific to acting or not. For stage diction, in particular, I'd suggest Cicely Berry's "Voice and the Actor."

Anne Hathaway on Being INSPIRED by Beyoncé’s ‘Homecoming’ for 'Mother Mary' by Pat Alexander  •  last post Apr 15th

Anne Hathaway, Michaela Coel, and writer/director David Lowery sit down to talk about their new movie “Mother Mary.” Michaela recalls her and Anne being a “blubbering mess” at their first read-through and the complexities of friendships. Anne dishes on taking inspiration for her pop star character from Beyoncé and reflects on her own experiences with fame and the person vs. the persona. 

(https://www.youtube.com/watch?v=qLrwrxQ5Ubs)

Emotion vs. Emotional Depth: Why They Are Not the Same by Ana Rodrigues  •  last post Apr 15th

I think emotional depth comes from context, not just intensity.


A character can express strong emotions, but without internal conflict or meaning behind it, it doesn’t resonate the same way.

Depth comes from what the character is carrying, not just what they show.

Good news for actors by Tracey Collis  •  last post Apr 15th

At CinemaCon 2026, Cinema United CEO Michael O’Leary pointed to “growing audience trends” and said “audiences are responding.”


That matters for actors.

Because when cinema attendance strengthens, the big screen strengthens. And when the big screen strengthens, demand for films, performances, and theatrical storytelling strengthens with it.

This is exactly why the future is not about replacing actors. It is about supporting actors better — with stronger craft tools, faster prep, and more time to focus on the work that actually books the job.

The Actors Copilot is built for this moment.
https://theactorscopilot.com/

#Actors #ActingCareer #FilmIndustry

How to avoid Self Tape panic by Tracey Collis  •  last post Apr 15th

24 hours does not ruin a self-tape. Panic does.


When the deadline is tight, the real danger is not lack of talent. It is losing your process.

Actors do not need more frantic takes, more overthinking, or more pressure. They need a way to get to clear choices fast — so the work stays specific, truthful, and watchable.

If you have ever opened a late-night casting brief and felt your brain go straight to fear, this blog is for you.

Read: How to Prep a Self-Tape When You Have 24 Hours

https://theactorscopilot.com/blog/how-to-prep-a-self-tape-when-you-have-24-hours

#Actors #SelfTape #ActingCareer

#Actors #SelfTape #ActingCareer

Dialogue Can Make or Break Your Script by Joseph Writer  •  last post Apr 14th

Great dialogue is not just about characters talking. it’s about revealing emotion, tension, and intention.


One mistake many writers make is writing dialogue that sounds “realistic” but not “engaging.”

Real conversations are often boring. Scripts shouldn’t be.

Strong dialogue should:
✔ Move the story forward
✔ Reveal character personality
✔ Create tension or conflict

Every line should have a purpose.

As a screenwriter, I spend a lot of time refining dialogue to make it feel natural but still impactful.

Do you prefer natural dialogue or more stylized, cinematic dialogue?

These 5 Self Tape Editing Mistakes Are Killing Your Audition by Aaron Marcus  •  last post Apr 14th

These 5 Self Tape Editing Mistakes Are Killing Your Audition

https://youtu.be/6ewx0sk3R3k

Have you ever experienced any of these editing mistakes? Is there a specific technical request that is hard for you? Or, have you ever seen one that you can tell us about?

Share your experience below so we can all learn from you and help your fellow actors!
I’ll be jumping in to answer your questions and share my thoughts as well!

The Most Overlooked Step in Every Actor's Career by Laura Hammer  •  last post Apr 14th

Most actors spend years perfecting their craft — taking classes, building their reel, nailing auditions — and then stall out when it comes to the business side. Finding representation is one of the most important steps in a professional acting career, and it is also one of the most misunderstood. The good news is that agents and managers are actively looking for new talent to represent. The challenge is getting your work in front of them in a way that makes them stop and pay attention.


The most effective path to representation is not a cold query letter — it is a warm introduction through a genuine industry relationship. This means showing up consistently at workshops, industry events, and on platforms like Stage 32 where working professionals gather. It means building real connections over time rather than pitching yourself the moment you meet someone. Agents and managers sign actors they have encountered more than once, whose work they have seen develop, and whose professionalism they have experienced firsthand. A referral from a director, producer, or casting director who knows your work is worth a hundred cold submissions.

When you are ready to query directly, do the research. Know which agents and managers represent actors whose careers look like the one you are building — similar type, similar credits, similar trajectory. Personalize every outreach. Attach a strong reel that shows range, a current headshot, and a concise bio that gets to the point quickly. Follow up once, professionally, and then move on. The actors who find representation are rarely the ones who sent the most emails. They are the ones who stayed visible, kept working, and made it easy for the right person to say yes when the moment arrived.

What has been your biggest challenge when it comes to finding representation — and what has helped you move forward?

Inside ‘Beast’: How Daniel MacPherson and Director Tyler Atkins Built an Aussie Fight Film With Real Bite by Pat Alexander  •  last post Apr 13th

“I don’t think anyone expected the guy who used to host Dancing with the Stars to play an MMA fighter called "The Beast” - MacPherson


(https://www.hollywoodreporter.com/movies/movie-news/beast-daniel-macpherson-director-tyler-atkins-interview-1236561119/)

Why Talented Actors Get Stuck by Andrew Higgs  •  last post Apr 13th

The Scarecrow needed brains. The Tin Man needed a heart. The Lion needed courage. Head, heart, and guts — three intelligence centres that the ancient alchemists mapped four hundred years ago. After nearly forty years directing television drama, I've found that the same three centres explain why talented actors get stuck. It's not a failure of talent. It's a failure of integration. I've written about where the process breaks down and what to do about it.

https://thealchemyofscreenacting.substack.com/p/why-talented-actors-get-stuck

My book The Alchemy of Screen Acting: Building a Sustainable Career in 21 Steps launches soon — sign up here for priority access and an exclusive launch discount: https://preview.mailerlite.io/forms/2253823/184195269727880371/share

The 7 Problems Every Screen Actor Faces by Andrew Higgs  •  last post Apr 13th

Spotlight lists over 90,000 performers. Only two per cent make a living from acting. The difference between the two per cent and the ninety-eight per cent is rarely talent. It's whether they solved seven specific problems in the right order — from the closed loop that stops you getting started, to the 280 unpaid hours a year most working actors spend on self-tapes, to the identity shift from artist to professional that most actors resist making. I've mapped all seven from nearly forty years directing television drama.

https://thealchemyofscreenacting.substack.com/p/the-7-problems-every-screen-actor

My book The Alchemy of Screen Acting: Building a Sustainable Career in 21 Steps launches soon — sign up here for priority access and an exclusive launch discount: https://preview.mailerlite.io/forms/2253823/184195269727880371/share

Interview with Dan Martin Roesch by Dan Martin Roesch  •  last post Apr 13th

Dan Martin didn’t arrive at acting; he grew into it, through emergency medicine, martial arts, and the studied calm of a man who learned that the most powerful presence rarely announces itself. @imdb https://www.imdb.com/name/nm6401783/ @vocal.media Interview worth reading https://vocal.media/interview/from-crisis-to-camera

Hamlet by Michael Chabler  •  last post Apr 12th

Thoughts?

https://vimeo.com/1182466218

Robert Pattinson Panicked on His First Call with Zendaya by Pat Alexander  •  last post Apr 9th

Zendaya, Robert Pattinson, Alana Haim, and Mamoudou Athie ponder the worst things they've ever done, playing "couple chemistry", and share their favorite wedding movies, in this interview for 'The Drama'! 


(https://www.youtube.com/watch?v=wBPA9uw7WGM)

Interview with Dan Martin Roesch by Dan Martin Roesch  •  last post Apr 9th

@IMDb https://www.imdb.com/name/nm6401783/ Interview https://medium.com/@noamfriedlander/the-man-who-moves-before-the-camera-does-afa7ab46160e

Emotion vs. Emotional Depth: Why they aren’t the same thing. by Timothy Miller  •  last post Apr 8th

One of the most important lessons I’ve learned in my craft is that Emotion and Emotional Depth are two distinctly different tools in an actor's kit.

Here is how I’ve started distinguishing them in my prep:
Emotion is the "Weather" (The What): It’s the immediate, situational reaction to a beat. Anger, joy, or a tear—it’s the surface-level response to a stimulus. It’s what happens to the character in the moment.
Emotional Depth is the "Climate" (The Why): This is the character’s capacity for feeling. It’s their history, their reservoir of past experiences, and their "inner landscape." It’s the weight they carry into the room before a single line is spoken.
Why the distinction matters:
You can play a "sad" emotion perfectly, but if there is no depth behind it, the performance feels thin. Depth is what makes a silent close-up feel heavy. It’s the difference between a character who is crying and a character who is trying not to cry because of a lifetime of holding it in.
One is a reaction; the other is a state of being.
How do you all build your character’s "reservoir" of depth before you even step on set? Do you focus more on the immediate beats or the long-term history?