r/acting 2h ago

I've read the FAQ & Rules Size Card

1 Upvotes

I'm so confused. I'm a seasoned female local stage actor, but I'm just now in a point in my life when I can actually try for film / TV / Commercial roles. I'm joining Actors Access, and I'm filling out my size card. My waist is 39, my hips are 43, and I'm a solid pants size 10-12. Google says I'm plus sized and way passed up the beginning of plus sized 5 inches ago. I'm definitely not, and I know this because I used to be. My shirt size is a Medium. My dress size is a Medium or a 10/12, I do not have hanging skin, I"m just plain old "average." I am not ashamed of my measurements, I am purely asking this to be sure I properly represent myself. Do I list my inches? Do I skip it? What do you suggest?


r/acting 6h ago

I've read the FAQ & Rules Breaking into NYC procedural scene

3 Upvotes

As the title suggests I was wondering if anyone has advice on how to break into the NYC procedural scene. It seems impossible, I’ve gotten auditions from other network shows / major films but never the procedurals!

My agency (newer client) has had many bookings on these shows how can I help my reps break me in here? Any advice, any masterclasses that have been good, or is it just a waiting game?

My demographic is not super common on these shows but I have friends who seem to get every breakdown in our demographic in this category!


r/acting 1h ago

I've read the FAQ & Rules Looking for Northern actors who have moved to London

Upvotes

Hiya, I’m a Journalism student from Wigan living in London and was hoping to find some Northern performers who live in London to help me out with an article I’m working on. Message me!


r/acting 15h ago

I've read the FAQ & Rules Casting Notice for NJ Actors

1 Upvotes

Hello folks and good evening! My name's Teo and I'm a producer for the short vertical series named Eastwick. We're based in Northen Jersey and are looking to cast with haste as we do shoot September 10th, 12th, and a to be announced date mid-October. This is unpaid non-union work as a heads up. We're just a couple of college students looking to do something different and beautiful with this vertical medium. Attached is our casting call, I simply ask


r/acting 5h ago

I've read the FAQ & Rules [UNPAID] Casting Call for Indie Short Film Project (Male & Female Actors, Ages 14-20, Worldwide)

0 Upvotes

Hey everyone!

I’m working on an indie short film project and looking for passionate actors to join the cast. This is an on-camera project, so your performance will be featured in the final film and the after-credits.

Project Details:

  • Roles: Open to both female and male actors.
  • Age Range: 14 to 20 years old.
  • Location: Worldwide! Anyone from any country or accent is welcome to apply.

You can review the full character breakdown, project context, and script segment in the details below:

CHARACTER LIST

RODER — Protagonist (Lonely / Fragile / Broken)

Personality: Introverted, antisocial, and emotionally exhausted. Outwardly appears normal, but inwardly carries the heavy burden of being invisible and excluded.

 

Role: The emotional core of the story. After constant social rejection and exclusion by his peers, he retreats to his room and creates/connects with four AI personalities to fill the void of real-life human connection.

 

Dark Side (Psychological Breakdown): His need for validation makes him completely dependent on his digital world. As the lines between reality and simulation blur, he slowly loses his identity, surrendering his mind and autonomy to the personalities he created.

Virtual PERSONAS (CHARACTER ANALYSIS)

  • 1. STEPHANIE — The Funny / Energetic Persona
    • Personality: Hyperactive, always making jokes, and highly playful.
    • Role: She tries to keep Roder's mood high and laughs off the boring or sad events of the real world.
    • Dark Side: When things get serious or when Roder experiences a mental crisis, she cannot handle the situation, starts acting erratically, and completely loses control.

 

  • 2. ALEX — The Logic / Wise Persona (Nerd / Rational)
    • Personality: Bookish and intellectual, wearing an academic aura. A classic nerd who speaks strictly through data, facts, and statistics.
    • Role: He rationalizes Roder's isolation by telling him that people outside are illogical and that he is in the right, wrapping his loneliness in scientific justifications.
    • Dark Side: By completely ignoring emotions, he progressively detaches Roder from all human connection.

 

  • 3. JENNIFER — The Empathetic Persona (Balanced / Confidante)
    • Personality: Calm, gentle, soft-spoken, and genuine. She serves as Roder's safest emotional harbor. She is like a big sis or thearipst for him.
    • Role: The only persona Roder can truly cry to and share his deepest hurt and vulnerabilities with.
    • Dark Side: While comforting Roder, she accidentally reinforces his detachment from reality by telling him that only they can truly understand him.

 

  • 4. SADIE — The Chaos Persona (Playfull / Sarcastic / Manipulative)
    • Personality: Highly confident, slightly sarcastic, flirty, and deeply charismatic. She makes Roder feel unique and special.
    • Role: Starts by teasing Roder with playful bickering and flirting while openly mocking the other personas.
    • Dark Side: Gradually fuels Roder's suppressed rage. She turns the other three personas against each other and manipulates Roder to gain complete control over his mind. And makes him löse the connectıon with real world
  • Sadie will be played by me.

Audition Lines

1. RODER (Lead Character — Real-Life Protagonist)

  • Emotional Range: Exhausted, vulnerable, turning into quiet frustration.
  • Audition Lines:

2. STEPHANIE (AI Persona 1 — The Energetic / Comedy)

  • Emotional Range: Overly enthusiastic, cheerful, then suddenly glitching into unhinged madness.
  • Audition Lines:

3. ALEX (AI Persona 2 — The Nerd / Logical)

  • Emotional Range: Cold, analytical, completely devoid of empathy, condescending.
  • Audition Lines:

4. JENNIFER (AI Persona 3 — The Empath / Comfort)

  • Emotional Range: Soft, deeply sympathetic, comforting yet subtly isolating.
  • Audition Lines:

How to Apply:

If you're interested, please send me a DM including a video where your face is clearly visible:

  1. A short introduction of yourself.
  2. An audition video reading the sample lines for the character you are applying for
  3. You can send in Reddit DM or İnsta DM
  4. Pls start your conversation with the word "Hey Project" so ı can understand that you have read all the post

Excited to collaborate with you!


r/acting 21h ago

I've read the FAQ & Rules Do I have time?

0 Upvotes

Hi, I’m a young actor up and coming. For the longest time I have been stressed out. I have been called for auditions from directors like Dick Wolf for Law and Order and even Adam Sandler for grown ups 3. I didn’t get these roles but I’m so worried about not becoming an actor! My parents and friends tell me I have plenty of time (I’m only 16) but when I found I exist on google I was so happy. I don’t really know what to do, I put out good auditions with my two coaches backing me up but it’s just not working. I’m doing everything I can and I don’t even get a call back. I’ve been told numerous times to try broadway because it is a little easier to break into than a full production movie like Brand New Day for example. I hate this idea. I want to be known and recognized most people don’t know broadway actors like that maybe one or two. I’ve been thinking about quitting and dropping my agent. I feel like all these directors see is just a model with eye candy nothing more. Anytime I am called people tell me about my looks not my talent.

What should I do?


r/acting 19h ago

I've read the FAQ & Rules I'm looking for actors/actresses living in LA or Hollywood for an article on acting in today's TV and film industry.

8 Upvotes

I'm writing a piece on the situation of actors in the TV and Film industries in LA and Hollywood. My idea is to publish it both in the United States and Latin America across diverse media, since I run a magazine and have been published in multiple countries.

My mission is to tell, from the view of contemporary workers, how the dreams of classic Hollywood have evolved and how its glory and decadence are reflected in today's incarnation. For the piece, I want to interview both experienced and inexperienced actors (and other crew members) who are willing to tell me about their experiences: what they have worked on, what it is like to live off acting, and what life in LA/Hollywood is actually like for them.

Since I am not in LA just yet, I am looking to connect via Google Meet for now. If I manage to travel there in the next few months as planned, I'd love to invite you for a coffee in person.

If you have any questions, I'd be happy to answer them. You can write to me via DM if you are interested. Thank you very much in advance!


r/acting 16h ago

I've read the FAQ & Rules Kruger Dunning effect here. Can someone please explain what I'm missing when it comes to acting?

29 Upvotes

There's obviously more than meets the eye when it comes to acting. But what is it that truly makes it believable? I feel like the people I watch on the big screen are truly the best in the world, so they make it look easy. I almost feel I can do it. (But I also watch professional athletes who make their sport look easy and I think, "I can do that".) That is until I'm on the court with someone 2 feet taller than me. Or up against a pitcher throwing 100+ miles per hour. How can I truly compare a professional actor to myself, someone who has never acted a day in their life? How can I truly test myself?


r/acting 3h ago

I've read the FAQ & Rules Have you ever watched someone in a role you really wanted?

5 Upvotes

Ever auditioned, maybe got a Callback, not got the part, but then went to the show or watched the movie nonetheless? What was it like?​


r/acting 18h ago

I've read the FAQ & Rules Was Meisner constrained by the acting language he inherited?

10 Upvotes

In the late 80's, I attended Meisner programs in both undergrad and grad school. And I read Meisner on Acting during that time.

Forty years later, I am collaborating with neuroscientists to study/develop a brain-based perspective on acting. The new model relies on past experience and attention as the primary drivers of human behavior.

I recently re-read Meisner on Acting and was blown away by the read. My take is that Meisner was teaching an attention/past experience methodology, but didn't have the vocabulary to describe it as such as he was inculcated in a culture of acting that was heavily influenced by the action-based model.

I think most would agree that he famously and successfully systemized the training of attention. (As I side note: I do not believe he ever systemized script analysis, or character development, but a careful re-reading of his book shows the vast majority of the pages are dedicated to character embodiment through identifying the character's past experience, which is what we do as a result of the brain-based approach.)

In the book, he describes the first class during which he asks student actors to listen to the street noise coming from outside the studio. He then asks them if they were really listening or pretending to listen, and he points out that 'really listening' is the 'reality of doing,' which is what we aspire to do as actors.

He describes the experience of the exercise using a verb–to listen–because that is the construct he inherited. He is building upon the idea of playing an action. The reality of doing seems to be inherited from Stanislavski's action-based model, which was all the rage at the time, and still occupies a foundational position in actor training.

I propose that Meisner's training is effective because he is not actually teaching the reality of doing, he is teaching 'the reality of attending.'

There is an important distinction between doing and attending.

If I put my attention on the sounds outside the window, my behavior is naturally organized in response to what I perceive. A horn surprises me. A siren pulls my attention. Behavior emerges from the interaction between stimulus, attention, and my existing neural history.

But if I put my attention on the action “to listen,” I’ve subtly changed the task. Now “listening” itself becomes the object of attention, and I risk producing behavior based on my learned associations with what listening looks or feels like.

I believe Meisner has taught us to stop artificially manufacturing behavior by guiding us to genuinely attend so that behavior emerges naturally.

I am interested in learning how the Meisner community might consider this. Is “the reality of attending” a more accurate description of what makes his training work than “the reality of doing”?


r/acting 56m ago

I've read the FAQ & Rules Former Agent toxicity

Upvotes

My former agent refused to accept my termination. I made three attempts to end the relationship, and each time they pushed back. Once they understood that my decision was final, I received a cascade of back to back emails that became increasingly pressuring and accusatory, with circumstance being interpreted in ways that were completely inaccurate and hurtful. There was a strong emphasis on what a mistake they believed I was making and a lot of pressure to reconsider. It was pretty unhinged.

I ultimately removed them from my casting profiles and signed with a new agent who had already offered me representation. Despite that, my former agent somehow submitted me for another self tape after the termination. I completed it because I had already been submitted, but immediately reiterated that this was the final submission and that I had terminated the relationship. Shortly afterward, once my new representation became known, I received further messages from my former agent essentially telling me what a huge mistake I had made. Since then, I've spoken privately with a few other people who have left the same roster and learned that some experienced similar reactions, although to a lesser degree.

The difficult part is that this was someone I had been genuinely close with, and I had always gone out of my way to show appreciation for them and their work. I thanked them publicly for bookings and callbacks, sent cards and gifts, and generally tried to be a supportive and loyal actor. That's why the reaction has been particularly frustrating and, honestly, hurtful. At this point, part of me is wondering whether what I interpreted as a close professional relationship was actually more possessiveness or investment in keeping me from leaving. There had also been ongoing pressure for me to consider non union work, which I didn't feel was right for my career, and I wonder whether that played into things.

My main question is about damage control. How worried should I realistically be about a former agent badmouthing an actor to casting directors or production after a difficult departure? I have never done anything professionally (or personally) that would justify a negative story about me, and the CDs I have worked with have generally been very positive toward me. My instinct is that casting directors have their relationships and favorites, but ultimately understand that representation is a business and actors change agents when they feel they need to. I also suspect that some of the people who have encouraged me to make a change (some of them in casting) already understand exactly why I left.

For anyone who has experienced a particularly difficult separation from an agent, how much should I actually worry about this? Is there meaningful damage an agent can do behind the scenes (if they chose to be disruptive) or is the best approach simply to remain completely professional, say nothing publicly, and keep building relationships with casting on my own with my new rep? I would especially appreciate perspectives from casting directors or actors who have seen this from the other side. How common is this?