Acting

The only casting websites I know of, require a monthly subscription to submit. Actors access, castingnetworks, backstage. They cast all over the US. Are you NU or SAG AFTRA?

thanks you so much for your help

Excuse me, I just saw your last question. And perhaps it's because I'm French, but I don't know the meaning of these abbreviations "NU", "SAG" and "AFTRA".

Thank you very much for sharing your journey. It is truly fascinating. I hope you find your way back to the stage and also get the opportunity to work with children. Good luck Elizabeth Thomas

If you have a few kids, you find out that some/most can be readily coaxed to act as they consider it play. Add professional guidance to that and innate talent and voila.

Yeah, I see my students trying to act while playing, so they already have the seeds of acting within them David Taylor

This a great question Meriem Bouziani I have wondered how they get really young children to act. Though imagine to them it's make believe.

I think it is like David Taylor said: they mimic what they have seen. I also think it is about feeling comfortable and happy in the acting environment.

I remember a scene from Maleficent, where Angelina Jolie wore the black dress and crown. They said many children cried and refused to act with her because the costume looked so scary. Only her daughter did it, because she knew her and felt comfortable around her, even though the dress looked frightening Suzanne Bronson

I agree Laura Hammer improv is a powerful tool. I highly recommend taking at least one improv class, even if improv isn't your thing. It's great for helping you think on your feet. This is especially important when doing live theater as you never know what will happen. Lines are dropped, entrances are missed, props break, lighting boards catch fire, the audience misbehaves, etc. But thinking quickly to get things back on track without the audience knowing it's gone off the rails, is a skill. That takes practice, and you don't want to develop that one in real time.

What are some ways it can help tv and film actors?

This is a great topic, I"m bumping this to the top.

Love this question! It was a moment when I was younger and got the advice to "stop watching myself" - like you, it's all about being present! It is a wonderful and special thing.

Thank you Paige Hullett I agree. If we are watching ourselves and caring what the audience thinks, we are connected to the other actors in the scene, and living the reality of the moment.

For me, personally, as actor, I don't find storyboarding helpful. I am a kinestic learner. I learn by doing. That is what a tech rehearsal is for.

Kevin Jackson, I agree, this really does feel like a new reality for a lot of people right now, and my heart goes out not just to my friends in the industry who are facing it, both in front of and behind the camera, but to everyone who is struggling through this shift.

At the same time, I do think what we’re seeing is very concentrated in the traditional Hollywood ecosystem, particularly in LA and NY, where so many careers have been built around a system that’s now contracting and redefining itself.

What’s interesting is that while things are tightening there, we’re also seeing rapid expansion in other parts of the world. New filmmaking infrastructures, incentives, and opportunities are opening up in regions where access to this industry has historically been limited. For many creatives globally, this is the first time they’re able to realistically pursue a career in entertainment at this level.

So it feels like one of those major industry shifts where both things are true at once. There’s real disruption and uncertainty, but also new doors opening in parallel.

Like any big transition, some processes are ending while others are just beginning.

I’m curious how you’re seeing it from your perspective, do you feel like this is more of a contraction overall, or more of a redistribution of where and how work is happening?

Hi Kevin! The industry is not dead. It is changing. It's becoming more global. And that's a good news for new creators.

Timothy, this is a great mindset—treating your acting career like a business and yourself as the brand is key in today’s industry. For actors building that foundation, keeping materials updated and leveraging Stage 32’s resources and industry access can make a big difference, and we’re always here to support and guide you!

thank you, having the right mindset for the industry your pursuing will help you but having the knowledge in the industry will open the doors to your success. Laquan Copeland

Timothy Miller, I love this, and it feels like such a great extension of Sandra’s conversation in the Producing Lounge about the CEO mindset of producing.

You’re really applying that same thinking to acting in a way that’s so important right now. Seeing yourself as the brand, the business, and the product all at once is such a powerful shift. It moves you from waiting for opportunities to actively positioning yourself for them.

Everything you mentioned, headshots, reels, resume, unique skills, it’s all part of how you communicate your value clearly and professionally to the people making decisions. I especially appreciate the emphasis on keeping materials concise and intentional. That awareness of how casting directors actually review submissions is key.

I completely agree! It was amazing reading Sandra's post. Having her break down the process of a CEO mindset proves that it works in more than just acting. That mindset can expand and reach even further when applied to other creative and entrepreneurial principles!

thank you for sharing her post with me, if you find anymore similar please let me know @Ashley Renée Smith

Thank you! My goal is to be a resource for others. I want to provide legitimate, practical help to those getting started in acting, modeling, and video editing. There’s nothing better than helping people gain the knowledge they need to actually hit their goals.

Laquan Copeland

To jump off what you Timothy Miller said about pulling out a memory that matches the feeling you want to achieve, I have aphantasia. Which means I have a "blind mind's eye." I cannot visualize a scene, so I need to focus on the feelings I want for my moment before. I share this, to let others know, it is a thing. I didn't learn about it until I was well into my 40s. So for decades, I thought there was something wrong with me, in acting class, I would never admit, I couldn't "see" the image. But if I want to imagine myself on the beach, I use my sense memory. The smell of the air, the sounds of the waves, the feel of the sun, the taste of the salt. It works. I start sweating, need to fan myself, because the body remembers.

If anyone reading this is like me, and has aphantasia, then just focus on the feeling you want. A memory, sometimes I use photographs and music to get me to where I need to go before a scene. Or I think about a person who triggers me, if I need to be angry or sad.

everyone has their own means to reach that emotional threshold for the scene they want to show. finding you key to reach that same effect is amazing!

Timothy Miller, this is such a great breakdown, and that “weather vs. climate” analogy is incredibly clear and useful. This also connects so well to how writers approach character. When that “climate” is built into the script, it gives actors so much more to work with, and when it’s not, it really shows.

Really appreciate you sharing this. I’m curious, have you found that certain roles require you to build that reservoir more intentionally ahead of time, or does it sometimes reveal itself more organically as you work through the material?

Ashley Renée Smith

In a scene like the one in F9 where the character's father dies in a crash, simply running and crying on cue doesn't sell the true weight of the moment. I have to actively build up and bottle that grief and adrenaline before the cameras even roll.

By holding that reservoir in, the emotion reveals itself organically when I actually do the run. It becomes a real, explosive reaction rather than something manufactured

Hi Ana Rodrigues were you trying to comment on Timothy Miller's post? Do you think you can delete this as a post and rewrite it as a comment on his? Or if you are wanting to start a new conversation, can you rewrite this in the form of a question? Reach out to me or any of the moderators if you need help navigating. Thank you

Ana, this is a great distinction, emotional depth rooted in context and internal conflict is what truly makes performances resonate beyond surface-level emotion. For actors exploring this, Stage 32’s labs and coaching can help deepen that work, and we’re always here to support and guide you!

Hi Suzanne,

Thank you for letting me know, I appreciate it! I’ll adjust my post accordingly.

Ana Rodrigues, this is such a strong distinction, and I love how clearly you’ve articulated it. I think this is especially important for actors because it shifts the focus away from “how big can I play this emotion” to “what is driving this emotion beneath the surface.” When you’re working on a role, what helps you most in uncovering that deeper layer, backstory work, script analysis, or something more instinctive?