Advice

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  • Advice

    Letter to Secret Agent Man

    It was stunning that you confirmed that the main perk of becoming an agent isn't the money nor working with talent; it's the self-aggrandizing power to put young people down and lord it over them in meetings.

  • Advice

    Larry Strauss

    Former pet supply distributor and actor Larry Strauss is a big believer in second chances.

  • Advice

    Top 10 Places to Go in America’s Finest Cities

    Here are the places to hit in common touring destinations across America brought to you by the actors who’ve been there.

  • Advice

    Ree Merrill...Got the Part

    Merrill attributes being able to deliver a convincing performance at the cold read to her years of advanced Meisner training.

  • Advice

    Worshiping a Technique and/or Teacher (aka The Cult Factor)

    "Everything I say is right. Everything I say is wrong. There are many conflicting opinions in this industry. Don't take one person's word as gospel. Including my own. Take what works for you."

  • Advice

    Stuck in the In-Between

    Actors spend the majority of their time preparing for the moment when they can perform or auditioning for those who can grant them that moment.

  • Advice

    Don't Start, Tipping the Scales

    I'm a 44-year-old male, and I was just wondering if it's possible to start an acting career at this stage in the game.

  • Advice

    Northern Exposers

    Casting directors Kathy Mooney and Janet Pound came together last May to form Michigan's Pound & Mooney Casting. Their credits include the Michigan casting for Clint Eastwood's Gran Torino and the upcoming films Whip It!, directed by Drew Barrymore; Youth in Revolt, starring Michael Cera; Demoted, with Sean ...

  • Advice

    Laura Cook

    A combination of flexibility, training, and careful preparation helped Laura Cook land the role of Fruma-Sarah in the AIM Management tour of "Fiddler on the Roof."

  • Advice

    How Do You Help an Actor Who Is Struggling to Create a Role?

    "I think my job usually is to be like a second instinct, brain, and conscience for the actors. I have to work at least as hard as they do, especially prior to and during rehearsal. I have to be able to come in and provide options."