When formatting an acting resume, it's important to follow certain guidelines. In the acting industry, you might receive various recommendations from different people because casting directors and agents each have their own preferences. However, this is the standard practice that is typically followed.
TOP OF THE RESUME: At the top of your resume, place your agency's logo in one corner. Beneath the logo, include your agent's name, email address, and phone number.
In the opposite corner, list your name in bold and slightly larger font (use a standard font such as Times New Roman, Arial, Garamond, or Georgia). Your email address should be listed directly under your name. Do not include your phone number or address here. Union status should only be mentioned if you are a union member; there is no need to state "non-union" or "SAG-E" on your resume.
FORMATTING: Arrange your resume in the following order, paying close attention to detail, capitalization, and grammar:
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AGENCY YOUR NAME
AGENT'S NAME SAG (OR NOTHING)
AGENT'S PHONE YOUR EMAIL
AGENTS EMAIL (YOU MAY PUT A WEBSITE IF YOU WANT)
YOU MAY PUT HEIGHT-EYE-HAIR COLOR
FILM
MOVIE I WAS IN Lead Dir: John Doe
MOVIE I WAS IN Supporting Dir: John Doe
TELEVISION OR TV
TV SHOW I WAS IN Series Regular NETFLIX
TV SHOW I WAS IN Recurring ABC
TV SHOW I WAS IN Guest-Star AMAZON PRIME
TV SHOW I WAS IN Co-Star XYZ PRODUCTIONS
THEATER
NAME OF THE SHOW Character Name Theatre
NAME OF THE SHOW Character Name Theatre
NAME OF THE SHOW Character Name Theatre
COMMERCIALS CONFLICT AVAILABLE UPON REQUEST (If you have commercial bookings you may put this. Do not list commercial bookings on your paper resume.)
TRAINING
THE LESSON Acting Coach School (Adding Location Initials is fine)
THE LESSON Acting Coach School (Adding Location Initials is fine)
THE LESSON Acting Coach School (Adding Location Initials is fine)
SPECIAL SKILLS
Singing (Alto)(Intermediate), Horseback Riding, Manual Driving, Precision Driving, Karate, Dance (Hip-Hop, Salsa), Swimming, Rapping (Intermediate), Tactical Weapon Usage, Police Officer Experience.
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Formatting Your Resume: Key Points to Remember
YOUR HEADSHOT IS ONE OF THE MOST IMPORTANT MATERIALS YOU HAVE TO MARKET YOURSELF AS AN ACTOR. IT IS YOUR FIRST IMPRESSION, YOUR PHONE INTERVIEW.
NOTE: A THEATRICAL HEADSHOT IS (NO SMILE) A COMMERCIAL HEADSHOT IS (SMILE)
YOU MUST RESEARCH HEADSHOT PHOTOGRAPHERS AND VIEW THEIR PHOTOS TO FIND THE RIGHT PHOTOGRAPHER FOR YOU. DO NOT GET HEADSHOTS DONE BY ANY PHOTOGRAPHER, GET THEM DONE BY A (ACTING HEADSHOT PHOTOGRAPHER).
THERE ARE SO MANY RULES AND INTRICACIES TO ACTING HEADSHOTS THAT THE HEADSHOT PHOTOGRAPHER MUST BE KNOWLEDGEABLE OF BEFORE SHOOTING YOU. LIGHTING, ANGLES, TYPE, AND ATTIRE CHOICES ARE ALL CRUCIAL DECISIONS WITH HEADSHOTS.
YOU SHOULD ALWAYS HAVE A GOOD THEATRICAL AND COMMERCIAL HEADSHOT. YOUR ACTORS ACCESS DOESN'T NEED TO BE FILLED WITH HEADSHOTS, JUST A FEW THAT SHOW RANGE (THE DIFFERENT CHARACTER TYPES YOU CAN REALISTICALLY PLAY.) YOUR PICTURES SHOULD NEVER JUST BE BARE-FACED. SHOW SOME PERSONALITY, SHOW A CHARACTER TYPE WITHOUT OVER PLAYING IT OR DOING TOO MUCH. A SMIRK OR INTERESTING USE OF THE EYES WORKS, BUT WE NEED TO SEE SOMETHING OTHER THAN A PICTURE.
THE QUALITY OF THE PICTURE SHOULD BE AS SHOWN. CLEAR, HIGH RESOLUTION, MIDDLE OF CHEST TO TOP OF HEAD, VERY LIGHT RETOUCHING (EDITING) YOU WANT TO LOOK LIKE YOUR PICTURE IN YOUR AUDITIONS, NO DISTRACTING CLOTHES WITH WEIRD PATTERNS OR LOGOS.
KNOW WHO YOU ARE!!! CAN'T STRESS THIS ENOUGH, TAKE A WORKSHOP LIKE "THE SAM CHRISTENSEN IMAGE INTENSIVE" BY GET TAPED! OWNERS MATT AND BROOKE CORNWELL. THIS WILL HELP YOU UNDERSTAND HOW PEOPLE VIEW YOU. REMEMBER, AS AN ACTOR, IT DOESN'T MATTER HOW YOU VIEW YOURSELF, IT MATTERS HOW EVERYONE ELSE VIEWS YOU. THAT'S WHAT'S GOING TO BOOK WORK -- WHEN YOU LEAN INTO HOW EVERYONE ALREADY SEES YOU. YOUR PICTURES SHOULD DEPICT THIS! THEY NEED TO SHOW WHAT YOUR TYPE IS, AND WHAT YOU CAN REALISTICALLY PLAY.
The most common mistake new actors make is seeking out an agent before they’re ready. Instead, you should focus on letting an agent find you. Dedicate your time to training—enroll in classes, attend workshops, and participate in seminars to enhance your skills and deepen your knowledge of the craft.
In your acting classes, studios often hold showcases where agents and casting directors observe your performance. Workshops also provide opportunities to demonstrate your abilities to industry professionals. If they find your work impressive, they may reach out to you. Sometimes, even if you’re exceptional, they may already have someone with your type on their roster, which is beyond your control. It can take years of dedicated learning and experience to be ready to sign with an agent.
Remember, when you do sign with an agent, your entire image, brand, and reputation are at stake. They won't excuse mistakes due to ignorance; it's your responsibility to be well-prepared before you sign. Don’t rush the process. Focus on your craft and let opportunities come naturally. Rest assured, an agent will find you when the time is right.
Here’s a personal reflection from Amondre D. Jackson:
"When I first started taking acting classes, I made it into a showcase. I performed well, and a top agency in the city reached out to me. I did the audition but didn’t get signed, which was disheartening. Years later, I reviewed that audition and realized how far off I was. I'm grateful they didn’t sign me, as I would have jeopardized my career before it even began. Today, I’m with a great agent and audition frequently, but I recognize that without the knowledge and experience I’ve gained, I wouldn’t be where I am now."
Actors, Beware of Scams!
There are many scams targeting actors, so it's crucial to stay vigilant. Nothing should cost actors thousands of dollars. The only expenses you should incur are for classes and materials. Here’s a breakdown of typical costs for essential services:
These are standard price ranges for the main services actors use depending on where you obtain the services from and the professional's level of talent and expertise. Be wary of anyone demanding several thousand dollars upfront for classes, showcases, or other services they claim will help you land acting work. Building a successful acting career takes time. Consistent training in classes is essential, and you'll find everything else you need through these opportunities.
If you’re serious about acting, consider moving to key industry hubs like Atlanta, Los Angeles, or New York. Many acting studios in these cities also offer online classes, so if relocation isn’t possible, take advantage of online training options.
Clearing Up Misconceptions: Demo Reels and Clips
A common misconception among actors is that they need a demo reel to get signed by an agent or to book roles. This is not true. In fact, a poorly made demo reel can hinder your chances of being signed or booked. You can still get auditions and secure work without a reel. Focus on having strong headshots and a solid body of work instead. Once you start booking roles, you can gather footage and create a reel.
Creating Clips
Clips are brief scenes, typically around 10–20 seconds, that showcase specific aspects of your acting abilities. These can include comedy, drama, romance, and various character types like a killer, sports agent, or reporter. Clips help your agent pitch and submit you for roles more effectively.
Reel Standards
For optimal results, use a high-quality camera, such as the Sony a6400 or a similar model. These cameras cost over a thousand dollars, and you'll also need an SD card and a RODE mic to mount on top. If this setup isn’t affordable, using your phone is a perfectly acceptable alternative.
You can purchase a suitable backdrop for your skin tone from stores like Amazon. Ensure it’s large enough, similar to the example shown to the left, and that it includes stands and tools for setup. Opt for gray or blue backdrops, as other colors can be risky.
You'll also need box lights. Buy at least two and position them further back from you, ideally angling them slightly away to avoid excessive brightness on your face. Proper lighting is crucial; too much light can cause overexposure. Avoid mixing room lights with box lights, as differing bulb colors can affect the overall look.
A tripod is essential for mounting your phone or camera. Adjust the tripod according to whether you are standing or sitting, ensuring the camera is at eye level. Make all zooming, tilting, and other adjustments from this position.
When recording, ensure only you and the backdrop are visible. Avoid showing backdrop corners or equipment. The camera should be horizontal, not vertical. Frame yourself according to the casting director’s instructions—typically from the belly button to the top of your head (with no headroom) for the scene, and from the chest to the top of the head for the slate.
Stand several steps away from the backdrop to minimize shadows. Your backdrop should have little to no shadow during your audition.
Verify that your mic is functioning properly. Some people use a lapel mic for better sound quality; if you do, ensure it is discreetly hidden.
Ensure you have a reliable reader who does not overpower your volume but gives you life and something to feed off of.
Follow these steps for a self-tape audition:
Fully commit to your choices and infuse energy and personality into your audition. Lack of commitment can make your performance seem half-hearted, diminishing your chances of booking.
Do the Work: Thoroughly analyze the script before filming. Consider the following:
All of this is important when doing a self-tape audition!
Use editing software like iMovie, Adobe Premiere, or any other tool that allows for easy video editing. Choose clear starting and ending points that look natural. While you may use a fade-out, avoid fading in as some casting directors prefer not to see it. Use noise reduction if necessary to eliminate background or room noise. Export your files in 720p resolution, ensuring the file size does not exceed 200 MB.
So, You’ve Booked a Gig—What to Expect
Congratulations on booking the job! Here’s what to expect:
You’ll receive communication from the 2nd Assistant Director (2nd AD) or the wardrobe department as your filming date approaches. They will likely want to schedule a fitting in advance so your wardrobe is ready when you arrive on set. For SAG projects, you will be paid for your fitting appointment.
You’ll also get details and a call sheet from the 2nd AD, usually via email. The call sheet provides comprehensive information about your shoot day, including location, arrival time, scenes being filmed, nearest hospital, and sunset time. This document is your guide for the day.
Here are a couple of links that teach you how to read a call sheet:
The Anatomy of a Call Sheet: A Video Tour | StudioBinder Tutorials
https://youtu.be/px-qMyIOi4w?si=zHtssuk2ocMcvGTA
https://youtu.be/SBMgmyRHOUA?si=Y3iJSE8u3ugGdL3V
If you haven’t received information two days before shooting, don’t worry—sometimes it arrives late the night before.
Upon arrival on set, look for base camp, check in with the 2nd AD, and your journey will begin.
Important Things to Remember:
Congratulations again on your booking! Break a leg!
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What’s Set Like?
Busy! Interesting! Cool!
Set life can vary greatly. It might be hectic, with everyone moving quickly to meet deadlines, or it might be relaxed, with a friendly and enjoyable atmosphere. Assess the environment and adapt accordingly.
Always Be On Time: Arriving 15 minutes early is considered on time.
When you first arrive, head to "Base Camp," where the trailers are located. Here, you’ll typically meet your 2nd AD, receive your wardrobe, complete any necessary paperwork, and collect your per diem (daily spending money, usually in cash).
Hair and makeup will usually be nearby to prepare you before shooting. Introduce yourself to everyone by name; it helps in building rapport and ensures they remember you.
When it’s time to shoot, a driver will escort you to the set. There, you’ll meet the Production Assistant (P.A.), 1st Assistant Director (1st AD), Sound Mixer, 2nd Assistant Camera (2nd AC), Director of Photography (DP), and Director. You and your scene partners will then block the scene (i.e., decide on movements and positioning) before shooting begins.
Tips for Acting on Set:
You might encounter the "second unit" on set, which stands in for you while the 1st AD, Director, and Director of Photography (DP) set up the scene. Extras will also be present to fill the background.
Typical Set Crew:
These are just a few crew members you may interact with. Get to know them and make their jobs easier by doing yours well.
Most sets have a "Green Room," a rest area for you until you’re needed on set. Lunch is provided, and there’s usually a crafty table with snacks. Avoid spilling food on your wardrobe, consuming anything that might upset your stomach before shooting, or making yourself overly sleepy.
THE FOLLOWING LINK WILL TAKE YOU DIRECTLY TO GEORIGA'S NOW-FILMING PAGE:
Now Filming In Georgia | Georgia Department of Economic Development
As of: 12/13/2024
TV:
ALL THE QUEENS MEN S5 - BET+
ALLIANCE THEATRE ANYWHERE S4 - ALLIANCE THEATRE
BEYOND THE GATES - CBS
BMF S4 - STARZ
CEDAR LODGE - NETFLIX
COBRA KAI S6 - NETFLIX
FIGHT NIGHT - PEACOCK
FOUND S2 - WB
GROSSE POINT GARDEN SOCIETY S1 - NBC
HIS & HERS S1 - NETFLIX
OUTER BANKS S3 - NETFLIX
PEACEMAKER S2 - HBO
P-VALLEY S3 - STARZ
PERIMETER S1 - BET+
REASONABLE DOUBT S2 - HULU
STRANGER THINGS S5 - NETFLIX
SWEET MAGNOLIAS S4 - NETFLIX
TEACUP - PEACOCK
TELL ME LIES S2 - HULU
THE ATLANTA OPERA SHOWCASE S2
THE BAND - AMAZON PRIME
THE BONDSMAN - AMAZON PRIME
THE HUNTING WIVES S1 - STARZ
THE MS. PAT SHOW S5 - BET+
THE RUNAROUNDS S1 - PRIME VIDEO
TULSA KING S2 - PARAMOUNT+
TYLER PERRY'S ASSISTED LIVING S5 - BET+
TYLER PERRY'S HOUSE OF PAIN S11 - BET+
TYLER PERRY'S SISTAS S8 - BET+
TYLER PERRY'S ZATIMA S4 - BET+
TYLER PERRY'S BEAUTY IN BLACK S1 - NETFLIX
TYLER PERRY'S RUTHLESS S6 - BET+
TYLER PERRY'S THE OVAL S7 - BET+
TYLER PERRY'S YOUNG DYLAN S5 - NICKELODEON
TYLER PERRY'S BRUH S4 - BET+
WILL TRENT S3 - ABC
FILM:
CEDAR LODGE
GIVE ME BACK MY DAUGHTER
SCAR TISSUE
SINGLE BLACK FEMALE III - LIFETIME
THE MONIQUE SMITH STORY - LIFETIME
MARVEL UNTITLED - MARVEL
ROLLING LOUD FILM
In the acting world, punctuality is crucial. Being late to class, auditions, or on set is seen as disrespectful to the coach, casting director, or crew, and suggests a lack of dedication to your craft. Always be on time; it demonstrates respect and commitment.
Acting demands immense dedication. The time, investment, and effort you put into your career will reflect in your results. If you give only half of yourself to the craft, it will take you twice as long to advance. It’s often said that it takes 10 years for an actor to become an “overnight success.” Mastery of the craft requires years of learning and growth, but eventually, success will follow.
Natural talent just means that you grasp the idea faster than others, but it never means that you don't need to learn to grow. It's never a good idea to think you don't need training. Even A-listers continue to train.
Training is paramount for any actor. If you’re not training, you’re not progressing. Actors must continuously learn and refine their skills—whether through standard acting techniques, audition techniques, improv, emotional preparation, scene work, or other aspects of the craft. The worst mistake an actor can make is believing that training is no longer necessary. Always be in class, always be learning.
Building an acting career requires years of developing relationships with casting directors, directors, producers, and others in the industry. These relationships gradually lead to bookings. It takes time to perfect your craft and become comfortable enough to perform with genuine passion and commitment, regardless of external opinions. Be patient, do the work, and stay supportive of others. Acting is about timing, and when it's your moment, it will come.
To be considered for representation and auditions, ensure your materials are nearly flawless. These materials include:
Understanding the business side of acting is essential for your growth. Read “Self-Management for Actors” by Bonnie Gillespie to gain insights into the industry.
It’s important to learn about how your materials should be prepared, who the casting directors are in your area and their preferences, audition standards, the benefits of the actor’s union, when to join the union, pay structures, set terminology, and industry expectations. Investing time in learning the business will benefit your career and influence how quickly you advance.
Voice acting is a great way to make extra money as an actor. There's a ton of work for actors to go after. You can get training from Bill Celler at Bill Does Voices, a tremendous voice coach who has helped so many voice actors in Atlanta become successful. There are many ways to get voice-over auditions:
Voice 123
From your agent
Bill sends you auditions if you train with him
Casting Networks
Actors Access
Networking
To be an effective voice actor, you'll need a home studio, or a voice studio like Atlanta voice-over studio to go to on short notice. Voice-over auditions come fast and are typically due fast, so you'll need the following to build a home studio:
A small room, area, or closet in your house with no noise. Two-inch wall padding foam squares to cover your walls, a Blue Yeti mic, or a RODE MV-1 mic (similar to the one in the pic above), an interface to connect the mic to, and a laptop with sound editing software to edit with. Voice coaches teach you how to edit your work as part of your training process, and help you create a demo reel.
Every audition should start with a “moment before.” To create a believable moment before, you need to understand and convey the scene's location. Are you in a hospital, a classroom, a restaurant, at home, in a busy place, a loud place, a hot place, or a cold place? Your actions, dialogue, and interactions should reflect the environment. The audience should be able to discern the setting through your performance, including how you talk, acknowledge your surroundings, and physically respond to the environment.
Understanding the relationship between you and your scene partner is crucial. The audience needs to know if your scene partner is your mother, brother, friend, spouse, boss, co-worker, etc. This is achieved through your interactions. How would you naturally speak to a co-worker, a parent, a sibling, or a spouse? Additionally, you must convey the dynamic of the relationship. Are you on good terms, or is there tension? Do they annoy you or make you happy? The audience should feel the relationship's dynamics through your performance.
Every character has an objective in each scene—what they want most. Scenes are crafted to advance the story and convey important information. Your character should be striving for something significant in each scene. Your job is to identify this objective and perform in a way that reflects your commitment to achieving it, thereby effectively communicating your character's desires to the audience.
The overall scene objective ties into the writer's vision. While the writer crafts the screenplay, your role as an actor is to bring this story to life. Each scene serves a purpose in moving the narrative forward. Understand what key information or message the scene is meant to deliver. Your performance should align with this objective, using your choices, dialogue delivery, and commitment to convey the necessary information. As an actor, your ultimate job is to tell a story.
Creating a detailed backstory for your character is essential. Writers provide a general outline, but it’s up to you to flesh out the details. Why is your character wise beyond their years? What experiences have shaped their demeanor? What is their occupation or financial status? What is their family background? Consider their upbringing, what they wanted from their parents, their sexual orientation, personality traits, education, and flaws. Developing a comprehensive backstory will help you understand and portray your character more authentically.
Memorizing lines should be the final step in your script analysis process. Once you have a clear understanding of your character, their objectives, and the scene, you can begin memorizing lines. Understanding the context makes it easier to remember your lines. Start by breaking down the script into manageable sections. Read a few lines at a time, then recite them aloud without looking at the script. Continue this process until you can recall all lines comfortably. Practicing with a partner can further reinforce your memorization by running through the scene and addressing challenging spots.
THERE ARE MANY ACTING TECHNIQUES, AND DIFFERENT TECHNIQUES WORK FOR DIFFERENT PEOPLE. YOU HAVE TO LEARN ABOUT THE DIFFERENT TECHNIQUES TO DETERMINE WHICH TECHNIQUE WORKS BEST FOR YOU. HERE ARE A FEW TO LOOK INTO.
"To live truthfully under imaginary circumstances." Do emotional prep and act off impulses rather than intellect.
12-step technique based on intellect. - The 12-Step Chubbuck Acting Technique (actbroward.org)
Remember the emotional reactions that you have in your daily life and use them under fictional circumstances.
Use deep psychology and make use of personal experience to bring life to your character.
Deep script analysis and using real observations to fuel your imagination.
Substitution, transference, specificity, authenticity, and prep.
A technique used mostly in L.A. Perfect line memorization, little movement, more poise, balance, and focus in the scene.
A physical movement or gesture that captures the total essence of a character and is executed inwardly while an actor portrays a character.
To decide who your character is and become them by any means necessary. Method actors may spend a lot of time with someone on whom they wish to base their character, to learn as much as they can about them, they may stay in character at all times and even do the good and bad things that their character would do just to drive believability and never lose touch of the character. This can sometimes be dangerous to your health and reputation, but it has been known to work for a lot of popular actors.
Visit www.sagaftra.org for more information
To join SAG you must be invited. To be invited, you must have a speaking role in a full SAG project, or receive at least three SAG vouchers from doing SAG background work.
Typically, it is said that you should join the union when you have enough credits on your resume to make it easier for you to receive SAG-only auditions. If you don’t have enough credits, or you have credits but almost none of them are SAG credits, it may be difficult for you to compete on a SAG-only level with other SAG actors. Once you join the union you can no longer work on non-union projects, so your income will be limited to only booking SAG work, and if you don’t have a strong enough resume, SAG auditions may not come as often as you’d like. Join when you’re ready, and that is up to you and your reps.
There’s a $3000 initiation fee (may be lower in some states). Base annual dues are around $237, and work dues are 1.575% of your earnings up to $1,000,000.
You get protection from the union, pay standards, health benefits, a vote on union decisions, and more. Visit www.SAG-AFTRA.org to learn more.
The talent pool is typically tried and true. Production companies want to trust that they’re getting a well-trained experienced actor.
You must make at least $26,470 to qualify for SAG health benefits.
No, actors are prohibited from working on a non-union project if they are part of the union. You may elect to go (Fi-Corp) which allows you to temporarily withdraw from the union but still pay union dues. This allows you to work on both union and non-union projects, however, you are no longer part of the union and can not list SAG on your resume.
Taft Hartley is a report that the production company or background casting company must complete and submit to SAG-AFTRA if they hire a non-union actor in a non-right-to-work state. Once this document is accepted by SAG and processed, you become eligible to join the union.
View rates under our "Resources" tab under SAG Rates, or click the link below to read rate sheets on SAG's website.
Click the link below to see all SAG/AFTRA rates for all performance types:
https://www.sagaftra.org/production-center/contract/818/rate-sheet/document
Follow this link to file a complaint against production. This link is used when production has violated their SAG agreement, and you feel that you must report it.
You can track your residuals by visiting www.sag-aftra.org logging in, clicking on the little person in the upper-right corner, and then clicking on residuals portal.
For more information on how residuals work, click the link below: