Kaylee Geske

As a composer, I'm sure my vantage point is a slightly different, but it seems like unless your lines are impossible to pull off well, you might just stand out as the best thing in an otherwise sub-standard work. And folks would notice how you manage to pull the film's quality up.

But if it's something Sir Lawrence Olivier couldn't have pulled off, or no one could sit through it long enough to get to your part, then it doesn't sound like it's going to help you much to be involved. Just my 2 cents. :-)

There are no bad parts just bad actors

good question - but sacrificing your morals is not an option. it also seems to me that if you have this type of problem you do not have a solid strategy for what you are doing in the first place. a good manager or friend can help you with that. your a ceative entrepreneur in the high risk business of entertainment.

I agree with Willem. If you sacrifice your morals you're inhibiting your creative self from the start. The only person who truly knows whether a project is worth committing to is you. Keep your ethics intact and you'll never regret any of your previous work.

Well said, Alan and Willem...Sometimes the dry spells will cause us to consider things well outside the boundaries of our comfort zone. There's a big difference between taking a chance and making a compromise. You can build off the former, but you might not come back from the latter.

Think of it like dating. If you have no standards and are desperate, you date a lot of losers and douche bags and are miserable. Don't be afraid to set standards for the kind of acting work you want to do and don't be afraid to say no. Every project you commit to takes time and effort. Saying yes to things you know you don't want to do takes up the space where the right project may have come through. Just like if you're dating a loser, it's really hard to meet the right guy. Weigh the time, effort and cost the project is going to take (if you have to take time off of work, if you're not getting paid) against the return the project will bring you. Is it a credit you want on your resume? Will you get exposure as an artist? Is it onset experience you need to get to the next level? Are you getting reel footage (that you feel good about showing)? If the project's return is not strong, be willing to say no. The more you say yes to projects that suck, the more sucky projects will come your way!

Bravo, Emily...Bravo.

Thanks RB!

Wow. Great insights that no doubt apply to the many other sub-specialties of the film industry as well. Glad I joined up here; I'm going to pick up a lot from you guys!