Acting

Acting

Whether you’re an actor, voice actor, casting director or anyone else related to the profession of acting, this is the place to discuss, share content and offer advice and tips on technique, audition strategies, headshots and all other topics related to the sweet science of acting

Can screen actors legally be considered private contractors? I thought the IRS rule says private contractors set their own hours and are self-directed. Actors don't set their own hours, and they are directed by a director.

You are largely correct in your understanding of the IRS guidelines: because p...

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You are largely correct in your understanding of the IRS guidelines: because production companies typically exercise a high degree of control over actors' work (setting hours, location, and providing direction), most screen actors should legally be classified as employees, not private (independent) contractors.

The Deciding Factor: Control

The IRS and state labor departments use the degree of control and independence as the primary factor in determining worker status.

Employees: A worker is generally an employee if the business for whom they perform services can control what will be done and how it will be done. This describes the typical actor-production company relationship: the director dictates schedules, lines, actions, and overall performance, meaning the actor has little control over the details of how the service is performed.

Independent Contractors: An independent contractor typically has more control over their own work, sets their own schedule, provides their own tools/equipment, and has the opportunity for profit or loss in their business. This is not the standard situation for most working actors on a set.

Real-World Practice vs. Legal Standard

Despite the legal standard, it is common practice in some parts of the entertainment industry, particularly in low-budget or non-union projects, to misclassify actors as independent contractors (paid via Form 1099-NEC instead of a W-2). This is often done to save the production company money on payroll taxes and benefits like unemployment insurance and workers' compensation.

However, this misclassification carries significant legal risks for the production company, including fines and penalties for back taxes and liabilities.

Exceptions

There are a few situations where an actor might be legitimately considered a contractor:

Loan-Out Corporations: Highly successful actors often form their own personal service corporations (also called "loan-out" companies). The production company then contracts with the actor's corporation, not the individual actor. In this case, the actor is an employee of their own company.

Unique Circumstances: If an actor brings their own unique equipment, supplies, and intellectual property rights to a short-term, non-integral part of a production, they might be classifiable as a contractor.

Specific Roles: Certain high-level roles, such as writers and directors (who are involved in overall planning and implementation), may sometimes be classified as independent contractors depending on the specific circumstances.

In summary, based on the IRS's control test, most screen actors working for a production are legally employees, even if they are sometimes incorrectly paid as independent contractors in practice.

THERE IS NO BUSINESS LIKE SHOW BUSINESS 

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THERE IS NO BUSINESS LIKE SHOW BUSINESS 

The phrase "There is no business like show business" first appeared in 1946, written by Irving Berlin and sung by the incomparable Ethel Merman. What began as a musical number soon became a cultural truth — a line whispered backstage, printed in biographies, echoed through decades of cinema. On the surface it sounds cheerful, almost celebratory, yet beneath it lies an undeniable acknowledgment: no other field demands so much heart, sacrifice, imagination, resilience and risk as the entertainment industry. Hollywood embraced the phrase because it captured both the brilliance and the brutality of the profession. It is a world where dreams collide with economics, where passion must co-exist with strategy, and where only those who understand that art is inseparable from business truly endure.

Like every timeless myth, the statement opens the door to something larger. Lights – Camera – Action is not just the beginning of a scene; it is the beginning of a journey. To filmmakers and creatives, Hollywood is what Paris is for painters — a city of myth, a sacred ground of creation. And Hollywood is not merely that legendary district in Los Angeles. It is a symbol — a metaphor for the global creative industry, a state of mind that resonates from Berlin to London, from Toronto to Cape Town, from Seoul to São Paulo. Wherever stories are born, wherever cameras roll, wherever someone dares to dream on a stage or behind a lens — that is Hollywood.

For most hopeful young actors, however, Hollywood — in all its symbolic power, its fame, its fortune, its promise — is still a long way from home. Only a few ever make it there, but that never stops countless dreamers from trying. And perhaps that is the heart of the saying: in this industry, the pursuit itself becomes part of the story.

I remember one defining chapter of my own. A few years ago, I had a casting opportunity for an Expendables sequel — a moment that felt like stepping onto the edge of a dream. Why? Because with Expendables, a childhood fantasy would have leapt into reality. My future colleagues would have been the very heroes I grew up with. Legends like Arnold Schwarzenegger, Sylvester Stallone, and all those other BIG-BANG action performers who shaped the DNA of my imagination. To stand beside them, even for a moment, would have been a full-circle milestone.

It didn’t work out back then… but what followed mattered far more than the outcome. After the casting I sat down for an interview with Will Roberts — actor, performer, and part of the cast of Christopher Nolan’s OPPENHEIMER, and formerly the host of the radio podcast Will Roberts Weekly Telegram Show. Our conversation, which he titled "It’s the magic of risking everything for a dream nobody sees but you," changed something fundamental in me. It crystallized a truth I had always felt but never fully articulated: in Show Business, success belongs to those who create movement, not to those who simply wait. That meeting became the blueprint for what would later grow into my Actorpreneur philosophy — the realization that Show Business is, at its core, a business. And like any business, it rewards clarity, connection, and ambition. Some people rise because they build networks, mentors, momentum; others remain in occasional jobs because they wait for the mythical “one chance.” Show Business rewards motion — always has, always will.

But beneath all the strategy, there lies the artistic heart that makes this world worth fighting for. As actors, as writers, as artists, we carry something ancient within us. We are the last of the Shamans, the Keepers of Fantasy, the Knights Templar of the Creative. We guard imagination in a world that often forgets it. And despite everything, it helps to be a dreamer. I had my dreams long before I had my opportunities. Dreams are the one possession nobody can ever take from you. They cost nothing, yet they are priceless. They can be as real as you allow them to become, and they are entirely yours.

Those moments, humble as they were, became part of the architecture of my story. That’s the stuff my dreams are made of. The artist who understands both the poetry and the process becomes unstoppable. The dreamer and the entrepreneur — united in one path. The one who knows how to tell stories and how to build relationships. The one who understands creativity and consistency, imagination and initiative, talent and visibility.

And that is the essence of the Actorpreneur. The understanding that Show Business is a realm where the artistic soul and the strategic mind must walk hand in hand. Because in the end, there truly is no business like show business — and there is no business like the one you build for yourself.  There is a moment in every actor’s journey when a quiet, unmistakable truth begins to surface: Show Business is not simply an industry — it is an ecosystem, a living organism built on motion, presence, and connection. Talent may draw us onto the path, but visibility, relationships, and supporters are the structures that allow anything to grow. Long before digital portfolios and algorithmic reach, performers whispered this lesson behind the velvet curtains of theatres around the world: an artist may create alone, but no artist succeeds alone. Visibility has never been vanity; it has always been architecture. In a world founded on stories, to be seen is to be understood, and to be understood is to be chosen.

Yet the visibility that matters is not loud, nor cosmetic, nor hollow. It is the kind of visibility that reveals who you are, what you stand for, how you work, and what energy you carry into a room. A headshot can show a face, a reel can demonstrate ability — but neither can convey presence, timing, warmth, reliability, empathy, humor, discipline, or depth. Only a conversation can. And that is what the industry is truly hungry for.

Casting directors are not searching for perfection; they are searching for collaborators they can trust. Talent agents do not want to gamble on mystery; they want clarity, commitment, and the unmistakable sense that you are steering your own ship. Managers and producers look for performers with emotional intelligence and creative synergy. The myth that actors chase decision-makers is a distortion; the truth is far more balanced. Agents need new voices. Casters need fresh energy. Filmmakers need grounded talent. And every one of them needs human connection. Meeting actors is not a courtesy; it is part of their survival, their craft, their responsibility as architects of future stories.

And in a time when our industry is increasingly mediated by screens, profiles, and digital avatars, we often forget the simplest reality: sometimes a conversation reveals more than a thousand pictures ever could. Sometimes one moment of recognition, one human exchange, one shared breath in a room, becomes the turning point a career has been waiting for. Visibility is not a monologue. It is a dialogue. A bridge. The Actorpreneur understands that to be visible is not merely to show yourself, but to allow others to find you.

This truth has shaped legends. When Daniel Craig stepped into the shoes of James Bond, he did not do so by fitting an existing silhouette. He broke the silhouette. But what often goes unspoken is that his rise was not sealed by image alone. It was sealed by the conversations behind the scenes — by producers and casting directors who felt his authenticity, his discipline, his grounded humanity. They did not cast the photograph. They cast the man. The industry does not invest in copies; it invests in originals. And originality is revealed in connection.

That is why events like the Hollywood Networking Week carry such power. They are more than gatherings — they are modern agoras of Show Business, temporary yet extraordinary constellations of creators, actors, agents, directors, producers, and visionaries. This is where strangers become allies, where contacts become collaborators, where supporters are born. It is where the architecture of a career begins to expand. Supporters are not optional in this profession; they are the lifeblood of longevity. And nothing — nothing — builds a supporter faster than human connection.

Networking Week is where visibility becomes human. It is where passion becomes shared, where stories intertwine, where careers accelerate not by coincidence but by alignment. In Show Business, the right supporter is not merely helpful — they are transformative. And every transformative connection begins the same way: by showing up.

It is precisely for this reason that 2026 will mark a turning point in my own journey — the year in which I will host my personal Hollywood Networking Week, not as an event of convenience but as an act of responsibility. Because when I look at the agencies and agents who have represented me, I see a truth that demands both humility and action. I was connected to some of the finest talent agencies in Hollywood — Paradigm, ERIS, Enorama — relationships formed in the years when my IMDb ranking rose below 7k. In those days, doors opened, conversations began, momentum moved.

And then something happened that no artist likes to acknowledge: the momentum shifted — not because the world turned away, but because I stopped steering it with the same intensity I once had. I waited. I hoped. I convinced myself that opportunity would knock again simply because it had knocked before. I waited for the mythical magic moment — the one where Christopher Nolan calls out of the blue — and while that fantasy is charming, it is not how Show Business works. Momentum isn’t granted. It is created. Visibility isn’t gifted. It is earned. A brand isn’t maintained by memory — it is maintained by movement.

And so I realized something essential, something liberating: if I want to rise again, I must rebuild my visibility, my presence, my network — not from nostalgia, but from purpose. Brands with staying power do not rest. They renew. They sharpen. They evolve. The actor who becomes unforgettable is the actor who stays in motion.

This is why 2026 is not just a year on the calendar for me. It is the year of return, of reinvention, of reconnection — the year of my Hollywood Networking Week. A week dedicated to meeting the people who shape this industry. To reconnecting with the dreamers, the decision-makers, the believers. To building the supporters every actor needs — and offering support in return. To becoming once again a brand with presence, purpose, and unmistakable identity. To stepping back into the arena not as someone waiting to be discovered, but as someone choosing to be seen.

The Artist in me creates.  The Entrepreneur in me acts.  And together they walk toward 2026 — a year of open doors, of new relationships, of restored visibility, of reawakened momentum.

Perhaps our paths will cross there.  Perhaps we will shake hands in Los Angeles or London.  Perhaps we will look back one day and say: This was the moment everything shifted.

And maybe — just maybe — we will stand together as witnesses to the truth that has always defined this profession: there is no business like show business, and the greatest breakthroughs often begin the moment we choose to step forward again.

View all All comments

Damaris Isales

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2 people like this
- Suzanne Bronson
- Maurice Vaughan
2 weeks ago

I will be in Canada for stage combat training in January Roberto Micheletti everyone from all over the world are meeting there.

Suzanne Bronson

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1 person likes this
- Maurice Vaughan
2 weeks ago

Thank you for introducing yourself, I highly encourage you Roberto Micheletti to do it again for IYW. The weekend of the 19th. Also, you can search for members using the Browse tab. There are Stage32...

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Roberto Micheletti

Great to meet you too, Amanda Toney ! i actually started acting after a powerful personal shift a few years ago - storytelling became the way i expressed everything i was experiencing. from there, i w...

3
3 people like this
2 weeks ago

that's awesome, Damaris Isales ! Stage combat training sounds intense and fun. January is going to be a big month for a lot of us. Wishing you an amazing training experience!...

Thank you Suzanne Bronson Suzanne, i appreciate the encourage! i'll definitely look into the IYW weekend - sounds like a great opportunity to connect with more creatives. And thank you for the meetup...

Maurice Vaughan

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2 people like this
- Suzanne Bronson
- Brittany Christine
2 weeks ago

Hi, Brittany Christine. One of my favorite Christmas movies is Home Alone.

Brittany Christine

Maurice Vaughan YES it never gets old! Solid pick! A fun time watching, every time :)

2 weeks ago

Did you see this, Brittany Christine: https://variety.com/2025/film/news/macaulay-culkin-home-alone-sequel-kev......

Brandon Keeton

Die Hard!

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2 people like this
- Brittany Christine
- Maurice Vaughan
2 weeks ago

Home Alone and Die Hard are movies that happen to take place at Christmas, I am on the "not-a-Christmas-movie" side. For me, my favorite Christmas movies are: A CHRISTMAS STORY, and THE NIGHTMARE BEFORE CHRISTMAS.

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1 person likes this
- Suzanne Bronson
2 weeks ago

I'm gonna do another rewrite on my feature script, Suzanne Bronson. What's a step you’re taking?

Alexandra Stevens

Suzanne Bronson thanks for the invitation. Hmmmm......a good question. I immediately think, eughhh....my life is so full at the moment, how can I possibly find the space or time for a small step ? Wel...

And going off of that, Maurice Vaughan I WILL find a monologue or two. I have a book that was recommended in the Audition Intensive Lab I took and I have nothing but time. Alexandra Stevens...

Great, Suzanne Bronson. I like the "WILL"! What's your favorite type of monologue?

A prepared actor Maurice Vaughan to has both a dramatic and a comedic at the ready, and a classical. Depends on the show you're auditioning for.

Geoff Hall

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3 people like this
3 weeks ago

Suzanne Bronson personally speaking, I think we need to stop using ‘rejection’ as it’s such an emotive and personalised term. It’s just a ‘no’.

We need to take the emotional baggage out of the process...

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2 people like this
- Ashley Renee Smith
- Maurice Vaughan
3 weeks ago

Thank you for your thoughts Geoff Hall I totally understand what you're saying. For me, it's easier to see that for film and TV why I wasn't cast. I know it has nothing to do with me. But it's harder...

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2 people like this
- Suzanne Bronson
- Maurice Vaughan
3 weeks ago

Suzanne Bronson understood. Community theatre can be a viper’s nest of political intrigue.

My rub with ‘rejection’ is that we tend not to weigh up all the factors of a decision and take it purely perso...

Suzanne Bronson at the risk of sounding superficial, recently I am experimenting with telling myself repeatedly like a mantra 'this or something better' when I experience rejection. I know it is easie...

That's a good way to look at it Alexandra Stevens not attaching to the end results.. Something Mike Dooley would say. "This or better"

Juliana Philippi

Amanda Toney "Whooooahhh" was my first reaction, but then, of course, this is how it works. People will have so many incredibly differing opinions of performances, but at the end of the day, my reacti...

Pat Alexander

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4 people like this
3 weeks ago

Shots fired!

Oh man. This ties in with another discussion about Rejection. Amanda Toney the best actor isn't always cast. In this case, it seems to be one of convenience and necessity. Recasting would be timely, e...

Amanda Toney ooh his words are harsh! Personally I would feel completely humiliated but I guess as an actor in the public eye you have to grow a bit of a thick skin. And Tarantino is entitled to his o...

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1 person likes this
- Suzanne Bronson
3 weeks ago

That was fun to watch, Pat Alexander. I'm always amazed at what actors do to prepare for roles.

Pat Alexander wow, how exhilarating to watch! And Brad Pitt still looking good\1

I work on a project or network every day, but I try to take some time off during the day to rest and relax for my mental health and physical health, Ashley Renee Smith....

Ashley Renee Smith

Alexandra Stevens, this is such an exciting topic and honestly, the rise of micro-budget filmmaking feels like one of the most hopeful shifts in the industry right now. When resources expand at the sm...

Tony Fisher have you had experience of i.e seen any where the writing wasn't good?

Ashley Renee Smith ooh how exciting!!!! I am very tempted. I think there are so many possibilities for vertical dramas. I'm just so overladen with the projects I have got going that I just don't have...

Alexandra Stevens, absolutely! It will save the webinar in your education library, and you can jump into it whenever it's convenient for you.

Tony Fisher

Alexandra Stevens Hi Alexandra. Yes I had a bad experience with bad writing a few years ago, that was a micro budget project as well. From what I recall it was styled as a political comedy but reading...

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2 people like this
- Matthew Gross
- Maurice Vaughan
4 weeks ago

That's great advice Matthew Gross

Khalid Rivera

Thank you for sharing. I hope all agents are aware of this.

Ray Watters

Matthew Gross Thank you for posting this. Just a reminder: under current IRS rules, a W-2 actor can’t qualify as a Qualified Performing Artist if their adjusted gross income is over $16,000—a number t...

Wow Ray Watters thanks for this. I can't believe that number is soooo low. So then in order for actors to qualify for those affordable acting housing options, that is their maximum threshold? I know f...

Here's a blog I wrote on my website about HR 721 that would update the tax code in our favor:

https://www.raywatters.com/post/actors-pay-attention-h-r-721-is-the-role......

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1 person likes this
- Alexandra Stevens
3 weeks ago

Well this has me asking Willem Elzenga 2 can you teach AI to act? They don't have feelings, they don't understand feelings. How would you teach that? Would it be then, just mimicry? It's similar to th...

3 weeks ago

There are Charles Chas Green actors who have sold their voice and likeness for AI use. so the physical rendering is not a problem. I actually know a producer/director who is doing this very thing. Usi...

Willem Elzenga 2

It can't be taught, it has to be programmed. We don't know if AI has personal experiences and emotions, maybe the human brain and body isn't that complex after all in a couple of years. I see AI as my famlily and good friend. Together we're a great team!

Charles Chas Green

Willem Elzenga 2 .... I'm not sure I follow your reasoning?. Programmed "Yes"... but I can say without reservation that "NO" AI doesn't have personal experience and emotions.....only sentient creature...

Willem Elzenga 2 I agree there’s clear potential as the tools improve, especially when a filmmaker’s sensibility is shaping the material. There’s something exciting about seeing where the two might ev...

Thanks for sharing this Dan Martin Roesch. You're certainly in the right place to kickstart your networking. I like your writing style. Are these articles part of a blog ? If so, what inspired you to...

Dan Martin Roesch, this is such a powerful reflection, not just on the industry, but on the inner architecture of being an artist. You articulate something that so many creatives feel but rarely find...

Dan Martin Roesch

Hi Ashley Renee Smith,

thank you so much for this beautiful reflection — your words mean a lot.

It’s rare to meet someone who not only understands the mechanics of this industry, but also the inner a...

Thank you so much, Dan Martin Roesch! That means a lot.

Hi Alexandra Stevens,

thank you so much — that really means a lot.

No blog yet… at least not for now. Most of what I write comes directly from life experiences — the ups, the setbacks, the strange lit...

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