Must-watch video, Ashley Renée Smith! Thanks for sharing it. One of the things that stood out to me is juggling tones and things in scenes. It's not easy. It gets easier with practice and studying movies in my experience though.

It's a powerful reminder that the final, polished film is a testament to surviving a thousand potential collapses at every stage. The point about locking music early for dance and timing is such a crucial, non-negotiable piece of process that live-action or dialogue-driven projects don't always face. It really highlights the unique symphonic planning of animated musicals. I wonder for others, what was the most surprising or validating piece of production reality they shared that you think applies to creative projects outside of animation as well?

Sam Rivera, this is such a thoughtful takeaway. The audience sees the seamless final cut. They don’t see the dozens of moments where something almost broke, almost didn’t land, almost got cut, almost ran out of time or money. The miracle is that it holds together at all.

Ravi Mani It's so good to have you aboard. One way to navigate and get the best out of Stage 32 is to sift through the Lounge section and check out the conversations that resonate. The Blog section has lots of tips and tricks to both help you navigate the platform and the industry.

I found personally when starting out, the best way to be seen is to actively participate in Lounges, and don't be afraid to ask questions.

Great advice!

Thank you so much Shellie. Really appreciate your kind words. I work hard at trying to share weekly videos to help others in the industry.

I’ll off a couple of perspectives: owning a taping service for over 15 years, we see waaaaaay too much fear in the everyday actor. So many sources of that fear, but related to this post is the fear to say no. Especially if the audition has come from their agent. It’s sad, really.

Personally, I scrutinize every audition from my agent before accepting or declining. I ask myself first if it’s going to be artistically fulfilling. If not, then the decision is based on things like (a) do I need to make insurance, (b) is it recurring or possibly recurring, (c) is there a director or celebrity involved that sweetens the deal, and (d) has it just been too long since I’ve been on set and I’m aching to get back.

But to your point, Matthew, I will also turn down a role if it’s not a part of humanity that I feel I’m called to portray. For example, I turned down a pastor audition for a high profile project because he needed to be in a full flop sweat, screaming to the congregation. It was a tent revival, and people were hollering and dancing, being filled with the Holy Spirit.

Now, I’m a calm, nonchalant presence. To inhabit that role truthfully, it would’ve taken more prep time than was given by casting, and even if I managed to book it, it would have been the most taxing experience on set to have to do that over and over for 8-12 hours.

Whereas some other actor who naturally exudes that energy could inhabit that role in their sleep. They can go all day and still have more in the tank. That person SHOULD book that role.

Turning down roles for that reason takes a high degree of self awareness. You have to do the deep work of discovering how Casting (and by extension the audience and the rest of the world) TRULY SEES YOU. The vast majority of actors (and humans in general) have a warped sense of how they show up in the world. I see this every day when I’m taping actors. So it’s not trivial. But once an actor can be fully objective about their essence and what you might call your “signature performance”, they can make high level, educated decisions about roles to decline (and on the flip side roles they were meant to play).

I appreciate your question Matthew Gross. I have had this situation where I have submitted for an audition and received the sides and the character didn't resonate with me. I just didn't submit. It has never occurred to me, to email the director and explain this isn't right for me. I figure they have so many submissions they won't even notice who doesn't follow up.

Now, if I schedule an in person audition, and I have misgivings, I still do it. I don't purposely tank it, I figure if I get offered the role, I can discuss it with the director before accepting. Or turn it down.

I also, really appreciate Matthew Cornwell's response. It's ok to say No. Don't be afraid to say no. If the role isn't right for you, it isn't right for you. I think the director will appreciate your honesty more than you trying to be something you're not and delivering a less than authentic performance. That would do more harm to your reputation as an actor, than you declining the role. Kudos to you.

Hey, Jeremy M. Drafall. It's great to see you at Introduce Yourself Weekend again. Stage 32 is having its next Community Open House on Wednesday. You can sign up for free here (www.stage32.com/education/products/stage-32-s-june-community-open-house-...). It'll help you connect with screenwriters, producers, and more. There's also going to be a live Q&A.

Jeremy M. Drafall - pleasure to get connected. What kind of genre do you enjoy composing?