GARY MASON

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Resources

Actors Access in 2025: What’s Free, What’s New, and Is PLUS Worth It?

Acting, Resources

Welcome, aspiring thespians and seasoned performers! Today we’re diving into the world of Actors Access in 2025. If you’re deciding whether to stay free or upgrade to PLUS, this breakdown will save you time, money, and a few head scratches.

Actors Access: A Quick Overview

Built by Breakdown Services, Actors Access is the industry-standard profile and submission portal. It’s where you’ll find legit breakdowns, submit to roles, track invites (Eco Cast, Eco Cast Live), and keep your materials in one place. Think of it as your professional storefront—headshots, résumé, clips, and a clean path to casting.

Current Pricing (2025)

Free (Starter) Membership — What You Get

  • View breakdowns released to Actors Access.
  • Starter materials: 2 free photos + 1 free SlateShot upload, résumé, size card, skills, unions.
  • Role Match notifications and access to Eco Cast invites/updates.
  • Submit with basics: You can respond to projects with your name and résumé only (no performance media attached).

PLUS Membership — What You Unlock

  • Full-profile submissions: Respond to all projects with your complete profile and attach performance media you’ve added to your account.
  • Mobile convenience: Full access in the iOS app.
  • Pricing: $68/year or $9.99/month. (Tip: SAG-AFTRA members get a discount on the annual plan when verified in profile.)

August 2025 TOU Chatter: What It Means for You

Terms of Use were updated in August 2025 and sparked the usual community debate. The practical takeaways for actors:

  • You keep ownership of your materials while granting the platform a limited license to use your submissions for casting operations.
  • Follow the rules on sharing: Don’t repost breakdowns or audition materials publicly—keep everything inside official channels.
  • Automation is here to stay: Role-matching and other “smart” tools will keep evolving; accurate, up-to-date profiles perform best.

Free vs. PLUS: How to Decide

  • Choose Starter if you’re brand new, still training, or submitting only occasionally. You’ll see the ecosystem and get comfortable.
  • Choose PLUS if you submit regularly or need to attach clips for roles (comedy button, drama clip, commercial slate). It’s the practical path for consistent auditioning.

Simple ROI test: If attaching media boosts your request-for-tape rate even a little, PLUS pays for itself quickly—especially if you submit weekly.

Starter Profile Template: Lights, Camera, Action

Headline Examples

  • “Versatile Character Actor”
  • “Dynamic Comedic Performer”
  • “Captivating Dramatic Talent”

3 Clips to Upload First (when you’re ready)

  1. Monologue (1–2 min): Show range and emotional connection.
  2. Scene with a reader: Demonstrate listening, timing, and chemistry.
  3. Commercial slate/intro: Quick, on-camera ease and personality.

Profile Polish: Do/Don’t

  • Do: Use current photos, clean background, wardrobe that reflects your casting type.
  • Do: Add 2–3 targeted clips that match your primary categories (co-star drama, sitcom, commercial).
  • Don’t: Upload every clip you’ve ever shot. Curate like a pro.

Smart Add-Ons (Optional, but Helpful)

  • Book: Self-Management for Actors (for targeting and brand clarity) — Check it out
  • Book: The Actor’s Life by Jenna Fischer (practical, encouraging roadmap) — Check it out

Final Thoughts: To PLUS or Not to PLUS?

If you’re in growth mode and submitting consistently, PLUS is typically the most efficient way to get your best materials in front of casting. If you’re just starting or auditioning sporadically, the Starter tier still lets you get oriented without overcommitting. Either way, the biggest upgrade isn’t the plan—it’s the clarity of your type, the quality of your clips, and the consistency of your submissions. Onward.

Heads up: Some of the links in this post are affiliate links, which means I may earn a small commission if you buy through them—at no extra cost to you. Think of it as tossing a tip in the jar so I can keep creating helpful stuff (and maybe upgrade my lighting setup).

Self-Tape 2.0: What Actually Changed (and How to Win Under the New Rules)

Acting, Resources, Setup

The audition world has officially moved from “this weird pandemic workaround” to “this is how we do it now.” Self-tapes aren’t a fad—they’re a new lane. And while the tech can feel like a second job, the new union guidance actually makes things fairer and more predictable. Below is the clear-English version of what changed, what it means for you, and the quickest way to look and sound great without overcomplicating your setup.

The Evolution of Self-Tape Auditions

Background: A Pandemic-Induced Shift

COVID shoved auditions out of rooms and into your living room. The shift stuck because it widened access (hello, out-of-market auditions), cut travel costs, and gave CDs more flexibility. Now the “how” is codified in union language so actors aren’t guessing—or jumping through unreasonable hoops. See the official TV/Theatrical 2023 summary from SAG-AFTRA here.

Union Guidance: New Rules, New Game

SAG-AFTRA’s updated agreement and bulletins put real guardrails around self-tapes—deadlines, page counts, tech requirements, and even the option to request a live virtual instead of a prerecorded tape. Backstage has a solid plain-English breakdown you can skim here.

Technological Advancements: Friend or Foe?

Good news: you don’t need a film school to self-tape. Today’s phones + a couple of smart choices will beat a complicated rig most days. And the rules explicitly push back on over-the-top tech demands from productions. See SAG-AFTRA’s Contract Bulletin on self-tapes here.

What Actually Changed (Quick Hits)

  • Turnaround time: Adults get at least 48 hours from when sides arrive; minors get 72 hours.
  • Page limits: First round sides capped at 8 pages; callbacks capped at 12 pages.
  • No memorization requirement: Sides/teleprompter are allowed.
  • Reasonable tech: Can’t require special/paid platforms or specific gear beyond “we can see and hear you.” HD is enough. Portrait framing is acceptable if requested.
  • Live option: You can request a live virtual audition instead of prerecorded.
  • Safety & privacy: No nudity/stunts in auditions; tapes must be kept private and not used for AI training under the contract.

Pros and Cons of Self-Taping

Pros

  • Flexibility: No commute, no parking ticket, no two-hour wait in a hallway.
  • Control: You choose the take. (Use that power wisely—don’t chase “perfect.”)
  • Access: Submit for roles outside your market.

Cons

  • Tech learning curve: It’s not rocket science, but it’s not zero either.
  • Isolation: Less real-time direction from CDs.
  • Competition: More people can submit = you need to pop on camera.

Competing Viewpoints (In Two Sentences)

  • Pro-standardization: Clear rules = fewer wild requests and more fairness.
  • Anti-standardization: Fear that rigid rules squash creative auditioning.

“Do This, Not That” Setup Tips

Do

  • Neutral backdrop: Gray or soft blue keeps focus on your face.
  • Soft, even light: Place your key light slightly off-axis to avoid raccoon eyes.
  • External mic: Prioritize audio clarity over everything.

Not That

  • Clutter caves: Laundry mountains and busy bookshelves steal the frame.
  • Harsh lighting: Bare bulbs create unflattering shadows.
  • Phone mic only: Built-ins grab room noise first, you second.

10-Minute Prep Checklist

  1. Lighting: Turn on soft key light; bounce or fill as needed.
  2. Backdrop: Simple, wrinkle-free, no moiré patterns.
  3. Camera: Eye-level, framed chest-up (or per specs).
  4. Audio: Test your mic and monitor the file for hiss/clipping.
  5. Wardrobe: Character-aligned, no loud prints; avoid all-black on black.
  6. Script: Sides marked; teleprompter at eye line if needed.
  7. Warm-up: Breath/voice/body for energy and articulation.
  8. Gear check: Battery, storage, focus lock, Do Not Disturb.
  9. Environment: Quiet on set; roommates/neighbors notified.
  10. Mindset: One strong, simple choice. Play the moment.

Smart, Non-Fussy Gear

Note: SAG-AFTRA’s own “Casting” and self-tape resources are worth bookmarking for workshops, worksheets, and equipment primers—start here and read “Self-Tape Anatomy”.

Two Sample Slates – When you are given no direction. Otherwise ALWAYS follow the directions provided by casting.

Slate A: “Hi, I’m [Your Name], reading for [Role]. I’m represented by [Agency], based in [City].”

Slate B: “Hello, I’m [Your Name], for [Role] in [Project]. I stand [Height] and currently reside in [City].”

Final Thoughts

Self-taping is just another tool. Keep it simple, stay within the rules, and put your energy into the acting. If you want a second set of eyes—or a reader who won’t judge your warm-up noises—I’m here if you need a reader or to review your tapes if you like.

Heads up: Some of the links in this post are affiliate links, which means I may earn a small commission if you buy through them—at no extra cost to you. Think of it as tossing a tip in the jar so I can keep creating helpful stuff (and maybe upgrade my lighting setup).

To SAG or not to SAG

Acting, General, Resources, Voice Over

Welcome back!

And thanks for reading!  This week let’s talk about the union (SAG-AFTRA).

REMEMBER:

Just a reminder here that when I use the term “actor” I mean it to encompass all forms of acting including voice, stage, and screen.  Yeah, I know I say this every week, but it falls under the heading of “The things that go without saying are the things that most need to be said”.  For this week, however, what follows applies relatively equally to VO artists and screen actors, but stage has its own union Actor’s Equity.  It’s similar, but eligibility in particular will be different.  One note is that membership in one or the the for the course of a year means automatic eligibility in the other.

SAG-AFTRA

If you’ve been involved in the acting or VO industry for any amount of time, you’ll know that 2023 is the year that all of the unions renegotiate their contracts.  And if you are paying attention to that, you’ll also note that this is one of the renegotiation years where there is a bit of angst. What the angst means is that the unions are not presently pre-negotiating, which means there is some risk of the present agreement expiring without a new agreement, which could lead to a strike.  It’s not very likely, since they typically just extend the old agreement until the new agreement is signed, but because of that some large productions seem to be holding off until a new agreement is in place.  That means there are fewer productions ongoing, and fewer opportunities.  Basically, if you’ve noticed a slow-down in available roles, that’s why.  Let’s talk about what the union is and what it does for artists.

What is the union?

SAG-AFTRA, or The Screen Actors Guild-American Federation of television & Radio Artists, is the union that represents actors and VO artists as well as broadcast journalists and radio DJ’s.  It, like other unions, is the collective bargaining group that negotiates with producers to establish salaries, working conditions, safety on set and many other aspects of employment.  SAG was established in 1933 to prevent the exploitation of actors and AFTRA was established in 1937.  The two merged recently, in 2012 to form SAG-AFTRA.  Fran Drescher of “The Nanny” fame, is the current President of SAG-AFTRA.

What is the benefit of the union?

There are definitely many benefits to joining the union, which to many is a significant rite of passage, but there are ALSO some drawbacks.  First, the benefits.  In addition to negotiating contracts membership includes things like a health and pension fund, the SAG-AFTRA conservatory offering training workshops, casting workshops with big name CD’s, deals and discounts for things like hotels and car rental, discount movie tickets, voting for SAG awards (which includes free viewing of the films being voted on), and many others.

The drawbacks

SAG definitely provides some benefits to performers, particularly since performers tend to be self-employed freelance artists who wouldn’t otherwise have access to a pension or health insurance (at least not affordable health insurance). But, Global Rule Number 1, depending on what market you live/work in may keep you from working much.  “Global Rule 1 states: No member shall render any services or make an agreement to perform services for any employer who has not executed a basic minimum agreement with the union, which is in full force and effect, in any jurisdiction in which there is a SAG-AFTRA national collective bargaining agreement in place. This provision applies worldwide” (SAG-AFTRA.org)

Why is that potentially bad?

In short, when you join, you are agreeing to never work on a non-union project again.  If you are not in LA or NYC the number of union productions are going to be low.  And unless you have already established a name for yourself within the industry, read you are a recognizable actor with a good resume showcasing your talent, productions aren’t likely to want to pay for travel and will hire someone local instead.  This is slightly different for voice artists with a professional home setup since they work almost exclusively remotely.  Note that Global Rule 1 for SAG does not apply to work on stage projects and vice versa for Equity membership not applying to work in non-union screen projects.

In short…

If you join too soon, you wind up with a pile of awesome benefits you can’t use because you have restricted access to lucrative union gigs.  It’s something to consider depending on what market you live in or if you are unwilling to re-locate to a bigger market.  Otherwise, you can agree to “work as local” which means they hire you as though you live in their market and all of your travel expenses are your responsibility.  That can sometimes mean it costs more to get hired than you are getting paid.

Well, then, when should I join?

Assuming you have qualified for eligibility to join, which we’ll talk about next, the best time to join is really a personal decision. You’ll have to weigh the pros and cons for your individual situation.  The general consensus amongst everyone I have spoken with is this: Join when you have to. Eligibility to join, once achieved, never expires. Some people become eligible quickly, then remain eligible for decades before joining. How will you know you have to join?  Simple, you’ll get hired for a union gig and because of the contract with the production company they will be forbidden from hiring you unless you join.

How to become eligible

In short, working as a principal artist on a single union contract or as a background artist on three union contracts makes you eligible to join.  How can you work a union contract without being a member in the first place?  The Taft-Hartley act.  This act in part prevents unions from coercing people to join and forbids “closed shops”.  Without going into exceptionally boring legal detail, this means that because of Taft-Hartley a union project can hire a non-union employee for 30 days without the need to join the union. You’ll hear people say they got “Taft-Hartley’d” and that’s what it means.

Must-Join

You’ll also hear the term “must join” bandied about and what that means is the union has granted the 30-day Taft-Hartley exemption to a non-union artist and they have reached or exceeded the 30-day limit.  If you ask the union rep what must-join is, he or she will tell you there is no such thing since you can never, by law, be compelled to join.  They call it must-pay – which amounts to the same thing.  At the end of the day if you have been Taft-Hartley’d into eligibility and have exhausted the 30-day work exemption limit you will not be eligible for a union employment contract unless and until you pay your initiation fee and are up to date on dues – a member in good standing.

What is the cost to join?

Well, first, there are a couple different ways to join.  If you join nationally, which includes coverage in major markets like LA and NYC, the initiation fee is $3000 and annual dues are $227.42 plus 1.575 percent of covered earnings up to $750,000.00.  Pretty pricey.  You can however join as a regional member to reduce initiation fees and regional membership is calculated based on the region so you’ll have to check.  You can find out your regional office (based on your mailing address) by going here and scrolling down to the map titled “Locals”, calling the head office in LA (855-724-2387) or sending an email and asking.

Regional membership

Joining regionally is a lot less for initiation (half or less) and covers you for the entire US EXCEPT major markets like LA, NYC, Chicago, and Atlanta.  Major markets may shift from time to time, so you’ll have to ask what markets are excluded when you join as a regional member.  Doing this won’t stop you from working in the major market, but when you are hired in a major market, you’ll then automatically be billed for the difference in initiation fees.

The dreaded FICORE

You may have heard of FICORE.  FICORE stands for “Financial Core”.  Most people think that becoming a member of FICORE allows you to work both union AND non-union gigs, and in a way that’s true.  In essence, deciding to go FICORE means that you are or were a member in good standing but for whatever reason are resigning from the union.  Of course, you’ll still need to pay annual dues including a percentage of your salary for covered gigs, you will not get a refund on initiation fees, but you will not maintain the same level of protection or be able to use the benefits of being a SAG member.

Why is FICORE “dreaded”?

The sad truth is many productions “look down on” FICORE actors and while they would be allowed to hire you, they may choose otherwise in favor of another member in good standing.  Again, this is a very personal decision, and if you want to go this route, I urge you to speak with a SAG rep and an entertainment attorney to fully understand the implications.

At the end of the day

The decision to join or not join the union is a strictly personal one.  The union can provide actors many benefits and not just established pay minimums and good working conditions…but it may also reduce the number of jobs you can book depending on where you live.  The only really solid, steadfast advice on whether or not join is this: Don’t join until you have to so that you can continue to work the largest number of gigs to build your resume. That time is different for everyone, but you’ll know when it’s right for you.

If you enjoyed this, please leave a comment below to let me know.  If you DIDN’T enjoy it, well, I’d like to hear from you too!  And please feel free to share this blog on social media or with other people you think might enjoy it.

If you haven’t already, please feel free to subscribe so you don’t miss anything – and as a thank you receive a free copy of my E-Book: Everything You Ever Wanted to Know About getting Started in Voice Over but Didn’t Know Who to Ask!

Books and Podcasts for actors

Acting, Resources

Welcome back!

And thanks for reading!  Wow, here we are on day one of 2023!  Yes, that’s right, posting my blog for the week on New Year’s Day…that’s dedication, right?  Well, kind of…I am writing it the Friday BEFORE the Holiday…hey, work smarter, not harder…ya know!?  Also, I did some research and have discovered that blogs posted to social media on Sundays and delivered to subscribers on Mondays get better responses, so it’s kind of selfish. Anyway. to kick off the new year, and hopefully provide some fuel for your shiny new resolutions, let’s look at some books and podcasts that are helpful for actors.

REMEMBER:

Just a reminder here that when I use the term “actor” I mean it to encompass all forms of acting including voice, stage, and screen.  What follows applies relatively equally to all of these forms of acting.

Without (much) further ado…

I will begin by confessing I have not read or listened to all of these myself, so I am basing some of these recommendations on the recommendations of others.  For those I have not read or listened to, I didn’t just take the word of ONE person’s recommendation, but several…in that way I can make sure that these really ARE must reads/listens for all actors.  Some of these you may have already read or perhaps listen to regularly…some may be a new discovery for you.  In any case, I hope they help you along your journey as an actor.

Links

I’ve included handy links to these titles below, and just wanted to let you know that these are NOT affiliate links.  I do not benefit in any way, well, except knowing I may be helping you, if you decide to click through and purchase any of these.  Of course, if you buy MY book I benefit, but it is still not an affiliate link.

Books, in no particular order

What is method acting?  In this book Isaac Butler walks you through the Stanislavski system and beyond, right up to and through the evolution of “The Method” as it is understood today.  Nathan Lane Butler calls this “the most important book about acting”.

If you are just starting out as an actor, this is a great book to start off with. With this book you will learn everything you need to know to nail an audition and get cast.  Shurtleff’s 12 guideposts will influence your auditions for years to come.

This fun book will be helpful for anyone who is just getting started along their acting path, and maybe even especially for those who have been at it for a while and feel like they just aren’t getting anywhere.  This book is encouraging as it shows how even the most recognizable actors struggled, sometimes for YEARS before they got a break.

A classic no actor should be without.  Uta Hagen provides a series of exercises and questions to ask yourself to help you connect to yourself in the moment, other actors in the scene and the audience.  She also helps you feel more comfortable on the stage and on set by working past your nervousness.

Larry Moss is a master acting teacher who no longer teaches.  If you ever wanted to study with him, this book is a great substitute.  From his introduction in his own words “I call this book The Intent to Live because great actors don’t seem to be acting, they seem to be actually living.” From the back cover: “From the foundations of script analysis to the nuances of physicalization and sensory work, here are the case studies, exercises, and insights that enable you to connect personally with a script, develop your character from the inside out, overcome fear and inhibition, and master the technical skills required for success in the theater, television, and movies.” This one is on my future reading list.

This title doesn’t provide any tips or ideas on how to act, but it is a wonderful memoir by Mr. Cranston that shows you the path to celebrity isn’t a straight one.  This book is encouraging for anyone who loves acting but struggles to balance their passion against their “day job” and wonder when their big break may come.  Highly recommended and a really fun read.

This book is aimed at stage actors, but can be beneficial for screen actors as well.  It is a compendium of all the unwritten rules and protocols all stage actors are expected to know and observe.  This guide is invaluable for professional stage actors from first rehearsals to final curtain.  If you are a stage actor, or a screen actor who is thinking about making the transition to stage, you should definitely have a copy of this book.

Now what kind of author would I be if I didn’t plug my own book?  This is a compilation of my first 10 or so blog posts, reformatted into a book and self-published on Amazon.  This book basically charts out my journey getting started in VO and captures much of the research I had done on equipment, training and recording space among others.  Hopefully it’s helpful, and you can have it for FREE just for subscribing to this blog!

Podcasts

In this podcast the hosts interview top players in the film and TV industry including celebrities, casting directors and agents.

This podcast is for anyone who is getting started in voice over, or who wants to…and for veteran voice actors to learn helpful techniques and keep up with current trends.  They also interview guests who are working in voice over successfully.

Matt describes his career as an actor as being told no for a living. In this podcast the host talks with successful top-shelf people from all walks of life about their journey through the no’s too get to the yes.  If rejection in this business get you down, it’s great to know that even the most successful people still get told no.

In this podcast Audrey talks with people from the entertainment industry to offer advice on everything from auditions to how to better utilize your union.

This is a bi-monthly actors podcast created exclusively for people in the entertainment industry. This show features interviews with entertainment industry experts including filmmakers, producers, casting directors, musicians, and other successful artists who have achieved success in their field and who share the steps THEY took to get to the next level.

In this weekly podcast, Academy award winner and celebrated acting teacher Milton Justice invites you to listen in on his weekly acting class.  This is one of the rare acting podcasts that delves deeply into the craft of acting.

You may not recognize his name, but you’d know him from TV and movies such as Parenthood, CHiPS, The Good Place and many others.  Check out his IMDB here. In this podcast Dax interviews celebrities each week (twice a week actually) and since he is often acquainted with his guests, he can ask the questions others may not feel comfortable asking.  If you want witty banter mixed with insights into the entertainment industry you might not get elsewhere, this is the podcast for you.

In this podcast Lilli Torre begins each episode by asking her guest: “So, what have you been up to?” and the conversation flows from there.  This podcast offers insight into the many different avenues one can pursue to support a career in the arts. Most of the people interviewed are actors AND something else, whether that be teacher, business owner, or real estate agent.

And there you have it!

My list of books and podcasts to get your New Year started.  These are just a few of the tremendous resources available and while I encourage you to check these out, there are thousands more available on the other end of a quick Google search. Happy New Year and welcome to 2023…may the upcoming year prove to be more successful than last year, no matter how successful last year was!

If you enjoyed this, please leave a comment below to let me know.  If you DIDN’T enjoy it, well, I’d like to hear from you too!  And please feel free to share this blog on social media or with other people you think might enjoy it.

Looking for your next great non-fiction read? Check out these promotions:  Personal Wellness and Self-Help and Become Inspired. Become You.

If you haven’t already, please feel free to subscribe so you don’t miss anything – and as a thank you receive a free copy of my E-Book: Everything You Ever Wanted to Know About getting Started in Voice Over but Didn’t Know Who to Ask!