A project you’re cast for requires all actors join their Discord server.

What’s okay

While e-mail is the default for projects in the professional realm, Discord is a very common method of communication in the indie scene. It is understandable for producers to prefer Discord as their primary means of sharing updates on the project and staying in contact with everyone, and sometimes this can lead to the cast getting to know each other and making friends. Ideally, however, joining such a server should be optional, especially when it comes to knowing when it’s time to record your lines. (By the way…most people end up turning off pings for project servers anyway, particularly if the mods like to constantly drop “@ everyone” tags to inform that they’re streaming a game or something else irrelevant.)

What’s not okay

Even if everyone is asked to join for organizational purposes, projects should not require a mandatory level of participation in the server, expect voice actors to be checking the server constantly for their lines, or attend team meetings (which are primarily reserved for people working on the development side, such as artists and programmers). “No actor needs to be a part of a Discord server unless they are actively working on behind the scenes stuff as well, such as writing or producing,“ says Kamran Nikhad.

The expectations and requirements for your work as a voice actor, as well as any background context needed, can be easily communicated via e-mail, Google Docs, or even an individual DM on Discord, without the need for a bunch of group calls with everyone on the project. While “we are like a family” may sound endearing, this can also mean the project ends up being more of a time sink than anticipated—-Tabetha McNeal cautions, “Watch out for people that claim you have to be super active in the server to be a part of the project. Especially unpaid work; they want you to come to every meeting, voice call, always chatting because ‘we are family’ now.”

Tip for producers

While a server can be a helpful means of organization for your production team members in general, actors are typically such a small part of this process that they don’t need to be in the server to get the relevant information. Scripts can be easily e-mailed or put up on Google Drive, etc. It’s fine if you want to have optional cast get-togethers and game nights, but such things should not be mandatory for participating in a project. Bluntly speaking, many actors are busy on other projects at the same time and will not be checking these servers on a regular basis anyway. Read more here.

A project you were cast for requires group readthroughs/“rehearsals” with the rest of the cast.

What’s okay

This can be acceptable if everyone is fully on-board and into the idea of practice sessions to explore the script and get into character, particularly if the cast is comprised primarily of beginner actors hungry to improve their craft. However, do note that in professional voiceover, “rehearsals” aren’t a standard procedure. Actors will usually be recorded one at a time, with the director giving any needed context and ensuring that everything will sound cohesive when put into the scene. Original animation (“pre-lay”) may sometimes have group recording sessions and/or table reads, but the actors are commonly paid for these sessions.

What’s not okay

Requiring multiple unpaid rehearsal sessions is not standard in voiceover and moreover, can be a nightmare for scheduling if lots of cast members from all different time zones are expected to be there. When a project isn’t paying you for this time, you cannot be expected to block out hours of your schedule that could be used to accept paid projects or other work that will further your career. “I’ve heard stories of people with small roles *required* to sit through long table reads that are unpaid,” says Sam Slade. Any such “practice sessions” (that are not intended to be used as final recording) should be optional.

Tip for producers

Voiceover is not the same thing as working on a play or film set, and many actors are able to “cold read” their lines and record independently so long as any necessary context is provided in the script. If you decide you’d like to do a live-directed session with each actor or even a group session/table read for the final project recording, that’s okay, but any unpaid rehearsals should be presented as an optional opportunity for people to bounce off others and get feedback rather than a requirement to be part of the project. If some of your cast wants to do rehearsals but others do not, you can always have someone read “scratch” dialogue for anyone who isn’t there.

After being cast for a project, you are told you are required to edit, label and split all lines and takes into individual files.

What’s okay

Asking for a few separate files for organizational purposes is perfectly acceptable—for example, if you are playing multiple characters in the same project, each character will likely need to be in its own file. The same may go for creating a new file for each episode, tab in the script, etc.

What’s not okay

Asking for every single line and take to be split into its own file is often an extraordinarily tedious task and outside of the normal job description for a voice actor. Consider that editing alone can take roughly three times the amount of time as it does to record the lines, and unless it’s just a few lines, it’s unfair to ask this of actors without compensation. (Furthermore, dropping a bunch of raw files into a final project without compression / volume leveling / mastering usually won’t sound good anyway!)

Some actors may be okay with volunteering to do this especially if they are also experienced in editing or have a macro that helps automate the process, but it should be clear that this is a courtesy and not a default.

Tip for producers

Option 1: If you have the budget for it, consider hiring an audio engineer or dialogue editor to handle file splitting as well as audio cleanup and mastering. This is the ideal way to make your project sound its best and create a uniform standard among the cast recordings.

Option 2: Consider doing this yourself to save on budget—it’s not a particularly complicated job, just a time-consuming one. Depending on what program you use for audio editing, you may be able to find ways to set up a labeling system and “batch export” lots of individual files.

Option 3: Offer the actors extra compensation to handle their own editing and line splitting. If you are expecting a large volume of files, an additional hourly fee may be best. Otherwise, people have suggested a per-file split rate. See the Indie Rate Guide for ideas.

You are asked to submit personal information in order to proceed with being cast for a voiceover job.

What’s okay

Particularly if the creators you are working with will be paying you through a company account, they may be mandated by the IRS to collect a tax form from you (for U.S. companies, they’ll collect a W9 from you if you’re based in the U.S. and a W8-BEN if you’re based elsewhere.) While this is usually only required if they anticipate paying you over a certain dollar amount in the calendar year, some businesses may want to be completely sure they are compliant with local tax regulations.

If you’re working with an established studio based in the U.S., they may also ask for a form called an I-9 along with a photo of your passport/ID for the purpose of proving you are authorized to work in the United States. This is a legitimate request, but be sure that you are working with a vetted professional company and not a scammer or random person online before agreeing to send over a copy of your ID!

What’s not okay

An individual sending you a relatively small amount of money over PayPal or a similar service for what basically amounts to a passion project should not be asking for things like your home address or phone number or be asking you to submit a copy of your ID. “I saw some other things about needing fingerprints and licenses/passports which is always something really strange,” says Lawrence Brenner. Generally speaking, it is your responsibility to keep track of your income from these small one-off jobs for tax reporting purposes.

Additionally, some people will use contract templates that ask for an address, which you can usually leave blank or just put your city and state. If they push (and again, this is assuming we are talking about an individual person online rather than a legitimate company), you are within your right to say “I’m sorry, but I’m not comfortable giving out my home address. Is there a reason you need it?” If this is a situation that comes up often, you can always consider getting a PO box or proxy mailbox service to use for all your contracts and tax forms.

Tip for producers

If you are requiring talent submit sensitive information, be clear about what is needed and why. Additionally, if tax forms or anything else with SSNs are required for corporate compliance, please try to make sure your e-mail account is secure or consider using an encrypted service (such as DocuSign) to send and receive these forms.

Finally, while legal names are often required for tax and contract purposes, always take care to safeguard this information and do not share with any third parties except as legally mandated (IRS, payroll company, etc). Many actors use a stage name for any number of reasons (privacy, work/life separation, gender identity, or even just personal preference) and the actor’s preferred credit name should be used on any public-facing materials related to the project. Disclosing someone’s legal name or other personal details without consent can be considered a form of doxing.

You are asked to do live-directed sessions, but for an unpaid project.

What’s okay

Wanting a live-directed session is understandable, and fine if mutually agreed on by both the director and the actor and it is not too much of an imposition on either party’s schedule. In some cases, both parties may prefer a live session to minimize the need for retakes.

What’s not okay

If you’re volunteering your time for a project, expectations need to be tempered accordingly, and this includes scheduling. You should never be scolded or made to feel ashamed because you need to prioritize paying work (whether it be voice work or a day job), school, family, or health.

Additionally, be aware that many hobby/amateur directors are not yet knowledgeable or experienced in how to direct actors. Speaking in regards to the hobby scene, Kamran Nikhad recounts, “There’s also a number of creators who will insist on live directing even if a script can be self-directed, and many of them aren’t considerate of your time. There will be way too much banter or explaining things away when most folks just want to get the script done.”

If both parties want to do a directed session, go for it, but remember: An inexperienced director is fine, but one who insults or belittles you is not.

Tip for producers

As much as you may think you need to be there to micromanage the recording, many actors are perfectly capable of recording and delivering lines on their own. “I promise I can get you a variety of takes plus redirects in a much shorter time period than the live session with your whole team plus me,” says Sam Slade. It is acceptable to ask for 2-3 takes of each line so you have some options to pick from, and if they’re still not getting it, rest assured that you can always ask for retakes (within reason, of course!)

If you do insist on live sessions but cannot offer an hourly payment, just do your best to work efficiently, and make sure to be respectful of your cast members and their time. (See: “tips for directing a live session”)

An unpaid (or low-paid) project is being overly demanding with deadlines, asking for very quick turnarounds and/or constant updates on the recordings.

What’s okay

It is reasonable for even hobbyist projects to set deadlines for asset deliveries and milestones for completion, and to expect their cast members to communicate if they need to miss a deadline due to work, school, illness, or other personal reasons. Particularly for longer deadlines, it’s also acceptable to send a quick reminder/check-in when the deadline draws near as people are human and it can be easy to genuinely forget you’ve got lines due.

What’s not okay

If the demands of a hobby project are interfering with your real-life obligations (especially if it’s interfering with paid/higher-paid work), you may need to set boundaries in terms of what you are realistically able to deliver. “I always try to get jobs in quickly, but when it’s not helping me pay my bills, I can’t have it be my number one priority,” says Christina Costello.

Of course, it’s always good to be courteous and let the producers know up front if you anticipate an issue with their deadline. Feel free to clarify expected turnaround times when starting on a new project so there are no surprises on either end.

Tip for producers

1. Time is money. The more you are paying your cast, the more you have the right to demand in terms of short and/or rigid deadlines. But especially on a hobby/volunteer project, it’s important to remember that everyone has obligations outside of your project too.
2. Be clear with your expected deadlines rather than not giving a deadline but then constantly hounding your cast for updates. “Lack of clarity + transparency regarding timelines can be extremely problematic (both for actors and the production as a whole), especially if those helming a project adjust deadlines without informing everyone else involved,” says Jett Barker.
3. Offer your cast the option to submit lines in “batches” on large projects so you can get started on editing without giving them an overwhelming workload all at once.
4. Remember that everyone is human, so try to be understanding – particularly on unpaid or low-paid projects – if someone has a situation come up in their personal life which means they need a bit more time. Being flexible can go a long way towards building a good rapport with your team. (Of course, if an actor disappears for long stretches of time and misses deadlines without communicating with you, then it’s perfectly acceptable to consider a recast.)

A project creator wants you to have a one-on-one call with them to go over the project before you start work.

What’s okay

Some directors find it easier to communicate details of the project by having a quick Discord/Zoom call rather than typing everything out. However, if it’s not part of a paid live session, this should be kept brief and to the point, and they should make an effort to work with your schedule to find a suitable time.

What’s not okay

Long calls going over the history and lore of the project are largely unnecessary and…quite frankly, can waste time doing what could have easily be explained in an e-mail. “To be honest, I’m not really a fan of having to have any kind of Discord or otherwise private calls with content creators simply to learn more about the story or character voice… I don’t really need that level of detail, and it’s (unpaid) time taken away from other things,” says Mike Ciporkin. And of course, if a client ever behaves in an inappropriate or unprofessional manner during these one-on-one calls, that’s a red flag and a good sign to run!

Tip for producers

Lauren Littlefield recommends “clear, concise descriptions of the character to help the VA get an idea without needing a 3 hour long Discord call.” Now, if you plan to direct your actors in live sessions, then things like describing the project and character can simply be done at the beginning of the session!

Giving context to actors is normal and a good thing, but try to keep it relevant to what they specifically need to know in order to perform their role, rather than getting bogged down in unnecessary details. And of course, a lot of this goes back to simply being respectful of people’s time—-the less you are paying someone for their work, the less you are able to demand from their schedule.

A project creator becomes overly pushy with asking you to share updates about the project on your social media accounts.

What’s okay

It is understandable that smaller creators and indie teams have limited reach and influence, and often need all the help they can get in order to get the word out about their project, especially if they are relying on crowdfunding to make it happen. It’s perfectly acceptable for them to ask (in a non-pressuring way) cast members to share—at the bare minimum—a role announcement post, and occasionally it may even be contractually required that actors make a social post regarding their involvement. (However, producers should always respect the choices of those who have a valid reason not to share, such as if they are using a pseudonym or going uncredited.)

What’s not okay

You should never be pressured to constantly retweet updates or make posts or stories talking about the project beyond basic milestones (which usually means one post at the time of your role announcement, and another post/share at the time the project is released), unless you would like to do more voluntarily. One way to politely set a boundary to a pushy client is to say something like “I really appreciate working on this project, but I like to be organic about how I share things on my socials—if you have a particular major update you’d like me to share in the future, I don’t mind doing that, but posting so much about this particular project wouldn’t be fair to all the other clients I’m currently working with. I hope you understand!”

If your contract does include a stipulation on promotion, it is perfectly reasonable to ask them to revise the wording to something like “minimum of one post on social media accounts” so that they cannot continually come back and ask you for more posts—especially if you have a large following that you suspect clients may want to milk you for. A courtesy share once or twice is one thing; being asked to do the work of an influencer (without being paid accordingly) is different. And of course, if you asked not to be credited under your real identity for whatever reason, you should be exempt from the social post requirement (or be allowed to share it under your alternate account if you have one.)

Tip for producers

1. If you do require promotion as part of your contract, it’s best to state this up front – ideally during the audition process – so that actors who aren’t comfortable with this requirement can refrain from auditioning.
2. Don’t cast actors solely on the basis of hoping they’ll promote your project – while “stunt casting” is unfortunately a thing even in the professional world (AND sometimes popular actors are chosen solely based on their acting choices irrespective of any social media following), “clout casting” is often transparent to everyone involved, and actors can feel resentful if it becomes clear they’re being used for their following rather than fairly being chosen for the role.
3. Consider setting aside budget to invest in advertising. Rather than rely on voice actors to do your marketing work for you (which may not even result in the reach you have hoped for), consider paying to boost posts on your own social media, sponsoring actual influencers to play your game or buying ad space on popular platforms. If you can’t afford sponsored posts, try doing a giveaway!
4. Be open to actors who may want to be credited under a pseudonym, even if you’re worried that it means a lack of promotion. Particularly for fan-based projects or anything with adult themes, actors may not want to post on their main accounts. There is also a rise of actors using their V-tuber accounts for credit purposes, either to build their brand or provide a layer of anonymity.

A project requires voice actors to be on-camera during the recording sessions.

What’s okay

For original animation, actors may occasionally be asked to film themselves during the recordings to give the animators a reference to work with. There have also been situations where the actor’s mouth movements are used to aid in lip sync on a game project.

What’s not okay

Any recording done should be for internal reference purposes only and not distributed to the public without clear, express consent from everyone involved. For example, actors should not be required to film “behind the scenes” footage for public release unless they are comfortable doing so (and ideally, compensated extra for it).

Tip for producers

If you require actors to film their sessions for animation reference purposes, be clear – preferably in your contract – that these recordings are for internal use only and will not be shared publicly. The video should be kept secure and ideally deleted after the intended purpose is fulfilled.

If the filming is requested for behind-the-scenes/promotional footage, be up front with intended usage/distribution, offer additional compensation if possible, and allow actors who aren’t comfortable to opt out of participating in that aspect of the project.

A project you’re interested in auditioning for is unpaid, but claims that you’ll be able to make a lot of money once they get a publisher, get picked up by a network, make their crowdfunding goal, or some other lofty milestone.

What’s okay

Occasionally, situations arise where a production team is literally starting from nothing, and wants to make a passion project but doesn’t have a budget. Maybe they hope to pay contributors down the line if the project becomes successful, but can’t promise anything. That’s fine—-but creators should be upfront about it.

What’s not okay

Nobody should be promising compensation if there is no guarantee that such compensation will actually come. It is unethical to get everyone’s hopes up by saying “if you work for us unpaid for now, you’ll make a lot of money when we actually get off the ground!” The fact of the matter is, crowdfunding is difficult, and not all crowdfunding efforts succeed. Understand that if you take on such a project, the likelihood is rather high that you may never be compensated for your efforts—-so if you wish to audition, just go in with that in mind. And when in doubt, do your homework! “For projects intending to crowdfund, research is all the more important. Not only should you check for proof of concept on the project itself, but you should also look into the team behind the project,” says Nick Chang.

Tip for producers

Always be transparent in regards to pay and budget. If you’re making money from your project, your team should be too—-but if there is no budget, then just be honest about it. Acknowledge that your project is “unpaid”, though you can mention that there may be a possible bonus in the future if things happen to go well. Jack Magus was in a similar situation when producing the “Rise of Kyoshi” fan adaptation, and offers the following advice: “I think the important thing is establishing expectations at the beginning and if there are any changes, communicate them immediately.” He added that by being transparent with the project’s financial situation from the beginning and as it as it changed when starting to gain revenue, “there hasn’t been any conflicts when it comes to finances.”

Major red flags

Red flags are serious issues which indicate that the project likely has problems beyond simple disorganization or honest growing pains.

What should you do if you encounter a red flag in a project you are working on?

Proceed very, very cautiously if you still wish to work on the project. Otherwise, you may respectfully bow out (see our tips later in the article for how to leave a project you no longer want to be a part of.)

If an abusive creator/director/producer threatens to “blacklist” you, be assured that this is an empty threat.

People who treat their creative teams in a cruel or emotionally abusive manner are not above resorting to threats in hopes to scare them away from speaking up or leaving the project. Don’t fall for it. One indie developer, online animator, or podcaster does not have remotely the amount of industry sway it would take to bar you from doing legitimate projects in the future. And even though the saying goes “it’s a small industry”, the industry is large enough that they literally do not have the power to keep you from working in it. Recognize this manipulative tactic for what it is, remove yourself from the situation, and do not feel compelled to argue with them any further. Save evidence just in case you need it, but even if they publicly attempt to tarnish your reputation, rest assured that it will carry little to no weight in the actual professional world (and may not even gain much traction in the first place).

Don’t be afraid to talk to your friends in the cast.

If you know other people on the project, and feel comfortable talking to them, it can help to get a “temperature check” if you have a gut feeling that something might be amiss. You can even approach this in a neutral way—for example, “I noticed you are also working with [project director], can I ask what your experience has been like with them so far?” This opens the door to a conversation without implicating you if your castmate actually really enjoys working with that person. And if talking to a castmate isn’t possible or practical, ask an industry mentor if what you’re dealing with is a red flag or not.

Upon receiving a script, it turns out there is NSFW content that was not disclosed during the casting process.

What’s okay

NSFW voice work is a valid and potentially lucrative form of work (though many suggest using a pseudonym for a variety of reasons.) However, if a script is to contain explicit sexual content, it should always be disclosed up front during the audition/offer process so that actors can make an informed choice, and producers should be clear that everyone must be of legal age to work on said project.

On occasion, there may be a situation where a casting director is working with an end client who did not disclose to them the presence of certain content. In that case, the casting director should inform the actors involved as soon as they become aware of it, and be understanding if anyone chooses to drop out as a result.

What’s not okay

Producers should never expect—or worse yet, pressure—talent to perform in such work without their informed consent. “I had to pull out of a project that required me to do some things I really was NOT comfortable with and was NOT disclosed in the original casting call,” says Steph Cheon.

If a script turns out to be more explicit than you expected, you should be able to leave the project without fear of retaliation. Additionally, if you are comfortable performing the content but do not want your name publicly associated, you are well within your right to use a pseudonym or go uncredited.

Legitimate producers should also be happy to clarify if actors have questions about the content—and if they don’t, that’s a red flag as well. “If it looks like they’re trying to slyly slip you an inappropriate script, they very well could be. I’ve had this happen to me once, and when I expressed my thoughts with the director, I was asked: “Are you being serious?” No director worth your time is gonna disrespect your boundaries like that,” says Nate Fernandez.

Keep an eye out for fetish mining, too—some projects may look innocuous upon first glance, but it soon becomes apparent that you are being expected to record for targeted adult content. Again, above-board producers should disclose, but there are some sneaky ones out there. “Fetish traps are no joke and I’ve had my boundaries crossed without even knowing it,” says Estelle Son.

Tip for producers

If your script contains NSFW and/or fetish content, that’s OK, and there are plenty of actors who are willing to work on such projects. However, if you wish to behave ethically, you have the following responsibilites:

–Always respect an actor’s wish to use a pseudonym, and use discretion when talking about who worked on your project. Never “out” an actor without their permission, even to other cast members. In some cases this is not only a matter of reputation, but also personal safety.

–Make sure to disclose the nature of the content in the very beginning of the audition process. Don’t wait until actors submit auditions and get cast to tell them that there’s an explicit scene involved! Be up front with what you are looking for so that actors can be informed going in. Use content warnings if possible—“sexual content” is not very descriptive on its own and could encompass all sorts of scenes that actors may or may not be comfortable with. For example, some actors are okay with “ecchi/fanservice” content but not full nudity, or they may be okay with adult content if the character they are voicing does not participate in such scenes. Be as transparent as possible and make sure actors provide informed consent.

–Be clear that the audition is for adults only. If you are made aware that someone is a minor, do not accept an audition from them (and report to the moderators of the casting platform, if possible.)

A project you are working on turns out to be using AI-generated assets.

What’s okay

It’s generally unacceptable for productions to use generative AI, as much of this was trained on stolen content.

Some indie devs may end up using AI “art” or voices as temporary placeholders during the testing process, which isn’t ideal, but may either be mandated by their higher-ups or they may genuinely be ignorant as to why genAI is problematic. Also, there have been instances where people outsource artwork to a third-party contractor and that person uses AI to create the assets without disclosing it to their client!

If you suspect it’s an honest mistake and you are still interested in working with the team, open up a dialogue. Let them know that you’d love to work on their project, but that you’re not comfortable with the use of generative AI, and confirm that it will not be used anywhere in the final product. Some clients may be open to being educated on why the use of this technology in creative fields is often unethical and may even result in backlash from their audience.

What’s not okay

Some projects are not only open about using generative AI; they’re proud of it! If a potential client gets defensive or snarky about how it’s none of your business or “you’ve got to keep up with the times”, that’s a good sign that this is not somebody you want to be working for. Even if they reassure you that they won’t be taking your voice and using it for AI, do you really want to be part of a project that sees no issue with stealing from fellow creatives such as artists or writers?

Tip for producers

Support human creativity! You may think it’s just a convenient way to save time and money, but if your goal is to make something, don’t you want it to actually be your own? There are plenty of human artists, writers, and voice actors who will be happy to work with you and will likely charge less for temporary assets such as preliminary sketches or scratch dialogue than they would for final usage. You and your team can even do this yourself if you like!

If you’re making a game, remember too that “AI slop” is seen as a major turn-off for many players, and may reflect negatively on your reputation. Take the time to support fellow creatives and do things the right way.

A project director is asking the actor to role-play to help get into character.

What’s okay

Group improv calls can be held as an optional event for those who enjoy that sort of thing, or a director may schedule a one-on-one call with the actor to help provide additional context if they’re having trouble connecting with the script.

What’s not okay

You should never, ever be coerced into “role playing” one-on-one in a call or text chat with a project director. This is a clear violation of boundaries and can often lead to predatory situations, especially if the actor is a minor.

Especially for young and impressionable talent working on some of their first projects, they may be afraid to speak up because they don’t want to be seen as difficult or aren’t sure if situations like this are normal. There are sadly too many stories of amateur voice actors being pressured into role play situations with hobby project creators under the guise of it helping their acting, but it turned out to be something predatory.

Now, it’s always possible that some amateur directors may genuinely think of it as an acting exercise and not be aware of how it can quickly go south. As with any situation you can choose to give the benefit of the doubt, but if your gut tells you something is wrong, it probably is.

Tip for producers

The best way to help your actors “get into character” is by simply providing a well-written script with enough context to help them make informed choices on how to read their lines. Forcing them to improvise their own lines in a random call or text chat is completely beyond the scope of what they should be expected to do. Even if you mean well, be aware of how your intentions come across, and never behave in a way to your talent that is inappropriate or crosses professional boundaries.

Someone you’re working with on a project makes unwanted advances or other inappropriate comments.

What’s okay

If you happen to meet someone on a project that you mutually connect with and things naturally go from there, good for you… as long as both parties consent and no one is abusing their position of power.

What’s not okay

No one you are working for or with should be making you feel uncomfortable or afraid, and you should especially not feel compelled to tolerate this behavior in order to get or keep a role. Awkward romantic advances are bad enough, but if a person in charge ever makes inappropriate sexual comments to you, walk away from the project.

Tip for producers

Don’t do this. You and your actors both have the same goal: to make a great project. Anything else can lead to a lot of misunderstandings, awkward feelings, and likely a less-than-great parting of ways which can further derail the project.

Now, if you are the director and you are informed that an actor on your project is behaving this way to another one of your actors, you can try talking to them about it (if you feel they had good intentions but lack social awareness) or for more severe offenses, removing them and recasting their role.

A project director belittles you or insults your skill.

What’s okay

Some directors are known for being tough to work with but getting a great performance out of their cast (however, this should never cross the line into emotionally abusive behavior.) Sugarcoating isn’t necessary, but there should always be an atmosphere of mutual respect between the director and talent.

What’s not okay

Even if someone is paying you for your work, it does not give them the right to speak to you in an insulting manner. Consider whether the pay you are getting is worth putting up with this behavior (and if it happens to be an unpaid project, definitely run the other way!) There will always be other jobs.

Tip for producers

You may have heard stories of well-known directors being overly difficult or attempting to “break actors down” in order to get an authentic performance. Unless you are a very experienced director who knows how to push the limits safely, making your cast feel bad about themselves mean they may quit the project altogether (or at least not want to work for you again.)

Remember that you can still effectively communicate performance adjustments you’re looking for without coming across as unkind. There is no need to imply someone is unskilled at what they do (if so, why did you cast them for your project in the first place?), negatively compare them to other actors (“the other lead in this project never requires so many retakes”), or express frustration that they’re “just not getting it”. Ask for what you want, but be polite about it!

A project you are working on has drama among the cast and crew.

What’s okay

Creative disagreements are acceptable as long as they are handled in a mature, respectful manner.

What’s not okay

Personal insults, name-calling, and drama spilling over onto social media or affecting cast and crew members outside of the project is a good sign that perhaps this is a mess worth walking away from.

Tip for producers

Particularly on projects where many people involved are less experienced in running a project, mistakes will be made. That’s all right! If you insist on having a project Discord server or other space for team members to communicate with each other, set the tone for the project and be a good role model in how you communicate. Encourage cast and crew to come to you privately if they have any issues.

If the drama stems primarily from a single team member who cannot get along with others or is constantly stirring up some type of problem, approach this person privately and see if the matter can be resolved. Failing that, consider dismissing them from the project. This can still be done in a professional manner (ex: “Unfortunately it seems we’re still not seeing eye to eye on these issues, and it’s causing some conflict with the rest of the team. I think it would be best for everyone’s sake if you were to step down from this project, but we wish you the best of luck on your future endeavors.”)