Actors, producers, and directors express ideas and create images in theater, film, radio, television, and other performing arts media. They interpret a writer's script to entertain, inform, or instruct an audience. Although many actors, producers, and directors work in New York or Los Angeles, far more work in other places. They perform, direct, and produce in local or regional television studios, theaters, or film production companies, often creating advertising or training films or small-scale independent movies.
Actors perform in stage, radio, television, video, or motion picture productions. They also work in cabarets, nightclubs, and theme parks. Actors portray characters, and, for more complex roles, they research their character's traits and circumstances so that they can better understand a script.
Most actors struggle to find steady work and only a few achieve recognition as stars. Others work as “extras,” with no lines to deliver. Some actors do voiceover and narration work for advertisements, animated features, books on tape, and other electronic media. They also teach in high school or university drama departments, acting conservatories, or public programs.
Producers are entrepreneurs who make the business and financial decisions involving a motion picture, television show, or stage production. They select scripts, approve the development of ideas, arrange financing, and determine the size and cost of the endeavor. Producers hire or approve directors, principal cast members, and key production staff members.
Large productions often have associate, assistant, or line producers who share responsibilities. The number of producers and their specific job duties vary with the size and budget of each production; however, all work is done under the overall direction of an executive producer. Together the producers coordinate the activities of writers, directors, managers, and agents to ensure that each project stays on schedule and within budget.
Directors are responsible for the overall creative decisions of a production. They interpret scripts, audition and select cast members, conduct rehearsals, and direct the work of cast and crew. They approve the design elements of a production, including the sets, costumes, choreography, and music. As with producers, large productions often have many levels of directors working on them. Assistant directors cue the performers and technicians, telling them when to make entrances or light, sound, or set changes. All directors must ultimately answer to the executive producer, who has the final say on all factors related to the production.
Work environment. Actors, producers, and directors work under constant pressure. Many face stress from the continual need to find their next job. To succeed, actors, producers, and directors need patience and commitment to their craft. Actors strive to deliver flawless performances, often while working under undesirable and unpleasant conditions. Producers and directors organize rehearsals and meet with writers, designers, financial backers, and production technicians. They experience stress not only from these activities, but also from the need to adhere to budgets, union work rules, and production schedules.
Work assignments typically are short term—ranging from 1 day to a few months—which means that workers frequently experience long periods of unemployment between jobs. The uncertain nature of the work results in unpredictable earnings and intense competition for jobs. Often, actors, producers, and directors must hold other jobs in order to sustain a living.
Work hours are often long and irregular—evening and weekend work is a regular part of life in the performing arts. Actors, producers, and directors who work in theater may travel with a touring show across the country, whereas those who work in film may work on location, sometimes under adverse weather conditions. Actors who perform in a television series often appear on camera with little preparation time, because scripts tend to be revised frequently or even written moments before taping. Those who appear live or before a studio audience must be able to handle impromptu situations and calmly ad lib, or substitute, lines when necessary.
Actors should be in good physical condition and have the necessary stamina and coordination to move about theater stages and large movie and television studio lots. They also need to maneuver about complex technical sets while staying in character and projecting their voices audibly. Actors must be fit to endure heat from stage or studio lights and the weight of heavy costumes. Producers and directors ensure the safety of actors by conducting extra rehearsals on the set so that the actors can learn the layout of set pieces and props, by allowing time for warm-ups and stretching exercises to guard against physical and vocal injuries, and by providing an adequate number of breaks to prevent heat exhaustion and dehydration.
Actors, producers, and directors often work long, irregular hours.
People who become actors, producers, and directors follow many paths to employment. The most important qualities employers look for are creative instincts, innate talent, and the intellectual capacity to perform. The best way to prepare for a career as an actor, especially in the theater, is through formal dramatic training, preferably obtained as part of a bachelor's degree program. Producers and especially directors need experience in the field, either as actors or in other related jobs.
Education and training. Formal dramatic training, either through an acting conservatory or a university program, generally is necessary for these jobs, but some people successfully enter the field without it. Most people studying for a bachelor's degree take courses in radio and television broadcasting, communications, film, theater, drama, or dramatic literature. Many stage actors continue their academic training and receive a Master of Fine Arts (MFA) degree. Advanced curricula may include courses in stage speech and movement, directing, playwriting, and design, as well as intensive acting workshops. The National Association of Schools of Theatre accredits over 150 programs in theater arts.
Most aspiring actors participate in high school and college plays, work at college radio or television stations, or perform with local community theater groups. Local and regional theater experience may also help many young actors hone their skills. In television and film, actors and directors typically start in smaller roles or independent movie production companies and then work their way up to larger productions. Actors, regardless of their level of experience, may pursue workshop training through acting conservatories or mentoring by a drama coach.
There are no specific training requirements for producers. They come from many different backgrounds. Actors, writers, film editors, and business managers commonly enter the field. Producers often start in a theatrical management office, working for a press agent, managing director, or business manager. Some start in a performing arts union or service organization. Others work behind the scenes with successful directors, serve on the boards of art companies, or promote their own projects. Although there are no formal training programs for producers, a number of colleges and universities offer degree programs in arts management and in managing nonprofit organizations.
Some directors have experience as actors or writers, while others gain experience in the field by assisting established directors. Many also have formal training in directing.
Other qualifications. Actors need talent and creativity that will enable them to portray different characters. Because competition for parts is fierce, versatility and a wide range of related performance skills, such as singing, dancing, skating, juggling, acrobatics, or miming are especially useful. Actors must have poise, stage presence, the ability to affect an audience, and the ability to follow direction. Modeling experience also may be helpful. Physical appearance, such as having certain features and being the specified size and weight, often is a deciding factor in who gets a particular role.
Some actors begin as movie extras. To become an extra, one usually must be listed by casting agencies that supply extras to the major movie studios in Hollywood. Applicants are accepted only when the number of people of a particular type on the list—for example, athletic young women, old men, or small children—falls below what is needed. In recent years, only a very small proportion of applicants have succeeded in being listed.
Like actors, directors and producers need talent and creativity. Directors need management ability because they are often in charge of a large number of people in a production. Producers need business acumen.
Advancement. As the reputations and box-office draw of actors, producers, and directors grow, some of them work on bigger budget productions, on network or syndicated broadcasts, in more prestigious theaters, or in larger markets. Actors may advance to lead roles and receive star billing. A few actors move into acting-related jobs, becoming drama coaches, directors, or producers. Some actors teach drama privately or in colleges and universities.
In May 2008, actors, producers, and directors held about 155,100 jobs, primarily in the motion picture and video, performing arts, and broadcast industries. This statistic does not capture large number of actors, producers, and directors who were available for work but were between jobs during the month in which data were collected. About 21 percent of actors, producers, and directors were self-employed.
Employment in motion pictures and in films for television is centered in New York and Los Angeles. However, small studios exist throughout the country. Many films are shot on location and may employ local professional and nonprofessional actors. In television, opportunities are concentrated in the network centers of New York and Los Angeles, but cable television services and local television stations around the country also employ many actors, producers, and directors.
Employment in the theater, and in other performing arts companies, is cyclical—higher in the fall and spring seasons—and concentrated in New York and other major cities with large commercial houses for musicals and touring productions. Also, many cities support established professional regional theaters that operate on a seasonal or year-round basis.
Actors, producers, and directors may find work in summer festivals, on cruise lines, and in theme parks. Many smaller, nonprofit professional companies, such as repertory companies, dinner theaters, and theaters affiliated with drama schools, acting conservatories, and universities, provide employment opportunities for local amateur talent and professional entertainers. Auditions typically are held in New York for many productions across the country and for shows that go on the road.
Employment is expected to grow as fast as the average for all occupations. Competition for jobs will be keen. Although a growing number of people aspire to enter these professions, many will leave the field early because the work—when it is available—is hard, the hours are long, and the pay is often low.
Employment change. Employment in these occupations is expected to grow 11 percent during the 2008–18 decade, about as fast as the average for all occupations. Expanding cable and satellite television operations and increasing box-office receipts of major studio and independent films will increase the need for workers. Additionally, a rising demand for U.S. films in other countries should create more employment opportunities for actors, producers, and directors. Also fueling job growth is the continued development of interactive media, online movies, and mobile content produced for cell phones or other portable electronic devices. Attendance at live theater performances should continue to be steady, and drive employment of stage actors, producers and directors. However, station consolidation may restrict employment opportunities in the broadcasting industry for producers and directors.
Job prospects. Competition for acting jobs is intense, as the number of actors auditioning for roles greatly exceeds the number of parts that become available. Only performers with the most stamina and talent will find regular employment.
Venues for live entertainment, such as theaters, touring productions, and repertory theaters in many major metropolitan areas, as well as theme parks and resorts, are expected to offer many job opportunities. However, prospects in these venues are variable because they fluctuate with economic conditions.
Many of the most successful actors, producers, and directors have extraordinarily high earnings, but many more of these professionals, faced with erratic earnings, supplement their income by holding jobs in other fields.
Median hourly wages of actors were $16.59 in May 2008. The middle 50 percent earned between $9.81 and $29.57. Median hourly wages were $14.48 in performing arts companies and $28.72 in the motion picture and video industry. Annual wage data for actors were not available because of the wide variation in the number of hours worked by actors and the short-term nature of many jobs, which may last for 1 day or 1 week; it is extremely rare for actors to have guaranteed employment that exceeds 3 to 6 months.
Median annual wages of producers and directors were $64,430 in 2008. The middle 50 percent earned between $41,890 and $105,070. Median annual wages were $85,940 in the motion picture and video industry and $55,380 in radio and television broadcasting.
Minimum salaries, hours of work, and other conditions of employment are often covered in collective bargaining agreements between the producers and the unions representing workers. While these unions generally determine minimum salaries, any actor or director may negotiate for a salary higher than the minimum.
A joint agreement between the Screen Actors Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA) guarantees all unionized motion picture and television actors with speaking parts a minimum daily rate of $782 or $2,713 for a 5-day week as of June 2009. Actors also receive contributions to their health and pension plans and additional compensation for reruns and foreign telecasts of the productions in which they appear.
Some well-known actors earn well above the minimum; their salaries are many times the figures cited here, creating the false impression that all actors are highly paid. For example, of the nearly 100,000 SAG members, only about 50 might fall into this category. The average income that SAG members earn from acting is low because employment is sporadic and most actors must supplement their incomes by holding jobs in other occupations.
Actors Equity Association (AEA), which represents stage actors, has negotiated minimum weekly salary requirements for their members. Salaries vary depending on the theater or venue the actor is employed in. Many stage directors belong to the Society of Stage Directors and Choreographers (SSDC), and most film and television directors belong to the Directors Guild of America. Earnings of stage directors vary greatly. The SSDC usually negotiates salary contracts which include royalties (additional income based on the number of performances) with smaller theaters. Regional theaters may hire directors for longer periods, increasing compensation accordingly. The highest paid directors work on Broadway; in addition to their contract fee, they also receive payment in the form of royalties—a negotiated percentage of gross box-office receipts—that can exceed the contract fee for long-running box-office successes.
Stage producers seldom receive a set fee; instead, they get a percentage of a show's earnings or ticket sales.
Bureau of Labor Statistics, U.S. Department of Labor, Occupational Outlook Handbook, 2010-11 Edition,
Actors, Producers, and Directors, on the Internet at http://www.bls.gov/oco/ocos093.htm
(visited January 06, 2012).