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A wise man once said: they can\u2019t all be winners. Eventually, in a long and illustrious acting career, you\u2019re going to take on a job that you start to really resent\u2014even actively despise. First of all: this is completely normal. Just because you\u2019re doing the thing you were born to do (acting, that is) doesn\u2019t mean you\u2019re not entitled to a little grumble. However, if you\u2019re not careful, that grumble can grow, and end up ruining the entire experience for you. Let\u2019s talk about dealing with an acting job you hate.<\/p>\n
When dealing with an acting job you hate, start by identifying the cause of the issue. If you can address the problem and resolve it early, you can save yourself plenty of professional and personal anguish. If not, focus on your work, lean on your community as needed and have strict self-care routines in place. Finally, remind yourself that the job will eventually end\u2014and that it is no indicator of what opportunities await you in the future.<\/strong><\/p>\n In this article, we\u2019ve outlined ten things you can do when dealing with an acting job we hate. Some are preventative, some are the cure, some are \u2026 well, they\u2019ll help a little on those bad days. The one thing we\u2019ll stress before we jump into this list is that you should never suffer in silence. The old adage that \u2018art is pain\u2019 is a stereotype as tired as it is inaccurate, so meet your problems head on.<\/p>\n Let\u2019s get into it!<\/p>\n Start by exploring\u00a0why<\/em> you hate this particular acting job. What\u2019s going on? Is it you? Is it the production? Perhaps there\u2019s one specific person you\u2019re not clicking with. Being specific as to the cause of your negative feelings helps these feelings from spreading needlessly to other aspects of the job. And if you can identify the cause, you can perhaps find a way of solving the issue outright.<\/p>\n Related to this point is another very important question: did you know you\u2019d feel this way when you took the job? It\u2019s not a silly thing to ask\u2014sometimes we take on a job with a person we don\u2019t like because, say, the script or the role is incredible. A lot of the time, the decision to take a job you know you\u2019ll hate is financial.<\/p>\n While these situations can\u2019t always be avoided, it\u2019s definitely worth avoiding the ones you can. Because signing on to a job you resent from the minute the contract is signed punishes everybody: yourself, your peers, the work itself. Nobody wins, and you only have yourself to blame.<\/p>\n This topic is a bit of a serious one, and so we\u2019re going to put it right up at the top of this list. When dealing with an acting job you hate, ask yourself if it\u2019s because you feel unsafe. If you do, make immediate moves to address the issue, talk to the necessary person on production or extricate yourself from the situation. Safety is the number-one priority for everybody on a production<\/strong>. Hating a job where you feel unsafe or disrespected is potentially an important red flag.<\/p>\n Fight choreography, intimate scenes<\/a> and stunts all require external supervision by a trained professional. If you feel as though you aren\u2019t being properly supported, speak to the producer and ask for clarification or additional resources. On an independent production, their resources may be limited. But they should at least contact a professional or seek guidelines to put in place when working\u2014so you know there is a system to the director\/producer\/production\u2019s methodology.<\/p>\n Sometimes, the things you hate about an acting job can be addressed and even solved. Got beef with a cast mate? Try grabbing a drink and connecting with them. Worried about a particular scene you\u2019re yet to shoot? Chat to the director and get some pointers. Feel like your character isn\u2019t gelling with the production? You could work with an acting coach<\/a> to give some external pointers and validation.<\/p>\n When dealing with an acting job you hate, you\u2019re not always going to be able to resolve the problem. That said, there\u2019s nothing stopping you from exploring possible solutions; even if they make things a little bit better, they\u2019re likely worth it in the long run.<\/p>\n Why did you take the job in the first place? What was it that drew you to the production, that made you sign up\u2014potentially for free, or at personal cost of time and money? If that element is still present in the show, focus yourself on working towards and achieving that goal.<\/p>\n Admittedly, this is easier to do in some situations. And as we\u2019ve already alluded to: sometimes the thing you find yourself drawn to might not always be present when you\u2019re in the thick of rehearsals or productions.<\/p>\n In such cases, focus on any benefits you can see. If the script never got that rewrite you were looking for, make the material that remains the best it can be. If the director is a deadbeat, focus on supporting the incredible cast you\u2019re stuck adrift with. And if a job you thought would be easy is taking its toll on you: focus on the potential this show has beyond what you initially believed to be possible.<\/p>\n This solution requires a little bit of positivity\u2014which doesn\u2019t always come as easy as we might like. But remaining positive when dealing with an acting job you hate is more than good advice. It\u2019s a matter of self-preservation.<\/p>\n Sometimes, no matter how hard you try, you can find yourself at odds with the rest of a creative team on a production. It could be a personality clash, it could be a case of existing relationship dynamics that either do or don\u2019t involve you. Such situations don\u2019t always involve or develop from animosity\u2014it could simply be that you feel left out, and therefore diminished.<\/p>\n In such situations, if you\u2019re sure that a cast\/crew outing to a pub or bowling alley won\u2019t mend bonds, double down on your work. Focus on why you\u2019re there in the first place and let your process and performance speak for you. Often, you\u2019ll find that people take notice of your acting if not you, yourself. And if things are chilly between you and your peers as people, they won\u2019t be able to deny the contribution you make as a performer to their own work on screen or stage.<\/p>\n This advice comes direct from the master of horror himself Sir Christopher Lee<\/a>\u2014who starred in some of the greatest films ever as well as some of the worst. Nothing quite sours working on a project like realising it\u2019s a stinker. However, that\u2019s not to say that you have to be bad in it\u2014nor does it give you license to say\u00a0\u201cThe hell with it!\u201d <\/em>and stop trying.<\/p>\n Being the best thing in a bad production is a rite of passage for actors\u2014let alone everybody in the creative industries. It\u2019s just as much a part of the life as being the worst thing in a good production. It keeps us honest. Keeps us humble. And trust that the people who see your work will recognise you did your best with the material you had. It\u2019s the kind of thing a good director, producer or casting director<\/a> will keep in mind for future projects.<\/p>\n When dealing with a show you hate, look to your peers, family and friends for support. A phone call to a loved one after a difficult rehearsal can make all the difference to your mood. It can also help you maintain some perspective on the issue at hand. Your grappling with a tough gig can feel all-encompassing \u2026 so it\u2019s helpful to be reminded that you\u2019re not curing anything. And life goes on.<\/p>\n Depending on your relationship with your cast-mates, you can potentially<\/em> look for some support within the show. That said: it\u2019s important not to let your feelings of the gig bubble over to others, especially if your experience of the production is unique to you. You might suggest the team spend some time together outside of rehearsals if morale is low\u2014which may even address the problem without explicitly discussing it. Just be sure to tread carefully.<\/p>\n#1 Identify the Cause<\/h2>\n
#2 Ensure Your Safety<\/h2>\n
#3 Look for Solutions<\/h2>\n
#4 Focus on the Benefits<\/strong><\/h2>\n
#5 Double Down on Work<\/h2>\n
#6 Be the Best Thing in a Bad Production<\/h2>\n
#7 Lean on your Community<\/h2>\n
#8 A Self-Care Routine<\/h2>\n