It is a group of actors
  • Kids (0 month-16 years boys & girls, mixed)
  • Female (16+ years)
  • Male (16+ years)
Who subscribe for a specific period say
  • 10 days,
  • 1 month,
  • 3 months (Quarterly),
  • 6 months (Half Yearly)
  • 12 months (Yearly)
and get audition updates.

Why An Audition Group?

Around 7 to 8 years back, when Babul started his screen career, he was unaware as to where to go for audition and other colleague actor friends never shared the audition venue under the fear of competition and still, this funda of “competition” is in the mind of every actor.

Babul’s Sharing Nature initiated him to form a group with 50/60 actors intially on Blackberry, then on WhatsApp, where he not only used to Update Free of Cost about various auditions that were held in Mumbai, but was also alerting about cheaters.

Soon, he became popular amongst everyone, especially struggling actors and they started approaching him to get added in his WhatsApp group which he titled as Savdhaan Actor Group.

The Process

How to pay and Where to Pay

Kindly WhatsApp Varun Bhavsar on 7021213737 to know the subscription rates and plans.

Formerly Free of Cost, then WHY CHARGE NOW for getting Audition Updates..?

The service which started with the intention of helping fellow Actors/Actresses, became a full time (24 hours) job and then, with the increase in groups (more than 300 groups with 90-100 members in each group) there was an  increase in the number of groups his Responsibility, Loyalty and needed more Dedication.

So a Specially Subscribed Group – BHAVSARS SAVDHAAN ACTOR GROUP (BSAG) was formed with a Nominal Fee as Subscription and BSAG now posts updates and alerts only to subscribed members since 1st September 2015

What service one gets when you become a paid member ?

  • 10-15 Audition Updates for Kids  below 16 years
  • 45-55 Updates for Females above 16 years
  • 20-25 Updates for Males above 16 years
Total Updates Everyday Around 85-100
BSAG is pleased to inform that –
Many big Casting Directors, Agencies, Co ordinators & Production Houses now Directly approaches to BSAG for their various requirements.
  • FEATURE FILMS – Hindi, Gujarati, Punjabi, Marathi, English, Bhojpuri
  • TVC – Ads
  • RAMP
Mumbai is the main hub of Entertainment Industry and Majority of the Updates are of Mumbai
  • Churchgate to Virar on Western side.
  • VT to Navi Mumbai on Central side.
BSAG also posts updates for Delhi, Ahmedabad, Pune and other Nearby Cities.

Other services

Apart from information and posting about 80-100 audition updates in a day, an actor gets alerts about people who are scammers, people who don’t pay on time, who dupe people in the name of registration fee, artiste card, port folio and also who ask actors to compromise.

BSAG got threatening calls due to such exposure but they never bowed down and continued the battle against these mafias of Entertainment Industry.

BSAG also put up invites for free workshops, medical & acting camps, plays and other events to network better.

BSAG posts time to time various important information, notes, etc related to Acting & Entertainment field to all the actors whether they are paid or non paid members and this helping hand nature is the main reason why BSAG & Babul Bhavsar is highly respected and actors look upon him for guidance and help even at midnight.



An actor gets SAVDHAAN ALERTS about people who are Scammers, people who don’t pay on time, who dupe people in the name of registration fee, Artiste Card, Portfolio and also who ask actors to Compromise.

BSAG posts time to time various important Information, Notes, etc related to Acting & Entertainment field to all the actors and because of this

Helping Hand nature and the guts to  Expose Mafias of Industry
BSAG is highly respected and actors look upon for guidance and help at any point of time.
BSAG also puts up invites for –

Free Workshops, Medical & Acting Seminar, Theatre Plays and other Events to Network better

Mohit Kapadia, Deval Mehta & Parthsarthi Vaidya
Riyaaz Mulani
Prashant Savalia
Jishnu Soni, Nilesh Joshi & Prakash Waghela

What updates are not posted by BSAG?

BSAG does not post messages from  promoters for events, hostesses for marriages, catering service, sample distribution, eye candy jobs, waiters, dance bar, pub activities, nude updates, updates which clearly says, budget per day is Rs 1,000/- or less and of course – messages from well known cheaters and frauds of Entertainment Industry.

Why to pay for getting Audition Updates when there are so many Free Groups?

There is –
            NO FREE LUNCH
We all actors are smart and understand the benefit of being part of a Professional/Pioneer Group and understand the difference between FREE & PAID group
Free Groups posts messages irregularly and contains matter which has nothing to do with actors and there are mixed updates for all the genders.
Most of the time in a free group, one recieves a message which is posted with an intention of dragging actors for making portfolio/artist card, join acting/dance classes etc whereas BSAG does not post such types of messages.
At BSAG, Females audition updates are not posted in males/kids group and vice versa, unless there is an update which has a combined requirement of male, female and kid.
Secondly, members get security of getting updated regularly from 9.30am to 11.30pm.
Wide Networking &
Dedicated Service,
we positively can claim

Why charge for getting Audition Updates..?

The service that was started with the intention of helping became full time job and with the increase in groups (more than 300 group with 90-100 members in each group) there was increase in his responsibility, loyalty and needed more dedication.

As it became a 24 hours job, Special Subscribed Group – BHAVSARS SAVDHAAN ACTOR GROUP (BSAG) was formed with nominal fee as Subscription and BSAG posts updates and alerts to only subscribed members since 1st September 2015.


There will be various CELEBRATION/DISCOUNT OFFERS, which will be posted from time to time and these will be time bound offers.

Contact Varun Bhavsar for any Query Regarding Payment on



After confirmation of your payment, you will be contacted by us through WhatsApp and you will be added in our Audition Group.


Sometimes some updates may be Repeated.
Thank you

Casting Directors, Co ordinators, Casting Agencies, Production Houses

If any of you wish to post your requirement(s) to actors, you can post your message directly to –

BABUL BHAVSAR : 9324291128
WhatsApp number

We will circulate it to our actor members.

Plz mention your Name, E mail ID/WhatsApp number on which you wish to get your response.

Frequently Asked Questions (FAQ)

Do you give Guarantee for getting Work ?

Only Your Talent, Skill and Stars of Galaxy Can Get You Work ….!!

BSAG is not into casting – we just forward Audition Updates and our group is like a newspaper, which you buy everyday at a nominal cost – our Subscription is also very nominal if you count it for a year, it is approximately Rs 4.94 paise per day.

BSAG Subscription is less than the cost of a ‘cutting Chai’ or a cigarette…!!


But Yes,

We do Listen to our Members,
We are very Clear n Simple,
We do Try to Help n Meet Your Needs.

Why the word SAVDHAAN ?
Every year, hundreds of people come to Mumbai with a dream of making it big in the film industry. Talented or not, most of them fizzle out, mostly because they don’t have the right contacts to make the big wigs sit up and notice. They are cheated, misguided, looted at every corner of Entertainment path.

BSAG informs subscribers not only as to where to go but also where not to go.

And hence, the word SAVDHAAN.

Are all messages Genuine ?
Jaise kisi ke chahere pe likha nahi hota ki vo imandaar Hai ya nahi, vaise hi kisi message se pata nahi chalta ki yeh fake Hai ya nahi.

Every week there is a new coordinator who posts updates and it becomes impossible to know his honesty.

We can not judge him/her as fraud just because he/she is new.

We generally post all the messages sent by them till we don’t get any complaint about the casting person/agent/agency.

We ignore messages of those who are established/proved cheaters.

Though they keep on changing their numbers/name and/or by mistake, if we post their messages, the moment we get complaint/tip/realise, we inform members.

What will be the timing of getting messages ?
Generally, Audition updates starts from Morning 9.30 till 11.30 at Night.

Any urgent update(s) or in case of emergency messages will be posted between 11.30pm to 9.30am.

Will there be Audition Updates for big movies or main role in the TV serials ?

But indirectly.

How ?

Every big or known casting director or Co ordinator has his/her data bank which he updates time to time.

This he collects it by not mentioning his/her agency name and holds general audition as and when he feels or is free but not at his/her office but at a rented place..!!

Why so…?

If they reveal their identity, there will be a huge crowd (especially of those who don’t not match their age or look criteria) outside their office leading to chaos and trouble.

He/she preserves this data to utilise it in future.

Now, when there is a requirement by a big film maker or a television show, they directly call the actors based on their saved data, who are fit into their requirement.

One never knows where your audition will lead you to in future.

I would like to share my personal experience that, I gave an audition and was cast for a role in Raees & Bajrangi Bhaijan…!!

I was called at Aaram Nagar for an audition and was told nothing except for that it’s for a film.

After few days, when the director approved me they called me again at their office and was informed about the banner and leading actors of the film.

This may not happen with everyone but yes, keep your fingers crossed.

Do you post audition updates only for Savdhan India ?

The TV Serial Savdhan India has nothing to do with our group and we post audition updates for all the TV serials, films, theatre, etc

Where is your Office? - Can I meet you ?
We don’t have an office as the operation of work is done through mobile technology.
Your messages are copy pasted in other free groups.

This is the complaint of many subscribed members and we were not able to control that in the past.

But now, BSAG has come up with an APP Daily Audition Updates to control this copy paste.

BSAG App will not allow members to copy or take screenshot of the message posted, be assured.

Are there any chances of a Holiday when you may not post ?

There is NO HOLIDAY for us and the services are provided for 365 days.

Don't you think that you are doing business by asking for Subscription from struggling actors ?
Is Acting not a business ?

Yes it is.

We all are paid for acting and as said earlier, BSAG Subscription, if calculated comes to Rs 4.94 paise per day.

Moreover, BSAG is “online” for almost 17/18 hrs a day and serving the members religiously.

No person/firm/company which invests major part of the day throughout 365 days can not carry on it’s activity without any return for a longer period of time we are sure, you all will agree.

Who is Babul Bhavsar?

Babul Bhavsar, born on 21st September 1964, began his acting career in theatre with a Gujrati Children’s play “Soti-Pothi” in 1980

At the educational front, he hold a degree of B. Com, LL.B., Diploma in Personnel Management and Diploma in Travel & Tourism.

As an actor, in Gujarati, Hindi & English Theatre, he has acted in around 40+ plays.

With The Kind Blessings of

Late Shri Babubhai K. Bhavsar


Late Smt ‎Usha B. Bhavsar


Late Shri Giresh Desai

Theatre Guru


(1) What is Profile ?
The dictionary meaning of profile is “A brief description of self”
For an Actor maintaining an upto date profile is very necessary which should contain all the information like name, age, etc along with Audition/working link.
One should e mail it along with his best 4-5 pics in different attire and looks.
But plz don’t e mail randomly, read the requirement and send only if u fit the bill.
(2) Format of profile
*Plz find d format of profile that one shud send by e mail*
Address :
Age:  – Actual –
          – Screen –
Date of Birth :
Mother Tongue :
Language comfortable in:
Location: (your present location)
Area of interest in
Acting/Modeling :-
Passport :
Nationality :
E mail :
Mobile number :
Driving License : Two or Four Wheeler –
Interested in –
Photoshoot –
Traditional –
Catalogue –
Bikini –
Lingerie –
Semi Nude –
Nude –
Body Paint –
Video Shoots-
Character Role
Lead Role
Music Album
YouTube Videos
Short films
(One should delete from above the one in which not interested)
Audition Link :
Working Link :
Share ur photos (6/7) in different looks/costumes/traditional/western etc
*What short profile to be send on WhatsApp ?*
Name –
Age group –
Height – 5.11
E mail ID –
Cell number –
Skills –
For example -swimming, highjump , racing , mountain climbing, horse riding any kind of adventure
For Example – billiards, football, chess, table tennis can play any sports with short workshop
Hobbies –
For Example – singing , dancing , music, travel, photography, painting, nature watch, science, methamatics , astrology
Languages you can speak –
Experience –
Serials –
Theatre –
Location – (your present location)
Links – always send you tube links and not video clips
Also attach only 2/3 photos with this (one close up, one long shot showing your full pic head to toe and one other photo) and plz don’t send your selfies or pic in glares or cap/hat
What is Audition Link
This is basically the closest thing to actor’s version of a portfolio, as it is a visual aid and physical example of what one can do as actors.
It can be your own audio-video  introduction beginning with your name, age, height, left & right profile (turning to your left and then right of the camera), some brief Information about your past work.
It can be also solo enactment of a performance which can be of any share like comedy, serious or negative.
It should not be more then 1 or maximum 2 min.
How to Video Your Audition for TV or Film
A great performance with a mediocre-looking video is much better than a great-looking video with a poor performance. So prepare yourself by knowing your lines and understanding what the scene is about and then rehearse. The material that has been selected for you to audition with is called Sides. These are a section of the TV or film script. If the sides were emailed to you, print them out.
You will need a quiet room
This is not as easy to find as you might think. Close your eyes and listen. Do you hear lawnmowers, computer fans, furnace, traffic, refrigerator? All of these sounds will detract from your audition video.
The ideal wall to stand in front of should be blank with no pictures, books or TVs White or blue are good colors for this background wall. Stand at least 4 feet from the wall. This should keep shadows from being visible on the wall.
Stick a piece of tape on the floor as your mark
You’ll need to stand in the same place to help keep lighting, camera view and sound consistent. Using a tripod will make a big difference in the video.
Spend some time arranging light so it is a soft light that is a foot or so higher than your face, but not overhead. An overhead light will not be flattering. A light from the front and about 20 degrees off center axis and a bit higher than your face will illuminate your eyes in a pleasing way which is very important. You can use a floor lamp, the light from a window or any light you have. Be sure the light is soft rather than hard. Hard light will cast a sharp and dark shadow. Soft light will cast a very soft shadow or no shadow at all
Do number of tests to get the light looking just right. Take your time and get some help if necessary. Bad lighting will hurt your audition video
Now we’ll look at getting good audio. In general, the on-camera microphone makes poor audio. This is usually because the subject is too far from the microphone. There are a couple of ways to dramatically improve the audio. First, you can move much closer to the camera. Just be aware that cameras will be out of focus if you move too close. Your camera manual should tell you the minimum focus distance. Sometimes this is marked on the lens barrel.
A better way to record good audio is to use an external microphone with a cable Many cameras have a mini plug input for external audio This mic plugs into the camera and clips to an area around the talent’s shirt pocket. This is usually about ten inches below the mouth. This type of microphone is called a lavaliere mic. You may be able to borrow one from a friend who is into audio recording.
Shoot a short test of yourself to test both the lighting and audio quality 
these two aspects are very important. Frame the camera so it sees the top of your head down to your feet. Center the camera and make sure it does not cut off the top of your head.
You will generally want to have a friend read the off camera lines of the other characters, but be sure this person does not appear on camera. They should stand or sit next to the camera.
When ready, start the camera and let it run for 5 seconds. Then look into the camera, smile and say.
*Hi, my name is ______. I am ____ years old and I am reading for the ________ role*
Let the camera run for another 5 seconds then stop it.
The casting director or whomever will watch this video needs to hear this information clearly. So say this slate in a your natural voice, very clearly and slowly. People will be writing it down. This is the first impression they will have of you. Make it a good one. But this is not acting yet, so just be yourself. *Look right into the camera and give a nice and real smile*
Before you rehearse your lines, read the side (script sections) they sent you and figure out who your character is in these sides. What is your relationship with the other characters? What is your history, your background and your past?
If you can read the entire script rather than just the sides, this will help you understand the role. Agents usually have copies of the script so ask your agent for a copy of the script. If you will have the sides for three days or more, it is important that you memorize your lines. the competition is tough and this is one thing you can do to demonstrate how much you want the part.
The sides may have one to eight scenes for you to audition. You need to tape each scene separately.
Zoom the camera into a head and shoulders shot. The shot can be cut off at about your waist. *Leave some extra space at the top so your head is not chopped off* if this is watched on an older TV. Start the camera, slate each scene, do the scene, then stop. Do this two or three times for each scene so you can show only your best takes. Each scene must have a Slate and the scene number and then stop. This way you have a complete section you can put on the DVD.
Very Important. *Never look into the camera for your scenes The person who is reading the other characters’ lines to you should stand close to the camera so you can looking at their eyes*
This way the camera will see your face, but you are not looking into the camera. Don’t forget this.
*Stand in one place*. Stand still. *Don’t sway from side to side*. That would be distracting and you could go out of frame.
Now download the video to your computer and choose the best take of each scene with the slate.
Some Casting Directors will ask you to upload the scenes to a web site or you tube.
Always advisable to *upload it on you tube*
Why You Tube.
One should upload on you tube so that the other person can get access to easily.
For Reference – One can see my audition link in the Link section of BSAG website  or clicking the YouTube links…!!!
What is Working Link
It is essentially a compilation of clips from various works, showing what one has done.
This can be of maximum 5 or 7 min.
Here care should be taken that you combine different clips with your best pics and club your links of different characters that you played like comedy/positive/negative characters.
It should also have your self intro clip with your contact number/e mail id’s caption.
Even this one should upload on you tube so that the other person can get access to easily.
What is a Portfolio ?
Your portfolio is a collection of your 15-20 best pictures that highlight your strengths and physical attributes.
*What is the importance of a portfolio for an actor?*
Actors actually don’t really need portfolios.
Main marketing tools for actors are:
– Headshot- shows what one look like.
– Longshot – your head to toe full pic.
Your photos should be of good quality, without glare and hat/cap.
One can click photos with good quality camera/phone and pic should be in bright light.
It should be your solo photo and no hi-fi objects (like – cars, bike etc) next to you and pics should be in combination of Western and Traditional wear.
Never send your photos with other Co actor because the chances are that he/she will be casted instead of you. ( Ha ha ha…)
Keep aside the joke, but it’s not professional to send your pics with others especially if you have clicked your photo with celebrities.
If you got any working stills (pics clicked during performance) with stars then as an additional photo you can send but it’s better to upload your such photo on any social site than to make part of your portfolio.
*Candid photos*
Some times casting guys asks for candid pics because portfolio photos are shot with heavy make up, special lighting and they are often edited in window shop with the result that the person in reality looks very much different than they look in hi fi portfolios.
Above all, one should be really a good actor because ultimately what counts is your skill and versatility.
Generally, for television serials and TVC ads no one asks for portfolio, so no need to spend money for portfolio.
There are few agencies in Mumbai (whom I know personally) who first sends audition message and when some one contacts them they call you to meet and persuade you to make port folio.
Be ware from such agencies.
If you got good money and if you think that you have hero/heroien  looks and wants to have a very very professional portfolio then read ahead.
*Are you aspiring to become an actor ? So do you have a portfolio?*
Well, understand that before getting a break in the bollywood and the glamour industry, it is very imperative to have a proper bollywood portfolio.
Before hitting the industry one must have at least a basic portfolio.
It is just like you need a resume to get a good corporate job. Before applying for a job you forward your resume to the manager who judge your capabilities through your resume. Your resume says it all on behalf of you and eventually lands you in a job interview.
Similarly, you need a portfolio to apply for any audition or casting call.
A convincing and well-done bollywood portfolio can land you in any audition of your choice for a film or television serial.
Glamour industry is very huge and there are many opportunities for any deserving talent.
But for someone young and new to this industry, it can be a very tough job to land up in a movie role without proper guidance and training.
In an industry where casting couch is not a very unfamiliar word, usually people with godfathers in industry and high level links grab the meaty roles.
And there have been many incidents where fresh models were cheated for unfair favours and money.
Experts always suggest young actors that a proper breakthrough in the industry is not at all a cakewalk and one needs to have a strong bollywood portfolio in order to get a break in the industry.
*Is Portfolio necessary ?*
Portfolio is essential if you want to be only a Model who walks on the ramp
A bollywood portfolio is essential because for an actor it is the portfolio that speaks for him or her.
Your portfolio should convince casting directors that you can essay the required role with full comfort.
Popular photographers and agencies charge heavy fees for a portfolio and that is a problem for many youngsters trying to enter the industry.
While having a good portfolio can be somewhat expensive, understand that without having one it’s literally impossible to get good assignments.
Keeping a good portfolio and that too absolute much up to date is pretty essential for any aspirant actor.
A good portfolio acts as a tool to get a break in bollywood and TV industry.
If you are looking for very good assignments, then do not expect to get them if you do not have a proper portfolio.
Understand that a bollywood portfolio is the best tool through which you can promote yourself in the industry.
Always remember to include your very best shots in the portfolio.
And if you are wondering how to go about it, then do not worry.
There are ample photography and talent management agencies scattered all over who can shoot great portfolios for you.
You can approach any good and reliable agency and they will do the needful for you.
*How much it will cost ?*
As far as the charges are concerned, that depends from agency to agency.
It is not essential that you spend heavy amount to get a good portfolio but it is more important to get it done in a proper way that brings out the best out of you.
Do remember to coordinate properly and make sure that you are able to explain your requirements properly so that you get a good portfolio done.
Once you have a great portfolio, you are good to go.
One should be also careful by some agencies who indirectly forces you to make portfolio.
Few years back, I was my self indirectly forced to get professional portfolio done  with an agency @Rs 15,000/- by saying that Karan Johar Production is looking for an Actor to play Principal’s role in ‘Student of The Year’ film as they are fedup of Boman Irani.
They also told me to get registered with them @ Rs 3,500/- as registration fees.
I under the greediness, paid Rs 18,500/- and still waiting for Karan Johar to cast me in his film.
Kya Actors ko casting agency se Registered hona padta Hai ?*
Some casting agency asks actors to register with them and as fees they ask deposit of Rs 3,000 or more.
*Why Registration charges…?*
The agencies are running their offices and also has staff and other routine expenses like electricity, etc …
If any agency is taking regn then there is nothing wrong till they are honest in their intentions and giving work to their members.
Do talk to your fellow actors and consult them before paying regn fees to know their good will.
Just bcoz they are taking regn fee it doesn’t mean that they are fraud or doing anything wrong or cheating till they are honest.
But by registering with these agencies it also does not mean that you will b 100% given work – it all depends upon requirement and your luck, look and talent and one has to still go for audition even if you are registered.
Ghar baithe koi aapko kaam nahi dega even if you are registered with them.
*Agencies with REFUND OPTION*.
Few agencies also writes that they have REFUND option of Regn Fee – meaning if they fail to give you any work for a specific period one can take the refund.
But it has been brought to our notice that few agencies after accepting registration fees does not respond to their  member once they ask for refund after stipulated period.
PLZ b careful with such agencies.
Paise lete waqt yeh log 10 baar phone karengey but jab Refund maaango ( jo oonhonehi option diya hai) tab yeh log bahaane banaate hai ya phone receive nahi karte.
😡 *क्या आप ये बदलाव चाहते हो ?* 😡
It has been Noticed that there are few coordinators who
▶ *REGISTRATION* के नाम पर ,
▶ या फिर
They are asking for money as Registration Fee or a very big amount (thousands/lakhs of rupees) in exchange of role… !!!
*कुछ fraud करने का मौका  mile ?* ,
खर्चा पानी निकल paaye…?।
😡 और उस पैसों से –😡
एक शानदार *OFFICE* भाड़े से ले kar, *IMPRESSION* maarey ( और बाकी सारे गलत काम karey) ।
दोस्तों , jahaan Tak hum samajtey Hain & even logically, *COORDINATION* करने के लिए *सिर्फ एक laptop और एक mobile ज़रूरी हैं।*
आज भी ऐसे *GENUINE COORDINATORS* हैं , जो घर बैठे , या किसी मॉल के *FOOD COURT* में बैठे बैठे , *पूरी ईमानदारी* से , *बिना registration* लिए , हज़ारों artists को रोज़ शूटिंग पर भेजते हैं , तो आप को aise logo की क्या ज़रूरत हैं Jo sirf deekhavey mein maante Hai, kaam Dene mein nahi..।
■ कुछ registration लेने वाले coordinators  genuine भी हो सकते हैं , पर इनको ढूंढना याने , *कंकर में से गेहूं ढूंढने बराबर हैं।*
■ तो आओ दोस्तों , आज से *REGISTRATION के नाम से ठगनेवाले CANCER* को इस *INDUSTRY* से दूर करे , और जो भी coordinator *REGISTRATION* के बहाने पैसे मांगे – *हम उन्हें पैसे नही दें !*
 👎🏿 *REGISTRATION* के नाम से  पैसे मांगने वालों का बहिष्कार करें।*👎🏿
Agencies n Coordinators can get actors registered (if at all they want to register) only after they give actual work to the actors and preferably after actor receives payment.
But Don’t Force Directly or Indirectly saying ki aap register karengey toh hi hum aapka Audition Tape aagey forward karengey
As this amounts to Indirect Blackmail and Unfair.
B confidant, have faith in your work and do a neat, clean n fair deal with actors and actors also should b honest and fair in giving back the commission to agent when they get work and payment
Plz don’t misunderstand that BSAG is against Registration Charges by Agencies.
We suggest that take Registration Charges but only from those actor who gets confirmed work through you.
It makes no sense that you register 100 actors and give work to only one of them.
Still, we leave it to actors to decide.
Few years back, I was my self indirectly forced to register with an agency by saying that Karan Johar Production is looking for an Actor to play Principal’s role in ‘Student of The Year’ film as they are fedup of Boman Irani.
They also told me to get professional portfolio for Rs 15,000/- + Rs 3,500/- as registration fees.
I under the greediness, paid Rs 18,500/- and still waiting for Karan Johar to cast me in his film.
Probably, in ‘Student of the Decade’ – I will be casted. Ha ha ha… !!!
Everything about Artiste Card that you wanted to know*
(1) Artist Card Kya Hai?
Artist Card ek tarha ka Card hai, jo aapke Artist hone ki Identity ko batata hai.
(2) Artist Card Ka Kya Use Hai?
Agar koi Production House aapse kaam karwata hai. Baad me aapko paise dene se aanakani karta hai, tab yahi Artist Card ki Association inse fight karke aapko Justice dilati hai.
(3) Artist Card Kaun Banate hai?
Artist card Ke liye Sirf 2 Hi “Genuine” Associations hai Mumbai me.
(4) Artist Card Banwa Lunga to Kya Kaam Milega?
Nahi, Artist card banwa lene se kaam nahi milta, Kaam aapko aapke “Talent” se milta hai
(5) Artist Card ke Naam se Fraud Kaise Hota hai?
– Google me bahut si online websites aa chuki hai, jo 1-2 hours me artist card dene ka waada karti hai, Vo “Fraud” hai unse bacheye. Unke cards ki koi value nahi hoti.
– TV/Serials me aapko aapka guaranteed role bta ke, Fir end me Artist Card Ke Naam pe Paise maange jaate hai. Vo Fraud hai.
(6) Kya Bina Artist Card Ke Mujhe Kaam Nahi Milega?
Milega jarur milega, Mumbai me aapko TV Serials or Films me aapke Talent ke basis me liya jaata hai na ki Kisi Artist Card ke basis me.
(7) Kitne Me Artist Card Banta Hai?
– CINTAA (10k-35k)
   (However, check the current rate)
– Shiv Sena (3k)
   (However, check the current rate)
(8) Eligibility Criteria Kya hai Dono Cards Ke Liye?
 –  Cintaa Eligibility Criteria –
    Ø  An artiste having worked in TV Serials or a Film which is released may obtain work permit by submission of CD or link.
    Ø  Fresher may submit letter of engagement from the producers of TV Serials/Films or give an audition in CINTAA office.
    Ø  Artists having Diploma / Degree from Acting institutes like FTII / NSD etc. recognized by Government may not submit Agreement / Letter of Engagement for obtaining Work-Permit.
    Ø   Application form charges  Rs 150/- in cash
    Ø  Cheque/DD of Rs.10, 000/- fvg. CINTAA (Cine & TV Artiste’s Association)
    Ø  3 recent passport size photo-graphs
    Ø  Proof of date of birth (Copy of Passport/Pan card/ School college Leaving Certificate/BC)
    Ø  Proof of Address (Copy of Passport/Voters Id/ Aadhar Card/Rental Agreement)
  – *Shiv Sena Eligibility Criteria* –
    Ø  3 Passport size Photographs
(9) Mujhe Kaunsa Card Banwana Chahiye
– Agar aap Mumbai me rhete hai, aapka budget zyaada nahi hai to shiv sena ka card banwa lijiye. Taaki kal ke din koi bhi production waale aapke saath fraud nahi kar sake. 2000 Rs koi bahut badi amount nahi hai agar kuch problems aa gayi to.
– Agar aap Mumbai ke bahar ki Cities me hai Like Delhi, MP, Punjab etc. To fir aapko koi Need hi nahi hai artist card banwane ki.
– Kabhi bhi Artist Card banwaye ho to Sirf “CINTAA” aur “Shiv Sena” Ka, Kyunki inke alawa Tesre Card ki koi Value nahi hai Mumbai me. Ye donu Associations bahut Strong Hai
(10) Kya Artiste Card Compulsory hai?
Nobody can blackmail YOU for not having an ARTISTE CARD
A very important information regdg Artiste Card that BHAVSARS SAVDHAN ACTOR GROUP – BSAG is sharing with you all…!
Few days back one of the actor enquired with BSAG that sir, I had been to an audition n I was told that as I don’t have an Artiste Card I will have difficulty at the shooting if there is a raid by any union –  what should I do…???!!!
BSAG thought of going into the depth and accordingly enquired with the govt recognised union and respected by all most all the television and film producer’s   – CINTAA
Following is the gist of tele talk with Shri Sanjay Bhatia – committee member of CINTAA
Q – Is Cintaa card necessary for every actor if he/she wants to act in TV OR FILM*
A – NO
Q – Actors are oftenly terrified that if CINTAA or any other union raids at shtg floor and if any actor is caught without CINTAA or other union card then they will be thrown out of shtg floor or fined…is this true??!!!
A – NO….
First of all, CINTAA doesn’t do any type of raids now.
So the question of any actor being caught for non-possession of CINTAA card doesn’t arise at all.
B assured.
In fact, no one/any union has the right to ask/insist for any union’s card to actors.
Secondly, if at all, Cintaa office bearer  visits any shooting floor then it is for the sole purpose of knowing/enquiring about the well being of actors and to know whether Cintaa actors/members are facing any problem with the functioning of work at shooting or any payment issues.
Q – Is the production house penalised for casting non-cintaa actors..??!!*
A – NO
Cintaa also doesn’t penalise any production house or casting director for casting non-cintaa card holder/actor.
There is no vigilance section of CINTAA  which does this kind of raids.
More information about CINTAA can b obtained from their office
221, Kartik Complex, 2nd Floor,
Opp. Laxmi Industrial Estate,
New Link Road, Andheri (W), Mumbai-400053
Phone: 91 22 26730511
Telefax: 91 22 26730510
Business Hours: 10:30am – 7:30pm (Monday to Saturday)
Competition Commission of India gave it’s judgement on the long pending case between Producers and Film unions, NO UNION CAN IMPOSE FINE/ PENALTY ON ANY WORKER OR PRODUCTION HOUSE FOR EMPLOYING ANY NON MEMBERS
(Plz read the article which came in Times of India on 2nd Nov 2017)
Actor frnds, if any casting guy insists you to have Artist Card, then you can show him this newspaper article (so plz save this article in your photo gallery) and still if he insists then “samaj lo ki kuchh gadbad hai”
*BSAG and Babul Bhavsar would like to thank Shri Sanjay Bhatia of CINTAA for sparing time and sharing the above information*
We also called up another big union *Shiv Sena Chitrapat Shakha and spoke to Sandipji of Bandra Branch who also said that we don’t force anyone but lovingly will tell actor to have card*
SHIV SENA Contact Address –
  1) G 9, Nootan Nagar Primises CHS, Gurunanak Road, Bandra West, Mumbai.
      Phone: 26557001, 26404712
  2)  Shreyas Colony, Hanuman Mandir, Aarey Road, Goregaon East.
Mumbai mein actors ko sabse zyada bewkoof Artiste Card ke naam se banaaya jaata Hai.
Aapko select Kiya Gaya hai, Kal se shooting hai, Aaj hi 2,000 Rs bhar dijiye etc kahe ke actors ko lubhaaya jaata hai aur actors TV ya film mein aane ki laalach mein paise bhar dete hai aur voh castingwala phir gaayab ho jaata Hai.
*Why one has to go through coordinator*
This is a million dollar question and even at times we wonder why …???
We do agree that there are very less updates which are directly from production houses as most of d casting directors (who are basically appointed by the producer) now a days go through coordinators…
Why ?
Is the COMMISSION factor a reason behind this indirect casting ?
Not sure but more or less – Yes…!!!
One of d reason which was shared with me by a very well known casting director was – “Babulji, once actors comes to know that there is a requirement then there is such a big crowd in the production house office that it becomes difficult to handle. Once there were more thn 100 actors and there was a big chaos in our office and office bldg.
So now, first we circulate message of requirement without revealing production house name (we just give e mail id or what’s app number) and then we shortlist it or approach coordinators to hold auditions at Aram Nagar or Mhada and then shortlist and call them to our office”
Whatever is d reason but we have to accept that there is INDIRECT CASTING which ultimately affects actor’s pocket.
Basically, it is the channel which is responsible for the delay as they don’t finalise script, new characters and they have stupid reasons for delay.
They all seat in their office smoking thru out d day and decide at the last moment (late evening/night) and hence everything is delayed.
One can ask me as to how do I know about this late decision of channel or is it that I am misguiding you all by giving such silly excuse…??
Frnds, I had in past worked with two big  production houses – with one – as writer,  and other – as supervising producer and hence got some knowledge about the silly-funny functioning of the channel and problems of production house.
All the decisions are on hold till late evng or night and next day is d shoot and every department is on gas for 24 hrs.
*How one should be at Audition*
Just Bcoz there is an e mail id or a whts app number, don’t post ur photos or call them Unless U fit their requirements
*Don’t argue at d Audition if d casting guy says You are not fit, instead read d requiremet properly and go only if u r fit*
*Have patience and wait for your turn and b calm n polite at the audition*
*At d Audition, Always mention d name of coordinator if mentioned in d update even if u don’t know him/her*
*Do write your clear name n number on d Q sheet and/or pla card at d Audition*
*Always go properly in formal dress and carry one extra pair of clothes (kurta / T shirt for male n saree/punjabi dress in case of female)*
*If u r called for audition thn B on time and work out your travell time so that you are not late for d Audition*
*Read d script properly and it’s not necessary that u speak exactly wht is written – the content of the dialogue shud b there unless the character/script demands the same words*
*Your confidence, attitude of d character and energy is important while giving audition*
*Always follow what d casting guy briefs you before the audition*
*B always with smile and humble with casting guy and others who are at d Audition*
*Give the audition n forget that u ever gave it*
*Dont keep on msging casting guy asking “am i selected, or whts d result etc”..if u r selected thn they will surely get in your touch*
*U will b welcomed at an Audition even if it’s shortlisted if you fit their bill and if you don’t fit they will reject you frm d door even if it’s an open Audition*
*Dont ask d casting guy at d Audition itself as to what is d budget ? If u r shortlisted they will call you and inform about d budget, date of shoot, your acceptance about money etc*
*Don’t b over friendly with these casting guys, your best frnd will also not get you the role unless u fit their bill*
*Portray the character in d manner u feel and don’t just copy others*
*Avoid mimicry of well known actors unless u r asked*
*Don’t b judgemental and expect the unexpected, many times I myself got work from audition which I felt I was worst and everytime I felt I was best at audition – I never got work*
*B good with other actors at d Audition – who knows he may turn out to b hero/heroine or your father/mother in d project in future*
*Help others so that in future you too will b helped in case of need*
*B honest with your coordinator and give him his commission as soon as you get your payment. He will help you to get more work in future*
*Before registering yourself with any agency consult other fellow actors or enquire in grup about their goodwill.Just bcoz some one is asking regn fee he or she is not FRAUD*
*Don’t be so desperate and tell any one that “you are ready to do anything” – this will instigate others to take undue advantage of you (asking for big money or compromise)*
*Never loose your dignity as a person and as an Actor…. Come on, we are after all actors and not beggars*
*Always b positive and see the magic*
*Dont walk in at any prodn office and ask “Mere liye kuchh kaam hai…, Yahaan se guzar rahaa tha toh socha hi-hello karta jaaun …..”*
*21 Things to Make Casting Directors Happy in the Audition Room*
Casting directors are your advocates and your champions. Your work reflects on us.
Your wonderful work makes us look good and gets that role cast.
Your disconnected, tentative, muddled work does nothing for anyone.
We need you to be great.
We’re here to host your experience and shepherd you in, not hold you back.
We want to share in your excellent work.
Casting directors await you on the other side of that door – the door that you can seen as a gateway or a barricade.
While you turn it into a horror movie, it’s your stage, not a torture chamber.
Whether it’s a pre-read for an associate or a full-blown director/producer callback session, this is your time, your experience.
This is your opportunity to do exceptional work.
Enter the space and do the work for yourself, for the gratification of the work itself, and yes, to collaborate with the other creative people waiting to figure it out with you.
They can’t do it without you.
Here are some choices (and they are choices) to make any casting director truly happy in the room.
1. Accept the invitation with grace and enthusiasm. You were requested to be here as our guest.
2. Come to work and not to please or get our approval.
3. Enter with certainty. Don’t give up your power as soon as the door opens.
4. Play on a level playing field. We’re all figuring it out. Together.
5. Make no excuses whatsoever. Leave your baggage outside. Better yet, at home.
6. Make the room your own. It will make us so much more comfortable.
7. Ask questions only when you truly need answers. “Do you have any questions?” is usually another way of saying: “Are you ready?” You aren’t required to have one.
8. Know your words and understand what you’re talking about. You don’t have to be totally off-book, but if you’ve spent quality time with the material, you’re going to know it.
9. Do your homework on the project. This includes knowing all the players and the show or film’s tone and style. Read all the material you can get your hands on.
10. Make choices and take responsibility for the choices you make.
11. Don’t apologize. Ever. For anything.
12. Know what you want to do and do it. Then leave yourself available to make discoveries. Know that your homework is done. Now let your preparation meet the moments.
13. Don’t mime or busy yourself with props, activity, or blocking. Keep it simple.
14. Don’t expect to be directed, but if you are, take the direction, no matter what it is. Understand how to translate results-oriented direction into action.
15. Don’t blame the reader. Make the reader the star of your audition. According to my teaching partner Steve Braun, you should engage fully no matter who’s reading those lines. Likely your reader will engage – at least somewhat – if you show up.
16. Make specific, personal, bold choices. We want your unique voice to bring the script to life.
17. Stillness is powerful. Understand how to move and work in front of the camera – eliminate running in and out and getting up and down.
18. Require no stroking, coddling, or love. We’re there to work. Don’t take it personally when we’re not touchy-feely. Know that we love actors and that’s truly why we’re here.
19. Understand that you’re there to collaborate. You’re being evaluated in terms of how you serve the role and the material. It’s not a verdict on your personhood. Judgment is something you can control.
20. What you bring in reflects how you’re received so bring in joy, conviction, and ease, and our hearts will open.
21. Share your artistry above all else.
Remember that we’re all human in those rooms, and you can affect us on an emotional level.
It’s what we all really want.
That’s your job.
You being fully present, truthful, personal, and vulnerable is going to give us the ammunition we need to champion you with all our hearts.
We all desperately want you to do great work.
We’re rooting for that every time you walk into the room.
You show up and do your fullest, deepest work, and we’ll slay dragons for you and follow you anywhere.
And man, we’ll be so happy doing it.
You have the power to make that happen.
For you.
For us.
For the work.
*What can you do to help your chances of success as an Actor ?*
For all the things you can’t control (how you look, how you sound, etc.), there are a few things you can do that might just make the difference between getting the part and continuing to work.
Here are a few tips to keep in mind:
*Learn Your Craft*
Too many people think that acting is easy.
Just like any art form, acting is a craft and must be mastered.
Take acting classes, watch other actors and take the time to hone your craft.
There are a number of top tier actors who make a point of working with acting coaches to be sure they remain at the top of their game.
You can never know too much.
*Never Be Late*
This might seem obvious, but there are hundreds if not thousands of actors out there who simply can’t tell time.
Casting sessions are usually just a few minutes and are scheduled at odd times
Be early or don’t bother showing up.
Patience weighs thin at a casting session and few things will hurt your chances more than being late.
*Know Your Lines*
Again, this might seem obvious, but there are too many actors who learn a few of their lines and then try to “wing it” and fail miserably.
Spend time preparing your lines.
Prepare not only what you’re going to say, but how you’re going to say it.
*Don’t Rewrite Your Lines*
Never, ever, ever say something other than what’s in the script.
There’s no better way to offend a writer then to come up with your own lines.
If you want to write your own dialogue, then become a writer.
*Listen, Listen, Listen*
I repeated this one three times because I’m hoping you’re listening.
Listen to what you are being told.
Sometimes the casting director or writer or director will give you a bit of direction prior to the audition or during the audition on a particular line.
Listen to what they’re saying and take the time you need to process it.
If it’s during an audition, more often than not, they will be happy to give you a few minutes to incorporate the new direction into the lines.
So ask for it if you need it.
*Make Sure Your Headshot is Accurate*
There are few things more annoying then getting a headshot that looks nothing like the actor who shows up.
Be sure your headshot accurately portrays who you are now.
If you’ve gained weight, cut your hair, gotten a few years older then make sure your headshot shows this.
Your headshot won’t be the one getting the job and you certainly won’t either if you look completely different than what people were expecting to see.
Actors who genuinely commit to a reading are fun to watch.
They literally transform themselves into a character.
By committing fully to the reading, you will not only dissolve any nervousness, you’ll show the decision makers that you should be considered because you can play the part with a genuine passion.
*No Excuses*
So, you couldn’t learn your lines because you lost your power?
Too bad.
You were an hour late because you were stuck in traffic?
Aw, sorry.
You had to rush your dog to the vet and didn’t get the script?
Better luck next time.
The fact is no one cares that you had any of these incidents crop up.
Life happens and sometimes things go wrong and in a normal world, this might be taken into consideration.
But know that no matter what excuse you think you have to get you out of a particular situation, there are dozens of other people happy to take your place.
Being an actor is not the easy life it may seem.
There are often long periods of financial insecurity, huge amounts of competition along with multiple forms of rejection that make the overall process that much more difficult.
But many actors will never succeed simply because they ignore some of the most basic elements and can’t get out of their own way.
Give yourself the best chance at success by following these eight simple rules and you’ll quickly find that you’re already ahead of the game.
1        Balaji Telefilms Ltd
C 13, Balaji House,
Dalia Industrial Estate,
Opposite Laxmi Industrial Estate,
New Link Road,
Andheri West,
Mumbai – 400053
Phone: (022) 40698000
2        For Proffessional & Regular updates for all age group (Male, Female and Kids) subscribe Rs 599/- Half Yearly Subscription or Rs 1099/- Yearly Subscription to Bhavsars Savdhan Actor Group….Msg your name and surname for more details on 09324291128….
3        Yash Raj Films Pvt Ltd (Corporate Office)
5, Shah Industrial Estate,
Beside Fun Republic Cinema,
Veera Desai Road,
Andheri West,
Mumbai – 400053
Phone: (022) 30613500
4        Sanjay Leela Bhansali Films Pvt Ltd
601/B, Swati Mitra Co Operative Housing Society,
Jvpd Scheme,
Gulmohar Cross Road No 7,
Mumbai – 400049
Phone: (022) 26235470
5        Madhur Bhandarkar
410, Crystal Paradise The Mall,
Jeevan Nagar,
Opposite V D Road,
Andheri West,
Mumbai – 400053
Phone: 9833113570
6        Devgan Entertainment & Software Ltd
5/6 Sheetal Apartments,
Ground Floor,
Opposite Chandan Cinema,
Juhu Tara Road,
Mumbai – 400049
Phone: 022) 26200394
Subhash Ghai
Mukta House, Film City Complex, Behind Whistling Woods International Institute, Goregaon East, Mumbai -400065
Phone: (022) 33649400
Vinod Chopra Productions Pvt Ltd
Plot No 16/C, A Wing,
Bhagtani Krishang 2,
Opposite Surya Nursing Home,
Dattatray Road,
Santacruz West,
Mumbai – 400054
Phone: (022) 26615059
7.            Satish Kaushik
34, Tranquil Treat,
Yari Road,
Andheri West,
Mumbai – 400061
Phone: (022) 26741967
8. Pritish Nandy Communications Pvt Ltd
87/88, 8th Floor, Mittal Chambers, Nariman Point, Mumbai – 400021
Phone: (022) 42130000
9. Ashutosh Gowarikar Production Pvt Ltd
378 Prabhat Mansion, 14th Road, Khar West, Mumbai – 400052
Phone: (022) 26049486
Abbas Mastan
8, Asha Colony, Juhu Tara Road, Juhu, Mumbai – 400049
Phone: (022) 26605918
11. Nimbus Communications Ltd
4th Floor, Nimbus Centre, Oberoi Complex, Off New Link Road, Andheri West, Mumbai – 400053
Phone: (022) 26352000
12. B R Films Production
Plot No G 38, Anand Villa, 15th Road, Santacruz West, Mumbai – 400054
Phone: (022) 26461733
13. Santoshi Productions
4 B Arshee Complex, Opposite Panchsheel Apartment, Off Yari Road, Versova, Mumbai – 400061
Phone: (022) 26336134
14. Kunal Kohli Production House
Amardeep Building, Near Gurudwara, 17th North Road, Santacruz
Phone: (022) 26604494
15. Vikram Bhatt
36, Shubh Jeevan Society, Juhu Scheme, 9th Cross Gulmohar Road, Juhu, Mumbai – 400049
Phone: (022) 26231196
16. Sooraj R Barjatya
Phone: (022) 24307688
17. Sohail Khan Productions
1,2 Coral Reef Apartment, Near St Andrews Church, 55, Chimbai Road, Bandra West, Mumbai – 400050
Phone: (022) 26405524
17. Anurag Kashyap Films Pvt Ltd
Bungalow  No 40, Aram Nagar Part 2, Seven Bunglow, Andheri West, Mumbai – 400058
Phone: (022) 26302791
18. Eros International Media Ltd (Corporate Office)
901, 902, 9th Floor, Supreme Chambers, Off Veera Desai Road, Andheri West, Mumbai – 400053
Phone: (022) 66021500
19. John Abraham Entertainment Pvt Ltd
31 Green Acre, Ground Floor, Opposite Petit Girls High School, Union Park, Road N0 5, Khar West, Mumbai – 400052
Phone: (022) 26000084
20. Shri Adhikari Brothers Television Network Ltd (For TV)
6th Floor Adhikari Chambers Oberoi Complex, New Link Road, Andheri West, Mumbai – 400053
Phone: (022) 40230000
21. Anurag Basu
704, Renis Apartments, Off Link Road, Opposite Green Hotel Lane, Malad West, Mumbai – 400064
Phone: (022) 28784314
22. Optimystix Entertainment India Pvt Ltd
Bunglow No 21, Svp Nagar, Mhada, Near Versova Telephone Exchange, Janki Devi Public School Road, Four Bunglows-Andheri West, Mumbai – 400053
Phone: (022) 42935000
23. Vishesh Films Pvt Ltd
402, 4th Floor, Durga Chambers, V Patel Road, Khar West, Mumbai – 400052
Phone: (022) 26051047
24. Mahal Pictures Pvt Ltd
Opposite Matushri Sports Club, Near Mahakali, Jogeshwari Vikhroli Link Road, Andheri East, Mumbai – 400093
Phone: (022) 28368045
25. Success Cinecraft Productions
A1 003, Sonam Aakash Building, Golden Nest Phase 8, Mira Bhayander Road, Bhayandar East, Thane – 401105
Phone: (022) 67306138
26. Green Chilly Film Production
902, Ganesh Society, Opposite Ganesh Mandir, Santosh Nagar, Shree Krishna Nagar, Film City Road, Goregaon East, Mumbai – 400063
Phone: (022) 45206603
222/1772,Motilal Nagar No-1, Near Vibgyor School, Road No 6 , Goregaon West, Mumbai – 400104
Phone: (022) 49173214
28. Film Production & Digital Advertising
B-1, Flat No 21, Mahindra Gardens, Near Patkar College, S V Road, Goregaon West, Mumbai – 400062
Phone: (022) 45107912
29. Entertainment Production House
Star City Cinema, Mahim, Mumbai -400016
Phone: (022) 49184200
30. Sai Films Entertainment
Unit No 11,Mohid hight, Near MTNL,RTO SINGNAL, Four Banglow Mahada, Andheri West, Mumbai -400053
Phone: (022) 49171036
31. Dancing Pictures
Flat No 603 Oceanic One 7 Bunglows, Near Nana Nani Park, Andheri West, Mumbai – 400061
Phone: (022) 49175996
32. Green World Media Production
68/ 545, Near Post Office, Motilal Nagar No 1, 10th Road, Goregaon West, Mumbai – 400104
Phone: (022) 45106773
33. Uvi Film Production Pvt Ltd
13, 1st Floor ,Varsha Building, Opposite Movietime Theatre, Off Link Road, Ramchandra Lane Extension, Malad West, Mumbai – 400064
Phone: (022) 61639043
34. Arjun Rao (Also for portfolio)
B-8 , Bari Nagar, Near Vashi Railway Station, Vashi, Navi Mumbai – 400703
Phone: (022) 61426306
35. Namanraj Productions Pvt Ltd
Phone: (022) 61627047
36. Mobius Films
C-61, Wild Wood Park II, Off Yari Road, Versova, Andheri West, Mumbai -400061
Phone: (022) 40214165
37. Blue Saint Movies
New Mahada 2/C 1304, Lokhandwala Circle Behind Hdcf Andheri West, Andheri West, Mumbai – 400053
Phone: (022) 49181098
38. Red Frog Production
008 Durgadevi Chs, Bangali Compound,Gokuldham, Near Gokuldham Mandir, Akv Marg, Goregaon East, Mumbai – 400063
Phone: (022) 71040849
39. Filmy Current Production
28, Vaibhav palace opposite Mega mall
Above cafe coffee day
Oshiwara jogeshwari west
Mumbai- 400201
Phone: (022) 65339099
40)V Films Production
  33 ratings
Shop No 9, Shalibhadra Building No 1, Mira Bhayander Road, Mira Road, Thane – 401107
41)Essdee Entertainment
  8 ratings
201, Building 2 D, New Mhada, Link Road, Andheri West, Mumbai – 400053
42)B3 Film Production House
  2 ratings
43)Rider Entertainment
  1 ratings
Krishna Bunglow, Plot No 284, Sector 2A, Charkop, Mumbai – 400067
  40 ratings
3, Sethi Terraces, 1st Floor, P D Hinduja Marg, Khar West, Mumbai – 400052
  41 ratings
Lotus Business Park, New Link Road, Andheri West, Mumbai – 400053
46)Sai Entertainment Films
  202 ratings
Unit No 11,Mohid Height, Four Banglow Mahada, Andheri West, Mumbai -400053
47)Shuddhi Production
  4 ratings
Shop No 315/ 316, A Wing, Shiv Chambers, Sector 11, Cbd Belapur, Navi Mumbai – 400614
48)Rohini Media Production
  8 ratings
Sargam Bunglow, Society No 54, Plot No 210,Mahada 4 Bunglow, Khaugali Road, Andheri West, Mumbai – 400053
49)One Shot Film Productions Pvt Ltd
  1 ratings
502, Mantri Park, Goregaon East, Mumbai – 400065
50)Balaji Telefilms Ltd (Registered Office)
  840 ratings
C 13, Balaji House, Dalia Industrial Estate, New Link Road, Andheri West, Mumbai – 400053
51)Rajshri Productions Pvt Ltd
  184 ratings
422, 1st Floor, Bhavana Building, Veer Savarkar Marg, Prabhadevi, Mumbai -400025
52)Shashi Sumeet Productions Pvt Ltd
  134 ratings
Lotus Grandeur, 601/602/603/604, 6th Floor, Veera Desai Road Extension, Andheri West, Mumbai – 400053
53)Endemol India Pvt Ltd
  188 ratings
501, Samarth Vaibhav, Andheri West, Mumbai – 400053
54)Bag Films And Media Ltd
  144 ratings
Plot No 34, 35 & 36, Anjani Complex, Parera Hill Road, Andheri East, Mumbai – 400093
55)Contiloe Films Pvt Ltd
  157 ratings
3rd Floor, Arc Plaza, Andheri West, Mumbai – 400053
56)I K Entertainment casting House
  2 ratings
Office No-30, Ground floor, s.v road, Goregaon West, Mumbai – 400062
57)Bbc Worldwide Productions
  97 ratings
401, 4th Floor, A Wing, Construction House, Road No 24, Khar West, Mumbai – 400052
58)Fireworks Productions
  125 ratings
108/109, Richa Industrial Estate,
केंद्र सरकार की ओर से अति महवपूर्ण सन्देश, एक नया कदम जो आपका बहुत धन और स्वास्थ्य बचा सकता है ।
प्रिय भारतवासियो,
आप सब को विदित है कि जो दवाइयां डॉक्टरों द्वारा रोगी को लेने के लिए कहा जाता है, वे कंपनियों के नाम से लिखी जाती हैं न कि उनकी विशेषताओं (generics) के साथ । इस प्रकार हम एक ही प्रकार की दवाई के लिए, कंपनी अलग होने के कारण बहुत अधिक पैसे देते हैं ।
कृपया अपना मेडिकल बिल बचाने के लिए निम्नलिखित कदम उठाएं:
1. इस लिंक www.Manddo.com पर जा कर (Medicines and Doctors online) पर जा कर medicines section पर जाएं ।
2. दवाई का नाम ढूंढें ।
3. जो दवाई आपको चाहिए उसका नाम टाइप करें (जैसे कि Lyrica 75mg (फाइजर कंपनी की)
4. यह आपको दवाई की कम्पनी, कीमत और Ingredients दिखाएगा ।
5. अब महत्वपूर्ण काम ‘SUBSTITUTE’ पर क्लिक करें ।
6. आपको देख कर हैरान होंगे कि यही दवाई आपको बहुत ही कम कीमत पर मिल जायेगी और वह भी दूसरी बहुत ही प्रतिष्ठित कम्पनी की जैसे कि फाइजर की Lyrica की कीमत है 768.56 14 गोलियोँ के लिए (यानि कि 54.89 प्रति गोली) जबकि यही Cipla (Prebaxe) कम्पनी की 10 गोलियां 59.00 रुपये (यानि कि 5 रुपये 9 पैसे प्रति गोली) आसानी से उपलब्ध हो सकती हैं ।
फार्मा कम्पनियों की लॉबी ने बहुत कोशिश की इस मुहीम को रोकने की लेकिन न्यायालय ने जनहित को सर्वोपरि रखते हुए उनकी दलीलें ठुकरा दीं । इसलिए आप भी अपना मानवीय कर्तव्य समझते हुए इस सन्देश को आगे भेज कर सर्वोच्च न्यायालय के इन आदेशों का लाभ सभी को उठाने में सहायता करें।
“दयालुता का कोई मूल्य नहीं होता, कृपया अपने मित्र मण्डल में सबसे साँझा करें ।
🔶Always help others🔶
The following Charitable Activities are run by the Trust. Kindly  circulate among all your friends, relatives , customers, maid servants, society notice board, if possible, so that maximum people can have benefit of the same.
“Kambar Darbar “
Shantilal Modi Road,
Opp:Bhurabbhai Hall Kandivali()W), MUMBAI.
*T: 6581 1644 / 2865 9615*
   *DAY     TIME     CHGES*
1.  OPD     Daily    Rs. 1/- 0nly
_11-30 am & 4-30 pm_
2.  X-Ray    Daily    Rs. 100.00
_8-30 am to 5-30 pm_
3.  ECG      Daily      Rs. 70.00
_9.00 am to 11.00 am_
4. Pathology  Daily  Rs. 20.00 CBC/Reduced charges
_8.00 am to 12.00 noon_
5.  Eye Checkup Daily Rs.  20.00
_3.30 pm_
Cataract Operation / Saturday only.
Free in Indian Lenses for deserving patients
6. Gynecology   Tue/Thur/Fri     _9.00 am_          Rs.  20.00
7. Skin Spl.  Mon    Rs.  20.00
_3.30 pm_
8.  Orthopedic Mon Rs 20.00
_3.30 pm_
9.  Diabetic & Cardio Wed Rs.  20.00
_4.30 pm_
10. Child Spl.  Fri   Rs. 20.00
_5.30 pm_
11. Ear / Nose / Throat     Wed / Friday     Rs. 20.00
_3.30 pm_
12. Dental  Daily  Nominal Charges
_9.00 am to 1.00 pm_
_2.00 pm to 5.00 pm_
13. Dialysis  Daily Free deserving Patients          _7.00 am to  4.00 pm_
( Phone: 28067645 )                OR nominal charges
14. Utters Cancer  Test
15. Anti Cancer Injection for Girls  aged 14 yrs to 24 yrs.
16. Hearing Aids for Sr. Citizens @ 40% of the actual cost. Free for deserving children by Birth.
17. Note books and other staionery itemsto all students on discounted rates during summer vacation school
18. Scholarship for Higher Education for deserving candidates. visit www.kambardarbar.org
Kindly contact for further information on above contact nos.
♦Pls forward to all:
contact following trust…
🙏Sir Ratan Tata Trust Bombay House, Homi Mody Street, Mumbai 400 001 Call: 022-66658282
🙏Reliance Foundation (Previously Ambani Public Charitable Trust) 222 Maker Chambers IV, 3rd Floor, Nariman Point, Mumbai – 400021 Call: 022-44770000, 022-30325000
🙏Amirilal Ghelabhai Charitable Trust 71, Gitanjali, 73 / 75, Walkeshwar Road, Mumbai – 400006
🙏Asha Kiran Charitable Trust C/o Radium Keysoft Solutions Ltd, Call: 022-26358290 101, Raigad Darshan, Opposite Indian oil Colony J.P. Road,   Andheri (w) Mumbai 400 053
🙏Aspee Charitable Trust C/o Americal Spring and Pressing Works Pvt. Ltd P.O. Box No. 7602, Adarsha Housing Soc. Road, Malad (w), Mumbai 400 064 ,
🙏Aured Charitable Trust 1-B-1 Giriraj, Altamount Road Mumbai 400 026, Call: 022-23821452, 022-24926721
🙏B. Arunkumar & Co. 1616, Prasad Chambers, Opera House, Mumbai – 400004
🙏B D Bangur Trust C/o Carbon Everflow Ltd. Bakhawar, 2nd Floor, Nariman Point Mumbai 400021
🙏Bombay Community Public Trust (BCPT) 5th Floor Regent Chambers, Nariman Point, Mumbai 400021, Call: 022-22845928 / 022-22836672
🙏Burhani Foundation 276 Dr. D. N. Road Lawrence & Mayo House Fort Mumbai-400001
🙏Century Seva Trust Century Bazar, Worli, Mumbai – 400025
🙏Centre for Research & Development Shreyas Chambers,Ground Floor, 175-Dr. D.N. Road, Fort, Mumbai – 400 001
🙏Chief Minister’s Relief Fund, Government of Maharashtra Mantralaya, 6th Floor Nariman Point, Mumbai – 400020
🙏Damodar Anandji Charity Trust 66, Vaju Kotak Marg, Near G.P.O, Mumbai -400001
🙏Diamond Jubliee Trust Aga hall, Nesbit Road, Opp. St. Mary’s High School Mumbai 400010, Call: 022-23775294, 022-23778923
🙏Dharma Vijay Trust C/O Kilachand Devchand & Co. New Great Insurance Bldg., 7, Jamshedji Tata Road, Mumbai – 400020
🙏Dharamdas Trikamdas Kapoorwala 46, Ridge Road, Rekha No.2, 4th Floor, Mumbai – 400006
🙏Dhirubhai Ambani Foundation Reliance Industries Limited Reliance Centre, 19, Walchand Hirachand Marg, Ballard Estate, Mumbai 400 038. Tel : 022-30327000
🙏Dhirajlal Talkchand Charitable Trust Shailesh Niwas, Subhash Lane Daftary Road, Malad (E), Mumbai – 400097
🙏Dhirajlal Morarji Ajmera Charity Trust 37 – A, Sarang Street, Mumbai – 400003
🙏Dipchand Gardi Charitable Trust Usha Kiran, 2nd Floor, Altamount Road, Mumbai – 400006
🙏Divaliben Mohanlal Charitable Trust Khatau Mansion, 1st Floor, 95-K. Omer Park, Bhulabhai Desai Road, Mumbai 400 026
🙏Ekta Charitable Trust 4/444, PanchRatna, Opera House, Mumbai -400004
🙏Eskay Charitable Trust C/O Caprihans India Ltd., Shivsagar Estate, ‘D’ Block, 2nd Floor, Dr. A. B. Road, Worli, Mumbai – 400018
🙏Excel Process Pvt. Ltd. Charitable Trust 117 / 118, Mathurdas Vasanji Road, Chakala, Andheri (E), Mumbai – 400093
🙏Fazalbhoy Charitable Trust Near Liberty Cinema, Marine Lines, Mumbai -400020
🙏Gala Foundation Behind Vakola Municipal Market, Nehru Road, Vakola, Santacruz(E) Mumbai
🙏Garware Foundation Trust Chowpatty Chambers, Mumbai – 400007
🙏Gokak Foundation Forbes Bldg., Forbes Street, Mumbai – 400023
🙏Goodlass Nerolac Paints Ltd. (Trust) Nerolac House, A. G. Kadam Marg, Lower Parel, Mumbai – 400013
🙏Govind Dattatraya Gokhale Charitable Trust Kalpataru Heritage, 5th Floor, 129, M.G. Road Mumbai 400 023, Call: 022-22673831
🙏Harendra Dave Memorial Trust C/O Janmabhoomi, 3rd Floor, Janmbhoomi Marg Mumbai 400 001
🙏Helping Hand Charitable Trust 3, Vidarbha Samrat Co-op Hsg. Society 93-c, V.P.Road, Vile Parle (West) Mumbai – 400 056 Tel: 022-6147448
🙏Hiranandani Foundation Charitable Trust Olympia, Central Avenue, Hiranandani Business Park Powai, Mumbai 400076
🙏Herdillia Charitable Foundation Air India Building, 13th Floor Nariman Point Mumbai 400 031, Call: 022-22024224
🙏Hirachand Govardhandas 222, Maker Chambers 1V 3rd Floor, Nariman Point Mumbai 400 021
🙏H. M. Mehta Charity Trust Mehta House, 4 th Floor, Apollo Street, Khushru Dubhash Marg, Mumbai – 400001
🙏H. S. C. Trust Ready Money Mansion, Veer Nariman Road, Mumbai – 400023
🙏Jamnalal Bajaj Foundation Bajaj Bhavan 2nd Floor, Jamnalal Bajaj Marg, 226 Nariman Point, Mumbai 400 021, Call: 022-22023626
🙏Shree Siddhivinayak Temple Trust Prabhadevi, Mumbai – 400 028, Tel. 022-24373626 : Medical Ad Form is available on the Web.
Please see their Web site for details.
 DIALYSIS  can  be  done @ Mumbai’s SiddhivinayakTemple for just 200/- only. Total 22 Dialysis Machines installed. Pls. fwd this so others can benefit. Thanks.
Pl pass in your group this is usefull msg for all dialysis patients
कृपया लक्ष द्या जर कुणा ही गरजू व्यक्तीला खालीलपैकी कोणत्याही रक्तगटाचे रक्त हवे असेल, कुणाला अपघाती/ नैसर्गिक आप्पती दरम्यान  कसलीही मदत हवी असल्यास या मित्रांना निसंकोच कॉल करा..
देवा चव्हाण बार्शी
रक्कगट,O ,Positiv
सागर चव्हाण, पंढरपूर,
रक्तगट ‘0’ negative,
Mobile: 9075300600,
निलेश पाटील, कोल्हापूर.
रक्तगट: ‘O’ Negative
मोबाईल: 9673627261
▼ विवेक पाटील.
रक्त गट- o +
सचीन वारके .
कणेरीवाङी करवीर
रक्तगट :  AB + ( एबी पाॅझीटीव्ह )
मोबाइलः 9823666832
श्री. अशोकराव खोत, चा़ंदेकरवाडी, राधानगरी
रक्तगट: O+ (आे पॉझीटीव्ह)
मोबाईल: ९६७३२६७५१८
प्रसाद पाटील , कोल्हापूर                                      रक्तगट : A –  ( ए निगेटीव्ह )                               भ्रमणध्वनी : ९३७१७२५११५
सागर घारगे, सांगली
रक्तगट: AB+
मोबाईल: 9960450648
निखिल पेडणेकर, सांगली
रक्तगट: AB+
मोबाईल: 9049952789
सचिन कोळी, सांगलीवाडी
मोबाईल: 9423236665
प्रतिक पाटील, सांगली
रक्तगट: O+
मोबाईल: 7385863606
अमोल पवार, सांगलीवाडी
रक्तगट- B+
मोबाईल: 9561520191
निरंजन सुतार, सांगली
रक्तगट – 0+
मोबाईल- 9766215735
सागर जाधव, सांगलीवाडी
रक्तगट: O+
मोबाईल: 9526863600
सुदीप बोत्रे, सांगली
रक्तगट: B+
मोबाईल: 9726225228
कल्पेश पांचल, चिपळूण
रक्तगट: AB+
मोबाईल: 7875252836
अनंत कांबळे , सांगलीवाडी
मोबाईल: 9975211824
कुणाल कामत, सांगली
रक्तगट: O+
मोबाईल: 8796928284
सुनिल पुजारी, कवठेमहंकाळ
रक्तगट: O+
मोबाईल: 9822834900
निलेश पाटील, सांगली
रक्तगट: AB+
मोबाईल: 9373495087
विशाल जांभळे, कोल्हापूर
रक्तगट: A+
मोबाईल: 7588621414
किशोर दळवे, मुंबई (अंधेरी वेस्ट)
रक्तगट: O+
मोबाईल: 9702656515
तुषार हलाले, मिरज
रक्तगट: AB+
मोबाईल: 9595928789
यशोधन गडकरी, सांगली
रक्तगट : A+
मोबाईल: 9372375080
निलेश निकम, सांगली
रक्तगट: O+
मोबाईल: 9028972711
अविनाश गव्हाणे, सांगली
रक्तगट: B+
मोबाईल: 9860007593
अमोल पाटील, बत्तीस शिराळा
रक्तगट: A+
मोबाईल: 9921250550
तुषार भंडारे, सांगली
रक्तगट: O+
मोबाईल: 8421367805
सुमीत वठारे, सांगली
रक्तगट – AB+
मोबाईल: 9552446266
िरतेश शहा, सांगली
रक्तगट: B+
मोबाईल: 8657627111
धैर्यशील पाटील, सांगली
रक्तगट: O+
मोबाईल: 8421883928
ज्ञानेश्वर बंडगर, महीम
रक्तगट: 0+
मोबाईल: 9373495087
ओंकार मुळे, सांगली
रक्तगट: AB+
मोबाईल: 9766340581
निहाल सय्यद, सांगली
रक्तगट: B+
मोबाईल: 8600309424
महेश भोसले, कराड
रक्तगट: B+
मोबाईल: 9096088933
विनायक साळुंखे, मिरजवाडी/आष्टा/सांगली
मोबाईल -7588167721
निलेश पाटिल, कल्याण
रक्तगट – B+
मोबाईल – 9870993149
कुंदन थोरात, कवठे एकंद
रक्तगट- O+
मोबाईल- 9021325033
                                                         सतीश पिंगळे  कडेपुर
रक्तगट:’ B -‘ Negative
मोबाईल: 9594758444
अमोल ढवळे.तासगाव
रक्तगट:- O+
मोबाईल:- 9923546147
प्रमोद चौगुले, सांगली/पुणे
रक्तगट: B+ve
मोबाईल: 9960146992 / 9021520579
सुशांत नाईक, रत्नागिरी
रक्तगट- 0+
मोबाईल: 760043200
जयराज लावंङ, कराड
रक्तगट- A+
मोबाईल : 9405126541
विराज सावंत, वाळवा
रक्तगट; O+
मोबाईल: 9657930821
वैभव सावडेकर, सातारा (कराड)
रक्तगट: O+
मोबाईल: 9665949952
दत्ता मोरे, शिराळा
रक्तगट O+
मोबाईल: 9673626398
संदीप चौगुले, सांगली
रक्तगट: O+
मोबाईल: 9860717974
सुशांत सुर्यवंशी, आष्टा
रक्तगट: O+
मोबाईल: 9975491049
नवनाथ फडले, अलिबाग
रक्तगट: AB+
मोबाईल: 96895003
संजय सावंत, पुणे (कराड)
रक्तगट: B+
मोबाईल: 9922695874
संदीप चव्हाण
रक्तगट: A+
मोबाईल: 9503096182
सरदार मांगलेकर, वाळवा
रक्तगट: AB+
मोबाईल: 8275392030
मुकेश सावंत, मुंबई
रक्तगट: AB+
मोबाईल: 9930537308
स्वप्निल जामदार
रक्तगट: B+
मोबाईल: 9766363631
अॅड.शिवाजी (आण्णा) कराळे-पाटील, अहमदनगर
रक्तगट: 0+
मोबाईल: 9922545545
रविराज सुतार, कोल्हापुर
रक्तगट- O+ positive
मोबाईल- 8888366363
धनंजय भिस, मिरज
रक्तगट: A+
मोबाईल: 9730244245
हैदर मुलाणी, सांगली
मोबाईल: 9921438800
सुशांत सुर्यवंशी, आष्टा जि. सांगली
रक्तगट: O+
मोबाईल: 9975491049
संजय सावंत, पुणे (कराड)
रक्तगट: B+
मोबाईल: 9922695874
संदीप चव्हाण
रक्तगट: A+
मोबाईल: 9503096182
सरदार मांगलेकर, वाळवा
रक्तगट: AB+
मोबाईल: 8275392030
अरमान, कोल्हापूर
रक्तगट: B+
मोबाईल: 8308682668
रोहीत कवाडे, इचलकरंजी
रक्तगट: A+
मोबाईल: 9604208735 / 8856933662
धिरज संभाजी कुराडे, पन्हाळा
रक्तगट: [O+ve]
मोबाईल: +919763905252 / +919763805252
साहील उदय शिंदे(गवळी),कोल्हापूर
रक्तगट: [B+ve]
मोबाईल: +919595972201
/ +918446652209
विनोद कालेकर, सांगली
रक्तगट: A+
मोबाईल: +919028717155
संदीप जाधव, मिरज
रक्तगट: B+
मोबाईल: 8856894654
निखिल मोहीते,सांगली
रक्तगट: 0+
मोबाईल: 9096732333
धनंजय पाटील, सांगली
रक्तगट: A+ve
मोबाईल: 9405860025
संग्राम कांबळॆ, सांगली
रक्तगट: B+
मोबाईल: 8855818976
प्रदीप शिंदे, सांगली
र्कतगट: B+
मोबाईल: 9270135255
केतन गायकवाड, सांगली
रक्तगट: AB+
मोबाईल: 9975873714
तंझील अन्सारी, कोल्हापूर
रक्तगट: B+
मोबाईल: 7385532675 / 8625845169
वैभव अंभोरे, अहमदनगर
रक्तगट: O+
मोबाईल: 9822056637
प्रशांत सुर्यवंशी, सांगली
रक्तगट: AB+
मोबाईल: 8793182492 / 7719925482
प्रसाद पोळ, मिरज
रक्तगट: 0+
मोबाईल: 8857078720
सद्दाम मुजावर, सांगली
रक्तगट: AB+
मोबाईल: 7385331386
दिपक पाटील, संजयनगर,सांगली
रक्तगट: A+
मोबाईल: 7387838493
किशोर पाटील, सांगली
रक्तगट: B+
मोबाईल: 9021769696 / 9372177731
 संदीप सगरे, सांगली
रक्तगट: B+
मोबाईल: 8421049933
योगेश ओतारी, सांगली
रक्तगट: B+
मोबाईल: 8623851376.
सुनिल गोंजारे, ढालगाव, सांगली
रक्तगट: B+
मोबाईल: 9890068014 / 8421099429
मच्छिंद्र यादव
रक्तगट: AB +ve
मोबाईल: 09549276717 / 09096463575
सोमनाथ घोमटे, झारे,आटपाडी
रक्तगट: O+ve
मोबाईल: 9975464610
राहुल कांबळे, कोल्हापूर
रक्तगट: A+
मोबाईल: 9158424214
प्रमोद सावंत, चिपळूण
रक्तगट : O+
मोबाईल: 8446873257
‪ मुआज नालबंद
रक्त गट : A+ ve
मोबाईल नं : 8888227347
ओंकार वडगांवकर, कळे,कोल्हापूर
रक्तगट : A+
मोबाईल: 9765557831
रोहीत कल्याणकर
रक्तगट: O+
मोबाईल: 9011729595
मंदार परीटकर, कोल्हापूर
रक्तगट: B+
मोबाईल: 9158959444 / 7588185580
गणेश पैकेकर,बार्शी
शशिकांत जाधव, कोल्हापूर
रक्तगट: B+
मोबाईल: 9175737493
अजय मालू, सांगली
रक्तगट: B+
9822775227 / 9028850299
राजेंद्र घारगे, सांगली
रक्तगट: AB+
मोबाईल: 9921611607
महेश सुयॅवंशी  सांगली
सध्याचा पत्ता पुणे
रक्तगट÷  O+
मोबाईल÷ 9271555711
आकाश पोकले विरार मुंबई  रक्तगट:B+
मोबाईल : 9822274284
रविंदृ सातपूते
रक्तगट- B+
मोबाईल -9552530043
लक्ष्मन साखरे पाटिल
मानवत जिल्हा-परभणी
अमोल कुलथे
नितेश गोईलकर
रक्तगट – O Negative
मो: 7039457437
बाबाराजे गायकवाड
रक्त गट  O+
 जर हे मित्र तेव्हा तुमच्या जवळपास कुठेही उपलब्ध असतील तर ते नक्की तुम्हाला मदत करतील..!!
आणि मित्रांनो,
तुम्हाला पण जर खरंच कुणाला मदत करायची इच्छा असेल तर आपलं नाव, गाव व मोबाईल नंबर टाईप करा तसेच खालील यादीमध्ये add करुन ही यादी तुम्ही तुमच्या मित्रांना पाठवू शकता…!”
हा मेसेज एखाद्या गरंजवंताला नक्कीच खूप उपयोगी पडेल..
कृपया हा मेसेज जास्तीत जास्त शेयर करुन आमच्या या सामाजिक कार्याला बळ द्या ही विनंती..!!
Intro Video
The word itself is self explanatory..!!

Intro video is a clip which gives your own details in audio-video format where you have to mention about your full name, age, height, contact number and also give a very very brief Information about your past work.

One can shoot such clip with the help of a good camera mobile phone.

Length of such video should not be more than 2 minutes.

Why a Casting guy asks for such intro video…???

The casting guy would like to see how you look on camera, your actual total appearance, hear your voice and the most important thing is how confident and energetic you are in giving your own Information on camera, so a care should be taken to shoot the video accordingly.

Again, take all the care that we shared with you while we informed you about Audition Link e.g. neat and clean background, voice projection, voice clarity, voice quality, decent costume, do not wear glares/hats etc.

If the casting guy finds your intro clip interesting, energetic and impressive, your chances of being called for a face to face meeting/audition is more, so it’s better that you shoot and upload your intro video on you tube and send it as and when asked for.

You can also update your intro video, time to time, with your recent good work.

(1) What is Acting
Acting is an activity in which a story is told by means of its enactment by an actor or actress who adopts a character in theatre, television, film,
radio, or any other medium that makes use of the mimetic mode.
Acting involves a broad range of skills, including a well-developed imagination, emotional facility, physical expressivity,  vocal projection, clarity of speech, and the ability to interpret drama. Acting also often demands an ability to employ dialects, accents, improvisation, observation and emulation, mime, and  stage combat.
Many actors train at length in specialist programmes or colleges to develop these skills.
The vast majority of professional actors have undergone extensive training.
Actors and actresses will often have many instructors and teachers for a full range of training involving singing, scene-work, audition techniques, and acting for camera.
*Acting is pretending to be someone or something else*
*Acting is when an individual takes on the role, behavior, attitudes, etc. of another person, perhaps in a scripted environment like a play or film*
But if acting is merely pretending to be someone else, then anyone can do it.
As a matter of fact we all do it – every day.
Seriously, can you actually get through a day without a moment of acting – of pretense? Perhaps you are not pretending to be someone else. But, how often in one day do you pretend? How often do you hide your truth? (The dictionary definition of pretend: “to act as if something were true”).
For example, how often do you pretend to be pleased, or disappointed, or interested?
How often do you hide your impatience, annoyance, anger or fear?
We all do this.
It’s a central part of the human condition.
Sometimes it’s a matter of survival.
Pretending is a technique we use to maneuver the rapids of daily existence. And this makes us all actors – to an extent. And then we could discuss those moments when we are accused of acting, of faking it, pretending or lying.
And you know how often you can recognize when someone is not being authentic, honest, or truthful.
*Acting is a part of our lives, everyday*
But what I really want to discuss is the ‘profession’ of acting.
There are professional actors, those who are trained, paid and praised for this activity.
These are artists who have chosen to portray other characters in theater, film, television and other media.
Still, it seems like a simple question with a simple answer: “What is acting?”
A professional actor’s goal is to portray another individual as honestly and authentically as possible.
That’s it.
A portrayal.
 *Acting is the ability to live truthfully under imaginary circumstances*
How wonderfully simple, direct and true.
But, what does it really mean?
What does ‘living truthfully’ really entail?
I know, for myself, how difficult it is to live truthfully (or honestly) day-to-day, or moment-to-moment.
I know how often I hide, pretend, or manipulate or disguise my own truth (as we discussed above).
Yet, I recognize that that modification of my deeper truth is, indeed, the truth of who I am in that moment.
So, in a way I am living truthfully even if that truth is a pretense that is hiding a deeper truth.
Confused yet?
Me, too.
Let’s press on.
As I go through my day I run into challenges, conflicts, opportunities, surprises, disappointments, etc. and I admit that I am often not clear about how I feel about something that has just happened or something someone has said.
And I often feel conflicted between how I ‘want’ to react and how I think I ‘should’ react and even how I do react.
I know very clearly that this uncertainty or confusion in these moments is my truth.
So, in a way, I am living truthfully.
And I am aware that there is a big difference between ‘living truthfully’ and ‘telling the truth’.
What I express in these moments may not be what I honestly feel, but the expression itself is true to who I am in that moment.
It reflects me, honestly – even if the expression is a lie.
Now, back to acting.
How do we explore and experience this level of truthfulness when we are portraying a character?
And, how well do we need to know our characters in order to reveal them honestly and authentically?
An actor reads a script.
Within one reading he will get an idea, an impulse, a sense of his character. Ideas of how to play that character from scene to scene rumble or race through the actor’s mind.
And the actor begins to prepare.
He has ideas of what research is needed, what self-exploration might be required or helpful.
Depending on his training or experience he might work with substitutions, ‘as ifs’, effective memory, improvisation, journaling, etc.
And this work will go on until the actor has constructed and discovered sufficient material to get him comfortably grounded in the character and the circumstances.
And, quite possibly, all of this work has come before there is any significant rehearsal with the director and other actors – if there is any rehearsal at all.
And when the time comes to embody the character (in rehearsal or performance) the actor will draw upon this preparation in order to plunge himself into the character.
And now he is in the character.
And now he is acting.
But, what is he doing?
What is really going on inside the actor?
There is a very conscious activity going on that I call ‘acting awareness’.
The actor is controlling, constructing, consciously and unconsciously manipulating the character to behave in certain ways based upon all of his research, training, preparation, etc.
The actor is acting. Heis pretending, controlling and manipulating.
*Acting is the ability to live truthfully under imaginary circumstances*
What happened to ‘living truthfully’?
The character (I assume) isn’t acting, pretending, controlling and manipulating in order to portray another character.
The character isn’t deciding how to play a moment based on research, training and preparation.
No, the character is basically dealing with this moment in his life as best he can.
This is all determined by his needs, goals, history, expectations, fears and desires – not the actor’s.
Our lives are out of control.
By this I mean we, each and every one of us, live ‘on the cusp’.
The cusp is the present moment where we balance ourselves between the known (the past) and the unknown (the future).
We know we can’t change the past (no matter how much we would like to) and we know that we can’t predict the future.
The only place where we can be effective is ‘in the moment’, in this moment that we are experiencing right now.
And, it’s even questionable how much control we have of this moment.
So, we are out of control – always.
And, since our goal as storytellers is to present authentic characters living truthfully, we want to portray individuals who are as much ‘out of control’ as you and I are.
We want to see characters who are living ‘on the cusp’.
And, in order for an actor to ‘live truthfully’ within a character ‘on the cusp’ he must abandon all of the pretending, controlling and manipulating tools of the actor.
“What?” you say. “Abandon acting? At the very moment when that is what is required?”
Yes, that is what I am saying.
The best ‘acting’ is when there is none. (There’s an oxymoron for you).
The best performances are when the actor has reached a state of abandonment, release, totally letting go and truthfully living on the cusp as the character.
And when the actor becomes unconscious of the ‘acting’ and conscious only of the physical, mental and emotional state of the character, this is when the actor is truly living in the moment – not as the actor – only as the character.
*And that is acting – at its best*
Who is an Actor ?*
In simple words – Actor is a person who reacts.
*There are two types of Actors – Professional & Amateurs*
A professional actor is someone who is paid to act.
Professional actors sometimes undertake unpaid work for a variety of reasons, including educational purposes or for charity events.
Amateur actors are those who do not receive payment for performances.
Not all people working as actors in film, television, or theatre are professionally trained. Bob Hoskins, for example, had no formal training before becoming an actor.
*What as an actor we need to take care*
1 *Relax* Great actors spend their entire careers learning to relax the muscles in their face and body at will. Tension is very obvious when you are on stage. Your voice will sound thin and wavering, and your movements will be jerky and unattractive. To avoid these stiff and nervous displays when you’re acting, it is essential to remain as relaxed as possible. Even a scene involving high drama calls for measured and calm concentration from the actor. So, act dramatic, but be calm inside, and don’t work yourself up
2 *Focus* your attention on something on stage. It could be another actor, a prop, etc. Keep yourself in the moment and never stare off into space. It is obvious to the audience if you are spacing out and it is very distracting. Keeping in the moment enables you to remain in character and enhances the believability of the role and the play itself. Also, try not to play with your clothes, or use other nervous gestures, just look at the back of the theater, or your focus point, if you are tense.
3 Immerse yourself in the role completely. Forget that you are pretending and *try to become the character you are playing*. Envision how that person reacts to life, how that person dresses, walks, thinks and converses with others. Don’t be afraid to act like someone else, Draw on these visualizations when portraying the character. Always stay in that state of mind when acting. If you try to pretend to be sad, it’s an effort; if you
4 Remember that *everything is exaggerated on stage*. If you’re up on a stage, you need to enunciate your words (speak clearly). All the emotions on your face need to be formed in a more intense manner but remember to stay relaxed. If you feel like you’re over-acting, then you’re probably acting just enough. Eyes, smile, facial expressions, gestures, etc., need to be more expansive and dramatic than you would ever make them in real life. Be careful if acting in front of a camera, however. Here you must be more subtle, as in real life, because a camera picks up subtleties very easily and broad and exaggerated movements suitable for stage acting often look “hammed up” on film.
5 *Treat the little things as being very important* If you’re performing for an audience either live, or on film, you need to do everything you can to make the audience believe the character that you’re trying to be. If the script says that someone is talking too much, then portray a look or annoyance on your face and perhaps accompany that with impatient tapping of your foot. If you’re supposed to be near tears, blink hard, look downwards and fiddle with your clothes, and try to stare without blinking until tears come. Little actions are amazingly noticeable, including very expressive facial features. Include as many of the senses as possible, such as playing music, putting on make-up, turning on some lights; anything that can make the room happy or sad to fit the character and role that you are trying to present. This includes changing your voice, this can be done by spending time with people who have the desired accent, learn the language and or get a voice coach. There are also CD’s and books to help you master that accent!
6 *Work on projecting*. Invest in a cheap recorder (tape, CD, flash drive, whatever you are comfortable with.) Set the recorder far away from you, at least twenty feet( 6 meters), press record, back away. Speak a simple sentence, such as “My shirt is blue and my eyes are too!”. Keep trying different sentences (“How now brown cow” is a famous one). Listen to how you sound in the recording. Kick up the difficulty by backing further away each time, causing you to project more.
7 *Breathe and alliterate*. Do numerous vocal warm ups to ensure that you do not strain your vocal cords. Concentrate on enunciating your words so that your voice comes across clearly. Try a complex sentence such as, “Why, oh why haven’t you seen those rambunctious twins, Jill and Bill?”. Try speaking this with or without emotion. Then replay the recording. Speaking clearly is very important, so, practice by “E-Nuh-Nnn-Css-Iii-Ay-Ting” each syllable. Remember, however, that when you actually act, you can’t do this! It simply an exercise that should be done in front of a mirror for practicing purposes.
8 *Concentrate on your expressions* Facial expressions are very important and combining facial expressions with vocal responses is an important art of timing. Say a very simple “Oh!” in front of a mirror, each time watching your face and voice. Try the following moods: Sadness, awe, anger, fear, excitement, and any others you can think of.
*Practice your lines incessantly*
Make many copies. Write them out or print them out, so that you can just find a copy anywhere. Keep a copy in your bag, your desk drawer, next to your bed, in the bathroom, at the kitchen table, on the wall, in front of a favorite window.Read your lines at every opportunity possible – before you go to bed, when you wake up in the morning, waiting for a bus, cooking dinner. Recite the lines over and over again, remembering to include intonation and expressions so that these become second nature when you perform them on stage.When you find a long passage, say the first line until you are comfortable with your intonation and phrasing. Then add the next line to the first. Practice your delivery on the first two lines until you are ready to add the next (or start with the last line, then the two last lines, so that by the time you get to doing the entire thing you will be very familiar with the last bit). Once you are comfortable with the lines, you can further explore the meaning of the passage and refine your delivery.
10 *Meet people* Get to know a diverse group of people. You can’t possibly act like someone you’ve never met. Talk to people you’d normally not think of spending time with; they can teach you more about different kinds of people and different perspectives on viewing our amazing world
11 *Learn from other actors* It is not cheating or losing your own voice to learn from others. Watch other actors and see what they do with the parts they’re given; by doing this, you will learn a lot. You can see things they do that you might help you to further develop your own acting style and give you ideas for overcoming aspects of acting that you might be finding strange or difficult. Ask them questions and ask them for help. Most actors will be more than willing to offer you some advice
12 *Use the stage lights to kill stage fright* If you have a fear of acting on a stage, don’t worry. When the house lights go out and the stage lights go on, you won’t be able to see the audience, except possibly one or two. It’s clear skies after that.
13 *Block out the audience*. Whether it be a live audience, a camera, or your mum when your rehearsing with her, try to pretend that there’s a wall between you and the audience. This is called ‘the fourth wall’. You’re no longer on a stage or a set, you’re in your world and the audience doesn’t exist. But never, ever, turn your back on the audience.
Some plays require you to speak directly to the audience, and this is called ‘breaking the fourth wall’. When you are required to do this, pretend you’re merely looking at them, but you’re speaking to your fellow actors on stage. It may also help to look above their heads.
*5 Things An Actor Should Know Early In his/her Acting Career*
There are a lot of things you need to know as an actor, but here are five lessons I wish I’d learned early in my career.
1. *Know your “type.”*
Sure, in school you learned how to play any role—to stretch, to challenge, to grow.
Out in the real world, you are unlikely to be able to play much outside of your general age, height, weight, etc.
It is very important to have a clear sense of who you are when you walk into a room and what that means in terms of the roles you can audition for.
This takes work, soul searching, and asking friends, teachers, agents, and casting directors to give you some hard opinions about your type, and your headshot should reflect that person.
You may very well be capable of playing many other kinds of roles, but you won’t get them unless you first get the jobs you’re right for.
2.  *The first year is the hardest*
If you thought college was hard, wait until you hit the real world.
What I hear from former students most often is, “I knew it was going to be hard. I just didn’t know it was going to be this hard.”
This business is not for the faint of heart.
It takes a lot of hard work and belief in yourself to even feel like you’ve gotten a hold of the bottom rung of the ladder.
Learning to be patient and wait your turn are skills you can work on every day.
3. *You need to work at it every day*
If you want to get through those first difficult years, you have to work at it every day.
If you leave it to chance, you will always be able to convince yourself that you will have time to do those mailings, make those calls, and read those trades “soon.”
You have to start by scheduling at least an hour every day that you are working at your business—and it is a business.
Any day that you have done at least one thing for your career is a good day.
This includes auditioning, doing mailings, etc., but it also includes working out, eating healthy, seeing plays, movies, new TV shows, etc.
Your job is to learn the business.
It’s “learnable,” but you do have to learn it.
4. *Agents, casting directors, producers, and directors are not the enemy*
Yes, the whole manager, agent, casting director system is set up so that many, many people have vetted you before you get in front of the person who will actually decide to hire you: the director, producer, or both.
However, they really do want you to be good.
It makes their job easier.
Remember if you nail it in the room, then everyone in that system looks good.
The director will trust the casting director to present new talent. The casting director will trust your agent to pitch new actors. Your agent will look to the school where you trained for new talent next year.
There is truly nothing more exciting in an audition room than when someone you’ve never met before comes in and knocks it out of the park.
Your job is to be that person.
When you are, you make everybody look good—especially you.
It takes a while to really believe this, so keep reminding yourself.
5. *Being a good person is just as important as being a good actor*
At a certain level, any of the five people up for a part could do a good job in the role.
Are you someone I want to be in a rehearsal room with for a month? A movie set for six months? A TV series for seven years? It takes time to build a reputation.
The way you do that is by treating everyone with respect and trying your best to do good work.
It takes persistence to have a life in this business.
If you really are going to spend your life as an actor, then the fact that the first year or two was hard is a drop in the bucket.
*What an actor needs to do…???*
*Watch other people.*
Don’t be a creeper, but seriously spend a day at a mall or park and just observe people and how they go about their merry (or not so merry) lives.
You’ll soon notice the variety of people and the quirks and mannerisms which really define them.
Be sure to see what people do with their eyes and hands as these are very expressive features.
Make note of any particular characteristics which strike you, if someone has a particular tick, a jump in their step, or a striking facial expression, then take some time to think about what they did and how you might be able to apply their behavior to create your own particular character.
We are always speaking with body language, often more so than we do with English.
What do you think about someone who is always stiff and almost mechanical, or someone who slouches and leans constantly. When a person smiles or laughs a certain way, how do you react?
Always realize that we are constantly assessing one another, moods, status, reputation, esteem (self confidence), intelligence.
People certainly can seem wealthier by standing a certain way, or confident by the way they move through a crowd.
How do we know these things?
Not quite sure, but it just seems to be part of our collective human culture that we associate
certain appearances and actions with traits.
A hobo could stand with a posture that make him seem like a king, and a Harvard Alumnus can have a facial expression which makes him/herseem like a moron.
Keep studying; the more you watch, the more you learn.
If anything stand in front of a mirror and practice various poses and expressions and think about how they make you feel and how you would feel seeing someone else doing it.
One key factor that really finds helpful and enjoyable is watching professional actors do their thing.
Live theater can a fantastically fun and informative experience.
Go see some plays at your local theater or if plays are unavailable, then rent some “classic” movies and just study what the actors/actress do.
Don’t plagiarize their techniques, analyze how they use their techniques to come across as a “better” actor, body language, voice inflection, volume, etc.
Also, be sure to watch “bad” actors, or people who in your opinion didn’t do a good job; did they somehow break character?
smile or smirk?
Look directly into the camera?
Try and observe as many examples of both the good the bad to try and asses your personal conception of ways to perform better.
What is Method Acting
Method acting is a famous acting technique that requires one to deeply embody their character.
Learning how to method act requires a commitment to the process and a consistent practice schedule.
However, the more you spend time practicing skills and techniques, the quicker you will be able to be in character and the better you will be able to perform.
There are many resources and exercises that can help you achieve your desired level of method acting.
– *Start with relaxation*.
Relaxation is the key principle of method acting, which allows you to fully enter your role and perform to the best of your ability.
Spend time relaxing before trying any exercises or acting scenes.
Try to relax each part of your body individually at slow increments.
The more relaxed you are the more you will be able to employ the techniques of method acting.
Try *meditation or yoga* techniques to further relax your body and mind before warming up and practicing your method acting.
– *Use sense memory and concentration*
Sense memory is the practice of trying to tap into memories of your senses: sight, smell, sound, touch, and taste.
Try thinking of a memory and concentrating on the different sensory experiences of that memory.
One popular exercise that has to do with using sense memory is called the “personal object exercise,” which has the student explore an object that has personal significance to them with each one of their senses.
Sense memory takes a lot of concentration and patience.
Remember to practice slowly and not rush yourself.
Give yourself time to fully explore your memory or object.
– *Think about your own emotional memories*.
This exercise is generally for more experienced method actors as it can often be triggering or overwhelming.
The purpose of thinking about your own personal emotional memories is to use your sense memory to be able to explore a personal memory and use that emotion in another character.
For example, if the character you are trying to play has experienced loss, you would think about a memory in which you experienced loss and explore it using all of your senses.
Only perform this exercise with an experienced teacher if you are new to method acting and have not used your own emotional experiences in exercises.
– *Try and embody your subject
Embodying your subject, or characterization, is the practice of imagining yourself as someone or something else.
Spend time observing your subject and how they engage with their surroundings before you begin this exercise.
After observing your subject use your sense memory to begin to explore your environment in the ways your subject would.
Try choosing an animal as your first subject if you haven’t practiced this exercise before. Choosing an animal will help exaggerate the techniques used in this exercise.
– *Play games that use method acting techniques*
There are many games that employ the techniques required to successfully perform method acting.
Games that use method acting techniques will allow you to externalize the skills the techniques are aiming to teach you.
Try playing a game at the end of each practicing session to try out new skills and refine old ones.
Many websites for method acting classes also offer examples of games that can be played that use method acting techniques.
Theatre Acting
What is it actually
1 Look up the meaning of the name the playwright has chosen. What are the cultural implications of this name? Does it reveal an acting type and place it in a broader context?
As an example, the name means a particular animal. Think how it moves. Find an action and create a common gesture and attitude.
2 Record what dreams the character might have. For example, would the person like to be an astronaut?
3 Give this person details. Give as many details from the script that will fit into this general portrait. The character will stand out with this preparation. If an animal, what traits listed would be animal-like, such as length of hair for a lion
4 Decide where this character is going.If this character lives in poverty, is this character moving into a better situation and so, resolving conflict or will this character remain as an example for others?
What is the good, bad and ugly in this character?How to dress in a way that expresses the good, bad and ugly?Make a list. What would be spoken, thought or recalled often? What would never be spoken, ever?What little things emotionally upset or strengthen the character’s soul? For example, favorite color, design, habits?
5 Consider links to others. How important is the character’s relationships to the others and the audience? If it is very strong, why is this the case? If not, how does the character’s behavior and attitude impact on the scene What subtle or natural behaviors that appeal to the audience or place this character in the audience’s own experiences?
6 If you’re trying to cry, you don’t actually cry – you rub your eyes. There are many, many tricks you can use to create the illusion that you’re doing something when you’re really not. Stage props assistants should also be able to help out with some actions, such as providing onions to bring on those tears.
7 Keep eye contact regularly when performing.
8 Take dancing and singing lessons. You’ll be able to get more parts if you can sing and dance, and not just act.
9 Don’t concentrate too much on dancing and singing if your dream is too become an actor- being in musicals limits the roles that directors can imagine you in.
10 If you forget a line don’t act like you did. Just say what your character would have said.
11 Research your character on the web. Find out as much as you can so you can better connect with your character.
12 Make sure that you are never putting your back at the front. Face the audience as much as possible.
13 To gain better voice expression, trying saying a simple phrase, “oh john” in 20 or more different ways. Excited, sneering, sarcastic, romantic, etc..
14 If you act upset or angry, don’t speak very fast (though that’s what you would have done in real life) because the audience will not be able to hear what you’re trying to say.
15 To help you get in character, be the character for a day. Do what they would do. Eat what they would eat
 16 Don’t worry if you can’t cry on spot. The crying itself a very small portion of the action going on in a scene. Chances are, if you are truly evoking sadness and acting in the moment the audience will envision the tears themselves and swear that you were crying.
17 Don’t worry about what your fellow actors are doing. If the actor forget a line in your conversation, and skip to one 10 lines away, don’t worry about it. Just act like nothing happened and say your line.
18 What gets people into trouble is having irrational beliefs, that is, beliefs that are not based on reality and cause emotions which cause them to do destructive or blocking actions. They are always demands that life be different than it actually is.
19 When building a character, try building a set of beliefs that the character has and a matrix of his/her possible actions in reaction to events and thoughts to come up with truly believable flows of events.
20 When acting, convince yourself that this is truly horrible or wonderful, whatever, and you will feel those emotions. It also works in reverse to help you learn not to react to situations;
21 One calls it rational imagery where you imagine yourself in a situation, reacting normally, but badly; then you imagine yourself thinking rational thoughts and reacting rationally. For acting, you can do it in reverse. It is just a rehearsal of a different type.Your emotions are drugs secreted by your own body and mind. When you truly believe something is bad, your brain excretes the appropriate drug and you feel bad; and vice versa.
22 It is the person’s set of truly held beliefs that determine their emotions. Outside events or memories trigger those beliefs to create your emotions. When a person hears something that they believe is terrible and they feel they must do something about it, they usually feel some type of anger which moves them to action. When they believe they cannot do anything, then they are depressed and cry, do nothing, or even hurt themselves. There are endless variations.
(5) *An Approach to Acting*
Actors are the storytellers, for it is through the characters they portray that the story comes to life. Misconceptions confuse this point, the role of the actor and paths to becoming an accomplished performer.
*As an Acting Student, What Should I be Learning?*
Acquiring the skills to be a professional actor can be overwhelming.  However, knowing which skills are the most instrumental will shorten the journey.
*For Actors, There are Many Pathways to Success*
Many young actors entering the entertainment industry have the mindset that there are only a few ways of pursuing a career.
They get stuck on well-trodden pathways and they wonder why they don’t succeed.
Their strategy is to follow the herd instead of seeking out what they need to know, how to implement that knowledge, and how to do it brilliantly so people will hire them.
Instead of being pragmatic, they follow a culture of mediocrity doing just enough to get by. Article exposes this archaic thinking and offers practical pathways to supplement ones formal training.
*Eye Acting* –
The Key to Internalizations
Eye acting is rarely addressed in one’s training yet in film and television it’s the main focal point of the audience.
Knowing simple eye behaviors can help clarify the character’s inner thoughts and feelings by placing them in recognizable focal zones.
Eye Behavior Focal Zones
This illustration depicts the focal zones commonly used in a face to face two-person scene
Creating Believable *Facial Expressions*
Harnessing the range and power of facial expressions is a difficult task for the actor.
Yet there are ways to make them behave as the character and trick the brain into creating believable expressions.
The Six Basic Facial Expressions with examples of Degree Plus Exercise Scenarios for Facial Expressions
Sameness – Antidote is Imaginative Changes
Sameness in storytelling and acting can create disinterest and monotony.  Repeating what has been done before lowers involvement in the story and its performances.  Audiences expect and demand unique, fresh and imaginative creations, creations that surprise and enthrall us.  Identifying sameness, even in its smallest facets, and finding imaginative ways to vary, modify, and invent can bring immense power to storytellers.
*Dialogue Delivery*
Dialogue delivery and memorization take up most of the actor’s preparation time. While vocal skills such as projection, articulation, and phasing are the obvious, the dramatic aspects of dialogue delivery center on pauses, tempo, emphasis, dynamics, and contrast. Gaining control of these areas allows more time to search out strong dramatic choices in other areas such as selecting the intention, emotion and acting style.
*Gestures in Acting*
Gestures are instrumental in expressing an idea or conveying a feeling.  Using them effectively can increase the credibility and sincerity of the character.
*Head Acting* – Gestures and Implications
The head, by its movements and gestures, can impart meaning to the character’s intentions and/or feelings. Understanding the potential of these gestures and their implications is a valuable tool for actors, especially in film acting where the head and face dominate the screen image. Article discusses a number of head gestures and their meanings, and how they become more defined accompanied by dialogue, facial expressions, and blocking.
*Movement in Acting*
Inner thoughts, emotions, needs, and wants motivate movement.  Movement should be such that even a deaf man could comprehend what’s happening.
Selecting the Character’s Objective
The criterion for selecting the character’s objective relates to the story telling process.  These choices create conflict and drive the story forward.
Implementing the Character’s Objective
How one implements the character’s objective is as important as the objective itself.  Knowing the possibilities is a step in the right direction.
List of Intentions (Objectives) Compiled from Various Workshop Scenes (Listed according to worthiness)     List provides examples and proper format for stating the intention of the character.
Selecting the Character’s Emotion
Emotions are the forces that move the characters through the story.  They are instrumental in leading the audience in the desired story direction.
Implementing the Character’s Emotion
Generating readable emotions is a process for which every actor strives.   Various methods such as remembering past events , the physiological sensations, as well as mechanical means can be used.
Root Emotions
List and Discussions of Root Emotions.  Document discusses the delineation, characteristics, and physiologically of 37 root emotions.
Selecting the Motivation
Behind the character’s objective is a reason, a motivation justifying the intention. It’s the answer to the question, why?  The motivation aids in developing subtle shadings that give the audience a sense of what drives and guides the character through the story.
Motivation Selection Examples
These motivation examples are labeled by their originating component, i.e., biological (B), learned (L), cognitive (C), and intervention (I), along with further clarification of sub-justifications.  They answer the why question behind the motivation and place it into an actable format.
Story Structure
By studying storytelling principles, the actor can make choices that support the dramatic equations, propel the story to its optimum potential and create the desired illusion within the mind of the audience.  Knowing the essential ingredients of a good story along with its structure can greatly improve one’s artistic contributions.
Blocking and Movement
Blocking is the positioning and movement of the characters to tell the story in visual terms. It is a comparative portrayal of strong and weak movements, and their relative positions.  Today’s hurried productions demand understanding blocking terminologies and its principles.
Styles of Acting – What Defines the Differences?
This article reflects how acting elements define performance style, acting elements such as reality, dramatic flow, pace and timing. Article gives primary attention to the differences between drama and comedy.
Style Generalizations
This article covers style generalizations for acting  drama and comedy.  Acting elements are addressed for each style in abbreviated form and reflect key differences.
Dramatic Style Generalizations
These charts cover the acting elements for the more prominent styles.  Listed on same page are style examples from film, television, and plays.  Other acting styles and hybrid styles are also listed.
Comedy Acting
Comedy acting is seldom given the attention it deserves.  Being much more disciplined, stylized, and precise, its complexities make it difficult to fully comprehend, perform, and likewise, teach.
Implementing Humor
To implement humor one must understand the style parameters and the wide range of skills required, the foremost being agility.  Comedy acting is pointalistic in flow with edges that promotes quick turns, derailment of thought, and surprises.
Considerations in Playing Comedy
This illustration depicts the progression of a joke and the factors in portraying comedy.  These building blocks, with their edges and sharp corners, defines the clarity and simplicity of humor as well as the potential for quick changes, sudden drops in dignity, and unexpected surprises.
Character Development I
This article explores the process of character development from heroes to villains and those in between. It discusses methods, character elements, and their hierarchy.
Character Development II
This article looks at the character’s function and how it affects the portrayal. Does the function hinder or assist the protagonist? Article also looks at the development of protagonist, antagonist, heroes, villains, and mythic characters.
Character Development III
In further developing a character, we must also look at personality or temperament types, abnormal tendencies, learning and social disabilities, plus character relationships. How to find actable qualities that embody the character and serve its function within the story.
DVD’s — Alternative Acting Coach
With acting classes and workshops charging outlandish fees, aspiring actors are finding DVD performances by award-winning actors a cheaper and more effective means of learning their craft.  Instead of the catch-as-catch-can workshop approach, students follow the lead of award-winning actors and emulate their time-tested techniques.   Scene workshops charge $350 to $600 per month while DVD rental services charge as low as $8 a month, and deliver similar results.  Article sights numerous clips for studying specific techniques.
DVDs Help Define Acting Styles
Article explores how the selection and arrangement of dramatic elements depict the genre of the play and its appropriate acting style. By knowing the paradigm for each genre such as drama, comedy, suspense, or farce, the ensemble can solicit the desired audience response and likewise serve the purpose of the play.  Article uses two award-winning movies available on DVD to illustrate how various dramatic attributes differentiate style
Putting It All Together – Improving and Marketing One’s Acting Skills
How does one put it all together, use the information in these articles to improve ones performance, and market ones acting skills? This article addresses how knowledge, application, and marketing skills are essential to working as a professional actor and the various steps required in reaching this goal.
Film and TV Video Examples
This listing of video examples relates to acting articles posted on this site as well as those athttp://EzineArticles.com/?expert=Erik_Sean_McGiven.  Most examples relate to award-winning performances plus a few others that exemplify the skills and techniques under discussion.  These examples will help the learning process emulating highly skilled actors and their time-tested techniques.
Audition Tips for Actors, Presenting Your Best Talents
Article recaps audition tips made by casting director Julia Kim at Film Independent’s IndieLink: Actors Program.  Tips include information about preparation time, scene length, and ways to utilize allotted time.  Additional comments addressed acting styles, and using pauses in conjunction with look-aways to portray internalizations.
Demo Reel Creation – An Essential Tool for Actors
Having an actor’s demo reel has become a prime factor in opening doors to industry people such as agents, managers, directors and casting directors.  Article explores the creation of such a reel, its basic format, and what industry people want and don’t want.
Actors Setting Goals — Producing Peak Performance
Actors get caught up in the minutia of the industry and instead of being specific about their goals; they become fodder for an archaic training system that eats up both their hopes and savings.  By identifying, what’s relevant and attainable ones energies can focused on what will produce peak performances.   In addition, by being accountable, you create innovative strategies, meaningful milestones and deadlines that push you towards success.
Vulnerability – The Actor’s Choice to Be Authentic
Vulnerability is a highly desired character trait.  However, incorporating it into a performance with the proper touch requires awareness, research and practice. Article discusses what is vulnerability, what does it look like, and how can it be nurtured and portrayed.
Audience Collaboration – An Overlooked Storytelling Force
The audience can enhance the story provided there are engaging elements, space, and payoffs.  Article explores awareness of opportunities, benefits, and collaborative means.  Article is relevant to directors, writers, actors, producers and casting directors.
Why You Didn’t Make It — Acting Failures
Neophytes have little knowledge about what it takes to make it as an actor.  Instead of learning their craft, they invest time and money promoting their marginal skills. Article explores the various reasons why actors fail in their career and steps to reach professional status.
Scene Study Workshops are a Bad Investment
Article questions the validity of scene study workshops by weighing the acquired skills against invested time and expenditures.  Also provide insights to better venues.
An audition is *a sample performance by an actor*, singer, musician, dancer or other performer.
It typically involves *the performer displaying their talent through a previously memorized and rehearsed solo piece or by performing a work or piece given to the performer at the audition or shortly before*.
In some cases, such as with a model or acrobat, the individual may be asked to demonstrate a range of professional skills.
*Actors may be asked to present a monologue* Singers will perform a song in a popular music context or an aria in a Classical context. A dancer will present a routine in a specific style, such as ballet, tap dance or hip-hop, or show his or her ability to quickly learn a choreographed dance piece.
*The audition is a systematic process in which industry professionals select performers, which is in some ways analogous to a job interview in the regular job market. In an audition, the employer is testing the ability of the applicant to meet the needs of the job and assess how well the individual will take directions and deal with changes*.
After some auditions, after the performer has demonstrated their abilities in a given performance style, the audition panel may ask a few questions that resemble those used in standard job interviews (e.g., regarding availability).
Auditions are required for many reasons in the performing arts world.
Often, employing companies or groups use auditions *to select performers for upcoming shows or productions*
An audition for a performing opportunity may be for a single performance (e.g., doing a monologue at a comedy club), for a series or season of performances (a season of a Broadway play), or for permanent employment with the performing organization (e.g., an orchestra or dance troupe).
Auditions for performing opportunities may be for amateur, school, or community organizations, in which case the performers will typically not be paid.
As well, auditions are used to select or screen candidates for entry to training programs (ballet school or circus school); university programs, performance-related scholarships and grants; or to be considered for representation by a talent agency or individual agent.
In short, *For actors in theater, film, and TV, the “audition is a systematic process in which industry professionals make final casting decisions. Industry professionals may consist of casting directors, producers, directors or agency representatives”*
*What is Screen Test ?*
In film and television, the audition is called a screen test, and it is filmed so that the casting director or director can see how the actor appears on screen.
An actor who is doing an audition may warm up before the audition, like an athlete would, although with an actor, a warm up might include vocal exercises in addition to stretching.
Just as with any interview outside of the performing arts world, an auditionee may *dress well*
Even if the auditionee does not have expensive clothing, *simple clothing may be acceptable if it is clean and of good quality*
Auditionees know casting directors are also considering “whether or not the actor will be easy to work with, that they know what they are doing and can take direction well”.
Audition pieces are not always from the show the actor is being considered for; an actor wishing to be cast in Hamlet may not do a monologue from that play. Most performers do have a range of audition pieces and select something appropriate; an actor auditioning for Hamlet would have a dramatic Shakespearean monologue ready, and not perform a monologue from an Oscar Wildecomedy, or a contemporary playwright.
Some auditions involve cold reading, or performing a script that the actor is not familiar with.
*Auditions often involve monologues or speeches, but not always. In some cases, an auditionee is asked to read a scene (with a second person reading the other character)*
The casting agent or company may “call back” an auditionee days, weeks, or even months after the initial audition for a second audition. At a major audition for a professional company, the time limits are strictly enforced.
Right before the audition, the casting director may give new instructions that were not in the advertisement; for example, due to time constraints, the time limit for the monologues might be cut in half, or the vocal selections might be cut.
Actors know that it is important that they follow these last-minute instructions, and not be “thrown off balance” by these changes.
At an audition, a director may ask for changes in the delivery of the lines or in other aspects of the performance.
The goal may be to see if the auditionee is versatile or because the director disagrees with the initial approach used by the auditionee.
In either case, the behavior of the auditionee is important; if the auditionee is cooperative in making the changes, it shows that he or she will be easy to work with.
If a script is provided beforehand, actors often try to memorize as much as possible, because this shows that they have prepared and it allows them to look up from the script and show their facial expressions more.
*Film auditions*
Film auditions are different from theatre auditions.
For film auditions, actors and actresses are given “sides” which are often a few pages of the script with the roles that they are auditioning for.
These sides are often given to the actors 1–3 days before the audition.
*Modelling Selection*
Modelling agencies and other organizations that are looking for models, such as fashion designers and advertising agencies also use auditions to screen and select potential candidates.
Aspiring female models for most fashion industry roles need to be in their teens or early twenties and be tall and slim.
Although there are “niche markets” for non-svelte models (“plus size models” and “real life models” who model clothes for middle-market clothing catalogues), most female models need to be slender and between 108-125 lbs.
Young men who are aspiring models should be between 18 and 25, tall, and fit.
While male models who are selected at modelling auditions may well end up having careers that last till beyond age 25 (even into their 40s), modelling agencies prefer to recruit new models in the 18-25 age range.
Most models work with an agent who arranges auditions, bookings, and negotiates fees.
At an audition, casting agents will ask the model to demonstrate different poses, which a photographer may record with a digital camera.
For high fashion auditions, the model may be asked to demonstrate the “catwalk” style of modelling clothes on a raised runway.
At most modelling auditions, models wear fairly simple clothes that will allow the talent agents to imagine the model in different garments.
Typically, a model wears fairly body-hugging clothes, so that the judges can see the body type of the model.
Some modelling agencies audition a large number of aspiring models in an “open call”, in which agents consider applicants for under a minute or so each.
Some agencies hold model searches, which is a type of beauty contest in which applicants audition for the opportunity of winning a model portfolio or a photo shoot.
A screen test is a *method of determining the suitability of an actor or actress for performing on film or in a particular role*.
The performer is generally given a scene, or selected lines and actions, and instructed to perform in front of a camera to see if they are suitable.
The developed film is later evaluated by the relevant production personnel such as the casting director and the director.
The actor may be asked to bring a prepared monologue or alternatively, the actor may be given a script to read at sight (“cold reading”).
In some cases, the actor may be asked to read a scene, in which another performer reads the lines of another character.
*Film Casting*
In films, the process is almost same with some changes here and there.
The writer completes his writing process and during the process few characters are noted by the Director of the film and he asks his assistants to hunt for the same.
Normally, each star has their own set of actors with whom they are comfortable and the star (his office) informs the producer about the same and casting is done of those actors who are in good tie with stars.
I was informed about the same by a very big casting agency’s assistant casting director.
If SRK is casted as the hero then the producer will cast actors with whom SRK is comfortable or is in good rappo.
Each actor has his lobby.
So if u are lucky and you belong to SRK Lobby then probably your chances of getting casted in his film becomes more but hardly you will b casted in Salman Khan movie or Aamir Khan movie.
You may have noticed that few actors are repeatedly seen in SRK or Salman or Aaamir’s each movie.
Toh kya inke movie mein kaam karne ke liye Stars ko contact karein….???
No, its not that.
I was lucky that I got the chance thru Mukesh Chhabra Casting agency to do 2 minute scene in Salman Khan’s movie “Bajrangi Bhaijaan” and thru Trehan Casting agency was also in SRK’s upcoming movie “Raees”.(though my scene was totally edited whn i went to c d movie)
It was really a coincidence that I got the opportunity to b in these two big stars though I don’t belong to any of their lobby.
But then, not to forget that I m just appearing for 2 minutes and to get noticeable good role in their film I should belong to their “Lobby”
So coming back to casting of film
The hunt goes on for look out for small characters (the big roles are casted thru Lobby) and one has to go for such audition.
The casting guy who takes the audition will then show it to his boss (casting director) and if the casting director likes it he will then take the tape to Director/Producer of the film and if they select you – you get the call from the production guy for the budget and if you fit in their budget which starts from minimum 10K per day then casting is locked.
The same procedure is applied for Television Ads and Virals etc but here there are no such Lobby Casting.
But in ads the budget varies , generally it can b 15K onwards.
The above estimates are rough and all need not follow the same but sharing the figures for your information only.
Also note, that when casting is done by agencies like Mukesh Chhabra or Trehan, they don’t take commission from actors as they are paid by the production house for their services but there are few agencies/co-ordinators who do charges 25 to 40% commission from the actors.
Failure As An Actor
Being an actor, unfortunately, means that you will experience failure—likely more than once.
I’ve experienced it, A-listers have experienced it, and if you haven’t already, you will.
I’m not saying this to discourage you.
On the contrary—“failure” is part of the game and if you’re not failing, you’re probably not trying.
As you move along your journey as an artist, failure is a necessary part of the trip.
Because at the end of the day, it’s all about how you frame the experience.
Instead of beating yourself up over a botched audition or forgotten lines, think of it instead as feedback.
Yes, you’ll experience rejection and have tough moments where you feel like you royally messed up and there’s no possible way you can come back from whatever it is you deem a failure.
But trust me when I say that it is never as bad as you think it is.
As artists, we focus so heavily on our failures, almost ignoring the positive aspects of our careers and performances.
But our goal as performers should be to develop the ability to think extraordinarily, which in turn will help us frame those perceived “failures” in a more positive light.
Thinking extraordinarily means having the ability to experience failure and have the discipline to ignore it, move on, and immediately focus on the next audition or performance.
What separates those we admire in any field is their ability to learn from their failures, acknowledge, then ignore and move on.
That said, our brains are wired to let failure weigh heavily and to only see the negatives in a performance.
It’s a survival mechanism; if we think of the negative first, we can, in theory, avoid danger by taking the less-negative route.
But as a performer, you’ve got to rewire that part of your brain at least as far as your art is concerned.
How to Balance Failure and Fulfillment
Remember: You will get another opportunity and when you do, you can’t be dwelling on a past failure.
So here’s an exercise to help you get over it and move on for the sake of your work:
Write down two or three things you could have done differently that might have helped improve your performance.
Think about everything honestly:
Did you prepare as much as you could have?
Did you go to sleep at the right time?
Did you have one-too-many drinks the night before?
Did you leave yourself enough time to get to the audition so you weren’t stressed about traffic?
Then, write down two or three things you felt you did well.
This part is critical—you need to focus on the positive so you can ingrain the things you did well and give yourself a better chance of repeating them.
Train yourself to focus on the positive, even if you feel like nothing went well.
It can be something as simple as how you walked in and out of the room.
Or that you got there early enough to get a good parking spot.
Make it part of your mission statement as an artist that when you feel tired or stressed, you won’t make excuses.
Don’t give yourself an opportunity to not be fully prepared.
None of that, “I’m just too tired to work on this material.”
The thing that separates elite performers from everyone else is their ability to prepare when they don’t feel like preparing.
Your job is to hammer away at all cost at your craft even when you’re exhausted and don’t have the energy.
That is what will separate you from everyone else and it’s what will change the course of your career.
3 Reasons Actors Fail and How to Avoid That
1. Callousness and/or lack of talent
Believe it or not, majority of “actors” that constitute this business are truly here for the “show.” These are wannabe movie stars who love the romanticized idea of “being an actor” but couldn’t give a damn about working on the craft itself. They lack talent (or skill), and are often Entourage-inspired thespians who are here for the glitz, glamour and complaints.
Granted, there’s also a good bunch of aspiring performers who appreciate the craft and are eager to sweat over acting techniques, but there’s always this little bit that’s missing within their work. These actors try hard, but they’re still not… good… enough. At least not yet. This type of actors has the perseverance and desire, and they might or might not make it in the end.
Is that you? To avoid falling into this pitfall, spend some time soul searching. Are you in this for the right reasons? Will making a living from acting alone – without red carpets and movie stars to brush alongside – be enough for your happiness? To me, it sounds perfectly reasonable. If so, continue to work. Remember the importance of acting training, respect the craft.
Everybody defines success differently, but I’m here to suggest that it’s paying bills when doing what you love. Everything else is just icing on the cake.
2. Avoiding business side
It’s difficult to imagine that this still needs to be explained, but actors continue to be hard pressed to comprehend the importance of marketing and business skills. I appreciate your desire to consider Acting the art form beyond anything else, and if making small plays forever is what defines your success – great! However, most budding actors are in this for the bigger picture.
Is that you? Regardless of how much you hate calling yourself a businessman or an entrepreneur, you are one. You’re selling a product and a service – yourself, and your acting skills. This cannot be avoided, so you might as well try to get better at it.
Marketing yourself is an entirely different set of skills to acting, and more often than not, a chunk of bad actors achieve greater success (or get there faster) due to their ability to network, make connections, create new opportunities for themselves and act upon them. Aside from being a good actor (a good product), you must also know how to sell yourself (adopt a pretty packaging and show it to the world).
3. Lady luck
Fortune is the last and, quite frankly, the most prevalent reason why so many fail (or succeed). Marlon Brando once said that anybody who doesn’t use a word “luck” when discussing their careers is a liar, and this couldn’t be more true.
You can be the worst performer ever, and through no fault of your own find yourself doing a movie with Richard Linklater next week, if you get lucky. Or you can be the most talented actor who knows how to market yourself, but you break a leg and your career stops for several years, if you’re unlucky.
Is that you? Truthfully, it’s all of us. Some of us are luckier, and others are less lucky. Fortune doesn’t need to be explained, nor does anybody need to believe in it. It’s simply a term for a sequence of events and unpredictable outcome. None of us can control it.
Your job? Focus on the first two points from this list – develop a good set of skills and market yourself well. If you get unlucky, at least you’ll be able to retaliate. And if you get lucky? Well, I’ll let you daydream on this for a while…
*Most of d auditions at Motilal Nagar are fake. Is this true ?*
Yes, my experience till now says 70% auditions at Motilal Nagar are not genuine.
They are more interested in Portfolio shoot or getting registration fee or Artiste Cards and are hardly able to get u work.
Many actors have complained about fake auditions at Motilal Nagar but 30% are genuine.
So, be careful when you go to Motilal Nagar.
Over the last few years, I’ve stepped outside my usual role as an actor and instead have dedicated a lot of time to directing and producing plays.
As a result, I’ve spent a ton of time in the audition room behind the table watching actors audition.
The experience of seeing hundreds of back-to-back auditions has made it very clear to me that most actors think about casting in a way that works against them, fills them with anxiety and prevents them from doing their best work in the casting room.
They walk in with a single thought that sabotages them, when a simple shift in thinking could make all the difference between getting that “thanks-but-no-thanks” email and booking the job.
Here is the insidious thought I’m talking about:
     *What do they want to see?*
       Does that sound familiar?
Have you asked yourself or your acting buddy that question after reading a casting breakdown?
Have you lain awake the night before an audition trying to solve the casting puzzle, second-guessing your monologue choice or interpretation of the audition sides?
If so, you are not alone.
It is a perfectly reasonable thought to have when you want something (the role) that someone (the casting director/director) has to give you.
It is also perfectly destructive.
When you worry about what the auditors want to see, you give away all your power.
You turn the people you’re auditioning for into judges with yellow pads and Pellegrinos, eager to mock you for your failure rather than what they actually are: people who genuinely want you to succeed.
You may not believe me, but every casting director and director I’ve ever spoken with about holding auditions has said the same thing.
On the other side of the table, we are hoping beyond hope that you will walk in the room and solve our problem, which is that we don’t yet have the right actor for the part.
When actors come in with confidence and rock the audition, we breathe a sigh of relief knowing that there’s someone for the job.
When you come in nervous or desperate we still hope that your work will surprise us.
*Directors and casting directors NEED actors*
We NEED you!
We get bummed when you cancel your audition or come in less than prepared because you have the power to turn our directorial vision into reality.
Let me say it again:
*Actors have power*
*Directors can’t do their job without actors*
There have been times (and maybe I shouldn’t be saying this) when I’ve been in that casting room and been completely clueless as to what exactly I was looking for, where I couldn’t even answer the question “What do I want to see.”
There have also been times when the idea I had in the morning about I wanted was completely upended by an amazing, confident, artistically exciting performance by an actor who showed me something I could never have come up with on my own.
As a director, I love those moments.
I love having actors who come in with a point of view that fuels my own creativity.
It gets me excited to have that actor in the room, excited to have them inspire me again and make my work better.
Again, that is the power you have as an actor.
So, with all this in mind, I offer an adjustment to the question.
Instead of asking “What do they want to see?” ask “What art do I want to make with time I’m given?”
*Instead of worrying about pleasing everyone on the other side of the table*, which, by the way, no one in the history of acting has ever been able to do 100 percent of the time, *treat the audition as an opportunity to act the way you’ve always wanted to act*
*Do your work, make your choices, but do it for you*
That’s what the actors who find success have in common:
They are unapologetically confident in their own artistry.
You’re the only one who has your point of view and your particular artistic vision.
*You are not right for every role, every project or to work with every director*
You will find the ones you are right for you by owning the idea that your audition is your time to create something uniquely your own.
*By shifting your thinking, you will begin to audition with integrity, confidence and, most importantly, joy*
One allegation on BSAG is that we are looting, exploiting strugglers.
But plz note –
–          BSAG does the job of collecting audition updates from more thn *300 grups* (yes, the number of grups have risen from 250 to 300 now) through out the day (*right from morng 8am till midnite 2pm*)
–          BSAG takes the trouble of combining all the msgs that are posted in various groups, scans them (checks whether it does not have clause like compromise, nudity, etc) and then posts them which with lot of care.
–          BSAG is not asking for huge subscription, it is not only reasonable and affordable but if one calculates day wise it comes down to less thn Rs 6/- per day.
–          BSAG takes the pain of not only *compiling but also bifurcating msgs as per sex and age* (we have three categories – Kids (0 monhts to 16 yrs), Males above 16 yrs and Females above 16 yrs.
–          BSAG do *searches msgs from various social networking sites* too and scans it to certain extent to avoid those which are known for cheating and fraud.
–          BSAG is doing this *work professionally* and not as a hobby, there is a big difference between the two.
–          BSAG is asking for subscription and believes in offering the *best services* to the subscribers *at a very very reasonable nominal fees*.
–          BSAG has by all these years created *Goodwill and many casting agency and directors and co ordinators fwds msgs to us directly* asking to spread in paid groups.
–          BSAG is also responsible to certain extent for *reducing corruption, fraud, cheating* in the industry with freshers (cases of asking for artistes card, portfolio, offering roles in exchange of big money, etc has reduced to a great extent – m sure even our critics will agree)
–          BSAG has always taken care of the actors whether they paid subscription or not by informing on Public Platforms about these cheaters ( *few of them had to shut down their wrong motives and business and few tried to defame us but failed as our motive is bona fide and not mala fide like them* )
–          BSAG also guides paid actors about various tactics to gain stardom. Time to time we *inform about Artiste Card, Regn Fees, Tips at audition, etc*.
–          BSAG has always *stood by those who are genuine in casting* and whose intentions are bona fide and not mala fide.
–          BSAG also conducts various *camps/seminar with Casting Directors, Union authorities*, and *FREE HEALTH CAMP*
There are very few who keeps on criticizing that in the name of SEVA we are looting
*arey bhai, lootne wale aap ka sab kuchh le ke chale jaate hain, BSAG kisi ko yeh kahekar bewkuf nahi banaata hain ki “hum aapko role denge, kal se shooting chaalu ho raha hai, 1-2 day ke role k liye itna Regn fee do etc” *BSAG sirf audition msg forward karte hai, paisa maangate bhi hai aur seva dete bhi hai*
Anyways, we have no regrets for them as they are like *“Pappu”* who has nothing to contribute in the welfare of the actors except brutally murdering/misguiding others.
God Bless Them
How an actor can do fraud ?*
It has been also brought to notice by some casting agencies/coordinators that even some actors are not being honest in their deal.
Meaning that kaam maangate waqt toh 10 baar office mein aate hai aur kaam mil jaane k baad (prodn house se direct payment mil jaane k baad) yeh log aise gaayab ho jaate hain jaane pahechaante hi nahi…
Kyon ki deal ke mutaabik yeh commission forward nahi karna chaahate aur production house ne inhe direct payment kar diya hai.
Kuchh badmaash actors casting walo ko bewkuf banaate hai yeh kahe k ki veh ‘out of Mumbai hai’, ‘kisi aur shooting mein busy hai’, etc aur kuchh toh yeh bhi kahe dete hai ki ‘jis kaam ka commission maang rahe ho who kaam toh direct mila tha’….
*Doston, yeh galat hain*
Aap chand rupiyon k liye jisne aapko kaam dilaaya hai ooske saath aisi bai-imaani kaise kar sakte hai…???
Kyon bhool jaatey hai aap log ki agar aap commission fwd karne mein golmaal karengey toh dubaara aapko wahi casting wala kaam nahi dilayega even if you are great actor.
Kuchh casting wale ne muj se kaha ki aap aksar casting fraud ke msgs daalte hain kabhi actors fraud ke bhi daaliye….aur mein oonhe bharosa dilaana chaahata hun ki aap aise actors jo commission fwd nahi karte oonke naam dijiye (with proof) mein oonke naam VIP BLOG mein daalunga. Taaki jo log oonhe pahechaante hai vo logo ke saamne oonhe sharminda hona pade.
Aur actors doston se bhi mein guzaarish karunga ki plz aap log apne casting cordintators ko oonke haq ke paise jarur forward karein ….
*Who is a Casting Director*….???
A casting director is one who is in charge of most of the daily work involved in the process of pre-production and is sometime assisted by a casting associate.
He is a liason (link) between directors, actors and/or their agents/managers/coordinators and his production who is looking for artistes for their projects.
In short, a casting director is *a middlemen who finds the actors needed to fill roles in movies, TV Shows, theatrical productions, commercials or even corporate and music videos*.
CD (Casting Director) assemble casts that may include hundreds of actors, negotiate deals with the actors’ agent/coordinators/agencies and manage the contracts once the actors have signed.
CD is the one who *meets*
*(a) the producers*
*(b) director and*
*(c) possibly the writer to understand the project*
*(d) the production accountant for information about the casting budget*, the money that’ll be used to pay the actors reads the script and make notes about all the speaking parts creates a list of possible actors, in preferred order, for the most important parts first contacts the actors or their agents to determine their availability provides the list to the producers and director to make their decision Lead actors may not be asked to audition. prepares lists of actors and production schedule for supporting and more minor actors makes appointments for auditions or readings with the available actors provides information about available parts to talent agencies and lists opportunities with Breakdown Services, a company that maintains a daily list of acting opportunities conducts auditions makes recommendations, based on auditions, for each speaking part
The director and producers make the final selections, negotiates contracts with the actors’ or his agents, keeping an eye on the casting budget issues casting calls for minor acting parts and conducts those auditions acts as a liaison between the director and the actors, once contracts are signed finds replacements, as needed, during production for actors who can’t fulfill their contracts.
*Casting Director is paid fees for rendering his services frm d Producer*
*He never asks actors to pay him Regn Fee or Commission from d finalised budget*
*Who is a Casting Cordinator….???*
A casting coordinator is the one who is a *link between a casting director and actors*
The casting director contacts coordinators when his data gets over and then coordinator offers his data.
*Casting coordinators/agencies do take commission from the actors and even registration fee, which is absolutely fair and legal*
But this is the *difference between a Casting Director and Casting Cordinator*
So, actor needs to be very careful if any coordinator says that he is a casting director .
Actor should check the role of the person who claims to be casting director – and if he is taking registration fee/commission then he is definitely not a casting director.
Hope this clarifies the difference between casting director and coordinator.
One should also check the role of such casting guy by going into little depth of the person’s bio data on social networking web site where they have their work profile.
There r many casting guys who claims to b casting director but the difference is *Casting Director never takes commission from actors or asks for Regn Fees where as a cordinator or casting agency does take commission and/or Regn Fees*
Casting director of Yash Raj Films (and discoverer of Ranveer Singh and many others), spells out the do’s and don’ts for aspiring actors.
A good place to start – ‘spend less time on Instagram and more on your craft’
For me, acting is a job.
Just like you have hotel management, or how you go prepared for an MBA; you need to be prepared to be an actor.
By that I don’t mean your skill and your craft alone.
There are lots of people who come from small towns and say, “We don’t know which photographer to go to or which is the right acting school for me?”
My point is, with Google, YouTube and web portals around, why would you not know the above information.
Today, if you want to know which acting school Ranveer Singh went to, there are videos available all over the internet.
I finished 10 years of being a casting director in December.
Through the years, I have seen actors change a lot.
They have gotten less clueless about the ways of the industry.
With more information around and more professionals giving you advice, it has become easier for most people to know which route to take.
However, there is still a large percentage of people who come from small towns and then struggle to find their way.
So here’s the deal: *everyone is always out to give advice, so make sure you know who the right advisors are*.
Listen to everyone, but only do what your inner voice agrees with.
You spend the maximum time in life with yourself so don’t go against your own grain.
*Sab ki suno, apni karo*
*Everybody has a right to dream*.
If I wake up in the morning and I want to do something, I should be allowed to do it.
If I’m really bad at it, I should at least give it a shot to train myself and try becoming better.
Coming up to casting directors and asking them, “Do you think I have it in me to become an actor or a star?” does not make sense. Because if I knew what your future holds I would be the richest woman in the country because everyone would come to me for answers!”
Luckily, now many actors come with a lot of know-how.
It is important to have knowledge of how to groom yourself before you face the camera.
To be able to see, ‘*Do I need to sleep with people to get to the camera today?
Do I really need to flirt and kiss asses and buy presents and gifts?
Do I really need to show flesh or wear tight clothes*?’
Everything is available today.
You must gather as much knowledge, before you even step into the field, of what you’re getting into and how to go about it.
Always learn.
Don’t say, ‘Ma’am, I have finished my 3 months acting course, so now the work will fly in.’
You need to keep perfecting your craft.
For me, and I hope I don’t get into trouble for saying it, but instead of doing one long expensive acting course, I would suggest that you split that money into workshops with various acting and theatre mentors.
When you learn from different acting workshops, I feel that your mind gets activated and actually makes its own choices.
Some things will make sense and some won’t but what’s important is that you will get to choose from more than one experience.
Spend less time on Instagram and work on your craft.
Dance every day — it opens you up.
Don’t do private lessons.
Go out and be a part of a group.
Make a fool of yourself.
Watch others.
Some will make you feel bad about yourself and make you want to do better, and then one day you will see you just got better.
You can’t live in your own world and be told by your dance coach as to how fast you have picked up.
I am not too fond of private lessons when it comes to acting or dancing because when an actor is in the initial stages of learning, it is important to have people around you, learning with you.
Improving yourself, learning something new and being open to change everyday is the key!
You should never think you know it all and don’t need to learn more.
If your stomach is full, there will be no hunger.
So *always give yourself the space to learn more*.
There is no age for this.
I have met people in their 40s doing acting workshops and I salute them for having that kind of courage.
Sometimes people get so trained and so stuck up with the idea that they have been taught acting or have been groomed that it becomes impossible to break that mould.
Don’t try be the next SRK or Salman Khan.
*Create your own tribe*.
Ranveer Singh has done it. Alia Bhatt has done it. Vicky Kaushal has done it. Nawazuddin Siddiqui has done it.
However, there are a few, who take what I have to say positively too.
I remember many years ago, a model came to me and all his pictures were naked photos of him lying on the beach in his underwear.
And I told him, ‘I’m sorry, these are not acting photographs.
They’re meant for fashion.’
He politely took what I had to say and left.
And I thought, ‘Oh god! I’ve offended another one.’
He came back to me in six months. He had shaved his head off. He got a crew cut. He was wearing a loose white linen shirt. He had done as many theatre workshops as possible. And he started to get work, here and there. To me, even that much in six months is a sign of growth.
Gifts, compliments and sweet words lose their charm when they have a motive of work involved.
*A gift of gratitude is always wonderful, but to think that you have impressed the casting director through these gestures and you will get work is pointless*.
There are occasions when I have walked into the office and found expensive branded bags and wallets and other branded things.
Our production house does not encourage this thankfully and I get to follow the same route.
This point needs to be understood.
It is not necessary.
You want to be good to me?
Be humble and don’t send me 100 texts a day and I promise it will work wonders.
You meet actors every day.
A percentage of these make sure that they SMS you within a few hours after the meeting, asking you out for a cup of coffee or telling you how they felt a connection and we should hang out.
People hit on you.
It happens all the time, and trust me it’s not nice because one is aware of the motive and it’s not flattering for anyone to know that.
Any actor who tries to flirt with me, I screenshot, save messages and keep a folder on my phone.So, incase if I ever get questioned by people about that matter (although I never do), there’s a folder with name, time and number, it’s all saved. I don’t respond to it. Or pay attention to it.
There are times I’m sitting at a restaurant with my friends and I will get a text saying, ‘looking pretty in white ma’am’. It can get a little weird but I’m used to handling it now. However, don’t be that guy. I promise you, it will have more of an impression.
For girls it’s the same.
With the industry becoming professional, *one does not need to compromise to get work*.
The kind of people who expect that from you ladies are not the people you should be working with in the first place.
Wearing revealing clothes is not going to help either.
*The way you present yourself is the impression you create* Make sure it’s a good one and the kind that makes you get the work you dream of.
Being harassed by people who constantly insist on being cast is not at all pleasant.
At times it’s almost a put off.
I mean we are all here to do a job.
You the actor, and I the casting director.
You are most welcome to come to our office every Monday or Tuesday for live introductions.
I see them all and that’s probably the only way you will be cast.
Following pages filled with information and casting calls is going to be way more helpful to you than insisting that you be cast.
So come out of yourself and shift your camera outward.
Watch people, watch their body language.
Be curious about things.
Question them and then answer them.
When you audition, just give it your best.
At first I always want to see what you come up with, how you see yourself in this scene.
Once done, if I need a change to be made, I will direct you. When I’m directing an actor, sometimes he says ‘Yes, yes ma’am. I got it. I got it. I’ll do it exactly the way you want me to do it.’ And he does the same thing again.
So I give him another chance.
There are hundreds of courses with different methods – some I’m unaware of.
But you have to unlearn.
Leave your method behind.
Submit yourself.
It’s the toughest job today to unlearn.
It’s an art to listen.
Magic happens in omissions.
Magic happens when you don’t know what you’re doing, and a moment is created. And in that moment I suddenly have a smile on my face, and I instinctively know that I have cast my part.
Patience and positivity is another key.
Give an audition and forget about it.
Don’t call.
Don’t ask.
Don’t wait.
Don’t figure out whether you’ve got it or not.
If you’ve got it, we’re not going to sit and wait for you to call us.
We’re going to call you.
It’s a simple rule.
Remember, I am the kind of person when if I need an actor, I will find him.
So constantly asking me and messaging me to find out is really not helpful.
*Don’t think about why you didn’t get it or why someone else got it*.
That’s the negativity that stops your growth as an actor.
Polish up, people! From the way you look, to the way you walk, to the way you talk, it matters.
Learn Hindi and English.
And speak both well.
This is important.
Even while people call you on the phone for a casting, it does make a difference.
Follow what’s in vogue, or become a trend setter, but whatever you do, make it simple.
Don’t be too loud, because that comes across as trying too hard to be noticed.
Initially they used to say, ‘Nahi yaar. TV karenge toh nahi hoga.’ TV actors like Ram Kapoor and Ronit Roy have become big. ‘No, if I play a heroine’s friend.’ Parineeti Chopra was Anushka Sharma’s friend inLadies Vs Ricky Bahl. ‘Oh, if I do regional cinema, or if I do this, I won’t make it.’ There’s no format anymore. Just as I will spot a face on the street, I will spot it in a film, an ad, a billboard, a magazine, anywhere! The idea is to act, and to do good credible work in whichever form offered to you.
My boss is open to anybody with talent. If I say, ‘Can I go into TV? Can I go into regional cinema?’ he says, go for it. Whatever strikes a chord with me, I will look into it. I will take a person who has done anything from 1 to 10 scenes in a film, for a lead film. But it’s got to be credible work.
I see a lot of aspiring actors and models putting photos of themselves and their bodies on social media.
Lots of pictures of gym workouts.
Now I’m not saying there is a problem with that but that’s not the only thing one should upload.
When we look up someone online, we always look for an interesting profile, a well-travelled person who reflects his personality through what he uploads, and who he follows. It tells you a lot about a person. An interesting profile is way more important than the amount of followers you have.
Figure out why a couple sits in a restaurant at the age of 55 and doesn’t look at each other.
why two people in their 20s are all about pleasing each other.
Body language observation is a big part of acting.
There is a world out there.
With people.
Look at them.
They will touch you, move you and change you.
When I’m looking for a lead girl or boy, I don’t only look at their craft and their visual, I also am looking at what their first interview, first TV appearance, and first award speech would be like.
I am looking for a personality.
A personality that is real, confident and attracts all who come across it.
Even if you are from a small town, I want to hear your story about how simple life is back home and how the contrast makes you feel.
I like people who are passionate about things.
I mean *you should be passionate about life*.
Not just about yourself and acting.
There is more to life.
Conversations, knowledge and being street smart.
Every director and producer likes to have an actor who has all of these qualities.
Be humble, be good, be real and don’t apologise for who you are.
*Respect your grain*
Create your own groove.
Become who you are and show this world something new.
Show Reel
Show Reel is a brief complilation-collection of your Profile-Bio Data, Audition Link, Working Link, Intro, Photos etc.

It should not be more than 8-10 min.

It is actually prepared to preserve it as your record of work done till date and should be updated as and when you feel.

One should regularly-irregularly upload it on Social Networking site becoz many casting guys are on Social Networking site and there are all the chances that you may get spotted by them and get a call for casting.


How to be a successful Actor
If you wish to be successful as an actor, as a person do watch this movie without fail…!!!
I have personally gained through this movie.
And I mean it.
In Hindi
Few Financial Tips:
1. Avoid buying property on loans as it eats most of your earnings unless you have a clear plan for its repayment. It’s important to monitor cash flow. Though, the house will be your asset, your liability will be much more.
2. Start a SIP at a very young age. Try to save atleast 15–25 % of your earnings.
3. Avoid buying a car unless you use it everyday.
4. Do not let this sentence scare you. “Mutual fund investment are subject to market risk. Please read the offer documents carefully before investing”. Most people avoid investing in mutual funds just because of this one warning. Yes, there is a market risk, but look at the history and growth of mutual funds.
5. Try having a simple wedding.
6. Atleast 20% of your wealth should be liquid so you can utilize it when necessary.
7. Considering inflation, you are actually losing money if it is in savings bank account. Do not keep huge money in savings bank account.
8. If you invest in stocks, pay due attention.
9. If you invest in stocks have a separate account for delivery investment and Intraday investment. It is easy to monitor this way and also makes tax calculation easy
10. Do not have a belief that property and car make you rich. Its what you save and invest, that is important.
11. Never invest in insurance for returns. Insurance is not an investment option. It is a risk management tool.
12. Never use credit cards for lavish spending. Use credit cards intelligently and for needs not for wants.
13. Cancel all credit cards before you die. Or inform family about all your accounts, credit cards, loans and saving now itself.  Even a small residue will cost your family much.
14. Invest on yourself and then on other investments.
15. Always try to balance your earnings with your savings first, then on  spending and loans. Never take unnecessary loans. Always have reserve and utilise them and unless no other go never take loan.
16. Always have a plan for future events on your career, life, spending and finance.
17. Always have a reserve on your savings for contingency and urgent situations.
18. Your personal life and health are the most important investment. Do have a regular health check and do healthy workout every day. Stay healthy and live happily.
19. Always remember death can come anytime…..so please do buy adequate term Insurance if you have dependents.
20. Prepare a Will. It may avoid unnecessary fights after you die.
Medical Tip –
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What a concept….!!!
This advertisement has been already a big hit in social media in less than 24 hours of its launch in Nov 2017 by none other but an Indian Doctor…superb work and great message!
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Why Health Insurance Necessary ?

🤔 Why health insurance is very important for everyone even if they are financially strong ?

Answer 😯

💡People are saving money for their Future Goals,

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💡When DISEASE comes it spoils all FUTURE PLANNING because it COSTS HIGH especially Critical Illnesses,

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💡 Heart Ailments : 3 Lac to 8 Lac or more,

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These diseases are DANGEROUSLY increasing in India.

💡People are not that much FINANCIALLY STRONG to spend 5 Lacs to 15 Lacs easily at a go…

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