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If your child has an interest in acting, drama or performing, you may be wondering where to start. With so many children's acting classes, drama schools and performing arts groups available, choosing the right option can feel overwhelming.
For parents in Leeds and the surrounding areas, children's acting classes can provide much more than an opportunity to perform. The right training can help children develop their confidence, creativity, communication skills and ability to work as part of a team, while also introducing them to the skills involved in acting for television and film. But what should parents actually look for when choosing acting classes for their child? What Are Children's Acting Classes?Children's acting classes are designed to introduce young people to acting in an age-appropriate and supportive environment. Depending on the academy or class, sessions may include:
If your child is interested in television or film, it is worth looking for training that includes regular on-camera work such as IPM Acting Academy. Acting for a camera requires a different approach to performing on stage, so having the opportunity to practise this skill can be particularly valuable. What Age Can Children Start Acting Classes? There is no single age at which a child should start acting. Younger children can benefit from imaginative play, drama games and simple performance exercises, while older children and teenagers can begin developing more advanced skills such as character work, script analysis, audition technique and screen acting. The most important thing is that the class is appropriate for the child's age and experience. A good children's acting class should allow young people to develop at their own pace rather than expecting every child to have the same level of confidence or experience when they first join. What Are the Benefits of Acting Classes for Children? Acting is obviously a creative activity, but the benefits can extend beyond performance.
Confidence develops gradually, so children should not be expected to become comfortable performing immediately. A supportive environment can give them the opportunity to build confidence over time.
These are useful skills both inside and outside the classroom.
Discipline and ConcentrationLearning lines, rehearsing scenes and taking direction all require concentration. Children also learn that improvement often comes through practising something more than once. What Is the Difference Between Acting Classes and Drama Clubs? Although the terms are sometimes used interchangeably, there can be a difference between a drama club and professional acting training. A drama club may primarily focus on having fun, playing games and putting on performances. This can be a fantastic introduction to performing. An acting academy may take a more structured approach to developing acting skills, with regular training in areas such as characterisation, script work, audition technique and screen acting. Neither approach is necessarily right or wrong. It depends on what your child wants to get from the experience. If they simply want a fun creative activity, a drama club may be ideal. If they are particularly interested in acting for television and film, you may want to consider an academy that provides dedicated screen acting training. What Should Parents Look for in Children's Acting Classes in Leeds? When researching acting classes in Leeds, there are several things worth considering. 1. Is the Training Age Appropriate? Children, younger teenagers and older teenagers have very different needs. Ask how the academy divides its classes and whether the training is adapted to different ages and levels of experience. 2. Does the Class Include Screen Acting? If your child is interested in television or film, find out whether they will actually work in front of a camera. Screen acting involves understanding camera position, eyelines, continuity, naturalistic performance and taking direction. These are skills that can be developed through practical experience. 3. Who Teaches the Classes? Look at the experience of the tutors and their background in acting, casting, television, film or professional training. It is also worth asking whether children receive individual feedback and direction during sessions. 4. Is There a Safe and Supportive Environment? This should be one of the most important considerations for any parent. Children should feel comfortable asking questions, making mistakes and trying something new. Acting classes should encourage young people rather than making them feel pressured to perform. Parents should also be able to find clear information about safeguarding, class arrangements and who is responsible for the children during sessions. 5. Are There Opportunities to Perform? Regular performance opportunities can help children put their training into practice. For screen acting, this could include filming scenes, practising self-tapes or working on filmed projects. 6. Is the Academy Connected to the Professional Industry? If your child has ambitions to work professionally, it may be useful to understand whether the academy has links with casting professionals, agents or production opportunities. However, parents should always look beyond promises of representation or professional work and consider the quality of the actual training being provided. Does My Child Need Acting Experience Before Joining? No. Children's acting classes should be suitable for beginners as well as young people who already have experience. A child does not need to know how to act, memorise scripts or perform confidently before attending their first class. In fact, learning these skills is one of the reasons to attend. Some children will arrive with lots of confidence, while others may initially prefer to observe. Both are completely normal. What If My Child Wants to Become a Professional Actor? If your child is interested in pursuing acting professionally, training can be a useful starting point. Professional acting involves considerably more than simply being confident or enjoying performing. Young actors may eventually need to develop skills in:
The priority should be helping your child develop their skills while making sure they enjoy the process. Why Screen Acting Experience MattersTelevision and film acting can feel very different from performing on a stage. On camera, small expressions and natural reactions can be extremely important. Actors may also need to repeat the same scene several times while maintaining continuity. Children who are interested in screen work can therefore benefit from having practical experience with cameras rather than only performing live. At IPM Acting Academy in Leeds, screen acting is an important part of our approach. Our students work on camera, develop audition skills and learn how to approach acting for television and film in a practical environment. How Much Do Children's Acting Classes Cost in Leeds? The cost of children's acting classes in Leeds varies depending on the academy, class length, frequency and what is included. When comparing prices, it is worth looking at the whole package rather than simply choosing the cheapest class. Consider:
Are Acting Classes Worth It for Children? For a child who enjoys performing, acting classes can be a rewarding activity and an opportunity to develop a wide range of skills. The benefits are not limited to children who want to become professional actors. Confidence, communication, creativity, teamwork and the ability to take direction can all be useful skills as children grow. For children who are specifically interested in television and film, finding training that includes practical screen acting can also help them understand what working on camera involves. Choosing Acting Classes in LeedsThere are many different options available to families looking for children's acting classes in Leeds. The right choice will depend on your child's age, personality, interests and goals. Before enrolling, consider attending a trial or assessment where possible and speak to the academy about what your child will actually be doing during sessions. Most importantly, your child should enjoy the experience. Acting should give young people the opportunity to be creative, develop their confidence and learn new skills in an environment where they feel supported. Looking for Children's Acting Classes in Leeds? IPM Acting Academy provides acting and screen acting training for children and young people in Leeds, with classes designed to develop performance skills, confidence and practical on-camera experience. Our training covers acting for television and film alongside core acting techniques, helping young performers develop their skills in a structured and supportive environment. If your child is interested in acting, you can find out more about our children's acting classes in Leeds and the different classes available through IPM Acting Academy.  Studying the performances of accomplished actors can provide an opportunity to learn an actor's process, technique and choices. The beauty of studying acting is that (I hope) it’s enjoyable and inspiring. If you really take the time to analyse the performance of your favourite actor, it may reveal more about yourself and your own style. Below, I will gift you my cauldron of brilliant films that I believe an actor should watch and study. The following five films - Aftersun, No Country for Old Men, The Grand Budapest Hotel, Marriage Story and There Will Be Blood - offer five distinctly different approaches to screen acting. These films are broad in genre and performance; however, each provides a unique lesson in the craft of acting that may offer a brilliant upcoming actor like yourself an opportunity to study how different performers use their voice, body, silence, expression, listening and emotional truth to create compelling characters on screen. Don’t worry, I won’t ruin the films for you. What I will cover are the reasons why these films are 11/10. Aftersun Aftersun is such a roller coaster of emotion. That's what makes it brilliant. Paul Mescal's performance as Cal has so much nuance and so many layers that, at first, you aren’t aware of the performance underneath. What makes Cal such an interesting character to study is the contrast between what he presents to his daughter Sophie and what appears to be happening beneath the surface. It’s a masterclass in subtext, restraint and suppressed emotion. For an actor, Aftersun demonstrates the importance of playing the character's objective rather than simply playing an emotion. Mescal is not constantly playing sadness; he is playing a father trying to enjoy a holiday with his daughter while managing something he cannot fully express. When watching the film, it is easy to notice the big reactions, the smiles and laughs. Bring your attention to the small reactions. Read between the lines. No Country for Old Men This film is so brutal and uncomfortable in all the right ways. You have most likely seen clips online of the famous scene focused around a flip of a coin. If not, prepare yourself. It’s interesting how one of the most formidable villains feels blank and emotionally inept. What this film demonstrates is how Javier Bardem portrays this character as almost unearthly and unstoppable. I feel what made me love this performance is that the performance isn’t the typical cliché of an over-expressive or aggressive villainous archetype. This restraint makes him difficult to read, which in turn makes him unpredictable. As an audience, we are left constantly questioning what he is thinking and what he might do next. Bardem demonstrates that an actor does not always need to show the audience an emotion for the audience to feel it. This creates a powerful lesson in screen presence: sometimes the most compelling choice an actor can make is to do less. Studying Bardem's performance can help an actor develop confidence in stillness, improve their physical awareness and understand how silence, restraint and controlled behaviour can communicate far more than exaggerated emotion. The Grand Budapest Hotel Unlike the restrained performances of Paul Mescal or Javier Bardem, Fiennes embraces a highly theatrical approach, creating a character whose voice, posture and rhythm are all carefully constructed. Gustave speaks with extraordinary precision and speed, moves with an almost choreographed elegance and maintains an unwavering sense of etiquette, even when surrounded by complete chaos. Yet beneath this exaggerated exterior is a character with genuine compassion. The role is also a brilliant study in comedic timing. Fiennes rarely appears to be trying to make the audience laugh; instead, he treats Gustave's behaviour with complete sincerity. It’s extremely entertaining and technical. The humour often comes from the contrast between his extreme politeness and the absurd situations around him. His delivery is extremely precise, with carefully controlled pauses, changes in pace, emphasis and reaction shots. That’s why performing comedy, in my opinion, is so difficult, because the actor has to understand exactly when to hold back, when to react and when to allow a moment to breathe - and make that feel funny. In my eyes, I believe many of my favourite movies include moments of comedy. Contemporary films often have the ability to use humour as a tonal tool. So, understanding how to deliver a comedic moment is a useful tool. The Grand Budapest Hotel is a great film to study as it has such a broad set of comedic ingredients, from slapstick to deadpan. There Will Be Blood There Will Be Blood is one of my favourite western/drama/epic journeys. It’s raw, unforgiving and Daniel Day-Lewis’ performance is one of the most valuable performances for an actor to study because of the sheer level of physical commitment and character embodiment behind it. We are not watching Daniel Day-Lewis; we are watching Daniel Plainview. His approach to acting is to construct a distinctive voice, a rhythm of speech, a walk, practically re-create himself and emerge into the role. It’s quite scary. If method interests you, Daniel Day-Lewis is a quintessential method actor. That is a strong opinion, but I stick by it. The greatest benefit is learning how to build a character from both the inside and outside. As Plainview changes throughout the film, Day-Lewis subtly alters his physicality, voice and behaviour. Understanding his arc within the story and realising how his performance alters is such an important reason to understand how a story unfolds past the page and becomes a cohesive journey that is as believable as There Will Be Blood. Marriage Story It's weird; some movies you won’t forget watching. I think it can be personal to so many people because of how instinctive the performances are in this film. What makes Adam Driver and Scarlett Johansson's performances in Marriage Story an excellent study is that their performances consist of naturalistic conversation, listening and emotional escalation. They hit the bullseye on every beat within a scene. You can see immediately when one attacks - the other is instinctually conjuring up their defence. This is particularly evident in the film's famous argument scene, where the tension builds naturally rather than immediately reaching its emotional peak. It starts as a normal, constructive conversation and develops into something extremely human - a huge fight! The performances also demonstrate how actors can control the progression of a scene. As the argument develops, the characters move through frustration, defensiveness, anger and vulnerability. Their voices become louder, their movements become more aggressive and their physical distance changes. Why this is such a great film, and specifically why that scene is so great to study, is because the argument doesn't feel like two actors performing a dramatic scene; it feels like two people who have years of history, resentment and love suddenly losing control. This is what makes the scene such a valuable study for actors: it demonstrates how a well-rehearsed and carefully constructed performance can still feel spontaneous, messy and still honour reality. It is my favourite scene from a romantic drama ever. That’s a wrap So, there you have it. Five films, five completely different performances and five very different lessons to take into your own acting. What I love about these films is that none of them are trying to achieve the same thing. I don’t think the point of studying these performances is to copy the actors. In fact, I think that would defeat the purpose. Instead, take the things that interest you. Notice the choices they make, question why they work and then see how you can apply those ideas to your own process. At the end of the day, watching films is one of the most enjoyable ways to learn. So grab some popcorn, watch these films, watch them again, and then watch them with an actor's eye. You might find that you naturally connect with one performance more than another, or that something you see completely changes the way you approach a scene. AuthorBorak Akgul Platforms such as TikTok, Instagram, Youtube and Snapchat are well established social media platforms that are heavily used by influencers. As an influencer it is important to have a niche and stick with it. It can be a hobby that an influencer has a deep interest in such as gaming and dancing, or it can be keeping up with the latest beauty and fashion trends. Either way it is the job of the influencer to create engaging content that will help them build a large following but, how much of their online content involves acting? This blog is going to look at how acting can enhance influencers capabilities and produce better content. How will an influencer create a video? It must start with a topic such as, a brand or store that is going to launch for the first time in the UK, or a personal change such as going to secondary school or planning a special birthday occasion. Once an influencer has decided to create content on a topic, they must build an idea of what they’d like to create for their online following. This can be done by viewing social media analytics and finding out the latest trends and recreating similar content. Topic Deciding on a topic is an important aspect of creating content. It is essential that you are familiar with the topic and understand it enough to share content about it. Research is very important when planning and creating a script. However, bear in mind you will create a deeper understanding of your niche when you are sharing it with others online. When acting and creating the content for your influencer channel you will be able to hear out loud whether you are making sense or whether you need to do more research to come across more knowledgeable. Plan and script Once you have decided on the type of content you would like to create it is time to plan a story line and script it. This step is important because it is the foundation base for the content to be built upon. It is not unusual for content creators to go off script when they are filming, however the story line should remain the same. Edits and changes to a script are sometimes essential, enabling an influencer to tweak their content before it is created. Rehearsal Some influencers will rehearse off camera, so they appear exactly as they want to in their content, this step will be repeated until they have made the right adjustments to their script and physical movement. This is a good way to prepare before filming content that will take place in a public location such as a shopping centre. Other influencers will set up their recording equipment and rehearse in front of their camera and adjust their script and movements until they are happy to press record. There is no right or wrong way to rehearse for content creation, each influencer will have their individual way of preparing themselves before pressing record. Remember rehearsals are a good way of building confident acting skills, self confidence and relatability which creates higher quality content that engages a higher volume of viewers. Voice and body language An influencer that is telling a story will use voice projection, facial expressions and body language to emphasise emotions, these acting techniques are used to grab the attention of the audience. Having balanced acting and good story telling is important for an influencer who is wanting to create engaging and interesting content rather than distracting and irritating content. However, an influencer that is demonstrating a product such as skin care or make up, will use more subtle facial expressions and tone of voice to present a natural image. They will use voice projection to control their volume when addressing the audience and demonstrating a product. It is important the tone is not too quiet and soft or too loud and powerful. Believable facial expressions are very important and will be used similarly to voice, not too little but not excessive. Appearing to have a natural reaction on camera, demonstrates credibility to the audience which will create more engagement with the product and the influencer. On Camera The rehearsals have been completed and its time to press record. It is important to be authentic, letting your personality shine through on camera creates a natural image, that most viewers will engage with. Authenticity is important when building an audience, some viewers will be interested in the topics that you engaged with however, others will be interested in YOU! having an audience that likes you as a person will give you the confidence boost to create more content and can be a great way of becoming a well known influencer. Although it all sounds too good to be true, there will be times when you can create certain content once and that’s it. A good skill to build on is improvisation, if there is one opportunity to gain content in an open environment then you must be able to think quickly and create high quality content under pressure. Creating GRWM or shopping haul videos require an influencer to speak to a camera this can feel overwhelming at times, and it will take practice. However, working on your acting skills will ease any tension and hopefully it will be an enjoyable experience. The benefits of acting skills Having previous experience as a screen actor will boost confidence and benefit your online presence. Screen actors have the ability to tell a story through a screen this transferable skill is very important when creating online content. Each video you want to create has a topic/theme and a story will naturally flow to show this to an audience. Screen actors already have this skill making it easier for them to understand the basic principles of storytelling. Performing for your audience is a key aspect of influencing and authenticity and credibility are the key to keeping viewers engaged, this involves good use of body language, tone of voice and facial expressions. Audiences want to be entertained they do not want to feel like they are being talked at and, having screen acting skills can enhance your ability to adapt your content to make it more engaging. Screen actors use their own personality to fit into character roles, using your personality as part of your online presence is important, but enhancing it with good screen skills will make your online presence much stronger. Using recording equipment can seem overwhelming, unless you have experience in screen acting. Gaining experience from screen acting classes is a good place to gain confidence around cameras, lights and microphones. Script memorisation is a key skill of acting developing script skills will allow influencers to create content easier and quicker. The ability to make high quality content in a short space of time, free’s up space to research and develop more content which will reach a wider audience. Screen acting is a great way to boost your confidence and reduce any anxiety that may occur when filming content or speaking with your audience. Practicing acting as a craft can also help build on editing skills although this is not a direct skill actors have. It is something that is learnt over time spent in an acting career or through acting training Ready to launch your influencer platform Research and understand your niche and potential audience. Gain screen acting skills through an academy or experience. Rehearse your content – script, body language, speech and tone, facial expressions. Set up your equipment – Camera, lighting, microphone. Be authentic and let your personality shine through on your videos. Edit – cut clips, add music, add voice over. POST on your platforms. The growth of social media has enabled more platform users to build on their individual acting skills. Pressing record immediately demands a level of preparation and acting skills to establish the story an influencer is trying to tell through a lens. Being authentic is very important however it is equally as important to create quality content for the audience this is why research, preparation and rehearsing is just as important as the equipment that will be used. For some influencers this comes naturally however for those with less confidence and understanding of the industry acting classes can be beneficial. To answer the question ‘how much do influencers act?’ depends on the type of content and how much content they are creating however, do influencers act? Yes, of course they do. If it is your passion to become an influencer follow the steps above to become the best online version of yourself, drawing in audiences that find your relatable. AuthorKatie Hollings  When audiences watch a film like ‘The Odyssey’ and see a giant Cyclops looming over Odysseus and his crew, it would be easy for them to assume that such a creature could only be brought to life with CGI. Not for Christopher Nolan. Whether it be by crafting a 60ft animatronic or by recreating a nuclear explosion, Nolan is committed to making the impossible feel possible in his films. One of Hollywood’s most acclaimed directors, Nolan is renowned for his ambitious concepts, huge-scale productions and preference for practical effects wherever possible. But what drives this approach? And in an industry where CGI can seemingly create anything, is Nolan right to favour the practical over the digital? Who is Christopher Nolan?Christopher Nolan is a British filmmaker, born in London in 1970. His filmmaking career began in the late 1980s, making short films before directing his first feature, which was a neo-noir crime thriller ‘Following’, released in 1998. However, it was his 2000 psychological thriller Memento that established Nolan as a distinctive and ambitious voice in cinema. The film’s fragmented narrative structure and unconventional approach to storytelling quickly attracted critical attention and opened the door to increasingly large-scale productions, from ‘The Dark Knight’ trilogy to ‘Dunkirk’, ‘Tenet’ and ‘Oppenheimer’. Nolan’s auteur style is defined by his eagerness to challenge conventional filmmaking practices. His films are recognised for experimental soundscapes, complex narratives, real-world locations and a preference for shooting on film rather than digitally. He frequently explores intricate characters alongside existential themes of time, memory, identity and morality. Arguably one of the most renowned elements of Nolan’s filmmaking style is his preference for practical effects over CGI. Despite creating some of modern cinema’s most impressive visual spectacles, Nolan is consistently looking for ways to capture the impossible physically, instead of creating it inside a computer. What is CGI?CGI, which stands for computer-generated imagery, is the process of creating or manipulating visual film elements using computer software. It has become one of the most important tools in modern filmmaking, allowing directors to create environments and characters that would be impossible, impractical or unsafe to capture in real life. It is created through a multi-step process, beginning with concept development and pre-visualisation before moving into 3D modelling, animation and motion capture, followed by rendering and compositing to produce the final visuals. From the Na’vi people in ‘Avatar’ to the fantastical worlds of ‘The Lord of the Rings’, CGI has transformed what filmmakers can create on screen.However, CGI is not limited to creating entirely computer-generated worlds. It can also be used to enhance practical filmmaking, such as removing wires, extending sets, adding backgrounds or enlarging explosions. Although Nolan does utilise CGI when necessary, he generally prefers to avoid it. But why? Why does Christopher Nolan avoid using CGI?Nolan is known for this preference to create physical environments and practical effects rather than using CGI, an approach stemming from several personal beliefs about what makes an image feel authentic. One of Nolan’s key arguments is that there is “an absolute difference between animation and photography”. He believes that, regardless of how advanced CGI is, an image can feel fundamentally different when it has not originated from something physically present in front of the camera. Real objects naturally interact with gravity, light and their surroundings, giving them a sense of mass and momentum that can be difficult to replicate digitally. Nolan’s visual effects collaborator Paul Franklin, who worked with him on Batman Begins, The Dark Knight and Inception, told Wired in 2010 that the films contained approximately 620 and 500 visual effects shots, compared to the usual 1,500–2,000 often found in large-scale sci-fi films. Nolan’s aim, Franklin explained, was to “build on the existing reality that’d already been filmed”. His preference for practical filmmaking also extends to the performers themselves. Nolan believes actors benefit from having genuine environments and physical objects around them, rather than being asked to imagine a location that will only exist after post-production. When performers can physically interact with their surroundings, they can respond more naturally to the space, movement and conditions around them. The presence of tangible danger, physical discomfort or a real environment can also produce instinctive reactions that may be difficult to recreate in front of a green screen. This can contribute to the grounded performances that have become a defining feature of Nolan’s films. Nolan has also expressed concerns that CGI can become a “crutch” for filmmakers. When digital effects can be used to fix anything in post-production, he believes there is a danger that filmmakers can become less disciplined during production. As practical effects introduce real limitations, Nolan’s cast and crew are often forced to solve problems physically and to commit to decisions on set. His philosophy is therefore not simply about the appearance of CGI, but additionally that relying too heavily on it can remove the physical stakes, weight and unpredictability that make a cinematic moment feel real and impactful. Does he actually need CGI?Despite Nolan’s reputation for avoiding CGI, he actually does use computer-generated imagery, but as a tool to enhance and support his filmmaking processes rather than to replace them entirely. Throughout his filmography, Nolan has repeatedly demonstratedthat amazing cinematic moments can be achieved through physical sets, real locations and on-set effects. But does this prove that he could make his films without CGI altogether? Looking at ‘Oppenheimer’, ‘Interstellar’ and his upcoming epic ‘The Odyssey’ reveals just how successful Nolan’s practical filmmaking philosophy can be. OppenheimerOne of the clearest examples of Nolan’s commitment to practical filmmaking can be found in his 2023 film ‘Oppenheimer’. Telling the story of J. Robert Oppenheimer and the creation of the atomic bomb, the film presented Nolan with one of his greatest visual challenges. How do you recreate a nuclear explosion safely and realistically without generating it digitally? Rather than relying on CGI, Nolan and his team explored a range of techniques to recreate the scale, force and visual intensity of the Trinity Test. Visual effects supervisor Andrew Jackson and special effects supervisor Scott Fisher used large-scale practical effects, chemical mixtures, and forced-perspective camera techniques to recreate the atomic blast. They mixed massive amounts of gasoline, propane, black powder, and high explosives, using magnesium and aluminum powder to replicate the blinding light of the nuclear flash. They also mimicked sub-atomic particles and the blast swirling by smashing ping-pong balls together, flinging paint against walls, and filming glowing magnesium solutions. This approach was vital for Nolan who stated that “CGI rarely is able to grab you. It tends to feel safe. Even if it's impressive and beautiful, it's difficult to make you feel danger. And we were presenting the ultimate danger. We needed it to feel threatening, nasty and frightening to the audience.” InterstellarWhilst ‘Oppenheimer’ demonstrates Nolan’s commitment to practical effects, ‘Interstellar’ proves that his approach is not about rejecting CGI entirely, but about using it selectively. For a film set in space, Nolan faced the challenge of creating a believable environment whilst maintaining the physical realism that defines his auteur style. To achieve this, the production combined digital visual effects with large-scale practical models, full-sized sets and miniature spacecraft designs. Instead of relying solely on computer-generated ships, New Deal Studios constructed detailed miniatures of the Endurance, Ranger and Lander spacecraft, which were filmed using VistaVision cameras and realistic lighting techniques to create a genuine appearance. For example, the Endurance model was built at a 1:15 scale, measuring approximately 14 feet, allowing the team to capture authentic reflections, shadows and movement that would naturally occur on a physical object. However, ‘Interstellar’ also highlights where CGI becomes essential. Nolan teamed up with Nobel Prize-winning physicist Kip Thorne to depict the black hole ‘Gargantua', which required complex digital effects based on scientific calculations and gravitationalmodelling. This created an image that could not be realistically captured with practical methods alone. By combining practical effects with digital technology, Nolan created a universe that felt both extraordinary and believable. The OdysseyChristopher Nolan’s most recent film ‘The Odyssey’ faced Nolan with the challenge of bringing gods, monsters and mythical landscapes to life. The director and his team once again turned to practical filmmaking techniques, including real locations, animatronics and practical creature effects. The most notable example is the Cyclops, Polyphemus, who is one of the most iconic creatures in Greek mythology. Instead of creating the giant entirely through GGI, Nolan’s team constructed a towering 60ft figure which was developed using a combination of animatronics, puppetry and performance techniques. This allowed actor Bill Irwin to bring a human physicality to the monster and enabled the accompanying actors to interact with a physical presence on set and gave them a genuine sense of scale. This approach reflects Nolan’s belief that even the most impossible concepts become more convincing when they are rooted in reality. By building real environments and physical creatures, the cast could react naturally to their surroundings, whilst the camera could capture authentic light, movement and texture. By making Greek mythology feel real, Nolan continues to prove that practical effects can create a stronger emotional connection between the audience and the world on screen. Christopher Nolan’s filmmaking philosophy centres around creating a sense of authenticity, using practical effects whenever he can to provide a more immersive and emotionally engaging experience. From recreating the vast power of the Trinity Test in Oppenheimer, to crafting miniature space models in Interstellar, and bringing mythology to life in The Odyssey, Nolan has demonstrated that physical filmmaking still holds immense value. In a world where CGI can create almost anything, Nolan’s films are a reminder that sometimes the most extraordinary moments are created by making them feel real first. AuthorLiberty Ratcliffe Acting is becoming increasingly popular and accessible with opening casting calls being posted every day. With auditions now a click away, acting is already incredibly saturated. So, what extra skills can actors have to make them stand out from the crowd? ADR TRAINING What is ADR? Automated Dialogue Replacement (ADR) is part of the post-production process. Once filming has been wrapped, actors are often required to re-record their lines in a controlled environment like a studio. These lines can then be used to replace lines that have already been recorded on set. ADR is not the same as dubbing, dubbing often involves different actors entirely who deliver lines in a completely different language. This often means on-screen movements will not match with dialogue when dubbing is involved. Alternatively, ADR focuses on a seamless match between re-recorded dialogue and pre-recorded scenes. Not all productions utilise ADR, but many of them do, especially if scenes are shot in busy or loud environments like a bustling city street. Why do actors need ADR training? ADR is primarily used to improve sound quality adding clarity and crisp sound to any scene. It can be used to correct any discrepancies within sound recordings, this may be a microphone issue, a faint cough in the background of a take or the gurgling of a tummy. Yes, the sound department can and do hear all sorts of things. As well as increasing sound quality ADR can also be utilised for performance quality. An actor or director may feel in post-production that a line can have more emotional depth, clarity or additional dialogue and so will request an ADR. As an actor you must anticipate the potential for ADR days, even if you have initially wrapped production of a project. You may be required to perform the same lines over and over to match with on-screen delivery and facial expression or pre-recorded scenes. This requires you to be patient, adaptive and creative, heading into any ADR session with an open mind and with the ability to adjust approaches and performances when required. VOICEOVER ACTING What’s so important about voice acting? Having the ability to voiceover act is a fantastic skill to have on any actor portfolio. Voice acting shows casting directors that you are a versatile performer with an ability to manipulate your acting and voice to suite different characters, emotions and contexts. Voice acting relies on voice delivery, breath control, timing and emotional precision without relying on body language, fancy sets or crazy costumes. Being able to voice act provides actors with broader opportunity, with voice acting being present in a variety of productions including TV, film, animation, video games, advertisement, radio, documentaries, audio books and much more. Within this, voice acting can be broken down into different types – which are all equally important and useful skills to learn and continuously develop. Voice acting has character work, narration and advertisement styles. Types of voice acting Character work is the voice acting commonly attached to film, television, animation and video games. It is present in popular shows like Arcane (2021-24) and video games like Call of Duty: Modern Warfare 3 (2023). This type of voice acting requires large vocal range, strong line and emotional delivery and the ability to act out intense scenes and cues including fights, screams, gasps and sighs. Narration in voice acting is often seen in productions like audiobooks and documentaries – think David Attenborough and Louis Theroux. Narrators guide listeners through fact and fiction, they are required to have strong communication skills and radiate confidence, authority and clarity. They are tasked with telling a story and portraying emotions that bring science, history, nature, literature and much more to life. Unlike documentaries, audiobooks have more room for playfulness, with the ability to characterise a performance, swapping tonality, vocal range and approach with different characters in a story. Imagine trying to swap from embodying Hermione Granger to Ron Weasley in a single take. Lastly, you may also be required to voice act for advertisement purposes. Unlike narration or character work, advertisement is more focused on conveying a message rather than telling a story. As a voice actor for advertisement you are personifying a commodity or a brand and are often given a clear brief focusing on brand authenticity and relatability. Having the ability to voice act for a variety of productions displays your versatility, skill and adaptability as an actor. Voice acting allows you to focus on your script analysis skills, interpreting character motivations, emotions and scene contexts. It allows actors to develop their vocal control, range, tone, pitch, pace and delivery making you a well-rounded performer. If you are creating a voiceover showreel be sure to add different subjects, tones, mediums and approaches to the craft to really display your resourcefulness. MOTION CAPTURE TECHNOLOGY What is Mocap? Motion Capture, also known as Mocap is the digital tracking and recording of a performer’s facial expressions and physical movements to then be translated into a 3D digital performance. Actors are often fitted with fancy suits consisting of reflective markers and sensors tracking your every move, from an eyebrow raise to a handstand. Mocap is used in many contemporary big budget films and video games to create CGI characters we know today. This includes Gollum in The Lord of the Rings franchise (2001-2003), Ceaser in the newest The Planet of the Apes franchise (2011-2024) and the beloved blue aliens in James Cameron’s incredibly acclaimed Avatar franchise (2009-2025). As well as big blockbuster films, plenty of video games utilise mocap to bring their actor’s performances to life such as in God of War (2018) and The Last of Us (2013). Why do actors need Mocap training? It is highly important that as technology continues to develop and integrate itself into the film and TV industry that actors are gaining some training in this technology and performance style. Gaining additional training in Mocap allows performers to develop their physical movements focusing and refining their posture, stance, and overall body language to better suit a character or scene adding to a well-rounded performance. Mocap relies on a heavy imagination, where actors are not expected to rely on sets, props or costumes to bring a character to life. Often seen to bridge the gap between screen and stage acting, Mocap requires large stage like physical movements to digitally emote a character whilst requiring subtle and intentional facial expressions to humanise and ground a performance. Mocap requires performers to possess physical, emotional and spatial awareness. With your face closely monitored and your body free to exaggerate, Mocap allows actors to work on multi-faceted aspects of a balanced performance making it a very sought-after skill. STAGE COMBAT Is stage combat like martial arts? Stage combat and stage combat training are another quiet force that actors should not be ignoring if they want to stand out to casting directors and also continuously develop their performances. It is a theatrical discipline that is a heavily choreographed routine portraying an illusion of violence. Stage combat is not to be misinterpreted as martial arts but instead is used to tell a story, however violent, through controlled and safe movements. Stage combat can include unarmed combat like fake punches, slaps, shoves and falls as well as weapon handling like sword fights. Such routines are often present in action-based films where actors are often required to display strong physicality. Is it worth having stage combat training? Stage combat on set is not a training session but a rehearsal. Rehearsals are planned based on production needs not your long-term training goals as a performer and so having some previous stage combat training is highly beneficial and sought after. Having such a skill is not only helpful for production purposes but also incredibly useful for you as an individual performer as you fully commit to and embody a character. Having stage combat training displays to casting directors that you have strong spatial awareness, a collaborative nature and the ability to execute actions safely and effectively especially in high intensity and fast paced environments. Training in stage combat requires performers to have great listening skills and the ability to execute instructions clearly focusing on timing and response, focusing on safety of all performers involved. Stage combat is not a place for a big ego but for collaboration, communication and following instructions – all brilliant skills that display professionalism and a commitment to the craft. GREEN SCREEN ACTING At times, actors will be required to act in front of a large green screen, as it acts as a backdrop for a particular take. This green screen is then digitally replaced in post-production with digitally curated environments suited to that particular scene. This could be castles, cities, mountains and much more. Due to these scenes being shot in a studio, actors are required to rely heavily on their own imaginations and ability to work with their scene partners to execute performances that feel authentic alongside a digitally curated environment. As an actor you must have strong physicality and emotional depth whilst reacting to situations unfolding within the background of your scene such as a loud explosion. Green screen acting requires you to have great timing, spatial awareness and the ability to main consistent in your performances as shots can be spliced together to create a scene from different takes. It is incredibly useful to practice acting in front of a green screen so you can get use to and feel comfortable in front of a background that doesn’t exist! PRESENTING Although presenting is not quite the same as acting or embodying a character from the pages of a script, many skills used for acting are easily transferrable to presenting and vice versa. Similar to voice acting, presenting is a great skill to obtain as it relies heavily on vocal range, vocal clarity, confidence, timing and execution. These are all skills actors need to ensure they have clean line delivery and character interpretation when on set or during audition processes. What is the correlation between presenting and acting? When presenting, performers are providing information directly to an audience, and at times a live audience. This requires performers to be extra vigilante and perceptive of their line pacing, delivery, body language, posture, stance and clarity of sound. You may utilise dramatic pauses to emphasise key points whilst adding your own authentic touch to you presenting style. This not only helps to improve confidence but allows you, as a performer to work on your own uniqueness and individuality. Speak with confidence, know your lines and ensure you are connecting with your audience - skills you need as an actor not just as a presenter. Such skills improve your script analysis, line delivery and overall self-assurance. Having the ability to present helps with your on- set performances, live performances and also your ability to head into auditions with confidence and professionalism ACCENT & DIALECTS Having an ability to switch between differing accents and dialects is a fantastic skill for any actor to have. Being able to portray multiple accents expands your casting range and helps build characters authentically. Not only does accents make actors more versatile and well-rounded but also broadens your own opportunities. Actors do not want to be limiting themselves to roles that only match their natural voice, adapting dialect and executing accents allows actors to audition for international projects and for well-known brands and companies. Honing in on a character’s individual accent allows for deeper characterisation and embodiment of that character’s lived experience. How do I get better at accents? Some of the common accents casting directors look out for include: general American, RP (Received Pronunciation) as seen in The Crown (2016-2023) on Netflix, standard British, Northern (Yorkshire, Newcastle etc), Scottish, Irish, Australian and Southern American (think western/cowboy dramas). You are not expected to have a polished accent for every accent listed above, quality over quantity is much more sought after in this case. To develop your accent and dialect skills, work directly with a dialect coach, immerse yourself in international television and practice, practice, practice. Be sure not to get lost in perfecting an accent during an audition or a performance that your acting suffers. Learning an accent is an iterative process that takes time, patience and tenacity but it is absolutely worth it in the end. IMPROVISATION Improvisation, otherwise known as Improv is an acting style in and of itself. It is however, sometimes utilised during scripted productions but not as frequently. Improvisation is when performers create stories, characters and dialogue on the spot. It is often a reactive form of acting that requires active listening, communication and strong amounts of collaboration, all skills required for screen acting. The golden rule of improve is “yes…and” to continue the narrative and avoid awkward pauses or discontinuations. Improv although often used for comedic purposes also carries many valuable lessons. Improv teaches performers to embrace mistakes, respond authentically, be creative and adaptable, to think under pressure and respond creatively. These skills allow actors to harness confidence, flexibility and to have fun. Improv training should feel playful and engaging reminding performers to not take themselves so seriously because after all acting should also be fun! Acting is a craft and it requires a plethora of skills, but however many and however overwhelming such skills and requirements seem, they can be taught. If actors are committed, passionate and genuinely enjoy what they do, such skills should not be seen as chores but opportunities to grow as a performer as well as helping actors stand out in a sea of talented performers. At IPM Acting Academy we teach a range of skills including voice acting, the basic of Mocap, Stage Combat and much more. So what’s stopping you? Enquire about our classes today ! AuthorMegan Stokoe Today, self-tapes have become the primary option for many TV, Commercial, Film and even Theatre productions within the casting industry. During the pandemic self-tapes were a temporary solution to the crisis the industry was facing - but now they have become standard. Likely due to self-tapes saving time and widening access to anyone across the world. All an actor needs is some simple filming equipment. No need for long train journeys, difficult parking or never-ending lines. Everything can be done from the comfort of an actor's home or studio. Which has widened the horizons for casting opportunities. They offer casting directors better flexibility and effectiveness when reviewing self-tapes. But they aren’t only beneficial to casting directors. Unlike in-person auditions actors have control over their environment - but that also means you become responsible for presenting yourself professionally. Many actors believe they “aren’t good enough”, when in reality casting directors frequently mention avoidable mistakes if it be technical, professional or performance-related that can distract from an otherwise good performance. In this article, you will be informed on those recurring mistakes that possibly have been lowering your success rate of callbacks. These mistakes are based on recurring advice from casting directors and industry professionals. So, what are the most common mistakes and how can actors avoid them?
What makes casting directors stop watching? Many actors believe they need to perform bigger or make dramatic choices to stand out, but the camera often rewards subtlety and truthfulness. Many actors believe they have to “stand out”. Ironically this can hinder their performance; making it feel forced. “I always say – and the same thing applies whether it’s a self-tape or it’s a Zoom – I’m not looking for a perfect reading because there’s no such thing. It’s a sketch of something. What we’re doing in the room or on Zoom, or what an actor is doing themselves on a self-tape, is a sketch. You’re playing with something. You’re trying different things. And I think sometimes actors put this pressure on themselves to think they have to deliver a perfect tape there and then. It doesn’t exist.” - Shaheen Baig Due to self-tapes being a video that is pausable, rewindable and detailed it’s understandable why this may feel nervous or pressured to deliver the “highest quality” performance. The film industry is full of great talent and more often than not actors have to amp up their performance and “give it their all” to stand out from the crowd. There’s a misconception that bigger emotions equal better performances. If you are selftaping (especially if it's for on-screen roles) then minor subtly in emotion or expression is clear. The camera can capture the smallest facial movements or emotional shifts. Currently film is favoured towards subtle and believable performances. From the point of view of an actor they want to “stand out” but the casting director “wants to believe you”. Those are two very different objectives. Another example of a casting director searching for believable performances is Des Hamilton. Des is renowned for his ability to hold open casting or seek talent in public spaces. One of his stand-out projects is Top Boy. “Many of these eventful auditions are well-documented – there’s the time grime artist Kano hit him or when Jasmine Jobson flung a chair across the room, both riled up by Hamilton and his blunt request for greater authenticity during their auditions for Top Boy.” - Toby Weidmann on Des Hamilton's outstanding contribution to the craft. I think this lends itself to the craft and freedom actors can have when performing. They are standing out, they are focusing on being genuine. "I want authenticity, I want truth, do what you'd really do in this scene." - Des Hamilton Look at the evidence in modern television. Adolescence, Top Boy and Boiling Point are major productions within the UK TV scene. All are focused grounded realistic performances that evoke real emotions in the audience. They are incredibly natural. “There’s a temptation to ‘show’ what we can do. Don’t. There doesn’t have to be a gear change or emotional climax. Even if the entire scene plays at one pitch it can be enough.” - Amy Hubbard
Why are casting instructions so detailed? Film casting instructions are detailed because productions operate on extremely tight schedules and massive budgets. Directors use these specifics such as exact self-tape formats, specific shot framing, and rigid slating rules to test if an actor is directable and capable of following technical directions. Casting offices can sometimes receive 200, 500, 1000+ self-tapes. Small details exist so this process of reviewing tapes becomes manageable. Imagine if you had thousands of self-tapes and they are labeled “Film.Mov” compared to “JohnSmith_ROLE.mp4”. Easily searchable and identifiable. You already have stood out purely because your file is easily accessible and understood. An office can search the ‘ROLE’ and instantly find a list of actors applying for said role. Below is advice on the delivery of the video itself: “DEFINITELY a link to the video. NEVER an email of the video file. ALWAYS downloadable. ALWAYS private, not public. IDEALLY vimeo. But wetransfer and hightail are also acceptable. Youtube is not popular with my upload “technician”.” - Amy Hubbard Slates are incredibly important for casting offices. Casting directors often review hundreds of self-tapes over the course of weeks and may revisit auditions multiple times. A clear, professional slate helps them remember who you are, accurately identify your tape, and makes it easier to compare your work with other actors during the casting process. It may feel slightly confusing however a short 10-20 second slate may be as simple as this: “Hi, I'm John Smith. I'm five foot ten, and I'm based in Manchester. Thank you.” Sometimes the casting brief will request additional information, such as:
"Hi, I'm John Smith. I'm 5'10", based in Manchester, represented by Independent Talent. My natural accent is RP (Received Pronunciation). Thank you." Then turn:
Wardrobe Another topic to quickly discuss is wardrobe. Your clothing should suggest the character rather than try to become the character. Think of it as giving the casting director a subtle visual cue without distracting from your performance. Pick clothing that hints at the role. They're simple and solid colours that keep focus on your face. Avoid logos or busy patterns that draw attention away from your acting. An example may be; a detective might wear a dark jacket or smart shirt—not a trench coat and badge, or a doctor might wear a plain blue shirt rather than scrubs. “Try on various outfits and shoot yourself doing monologues of different types. You can get a real sense of what your best colours are, what makes you look older vs. younger, what makes you look tougher vs. more innocent, what works for the hero roles and what works for the victim ones.” - Bonnie Gillespie Whatever you do, don’t have your clothing the same colour as your background. Otherwise you will blend in. 3. Framing, Background & Equipment What level of production quality do casting directors expect from a self-tape? Your framing and background should support your performance, not compete with it. Casting directors need to clearly see your face, eyes, and expressions. A simple setup removes distractions and allows them to focus entirely on your acting. Here is a simple list of rules to follow:
“Keep it simple. I get really nosy about people’s homes. Sometimes I get to see their washing drying on the radiator, or some of their ornaments. And that’s not a good thing. The best backgrounds are a nice brick wall, any wall with an interesting texture, or a blank wall. I was going to say avoid white, but really the colour of the background is not going to make the difference between you landing the role, or not. Tidy & professional please. You can’t beat natural daylight and nice framing – like it’s a portrait. But any kind of simple lamp will do. I think an angle-poise lamp on a pile of books is how most people manage. Most smartphones produce exceptional quality.” - Amy Hubbard Use a plain background with little distractions and avoid windows directly behind you, as backlighting can obscure your face. “Keep in mind that objects in the background, such as cords, fridges, animals, etc., can be distracting to the viewer, so clean backgrounds are the best. Panelists recommended looking at products such as collapsible backgrounds that can be purchased online for about $55 and can be used for every audition.” - SAG Aftra Equipment & Lighting It's possible that actors research and focus too much time on the best equipment instead of investing their time into researching a character. Casting directors aren't judging your cinematography. They're judging your truthfulness. The purpose of a self-tape is to make your performance easy to watch, not to prove you're a filmmaker. Once the technical basics are covered, your acting becomes the focus. Most casting professionals consistently give the same advice:
A technically perfect self-tape cannot compensate for an untruthful performance. Equally, an excellent performance recorded on a smartphone in good light with clean sound can absolutely book the job. Think of your technical setup as a window. Its job is simply to let the casting team see you clearly. If the window is clean, they stop noticing it. If it's dirty poor lighting, distracting backgrounds, echoing audio it pulls attention away from your acting. 4. Choosing the wrong reader Why does the reader matter in self-taping? A self-tape is never a solo performance. Even though only one actor appears on camera, every scene depends on the relationship between two people. That's why choosing the right reader matters. A good reader creates believable circumstances. They listen and provide an emotional and natural response to react to. Their job isn’t to perform, it’s to support you. It's recommended to send the script to your reader in advance so they understand the material and its tone. It also will help with your reader providing eye contact with the actor taping which will massively benefit your performance. The opposite is equally true. A poor reader can interrupt the rhythm of a scene, flatten emotional moments, or distract the viewer. There are two common extremes:
“The reader’s number one job is to be seamless, subdued, and bring out the best in the actor. They should never appear to be campaigning for an Oscar for “Best Offscreen Read by a Faceless Entity.” - Casting Networks Spotlight recommends using a live reader compared to pre-recorded lines as a casting director will want to see you responding to a person not a machine. 5. Forgetting to Listen Why do casting directors constantly mention listening? Acting is often thought of as speaking, but some of the most powerful moments happen when an actor says nothing at all. Great performances are built on listening. Listening is an active process. It means taking in what another character says, allowing it to affect you, and responding truthfully. Every line you hear has the potential to change your thoughts, emotions, or intentions. If nothing changes - nothing happens. Casting director Des Hamilton has often emphasised that one of the qualities he looks for most is an actor's ability to listen and respond, describing it as a fundamental skill that is frequently underestimated. For him, truthful reactions are often more revealing than polished line delivery. A useful exercise is to watch accomplished screen actors with the sound muted or pay close attention to the moments between the dialogue. Notice how much of the performance happens in silence. Consider actors such as:
6. Recording too many takes How many takes are too many in a self-tape? One massive risk when sending self-tapes is thinking the next one will be perfect. There is often a noticeable difference between Take 1 and Take 14. That's for a reason. With the first take being fresh it's full of spontaneity and genuinity, maybe some unexpected moments. By the 14th take it may be technically cleaner but lacks in an area that is so important. Authenticity. Self-criticism grows with every take, and confidence often declines rather than improves. Casting professionals and acting coaches frequently recommend limiting the number of takes. A common guideline is three to five strong takes, then choosing the best one and moving on. A useful approach is:
7. Trying to Guess What Casting Directors Want What makes an audition memorable to a casting director? Similar to trying hard to impress the casting director. Actors often ask "What do they want?" Casting directors ask "What can this actor bring?" Shaheen Baig has spoken about valuing actors who do what they naturally bring to the role, rather than trying to become what they imagine the casting team wants. “Baig is keen to stress that every one of the final five candidates was “brilliant”, and they all ended up with roles on the show. Nevertheless, Cooper stood out. “Owen had this ability to really listen and connect with Stephen,” she says. “But also he wasn’t scared of repetition. We went over scenes time after time, trying different things. We wanted to push him to see where he could go”. An audition is an opportunity to show your interpretation of the material. That doesn't mean inventing a different character or ignoring the script. It means making specific, believable decisions about what your character wants, what they are thinking, and how they pursue their objective. Casting professionals regularly encourage actors to trust their instincts rather than trying to guess what the casting team wants. "Don't try to give us what you think we want to see. Give us what you believe is right for the character from your point of view." - Mel Mack So, there are your 7 sins of self-tapes. As we've seen, the mistakes that most commonly undermine a self-tape are rarely about a lack of talent. More often, they stem from trying too hard to impress, overlooking simple instructions, focusing too much on equipment and too little on background, or second-guessing what the casting director wants. These distractions can prevent a genuine performance from shining through. The advice from casting directors such as Shaheen Baig, Amy Hubbard and Des Hamilton reveals a consistent message: they are not searching for perfect auditions. They are looking for actors who are truthful, prepared, collaborative and easy to work with. A self-tape isn't expected to be a finished performance—it's an opportunity to demonstrate your understanding of the character, your ability to take direction and your potential to develop the role further. Casting directors remember actors who submit clear, well-prepared auditions, follow instructions and consistently deliver honest performances. Even if you aren't cast this time, a strong self-tape can leave a lasting impression and lead to future opportunities. AuthorBorak Akgul  So far, 2026 has seen plenty of actors, celebrities, production companies, crew, equipment and fascinated onlookers make their way through northern streets. From small coastal towns near Hull to large City Centres. Some of your favourite or (potentially soon to be) favourite productions may be much more local than you think. Some of your local road closures, diversions and new ‘no parking signs’, although seemingly a pain, may actually be in action so that directors can in fact yell “action!” as actors transform into characters and revive storylines you will soon be watching. If you are local to Leeds, York and the surrounding areas, previous productions you may have watched and thought to yourself “hey I know there!” may include Harry Potter and the Philosopher’s Stone (2001), Gentleman Jack (2019-22), The Crown 2016-23), Peaky Blinders (2013-22) and Bridgeton (2020-present) which utilised the grounds of Castle Howard as the Duke of Hasting’s fancy estate in Season one of the hit Netflix show. The above TV shows and films are only just a few of the productions that have utilised York, Leeds and our northern streets to bring their stories to life. So, what productions have been recently happening in and around our local area this year? Scorn Filming earlier this year and now in post-production, Scorn has been described as an erotic thriller. Starring Hollywood actor Adria Arjona known for films like Blink Twice (2024), Hitman (2023) and Father of the Bride (2022), the film, as described by IMDb follows a woman entangled in a passionate affair with a married man, who after he declares their love is a simple fling, she does not go away quietly. Locals spotted film crew in St Marys in York near Bootham with street closures in place as well as scenes taking place in Micklegate and Hosforth, Leeds. There was particular attention on Bathurst House in York, one of York’s grandest homes, where filming took place inside. Scorn is being produced by Topic Studios who produced films like A Real Pain (2024) which won actor Kieran Culkin an academy award for best actor in a supporting role. Scorn is yet to have a release date, but we are interested to know what drama unfolds in the fancy walls of Bathurst House.  `image - google. Patience (Series Three) Now filming its third season, Patience is a crime drama well known for its use of classic York hotspots which have featured throughout the series. For those who have not already seen the very popular Channel 4 show, Patience follows Patience Evans, played by Ella Maisy Purvis, a young autistic woman who catalogues evidence in her local Yorkshire records police department. Working together with Detective Inspector Bea Metcalf, they solve complex murder cases. Viewers have clearly been enjoying the mystery, crime and drama as Patience began filming its third season this Spring/Summer Keeping to its classic use of cobbled pavements, old buildings with a hint of ghosts and quant pathways, Patience continues to use York as its locational backdrop. Recently, crew have been filming Precentor’s court next to York Minster which acts as the fictional residence of Patience Evans, who seemingly must be on a very hefty salary. Additionally, filming has been spotted along Monks Yard and along by the infamous flooding rivers. Many of the show’s exterior locations are filmed in York, especially its easily recognisable city centre. Patience does however expand its filming locations, especially when shooting its interior scenes, with Patience’s interior apartment shot in Antwerp, Belgium! Shy & Lola A new and upcoming six-part BBC drama with a dark comedic twist has been filming in and around Hull recently. Produced by BAFTA and Emmy award winning Clerkenwell Films - which has produced shows like Baby Reindeer (2024) and The End of the F***ing World (2017-2019) - Shy & Lola stares Harley Squires (Beau is Afraid, 2023) and Bel Powley (The King of Staten Island, 2020). The show follows Shy (Harley Squires) a struggling cleaner dreaming of a new life and Lola (Bel Powley) and ex-model turned swindler who both get entangled in Shy’s coastal seaside town’s criminal underworld following a murder. The unlikely duo however, soon discover they have quite the talent for crime. Shy & Lola has been spotted filming around Hull Minster and Hull’s Old Town including the High Street. Forty minutes or so outside of Hull city centre is the small coastal town of Withernsea, where filming has also been taking place near Cheverton Avenue, with locals noting road closures and diversions. It is clear that filming is evidently aiming to bring true, authentic northern locations to the screen, as after all, this new dark comedy is set in the North of England. Power and Glory Another major production currently filming in Yorkshire is Power and Glory, which has been spotted filming in Sheffield. The new drama is making use of a variety of locations across the city, showcasing Sheffield's unique industrial character and distinctive urban landscapes. Yorkshire has long been a favourite with production companies thanks to its versatility, and Sheffield is no exception. From its striking architecture and historic streets to its modern developments, the city offers filmmakers a range of visually interesting locations without needing to travel far. Large-scale productions such as Power and Glory not only shine a spotlight on the region but also bring valuable opportunities for local talent and crew. With filming taking place across Sheffield, the production continues the growing trend of high-profile television projects choosing Yorkshire as their home, reinforcing the county's reputation as one of the UK's busiest filming hubs. The Piano Channel 4’s widely acclaimed music competition The Piano has been filming recently in York Railway Station this March. Taking a break from Head & Shoulders adverts and The Traitors, Claudia Winkelman was spotted in York Station filming a new segment for the show. The Piano places, yes you guessed it, a piano in the middle of busy UK train stations as it sits waiting for amateur pianists. This time, York has been selected. As the pianists play, they are secretly judged by world- class and infamous musicians such as Jon Batiste and MIKA. Throughout the piano’s stay, judges and Claudia look for what they believe to be the best amateur pianist. We are looking forward to seeing what talent York produces!  High Hoops (Series Three) The popular CBBC kids show High Hoops is filming currently in Halifax, West Yorkshire. Starring Robert Webb and Isy Suttie (Peep Show, 2003-2015), High Hoops follows a clumsy and reckless teen Aofie (Darci Hull) who joins her school’s basketball team in the hopes she can turn them into winners whilst trying to reinvent herself at the same time. High Hoops utilises Calderdale College in Halifax as its fictional Midvale School and is using Dean Clough as its primary base whilst filming its third series. With Calderdale College being so close to Dean Clough, Halifax has become a great location for High Hoops as it continues to be widely well-received. Jamie Johnson FC Not only are CBBC filming High Hoops locally, they are also filming Jamie Johnson FC, a kid’s TV show that follows the young footballers of the elite Hawx Football Academy as they go through the trials and tribulations of following their football dreams whilst still trying to navigate growing up. Jamie Johnson FC filmed in various locations across Leeds and York with casting calls in the local areas for kids aged 11-17 who were particularly skilful at football. A lot of shooting took place at Leeds Beckett University, specifically in their sports centre which happens to have a red exterior - Hawx’s signature colour. It’s great to see locations being utilised authentically alongside the involvement of local youth and talent on screen. Mysterious Productions As well as the many titled productions filming in York and Leeds, there has been sightings of more mysterious projects utilising local spots and restaurants. Recently, a local Leeds restaurant ‘Kerla Canteen’ on St Peter’s Street was overrun for a long day of filming this May. Not much is known about the production, however it will be starring Rory Kinnear (Skyfall, 2012), (The Imitation Game, 2014). The owner of the restaurant noted actors really did eat dishes from the restaurant’s actual menu! Unfortunately, there is not much else we can share with you regarding the production at this time Filming has also recently been spotted at Harewood House, one of Yorkshire's most recognisable stately homes. The historic estate has long been a popular choice for film and television productions thanks to its grand architecture, extensive grounds and picturesque surroundings. Whilst details surrounding the production remain under wraps, Harewood House continues to prove why it is one of the region's most sought-after filming locations, adding yet another Yorkshire landmark to the growing list of local sites appearing on screen. In addition to the mysterious production at Leeds’s ‘Kerla Canteen’, Stanley Tucci has been spotted filming around York City Centre, walking around the beautiful York Minster with camera and crew. Stanley, who has been in the world of Hollywood for over two decades and is best known for his roles in The Devil Wears Prada (2006) and The Hunger Games (2012) has been filming a new food and cultural diversity series with National Geographic. Tucci even dined at local York restaurant ‘Rustique’, booking weeks in advance to try out the French restaurant. Perhaps Stanley should try the classic shambles food market for the true York experience. York, Leeds and surrounding areas have been a real hotspot so far this year for film and TV productions as we continue to see productions in the North increasing with each year that passes. Yes, the road closures, diversions, and parking wars can be a pain, but I’d say it’s pretty worth it to bring slithers of the North and its beautiful locations to our screens. We are excited to see what other productions York, Leeds and surrounding areas are yet to accommodate in 2026 and hopefully in the years to come. AuthorMegan Stokoe If there’s ever been a better time for young people to get into acting, it’s now.
Across Yorkshire and the North of England, major productions are putting young talent front and centre. From powerful TV dramas to award nominated short films, the industry is actively searching for authentic, expressive young performers with personality, confidence and creativity. And the biggest proof of that? The recent BAFTA success stories coming straight out of Yorkshire. Yorkshire Is Becoming a Major Hub for Young Talent The UK film and television industry is changing fast. Casting directors are no longer only looking in London. More productions are filming across Yorkshire, Manchester and the North, creating huge opportunities for local young actors. Netflix drama Adolescence dominated the 2026 BAFTA TV nominations with 11 nominations, 4 awards and including recognition for young actor Owen Cooper. IPM are pleased for our young talent who secured their first ever TV role as a part of the series Meanwhile, Rocket Fuel, a Yorkshire-made short film about two kids turning an abandoned car into a spaceship, earned a BAFTA nomination after winning the Yorkshire Film Competition at Leeds International Film Festival. Even Crongton has helped shine a spotlight on young northern performers and authentic youth storytelling, proving there is a growing demand for fresh young talent from real communities. This matters because it shows children and teenagers that opportunities are no longer “somewhere else”. They are happening here. Acting Builds Confidence That Lasts a Lifetime One of the biggest reasons parents choose acting classes for their children is confidence. Acting encourages young people to:
For many children, acting becomes the place where they finally feel comfortable being themselves. Whether a child dreams of starring in television or simply wants to grow in confidence socially, acting provides real world skills that stay with them for life. Screen Acting Is More Accessible Than Ever Streaming platforms and UK broadcasters are producing more content than ever before. That means more productions, more auditions and more opportunities for young actors. Shows like Adolescence prove that young performers can carry emotionally complex, award winning stories. Casting directors are actively searching for natural young talent with authenticity, personality and emotional depth. They are not always looking for polished performers. They want believable people who can connect with audiences. That is why training early matters. Acting Helps Kids Develop Creativity Away From Screens Modern children spend huge amounts of time online. Acting classes give them something different. They get to:
Instead of passively consuming content, they become part of creating it. For many young people, acting becomes a positive outlet that improves focus, motivation and self belief. The Industry Needs More Young Talent The success of projects like Adolescence and Rocket Fuel has highlighted something important. The industry is crying out for talented young actors from all backgrounds, especially from the North. Casting directors want real young people with individuality, energy and authenticity. The next breakout star could be sitting in a classroom in Yorkshire right now. Why Start Acting Young? Starting early allows children to:
The best young performers are often the ones who started because they enjoyed it, not because they were chasing fame. 2026 is an exciting time for young actors in the UK. With BAFTA recognised productions like Adolescence and Rocket Fuel showcasing incredible young northern talent, there has never been more opportunity for children to step into the industry. Acting is about far more than becoming famous. It builds confidence, creativity, communication skills and lifelong memories. And for some young people, it might just be the beginning of something extraordinary. Founded by Daniel Katz, David Fenkel, and John Hodges in 2012, A24 is an independent film and television production company that specialise in making distinctive films that gain large and passionate fanbases. Their unique array of work includes The Whale (2022), We Live in Time (2024), Marty Supreme (2025), and Highest 2 Lowest (2025). As of the 98th Academy Awards, A24 has been nominated for 98 Academy Awards and has won 21 in total. Where did A24 come from?/How was A24 created? A24 was founded on August 17, 2012; its name inspired by the Italian motorway Daniel Katz was driving on upon deciding to create the company. The initiative was to distribute films with idiosyncratic perspectives. Their logo and motion graphic intro was created by a New York based design agency, GrandArmy, in the same year A24 was founded. 2013 was a huge year for A24. The company made their first theatrical release, A Glimpse Inside the Mind of Charles Swan III (2013), which was followed by movies including Spring Breakers (2013), The Bling Ring (2013), and The Spectacular Now (2013). That same September, A24 and DirecTV Cinema agreed on a $40 million (~£26 million) deal where day-and-date releases would be offered by DirecTV Cinema 30 days before A24’s theatrical release. Under this deal, the first film to be distributed was Enemy (2013). Things kept getting better that year for A24, as their distributed films would become available on Prime Video after entering yet another deal, with Amazon Prime. A24 and Apple announced on November 18, 2018 that they entered a multi-year partnership, where A24 would make an array of original movies for Apple, without affecting films produced or acquired by A24 outside of the deal. The first films distributed under this deal include On the Rocks (2020) and The Tragedy of Macbeth (2021), which are both available to stream on Apple TV. Fun Facts:
How is A24 different from other film production companies? A24 has built a niche brand, their work often recognisable from characteristics such as complex plots, actor-based filmmaking, and darker tones. Their productions frequently encourage audiences to think and reflect, and are often unpredictable. Though they are now moving into making more commercial and mainstream productions, A24 is well known for their dedicated, auteur direction, captivating cinematography, and meaningful themes. Typically, their cinematic style shifts between surrealism, ambiguity, intricate character exploration, and many more distinctive styles. A24 is a champion at producing psychological thrillers and horrors, more specifically ‘elevated horror’ films. They excel at making suspenseful movies within this genre that can be more disturbing and exhilarating to watch. They masterfully combine unorthodox visuals with detailed character focused storylines, which entrance their audiences. Some of their notable horrors include It Comes at Night (2017), The Lighthouse (2019), and Heretic (2024). Somewhat similar in terms of tone and darker moods, A24 have made some notable war movies including Causeway (2022), Civil War (2024), and Warfare (2025). As well as making dark and thrilling films, A24 brandishes their diversity by also producing LGBTQ+ inclusive movies. Whilst they occasionally still embed their signature themes and tropes to these films, these films focus heavily on the characters and their experiences, bringing raw, nuanced and emotional performances to the screen. Their selection of LGBTQ+ inclusive films include Parthenope (2024), Sorry, Baby (2025), and Pillion (2025). How do A24 market themselves and interact with audiences? When A24 started out, they opted for cheaper digital marketing and social media, rather than traditional TV media advertising, billboards, and radio. They aimed to save money by taking advantage of the increasing popularity of memes and images on social media, and using them to promote their films’ cinematography and art direction. Nicolette Aizenberg joined A24 from 42West as the head of publicity. The company raised its line of credit from $50 million (~£35 million) to $125 million (~£87 million) to expand their operations, which ultimately meant having more budget for marketing and promotions. A24 set up auctions for fans to bid on costume items, props, and set pieces from their film productions, which started in 2020. Some of the profits have been donated to Food Bank For New York City, NYC Health + Hospitals, Asian Mental Health Project, and many more charities, depending on the auction’s featured film(s). In 2022, A24 created a membership subscription called ‘AAA24’, where the benefits for members included exclusive and early access to merchandise, discounts for merchandise, and a zine every 4 months. What are some of A24’s best films? A24’s filmography is vast, and their ‘best’ films are subject to opinion. However, here are some of their most popular releases as well as award winning productions:
AuthorMAI-BUKAR DOGONYARO  A new biopic about one of Britain’s most influential scientists is currently filming in South Yorkshire. Power & Glory explores the life of Michael Faraday, the 19th century chemist and physicist widely regarded as the father of electricity.
Written by Murray Watts, the film traces Faraday’s journey from a modest upbringing in London to becoming a pioneering force in the study of electricity and magnetism. The cast includes James Cosmo, Andy Harrison, Conor Sánchez and Gaia Wise, with filming taking place at Wentworth Woodhouse and Abbeydale Industrial Hamlet. Sánchez, who takes on the role of Faraday, describes the project as an exploration of the man behind the discoveries, focusing on both his humanity and his scientific legacy. Faraday’s early life was marked by poverty and limited formal education. As a teenager he was apprenticed to a bookbinder, where his curiosity was sparked by reading about electricity and magnetism. This self driven learning eventually led him to attend lectures by Humphry Davy, setting him on a path that would change scientific understanding. Davy, played by Harrison, is portrayed as both a mentor and a complex figure in Faraday’s journey. His invention of the Davy lamp helped save countless miners’ lives, while his evolving relationship with Faraday offers rich material for performance. For Watts, the project has been a long time coming, with the screenplay taking nearly two decades to reach production. Seeing the story brought to life on set has been an emotional experience, as scenes once imagined in isolation are now fully realised. Filming has presented some unique challenges. Scenes shot at Abbeydale have had to work around passing trains, while the historical setting of the story means the production avoids modern electrical lighting entirely. Director Norman Stone has embraced this, using candlelight and shadow to create a distinct visual style. The production has made extensive use of Wentworth Woodhouse, one of the largest stately homes in the UK. Its scale and variety of interiors have allowed multiple scenes to be filmed in one location, adding both authenticity and efficiency to the shoot. Power & Glory is expected to premiere in Yorkshire later this year, bringing Faraday’s story back to the region where much of it has been brought to life on screen. |
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