A huge shout out to @Eliza Leonard @Panos Kalomanas @Nanette Clarke who took on the challenge, buckled down and entered the World Monologue Games. And they’ve done it. They are all through to the Regional Finals in UK and EU. This is what happens when you stop thinking about whether you should do something and actually give it a go. Absolutely thrilled for you all. So well deserved. From all of us at The Actors Copilot, congratulations! 👏👏👏 I really hope we are not up against each other lol 😂

IMPORTANT ANNOUNCEMENT We are fast approaching our first major Green Room benchmark: 𝟮𝟬𝟬 𝗳𝗼𝘂𝗻𝗱𝗶𝗻𝗴 𝗺𝗲𝗺𝗯𝗲𝗿𝘀. So first of all, congratulations. If you are already here as one of those founding members, you have 𝗹𝗶𝗳𝗲𝘁𝗶𝗺𝗲 𝗮𝗰𝗰𝗲𝘀𝘀 𝘁𝗼 𝗧𝗶𝗲𝗿 𝟭 𝗼𝗳 𝗧𝗵𝗲 𝗔𝗰𝘁𝗼𝗿𝘀 𝗖𝗼𝗽𝗶𝗹𝗼𝘁 𝗚𝗿𝗲𝗲𝗻 𝗥𝗼𝗼𝗺 𝗮𝘁 𝗻𝗼 𝗰𝗵𝗮𝗿𝗴𝗲, ever! That includes our masterclasses, live events, Saturday Scene Study sessions, blogs, Actor Resources, everything in the Classroom and, importantly, this community. Once we reach 200 members, new members joining Tier 1 will pay 𝗨𝗦$𝟵 𝗽𝗲𝗿 𝗺𝗼𝗻𝘁𝗵. 𝗔𝗻𝗱 𝘁𝗵𝗶𝘀 𝗶𝘀 𝗼𝗻𝗹𝘆 𝘁𝗵𝗲 𝗯𝗲𝗴𝗶𝗻𝗻𝗶𝗻𝗴. We are now building a much closer integration between the Green Room and 𝗧𝗵𝗲 𝗔𝗰𝘁𝗼𝗿𝘀 𝗖𝗼𝗽𝗶𝗹𝗼𝘁 𝗮𝗽𝗽, so the AI tools and the human side of what we do work together. The structure moving forward will be: 𝗧𝗶𝗲𝗿 𝟭 — 𝗚𝗿𝗲𝗲𝗻 𝗥𝗼𝗼𝗺: US$9/month 𝗧𝗶𝗲𝗿 𝟮 — 𝗚𝗿𝗲𝗲𝗻 𝗥𝗼𝗼𝗺 + 𝗘𝗰𝗼𝗻𝗼𝗺𝘆 𝗖𝗹𝗮𝘀𝘀 𝗮𝗽𝗽: US$19/month 𝗧𝗶𝗲𝗿 𝟯 — 𝗚𝗿𝗲𝗲𝗻 𝗥𝗼𝗼𝗺 + 𝗕𝘂𝘀𝗶𝗻𝗲𝘀𝘀 𝗖𝗹𝗮𝘀𝘀 𝗮𝗽𝗽: US$29/month For our founding members, we are working on the technical integration so that if you subscribe to Tier 2 or Tier 3, the value of the US$9 Tier 1 membership you already have for life is recognised and will be discounted. My developer is working on this now. There is also currently a 𝟭𝟰-𝗱𝗮𝘆 𝗳𝗿𝗲𝗲 𝘁𝗿𝗶𝗮𝗹 of The Actors Copilot app, so you are very welcome to try it for yourself. I think it is already up on our website. I know some actors remain cautious about AI, and frankly, I think caution is healthy. Generic AI can be incredibly broad because it is trying to speak to every actor at once. That is exactly why we built The Actors Copilot differently. The tools are interconnected around the actor, the character, the casting brief and the work you are actually doing. But we have always believed that 𝗔𝗜 𝘄𝗶𝘁𝗵𝗼𝘂𝘁 𝘁𝗵𝗲 𝗵𝘂𝗺𝗮𝗻 𝗰𝗼𝗻𝗻𝗲𝗰𝘁𝗶𝗼𝗻 𝗶𝘀 𝗺𝗶𝘀𝘀𝗶𝗻𝗴 𝗵𝗮𝗹𝗳 𝘁𝗵𝗲 𝗲𝗾𝘂𝗮𝘁𝗶𝗼𝗻. We have recently had another actress book a role after making a bold choice in her audition, with casting specifically commenting on that choice. I had a very similar experience on Star City, when the director commented on one of the choices I made in the audition.

From now on, the last Thursday of every month at 7 p.m. BST will be our Green Room Monthly Roundtable. This is your opportunity to get to know each other properly, talk about where you are in your acting journey, share your goals, ask questions, exchange experiences and, importantly, network with other actors in the community and build motivation and momentum. It will also be our chance to properly welcome new members into the room. Nothing is off the table. Bring your questions, your challenges, your wins, your frustrations and your ideas. We are now increasing the number of live Zoom sessions inside the community. Throughout November, this will include one live session every week. We want these sessions to become a regular and valuable part of the Green Room, and as we see your commitment, participation and engagement, we will commit to bringing you even more. We already have plenty of ideas, but this is what community is about. We want to hear from you. What would genuinely help you? What would you like us to cover? What kind of sessions would move you forward? These sessions are being built for you. 𝗗𝗔𝗧𝗘𝗦 𝗧𝗢 𝗣𝗨𝗧 𝗜𝗡 𝗬𝗢𝗨𝗥 𝗗𝗜𝗔𝗥𝗬 𝗧𝗛𝗜𝗦 𝗠𝗢𝗡𝗧𝗛 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆 𝟭𝟳 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 | 𝟭𝟭 𝗮.𝗺. 𝗕𝗦𝗧 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆 𝗦𝗰𝗲𝗻𝗲 𝗦𝘁𝘂𝗱𝘆 Stephen and John are already stepping up to work on a scene together, and we would love two more actors to volunteer. This is a practical working session designed to help get you audition and callback ready. We will work through the scene, evaluate the choices being made and give professional feedback that you can take directly into your future work. And if you do not want to perform this time, come and observe. Actors can learn an enormous amount simply by watching another actor work, adjust and respond to direction. Should you wish to participate and recieve a scene written for you, Comment below. 𝗧𝗵𝘂𝗿𝘀𝗱𝗮𝘆 𝟮𝟮 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 | 𝟳 𝗽.𝗺. 𝗕𝗦𝗧 “𝗟𝗶𝘃𝗲 𝗙𝗿𝗼𝗺 𝗧𝗵𝗲 𝗖𝗼𝗰𝗸𝗽𝗶𝘁” 𝘄𝗶𝘁𝗵 𝗕𝗼𝗻𝗻𝗶𝗲 𝗥𝗼𝗱𝗶𝗻𝗶 Bonnie is an Emmy-nominated casting director whose credits include Netflix’s One Piece and Ridley Scott’s Raised by Wolves.

I have never been particularly supportive of fully AI generated films. That does not mean I am against AI. Far from it. I believe it can be an extraordinary support tool when it helps human beings research, prepare, experiment and create. But an entirely AI generated film? I have always thought: I am simply not the audience for that. Partly because I do not want human performance to disappear from our screens, and partly because I do not want actors’ work replaced. Then Paul Schrader entered the conversation. Schrader is one of our most remarkable storytellers. He wrote Taxi Driver and Raging Bull, and directed American Gigolo and First Reformed. One of my ten favourite films, and quite possibly my number one, is his 1990 film The Comfort of Strangers. Now he intends to make Three Guns at Dawn using entirely AI generated human characters instead of actors. He has also said of the jobs AI may remove: “Those jobs are gone, babe.” I strongly disagree with him on that. Progress should not require us to shrug while human artists and craftspeople are pushed aside. A remarkable filmmaker does not get a free pass simply because I admire his work. But he has still opened a debate in my mind. If a storyteller of Schrader’s calibre uses AI to tell a story that could not otherwise be made, do I refuse to watch it on principle? Or do I watch and judge whether the human imagination behind the technology still reaches me? I know where I stand on protecting actors and human performance. That has not changed. But for the first time, I am questioning whether I can dismiss every AI generated film without seeing what a great human storyteller does with the medium. We have choices to make, both as artists and as audiences. What do you think? Would you watch it? Why is he forced to use AI Article URL: https://theplaylist.net/paul-schrader-ai-black-actors-three-guns-at-dawn-20260906/ #TheActorsCopilot #ActorsWithTheEdge #PaulSchrader #HumanPerformance #AIFilmmaking

Most of you already know where we stand on AI. We really dislike the idea of fully synthetic film replacing human creativity and human performance. We are firmly behind independent filmmakers, actors, writers and directors getting into a room, picking up a camera and making something themselves. These days, that can quite literally mean shooting a film on an iPhone. But whether we like every development or not, AI is moving quickly, and actors need to understand what is happening around them. Awareness matters. Staying informed matters. That is exactly why we bring you these weekly AI updates: not to tell you what to think, but to make sure you are aware of developments. 𝟏. 𝐘𝐎𝐔𝐑 𝐋𝐈𝐊𝐄𝐍𝐄𝐒𝐒. 𝐘𝐎𝐔𝐑 𝐂𝐇𝐎𝐈𝐂𝐄. Reports from China say people are being paid significant sums to license their faces for use in AI-generated dramas, advertising and games. The important issue for actors is not whether somebody should or should not make that choice. It is whether that choice is genuinely informed. Before licensing your face, voice or performance data, understand exactly what rights you are granting, for how long, in which territories, whether the material can be altered or sublicensed, and whether you retain any future control. For actors: awareness is critical. Your likeness has value, and licensing it should always be a conscious decision rather than something buried in the small print. Source article — Gulf News | 26 September 2026: People in China are renting their faces to AI — for up to $15,000 𝟐. 𝐇𝐎𝐋𝐋𝐘𝐖𝐎𝐎𝐃 𝐕𝐄𝐓𝐄𝐑𝐀𝐍 𝐉𝐄𝐅𝐅𝐑𝐄𝐘 𝐊𝐀𝐓𝐙𝐄𝐍𝐁𝐄𝐑𝐆: 𝐀𝐈 𝐈𝐒 𝐍𝐎𝐓 𝐆𝐎𝐈𝐍𝐆 𝐀𝐖𝐀𝐘 Former Disney and DreamWorks executive Jeffrey Katzenberg argued this week that Hollywood needs to stop treating AI as something that can simply be made to disappear and instead concentrate on establishing the terms under which it is used. His central argument is an important one for creatives: technology may change, but human creativity remains the thing the technology cannot simply manufacture on demand.