The way it seems to me, you're better off if you DON'T start young.

You can start out acting at any age. Mary Kate and Ashley Olsen started acting at 9 months, and Keanu Reeves started acting around 18 years old. It all depends on how you get yourself known, and knowing that you may get turned down for many roles, but you keep on going, and having faith in yourself, that you will come through, and be successful soon.

The first person that sprung to mind when I saw this question was Gabriel Byrne - great and very succesful actor who didn't start until he was nearly thirty. http://en.wikipedia.org/wiki/Gabriel_Byrne That's just an example - there are plenty of drama and acting courses that attract people new to acting of all sorts of ages. Whilst it's true to an extent that with learning any craft the older you are when you start the harder you'll have to work at it, and if you start when you're a lot older you may find the roles open to you more restricted - but I definetly don't think starting in your late teens or early twenties is anything to be concerned about.

This is an answer I submitted a long time ago onto AB: Any Art form is subjective, unlike science; there are no hard, firm "rules of proof." Before I give any advice, I would respectfully submit the following. The reason I begin here is to let you know I come from a professional lifetime of performing arts experience. I was in this [acting] field for over thirty-five years. Whatever you can ask about acting and/or "What did you do?," I did it. My copious resume includes training with "the best (NY/SF)." More later on "training." I have done theater: NY, LA, SF and national tours; experience also includes feature films, independent films, industrial films, television (PBS), commercials, music videos, voice-overs and print. I have done theater and film consulting, producing, directing and casting. I have had the honor and privilege of having positive reviews and articles in newspaper(s), plus national magazine articles. I had my own professional teaching studio in San Francisco for over twenty years; my Master Class in acting and directing had a one year wait list to get in even after interviews and/or auditioning! I have coached thousands of nationals and international actors and directors. I had my own acting company. Yeah, its a lot; it's a lifetime of work. So, hopefully whatever I opine here, you will weigh carefully and take under serious consideration. So, let's begin... There is a myth in this business about 'luck.' YOU make preparedness and opportunity. As the door opens, you will confidently walk through. Let's proceed: The very first comment I would make to you is to seriously ask why you want to be an actor. Believe me, this is not a simple question! If the craft of acting is what you are really wanting; that is, knowing the art of telling a good story, then you can follow almost any professional suggestion. If you "want to be a star," "want fame and notoriety," or just plain "want attention," this is not the profession for you. Telling a good story, regardless of form, is the thing. Pure and developed talent around this essential and important ingreident is always very obvious. If you are a beginner there are opportunities for you to tell a story NOW. These suggestions are merely a way to check in with your own personal realities surrounding your stability, intellectual and emotional motivation, objective, and creativity without the enormous expense of time and financial investment. That will come later. In any self-employed company (YOU the artist) these investments are the given and never ending. The following EXERCISE does not require a headshot or a resume--I offer it here as a kind of homework: 1) Gather your favorite monologues from plays and/or films. Start with three contrasting pieces that can be put in an order of a beginning, middle and end. All great stories have this element; where you start is not where you end. Each singular piece should be no more than two minutes. These three pieces are now your little play. The pieces should have a common through line, i.e., a THEME of love, or family, relationships, work, death, etc. Yes, as long as the theme within each piece is connected to the whole,it doesn't matter whether you mix drama with comedy or use a mixture of any genre. 2) Prepare these pieces for performance. It can be as simple as a stage reading. In this case, you literally read these three pieces before a live audience, by renting out a place or looking for art galleries that offer a space for live performance. However, AND MUCH BETTER YET, prepare these three pieces 'as if' you are doing a one-person show. Truth is, you are. 3) Next pick and/or create a space where you can perform this'One Act.' For you the beginner, I suggest a large living room, a garden, a basement; an intimate space. After all, I suggest that you will only invite ten to fifteen people. Keep it simple. These invitees can be family, friends, and acquaintances. These invitees do not include professionals from the business. At least, not this time. 4) Make invitations: another examination of your individual creativity and of your existing knowledge and ability to self promotion and self market. I also suggest that you make a performance questionnaire to pass out after your One Act. You might say in your invitation that you are going to request their opinions afterward and that there will be an open discussion. 5) After your performance, say maybe around cake and coffee, pass the questionnaire out, telling each invited member that you are counting on their honest, objective evaluations. 6) Be open to LISTEN with your whole mind and body to whatever is said and to whatever is not said. I further suggest that you make an audio and/or video tape of this experience. Keep the questionnaire for reference and study. The reason I begin here with this personal exercise might be obvious. However, I offer that this is a beginning, a safe way to create and perform before a live audience, albeit family and friends. It will be an invaluable experience and will inform you of many things, not the least of which is how you FELT doing it. It (and others like this) will truly give you the opportunity to actually witness your talent, motivation and commitment. While it is true that in this exercise you are not performing for an unknown audience, the experience will be excellant and may offer insights to your understanding of "why," "what," "where," "when" and "who." This simple performance also allows you to influence those that care for you to encourage your efforts in pursuing a professional career. They will understand that your desire to perform is of want and not out of need. What you will need is all the people around you now to encourage you through your development in the art and business of acting. Of course, you will remember that these invited people are family and friends. Most likely they will be giving you overall praise. Hopefully, you can yourself encourage their honest critiques. However, it is only YOU who can intuit your own physical and emotional realities that arose during this exercise. I would suggest you keep a journal about the entire experience. One must always, freeely and openly, know what one does well and what one needs to work on to grow . This is called, "balance." I make the exercise suggestion because it is, once again, the never-ending developing craft of telling of a story that is most important for a sound and healthy career and allows you to "begin" somewhere. It also allow you to examine your career direction without harm. Frankly and simply put, if you cannot do this performance as an exercise, you are probably not emotionally CLEAR to proceed in the performing arts and acting. Unless, of course, you create a better idea for exercising. At this point you are simply gathering: every experience and every bit of advice (including mine) is 'just information.' Good or bad ... these are guidelines and "instructors" on their own. The inner you -- the one that tells you the real truth -- will always be your best personal guide for your best career direction. About training: there are many different kinds of acting techniques -- everything from The Method (psychological), The London school (very physical), to Being Work(Eric Morris -- Jack Nicholson's early coach; very intense and personal); and Transpersonal (Sense Work -- Ned Manderino), plus many, many other specific courses for EACH niche within the field of performing. The mentioned techniques are all well known to students and professionals alike, but they do not, necessarily, teach on-camera vs. commercial vs. voice-over work. And, except for few creative circumstances, none of these offer concrete classes that include instruction in creating the business of acting.You probably already know there is a plethora of how to books. Although books may "inform" they never "teach." As another answerer said ... "it must come from doing!" It is the only way. Some actors believe in study first, then perform, others believe perform first, then study. I personally believe it is important to do both at the same time. Further, I do believe strongly to be well versed in practice and policy in ALL the techniques. Every show requires the actor to create very unique "character design and personalization" based on the Given Circumstances of a script. One shoe does not necessiarly fit all. And, believe me, sometimes its just utter joy to combine techniques within a role to tell a better story within the whole. More on training: although a college degree will never hurt you, the awful truth is that few if any [known] directors will take a degree from a college as serious training. Most directors will consider professional class of more consequence. {Look in your phone book, go watch some classes and decide for yourself which suits you.] Rarely will a director turn talent away, even if you are not cast for a particular role, for they most always remember excellence! It IS a very small industry in terms of word of mouth! That said, I do agree that if you do choose to go to a school, attending a prestigious acting academy or university can be another kind of start and will offer "connections" of a kind. By the way, auditioning and performing should always be a pure pleasure and privilege. It should never be a test of your "endurance" or "just how thick your skin is!" IF you feel this, seriously question WHY. My point is, in the beginning you must really know why you want to spend a life pursuing the performing arts and seeking this kind of knowledge and experience. If you understand this (and even this will develop), you will have a better intelligence of what your very next step is. Your talent may be your gift, but a joyously CHOOSEN career which, in this case, includes the expression of our common human experience through stories is a absolute privilege. All successful careers, regardless of industry, are honed with hard-core work, study, expense, experience and insight. My last comment is to remind you that your individuality is unique. I do believe that most people can discover their honest purpose in life. Whatever this may be for you, I send my best encouragement to continue your journey. There is so much more. Let me know after you�ve done this exercise. I will freely assist in any way I can. * By the way, a thick skin gets thinner when you know you can create with or without being cast. Just remember your first exercise. Take a step at a time. Who knows? Maybe your fifth experience will be hiring a director and a theater for a one person show!! I know many actors and directors who got their start by ... as a previous answer said ... 'just doing it.' One of my favorite examples of self starters is Robin Williams who did what is called street theater for years in San Francisco, studying, mimicking and interacting with people as they walked down the street! One last example: I had a client years ago, a model/actress who was signed with a notable agency in San Francisco. She simply hadn't been "sent out" by her agency for months. Fed up, we decided she could do her own campaign. Somehow! We brainstormed together. We talked about what she DID when not acting! Turns out she lived on a ranch, could drive a huge semi, and rode motorcycles. I asked her what she normally wore when on the ranch. Her ansmwer? "Jeans!" We proceeded to beg, borrow and practically steal professional photos of her, FEATURING the [brand name] Jeans. She submitted this delightful, well thought out package directly to their coporate office. The best? She signed a two year contract with them to do jean commercial ads. My last favorite? Matt Damon and Ben Affleck and "Good Will Hungting." Where there IS ... there is always a way.

I started when I was 12... school and community productions. By the time I was 19, I was doing professional work. Everyone's time comes when it is meant to happen. The acting market isn't just for the younger artist anymore. It's fair game out in the real world industry. Writers are creating parts and stories for all character types.