What Actors Should Know About Working on Micro-Dramas: From Actor Quincie Mychelle Lewis

Quincie Mychelle Lewis is a Los Angeles-born actress. She stars as Lulu in the Micro-Drama ‘Up to Us’, originally presented as part of the Youth Justice Sex Education Films, a collaboration between the UCLA Art and Global Health Center and the Prison Education Project.

We caught up with Quincie from her home in Los Angeles, and discussed her experience filming the project, what a typical day on set was like, and why she thinks micro-dramas are the perfect response to our ever-changing viewing habits: meeting people where they are.

Key Insights

Micro-dramas demand the same level of preparation and professionalism as traditional film and TV, despite their shorter format.

A typical day on set can still mean long hours, full crews, and a highly collaborative environment.

Actors who stay open and adaptable to new formats like micro-dramas position themselves ahead of the industry’s shifting landscape.

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Hi Quincie! Can you tell us about your earliest inspiration to become an actor?

I remember being very young, and my mom would constantly take me to the movies and the theater. One time, after a show, I became completely distraught and asked her in a total panic what the two people in the movie were going to do! (I think the characters had broken up or lost something, but honestly, I have no idea now, I was just hysterical).

My mom couldn’t understand why I was so upset until she realized that I didn’t know what we’d just watched was make-believe. When she explained that those people weren’t really going through those emotions and that they were actors whose job was to ‘play dress up’ and pretend to be other people; my little six-year-old mind was blown. Cue Aladdin’s ‘A Whole New World’ It was the first time I realized that storytelling could be a job, and from that moment on, I was completely hooked!

How did your training at The American Academy of Dramatic Arts help to prepare you for working and auditioning?

Oh wow, my training prepared me in countless ways! Learning technical skills, theater history, classic texts, and literature, all came together to give me a really strong foundation. Solid enough to build on, but flexible enough to let me fly. That structure and rigor gave me freedom. The Academy taught me how to approach each new role with vulnerability and nuance, to explore with an open heart, while trusting that all the groundwork has been done.

The depth of my classical training became this internal toolkit I can draw from whenever I’m creating or auditioning. We were exposed to so many different techniques and also one of the most meaningful parts were the relationships I formed with my teachers and directors. Hearing their personal stories, their struggles and triumphs, added so much texture to my developing artist heart and mind. Those connections were as valuable as the training itself.

You’re originally from LA, but you’ve also worked in New York. What do you find are the major differences between working/auditioning in both cities?

There’s genuinely so many details about being a working actress in both NY and LA. It’s honestly pretty cool to me because I think there is so much crossover between the two. So many people these days are bi-coastal, working back and forth. However I’ve always felt personally, the major differences were in the actual work available.

This could totally be a singular reality but for me, I’ve felt that NY is a lot more as I say ‘busy work’ and LA is more auditioning. Living in NY, I’m maybe auditioning less because I’m busy working on a variety of projects from Black Box Theater, off-Broadway shows, Shorts, Web-Series and Table Reads…there’s so much to do!

However in LA I seem to book less, but have more substantial auditions. Auditions that are more aligned with my personal vision and career goals. While constantly working in NY was awesome, at times after a couple years it felt a little directionless. So I was eager to come home to hone in on that vision and work a little more intentionally.

You recently starred in the micro-drama ‘Up to Us’. What can you tell us about this project?

Yes! Up to Us is such an incredible and unique project. It was originally presented as part of the Youth Justice Sex Education Films, a collaboration between the UCLA Art & Global Health Center and the Prison Education Project. The series is made up of three shorts adapted by screenwriter Francisco Aviles (@gotfran) from real stories written by nine system-impacted writing fellows.

It’s a project deeply grounded in truth and rooted in community. After the initial initiative, the team transformed these stories into micro-dramas designed specifically for Instagram and TikTok, which I think is so brilliant. We all live on our phones these days, especially young people, so this approach really meets the audience where they are.

The goal is to spark honest conversations around sexual health, consent, and relationships. When young people see themselves on screen it’ll normalize talking about these topics in a healthy, empowering way.

How did you first get involved and what was the audition process like?

I saw a casting notice on Instagram! Alongside this beautiful deck and shot list stacked with these amazing powerhouses of black actresses on the moodboard. The submission requested an introduction video where I talked about who I am, my experience, plus a bit about my own journey with sexual health and wellness.

After my submission I was called in for an in-person audition. The audition was very chill and I had such a good time actually chatting with the production crew. Shortly after I left I received an email saying I got the role!

What can you tell us about the rehearsal and preparation process for ‘Up to Us’?

Everything about this project was super smooth and really well organized. Once we were cast, we started with a few table reads, and those early sessions were so powerful. The team gave us a little history and background on what the project was about, the purpose behind it, where each of our stories fit in, and why these particular voices were being centered.

From there we all dug into the material and connected these stories to our individual real life experiences. You can really feel that everyone involved cared deeply and that created an environment for full vulnerability and presence.

What can you tell us about where ‘Up to Us’ was shot and what it was like being on location?

Even though we rehearsed and did our table reads in LA, we actually filmed in Baldwin Park which I’d never been to before. It’s only about 45 minutes outside of LA and funny how the name can be mistaken for the neighborhood in LA that I’m from. I’m originally from Baldwin Hills, a historically Black, culturally rich neighborhood full of heritage and community. And what’s beautiful is that Baldwin Park is that same kind of space for the Latino community, really rooted in Mexican-American culture and tradition.

It was amazing to explore, meet people, and take in that sense of pride and identity. For me, it’s always the small things that stick like grabbing coffee from a local spot, finding a little neighborhood shop, or chatting with residents between takes. That kind of stuff really grounds me. Baldwin Park reminded me so much of home, which made it the perfect backdrop for our characters’ world. It just added so much authenticity and warmth to the entire experience.

Actors might think that Micro-Drama productions have lower budgets, so there aren’t always things like wardrobe, make-up or even catering. What can you tell us about the reality of being on set?

Being on set was such a treat! I had the incredible opportunity to collaborate with some of the most talented creators and artists I’ve ever met. Wardrobe was led by the amazing Vicky Valenzuela, an LA native with so much character and life. Her style is bold and full of disco flair, sparkle, and flash. She infused each character with such specific and distinct touches.

I absolutely loved her point of view. Hair and makeup were handled by the incomparable Leticia Llesmin (@leticiallesmin), another LA native. She’s an absolute gem! We instantly hit it off, and between the two of us, there was never a dull moment, so much laughter throughout the week.

We were also truly spoiled by the catering team and food trucks, I’ve literally never been on a set where I wanted to take the food home to-go for later! It was that good! They served delicious Mexican cuisines that kept us fueled and energized between takes.

We had a five day production; day one was about 13 hours and 5 scenes. Day two was another 13 hour day and we got through 7 scenes. Day three was a little lighter, about 8 hours and 3 scenes. Then day four was jam packed; 12 hours and 10 scenes. I actually wrapped a day earlier with Day 4 being my last day with the cast and crew.

Micro-dramas are also getting increasingly more popular. Why do you think that is?

To put it simply, I think micro-dramas are blowing up because of how fast the media landscape moves now. The way we consume content has completely changed. We’ve gone from print to photos, to video, to streaming and now everything lives right at our fingertips.

Watching a feature film used to be an event, an outing. Now we can binge entire shows on our phones while sitting in traffic. The birth of streaming platforms definitely opened the door to this shift, but social media really kicked it into overdrive.

Micro-dramas are kind of the perfect response to our short attention spans and constant scrolling habits. They fit right into that quick, scrollable space where the random algorithm could be on your side. I think though when done well, they still manage to tell a full, emotional story in just a few minutes.

What’s genius about them is the reach. You never really know where that content is going to land or who it’s going to touch.

What would you say is the biggest misconception about working on a micro-drama?

I think one of the biggest misconceptions about working on a micro drama is that, because it’s shorter, it must be easier or that the quality isn’t on the same level as traditional Television or film. But honestly it’s a pretty technical medium that requires more of a product mindset, rather than a purely artistic one.

Now when it comes to Up To Us in particular I have to say that I’m not sure how much of that was taken into account. The team was deeply focused on the storytelling and using these pieces as tools to educate, inform, and connect with young people through accessible characters.

I also think that people tend to assume that micro‑dramas somehow have less emotional depth and are more like modern day soap operas with melodramatic and surface level themes. Now that may be true for some (trust me I’ve seen some pretty horrendous things pop up on my fyp) It’s not the case over here!

What advice can you offer for any actors who want to approach this type of work?

Be open. I say that first because I totally get it, I’m a bit of an old soul myself. I take so much joy in the classics and the original forms of storytelling. I still go to the theater, and I love the whole experience of going to the movies the moment something new comes out and not waiting for it to stream. So I understand how, as artists, it can be tough watching the industry shift and evolve so quickly. But you don’t want to be left behind.

This is where storytelling is going. My advice would be to lead with an open heart and mind. We might not always love the direction things are headed, but if we want to stay in the game, we have to be malleable. Stay curious, stay teachable, and keep learning.

When you do get the opportunity, immerse yourself fully into the world of the piece. Treat it as you would any other production. I know for me I tend to try my best, to be as present as I can and not fixate on the final product and what will go on in post.

I understand to some degree it could be a really informative and pretty useful tool to know how this media is going to land and how it will be formatted. However with Up to Us I just wanted to live fully in Lulu’s world, to embody her circumstances and her truth.

Finally, the industry seems to be embracing micro-dramas. What do you want people to know as we move forward with this new form of storytelling?

Since the industry is slowly but surely embracing this format, I think it would be dope to see the general public engage with micro-dramas the same way they do traditional Television and film. Pay attention to what’s coming out, find the ones that move you, and start building your own list of favorites.

The same way people geek out over their favorite HBO shows or follow YouTube creators they love. I’d love to see that same kind of excitement and community around micro-dramas. Talk about them with your friends, share them, and start conversations. That kind of word-of-mouth buzz and genuine curiosity is what’ll help solidify this new wave of storytelling.

Because at the end of the day, these stories are real, fresh, and meant to connect and the more people who watch and share them, the stronger this format will be.

To learn more about Quincie Mychelle Lewis, you can follow her on Instagram: @queenqml
‘Up to Us’ the full series is available to watch now on Instagram and Tik Tok
To learn more visit: https://up-to-us.org/watch/

*Biography provided by Quincie Mychelle Lewis. This interview has been edited and condensed.