The psychology of child actors

The first time I stepped onto a film set in Türkiye as a psychologist and child protector, I knew I was entering a world vastly different from the clinical settings I was used to. I quickly realised that the glamour of filmmaking masked a complex reality: children working under intense pressure, long hours, and sometimes emotionally challenging conditions, all while their developmental needs remained secondary to production demands.  

My professional background spans both clinical psychology and child protection, with 10 years of experience working with vulnerable people including children in various contexts such as humanitarian projects, schools, hospitals and film productions. As a chartered psychologist with the British Psychological Society, I have a rare perspective on the psychological toll of child acting – something that is often overlooked in the industry.

That's not to say there aren't strict child protection regulations in Türkiye's film industry. There are, and child actors and actresses, despite their unique role in entertainment, are still considered child labour, making it essential to safeguard their rights and well-being. My role on set became a constant negotiation, ensuring that directors and producers understood why psychological care was not just a formality, but a necessity.

Playing a character

From a clinical psychology perspective, one of the first issues I observe is the emotional toll of playing a character. Child actors are often tasked with portraying complex characters in demanding situations. They must navigate a variety of emotions – from joy to sorrow, from anger to fear – often in a compressed timeframe, while maintaining a high level of professionalism. This can have a profound psychological impact on a child. I have seen firsthand how young actors can become deeply affected by their roles, sometimes carrying emotional burdens beyond what is healthy for their developmental stage.

Developmentally, children are still in the process of forming their own identities and managing their emotions. The ability to separate who they are and what they feel from the characters they play can be especially challenging. For instance, a child who plays a villain in a drama may internalise aspects of the role, leading to confusion or behavioural changes off-screen. This is why developmental psychology plays a critical role in understanding the psychological needs of child actors.

To mitigate this challenge, I have implemented strategies such as guided debriefing sessions after emotionally intense scenes, where children are encouraged to verbalise their feelings and differentiate between their personal emotions and those of their characters. Role-distancing techniques, such as using costumes or specific rituals to 'step out' of character at the end of filming, have also proven effective. Additionally, regular psychological check-ins help identify any signs of emotional distress early on, ensuring that young actors receive the support they need to maintain a healthy sense of self and to ensure their well-being is not sacrificed for the sake of performance.

Long hours and intense schedules

The demanding nature of film and drama shooting schedules creates significant psychological stress not only for child actors but also for the professionals responsible for their well-being. Long hours, often exceeding standard working hours for adults, can lead to exhaustion, irritability, and even burnout. In these situations, the child's mental and emotional health must take precedence. However, advocating for adequate rest and psychological care on set can be difficult when faced with the pressures of production schedules and financial constraints. I have often found myself in the challenging position of negotiating between the production team, who are focused on efficiency and deadlines, and the children, whose well-being must remain the priority. For example, I once worked with a child struggling with fatigue due to long working hours. The production team was resistant to schedule adjustments, fearing delays. Through persistent advocacy and collaboration, we managed to implement small but crucial changes that allowed the child to rest without compromising the project's progress.

Another instance of negotiation involved a scene where a child actor was required to enter cold seawater. Aware of the potential health risks, including hypothermia and prolonged discomfort, I engaged in discussions with the director to find an alternative solution. While the production team initially insisted on filming as planned, I advocated for the child's well-being, emphasising the risks and long-term effects of exposure to freezing temperatures. After much deliberation, we reached a compromise where the scene was adjusted, minimising the child's time in the water and incorporating additional safety measures, such as immediate warming and access to dry clothing.

The social dynamics between peers, directors, and adult actors also influence a child's experience on set. Positive relationships can provide emotional support and help the child feel safe, whereas toxic or unprofessional environments can exacerbate stress and lead to feelings of isolation or inadequacy. I've worked with many child actors who felt out of place on set or even bullied by others, which highlights the importance of fostering a nurturing and supportive environment.

Child labour laws and protection in Türkiye

An essential aspect of protecting the mental, emotional, and physical health of child actors is adhering to child labour laws. While these young performers are compensated for their work, they are still children, and their well-being must always come first. Laws exist to limit the number of hours children can work, ensure they receive adequate breaks, and mandate access to educational opportunities while on set.

In Turkey, children under 15 are generally prohibited from working, including in television or film productions, but exceptions exist for cultural, artistic, and advertising activities. For children aged 15 to 18, strict regulations govern their working hours, allowing up to 5 hours per day and 30 hours per week in these sectors, ensuring their physical, mental, and educational well-being. While a 2015 law permits children under 14 to work in arts and culture for up to 5 hours daily, it mandates that such work should not interfere with their schooling.

So, child labour laws aim to protect children's rights, focusing on their right to education, rest, and protection from exploitation. However, experts continue to push for more comprehensive measures to safeguard child actors, including regulating on-set conditions, restricting work hours, psychological protection and ensuring that scripts do not expose children to harmful content.

While these laws provide a crucial framework for protection, enforcing them within the film industry can be challenging. There have been instances where production teams attempt to bypass these regulations to meet deadlines. As a psychologist, my position is to step in to ensure that these laws are upheld, sometimes facing resistance from those who see child protection as a hindrance rather than a necessity.

Fostering a culture

The life of a child actor is far more complex than most people realise. Behind the glamour of the screen is an intricate and sometimes difficult journey that young performers must undertake. They face emotional challenges, developmental hurdles, and the stresses of working in an industry that demands maturity beyond their years.

At the same time, psychologists working in the film industry must navigate a difficult landscape where production demands often clash with the best interests of the child. Advocating for young performers in an industry unfamiliar with psychological best practices requires resilience, diplomacy, creative problem-solving, and an unwavering commitment to prioritising their mental health over commercial objectives.

Ensuring that child labour laws are upheld and psychological support is provided is not only essential for the well-being of young actors but also for the ethical integrity of the industry itself. By fostering a culture that prioritises mental health and child protection, we can help ensure that the next generation of actors not only thrive in their careers but also grow up with the support and care they need to develop into emotionally resilient adults.

Zeynep Yasar is a Clinical Psychologist and Author