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Speaker 1: I'm Alec Baldwin and you were listening to Here's the Thing.

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Speaker 1: Jeffrey Horn is one of the greatest acting teachers ever

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Speaker 1: to grace his craft. His classes at least Strasburg's Acting School,

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Speaker 1: just off Union Square, my alma mater, have made him

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Speaker 1: a legend, but he once achieved fame of a much

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Speaker 1: broader sweep, scoring a lead role in David Lean's war

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Speaker 1: epic set in the jungles of Burma Bridge on the

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Speaker 1: River Quai. You're lovely, Lovely, that was, and he was

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Speaker 1: twenty five years old. Then he seemed to disappear. Horn

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Speaker 1: had a few roles in the sixties, but didn't resurface

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Speaker 1: as a notable actor until the seventies in New York.

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Speaker 1: Several why wives and children later, and having survived an

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Speaker 1: addictionary crisis, ass Horn's career relaunched. Lee Strasburg, one of

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Speaker 1: the three founders of method acting in the United States,

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Speaker 1: asked him to teach some classes. Horn taught me at

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Speaker 1: n y U in nineteen seventy nine. He had traveled

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Speaker 1: a long way from a corseted and isolated childhood. You

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Speaker 1: were raised in Argentina, born in Argentina, moved to Cuba.

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Speaker 1: When I was five, I came to the stage to school.

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Speaker 1: I got kicked out. It was an oil exact. My

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Speaker 1: dad worked for a Sandra company which is now ex

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Speaker 1: He had a good job. Were you close to your

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Speaker 1: parents when you were young. I'm a mama's boy. AM

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Speaker 1: more like my mother, and my father was more of

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Speaker 1: a go getter. When I was young, tyrants, we were

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Speaker 1: invited to lunch at Earn, a sending ways house and Havana.

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Speaker 1: We went out to lunch there, my father, my mother

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Speaker 1: and I and we had lunch. Oh this is good,

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Speaker 1: you'll love is He taught me how to drink out

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Speaker 1: of about the Spanish gored them thing good, good thing

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Speaker 1: for a future alcoholic right. And my father was always

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Speaker 1: talking about be a man. You gotta be a man.

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Speaker 1: And I remember looking at my father and looking at

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Speaker 1: him and I said, wait a minute, there's only one

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Speaker 1: man in his room? Hemingway, was it? Yeah? Actually I

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Speaker 1: got I was out in his home and catch him

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Speaker 1: with my mother and his widow, and she showed me

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Speaker 1: where he shot himself, right the spot. Terrible. What a

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Speaker 1: man he was, though, what a straordinary. You would love

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Speaker 1: to Cuba to go to school boarding school a boarding school.

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Speaker 1: Did you go to Millbrook School for boys and you

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Speaker 1: were there by yourself? Your parents overseas they were in Cuba.

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Speaker 1: I felt like a complete alien up here. I remember

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Speaker 1: the first time I met someone that I could talk

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Speaker 1: to and I liked, and I put my arm around

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Speaker 1: him like that. Ah, we don't do that in America.

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Speaker 1: In Cuba, you did that with your friends. You walked

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Speaker 1: with your friends with your arm around each other. That

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Speaker 1: was in the wrong school. Did your mom come visit

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Speaker 1: you when you were there? No, she came once, and

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Speaker 1: everbody in the school got an award but me and

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Speaker 1: then I got kicked out just before graduating. Your parents

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Speaker 1: stayed there? How much longer they stayed there? No, My

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Speaker 1: father moved to Venezuela with a different job. My mother remarried.

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Speaker 1: They both remarried within three weeks. It sounds grand, but

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Speaker 1: it was sort of difficult to stepfather were staying at

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Speaker 1: the Gotham Hotel, which is on Fifth Avenue and street. Uh,

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Speaker 1: it's something else. I forget the peninsula and my father

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Speaker 1: and my mother. My stepmother was staying at the St.

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Speaker 1: Regis across Fifth Avenue, and we went back and forth.

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Speaker 1: My ci and I for the whole long weekend, and

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Speaker 1: I want to write a short story about it. You know,

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Speaker 1: it's it's just sounds too rich. It was my wife

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Speaker 1: keeps saying rich, You're so you were so rich because

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Speaker 1: she grew up poor in Alabama. And then I went

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Speaker 1: to Stanford University, which was because I had a connection.

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Speaker 1: You know who my first audition was with in New

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Speaker 1: York because of a contact was Kazan. My first audition,

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Speaker 1: you see, my career was that wasn't different than yours.

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Speaker 1: It was Causetne who told me to study with Lee.

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Speaker 1: I was an ignorant Twitter. It was for tea and

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Speaker 1: sympathy for the road show, for the road company to

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Speaker 1: get the job. No No. I read for fifteen seconds

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Speaker 1: and he said, that's fine. You have a nice something.

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Speaker 1: He said something pleasant to me, and he said, you

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Speaker 1: need a good acting teacher. You know. It was I

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Speaker 1: felt like a boy always, and so when I was

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Speaker 1: playing a boy, I was okay. But if I was

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Speaker 1: suddenly I had to be a man with the wife

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Speaker 1: and kids, and I don't know how to do that.

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Speaker 1: Even though I might be married the kids. It was

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Speaker 1: very alien, which is maybe why some of those marriages

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Speaker 1: didn't work out so well. But in that heyday of

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Speaker 1: your film career, in these massive directors you worked with,

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Speaker 1: you felt awkward and clumsy and pathetic. And the first

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Speaker 1: part when I was on live TV in the first days,

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Speaker 1: those are great days. At fifty six, before I got

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Speaker 1: any good jobs. I did Billy But on television. I

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Speaker 1: played Billy but the Boy live on TV. George roy

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Speaker 1: Hill directed. It was terrific, with Luther Adler and Joseph

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Speaker 1: Wiseman and a wonderful cast of pe. Well, that was fun.

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Speaker 1: I did feel free. Then what do you think made

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Speaker 1: Kausanne Kasinne? What was different about him? I auditioned for

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Speaker 1: Cazanne that first time. Then I auditioned for him again

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Speaker 1: for Splendor in the Grass with Jane Fonda Warren Beatty's part,

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Speaker 1: and we'd read the scene and we were okay. So

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Speaker 1: he said, well, let's try something. He put his arm

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Speaker 1: around me, and even though he was not big man,

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Speaker 1: he seemed a giant. And I always thought that he

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Speaker 1: was like this Greek guy who smelled of olive oil.

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Speaker 1: I don't know, he smells a strong smell from him.

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Speaker 1: And he said something to me, you probably have to

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Speaker 1: cut this but he said, you know in the scene

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Speaker 1: and said this when you're talking. He said, it's it's

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Speaker 1: like somebody's fucked your mother. And I don't know why

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Speaker 1: it happened, but it was if he had pressed a

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Speaker 1: button inside me. And I gave really a good audis

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Speaker 1: and I didn't get the part. Warren got it. Bill

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Speaker 1: walked in with Warhut right after. If he did my audition,

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Speaker 1: but it felt better. That audition felt as good as

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Speaker 1: anything else I ever did in acting. And that's what

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Speaker 1: it was like. Incidentally, years later, I figured something out

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Speaker 1: that it's not that he knew me so well that

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Speaker 1: he picked the right thing to say to me to

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Speaker 1: get me going. He was talking personally about himself and

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Speaker 1: his mother. We loved it was lending that to you,

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Speaker 1: and it happened to work. He complained about Marlin because

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Speaker 1: Marlin would hear three words and walk away from him,

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Speaker 1: and he said, God, it would drive me crazy. He

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Speaker 1: just walk away. I was saying something, and I realized

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Speaker 1: that's all he needed was those three words. He didn't

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Speaker 1: need a long speech. Okay, So all right, So at

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Speaker 1: Lee Strasbourg five, I said, Lee, I've been studying with

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Speaker 1: you for a year kind of auditioned for the actor's studio.

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Speaker 1: He said, you can, but you're not ready. That's how

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Speaker 1: he talked. After two years, I said, link an audition

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Speaker 1: for the actor's studio. He said, what's senior doing? And

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Speaker 1: I told him. He said good. So the part was

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Speaker 1: tea and sympathy. I don't know if you remember that play.

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Speaker 1: There's a boy in prep school who feels different. He's

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Speaker 1: accused of being gay. He's not gay, he's just different.

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Speaker 1: He's a little more sensitive than the other ones and

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Speaker 1: so forth, and he gets kicked out of board in

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Speaker 1: school for whatever it was. Guess what. Jeffrey went to

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Speaker 1: boarding school, felt different, He came from Cuba, got kicked

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Speaker 1: out of boarding school. It was a good part for me,

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Speaker 1: and I got in my first audition. Harvey content took

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Speaker 1: six auditions. He's a much better actor than I do,

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Speaker 1: much better action different. I know he's much better than

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Speaker 1: I ever was. I think I can't even imagine you,

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Speaker 1: if I may say so, Master Bainy against the side

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Speaker 1: of the car as an evil detective in Bad Luten.

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Speaker 1: There's things that Harvey does. This he does that very well,

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Speaker 1: empowered him. And there's other things you do well anyway.

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Speaker 1: So I got in because I was right for it,

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Speaker 1: and I understood it, and I got it and I

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Speaker 1: was moved by it. That was the peak of my career,

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Speaker 1: twenty three years old. Everything went downhill after that. I

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Speaker 1: played your lawyer one day on the soap opera and

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Speaker 1: I say, he's my goddamn student and I'm playing his

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Speaker 1: lawyer and have three lines. But look at your Your

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Speaker 1: life in my life very different. You grew up on

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Speaker 1: Long Island. I grew up in Cuba. You went on

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Speaker 1: a soap opera. You worked at NBC. That's where you

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Speaker 1: did the soap, wasn't it. I remember somebody told me.

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Speaker 1: He said I was great. He knew everybody in this building.

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Speaker 1: He knew how to push himself. What happened to me

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Speaker 1: was just the opposite. I was able to live at

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Speaker 1: my mother's apartment, my mother and stuff. They lived on

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Speaker 1: Fifth Avenue, so that's where I lived in New York.

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Speaker 1: So I started not really hardship, and I got a

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Speaker 1: lead on a television show. Rod Stigger was my father

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Speaker 1: and I was his son. That was my first job,

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Speaker 1: a lead, and then I was doing these leading roles

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Speaker 1: on television. Before you made a movie. How long was it?

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Speaker 1: I didn't make a movie six I was in TV

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Speaker 1: for six years, and and so I went from there

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Speaker 1: to a movie, to a Broadway play to the big movie.

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Speaker 1: So I didn't have to do six years of terrible television.

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Speaker 1: You said, this is not what I want to do.

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Speaker 1: I don't want to be on not Slanding the rest

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Speaker 1: of my life. But anyway, that's a lot. Seven years

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Speaker 1: or six years. Well, that was the beginning of some

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Speaker 1: weird choices for me, because I was offered a television film,

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Speaker 1: Fatal Vision, that Joe McGuinness book about Jeffrey McDonald jffintal

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Speaker 1: murder case. I went into a bar on Eighth Avenue

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Speaker 1: and knocked down two huge shots of whiskey before I

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Speaker 1: want to do that interview, and I fucking nailed it.

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Speaker 1: I nailed it, and I got that part, and then

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Speaker 1: I turned it down. And I try to say to people,

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Speaker 1: you know what you gotta do when you have a career,

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Speaker 1: As you reach a point where you make peace with

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Speaker 1: those decisions that you made, you make peace with them.

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Speaker 1: You know where I am now, right where I want

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Speaker 1: to be. I got married to a wonderful woman. I

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Speaker 1: got four great kids, I work when I need to work.

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Speaker 1: Everything's going pretty well. That thing about drinking I sent.

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Speaker 1: I auditioned for Period of Adjustment in London at the

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Speaker 1: Royal Court Theater and I went into a bar have too.

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Speaker 1: I made the best. Oh it was good. I got

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Speaker 1: the part, and then British Equity didn't let me work

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Speaker 1: because I tried to do it another time after that.

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Speaker 1: It didn't work. It just worked once. I mean, I

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Speaker 1: drank a lot, but I didn't that In my book,

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Speaker 1: I wrote all about my own situation. And now I

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Speaker 1: think to myself with Trump, if I was drinking now,

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Speaker 1: oh my god, oh my god, you and I would

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Speaker 1: be in that bar on sixe when I watching the

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Speaker 1: ball game. We wouldn't go anywhere. Let's face it, Drinking

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Speaker 1: is fun, you know, That's why we do it. I mean,

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Speaker 1: I drank a lot. Do you think that affected your career?

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Speaker 1: Defect affected my life so much that that affected my career.

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Speaker 1: My life is so. I have a son who is

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Speaker 1: a drug addict, and he says, it's fun. You forget

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Speaker 1: you don't, don't forget that it's fun for a period

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Speaker 1: until it's not fun. And when it was not fun

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Speaker 1: anymore than I stopped. Thank God, I was able to stop.

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Speaker 1: Some people can't. Um I want to ask you, you know.

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Speaker 1: For me, one of the most memorable moments in my

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Speaker 1: life was when I did the movie The Aviator, because

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Speaker 1: it was my first time working with Marty and I

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Speaker 1: always dreamed about working with the greatest directors and I

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Speaker 1: didn't have that chance. I remember that was a problem

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Speaker 1: that I could I had to fight to get over,

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Speaker 1: which was I almost couldn't concentrate on my work as

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Speaker 1: I was so intimidated to be on a set with Marty.

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Speaker 1: But you're there, and you're gonna be that next guy.

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Speaker 1: Everybody thinks you're so handsome when you know, up to

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Speaker 1: do Bridge on the River, requiring you with Lean. God,

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Speaker 1: you're with a god making a film. Were you ready?

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Speaker 1: I was so frightened. I was so terrified Lean was

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Speaker 1: he was. He was not an actor's director like Kazan

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Speaker 1: or like some of them are wonderful with actors, but

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Speaker 1: he was so sensitive to people. He was always moving

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Speaker 1: things around. And I asked David about it, and he said, oh, oh,

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Speaker 1: I don't want to make the actors self conscious. So

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Speaker 1: I'll take a glass and I'll move it three inches

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Speaker 1: to the left and they'll think, oh, I guess I'm okay,

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Speaker 1: the glass is fine. I'm okay. And it was a

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Speaker 1: little technique that he worked out to make people feel comfortable.

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Speaker 1: But when I had lines, I remember I was sick

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Speaker 1: to my stomach the first day and I had to

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Speaker 1: throw up. It was so panic stricken because it was

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Speaker 1: all action at first, getting the bridge and training, the

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Speaker 1: stuff and all that stuff. I was fine doing throwing

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Speaker 1: people in a box with doing that, I could do that.

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Speaker 1: But River Choir was in the early sixties, seven fifty seven.

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Speaker 1: But I'm assuming even then and someone like Lean had

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Speaker 1: his own financial edicts that in order to make the

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Speaker 1: movie he wanted to make, he needed a star. Yea.

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Speaker 1: So Holden was the was the ace in the hole?

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Speaker 1: Carry Grant they talked about they wanted, but they wanted

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Speaker 1: to star in one of these roles. Or they had

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Speaker 1: Guinness who was a movie star, but not the same acount.

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Speaker 1: Jack Hawkins was actually a bigger star in England at

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Speaker 1: the time, bigger than Guinness. But Holden is the ace

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Speaker 1: in the hole in the movie start him. Was he

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Speaker 1: the same with Holden as he was? Did he treat

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Speaker 1: everybody like a company, or did he treat his star

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Speaker 1: just saying he was the same. Just did you become

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Speaker 1: pals with any of those guys? Alec Guinness was very

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Speaker 1: nice and Jack Hawkins was a big snob, which was

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Speaker 1: really peculiar. Who would have thought that, like a like

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Speaker 1: a like a tough guy, like an English tough guy,

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Speaker 1: not like a gangster tough guy, but like a man.

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Speaker 1: He was kind of a snobbld Have you met this?

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Speaker 1: He was a boy. He was thirty eight. He was

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Speaker 1: only thirty eight, he looked much older, thirty eight year

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Speaker 1: old boy. He was a boy he had He would

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Speaker 1: get bored and so he'd throw firecrackers in the dining room.

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Speaker 1: I mean, just like a one of my favorites, worship well.

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Speaker 1: He was lovely. He was always very friendly and very

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Speaker 1: helpful and nerve in his body on camera so relaxed.

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Speaker 1: What was he like? Yeah, it was rough, but he

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Speaker 1: when I went to Japan afterwards and he took me

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Speaker 1: to a Geisha house. He treated me to a dinner

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Speaker 1: at a Gisha house, a very classy, very lovely, lovely place.

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Speaker 1: No sex, but proper and in fact, even in the

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Speaker 1: middle of the dinner he got up and danced. He

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Speaker 1: was eighty. I think at the time he did some

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Speaker 1: Japanese dance. I remember all these things if I see

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Speaker 1: the movie, I remember all the sensory things. I remember

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Speaker 1: what the smell in the air was. I remember the trees,

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Speaker 1: I remember the water, I remember where there was how

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Speaker 1: hot it was. I don't think much about the movie itself,

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Speaker 1: but the companionship, the friends you make. Oh and I

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Speaker 1: had a girlfriend on the movie too. She one of

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Speaker 1: the tie girls. That was great. She was lovely. What

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Speaker 1: a great thing in your life. You got to make

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Speaker 1: that movie with one of the greatest story to be

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Speaker 1: The Jungle with Lean your career. When people take the

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Speaker 1: time to examine your career, you're in that beautiful fold

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Speaker 1: in live TV and films where you know you're the

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Speaker 1: next James Dean. Okay, so you know my career was

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Speaker 1: a disaster, right. I peaked at twenty three and I

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Speaker 1: went down. You know after that. It's like Matthew Modine

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Speaker 1: when he does his Full Metal Jacket diary and he

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Speaker 1: writes a lot about working with Cooper con Full Metal Jacket,

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Speaker 1: which I love because you can tell he just soaked

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Speaker 1: it up and loved every minute of it. Knew I

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Speaker 1: may never have it the school again as long as

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Speaker 1: I live, you know, So it's funny when you think

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Speaker 1: of that. My first thought when you were talking about

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Speaker 1: how great it must have been in the jungle. I

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Speaker 1: saw David Lean in Venice one time, the Italian fourth

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Speaker 1: of July. We are an a gondola with bread and

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Speaker 1: cheese and a huge thing of wine, and actually I

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Speaker 1: brought that and it was absolutely lovely. He and his wife.

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Speaker 1: And did I have a wife? Then? I think maybe

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Speaker 1: there were four of us and apply because at the

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Speaker 1: conclusion of your biographical material that our producer forwarded to me,

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Speaker 1: sources differ on wives and children. He's either been married

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Speaker 1: four or five times and has eight or nine children.

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Speaker 1: We're gonna give you the opportunity now to clarify. How

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Speaker 1: many times have you been married? Well, I've had for

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Speaker 1: marriages and two long term relationships which I call marriages.

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Speaker 1: So it makes six four legal men marriages. And how

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Speaker 1: many children do you have? I have three daughters that

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Speaker 1: are my daughters, and I have six adopted kids. Wait

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Speaker 1: a minute, that's nine. Yeah, you have nine. Two of

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Speaker 1: them have died, only seven left a nine children all together?

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Speaker 1: You like kids? Where your wives like no act I

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Speaker 1: did always like kids. I like kids. Yeah, And do

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Speaker 1: you know the Dark of the Dark of the Stairs

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Speaker 1: Lesa the young boy. He's Jewish, he doesn't fit in.

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Speaker 1: He's at a military school and he's going to go

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Speaker 1: to a party and he goes there and he's dancing

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Speaker 1: with the daughter of the hostess and she comes and

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Speaker 1: pulls her daughter away. My son, daughter is not going

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Speaker 1: to dance with any dirty jew. And he goes back

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Speaker 1: to his hotel that night and he jumps out the

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Speaker 1: window and kills himself. And Bill Lynch in a little

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Speaker 1: essay about the play, he said he had no sure connections.

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Speaker 1: Bill Nch was the nicest man. And I thought that

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Speaker 1: was so interesting and moving. And I thought about it

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Speaker 1: a lot, because Bill Innch out in California, drove his

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Speaker 1: car into the garage one day, left the gas on

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Speaker 1: because he had no sure connections. In spite of all

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Speaker 1: his success, all his place, he was so alone out there. Yeah.

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Speaker 1: I only met him a little bit in California, actually,

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Speaker 1: where he shouldn't have gone to live, where he e

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Speaker 1: been prior to New York. In New York, you should

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Speaker 1: have been, And why did you never move out there.

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Speaker 1: I did move to California. How long thirteen long years?

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Speaker 1: I said that for a long time. Why did you

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Speaker 1: come back here? I wanted to act? And he did.

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Speaker 1: Jeffrey horn packed up his Hollywood apartment and moved back

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Speaker 1: to New York in nineteen seventy five. Another great artist

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Speaker 1: who had a second act is Mickey Rourke. But first

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Speaker 1: came a brutal into mission. Nothing fell on my plate.

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Speaker 1: There was no work coming in because I was waiting

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Speaker 1: for you know, Jimino or Copland. It didn't happen. So

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Speaker 1: if it didn't happen, what happened was this piece of

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Speaker 1: ship fell on my plate, and they offered me a

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Speaker 1: boatload of money, and like a whore, I took the

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Speaker 1: four million or whatever it was and bought a big

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Speaker 1: fucking Elvis Presley house that I couldn't afford. And I

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Speaker 1: remember doing this film and hating myself every day. My

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Speaker 1: full interview with Mickey Rourke is in our archives that

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Speaker 1: Here's the Thing, Dot Org. This is Alec Baldwin, and

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Speaker 1: you were listening to Here's the Thing. We left Jeffrey

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Speaker 1: Horn in he had moved back to New York after

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Speaker 1: his career flamed out. In Hollywood. That ended up being

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Speaker 1: his next lucky break. I had a revival of my

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Speaker 1: career in my forties. I came back to New York.

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Speaker 1: I did some plays off Broadway. I was in a

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Speaker 1: musical Mary. We rolled along. When did the idea come

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Speaker 1: that you were going to teach acting? I was asked

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Speaker 1: by who at least do you recall what the year?

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Speaker 1: That was a decade um. I always liked teaching. I

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Speaker 1: always taught something. I taught yoga for a while, gardening.

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Speaker 1: I taught horseback riding because I had all these kids

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Speaker 1: around and I would do that. And I was working

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Speaker 1: a lot at the Actors Studio during scenes a lot

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Speaker 1: and Lisa, I'm into a play there and he said, oh,

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Speaker 1: he wrudgingly said, all right, try one class. I never

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Speaker 1: worked Monday night, since I always taught at Monday night class.

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Speaker 1: That was my beginning. And then n y U and

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Speaker 1: that's when you were there seventy nine. I don't even

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Speaker 1: teaching for a year. God knows what miserable stuff I

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Speaker 1: told you. I didn't know what the hell I was

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Speaker 1: Do's what made me famous. I've lived on every word

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Speaker 1: of her. I didn't know what to do, and I

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Speaker 1: was crying during a sense memory exercise. You poked me

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Speaker 1: in the stomach and you said, I want you to

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Speaker 1: work on your insides as much as you're outside. It's funny.

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Speaker 1: I remember that too. You told me that Milton could

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Speaker 1: sell us said the same thing to you. Well, Milton

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Speaker 1: could sell us walked when when I was with you,

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Speaker 1: I was skinny, and when seven nine, I was lean,

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Speaker 1: And then when I got with him, I met him

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Speaker 1: in nineteen eighty three, eighty four. But I'll never know you.

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Speaker 1: The first thing you do when you're a poor kid

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Speaker 1: and you make a lot of money is you start

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Speaker 1: to eat whatever you want to eat. And uh, and

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Speaker 1: you don't hesitate. You know what I mean. I'm like, well,

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Speaker 1: I discovered sushi when I moved to l a and

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Speaker 1: and I haven't turned back since. But I'll never could

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Speaker 1: sell us walked up to me. He never said one

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Speaker 1: thing to me the whole time. And he walked up

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Speaker 1: behind me, and he whispered in my ear. He said,

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Speaker 1: lose eight pounds eight. We were specific. He was a

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Speaker 1: genius about about that kind of estimation. But when you

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Speaker 1: began teaching, how's it changed for you over the course

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Speaker 1: of that I feel liberated. It used to be what

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Speaker 1: and what is it now? I'm not very confident, never

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Speaker 1: have been. And I felt anxious all the time, and

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Speaker 1: I'm worried that I wasn't doing it right and that

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Speaker 1: I wasn't helping. And maybe five years, maybe longer, I

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Speaker 1: suddenly felt liberated. I felt like I gotta be myself.

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Speaker 1: I think really for the first time my life teaching,

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Speaker 1: I never felt that as an actor, I could be myself,

403
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Speaker 1: which is what you always had from the beginning. How

404
00:20:34,960 --> 00:20:38,679
Speaker 1: have the students changed to come into these spaces that

405
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Speaker 1: you teach them? It is the same the students. There's

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Speaker 1: more diversity now, they're getting much more hip, They're much

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Speaker 1: more knowledgeable about stuff the world. It's a little sometimes

408
00:20:47,720 --> 00:20:51,240
Speaker 1: a little too political. They're like wary about what you say.

409
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Speaker 1: You're like, I can't you should be able to say that,

410
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Speaker 1: you can say this, you can't say that. I know

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Speaker 1: there's some things probably they were massively offensive fifty years

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Speaker 1: ago or forty years ago and I started teaching, but

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Speaker 1: that we can't say now. But I think sometimes I

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Speaker 1: gets a little excid, like they're looking for something. I

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Speaker 1: mentioned suicide one time in class and a girl said,

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Speaker 1: trigger and her friend said, oh, that's right trigger, and

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Speaker 1: I thought that's stupid, and I got really upset and

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Speaker 1: I said, my eldest son committed suicide. I can't talk

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Speaker 1: about that. Well, it might hurt someone. Does the institution

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Speaker 1: tell you that you have to honor that? When they

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Speaker 1: say that, not yet, why don't you just get up

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Speaker 1: and leave? That's it perfect. There was a girl in

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Speaker 1: class who obviously had some issue about a scene because

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Speaker 1: it hadn't involved sexual assault, and she said, I think

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Speaker 1: I'll sit this one out, and she left the class

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Speaker 1: right fine, and she works very well, she's very good,

427
00:21:42,840 --> 00:21:45,159
Speaker 1: she's very talented, says she said. I can't deal with

428
00:21:45,200 --> 00:21:47,879
Speaker 1: that now. The thing I noticed, and I don't expect

429
00:21:47,880 --> 00:21:51,399
Speaker 1: you to agree or whatever, but I did interested to

430
00:21:51,440 --> 00:21:54,080
Speaker 1: get your thoughts. Is that when I would teach school

431
00:21:55,280 --> 00:21:57,000
Speaker 1: and I would guess at n y you, I'd walk

432
00:21:57,040 --> 00:21:59,679
Speaker 1: into a class for a day and I'd give my

433
00:21:59,720 --> 00:22:02,640
Speaker 1: thought about whatever. And then I did the full semester,

434
00:22:02,680 --> 00:22:06,280
Speaker 1: which was very interesting, and we had eleven pairs for

435
00:22:06,320 --> 00:22:10,359
Speaker 1: a scene study and we had people come. What I

436
00:22:10,400 --> 00:22:12,840
Speaker 1: realized was that now in the modern world, there are

437
00:22:12,880 --> 00:22:15,600
Speaker 1: young people who come to acting school who have the

438
00:22:15,720 --> 00:22:18,119
Speaker 1: cumbs and the s A T s to go to

439
00:22:18,200 --> 00:22:22,400
Speaker 1: law school or medical school, the Creme de la creme academically,

440
00:22:22,440 --> 00:22:25,439
Speaker 1: and they're coming here to study acting. But a lot

441
00:22:25,480 --> 00:22:29,120
Speaker 1: of them aren't very talented. They're not very talented. They'd

442
00:22:29,119 --> 00:22:31,160
Speaker 1: be better lawyers, right. And I said to this school,

443
00:22:31,160 --> 00:22:32,720
Speaker 1: I said, they're all very smart. I said, I'm in

444
00:22:32,760 --> 00:22:35,280
Speaker 1: a room full of really smart people who aren't very

445
00:22:35,280 --> 00:22:38,520
Speaker 1: adventurous actors or artists. And I said, what I would

446
00:22:38,600 --> 00:22:40,440
Speaker 1: encourage you to do? And they and you could see

447
00:22:40,480 --> 00:22:43,480
Speaker 1: them twitching, and say, you need to take two slots,

448
00:22:43,800 --> 00:22:46,639
Speaker 1: one man, one woman, and lower it to a certain

449
00:22:46,680 --> 00:22:48,760
Speaker 1: floor like nothing below a three, oh nothing below a

450
00:22:48,760 --> 00:22:51,639
Speaker 1: specific s a T. But tear out two coupons and

451
00:22:51,720 --> 00:22:54,119
Speaker 1: invite people in her you think are just purely talented,

452
00:22:54,720 --> 00:22:56,840
Speaker 1: that you think gave an audition that just blew you away.

453
00:22:56,880 --> 00:22:58,920
Speaker 1: And it's not just for their it's for the benefit

454
00:22:58,960 --> 00:23:02,080
Speaker 1: of the other kids to see what good is and

455
00:23:02,119 --> 00:23:05,400
Speaker 1: who can take direction, because in the studio at Strasbourg

456
00:23:05,440 --> 00:23:07,480
Speaker 1: where I went, when I studied with you, it's a

457
00:23:07,520 --> 00:23:09,920
Speaker 1: lot more, you know, less result oriented, and so which

458
00:23:10,000 --> 00:23:13,720
Speaker 1: is good. I'll never forget. Um. There was a guy

459
00:23:13,760 --> 00:23:16,560
Speaker 1: I won't name his name. I'm so tempted to, but

460
00:23:16,640 --> 00:23:20,320
Speaker 1: he does Oberon in the class, and when he's done,

461
00:23:20,320 --> 00:23:23,399
Speaker 1: the teachers are stands there and stares at him, and

462
00:23:23,480 --> 00:23:25,359
Speaker 1: she literally looks over her shoulder at the rest of

463
00:23:25,359 --> 00:23:30,600
Speaker 1: the class, like there it is. He's just fantastic. I

464
00:23:30,640 --> 00:23:33,119
Speaker 1: saw him twenty five years later. He's a conductor on

465
00:23:33,160 --> 00:23:36,280
Speaker 1: the subway and amazing. I'm not mocking that. I'm just

466
00:23:36,280 --> 00:23:39,520
Speaker 1: saying he's not. What happens in the classroom and what

467
00:23:39,520 --> 00:23:41,440
Speaker 1: happens in the outside world is a very very different

468
00:23:41,440 --> 00:23:44,360
Speaker 1: thing for me. The kinds of people that are going

469
00:23:44,400 --> 00:23:47,400
Speaker 1: into the business they want to be famous. I didn't

470
00:23:47,440 --> 00:23:50,160
Speaker 1: really get that that much when I was. It's changed

471
00:23:50,160 --> 00:23:51,960
Speaker 1: a lot. And you know, and of course, back in

472
00:23:52,000 --> 00:23:54,199
Speaker 1: fifty four when I was in my first class, I

473
00:23:54,240 --> 00:23:57,000
Speaker 1: didn't know anything like Nicholas was in the class. Um

474
00:23:57,400 --> 00:24:02,040
Speaker 1: Elanagan was in my class. Um. Everybody in the class

475
00:24:02,119 --> 00:24:06,280
Speaker 1: worked professionally. There were fewer actors and more jobs, and

476
00:24:06,320 --> 00:24:08,840
Speaker 1: a lot of them were really good and had really long,

477
00:24:08,920 --> 00:24:11,920
Speaker 1: wonderful careers. I think that's changed, that's changed a lot.

478
00:24:11,960 --> 00:24:14,080
Speaker 1: Why do you stay here? Why? Why? Oh my god,

479
00:24:14,119 --> 00:24:16,680
Speaker 1: I don't want to go anywhere. I have sure connections.

480
00:24:16,680 --> 00:24:19,280
Speaker 1: Now I have this job, a great job. I'd love

481
00:24:19,320 --> 00:24:22,120
Speaker 1: going to work every day. I only work three days

482
00:24:22,119 --> 00:24:24,280
Speaker 1: a week, such as nice because I am eighty five.

483
00:24:24,600 --> 00:24:26,760
Speaker 1: Those a long days, eight hour days, and then gray

484
00:24:26,800 --> 00:24:28,680
Speaker 1: I feel great. I have four days off a week.

485
00:24:29,080 --> 00:24:31,159
Speaker 1: I have a wife who's great. She reads to me

486
00:24:31,200 --> 00:24:34,800
Speaker 1: at nighttime. Every night. We read Anna Karen and I.

487
00:24:34,880 --> 00:24:38,800
Speaker 1: We read Warren Peace, We read wonderful books. She's what

488
00:24:38,880 --> 00:24:42,199
Speaker 1: created this Shakespeare company out of her imagination. And so

489
00:24:42,240 --> 00:24:44,040
Speaker 1: I get the director of Shakespeare play every year. We're

490
00:24:44,040 --> 00:24:46,720
Speaker 1: doing Hamlet this year. When in June, we have an

491
00:24:46,760 --> 00:24:49,000
Speaker 1: apartment that I love. We had a cat that we love,

492
00:24:49,080 --> 00:24:52,920
Speaker 1: both of us, a wonderful cat. But the cat died recently,

493
00:24:52,960 --> 00:24:55,240
Speaker 1: and so suddenly you feel a little bit diminished. You

494
00:24:55,320 --> 00:24:57,600
Speaker 1: have have four sure things and now I only have three.

495
00:24:58,440 --> 00:25:01,480
Speaker 1: Have you ever been tempted to teach somewhere else? Strasburg

496
00:25:01,520 --> 00:25:09,200
Speaker 1: works for you based on what what's the belief? Uh?

497
00:25:09,840 --> 00:25:12,159
Speaker 1: I think that the hurts we have in childhood, and

498
00:25:12,160 --> 00:25:14,919
Speaker 1: the hurts we never get over the wounds of the

499
00:25:14,960 --> 00:25:18,640
Speaker 1: spirit that never heal. Tennessee Williams writes about it beautifully.

500
00:25:18,720 --> 00:25:20,720
Speaker 1: So I can't say it as beautifully as he says it.

501
00:25:20,840 --> 00:25:22,880
Speaker 1: No matter how famous, no matter how rich, no matter

502
00:25:22,920 --> 00:25:26,239
Speaker 1: how successful, it never goes away. Martin Brando is as

503
00:25:26,280 --> 00:25:28,439
Speaker 1: hurt the day he died as he was when he

504
00:25:28,480 --> 00:25:33,440
Speaker 1: was a child with a brutal father. Um Strasburg stressed

505
00:25:33,720 --> 00:25:37,719
Speaker 1: childhood memory emotion. If you get in touch with the

506
00:25:37,800 --> 00:25:40,640
Speaker 1: hurt of your childhood through memory, the emotion will be there.

507
00:25:40,840 --> 00:25:43,040
Speaker 1: When I would teach acting, i'd hire a piano player,

508
00:25:43,520 --> 00:25:44,919
Speaker 1: so I have a guy who was local that come

509
00:25:44,960 --> 00:25:46,560
Speaker 1: and play the piano, and we'd have a range of

510
00:25:46,640 --> 00:25:50,080
Speaker 1: this very basic song you'd sing, climb every mountain, the

511
00:25:50,119 --> 00:25:52,959
Speaker 1: sun will come out tomorrow. And I made them get up.

512
00:25:53,800 --> 00:25:55,520
Speaker 1: I made him sing, and I said, if you can't

513
00:25:55,520 --> 00:25:57,840
Speaker 1: do this, you can't act. You gotta pull your pants

514
00:25:57,880 --> 00:26:00,679
Speaker 1: down here. You're you're you're not a singer. So what

515
00:26:01,200 --> 00:26:05,280
Speaker 1: I always remember this that Maury Yeston, who wrote nine,

516
00:26:05,760 --> 00:26:07,520
Speaker 1: was at a party. I was at a benefit for

517
00:26:07,600 --> 00:26:09,720
Speaker 1: like the Roundabout or something, and there was Nathan Lane

518
00:26:09,720 --> 00:26:11,560
Speaker 1: and this one and that one, and they're all talking

519
00:26:11,560 --> 00:26:14,160
Speaker 1: about Broadway musical Tonight. Don't sing And Maury Yeston said

520
00:26:14,200 --> 00:26:16,119
Speaker 1: to me, he said, you don't sing I said, I

521
00:26:16,119 --> 00:26:18,160
Speaker 1: really don't sing, and I wish I did. I can't sing.

522
00:26:18,280 --> 00:26:21,360
Speaker 1: I really can't. I don't have the equipment. And he said,

523
00:26:21,359 --> 00:26:23,520
Speaker 1: you know, Dustin Hoffman said the same thing to me.

524
00:26:23,640 --> 00:26:27,679
Speaker 1: And I said, to Dustin, sing the star Spangled Banner

525
00:26:28,040 --> 00:26:31,800
Speaker 1: in the style of Jimmy Duranty and dust and said,

526
00:26:32,119 --> 00:26:37,480
Speaker 1: oh see, can you see? He said, now I want

527
00:26:37,520 --> 00:26:42,119
Speaker 1: you to sing Happy Birthday in the style of Louis

528
00:26:42,200 --> 00:26:46,800
Speaker 1: Armstrong Happy. He said, you see, you're on key, and

529
00:26:46,800 --> 00:26:50,040
Speaker 1: you can sing when you're imitating somebody else because you

530
00:26:50,040 --> 00:26:52,320
Speaker 1: don't have your own style, because we have to find

531
00:26:52,320 --> 00:26:55,600
Speaker 1: your style, and you're gonna wind up doing an impersonation

532
00:26:55,600 --> 00:26:57,240
Speaker 1: of someone that doesn't exist to actually, which is the

533
00:26:57,280 --> 00:26:59,280
Speaker 1: style we're going to create for you to sing. I

534
00:26:59,320 --> 00:27:01,560
Speaker 1: thought that was fascinating what he said that about singing.

535
00:27:02,080 --> 00:27:04,119
Speaker 1: You know, my my wife we did bus stop. I

536
00:27:04,200 --> 00:27:06,680
Speaker 1: directed bus Stop. There's wonderful part for her. She was

537
00:27:06,800 --> 00:27:09,200
Speaker 1: very good. But she can't sing at all. She sings

538
00:27:10,000 --> 00:27:13,440
Speaker 1: one note a hundred times. It's the same note. It

539
00:27:13,520 --> 00:27:15,719
Speaker 1: doesn't go up, doesn't go down, doesn't go faster than

540
00:27:15,840 --> 00:27:19,240
Speaker 1: go slower. I cannot do it now. Maybe someone could

541
00:27:19,320 --> 00:27:22,119
Speaker 1: get it. No, She even went to a singing coach. Nothing. Nothing.

542
00:27:22,720 --> 00:27:27,760
Speaker 1: Do you think everybody can act? I think I think

543
00:27:27,840 --> 00:27:31,200
Speaker 1: some people have a Meryl Streep as a wonderful actress, right,

544
00:27:31,280 --> 00:27:33,800
Speaker 1: and she can do almost everything, but not everything. Yes,

545
00:27:34,920 --> 00:27:37,520
Speaker 1: Marlon Brando, David Lean offered him the part of the Buddha.

546
00:27:37,520 --> 00:27:39,280
Speaker 1: I'll make a movie with you the Buddha. He said,

547
00:27:39,280 --> 00:27:42,280
Speaker 1: I'm not right for the part. He knew himself. Well,

548
00:27:42,760 --> 00:27:44,640
Speaker 1: I don't think it was just laziness on his part

549
00:27:44,680 --> 00:27:46,160
Speaker 1: that he said, I'm not right for it. I don't

550
00:27:46,160 --> 00:27:49,240
Speaker 1: want to go to India. Jack Nicholson is a wonderful actor.

551
00:27:49,320 --> 00:27:51,760
Speaker 1: He can't do everything. This girl in my class just

552
00:27:51,880 --> 00:27:54,640
Speaker 1: yesterday she worked on two scenes and the first one

553
00:27:54,720 --> 00:27:56,960
Speaker 1: she was so terrible it was just painful to watch.

554
00:27:57,560 --> 00:27:59,119
Speaker 1: And then she did another one and she was just

555
00:27:59,160 --> 00:28:01,960
Speaker 1: couldn't have been better to the right part. You have

556
00:28:02,040 --> 00:28:05,960
Speaker 1: to find something you connect to and then eventually, uh,

557
00:28:06,600 --> 00:28:09,040
Speaker 1: you keep putting it out there. I really believe this,

558
00:28:09,119 --> 00:28:11,960
Speaker 1: and this is very you know, kind of metaphysical maybe,

559
00:28:12,000 --> 00:28:13,359
Speaker 1: but you keep putting it out there, It's going to

560
00:28:13,440 --> 00:28:15,800
Speaker 1: come back to you. Do you feel the same way.

561
00:28:16,960 --> 00:28:19,399
Speaker 1: So I remember with Gregory Peck my second wife was

562
00:28:19,440 --> 00:28:21,920
Speaker 1: in a to Kill a Mockingberg. She played the girl

563
00:28:22,000 --> 00:28:25,520
Speaker 1: that accused the black Eye of rape, Mayell Violet, And

564
00:28:25,520 --> 00:28:31,840
Speaker 1: that was my second wife. Your second wife played Mayella? Yes, yes, yes, yeah.

565
00:28:31,920 --> 00:28:33,439
Speaker 1: Where did you meet with the studio? We were on

566
00:28:33,440 --> 00:28:35,359
Speaker 1: the same TV show and then we both remembers of

567
00:28:35,400 --> 00:28:41,600
Speaker 1: the studio and then whatever whatever marriage? Yeah that I

568
00:28:41,640 --> 00:28:45,120
Speaker 1: think I was still married, but never mind. Anyway. Gregory Peck,

569
00:28:45,360 --> 00:28:47,640
Speaker 1: who I just meant to say hello, I shook his hand,

570
00:28:47,920 --> 00:28:50,240
Speaker 1: who was actually the most beautiful man I've ever seen

571
00:28:50,240 --> 00:28:52,760
Speaker 1: in my life. He and his wife. I walked into

572
00:28:52,800 --> 00:28:54,560
Speaker 1: an elevator and they were standing there. I think I

573
00:28:54,600 --> 00:28:56,760
Speaker 1: stood there with my mouth opened like an idiot. I

574
00:28:56,800 --> 00:28:58,880
Speaker 1: felt like I was this big and they were these giants.

575
00:28:59,200 --> 00:29:02,080
Speaker 1: He said when he was eighty, I should have taken

576
00:29:02,120 --> 00:29:05,400
Speaker 1: more risks. And then just yesterday I read this in class.

577
00:29:05,600 --> 00:29:07,000
Speaker 1: One of my students sent it to me. It's a

578
00:29:07,480 --> 00:29:10,440
Speaker 1: the Actors, something that Kazan wrote, and one of those things,

579
00:29:10,520 --> 00:29:13,400
Speaker 1: don't be timid. That's the thing that I don't like

580
00:29:13,480 --> 00:29:16,240
Speaker 1: it when people say if you're shy, you can't be

581
00:29:16,280 --> 00:29:19,080
Speaker 1: an actor. Well, I don't think that's true. I think

582
00:29:19,280 --> 00:29:21,440
Speaker 1: I remember meeting Robert de Niro. He was famous, but

583
00:29:21,480 --> 00:29:24,040
Speaker 1: he was not in his element. He was at a

584
00:29:24,080 --> 00:29:27,200
Speaker 1: party and he felt awkward, and he seemed really shy,

585
00:29:27,360 --> 00:29:30,120
Speaker 1: painfully shy. So does that mean he can't be an actor?

586
00:29:30,160 --> 00:29:32,560
Speaker 1: If anybody had said that, no, Bobby, forget it, to

587
00:29:32,720 --> 00:29:35,080
Speaker 1: forget to do something else. You're too shy. I think

588
00:29:35,120 --> 00:29:37,720
Speaker 1: that's why I like Strasburg is that there's no rule

589
00:29:37,760 --> 00:29:40,040
Speaker 1: about how you're supposed to be well in my career,

590
00:29:40,520 --> 00:29:41,960
Speaker 1: and I don't like that word, but I'll use it

591
00:29:41,960 --> 00:29:45,000
Speaker 1: anyway because it's handy in my career. There's two people

592
00:29:45,040 --> 00:29:47,000
Speaker 1: who I studied acting with who said things to me

593
00:29:47,080 --> 00:29:50,920
Speaker 1: that were pivotal. One was Elaine Aiken, who, when I

594
00:29:50,960 --> 00:29:53,320
Speaker 1: went to meet her with her privately gets a little

595
00:29:53,320 --> 00:29:55,920
Speaker 1: bit of coaching. I did about a five or six

596
00:29:55,960 --> 00:29:59,040
Speaker 1: sessions with her about street Car street Car. I remember

597
00:29:59,080 --> 00:30:02,120
Speaker 1: when we did the play, I had an instinct like, oh,

598
00:30:02,160 --> 00:30:04,200
Speaker 1: I want to not just work with Gregory who is directing.

599
00:30:04,240 --> 00:30:05,880
Speaker 1: I wanted to go to get a little private thing,

600
00:30:06,320 --> 00:30:08,040
Speaker 1: to get a little jump on it. And we're there

601
00:30:08,040 --> 00:30:13,520
Speaker 1: in her apartment on Central Park West, and she said

602
00:30:13,520 --> 00:30:15,920
Speaker 1: to me, when we've reached a juncture, in the scene

603
00:30:15,920 --> 00:30:19,080
Speaker 1: and she said to me, she said, baby, this part.

604
00:30:19,520 --> 00:30:22,720
Speaker 1: You know, he's an animal. He just wanted he wants something,

605
00:30:22,760 --> 00:30:24,600
Speaker 1: he just takes it. He's going to go right through

606
00:30:25,000 --> 00:30:27,800
Speaker 1: who's ever in his way. She goes, and really, you're

607
00:30:27,800 --> 00:30:30,440
Speaker 1: either sexy or you're not. There's nothing we can work

608
00:30:30,440 --> 00:30:32,800
Speaker 1: on there. You've either got that or you don't. And

609
00:30:32,800 --> 00:30:34,360
Speaker 1: then of course you who said I want you to

610
00:30:34,400 --> 00:30:37,880
Speaker 1: work on your insides as much as you're outside. I

611
00:30:37,920 --> 00:30:40,440
Speaker 1: saw you, of course in street car whatever it is

612
00:30:40,480 --> 00:30:42,479
Speaker 1: that she how she coached you work because you were

613
00:30:42,600 --> 00:30:44,080
Speaker 1: very sexy and I know it all to you, and

614
00:30:44,600 --> 00:30:48,719
Speaker 1: you were very funny. You were very funny. Is there

615
00:30:48,720 --> 00:30:50,480
Speaker 1: any part you want to do? I kept thinking of

616
00:30:50,560 --> 00:30:52,440
Speaker 1: what part should Ale do that he hasn't done well?

617
00:30:52,440 --> 00:30:54,240
Speaker 1: I think to myself, you know, obviously, I think about

618
00:30:54,280 --> 00:30:58,160
Speaker 1: my age. I have an unshakable interest in trying to

619
00:30:58,640 --> 00:31:02,640
Speaker 1: master After the fall by Miller Coud, that take on

620
00:31:02,720 --> 00:31:06,120
Speaker 1: his marriage to Monroe is what's in the relationship between

621
00:31:06,120 --> 00:31:08,640
Speaker 1: a man and a woman and that attraction we have

622
00:31:08,720 --> 00:31:10,880
Speaker 1: to the wrong woman, and a woman's gonna kill us

623
00:31:11,480 --> 00:31:13,040
Speaker 1: if we if we hang on there, we're gonna go

624
00:31:13,080 --> 00:31:14,920
Speaker 1: down with her. We're gonna sink on that ship with her.

625
00:31:15,320 --> 00:31:17,280
Speaker 1: I was intrigued by that. Maybe not so much anymore

626
00:31:17,280 --> 00:31:19,920
Speaker 1: because I'm very happily married, but when I was coupling

627
00:31:19,920 --> 00:31:23,960
Speaker 1: with the wrong person, almost addictively, I was obsessed with

628
00:31:24,000 --> 00:31:27,440
Speaker 1: that piece and then the other pieces. Iguana. I just love.

629
00:31:28,280 --> 00:31:30,320
Speaker 1: I just love when they roll that old man out

630
00:31:30,320 --> 00:31:32,880
Speaker 1: there and he says the poem and he drops dead.

631
00:31:33,560 --> 00:31:38,520
Speaker 1: I just want to play that ornery, alcoholic, fornicating madman.

632
00:31:38,720 --> 00:31:42,200
Speaker 1: I want to play Shannon. Yeah, but the problems. It's

633
00:31:42,200 --> 00:31:44,200
Speaker 1: a great but the problem is that then the Williams Cannon.

634
00:31:44,400 --> 00:31:48,000
Speaker 1: Everybody plays Shannon. You play Chance, you play Stanley, you

635
00:31:48,040 --> 00:31:50,280
Speaker 1: play Brick, you play all the young parts, and then

636
00:31:50,400 --> 00:31:53,440
Speaker 1: there's nothing until Shannon, and then after Shannon, there's only

637
00:31:53,480 --> 00:31:56,400
Speaker 1: the last Top is your big daddy, right, So I

638
00:31:56,400 --> 00:31:58,959
Speaker 1: mean every guy in my age plays Shannon's. I've kind

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00:31:58,960 --> 00:32:00,200
Speaker 1: of backed off of it, but I'd like to do

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00:32:00,240 --> 00:32:02,640
Speaker 1: it one day. One day. You want to direct me

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00:32:02,680 --> 00:32:05,320
Speaker 1: and Shannon. That's a hard play. I don't know. I

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00:32:06,440 --> 00:32:08,520
Speaker 1: you know, I only work with my students. Well you,

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00:32:08,560 --> 00:32:12,400
Speaker 1: as a former student, I could direct you. Everybody that

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00:32:12,440 --> 00:32:15,440
Speaker 1: I worked with that I directed that I've taught, and

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00:32:15,560 --> 00:32:20,440
Speaker 1: so I don't have to. I don't have to cater

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00:32:20,520 --> 00:32:23,720
Speaker 1: to anybody. Sometimes actors, even though they've never done a

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00:32:23,800 --> 00:32:25,320
Speaker 1: job in their lives, you can have to cater to

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00:32:25,360 --> 00:32:28,239
Speaker 1: them a little bit, but it'd be hard from you.

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00:32:28,360 --> 00:32:30,280
Speaker 1: I do you know? You know who? Very I don't see.

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00:32:31,160 --> 00:32:34,080
Speaker 1: He was the Shakespeare guru at the Public and now

651
00:32:34,080 --> 00:32:38,720
Speaker 1: he's in Santiago artistic director, and he was coaching some

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00:32:38,880 --> 00:32:42,760
Speaker 1: very well known actors in his technique verse technique, and

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00:32:42,760 --> 00:32:45,800
Speaker 1: he's really very good. He's extrauditt and knowledgeable about verse.

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00:32:46,120 --> 00:32:49,160
Speaker 1: And they were arguing with him because they were more

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00:32:49,200 --> 00:32:51,360
Speaker 1: famous than he was, and I thought, fuck that. I

656
00:32:51,400 --> 00:32:53,120
Speaker 1: don't need that. I don't want to do that. I

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00:32:53,240 --> 00:32:55,200
Speaker 1: want to get an argument with anybody. Not that I

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00:32:55,200 --> 00:32:57,360
Speaker 1: think you would argue or be a pain, but I'm

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00:32:57,400 --> 00:32:59,920
Speaker 1: thinking of other people that i've known, because actors are

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00:33:00,000 --> 00:33:02,120
Speaker 1: always insecure when they go into a job, aren't they.

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00:33:02,120 --> 00:33:05,360
Speaker 1: And they, yes, they are always and they and they

662
00:33:05,400 --> 00:33:07,480
Speaker 1: need someone to let them know they're gonna be okay.

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00:33:08,240 --> 00:33:12,320
Speaker 1: You know, you're smart, you're insightful, but you're kind, and

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00:33:12,360 --> 00:33:15,000
Speaker 1: I feel that's essential. I'm not going to name names,

665
00:33:15,040 --> 00:33:16,960
Speaker 1: but remember teachers there at Strasbourg, Who you do the scene?

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00:33:17,000 --> 00:33:20,520
Speaker 1: They go, why did you bother? My mother was nice,

667
00:33:20,720 --> 00:33:23,800
Speaker 1: so I learned that she was kind. Thank you for

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00:33:23,840 --> 00:33:25,720
Speaker 1: doing this with me. Thanks very What a nice thing

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00:33:25,760 --> 00:33:32,640
Speaker 1: to do. Jeffrey Horn from lonely child to movie star

670
00:33:33,080 --> 00:33:37,920
Speaker 1: to obscurity and a spectacular second act. As you heard

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00:33:38,080 --> 00:33:41,240
Speaker 1: his teaching isn't his only gift to New York theater.

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00:33:41,840 --> 00:33:44,920
Speaker 1: The theater company he started with his wife, Billy Anderson

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00:33:45,440 --> 00:33:50,320
Speaker 1: is called Shakespeare Downtown. Tickets are free. They rely on

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00:33:50,440 --> 00:33:54,760
Speaker 1: donations at Shakespeare Downtown dot org. The Hamlet we discussed

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00:33:55,080 --> 00:34:01,640
Speaker 1: opens June and runs through I'm Alec Baldwin and you're

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00:34:01,680 --> 00:34:02,960
Speaker 1: listening to Here's the Thing