1 00:00:01,520 --> 00:00:18,639 Speaker 1: More, more Better, More, More Better, More. Welcome to More Better, 2 00:00:18,680 --> 00:00:20,440 Speaker 1: a podcast where we stop pretending to have it all 3 00:00:20,480 --> 00:00:22,920 Speaker 1: together and embrace the journey of becoming a little more 4 00:00:22,920 --> 00:00:27,960 Speaker 1: better every day, or at least trying to. That's Stephanie Beatrice, 5 00:00:28,120 --> 00:00:31,200 Speaker 1: and that's Melissa and Merrow. And this you know what 6 00:00:31,240 --> 00:00:35,720 Speaker 1: this is because you've turned it on. It's you clicked it. Yeah, 7 00:00:35,760 --> 00:00:41,000 Speaker 1: that's right, you clicked it on purpose that it's so 8 00:00:41,240 --> 00:00:49,200 Speaker 1: rude you clicked it. Welcome back to the to the 9 00:00:49,360 --> 00:00:55,720 Speaker 1: podcast where to absolutely non experts expertly guide you through 10 00:00:55,800 --> 00:01:00,600 Speaker 1: our non expert advice. We're really us here to talk 11 00:01:00,640 --> 00:01:04,119 Speaker 1: some ship. Yeah that's right ship. How you doing friend? 12 00:01:04,240 --> 00:01:08,840 Speaker 1: I'm okay, you know, just hanging in there. Just yeah, 13 00:01:09,400 --> 00:01:16,320 Speaker 1: hanged and haanging in there. More Better. So this week 14 00:01:16,400 --> 00:01:19,280 Speaker 1: on the pod, we're going to talk about, uh, we're 15 00:01:19,280 --> 00:01:24,520 Speaker 1: gonna talk about acting. It's about to get real nerdy, 16 00:01:24,840 --> 00:01:29,320 Speaker 1: real insidery, oral niche. Hopefully it's funny, but you know, 17 00:01:29,520 --> 00:01:32,560 Speaker 1: we can't promise you that. I'm just gonna come out 18 00:01:32,600 --> 00:01:36,080 Speaker 1: straight and say that we cannot promise that this will 19 00:01:36,120 --> 00:01:39,280 Speaker 1: be funny. We hope it is, but it might just 20 00:01:39,319 --> 00:01:43,280 Speaker 1: be super super nerdy and this is not all research 21 00:01:43,319 --> 00:01:46,080 Speaker 1: that we haven't done. We've done this research because we 22 00:01:46,520 --> 00:01:48,760 Speaker 1: went to school for the ship. Yeah, we did yeah, 23 00:01:49,360 --> 00:01:52,400 Speaker 1: degrees in this Yeah. Well, I mean technically I don't 24 00:01:52,440 --> 00:01:56,200 Speaker 1: have my degree. I don't think. But it didn't did 25 00:01:56,200 --> 00:01:59,480 Speaker 1: you not finish? Wait? Do I not know that I 26 00:01:59,520 --> 00:02:05,920 Speaker 1: fail a class? I failed a stage management class because 27 00:02:06,200 --> 00:02:11,440 Speaker 1: I can't management. Yes, we had to take everything, and 28 00:02:11,480 --> 00:02:14,000 Speaker 1: I think, like, I think I may have my degree now, 29 00:02:14,280 --> 00:02:17,200 Speaker 1: like I think that they, Oh did you get an honorary? 30 00:02:17,600 --> 00:02:22,400 Speaker 1: I might listen, I fancy. I mean, I went through 31 00:02:22,440 --> 00:02:26,400 Speaker 1: the whole program. I did everything. I the only thing 32 00:02:26,440 --> 00:02:30,040 Speaker 1: that I like, haven't I think? I like I it 33 00:02:30,240 --> 00:02:35,520 Speaker 1: just listen. Organization. Organization wasn't my forte. When I was 34 00:02:35,560 --> 00:02:38,600 Speaker 1: in college, I was a disaster on two legs. Like 35 00:02:38,800 --> 00:02:42,840 Speaker 1: it was a mess. And now now I'm a different story. 36 00:02:42,919 --> 00:02:45,120 Speaker 1: I could chase that class with flying colors, but at 37 00:02:45,120 --> 00:02:47,639 Speaker 1: the time with their eyes closed at the time, well, 38 00:02:47,720 --> 00:02:49,360 Speaker 1: I don't know about that, but at the time I 39 00:02:49,440 --> 00:02:53,520 Speaker 1: was a mess. I just couldn't. It was like you 40 00:02:53,560 --> 00:02:55,280 Speaker 1: had to keep a binder and you had to keep 41 00:02:55,320 --> 00:02:59,280 Speaker 1: like cues and like I kept thinking, like what am 42 00:02:59,320 --> 00:03:01,640 Speaker 1: I ever going to this I'm never going to do. 43 00:03:01,680 --> 00:03:03,040 Speaker 1: That's what I was going to say. The fact that 44 00:03:03,080 --> 00:03:07,320 Speaker 1: they made stage management a requirement was in that same 45 00:03:07,400 --> 00:03:11,040 Speaker 1: clearer degree. But yeah, I a class, I'll take a test, 46 00:03:11,120 --> 00:03:13,679 Speaker 1: but like the test was you that feels. 47 00:03:13,360 --> 00:03:16,120 Speaker 2: Like an elective, That feels like an election telling me, 48 00:03:16,400 --> 00:03:17,160 Speaker 2: I mean, I couldn't. 49 00:03:17,320 --> 00:03:19,760 Speaker 1: I couldn't believe it. I was like, what, I failed 50 00:03:19,760 --> 00:03:24,280 Speaker 1: this class and they were like, you did. Anyway, that 51 00:03:24,280 --> 00:03:29,640 Speaker 1: that is not a failed class does not mean anything 52 00:03:29,760 --> 00:03:31,280 Speaker 1: in the end. I mean, it might mean that you 53 00:03:31,280 --> 00:03:34,200 Speaker 1: don't have no but it means less if you're like, 54 00:03:34,280 --> 00:03:36,560 Speaker 1: I'm not trying to be a dentist, I'm just playing pretend. 55 00:03:36,720 --> 00:03:38,280 Speaker 1: So probably fine. 56 00:03:40,040 --> 00:03:42,760 Speaker 2: I think I think you've done okay for yourself despite 57 00:03:42,800 --> 00:03:44,080 Speaker 2: that stage management. 58 00:03:44,200 --> 00:03:47,360 Speaker 1: I feel fine. I think you've done more than a fine. 59 00:03:47,400 --> 00:03:50,280 Speaker 1: But yes, What's what's really funny about this is that 60 00:03:50,880 --> 00:03:52,560 Speaker 1: this is the thing that we both love to do 61 00:03:52,640 --> 00:03:55,440 Speaker 1: so much. So this might go all over the place, 62 00:03:55,520 --> 00:04:00,320 Speaker 1: but I do I do want to touch on stuff 63 00:04:00,320 --> 00:04:03,480 Speaker 1: that we like about it. So we're going to talk about, 64 00:04:03,600 --> 00:04:06,560 Speaker 1: you know, our experience getting into it a little bit bit. 65 00:04:06,720 --> 00:04:08,640 Speaker 1: But if you've listened to the pod or like know 66 00:04:08,760 --> 00:04:10,600 Speaker 1: us at all, Like we've talked a little bit about 67 00:04:10,600 --> 00:04:14,280 Speaker 1: this already on the pod. We're going to talk about 68 00:04:14,480 --> 00:04:19,280 Speaker 1: stuff like different kinds of techniques that we like, our 69 00:04:19,440 --> 00:04:25,960 Speaker 1: actual training, if there's techniques that we don't like, performances 70 00:04:26,000 --> 00:04:29,960 Speaker 1: that we've seen, stuff like that, so and then like 71 00:04:30,040 --> 00:04:33,560 Speaker 1: how we prep. So if you're into that kind of stuff, 72 00:04:33,600 --> 00:04:36,960 Speaker 1: then yay. And if you're not, thank you so much 73 00:04:36,960 --> 00:04:39,400 Speaker 1: for joining us on the pod and we'll see next week. Okay, bye. 74 00:04:40,600 --> 00:04:42,800 Speaker 2: You know what I love too that we're talking about this. 75 00:04:42,839 --> 00:04:45,480 Speaker 2: I don't know if you've noticed this, but uh, and 76 00:04:45,520 --> 00:04:48,640 Speaker 2: because I've always been curious why, and I want to 77 00:04:48,680 --> 00:04:52,359 Speaker 2: know what you think. Have you ever noticed that, you know, 78 00:04:52,400 --> 00:04:56,080 Speaker 2: they do these like actor round tables or like back 79 00:04:56,120 --> 00:04:57,800 Speaker 2: in the day when there used to be like the 80 00:04:57,880 --> 00:05:01,760 Speaker 2: actors studio, which I used to fu love, which it 81 00:05:01,800 --> 00:05:04,200 Speaker 2: happened less on inside the actor's studio actually because they 82 00:05:04,240 --> 00:05:07,000 Speaker 2: would get pretty in depth and nerdy there, but like 83 00:05:07,040 --> 00:05:11,760 Speaker 2: this general kind of cageeness that actors have about their 84 00:05:11,920 --> 00:05:15,800 Speaker 2: like specific technique or like how they prep or like 85 00:05:16,880 --> 00:05:19,440 Speaker 2: what the things they do. Have you noticed this that 86 00:05:19,560 --> 00:05:21,360 Speaker 2: like it's almost like and I don't know if it's 87 00:05:21,400 --> 00:05:25,880 Speaker 2: like gatekeeping or which I'm just like, there's so many 88 00:05:25,880 --> 00:05:28,920 Speaker 2: different approaches and techniques, Like just because you talk about 89 00:05:28,960 --> 00:05:30,520 Speaker 2: one doesn't mean that like there's going to be this 90 00:05:30,600 --> 00:05:32,880 Speaker 2: influx of actors that are all of a sudden amazing, 91 00:05:33,000 --> 00:05:35,680 Speaker 2: like you know, or is it just like a self 92 00:05:35,720 --> 00:05:41,239 Speaker 2: consciousness Like I don't want to sound real stupid or that. Yeah, 93 00:05:41,320 --> 00:05:43,159 Speaker 2: I mean, but I just feel like actors get real 94 00:05:43,240 --> 00:05:48,200 Speaker 2: cagey when they are talking about technique or their approach, right. 95 00:05:48,120 --> 00:05:51,240 Speaker 1: Is it just me? Well, Okay, I have some thoughts. 96 00:05:51,360 --> 00:05:54,000 Speaker 1: I yes, I agree. I think there's like a certain 97 00:05:54,000 --> 00:06:01,920 Speaker 1: amount of cageness that happens. I think acting is like uh, 98 00:06:02,000 --> 00:06:04,240 Speaker 1: I mean, it's when you break it down, it's like 99 00:06:04,279 --> 00:06:07,200 Speaker 1: playing pretend, like really really hard, you know, Like that's right. 100 00:06:07,400 --> 00:06:09,960 Speaker 2: It is also a hard thing to describe like exactly 101 00:06:09,960 --> 00:06:12,920 Speaker 2: what you do. Yeah, that's it's very difficult. And some 102 00:06:12,960 --> 00:06:16,080 Speaker 2: people have gifts in some ways and and others have 103 00:06:16,160 --> 00:06:19,560 Speaker 2: gifts in other ways. And you know that's why sometimes 104 00:06:19,600 --> 00:06:21,560 Speaker 2: you watch something and you're like, God, this person is 105 00:06:21,640 --> 00:06:24,240 Speaker 2: so believable in this thing. And sometimes you watch something 106 00:06:24,279 --> 00:06:26,760 Speaker 2: and you're like, oh God, this person's so famous and 107 00:06:26,800 --> 00:06:27,400 Speaker 2: they got this. 108 00:06:27,440 --> 00:06:30,479 Speaker 1: Role and like yeah, and I don't know, you know, 109 00:06:30,760 --> 00:06:34,760 Speaker 1: so yeah, I think there's and there's so many like 110 00:06:34,880 --> 00:06:38,400 Speaker 1: political things that go into casting, like you know, and 111 00:06:38,640 --> 00:06:43,160 Speaker 1: who you're, who your parents are, and you know how 112 00:06:43,200 --> 00:06:45,800 Speaker 1: old you are, how old you look like if you've 113 00:06:45,800 --> 00:06:48,600 Speaker 1: had a baby, or you know what ethnicity you look. Yeah, 114 00:06:48,640 --> 00:06:51,880 Speaker 1: it's so it's there's so many bits. So, like I 115 00:06:51,920 --> 00:06:58,600 Speaker 1: think a lot of actors talking about acting sometimes I 116 00:06:58,680 --> 00:07:01,840 Speaker 1: think it's because we do play pretend, but we take 117 00:07:01,880 --> 00:07:06,840 Speaker 1: it so seriously. We take it so seriously that when 118 00:07:07,000 --> 00:07:09,960 Speaker 1: we talk about it the way that we actually feel 119 00:07:09,960 --> 00:07:13,360 Speaker 1: about it, sometimes it sounds to people that don't really 120 00:07:13,440 --> 00:07:16,440 Speaker 1: understand what we're doing in that way, it sounds like, 121 00:07:16,920 --> 00:07:19,320 Speaker 1: what are you talking about? You're not like fucking oh. 122 00:07:19,280 --> 00:07:22,960 Speaker 2: Yeah, like get off your high hors, you're not all that. 123 00:07:22,560 --> 00:07:27,000 Speaker 1: You know, you're not saving lives, right, I'm not. You know, 124 00:07:27,160 --> 00:07:30,440 Speaker 1: you're not you're not doing any of that. So it 125 00:07:30,600 --> 00:07:34,800 Speaker 1: sounds it can sound like people are really full of themselves. Yeah, 126 00:07:34,920 --> 00:07:37,560 Speaker 1: that's true. So I think some actors just like avoid that, 127 00:07:37,680 --> 00:07:39,920 Speaker 1: probably because there are pr people are like, don't talk 128 00:07:39,920 --> 00:07:43,360 Speaker 1: about your process because people often sound fucking full of themselves. 129 00:07:43,560 --> 00:07:48,920 Speaker 2: So maybe that yeah, yeah, you're right, yeah, because I now, 130 00:07:49,240 --> 00:07:52,640 Speaker 2: as you said that, I like flash to like seeing 131 00:07:52,760 --> 00:07:56,040 Speaker 2: some actors that get like real into like talk and 132 00:07:56,080 --> 00:07:59,760 Speaker 2: they do kind of get this like tone in their void. 133 00:07:59,760 --> 00:08:01,840 Speaker 1: Well do that, you know, and then it's. 134 00:08:01,720 --> 00:08:05,200 Speaker 2: Just like, oh my god, shut up are yeah, and 135 00:08:05,320 --> 00:08:08,120 Speaker 2: like that's real, Like I'm sorry. In advance, if we 136 00:08:08,320 --> 00:08:10,920 Speaker 2: cut to five minutes from now, we're like, so I 137 00:08:11,040 --> 00:08:13,000 Speaker 2: just like need to put myself in this frame of 138 00:08:13,120 --> 00:08:18,440 Speaker 2: men and then I transcend and the work flows through 139 00:08:18,480 --> 00:08:20,720 Speaker 2: my body and onto the screen channel. 140 00:08:20,840 --> 00:08:23,440 Speaker 1: Well, yeah, cut to five minutes from now. I mean 141 00:08:23,880 --> 00:08:25,680 Speaker 1: that's a hard thing about talking about it because it 142 00:08:25,760 --> 00:08:31,400 Speaker 1: is such an ephemeral you know, it's like it's like 143 00:08:32,840 --> 00:08:34,319 Speaker 1: dust in the wind a little bit. 144 00:08:34,440 --> 00:08:36,920 Speaker 2: Yeah, you know, it's like dust and it's like this 145 00:08:37,040 --> 00:08:39,160 Speaker 2: mystical little thing that you're always chasing. 146 00:08:39,440 --> 00:08:44,520 Speaker 1: Yeah, yeah, I think. I mean, I don't know what's 147 00:08:44,559 --> 00:08:47,320 Speaker 1: the first what's the first performance that you ever saw 148 00:08:47,360 --> 00:08:51,960 Speaker 1: that you were like, holy shit, m holy fucking shit, 149 00:08:52,040 --> 00:08:54,520 Speaker 1: where you where you could delineate and my own I'm 150 00:08:54,520 --> 00:08:57,240 Speaker 1: gonna be really specific about this, okay, where you could 151 00:08:57,280 --> 00:09:00,960 Speaker 1: delineate as a kid, you were like, oh that since acting, 152 00:09:01,120 --> 00:09:05,320 Speaker 1: and they're really good at it I have not not 153 00:09:05,559 --> 00:09:07,680 Speaker 1: like yeah, okay, okay, I want to hear I have one. 154 00:09:08,200 --> 00:09:14,080 Speaker 2: Claire Dans my so called life. She was thirteen or 155 00:09:14,120 --> 00:09:15,720 Speaker 2: fourteen when she did that show. 156 00:09:16,120 --> 00:09:17,120 Speaker 1: She was wow. 157 00:09:17,200 --> 00:09:20,080 Speaker 2: Yes, And that was the thing when I found out 158 00:09:20,080 --> 00:09:22,280 Speaker 2: how old she was, because I think I was around 159 00:09:22,280 --> 00:09:25,920 Speaker 2: the same age, and she was so good on that show, 160 00:09:26,200 --> 00:09:28,200 Speaker 2: and then she did Little Women shortly after. 161 00:09:28,360 --> 00:09:30,760 Speaker 1: Oh my god, she's so good in Little Women. 162 00:09:30,640 --> 00:09:35,040 Speaker 2: And she's she's a teenager and Little Women, and there 163 00:09:35,120 --> 00:09:40,360 Speaker 2: was something about like like not even being aware that 164 00:09:40,480 --> 00:09:44,600 Speaker 2: like someone that young could do that, and then it 165 00:09:44,840 --> 00:09:46,960 Speaker 2: kind of sparking I think something in me of like 166 00:09:47,040 --> 00:09:50,560 Speaker 2: could like almost giving me permission to like, oh, you 167 00:09:50,600 --> 00:09:51,000 Speaker 2: can be. 168 00:09:51,480 --> 00:09:54,400 Speaker 1: Great at something at this age. 169 00:09:54,480 --> 00:09:57,640 Speaker 2: Like maybe I just always quantified things as like you 170 00:09:57,720 --> 00:10:00,240 Speaker 2: need time and experience in training and and then at 171 00:10:00,240 --> 00:10:04,719 Speaker 2: a certain point you're good. But like this idea that 172 00:10:06,080 --> 00:10:08,199 Speaker 2: maybe you have a certain level of talent or and 173 00:10:08,200 --> 00:10:10,720 Speaker 2: you can train at any age and like be grat 174 00:10:10,800 --> 00:10:13,800 Speaker 2: at a thing. She was so phenomenal in that show 175 00:10:13,840 --> 00:10:17,280 Speaker 2: and in that movie that those two performances, and she 176 00:10:17,400 --> 00:10:19,719 Speaker 2: was so young. It was really her age and her 177 00:10:19,760 --> 00:10:23,320 Speaker 2: youth that like struck me. Yeah, of just like the 178 00:10:23,360 --> 00:10:28,079 Speaker 2: pot like that it was even possible, Like yeah, and. 179 00:10:28,600 --> 00:10:32,160 Speaker 1: Yeah, it just that's cool. What about you? I mean 180 00:10:32,440 --> 00:10:36,680 Speaker 1: when you bring up Claar Danes, I remember seeing Romeo 181 00:10:36,760 --> 00:10:40,120 Speaker 1: and Juliet bos Lehrman's Romeo and Juliet at sixteen. In 182 00:10:40,200 --> 00:10:43,520 Speaker 1: Romeo and Juliet, I think she's so young family, but 183 00:10:43,600 --> 00:10:49,760 Speaker 1: the whole cast phenomenal. That's another one, so youthful, so phenomenal. 184 00:10:50,000 --> 00:10:54,400 Speaker 1: Like I think by that time I kind of understood 185 00:10:54,400 --> 00:10:56,760 Speaker 1: that acting. I was like, oh, this is a job 186 00:10:56,800 --> 00:11:00,480 Speaker 1: that you could do, right, but like when this is 187 00:11:00,480 --> 00:11:04,160 Speaker 1: slightly embarrassing, but like Tom Hanks and Forrest Gump, oh 188 00:11:04,200 --> 00:11:05,360 Speaker 1: my god, that was another one. 189 00:11:05,440 --> 00:11:08,000 Speaker 2: Tom Hank saw that in the theater those years where 190 00:11:08,000 --> 00:11:11,040 Speaker 2: it was like Forrest Gump Philadelphia, Like he just had 191 00:11:11,080 --> 00:11:15,839 Speaker 2: this one of these movies where he was like incredible 192 00:11:16,000 --> 00:11:21,040 Speaker 2: and so fucking different in every single role. Oh. I 193 00:11:21,040 --> 00:11:23,360 Speaker 2: remember going to one of my college auditions and like 194 00:11:23,400 --> 00:11:25,560 Speaker 2: they asked me about an actor that I looked up to, 195 00:11:25,640 --> 00:11:28,520 Speaker 2: and I was like, I was like nervous about how 196 00:11:28,559 --> 00:11:30,160 Speaker 2: it was going to be received because at that point 197 00:11:30,200 --> 00:11:31,920 Speaker 2: he was still like it was like when he was 198 00:11:31,920 --> 00:11:32,720 Speaker 2: doing those movies. 199 00:11:32,760 --> 00:11:34,839 Speaker 1: But Prior to that, he was known as a comedy actor. 200 00:11:34,960 --> 00:11:37,959 Speaker 2: Yea, And I loved all his comedies, Oh my god, 201 00:11:38,120 --> 00:11:41,439 Speaker 2: all his comedies Turner and Huge, Splash, like big, all 202 00:11:41,480 --> 00:11:44,720 Speaker 2: of those iconic and so I remember I was like 203 00:11:44,840 --> 00:11:46,400 Speaker 2: nervous to say, and I was. 204 00:11:46,360 --> 00:11:49,760 Speaker 1: Like, well, I don't know, uh, you know, this is 205 00:11:49,760 --> 00:11:52,120 Speaker 1: a good one. But like, I really love Tom Hanks. 206 00:11:52,720 --> 00:11:56,079 Speaker 2: I think he's amazing and like so different in all 207 00:11:56,120 --> 00:11:56,840 Speaker 2: his roles. 208 00:11:56,960 --> 00:12:00,679 Speaker 1: And then they kind of like Tom Hanks but like 209 00:12:01,679 --> 00:12:03,800 Speaker 1: but like his hit, I feel like it was like 210 00:12:03,920 --> 00:12:06,960 Speaker 1: early yeah, yeah, you know what I mean, Like, yeah, it. 211 00:12:06,840 --> 00:12:10,720 Speaker 2: Was like maybe just Philadelphia and Forrest Gump had come 212 00:12:10,760 --> 00:12:14,320 Speaker 2: out by that whomeint Yeah, I mean that was the 213 00:12:14,360 --> 00:12:17,720 Speaker 2: first time that I remember openly. 214 00:12:17,240 --> 00:12:21,640 Speaker 1: Weeping in a movie. Yes, and also at the same 215 00:12:21,679 --> 00:12:24,760 Speaker 1: time thinking, this is what I want to do for people. 216 00:12:24,840 --> 00:12:29,839 Speaker 1: I want to people. I want people to feel stuff. Yeah, 217 00:12:29,880 --> 00:12:33,600 Speaker 1: I want people to feel stuff and like be able 218 00:12:33,679 --> 00:12:36,200 Speaker 1: to feel stuff because of the thing that I do. 219 00:12:36,480 --> 00:12:41,920 Speaker 1: And I didn't exactly know what that meant, but I 220 00:12:41,920 --> 00:12:45,400 Speaker 1: think elements of that are still what I feel about acting. 221 00:12:45,480 --> 00:12:49,000 Speaker 1: It's like some people, you know, that's why we go 222 00:12:49,000 --> 00:12:50,400 Speaker 1: to the movies. I think why we go to the 223 00:12:50,400 --> 00:12:52,440 Speaker 1: movies where we watch TV is like we want to 224 00:12:52,600 --> 00:12:58,760 Speaker 1: have an experience. Yeah, and sometimes that experience is like 225 00:12:59,000 --> 00:13:04,560 Speaker 1: comfort and closeness, and sometimes that experience is joy and fun. 226 00:13:04,600 --> 00:13:09,679 Speaker 1: And sometimes that experience is like a repetition of some 227 00:13:09,840 --> 00:13:13,120 Speaker 1: like comforting feeling that we had as kids. And sometimes 228 00:13:13,120 --> 00:13:15,560 Speaker 1: that experience is like I'm going to go on a 229 00:13:15,679 --> 00:13:18,360 Speaker 1: fucking ride and I don't know what's gonna happen after, 230 00:13:18,800 --> 00:13:21,400 Speaker 1: and you know, and all of those things are like 231 00:13:21,480 --> 00:13:26,680 Speaker 1: they are the experience of diving into a story, and like, 232 00:13:26,800 --> 00:13:28,400 Speaker 1: that's what I want to do. I want to be 233 00:13:28,600 --> 00:13:31,840 Speaker 1: in things that feel so real that people were like, whoo, 234 00:13:32,520 --> 00:13:35,560 Speaker 1: yeah that was crazy. That ride was crazy. You know. Yeah, 235 00:13:35,800 --> 00:13:37,600 Speaker 1: that ride was so fun. I want to go back 236 00:13:37,600 --> 00:13:41,679 Speaker 1: on that ride. You know. That's yeah. That that movie. 237 00:13:42,200 --> 00:13:45,080 Speaker 1: Wo that movie. I mean I still remember. So we 238 00:13:45,120 --> 00:13:46,720 Speaker 1: were sitting in the middle of the theater and I 239 00:13:46,760 --> 00:13:49,200 Speaker 1: was like sobbing and my sister was like stop. 240 00:13:49,240 --> 00:13:55,120 Speaker 2: It also one of the best, one of the best 241 00:13:55,200 --> 00:13:58,479 Speaker 2: movie soundtracks of all time. Oh my god, so beautiful 242 00:13:58,600 --> 00:14:01,160 Speaker 2: all time. I used to play it NonStop. 243 00:14:01,559 --> 00:14:01,920 Speaker 1: So that. 244 00:14:04,640 --> 00:14:08,439 Speaker 2: But also the instrument yes, like the score of that 245 00:14:08,480 --> 00:14:12,040 Speaker 2: movie gorgeous, is gorgeous, gorgeous? 246 00:14:12,520 --> 00:14:18,400 Speaker 1: Bang on a song here? I still remember it. When 247 00:14:18,440 --> 00:14:21,120 Speaker 1: did you start? You Like, I think we've talked about 248 00:14:21,120 --> 00:14:23,520 Speaker 1: this before, so you can give a condensed version of this, 249 00:14:23,640 --> 00:14:24,040 Speaker 1: but like. 250 00:14:24,400 --> 00:14:27,640 Speaker 2: Yeah, I guess I kind of technically started kind of young. 251 00:14:27,720 --> 00:14:31,080 Speaker 2: I started as a dancer, as I've said, going to 252 00:14:31,160 --> 00:14:33,440 Speaker 2: dance classes, and then I followed a dance teacher to 253 00:14:33,520 --> 00:14:37,120 Speaker 2: this dance in theater school where they had acting classes 254 00:14:37,120 --> 00:14:40,080 Speaker 2: and musical comedy classes. The musical comedy class was like 255 00:14:40,120 --> 00:14:42,120 Speaker 2: the popular one that a lot of the kids did, 256 00:14:42,160 --> 00:14:47,600 Speaker 2: and I think that was And so I was like, 257 00:14:48,080 --> 00:14:49,640 Speaker 2: when did I start with a musical comedy? 258 00:14:49,680 --> 00:14:51,600 Speaker 1: Like nine or ten? Thank god? 259 00:14:52,080 --> 00:14:55,760 Speaker 2: And I just fell in love with it because it 260 00:14:55,800 --> 00:14:58,120 Speaker 2: was it was singing and it was dancing, and it 261 00:14:58,200 --> 00:15:03,920 Speaker 2: was un was comedy. I didn't. I wasn't like super 262 00:15:04,040 --> 00:15:06,600 Speaker 2: plugged into the fact that it was comedy, you know. 263 00:15:06,760 --> 00:15:10,800 Speaker 2: I just liked getting laughs. And then it was you know, 264 00:15:10,840 --> 00:15:13,600 Speaker 2: and then it was like drama too, sometimes like depending 265 00:15:13,640 --> 00:15:16,440 Speaker 2: on but we would do basically musical scenes from different 266 00:15:16,480 --> 00:15:21,400 Speaker 2: Broadway shows and or movie musicals, and uh, and I 267 00:15:21,440 --> 00:15:24,640 Speaker 2: loved it. I was like obsessed. And then yeah, I 268 00:15:24,680 --> 00:15:29,000 Speaker 2: started taking more acting classes from there, and what about you. 269 00:15:29,600 --> 00:15:34,520 Speaker 1: It was junior high like public school, you know, theater 270 00:15:34,720 --> 00:15:36,880 Speaker 1: and more like a speech in debate class, and then 271 00:15:36,920 --> 00:15:39,480 Speaker 1: they did like plays every year and so like it 272 00:15:39,560 --> 00:15:42,360 Speaker 1: was starting to get my fee in that way and 273 00:15:42,400 --> 00:15:45,600 Speaker 1: like going, ooh, that's fun, you know, like yeah, turning 274 00:15:45,720 --> 00:15:49,320 Speaker 1: disappearing into somebody else. Yeah, it was My main thing 275 00:15:49,440 --> 00:15:53,440 Speaker 1: was like nobody knows it's me, you know, I get 276 00:15:53,440 --> 00:15:56,880 Speaker 1: to be somebody totally different, somebody that's like so much 277 00:15:56,880 --> 00:16:00,320 Speaker 1: more confident than me, yeah, or like yeah, or really 278 00:16:00,360 --> 00:16:05,120 Speaker 1: silly and just so so like expressions of self that 279 00:16:05,160 --> 00:16:08,880 Speaker 1: were just so different. But I did Little Women in 280 00:16:08,960 --> 00:16:12,600 Speaker 1: high school. I was Joe and that was a big 281 00:16:12,680 --> 00:16:14,880 Speaker 1: deal for me. It was such a big deal. It 282 00:16:14,960 --> 00:16:19,760 Speaker 1: was so fun and just thrilling, exciting, you know. I 283 00:16:19,800 --> 00:16:21,840 Speaker 1: had a little wig. It looked really good. 284 00:16:23,520 --> 00:16:25,960 Speaker 2: My first play in high school was I'm trying to 285 00:16:26,000 --> 00:16:28,440 Speaker 2: remember which one, but it was a Neil Simon play. 286 00:16:30,280 --> 00:16:34,760 Speaker 1: Not Neil Simon in high school. Yeah, oh my god, 287 00:16:34,840 --> 00:16:39,600 Speaker 1: I can't remember which one it was. But it was good. 288 00:16:39,640 --> 00:16:43,600 Speaker 1: It was funny, dang, you know. But at that time, 289 00:16:43,680 --> 00:16:47,600 Speaker 1: I don't think I really understood anything about technique really. 290 00:16:47,680 --> 00:16:50,120 Speaker 1: I mean, we were kind of learning things in class, 291 00:16:51,240 --> 00:16:53,520 Speaker 1: but it was, like I said, it was public school. 292 00:16:53,520 --> 00:16:56,200 Speaker 1: It was more like just you just like throw yourself 293 00:16:56,200 --> 00:17:00,760 Speaker 1: at it and kind of see what sticks. So it 294 00:17:00,800 --> 00:17:03,480 Speaker 1: was really just on instinct. It was just like what 295 00:17:03,640 --> 00:17:06,520 Speaker 1: do I think instinctually that might be right, you know, 296 00:17:06,640 --> 00:17:08,879 Speaker 1: And it was mostly like learning lines and like figuring 297 00:17:08,920 --> 00:17:12,280 Speaker 1: out where you stand on the stage. It wasn't any 298 00:17:12,400 --> 00:17:17,040 Speaker 1: like I didn't have any like technical stuff yet. It 299 00:17:17,160 --> 00:17:20,480 Speaker 1: was all I was working solely on instincts, solely on 300 00:17:20,520 --> 00:17:24,120 Speaker 1: instinct until probably senior year of high school, and then 301 00:17:24,160 --> 00:17:27,119 Speaker 1: maybe I like read something, you know, like maybe we 302 00:17:27,200 --> 00:17:29,959 Speaker 1: did like some exercise or something. But I really didn't 303 00:17:30,000 --> 00:17:36,359 Speaker 1: have any like training training other than just trying stuff, 304 00:17:36,680 --> 00:17:36,879 Speaker 1: you know. 305 00:17:37,080 --> 00:17:40,320 Speaker 2: Yeah, yeah, kind I mean I think there was I 306 00:17:40,359 --> 00:17:45,240 Speaker 2: got a basic introduction to technique through the dance and 307 00:17:45,320 --> 00:17:47,359 Speaker 2: theater school I attended, and then in high school the 308 00:17:47,440 --> 00:17:51,080 Speaker 2: drama club. The drama teacher was like I think, you know, 309 00:17:51,119 --> 00:17:52,439 Speaker 2: he used to be an actor and he went to 310 00:17:52,480 --> 00:17:56,119 Speaker 2: theater school, and so I remember having a basic knowledge 311 00:17:56,119 --> 00:18:00,200 Speaker 2: of like what's your action verb in the scene, and 312 00:18:00,560 --> 00:18:03,879 Speaker 2: what's your intention at the start of the scene. 313 00:18:03,640 --> 00:18:06,480 Speaker 1: And or what's your moment before. 314 00:18:06,400 --> 00:18:10,600 Speaker 2: Like these kind of I think overall kind of things 315 00:18:10,600 --> 00:18:13,080 Speaker 2: because when I got to college, I definitely was mostly 316 00:18:13,119 --> 00:18:16,679 Speaker 2: working off instinct, but I did have like a basic 317 00:18:16,800 --> 00:18:21,640 Speaker 2: vocabulary for like how you know the acting one oh one? Right, 318 00:18:21,840 --> 00:18:24,520 Speaker 2: like who's your character and what are you trying to 319 00:18:24,520 --> 00:18:25,280 Speaker 2: do in the scene? 320 00:18:25,920 --> 00:18:29,480 Speaker 1: And like, yeah, I feel like I have memories of. 321 00:18:30,920 --> 00:18:33,520 Speaker 2: One of my teachers, you know, if they would stop 322 00:18:33,520 --> 00:18:34,880 Speaker 2: a scene being like what are you trying to do? 323 00:18:35,240 --> 00:18:37,080 Speaker 1: What are you? What are you doing? Oh? I didn't 324 00:18:37,080 --> 00:18:38,120 Speaker 1: have that until college. 325 00:18:38,400 --> 00:18:40,040 Speaker 2: Yeah, we didn't, and then in college it got like 326 00:18:40,160 --> 00:18:44,200 Speaker 2: much more specific, but like yeah, like knowing that, oh 327 00:18:44,200 --> 00:18:46,919 Speaker 2: I should I should have a verb when I go 328 00:18:47,040 --> 00:18:49,960 Speaker 2: into a scene like in my mind and my god, 329 00:18:50,400 --> 00:18:50,680 Speaker 2: you know. 330 00:18:50,760 --> 00:18:52,359 Speaker 1: I wish I had, you know, I wish I had 331 00:18:52,440 --> 00:18:54,560 Speaker 1: right now, I wish I had my like notebook from 332 00:18:54,840 --> 00:18:59,840 Speaker 1: I had this teacher in college, Rob Rasnowski. He was phenomenal, phenomenal, 333 00:19:00,960 --> 00:19:03,720 Speaker 1: and he had us. He had a class that was 334 00:19:03,760 --> 00:19:06,760 Speaker 1: like acting one oh one. Basically it was like acting 335 00:19:06,760 --> 00:19:09,159 Speaker 1: one on one, one on two, I think for the semesters, 336 00:19:09,200 --> 00:19:11,840 Speaker 1: and it was like how to break down a scene? 337 00:19:11,880 --> 00:19:14,160 Speaker 1: Who are you in the scene? What do you want 338 00:19:14,200 --> 00:19:16,879 Speaker 1: from the other person in the scene? How what is 339 00:19:16,880 --> 00:19:17,359 Speaker 1: the verb? 340 00:19:17,880 --> 00:19:17,960 Speaker 2: Like? 341 00:19:18,200 --> 00:19:21,080 Speaker 1: Where what you know? It was the first time that 342 00:19:21,119 --> 00:19:24,359 Speaker 1: I ever ever was taught like you can look at 343 00:19:24,359 --> 00:19:27,719 Speaker 1: the script and like look at everything anybody says about 344 00:19:27,720 --> 00:19:30,720 Speaker 1: your character. You can look at this script and see 345 00:19:30,720 --> 00:19:33,640 Speaker 1: like what the actions are around your care what your 346 00:19:33,720 --> 00:19:37,200 Speaker 1: character's doing, Like what do people say about your character? 347 00:19:37,240 --> 00:19:39,439 Speaker 1: What do people not say about your character? Where is 348 00:19:39,480 --> 00:19:42,040 Speaker 1: your character when different scenes are taking place? Like it 349 00:19:42,119 --> 00:19:45,119 Speaker 1: was all about like how to take like mine the 350 00:19:45,520 --> 00:19:50,840 Speaker 1: actual written words for what all thea that the script gives. Yes, Yeah, 351 00:19:50,920 --> 00:19:52,760 Speaker 1: it was the first time that I ever was like 352 00:19:52,840 --> 00:19:55,680 Speaker 1: this is the map. This is the map, and then 353 00:19:55,760 --> 00:19:57,960 Speaker 1: you can build on the map. But this is the 354 00:19:58,000 --> 00:20:01,359 Speaker 1: map for the thing, right. It was like so exciting 355 00:20:01,520 --> 00:20:06,520 Speaker 1: to learn that. I still remember doing scenes from that 356 00:20:06,640 --> 00:20:09,120 Speaker 1: clot because first we'd break it down and we would 357 00:20:09,160 --> 00:20:12,080 Speaker 1: like highlight the scripts and like show you know, show 358 00:20:12,160 --> 00:20:15,199 Speaker 1: different you know, ten highlighters and you're highlighting like what 359 00:20:15,320 --> 00:20:17,960 Speaker 1: the different things are, and like showing you a little 360 00:20:18,440 --> 00:20:20,520 Speaker 1: you know, key to your map and like this is 361 00:20:20,560 --> 00:20:22,440 Speaker 1: your action words and these are the these are things 362 00:20:22,480 --> 00:20:23,920 Speaker 1: other people say about you, and these are things you 363 00:20:23,920 --> 00:20:25,639 Speaker 1: say about yourself and this is what you want, this 364 00:20:25,720 --> 00:20:28,280 Speaker 1: is what you're hiding, and blah blah blah. And then 365 00:20:28,800 --> 00:20:31,560 Speaker 1: he had us team up with someone in the class 366 00:20:31,600 --> 00:20:34,399 Speaker 1: and do the scene. Like he assigned us all different characters, 367 00:20:34,400 --> 00:20:36,560 Speaker 1: and then we would do the scenes with another person 368 00:20:36,560 --> 00:20:39,720 Speaker 1: who had been assigned the other character in the scene. 369 00:20:39,760 --> 00:20:41,479 Speaker 1: And it was like one of the first times I 370 00:20:41,520 --> 00:20:44,760 Speaker 1: remember things like clicking for me in a way that 371 00:20:44,960 --> 00:20:48,280 Speaker 1: wasn't about necessarily, like, ooh, this person is just like me. 372 00:20:48,359 --> 00:20:51,159 Speaker 1: This character that I'm playing, I understand completely. It's like oheah, 373 00:20:51,200 --> 00:20:53,800 Speaker 1: I learned more about the character and now I can 374 00:20:53,840 --> 00:20:56,159 Speaker 1: play them in a way that feels real to me 375 00:20:56,720 --> 00:21:02,560 Speaker 1: in the scenes. Yes, Rob Oh, great teacher. Great teacher. 376 00:21:02,640 --> 00:21:05,399 Speaker 1: Teacher Rob. He was also one of the first teachers 377 00:21:05,400 --> 00:21:07,600 Speaker 1: that was like, you got to bring yourself to the 378 00:21:07,640 --> 00:21:10,439 Speaker 1: things that you do. Like h I would riff and 379 00:21:10,480 --> 00:21:15,200 Speaker 1: do my mom's very thick accent, her Bolivian accent. I 380 00:21:15,200 --> 00:21:17,040 Speaker 1: would riff and do it all the time in class. 381 00:21:17,080 --> 00:21:20,160 Speaker 1: And then he made me audition for something hot Old Baltimore. 382 00:21:20,960 --> 00:21:24,040 Speaker 1: He made me audition for it and do the accent 383 00:21:24,880 --> 00:21:26,720 Speaker 1: for the character. He was like, no, I want you 384 00:21:26,760 --> 00:21:28,639 Speaker 1: to read the scenes of the accent. I was like, uh, 385 00:21:28,680 --> 00:21:30,440 Speaker 1: I don't think so, and he was like, I want 386 00:21:30,440 --> 00:21:31,720 Speaker 1: you to read the scenes of the accent. And it 387 00:21:31,800 --> 00:21:35,560 Speaker 1: was like the whole the whole scene like blossom. Yeah, 388 00:21:35,600 --> 00:21:37,480 Speaker 1: and the character blossomed. And that was one of my 389 00:21:37,480 --> 00:21:39,879 Speaker 1: first roles in college, was hot Old Baltimore. Was like 390 00:21:40,560 --> 00:21:43,000 Speaker 1: it just like burst out of me. It was so fun. 391 00:21:43,480 --> 00:21:45,760 Speaker 1: Oh oh, I love that. 392 00:21:46,400 --> 00:21:59,320 Speaker 2: Yeah, let's talk about exercises that acting teachers have made 393 00:21:59,359 --> 00:21:59,640 Speaker 2: us too. 394 00:21:59,800 --> 00:22:02,920 Speaker 1: Hey, I hate it so much. This is the thing 395 00:22:03,000 --> 00:22:07,000 Speaker 1: that I really struggle with. This because we've talked about 396 00:22:07,000 --> 00:22:09,639 Speaker 1: this on the pod. I don't I struggle with like 397 00:22:10,080 --> 00:22:12,879 Speaker 1: stupid shit, you know. And some days I'm just like, 398 00:22:13,040 --> 00:22:15,919 Speaker 1: I don't know how walking around in the room like 399 00:22:15,920 --> 00:22:19,280 Speaker 1: a cat is gonna serve what we're doing here. I 400 00:22:19,359 --> 00:22:23,240 Speaker 1: don't understand how, And maybe it is just to shake 401 00:22:23,280 --> 00:22:26,399 Speaker 1: you out of your like stupid, like yeah, stupid. You know. 402 00:22:27,000 --> 00:22:30,160 Speaker 2: I had an acting teacher that I was not very 403 00:22:30,200 --> 00:22:33,919 Speaker 2: fond of once in college, and he had to do 404 00:22:33,960 --> 00:22:36,080 Speaker 2: the same warm up every day, which was like walk 405 00:22:36,119 --> 00:22:39,240 Speaker 2: around in a circle and then he would say like. 406 00:22:40,119 --> 00:22:41,200 Speaker 1: It's really cold. 407 00:22:41,480 --> 00:22:44,440 Speaker 2: It's cold, and like, so everyone be like fucking shivering 408 00:22:44,680 --> 00:22:46,240 Speaker 2: and like doing all this stuff. Then you'd be like, 409 00:22:46,280 --> 00:22:48,720 Speaker 2: it's really hot, it's really hot. Someone's following you. You 410 00:22:48,760 --> 00:22:51,760 Speaker 2: feel like someone's following you. And every I thought that 411 00:22:51,800 --> 00:22:54,600 Speaker 2: exercise was such a fucking bullshit. I was like, I 412 00:22:54,600 --> 00:22:56,359 Speaker 2: don't get the point of this. You've never explained what 413 00:22:56,400 --> 00:22:58,480 Speaker 2: the point of this is. This isn't a warm up. 414 00:22:58,800 --> 00:23:04,760 Speaker 2: Everyone's just indicatingating behavior for like indicating what a dirty 415 00:23:05,320 --> 00:23:07,359 Speaker 2: acting it is such a dirty word. 416 00:23:07,400 --> 00:23:07,960 Speaker 1: Oh my god. 417 00:23:08,119 --> 00:23:10,879 Speaker 2: Anytime I get super triggered anytime a director has like 418 00:23:10,920 --> 00:23:13,520 Speaker 2: given me a note like you're indicating for those of 419 00:23:13,560 --> 00:23:17,320 Speaker 2: you who are maybe listening to this and don't do 420 00:23:17,359 --> 00:23:18,600 Speaker 2: what we do, And you're like, what the fuck are 421 00:23:18,600 --> 00:23:23,160 Speaker 2: they talking about? Uh? Indicating means like basically that somebody 422 00:23:23,200 --> 00:23:26,240 Speaker 2: doesn't believe you, Like it's basically what it is. 423 00:23:26,280 --> 00:23:29,000 Speaker 1: And you're not believable that you're just like making a 424 00:23:29,080 --> 00:23:30,760 Speaker 1: show of doing the action. 425 00:23:31,240 --> 00:23:33,199 Speaker 2: Right, So like if you're supposed to be cold in 426 00:23:33,240 --> 00:23:36,679 Speaker 2: the scene or just like shivering and doing all this stuff, 427 00:23:36,720 --> 00:23:40,400 Speaker 2: but like it's not real, like it's you know, itis 428 00:23:40,480 --> 00:23:44,280 Speaker 2: is fake. Yes, And yeah, so I used to just 429 00:23:44,280 --> 00:23:46,560 Speaker 2: like walk in the circle and not do anything it's 430 00:23:46,640 --> 00:23:47,280 Speaker 2: so funny. 431 00:23:47,440 --> 00:23:53,080 Speaker 1: Oh my god, would you ever get called out? No, no, no, 432 00:23:53,400 --> 00:23:56,800 Speaker 1: because paying attention anyway, I or I know. I think 433 00:23:56,800 --> 00:23:58,359 Speaker 1: it was to give him some credit. 434 00:23:58,400 --> 00:24:01,200 Speaker 2: I think it was he was coming from a place 435 00:24:01,240 --> 00:24:07,320 Speaker 2: of like, it's your interpretation, so like, yeah, I would 436 00:24:07,359 --> 00:24:09,680 Speaker 2: maybe like rub my arm if it was like. 437 00:24:09,680 --> 00:24:12,320 Speaker 1: Film acting a little bit, you're just yeah, I. 438 00:24:12,160 --> 00:24:15,760 Speaker 2: Was playing everything super subtle. But I just really hated it. 439 00:24:16,920 --> 00:24:19,720 Speaker 2: But going back to one that you brought up, I 440 00:24:19,760 --> 00:24:22,000 Speaker 2: will push back. I have a hot take on animal 441 00:24:22,040 --> 00:24:23,840 Speaker 2: work because I do like it, and I do think 442 00:24:23,880 --> 00:24:24,639 Speaker 2: it's cool. 443 00:24:25,000 --> 00:24:26,480 Speaker 1: I think, yes, it. 444 00:24:26,720 --> 00:24:29,600 Speaker 2: Breaks because you feel fucking stupid when you're doing it. 445 00:24:29,680 --> 00:24:31,640 Speaker 2: Like when a teacher would ask you to like walk 446 00:24:31,680 --> 00:24:35,159 Speaker 2: across the room. We used to play a game where, uh, 447 00:24:35,560 --> 00:24:37,600 Speaker 2: we would have to choose an animal. We'd walk across 448 00:24:37,600 --> 00:24:39,080 Speaker 2: the room and the class would have to guess what 449 00:24:39,240 --> 00:24:41,400 Speaker 2: animal we were fuck or. 450 00:24:41,320 --> 00:24:43,520 Speaker 1: But we would have to do the animal as a character. 451 00:24:43,680 --> 00:24:46,399 Speaker 2: So for example, I think I chose like turtle ones 452 00:24:46,960 --> 00:24:49,639 Speaker 2: and I like tried to be this like old lady 453 00:24:50,680 --> 00:24:54,159 Speaker 2: that just would like stretch her neck out and like 454 00:24:54,200 --> 00:24:56,760 Speaker 2: see if it was safe and then like kind of 455 00:24:56,880 --> 00:25:01,879 Speaker 2: like go back in and like walk around. But I 456 00:25:02,960 --> 00:25:06,520 Speaker 2: what I found with those exercises was you can discover 457 00:25:06,960 --> 00:25:09,800 Speaker 2: like physicalities for character and interesting ways. 458 00:25:10,000 --> 00:25:13,280 Speaker 1: Yeah, that's real, that's really real. I mean, none of 459 00:25:13,320 --> 00:25:16,680 Speaker 1: this stuff is garbage. It's just sometimes, but it's also 460 00:25:16,880 --> 00:25:19,800 Speaker 1: like garbage when you're nineteen and you're like, I'm an actor, 461 00:25:19,960 --> 00:25:25,320 Speaker 1: what is this trap? A hun And the thing. 462 00:25:25,280 --> 00:25:28,000 Speaker 2: Is is like you have to do all those exercises 463 00:25:28,080 --> 00:25:31,360 Speaker 2: to essentially, like I think, build your actor toolbox, right, 464 00:25:31,440 --> 00:25:33,640 Speaker 2: because this is not like a one size fits all 465 00:25:33,760 --> 00:25:34,760 Speaker 2: type of thing. 466 00:25:35,560 --> 00:25:38,960 Speaker 1: There's techniques and things that work for some people that 467 00:25:39,160 --> 00:25:41,120 Speaker 1: do not fucking work for others. 468 00:25:41,520 --> 00:25:45,600 Speaker 2: Yeah, and you know, so it's it's like something you 469 00:25:45,680 --> 00:25:48,080 Speaker 2: kind of have to go through and you feel super 470 00:25:48,160 --> 00:25:50,880 Speaker 2: uncomfortable and you hate most of it. Most of it 471 00:25:50,920 --> 00:25:53,520 Speaker 2: feels like fucking bullshit and you hate it. And then 472 00:25:53,600 --> 00:25:55,600 Speaker 2: once in a while there'll be one that just like 473 00:25:55,800 --> 00:25:59,280 Speaker 2: unlocks something and you you file it away and your 474 00:25:59,320 --> 00:26:01,879 Speaker 2: little actor box and you're like, I'm gonna use that 475 00:26:01,920 --> 00:26:04,439 Speaker 2: one day. One day that's gonna come in handy, and 476 00:26:04,480 --> 00:26:07,439 Speaker 2: then it does. And like, I think it's just about 477 00:26:07,480 --> 00:26:11,399 Speaker 2: building the tools because the thing I think that's for 478 00:26:11,520 --> 00:26:14,960 Speaker 2: me really challenging about our day, about our job is 479 00:26:15,600 --> 00:26:18,439 Speaker 2: like every day is so different, and sometimes you have 480 00:26:18,480 --> 00:26:21,560 Speaker 2: personal shit going on or your mind is somewhere else, 481 00:26:21,800 --> 00:26:23,919 Speaker 2: and like when you arrive on set, like you have 482 00:26:23,960 --> 00:26:27,119 Speaker 2: to do that job, you have to live in that character's. 483 00:26:26,640 --> 00:26:28,680 Speaker 1: Yeah, brain and body. 484 00:26:29,040 --> 00:26:34,080 Speaker 2: Yeah, And sometimes it's not enough to just like imagine 485 00:26:34,119 --> 00:26:38,560 Speaker 2: yourself conjure yourself there right like and I think that's 486 00:26:38,640 --> 00:26:41,760 Speaker 2: where like the craft or the technique comes in, because 487 00:26:41,800 --> 00:26:44,959 Speaker 2: there's days where I'm just like, oh, I need help 488 00:26:45,320 --> 00:26:50,960 Speaker 2: right now, and I will find myself like truly going 489 00:26:51,000 --> 00:26:55,080 Speaker 2: back to the basics, it's like I'm super unfocused or 490 00:26:55,119 --> 00:26:57,720 Speaker 2: I'm dealing with this personal shit, but I gotta do this. 491 00:26:57,840 --> 00:27:00,199 Speaker 2: So like what is my intention in this scene? It 492 00:27:00,240 --> 00:27:02,600 Speaker 2: is my moment before, Like what can I do to 493 00:27:02,640 --> 00:27:06,960 Speaker 2: get myself like into this headspace? 494 00:27:07,160 --> 00:27:10,760 Speaker 1: Yeah? Yeah. One of the things I liked about college 495 00:27:10,880 --> 00:27:14,600 Speaker 1: for me was that there wasn't one specific technique that 496 00:27:14,640 --> 00:27:18,840 Speaker 1: we studied, and it was just that there were a 497 00:27:19,119 --> 00:27:23,639 Speaker 1: bunch of different ones that we worked through, and that 498 00:27:23,880 --> 00:27:26,600 Speaker 1: was helpful to me. It has become helpful to me 499 00:27:26,600 --> 00:27:28,240 Speaker 1: in my professional life, and it was helpful to me 500 00:27:28,280 --> 00:27:32,800 Speaker 1: in college because not some things like don't always work, 501 00:27:33,359 --> 00:27:36,840 Speaker 1: meaning like something's just don't like you're saying sometimes that 502 00:27:37,000 --> 00:27:40,639 Speaker 1: day that fucking thing is not your sense memory moment, 503 00:27:40,720 --> 00:27:44,159 Speaker 1: It just isn't. She's not she's not coming that there. 504 00:27:44,440 --> 00:27:48,320 Speaker 1: Stay there, Try something else, like you gotta just like 505 00:27:48,440 --> 00:27:52,159 Speaker 1: try something else, right. And the more I feel the 506 00:27:52,200 --> 00:27:54,679 Speaker 1: more that you know about this stuff, the more that 507 00:27:54,720 --> 00:27:57,640 Speaker 1: you're trying stuff more like I'm walking like a bug 508 00:27:57,680 --> 00:28:01,879 Speaker 1: in turtle or whatever, more stuff you discover, you know. 509 00:28:02,240 --> 00:28:07,600 Speaker 1: And sometimes I like to randomly watch people's audition. 510 00:28:07,880 --> 00:28:12,959 Speaker 2: Tapes like on YouTube and stuff, because I find, like 511 00:28:13,000 --> 00:28:14,920 Speaker 2: I did it today because it was like. 512 00:28:14,880 --> 00:28:17,919 Speaker 1: What is what what are they doing? You know, like 513 00:28:18,040 --> 00:28:21,200 Speaker 1: how are they doing this? And what I find a 514 00:28:21,280 --> 00:28:25,679 Speaker 1: lot is that more than likely their performance that they 515 00:28:25,720 --> 00:28:28,000 Speaker 1: give in the film is actually the performance that they 516 00:28:28,040 --> 00:28:31,000 Speaker 1: gave in the audition. Yeah, you know, because I just 517 00:28:31,040 --> 00:28:33,240 Speaker 1: fucking rite for it. They were just right for it, 518 00:28:33,280 --> 00:28:35,479 Speaker 1: and they were ready. They were ready, They had all 519 00:28:35,480 --> 00:28:38,040 Speaker 1: their stuff memorized, and they knew the take that they 520 00:28:38,040 --> 00:28:40,360 Speaker 1: were going to do, and they trusted that what their 521 00:28:40,400 --> 00:28:43,760 Speaker 1: work was, and they were just it was just you know, 522 00:28:44,200 --> 00:28:47,640 Speaker 1: like you could be really right for something. Now I'm 523 00:28:47,640 --> 00:28:49,040 Speaker 1: going on a tangent, but like you could be really 524 00:28:49,080 --> 00:28:50,920 Speaker 1: right for something and like not be ready for it 525 00:28:51,120 --> 00:28:54,560 Speaker 1: and not have your technique down and not be memorized 526 00:28:54,600 --> 00:28:59,800 Speaker 1: and not be not be awake and alive in the scene, 527 00:29:00,160 --> 00:29:03,440 Speaker 1: and like maybe you're really really right for it, but like, oh, 528 00:29:03,640 --> 00:29:06,200 Speaker 1: like you know. One of the things I think that 529 00:29:06,280 --> 00:29:10,760 Speaker 1: I've learned a lot in the past few years is like, 530 00:29:11,720 --> 00:29:14,440 Speaker 1: you know, when you're in college, Well, when I was 531 00:29:14,440 --> 00:29:16,760 Speaker 1: in college, I kind of thought, oh, the director's supposed 532 00:29:16,760 --> 00:29:19,800 Speaker 1: to like help you, guide you and like right for 533 00:29:20,280 --> 00:29:23,800 Speaker 1: this performance out of you. And yeah, it's just not 534 00:29:24,000 --> 00:29:27,880 Speaker 1: really that way. The director has so many things going on, 535 00:29:28,000 --> 00:29:33,080 Speaker 1: and yes, sometimes the director's job is to give you 536 00:29:33,120 --> 00:29:36,920 Speaker 1: a key and unlock something with you, but they've also 537 00:29:37,000 --> 00:29:41,200 Speaker 1: got a jillion bajillion other things going on, and so 538 00:29:41,440 --> 00:29:44,080 Speaker 1: really what they need is for you as an actor 539 00:29:44,160 --> 00:29:47,400 Speaker 1: to be ready from the get from the accition, basically 540 00:29:47,560 --> 00:29:50,160 Speaker 1: like to be that's what they see. 541 00:29:50,440 --> 00:29:53,680 Speaker 2: Yeah, you're just an instrument and a giant orchestra that 542 00:29:53,680 --> 00:29:55,120 Speaker 2: they're conducting. 543 00:29:54,720 --> 00:29:56,560 Speaker 1: Right, and so like you need to know how to 544 00:29:56,560 --> 00:29:59,440 Speaker 1: play your instrument. You really need to be like first chair. 545 00:30:01,480 --> 00:30:04,080 Speaker 2: It's so true. They're there to like, yes, I think 546 00:30:04,160 --> 00:30:07,920 Speaker 2: guide you. I think maybe elevate, like you said, unlock something. 547 00:30:08,120 --> 00:30:12,800 Speaker 2: But like they're they're not gonna Your performance is up 548 00:30:12,840 --> 00:30:13,040 Speaker 2: to you. 549 00:30:13,680 --> 00:30:15,160 Speaker 1: Yeah, man, it really is. 550 00:30:15,800 --> 00:30:18,840 Speaker 2: I really the times that i've directed, I've really loved 551 00:30:18,880 --> 00:30:21,479 Speaker 2: watching all the auditions and I felt like I learned, 552 00:30:21,840 --> 00:30:24,760 Speaker 2: you know, you hear it so much and everyone says it, like, 553 00:30:24,840 --> 00:30:27,160 Speaker 2: but if you're an actor, if any chance you could 554 00:30:27,200 --> 00:30:31,560 Speaker 2: get to watch people's auditions is really valuable because what 555 00:30:31,600 --> 00:30:34,200 Speaker 2: you mostly see is most of the people you see 556 00:30:34,360 --> 00:30:37,880 Speaker 2: could do it, and they'd be great. You know, in 557 00:30:37,960 --> 00:30:39,920 Speaker 2: some instances they'd be fine, but it would be good, 558 00:30:40,040 --> 00:30:42,040 Speaker 2: like you you know, you know, it wouldn't ruin the scene, 559 00:30:42,040 --> 00:30:45,640 Speaker 2: It wouldn't ruin the episode. But and most of the 560 00:30:45,760 --> 00:30:51,080 Speaker 2: time the person it goes to either just made a 561 00:30:51,120 --> 00:30:54,720 Speaker 2: strong choice that works in their audition that like set 562 00:30:54,760 --> 00:30:57,320 Speaker 2: them apart from everyone else, because there's like, you read 563 00:30:57,320 --> 00:31:01,880 Speaker 2: a scene, and if you have ten people, pretty much 564 00:31:01,880 --> 00:31:03,480 Speaker 2: all ten are going to more or less read that 565 00:31:03,520 --> 00:31:07,080 Speaker 2: scene the same way. And then sometimes there's gonna be 566 00:31:07,080 --> 00:31:10,720 Speaker 2: one or two people that just put an extra specific 567 00:31:10,800 --> 00:31:12,520 Speaker 2: thing on it, or they put a flare on it, 568 00:31:12,640 --> 00:31:14,960 Speaker 2: or they just make a big choice in one section, 569 00:31:15,760 --> 00:31:18,520 Speaker 2: and then that kind of sets them apart. And then 570 00:31:18,560 --> 00:31:21,160 Speaker 2: the other thing that no one can fucking explain or 571 00:31:21,160 --> 00:31:24,760 Speaker 2: control is like an essence thing, like they just feel 572 00:31:24,800 --> 00:31:28,360 Speaker 2: like that character, Like you can't even put your finger 573 00:31:28,440 --> 00:31:31,200 Speaker 2: on it. They just you can picture them in wardrobe, 574 00:31:31,360 --> 00:31:34,120 Speaker 2: and you can picture them in the scene and it's 575 00:31:34,200 --> 00:31:36,560 Speaker 2: like just a vibe that they have. 576 00:31:36,920 --> 00:31:39,000 Speaker 1: Oh my god, that makes my stomach so. 577 00:31:39,040 --> 00:31:44,000 Speaker 2: Frustrating, because you want a stomach I know, I know, 578 00:31:44,920 --> 00:31:45,720 Speaker 2: Oh my. 579 00:31:45,560 --> 00:31:49,200 Speaker 1: God, cause I have to put some shape and I'm 580 00:31:49,240 --> 00:31:50,200 Speaker 1: just like, oh. 581 00:31:50,280 --> 00:31:55,760 Speaker 2: No, So how do you prep for an audition? 582 00:31:56,080 --> 00:32:00,600 Speaker 1: Let's talk about that. I study a lot. I read 583 00:32:00,600 --> 00:32:02,960 Speaker 1: the script. I read the script because I think a 584 00:32:03,000 --> 00:32:07,680 Speaker 1: lot of times people don't. Yes, I remember reading this 585 00:32:07,760 --> 00:32:10,240 Speaker 1: book a long time ago. I don't know if I 586 00:32:10,240 --> 00:32:12,560 Speaker 1: still have it. It's called Talent is Overrated. But one 587 00:32:12,600 --> 00:32:14,320 Speaker 1: of the things that they talk about in that book 588 00:32:14,440 --> 00:32:17,400 Speaker 1: is that, like, you know, there's a lot of talented people, 589 00:32:17,400 --> 00:32:19,280 Speaker 1: but there's not a lot of people that will want 590 00:32:19,320 --> 00:32:23,600 Speaker 1: to put in the work. So just by putting in 591 00:32:23,600 --> 00:32:28,520 Speaker 1: the work, you separate yourself from the other talented people, right, 592 00:32:28,640 --> 00:32:31,760 Speaker 1: And so like I'm going to memorize the motherfucking living 593 00:32:32,120 --> 00:32:35,959 Speaker 1: daylights out of that audition. Those sides, like, I'm going 594 00:32:36,040 --> 00:32:39,400 Speaker 1: to have them memorize. I've run them already probably ten 595 00:32:39,440 --> 00:32:42,360 Speaker 1: times each yeah, with my sister, and I'm going to 596 00:32:42,520 --> 00:32:48,160 Speaker 1: memorize them more after this recording. M Yeah, I need 597 00:32:48,200 --> 00:32:50,000 Speaker 1: to be fully memorized for auditions. 598 00:32:50,160 --> 00:32:50,480 Speaker 2: I am. 599 00:32:50,760 --> 00:32:52,880 Speaker 1: I try to be like as much off the page 600 00:32:52,880 --> 00:32:57,000 Speaker 1: as I can be, because I think when I look 601 00:32:57,040 --> 00:32:59,360 Speaker 1: at people's auditions, like when I look at people that 602 00:32:59,360 --> 00:33:01,280 Speaker 1: book the job, a lot of times they're like up 603 00:33:01,320 --> 00:33:05,360 Speaker 1: and they're acting with the reader, or they're acting with 604 00:33:05,440 --> 00:33:08,640 Speaker 1: their significant other whoever they're they're reading with, or just 605 00:33:08,680 --> 00:33:12,240 Speaker 1: like with him with them, you know, as opposed to 606 00:33:12,240 --> 00:33:15,160 Speaker 1: like down and trying to find stuff. Not to say 607 00:33:15,160 --> 00:33:17,480 Speaker 1: that I don't, but I really really want to be 608 00:33:17,640 --> 00:33:20,560 Speaker 1: completely off book. But it's hard, Like I mean thinking 609 00:33:20,560 --> 00:33:27,040 Speaker 1: about like making big choices and being like sometimes you're 610 00:33:27,080 --> 00:33:29,480 Speaker 1: just not right for the thing. I'm like, I don't know, 611 00:33:29,080 --> 00:33:30,960 Speaker 1: I know if I'm gonna be right, but I mean 612 00:33:31,000 --> 00:33:34,800 Speaker 1: like I could play it like, but I might not 613 00:33:34,960 --> 00:33:38,959 Speaker 1: be right for it. So like sometimes you just have 614 00:33:39,040 --> 00:33:39,640 Speaker 1: to sort. 615 00:33:39,440 --> 00:33:42,760 Speaker 2: Of like like do it anyway, even though you feel 616 00:33:42,760 --> 00:33:45,320 Speaker 2: like sick to your stomach about it, but also there's 617 00:33:45,320 --> 00:33:48,080 Speaker 2: also that there's always a possibility that yes, maybe on 618 00:33:48,200 --> 00:33:50,040 Speaker 2: the page you're like, I don't know if I'm right 619 00:33:50,080 --> 00:33:52,520 Speaker 2: for this, but then they see you and they see 620 00:33:52,520 --> 00:33:55,840 Speaker 2: something new and different and they're like, oh, maybe this 621 00:33:56,000 --> 00:33:58,640 Speaker 2: character isn't what we originally thought. This is so much 622 00:33:58,680 --> 00:34:02,080 Speaker 2: more interesting Stephanie, my mattress is so much more interesting 623 00:34:02,120 --> 00:34:02,560 Speaker 2: in this. 624 00:34:02,520 --> 00:34:06,200 Speaker 1: Role, and now we kind of want Tot's like, let's hope, 625 00:34:07,120 --> 00:34:09,680 Speaker 1: let's pray, and so let's pray and hope. 626 00:34:10,239 --> 00:34:16,359 Speaker 2: I once did a like an alumni panel NYU and 627 00:34:16,400 --> 00:34:20,920 Speaker 2: it was all actors and this one actor, Noah Weisberg. 628 00:34:20,960 --> 00:34:21,279 Speaker 1: What up? 629 00:34:21,280 --> 00:34:25,440 Speaker 2: Noah very talented actor, works all the time, it's Broadway 630 00:34:25,520 --> 00:34:30,960 Speaker 2: and TV, and he had the best freaking gems at 631 00:34:30,960 --> 00:34:36,319 Speaker 2: this panel, and he talked about auditioning and he completely 632 00:34:36,360 --> 00:34:39,359 Speaker 2: like reframed it for me that because at that time 633 00:34:39,400 --> 00:34:42,799 Speaker 2: I was like working but still struggling auditioning all the time, 634 00:34:42,880 --> 00:34:47,640 Speaker 2: mostly getting rejected. And he was like, my audition is 635 00:34:47,680 --> 00:34:49,719 Speaker 2: I get to go to work that day, I get 636 00:34:49,760 --> 00:34:51,680 Speaker 2: to do this thing that I love to do for 637 00:34:51,719 --> 00:34:53,399 Speaker 2: twenty minutes or an hour or. 638 00:34:53,320 --> 00:34:55,160 Speaker 1: Whatever it is. If it's on tape, it's in a 639 00:34:55,239 --> 00:34:56,160 Speaker 1: room wherever it is. 640 00:34:56,480 --> 00:34:58,640 Speaker 2: I get to go to work, and he's like, and 641 00:34:58,680 --> 00:35:00,200 Speaker 2: I don't look at it as an audition. I just 642 00:35:00,200 --> 00:35:01,360 Speaker 2: look at it is like I get to go to 643 00:35:01,400 --> 00:35:03,200 Speaker 2: work today. Today, I get to go to work. 644 00:35:03,719 --> 00:35:10,960 Speaker 1: And that's great advice. But I cannot separate. I can't separate. Also, 645 00:35:11,120 --> 00:35:15,560 Speaker 1: I am not getting paid. I mean, right, it's so 646 00:35:15,760 --> 00:35:19,520 Speaker 1: hard to separate. I get to do this fun scene 647 00:35:19,800 --> 00:35:24,200 Speaker 1: and also like, but I also want I want to 648 00:35:24,239 --> 00:35:26,000 Speaker 1: do this scene again. I want to do it on 649 00:35:26,239 --> 00:35:31,320 Speaker 1: film with actors that I like and enjoy their work, 650 00:35:31,360 --> 00:35:33,879 Speaker 1: and I want to play with the other person. Yeah, 651 00:35:34,120 --> 00:35:37,759 Speaker 1: like doing a scene by yourself at home, or like 652 00:35:37,840 --> 00:35:40,680 Speaker 1: even with a reader, even if they're really good, it's 653 00:35:40,760 --> 00:35:44,080 Speaker 1: just not the same as like doing it with somebody 654 00:35:44,080 --> 00:35:48,120 Speaker 1: who's work you admire or like or you don't know 655 00:35:48,239 --> 00:35:50,880 Speaker 1: and you're learning from. It's just like it's it's so 656 00:35:51,120 --> 00:35:54,520 Speaker 1: electric when it's like really happening, as opposed to like 657 00:35:54,760 --> 00:35:58,080 Speaker 1: I'm auditioning for something, you know, It's like one is 658 00:35:58,200 --> 00:36:00,640 Speaker 1: just so different than the other. Even so the core 659 00:36:00,680 --> 00:36:02,600 Speaker 1: of the thing still has to be the same, which 660 00:36:02,640 --> 00:36:08,920 Speaker 1: is like your ability to conjure, conjure the realness the 661 00:36:08,920 --> 00:36:20,280 Speaker 1: realness of the thing more really quick, Let's talk about 662 00:36:20,320 --> 00:36:23,319 Speaker 1: like speaking of conjuring. Let's talk about conjuring. Let's talk 663 00:36:23,360 --> 00:36:28,840 Speaker 1: about like, there's a bunch of techniques of acting. I 664 00:36:28,880 --> 00:36:34,120 Speaker 1: struggle with some of them. I don't love some of them. 665 00:36:34,200 --> 00:36:37,000 Speaker 2: Let's talk about the ones that I studied in school 666 00:36:37,080 --> 00:36:40,920 Speaker 2: were the big The big ones are like, Okay, Stanislavski 667 00:36:41,680 --> 00:36:46,759 Speaker 2: UH method acting, which just Strasburg stella Adler, which was 668 00:36:46,840 --> 00:36:50,360 Speaker 2: another Uh Santislavski student. 669 00:36:50,640 --> 00:37:00,480 Speaker 1: She and Strasburg were students of Santaslavski Meisner Meisner, Meisterisner Meisner. Now, 670 00:37:00,600 --> 00:37:02,400 Speaker 1: there's a lot of things about Meisner that are great. 671 00:37:02,480 --> 00:37:08,880 Speaker 1: There's some things that are I love Uda Hagen, I 672 00:37:09,000 --> 00:37:12,279 Speaker 1: will say I do love Uda Hagen's book, Yes, and 673 00:37:12,760 --> 00:37:17,680 Speaker 1: particularly when I was a younger actor, because I think, 674 00:37:18,880 --> 00:37:22,400 Speaker 1: especially as a younger actor, I got super into the 675 00:37:22,440 --> 00:37:24,960 Speaker 1: feeling of like I don't know how to apply these techniques. 676 00:37:25,000 --> 00:37:29,279 Speaker 1: And Hogen udah Hagen is very very about like substitution. 677 00:37:29,680 --> 00:37:32,839 Speaker 1: It's like substitution of real life experience. 678 00:37:32,840 --> 00:37:35,480 Speaker 2: To me, it's a it's a clearer it's a clearer 679 00:37:36,200 --> 00:37:41,640 Speaker 2: definition of substitution than Strasburg's sort of approach to substitution 680 00:37:41,800 --> 00:37:45,800 Speaker 2: to me, was always almost like self indulgent, Like I 681 00:37:46,200 --> 00:37:46,680 Speaker 2: felt like. 682 00:37:48,280 --> 00:37:48,920 Speaker 1: So a n YU. 683 00:37:49,160 --> 00:37:53,120 Speaker 2: All these studios were like you when you become a 684 00:37:53,200 --> 00:37:55,839 Speaker 2: drama major, you audition, you get into NYU, they place 685 00:37:55,960 --> 00:37:58,200 Speaker 2: you in a studio. And so there's a Strasburg Studio, 686 00:37:58,239 --> 00:38:01,800 Speaker 2: the Adler Studio, the Meisner Studio, the Atlantic Theater Company Studio, 687 00:38:01,920 --> 00:38:03,960 Speaker 2: and blah blah blahlah lah. I was in the musical 688 00:38:03,960 --> 00:38:06,400 Speaker 2: Theater one. So I got like a little sprinkling of 689 00:38:06,440 --> 00:38:11,000 Speaker 2: everything and I kind of noticed sorry little bit of 690 00:38:11,040 --> 00:38:12,960 Speaker 2: shade to the Strasburg. 691 00:38:13,960 --> 00:38:14,440 Speaker 1: Studio. 692 00:38:15,520 --> 00:38:18,280 Speaker 2: I felt like when I would watch the Strasburg actors 693 00:38:18,400 --> 00:38:22,759 Speaker 2: act in some things that they were all like very 694 00:38:23,000 --> 00:38:26,960 Speaker 2: like internal, like in their own world as opposed to 695 00:38:27,120 --> 00:38:30,880 Speaker 2: like really reacting and listening off of another actor. 696 00:38:30,960 --> 00:38:31,680 Speaker 1: Do you know what I mean? 697 00:38:32,800 --> 00:38:35,399 Speaker 2: Because I and then when I like learned more about 698 00:38:35,400 --> 00:38:36,920 Speaker 2: the technique, I was like, oh, that makes sense, Like 699 00:38:36,920 --> 00:38:40,960 Speaker 2: it's so based in substitution, but from this like really 700 00:38:41,120 --> 00:38:44,200 Speaker 2: kind of internal place inside place where I felt like 701 00:38:44,360 --> 00:38:49,759 Speaker 2: Udah Haugen's approach to substitution was more I don't know, 702 00:38:49,840 --> 00:38:50,800 Speaker 2: it was more active. 703 00:38:50,920 --> 00:38:51,840 Speaker 1: It was more like. 704 00:38:51,800 --> 00:38:56,240 Speaker 2: Taking the event or taking the feeling that you're substituting 705 00:38:56,320 --> 00:38:59,440 Speaker 2: and placing it in but still like create using instinct 706 00:38:59,440 --> 00:39:01,840 Speaker 2: and imagine work and being in the scene. 707 00:39:01,840 --> 00:39:04,719 Speaker 1: Does that make sense? Yeah, it makes sense. Getting I'm like, sup, 708 00:39:05,160 --> 00:39:07,680 Speaker 1: just got super nerdy. No. No, I'm curious about like 709 00:39:07,719 --> 00:39:10,080 Speaker 1: whether those Stosberg students, like whether if you put a 710 00:39:10,120 --> 00:39:14,680 Speaker 1: camera on them, would it still feel sort of self 711 00:39:14,680 --> 00:39:18,399 Speaker 1: indulgent and you know, like if you cut them into 712 00:39:18,480 --> 00:39:21,960 Speaker 1: a film, like if they edited their performance, would it 713 00:39:22,040 --> 00:39:24,680 Speaker 1: feel that way or would it look really really real 714 00:39:24,800 --> 00:39:29,120 Speaker 1: because they're really like like using sense, memory and going 715 00:39:29,160 --> 00:39:31,240 Speaker 1: through something. I don't know, I don't know the answer 716 00:39:31,280 --> 00:39:33,680 Speaker 1: to that, but like I'm curious about that because I've 717 00:39:33,680 --> 00:39:37,080 Speaker 1: certainly seen I mean, I've seen a lot of shows 718 00:39:38,120 --> 00:39:41,759 Speaker 1: on Broadway and off, but I've seen actors that are 719 00:39:41,760 --> 00:39:47,680 Speaker 1: film actors on Broadway that are phenomenal and commanding of 720 00:39:47,719 --> 00:39:53,719 Speaker 1: an audience and like incredible and like, you know, just electric. 721 00:39:53,960 --> 00:39:57,600 Speaker 1: And then I've seen film actors who are you know, 722 00:39:57,920 --> 00:40:02,200 Speaker 1: really really good on television in television and film, and 723 00:40:02,239 --> 00:40:04,359 Speaker 1: then they're on stage and I'm like, well, I'm glad 724 00:40:04,360 --> 00:40:07,200 Speaker 1: I'm sitting in the fourth row because like if I 725 00:40:07,239 --> 00:40:08,680 Speaker 1: was in the back of the house, I couldn't see 726 00:40:08,719 --> 00:40:11,640 Speaker 1: any of what you were feeling. And it's a beautiful performance, 727 00:40:11,640 --> 00:40:14,239 Speaker 1: but it's not a stage. It's so small. Yeah, right, 728 00:40:14,440 --> 00:40:17,040 Speaker 1: So like those two things are really really different things, 729 00:40:17,280 --> 00:40:20,319 Speaker 1: really different things. And then you see the opposite too. 730 00:40:20,360 --> 00:40:24,480 Speaker 2: You see actors that are brilliant in theater, brilliant on Broadway, 731 00:40:24,600 --> 00:40:26,880 Speaker 2: and then you put them on camera film everything is 732 00:40:26,960 --> 00:40:29,239 Speaker 2: just too big too. Yeah. 733 00:40:29,719 --> 00:40:32,600 Speaker 1: Yeah, it's it's is my constant feeling. But because the 734 00:40:33,120 --> 00:40:36,480 Speaker 1: balance of like sometimes I'm not sure what the tone 735 00:40:36,640 --> 00:40:39,319 Speaker 1: of the thing is that I'm auditioning for, you know, 736 00:40:39,360 --> 00:40:42,680 Speaker 1: because like I read it in one tone, but maybe 737 00:40:42,680 --> 00:40:44,719 Speaker 1: it's not that tone, and then I like make it 738 00:40:44,800 --> 00:40:47,200 Speaker 1: take a big swing, and I'm like, well, I don't know, 739 00:40:47,480 --> 00:40:50,040 Speaker 1: you know, like, yeah, I don't know if it's that 740 00:40:50,320 --> 00:40:52,480 Speaker 1: or was I in the right play? Was I in 741 00:40:52,520 --> 00:40:54,920 Speaker 1: the right play? Or was I was I in the 742 00:40:54,920 --> 00:40:57,400 Speaker 1: theater next door. That's a really hard one. I mean, 743 00:40:57,400 --> 00:41:01,239 Speaker 1: I think for me as a younger actor or substitution, 744 00:41:01,440 --> 00:41:05,640 Speaker 1: which you know, to give you like not a professional no. 745 00:41:06,160 --> 00:41:14,840 Speaker 1: Our interpretation is like you use your personal experiences to 746 00:41:14,920 --> 00:41:19,960 Speaker 1: help you create a reaction to what's happening to the character. 747 00:41:20,640 --> 00:41:23,080 Speaker 1: So like, if you have never lived through somebody dying 748 00:41:23,200 --> 00:41:26,279 Speaker 1: and your scene is about someone dying, right, Like, you 749 00:41:26,360 --> 00:41:29,239 Speaker 1: use something that's close, like maybe you had a pet die, 750 00:41:29,400 --> 00:41:32,760 Speaker 1: or maybe you like lost someone that was really close 751 00:41:32,800 --> 00:41:35,000 Speaker 1: to you, or maybe you have a fear of dying, 752 00:41:35,200 --> 00:41:37,400 Speaker 1: and like you use that and put it into the 753 00:41:37,440 --> 00:41:40,640 Speaker 1: scene and to like help you emotionally get to the 754 00:41:40,680 --> 00:41:44,000 Speaker 1: place where you are locked a lot of emotion. But 755 00:41:44,080 --> 00:41:46,560 Speaker 1: then you're also saying the lines that are in the scene, 756 00:41:46,800 --> 00:41:49,400 Speaker 1: right and like sometimes and still today, I'll use it 757 00:41:49,400 --> 00:41:52,400 Speaker 1: in a pinch, but I rarely use it anymore because 758 00:41:54,280 --> 00:41:58,120 Speaker 1: it's too much for me sometimes, Does that make sense? Like, well, 759 00:41:58,200 --> 00:41:58,880 Speaker 1: it's yeah. 760 00:41:59,120 --> 00:42:02,640 Speaker 2: I I my first year acting teacher was like my 761 00:42:02,719 --> 00:42:07,359 Speaker 2: mentor at Doug Mauston. He was incredible and he when 762 00:42:07,360 --> 00:42:10,960 Speaker 2: he was teaching us substitution, I remember him saying, you 763 00:42:11,000 --> 00:42:14,400 Speaker 2: can't use anything that you haven't healed from because it 764 00:42:14,440 --> 00:42:15,400 Speaker 2: will fuck with your mind. 765 00:42:15,600 --> 00:42:18,920 Speaker 1: That's such a big, big, big, big great piece of advice. 766 00:42:19,360 --> 00:42:21,120 Speaker 2: Yes, And he was like, if you think of your 767 00:42:21,160 --> 00:42:26,319 Speaker 2: memories as and your painful memories as like scabs or scars, right, Like, 768 00:42:26,520 --> 00:42:28,680 Speaker 2: don't use it while it's a scab, because then you're 769 00:42:28,719 --> 00:42:31,440 Speaker 2: just ripping that scab open every time. He was like, 770 00:42:31,560 --> 00:42:34,080 Speaker 2: you have to wait till it's it's a scar and 771 00:42:34,120 --> 00:42:35,960 Speaker 2: then you can go back and access it. 772 00:42:36,360 --> 00:42:37,560 Speaker 1: That's really interesting if. 773 00:42:37,440 --> 00:42:40,520 Speaker 2: That works for you, which that you know, Yeah, I've 774 00:42:40,520 --> 00:42:46,480 Speaker 2: always struggled with substitution, but he was very adamant about 775 00:42:46,560 --> 00:42:51,120 Speaker 2: not using things that are more raw unless unless well 776 00:42:51,239 --> 00:42:54,920 Speaker 2: there was a stipulation of like, if it's helping you process, 777 00:42:55,640 --> 00:42:56,279 Speaker 2: there it is. 778 00:42:56,520 --> 00:42:58,359 Speaker 1: There it is if it's helping you. 779 00:42:58,440 --> 00:43:01,560 Speaker 2: Work through sar things, Yeah, as long as that it's 780 00:43:01,600 --> 00:43:04,080 Speaker 2: that approach. But if you're just going back to a 781 00:43:04,120 --> 00:43:08,200 Speaker 2: really painful thing and reliving it over and over again, yeah, yeah. 782 00:43:08,280 --> 00:43:11,440 Speaker 2: He was like, your work will eventually suffer, but more importantly, 783 00:43:11,520 --> 00:43:12,959 Speaker 2: you'll suffer as a human being. 784 00:43:13,360 --> 00:43:16,440 Speaker 1: You'll sufferer, and like that's one of the things that's 785 00:43:16,560 --> 00:43:23,320 Speaker 1: most important about using substitution is not being really careful 786 00:43:23,360 --> 00:43:26,960 Speaker 1: with it, because it is it is like giving of yourself. 787 00:43:27,080 --> 00:43:29,239 Speaker 1: And I would say, I would say, like, if you 788 00:43:29,360 --> 00:43:36,440 Speaker 1: use something too much, you can deaden yourself, Like the 789 00:43:36,920 --> 00:43:41,640 Speaker 1: sharpness of that thing becomes dull, and the your ability 790 00:43:41,640 --> 00:43:43,400 Speaker 1: to use it, it's like you can still cut with 791 00:43:43,440 --> 00:43:46,480 Speaker 1: a dull knife. But it can it's like you're digging 792 00:43:46,520 --> 00:43:49,520 Speaker 1: at something like really gnarly, you know. Yeah. I mean 793 00:43:50,440 --> 00:43:57,920 Speaker 1: I have used substitution before in acting where it's like 794 00:43:58,360 --> 00:44:00,960 Speaker 1: I will just this make sense or not, but like 795 00:44:01,480 --> 00:44:04,200 Speaker 1: I won't like dig into it. I'll just like touch it, 796 00:44:04,560 --> 00:44:06,359 Speaker 1: you know, like just like a little touch of it, 797 00:44:06,440 --> 00:44:09,520 Speaker 1: and then like I touch it, I burn. Like I 798 00:44:09,800 --> 00:44:11,960 Speaker 1: you don't even burn my finger. I just like feel 799 00:44:11,960 --> 00:44:13,640 Speaker 1: the heat of it and then move away and like 800 00:44:13,719 --> 00:44:16,560 Speaker 1: do the scene. Yeah, and like take the take the 801 00:44:16,680 --> 00:44:20,359 Speaker 1: energy of the of the of the heat and go 802 00:44:20,400 --> 00:44:21,879 Speaker 1: into the scene. You don't have to put your whole 803 00:44:21,880 --> 00:44:25,080 Speaker 1: fucking hand on the fire, right, Like, you just take 804 00:44:25,160 --> 00:44:27,799 Speaker 1: a little bit of it and move yourself through into 805 00:44:27,800 --> 00:44:32,480 Speaker 1: the scene. I don't. I don't think that's suffering hard, 806 00:44:32,520 --> 00:44:34,319 Speaker 1: hard hard for the thing because I've done it. 807 00:44:34,400 --> 00:44:38,040 Speaker 2: I've done that already in my youth, and I don't 808 00:44:38,080 --> 00:44:39,000 Speaker 2: want to do it again. 809 00:44:39,160 --> 00:44:43,839 Speaker 1: I also don't. I'm not a method actor. I think 810 00:44:43,880 --> 00:44:47,640 Speaker 1: a lot of people don't really understand method. 811 00:44:49,080 --> 00:44:51,920 Speaker 2: I feel like it's a term that's been tossed around 812 00:44:52,160 --> 00:44:57,320 Speaker 2: in a very uh sloppy way in the last couple decades. 813 00:44:59,000 --> 00:45:00,400 Speaker 1: Yeah, it's just a type technique. 814 00:45:00,400 --> 00:45:03,120 Speaker 2: It doesn't mean like you know when they taught And 815 00:45:03,200 --> 00:45:05,160 Speaker 2: it's funny to me when they talk about like method 816 00:45:05,239 --> 00:45:08,440 Speaker 2: actors that are in character all day on set, at 817 00:45:08,520 --> 00:45:11,160 Speaker 2: least the way I was taught, like these different techniques 818 00:45:11,160 --> 00:45:12,600 Speaker 2: that fall under the method umbrella. 819 00:45:12,920 --> 00:45:17,320 Speaker 1: That's not method. Like the method is that. 820 00:45:17,280 --> 00:45:21,120 Speaker 2: You can click into your character and then drop it 821 00:45:21,160 --> 00:45:23,960 Speaker 2: when you need to drop it like that that was 822 00:45:24,000 --> 00:45:26,840 Speaker 2: always taught to me, is like the whole point it wasn't. 823 00:45:27,360 --> 00:45:29,839 Speaker 2: I don't know where. At some point it became. 824 00:45:29,800 --> 00:45:31,480 Speaker 1: Like you have to do this all the time. You 825 00:45:31,480 --> 00:45:32,120 Speaker 1: have to do this. 826 00:45:32,040 --> 00:45:34,480 Speaker 2: All the time, and like live in the thing, like 827 00:45:34,719 --> 00:45:36,359 Speaker 2: and if you're going to be drunk in a scene, 828 00:45:36,400 --> 00:45:37,200 Speaker 2: actually be drunk. 829 00:45:37,239 --> 00:45:41,400 Speaker 1: Like that's not method like that you you're no, Like 830 00:45:42,360 --> 00:45:44,920 Speaker 1: that's the opposite. I will say the thing that I'm 831 00:45:44,960 --> 00:45:46,680 Speaker 1: talking the thing that I was talking about that sort 832 00:45:46,719 --> 00:45:51,560 Speaker 1: of like touching something is something that Strasburg talked about 833 00:45:51,560 --> 00:45:56,440 Speaker 1: a lot, which is like emotional recall distinctive moments an 834 00:45:56,440 --> 00:45:58,719 Speaker 1: actor has had in their real life and repurposing those 835 00:45:58,719 --> 00:46:01,680 Speaker 1: moments to convey a character convincingly on stage. So like 836 00:46:01,760 --> 00:46:06,319 Speaker 1: that to me is like part of what's tricky about Strasbourg, 837 00:46:06,440 --> 00:46:08,440 Speaker 1: and like all of this stuff is like acting is 838 00:46:08,520 --> 00:46:10,960 Speaker 1: a lot of it is in your brain, psychological stuff 839 00:46:11,000 --> 00:46:16,359 Speaker 1: that then you convey through your body and mouth and 840 00:46:17,000 --> 00:46:20,520 Speaker 1: the way your face looks or whatever you indicate like 841 00:46:20,719 --> 00:46:24,000 Speaker 1: what you're feeling, right, But yeah, it starts in your brain. 842 00:46:24,239 --> 00:46:27,520 Speaker 1: So like different people's brains work different ways, which is 843 00:46:27,560 --> 00:46:30,520 Speaker 1: why there are all these techniques, because not one is 844 00:46:30,560 --> 00:46:31,920 Speaker 1: gonna work for everyone. 845 00:46:32,160 --> 00:46:35,800 Speaker 2: No more. 846 00:46:41,560 --> 00:46:44,000 Speaker 1: Before we wrap this up, because we've been talking about 847 00:46:44,040 --> 00:46:48,640 Speaker 1: this for the fucking ever. One of my favorite books 848 00:46:48,880 --> 00:46:50,840 Speaker 1: is this book that I read when I was younger, 849 00:46:51,120 --> 00:46:53,640 Speaker 1: called The Actor and the Target by Declan Donellan, who's 850 00:46:53,680 --> 00:46:54,560 Speaker 1: a theater director. 851 00:46:55,800 --> 00:47:00,240 Speaker 2: Oh yes, it's been sitting on my nightstand for months. 852 00:47:00,239 --> 00:47:05,120 Speaker 1: Specific technique. I really enjoyed this book as a young actor, 853 00:47:05,160 --> 00:47:06,919 Speaker 1: and like I've gone back to it quite a bit 854 00:47:07,560 --> 00:47:14,319 Speaker 1: because Donald talks about the target, which is a specific, 855 00:47:15,320 --> 00:47:18,719 Speaker 1: active focal point outside of the actor that directs their 856 00:47:18,760 --> 00:47:23,320 Speaker 1: performance and helps them overcome common acting anxieties like feeling 857 00:47:23,400 --> 00:47:27,239 Speaker 1: lost or feeling unsure about what to do. It is 858 00:47:27,400 --> 00:47:31,279 Speaker 1: like a practical it's basically a practical guide. But what 859 00:47:31,400 --> 00:47:34,280 Speaker 1: he says essentially is like you want something in this scene, 860 00:47:34,640 --> 00:47:39,040 Speaker 1: like you want something, so not only just like focus 861 00:47:39,080 --> 00:47:40,840 Speaker 1: on what you want, but like the thing that you 862 00:47:40,920 --> 00:47:47,000 Speaker 1: want is constantly changing, like you desire you know, maybe 863 00:47:47,040 --> 00:47:51,239 Speaker 1: it's someone, but like your desire for them is like 864 00:47:51,280 --> 00:47:53,440 Speaker 1: sometimes you're what you're desiring is like, well, I need 865 00:47:53,480 --> 00:47:55,520 Speaker 1: you to listen to me right now, like, oh, now 866 00:47:55,560 --> 00:47:57,799 Speaker 1: I need you to like calm down, Okay. Now I 867 00:47:57,880 --> 00:48:00,200 Speaker 1: need you to like sit in this chair so that 868 00:48:00,239 --> 00:48:02,080 Speaker 1: I can tell you what I need. Now I need 869 00:48:02,120 --> 00:48:03,799 Speaker 1: you to look at me. Now I need you to 870 00:48:04,400 --> 00:48:06,680 Speaker 1: you know, like now I need the room to be quiet. 871 00:48:06,760 --> 00:48:09,399 Speaker 1: Now I need like the space to like and now 872 00:48:09,400 --> 00:48:11,560 Speaker 1: I need to not be sweating. Oh my god. You 873 00:48:11,600 --> 00:48:13,680 Speaker 1: know it's like the thing, the thing that you need 874 00:48:13,800 --> 00:48:18,239 Speaker 1: is constantly shifting and changing and is like moving. The 875 00:48:18,320 --> 00:48:21,360 Speaker 1: target is moving, so like you have to be moving 876 00:48:21,520 --> 00:48:24,080 Speaker 1: also not like physically moving, but like your brain has 877 00:48:24,160 --> 00:48:25,800 Speaker 1: to be like going, like how do I continue to 878 00:48:25,840 --> 00:48:28,239 Speaker 1: get the thing that I want? I love that it's 879 00:48:28,320 --> 00:48:30,719 Speaker 1: really sounds it sounds a little bit too to me. 880 00:48:30,960 --> 00:48:33,640 Speaker 2: Of Like, there was this book that David was reading 881 00:48:33,640 --> 00:48:37,439 Speaker 2: once about it was actually about professional athletes. Oh and 882 00:48:37,719 --> 00:48:42,399 Speaker 2: they talk about the flow being in flow and when 883 00:48:42,440 --> 00:48:46,440 Speaker 2: you're like snowboarders, for example, we'll talk about being in 884 00:48:46,520 --> 00:48:48,759 Speaker 2: flow and they go down and every trick is just 885 00:48:48,760 --> 00:48:51,719 Speaker 2: like flowing out of them and they're moving seamlessly from 886 00:48:51,719 --> 00:48:54,840 Speaker 2: when the target keeps moving, but they're with it the 887 00:48:54,920 --> 00:48:58,160 Speaker 2: whole time, and I think it does you know. The 888 00:48:58,239 --> 00:49:01,000 Speaker 2: goal is always to feel that in a scene, and when 889 00:49:01,040 --> 00:49:04,600 Speaker 2: it really happens, it's like this incredible feeling where you're 890 00:49:04,760 --> 00:49:07,520 Speaker 2: just yeah, I think your eye is on that target 891 00:49:07,600 --> 00:49:10,000 Speaker 2: and you're following the target as it moves, but you're 892 00:49:10,320 --> 00:49:13,160 Speaker 2: and you're with your partner and you're you're both in 893 00:49:13,320 --> 00:49:16,520 Speaker 2: flow together and moments are happening and the scene just 894 00:49:16,600 --> 00:49:19,359 Speaker 2: clicks and it's you know, and when it finishes, you're 895 00:49:19,360 --> 00:49:22,200 Speaker 2: just like, holy shit, I was like really living in it. 896 00:49:22,480 --> 00:49:24,040 Speaker 1: Yeah, from start to finish. 897 00:49:24,200 --> 00:49:27,400 Speaker 2: You know, there was no even even if there's technical 898 00:49:27,440 --> 00:49:29,879 Speaker 2: things that happen where you have to like it, it didn't matter. 899 00:49:30,400 --> 00:49:32,759 Speaker 1: It didn't matter like part of it. It was part 900 00:49:32,760 --> 00:49:32,960 Speaker 1: of it. 901 00:49:33,000 --> 00:49:35,440 Speaker 2: You leaned on your right foot for camera because you 902 00:49:35,480 --> 00:49:40,080 Speaker 2: know whatever, Like yeah, and like just that phrase, I 903 00:49:40,120 --> 00:49:42,760 Speaker 2: always like really loved of like that. 904 00:49:42,760 --> 00:49:43,520 Speaker 1: That's the goal. 905 00:49:43,640 --> 00:49:46,839 Speaker 2: That's the goal going into like every scene after action 906 00:49:47,520 --> 00:49:50,200 Speaker 2: is like being in flow and just like one moment 907 00:49:50,280 --> 00:49:53,160 Speaker 2: to the other rights like all these techniques and things 908 00:49:53,160 --> 00:49:55,399 Speaker 2: that we've talked about, is like that's the ultimate goal. 909 00:49:55,719 --> 00:49:58,920 Speaker 1: It doesn't always happen. My favorite thing though, it's just 910 00:49:58,960 --> 00:50:02,919 Speaker 1: but it is readable reeling. Yes, and then the day, 911 00:50:03,000 --> 00:50:07,040 Speaker 1: I mean the day goes by, you know, the days 912 00:50:07,040 --> 00:50:10,000 Speaker 1: on set are slow. But what happens when the camera's 913 00:50:10,080 --> 00:50:13,560 Speaker 1: rolling is like, it's my favorite when they say action 914 00:50:14,080 --> 00:50:16,560 Speaker 1: and they're like, okay, we're ready, it's going. It's happening. 915 00:50:16,640 --> 00:50:20,440 Speaker 2: You're just playing and new things happen and little surprises happen. 916 00:50:20,680 --> 00:50:23,719 Speaker 1: Even if things are frustrating, even if it's yeah, fuck, 917 00:50:23,800 --> 00:50:26,640 Speaker 1: I didn't do the fucking thing, ah, you know whatever 918 00:50:26,680 --> 00:50:29,880 Speaker 1: it is, it's like it's still that moment between action 919 00:50:30,000 --> 00:50:31,800 Speaker 1: and cut is like a moment of peace. 920 00:50:31,920 --> 00:50:35,640 Speaker 2: Yeah, except when you audition, it's not as funny. 921 00:50:35,680 --> 00:50:42,399 Speaker 1: Except auditions. Fuck auditions, just kidding me. Give me this job. 922 00:50:42,520 --> 00:50:45,520 Speaker 1: I love this job. I would It's great writing. It's 923 00:50:45,560 --> 00:50:52,840 Speaker 1: really really funny. More better anyway. Thanks First, if you 924 00:50:53,360 --> 00:50:56,600 Speaker 1: stuck around until the end of this, Wow, Wow, you 925 00:50:56,640 --> 00:50:59,239 Speaker 1: are a true nerd. I feel like we should send 926 00:50:59,280 --> 00:51:01,840 Speaker 1: you a certificate. We welcome you into the club. 927 00:51:02,440 --> 00:51:06,320 Speaker 2: Yeah, yeah, man, if you're interested in this kind of 928 00:51:06,320 --> 00:51:09,239 Speaker 2: stuff where like, if you ever want to hear us 929 00:51:09,239 --> 00:51:11,880 Speaker 2: talk more about this, we will do another episode. 930 00:51:11,880 --> 00:51:14,160 Speaker 1: But if you don't, you can let us on that too. 931 00:51:14,200 --> 00:51:16,200 Speaker 1: If you were like I tuned the fuck out when 932 00:51:16,239 --> 00:51:19,399 Speaker 1: you guys were talking about acting, we'll be like, fine, yeah, 933 00:51:19,600 --> 00:51:23,000 Speaker 1: you know what that you do bo, you do you 934 00:51:23,400 --> 00:51:26,600 Speaker 1: and we'll do us, which is why you like us anyway, 935 00:51:26,640 --> 00:51:28,360 Speaker 1: because you like her acting. So I don't know what 936 00:51:28,400 --> 00:51:29,239 Speaker 1: you're complaining about. 937 00:51:29,320 --> 00:51:33,040 Speaker 2: All right, Let's see see you next next week, see 938 00:51:33,040 --> 00:51:33,720 Speaker 2: you next week. 939 00:51:33,800 --> 00:51:38,640 Speaker 1: Bye bye. More Better. Do you have something you'd like 940 00:51:38,680 --> 00:51:40,080 Speaker 1: to be more better at that you want us to 941 00:51:40,120 --> 00:51:41,400 Speaker 1: talk about in a future episode? 942 00:51:41,480 --> 00:51:43,879 Speaker 2: Can you relate to our struggles or have you tried 943 00:51:43,920 --> 00:51:45,040 Speaker 2: one of our tips and tricks? 944 00:51:45,280 --> 00:51:48,200 Speaker 1: Shoot us your thoughts and ideas at Morebetter pod at 945 00:51:48,200 --> 00:51:51,120 Speaker 1: gmail dot com and include a voice note if you 946 00:51:51,120 --> 00:51:53,840 Speaker 1: want to be featured on the pod. Ooh, More Better 947 00:51:53,840 --> 00:51:56,840 Speaker 1: with Stephanie Melissa is a production from WV Sound and 948 00:51:56,920 --> 00:52:01,160 Speaker 1: iHeartMedia's Mikuura podcast network, hosted by by me, Steffie Beatriz, 949 00:52:01,280 --> 00:52:04,320 Speaker 1: and Melissa Fumero. More Better is produced by Isis Madrid. 950 00:52:04,560 --> 00:52:08,320 Speaker 1: And Sophie Spencer Zebos. Our executive producers are Wilmer Valderrama 951 00:52:08,360 --> 00:52:11,480 Speaker 1: and Leo Clem at w V Sound. This episode was 952 00:52:11,600 --> 00:52:14,680 Speaker 1: edited by Isis Madrid and engineered by Sean Tracy and 953 00:52:14,719 --> 00:52:18,040 Speaker 1: features original music by Madison Davenport and Helo boy. Our 954 00:52:18,040 --> 00:52:21,520 Speaker 1: cover art is by vincent Remy's and photography by David Avolos. 955 00:52:21,760 --> 00:52:25,759 Speaker 1: For more podcasts from iHeart, visit the iHeartRadio app, Apple Podcasts, 956 00:52:25,880 --> 00:52:28,160 Speaker 1: or wherever you listen to your favorite shows. See you 957 00:52:28,280 --> 00:52:30,480 Speaker 1: next week's sucker Ups. Bye,