WEBVTT -  “Walking Around the Room like a Cat” | Acting

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<v Speaker 1>More, more Better, More, More Better, More. Welcome to More Better,

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<v Speaker 1>a podcast where we stop pretending to have it all

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<v Speaker 1>together and embrace the journey of becoming a little more

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<v Speaker 1>better every day, or at least trying to. That's Stephanie Beatrice,

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<v Speaker 1>and that's Melissa and Merrow. And this you know what

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<v Speaker 1>this is because you've turned it on. It's you clicked it. Yeah,

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<v Speaker 1>that's right, you clicked it on purpose that it's so

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<v Speaker 1>rude you clicked it. Welcome back to the to the

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<v Speaker 1>podcast where to absolutely non experts expertly guide you through

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<v Speaker 1>our non expert advice. We're really us here to talk

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<v Speaker 1>some ship. Yeah that's right ship. How you doing friend?

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<v Speaker 1>I'm okay, you know, just hanging in there. Just yeah,

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<v Speaker 1>hanged and haanging in there. More Better. So this week

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<v Speaker 1>on the pod, we're going to talk about, uh, we're

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<v Speaker 1>gonna talk about acting. It's about to get real nerdy,

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<v Speaker 1>real insidery, oral niche. Hopefully it's funny, but you know,

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<v Speaker 1>we can't promise you that. I'm just gonna come out

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<v Speaker 1>straight and say that we cannot promise that this will

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<v Speaker 1>be funny. We hope it is, but it might just

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<v Speaker 1>be super super nerdy and this is not all research

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<v Speaker 1>that we haven't done. We've done this research because we

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<v Speaker 1>went to school for the ship. Yeah, we did yeah,

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<v Speaker 1>degrees in this Yeah. Well, I mean technically I don't

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<v Speaker 1>have my degree. I don't think. But it didn't did

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<v Speaker 1>you not finish? Wait? Do I not know that I

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<v Speaker 1>fail a class? I failed a stage management class because

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<v Speaker 1>I can't management. Yes, we had to take everything, and

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<v Speaker 1>I think, like, I think I may have my degree now,

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<v Speaker 1>like I think that they, Oh did you get an honorary?

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<v Speaker 1>I might listen, I fancy. I mean, I went through

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<v Speaker 1>the whole program. I did everything. I the only thing

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<v Speaker 1>that I like, haven't I think? I like I it

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<v Speaker 1>just listen. Organization. Organization wasn't my forte. When I was

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<v Speaker 1>in college, I was a disaster on two legs. Like

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<v Speaker 1>it was a mess. And now now I'm a different story.

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<v Speaker 1>I could chase that class with flying colors, but at

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<v Speaker 1>the time with their eyes closed at the time, well,

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<v Speaker 1>I don't know about that, but at the time I

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<v Speaker 1>was a mess. I just couldn't. It was like you

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<v Speaker 1>had to keep a binder and you had to keep

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<v Speaker 1>like cues and like I kept thinking, like what am

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<v Speaker 1>I ever going to this I'm never going to do.

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<v Speaker 1>That's what I was going to say. The fact that

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<v Speaker 1>they made stage management a requirement was in that same

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<v Speaker 1>clearer degree. But yeah, I a class, I'll take a test,

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<v Speaker 1>but like the test was you that feels.

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<v Speaker 2>Like an elective, That feels like an election telling me,

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<v Speaker 2>I mean, I couldn't.

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<v Speaker 1>I couldn't believe it. I was like, what, I failed

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<v Speaker 1>this class and they were like, you did. Anyway, that

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<v Speaker 1>that is not a failed class does not mean anything

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<v Speaker 1>in the end. I mean, it might mean that you

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<v Speaker 1>don't have no but it means less if you're like,

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<v Speaker 1>I'm not trying to be a dentist, I'm just playing pretend.

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<v Speaker 1>So probably fine.

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<v Speaker 2>I think I think you've done okay for yourself despite

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<v Speaker 2>that stage management.

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<v Speaker 1>I feel fine. I think you've done more than a fine.

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<v Speaker 1>But yes, What's what's really funny about this is that

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<v Speaker 1>this is the thing that we both love to do

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<v Speaker 1>so much. So this might go all over the place,

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<v Speaker 1>but I do I do want to touch on stuff

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<v Speaker 1>that we like about it. So we're going to talk about,

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<v Speaker 1>you know, our experience getting into it a little bit bit.

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<v Speaker 1>But if you've listened to the pod or like know

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<v Speaker 1>us at all, Like we've talked a little bit about

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<v Speaker 1>this already on the pod. We're going to talk about

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<v Speaker 1>stuff like different kinds of techniques that we like, our

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<v Speaker 1>actual training, if there's techniques that we don't like, performances

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<v Speaker 1>that we've seen, stuff like that, so and then like

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<v Speaker 1>how we prep. So if you're into that kind of stuff,

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<v Speaker 1>then yay. And if you're not, thank you so much

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<v Speaker 1>for joining us on the pod and we'll see next week. Okay, bye.

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<v Speaker 2>You know what I love too that we're talking about this.

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<v Speaker 2>I don't know if you've noticed this, but uh, and

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<v Speaker 2>because I've always been curious why, and I want to

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<v Speaker 2>know what you think. Have you ever noticed that, you know,

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<v Speaker 2>they do these like actor round tables or like back

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<v Speaker 2>in the day when there used to be like the

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<v Speaker 2>actors studio, which I used to fu love, which it

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<v Speaker 2>happened less on inside the actor's studio actually because they

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<v Speaker 2>would get pretty in depth and nerdy there, but like

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<v Speaker 2>this general kind of cageeness that actors have about their

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<v Speaker 2>like specific technique or like how they prep or like

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<v Speaker 2>what the things they do. Have you noticed this that

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<v Speaker 2>like it's almost like and I don't know if it's

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<v Speaker 2>like gatekeeping or which I'm just like, there's so many

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<v Speaker 2>different approaches and techniques, Like just because you talk about

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<v Speaker 2>one doesn't mean that like there's going to be this

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<v Speaker 2>influx of actors that are all of a sudden amazing,

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<v Speaker 2>like you know, or is it just like a self

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<v Speaker 2>consciousness Like I don't want to sound real stupid or that. Yeah,

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<v Speaker 2>I mean, but I just feel like actors get real

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<v Speaker 2>cagey when they are talking about technique or their approach, right.

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<v Speaker 1>Is it just me? Well, Okay, I have some thoughts.

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<v Speaker 1>I yes, I agree. I think there's like a certain

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<v Speaker 1>amount of cageness that happens. I think acting is like uh,

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<v Speaker 1>I mean, it's when you break it down, it's like

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<v Speaker 1>playing pretend, like really really hard, you know, Like that's right.

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<v Speaker 2>It is also a hard thing to describe like exactly

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<v Speaker 2>what you do. Yeah, that's it's very difficult. And some

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<v Speaker 2>people have gifts in some ways and and others have

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<v Speaker 2>gifts in other ways. And you know that's why sometimes

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<v Speaker 2>you watch something and you're like, God, this person is

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<v Speaker 2>so believable in this thing. And sometimes you watch something

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<v Speaker 2>and you're like, oh God, this person's so famous and

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<v Speaker 2>they got this.

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<v Speaker 1>Role and like yeah, and I don't know, you know,

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<v Speaker 1>so yeah, I think there's and there's so many like

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<v Speaker 1>political things that go into casting, like you know, and

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<v Speaker 1>who you're, who your parents are, and you know how

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<v Speaker 1>old you are, how old you look like if you've

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<v Speaker 1>had a baby, or you know what ethnicity you look. Yeah,

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<v Speaker 1>it's so it's there's so many bits. So, like I

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<v Speaker 1>think a lot of actors talking about acting sometimes I

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<v Speaker 1>think it's because we do play pretend, but we take

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<v Speaker 1>it so seriously. We take it so seriously that when

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<v Speaker 1>we talk about it the way that we actually feel

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<v Speaker 1>about it, sometimes it sounds to people that don't really

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<v Speaker 1>understand what we're doing in that way, it sounds like,

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<v Speaker 1>what are you talking about? You're not like fucking oh.

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<v Speaker 2>Yeah, like get off your high hors, you're not all that.

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<v Speaker 1>You know, you're not saving lives, right, I'm not. You know,

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<v Speaker 1>you're not you're not doing any of that. So it

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<v Speaker 1>sounds it can sound like people are really full of themselves. Yeah,

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<v Speaker 1>that's true. So I think some actors just like avoid that,

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<v Speaker 1>probably because there are pr people are like, don't talk

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<v Speaker 1>about your process because people often sound fucking full of themselves.

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<v Speaker 2>So maybe that yeah, yeah, you're right, yeah, because I now,

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<v Speaker 2>as you said that, I like flash to like seeing

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<v Speaker 2>some actors that get like real into like talk and

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<v Speaker 2>they do kind of get this like tone in their void.

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<v Speaker 1>Well do that, you know, and then it's.

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<v Speaker 2>Just like, oh my god, shut up are yeah, and

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<v Speaker 2>like that's real, Like I'm sorry. In advance, if we

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<v Speaker 2>cut to five minutes from now, we're like, so I

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<v Speaker 2>just like need to put myself in this frame of

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<v Speaker 2>men and then I transcend and the work flows through

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<v Speaker 2>my body and onto the screen channel.

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<v Speaker 1>Well, yeah, cut to five minutes from now. I mean

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<v Speaker 1>that's a hard thing about talking about it because it

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<v Speaker 1>is such an ephemeral you know, it's like it's like

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<v Speaker 1>dust in the wind a little bit.

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<v Speaker 2>Yeah, you know, it's like dust and it's like this

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<v Speaker 2>mystical little thing that you're always chasing.

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<v Speaker 1>Yeah, yeah, I think. I mean, I don't know what's

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<v Speaker 1>the first what's the first performance that you ever saw

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<v Speaker 1>that you were like, holy shit, m holy fucking shit,

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<v Speaker 1>where you where you could delineate and my own I'm

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<v Speaker 1>gonna be really specific about this, okay, where you could

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<v Speaker 1>delineate as a kid, you were like, oh that since acting,

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<v Speaker 1>and they're really good at it I have not not

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<v Speaker 1>like yeah, okay, okay, I want to hear I have one.

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<v Speaker 2>Claire Dans my so called life. She was thirteen or

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<v Speaker 2>fourteen when she did that show.

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<v Speaker 1>She was wow.

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<v Speaker 2>Yes, And that was the thing when I found out

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<v Speaker 2>how old she was, because I think I was around

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<v Speaker 2>the same age, and she was so good on that show,

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<v Speaker 2>and then she did Little Women shortly after.

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<v Speaker 1>Oh my god, she's so good in Little Women.

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<v Speaker 2>And she's she's a teenager and Little Women, and there

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<v Speaker 2>was something about like like not even being aware that

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<v Speaker 2>like someone that young could do that, and then it

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<v Speaker 2>kind of sparking I think something in me of like

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<v Speaker 2>could like almost giving me permission to like, oh, you

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<v Speaker 2>can be.

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<v Speaker 1>Great at something at this age.

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<v Speaker 2>Like maybe I just always quantified things as like you

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<v Speaker 2>need time and experience in training and and then at

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<v Speaker 2>a certain point you're good. But like this idea that

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<v Speaker 2>maybe you have a certain level of talent or and

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<v Speaker 2>you can train at any age and like be grat

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<v Speaker 2>at a thing. She was so phenomenal in that show

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<v Speaker 2>and in that movie that those two performances, and she

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<v Speaker 2>was so young. It was really her age and her

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<v Speaker 2>youth that like struck me. Yeah, of just like the

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<v Speaker 2>pot like that it was even possible, Like yeah, and.

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<v Speaker 1>Yeah, it just that's cool. What about you? I mean

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<v Speaker 1>when you bring up Claar Danes, I remember seeing Romeo

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<v Speaker 1>and Juliet bos Lehrman's Romeo and Juliet at sixteen. In

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<v Speaker 1>Romeo and Juliet, I think she's so young family, but

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<v Speaker 1>the whole cast phenomenal. That's another one, so youthful, so phenomenal.

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<v Speaker 1>Like I think by that time I kind of understood

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<v Speaker 1>that acting. I was like, oh, this is a job

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<v Speaker 1>that you could do, right, but like when this is

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<v Speaker 1>slightly embarrassing, but like Tom Hanks and Forrest Gump, oh

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<v Speaker 1>my god, that was another one.

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<v Speaker 2>Tom Hank saw that in the theater those years where

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<v Speaker 2>it was like Forrest Gump Philadelphia, Like he just had

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<v Speaker 2>this one of these movies where he was like incredible

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<v Speaker 2>and so fucking different in every single role. Oh. I

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<v Speaker 2>remember going to one of my college auditions and like

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<v Speaker 2>they asked me about an actor that I looked up to,

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<v Speaker 2>and I was like, I was like nervous about how

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<v Speaker 2>it was going to be received because at that point

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<v Speaker 2>he was still like it was like when he was

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<v Speaker 2>doing those movies.

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<v Speaker 1>But Prior to that, he was known as a comedy actor.

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<v Speaker 2>Yea, And I loved all his comedies, Oh my god,

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<v Speaker 2>all his comedies Turner and Huge, Splash, like big, all

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<v Speaker 2>of those iconic and so I remember I was like

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<v Speaker 2>nervous to say, and I was.

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<v Speaker 1>Like, well, I don't know, uh, you know, this is

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<v Speaker 1>a good one. But like, I really love Tom Hanks.

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<v Speaker 2>I think he's amazing and like so different in all

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<v Speaker 2>his roles.

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<v Speaker 1>And then they kind of like Tom Hanks but like

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<v Speaker 1>but like his hit, I feel like it was like

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<v Speaker 1>early yeah, yeah, you know what I mean, Like, yeah, it.

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<v Speaker 2>Was like maybe just Philadelphia and Forrest Gump had come

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<v Speaker 2>out by that whomeint Yeah, I mean that was the

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<v Speaker 2>first time that I remember openly.

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<v Speaker 1>Weeping in a movie. Yes, and also at the same

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<v Speaker 1>time thinking, this is what I want to do for people.

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<v Speaker 1>I want to people. I want people to feel stuff. Yeah,

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<v Speaker 1>I want people to feel stuff and like be able

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<v Speaker 1>to feel stuff because of the thing that I do.

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<v Speaker 1>And I didn't exactly know what that meant, but I

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<v Speaker 1>think elements of that are still what I feel about acting.

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<v Speaker 1>It's like some people, you know, that's why we go

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<v Speaker 1>to the movies. I think why we go to the

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<v Speaker 1>movies where we watch TV is like we want to

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<v Speaker 1>have an experience. Yeah, and sometimes that experience is like

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<v Speaker 1>comfort and closeness, and sometimes that experience is joy and fun.

0:13:04.600 --> 0:13:09.679
<v Speaker 1>And sometimes that experience is like a repetition of some

0:13:09.840 --> 0:13:13.120
<v Speaker 1>like comforting feeling that we had as kids. And sometimes

0:13:13.120 --> 0:13:15.560
<v Speaker 1>that experience is like I'm going to go on a

0:13:15.679 --> 0:13:18.360
<v Speaker 1>fucking ride and I don't know what's gonna happen after,

0:13:18.800 --> 0:13:21.400
<v Speaker 1>and you know, and all of those things are like

0:13:21.480 --> 0:13:26.680
<v Speaker 1>they are the experience of diving into a story, and like,

0:13:26.800 --> 0:13:28.400
<v Speaker 1>that's what I want to do. I want to be

0:13:28.600 --> 0:13:31.840
<v Speaker 1>in things that feel so real that people were like, whoo,

0:13:32.520 --> 0:13:35.560
<v Speaker 1>yeah that was crazy. That ride was crazy. You know. Yeah,

0:13:35.800 --> 0:13:37.600
<v Speaker 1>that ride was so fun. I want to go back

0:13:37.600 --> 0:13:41.679
<v Speaker 1>on that ride. You know. That's yeah. That that movie.

0:13:42.200 --> 0:13:45.080
<v Speaker 1>Wo that movie. I mean I still remember. So we

0:13:45.120 --> 0:13:46.720
<v Speaker 1>were sitting in the middle of the theater and I

0:13:46.760 --> 0:13:49.200
<v Speaker 1>was like sobbing and my sister was like stop.

0:13:49.240 --> 0:13:55.120
<v Speaker 2>It also one of the best, one of the best

0:13:55.200 --> 0:13:58.479
<v Speaker 2>movie soundtracks of all time. Oh my god, so beautiful

0:13:58.600 --> 0:14:01.160
<v Speaker 2>all time. I used to play it NonStop.

0:14:01.559 --> 0:14:01.920
<v Speaker 1>So that.

0:14:04.640 --> 0:14:08.439
<v Speaker 2>But also the instrument yes, like the score of that

0:14:08.480 --> 0:14:12.040
<v Speaker 2>movie gorgeous, is gorgeous, gorgeous?

0:14:12.520 --> 0:14:18.400
<v Speaker 1>Bang on a song here? I still remember it. When

0:14:18.440 --> 0:14:21.120
<v Speaker 1>did you start? You Like, I think we've talked about

0:14:21.120 --> 0:14:23.520
<v Speaker 1>this before, so you can give a condensed version of this,

0:14:23.640 --> 0:14:24.040
<v Speaker 1>but like.

0:14:24.400 --> 0:14:27.640
<v Speaker 2>Yeah, I guess I kind of technically started kind of young.

0:14:27.720 --> 0:14:31.080
<v Speaker 2>I started as a dancer, as I've said, going to

0:14:31.160 --> 0:14:33.440
<v Speaker 2>dance classes, and then I followed a dance teacher to

0:14:33.520 --> 0:14:37.120
<v Speaker 2>this dance in theater school where they had acting classes

0:14:37.120 --> 0:14:40.080
<v Speaker 2>and musical comedy classes. The musical comedy class was like

0:14:40.120 --> 0:14:42.120
<v Speaker 2>the popular one that a lot of the kids did,

0:14:42.160 --> 0:14:47.600
<v Speaker 2>and I think that was And so I was like,

0:14:48.080 --> 0:14:49.640
<v Speaker 2>when did I start with a musical comedy?

0:14:49.680 --> 0:14:51.600
<v Speaker 1>Like nine or ten? Thank god?

0:14:52.080 --> 0:14:55.760
<v Speaker 2>And I just fell in love with it because it

0:14:55.800 --> 0:14:58.120
<v Speaker 2>was it was singing and it was dancing, and it

0:14:58.200 --> 0:15:03.920
<v Speaker 2>was un was comedy. I didn't. I wasn't like super

0:15:04.040 --> 0:15:06.600
<v Speaker 2>plugged into the fact that it was comedy, you know.

0:15:06.760 --> 0:15:10.800
<v Speaker 2>I just liked getting laughs. And then it was you know,

0:15:10.840 --> 0:15:13.600
<v Speaker 2>and then it was like drama too, sometimes like depending

0:15:13.640 --> 0:15:16.440
<v Speaker 2>on but we would do basically musical scenes from different

0:15:16.480 --> 0:15:21.400
<v Speaker 2>Broadway shows and or movie musicals, and uh, and I

0:15:21.440 --> 0:15:24.640
<v Speaker 2>loved it. I was like obsessed. And then yeah, I

0:15:24.680 --> 0:15:29.000
<v Speaker 2>started taking more acting classes from there, and what about you.

0:15:29.600 --> 0:15:34.520
<v Speaker 1>It was junior high like public school, you know, theater

0:15:34.720 --> 0:15:36.880
<v Speaker 1>and more like a speech in debate class, and then

0:15:36.920 --> 0:15:39.480
<v Speaker 1>they did like plays every year and so like it

0:15:39.560 --> 0:15:42.360
<v Speaker 1>was starting to get my fee in that way and

0:15:42.400 --> 0:15:45.600
<v Speaker 1>like going, ooh, that's fun, you know, like yeah, turning

0:15:45.720 --> 0:15:49.320
<v Speaker 1>disappearing into somebody else. Yeah, it was My main thing

0:15:49.440 --> 0:15:53.440
<v Speaker 1>was like nobody knows it's me, you know, I get

0:15:53.440 --> 0:15:56.880
<v Speaker 1>to be somebody totally different, somebody that's like so much

0:15:56.880 --> 0:16:00.320
<v Speaker 1>more confident than me, yeah, or like yeah, or really

0:16:00.360 --> 0:16:05.120
<v Speaker 1>silly and just so so like expressions of self that

0:16:05.160 --> 0:16:08.880
<v Speaker 1>were just so different. But I did Little Women in

0:16:08.960 --> 0:16:12.600
<v Speaker 1>high school. I was Joe and that was a big

0:16:12.680 --> 0:16:14.880
<v Speaker 1>deal for me. It was such a big deal. It

0:16:14.960 --> 0:16:19.760
<v Speaker 1>was so fun and just thrilling, exciting, you know. I

0:16:19.800 --> 0:16:21.840
<v Speaker 1>had a little wig. It looked really good.

0:16:23.520 --> 0:16:25.960
<v Speaker 2>My first play in high school was I'm trying to

0:16:26.000 --> 0:16:28.440
<v Speaker 2>remember which one, but it was a Neil Simon play.

0:16:30.280 --> 0:16:34.760
<v Speaker 1>Not Neil Simon in high school. Yeah, oh my god,

0:16:34.840 --> 0:16:39.600
<v Speaker 1>I can't remember which one it was. But it was good.

0:16:39.640 --> 0:16:43.600
<v Speaker 1>It was funny, dang, you know. But at that time,

0:16:43.680 --> 0:16:47.600
<v Speaker 1>I don't think I really understood anything about technique really.

0:16:47.680 --> 0:16:50.120
<v Speaker 1>I mean, we were kind of learning things in class,

0:16:51.240 --> 0:16:53.520
<v Speaker 1>but it was, like I said, it was public school.

0:16:53.520 --> 0:16:56.200
<v Speaker 1>It was more like just you just like throw yourself

0:16:56.200 --> 0:17:00.760
<v Speaker 1>at it and kind of see what sticks. So it

0:17:00.800 --> 0:17:03.480
<v Speaker 1>was really just on instinct. It was just like what

0:17:03.640 --> 0:17:06.520
<v Speaker 1>do I think instinctually that might be right, you know,

0:17:06.640 --> 0:17:08.879
<v Speaker 1>And it was mostly like learning lines and like figuring

0:17:08.920 --> 0:17:12.280
<v Speaker 1>out where you stand on the stage. It wasn't any

0:17:12.400 --> 0:17:17.040
<v Speaker 1>like I didn't have any like technical stuff yet. It

0:17:17.160 --> 0:17:20.480
<v Speaker 1>was all I was working solely on instincts, solely on

0:17:20.520 --> 0:17:24.120
<v Speaker 1>instinct until probably senior year of high school, and then

0:17:24.160 --> 0:17:27.119
<v Speaker 1>maybe I like read something, you know, like maybe we

0:17:27.200 --> 0:17:29.959
<v Speaker 1>did like some exercise or something. But I really didn't

0:17:30.000 --> 0:17:36.359
<v Speaker 1>have any like training training other than just trying stuff,

0:17:36.680 --> 0:17:36.879
<v Speaker 1>you know.

0:17:37.080 --> 0:17:40.320
<v Speaker 2>Yeah, yeah, kind I mean I think there was I

0:17:40.359 --> 0:17:45.240
<v Speaker 2>got a basic introduction to technique through the dance and

0:17:45.320 --> 0:17:47.359
<v Speaker 2>theater school I attended, and then in high school the

0:17:47.440 --> 0:17:51.080
<v Speaker 2>drama club. The drama teacher was like I think, you know,

0:17:51.119 --> 0:17:52.439
<v Speaker 2>he used to be an actor and he went to

0:17:52.480 --> 0:17:56.119
<v Speaker 2>theater school, and so I remember having a basic knowledge

0:17:56.119 --> 0:18:00.200
<v Speaker 2>of like what's your action verb in the scene, and

0:18:00.560 --> 0:18:03.879
<v Speaker 2>what's your intention at the start of the scene.

0:18:03.640 --> 0:18:06.480
<v Speaker 1>And or what's your moment before.

0:18:06.400 --> 0:18:10.600
<v Speaker 2>Like these kind of I think overall kind of things

0:18:10.600 --> 0:18:13.080
<v Speaker 2>because when I got to college, I definitely was mostly

0:18:13.119 --> 0:18:16.679
<v Speaker 2>working off instinct, but I did have like a basic

0:18:16.800 --> 0:18:21.640
<v Speaker 2>vocabulary for like how you know the acting one oh one? Right,

0:18:21.840 --> 0:18:24.520
<v Speaker 2>like who's your character and what are you trying to

0:18:24.520 --> 0:18:25.280
<v Speaker 2>do in the scene?

0:18:25.920 --> 0:18:29.480
<v Speaker 1>And like, yeah, I feel like I have memories of.

0:18:30.920 --> 0:18:33.520
<v Speaker 2>One of my teachers, you know, if they would stop

0:18:33.520 --> 0:18:34.880
<v Speaker 2>a scene being like what are you trying to do?

0:18:35.240 --> 0:18:37.080
<v Speaker 1>What are you? What are you doing? Oh? I didn't

0:18:37.080 --> 0:18:38.120
<v Speaker 1>have that until college.

0:18:38.400 --> 0:18:40.040
<v Speaker 2>Yeah, we didn't, and then in college it got like

0:18:40.160 --> 0:18:44.200
<v Speaker 2>much more specific, but like yeah, like knowing that, oh

0:18:44.200 --> 0:18:46.919
<v Speaker 2>I should I should have a verb when I go

0:18:47.040 --> 0:18:49.960
<v Speaker 2>into a scene like in my mind and my god,

0:18:50.400 --> 0:18:50.680
<v Speaker 2>you know.

0:18:50.760 --> 0:18:52.359
<v Speaker 1>I wish I had, you know, I wish I had

0:18:52.440 --> 0:18:54.560
<v Speaker 1>right now, I wish I had my like notebook from

0:18:54.840 --> 0:18:59.840
<v Speaker 1>I had this teacher in college, Rob Rasnowski. He was phenomenal, phenomenal,

0:19:00.960 --> 0:19:03.720
<v Speaker 1>and he had us. He had a class that was

0:19:03.760 --> 0:19:06.760
<v Speaker 1>like acting one oh one. Basically it was like acting

0:19:06.760 --> 0:19:09.159
<v Speaker 1>one on one, one on two, I think for the semesters,

0:19:09.200 --> 0:19:11.840
<v Speaker 1>and it was like how to break down a scene?

0:19:11.880 --> 0:19:14.160
<v Speaker 1>Who are you in the scene? What do you want

0:19:14.200 --> 0:19:16.879
<v Speaker 1>from the other person in the scene? How what is

0:19:16.880 --> 0:19:17.359
<v Speaker 1>the verb?

0:19:17.880 --> 0:19:17.960
<v Speaker 2>Like?

0:19:18.200 --> 0:19:21.080
<v Speaker 1>Where what you know? It was the first time that

0:19:21.119 --> 0:19:24.359
<v Speaker 1>I ever ever was taught like you can look at

0:19:24.359 --> 0:19:27.719
<v Speaker 1>the script and like look at everything anybody says about

0:19:27.720 --> 0:19:30.720
<v Speaker 1>your character. You can look at this script and see

0:19:30.720 --> 0:19:33.640
<v Speaker 1>like what the actions are around your care what your

0:19:33.720 --> 0:19:37.200
<v Speaker 1>character's doing, Like what do people say about your character?

0:19:37.240 --> 0:19:39.439
<v Speaker 1>What do people not say about your character? Where is

0:19:39.480 --> 0:19:42.040
<v Speaker 1>your character when different scenes are taking place? Like it

0:19:42.119 --> 0:19:45.119
<v Speaker 1>was all about like how to take like mine the

0:19:45.520 --> 0:19:50.840
<v Speaker 1>actual written words for what all thea that the script gives. Yes, Yeah,

0:19:50.920 --> 0:19:52.760
<v Speaker 1>it was the first time that I ever was like

0:19:52.840 --> 0:19:55.680
<v Speaker 1>this is the map. This is the map, and then

0:19:55.760 --> 0:19:57.960
<v Speaker 1>you can build on the map. But this is the

0:19:58.000 --> 0:20:01.359
<v Speaker 1>map for the thing, right. It was like so exciting

0:20:01.520 --> 0:20:06.520
<v Speaker 1>to learn that. I still remember doing scenes from that

0:20:06.640 --> 0:20:09.120
<v Speaker 1>clot because first we'd break it down and we would

0:20:09.160 --> 0:20:12.080
<v Speaker 1>like highlight the scripts and like show you know, show

0:20:12.160 --> 0:20:15.199
<v Speaker 1>different you know, ten highlighters and you're highlighting like what

0:20:15.320 --> 0:20:17.960
<v Speaker 1>the different things are, and like showing you a little

0:20:18.440 --> 0:20:20.520
<v Speaker 1>you know, key to your map and like this is

0:20:20.560 --> 0:20:22.440
<v Speaker 1>your action words and these are the these are things

0:20:22.480 --> 0:20:23.920
<v Speaker 1>other people say about you, and these are things you

0:20:23.920 --> 0:20:25.639
<v Speaker 1>say about yourself and this is what you want, this

0:20:25.720 --> 0:20:28.280
<v Speaker 1>is what you're hiding, and blah blah blah. And then

0:20:28.800 --> 0:20:31.560
<v Speaker 1>he had us team up with someone in the class

0:20:31.600 --> 0:20:34.399
<v Speaker 1>and do the scene. Like he assigned us all different characters,

0:20:34.400 --> 0:20:36.560
<v Speaker 1>and then we would do the scenes with another person

0:20:36.560 --> 0:20:39.720
<v Speaker 1>who had been assigned the other character in the scene.

0:20:39.760 --> 0:20:41.479
<v Speaker 1>And it was like one of the first times I

0:20:41.520 --> 0:20:44.760
<v Speaker 1>remember things like clicking for me in a way that

0:20:44.960 --> 0:20:48.280
<v Speaker 1>wasn't about necessarily, like, ooh, this person is just like me.

0:20:48.359 --> 0:20:51.159
<v Speaker 1>This character that I'm playing, I understand completely. It's like oheah,

0:20:51.200 --> 0:20:53.800
<v Speaker 1>I learned more about the character and now I can

0:20:53.840 --> 0:20:56.159
<v Speaker 1>play them in a way that feels real to me

0:20:56.720 --> 0:21:02.560
<v Speaker 1>in the scenes. Yes, Rob Oh, great teacher. Great teacher.

0:21:02.640 --> 0:21:05.399
<v Speaker 1>Teacher Rob. He was also one of the first teachers

0:21:05.400 --> 0:21:07.600
<v Speaker 1>that was like, you got to bring yourself to the

0:21:07.640 --> 0:21:10.439
<v Speaker 1>things that you do. Like h I would riff and

0:21:10.480 --> 0:21:15.200
<v Speaker 1>do my mom's very thick accent, her Bolivian accent. I

0:21:15.200 --> 0:21:17.040
<v Speaker 1>would riff and do it all the time in class.

0:21:17.080 --> 0:21:20.160
<v Speaker 1>And then he made me audition for something hot Old Baltimore.

0:21:20.960 --> 0:21:24.040
<v Speaker 1>He made me audition for it and do the accent

0:21:24.880 --> 0:21:26.720
<v Speaker 1>for the character. He was like, no, I want you

0:21:26.760 --> 0:21:28.639
<v Speaker 1>to read the scenes of the accent. I was like, uh,

0:21:28.680 --> 0:21:30.440
<v Speaker 1>I don't think so, and he was like, I want

0:21:30.440 --> 0:21:31.720
<v Speaker 1>you to read the scenes of the accent. And it

0:21:31.800 --> 0:21:35.560
<v Speaker 1>was like the whole the whole scene like blossom. Yeah,

0:21:35.600 --> 0:21:37.480
<v Speaker 1>and the character blossomed. And that was one of my

0:21:37.480 --> 0:21:39.879
<v Speaker 1>first roles in college, was hot Old Baltimore. Was like

0:21:40.560 --> 0:21:43.000
<v Speaker 1>it just like burst out of me. It was so fun.

0:21:43.480 --> 0:21:45.760
<v Speaker 1>Oh oh, I love that.

0:21:46.400 --> 0:21:59.320
<v Speaker 2>Yeah, let's talk about exercises that acting teachers have made

0:21:59.359 --> 0:21:59.640
<v Speaker 2>us too.

0:21:59.800 --> 0:22:02.920
<v Speaker 1>Hey, I hate it so much. This is the thing

0:22:03.000 --> 0:22:07.000
<v Speaker 1>that I really struggle with. This because we've talked about

0:22:07.000 --> 0:22:09.639
<v Speaker 1>this on the pod. I don't I struggle with like

0:22:10.080 --> 0:22:12.879
<v Speaker 1>stupid shit, you know. And some days I'm just like,

0:22:13.040 --> 0:22:15.919
<v Speaker 1>I don't know how walking around in the room like

0:22:15.920 --> 0:22:19.280
<v Speaker 1>a cat is gonna serve what we're doing here. I

0:22:19.359 --> 0:22:23.240
<v Speaker 1>don't understand how, And maybe it is just to shake

0:22:23.280 --> 0:22:26.399
<v Speaker 1>you out of your like stupid, like yeah, stupid. You know.

0:22:27.000 --> 0:22:30.160
<v Speaker 2>I had an acting teacher that I was not very

0:22:30.200 --> 0:22:33.919
<v Speaker 2>fond of once in college, and he had to do

0:22:33.960 --> 0:22:36.080
<v Speaker 2>the same warm up every day, which was like walk

0:22:36.119 --> 0:22:39.240
<v Speaker 2>around in a circle and then he would say like.

0:22:40.119 --> 0:22:41.200
<v Speaker 1>It's really cold.

0:22:41.480 --> 0:22:44.440
<v Speaker 2>It's cold, and like, so everyone be like fucking shivering

0:22:44.680 --> 0:22:46.240
<v Speaker 2>and like doing all this stuff. Then you'd be like,

0:22:46.280 --> 0:22:48.720
<v Speaker 2>it's really hot, it's really hot. Someone's following you. You

0:22:48.760 --> 0:22:51.760
<v Speaker 2>feel like someone's following you. And every I thought that

0:22:51.800 --> 0:22:54.600
<v Speaker 2>exercise was such a fucking bullshit. I was like, I

0:22:54.600 --> 0:22:56.359
<v Speaker 2>don't get the point of this. You've never explained what

0:22:56.400 --> 0:22:58.480
<v Speaker 2>the point of this is. This isn't a warm up.

0:22:58.800 --> 0:23:04.760
<v Speaker 2>Everyone's just indicatingating behavior for like indicating what a dirty

0:23:05.320 --> 0:23:07.359
<v Speaker 2>acting it is such a dirty word.

0:23:07.400 --> 0:23:07.960
<v Speaker 1>Oh my god.

0:23:08.119 --> 0:23:10.879
<v Speaker 2>Anytime I get super triggered anytime a director has like

0:23:10.920 --> 0:23:13.520
<v Speaker 2>given me a note like you're indicating for those of

0:23:13.560 --> 0:23:17.320
<v Speaker 2>you who are maybe listening to this and don't do

0:23:17.359 --> 0:23:18.600
<v Speaker 2>what we do, And you're like, what the fuck are

0:23:18.600 --> 0:23:23.160
<v Speaker 2>they talking about? Uh? Indicating means like basically that somebody

0:23:23.200 --> 0:23:26.240
<v Speaker 2>doesn't believe you, Like it's basically what it is.

0:23:26.280 --> 0:23:29.000
<v Speaker 1>And you're not believable that you're just like making a

0:23:29.080 --> 0:23:30.760
<v Speaker 1>show of doing the action.

0:23:31.240 --> 0:23:33.199
<v Speaker 2>Right, So like if you're supposed to be cold in

0:23:33.240 --> 0:23:36.679
<v Speaker 2>the scene or just like shivering and doing all this stuff,

0:23:36.720 --> 0:23:40.400
<v Speaker 2>but like it's not real, like it's you know, itis

0:23:40.480 --> 0:23:44.280
<v Speaker 2>is fake. Yes, And yeah, so I used to just

0:23:44.280 --> 0:23:46.560
<v Speaker 2>like walk in the circle and not do anything it's

0:23:46.640 --> 0:23:47.280
<v Speaker 2>so funny.

0:23:47.440 --> 0:23:53.080
<v Speaker 1>Oh my god, would you ever get called out? No, no, no,

0:23:53.400 --> 0:23:56.800
<v Speaker 1>because paying attention anyway, I or I know. I think

0:23:56.800 --> 0:23:58.359
<v Speaker 1>it was to give him some credit.

0:23:58.400 --> 0:24:01.200
<v Speaker 2>I think it was he was coming from a place

0:24:01.240 --> 0:24:07.320
<v Speaker 2>of like, it's your interpretation, so like, yeah, I would

0:24:07.359 --> 0:24:09.680
<v Speaker 2>maybe like rub my arm if it was like.

0:24:09.680 --> 0:24:12.320
<v Speaker 1>Film acting a little bit, you're just yeah, I.

0:24:12.160 --> 0:24:15.760
<v Speaker 2>Was playing everything super subtle. But I just really hated it.

0:24:16.920 --> 0:24:19.720
<v Speaker 2>But going back to one that you brought up, I

0:24:19.760 --> 0:24:22.000
<v Speaker 2>will push back. I have a hot take on animal

0:24:22.040 --> 0:24:23.840
<v Speaker 2>work because I do like it, and I do think

0:24:23.880 --> 0:24:24.639
<v Speaker 2>it's cool.

0:24:25.000 --> 0:24:26.480
<v Speaker 1>I think, yes, it.

0:24:26.720 --> 0:24:29.600
<v Speaker 2>Breaks because you feel fucking stupid when you're doing it.

0:24:29.680 --> 0:24:31.640
<v Speaker 2>Like when a teacher would ask you to like walk

0:24:31.680 --> 0:24:35.159
<v Speaker 2>across the room. We used to play a game where, uh,

0:24:35.560 --> 0:24:37.600
<v Speaker 2>we would have to choose an animal. We'd walk across

0:24:37.600 --> 0:24:39.080
<v Speaker 2>the room and the class would have to guess what

0:24:39.240 --> 0:24:41.400
<v Speaker 2>animal we were fuck or.

0:24:41.320 --> 0:24:43.520
<v Speaker 1>But we would have to do the animal as a character.

0:24:43.680 --> 0:24:46.399
<v Speaker 2>So for example, I think I chose like turtle ones

0:24:46.960 --> 0:24:49.639
<v Speaker 2>and I like tried to be this like old lady

0:24:50.680 --> 0:24:54.159
<v Speaker 2>that just would like stretch her neck out and like

0:24:54.200 --> 0:24:56.760
<v Speaker 2>see if it was safe and then like kind of

0:24:56.880 --> 0:25:01.879
<v Speaker 2>like go back in and like walk around. But I

0:25:02.960 --> 0:25:06.520
<v Speaker 2>what I found with those exercises was you can discover

0:25:06.960 --> 0:25:09.800
<v Speaker 2>like physicalities for character and interesting ways.

0:25:10.000 --> 0:25:13.280
<v Speaker 1>Yeah, that's real, that's really real. I mean, none of

0:25:13.320 --> 0:25:16.680
<v Speaker 1>this stuff is garbage. It's just sometimes, but it's also

0:25:16.880 --> 0:25:19.800
<v Speaker 1>like garbage when you're nineteen and you're like, I'm an actor,

0:25:19.960 --> 0:25:25.320
<v Speaker 1>what is this trap? A hun And the thing.

0:25:25.280 --> 0:25:28.000
<v Speaker 2>Is is like you have to do all those exercises

0:25:28.080 --> 0:25:31.360
<v Speaker 2>to essentially, like I think, build your actor toolbox, right,

0:25:31.440 --> 0:25:33.640
<v Speaker 2>because this is not like a one size fits all

0:25:33.760 --> 0:25:34.760
<v Speaker 2>type of thing.

0:25:35.560 --> 0:25:38.960
<v Speaker 1>There's techniques and things that work for some people that

0:25:39.160 --> 0:25:41.120
<v Speaker 1>do not fucking work for others.

0:25:41.520 --> 0:25:45.600
<v Speaker 2>Yeah, and you know, so it's it's like something you

0:25:45.680 --> 0:25:48.080
<v Speaker 2>kind of have to go through and you feel super

0:25:48.160 --> 0:25:50.880
<v Speaker 2>uncomfortable and you hate most of it. Most of it

0:25:50.920 --> 0:25:53.520
<v Speaker 2>feels like fucking bullshit and you hate it. And then

0:25:53.600 --> 0:25:55.600
<v Speaker 2>once in a while there'll be one that just like

0:25:55.800 --> 0:25:59.280
<v Speaker 2>unlocks something and you you file it away and your

0:25:59.320 --> 0:26:01.879
<v Speaker 2>little actor box and you're like, I'm gonna use that

0:26:01.920 --> 0:26:04.439
<v Speaker 2>one day. One day that's gonna come in handy, and

0:26:04.480 --> 0:26:07.439
<v Speaker 2>then it does. And like, I think it's just about

0:26:07.480 --> 0:26:11.399
<v Speaker 2>building the tools because the thing I think that's for

0:26:11.520 --> 0:26:14.960
<v Speaker 2>me really challenging about our day, about our job is

0:26:15.600 --> 0:26:18.439
<v Speaker 2>like every day is so different, and sometimes you have

0:26:18.480 --> 0:26:21.560
<v Speaker 2>personal shit going on or your mind is somewhere else,

0:26:21.800 --> 0:26:23.919
<v Speaker 2>and like when you arrive on set, like you have

0:26:23.960 --> 0:26:27.119
<v Speaker 2>to do that job, you have to live in that character's.

0:26:26.640 --> 0:26:28.680
<v Speaker 1>Yeah, brain and body.

0:26:29.040 --> 0:26:34.080
<v Speaker 2>Yeah, And sometimes it's not enough to just like imagine

0:26:34.119 --> 0:26:38.560
<v Speaker 2>yourself conjure yourself there right like and I think that's

0:26:38.640 --> 0:26:41.760
<v Speaker 2>where like the craft or the technique comes in, because

0:26:41.800 --> 0:26:44.959
<v Speaker 2>there's days where I'm just like, oh, I need help

0:26:45.320 --> 0:26:50.960
<v Speaker 2>right now, and I will find myself like truly going

0:26:51.000 --> 0:26:55.080
<v Speaker 2>back to the basics, it's like I'm super unfocused or

0:26:55.119 --> 0:26:57.720
<v Speaker 2>I'm dealing with this personal shit, but I gotta do this.

0:26:57.840 --> 0:27:00.199
<v Speaker 2>So like what is my intention in this scene? It

0:27:00.240 --> 0:27:02.600
<v Speaker 2>is my moment before, Like what can I do to

0:27:02.640 --> 0:27:06.960
<v Speaker 2>get myself like into this headspace?

0:27:07.160 --> 0:27:10.760
<v Speaker 1>Yeah? Yeah. One of the things I liked about college

0:27:10.880 --> 0:27:14.600
<v Speaker 1>for me was that there wasn't one specific technique that

0:27:14.640 --> 0:27:18.840
<v Speaker 1>we studied, and it was just that there were a

0:27:19.119 --> 0:27:23.639
<v Speaker 1>bunch of different ones that we worked through, and that

0:27:23.880 --> 0:27:26.600
<v Speaker 1>was helpful to me. It has become helpful to me

0:27:26.600 --> 0:27:28.240
<v Speaker 1>in my professional life, and it was helpful to me

0:27:28.280 --> 0:27:32.800
<v Speaker 1>in college because not some things like don't always work,

0:27:33.359 --> 0:27:36.840
<v Speaker 1>meaning like something's just don't like you're saying sometimes that

0:27:37.000 --> 0:27:40.639
<v Speaker 1>day that fucking thing is not your sense memory moment,

0:27:40.720 --> 0:27:44.159
<v Speaker 1>It just isn't. She's not she's not coming that there.

0:27:44.440 --> 0:27:48.320
<v Speaker 1>Stay there, Try something else, like you gotta just like

0:27:48.440 --> 0:27:52.159
<v Speaker 1>try something else, right. And the more I feel the

0:27:52.200 --> 0:27:54.679
<v Speaker 1>more that you know about this stuff, the more that

0:27:54.720 --> 0:27:57.640
<v Speaker 1>you're trying stuff more like I'm walking like a bug

0:27:57.680 --> 0:28:01.879
<v Speaker 1>in turtle or whatever, more stuff you discover, you know.

0:28:02.240 --> 0:28:07.600
<v Speaker 1>And sometimes I like to randomly watch people's audition.

0:28:07.880 --> 0:28:12.959
<v Speaker 2>Tapes like on YouTube and stuff, because I find, like

0:28:13.000 --> 0:28:14.920
<v Speaker 2>I did it today because it was like.

0:28:14.880 --> 0:28:17.919
<v Speaker 1>What is what what are they doing? You know, like

0:28:18.040 --> 0:28:21.200
<v Speaker 1>how are they doing this? And what I find a

0:28:21.280 --> 0:28:25.679
<v Speaker 1>lot is that more than likely their performance that they

0:28:25.720 --> 0:28:28.000
<v Speaker 1>give in the film is actually the performance that they

0:28:28.040 --> 0:28:31.000
<v Speaker 1>gave in the audition. Yeah, you know, because I just

0:28:31.040 --> 0:28:33.240
<v Speaker 1>fucking rite for it. They were just right for it,

0:28:33.280 --> 0:28:35.479
<v Speaker 1>and they were ready. They were ready, They had all

0:28:35.480 --> 0:28:38.040
<v Speaker 1>their stuff memorized, and they knew the take that they

0:28:38.040 --> 0:28:40.360
<v Speaker 1>were going to do, and they trusted that what their

0:28:40.400 --> 0:28:43.760
<v Speaker 1>work was, and they were just it was just you know,

0:28:44.200 --> 0:28:47.640
<v Speaker 1>like you could be really right for something. Now I'm

0:28:47.640 --> 0:28:49.040
<v Speaker 1>going on a tangent, but like you could be really

0:28:49.080 --> 0:28:50.920
<v Speaker 1>right for something and like not be ready for it

0:28:51.120 --> 0:28:54.560
<v Speaker 1>and not have your technique down and not be memorized

0:28:54.600 --> 0:28:59.800
<v Speaker 1>and not be not be awake and alive in the scene,

0:29:00.160 --> 0:29:03.440
<v Speaker 1>and like maybe you're really really right for it, but like, oh,

0:29:03.640 --> 0:29:06.200
<v Speaker 1>like you know. One of the things I think that

0:29:06.280 --> 0:29:10.760
<v Speaker 1>I've learned a lot in the past few years is like,

0:29:11.720 --> 0:29:14.440
<v Speaker 1>you know, when you're in college, Well, when I was

0:29:14.440 --> 0:29:16.760
<v Speaker 1>in college, I kind of thought, oh, the director's supposed

0:29:16.760 --> 0:29:19.800
<v Speaker 1>to like help you, guide you and like right for

0:29:20.280 --> 0:29:23.800
<v Speaker 1>this performance out of you. And yeah, it's just not

0:29:24.000 --> 0:29:27.880
<v Speaker 1>really that way. The director has so many things going on,

0:29:28.000 --> 0:29:33.080
<v Speaker 1>and yes, sometimes the director's job is to give you

0:29:33.120 --> 0:29:36.920
<v Speaker 1>a key and unlock something with you, but they've also

0:29:37.000 --> 0:29:41.200
<v Speaker 1>got a jillion bajillion other things going on, and so

0:29:41.440 --> 0:29:44.080
<v Speaker 1>really what they need is for you as an actor

0:29:44.160 --> 0:29:47.400
<v Speaker 1>to be ready from the get from the accition, basically

0:29:47.560 --> 0:29:50.160
<v Speaker 1>like to be that's what they see.

0:29:50.440 --> 0:29:53.680
<v Speaker 2>Yeah, you're just an instrument and a giant orchestra that

0:29:53.680 --> 0:29:55.120
<v Speaker 2>they're conducting.

0:29:54.720 --> 0:29:56.560
<v Speaker 1>Right, and so like you need to know how to

0:29:56.560 --> 0:29:59.440
<v Speaker 1>play your instrument. You really need to be like first chair.

0:30:01.480 --> 0:30:04.080
<v Speaker 2>It's so true. They're there to like, yes, I think

0:30:04.160 --> 0:30:07.920
<v Speaker 2>guide you. I think maybe elevate, like you said, unlock something.

0:30:08.120 --> 0:30:12.800
<v Speaker 2>But like they're they're not gonna Your performance is up

0:30:12.840 --> 0:30:13.040
<v Speaker 2>to you.

0:30:13.680 --> 0:30:15.160
<v Speaker 1>Yeah, man, it really is.

0:30:15.800 --> 0:30:18.840
<v Speaker 2>I really the times that i've directed, I've really loved

0:30:18.880 --> 0:30:21.479
<v Speaker 2>watching all the auditions and I felt like I learned,

0:30:21.840 --> 0:30:24.760
<v Speaker 2>you know, you hear it so much and everyone says it, like,

0:30:24.840 --> 0:30:27.160
<v Speaker 2>but if you're an actor, if any chance you could

0:30:27.200 --> 0:30:31.560
<v Speaker 2>get to watch people's auditions is really valuable because what

0:30:31.600 --> 0:30:34.200
<v Speaker 2>you mostly see is most of the people you see

0:30:34.360 --> 0:30:37.880
<v Speaker 2>could do it, and they'd be great. You know, in

0:30:37.960 --> 0:30:39.920
<v Speaker 2>some instances they'd be fine, but it would be good,

0:30:40.040 --> 0:30:42.040
<v Speaker 2>like you you know, you know, it wouldn't ruin the scene,

0:30:42.040 --> 0:30:45.640
<v Speaker 2>It wouldn't ruin the episode. But and most of the

0:30:45.760 --> 0:30:51.080
<v Speaker 2>time the person it goes to either just made a

0:30:51.120 --> 0:30:54.720
<v Speaker 2>strong choice that works in their audition that like set

0:30:54.760 --> 0:30:57.320
<v Speaker 2>them apart from everyone else, because there's like, you read

0:30:57.320 --> 0:31:01.880
<v Speaker 2>a scene, and if you have ten people, pretty much

0:31:01.880 --> 0:31:03.480
<v Speaker 2>all ten are going to more or less read that

0:31:03.520 --> 0:31:07.080
<v Speaker 2>scene the same way. And then sometimes there's gonna be

0:31:07.080 --> 0:31:10.720
<v Speaker 2>one or two people that just put an extra specific

0:31:10.800 --> 0:31:12.520
<v Speaker 2>thing on it, or they put a flare on it,

0:31:12.640 --> 0:31:14.960
<v Speaker 2>or they just make a big choice in one section,

0:31:15.760 --> 0:31:18.520
<v Speaker 2>and then that kind of sets them apart. And then

0:31:18.560 --> 0:31:21.160
<v Speaker 2>the other thing that no one can fucking explain or

0:31:21.160 --> 0:31:24.760
<v Speaker 2>control is like an essence thing, like they just feel

0:31:24.800 --> 0:31:28.360
<v Speaker 2>like that character, Like you can't even put your finger

0:31:28.440 --> 0:31:31.200
<v Speaker 2>on it. They just you can picture them in wardrobe,

0:31:31.360 --> 0:31:34.120
<v Speaker 2>and you can picture them in the scene and it's

0:31:34.200 --> 0:31:36.560
<v Speaker 2>like just a vibe that they have.

0:31:36.920 --> 0:31:39.000
<v Speaker 1>Oh my god, that makes my stomach so.

0:31:39.040 --> 0:31:44.000
<v Speaker 2>Frustrating, because you want a stomach I know, I know,

0:31:44.920 --> 0:31:45.720
<v Speaker 2>Oh my.

0:31:45.560 --> 0:31:49.200
<v Speaker 1>God, cause I have to put some shape and I'm

0:31:49.240 --> 0:31:50.200
<v Speaker 1>just like, oh.

0:31:50.280 --> 0:31:55.760
<v Speaker 2>No, So how do you prep for an audition?

0:31:56.080 --> 0:32:00.600
<v Speaker 1>Let's talk about that. I study a lot. I read

0:32:00.600 --> 0:32:02.960
<v Speaker 1>the script. I read the script because I think a

0:32:03.000 --> 0:32:07.680
<v Speaker 1>lot of times people don't. Yes, I remember reading this

0:32:07.760 --> 0:32:10.240
<v Speaker 1>book a long time ago. I don't know if I

0:32:10.240 --> 0:32:12.560
<v Speaker 1>still have it. It's called Talent is Overrated. But one

0:32:12.600 --> 0:32:14.320
<v Speaker 1>of the things that they talk about in that book

0:32:14.440 --> 0:32:17.400
<v Speaker 1>is that, like, you know, there's a lot of talented people,

0:32:17.400 --> 0:32:19.280
<v Speaker 1>but there's not a lot of people that will want

0:32:19.320 --> 0:32:23.600
<v Speaker 1>to put in the work. So just by putting in

0:32:23.600 --> 0:32:28.520
<v Speaker 1>the work, you separate yourself from the other talented people, right,

0:32:28.640 --> 0:32:31.760
<v Speaker 1>And so like I'm going to memorize the motherfucking living

0:32:32.120 --> 0:32:35.959
<v Speaker 1>daylights out of that audition. Those sides, like, I'm going

0:32:36.040 --> 0:32:39.400
<v Speaker 1>to have them memorize. I've run them already probably ten

0:32:39.440 --> 0:32:42.360
<v Speaker 1>times each yeah, with my sister, and I'm going to

0:32:42.520 --> 0:32:48.160
<v Speaker 1>memorize them more after this recording. M Yeah, I need

0:32:48.200 --> 0:32:50.000
<v Speaker 1>to be fully memorized for auditions.

0:32:50.160 --> 0:32:50.480
<v Speaker 2>I am.

0:32:50.760 --> 0:32:52.880
<v Speaker 1>I try to be like as much off the page

0:32:52.880 --> 0:32:57.000
<v Speaker 1>as I can be, because I think when I look

0:32:57.040 --> 0:32:59.360
<v Speaker 1>at people's auditions, like when I look at people that

0:32:59.360 --> 0:33:01.280
<v Speaker 1>book the job, a lot of times they're like up

0:33:01.320 --> 0:33:05.360
<v Speaker 1>and they're acting with the reader, or they're acting with

0:33:05.440 --> 0:33:08.640
<v Speaker 1>their significant other whoever they're they're reading with, or just

0:33:08.680 --> 0:33:12.240
<v Speaker 1>like with him with them, you know, as opposed to

0:33:12.240 --> 0:33:15.160
<v Speaker 1>like down and trying to find stuff. Not to say

0:33:15.160 --> 0:33:17.480
<v Speaker 1>that I don't, but I really really want to be

0:33:17.640 --> 0:33:20.560
<v Speaker 1>completely off book. But it's hard, Like I mean thinking

0:33:20.560 --> 0:33:27.040
<v Speaker 1>about like making big choices and being like sometimes you're

0:33:27.080 --> 0:33:29.480
<v Speaker 1>just not right for the thing. I'm like, I don't know,

0:33:29.080 --> 0:33:30.960
<v Speaker 1>I know if I'm gonna be right, but I mean

0:33:31.000 --> 0:33:34.800
<v Speaker 1>like I could play it like, but I might not

0:33:34.960 --> 0:33:38.959
<v Speaker 1>be right for it. So like sometimes you just have

0:33:39.040 --> 0:33:39.640
<v Speaker 1>to sort.

0:33:39.440 --> 0:33:42.760
<v Speaker 2>Of like like do it anyway, even though you feel

0:33:42.760 --> 0:33:45.320
<v Speaker 2>like sick to your stomach about it, but also there's

0:33:45.320 --> 0:33:48.080
<v Speaker 2>also that there's always a possibility that yes, maybe on

0:33:48.200 --> 0:33:50.040
<v Speaker 2>the page you're like, I don't know if I'm right

0:33:50.080 --> 0:33:52.520
<v Speaker 2>for this, but then they see you and they see

0:33:52.520 --> 0:33:55.840
<v Speaker 2>something new and different and they're like, oh, maybe this

0:33:56.000 --> 0:33:58.640
<v Speaker 2>character isn't what we originally thought. This is so much

0:33:58.680 --> 0:34:02.080
<v Speaker 2>more interesting Stephanie, my mattress is so much more interesting

0:34:02.120 --> 0:34:02.560
<v Speaker 2>in this.

0:34:02.520 --> 0:34:06.200
<v Speaker 1>Role, and now we kind of want Tot's like, let's hope,

0:34:07.120 --> 0:34:09.680
<v Speaker 1>let's pray, and so let's pray and hope.

0:34:10.239 --> 0:34:16.359
<v Speaker 2>I once did a like an alumni panel NYU and

0:34:16.400 --> 0:34:20.920
<v Speaker 2>it was all actors and this one actor, Noah Weisberg.

0:34:20.960 --> 0:34:21.279
<v Speaker 1>What up?

0:34:21.280 --> 0:34:25.440
<v Speaker 2>Noah very talented actor, works all the time, it's Broadway

0:34:25.520 --> 0:34:30.960
<v Speaker 2>and TV, and he had the best freaking gems at

0:34:30.960 --> 0:34:36.319
<v Speaker 2>this panel, and he talked about auditioning and he completely

0:34:36.360 --> 0:34:39.359
<v Speaker 2>like reframed it for me that because at that time

0:34:39.400 --> 0:34:42.799
<v Speaker 2>I was like working but still struggling auditioning all the time,

0:34:42.880 --> 0:34:47.640
<v Speaker 2>mostly getting rejected. And he was like, my audition is

0:34:47.680 --> 0:34:49.719
<v Speaker 2>I get to go to work that day, I get

0:34:49.760 --> 0:34:51.680
<v Speaker 2>to do this thing that I love to do for

0:34:51.719 --> 0:34:53.399
<v Speaker 2>twenty minutes or an hour or.

0:34:53.320 --> 0:34:55.160
<v Speaker 1>Whatever it is. If it's on tape, it's in a

0:34:55.239 --> 0:34:56.160
<v Speaker 1>room wherever it is.

0:34:56.480 --> 0:34:58.640
<v Speaker 2>I get to go to work, and he's like, and

0:34:58.680 --> 0:35:00.200
<v Speaker 2>I don't look at it as an audition. I just

0:35:00.200 --> 0:35:01.360
<v Speaker 2>look at it is like I get to go to

0:35:01.400 --> 0:35:03.200
<v Speaker 2>work today. Today, I get to go to work.

0:35:03.719 --> 0:35:10.960
<v Speaker 1>And that's great advice. But I cannot separate. I can't separate. Also,

0:35:11.120 --> 0:35:15.560
<v Speaker 1>I am not getting paid. I mean, right, it's so

0:35:15.760 --> 0:35:19.520
<v Speaker 1>hard to separate. I get to do this fun scene

0:35:19.800 --> 0:35:24.200
<v Speaker 1>and also like, but I also want I want to

0:35:24.239 --> 0:35:26.000
<v Speaker 1>do this scene again. I want to do it on

0:35:26.239 --> 0:35:31.320
<v Speaker 1>film with actors that I like and enjoy their work,

0:35:31.360 --> 0:35:33.879
<v Speaker 1>and I want to play with the other person. Yeah,

0:35:34.120 --> 0:35:37.759
<v Speaker 1>like doing a scene by yourself at home, or like

0:35:37.840 --> 0:35:40.680
<v Speaker 1>even with a reader, even if they're really good, it's

0:35:40.760 --> 0:35:44.080
<v Speaker 1>just not the same as like doing it with somebody

0:35:44.080 --> 0:35:48.120
<v Speaker 1>who's work you admire or like or you don't know

0:35:48.239 --> 0:35:50.880
<v Speaker 1>and you're learning from. It's just like it's it's so

0:35:51.120 --> 0:35:54.520
<v Speaker 1>electric when it's like really happening, as opposed to like

0:35:54.760 --> 0:35:58.080
<v Speaker 1>I'm auditioning for something, you know, It's like one is

0:35:58.200 --> 0:36:00.640
<v Speaker 1>just so different than the other. Even so the core

0:36:00.680 --> 0:36:02.600
<v Speaker 1>of the thing still has to be the same, which

0:36:02.640 --> 0:36:08.920
<v Speaker 1>is like your ability to conjure, conjure the realness the

0:36:08.920 --> 0:36:20.280
<v Speaker 1>realness of the thing more really quick, Let's talk about

0:36:20.320 --> 0:36:23.319
<v Speaker 1>like speaking of conjuring. Let's talk about conjuring. Let's talk

0:36:23.360 --> 0:36:28.840
<v Speaker 1>about like, there's a bunch of techniques of acting. I

0:36:28.880 --> 0:36:34.120
<v Speaker 1>struggle with some of them. I don't love some of them.

0:36:34.200 --> 0:36:37.000
<v Speaker 2>Let's talk about the ones that I studied in school

0:36:37.080 --> 0:36:40.920
<v Speaker 2>were the big The big ones are like, Okay, Stanislavski

0:36:41.680 --> 0:36:46.759
<v Speaker 2>UH method acting, which just Strasburg stella Adler, which was

0:36:46.840 --> 0:36:50.360
<v Speaker 2>another Uh Santislavski student.

0:36:50.640 --> 0:37:00.480
<v Speaker 1>She and Strasburg were students of Santaslavski Meisner Meisner, Meisterisner Meisner. Now,

0:37:00.600 --> 0:37:02.400
<v Speaker 1>there's a lot of things about Meisner that are great.

0:37:02.480 --> 0:37:08.880
<v Speaker 1>There's some things that are I love Uda Hagen, I

0:37:09.000 --> 0:37:12.279
<v Speaker 1>will say I do love Uda Hagen's book, Yes, and

0:37:12.760 --> 0:37:17.680
<v Speaker 1>particularly when I was a younger actor, because I think,

0:37:18.880 --> 0:37:22.400
<v Speaker 1>especially as a younger actor, I got super into the

0:37:22.440 --> 0:37:24.960
<v Speaker 1>feeling of like I don't know how to apply these techniques.

0:37:25.000 --> 0:37:29.279
<v Speaker 1>And Hogen udah Hagen is very very about like substitution.

0:37:29.680 --> 0:37:32.839
<v Speaker 1>It's like substitution of real life experience.

0:37:32.840 --> 0:37:35.480
<v Speaker 2>To me, it's a it's a clearer it's a clearer

0:37:36.200 --> 0:37:41.640
<v Speaker 2>definition of substitution than Strasburg's sort of approach to substitution

0:37:41.800 --> 0:37:45.800
<v Speaker 2>to me, was always almost like self indulgent, Like I

0:37:46.200 --> 0:37:46.680
<v Speaker 2>felt like.

0:37:48.280 --> 0:37:48.920
<v Speaker 1>So a n YU.

0:37:49.160 --> 0:37:53.120
<v Speaker 2>All these studios were like you when you become a

0:37:53.200 --> 0:37:55.839
<v Speaker 2>drama major, you audition, you get into NYU, they place

0:37:55.960 --> 0:37:58.200
<v Speaker 2>you in a studio. And so there's a Strasburg Studio,

0:37:58.239 --> 0:38:01.800
<v Speaker 2>the Adler Studio, the Meisner Studio, the Atlantic Theater Company Studio,

0:38:01.920 --> 0:38:03.960
<v Speaker 2>and blah blah blahlah lah. I was in the musical

0:38:03.960 --> 0:38:06.400
<v Speaker 2>Theater one. So I got like a little sprinkling of

0:38:06.440 --> 0:38:11.000
<v Speaker 2>everything and I kind of noticed sorry little bit of

0:38:11.040 --> 0:38:12.960
<v Speaker 2>shade to the Strasburg.

0:38:13.960 --> 0:38:14.440
<v Speaker 1>Studio.

0:38:15.520 --> 0:38:18.280
<v Speaker 2>I felt like when I would watch the Strasburg actors

0:38:18.400 --> 0:38:22.759
<v Speaker 2>act in some things that they were all like very

0:38:23.000 --> 0:38:26.960
<v Speaker 2>like internal, like in their own world as opposed to

0:38:27.120 --> 0:38:30.880
<v Speaker 2>like really reacting and listening off of another actor.

0:38:30.960 --> 0:38:31.680
<v Speaker 1>Do you know what I mean?

0:38:32.800 --> 0:38:35.399
<v Speaker 2>Because I and then when I like learned more about

0:38:35.400 --> 0:38:36.920
<v Speaker 2>the technique, I was like, oh, that makes sense, Like

0:38:36.920 --> 0:38:40.960
<v Speaker 2>it's so based in substitution, but from this like really

0:38:41.120 --> 0:38:44.200
<v Speaker 2>kind of internal place inside place where I felt like

0:38:44.360 --> 0:38:49.759
<v Speaker 2>Udah Haugen's approach to substitution was more I don't know,

0:38:49.840 --> 0:38:50.800
<v Speaker 2>it was more active.

0:38:50.920 --> 0:38:51.840
<v Speaker 1>It was more like.

0:38:51.800 --> 0:38:56.240
<v Speaker 2>Taking the event or taking the feeling that you're substituting

0:38:56.320 --> 0:38:59.440
<v Speaker 2>and placing it in but still like create using instinct

0:38:59.440 --> 0:39:01.840
<v Speaker 2>and imagine work and being in the scene.

0:39:01.840 --> 0:39:04.719
<v Speaker 1>Does that make sense? Yeah, it makes sense. Getting I'm like, sup,

0:39:05.160 --> 0:39:07.680
<v Speaker 1>just got super nerdy. No. No, I'm curious about like

0:39:07.719 --> 0:39:10.080
<v Speaker 1>whether those Stosberg students, like whether if you put a

0:39:10.120 --> 0:39:14.680
<v Speaker 1>camera on them, would it still feel sort of self

0:39:14.680 --> 0:39:18.399
<v Speaker 1>indulgent and you know, like if you cut them into

0:39:18.480 --> 0:39:21.960
<v Speaker 1>a film, like if they edited their performance, would it

0:39:22.040 --> 0:39:24.680
<v Speaker 1>feel that way or would it look really really real

0:39:24.800 --> 0:39:29.120
<v Speaker 1>because they're really like like using sense, memory and going

0:39:29.160 --> 0:39:31.240
<v Speaker 1>through something. I don't know, I don't know the answer

0:39:31.280 --> 0:39:33.680
<v Speaker 1>to that, but like I'm curious about that because I've

0:39:33.680 --> 0:39:37.080
<v Speaker 1>certainly seen I mean, I've seen a lot of shows

0:39:38.120 --> 0:39:41.759
<v Speaker 1>on Broadway and off, but I've seen actors that are

0:39:41.760 --> 0:39:47.680
<v Speaker 1>film actors on Broadway that are phenomenal and commanding of

0:39:47.719 --> 0:39:53.719
<v Speaker 1>an audience and like incredible and like, you know, just electric.

0:39:53.960 --> 0:39:57.600
<v Speaker 1>And then I've seen film actors who are you know,

0:39:57.920 --> 0:40:02.200
<v Speaker 1>really really good on television in television and film, and

0:40:02.239 --> 0:40:04.359
<v Speaker 1>then they're on stage and I'm like, well, I'm glad

0:40:04.360 --> 0:40:07.200
<v Speaker 1>I'm sitting in the fourth row because like if I

0:40:07.239 --> 0:40:08.680
<v Speaker 1>was in the back of the house, I couldn't see

0:40:08.719 --> 0:40:11.640
<v Speaker 1>any of what you were feeling. And it's a beautiful performance,

0:40:11.640 --> 0:40:14.239
<v Speaker 1>but it's not a stage. It's so small. Yeah, right,

0:40:14.440 --> 0:40:17.040
<v Speaker 1>So like those two things are really really different things,

0:40:17.280 --> 0:40:20.319
<v Speaker 1>really different things. And then you see the opposite too.

0:40:20.360 --> 0:40:24.480
<v Speaker 2>You see actors that are brilliant in theater, brilliant on Broadway,

0:40:24.600 --> 0:40:26.880
<v Speaker 2>and then you put them on camera film everything is

0:40:26.960 --> 0:40:29.239
<v Speaker 2>just too big too. Yeah.

0:40:29.719 --> 0:40:32.600
<v Speaker 1>Yeah, it's it's is my constant feeling. But because the

0:40:33.120 --> 0:40:36.480
<v Speaker 1>balance of like sometimes I'm not sure what the tone

0:40:36.640 --> 0:40:39.319
<v Speaker 1>of the thing is that I'm auditioning for, you know,

0:40:39.360 --> 0:40:42.680
<v Speaker 1>because like I read it in one tone, but maybe

0:40:42.680 --> 0:40:44.719
<v Speaker 1>it's not that tone, and then I like make it

0:40:44.800 --> 0:40:47.200
<v Speaker 1>take a big swing, and I'm like, well, I don't know,

0:40:47.480 --> 0:40:50.040
<v Speaker 1>you know, like, yeah, I don't know if it's that

0:40:50.320 --> 0:40:52.480
<v Speaker 1>or was I in the right play? Was I in

0:40:52.520 --> 0:40:54.920
<v Speaker 1>the right play? Or was I was I in the

0:40:54.920 --> 0:40:57.400
<v Speaker 1>theater next door. That's a really hard one. I mean,

0:40:57.400 --> 0:41:01.239
<v Speaker 1>I think for me as a younger actor or substitution,

0:41:01.440 --> 0:41:05.640
<v Speaker 1>which you know, to give you like not a professional no.

0:41:06.160 --> 0:41:14.840
<v Speaker 1>Our interpretation is like you use your personal experiences to

0:41:14.920 --> 0:41:19.960
<v Speaker 1>help you create a reaction to what's happening to the character.

0:41:20.640 --> 0:41:23.080
<v Speaker 1>So like, if you have never lived through somebody dying

0:41:23.200 --> 0:41:26.279
<v Speaker 1>and your scene is about someone dying, right, Like, you

0:41:26.360 --> 0:41:29.239
<v Speaker 1>use something that's close, like maybe you had a pet die,

0:41:29.400 --> 0:41:32.760
<v Speaker 1>or maybe you like lost someone that was really close

0:41:32.800 --> 0:41:35.000
<v Speaker 1>to you, or maybe you have a fear of dying,

0:41:35.200 --> 0:41:37.400
<v Speaker 1>and like you use that and put it into the

0:41:37.440 --> 0:41:40.640
<v Speaker 1>scene and to like help you emotionally get to the

0:41:40.680 --> 0:41:44.000
<v Speaker 1>place where you are locked a lot of emotion. But

0:41:44.080 --> 0:41:46.560
<v Speaker 1>then you're also saying the lines that are in the scene,

0:41:46.800 --> 0:41:49.400
<v Speaker 1>right and like sometimes and still today, I'll use it

0:41:49.400 --> 0:41:52.400
<v Speaker 1>in a pinch, but I rarely use it anymore because

0:41:54.280 --> 0:41:58.120
<v Speaker 1>it's too much for me sometimes, Does that make sense? Like, well,

0:41:58.200 --> 0:41:58.880
<v Speaker 1>it's yeah.

0:41:59.120 --> 0:42:02.640
<v Speaker 2>I I my first year acting teacher was like my

0:42:02.719 --> 0:42:07.359
<v Speaker 2>mentor at Doug Mauston. He was incredible and he when

0:42:07.360 --> 0:42:10.960
<v Speaker 2>he was teaching us substitution, I remember him saying, you

0:42:11.000 --> 0:42:14.400
<v Speaker 2>can't use anything that you haven't healed from because it

0:42:14.440 --> 0:42:15.400
<v Speaker 2>will fuck with your mind.

0:42:15.600 --> 0:42:18.920
<v Speaker 1>That's such a big, big, big, big great piece of advice.

0:42:19.360 --> 0:42:21.120
<v Speaker 2>Yes, And he was like, if you think of your

0:42:21.160 --> 0:42:26.319
<v Speaker 2>memories as and your painful memories as like scabs or scars, right, Like,

0:42:26.520 --> 0:42:28.680
<v Speaker 2>don't use it while it's a scab, because then you're

0:42:28.719 --> 0:42:31.440
<v Speaker 2>just ripping that scab open every time. He was like,

0:42:31.560 --> 0:42:34.080
<v Speaker 2>you have to wait till it's it's a scar and

0:42:34.120 --> 0:42:35.960
<v Speaker 2>then you can go back and access it.

0:42:36.360 --> 0:42:37.560
<v Speaker 1>That's really interesting if.

0:42:37.440 --> 0:42:40.520
<v Speaker 2>That works for you, which that you know, Yeah, I've

0:42:40.520 --> 0:42:46.480
<v Speaker 2>always struggled with substitution, but he was very adamant about

0:42:46.560 --> 0:42:51.120
<v Speaker 2>not using things that are more raw unless unless well

0:42:51.239 --> 0:42:54.920
<v Speaker 2>there was a stipulation of like, if it's helping you process,

0:42:55.640 --> 0:42:56.279
<v Speaker 2>there it is.

0:42:56.520 --> 0:42:58.359
<v Speaker 1>There it is if it's helping you.

0:42:58.440 --> 0:43:01.560
<v Speaker 2>Work through sar things, Yeah, as long as that it's

0:43:01.600 --> 0:43:04.080
<v Speaker 2>that approach. But if you're just going back to a

0:43:04.120 --> 0:43:08.200
<v Speaker 2>really painful thing and reliving it over and over again, yeah, yeah.

0:43:08.280 --> 0:43:11.440
<v Speaker 2>He was like, your work will eventually suffer, but more importantly,

0:43:11.520 --> 0:43:12.959
<v Speaker 2>you'll suffer as a human being.

0:43:13.360 --> 0:43:16.440
<v Speaker 1>You'll sufferer, and like that's one of the things that's

0:43:16.560 --> 0:43:23.320
<v Speaker 1>most important about using substitution is not being really careful

0:43:23.360 --> 0:43:26.960
<v Speaker 1>with it, because it is it is like giving of yourself.

0:43:27.080 --> 0:43:29.239
<v Speaker 1>And I would say, I would say, like, if you

0:43:29.360 --> 0:43:36.440
<v Speaker 1>use something too much, you can deaden yourself, Like the

0:43:36.920 --> 0:43:41.640
<v Speaker 1>sharpness of that thing becomes dull, and the your ability

0:43:41.640 --> 0:43:43.400
<v Speaker 1>to use it, it's like you can still cut with

0:43:43.440 --> 0:43:46.480
<v Speaker 1>a dull knife. But it can it's like you're digging

0:43:46.520 --> 0:43:49.520
<v Speaker 1>at something like really gnarly, you know. Yeah. I mean

0:43:50.440 --> 0:43:57.920
<v Speaker 1>I have used substitution before in acting where it's like

0:43:58.360 --> 0:44:00.960
<v Speaker 1>I will just this make sense or not, but like

0:44:01.480 --> 0:44:04.200
<v Speaker 1>I won't like dig into it. I'll just like touch it,

0:44:04.560 --> 0:44:06.359
<v Speaker 1>you know, like just like a little touch of it,

0:44:06.440 --> 0:44:09.520
<v Speaker 1>and then like I touch it, I burn. Like I

0:44:09.800 --> 0:44:11.960
<v Speaker 1>you don't even burn my finger. I just like feel

0:44:11.960 --> 0:44:13.640
<v Speaker 1>the heat of it and then move away and like

0:44:13.719 --> 0:44:16.560
<v Speaker 1>do the scene. Yeah, and like take the take the

0:44:16.680 --> 0:44:20.359
<v Speaker 1>energy of the of the of the heat and go

0:44:20.400 --> 0:44:21.879
<v Speaker 1>into the scene. You don't have to put your whole

0:44:21.880 --> 0:44:25.080
<v Speaker 1>fucking hand on the fire, right, Like, you just take

0:44:25.160 --> 0:44:27.799
<v Speaker 1>a little bit of it and move yourself through into

0:44:27.800 --> 0:44:32.480
<v Speaker 1>the scene. I don't. I don't think that's suffering hard,

0:44:32.520 --> 0:44:34.319
<v Speaker 1>hard hard for the thing because I've done it.

0:44:34.400 --> 0:44:38.040
<v Speaker 2>I've done that already in my youth, and I don't

0:44:38.080 --> 0:44:39.000
<v Speaker 2>want to do it again.

0:44:39.160 --> 0:44:43.839
<v Speaker 1>I also don't. I'm not a method actor. I think

0:44:43.880 --> 0:44:47.640
<v Speaker 1>a lot of people don't really understand method.

0:44:49.080 --> 0:44:51.920
<v Speaker 2>I feel like it's a term that's been tossed around

0:44:52.160 --> 0:44:57.320
<v Speaker 2>in a very uh sloppy way in the last couple decades.

0:44:59.000 --> 0:45:00.400
<v Speaker 1>Yeah, it's just a type technique.

0:45:00.400 --> 0:45:03.120
<v Speaker 2>It doesn't mean like you know when they taught And

0:45:03.200 --> 0:45:05.160
<v Speaker 2>it's funny to me when they talk about like method

0:45:05.239 --> 0:45:08.440
<v Speaker 2>actors that are in character all day on set, at

0:45:08.520 --> 0:45:11.160
<v Speaker 2>least the way I was taught, like these different techniques

0:45:11.160 --> 0:45:12.600
<v Speaker 2>that fall under the method umbrella.

0:45:12.920 --> 0:45:17.320
<v Speaker 1>That's not method. Like the method is that.

0:45:17.280 --> 0:45:21.120
<v Speaker 2>You can click into your character and then drop it

0:45:21.160 --> 0:45:23.960
<v Speaker 2>when you need to drop it like that that was

0:45:24.000 --> 0:45:26.840
<v Speaker 2>always taught to me, is like the whole point it wasn't.

0:45:27.360 --> 0:45:29.839
<v Speaker 2>I don't know where. At some point it became.

0:45:29.800 --> 0:45:31.480
<v Speaker 1>Like you have to do this all the time. You

0:45:31.480 --> 0:45:32.120
<v Speaker 1>have to do this.

0:45:32.040 --> 0:45:34.480
<v Speaker 2>All the time, and like live in the thing, like

0:45:34.719 --> 0:45:36.359
<v Speaker 2>and if you're going to be drunk in a scene,

0:45:36.400 --> 0:45:37.200
<v Speaker 2>actually be drunk.

0:45:37.239 --> 0:45:41.400
<v Speaker 1>Like that's not method like that you you're no, Like

0:45:42.360 --> 0:45:44.920
<v Speaker 1>that's the opposite. I will say the thing that I'm

0:45:44.960 --> 0:45:46.680
<v Speaker 1>talking the thing that I was talking about that sort

0:45:46.719 --> 0:45:51.560
<v Speaker 1>of like touching something is something that Strasburg talked about

0:45:51.560 --> 0:45:56.440
<v Speaker 1>a lot, which is like emotional recall distinctive moments an

0:45:56.440 --> 0:45:58.719
<v Speaker 1>actor has had in their real life and repurposing those

0:45:58.719 --> 0:46:01.680
<v Speaker 1>moments to convey a character convincingly on stage. So like

0:46:01.760 --> 0:46:06.319
<v Speaker 1>that to me is like part of what's tricky about Strasbourg,

0:46:06.440 --> 0:46:08.440
<v Speaker 1>and like all of this stuff is like acting is

0:46:08.520 --> 0:46:10.960
<v Speaker 1>a lot of it is in your brain, psychological stuff

0:46:11.000 --> 0:46:16.359
<v Speaker 1>that then you convey through your body and mouth and

0:46:17.000 --> 0:46:20.520
<v Speaker 1>the way your face looks or whatever you indicate like

0:46:20.719 --> 0:46:24.000
<v Speaker 1>what you're feeling, right, But yeah, it starts in your brain.

0:46:24.239 --> 0:46:27.520
<v Speaker 1>So like different people's brains work different ways, which is

0:46:27.560 --> 0:46:30.520
<v Speaker 1>why there are all these techniques, because not one is

0:46:30.560 --> 0:46:31.920
<v Speaker 1>gonna work for everyone.

0:46:32.160 --> 0:46:35.800
<v Speaker 2>No more.

0:46:41.560 --> 0:46:44.000
<v Speaker 1>Before we wrap this up, because we've been talking about

0:46:44.040 --> 0:46:48.640
<v Speaker 1>this for the fucking ever. One of my favorite books

0:46:48.880 --> 0:46:50.840
<v Speaker 1>is this book that I read when I was younger,

0:46:51.120 --> 0:46:53.640
<v Speaker 1>called The Actor and the Target by Declan Donellan, who's

0:46:53.680 --> 0:46:54.560
<v Speaker 1>a theater director.

0:46:55.800 --> 0:47:00.240
<v Speaker 2>Oh yes, it's been sitting on my nightstand for months.

0:47:00.239 --> 0:47:05.120
<v Speaker 1>Specific technique. I really enjoyed this book as a young actor,

0:47:05.160 --> 0:47:06.919
<v Speaker 1>and like I've gone back to it quite a bit

0:47:07.560 --> 0:47:14.319
<v Speaker 1>because Donald talks about the target, which is a specific,

0:47:15.320 --> 0:47:18.719
<v Speaker 1>active focal point outside of the actor that directs their

0:47:18.760 --> 0:47:23.320
<v Speaker 1>performance and helps them overcome common acting anxieties like feeling

0:47:23.400 --> 0:47:27.239
<v Speaker 1>lost or feeling unsure about what to do. It is

0:47:27.400 --> 0:47:31.279
<v Speaker 1>like a practical it's basically a practical guide. But what

0:47:31.400 --> 0:47:34.280
<v Speaker 1>he says essentially is like you want something in this scene,

0:47:34.640 --> 0:47:39.040
<v Speaker 1>like you want something, so not only just like focus

0:47:39.080 --> 0:47:40.840
<v Speaker 1>on what you want, but like the thing that you

0:47:40.920 --> 0:47:47.000
<v Speaker 1>want is constantly changing, like you desire you know, maybe

0:47:47.040 --> 0:47:51.239
<v Speaker 1>it's someone, but like your desire for them is like

0:47:51.280 --> 0:47:53.440
<v Speaker 1>sometimes you're what you're desiring is like, well, I need

0:47:53.480 --> 0:47:55.520
<v Speaker 1>you to listen to me right now, like, oh, now

0:47:55.560 --> 0:47:57.799
<v Speaker 1>I need you to like calm down, Okay. Now I

0:47:57.880 --> 0:48:00.200
<v Speaker 1>need you to like sit in this chair so that

0:48:00.239 --> 0:48:02.080
<v Speaker 1>I can tell you what I need. Now I need

0:48:02.120 --> 0:48:03.799
<v Speaker 1>you to look at me. Now I need you to

0:48:04.400 --> 0:48:06.680
<v Speaker 1>you know, like now I need the room to be quiet.

0:48:06.760 --> 0:48:09.399
<v Speaker 1>Now I need like the space to like and now

0:48:09.400 --> 0:48:11.560
<v Speaker 1>I need to not be sweating. Oh my god. You

0:48:11.600 --> 0:48:13.680
<v Speaker 1>know it's like the thing, the thing that you need

0:48:13.800 --> 0:48:18.239
<v Speaker 1>is constantly shifting and changing and is like moving. The

0:48:18.320 --> 0:48:21.360
<v Speaker 1>target is moving, so like you have to be moving

0:48:21.520 --> 0:48:24.080
<v Speaker 1>also not like physically moving, but like your brain has

0:48:24.160 --> 0:48:25.800
<v Speaker 1>to be like going, like how do I continue to

0:48:25.840 --> 0:48:28.239
<v Speaker 1>get the thing that I want? I love that it's

0:48:28.320 --> 0:48:30.719
<v Speaker 1>really sounds it sounds a little bit too to me.

0:48:30.960 --> 0:48:33.640
<v Speaker 2>Of Like, there was this book that David was reading

0:48:33.640 --> 0:48:37.439
<v Speaker 2>once about it was actually about professional athletes. Oh and

0:48:37.719 --> 0:48:42.399
<v Speaker 2>they talk about the flow being in flow and when

0:48:42.440 --> 0:48:46.440
<v Speaker 2>you're like snowboarders, for example, we'll talk about being in

0:48:46.520 --> 0:48:48.759
<v Speaker 2>flow and they go down and every trick is just

0:48:48.760 --> 0:48:51.719
<v Speaker 2>like flowing out of them and they're moving seamlessly from

0:48:51.719 --> 0:48:54.840
<v Speaker 2>when the target keeps moving, but they're with it the

0:48:54.920 --> 0:48:58.160
<v Speaker 2>whole time, and I think it does you know. The

0:48:58.239 --> 0:49:01.000
<v Speaker 2>goal is always to feel that in a scene, and when

0:49:01.040 --> 0:49:04.600
<v Speaker 2>it really happens, it's like this incredible feeling where you're

0:49:04.760 --> 0:49:07.520
<v Speaker 2>just yeah, I think your eye is on that target

0:49:07.600 --> 0:49:10.000
<v Speaker 2>and you're following the target as it moves, but you're

0:49:10.320 --> 0:49:13.160
<v Speaker 2>and you're with your partner and you're you're both in

0:49:13.320 --> 0:49:16.520
<v Speaker 2>flow together and moments are happening and the scene just

0:49:16.600 --> 0:49:19.359
<v Speaker 2>clicks and it's you know, and when it finishes, you're

0:49:19.360 --> 0:49:22.200
<v Speaker 2>just like, holy shit, I was like really living in it.

0:49:22.480 --> 0:49:24.040
<v Speaker 1>Yeah, from start to finish.

0:49:24.200 --> 0:49:27.400
<v Speaker 2>You know, there was no even even if there's technical

0:49:27.440 --> 0:49:29.879
<v Speaker 2>things that happen where you have to like it, it didn't matter.

0:49:30.400 --> 0:49:32.759
<v Speaker 1>It didn't matter like part of it. It was part

0:49:32.760 --> 0:49:32.960
<v Speaker 1>of it.

0:49:33.000 --> 0:49:35.440
<v Speaker 2>You leaned on your right foot for camera because you

0:49:35.480 --> 0:49:40.080
<v Speaker 2>know whatever, Like yeah, and like just that phrase, I

0:49:40.120 --> 0:49:42.760
<v Speaker 2>always like really loved of like that.

0:49:42.760 --> 0:49:43.520
<v Speaker 1>That's the goal.

0:49:43.640 --> 0:49:46.839
<v Speaker 2>That's the goal going into like every scene after action

0:49:47.520 --> 0:49:50.200
<v Speaker 2>is like being in flow and just like one moment

0:49:50.280 --> 0:49:53.160
<v Speaker 2>to the other rights like all these techniques and things

0:49:53.160 --> 0:49:55.399
<v Speaker 2>that we've talked about, is like that's the ultimate goal.

0:49:55.719 --> 0:49:58.920
<v Speaker 1>It doesn't always happen. My favorite thing though, it's just

0:49:58.960 --> 0:50:02.919
<v Speaker 1>but it is readable reeling. Yes, and then the day,

0:50:03.000 --> 0:50:07.040
<v Speaker 1>I mean the day goes by, you know, the days

0:50:07.040 --> 0:50:10.000
<v Speaker 1>on set are slow. But what happens when the camera's

0:50:10.080 --> 0:50:13.560
<v Speaker 1>rolling is like, it's my favorite when they say action

0:50:14.080 --> 0:50:16.560
<v Speaker 1>and they're like, okay, we're ready, it's going. It's happening.

0:50:16.640 --> 0:50:20.440
<v Speaker 2>You're just playing and new things happen and little surprises happen.

0:50:20.680 --> 0:50:23.719
<v Speaker 1>Even if things are frustrating, even if it's yeah, fuck,

0:50:23.800 --> 0:50:26.640
<v Speaker 1>I didn't do the fucking thing, ah, you know whatever

0:50:26.680 --> 0:50:29.880
<v Speaker 1>it is, it's like it's still that moment between action

0:50:30.000 --> 0:50:31.800
<v Speaker 1>and cut is like a moment of peace.

0:50:31.920 --> 0:50:35.640
<v Speaker 2>Yeah, except when you audition, it's not as funny.

0:50:35.680 --> 0:50:42.399
<v Speaker 1>Except auditions. Fuck auditions, just kidding me. Give me this job.

0:50:42.520 --> 0:50:45.520
<v Speaker 1>I love this job. I would It's great writing. It's

0:50:45.560 --> 0:50:52.840
<v Speaker 1>really really funny. More better anyway. Thanks First, if you

0:50:53.360 --> 0:50:56.600
<v Speaker 1>stuck around until the end of this, Wow, Wow, you

0:50:56.640 --> 0:50:59.239
<v Speaker 1>are a true nerd. I feel like we should send

0:50:59.280 --> 0:51:01.840
<v Speaker 1>you a certificate. We welcome you into the club.

0:51:02.440 --> 0:51:06.320
<v Speaker 2>Yeah, yeah, man, if you're interested in this kind of

0:51:06.320 --> 0:51:09.239
<v Speaker 2>stuff where like, if you ever want to hear us

0:51:09.239 --> 0:51:11.880
<v Speaker 2>talk more about this, we will do another episode.

0:51:11.880 --> 0:51:14.160
<v Speaker 1>But if you don't, you can let us on that too.

0:51:14.200 --> 0:51:16.200
<v Speaker 1>If you were like I tuned the fuck out when

0:51:16.239 --> 0:51:19.399
<v Speaker 1>you guys were talking about acting, we'll be like, fine, yeah,

0:51:19.600 --> 0:51:23.000
<v Speaker 1>you know what that you do bo, you do you

0:51:23.400 --> 0:51:26.600
<v Speaker 1>and we'll do us, which is why you like us anyway,

0:51:26.640 --> 0:51:28.360
<v Speaker 1>because you like her acting. So I don't know what

0:51:28.400 --> 0:51:29.239
<v Speaker 1>you're complaining about.

0:51:29.320 --> 0:51:33.040
<v Speaker 2>All right, Let's see see you next next week, see

0:51:33.040 --> 0:51:33.720
<v Speaker 2>you next week.

0:51:33.800 --> 0:51:38.640
<v Speaker 1>Bye bye. More Better. Do you have something you'd like

0:51:38.680 --> 0:51:40.080
<v Speaker 1>to be more better at that you want us to

0:51:40.120 --> 0:51:41.400
<v Speaker 1>talk about in a future episode?

0:51:41.480 --> 0:51:43.879
<v Speaker 2>Can you relate to our struggles or have you tried

0:51:43.920 --> 0:51:45.040
<v Speaker 2>one of our tips and tricks?

0:51:45.280 --> 0:51:48.200
<v Speaker 1>Shoot us your thoughts and ideas at Morebetter pod at

0:51:48.200 --> 0:51:51.120
<v Speaker 1>gmail dot com and include a voice note if you

0:51:51.120 --> 0:51:53.840
<v Speaker 1>want to be featured on the pod. Ooh, More Better

0:51:53.840 --> 0:51:56.840
<v Speaker 1>with Stephanie Melissa is a production from WV Sound and

0:51:56.920 --> 0:52:01.160
<v Speaker 1>iHeartMedia's Mikuura podcast network, hosted by by me, Steffie Beatriz,

0:52:01.280 --> 0:52:04.320
<v Speaker 1>and Melissa Fumero. More Better is produced by Isis Madrid.

0:52:04.560 --> 0:52:08.320
<v Speaker 1>And Sophie Spencer Zebos. Our executive producers are Wilmer Valderrama

0:52:08.360 --> 0:52:11.480
<v Speaker 1>and Leo Clem at w V Sound. This episode was

0:52:11.600 --> 0:52:14.680
<v Speaker 1>edited by Isis Madrid and engineered by Sean Tracy and

0:52:14.719 --> 0:52:18.040
<v Speaker 1>features original music by Madison Davenport and Helo boy. Our

0:52:18.040 --> 0:52:21.520
<v Speaker 1>cover art is by vincent Remy's and photography by David Avolos.

0:52:21.760 --> 0:52:25.759
<v Speaker 1>For more podcasts from iHeart, visit the iHeartRadio app, Apple Podcasts,

0:52:25.880 --> 0:52:28.160
<v Speaker 1>or wherever you listen to your favorite shows. See you

0:52:28.280 --> 0:52:30.480
<v Speaker 1>next week's sucker Ups. Bye,