Speaker 1: More, more Better, More, More Better, More. Welcome to More Better,
Speaker 1: a podcast where we stop pretending to have it all
Speaker 1: together and embrace the journey of becoming a little more
Speaker 1: better every day, or at least trying to. That's Stephanie Beatrice,
Speaker 1: and that's Melissa and Merrow. And this you know what
Speaker 1: this is because you've turned it on. It's you clicked it. Yeah,
Speaker 1: that's right, you clicked it on purpose that it's so
Speaker 1: rude you clicked it. Welcome back to the to the
Speaker 1: podcast where to absolutely non experts expertly guide you through
Speaker 1: our non expert advice. We're really us here to talk
Speaker 1: some ship. Yeah that's right ship. How you doing friend?
Speaker 1: I'm okay, you know, just hanging in there. Just yeah,
Speaker 1: hanged and haanging in there. More Better. So this week
Speaker 1: on the pod, we're going to talk about, uh, we're
Speaker 1: gonna talk about acting. It's about to get real nerdy,
Speaker 1: real insidery, oral niche. Hopefully it's funny, but you know,
Speaker 1: we can't promise you that. I'm just gonna come out
Speaker 1: straight and say that we cannot promise that this will
Speaker 1: be funny. We hope it is, but it might just
Speaker 1: be super super nerdy and this is not all research
Speaker 1: that we haven't done. We've done this research because we
Speaker 1: went to school for the ship. Yeah, we did yeah,
Speaker 1: degrees in this Yeah. Well, I mean technically I don't
Speaker 1: have my degree. I don't think. But it didn't did
Speaker 1: you not finish? Wait? Do I not know that I
Speaker 1: fail a class? I failed a stage management class because
Speaker 1: I can't management. Yes, we had to take everything, and
Speaker 1: I think, like, I think I may have my degree now,
Speaker 1: like I think that they, Oh did you get an honorary?
Speaker 1: I might listen, I fancy. I mean, I went through
Speaker 1: the whole program. I did everything. I the only thing
Speaker 1: that I like, haven't I think? I like I it
Speaker 1: just listen. Organization. Organization wasn't my forte. When I was
Speaker 1: in college, I was a disaster on two legs. Like
Speaker 1: it was a mess. And now now I'm a different story.
Speaker 1: I could chase that class with flying colors, but at
Speaker 1: the time with their eyes closed at the time, well,
Speaker 1: I don't know about that, but at the time I
Speaker 1: was a mess. I just couldn't. It was like you
Speaker 1: had to keep a binder and you had to keep
Speaker 1: like cues and like I kept thinking, like what am
Speaker 1: I ever going to this I'm never going to do.
Speaker 1: That's what I was going to say. The fact that
Speaker 1: they made stage management a requirement was in that same
Speaker 1: clearer degree. But yeah, I a class, I'll take a test,
Speaker 1: but like the test was you that feels.
Speaker 2: Like an elective, That feels like an election telling me,
Speaker 2: I mean, I couldn't.
Speaker 1: I couldn't believe it. I was like, what, I failed
Speaker 1: this class and they were like, you did. Anyway, that
Speaker 1: that is not a failed class does not mean anything
Speaker 1: in the end. I mean, it might mean that you
Speaker 1: don't have no but it means less if you're like,
Speaker 1: I'm not trying to be a dentist, I'm just playing pretend.
Speaker 1: So probably fine.
Speaker 2: I think I think you've done okay for yourself despite
Speaker 2: that stage management.
Speaker 1: I feel fine. I think you've done more than a fine.
Speaker 1: But yes, What's what's really funny about this is that
Speaker 1: this is the thing that we both love to do
Speaker 1: so much. So this might go all over the place,
Speaker 1: but I do I do want to touch on stuff
Speaker 1: that we like about it. So we're going to talk about,
Speaker 1: you know, our experience getting into it a little bit bit.
Speaker 1: But if you've listened to the pod or like know
Speaker 1: us at all, Like we've talked a little bit about
Speaker 1: this already on the pod. We're going to talk about
Speaker 1: stuff like different kinds of techniques that we like, our
Speaker 1: actual training, if there's techniques that we don't like, performances
Speaker 1: that we've seen, stuff like that, so and then like
Speaker 1: how we prep. So if you're into that kind of stuff,
Speaker 1: then yay. And if you're not, thank you so much
Speaker 1: for joining us on the pod and we'll see next week. Okay, bye.
Speaker 2: You know what I love too that we're talking about this.
Speaker 2: I don't know if you've noticed this, but uh, and
Speaker 2: because I've always been curious why, and I want to
Speaker 2: know what you think. Have you ever noticed that, you know,
Speaker 2: they do these like actor round tables or like back
Speaker 2: in the day when there used to be like the
Speaker 2: actors studio, which I used to fu love, which it
Speaker 2: happened less on inside the actor's studio actually because they
Speaker 2: would get pretty in depth and nerdy there, but like
Speaker 2: this general kind of cageeness that actors have about their
Speaker 2: like specific technique or like how they prep or like
Speaker 2: what the things they do. Have you noticed this that
Speaker 2: like it's almost like and I don't know if it's
Speaker 2: like gatekeeping or which I'm just like, there's so many
Speaker 2: different approaches and techniques, Like just because you talk about
Speaker 2: one doesn't mean that like there's going to be this
Speaker 2: influx of actors that are all of a sudden amazing,
Speaker 2: like you know, or is it just like a self
Speaker 2: consciousness Like I don't want to sound real stupid or that. Yeah,
Speaker 2: I mean, but I just feel like actors get real
Speaker 2: cagey when they are talking about technique or their approach, right.
Speaker 1: Is it just me? Well, Okay, I have some thoughts.
Speaker 1: I yes, I agree. I think there's like a certain
Speaker 1: amount of cageness that happens. I think acting is like uh,
Speaker 1: I mean, it's when you break it down, it's like
Speaker 1: playing pretend, like really really hard, you know, Like that's right.
Speaker 2: It is also a hard thing to describe like exactly
Speaker 2: what you do. Yeah, that's it's very difficult. And some
Speaker 2: people have gifts in some ways and and others have
Speaker 2: gifts in other ways. And you know that's why sometimes
Speaker 2: you watch something and you're like, God, this person is
Speaker 2: so believable in this thing. And sometimes you watch something
Speaker 2: and you're like, oh God, this person's so famous and
Speaker 2: they got this.
Speaker 1: Role and like yeah, and I don't know, you know,
Speaker 1: so yeah, I think there's and there's so many like
Speaker 1: political things that go into casting, like you know, and
Speaker 1: who you're, who your parents are, and you know how
Speaker 1: old you are, how old you look like if you've
Speaker 1: had a baby, or you know what ethnicity you look. Yeah,
Speaker 1: it's so it's there's so many bits. So, like I
Speaker 1: think a lot of actors talking about acting sometimes I
Speaker 1: think it's because we do play pretend, but we take
Speaker 1: it so seriously. We take it so seriously that when
Speaker 1: we talk about it the way that we actually feel
Speaker 1: about it, sometimes it sounds to people that don't really
Speaker 1: understand what we're doing in that way, it sounds like,
Speaker 1: what are you talking about? You're not like fucking oh.
Speaker 2: Yeah, like get off your high hors, you're not all that.
Speaker 1: You know, you're not saving lives, right, I'm not. You know,
Speaker 1: you're not you're not doing any of that. So it
Speaker 1: sounds it can sound like people are really full of themselves. Yeah,
Speaker 1: that's true. So I think some actors just like avoid that,
Speaker 1: probably because there are pr people are like, don't talk
Speaker 1: about your process because people often sound fucking full of themselves.
Speaker 2: So maybe that yeah, yeah, you're right, yeah, because I now,
Speaker 2: as you said that, I like flash to like seeing
Speaker 2: some actors that get like real into like talk and
Speaker 2: they do kind of get this like tone in their void.
Speaker 1: Well do that, you know, and then it's.
Speaker 2: Just like, oh my god, shut up are yeah, and
Speaker 2: like that's real, Like I'm sorry. In advance, if we
Speaker 2: cut to five minutes from now, we're like, so I
Speaker 2: just like need to put myself in this frame of
Speaker 2: men and then I transcend and the work flows through
Speaker 2: my body and onto the screen channel.
Speaker 1: Well, yeah, cut to five minutes from now. I mean
Speaker 1: that's a hard thing about talking about it because it
Speaker 1: is such an ephemeral you know, it's like it's like
Speaker 1: dust in the wind a little bit.
Speaker 2: Yeah, you know, it's like dust and it's like this
Speaker 2: mystical little thing that you're always chasing.
Speaker 1: Yeah, yeah, I think. I mean, I don't know what's
Speaker 1: the first what's the first performance that you ever saw
Speaker 1: that you were like, holy shit, m holy fucking shit,
Speaker 1: where you where you could delineate and my own I'm
Speaker 1: gonna be really specific about this, okay, where you could
Speaker 1: delineate as a kid, you were like, oh that since acting,
Speaker 1: and they're really good at it I have not not
Speaker 1: like yeah, okay, okay, I want to hear I have one.
Speaker 2: Claire Dans my so called life. She was thirteen or
Speaker 2: fourteen when she did that show.
Speaker 1: She was wow.
Speaker 2: Yes, And that was the thing when I found out
Speaker 2: how old she was, because I think I was around
Speaker 2: the same age, and she was so good on that show,
Speaker 2: and then she did Little Women shortly after.
Speaker 1: Oh my god, she's so good in Little Women.
Speaker 2: And she's she's a teenager and Little Women, and there
Speaker 2: was something about like like not even being aware that
Speaker 2: like someone that young could do that, and then it
Speaker 2: kind of sparking I think something in me of like
Speaker 2: could like almost giving me permission to like, oh, you
Speaker 2: can be.
Speaker 1: Great at something at this age.
Speaker 2: Like maybe I just always quantified things as like you
Speaker 2: need time and experience in training and and then at
Speaker 2: a certain point you're good. But like this idea that
Speaker 2: maybe you have a certain level of talent or and
Speaker 2: you can train at any age and like be grat
Speaker 2: at a thing. She was so phenomenal in that show
Speaker 2: and in that movie that those two performances, and she
Speaker 2: was so young. It was really her age and her
Speaker 2: youth that like struck me. Yeah, of just like the
Speaker 2: pot like that it was even possible, Like yeah, and.
Speaker 1: Yeah, it just that's cool. What about you? I mean
Speaker 1: when you bring up Claar Danes, I remember seeing Romeo
Speaker 1: and Juliet bos Lehrman's Romeo and Juliet at sixteen. In
Speaker 1: Romeo and Juliet, I think she's so young family, but
Speaker 1: the whole cast phenomenal. That's another one, so youthful, so phenomenal.
Speaker 1: Like I think by that time I kind of understood
Speaker 1: that acting. I was like, oh, this is a job
Speaker 1: that you could do, right, but like when this is
Speaker 1: slightly embarrassing, but like Tom Hanks and Forrest Gump, oh
Speaker 1: my god, that was another one.
Speaker 2: Tom Hank saw that in the theater those years where
Speaker 2: it was like Forrest Gump Philadelphia, Like he just had
Speaker 2: this one of these movies where he was like incredible
Speaker 2: and so fucking different in every single role. Oh. I
Speaker 2: remember going to one of my college auditions and like
Speaker 2: they asked me about an actor that I looked up to,
Speaker 2: and I was like, I was like nervous about how
Speaker 2: it was going to be received because at that point
Speaker 2: he was still like it was like when he was
Speaker 2: doing those movies.
Speaker 1: But Prior to that, he was known as a comedy actor.
Speaker 2: Yea, And I loved all his comedies, Oh my god,
Speaker 2: all his comedies Turner and Huge, Splash, like big, all
Speaker 2: of those iconic and so I remember I was like
Speaker 2: nervous to say, and I was.
Speaker 1: Like, well, I don't know, uh, you know, this is
Speaker 1: a good one. But like, I really love Tom Hanks.
Speaker 2: I think he's amazing and like so different in all
Speaker 2: his roles.
Speaker 1: And then they kind of like Tom Hanks but like
Speaker 1: but like his hit, I feel like it was like
Speaker 1: early yeah, yeah, you know what I mean, Like, yeah, it.
Speaker 2: Was like maybe just Philadelphia and Forrest Gump had come
Speaker 2: out by that whomeint Yeah, I mean that was the
Speaker 2: first time that I remember openly.
Speaker 1: Weeping in a movie. Yes, and also at the same
Speaker 1: time thinking, this is what I want to do for people.
Speaker 1: I want to people. I want people to feel stuff. Yeah,
Speaker 1: I want people to feel stuff and like be able
Speaker 1: to feel stuff because of the thing that I do.
Speaker 1: And I didn't exactly know what that meant, but I
Speaker 1: think elements of that are still what I feel about acting.
Speaker 1: It's like some people, you know, that's why we go
Speaker 1: to the movies. I think why we go to the
Speaker 1: movies where we watch TV is like we want to
Speaker 1: have an experience. Yeah, and sometimes that experience is like
Speaker 1: comfort and closeness, and sometimes that experience is joy and fun.
Speaker 1: And sometimes that experience is like a repetition of some
Speaker 1: like comforting feeling that we had as kids. And sometimes
Speaker 1: that experience is like I'm going to go on a
Speaker 1: fucking ride and I don't know what's gonna happen after,
Speaker 1: and you know, and all of those things are like
Speaker 1: they are the experience of diving into a story, and like,
Speaker 1: that's what I want to do. I want to be
Speaker 1: in things that feel so real that people were like, whoo,
Speaker 1: yeah that was crazy. That ride was crazy. You know. Yeah,
Speaker 1: that ride was so fun. I want to go back
Speaker 1: on that ride. You know. That's yeah. That that movie.
Speaker 1: Wo that movie. I mean I still remember. So we
Speaker 1: were sitting in the middle of the theater and I
Speaker 1: was like sobbing and my sister was like stop.
Speaker 2: It also one of the best, one of the best
Speaker 2: movie soundtracks of all time. Oh my god, so beautiful
Speaker 2: all time. I used to play it NonStop.
Speaker 1: So that.
Speaker 2: But also the instrument yes, like the score of that
Speaker 2: movie gorgeous, is gorgeous, gorgeous?
Speaker 1: Bang on a song here? I still remember it. When
Speaker 1: did you start? You Like, I think we've talked about
Speaker 1: this before, so you can give a condensed version of this,
Speaker 1: but like.
Speaker 2: Yeah, I guess I kind of technically started kind of young.
Speaker 2: I started as a dancer, as I've said, going to
Speaker 2: dance classes, and then I followed a dance teacher to
Speaker 2: this dance in theater school where they had acting classes
Speaker 2: and musical comedy classes. The musical comedy class was like
Speaker 2: the popular one that a lot of the kids did,
Speaker 2: and I think that was And so I was like,
Speaker 2: when did I start with a musical comedy?
Speaker 1: Like nine or ten? Thank god?
Speaker 2: And I just fell in love with it because it
Speaker 2: was it was singing and it was dancing, and it
Speaker 2: was un was comedy. I didn't. I wasn't like super
Speaker 2: plugged into the fact that it was comedy, you know.
Speaker 2: I just liked getting laughs. And then it was you know,
Speaker 2: and then it was like drama too, sometimes like depending
Speaker 2: on but we would do basically musical scenes from different
Speaker 2: Broadway shows and or movie musicals, and uh, and I
Speaker 2: loved it. I was like obsessed. And then yeah, I
Speaker 2: started taking more acting classes from there, and what about you.
Speaker 1: It was junior high like public school, you know, theater
Speaker 1: and more like a speech in debate class, and then
Speaker 1: they did like plays every year and so like it
Speaker 1: was starting to get my fee in that way and
Speaker 1: like going, ooh, that's fun, you know, like yeah, turning
Speaker 1: disappearing into somebody else. Yeah, it was My main thing
Speaker 1: was like nobody knows it's me, you know, I get
Speaker 1: to be somebody totally different, somebody that's like so much
Speaker 1: more confident than me, yeah, or like yeah, or really
Speaker 1: silly and just so so like expressions of self that
Speaker 1: were just so different. But I did Little Women in
Speaker 1: high school. I was Joe and that was a big
Speaker 1: deal for me. It was such a big deal. It
Speaker 1: was so fun and just thrilling, exciting, you know. I
Speaker 1: had a little wig. It looked really good.
Speaker 2: My first play in high school was I'm trying to
Speaker 2: remember which one, but it was a Neil Simon play.
Speaker 1: Not Neil Simon in high school. Yeah, oh my god,
Speaker 1: I can't remember which one it was. But it was good.
Speaker 1: It was funny, dang, you know. But at that time,
Speaker 1: I don't think I really understood anything about technique really.
Speaker 1: I mean, we were kind of learning things in class,
Speaker 1: but it was, like I said, it was public school.
Speaker 1: It was more like just you just like throw yourself
Speaker 1: at it and kind of see what sticks. So it
Speaker 1: was really just on instinct. It was just like what
Speaker 1: do I think instinctually that might be right, you know,
Speaker 1: And it was mostly like learning lines and like figuring
Speaker 1: out where you stand on the stage. It wasn't any
Speaker 1: like I didn't have any like technical stuff yet. It
Speaker 1: was all I was working solely on instincts, solely on
Speaker 1: instinct until probably senior year of high school, and then
Speaker 1: maybe I like read something, you know, like maybe we
Speaker 1: did like some exercise or something. But I really didn't
Speaker 1: have any like training training other than just trying stuff,
Speaker 1: you know.
Speaker 2: Yeah, yeah, kind I mean I think there was I
Speaker 2: got a basic introduction to technique through the dance and
Speaker 2: theater school I attended, and then in high school the
Speaker 2: drama club. The drama teacher was like I think, you know,
Speaker 2: he used to be an actor and he went to
Speaker 2: theater school, and so I remember having a basic knowledge
Speaker 2: of like what's your action verb in the scene, and
Speaker 2: what's your intention at the start of the scene.
Speaker 1: And or what's your moment before.
Speaker 2: Like these kind of I think overall kind of things
Speaker 2: because when I got to college, I definitely was mostly
Speaker 2: working off instinct, but I did have like a basic
Speaker 2: vocabulary for like how you know the acting one oh one? Right,
Speaker 2: like who's your character and what are you trying to
Speaker 2: do in the scene?
Speaker 1: And like, yeah, I feel like I have memories of.
Speaker 2: One of my teachers, you know, if they would stop
Speaker 2: a scene being like what are you trying to do?
Speaker 1: What are you? What are you doing? Oh? I didn't
Speaker 1: have that until college.
Speaker 2: Yeah, we didn't, and then in college it got like
Speaker 2: much more specific, but like yeah, like knowing that, oh
Speaker 2: I should I should have a verb when I go
Speaker 2: into a scene like in my mind and my god,
Speaker 2: you know.
Speaker 1: I wish I had, you know, I wish I had
Speaker 1: right now, I wish I had my like notebook from
Speaker 1: I had this teacher in college, Rob Rasnowski. He was phenomenal, phenomenal,
Speaker 1: and he had us. He had a class that was
Speaker 1: like acting one oh one. Basically it was like acting
Speaker 1: one on one, one on two, I think for the semesters,
Speaker 1: and it was like how to break down a scene?
Speaker 1: Who are you in the scene? What do you want
Speaker 1: from the other person in the scene? How what is
Speaker 1: the verb?
Speaker 2: Like?
Speaker 1: Where what you know? It was the first time that
Speaker 1: I ever ever was taught like you can look at
Speaker 1: the script and like look at everything anybody says about
Speaker 1: your character. You can look at this script and see
Speaker 1: like what the actions are around your care what your
Speaker 1: character's doing, Like what do people say about your character?
Speaker 1: What do people not say about your character? Where is
Speaker 1: your character when different scenes are taking place? Like it
Speaker 1: was all about like how to take like mine the
Speaker 1: actual written words for what all thea that the script gives. Yes, Yeah,
Speaker 1: it was the first time that I ever was like
Speaker 1: this is the map. This is the map, and then
Speaker 1: you can build on the map. But this is the
Speaker 1: map for the thing, right. It was like so exciting
Speaker 1: to learn that. I still remember doing scenes from that
Speaker 1: clot because first we'd break it down and we would
Speaker 1: like highlight the scripts and like show you know, show
Speaker 1: different you know, ten highlighters and you're highlighting like what
Speaker 1: the different things are, and like showing you a little
Speaker 1: you know, key to your map and like this is
Speaker 1: your action words and these are the these are things
Speaker 1: other people say about you, and these are things you
Speaker 1: say about yourself and this is what you want, this
Speaker 1: is what you're hiding, and blah blah blah. And then
Speaker 1: he had us team up with someone in the class
Speaker 1: and do the scene. Like he assigned us all different characters,
Speaker 1: and then we would do the scenes with another person
Speaker 1: who had been assigned the other character in the scene.
Speaker 1: And it was like one of the first times I
Speaker 1: remember things like clicking for me in a way that
Speaker 1: wasn't about necessarily, like, ooh, this person is just like me.
Speaker 1: This character that I'm playing, I understand completely. It's like oheah,
Speaker 1: I learned more about the character and now I can
Speaker 1: play them in a way that feels real to me
Speaker 1: in the scenes. Yes, Rob Oh, great teacher. Great teacher.
Speaker 1: Teacher Rob. He was also one of the first teachers
Speaker 1: that was like, you got to bring yourself to the
Speaker 1: things that you do. Like h I would riff and
Speaker 1: do my mom's very thick accent, her Bolivian accent. I
Speaker 1: would riff and do it all the time in class.
Speaker 1: And then he made me audition for something hot Old Baltimore.
Speaker 1: He made me audition for it and do the accent
Speaker 1: for the character. He was like, no, I want you
Speaker 1: to read the scenes of the accent. I was like, uh,
Speaker 1: I don't think so, and he was like, I want
Speaker 1: you to read the scenes of the accent. And it
Speaker 1: was like the whole the whole scene like blossom. Yeah,
Speaker 1: and the character blossomed. And that was one of my
Speaker 1: first roles in college, was hot Old Baltimore. Was like
Speaker 1: it just like burst out of me. It was so fun.
Speaker 1: Oh oh, I love that.
Speaker 2: Yeah, let's talk about exercises that acting teachers have made
Speaker 2: us too.
Speaker 1: Hey, I hate it so much. This is the thing
Speaker 1: that I really struggle with. This because we've talked about
Speaker 1: this on the pod. I don't I struggle with like
Speaker 1: stupid shit, you know. And some days I'm just like,
Speaker 1: I don't know how walking around in the room like
Speaker 1: a cat is gonna serve what we're doing here. I
Speaker 1: don't understand how, And maybe it is just to shake
Speaker 1: you out of your like stupid, like yeah, stupid. You know.
Speaker 2: I had an acting teacher that I was not very
Speaker 2: fond of once in college, and he had to do
Speaker 2: the same warm up every day, which was like walk
Speaker 2: around in a circle and then he would say like.
Speaker 1: It's really cold.
Speaker 2: It's cold, and like, so everyone be like fucking shivering
Speaker 2: and like doing all this stuff. Then you'd be like,
Speaker 2: it's really hot, it's really hot. Someone's following you. You
Speaker 2: feel like someone's following you. And every I thought that
Speaker 2: exercise was such a fucking bullshit. I was like, I
Speaker 2: don't get the point of this. You've never explained what
Speaker 2: the point of this is. This isn't a warm up.
Speaker 2: Everyone's just indicatingating behavior for like indicating what a dirty
Speaker 2: acting it is such a dirty word.
Speaker 1: Oh my god.
Speaker 2: Anytime I get super triggered anytime a director has like
Speaker 2: given me a note like you're indicating for those of
Speaker 2: you who are maybe listening to this and don't do
Speaker 2: what we do, And you're like, what the fuck are
Speaker 2: they talking about? Uh? Indicating means like basically that somebody
Speaker 2: doesn't believe you, Like it's basically what it is.
Speaker 1: And you're not believable that you're just like making a
Speaker 1: show of doing the action.
Speaker 2: Right, So like if you're supposed to be cold in
Speaker 2: the scene or just like shivering and doing all this stuff,
Speaker 2: but like it's not real, like it's you know, itis
Speaker 2: is fake. Yes, And yeah, so I used to just
Speaker 2: like walk in the circle and not do anything it's
Speaker 2: so funny.
Speaker 1: Oh my god, would you ever get called out? No, no, no,
Speaker 1: because paying attention anyway, I or I know. I think
Speaker 1: it was to give him some credit.
Speaker 2: I think it was he was coming from a place
Speaker 2: of like, it's your interpretation, so like, yeah, I would
Speaker 2: maybe like rub my arm if it was like.
Speaker 1: Film acting a little bit, you're just yeah, I.
Speaker 2: Was playing everything super subtle. But I just really hated it.
Speaker 2: But going back to one that you brought up, I
Speaker 2: will push back. I have a hot take on animal
Speaker 2: work because I do like it, and I do think
Speaker 2: it's cool.
Speaker 1: I think, yes, it.
Speaker 2: Breaks because you feel fucking stupid when you're doing it.
Speaker 2: Like when a teacher would ask you to like walk
Speaker 2: across the room. We used to play a game where, uh,
Speaker 2: we would have to choose an animal. We'd walk across
Speaker 2: the room and the class would have to guess what
Speaker 2: animal we were fuck or.
Speaker 1: But we would have to do the animal as a character.
Speaker 2: So for example, I think I chose like turtle ones
Speaker 2: and I like tried to be this like old lady
Speaker 2: that just would like stretch her neck out and like
Speaker 2: see if it was safe and then like kind of
Speaker 2: like go back in and like walk around. But I
Speaker 2: what I found with those exercises was you can discover
Speaker 2: like physicalities for character and interesting ways.
Speaker 1: Yeah, that's real, that's really real. I mean, none of
Speaker 1: this stuff is garbage. It's just sometimes, but it's also
Speaker 1: like garbage when you're nineteen and you're like, I'm an actor,
Speaker 1: what is this trap? A hun And the thing.
Speaker 2: Is is like you have to do all those exercises
Speaker 2: to essentially, like I think, build your actor toolbox, right,
Speaker 2: because this is not like a one size fits all
Speaker 2: type of thing.
Speaker 1: There's techniques and things that work for some people that
Speaker 1: do not fucking work for others.
Speaker 2: Yeah, and you know, so it's it's like something you
Speaker 2: kind of have to go through and you feel super
Speaker 2: uncomfortable and you hate most of it. Most of it
Speaker 2: feels like fucking bullshit and you hate it. And then
Speaker 2: once in a while there'll be one that just like
Speaker 2: unlocks something and you you file it away and your
Speaker 2: little actor box and you're like, I'm gonna use that
Speaker 2: one day. One day that's gonna come in handy, and
Speaker 2: then it does. And like, I think it's just about
Speaker 2: building the tools because the thing I think that's for
Speaker 2: me really challenging about our day, about our job is
Speaker 2: like every day is so different, and sometimes you have
Speaker 2: personal shit going on or your mind is somewhere else,
Speaker 2: and like when you arrive on set, like you have
Speaker 2: to do that job, you have to live in that character's.
Speaker 1: Yeah, brain and body.
Speaker 2: Yeah, And sometimes it's not enough to just like imagine
Speaker 2: yourself conjure yourself there right like and I think that's
Speaker 2: where like the craft or the technique comes in, because
Speaker 2: there's days where I'm just like, oh, I need help
Speaker 2: right now, and I will find myself like truly going
Speaker 2: back to the basics, it's like I'm super unfocused or
Speaker 2: I'm dealing with this personal shit, but I gotta do this.
Speaker 2: So like what is my intention in this scene? It
Speaker 2: is my moment before, Like what can I do to
Speaker 2: get myself like into this headspace?
Speaker 1: Yeah? Yeah. One of the things I liked about college
Speaker 1: for me was that there wasn't one specific technique that
Speaker 1: we studied, and it was just that there were a
Speaker 1: bunch of different ones that we worked through, and that
Speaker 1: was helpful to me. It has become helpful to me
Speaker 1: in my professional life, and it was helpful to me
Speaker 1: in college because not some things like don't always work,
Speaker 1: meaning like something's just don't like you're saying sometimes that
Speaker 1: day that fucking thing is not your sense memory moment,
Speaker 1: It just isn't. She's not she's not coming that there.
Speaker 1: Stay there, Try something else, like you gotta just like
Speaker 1: try something else, right. And the more I feel the
Speaker 1: more that you know about this stuff, the more that
Speaker 1: you're trying stuff more like I'm walking like a bug
Speaker 1: in turtle or whatever, more stuff you discover, you know.
Speaker 1: And sometimes I like to randomly watch people's audition.
Speaker 2: Tapes like on YouTube and stuff, because I find, like
Speaker 2: I did it today because it was like.
Speaker 1: What is what what are they doing? You know, like
Speaker 1: how are they doing this? And what I find a
Speaker 1: lot is that more than likely their performance that they
Speaker 1: give in the film is actually the performance that they
Speaker 1: gave in the audition. Yeah, you know, because I just
Speaker 1: fucking rite for it. They were just right for it,
Speaker 1: and they were ready. They were ready, They had all
Speaker 1: their stuff memorized, and they knew the take that they
Speaker 1: were going to do, and they trusted that what their
Speaker 1: work was, and they were just it was just you know,
Speaker 1: like you could be really right for something. Now I'm
Speaker 1: going on a tangent, but like you could be really
Speaker 1: right for something and like not be ready for it
Speaker 1: and not have your technique down and not be memorized
Speaker 1: and not be not be awake and alive in the scene,
Speaker 1: and like maybe you're really really right for it, but like, oh,
Speaker 1: like you know. One of the things I think that
Speaker 1: I've learned a lot in the past few years is like,
Speaker 1: you know, when you're in college, Well, when I was
Speaker 1: in college, I kind of thought, oh, the director's supposed
Speaker 1: to like help you, guide you and like right for
Speaker 1: this performance out of you. And yeah, it's just not
Speaker 1: really that way. The director has so many things going on,
Speaker 1: and yes, sometimes the director's job is to give you
Speaker 1: a key and unlock something with you, but they've also
Speaker 1: got a jillion bajillion other things going on, and so
Speaker 1: really what they need is for you as an actor
Speaker 1: to be ready from the get from the accition, basically
Speaker 1: like to be that's what they see.
Speaker 2: Yeah, you're just an instrument and a giant orchestra that
Speaker 2: they're conducting.
Speaker 1: Right, and so like you need to know how to
Speaker 1: play your instrument. You really need to be like first chair.
Speaker 2: It's so true. They're there to like, yes, I think
Speaker 2: guide you. I think maybe elevate, like you said, unlock something.
Speaker 2: But like they're they're not gonna Your performance is up
Speaker 2: to you.
Speaker 1: Yeah, man, it really is.
Speaker 2: I really the times that i've directed, I've really loved
Speaker 2: watching all the auditions and I felt like I learned,
Speaker 2: you know, you hear it so much and everyone says it, like,
Speaker 2: but if you're an actor, if any chance you could
Speaker 2: get to watch people's auditions is really valuable because what
Speaker 2: you mostly see is most of the people you see
Speaker 2: could do it, and they'd be great. You know, in
Speaker 2: some instances they'd be fine, but it would be good,
Speaker 2: like you you know, you know, it wouldn't ruin the scene,
Speaker 2: It wouldn't ruin the episode. But and most of the
Speaker 2: time the person it goes to either just made a
Speaker 2: strong choice that works in their audition that like set
Speaker 2: them apart from everyone else, because there's like, you read
Speaker 2: a scene, and if you have ten people, pretty much
Speaker 2: all ten are going to more or less read that
Speaker 2: scene the same way. And then sometimes there's gonna be
Speaker 2: one or two people that just put an extra specific
Speaker 2: thing on it, or they put a flare on it,
Speaker 2: or they just make a big choice in one section,
Speaker 2: and then that kind of sets them apart. And then
Speaker 2: the other thing that no one can fucking explain or
Speaker 2: control is like an essence thing, like they just feel
Speaker 2: like that character, Like you can't even put your finger
Speaker 2: on it. They just you can picture them in wardrobe,
Speaker 2: and you can picture them in the scene and it's
Speaker 2: like just a vibe that they have.
Speaker 1: Oh my god, that makes my stomach so.
Speaker 2: Frustrating, because you want a stomach I know, I know,
Speaker 2: Oh my.
Speaker 1: God, cause I have to put some shape and I'm
Speaker 1: just like, oh.
Speaker 2: No, So how do you prep for an audition?
Speaker 1: Let's talk about that. I study a lot. I read
Speaker 1: the script. I read the script because I think a
Speaker 1: lot of times people don't. Yes, I remember reading this
Speaker 1: book a long time ago. I don't know if I
Speaker 1: still have it. It's called Talent is Overrated. But one
Speaker 1: of the things that they talk about in that book
Speaker 1: is that, like, you know, there's a lot of talented people,
Speaker 1: but there's not a lot of people that will want
Speaker 1: to put in the work. So just by putting in
Speaker 1: the work, you separate yourself from the other talented people, right,
Speaker 1: And so like I'm going to memorize the motherfucking living
Speaker 1: daylights out of that audition. Those sides, like, I'm going
Speaker 1: to have them memorize. I've run them already probably ten
Speaker 1: times each yeah, with my sister, and I'm going to
Speaker 1: memorize them more after this recording. M Yeah, I need
Speaker 1: to be fully memorized for auditions.
Speaker 2: I am.
Speaker 1: I try to be like as much off the page
Speaker 1: as I can be, because I think when I look
Speaker 1: at people's auditions, like when I look at people that
Speaker 1: book the job, a lot of times they're like up
Speaker 1: and they're acting with the reader, or they're acting with
Speaker 1: their significant other whoever they're they're reading with, or just
Speaker 1: like with him with them, you know, as opposed to
Speaker 1: like down and trying to find stuff. Not to say
Speaker 1: that I don't, but I really really want to be
Speaker 1: completely off book. But it's hard, Like I mean thinking
Speaker 1: about like making big choices and being like sometimes you're
Speaker 1: just not right for the thing. I'm like, I don't know,
Speaker 1: I know if I'm gonna be right, but I mean
Speaker 1: like I could play it like, but I might not
Speaker 1: be right for it. So like sometimes you just have
Speaker 1: to sort.
Speaker 2: Of like like do it anyway, even though you feel
Speaker 2: like sick to your stomach about it, but also there's
Speaker 2: also that there's always a possibility that yes, maybe on
Speaker 2: the page you're like, I don't know if I'm right
Speaker 2: for this, but then they see you and they see
Speaker 2: something new and different and they're like, oh, maybe this
Speaker 2: character isn't what we originally thought. This is so much
Speaker 2: more interesting Stephanie, my mattress is so much more interesting
Speaker 2: in this.
Speaker 1: Role, and now we kind of want Tot's like, let's hope,
Speaker 1: let's pray, and so let's pray and hope.
Speaker 2: I once did a like an alumni panel NYU and
Speaker 2: it was all actors and this one actor, Noah Weisberg.
Speaker 1: What up?
Speaker 2: Noah very talented actor, works all the time, it's Broadway
Speaker 2: and TV, and he had the best freaking gems at
Speaker 2: this panel, and he talked about auditioning and he completely
Speaker 2: like reframed it for me that because at that time
Speaker 2: I was like working but still struggling auditioning all the time,
Speaker 2: mostly getting rejected. And he was like, my audition is
Speaker 2: I get to go to work that day, I get
Speaker 2: to do this thing that I love to do for
Speaker 2: twenty minutes or an hour or.
Speaker 1: Whatever it is. If it's on tape, it's in a
Speaker 1: room wherever it is.
Speaker 2: I get to go to work, and he's like, and
Speaker 2: I don't look at it as an audition. I just
Speaker 2: look at it is like I get to go to
Speaker 2: work today. Today, I get to go to work.
Speaker 1: And that's great advice. But I cannot separate. I can't separate. Also,
Speaker 1: I am not getting paid. I mean, right, it's so
Speaker 1: hard to separate. I get to do this fun scene
Speaker 1: and also like, but I also want I want to
Speaker 1: do this scene again. I want to do it on
Speaker 1: film with actors that I like and enjoy their work,
Speaker 1: and I want to play with the other person. Yeah,
Speaker 1: like doing a scene by yourself at home, or like
Speaker 1: even with a reader, even if they're really good, it's
Speaker 1: just not the same as like doing it with somebody
Speaker 1: who's work you admire or like or you don't know
Speaker 1: and you're learning from. It's just like it's it's so
Speaker 1: electric when it's like really happening, as opposed to like
Speaker 1: I'm auditioning for something, you know, It's like one is
Speaker 1: just so different than the other. Even so the core
Speaker 1: of the thing still has to be the same, which
Speaker 1: is like your ability to conjure, conjure the realness the
Speaker 1: realness of the thing more really quick, Let's talk about
Speaker 1: like speaking of conjuring. Let's talk about conjuring. Let's talk
Speaker 1: about like, there's a bunch of techniques of acting. I
Speaker 1: struggle with some of them. I don't love some of them.
Speaker 2: Let's talk about the ones that I studied in school
Speaker 2: were the big The big ones are like, Okay, Stanislavski
Speaker 2: UH method acting, which just Strasburg stella Adler, which was
Speaker 2: another Uh Santislavski student.
Speaker 1: She and Strasburg were students of Santaslavski Meisner Meisner, Meisterisner Meisner. Now,
Speaker 1: there's a lot of things about Meisner that are great.
Speaker 1: There's some things that are I love Uda Hagen, I
Speaker 1: will say I do love Uda Hagen's book, Yes, and
Speaker 1: particularly when I was a younger actor, because I think,
Speaker 1: especially as a younger actor, I got super into the
Speaker 1: feeling of like I don't know how to apply these techniques.
Speaker 1: And Hogen udah Hagen is very very about like substitution.
Speaker 1: It's like substitution of real life experience.
Speaker 2: To me, it's a it's a clearer it's a clearer
Speaker 2: definition of substitution than Strasburg's sort of approach to substitution
Speaker 2: to me, was always almost like self indulgent, Like I
Speaker 2: felt like.
Speaker 1: So a n YU.
Speaker 2: All these studios were like you when you become a
Speaker 2: drama major, you audition, you get into NYU, they place
Speaker 2: you in a studio. And so there's a Strasburg Studio,
Speaker 2: the Adler Studio, the Meisner Studio, the Atlantic Theater Company Studio,
Speaker 2: and blah blah blahlah lah. I was in the musical
Speaker 2: Theater one. So I got like a little sprinkling of
Speaker 2: everything and I kind of noticed sorry little bit of
Speaker 2: shade to the Strasburg.
Speaker 1: Studio.
Speaker 2: I felt like when I would watch the Strasburg actors
Speaker 2: act in some things that they were all like very
Speaker 2: like internal, like in their own world as opposed to
Speaker 2: like really reacting and listening off of another actor.
Speaker 1: Do you know what I mean?
Speaker 2: Because I and then when I like learned more about
Speaker 2: the technique, I was like, oh, that makes sense, Like
Speaker 2: it's so based in substitution, but from this like really
Speaker 2: kind of internal place inside place where I felt like
Speaker 2: Udah Haugen's approach to substitution was more I don't know,
Speaker 2: it was more active.
Speaker 1: It was more like.
Speaker 2: Taking the event or taking the feeling that you're substituting
Speaker 2: and placing it in but still like create using instinct
Speaker 2: and imagine work and being in the scene.
Speaker 1: Does that make sense? Yeah, it makes sense. Getting I'm like, sup,
Speaker 1: just got super nerdy. No. No, I'm curious about like
Speaker 1: whether those Stosberg students, like whether if you put a
Speaker 1: camera on them, would it still feel sort of self
Speaker 1: indulgent and you know, like if you cut them into
Speaker 1: a film, like if they edited their performance, would it
Speaker 1: feel that way or would it look really really real
Speaker 1: because they're really like like using sense, memory and going
Speaker 1: through something. I don't know, I don't know the answer
Speaker 1: to that, but like I'm curious about that because I've
Speaker 1: certainly seen I mean, I've seen a lot of shows
Speaker 1: on Broadway and off, but I've seen actors that are
Speaker 1: film actors on Broadway that are phenomenal and commanding of
Speaker 1: an audience and like incredible and like, you know, just electric.
Speaker 1: And then I've seen film actors who are you know,
Speaker 1: really really good on television in television and film, and
Speaker 1: then they're on stage and I'm like, well, I'm glad
Speaker 1: I'm sitting in the fourth row because like if I
Speaker 1: was in the back of the house, I couldn't see
Speaker 1: any of what you were feeling. And it's a beautiful performance,
Speaker 1: but it's not a stage. It's so small. Yeah, right,
Speaker 1: So like those two things are really really different things,
Speaker 1: really different things. And then you see the opposite too.
Speaker 2: You see actors that are brilliant in theater, brilliant on Broadway,
Speaker 2: and then you put them on camera film everything is
Speaker 2: just too big too. Yeah.
Speaker 1: Yeah, it's it's is my constant feeling. But because the
Speaker 1: balance of like sometimes I'm not sure what the tone
Speaker 1: of the thing is that I'm auditioning for, you know,
Speaker 1: because like I read it in one tone, but maybe
Speaker 1: it's not that tone, and then I like make it
Speaker 1: take a big swing, and I'm like, well, I don't know,
Speaker 1: you know, like, yeah, I don't know if it's that
Speaker 1: or was I in the right play? Was I in
Speaker 1: the right play? Or was I was I in the
Speaker 1: theater next door. That's a really hard one. I mean,
Speaker 1: I think for me as a younger actor or substitution,
Speaker 1: which you know, to give you like not a professional no.
Speaker 1: Our interpretation is like you use your personal experiences to
Speaker 1: help you create a reaction to what's happening to the character.
Speaker 1: So like, if you have never lived through somebody dying
Speaker 1: and your scene is about someone dying, right, Like, you
Speaker 1: use something that's close, like maybe you had a pet die,
Speaker 1: or maybe you like lost someone that was really close
Speaker 1: to you, or maybe you have a fear of dying,
Speaker 1: and like you use that and put it into the
Speaker 1: scene and to like help you emotionally get to the
Speaker 1: place where you are locked a lot of emotion. But
Speaker 1: then you're also saying the lines that are in the scene,
Speaker 1: right and like sometimes and still today, I'll use it
Speaker 1: in a pinch, but I rarely use it anymore because
Speaker 1: it's too much for me sometimes, Does that make sense? Like, well,
Speaker 1: it's yeah.
Speaker 2: I I my first year acting teacher was like my
Speaker 2: mentor at Doug Mauston. He was incredible and he when
Speaker 2: he was teaching us substitution, I remember him saying, you
Speaker 2: can't use anything that you haven't healed from because it
Speaker 2: will fuck with your mind.
Speaker 1: That's such a big, big, big, big great piece of advice.
Speaker 2: Yes, And he was like, if you think of your
Speaker 2: memories as and your painful memories as like scabs or scars, right, Like,
Speaker 2: don't use it while it's a scab, because then you're
Speaker 2: just ripping that scab open every time. He was like,
Speaker 2: you have to wait till it's it's a scar and
Speaker 2: then you can go back and access it.
Speaker 1: That's really interesting if.
Speaker 2: That works for you, which that you know, Yeah, I've
Speaker 2: always struggled with substitution, but he was very adamant about
Speaker 2: not using things that are more raw unless unless well
Speaker 2: there was a stipulation of like, if it's helping you process,
Speaker 2: there it is.
Speaker 1: There it is if it's helping you.
Speaker 2: Work through sar things, Yeah, as long as that it's
Speaker 2: that approach. But if you're just going back to a
Speaker 2: really painful thing and reliving it over and over again, yeah, yeah.
Speaker 2: He was like, your work will eventually suffer, but more importantly,
Speaker 2: you'll suffer as a human being.
Speaker 1: You'll sufferer, and like that's one of the things that's
Speaker 1: most important about using substitution is not being really careful
Speaker 1: with it, because it is it is like giving of yourself.
Speaker 1: And I would say, I would say, like, if you
Speaker 1: use something too much, you can deaden yourself, Like the
Speaker 1: sharpness of that thing becomes dull, and the your ability
Speaker 1: to use it, it's like you can still cut with
Speaker 1: a dull knife. But it can it's like you're digging
Speaker 1: at something like really gnarly, you know. Yeah. I mean
Speaker 1: I have used substitution before in acting where it's like
Speaker 1: I will just this make sense or not, but like
Speaker 1: I won't like dig into it. I'll just like touch it,
Speaker 1: you know, like just like a little touch of it,
Speaker 1: and then like I touch it, I burn. Like I
Speaker 1: you don't even burn my finger. I just like feel
Speaker 1: the heat of it and then move away and like
Speaker 1: do the scene. Yeah, and like take the take the
Speaker 1: energy of the of the of the heat and go
Speaker 1: into the scene. You don't have to put your whole
Speaker 1: fucking hand on the fire, right, Like, you just take
Speaker 1: a little bit of it and move yourself through into
Speaker 1: the scene. I don't. I don't think that's suffering hard,
Speaker 1: hard hard for the thing because I've done it.
Speaker 2: I've done that already in my youth, and I don't
Speaker 2: want to do it again.
Speaker 1: I also don't. I'm not a method actor. I think
Speaker 1: a lot of people don't really understand method.
Speaker 2: I feel like it's a term that's been tossed around
Speaker 2: in a very uh sloppy way in the last couple decades.
Speaker 1: Yeah, it's just a type technique.
Speaker 2: It doesn't mean like you know when they taught And
Speaker 2: it's funny to me when they talk about like method
Speaker 2: actors that are in character all day on set, at
Speaker 2: least the way I was taught, like these different techniques
Speaker 2: that fall under the method umbrella.
Speaker 1: That's not method. Like the method is that.
Speaker 2: You can click into your character and then drop it
Speaker 2: when you need to drop it like that that was
Speaker 2: always taught to me, is like the whole point it wasn't.
Speaker 2: I don't know where. At some point it became.
Speaker 1: Like you have to do this all the time. You
Speaker 1: have to do this.
Speaker 2: All the time, and like live in the thing, like
Speaker 2: and if you're going to be drunk in a scene,
Speaker 2: actually be drunk.
Speaker 1: Like that's not method like that you you're no, Like
Speaker 1: that's the opposite. I will say the thing that I'm
Speaker 1: talking the thing that I was talking about that sort
Speaker 1: of like touching something is something that Strasburg talked about
Speaker 1: a lot, which is like emotional recall distinctive moments an
Speaker 1: actor has had in their real life and repurposing those
Speaker 1: moments to convey a character convincingly on stage. So like
Speaker 1: that to me is like part of what's tricky about Strasbourg,
Speaker 1: and like all of this stuff is like acting is
Speaker 1: a lot of it is in your brain, psychological stuff
Speaker 1: that then you convey through your body and mouth and
Speaker 1: the way your face looks or whatever you indicate like
Speaker 1: what you're feeling, right, But yeah, it starts in your brain.
Speaker 1: So like different people's brains work different ways, which is
Speaker 1: why there are all these techniques, because not one is
Speaker 1: gonna work for everyone.
Speaker 2: No more.
Speaker 1: Before we wrap this up, because we've been talking about
Speaker 1: this for the fucking ever. One of my favorite books
Speaker 1: is this book that I read when I was younger,
Speaker 1: called The Actor and the Target by Declan Donellan, who's
Speaker 1: a theater director.
Speaker 2: Oh yes, it's been sitting on my nightstand for months.
Speaker 1: Specific technique. I really enjoyed this book as a young actor,
Speaker 1: and like I've gone back to it quite a bit
Speaker 1: because Donald talks about the target, which is a specific,
Speaker 1: active focal point outside of the actor that directs their
Speaker 1: performance and helps them overcome common acting anxieties like feeling
Speaker 1: lost or feeling unsure about what to do. It is
Speaker 1: like a practical it's basically a practical guide. But what
Speaker 1: he says essentially is like you want something in this scene,
Speaker 1: like you want something, so not only just like focus
Speaker 1: on what you want, but like the thing that you
Speaker 1: want is constantly changing, like you desire you know, maybe
Speaker 1: it's someone, but like your desire for them is like
Speaker 1: sometimes you're what you're desiring is like, well, I need
Speaker 1: you to listen to me right now, like, oh, now
Speaker 1: I need you to like calm down, Okay. Now I
Speaker 1: need you to like sit in this chair so that
Speaker 1: I can tell you what I need. Now I need
Speaker 1: you to look at me. Now I need you to
Speaker 1: you know, like now I need the room to be quiet.
Speaker 1: Now I need like the space to like and now
Speaker 1: I need to not be sweating. Oh my god. You
Speaker 1: know it's like the thing, the thing that you need
Speaker 1: is constantly shifting and changing and is like moving. The
Speaker 1: target is moving, so like you have to be moving
Speaker 1: also not like physically moving, but like your brain has
Speaker 1: to be like going, like how do I continue to
Speaker 1: get the thing that I want? I love that it's
Speaker 1: really sounds it sounds a little bit too to me.
Speaker 2: Of Like, there was this book that David was reading
Speaker 2: once about it was actually about professional athletes. Oh and
Speaker 2: they talk about the flow being in flow and when
Speaker 2: you're like snowboarders, for example, we'll talk about being in
Speaker 2: flow and they go down and every trick is just
Speaker 2: like flowing out of them and they're moving seamlessly from
Speaker 2: when the target keeps moving, but they're with it the
Speaker 2: whole time, and I think it does you know. The
Speaker 2: goal is always to feel that in a scene, and when
Speaker 2: it really happens, it's like this incredible feeling where you're
Speaker 2: just yeah, I think your eye is on that target
Speaker 2: and you're following the target as it moves, but you're
Speaker 2: and you're with your partner and you're you're both in
Speaker 2: flow together and moments are happening and the scene just
Speaker 2: clicks and it's you know, and when it finishes, you're
Speaker 2: just like, holy shit, I was like really living in it.
Speaker 1: Yeah, from start to finish.
Speaker 2: You know, there was no even even if there's technical
Speaker 2: things that happen where you have to like it, it didn't matter.
Speaker 1: It didn't matter like part of it. It was part
Speaker 1: of it.
Speaker 2: You leaned on your right foot for camera because you
Speaker 2: know whatever, Like yeah, and like just that phrase, I
Speaker 2: always like really loved of like that.
Speaker 1: That's the goal.
Speaker 2: That's the goal going into like every scene after action
Speaker 2: is like being in flow and just like one moment
Speaker 2: to the other rights like all these techniques and things
Speaker 2: that we've talked about, is like that's the ultimate goal.
Speaker 1: It doesn't always happen. My favorite thing though, it's just
Speaker 1: but it is readable reeling. Yes, and then the day,
Speaker 1: I mean the day goes by, you know, the days
Speaker 1: on set are slow. But what happens when the camera's
Speaker 1: rolling is like, it's my favorite when they say action
Speaker 1: and they're like, okay, we're ready, it's going. It's happening.
Speaker 2: You're just playing and new things happen and little surprises happen.
Speaker 1: Even if things are frustrating, even if it's yeah, fuck,
Speaker 1: I didn't do the fucking thing, ah, you know whatever
Speaker 1: it is, it's like it's still that moment between action
Speaker 1: and cut is like a moment of peace.
Speaker 2: Yeah, except when you audition, it's not as funny.
Speaker 1: Except auditions. Fuck auditions, just kidding me. Give me this job.
Speaker 1: I love this job. I would It's great writing. It's
Speaker 1: really really funny. More better anyway. Thanks First, if you
Speaker 1: stuck around until the end of this, Wow, Wow, you
Speaker 1: are a true nerd. I feel like we should send
Speaker 1: you a certificate. We welcome you into the club.
Speaker 2: Yeah, yeah, man, if you're interested in this kind of
Speaker 2: stuff where like, if you ever want to hear us
Speaker 2: talk more about this, we will do another episode.
Speaker 1: But if you don't, you can let us on that too.
Speaker 1: If you were like I tuned the fuck out when
Speaker 1: you guys were talking about acting, we'll be like, fine, yeah,
Speaker 1: you know what that you do bo, you do you
Speaker 1: and we'll do us, which is why you like us anyway,
Speaker 1: because you like her acting. So I don't know what
Speaker 1: you're complaining about.
Speaker 2: All right, Let's see see you next next week, see
Speaker 2: you next week.
Speaker 1: Bye bye. More Better. Do you have something you'd like
Speaker 1: to be more better at that you want us to
Speaker 1: talk about in a future episode?
Speaker 2: Can you relate to our struggles or have you tried
Speaker 2: one of our tips and tricks?
Speaker 1: Shoot us your thoughts and ideas at Morebetter pod at
Speaker 1: gmail dot com and include a voice note if you
Speaker 1: want to be featured on the pod. Ooh, More Better
Speaker 1: with Stephanie Melissa is a production from WV Sound and
Speaker 1: iHeartMedia's Mikuura podcast network, hosted by by me, Steffie Beatriz,
Speaker 1: and Melissa Fumero. More Better is produced by Isis Madrid.
Speaker 1: And Sophie Spencer Zebos. Our executive producers are Wilmer Valderrama
Speaker 1: and Leo Clem at w V Sound. This episode was
Speaker 1: edited by Isis Madrid and engineered by Sean Tracy and
Speaker 1: features original music by Madison Davenport and Helo boy. Our
Speaker 1: cover art is by vincent Remy's and photography by David Avolos.
Speaker 1: For more podcasts from iHeart, visit the iHeartRadio app, Apple Podcasts,
Speaker 1: or wherever you listen to your favorite shows. See you
Speaker 1: next week's sucker Ups. Bye,