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Speaker 1: Get a I'm Laala Berry, nutritionist, author, actor, TV presenter,

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Speaker 1: and professional oversharer. This podcast is all about celebrating failure

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Speaker 1: because I believe it's a chance for us to learn,

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Speaker 1: grow and face our blind spots. Each week, I'll interview

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Speaker 1: a different guest about their highs as.

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Speaker 2: Well as their lows, all in a.

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Speaker 1: Bid to inspire us to fearlessly fail. Hello, gang, Today,

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Speaker 1: I've got to rip a guest for you. Celebrated acting

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Speaker 1: coach Leslie Kahan is such a good human being and

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Speaker 1: she's full of spark and passion, and she cares so

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Speaker 1: much about actors. So if you are a creative, a writer,

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Speaker 1: a director, an actor, this.

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Speaker 2: Episode is for you.

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Speaker 1: Leslie is very inspiring, very honest, and like I said,

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Speaker 1: just cares. So I think that if you are any

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Speaker 1: kind of a creative you will get something from this chat.

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Speaker 2: I hope you love, love, love love it.

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Speaker 1: Leslie, thank you so much for sharing your afternoon with me.

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Speaker 2: I could have hung out with you all day long.

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Speaker 2: I think you're wonderful.

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Speaker 1: Welcome to the pod, Leslie Kahn, acting coach, teacher, and

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Speaker 1: I have to say in the beautiful Khalisi Calisi, potato

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Speaker 1: chip and how old is beautiful?

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Speaker 3: Kalis Calissia is thirteen or fourteen.

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Speaker 2: I adapted her and they weren't sure how old she

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Speaker 2: was when I got her, so that's why I said

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Speaker 2: she's thirteen or fourteen. She's gorgeous. She is completely blind.

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Speaker 2: She went blind during COVID. I think she just couldn't

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Speaker 2: deal with it.

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Speaker 3: And she has a herd condition she has.

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Speaker 2: She's turning a corner though. Right I got the update yesterday,

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Speaker 2: we got the fantastic news. We're I'm still beside myself

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Speaker 2: because basically they said it was a death sentence. So

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Speaker 2: I can't even believe.

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Speaker 3: I can't believe.

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Speaker 2: What a brilliant genius you are. How did you do that?

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Speaker 2: You're a miracle.

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Speaker 1: And the power of your love, the power of your love. Yeah,

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Speaker 1: so thank you for yesterday letting me retake class with you.

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Speaker 1: I have had already done your intro and your comedy intensive.

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Speaker 1: And the thing that I there's so many things that

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Speaker 1: I love about learning from and we're going to unpack

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Speaker 1: a few of them if that's good, as that's good.

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Speaker 1: But the thing that I love that every time I've

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Speaker 1: trained with you, one of the first things you say

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Speaker 1: is listen we're not here to method act, we're not

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Speaker 1: here to do substitution. And you're like, nothing against it,

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Speaker 1: It's just not what we're going to do here. Can

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Speaker 1: you unpack that a little bit for me?

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Speaker 2: Sure?

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Speaker 3: When I was an actor, that's of course all I learned.

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Speaker 2: You know, I went undergrad and it was, you know,

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Speaker 2: a derivative of method, or many derivatives of method, and

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Speaker 2: my graduate school was another derivative method, and you know

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Speaker 2: it what ended up happening is I nobody was ever

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Speaker 2: really happy with my work. I mean, I did well,

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Speaker 2: but at school, you know, they were always bitching at

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Speaker 2: me about something. You know, you're not listening, And I'm like, great,

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Speaker 2: tell me how to listen. You're not, you know in it? Great,

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Speaker 2: tell me how to be in it. You're not. You

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Speaker 2: actually have to find your censer where the fuck is it.

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Speaker 2: I will find that fucker, and I will be in it.

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Speaker 2: You need to be in the moment, you know. And

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Speaker 2: they kept telling me to do things, and I'm like, yes,

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Speaker 2: let's do that how And nobody was ever telling me how.

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Speaker 2: They would say, you have the wrong objective, Great, how

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Speaker 2: do I find the right one? You have the wrong actions? Great?

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Speaker 2: Tell me how to find the right ones, and it

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Speaker 2: just it made me insane, you know, And then you know,

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Speaker 2: to finish with like a master's degree from the ritziest

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Speaker 2: school on the planet, right, and I come out and I'm.

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Speaker 3: Like, I don't know what the fuck I'm fucking doing.

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Speaker 2: I don't know what I'm doing. And I remember this

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Speaker 2: audition that I went to and they really wanted to

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Speaker 2: give me this job, this part in a movie. I

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Speaker 2: could tell they were like desperate to give it to me.

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Speaker 2: They loved me, and they were I think they said

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Speaker 2: something like, can you just take it down? And I'm

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Speaker 2: like sure, And I took it down and they go, great,

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Speaker 2: can you just take it down some more? And I'm sure?

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Speaker 2: And I did. And that went on for quite some time,

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Speaker 2: and then finally I felt like I was doing absolutely nothing,

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Speaker 2: and I was doing absolutely nothing, and they said, can

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Speaker 2: you bring it up? And you know, obviously I didn't

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Speaker 2: get that part in that movie. But what really bugs

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Speaker 2: me in retrospect is that I didn't know why, and

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Speaker 2: so I've sort of spent I spent the next few

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Speaker 2: years inadvertently. I wasn't doing it on purpose, but trying

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Speaker 2: to figure out what the fuck was the problem. And

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Speaker 2: that's I don't know if I'm even answering your question,

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Speaker 2: but that's how I came to realize that there's got

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Speaker 2: to be another way, and I started inadvertently putting together

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Speaker 2: another way. So I got this teaching job at a

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Speaker 2: school in Manhattan, which was amazing, and I started teaching

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Speaker 2: what I'd been taught, because you know, that's what I

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Speaker 2: had an agree in. But I just sit there and

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Speaker 2: I'd watch it not work, and then it wouldn't work again,

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Speaker 2: and it wouldn't work again, and I was all alone.

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Speaker 2: You know, it's not like anybody was in the room

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Speaker 2: with me. So I just started going, well, why don't

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Speaker 2: you try this and try that? And little by little

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Speaker 2: I started to realize that there wasn't there were other ways.

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Speaker 2: There were many, many, many, many other things that we

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Speaker 2: needed to be doing in our acting in order to

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Speaker 2: be able to look at the material, know what the

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Speaker 2: writer wanted us to do and do that. And I

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Speaker 2: really feel like that's our job. In a preread, it

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Speaker 2: doesn't matter, it doesn't matter what the preread is for.

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Speaker 2: But we haven't yet heard from the director or the

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Speaker 2: casting director or the producer of the studio and the

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Speaker 2: network or anybody. We've heard from, no one at the

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Speaker 2: very beginning. It's between it's between the script, the little

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Speaker 2: information we get on the breakdown, and me, and so

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Speaker 2: right there, it's the cleanest it can be. I get

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Speaker 2: to respond to that script, and what I guess I

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Speaker 2: feel like I learned in my actor training was respond

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Speaker 2: as myself, bring.

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Speaker 1: Yourself to the cares. How many times have we heard

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Speaker 1: that just be real, just be yourself?

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Speaker 2: And what I've come to realize is just be real,

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Speaker 2: and I prefer to go Real's that's how we need

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Speaker 2: to say it. You just have to be well. Is

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Speaker 2: that that's just acting one on one and we never graduate,

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Speaker 2: and that's not acting at all unless they're looking for,

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Speaker 2: for example, a Leslie Cohn type, in which case I

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Speaker 2: can just come in and be real. Yeah, but that's

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Speaker 2: only as long as I am in Leslie Khan's genre,

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Speaker 2: given circumstance and relationship. But if any of that changes,

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Speaker 2: then I can't really be Leslie Khan. How often do

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Speaker 2: you hear I hear these stories all the time. That

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Speaker 2: a role was written for Joshma, Joshmo had to go

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Speaker 2: in an audition for it. Because we live in a

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Speaker 2: lunatic asylum in our business, and he doesn't book the

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Speaker 2: role of Joshmo, even though he is actually the exact

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Speaker 2: Joshmo that they wrote it for. Right, So we can't.

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Speaker 2: What we have to learn to do is read, and

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Speaker 2: we learn how to read in school. We learn how

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Speaker 2: to read in an English literature class. We learn how

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Speaker 2: to find out what our character's tragic flaw is, but

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Speaker 2: we don't really learn how to act. And so I

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Speaker 2: have a huge problem with that. Now. I do understand

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Speaker 2: that nobody deliberately withheld how to act from me during

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Speaker 2: my actor training, but I also realized that they didn't know.

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Speaker 2: And it's kind of insane to me that we are

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Speaker 2: still utilizing a technology that was created in the eighteen

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Speaker 2: nineties in the mountains of Russia. When we're not doing

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Speaker 2: Chekhov plays over a nine month period of time, right,

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Speaker 2: we're getting our audition for some freaking lawn order five

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Speaker 2: pm at five pm, have to have it on tape

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Speaker 2: by tomorrow morning if we're lucky, at eight am. Right,

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Speaker 2: So we don't have the time to do all the

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Speaker 2: wonderful things that method tells us to do. I am

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Speaker 2: not here to say that any of that stuff is bad.

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Speaker 2: I'm saying, if you get nine months go with God,

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Speaker 2: you just go out into the mountains of Russian and

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Speaker 2: have a good time. But we don't.

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Speaker 3: That's not our world that we're living in.

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Speaker 2: And I don't understand why we're not utilizing the things

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Speaker 2: that will in fact enable us to pick up the

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Speaker 2: script and know exactly what they want us to do.

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Speaker 2: I worked with them, so sorry. I worked with a

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Speaker 2: woman this morning, and and this is her thing. She's

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Speaker 2: not a young woman, she's an older woman, and she's

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Speaker 2: been at this, working in a derivative method her whole life.

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Speaker 2: She can do any method you want.

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Speaker 1: She just doesn't know what the writer wrote, which is

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Speaker 1: Kate like one, I want you have to How do

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Speaker 1: you move forward without knowing that?

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Speaker 2: But that's We're not tough to do that. We're taught

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Speaker 2: to bring what we want to do to the writer.

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Speaker 2: And I'm like, I understand that you think that she

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Speaker 2: is feeling these devastated feelings of loss as now what's

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Speaker 2: on the page, just but if I were in that's

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Speaker 2: the circumstances. She said, that's what I would feel. And

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Speaker 2: I said, nobody cares. Nobody cares what you would feel.

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Speaker 2: They have written this, this has been purchased, they've spent

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Speaker 2: a lot of money on it, and now they're going

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Speaker 2: to invest a lot of money making it. They want

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Speaker 2: you to play in this story, not in the one

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Speaker 2: you want to tell.

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Speaker 1: And this is where it comes into my two favorite

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Speaker 1: And the thing about the technique that we get to

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Speaker 1: all that am I using the right terminology here, that

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Speaker 1: we get to learn with you is it's so heavily

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Speaker 1: focused on thinking the character's thoughts, not Lola's thoughts, not

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Speaker 1: Leslie's thoughts, the character's thoughts, and also listening.

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Speaker 2: And not our feelings, yes, what we don't realize. And

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Speaker 2: I can't tell you how often I think about this,

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Speaker 2: at least daily many times.

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Speaker 3: Thought feelings are a product of thought.

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Speaker 2: Correct, So why are we skipping thought and going right

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Speaker 2: to what we think we would feel in these given circumstances.

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Speaker 2: That's crazy to me.

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Speaker 1: Also, like feelings can be a bit unruly, So you

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Speaker 1: might be able to access that feeling for some grief

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Speaker 1: deep scene, but then if you're doing eighty takes that

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Speaker 1: or twenty takes of that, you might not be able

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Speaker 1: to access that.

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Speaker 2: And also, can you think of a time when you've

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Speaker 2: cried hysterically. Were you never You've never cried no.

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Speaker 1: Yea the time, but it would be if you said,

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Speaker 1: replicate that now, it.

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Speaker 2: Would be well, but listen, if you were lying down

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Speaker 2: on the floor and thinking of your dead grandmother, I'm

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Speaker 2: sure you could get there.

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Speaker 1: Yeah.

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Speaker 2: But the problem is that that grief that you're talking

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Speaker 2: about is not present in all three to five pages

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Speaker 2: of that scene. Correct, you know, I would say in

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Speaker 2: that scene, maybe three moments of the scene need that

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Speaker 2: exact grief. There are another ninety seven moments in the scene,

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Speaker 2: right totally? What are we doing in those? Yeah, So

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Speaker 2: we nail the shit out of the one feeling that

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Speaker 2: we've prepared, what about the other ninety seven percent of

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Speaker 2: the scene? We wonder why we're not booking. Sometimes actors,

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Speaker 2: well sometimes daily actors come to me, why am I

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Speaker 2: not booking? You're not doing this. You're playing your childhood

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Speaker 2: And I get it.

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Speaker 3: It was bad.

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Speaker 2: It was a bad childhood. Here's the name of a therapist,

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Speaker 2: and we have to learn how to do this paper.

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Speaker 2: So yes, to me, it's much easier to figure out

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Speaker 2: if you go, well, what would I think if that

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Speaker 2: tree outside suddenly smashed into the building, what would I think? Now?

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Speaker 2: The question that we are asked is, well, how would

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Speaker 2: you feel? I have no idea how I would feel,

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Speaker 2: but what would I think? I would think? Shit?

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Speaker 1: All shit?

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Speaker 2: Are you being bound? What is happening right now? As

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Speaker 2: a result of that, I am feeling nine thousand days.

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Speaker 2: I don't even want to begin to identify one of them,

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Speaker 2: because they're not my business. My job is to think

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Speaker 2: that thought, reduce the nine thousand feelings, and go on

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Speaker 2: with my life and keep responding to what's happening. Sometimes

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Speaker 2: my Midwestern ancent really comes.

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Speaker 1: Oh I love it, go leand clean, lean in, and

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Speaker 1: I think as well, it sounds I think actors and

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Speaker 1: we love to complicate stuff and be like, no, I

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Speaker 1: need to attach this settler, I need to attach a

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Speaker 1: piece of myself to that.

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Speaker 2: Or that's not I want a new one.

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Speaker 1: And get there's a lot of feedback like just be different,

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Speaker 1: just stand out you know what I mean?

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Speaker 2: We please talk about that. Yes, Oh my god. It

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Speaker 2: just is the thing that drives me insane. It's like,

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Speaker 2: for example, let's say that that.

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Speaker 3: That you are going to get cast in the in

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Speaker 3: this thing.

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Speaker 2: Are you going to call me and say Leslie I'm

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Speaker 2: getting cast in this thing. Can you look at my

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Speaker 2: contract and all the perks that I'm getting and how

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Speaker 2: it works, and and look at all the language in

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Speaker 2: that contract for me, and I will go No, I

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Speaker 2: am an acting teacher, i am not a contract person,

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Speaker 2: and I'm not a casting director. I'm not an agent.

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Speaker 2: I'm not a manager. I'm not a lawyer. Why would

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Speaker 2: you ask me to do those things? Those are not

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Speaker 2: my skills. Yeah, casting directors are amazing at the big picture.

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Speaker 2: Somebody can come to them and bring them a script

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Speaker 2: and they see, oh my god, it would be amazing

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Speaker 2: if we got this one in this role, in Meryl

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Speaker 2: Streep and that role, and then let's get you know,

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Speaker 2: freaking one of the Chris Hemsworth type people in this.

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Speaker 2: You know, they see it, and they know the second

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Speaker 2: you read they know, yep, No, that's it. It's not

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Speaker 2: their job to teach you how to do it. It's

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Speaker 2: their job. They're being hired to find the perfect person

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Speaker 2: to do that role. It's their job to put it

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Speaker 2: all together and to make it cohesive and believable and

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Speaker 2: make it seem like you guys are and let me

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Speaker 2: believe that you guys are a family, or that you're

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Speaker 2: her boss, or whatever else is going on. We have

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Speaker 2: different job descriptions. You don't go on set and ask

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Speaker 2: the prop master to do your makeup, No, totally. And

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Speaker 2: so we are being unfair to the casting director by

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Speaker 2: asking them to help us with our acting. And you

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Speaker 2: would be being unfair to the acting teacher to ask

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Speaker 2: her to look at your contract when she doesn't know

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Speaker 2: shit off about contracts. Right, So what we want to

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Speaker 2: do is we want to we want to be so

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Speaker 2: great at our job.

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Speaker 3: And again, our job is this paper. Now that's our

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Speaker 3: first job.

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Speaker 2: Then maybe, if we're lucky, we get to go to

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Speaker 2: a casting office. I understand that those days are over, yeah,

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Speaker 2: But in the old days, young ones, in the old days,

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Speaker 2: we did this thing called getting into our cars and

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Speaker 2: driving across town in terrible traffic, and then we would

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Speaker 2: park somewhere that would be terribly expensive, because God forbid

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Speaker 2: we should be allowed on the lot, And then we

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Speaker 2: would find the place where we were auditioning, and we

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Speaker 2: would sit and wait for five hours, surrounded by women

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Speaker 2: who looked exactly like us, and then finally we would

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Speaker 2: be allowed in the room and there would be three

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Speaker 2: scenes and they would say, did you receive the new size? Okay, anyway,

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Speaker 2: that shit isn't happening so much anymore, but let's just

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Speaker 2: say it was, because that would be great. Then we

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Speaker 2: would go in and Casting would say, yeah, I see

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Speaker 2: what you're doing. That's great, But I just had a

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Speaker 2: meeting with them, and they now want you to be this, this,

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Speaker 2: and this at which more we could do this cool

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Speaker 2: thing called taking an adjustment. Now I understand that that's

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Speaker 2: very old fashioned, because God forbid we should ever go

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Speaker 2: in the room again. But now every once in a

305
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Speaker 2: while we get to go on zoom and Casting might

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Speaker 2: actually talk to us and give us an adjustment. So

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Speaker 2: that's the next phase. Can we take an adjustment? Can

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Speaker 2: we do what casting is asking us to do? Or

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Speaker 2: are we going to have an aneurysm and nervous breakdown,

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Speaker 2: get defensive, you know, faint, I don't know, have a

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Speaker 2: panic attack. None of those things can happen. And then

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Speaker 2: maybe we're lucky, and then casting says, please come to

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Speaker 2: this work session. Please come to the session with a director,

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Speaker 2: and then we have to be able to take direction

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Speaker 2: from him. At that point, at no point in time

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Speaker 2: is it our story. It goes from the story that

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Speaker 2: it goes from the writer's story through us more like

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Speaker 2: the vehicle you said, vessel. Excellent. I say, we're the vehicle, right,

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Speaker 2: like my body is the vehicle. But the character the

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Speaker 2: writer wrote and the character's gonna is going to drive

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Speaker 2: my vehicle. The vehicles are going to look like me.

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Speaker 2: It's going to have wacky hair and right, you know,

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Speaker 2: thank you very much, and a massive cleavage and you

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Speaker 2: know that's what the characters, that's what the car is

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Speaker 2: going to look like. Yeah, right, And so then we

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Speaker 2: are affected. Then you know, we go to casting and

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Speaker 2: they go, what's your car was blue? So then I'm

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Speaker 2: going to wear a blue suit the next time I go.

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Speaker 2: And then I'm going to meet with the director and

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Speaker 2: he's going to go, you know, I wish she was taller,

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Speaker 2: and I'm gonna wear heels. Do follow me, and I'm

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Speaker 2: going to make these adjustments and it's going to become

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Speaker 2: this thing that we've all created together. Did I answer

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Speaker 2: your question one thousand? Yes? I don't know.

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Speaker 1: You're brilliantly and I'm here for all of it. Can

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Speaker 1: we tell about listening because I love the way you

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Speaker 1: talk about it, But I also think, like sometimes something

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Speaker 1: that I know I trip up with is like we

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Speaker 1: get now head and we're like, oh, well, is my

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Speaker 1: yline okay?

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Speaker 2: Do I look okay?

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Speaker 1: And like you're completely gone like the but then the

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Speaker 1: moment that, like you listen to the other character, it

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Speaker 1: gets you out of your head and you become curious

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Speaker 1: and in that space of like thinking the thoughts about

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Speaker 1: what has just been said in front of you.

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Speaker 3: Well, I think.

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Speaker 2: Listening has become very will will and we don't know

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Speaker 2: how to do it. I know that I didn't know

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Speaker 2: how to do it until till i'd been teaching for

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Speaker 2: a while. And again, I got a master's degree from

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Speaker 2: a ritzy place, so nobody ever taught me how to listen.

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Speaker 2: I just always assumed listening was allowing the words to

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Speaker 2: go by my ear, and I was doing that, And

355
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Speaker 2: then people would tell me I wasn't doing that, and

356
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Speaker 2: I would say something like that, why do I have

357
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Speaker 2: the great misf of being able to respond to you?

358
00:18:02,640 --> 00:18:06,240
Speaker 2: Because I just nobody was explaining anything to me, and

359
00:18:06,280 --> 00:18:11,040
Speaker 2: I was so frustrated. Lola, I'm still frustrated, but I'm

360
00:18:11,080 --> 00:18:14,160
Speaker 2: only frustrated by the past. I'm not frustrated now. I'm

361
00:18:14,240 --> 00:18:20,400
Speaker 2: just anyway. So yes, I think acting is completely organic.

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00:18:20,600 --> 00:18:25,280
Speaker 2: Organic is all listening. It's all listening in in this

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00:18:25,359 --> 00:18:29,480
Speaker 2: situation of this script. It's also one hundred percent technical.

364
00:18:29,920 --> 00:18:31,560
Speaker 2: And this is where we get in trouble because people

365
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Speaker 2: are like, oh, Leslie Khan, she's so technical. You bet

366
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Speaker 2: your sweet motherfucking bippy, I'm technical. Acting is one hundred

367
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Speaker 2: percent technical and one hundred percent organic. So yes, it

368
00:18:45,160 --> 00:18:47,840
Speaker 2: is all listening. But also the guy wrote technical things

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Speaker 2: on the paper, and every one of those things you

370
00:18:50,400 --> 00:18:53,920
Speaker 2: miss casting notices and you don't get to miss any

371
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Speaker 2: of them and played this character.

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Speaker 3: Theoretically, what the casting wants is what the guy wrote.

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Speaker 2: Casting isn't sitting there going, oh, well, I see what

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Speaker 2: the guy wrote, but I'm going to go in this

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Speaker 2: whole other direction. That's not what they bought. They bought

376
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Speaker 2: this script. They want this script. Casting is trying to

377
00:19:09,160 --> 00:19:11,840
Speaker 2: cast this script. So we all have to be on

378
00:19:11,880 --> 00:19:15,199
Speaker 2: the same page about what this script is and just

379
00:19:15,359 --> 00:19:19,600
Speaker 2: coming at it organically with decent listening will definitely make

380
00:19:19,640 --> 00:19:23,199
Speaker 2: me believe that you are a person, but not necessarily

381
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Speaker 2: this person, and they're casting somebody who can play this person.

382
00:19:26,640 --> 00:19:30,760
Speaker 2: Now there we have that phrase. But I can play okay, yes,

383
00:19:30,880 --> 00:19:34,399
Speaker 2: you can play anything. I can play you know, a

384
00:19:34,480 --> 00:19:41,800
Speaker 2: fourteen year old, you know, pre adolescent boy in Budapest, Budapest.

385
00:19:42,320 --> 00:19:45,160
Speaker 2: I can do that if I want. Nobody gonna cast

386
00:19:45,200 --> 00:19:47,760
Speaker 2: me is that. But you I can damn well play

387
00:19:47,800 --> 00:19:51,400
Speaker 2: that little motherfucker, right, So we've got to get out

388
00:19:51,400 --> 00:19:54,159
Speaker 2: of our minds whether we should play it or not.

389
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Speaker 2: I think it would be pretty dumb to cast me

390
00:19:56,480 --> 00:19:58,439
Speaker 2: as that kid. Okay, it's not going to be good

391
00:19:58,480 --> 00:20:01,480
Speaker 2: for your movie because move these TVs, the TV shows,

392
00:20:01,480 --> 00:20:04,560
Speaker 2: these are all moving pictures. They're visual. So it would

393
00:20:04,600 --> 00:20:09,119
Speaker 2: be dumb to cast a loud, older jewess in the

394
00:20:09,200 --> 00:20:12,680
Speaker 2: role of a fourteen year old whatever. Follow me. So

395
00:20:13,640 --> 00:20:15,439
Speaker 2: what we have to do is take that off the table.

396
00:20:15,480 --> 00:20:17,800
Speaker 2: That's not our business. If they want to bring us

397
00:20:17,840 --> 00:20:20,680
Speaker 2: in to play that role, fine, fine, I'll do it.

398
00:20:20,680 --> 00:20:24,119
Speaker 2: It's great. I can play it, but again, I just

399
00:20:24,160 --> 00:20:26,119
Speaker 2: don't think they're going to cast me as that.

400
00:20:26,240 --> 00:20:28,000
Speaker 1: Now I got way off on whatever I was doing.

401
00:20:28,040 --> 00:20:30,280
Speaker 1: Get me back, please, No, No, you were perfect. You

402
00:20:30,320 --> 00:20:32,320
Speaker 1: were just saying about you can still step into that

403
00:20:32,359 --> 00:20:35,240
Speaker 1: space if you are listening and thinking the thought like essentially,

404
00:20:35,320 --> 00:20:37,520
Speaker 1: like you can even though you're not a fourteen year

405
00:20:37,520 --> 00:20:38,840
Speaker 1: old boy living in Budapest.

406
00:20:39,080 --> 00:20:43,520
Speaker 2: Yes, so I have to do all three things, and

407
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Speaker 2: I haven't even gotten to the third one. I know.

408
00:20:45,200 --> 00:20:47,720
Speaker 2: I'm excited that I can think the fourteen year old

409
00:20:47,760 --> 00:20:50,720
Speaker 2: whatever thoughts. Yeah, and I'm gonna get cast, but I can.

410
00:20:51,840 --> 00:20:53,760
Speaker 2: That's my skill as an actor. I can do that.

411
00:20:54,359 --> 00:20:56,080
Speaker 2: I can also look at the paper and I can

412
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Speaker 2: see all the clues on the page that the writer

413
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Speaker 2: has written for me. There are Agillian things. It's almost

414
00:21:02,400 --> 00:21:05,320
Speaker 2: like what many of us like to do is we

415
00:21:05,600 --> 00:21:09,760
Speaker 2: just want to play. We just want to do jazz, improv. Okay,

416
00:21:09,960 --> 00:21:12,119
Speaker 2: that's a good way. We don't want to look at

417
00:21:12,160 --> 00:21:15,320
Speaker 2: any sheet music. Yeah, okay, and if there is sheet music,

418
00:21:15,359 --> 00:21:16,720
Speaker 2: we kind of want to use it as a jumping

419
00:21:16,720 --> 00:21:19,280
Speaker 2: off point and then ignore it as quickly as humanly possible.

420
00:21:19,680 --> 00:21:22,359
Speaker 2: And listen. You can say to me, but I heard

421
00:21:22,400 --> 00:21:24,439
Speaker 2: about somebody who went in and he didn't do what

422
00:21:24,560 --> 00:21:26,600
Speaker 2: was on the page at all, and they cast him.

423
00:21:26,640 --> 00:21:30,359
Speaker 2: It was an exactly. And what I say to people

424
00:21:30,400 --> 00:21:32,560
Speaker 2: when they say that is, yeah, how do you know

425
00:21:32,600 --> 00:21:34,399
Speaker 2: about that? I don't know. I read it somewhere. It

426
00:21:34,440 --> 00:21:37,679
Speaker 2: was some article. Exactly. It was news because it doesn't

427
00:21:37,800 --> 00:21:41,680
Speaker 2: usually exactly, it doesn't usually happen. Usually, if they say

428
00:21:41,720 --> 00:21:46,000
Speaker 2: they want, you know, a shitsu minipin, you know they're

429
00:21:46,040 --> 00:21:49,600
Speaker 2: going to cast this thing sitting on my lap here, right, So,

430
00:21:50,080 --> 00:21:52,439
Speaker 2: and yes, every once in a while they've seen so

431
00:21:52,520 --> 00:21:54,840
Speaker 2: many people for so long they just want to shoot

432
00:21:54,840 --> 00:21:57,679
Speaker 2: themselves in the head. No one is coming in and

433
00:21:57,720 --> 00:22:00,320
Speaker 2: doing what they've written, and so they're like, Okay, well

434
00:22:00,320 --> 00:22:04,000
Speaker 2: that guy's at least funny, and he's obviously talented and charismatic,

435
00:22:04,000 --> 00:22:06,919
Speaker 2: so let's just cast that motherfucker, right, But it's not

436
00:22:06,960 --> 00:22:09,360
Speaker 2: what they wrote. And maybe it turns out great and

437
00:22:09,440 --> 00:22:13,200
Speaker 2: everybody's really really happy. But I don't think that that's

438
00:22:13,240 --> 00:22:16,200
Speaker 2: a good game plan for us. I don't think that's

439
00:22:16,240 --> 00:22:20,800
Speaker 2: a good risk. It's very risky. I think we already

440
00:22:20,840 --> 00:22:23,040
Speaker 2: all decided to get in this business, and that was

441
00:22:23,080 --> 00:22:26,520
Speaker 2: crazy of us. I think we already made a big

442
00:22:26,560 --> 00:22:29,840
Speaker 2: mistake thinking that we had a chance in this business

443
00:22:29,840 --> 00:22:31,840
Speaker 2: that everybody in the world wants to be in, and

444
00:22:31,880 --> 00:22:34,240
Speaker 2: there just aren't that many opportunities. So what I'd like

445
00:22:34,359 --> 00:22:37,800
Speaker 2: us to do is up our chances by by being

446
00:22:37,920 --> 00:22:42,919
Speaker 2: unbelievably organic with our listening perfect unbelievably technical with the

447
00:22:42,960 --> 00:22:44,600
Speaker 2: technicals that are on the page.

448
00:22:44,920 --> 00:22:49,239
Speaker 3: And then only then do we get to fuck it.

449
00:22:49,880 --> 00:22:51,399
Speaker 2: And not only do we get to fuck it, but

450
00:22:51,480 --> 00:22:55,320
Speaker 2: it's required we do our work and then we kind

451
00:22:55,320 --> 00:22:57,240
Speaker 2: of have our characters first thought, and then we have

452
00:22:57,359 --> 00:23:00,119
Speaker 2: to see what happens. But most of us don't do that.

453
00:23:00,440 --> 00:23:03,040
Speaker 2: In the olden days, we would pack up our characterization

454
00:23:03,119 --> 00:23:05,399
Speaker 2: in the trunk of our car. We'd drive to fucking

455
00:23:05,400 --> 00:23:07,920
Speaker 2: Santa Monica. We'd go into the audition.

456
00:23:08,040 --> 00:23:10,760
Speaker 4: We'd heave that, you know, huge thing out, We'd schlep

457
00:23:10,760 --> 00:23:13,760
Speaker 4: it across a lot. We'd sit down and the trailer,

458
00:23:13,800 --> 00:23:16,760
Speaker 4: wait the four hours for our audition, schlep that into

459
00:23:17,119 --> 00:23:19,480
Speaker 4: the casting director's office, and hope to God.

460
00:23:19,320 --> 00:23:21,960
Speaker 1: That we could get it on My fairst favorite Udah

461
00:23:21,960 --> 00:23:24,280
Speaker 1: Hagan style claus was that you would bring everything but

462
00:23:24,520 --> 00:23:28,040
Speaker 1: the kitchen sink into there and it was just wild.

463
00:23:28,200 --> 00:23:30,840
Speaker 2: And listen, there is a really good place for that. Yeah,

464
00:23:30,880 --> 00:23:33,439
Speaker 2: it's a great acting one oh one thing. Yeah, that

465
00:23:33,560 --> 00:23:37,879
Speaker 2: private moment. I have private moment stories. I'm happy to

466
00:23:37,920 --> 00:23:43,680
Speaker 2: tell you if you want. But but but the bottom

467
00:23:43,720 --> 00:23:45,679
Speaker 2: line is we have to understand that those are the

468
00:23:45,760 --> 00:23:48,119
Speaker 2: three main things that we have to do that.

469
00:23:48,240 --> 00:23:49,560
Speaker 3: Acting is not just going.

470
00:23:49,640 --> 00:23:52,560
Speaker 2: I read this and I feel this, and I think

471
00:23:52,600 --> 00:23:55,560
Speaker 2: too many I had. I had an actress recently that

472
00:23:55,680 --> 00:23:58,720
Speaker 2: said this, this movie is based on this book that

473
00:23:58,760 --> 00:24:01,080
Speaker 2: I read, and I love the book, and I am

474
00:24:01,160 --> 00:24:03,800
Speaker 2: the girl. I am her. I mean, Leslie. If you

475
00:24:03,840 --> 00:24:05,960
Speaker 2: read the book, I am the girl, and I go,

476
00:24:06,720 --> 00:24:09,560
Speaker 2: I've read the book. You are not the girl. You

477
00:24:09,640 --> 00:24:12,600
Speaker 2: are nothing like the girl. Right. I see that you

478
00:24:12,680 --> 00:24:15,240
Speaker 2: relate to the girl. I see that the story makes

479
00:24:15,240 --> 00:24:19,240
Speaker 2: you feel deeply. But and we get that mixed up.

480
00:24:19,240 --> 00:24:21,920
Speaker 2: We get I feel deeply as a result of reading

481
00:24:22,000 --> 00:24:25,160
Speaker 2: or watching this thing mixed up with what my character

482
00:24:25,280 --> 00:24:31,800
Speaker 2: is actually thinking and doing. They're two completely different, mutually exclusive.

483
00:24:31,400 --> 00:24:35,640
Speaker 1: And I feel like one is long term sustainable and

484
00:24:35,720 --> 00:24:40,119
Speaker 1: one especially if you're because I'm someone that's trained in

485
00:24:40,160 --> 00:24:42,359
Speaker 1: loads of different acting schools over the last eight years,

486
00:24:42,440 --> 00:24:44,240
Speaker 1: and sometimes I'll be like, WHOA, this is going to

487
00:24:44,280 --> 00:24:47,080
Speaker 1: cost me my mental health if I use this style,

488
00:24:47,119 --> 00:24:49,439
Speaker 1: whether it be substitution, whether it be a moment before,

489
00:24:49,560 --> 00:24:52,280
Speaker 1: whether it be method. I'm like, this is going to

490
00:24:52,359 --> 00:24:54,520
Speaker 1: come at a cost of not only my mental health,

491
00:24:54,520 --> 00:24:58,000
Speaker 1: but probably half for ninety perens students in this room.

492
00:24:58,440 --> 00:25:01,879
Speaker 1: And then what I love about every step of the

493
00:25:01,920 --> 00:25:04,960
Speaker 1: way with the Comedy intensive was like, this is sustainable,

494
00:25:05,680 --> 00:25:08,880
Speaker 1: This is foolproof because I can implement what I'm learning

495
00:25:09,000 --> 00:25:12,800
Speaker 1: in this technique. I want to use that word and

496
00:25:12,880 --> 00:25:15,720
Speaker 1: I could implement that to any audition that comes in.

497
00:25:15,840 --> 00:25:18,560
Speaker 2: Yeah, and it doesn't. It's just it doesn't matter if

498
00:25:18,560 --> 00:25:22,439
Speaker 2: it's comedy, drama, or anything else. And listen, that was

499
00:25:22,480 --> 00:25:25,720
Speaker 2: my problem with method. I remember being in school and

500
00:25:26,000 --> 00:25:29,280
Speaker 2: at some point I'm solving hysterically because that's who I was,

501
00:25:29,680 --> 00:25:32,440
Speaker 2: And I'm like, does anyone notice that I'm hysterical? Twenty

502
00:25:32,440 --> 00:25:35,359
Speaker 2: four to seven? Does it occur to anybody? And I

503
00:25:35,400 --> 00:25:37,880
Speaker 2: didn't get this until many years later, But I don't

504
00:25:37,880 --> 00:25:40,600
Speaker 2: really understand why it occurred to no one that the

505
00:25:40,680 --> 00:25:43,200
Speaker 2: last thing this bitch needed was.

506
00:25:43,160 --> 00:25:45,000
Speaker 3: A substitution or a sense memory.

507
00:25:45,480 --> 00:25:48,920
Speaker 2: I was a walking substanct. I am a walking substitution

508
00:25:49,040 --> 00:25:53,280
Speaker 2: and sense memory. I had a childhood and that we

509
00:25:53,320 --> 00:25:56,320
Speaker 2: don't need to talk about right now, but I am

510
00:25:56,600 --> 00:25:59,760
Speaker 2: constantly in a state of substitutions.

511
00:26:00,080 --> 00:26:02,960
Speaker 3: People aren't. Some people had lovely childhoods and they need

512
00:26:03,000 --> 00:26:03,639
Speaker 3: training in that.

513
00:26:03,920 --> 00:26:07,960
Speaker 2: I did not. So this one size fits all training

514
00:26:08,640 --> 00:26:11,440
Speaker 2: is that can be so damaging to some of us

515
00:26:11,560 --> 00:26:16,120
Speaker 2: is really upsetting to me. And I will take issue

516
00:26:16,160 --> 00:26:18,560
Speaker 2: with you calling what we teach here a technique. It

517
00:26:18,640 --> 00:26:23,560
Speaker 2: is not a technique. I absolutely feel that Stanislavsky, Meisner,

518
00:26:25,040 --> 00:26:29,080
Speaker 2: Udha Hagen, Stella, Adler, all of those, all of those

519
00:26:29,080 --> 00:26:33,520
Speaker 2: guys are absolutely methods techniques. I praise them for that.

520
00:26:34,040 --> 00:26:37,080
Speaker 2: I want you to think of us. I want you

521
00:26:37,119 --> 00:26:44,800
Speaker 2: to think of those techniques as veins in your army. Okay,

522
00:26:44,960 --> 00:26:48,600
Speaker 2: you've got your Meisner vein and your Stanislavsky vein and

523
00:26:48,720 --> 00:26:52,240
Speaker 2: your your Adler vein. Here we're everything else in the baddy.

524
00:26:52,560 --> 00:26:55,400
Speaker 2: Oh I love that foundation. We're everything were No, it's

525
00:26:55,440 --> 00:26:59,560
Speaker 2: not just foundation, literally everything else. I feel like I've

526
00:26:59,560 --> 00:27:04,680
Speaker 2: finished drama school and I knew how to substitute, and

527
00:27:04,720 --> 00:27:07,280
Speaker 2: I knew a few techniques. Repetition. You would have been

528
00:27:07,320 --> 00:27:11,639
Speaker 2: great at repetition. Get me started. I feel like I

529
00:27:11,720 --> 00:27:15,520
Speaker 2: knew a few of those vans, but those vans were like,

530
00:27:15,600 --> 00:27:19,080
Speaker 2: I don't know one percent of what I needed in

531
00:27:19,200 --> 00:27:20,600
Speaker 2: order to go get an acting job.

532
00:27:21,000 --> 00:27:23,320
Speaker 1: Can I share a story about someone that trained with you?

533
00:27:23,440 --> 00:27:23,720
Speaker 2: Yes?

534
00:27:24,160 --> 00:27:29,680
Speaker 1: So, yeah you will. She's called Julia Morris. Yes, that's

535
00:27:29,680 --> 00:27:31,280
Speaker 1: the reason why I started training with you. Just so

536
00:27:31,320 --> 00:27:33,040
Speaker 1: you know, I'm we're very good friends with her agent,

537
00:27:33,080 --> 00:27:35,080
Speaker 1: she was like, go and train with Leslie.

538
00:27:35,400 --> 00:27:37,560
Speaker 3: You know, I love her like more than life atself.

539
00:27:37,600 --> 00:27:39,200
Speaker 2: She's gone to the logis on the weekend.

540
00:27:39,560 --> 00:27:42,720
Speaker 1: Yeah, but what I wanted to say was, obviously she's

541
00:27:42,760 --> 00:27:46,439
Speaker 1: a very talented comedian and comedic actress, but in.

542
00:27:46,640 --> 00:27:49,680
Speaker 2: The most charismatic human being ever to walk the earth.

543
00:27:49,640 --> 00:27:53,920
Speaker 1: So charismatic, could not book any serious dramatic work and

544
00:27:54,080 --> 00:27:57,080
Speaker 1: no one would take her seriously at all. Came here,

545
00:27:57,440 --> 00:28:00,639
Speaker 1: trained with you, and then went back. I think she

546
00:28:00,680 --> 00:28:04,840
Speaker 1: even booked from here, and it was a very dramatic,

547
00:28:05,240 --> 00:28:09,320
Speaker 1: very gritty like role. And now she's seen as this

548
00:28:09,800 --> 00:28:13,000
Speaker 1: incredible force of nature as a dramatic actress after training

549
00:28:13,040 --> 00:28:14,959
Speaker 1: with you, and right before I started training with you,

550
00:28:15,000 --> 00:28:17,040
Speaker 1: she was sending me voice notes being like, all right,

551
00:28:17,400 --> 00:28:19,439
Speaker 1: you can have so much fun with Leslie, and just

552
00:28:19,440 --> 00:28:22,400
Speaker 1: just so you know, like you're and I know you

553
00:28:22,440 --> 00:28:27,080
Speaker 1: get you're so well known, especially in the sitcom comedy

554
00:28:27,160 --> 00:28:30,960
Speaker 1: that comedy space, but like which blows my mind still,

555
00:28:31,240 --> 00:28:34,359
Speaker 1: but so many dramas and I know you've trained so

556
00:28:34,359 --> 00:28:36,560
Speaker 1: many actors that are household names and known for their

557
00:28:36,880 --> 00:28:41,840
Speaker 1: beautiful dramatic work. And that's what I love about that

558
00:28:42,000 --> 00:28:45,720
Speaker 1: this can be implemented to whether it be a sitcom,

559
00:28:45,800 --> 00:28:47,320
Speaker 1: a multicam sitcom screen.

560
00:28:47,320 --> 00:28:48,840
Speaker 2: It's just text analysis.

561
00:28:49,240 --> 00:28:51,280
Speaker 3: It's just learning the rules of text analysts.

562
00:28:51,360 --> 00:28:53,800
Speaker 2: If we go back to the jazz musician, you know,

563
00:28:54,080 --> 00:28:55,640
Speaker 2: you're just in a you came out of the world.

564
00:28:55,680 --> 00:28:57,640
Speaker 2: You're an amazing musician and you can play all these

565
00:28:57,640 --> 00:28:59,400
Speaker 2: instruments and you just hear it. And I don't even

566
00:28:59,480 --> 00:29:01,480
Speaker 2: know what you'd do, But what I'd love you to

567
00:29:01,520 --> 00:29:04,120
Speaker 2: be able to do is also play Mozart. Yeah, and

568
00:29:04,480 --> 00:29:08,720
Speaker 2: Alan Ball and Aaron Sorkand and I'm sure Dick Wolf

569
00:29:08,720 --> 00:29:10,360
Speaker 2: would like it if you could do his writing. And

570
00:29:10,400 --> 00:29:12,320
Speaker 2: I know Chuck Lourie would be really happy if you

571
00:29:12,320 --> 00:29:14,120
Speaker 2: could do it. And dear God, please be able to

572
00:29:14,160 --> 00:29:17,240
Speaker 2: do Max Muchnik and David Cohen. Right. I want you

573
00:29:17,320 --> 00:29:19,520
Speaker 2: to be able to do Oscar Wilde. I want you

574
00:29:19,560 --> 00:29:21,200
Speaker 2: to be able to do Tennessee Williams. I want you

575
00:29:21,280 --> 00:29:23,080
Speaker 2: to be able to do Shakespeare. I want you to

576
00:29:23,120 --> 00:29:26,840
Speaker 2: be able to do anything effortlessly and happily and excitedly.

577
00:29:27,200 --> 00:29:28,680
Speaker 2: What I don't want is you to wake up in

578
00:29:28,680 --> 00:29:31,680
Speaker 2: the morning, have an email in your G or C

579
00:29:31,960 --> 00:29:34,200
Speaker 2: or whatever mail it is that you all get and

580
00:29:34,320 --> 00:29:37,360
Speaker 2: go into a state of panic. I can't play that role.

581
00:29:37,720 --> 00:29:39,720
Speaker 2: I can't do that accent. I don't know how to

582
00:29:39,760 --> 00:29:42,400
Speaker 2: do that. Oh my god, I'm I don't know how

583
00:29:42,400 --> 00:29:44,560
Speaker 2: to do comedy. You're an actor, you know how to

584
00:29:44,560 --> 00:29:47,520
Speaker 2: do fucking everything, and that's got to be how you

585
00:29:47,560 --> 00:29:49,600
Speaker 2: wake up in the morning, because how else are you

586
00:29:49,680 --> 00:29:52,720
Speaker 2: going to, like do this insane you know, open up

587
00:29:52,760 --> 00:29:55,880
Speaker 2: your closet, pull out the freaking blue background, the ring

588
00:29:55,960 --> 00:29:59,280
Speaker 2: light and then read it with your friend and tim

589
00:29:59,360 --> 00:30:03,440
Speaker 2: buck too over zoom at five in the morning. I mean,

590
00:30:03,680 --> 00:30:06,160
Speaker 2: what they're asking you guys to do right now is insane.

591
00:30:06,560 --> 00:30:10,760
Speaker 2: Your acting had best not be the problem, right Your

592
00:30:10,800 --> 00:30:13,000
Speaker 2: acting has to be well okay that I can do.

593
00:30:13,520 --> 00:30:15,560
Speaker 2: One of the things I like to say is when

594
00:30:15,600 --> 00:30:18,040
Speaker 2: I was an actor, I was always going to audition

595
00:30:18,120 --> 00:30:20,440
Speaker 2: for South Coast Rep because I'd been to drama school

596
00:30:20,480 --> 00:30:23,680
Speaker 2: and so and South Coast Rep. For those of you

597
00:30:23,720 --> 00:30:28,520
Speaker 2: in Australia, Hi, it's this wonderful regional theater. I don't know.

598
00:30:28,600 --> 00:30:30,680
Speaker 2: A couple hours away, two two and a half hours

599
00:30:30,720 --> 00:30:35,520
Speaker 2: away from La and all of us theater types in

600
00:30:35,560 --> 00:30:40,320
Speaker 2: those days would drive to Orange County to audition. And

601
00:30:40,720 --> 00:30:43,760
Speaker 2: you know, I had a little nineteen eighty one Honda Accord.

602
00:30:44,120 --> 00:30:47,320
Speaker 2: That was my first call. Harriet the Honda. Really, yeah,

603
00:30:47,440 --> 00:30:50,400
Speaker 2: I'd hand me down. Did Harriet have one hundred and

604
00:30:50,480 --> 00:30:53,200
Speaker 2: forty seven thousand miles on her when you bought her? Yeah?

605
00:30:53,280 --> 00:30:55,280
Speaker 3: I didn't know that that was a lot of miles.

606
00:30:55,760 --> 00:30:58,640
Speaker 2: I did not really know. And my Harriet would not

607
00:30:58,720 --> 00:31:00,640
Speaker 2: make it up the four h five, which is the

608
00:31:00,720 --> 00:31:02,920
Speaker 2: highway you need to take to get to the Orange

609
00:31:02,960 --> 00:31:06,120
Speaker 2: County and the audition. And I would that's a problem.

610
00:31:06,120 --> 00:31:08,680
Speaker 2: You can have your acting career that your car won't

611
00:31:08,680 --> 00:31:10,920
Speaker 2: make it. Uh huh. But I kind of feel like

612
00:31:11,360 --> 00:31:14,360
Speaker 2: if your acting is excellent, and that's the problem, Lola.

613
00:31:14,520 --> 00:31:16,760
Speaker 2: That's what I want to talk about today, is that

614
00:31:17,360 --> 00:31:22,160
Speaker 2: I don't think that there is a bar for excellence

615
00:31:22,200 --> 00:31:24,440
Speaker 2: in acting, and I mean, for me, there is. I

616
00:31:24,600 --> 00:31:26,320
Speaker 2: just look at you and I'm like, Okay, I look

617
00:31:26,360 --> 00:31:27,800
Speaker 2: at where you want to go. I look at where

618
00:31:27,840 --> 00:31:29,280
Speaker 2: you are now, and I go, okay, we need to

619
00:31:29,280 --> 00:31:31,200
Speaker 2: do these things to get you there.

620
00:31:31,240 --> 00:31:35,520
Speaker 1: You're a problem solver. I've watched I've watched you, especially yesterday.

621
00:31:35,760 --> 00:31:37,560
Speaker 1: I love the way you can look at a human

622
00:31:37,600 --> 00:31:41,520
Speaker 1: being and see if they're what they put up, and

623
00:31:41,960 --> 00:31:43,800
Speaker 1: you can see your brain just kind of like be like,

624
00:31:43,880 --> 00:31:45,440
Speaker 1: I can see that you need that and you need

625
00:31:45,520 --> 00:31:47,440
Speaker 1: like even the way we had a beautiful actor he

626
00:31:47,480 --> 00:31:49,320
Speaker 1: has said, but his regime was just a bit out

627
00:31:49,360 --> 00:31:51,600
Speaker 1: of whack and a bit wonky, and you were like, hey,

628
00:31:51,880 --> 00:31:54,080
Speaker 1: we just need to fix this up. It's an easy fix,

629
00:31:54,760 --> 00:31:57,520
Speaker 1: and I feel like your brain naturally problem solves.

630
00:31:57,720 --> 00:32:00,520
Speaker 2: Well, that kid that you're talking about yesterday, did you

631
00:32:00,560 --> 00:32:01,320
Speaker 2: get a look at him?

632
00:32:01,520 --> 00:32:04,800
Speaker 1: Yeah? For stomach gorgeous, Yeah, yeah, And again if you

633
00:32:04,840 --> 00:32:07,320
Speaker 1: remember that this is a business of moving pictures, because

634
00:32:07,360 --> 00:32:08,000
Speaker 1: he's gorgeous.

635
00:32:08,040 --> 00:32:09,880
Speaker 2: You could tell that he's connected by how much he

636
00:32:09,920 --> 00:32:11,480
Speaker 2: didn't want to tell us how connected he was.

637
00:32:11,560 --> 00:32:15,480
Speaker 3: Yes, right, adorable, gorgeous speaking voice.

638
00:32:16,680 --> 00:32:19,720
Speaker 2: You know that kid, whether he's connected or not, is

639
00:32:19,760 --> 00:32:22,120
Speaker 2: going to walk down the beach and somebody's going to go, you,

640
00:32:22,440 --> 00:32:24,479
Speaker 2: are you an actor? Come here, I'm going to make

641
00:32:24,520 --> 00:32:27,520
Speaker 2: you a shah. And so what I want is when

642
00:32:27,560 --> 00:32:29,800
Speaker 2: that happens to that kid, because it's going to happen

643
00:32:29,840 --> 00:32:33,120
Speaker 2: to him because of what he looks like. I need

644
00:32:33,160 --> 00:32:35,920
Speaker 2: to make sure that his resume doesn't look like a

645
00:32:35,920 --> 00:32:38,959
Speaker 2: two year old wrote it, and pet makes somebody panic.

646
00:32:39,280 --> 00:32:41,040
Speaker 2: I need to make sure that when he picks up

647
00:32:41,080 --> 00:32:43,080
Speaker 2: the scene that they want him to read, that he

648
00:32:43,120 --> 00:32:45,520
Speaker 2: reads it and they're like, yep, exactly, that's exactly what

649
00:32:45,560 --> 00:32:47,760
Speaker 2: we thought he would do. He understands it. Give him

650
00:32:47,760 --> 00:32:50,160
Speaker 2: a freaking job. And I feel like too many people

651
00:32:50,240 --> 00:32:57,320
Speaker 2: don't understand how far away they are from that end,

652
00:32:58,080 --> 00:33:02,080
Speaker 2: And it makes me panic because I know now how

653
00:33:02,120 --> 00:33:07,000
Speaker 2: far away I was when I was him, and nobody

654
00:33:07,240 --> 00:33:09,920
Speaker 2: was talking to me in that way. Listen, in those days,

655
00:33:09,920 --> 00:33:12,480
Speaker 2: there was no marketing of an actor. We didn't talk

656
00:33:12,520 --> 00:33:18,160
Speaker 2: about that, but nevertheless, nobody really was looking at me

657
00:33:18,200 --> 00:33:20,800
Speaker 2: and going, curre your problems and this is what's going

658
00:33:20,840 --> 00:33:23,280
Speaker 2: to keep them from casting you. We have to fix

659
00:33:23,360 --> 00:33:25,440
Speaker 2: these exact things that are going to keep them from

660
00:33:25,520 --> 00:33:28,360
Speaker 2: casting you. We need to make you castable. Now. I

661
00:33:28,440 --> 00:33:33,400
Speaker 2: understand that there are all these people who might go, oh, leslie,

662
00:33:33,520 --> 00:33:36,600
Speaker 2: you just want me to be like everybody else. No,

663
00:33:36,920 --> 00:33:39,240
Speaker 2: and let's go back to that. No, that's not what

664
00:33:39,360 --> 00:33:41,960
Speaker 2: I want at all. I just there was a wonderful

665
00:33:42,000 --> 00:33:46,120
Speaker 2: casting director a million years ago who wrote somewhere, you

666
00:33:46,240 --> 00:33:48,360
Speaker 2: just need to fit a category that I see in

667
00:33:48,400 --> 00:33:52,800
Speaker 2: the breakdowns, because if you don't, you're literally not on

668
00:33:52,840 --> 00:33:56,520
Speaker 2: the breakdowns, which means there aren't any opportunities for you.

669
00:33:57,000 --> 00:34:00,600
Speaker 2: And I understand that for that kid that we met yesterday, he's.

670
00:34:00,440 --> 00:34:02,480
Speaker 3: On every freaking breakdown in man crime.

671
00:34:02,960 --> 00:34:05,640
Speaker 2: And I understand that it's not fair, and I'm right

672
00:34:05,640 --> 00:34:07,800
Speaker 2: there with you, but that's life. It's going to be

673
00:34:07,800 --> 00:34:10,880
Speaker 2: easier for him. And he's hard working, and he's getting

674
00:34:10,920 --> 00:34:13,480
Speaker 2: himself all these degrees and he's studying everywhere, and.

675
00:34:13,440 --> 00:34:15,879
Speaker 1: He's like young as anything as well, like he's got

676
00:34:16,160 --> 00:34:18,239
Speaker 1: all luck counties side. But I love that what you

677
00:34:18,280 --> 00:34:20,200
Speaker 1: said to me was you were like, let's increase your

678
00:34:20,239 --> 00:34:23,080
Speaker 1: luck and you're able to look at somem with a

679
00:34:23,400 --> 00:34:25,120
Speaker 1: fresh set eyes and just be like, have you thought

680
00:34:25,120 --> 00:34:27,400
Speaker 1: about trying this, this, and this because that might affect

681
00:34:27,440 --> 00:34:27,839
Speaker 1: your luck?

682
00:34:28,040 --> 00:34:30,960
Speaker 2: Well. Yeah, and especially in a business of moving pictures.

683
00:34:31,040 --> 00:34:33,080
Speaker 2: And some people will say, well, she's obsessed with what

684
00:34:33,080 --> 00:34:35,359
Speaker 2: people look like. Yeah, because it's a business of moving

685
00:34:36,680 --> 00:34:39,480
Speaker 2: I'm not coaching voiceover here, do you know what I mean.

686
00:34:40,160 --> 00:34:43,600
Speaker 2: I'm not coaching animation. I'm looking at you and I'm

687
00:34:43,640 --> 00:34:46,799
Speaker 2: going okay, So how do I get this face with

688
00:34:46,920 --> 00:34:49,280
Speaker 2: these blue eyes? How do I get it to pop?

689
00:34:49,520 --> 00:34:52,040
Speaker 2: How do I get it to be a category? The

690
00:34:52,120 --> 00:34:55,680
Speaker 2: Patrick Baka, the casting director, sees in the breakdowns, how

691
00:34:55,719 --> 00:34:58,120
Speaker 2: do I get her in the game? And then once

692
00:34:58,160 --> 00:34:58,719
Speaker 2: she's in the.

693
00:34:58,800 --> 00:35:01,080
Speaker 3: In the game, how do I get her to be

694
00:35:01,160 --> 00:35:01,919
Speaker 3: the one they pick?

695
00:35:02,400 --> 00:35:04,880
Speaker 2: Right? And everybody thinks it's well, you have to do

696
00:35:04,920 --> 00:35:07,640
Speaker 2: something different because if we go back to that other topic,

697
00:35:07,960 --> 00:35:11,680
Speaker 2: that's what we hear from casting directors, because casting directors

698
00:35:11,800 --> 00:35:14,560
Speaker 2: think that that's what it is. So when casting directors

699
00:35:14,600 --> 00:35:16,880
Speaker 2: say to us, well, I sat there and I watched

700
00:35:16,920 --> 00:35:19,479
Speaker 2: all three hundred tips and everybody did the same thing,

701
00:35:20,160 --> 00:35:23,480
Speaker 2: They're right, everybody did the same thing. They missed all

702
00:35:23,560 --> 00:35:27,040
Speaker 2: of the specificity in the paper. Excuse me, they just

703
00:35:27,120 --> 00:35:30,040
Speaker 2: read what it looked like the actors and they all

704
00:35:30,080 --> 00:35:32,239
Speaker 2: did come in and do the same thing. But the

705
00:35:32,320 --> 00:35:35,640
Speaker 2: cure is not to put on a Groucho Marx mask

706
00:35:36,040 --> 00:35:39,440
Speaker 2: and have a limp. The cure is not a French accent,

707
00:35:39,600 --> 00:35:42,080
Speaker 2: or the cure is not to put a scar on

708
00:35:42,120 --> 00:35:44,359
Speaker 2: your face, and the cure is not to wear an

709
00:35:44,360 --> 00:35:47,799
Speaker 2: evening mam. The cure is to go more deeply into

710
00:35:47,800 --> 00:35:50,880
Speaker 2: the paper, yes, and to find out what is text

711
00:35:50,920 --> 00:35:55,839
Speaker 2: based that you are missing. One of my newest analogies

712
00:35:56,000 --> 00:35:58,680
Speaker 2: is if you think about a ruler, right, and so

713
00:35:59,120 --> 00:36:02,839
Speaker 2: you've got your zero centimeters one, two, three, four, that's

714
00:36:02,840 --> 00:36:05,000
Speaker 2: what you see on the ruler. You see those big numbers.

715
00:36:05,440 --> 00:36:07,680
Speaker 2: If you look more closely, though, you'll see that there's

716
00:36:07,800 --> 00:36:09,839
Speaker 2: a half a centimeter mark and one and a half

717
00:36:09,880 --> 00:36:11,960
Speaker 2: and two and a half. If you look more closely,

718
00:36:12,040 --> 00:36:15,920
Speaker 2: there's even one quarter of a centimeter three quarters. If

719
00:36:15,960 --> 00:36:18,120
Speaker 2: you look more closely, there are lines in between there,

720
00:36:18,480 --> 00:36:21,040
Speaker 2: and if you look more closely there are no more lines.

721
00:36:21,600 --> 00:36:25,600
Speaker 2: But there's so much more specificity to be gotten. And

722
00:36:25,680 --> 00:36:28,279
Speaker 2: if you think of it, if all you're doing is

723
00:36:28,320 --> 00:36:30,680
Speaker 2: the zero, the one, the two, and the three, you're

724
00:36:31,000 --> 00:36:35,160
Speaker 2: you're taking that paint by numbers picture and you're not

725
00:36:35,200 --> 00:36:38,200
Speaker 2: even connecting zero, one, two, three, four, five, six, seven

726
00:36:38,239 --> 00:36:42,000
Speaker 2: eight into the picture. You're going zero three, six seventeen

727
00:36:42,760 --> 00:36:47,760
Speaker 2: nineteen twenty eight. Right, We're not getting the full picture right.

728
00:36:47,880 --> 00:36:49,839
Speaker 2: And you might say to me, but Leslie, that's why

729
00:36:49,880 --> 00:36:52,200
Speaker 2: this isn't fair. I need more time. If I had

730
00:36:52,239 --> 00:36:54,719
Speaker 2: nine months in the mountains of Russia, rehearsing eight hours

731
00:36:54,760 --> 00:36:56,919
Speaker 2: a day with an OH tour director, I could get there.

732
00:36:56,960 --> 00:36:59,479
Speaker 2: And what I'm saying to you is you don't need

733
00:36:59,560 --> 00:37:02,160
Speaker 2: the nine months. You can do it right now. But

734
00:37:02,239 --> 00:37:05,440
Speaker 2: you have to look at the paper completely differently than

735
00:37:05,480 --> 00:37:07,920
Speaker 2: the way at least I and I'm guessing you have

736
00:37:08,040 --> 00:37:10,359
Speaker 2: been trained to look at the paper. And again, I'm

737
00:37:10,360 --> 00:37:12,000
Speaker 2: not saying that the way we were trained to look

738
00:37:12,000 --> 00:37:15,040
Speaker 2: at the paper is wrong. I'm simply saying if we

739
00:37:15,160 --> 00:37:17,680
Speaker 2: do it that way, we won't get there in time

740
00:37:17,719 --> 00:37:20,680
Speaker 2: to get our tape in time. I can't talk. I

741
00:37:20,719 --> 00:37:23,759
Speaker 2: know what you mean. In time. We have to get

742
00:37:23,760 --> 00:37:24,960
Speaker 2: our tape in by a deadline.

743
00:37:25,440 --> 00:37:28,319
Speaker 1: The cool and the cool thing about training with you

744
00:37:28,520 --> 00:37:33,839
Speaker 1: is once you learn these patterns and learn to learn

745
00:37:33,880 --> 00:37:37,880
Speaker 1: this text analysis, you can't unlearn it. So you'll read

746
00:37:38,000 --> 00:37:40,880
Speaker 1: something and you would straight away be like there's a

747
00:37:40,920 --> 00:37:44,000
Speaker 1: rule of three, Okay, there's a reversal, Oh, there's a monologue.

748
00:37:44,000 --> 00:37:47,640
Speaker 1: We're build of yees, you know, and you start your

749
00:37:47,680 --> 00:37:50,040
Speaker 1: brain like straight and it's almost like having a superpower,

750
00:37:50,120 --> 00:37:53,319
Speaker 1: or you're like looking at something with laser like you

751
00:37:53,360 --> 00:37:56,200
Speaker 1: feel like you're seeing something because you haven't seen it

752
00:37:56,200 --> 00:37:58,200
Speaker 1: this whole time. It feels like a magic treat because

753
00:37:58,239 --> 00:38:00,920
Speaker 1: you're like, oh, my goodness, it's like it's given to

754
00:38:01,080 --> 00:38:01,520
Speaker 1: us too.

755
00:38:02,239 --> 00:38:07,000
Speaker 2: Yes, and you said that you can't nobody can take

756
00:38:07,040 --> 00:38:12,279
Speaker 2: it away from you. The problem is that everything sort

757
00:38:12,280 --> 00:38:15,080
Speaker 2: of falls apart if you don't keep at it. Of course,

758
00:38:15,200 --> 00:38:18,840
Speaker 2: for example, my trainer just moved away, and I like

759
00:38:18,920 --> 00:38:22,520
Speaker 2: to burn out. I've not gotten a new trainer, and

760
00:38:23,280 --> 00:38:25,080
Speaker 2: you know, I probably won't be doing it until my

761
00:38:25,160 --> 00:38:27,160
Speaker 2: husband really gets a good look at me and says,

762
00:38:27,400 --> 00:38:31,319
Speaker 2: get a trainer, because I'm really not interested. But the

763
00:38:31,440 --> 00:38:33,720
Speaker 2: fact is that I see the difference in my body

764
00:38:33,760 --> 00:38:37,200
Speaker 2: in just a month because I'm not doing it. Not

765
00:38:37,239 --> 00:38:38,879
Speaker 2: only am I not doing it every day, I'm never

766
00:38:38,960 --> 00:38:41,239
Speaker 2: doing it. And so that's what happens to us. We

767
00:38:41,280 --> 00:38:43,400
Speaker 2: take a class where like, oh, I've learned it. No,

768
00:38:43,560 --> 00:38:45,120
Speaker 2: my love, you have not learned it at all. You

769
00:38:46,280 --> 00:38:49,040
Speaker 2: have some things written down in a notebook, that's what

770
00:38:49,080 --> 00:38:51,799
Speaker 2: you have. You kind of need to work it every day,

771
00:38:51,960 --> 00:38:55,319
Speaker 2: and because more and more and more happens, it's not

772
00:38:55,440 --> 00:38:58,000
Speaker 2: just okay, well, if I learn this finite set of.

773
00:39:00,080 --> 00:39:02,080
Speaker 3: Things, I've got it.

774
00:39:02,560 --> 00:39:04,960
Speaker 2: No, Because it's like you know, I like to think

775
00:39:05,000 --> 00:39:07,640
Speaker 2: of it as the practice of law or the practice

776
00:39:07,640 --> 00:39:10,400
Speaker 2: of surgery. Let's talk about surgery. Didn't you study law?

777
00:39:10,719 --> 00:39:12,560
Speaker 2: I did not. Didn't when you going to go into

778
00:39:12,640 --> 00:39:16,600
Speaker 2: law at Cornwall or something Cornell. Cornell was my undergraduate

779
00:39:16,680 --> 00:39:20,000
Speaker 2: and I was their pre law because my father.

780
00:39:19,840 --> 00:39:20,400
Speaker 3: Was a lawyer.

781
00:39:20,760 --> 00:39:22,839
Speaker 2: But look at you. I would never have been a lawyer.

782
00:39:22,880 --> 00:39:24,400
Speaker 2: I would have been a disastrous lawyer.

783
00:39:24,480 --> 00:39:25,560
Speaker 3: My best friend is a lawyer.

784
00:39:25,920 --> 00:39:28,680
Speaker 2: But anyway, where was I This was going to be Oh, okay,

785
00:39:28,680 --> 00:39:30,759
Speaker 2: we were talking about surgery. So who do you want

786
00:39:30,760 --> 00:39:32,960
Speaker 2: to do your surgery, the guy that just got out

787
00:39:33,000 --> 00:39:35,920
Speaker 2: of surgery school or the guy that's been doing surgery

788
00:39:35,960 --> 00:39:40,680
Speaker 2: for twenty years? Yeah, the latter, why experience by experience

789
00:39:40,719 --> 00:39:42,600
Speaker 2: and know how what do you mean? He's lived it.

790
00:39:43,320 --> 00:39:47,239
Speaker 2: He has done so many operations. He has been through

791
00:39:47,440 --> 00:39:51,480
Speaker 2: every possible horrifying thing that could happen. You know, I

792
00:39:51,480 --> 00:39:54,680
Speaker 2: don't know anything about medicine. So you know your blood

793
00:39:54,719 --> 00:39:57,960
Speaker 2: could turn green suddenly you stop breathing. I don't know

794
00:39:57,960 --> 00:40:00,120
Speaker 2: what all the horrible things are that have happened. I'm

795
00:40:00,160 --> 00:40:01,840
Speaker 2: going to tell you one thing. The guy that just

796
00:40:01,840 --> 00:40:04,400
Speaker 2: got out of med school doesn't no shit off. But

797
00:40:04,480 --> 00:40:06,839
Speaker 2: the guy that's been doing this operation for twenty years,

798
00:40:06,920 --> 00:40:10,120
Speaker 2: knows everything. That's why we want him. That's what I

799
00:40:10,120 --> 00:40:12,080
Speaker 2: want you to be as an actor. I want you

800
00:40:12,120 --> 00:40:15,400
Speaker 2: to be the world's foremost leading authority on how to act.

801
00:40:15,800 --> 00:40:17,880
Speaker 2: What do we do as actors, not that you know

802
00:40:17,920 --> 00:40:20,200
Speaker 2: what we do. We go on set and we're like,

803
00:40:20,600 --> 00:40:23,400
Speaker 2: I'm so directable, Just tell me what you want me

804
00:40:23,440 --> 00:40:28,000
Speaker 2: to do, hair director. I take direction really well, and

805
00:40:28,040 --> 00:40:29,480
Speaker 2: I don't want you to be that actor at all.

806
00:40:29,560 --> 00:40:31,600
Speaker 2: I want you to go on set as the world's

807
00:40:31,600 --> 00:40:34,920
Speaker 2: foremost leading authority on your character in the script. And

808
00:40:34,960 --> 00:40:36,520
Speaker 2: then I want you to get with all the other

809
00:40:36,719 --> 00:40:40,160
Speaker 2: world's foremost authorities on their characters in the script.

810
00:40:40,360 --> 00:40:43,160
Speaker 3: And the director who has a whole different job which

811
00:40:43,200 --> 00:40:46,319
Speaker 3: has nothing to do with telling you what your motivation is.

812
00:40:47,440 --> 00:40:50,160
Speaker 3: His job is making the picture look really good.

813
00:40:50,280 --> 00:40:52,920
Speaker 2: Yeah right, And it's the lighting guy who needs to

814
00:40:52,920 --> 00:40:55,239
Speaker 2: get the light on you, and the wardrobe lady who

815
00:40:55,280 --> 00:40:59,239
Speaker 2: does everybody. You know, when you're really really lucky and

816
00:40:59,280 --> 00:41:02,200
Speaker 2: you get on a show or a movie or a

817
00:41:02,239 --> 00:41:05,440
Speaker 2: set where everybody is superb and the script is superb,

818
00:41:05,960 --> 00:41:09,120
Speaker 2: that's when we have a chance. Everybody's bringing their egg game.

819
00:41:09,800 --> 00:41:13,000
Speaker 2: I don't ever want you going to set going mold me.

820
00:41:14,160 --> 00:41:15,920
Speaker 2: I feel like that's what I was trained to do.

821
00:41:16,080 --> 00:41:21,560
Speaker 2: And my god that first of all, I know there's

822
00:41:21,600 --> 00:41:23,560
Speaker 2: no time, and that's not fun.

823
00:41:23,920 --> 00:41:27,080
Speaker 3: No, I'm not a piece of clay.

824
00:41:27,280 --> 00:41:30,880
Speaker 2: I'm an artist and and and I'm a crafts person

825
00:41:30,880 --> 00:41:33,239
Speaker 2: and I want to and I'm really good at what

826
00:41:33,320 --> 00:41:35,480
Speaker 2: I do. And then when I get on set, then

827
00:41:35,520 --> 00:41:37,239
Speaker 2: I get to see what you're doing, and I get

828
00:41:37,239 --> 00:41:39,439
Speaker 2: to interact with that, and then I get to see

829
00:41:39,480 --> 00:41:42,840
Speaker 2: what that you know, I don't know sound guy is doing.

830
00:41:43,040 --> 00:41:45,120
Speaker 2: And then I get to see oh, and the director goes, oh, well,

831
00:41:45,160 --> 00:41:46,920
Speaker 2: if you go like that, and he goes like that,

832
00:41:47,280 --> 00:41:49,200
Speaker 2: it's going to be so much better, and I'm like, yes,

833
00:41:49,680 --> 00:41:52,719
Speaker 2: but I'm not reliant on him, and it's also not

834
00:41:52,920 --> 00:41:54,399
Speaker 2: his job to be my mother.

835
00:41:54,640 --> 00:41:58,120
Speaker 1: Yeah, A thousand. I think you can see it in

836
00:41:58,160 --> 00:42:00,280
Speaker 1: the quality of work. Like I've heard you talk about

837
00:42:00,360 --> 00:42:04,840
Speaker 1: Yellowstone Taylor Sheridan before, and you can feel like it

838
00:42:04,960 --> 00:42:09,320
Speaker 1: feels like Taylor Sheridan has touched almost like everything the writing,

839
00:42:09,840 --> 00:42:14,240
Speaker 1: set design, prop located like down to I imagine researchers

840
00:42:14,280 --> 00:42:15,720
Speaker 1: that he would have on that show.

841
00:42:15,880 --> 00:42:18,719
Speaker 2: Well, I have to say, you know, I worked with

842
00:42:18,800 --> 00:42:21,680
Speaker 2: him for a long time, and I feel like if

843
00:42:21,680 --> 00:42:24,640
Speaker 2: he took anything from me, that's what he took. He

844
00:42:24,760 --> 00:42:28,920
Speaker 2: took learning how to be unbelievably specific, and then he

845
00:42:29,000 --> 00:42:31,959
Speaker 2: had this I guessed gift that none of us knew about.

846
00:42:32,040 --> 00:42:34,680
Speaker 2: I don't even think he knew about it. With regard

847
00:42:34,760 --> 00:42:39,560
Speaker 2: to rating, he is the storyteller extraordinary. So I mean

848
00:42:39,719 --> 00:42:43,440
Speaker 2: I live. I live from you know, the end of

849
00:42:43,440 --> 00:42:45,480
Speaker 2: his last thing to the next. Ah, you and me.

850
00:42:45,560 --> 00:42:48,640
Speaker 1: But like me as a consumer, I'm just like, this

851
00:42:48,840 --> 00:42:53,520
Speaker 1: is down to I'm lucky enough. I've interviewed one of

852
00:42:53,520 --> 00:42:58,200
Speaker 1: his composers and apparently once the I think they call

853
00:42:58,280 --> 00:43:01,120
Speaker 1: him the sweeps, like essentially like huge chunks of music

854
00:43:01,400 --> 00:43:04,200
Speaker 1: for the essence of whether it be eighteen eighty three,

855
00:43:04,440 --> 00:43:07,719
Speaker 1: nineteen twenty three, Yellowstone, No.

856
00:43:08,560 --> 00:43:10,840
Speaker 2: I am still do you still have that image of

857
00:43:10,880 --> 00:43:13,160
Speaker 2: your mind of what is he on the boat or

858
00:43:13,320 --> 00:43:16,279
Speaker 2: and she's on the there there's so bad You're like,

859
00:43:16,400 --> 00:43:18,040
Speaker 2: how is she going to get there? And then I

860
00:43:18,080 --> 00:43:20,600
Speaker 2: have chills. And then I've gotten to see, you know,

861
00:43:20,719 --> 00:43:24,759
Speaker 2: some of the audition, some of the gross So I'm like,

862
00:43:25,000 --> 00:43:28,200
Speaker 2: when I knowing that and seeing some of these things

863
00:43:28,239 --> 00:43:30,800
Speaker 2: come in I'm like, oh, oh my god, I cannot

864
00:43:30,880 --> 00:43:33,240
Speaker 2: believe he's already taken the story.

865
00:43:33,320 --> 00:43:37,400
Speaker 3: It's like so far beyond what I had in my imagination.

866
00:43:37,360 --> 00:43:38,319
Speaker 2: Isn't it incredible?

867
00:43:38,760 --> 00:43:41,120
Speaker 1: But do you know they give those sweeps to the actors,

868
00:43:41,160 --> 00:43:43,560
Speaker 1: so in eighteen eighty three, you know, yeah, so you

869
00:43:43,600 --> 00:43:46,440
Speaker 1: know how it's Sam Elliott. Have you seen eighteen eighty

870
00:43:46,480 --> 00:43:49,120
Speaker 1: three with a burning house? It's like a six minute

871
00:43:49,200 --> 00:43:53,600
Speaker 1: score and no dialogue. It's just very and they give

872
00:43:53,640 --> 00:43:56,680
Speaker 1: the actors the score before the scene, and.

873
00:43:56,760 --> 00:43:57,640
Speaker 2: Like, what a gift.

874
00:43:57,920 --> 00:44:00,400
Speaker 1: Oh my god, could you imagine, like just even that

875
00:44:00,440 --> 00:44:03,240
Speaker 1: beautiful piece, and even the way you were talking yesterday

876
00:44:03,239 --> 00:44:04,920
Speaker 1: to an actor and you were like, maybe you're more

877
00:44:05,000 --> 00:44:07,319
Speaker 1: right brain than left brain. Imagine if you were an

878
00:44:07,360 --> 00:44:11,840
Speaker 1: actor that was lent more into that right brain and directed.

879
00:44:11,920 --> 00:44:14,080
Speaker 1: It was like, here's the score, like go away and

880
00:44:14,200 --> 00:44:14,480
Speaker 1: enjoy it.

881
00:44:14,600 --> 00:44:15,880
Speaker 2: Like what like?

882
00:44:16,040 --> 00:44:17,759
Speaker 1: And I'm going on a tangent here, but I just think,

883
00:44:17,800 --> 00:44:23,040
Speaker 1: what an incredible, beautiful piece of art we get to watch, unbelievable.

884
00:44:23,239 --> 00:44:26,120
Speaker 1: And I remember him from Sons of Anarchy days as

885
00:44:26,560 --> 00:44:30,560
Speaker 1: he was the beautiful like hmm, not constable. He was

886
00:44:30,600 --> 00:44:33,000
Speaker 1: like a detective, kind of like police officer.

887
00:44:33,520 --> 00:44:35,680
Speaker 3: I don't remember this back in the day.

888
00:44:35,760 --> 00:44:38,200
Speaker 1: Too much shit in this, but that's what made him right.

889
00:44:38,280 --> 00:44:40,000
Speaker 1: He was like, they wouldn't give him a pay rise.

890
00:44:40,120 --> 00:44:43,960
Speaker 1: They wouldn't. Yeah, and he was he had had his

891
00:44:44,000 --> 00:44:46,000
Speaker 1: first kid. I think he was forty. He was sitting

892
00:44:46,000 --> 00:44:49,719
Speaker 1: in a little apartment up here and wrote Sakario and

893
00:44:49,719 --> 00:44:52,360
Speaker 1: that was the beginning of wrote it over a weekend.

894
00:44:53,120 --> 00:44:56,840
Speaker 1: How amazing, unbelievable. Yeah, I mean, but again, this is

895
00:44:56,880 --> 00:45:00,840
Speaker 1: where like to break down the art and as an actor,

896
00:45:00,880 --> 00:45:03,560
Speaker 1: I imagine getting a script like that, you would have

897
00:45:03,840 --> 00:45:05,720
Speaker 1: so much like fun.

898
00:45:06,040 --> 00:45:09,080
Speaker 2: But let's go back. Yes, but I want you to

899
00:45:09,160 --> 00:45:11,239
Speaker 2: know how to look at a script like that, and

900
00:45:11,280 --> 00:45:14,879
Speaker 2: I want you to tell Taylor's story, not I feel

901
00:45:14,960 --> 00:45:17,120
Speaker 2: like what I was. Literally what I feel like I

902
00:45:17,160 --> 00:45:20,560
Speaker 2: have a master's degree in is looking at a script

903
00:45:20,680 --> 00:45:23,319
Speaker 2: and or what I had a master's degree and was

904
00:45:23,320 --> 00:45:25,360
Speaker 2: looking at a script and making it the story I

905
00:45:25,400 --> 00:45:28,279
Speaker 2: wanted it to be and making Lady m who I

906
00:45:28,400 --> 00:45:30,960
Speaker 2: wanted her to be. And you know what, I'm just

907
00:45:31,000 --> 00:45:32,200
Speaker 2: going to go out on them and say, I think

908
00:45:32,239 --> 00:45:35,040
Speaker 2: Shakespeare knew more than I know. Yeah, and so I

909
00:45:35,080 --> 00:45:37,759
Speaker 2: think maybe I should have looked more carefully at what

910
00:45:37,800 --> 00:45:40,160
Speaker 2: he wanted me to do. Yeah, right, And that's what

911
00:45:40,200 --> 00:45:43,000
Speaker 2: I want actors to do. I feel like we are

912
00:45:43,160 --> 00:45:45,840
Speaker 2: so limited in the way we look at it, and

913
00:45:45,880 --> 00:45:49,800
Speaker 2: I want everybody to open up and see the possibilities

914
00:45:49,880 --> 00:45:52,359
Speaker 2: and that we don't have to feel so limited, and

915
00:45:52,400 --> 00:45:57,319
Speaker 2: that if we only became consummate professionals, people who look

916
00:45:57,320 --> 00:45:59,239
Speaker 2: at the paper, know what the paper needs to do,

917
00:45:59,360 --> 00:46:02,560
Speaker 2: and do that, then suddenly we're going to have a

918
00:46:02,600 --> 00:46:06,320
Speaker 2: lot more opportunity. Yes, I get very I was talking

919
00:46:06,320 --> 00:46:12,560
Speaker 2: to a client the other day and and and he

920
00:46:12,760 --> 00:46:17,160
Speaker 2: said about he was talking about working and why he

921
00:46:17,239 --> 00:46:18,880
Speaker 2: was in class. And he goes, sometimes I don't know

922
00:46:18,920 --> 00:46:24,000
Speaker 2: why I'm in class. And I said, you're in class

923
00:46:24,640 --> 00:46:28,040
Speaker 2: because you don't know how to fish. And he goes,

924
00:46:28,080 --> 00:46:31,960
Speaker 2: what does that mean? And I said, when you're booking jobs,

925
00:46:32,040 --> 00:46:35,319
Speaker 2: you're coaching with me, and I'm telling you what the

926
00:46:35,320 --> 00:46:38,480
Speaker 2: writer wants you to do. You've been an actor for

927
00:46:38,520 --> 00:46:41,640
Speaker 2: a while, so you're really good. When I tell you

928
00:46:41,880 --> 00:46:43,920
Speaker 2: the writer is saying this, this, this, and this, You're like,

929
00:46:44,040 --> 00:46:46,680
Speaker 2: oh okay. And when we work on it together, I

930
00:46:46,760 --> 00:46:51,200
Speaker 2: basically hand you fish. Okay, You're in class, so then

931
00:46:51,480 --> 00:46:54,920
Speaker 2: you learn to fish so that you are not reliant

932
00:46:55,160 --> 00:46:58,360
Speaker 2: on my availability to show you what the writer is

933
00:46:58,400 --> 00:47:01,080
Speaker 2: asking you to do right now. You don't look at

934
00:47:01,120 --> 00:47:04,000
Speaker 2: the paper and see what he wants. Well, is that possible?

935
00:47:04,120 --> 00:47:07,640
Speaker 2: And I'm like, I am the living proof. Every member

936
00:47:07,680 --> 00:47:10,239
Speaker 2: of my faculty and a gazillion people out there that

937
00:47:10,320 --> 00:47:13,080
Speaker 2: you watch in movies and on TV are a proof

938
00:47:13,360 --> 00:47:15,560
Speaker 2: that it can be done. And that's what I want

939
00:47:15,600 --> 00:47:17,719
Speaker 2: for you. I did not have that when I was

940
00:47:17,760 --> 00:47:20,880
Speaker 2: an actor. I didn't have the knowledge that when a

941
00:47:20,960 --> 00:47:23,000
Speaker 2: script came in that I was going to know exactly

942
00:47:23,000 --> 00:47:26,080
Speaker 2: how it should be done. Now, just because I know

943
00:47:26,160 --> 00:47:29,400
Speaker 2: how it should be done doesn't mean that that network

944
00:47:29,480 --> 00:47:32,800
Speaker 2: executive agrees with me. That network executive, I'm going to

945
00:47:32,880 --> 00:47:37,360
Speaker 2: go out a limb didn't go to a drama school.

946
00:47:37,840 --> 00:47:41,120
Speaker 2: He went to law school. And he doesn't know anymore

947
00:47:41,160 --> 00:47:44,480
Speaker 2: about how to read that paper than Calisi, my dog.

948
00:47:44,840 --> 00:47:47,359
Speaker 2: And I don't mean the mother of Dragons. I mean

949
00:47:47,560 --> 00:47:51,040
Speaker 2: my dog Cleisi. And it's not to put him down.

950
00:47:51,080 --> 00:47:53,240
Speaker 2: He knows a lot about business. He knows about marketing,

951
00:47:53,280 --> 00:47:55,399
Speaker 2: he knows about publicity. He knows how to make things

952
00:47:55,400 --> 00:47:57,799
Speaker 2: a hit. That's great, but he doesn't know how to

953
00:47:57,800 --> 00:48:00,480
Speaker 2: read this paper. So he read this paper. You went, well,

954
00:48:00,480 --> 00:48:03,080
Speaker 2: I think the character is X. And of course I

955
00:48:03,160 --> 00:48:05,080
Speaker 2: read the paper and I know what Alan Ball wants

956
00:48:05,080 --> 00:48:06,879
Speaker 2: it to be. And I'm like, well, Alan Ball wants

957
00:48:06,880 --> 00:48:09,640
Speaker 2: it to be why, So we're going to do why here?

958
00:48:09,840 --> 00:48:16,600
Speaker 1: No so interesting and a great brain, my friend, I've

959
00:48:16,719 --> 00:48:17,960
Speaker 1: only just been doing this.

960
00:48:17,960 --> 00:48:20,600
Speaker 2: This is all I've I'm the luckiest person. You know,

961
00:48:21,000 --> 00:48:24,120
Speaker 2: this is you know, for many many years. This is

962
00:48:24,640 --> 00:48:26,960
Speaker 2: all I do. So I don't know so much that

963
00:48:27,000 --> 00:48:30,640
Speaker 2: it's my brain as it is. Exposure, constant exposure to

964
00:48:30,680 --> 00:48:33,520
Speaker 2: all of the scripts. And so you look at these

965
00:48:33,520 --> 00:48:36,000
Speaker 2: scripts and you learn, you know, if you're doing it

966
00:48:36,040 --> 00:48:37,719
Speaker 2: every day, you're going to learn. That's what I want

967
00:48:37,760 --> 00:48:39,080
Speaker 2: the actors to do. I want you to do it

968
00:48:39,120 --> 00:48:41,759
Speaker 2: every day so that you learn to see what I see,

969
00:48:43,120 --> 00:48:47,120
Speaker 2: because sometimes that network executive is going to be amazing

970
00:48:47,239 --> 00:48:49,000
Speaker 2: and they're going to have that gift and they're going

971
00:48:49,040 --> 00:48:52,040
Speaker 2: to see what Alan Ball meant. Do you? I mean

972
00:48:52,160 --> 00:48:55,080
Speaker 2: sometimes when you see a script by an Aaron Sorkin,

973
00:48:55,160 --> 00:48:58,320
Speaker 2: er by somebody who's brilliant, and you read that script

974
00:48:58,320 --> 00:49:00,560
Speaker 2: and we all sit here in my class, women were like,

975
00:49:00,640 --> 00:49:02,719
Speaker 2: oh my god, we want to work on this all

976
00:49:02,760 --> 00:49:04,359
Speaker 2: the time. This is the greatest thing in the world.

977
00:49:04,440 --> 00:49:06,800
Speaker 3: We're loving this, this is so exciting.

978
00:49:06,560 --> 00:49:11,759
Speaker 2: And then the show doesn't go well. Sometimes I'm going

979
00:49:11,840 --> 00:49:14,319
Speaker 2: to go if it's a great script, it's not the

980
00:49:14,320 --> 00:49:19,440
Speaker 2: script's fault. It's that other people whose areas of expertise

981
00:49:19,520 --> 00:49:26,320
Speaker 2: are perhaps not in I don't know, storytelling, are heavily involved,

982
00:49:26,680 --> 00:49:30,200
Speaker 2: and so they and they have the power, and so

983
00:49:30,320 --> 00:49:33,359
Speaker 2: they said, no, no, no, you have to cast this person. Okay, well,

984
00:49:33,400 --> 00:49:36,480
Speaker 2: this person is an amazing actor, but it's not right

985
00:49:36,520 --> 00:49:39,520
Speaker 2: for this part, because if you cast that person with

986
00:49:39,640 --> 00:49:44,680
Speaker 2: that essence and this person with this essence, the story

987
00:49:44,719 --> 00:49:45,280
Speaker 2: doesn't happen.

988
00:49:45,360 --> 00:49:48,080
Speaker 3: Yes, right, But the lawyer doesn't.

989
00:49:47,880 --> 00:49:50,560
Speaker 2: Know that, the guy with the NBA, he doesn't know about.

990
00:49:50,640 --> 00:49:52,600
Speaker 2: All he knows is that this person is worth this

991
00:49:52,719 --> 00:49:55,840
Speaker 2: much overseas, and this person is worth this much overseas

992
00:49:56,000 --> 00:49:59,080
Speaker 2: that's going to pay their whole budget. Everybody loves those people,

993
00:49:59,120 --> 00:50:01,759
Speaker 2: so it's going to be great. But it's not great

994
00:50:01,760 --> 00:50:04,440
Speaker 2: because it's not the story that they wrote. And what

995
00:50:04,480 --> 00:50:06,719
Speaker 2: you fell in love with was the beautiful story and

996
00:50:06,760 --> 00:50:11,480
Speaker 2: you just ruined the story. And so I guess I

997
00:50:11,520 --> 00:50:15,360
Speaker 2: get so scared because I love TV and I love movies,

998
00:50:15,480 --> 00:50:18,640
Speaker 2: and I'm just that little girl that escaped into TV

999
00:50:18,719 --> 00:50:21,080
Speaker 2: and movies. And it's what kept me alive, you know,

1000
00:50:21,160 --> 00:50:22,719
Speaker 2: when I because I grew up in kind of a

1001
00:50:22,760 --> 00:50:27,799
Speaker 2: crazy house, a very crazy house, and I lived for Bewitched,

1002
00:50:28,400 --> 00:50:31,520
Speaker 2: I lived for the original Star Trek. That's what got

1003
00:50:31,560 --> 00:50:36,080
Speaker 2: me through that magic. And I'm very afraid that the

1004
00:50:36,120 --> 00:50:39,839
Speaker 2: way we're running the business right now is really adversely

1005
00:50:39,880 --> 00:50:46,640
Speaker 2: affecting magic. And so, you know now a lot of

1006
00:50:46,640 --> 00:50:48,840
Speaker 2: what I say to my actors is we've got to

1007
00:50:48,880 --> 00:50:51,960
Speaker 2: make sure the great TV and great movies don't go

1008
00:50:52,200 --> 00:50:55,520
Speaker 2: the way of opera and ballet. Nobody really goes to

1009
00:50:55,520 --> 00:51:00,160
Speaker 2: see opera and ballet anymore. Okay, So before I'm fucking dead,

1010
00:51:00,280 --> 00:51:02,760
Speaker 2: I want to make sure that there are a jillion

1011
00:51:02,800 --> 00:51:06,759
Speaker 2: people out there who know how what an actor's job

1012
00:51:06,880 --> 00:51:09,520
Speaker 2: is and can fucking do it, and can get in

1013
00:51:09,560 --> 00:51:12,480
Speaker 2: there and make things great, do their part to make

1014
00:51:12,520 --> 00:51:16,719
Speaker 2: a great script great with other people who are doing it,

1015
00:51:17,120 --> 00:51:20,880
Speaker 2: so that so that other little girls can have the

1016
00:51:20,920 --> 00:51:22,200
Speaker 2: relief that I had. See.

1017
00:51:22,200 --> 00:51:23,959
Speaker 1: I feel like you are doing that because you're built

1018
00:51:24,000 --> 00:51:27,440
Speaker 1: You've built such a beautiful faculty here like every seature

1019
00:51:27,520 --> 00:51:29,960
Speaker 1: I've trained with here, I'm like, oh, I get a

1020
00:51:29,960 --> 00:51:34,360
Speaker 1: different nugget, and it's you can see that the that

1021
00:51:34,440 --> 00:51:38,560
Speaker 1: they've not only come through your teaching but live it.

1022
00:51:38,560 --> 00:51:40,680
Speaker 1: It's like part of the way you describe like part

1023
00:51:40,719 --> 00:51:44,000
Speaker 1: of it. It's their being and essence. And so to me,

1024
00:51:44,239 --> 00:51:46,880
Speaker 1: that tells me that you are doing that what you

1025
00:51:47,200 --> 00:51:50,360
Speaker 1: know you are. One of my favorite things about the

1026
00:51:50,360 --> 00:51:52,600
Speaker 1: comedy intensive was bats and gaps.

1027
00:51:52,840 --> 00:51:56,040
Speaker 2: Huh can you share a little bit with the listeners? Okay, Well,

1028
00:51:56,480 --> 00:51:59,920
Speaker 2: so the thing is that we're actors run around and

1029
00:52:00,040 --> 00:52:04,040
Speaker 2: we have a lot of bad actor thoughts. So you guys,

1030
00:52:04,080 --> 00:52:06,719
Speaker 2: can you think of one of your bad actor thoughts. Oh,

1031
00:52:06,760 --> 00:52:08,799
Speaker 2: I'm never going to get this part. They hate all

1032
00:52:09,080 --> 00:52:13,680
Speaker 2: I think to all exactly, I'm I'm the wrong everything.

1033
00:52:13,800 --> 00:52:15,720
Speaker 2: They don't like me. I don't know the right agent.

1034
00:52:15,840 --> 00:52:17,959
Speaker 2: I can't even get the auditions. And that's what we're

1035
00:52:17,960 --> 00:52:20,560
Speaker 2: inadvertently thinking. So one of the things I want to

1036
00:52:20,600 --> 00:52:22,839
Speaker 2: do is I want to make us aware of what

1037
00:52:22,840 --> 00:52:26,280
Speaker 2: we're thinking inadvertently, and then I want us to choose

1038
00:52:26,640 --> 00:52:29,359
Speaker 2: thoughts that are the opposite of those thoughts, and then

1039
00:52:29,600 --> 00:52:31,759
Speaker 2: I want us to throw all of that shit out

1040
00:52:31,840 --> 00:52:36,440
Speaker 2: and just think our characters thoughts. And so, you know,

1041
00:52:36,719 --> 00:52:39,120
Speaker 2: last night in class, this girl that I just love,

1042
00:52:39,480 --> 00:52:43,560
Speaker 2: so talented and exquisite, but she's going through it and

1043
00:52:44,080 --> 00:52:47,759
Speaker 2: she does not like to share it. And one of

1044
00:52:47,760 --> 00:52:49,480
Speaker 2: the things I always say to actors is you need

1045
00:52:49,520 --> 00:52:52,080
Speaker 2: to cry a minimum of once a day if you're unemployed.

1046
00:52:53,160 --> 00:52:55,359
Speaker 2: If you're employed, I'm still going to give you once

1047
00:52:55,400 --> 00:52:57,640
Speaker 2: a day, but you don't really need to cry as often.

1048
00:52:57,680 --> 00:52:59,120
Speaker 2: Plus you don't want to ruin your makeup.

1049
00:52:59,440 --> 00:53:01,839
Speaker 3: But if you're unemployed, I need you to cry.

1050
00:53:01,960 --> 00:53:05,200
Speaker 2: Because most people on the planet are not running around

1051
00:53:05,400 --> 00:53:08,399
Speaker 2: worried about where their next meal is coming from. We are.

1052
00:53:08,960 --> 00:53:10,240
Speaker 2: That's a lot.

1053
00:53:10,480 --> 00:53:12,800
Speaker 3: Plus our parents are mad at us because we're actors.

1054
00:53:13,120 --> 00:53:16,080
Speaker 2: Plus we can't be in a decent relationship because we're

1055
00:53:16,160 --> 00:53:18,880
Speaker 2: lunatics and we have to work around the clock. Plus

1056
00:53:19,200 --> 00:53:21,839
Speaker 2: our lives. You know, we're living nineteen people in an

1057
00:53:21,880 --> 00:53:26,560
Speaker 2: apartment where it's just we're very stressed out, and a

1058
00:53:26,600 --> 00:53:30,480
Speaker 2: lot of us actors we know are other actors and

1059
00:53:30,520 --> 00:53:33,399
Speaker 2: everybody's feeling that way. It's not special. So we're like, well,

1060
00:53:33,440 --> 00:53:35,839
Speaker 2: I should buck up. I should be able to handle this.

1061
00:53:35,920 --> 00:53:38,719
Speaker 2: I should be okay with this, and I'm sort of like, no,

1062
00:53:38,880 --> 00:53:42,319
Speaker 2: the truth is that your life is pretty sucky right now,

1063
00:53:42,480 --> 00:53:44,239
Speaker 2: and you can't even get an audition for the show

1064
00:53:44,280 --> 00:53:47,160
Speaker 2: you want to get an audition for, so you don't

1065
00:53:47,200 --> 00:53:48,320
Speaker 2: even have hope right now.

1066
00:53:48,560 --> 00:53:52,120
Speaker 3: Right So we need to be aware that.

1067
00:53:52,040 --> 00:53:54,359
Speaker 2: We're going through that. It needs to stop being the

1068
00:53:54,400 --> 00:53:57,319
Speaker 2: norm and we need to go Okay, I am it

1069
00:53:57,400 --> 00:54:00,360
Speaker 2: is legit that I'm going through this to have a

1070
00:54:00,400 --> 00:54:05,239
Speaker 2: good cry, because otherwise we're overflowing with that. We need

1071
00:54:05,360 --> 00:54:07,919
Speaker 2: just cry. Yeah, let a little of it come down.

1072
00:54:07,960 --> 00:54:10,360
Speaker 2: I wish you guys could see. I've got like my

1073
00:54:10,520 --> 00:54:12,759
Speaker 2: hands at the very top of my head. I just

1074
00:54:12,840 --> 00:54:15,560
Speaker 2: need an inch. I needed to cry and just make

1075
00:54:15,600 --> 00:54:20,640
Speaker 2: an inch of space for you to be your character. Yeah,

1076
00:54:20,719 --> 00:54:23,759
Speaker 2: when you're so upset about your own shit, there's no

1077
00:54:24,000 --> 00:54:25,839
Speaker 2: space for you to play your carrots in a way,

1078
00:54:26,160 --> 00:54:28,759
Speaker 2: but you don't need a lot of space. You just

1079
00:54:28,800 --> 00:54:31,359
Speaker 2: need some and sometimes we're overflowing.

1080
00:54:32,480 --> 00:54:35,600
Speaker 1: That's great advice, and it also gives cry the active

1081
00:54:35,600 --> 00:54:38,040
Speaker 1: permission to like process and feel it when it's shit,

1082
00:54:38,200 --> 00:54:41,080
Speaker 1: because also it is a word of rejection, and like,

1083
00:54:41,960 --> 00:54:44,680
Speaker 1: even if you put up like five editions in a

1084
00:54:44,680 --> 00:54:47,280
Speaker 1: week and you feel great. Even if you were great,

1085
00:54:47,320 --> 00:54:50,000
Speaker 1: but they wanted a blonde and not a brunette, you're

1086
00:54:50,000 --> 00:54:52,440
Speaker 1: not going to hear a word like it's donuts. And

1087
00:54:52,480 --> 00:54:55,560
Speaker 1: I think, like, it's not even about being super resilient.

1088
00:54:55,600 --> 00:54:59,160
Speaker 1: It's just about knowing it that some days are shit.

1089
00:55:00,000 --> 00:55:01,960
Speaker 1: It's okay that some days issue it as well.

1090
00:55:02,200 --> 00:55:06,520
Speaker 2: Well, it just is. But again, when you say that,

1091
00:55:06,680 --> 00:55:10,560
Speaker 2: I immediately go to yes. But if every one of

1092
00:55:10,560 --> 00:55:14,400
Speaker 2: those five auditions was superb, and yes, they wanted a

1093
00:55:14,440 --> 00:55:16,000
Speaker 2: blonde in every one of them, and you were a

1094
00:55:16,000 --> 00:55:18,239
Speaker 2: brunette and every one of them, the fact is that

1095
00:55:18,320 --> 00:55:23,000
Speaker 2: five casting directors just saw you do something superb, and

1096
00:55:23,520 --> 00:55:26,759
Speaker 2: five people in a week seeing you do something superb

1097
00:55:27,160 --> 00:55:30,080
Speaker 2: is great. Now you might not feel the result of

1098
00:55:30,080 --> 00:55:32,600
Speaker 2: that right now at all. You won't because you're not

1099
00:55:32,600 --> 00:55:34,839
Speaker 2: going to get any of those jobs. But what's going

1100
00:55:34,920 --> 00:55:36,560
Speaker 2: to happen is they're going to bring you back in

1101
00:55:36,640 --> 00:55:39,520
Speaker 2: because you fucking made their life so much better. When

1102
00:55:39,560 --> 00:55:41,839
Speaker 2: they saw your audition, they were like, oh, that's what

1103
00:55:41,880 --> 00:55:44,680
Speaker 2: we need those blonde bitches to do. Okay, and they

1104
00:55:44,680 --> 00:55:47,000
Speaker 2: can give that blonde bitch the note that you did

1105
00:55:47,080 --> 00:55:50,759
Speaker 2: inadvertently and their job is done. And they love you

1106
00:55:51,120 --> 00:55:52,799
Speaker 2: and they want to bring you back in. They want

1107
00:55:52,840 --> 00:55:55,040
Speaker 2: to see what you're going to do. So that's what

1108
00:55:55,120 --> 00:55:58,160
Speaker 2: I want. I just want you to stop going out

1109
00:55:58,200 --> 00:56:02,760
Speaker 2: there giving them a nice seam performance of a seventy two. Yeah,

1110
00:56:03,040 --> 00:56:06,080
Speaker 2: you have got to stop giving them a B plus.

1111
00:56:06,120 --> 00:56:08,959
Speaker 2: You have got to stop with the A minuses only

1112
00:56:09,000 --> 00:56:12,680
Speaker 2: one hundred percent. It's possible, and I think we don't

1113
00:56:12,680 --> 00:56:15,640
Speaker 2: think it's possible. I didn't. I thought when I was

1114
00:56:15,680 --> 00:56:19,400
Speaker 2: an actor that well, it's all about my muse and

1115
00:56:19,440 --> 00:56:22,040
Speaker 2: if God is with me today and if God wants

1116
00:56:22,080 --> 00:56:24,320
Speaker 2: me to get this roll, and if I'm right, well,

1117
00:56:24,480 --> 00:56:27,560
Speaker 2: but it's not about this part. It's about being being

1118
00:56:28,120 --> 00:56:33,160
Speaker 2: a consummate actor every day. And then I guess talent

1119
00:56:33,200 --> 00:56:37,520
Speaker 2: will out, talent talent, I'm sorry, talent, cleft, squote, I

1120
00:56:37,560 --> 00:56:42,319
Speaker 2: can't talk talent, craft and skill will out. But if

1121
00:56:42,320 --> 00:56:44,640
Speaker 2: we're just running around hoping for the best at a

1122
00:56:44,680 --> 00:56:48,000
Speaker 2: C minus or something, yeah, And the thing is that

1123
00:56:48,040 --> 00:56:50,320
Speaker 2: it's hard for us to hear that word a C minus.

1124
00:56:50,600 --> 00:56:54,080
Speaker 2: You know, I'll say, I'll be in class with somebody

1125
00:56:54,080 --> 00:56:56,279
Speaker 2: and after class, they'll come up afterwards and they'll go,

1126
00:56:57,160 --> 00:56:59,560
Speaker 2: you didn't give me any notes. Okay, Well, first I'll

1127
00:56:59,560 --> 00:57:01,080
Speaker 2: go back to my paper and I'll go, I gave

1128
00:57:01,120 --> 00:57:02,759
Speaker 2: you fifteen notes. You want me to give them to

1129
00:57:02,760 --> 00:57:07,080
Speaker 2: you again? And they go, yeah, but you're not really,

1130
00:57:07,320 --> 00:57:10,200
Speaker 2: I'm telling you exactly what your notes are. I still

1131
00:57:10,200 --> 00:57:11,879
Speaker 2: remember all my notes I got from you.

1132
00:57:12,160 --> 00:57:16,920
Speaker 1: It was that because it was because you told me

1133
00:57:16,960 --> 00:57:19,160
Speaker 1: what I needed to hear, and so it was perfect.

1134
00:57:19,360 --> 00:57:22,479
Speaker 2: It was most people we don't want to hear it.

1135
00:57:22,640 --> 00:57:24,920
Speaker 1: Yeah, we just want you just have to get out

1136
00:57:24,960 --> 00:57:26,560
Speaker 1: of your own way, though, so you can, well you

1137
00:57:26,680 --> 00:57:27,560
Speaker 1: can you please tell.

1138
00:57:27,440 --> 00:57:29,080
Speaker 2: Me how to get us out of our own Yeah.

1139
00:57:29,160 --> 00:57:32,440
Speaker 2: I really, I'm doing everything in my power, but I

1140
00:57:32,560 --> 00:57:36,760
Speaker 2: just know too many people who are hanging on to

1141
00:57:37,000 --> 00:57:39,200
Speaker 2: I'm great. I'm great the way I am. I only

1142
00:57:39,200 --> 00:57:42,200
Speaker 2: want positive feedback. And you know they won't say that

1143
00:57:42,280 --> 00:57:44,000
Speaker 2: to me. They'll go, no, I want to hear all

1144
00:57:44,000 --> 00:57:47,680
Speaker 2: the constructive criticisms, criticism. But then they'll come up after

1145
00:57:47,760 --> 00:57:50,479
Speaker 2: class and go, you know, I don't feel good because

1146
00:57:50,520 --> 00:57:55,080
Speaker 2: you didn't compliment me what And I'm like, Acting class

1147
00:57:55,120 --> 00:57:57,960
Speaker 2: is not about your feeling good. Acting class is about

1148
00:57:58,560 --> 00:58:00,720
Speaker 2: this is what I've been saying. Did I say this yesterday?

1149
00:58:00,720 --> 00:58:04,560
Speaker 2: I might have I'm obsessed with the Simone Biles concept. Yes,

1150
00:58:04,640 --> 00:58:07,280
Speaker 2: I do not think that Simone Biles was practicing her

1151
00:58:07,360 --> 00:58:11,480
Speaker 2: six hours a day every day and her coach was saying, Oh, Simone,

1152
00:58:11,720 --> 00:58:15,240
Speaker 2: you're just wonderful. Everything you do is perfect. I think

1153
00:58:15,280 --> 00:58:17,560
Speaker 2: her coach was saying, you never, you've got to get

1154
00:58:17,560 --> 00:58:19,880
Speaker 2: that left foot pointed. It's not pointed, and what are

1155
00:58:19,880 --> 00:58:21,800
Speaker 2: you doing with that right finger? And you've got a

1156
00:58:21,880 --> 00:58:24,040
Speaker 2: then more on the left side right to do that turn.

1157
00:58:24,320 --> 00:58:27,480
Speaker 2: I think that coach was bitching at her about everything.

1158
00:58:27,800 --> 00:58:30,960
Speaker 2: I think that coach had fifteen fucking notes or twenty

1159
00:58:31,160 --> 00:58:34,160
Speaker 2: or thirty or forty and I and you know what

1160
00:58:34,240 --> 00:58:37,760
Speaker 2: I think. I think Samoo with Simone was would say

1161
00:58:38,040 --> 00:58:42,240
Speaker 2: thank you, yes, and I because the coach she wants

1162
00:58:42,280 --> 00:58:45,040
Speaker 2: to win titally, she doesn't point that foot, and that

1163
00:58:45,160 --> 00:58:48,320
Speaker 2: other bitch does point their foot. She loses, she loses

1164
00:58:48,400 --> 00:58:49,600
Speaker 2: and does not win gold.

1165
00:58:49,880 --> 00:58:52,160
Speaker 1: But this is what I also mean about how you

1166
00:58:52,600 --> 00:58:56,360
Speaker 1: can naturally problem solved. Because I couldn't see the note

1167
00:58:56,400 --> 00:58:57,920
Speaker 1: that you gave me. I was doing all that fullheit

1168
00:58:57,960 --> 00:59:00,680
Speaker 1: acting and you were like stop with the forehead, and

1169
00:59:00,720 --> 00:59:02,080
Speaker 1: I was like, oh, I had no idea, Like I

1170
00:59:02,120 --> 00:59:05,360
Speaker 1: had no idea. I was so subconscious to me, So

1171
00:59:05,400 --> 00:59:06,160
Speaker 1: what a gift?

1172
00:59:06,400 --> 00:59:08,600
Speaker 2: So you, guys, I need you to be like Lola,

1173
00:59:09,040 --> 00:59:11,880
Speaker 2: and I need you to see notes as gifts. I

1174
00:59:11,920 --> 00:59:15,480
Speaker 2: think we understandably because at least our school system in America.

1175
00:59:15,520 --> 00:59:17,160
Speaker 2: I don't know what it's like where you're from, but

1176
00:59:17,720 --> 00:59:20,480
Speaker 2: you know, I think that we feel like we're constantly

1177
00:59:20,520 --> 00:59:24,040
Speaker 2: being castigated in this country. And I need you to

1178
00:59:24,120 --> 00:59:26,240
Speaker 2: understand that that's not what we're trying to do. We're

1179
00:59:26,280 --> 00:59:28,640
Speaker 2: trying to help. When I say, Lola, do you need

1180
00:59:28,680 --> 00:59:32,160
Speaker 2: to use your forehead like that? And Lola goes, thank you.

1181
00:59:32,240 --> 00:59:35,360
Speaker 2: I didn't even know that was happening, right, that's great.

1182
00:59:35,480 --> 00:59:37,560
Speaker 2: I want you every time you hear a note, you guys,

1183
00:59:37,880 --> 00:59:40,320
Speaker 2: to say thank you. That's great, even if you don't

1184
00:59:40,320 --> 00:59:43,320
Speaker 2: feel that way, because eventually you'll realize that that's all

1185
00:59:43,360 --> 00:59:45,760
Speaker 2: anybody is trying to do is get you the gold

1186
00:59:45,800 --> 00:59:47,200
Speaker 2: medal that you want so much.

1187
00:59:48,280 --> 00:59:50,320
Speaker 3: So good, nobody's trying to make you feel like shit.

1188
00:59:51,000 --> 00:59:51,200
Speaker 2: No.

1189
00:59:51,560 --> 00:59:53,600
Speaker 1: I could talk to you all all flipping day long.

1190
00:59:53,640 --> 00:59:56,240
Speaker 1: My friend is there. My final question is like, is

1191
00:59:56,280 --> 00:59:58,360
Speaker 1: there a moment where you've worked really hard with an

1192
00:59:58,400 --> 01:00:04,000
Speaker 1: actor they've gone ahead being able to implement brilliant text analysis.

1193
01:00:04,200 --> 01:00:06,440
Speaker 1: They've booked it, and then you get to see that

1194
01:00:06,560 --> 01:00:08,760
Speaker 1: on the big screen or on TV and you're just like,

1195
01:00:09,480 --> 01:00:11,200
Speaker 1: I'm sure it happens to you all the time, but

1196
01:00:11,240 --> 01:00:12,640
Speaker 1: are they're those kind of peep do you get those

1197
01:00:12,640 --> 01:00:14,040
Speaker 1: little goose bumpy moments.

1198
01:00:14,320 --> 01:00:15,800
Speaker 3: That's that's what I live for.

1199
01:00:17,000 --> 01:00:21,760
Speaker 2: That's it's so it's cool, so cool to feel like

1200
01:00:21,800 --> 01:00:24,480
Speaker 2: I've been a part of it and that I helped.

1201
01:00:24,560 --> 01:00:27,120
Speaker 2: And it's really I really feel that way because I

1202
01:00:27,160 --> 01:00:31,240
Speaker 2: had the greatest acting teacher in high school and oh yeah,

1203
01:00:31,280 --> 01:00:35,600
Speaker 2: I love her, and you know, I it's very cool

1204
01:00:35,680 --> 01:00:39,320
Speaker 2: for me to get to see that happen. It's kind

1205
01:00:39,320 --> 01:00:44,160
Speaker 2: of everything because, as I say, I'm not going to

1206
01:00:44,200 --> 01:00:46,480
Speaker 2: win that award, I'm not going to be on that

1207
01:00:46,560 --> 01:00:49,000
Speaker 2: TV show and listen. I don't want to. I don't

1208
01:00:49,040 --> 01:00:52,080
Speaker 2: I don't want to expose myself to that. I'm very sensitive.

1209
01:00:53,560 --> 01:00:57,000
Speaker 2: But seeing you get there, I mean, I don't know

1210
01:00:57,000 --> 01:00:59,040
Speaker 2: how to describe the feeling. It's right here and it's

1211
01:00:59,080 --> 01:01:03,240
Speaker 2: a little breathless and it's the best.

1212
01:01:03,840 --> 01:01:07,960
Speaker 1: Ah, well, keep please keep doing I know you will

1213
01:01:08,040 --> 01:01:10,880
Speaker 1: keep doing this forever. But you are actually wonderful. I

1214
01:01:10,920 --> 01:01:14,520
Speaker 1: cannot wait to learn with you more myself, and thank

1215
01:01:14,560 --> 01:01:15,080
Speaker 1: you for today.

1216
01:01:15,160 --> 01:01:15,960
Speaker 2: You're just the best.

1217
01:01:16,040 --> 01:01:19,000
Speaker 3: Oh, thank you so much for coming. This has been

1218
01:01:19,400 --> 01:01:22,040
Speaker 3: so fun, so fun, fe Calyisi. Was it fun for you?

1219
01:01:22,760 --> 01:01:26,439
Speaker 3: Of course, Calisi, you had the best time, Tensu Calisi did.

1220
01:01:29,080 --> 01:01:34,720
Speaker 1: That's a wrap on another episode of Fearlessly Failing. As always,

1221
01:01:34,840 --> 01:01:38,240
Speaker 1: thank you to our guests, and let's continue the conversation

1222
01:01:38,400 --> 01:01:39,240
Speaker 1: on Instagram.

1223
01:01:39,800 --> 01:01:41,960
Speaker 2: I'm at Yumo Lollerberry.

1224
01:01:42,600 --> 01:01:46,840
Speaker 1: This potty my word for podcast is available on all

1225
01:01:46,880 --> 01:01:50,880
Speaker 1: streaming platforms. I'd love it if you could subscribe, rape

1226
01:01:50,920 --> 01:01:53,640
Speaker 1: and comment and of course spread the love.