10 Hour Acting Masterclass | Academy Classes | Skillshare

10 Hour Acting Masterclass

Academy Classes, Academy Owner

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
32 Lessons (10h 13m)
    • 1. 10 Hour Acting MASTERCLASS

      4:05
    • 2. Introduction Video

      23:43
    • 3. Video #2 Believability

      22:24
    • 4. Video #3 Unpredictability

      27:49
    • 5. Video #4 Listening

      25:48
    • 6. Video #5 Physicality

      26:32
    • 7. Video #6 Voice

      32:52
    • 8. Video #7 Understanding a SceneScript & Knowing What You Are Saying

      31:03
    • 9. Video #8 Confidence

      22:14
    • 10. Video #9 Your Instrument

      17:04
    • 11. Video #10 Speaking Aloud

      17:52
    • 12. Video #11 Your Top 10 Actors

      20:40
    • 13. Video #12 Making The Camera an Ally

      20:22
    • 14. Video #13 Memorization

      28:05
    • 15. Video #14 Your Personal Skillset ToolBox

      14:20
    • 16. Video #15 Goals

      11:16
    • 17. Video #16 Headshots

      13:29
    • 18. Video #17 The Agent

      20:26
    • 19. Video #18 Easing The Audition Process

      17:47
    • 20. Video #19 The Casting Director

      19:34
    • 21. Video #20 Saying No

      18:48
    • 22. Video #21 Using The Director to Your Advantage

      18:50
    • 23. Video #22 The Hustle

      14:20
    • 24. Video #23 Get Rid of Neediness

      19:53
    • 25. Video #24 Off Days

      16:20
    • 26. Video #25 Stop Complaining

      16:29
    • 27. Video #26 Looks

      10:56
    • 28. Video #27 Kindness

      10:18
    • 29. Video #28 Are You Worth It

      13:45
    • 30. Video #29 Become a Sponge

      15:46
    • 31. Video #30 Have Fun

      27:01
    • 32. Video #31 Congratulations

      13:16
66 students are watching this class

About This Class

Welcome

Thank you for joining in our community today. I wanted to create a personalized and engaging online acting class/program where any actor could learn from the convenience of their home, work, with other actors or without them.  This program was created for you to work at your own personalized and designed pace, specific to your needs. Online acting classes are not always the easiest to come by, nor are the choices out there always so easy to decide upon. So I made it my goal to put out a program that was easy to decide on, leaving any confusion or hassle to deal with at the door. I also wanted to make the program affordable for actors, because I know how tight money can sometimes be. I did this for the actor, so there would be no worries to decide upon this course or not. This course offers over 10 hours of acting knowledge from some of the best and most trained actors I've had the privilege to work with. I mentioned all of the benefits above, but here's what I didn't tell you, there's still so much more to be offered through this course that hasn't been talked about. If you see the benefits of enrolling in online acting classes and having the ability to work from your own home at your own personalized and designed pace, than I can tell you with the deepest confidence, that you're on the right track.

Many of you may already know who I am, depending on how you found me, but for those of you who don't, I'll take a moment to explain. Trust me when I say this, in the beginning, my acting wasn't anything to be admired, it was horrific, if I'm being completely honest, the initial training I received, made it that much worse. Nothing was working for me, but I truly had something that NO other actor around me possessed... work ethic. As I mentioned before, my acting didn't start out being anything special, but I sought to make a change and not let where I started be a definition for what I could achieve. So I did what I believed I had to do, because I really wanted to be the best. I didn't want to settle for mediocrity or just being "okay," so I sought out to get the best instruction in the world. I acquired a new set of mentors to guide me on the successful path and through this journey I discovered what truly worked and what didn't. I found out what acting nonsense I could get rid and only kept in what truly mattered. My goal was to break everything down to the bare essentials. I don't care for having to spend 20 hours creating a character when I know I could easily achieve the same results in two or less. From this journey, I really started to question everything and asked myself, "Why is acting made out to be so complicated... Why must I learn a thousand approaches in order stand up and talk in a given moment with a given circumstances?" If we can break acting down simply, it becomes much easier to comprehend and much smoother of a process to work on/develop.

My mentors have come from JulliardHarvardYaleRADA, and A.C.T, I also took it upon myself to work with phenomenal actors who NEVER went to drama school (we call them Street Actors) to see what commonalities they all shared. As I began to learn what those things were, I took it upon myself to create an easier way to working, which then brings us to this course.

Throughout this 10hr experience, I will only be giving you what works. All the random nonsense instructors have tried to teach you in the past, stays at the front door. I do not want to hear how you have previously worked or the poor training you have obtained from your instructors, because I've heard it all before and I know what they've been teaching you. I DO NOT work with random ideologies, it does not get us anywhere, it will only slow your process down and force you to over exert yourself unnecessarily. My approach, is the practical one. If it's not practical or reasonable for the actor, I won't teach it. Through this course, I will give you all I know.

I hope to see you soon.

Transcripts

1. 10 Hour Acting MASTERCLASS: are you? Where you wanna be today with your acting? Are you coming from a place that you're happy with? The work you put up? Do you like the progress that you're making? Albert Einstein said that his definition of insanity was doing the same thing over and over and over again, expecting a different result. Now, look, I know what it's like to walk on stage. I know what it's like to walk into the audition room. I know what it's like to be on set and to have to be scared to not know if the work you're gonna put up is gonna be any good toe Wonder and mice, they're gonna have a job tomorrow. I wasn't the best actor in the world, but I had something that no other single actor around me had. And that was a workout. And I was able to parlay my own work ethic forward to create better work and to move forward in my own career. And I did that by finding and building my own dream team of mentors. So I had mentors from the best drama schools around the world. I had mentors from Julia, Harvard, Yale, rata a c T. I also got mentors who never went to drama school but were phenomenal actors and my goal. And my job was to find what all the commonalities that they had and they shared. What were the secrets that they used in order to put up great work in order to be phenomenal, amazing, fantastic actors? What was it? And through my diligence of practicing and talking and actually sitting down with them, I was a bit of pot out and find what all their secrets were. What I want for all of you is to allow you to learn from the comfort of your own home and to allow you to work at your own personalized and designed pace. Just perfect for you. This has brought me to create the most affordable and comprehensive 10 hour acting course out there today. There's nothing else like it. I'll tell you this. If I can make a change, if I could get from Point A to Z, so can you. It was Robert Frost who said I took the road less traveled by, and that's what made all the difference. If I never decided to make a change, if I didn't decide to get the world class training that I did to build the dream team that I had. If I didn't get that, I wouldn't be where I am today. I wouldn't be able to sit here and talk to all of you. You want to know why people never make it and get to where they want to go because they get comfortable and complacent where they are at and they choose to stick with what is holding them back. They don't choose to make the conscious change for themselves to move forward. We have some of the best knowledge scattered throughout the world, and I made it my job to find it for acting. I wanted to find the secrets. What was what was it that made all these actors great. What did they have? What were they doing, what with the secrets that they were holding? And it turns out to be much simpler than we all think. Now we just have to see for ourselves. Are we brave enough to take that leap to move forward, to make a change in our career to turn everything around? We brave enough to take that only for our own personal Selves. I'm gonna leave you all with one last quote by Sean Patrick Flanery and he said, Do something today that your future self Well, thank you for 2. Introduction Video: everyone. Congratulations. You have all come. And now you're part of this video course. I wanted to make this because I wanted to put together everything that I wish I wouldn't knew When I was starting out. I want to put everything that I had all the hard work had to go through to get to where I am today. I wish that I have this in the beginning. I wish that I had the things that I know today. I wish that I knew the tricks. I wish that I knew the work that had to be done. I wish I knew the odds of the business when getting into it. There are a lot of aspects and elements that I would have loved to have learned. And I didn't didn't get to I had to go through the struggle. But hopefully, through this course, you won't have to go through that. So I wanted to put together a collection, a collection of videos over 10 hours long. You guys are gonna find Put it all through here So you guys can all learn. You guys can gain the knowledge that I wish I had and that you wish you would know in the next 10 years, cause in the next 10 years, if you happen to find some of this out, you're gonna look back and be like, Oh, my gosh, I wish I knew that. And some things that I'm gonna teach you here you may never learn. You may never have learned in the next 10 2030 years because maybe what's gonna happen is you're gonna be working wrong. Now, I'm gonna try and give a lot of different examples as we go through this course for different ideas and things. So, for example, I'm going to give the example of a basketball player. Your basketball player. You go out to the court every single day, every day and you have your basketball and for four hours straight, you have your ball and you throw it at the pool. You never throw it to the net, but you throw it at the pole. What's gonna happen? You're not gonna get any better. You're gonna be out there. It's gonna be hot, and you're gonna be upset and wondering why in the world and I never able to throw that ball into the basket and that's because you are practicing the wrong way. You're working wrong, and sometimes you need people to be there and guide you to help you. But sometimes the help that we get, we have an acting coach or an acting instructor and their there and they're watching. They're like, Yeah, you're you're throwing it at the poll, people keep throwing it at the pool. They're give you weird ideas. Others say, Hey, you know, instead of throwing it at the pool, just imagine you're going through the hoop and imagine that you are bird flying through the air. The wind is going through your hair and imagine that person that you really hate that you want to beat for the game. So you're a bird imagining that you really hate this person and you're gonna try and not throw it at the pole. There are a lot of actors, instructors who teach that way. I've had to go through many of them, many of them. I've had to go through the process of being very bad at acting, getting worse at acting because of those kind of instructions, and then having to work my way up. You know, one of the great things, I think is because I got to a place where I was so low in my acting that it was really bad that that was actually able to help me and propel me forward. Because if I wasn't that bad, maybe I wouldn't have tried to get as good as am today. Maybe I wouldn't have thought sought out the training that I was able to get. You know, I was able to work with people who went to Harvard. I have my one of my main instructors. It was a Harvard instructor Yell instructor, Juilliard. Rata a C T. These are great, amazing drama schools. If you go on, you have to look up like top 10 drama schools in the world. These are the ones that come up. So I wanted to work with the best. I got tired of saying, Okay, I'm gonna keep going to this class. I'm not doing good, but I'm still going. You know, Einstein's has. This has the same. And it goes something along the lines of If you keep doing the same thing over and over and expecting a different result, that is the definition of insanity. If you keep practicing the same thing over and over. You can't get any better, just like a basketball player constantly throwing the ball at the pole. He's just working on being a bad basketball player. He's never getting any better during the ball in the Net, and sometimes you have to watch what you're working on. Sometimes. Maybe that basketball player needs to work a little bit more on their cardio. Maybe they have to work more in the footwork or handling the ball, though, are different things that you have to do in order to get better. But sometimes instructors don't have a thought out method in order to get an actor good. And a lot of instructors don't care about actors. And those are some of the worst instructors that you can have because there are instructors who just want money. There are instructors who just wanna have their students come in, you know, maybe they tell some jokes that try and say some stuff. Then they leave and they don't make them a better actor, a coach's job. Their job is to make someone a better actor. That is their job. They're hired to make someone better. That should be their entire goal. You know? Maybe what they teach it won't make that person better. Maybe it won't, but it should never be an instructor who's like, Yeah, I just want the money, you know? Come on, come on in. Let's see what happens. You never want to work with an instructor like that. You always have to have an instructor that you can trust. And that's what I was able to get over the years. I was able to find these instructors. So I got my person from a C. T. Then I got this person from Rata that it went to Juilliard, then Yale, then Harvard. I was able to find these instructors and trust me, it wasn't just people who went to drama school, but granted, those are some of the ones that I did seek out. And I thought the Mount because I was thinking to myself, If these people have gone to the best drama schools, they've got amazing training. But these are people who, by the way, they're not. They weren't in drama school when I work for them. They were out of drama school, so they had already been working. They had been on movies before. They've been on television shows they've been in place, so they got the training that they needed from their drama school. And then they tried to go into the real world and apply it, and they got to see what works, what didn't work. And I had to spend long hours with these people sitting down and talking with them and working scenes of monologues and picking their brains and finding everything that they learned and finding what works for them. How did they go about the characters? How did they become so good? What is it that they did? Because these were amazing actors. Phenomenal, and I wanted to learn as much as I could, but I didn't just get people who went to drama school. I also got actors who never went to drama school before. You know, sometimes people call him ST actors, but these are actors who have never gotten drama school, you know, maybe they got out some training somewhere in Hollywood before, but these were some people who are amazing actors, and I wanted to find what was it? What was it that they had that made them great and they didn't have to go and spend a lot of money, go into a drama school and then going out into the real world. How were they able to be so good? What was it that they did? I got to work with this lady who was on Broadway before she never went to drama school. But she was a phenomenal actress, so I got to find all these different people. I got to work with them all, and I got to put it all together into this whole entire course that you're gonna be watching. And I wanted to do this because I know what it's like. Trust me. I know what it's like to not be good because I started from that place is not being good. And then I got poor training that made my acting worse. It was all over acting, trying to force the laugh out of the audience. And it wasn't something that was beneficial. And by the way, the place that I was training that when I was younger, that places Actually, I'm not going to have the name of it. But that place is actually considered a great acting school. There It's considered a school where you get great training. They have a reputation for that. They don't have really a high reputation for maybe people who come out of it. But they do have a high reputation where they are very notable for having good training. But I went there, and from my experience, the training wasn't good at all. So it just depends. You know, sometimes something some trainings considered great, and it may not be. Sometimes it's not. I'm going to give the example through this course. It's gonna be called our refrigerator method and our refrigerator. What it is is we have this imaginary refrigerator and it has a bunch of food inside. Now we can either have food that is good for us or bad for us. So say if you're if there's a person and they're really unhealthy and they're walking around like I don't know why I'm so healthy. I don't know why I have this issue or this issue or this issue, and they're really unhealthy to get, you know, they get up, they walk from their couch to the bathroom and back. And then there really tired. Gosh, and then you look in their fridge and you see that there's a bunch of cake. There's a bunch of ice cream, there's a bunch of candy, and then you realize that, Oh, they're not eating Rick. They're not eating very healthy. So for this refrigerator method, you want to take everything that's in there you want, take everything that's bad out and keep everything that's good in. So if you're going through the refrigerator and you see on your top shelf, you're like, OK, I got some carrots. I got some broccoli your next shelf. Okay, I got Cem breads, celery, some whatever and then the next show. Oh, there's a bunch of mouldy food in there. What would you do as a real person if you actually had? This is a real refrigerator. You have mouldy food. What do you do? Will you pick it up? You throw it up. That's what you would do in real life. That's why I love this example so much because in real life, if you have mouldy food, you pick it up, you throw it out, and that's a little bit kind of what are bad acting it. It's having bad training that was given to us bad ways of working bad habits that we leave in the fridge and we never take it out and throw it away. And that's what we have to do as actors. We have to take everything that's good, Everything. That's good, having enough ridge, everything that doesn't work for us. We throw it up. We don't keep it. We don't give it a name. We don't give it a second thought. You know, if you have food in your refrigerator and it's moldy, you don't think you know should keep it. Should I wait maybe a few days and see what's gonna happen? Maybe it'll get good. No, it doesn't happen if something is bad of its moldy. If it's old in your friends, you pick it up and you throw it up. If you do that in your real life every day, what makes it different when it comes to acting? If you have training, if you've been working somewhere and you're not very good and the training is not working for you, then why do you still work there? Why are you still trying to become a better actor at that place? You know I want you to think about right now. Where you out in your acting? What level are you? Are you horrible? Not so good. Bad, good, really good. Amazing. Where are you on this scale and find How long have you been there for? Why have you been there? Has the training that you've been getting not been working Because if you're constantly working like Einstein would say doing the same thing over and over and expecting a different result, you're never gonna get it. It's not gonna happen. But now let's say you've never done acting before and you want to start Well, hopefully you come from a place where you can get a good basis. You can start from a very good place. That's why I love having actors who have never worked at all before. Because then when they come to me and I get to work with them, I get to say, Okay, we get to start from square one. We get to start from a place of not building bad habits. And that was something I had to break all the bad habits old about having had to break him , and then I had to go through all my instructors and find What was it? What is it that they had that was working? What did they do? What works for me when it comes to acting, I want to put in the least amount of work to get the most out of it. Other actors, though, from training that they've got, they want to get the But I want to put out the most energy and get out the most amount of work. Here's my thing. We've given example real quick if you give. If you put in an energy of seven, you put in an energy of seven year your backstage. You have to go on. This is really big dramatic scene in your backstage, and then you're going to this whole mental physical process. You're tiring yourself out. You know your head. You're thinking of all these horrible things. But block you put out an effort of seven on stage and then you get a result of, say, eight. My job. My goal for my actors when I trained in the approach that I'm going for is to put in an effort of three or four to get that same level of eight or nine or 10 to put in the least amount to get the most out of it. That's the most efficient way. That's what they try to do with even cars Nowadays. They don't try to say, OK, let's see how much gas can we fit in the car? It's saying how how little of gas do we have to use in order to make the car go? That's there going, That's my goal with acting, how can I work but putting the least amount of effort in so I don't have to get, you know, hurt by it mentally or physically or after the show. I can enjoy the rest of my day because I had to go and really experience everything to a degree where I can't just walk away from it. You know, if you're gonna get into acting and you have to experience it and you can't walk away from it at the end, acting can be somewhat of a dangerous thing to get into. It could be something that can be more hurtful for you than something that's fun, because we get into acting because we're trying to play. We're pretending we're having fun. That's the perspective. I like to go. That's what My perspective of my Juilliard, Harvard yell A C T rotter Instructors. That's what they all had. They all had fun with the work. They didn't come off and they were like, Oh, my gosh, I can't I can't talk to you for the rest of the day. I got to get I gotta get going home. They were able to put on the great work on stage, and they were able to walk off and live the rest of their day. And that's kind of the approach that I go for. Put in the least amount, get the most out of it. Um, so how do we do this? Now? I want all of you for this entire course to put your full trust in me, putting your full trust. I don't want you toe have all these different thoughts going on in your head when I'm giving an example. Don't think. Well, what about this? What about this? What about this? Because what happens is is we start to divert from what's actually being talked about. And maybe that question that you would have would get answered if we just paid attention and focused. And now this isn't your fault. Society has kind of created us to be people who try to question a lot of things being like , Wait, what about this? What about this? People who are cynical like Oh, wait, what about this point Weight, but doesn't actually apply to this or this for right now. I want you to drop everything. I want you to really focus, really. Focus in on everything that I'm gonna tell you throughout these videos. Because if you do, if you can focus in on everything, everything I'm giving you, your work can become much stronger. It become convict, come much better. You know, I like to tell a lot of people if you can stick with this, if I can. If I could be with you every single day of the week and I could wake up in the morning with you and I wake you up and say, Hey, we're gonna do this, we're gonna do this And I'm scheduling your day and I'm with you 24 7 Do you think that you're gonna become a better actor? Trust me, you would. And I can't be there with you. 24 7 but I can create this course and this is a close as I can get to helping you guys. But what you have to do for me to help you is you have to drop everything that you've ever learned or known about acting. Forget about it all. Forget about every single thing. Now, this doesn't mean that you can't bring it back because I do have that refrigerator method. And I'm saying, hey, if it's good and it works for you, bring it back, put it in. But right now, we're gonna go and we're gonna take everything out of the fridge and we're going to start putting some stuff in and we're gonna play with this and we're going to see how it works. Does it work for you? Doesn't make you better. Does it help you in the long run? Does this build a longevity for your life or your life being your acting career? Does it help? Does it benefit you? And that's the process that we're gonna be going through now. I'm gonna tell you all this isn't something that's gonna happen overnight. It's not gonna be like, OK, you watch the video and then the next day you're amazing and you're good. I'm sorry. If that's the course that he tried to get, That's not gonna happen and want to tell you why. Because if you wanted to go and be an amazing basketball player yeah, okay. I want to do best. That's my thing. And you get a coach and you guys work. One day, it's, Let's say you guys work for five hours straight. You put a good hard lesson and work into that to that day, and then you go to sleep, you wake up and you're pumped. Okay? Had a good had a good session yesterday. Let me go to the basketball court today. You get your basketball, you start shooting the ball and you're missing. Every single one is not something that's gonna happen overnight. You have to work in practice in order to get better. Einstein. He was very smart, but he didn't just wake up and was instantly I know everything that I know. He had to still study everything he had to study in order to get smarter, to build new ideas, to build concepts, to build theories. He had to study a basketball player. They have to work every single day. Kobe Bryant, Do you think he just I went to sleep, woke up one day and was great? No, he had to work at it. If you want to be a concert pianist, you have to make sure you put in the hours the practice every single day. Music is an art. You have to work at it. You have to practice. You want to become the best. You got to really put in the time really put in the effort. If you don't, then you're not gonna get as good as you want to get. There's people who practice once a week. There are people who practice five days a week. The people who practice five days a week get a lot better than the one who practice one who practices for one day. You know, as long as they're practicing the right way, is not the example of throwing the ball at the pool there, still throwing it, Yemen that. But they get way better because they put in the time they put in the work. So I want you guys to do this for May. You're gonna You guys are gonna watch. Hopefully one video a day. That's my goal for you guys. I say there's hopefully because sometimes people get really excited. No, no, no. I gotta I gotta watch all of them at once When I can do that in the future. For now, I want you to watch one a day, and I want you to apply everything that you learn. So, for example, you go your like day one. Okay. I learned as much. I've learned from the video. It tells me to do this. Okay, That's what you're gonna work on throughout your whole day. Then day two, you get the next video. Then you work on what's in that video. How to apply it into your day and you work on the previous video. So you're having two things. And then on the third day, then you have three. So what they say, scientists have said something about there's different different ideas for this. But they say it takes about 30 days, 30 days in order to build. And you have it in order to break habit that you have. So if we want to build a habit of being good actors then we have to spend at least 30 days on it. If we want to break a habit, we have to spend at least 30 days. I want to give us a little bit more time and go with another study that said, It takes about 60 days, and if you can work every single day for 60 days and you're really focusing on acting, think about this for a minute. If you really focus on and it doesn't have to be acting, it could be anything it could say. You want to be good at basketball. Well, if you work on it for 60 days and you really put in the time you really putting the effort , will you get better? Most people, if not everyone, would say, Yeah, of course I get better. It's gonna be the same for acting like I said, It's not something that you sleep on and then you wake up in your amazing that this is something that takes time. It takes effort. It's just like music. You have to actually work with it when it comes to acting. People like to say, Oh no, I don't have to do everything I have to do to get better on AC, and I don't have to work on it all the time I can. It's just something that I try and I want you guys to start thinking of acting as being more of something that is treated more like a sport or more like a business. It's something that you have to work at every single day. It's not just good. You have to work at it. You have to develop it. You can't be lazy. If you're lazy actor, then that's another reason to leave the course. If you're lazy, don't be here. I want people who are willing to work who are dedicated and who want to become better. But if you're lazy, you're never gonna be able to improve never. So make sure that you start with a blank slate. You get rid of everything everything, and that will help you start to learn more of what's gonna be incorporated within these videos, and you're gonna find different concepts and ideas that will be able to sink in more with yourself. The next thing I'm gonna want you guys to do is make sure that you write everything out, get your pen right out everything. Write it all and highlight the points. That really makes sense to you. The reason I'm having you do the writing parts because this is something I learned from my Harvard instructor and it was a pain in the beginning. Some like it really After write all this down. I have to write this. I have to highlight this, but it does help you remember more, and it helps you understand more concepts. And if we're going through this course and we really want to put in the time in the work to become better if you're really dedicated to becoming better, if you truly do want to become a better actor, then you have to make sure. Okay, you're gonna put in the time and work that you have to sew, right? Everything that you need to down and highlight those points that make sense to in this course and when they would be working at a very high level. So I'm gonna be working on a level with you guys that my instructors would have worked out with me. I'm gonna work at you at the top level. The very, very top I'm gonna work like as if you were gonna be one of the biggest movies. Uran Oscar movie. I'm gonna work with you on that level because even if you don't make it to be in an Oscar movie, well, at least if you're working at that level Hey, if you want to be in a really big play you can or a TV show or movie that's not maybe an Oscar movie, but it's still a great movie. If you can apply these concepts and these ideas that really work at them, it will make you a lot stronger than after last late again. I want to say thank you all for being a part of this course. It makes me so happy just to know that there are actors out there who are really trying to get better, who are trying to learn who are really wanting to do something else to not just say OK, I'm gonna settle where I am with my craft. They really want to go and get to another place, become better, so just thank you all for May. It lets me know that there are still actors out there who want to do good work. So I'll see you guys all in the next video. Remember? Start from a blank slate. We have that refrigerator, we're going to start putting stuff in everything in there. But you had before it's out. We can bring stuff back later on as we go through. But right now it's all up. Once you finish the course, if you want to bring some stuff back, you can. But just wait and see what you get first see what we put in and see how it works for you. And then if you say, hey, you know, all this is great. And now I can throw back in my, um, broccoli by broccoli before was working great for me. I'll put it in. But I have some celery and cabbage and all this other stuff toe have with it, and that'll help. And that will be beneficial for all of you. So again, thank you all makes me happy. And I want to make you guys happy going through this course. So I'll see you guys in the next video by guys 3. Video #2 Believability: thank you for tuning in and staying productive. So today, what we're gonna be talking about is believability. Now, believability is something that we all want. Everyone wants it. The actor just starting out wants to be believable as well as the actor who's in an Oscar winning movie. That's what we're all striving for. Now remember, this video in the next few that you're gonna be watching is to help you get the foundation . If you had a treehouse, an imaginary metaphorical tree house and you could put anything you want inside of it, you could have a game room. You could have a bowling alley. You could have your sports car inside a swimming pool, a basketball court, anything you want. You could put it inside, but now, if you have this great, big awesome treehouse, but it has no roots, what's gonna happen to the tree? Bloom is gonna fall. It's gonna plummet to the ground. The other example I gave was how we have our refrigerators. We have our first shelf, second shelf and third shelf, and on one of our shelves we see there's a bunch of mouldy food. We're gonna try and throw away everything. All the bad stuff. So for these next few videos kind of start to just forget everything that you already know everything that you already know from your training in all of this stuff. Whatever you have, start to forget it and start to pay attention to what's gonna be within these next few videos. Now, of course, I'm not saying don't bring him back. You can bring him back when you want. But for right now, for the purpose of moving forward in understanding everything and getting all the concept down, Let's come from a point of being completely blank listening and trying to follow along so we can stay on top of everything that we're doing. So for believability, how can we be believable? Something that I like to think about is how our personalities that we already have not trying to act, not trying to change anything are already pretty darn perfect. Yeah, sure, There might be some things about yourself that you're like, you know, I would like to change this where I want to change this. Who cares? What you have right now is what you have, right? That's the first thing. Except that whatever you got, that's what you have. And it's OK. It's not bad. You have some things that I don't have. I have some things that you don't have and, you know, our neighbors across the street have something that we both don't have. So that's all right. I just realized that world different were all unique people. And we all have something to offer now in our everyday situation. Right? If we had to have a scene and I said, Here's your scene. I want you to take it. I want you to go to that Starbucks person. Um, within the scene here. So you have your actress, and it's saying, Go to the Starbucks person Say, Hey, can I have a cup of coffee? Um, and you know, did you see that car out there? Looks it looks really cool. Um, say that right? Poorly written script right there that I just made it with 30 seconds. But let's say that's it. So you go up, you say, Hey, how you doing? Um, and you let's say you know, our I order the hot chocolate. And did you see that that car out there right? Poorly written script whatever. But now say if you went into an actual Starbucks in your real life and let's imagine you were going to say this right, No script, nothing. I didn't say I'm not your director. I never came up to you and said anything. This is just you living your everyday life and you just happen to go into a Starbucks to kit some hot chocolate. So naturally you would just walk in there and you'd say, I haven't going. I'm here to order a hot chocolate And then, you know, maybe if you see a car catches your eye and you said, Well, did you see that car? Maybe it looked like like the biggest, baddest car you ever seen, who knows? But that would be believable. What you say, what you put out into the world of that room and Starbucks. It would be very believable because it's just natural you're going up there and you're saying this is what I want. You're not trying to do anything to it, which you don't really have to a lot of actors. What they try to do is they try to make things bigger. They try to show a lot But really, you don't have to do anything now. Don't get this confused. I hesitate to say you don't have to do anything cause then you know you get people who just stand there and they don't have anything going on. But you, uh, you really don't have to do as much as you think Robert De Niro said this before, and he said, You don't have to do anything. You don't have to do nothing. You don't have to do anything. You just keep it simple, keep it, keep it light and I won't even use the word keeping it small because sometimes when that word is used, people tend to think Okay, all not used my regular natural personality at all and all just go really small. When people say go small and third, you're saying small using, you know, really being really using your everyday personality. But a lot of times people go really small instead of saying hi, how are you? It could be something that's like, Hi, how are you? You know, it's just it's a weird thing that people that people mix up with wording sometimes, which is one thing that acting classes don't necessarily, always do. They don't give you a full, better description on what some of the meaning of their terminology is. But anyways, on to the point that I'm trying to make when you have the now a scene and you're in a class or let's say you know you're on a movie set, can you have the same scene? Starbucks saying they hand you the script and then you have it, and then you say, Oh, OK, got it, Got it, Got it. So there, go in there and they might be like, Hey, how are you? They'll have the room, huh? I'll have ah have the hot hot chocolate. Yeah. Great. Hey, did you see that car out there? That's what happens a lot. They're still trying to show you everything the tryingto overactive. So the first thing was, they came and they said, Hi, how are you? The voice was kind of weird. It's just like it's like, boom, throwing it at you, which we don't tend to usually do in our everyday lives. And then, um what was the next thing I did? I did the hot chocolate right. And I said, Oh, and then I'm looking up and I'm trying to choose my car. What do you do? How many times do you go into Starbucks and you see people doing the video? If they want a hot chocolate, usually what's just gonna happen is they're gonna come in and say hi, how are you? But whatever common courtesy and then ask for their hot chocolate, they're not gonna go home. And I want you could have added some nail biting in there. You know, whatever. It's trying over Axel, the audience viewing this is like, Oh, look it. He's thinking the audience isn't stupid. The audience isn't dump their when they see it there, they're gonna know, like something something's up. Something's not feeling right. If they don't right away. Say he's being fake, they're just gonna physically feel that something is just not right. Just rubbed him the wrong way. And then there's the whole thing with the car where I did, I think it didn't like a double take or something I would Oh, hey, did she? Did you see that car out there? It's just that was over acting it, and that's what a lot of actors do, though that's the problem in a way that was good for you, because you realize that there are a lot of actors out there who some. There's something. There's actors out there who are good, but there's a lot of actors who aren't and that are just like this. What I showed you trying to show everything that's going on. So in a way, it should make you a little more positive about your career because you can say, OK, well, you know, I can at least be better than that. And if you're better than that, well, hey, you get better chances than they get But that's just one. That's just an example of how once a script gets involved. Once once of directors involved or we know we put pressure on ourselves. That's when all of a sudden the believability that we would have gone into a regular Starbucks leaves and we don't have it. We put too much pressure on ourselves. One of the first things to start to realize is to get rid of that pressure. We're gonna talk more about it in one of the future videos coming up here, but you really you really want to try and avoid the pressure as much as you can and just think about it not as being a scene or trying to impress your director or anybody but really just sitting there and thinking, OK, all I'm doing in this scene is going asking for, uh, hot chocolate and then saying, Did you see that car over there? That's all that's being asked And if you could do it and you're really and you're believable, that becomes interesting. It's so much more interesting. Toe watch someone do something as simple as that and be believable compared to having them be like, Oh, I voted. Oh, what? Whoa ho! Did you see that car over there? So much better to just be in their urine. Hot chocolate. Great. Only see the car over that. You know you don't have to overact anything at all. And that's one of the problems that people have. It's the whole overacting factor, and now people might say, Well, well, how do I What if I want to go in and make it interesting or do something with this? Don't worry, We're gonna get into that as well, but just focus on some of the beginning things is, if you're having those thoughts pop up right now, what about this? What about this? What about this? Get rid of them, get rid of him and focus on what's actually being said. Now what's being said now is you have to just be believable. And what I'm saying is don't overact. Just think. How would you do it in your regular everyday life? And bring that Teoh to the table? That's the first thing. Just focus on that. And if you if after this video you go in you and you try to implement any of this you don't want Teoh, you don't want to be thinking. Oh, what about this? Or how does it apply to this, or how does it apply to this? Start asking those questions later on. Right now. Just get used to the first bit that I'm saying and start to realize this is now part of your homework part start to realize what you do in your everyday life, you have to start to become aware of what you're doing, how you're interacting with the world. So, for example, if I was at Starbucks, right, these Starbucks is a big example Apparently, if I'm there and I'm gonna and I'm in line, I might actually just be in line. And just for a quick second, realized like, Oh, what am I What am I doing right now? How my standing in line. What am I looking at? What am I doing? Or if I go and I talk with, um if I go on a chat with someone, I might just think about Oh, how what am I doing right now? How my trotting with them and my leaning discern it weighs my body weight? Doing this is how you know, I'm excited to talk with them. I know, excited to talk with them what is going on. And I start to realize what I'm actually doing in the moment, becoming more self aware of my own self because you have to realize yourself is your instrument. What you bring to the table is what your instrument is bringing, and your instrument has been carved and fine tuned throughout, however old you are. So if you're 30 years old, then for 30 years you've been developing to the person that you are today 20 years old, 20 years. If you're 40 years old. 40 years you've been spending all that time developing who you are not maybe consciously all the time, but subconsciously. And you've learned things and you gained things. And that makes you an interesting person in yourself because you have elements to yourself that are completely different than May. And I have elements that are different as well. And we can bring that to the table as long as were Riel. That's why a lot of my work when it's put up, people like it. It's because I can bring myself to the table. I'm not trying to pretend or force anything or show the audience. They don't look at me. I'm doing all this cool stuff that I'm thinking about. I just keep it all simple and I keep it real. So start paying attention every day. What do you do when you wake up in the morning? Do you? Ah, Do you? How do you get out of bed? You know, how do you brush your teeth? What do you do? I mean, don't go overboard and think every moment of your life like Okay, what? I'm I What am I doing now? Okay. How am I doing this? What? What's going on? One of my doing. You don't have to do that. You know. Still be logical. Live your life. But in moments try to realize Oh, what am I doing right now? How am I reacting right now? How am I having a conversation with this person right now? Conversation a little bit is more important because you're having dialogue. Um, And when you're talking with someone or if you're having to talk for a long time, just think. What am I doing right now? How How my interacting with this person? Um, sometimes you can even wash the person you're talking with, and you can see you're like, Oh, that's interesting how they responded or okay. They When they talk, they they lean to their left side. How would it be if I talked and I lied to my left side? You know, you may not, you know, act like them, but maybe some mannerism that they have. Maybe you copy that. You're like, Oh, wow, that's really interesting. Um, but you have to just start first, being aware of yourself, start being aware of what's going on in your life. What are you doing? How are you interacting with people? And once you start doing that, you're gonna start realizing once you get a script in front of you and your acting, if you overact it, your start to notice it. So if you if you start paying attention to, for example, when you get your coffee it wherever it is, um and you say hi, I'd like to, you know, get 11 coffee, whatever. And you get a script and it has the same lines. And you're like, you go up there and you like, Hi, I'd like to get ah, 11 coffee. Well, then you're gonna start to realize you're gonna pick up on it and like, Whoa, hang on a minute. That there didn't sound right that sounded, you know, fake, which is great in a way, because you're starting to realize Okay, Whoa. I just added something that wasn't really at that point. It wasn't natural from it wasn't coming out naturally. And this is kind of working on, you know, working with your instincts. Still, your instincts of doing whatever you're doing in your everyday life and just taking note of it and realizing what you're doing, and this will help you a lot If you need Teoh, just use your phone as well. Pick up your phone and set alarms throughout your day and, you know, settle him. Start your day. When you when it's OK. When you know if you're at work or you're at school or whatever you're doing, don't send an alarm. Then if you're at an audition, definitely don't have a lot of co off and be like, Oh, well, I I was going through this course and they said to set an alarm when I said it for my audition time. You know, don't don't do that, but set times for when it will go off and you realize like, Oh, okay. And then you go and you turn your alarm often realize, oh, how did I turn my alarm off? What did I do to turn? Turn it off? Was that quick about it? Was I fast? Did I go and use both my hands to use one hand? What did you do in that moment? And that's kind of a way to keep you honest and a way for you to kind of keep on track and fall. Follow along with what you're doing. You have to start realizing that, um, and then when you have your characters, your start to realize that when you're doing a character, it's just a different version of yourself. That's all it is. Make acting simple. Don't think about anything else. Don't have your thoughts Come. Just keep the idea in your head that when you are doing a character, any character, it is just a different version of yourself. I don't have any other thoughts. Come on. Don't think of anything else that you've heard before. I realized that when you are doing a character right, it's just a different version of yourself. That's it. Don't overcomplicate it. Don't think of a ton of other things. Follow along with the course. Stay open minded. Write it down one last time. A character is just a different version of yourself, all right, I've said that about, I think, three times now. They say it takes three times for people to actually hear what's being said. So remember that it's a very important concept to get, because this applies into that when you are realizing what you're doing in your everyday life paying attention to how you interact with the world That is gonna help you realize what it is to be really what it is to be natural, what it is to be in the moment and realize what you're doing. You're paying attention to that, because in the long run, you're gonna start being able to add it into your scenes or your monologue or whatever it is. You know, someone may give you give you a scene and you have to go Teoh, a car salesman. And you have to say, Hey, I need to buy a car from you. Do you have anything in Brett? Whatever. Well, you know that. OK, well, you have to do is go and be believable. So you go. You go up there and you say, you know Hi. How's it going? I'm looking for a red card. You guys have anything in stock? Don't You don't have to do anything complicated jobs ago like Well, hey, Well, what's up, man? Do you, uh, city of ah, red red card in stock? Like it's just weird. I mean, hey, maybe in some in some random world, like some weird comedy you could do that you know, and that that's gonna be a video where we talk about the world that you're in. But for the most part, you just gotta focus on being believable. And once that, it'll be really easy to start shifting to other things. One last point that I want to make here, and it's an important concept is that we as actors recreate private moments in life. Ultimately, that's what we're doing, and that's what people really enjoy when they watch something. It's about having those moments that nobody else gets to see, and we re create them for an audience. So even a dinner table scene in real life, if people are actually eating dinner and it's say it's a quiet dinner, no one's talking. You put that on screen, and it's riel that is very compelling to watch because you're seeing everyone has their own stories going on. Maybe the dads there he's eating and you know, it looks like he's in thought about something. Maybe the mom. She's kind of looking at them thinking, Well, why are we so, so quiet? Maybe you have a kid who's then he's on his phone. Doesn't even care. You could tell a whole story with that, and all it is is just about having a moment in life being recreated. And that's what we're doing throughout all our work and all our scenes, the believability that we bring into a scene. We're bringing that believability because we're creating those private moments in life. If you are faking a scene that private moment in life, we don't we no longer get. We get it when it's believable, because we're compelled and we're in it and we believe it's actually happening. But when you break, when you break that and you're like but are overacting or doing all this stuff where it's not riel? We watched that, and we are no longer in a private moment. We're just watching people on a screen act, but we love being in those private moments. We all relish that, and that's what we're creating as actors were creating those private moments and we get toe watch that and when it's good, it's really, really good. So recap Um, we have character characters are just different versions of ourself. That's all it is. Characters or different versions of ourselves don't make it complicated. That's all it is, then we're working on the believability part. So in order to be believable, what we have to realize that our own Selves are perfect, we're believable every single day in our lives. It's just when we have to go and we do a scene that all of a sudden, for some reason, we stopped becoming believable. Start realizing and paying attention consciously, not subconsciously but consciously to what you're doing in your everyday life. How do you go in and how do you walk across the room? How do you interact with this person? How do you interact with your doctor with your parent with your friend? With whoever. How are you interacting with these people with dialogue, especially how what's going on? How are you leaning? What are you doing? And you start to realize what you're doing. That's riel, so you're paying attention to the moments in life when their riel. So then, when you have to go and you get a scene, you already realize what it's like to be real, cause you're paying attention to what's happening every day in your life. In the third point is realizing that we actors are creating private moments for the audience to see And a private moment is moments that are believable and real If we break that believability all of a sudden the moments are no longer private and we're lost But if we see it and you're believable and we're in those private moments we're gonna be very compelled to see whatever it is the people on screen Dio So write all this down. Do it. Apply it today. Start today Don't think OK, I'm going to apply it tomorrow. Start today. You can easily start finding what you're doing right now. What are you doing while you're watching this? How are you sitting? What are you doing? Start paying attention to those things. Whatever you do, if you call a friend up later realize How are you talking to that friend? You excited when you talk to him? Or is this a friendly like? Yeah. Hey, what's up, man? All right. Yeah. Cool. Or you someone who like you when you call it me like Hey, what's up? You like? Oh, that's awesome. And you're actually having a conversation with them? Start to realize that. So congratulations, all of you for staying through listening writing all this down. I'll see you in the next video again. My suggestion is to watch the next video tomorrow. That is my suggestion to you. There's gonna be some people who don't listen to their like I got to go through it quick so I can get through. You can do it, but you're gonna learn so much more is if you go through a day by day by day. Have a great day, everybody. Thank you. And we'll see you all in the next video, but by 4. Video #3 Unpredictability: Now we're gonna be talking about unpredictability. Eso again Make sure that you all have your pen and paper so you can write this down. And so nothing. It's confusing and you can keep everything in order and your thoughts in process. So for unpredictability first, what is that? Unpredictability is the thing that makes the work very interesting and compelling toe watch . First, you have to have believability and remember these air, the roots and foundations that we have to build upon. So everything is gonna be very important to make sure that we have in these next few steps . So being believable we have to have, we also are gonna have to have unpredictability now unpredictability, usually the people who are using this or of the big time actors. So if you're watching Oscar movies or Oscar nominated actors or one actors, they're going to see that a lot of them or using this, the work that is predictable, maybe good and believable that you're watching. But it's if it's predictable. Sometimes the work maybe is considered flat. You might hear that term, people might say, Oh, I don't know. It was kind of flat, and people don't always know what they mean when they say that, but usually by saying it's flat, it's not saying that the work wasn't believable. It's just saying that there wasn't any dynamic and there wasn't that unpredictability, unpredictability. It's kind of like the way to win the game. So if we think for a minute of acting as being a game and in order to win, you have to get that thing in there that's unpredictable. That's the way to win. And if we think about our every day life and what we have with unpredictability, let's think about sports real quick. The boxers, what boxers air going and they're going in there fighting each other and they're throwing their punches. It's the punch that's unpredictable that allows them toe win the match because if they know the punches coming, if they're predicting that the punch is gonna come, well, then they can easily dodge it. Punches coming. Aiken duck. I compare e. I can move back. I could do a ton of different things. Someone's gonna punch. I see the punch coming. Whoa! Well, then I'll try and counter punch first before they get me that. If it's predictable, then you can't win. But the unpredictable punch is the one that goes, and it knocks the other fighter out. Same with sports. If you're playing. Ah, if your plane say baseball, the ball is coming at you, you swing, you hit the ball great. But if you don't know where the ball is coming and it comes, you can miss that ball. Its unpredictability that wins the match is so with acting. It's the same thing. It's the unpredictability that allows us to move forward and do well. And that's why so many actors love good writing, good riding, good scripts. Because if you have good writing and you have good scripts, it's so easy to have the unpredictability be there because in the riding, it's already written in for you. But that's where a lot of people sometimes get confused about when they pick their scripts in the work. It's because some scripts you have to work harder to put in the unpredictability. It's already right out for you. It's already there, all the words on the page. You really don't have to do much at all. But when the writing is not very good, that's when you have to try and work the unpredictability in there yourself and your know that if you've done a lot of auditioning that there are a lot of scripts that are not very good, there are some that are great, wonderful scripts. But there are a lot of scripts that are not good, not solid. They don't have a great foundation it off. So we have to find how we can work through it and how we can try and portray our best work and still have that unpredictability in there. So there is this actor Paul Newman. He got he started any big about in the fifties or so. This is an actor that a lot of people should look up to. He's done a lot of work. He's been in Butch Cassidy and the Sundance Kid. He's been in Hustler. He's been in Cat on a hot Tin roof. Or you may know him if you know the car, Disney's car movies. He was docked cuts and he was the voice. So he's done a lot of work, but he's also had his own. I think it's like a food company or something that he does, um, where all the money that it makes. He gives all that money off the charity. So I think, you know, last year, he the company that he had had gave away, I think in total of 485 million altogether. So he all that has been able to go to charity. So he's an actor that you should aspire to, because he not only puts up good work, but he also helps the world in the process of everything that he does. But the reason I bring him up is because he is an example of someone who has used unpredictability before. And unpredictability, by the way, doesn't have to be something that super Bic. It can be something that could be something that small and very simple. So one example that he did is there was this scene. I forget the movie and he was there, and he anything. His character is that kind of drunk and, you know, he drink his beer bottle. And then there was one of those, um, there was one of those, uh, pay machines that you have to pay. You know, you park your car, you put your coins in, and then it has the meter, the little the meters and he drank his drink. Then you walked up to the meter. He stopped there for a little bit and then just went down, give it a little kiss and then walked off. And that right there, that seem. And you might be thinking, Oh, well, what? He just kissed it. That's it. But that scene is so much more interesting than if he just drink his bottle and walked off . It adds another layer to the scene, and it's just a very small point. And you can put a bunch of those little unpredictable things throughout your movie or throughout your play or throughout your season. If you're on a television show, you can scatter it throughout, and then you can have those big moments where you have those hi arcs of unpredictability that you put within the work. But you have to find How do you get the unpredictability in there? Something you wanna watch for, though, is don't get so used to say no. Okay, well, Paul Newman, he's a great actor in this scene. He just, you know, kissed the meter real quick and walked off. Well, I'm going to do that. And they say, and you start kissing everything. That's not what I'm saying at all. You don't. You don't wanna be known in Hollywood as the actor who will kiss whatever. Um, so so you want to be careful that you don't overdo it too much? Because if you are, for example, having that be something that you're doing in the scene, well, you don't want maybe every scene to be something, you know, that you're kissing everything you're gonna have different things that are unpredictable, that are not always the same. Um, and that's something that you want to try and see if you can add in. But you don't want to just do something unpredictable to make it unpredictable. I mean, it has to still flow and work within the moment of the scene. So in that moment, he was kind of drunk, and he went, and it's like, Okay, weakened by that. But now let's say that, um, your character is, um, on a date right on the day. And this is supposed to be a movie. It's a dramatic movie, right? Your character, He's on a date. They're walking there at the park and then all of a sudden he runs off and kisses the swing set and then runs back and starts talking with this girl. Well, that if I'm watching, it would be very unpredictable. I wouldn't expect it at all or if he's there, and then he just dropped to the ground, starts doing the worm. I wouldn't expect it, but it wouldn't be good. That would just be something where that would be stupid. Really? You'd be watching it. And you'd be thinking Why? Whoa, Why did what's happening? Why is this happening? Um, you know, if the script in no way calls for that all of a sudden, just put in. Don't put something unpredictable and just to put it in. But if it works within the scene and it works within the moment, then sure, then you can put it in. But don't just say, OK, I want to just be unpredictable. So I'm just gonna it's do something random, not saying to do anything random. Don't do random things be unpredictable, but within the scene don't just think. OK, well, I have to do something unpredictable. So ought to do something random. You have to still live in the world that you are in. But now let's say you're shooting a comedy movie, and in this movie, your character has random moments of dance. FAZ ums, right? Whatever comedy this is, there's been so many movies out there that this could literally one day be a movie, a character who's dance, spasm if it hasn't already been created. And this character, let's say he just randomly, he just has to do some kind of dance move. So then, while they're walking at the park, all of a sudden he drops to the ground, starts doing the worm. Okay, that one you can buy more, you can say OK, in the world of what we're watching, I realized that this character has this issue and then that's why this is happening. And it works in that in that scene. But if it's not supposed, Teoh have that at all. It's not, you know, within the script or in the world that your characters in of being some random crazy, you know, have to dance guy. Well, then you don't want to put that in because it's just going to seem very random. We're not trying to be random. We're just trying to be unpredictable because remember, the unpredictable person can win the game playing tennis. It's the ball that you hit and that we don't predict going into position, that it is that we miss. If we predicted, then we know for playing chess. It's the unpredictable moves that beat us. If we know Oh, this person moved his Pontier. I see what they're trying to do with that bishop there. Then we know. Then it's not. Then, you know, it's not fun. We know we're gonna win. But when it's unpredictable and you see it happening, Van, it's super compelling. Storylines love to do this to like the rocky movies in Iraqi. It's very unpredictable. You have this person who's the underdog, who he doesn't, you know. He doesn't think he's gonna ever go anywhere. And then all of a sudden he gets the chance to fight one of the best boxers you know in the world at that time, and then he trains and he prepares and then he goes and fights, and then when he goes and fights, he does very well. He doesn't he doesn't get beat down every time he gets hit he comes back in again, he comes back and again. It's the underdog story, but it's also there's hints of unpredictability in there throughout the movie. And then in the very end, some people might say, Okay, well, it's the underdog. He's coming up. He's gonna he's gonna just win and then he doesn't win. But he stood through every single match, and that's what's so powerful and compelling about that movie in many other movies that throw this in. So you can see, for fact, how unpredictability is vital. And it's something that we should all have and that we all need to use and that we should implement into our work. Um, you know, like I said by Viola Davis, she has mentioned before. She's like, since scripts are so important and if the script is written really well, then you don't have to do anything. But she said that she admires the actors who have bad scripts, and then they make something magical out of it. And I agree. If you have a bad script and you have to work and make something magical out of it, well, then you're gonna have to really work and find what you can put in there and how you can be believable within the work and include unpredictability. So when you're trying to include unpredictability, how can we practise this? How how do we How do we work it? What do we do first? What you have to do is for your script that you're given. So if you're auditioning or if you have already got in the part, they're either gonna have. You have the full script, We're gonna have a scene of what you're working on. You have to know what's going on. So you have to look at and you have to know. Okay, this is who I am. This is what's happening. But but But But, Block, we're gonna talk more about that later on. But you have No, you have to know that. And then you have to find aware within here Can I start to try and add something unpredictable and you have to see Okay, what makes sense within the world that you're in and what type of character you're playing . And this sometimes it takes practice. And sometimes a good way to practice is if you do have classes or if you are on the movie set or if you are in a play, you can try these things during the rehearsal process. Or you can run them by your director and say, Hey, I have this idea. Do you think we could give it to dry? Then you can see how it works. And then if it doesn't work, you throw it out. If it does work, you keep it one way to kind of build up our senses for learning what's good and for unpredictability is to watch movies and really watch the actors that your liking and seeing okay, what are their do? What are they doing? When is unpredictability happening? When are they doing something where you're like, Oh, I didn't predict that it could be a simple as a character is so, so confident that when we watch it that where that's what surprises us were surprised about how confident someone can be, how unpredictable that is, like, Wow, how does that happen? Sometimes it's a joke. Sometimes it's a joke that said that we don't that we don't expect and that makes the movie so funny or we see that character. We think that's the funniest character in the movie. It's because things are happening that we're not expecting it all. But like I said, if you keep doing the thing that's unexpected so much, that's unpredictable, then well, then it becomes predictable. If you're a fighter and you're constantly throwing some punch that you're doing a hook and you're like, Oh, this is always whatever unpredictable for people. Well, after you do it 10 times that 11th time, it's gonna be pretty darn predictable that someone's going to be able to stop it. Dodge hit you first, whatever. So you don't want to use it over and over. There's this actor. I know who he's not Too bad. He likes to cry crying. Crying is his thing. He could do a comedy. He could do a scene where nothing's really happening and he'll just sit there. Then his eyes will start toe water. Or it could be a high intensity. Whatever it is, every single scene I've seen this person work always. There's always like his eyes were getting watering. The tears are coming out, and at first when you're watching this, it's kind of like OK, that's kind of neat, like, because it's unpredictable, your because you start to wonder and you're like, Why? Why? Well, what's happening? Like what's going on? And you know, there's different. There's different tricks. Crime. He's using his but, um but I have his eyes, water. It is It does depend. Sometimes it a little water and then moments. Then it will start to pour out, depending on the scene he's doing when he wants to let it out within that scene. Um, but that's his thing. That's his thing, that it's unpredictable when people are first initially watching. But if you see this actor multiple times, then you see every single scene that this person ever does. Always there crying always and it gets very boring after that. At first I thought, Okay, that's interesting. Like I don't know how they came up with that, but that was interesting. Toe watch. Um, but then after you start to see it in every single piece of work, then it just becomes born, and it's like, Okay, when is he gonna cry? Today, when one of the tears coming out okay, one isn't gonna happen. Then you start to expect it, and then it's no longer unpredictable, and you know this person. He's done a lot of a lot of theater work, so it doesn't get in the way as much because people may not recognize him from theatre work to theatre work to theatre work. But when he goes and if he ever does television shows or movies, um, if it ever happens for him, he's gonna It's gonna become so predictable that every time people watch him, it's just gonna be like, OK, when you gonna cry is gonna cry this time Oh, he's gonna cry now at some moment you know it's gonna crack Could be the happiest movie in the world There's gonna be tears coming out of his face Given the funniest movie in the world, tears of coming out Most dramatic movie in the ward, A horror movie. Tears are gonna just gonna come out at some point. So you want to be careful to not have the tears or the thing that you have that's unpredictable, that you're doing it so much. You don't want to carry through toe every single movie that you're working on. But you wanna have Maybe for one movie you have one unpredictable thing that you're doing throughout the movie or that's the same or you have inconsistent things that are unpredictable. You do one thing, one other little thing, another little thing. I like that more personally. I think that's more interesting, and you can see that the, um, actors who are in Oscar movies it's there, and a lot of it is because the script and the writing is so good that it's there. But then the actors are also bringing it, and that's what makes it so darn powerful. So if you start watching movies and you start paying attention to the things that are unpredictable, that's gonna help you out tremendously, because you're gonna start watching it and you're gonna start paying attention to him. That's the whole point. We've got to start rewiring ourselves a little bit to start looking at acting differently and thinking about it differently. We have to think, you know, if you are wanting to become a basketball player, will you also you have to see if you're trying to, you know, do these different cool tricks, right? And you see a basketball player who does it, will you start watching them and seeing Oh wow, that was cool. They did that and you watch another basketball player. Oh, that was cool. And you start to learn by watching, and then maybe even implementing it. Would you help? A lot. So in order to build that unpredictability, we have to start looking at the script and finding inside. Where can we find the moments that we can be unpredictable? Or where does the script itself land of the unpredictability? And if it does, then you've just been given a whole huge golden nugget that can help you a lot. It can make. It'll make your seem so much more interesting. I can't necessarily say do this, and this will be 100% interesting because every scene and every script is different and every actor is different. Some things that might be interesting for me that I might do that's unpredictable. It may not work for you. For whatever reason, Um, or an actor that you know, or yourself whatever you have, may not work for me for whatever reason. Some things that just works for people better, and everyone has it, though, Like like I said before, we're all really interesting people. We spent all the years of our life coming up to the people we are today, and we just offer different things. We bring different things to a scene. We bring different things to the moment. So within the moments of these scenes for being unpredictable, we're all gonna bring something new. The actors, though, who can really be believable if you get stuff one down. That really helps a lot being believable because one, once you're believable, things naturally start to happen and come out. That's why there's a lot of actors I've seen who are really their non actors. But they've just, you know, took an acting class and try things out. And the reason that some other stuff is so interesting is because they're unpredictable. They're trying new things, and they're not thinking too much. But the actors who are thinking and they're getting really heading like, Oh, how do I do this bubble of a block? That's when they get into trouble. And if you could just be believable and think, OK, you're living in the moment, and then whatever happens comes out. Whatever is gonna come out is gonna be interesting in itself, and then, naturally, the unpredictability will come along. But sometimes if the next, if it's not coming along naturally, well, then we have to work it out. And we have to put it in because we know that's gonna be interesting. And if we know that, Hey, what we're doing is feeling kind of bland, and it's feeling predictable. Well, then we can start to try and add things in. And if you have a good director and you're already being unpredictable with some of your things there let you know, don't let you know if you if you're trying to be, do other things that are super, super unpredictable and it's too much. But what's great is if you have a good director of the company and say, Hey, okay, you know that That's okay. Tone it down a little bit. What? What you were doing before was perfect was great. And that's one thing you have to realize if you can keep trying new things. If it's not working, your director is gonna tell you Hey, it's not It's not working. That's the beauty of it. So you get to try, you can say, OK, got it, got it. I'll try. You know you have to be able to take directions, and when they tell you hey, tone it back down, you could bring it down. But that's where this this training and practice comes along. If you're working on being believable and you know what being believable is, which is just you and your everyday life. You're always believable. It just bringing those moments into the scene. And then you include the moments where you can be unpredictable, where you're bringing your own unpredictability to the character that makes it interesting for you. If you're doing a scene, that may be a moment where you're really quiet and then all of a sudden you burst out and you're allowed and you're you're crazy and you're acting out for you. That might be the thing that you do for unpredictability. You, your character. It's very light. He's very mellow throughout the whole entire play or seen or movie. And then, boom! There's a moment where he just jumps up and he's like, I can't deal with this anymore. And he goes, Not that could be something or it could be the opposite. It could be something where your character is really hard. Ah, hard character who doesn't let any feelings or emotions get in. And just think about movies where you've seen this before. The tough character, the character who's really tough. But then there's that moment towards usually the end of the movie, the climax where they break down and then they start bawling their eyes out and there really sad, and you see this super strong character all of a sudden fall to their knees. There is a moment of unpredictability there, and when we see that, it's very powerful, cause there's that contrast also, that we're getting to see, and that's the stuff that we like. So unpredictability is something very important that we have to try and include in tow all our work. Now, if you don't have unpredictability, it's not the end of the world. You can watch a lot of television shows in your see that there's a lot of it's predictable . So if you are unpredictable, it's not the end of the world. There are so many actors out there right now who are so predictable on TV that you watch that the actions not that great, because it's bland and you know okay, this is what's gonna happen. You know what's gonna happen. There's no one who is like doing anything that surprises you. And if you don't have unpredictability, that's okay. Because you can know that you can still get jobs if you're not being unpredictable. But what I'm trying to give you is I'm trying to have you stand out because this is gonna help a lot during the audition process. If you could be unpredictable because they're going to see thousands of people come through their door and do the same scene over and over and over the same way. And then if you're able to come bring something new, try something different that they haven't seen before. Well, you're going to stand out as long as you're being believable and your unpredictability is working within the world of the scene that you're playing in. But what I'm trying to show you is things that the top actors air doing trying to give you the training that I've got from people have gone to a CT, Juilliard, Harvard, rata, um, Broadway actors all these things, and to let you know that if you can do this, it's gonna make your work so much more powerful. When you're going to stand out, you mind as well try and do the best work. You might as well try. I mean, there's no reason to say Okay, well, I'll just settle for being okay. Like some of these TV actors, there are some TV actors who are amazing, who are great by all. The Davis is one of them. She's a fantastic, but there are a lot of people who aren't that good. And I'm just saying for those ones, don't try and settle to be low. Well, you know, they could get jobs. I'll just settle. Do you know, do what they do? Do your best work Put in the effort, Put in the time find where you can put moments in that are unpredictable. That will be interesting to watch and to put into the scene, do the work, do the work, do the work. It'll be so much more interesting just and there's so money. There's so many shows that I have seen before that are bad. This could be plays. This can be movies are TV shows or even movies and just watching it and seeing Wow, that was kind of poor. That was kind of bland. What they did, they could put so much more into it that could did something else that made it way more unpredictable. Um, that surprised us. You know, unpredictable could be a good thing. Or it could be a bad thing. Whatever direction you go to be unpredictable within the world, that urine stained logical within the scene. But it will help out a lot. I'll go back one quick time to the moment where I was talking about Paul Newman. Paul Newman. He went, you know, drink his beer, went to the meter, kissed it, walked off right. That's not the only way to be unpredictable. This is again. You know how we're different. Maybe he would do that. Maybe for may I wouldn't have thought to do. That's maybe what I would have done to make it just interesting. So the scenes not just me having a quick drink and walking away, Maybe it have a quick drink. I walked by and I could just pat the meter. That in itself could be enough. Or maybe you might go. You may drink your bottle. Then you may go, and you may do a little spin right next to the meter, and then maybe you grab onto it like you're dancing with it. Maybe you don't, and then you walk off. It could be anything it could even be. You drink the drink, you look around, you walk off, and then you throw your drink to the site. Anything. There's so many different versions that it can go So many different things that you can do . What's great when you're shooting this for like, say, a movie. You could try A with those things. And then during the editing process, they can choose. They can say, Okay, I want this. I want this. I want this offer director likes what you're doing here, lets you keep doing it. If he doesn't pull you back or say, Hey, um, go back to what you were doing or he or she may say, build upon that more what you just did, do what you just did. But make that make that movement bigger. Do that dance, but be even bigger with it. Or if you're gonna throw that bottle, be aggressive with it, or throw it and be happy or their do a ton of different things because it's a collaborative process because they're all working together. So just know that unpredictability can make a scene so much more interesting if the script is given it to you. Fantastic. You're so lucky. The script gives gives it to you. But like I said, there's gonna be a lot of times where the script doesn't. And then the actor is gonna have to make the work interesting. Just think about all the movies. You've seen all the bad movies. Well, how was the writing? If the writing is not so good that it's not, it's not easy toe have good work put up. So anyways, thank you all for watching this video. You have now completed it. Make sure that you guys have wrote old this stuff down. Make sure you have your pen and paper. You're writing this stuff all down because they're gonna be really helpful. Beneficial for you And then anything that made ah lot of sense to you or your Like, while this really resonated with me, make sure you highlight those points, you know, underlining Get a highlighter highlighting because that's gonna help you tremendously. So this next video that we're gonna get into It's gonna be a very a very important one. These all are. But this is gonna be one that you probably have heard a lot of actors talk about, and we're gonna start getting into it. So save it, though, if you can for tomorrow and then start trying to implement what you've learned today. What you learned yesterday Put it all through. Keep going. Step by step by step by step. So thank you all. I'll see you tomorrow. And congratulations for completing this video by guys. 5. Video #4 Listening: today we're going to be getting into a very important video that I'm super excited to share with all of you because we're gonna be talking about listening and listening is something that gets so thought after with too much, too much thought in confusion is put into it. And it doesn't have to be something that is hard or confusing for us to understand. But let me just make a point about how important listening is the top actors that you see on film always, always always talk about. How important listening is Meryl Streep, Tom Hanks, Alan Rickman, Many actors, the top actors are all saying that listening is very important in Some of them even are saying that listening to them is the most important thing, the most important aspect to it. So we have to make sure that we have listening. So let's just agree on that so far, we have to have listening within our work. Whether we do television, whether we do film or we do place has to be there. I worked with she's so money actress before I can tell you that they will be that right, and they'll be standing there We have dialogue going on and there's nothing happening. There's no listening coming from them. And when that happens, when they're not listening, the director has to stop everything and have to go. Okay, look, so something's going on here. You have to be reacting. You have to be doing something and you hear this A lot to listening is reacting. I think to simplify this that if you're truly listening, you're naturally going to be reacting. You don't have to think as listening is one thing reacting something totally separate. It's just if you're truly listening, the reaction's gonna happen because you're listening to what's happening. In the moment, it's react is more of a byproduct of listening. I've worked with Actress before, understand that and basically it's just it's blank. Nothing's going on with them. And then right after I'm done, I'm done talking, then boom! Then they start talking and they say, Okay, great, now, like it's my turn to talk. I can say my lines And don't worry, I'm not perfect at this. I've fallen into the trap to before. When I was starting out, I would be there and I just be like, yeah, OK, I'll be staring. Not in my head. Okay, okay. Okay, great. All right. Now it's my turn to talk, and then I go into something, So just make sure that listening is something that you put as a priority that you're looking for, Um, in that you want to work into your work. So here's the first thing for how to start practicing this. Start putting away all your phones, get rid of the phone, get rid of the iPad to put it away. Don't pull it out all the time because this is what's happened over the years, technology has really taken over and our phones air almost something that's like it's glued to us. It's like sewed onto our own hands every 10 minutes. Just notice when you're talking to someone like every 10 minutes, 15 minutes, they have to come pull out their phone, take a look at it, and then put it away. Even it's even if it's something quick. Just like that. You're notice they're there. It's like 10 30 10 40. Boom. They have it out and they put it away. Who cares? 10 minutes went by, like you know how to check your phone every 10 minutes. And it's not just that. There's many other times where people are pulling out the phones and they're like, Oh, let's see what's going on Social media today O r o you know, on board, Let's see what other people are doing That's really exciting today, instead of making something else exciting for me and living my everyday life, um, or it's like, Whoa, something's really cool. Cool is happening. I'm really present. I'm really in the moment with everybody. Okay, let me pause real quick. All right? Let's take a video of this. Shoot for everybody. So people on here can watch me, um, or your Some people say, Oh, that was really funny. Hey, um, let let's Ping unless let's stop the listening. Okay, let's Let's go and redo that same thing again. Tryingto over popularizer yourself. Technology has been something that has really taken the listening aspect away. And this science has proved this. If I'm here and I'm on my phone and you're talking to me, I'm not listening to you. Sure, I hear you, but I'm not listening to you, which happens a lot in acting. People are like, Well, I'm hearing what they're saying, but you're not listening. You're not listening to what They're what they're saying. An example of this is gonna, you know, do a big example would be if you were here in front of me, and all of a sudden I started yelling at you. Well, you're gonna have some reaction. It's gonna be either you're gonna say something, you're gonna physically do something and you're gonna emotionally feel something, you know, we're seeing in your face or take a step back. Something's gonna happen if I just start yelling at you for no reason. But say in a scene when you have your partner and you guys are working with each other all of a sudden for whatever weird reason is when you go and I and you're there and I start yelling, yelling at you Well, then, for whatever reason, the reactions not there. And it's just there either staring or they force a reaction. That's not really This is why the believability thing that we were talking about earlier in the previous video is really important. Because we're getting used to how we react and act naturally were working on knowing what being riel is and really focusing on what it is to be, really. But we we break away from that every time we go when we have to feel like we need to look at our phones. So if we realize that, okay, so if I'm on my phone here, I'm not really listening. This is why you know it's illegal to drive and text or not being able to pay attention to anything. So put the phone away. And if it if it's like this and someone's on their phone and someone's talking and it's not , you know, the listening is not really happening. Well, you're also know that every 10 minutes force, but second, you're not listening. You're not listening, you're not listening. And then what's happening is you are practicing, not listening, not consciously or not consciously thinking about. I'm trying to not listen. But you are practicing, not listening. You are practicing a bad habit. It's basically like if you have ah, you know you're gonna play baseball. You have a baseball bat, but you keep you keep putting your hand like you hold a weird, weird grip like this, and then you go and you swing in a weird direction. It doesn't make any sense. That's kind of the equivalent. You're not listening. So what you're doing is you're practicing about habit. Well, when you're playing baseball, will and you're practicing about habit how you swing or if you don't have your right footing, you don't want to practice bad habits. Because if you practice a bad habit, well, what do you think's gonna happen? You're gonna do bad work. If you practice a good habit, you're gonna do good work. You practice a bad habit. Whoa. Think about it. Logic says if you practice about have it, you practice the wrong thing. Well, anybody can tell you a two year old could tell you Well, you're not gonna do good work. It's a simple is that so? If we know that technology is something that's taking us out of the moment, then we have to make sure that we limit it. You know, I'm not selling. You throw away your phone. It's not practical. We still need your phone. But I'm saying don't use it as much When you're in conversation with somebody and you're talking with them. Don't have your phone out. Put your phone away, be present in the moment with them. This is something that also screws people up because they're so used to looking at their phones when they have to be on stage or beyond film or on TV, and they're looking at the person. The eye contact isn't very strong because they're not used to it. They're like, Oh, wait, I have to stare at you. You stare you in the eyes. It becomes awkward for a lot of people, You great thing that not everyone falls for that one. But there are a lot of people through the eye. Contact all of a sudden becomes somewhat awkward because they're not used to it. They're like, Oh, my phone's hero. Now I have to stare at you, And that's why it's very beneficial to just put the technology away, to be present with somebody. Even if it makes even if it feels nerve racking and you don't like it, you feel uncomfortable. I don't care. Still, sit there, be present being the moment. You know, if I'm somewhere right and say for whatever reason, moment, it's like it's an awkward moment. For whatever reason, it could be anything could be just the night. It could be the day it is. It could be. The people are weird. Whatever it is, don't pull the phone out because then what happens is you're trying to take yourself out of the situation. I'd rather live in the invading the awkward moment. If it is awkward, then I'll say, Okay, I'll tell myself internally. All right, this is kind of awkward, but let's just see what happens. And this is something that allows you to want you be you You'll be in the moment. But also you're gonna be taking in experiences in life. You're gonna be much more open to everything that's happening to you because you're gonna be experienced. It is experiencing everything right when you go over here like this, all of a sudden and your attention is here. But when you're open, your attention is everywhere. You have a 360 degree attention. You know everything that's going on, you hear the noise, you smell stuff, you taste things. You see things, your senses air coming back alive. So just don't let technology be something that's controlling your life. If it controls you, it's not benefiting you. it only hinders you. Granted again, not send it. Throw it away. You know you still need it. You need to call your agent. Sometimes you need to have a phone. But just make sure that you are not having it be something that controls your life because you're not gonna be listening, and it's gonna really not be something that's beneficial for you. Um, all right, so I have this here, So Okay, I want to say first that I mentioned before How if you are being completely believable and you have the believability because, you know, you've worked on noticing all the moments in your life just taking note of what you're doing right now What? You're what you were doing five minutes ago. You're taking notice of when you're in the moment. What's happening? You're practicing being present. If you're in a scene and you're really present than the listening, it's gonna come naturally. That's that's one of the great things that if you can be really present in your believable in the moment for yourself, for the audience and everyone, it's gonna come naturally. That is one of the super amazing things about this. But now if it doesn't come naturally to you. Well, then we have to find tricks in order to get this. And this is something that also some frustrated because you don't learn this from your typical classes. You know, a lot of this that I have been able to get is I had to really sit down with my instructors , you know, chart out my own things and then really, individually go upto everyone of woman. Be like, Hey, do you agree with this point? Do you agree with this point and seeing which ones correlated together? Which ones didn't who had commonalities who didn't have commonalities? Right, So you're working and you're finding that you know the believability thing. It's what working. It's kind of going along. And you're finding that for whatever reason, you're not listening. And you're like, all right, something is happening. Something's happening. I'm not missing. It doesn't matter what it is. It's not working. If you can figure it out, great. If you can't figure it out, don't spend 20 hours sitting down thinking and stewing about this because all it's going to do it's gonna hinder your work. It's gonna slow your process down and it's not quick and immediate. The one thing that you have to be careful of that I see actors doing. They might have work, and it's great they put it up. But once they start thinking about one thing too hard, like if it's especially something that's a challenge. If they start thinking about something that's challenging too hard, then they start getting too heavy about it. It is not challenging, and it's like benefiting them, and it's great to keep thinking on it. But if you know that it's a challenge, you keep thinking on it. Then when you go on to set, that's the thought you have in your head. You're constantly thinking Wait, that thing Oh, how do I get that element to it? Um, so when you're doing a scene when you're working, you are going to have one of these four things being completely present. Now I hope you can see this with the light and everything that is not blinding it, um, I'm sure you can, but if you can't, um, you're gonna hear, may hear me say that you can even write your own visual boxes. My suggestion for you. So even you guys have it, so I have four boxes here. One, it says your feelings. The other one says What you are trying to make, the other person to feel. It's just a casual moment is in the third box, and the 4th 1 says, What are you trying to do or what are you trying to make them do? Make the other person do something? So when you're doing your work naturally, one of these things is coming out more with the listening, because when we're when we're there and we're listening, we have to make sure we have some. Something else has to be going on. You're here. This, like the director may tell you are an instructor, they may say, What are you feeling, or what is the other person trying to feel? If we have that? If we have the basis of that element to it, what's the other person feeling? There's the casual moment. What? We're trying to make them do something. If we find that that it's much easier to be listening in the moment because you're not trying to find what you're listening to or how you're listening, you just realize that you know what it is. You know what the point is, and then it's much easier to listen. So I'm gonna give some examples of this. So, for example, your feelings. How are you feeling? How how are you with your character powers, you feeling in the moment? So that might be there might be a scene and something's going on. And you feel sad that that that's that. You know that you feel sad, right? If you feel sad and say, there's this over here, what are you trying to make the other person feel for one person? For them to be listening better in the present in the moment it works for them to have their own feelings down to have that be their focus? Because I could be I could be in the moment, and I could really be feeling sad. And someone's trying to talk to me, and I'll just have reactions Come when I'm sad. You know, sometimes if they're trying to look at me, maybe I'll look away. Maybe if they're trying to talk to me. You know, maybe if they're saying something that's kind and polite, maybe I'll look back up at them or if they're saying something that, um, you know, demeaning towards me, then maybe I look way different. Things will happen with that listening process, but some people in the moment that may not work for them, so they have to go to the next one, which is what you trying to make the other person feel. So instead of focusing on your sad, then you might focus on what you trying to make. That person feels to say, if a person is trying to be demeaning towards me, maybe I'm trying to make them feel bad for making me feel that way. Or maybe I'm trying to make them feel good about themselves, like, yeah, you have. You do have all the power, but maybe I'm trying to make them, um, feel guilt. It could be anything, so sometimes it depends on the person. One is gonna work better than the other. Sometimes it might even be multiples, but these are going to be the main things that you have going on, and it's not. It's not like, Oh, it's always this one, or it's always this one. It just depends on the moment. It depends on the scene. It depends on the project. You know, you may have tendencies to go more towards one or the other, but it's not. It's not always gonna happen. There's been times in movies where I'm working and I'm like, OK, my feelings, How am I feeling in the moment? That's what's working for me or it's like what I'm trying to make the other person feel. That's what's working for me in the moment to be a better listener because for whatever reason, this is just how it works. For us, subconsciously is when we have one of these and we know what's going on, it's easier for us to listen. It's easier for us to listen if we know that you know, the sadness that we have is fueling this through the scene. It's easier for us to listen if we know that we're tryingto our goal is to make this person feel a certain way. Um, the 3rd 1 we have on here is it's just a casual moment, so there are moments where people are like, OK, what do you trying to do? What are you trying to do here? Here, here? Sometimes it's just a casual scene. It's just a dinner scene. It's just you and your buddy and you guys are all You guys are just hanging out. You don't have to do anything spells you don't have to think about. Okay, I'm here. What am I trying to make my body feel? I mean, I usually usually for me, That's not how I think. When I'm sitting with a friend when I'm there, you know, just hanging out, we're just We're just chilling, you know, if there really sad, maybe I'm trying to make them feel better. But if he's just a regular casual moment, then I'm not trying to think about all this stuff. I'm not thinking about how my feeling I'm just there and I'm just having a good time. We're just hanging out. We're making jokes. So that's why when it comes to your feelings or what you're trying to make the other person feel that usually works better in those moments of when the emotions are hiding. If I'm not hide and then it doesn't, it doesn't really benefit it that well. So it would be awkward for me, maybe for you if it is for you that this is beneficial. The 2nd 1 The second point, then used that. You know, I always tell you guys, if something is working for you, then use it. If it doesn't work for you, then you throw it out. You don't need it throughout the old food keeping the good stuff. So for the casual moments for me just realizing, Hey, it's a casual moment is best. I'm not going to try and think during this scene. Okay? I'm gonna try and make you feel this. I'm gonna try and do this. And if you are working, if something's not working during the scene, well, then you're get guidance. The director will say, Hey, now let's try this. Let's do this. Let's do this. But you can kind of tell with the scripts that you're reading. This moment is just a casual moment. That casual moment may turn into something, though that counter a moment could turn into a moment where it gets hiding and it's very emotional. Were then, Okay, you're like, all right, I gotta go. It's gonna shift into one of these points that can happen. All movies that you watch, there's moments where there's it's casual and then something happens it has that contrast it brings. And then the last one that we have here is what are you trying to do, or what are you trying to make them do? So for this one, this one, it's more if, instead of thinking emotionally of how you're feeling or how you're trying to make them feel and it's not really casual. Sometimes you could combine casual with this, but usually it's not, I found. But you know, there's different products where will be. But for what you're trying to do, it's more of like a physical thing. So it might be, I'm just trying to leave. I'm just trying to go. That's what I'm trying to do, and that will fuel me through the scene. And that will help me be able to listen to what's going on, because this person might be talking to me and I might be there, Mike. Okay, great. All right, now I'm gonna go. It might be that type of thing because it's still listening. But I'm like, OK, I'm listening. I'm listening. I'm listening for when I can go. That's how I'm listening. Or it can be that you're trying to make them do something. So Okay, maybe they're talking and you're listening, and you just want them to leave. You're like OK? Huh? Okay, now just go. Just go. Now you can do different out. Like I said, though, something for work. Better for different people. So, like, for that example, if you want them to go well, you could always resort back to this one and think, OK, what am I trying to make them feel? I could be like, I'm trying to make them feel like they need like they need to leave. Like I don't like. I disdain them. I don't like them. It could be that. But I think it's much easier. And it's much more simple to just think. What am I trying to make them do? It's more of a physical thing. This last one, the 4th 1 here it's more of I try to think of it more, being physical instead of emotional. So it could be What am I trying to dio? What am I trying to make them do? So like I said before, with these four points here, usually what's gonna happen is naturally when you're working. If things were starting to work, you're gonna have one of these. Be working more than the other. And if you find which one it is if you're working and you're like, OK, this is what's working for me this first point here, that that's the point that you lean into. That's the point that you start, you start working and working on for your listening so you could be more present in the moment you start working on. Okay, How am I feeling how my feeling in the moment? I don't think about it being casual. Don't think about how my trying to make them feel. Think about how you feel. If you find that that's what you're doing more and that's when it's working for you, then that's the one that you put your your time and effort into once that starts working, if you feel that hey, it has to branch out, then sure haven't branch out, but you need to get this one first. And usually if you have this one and you're listening, it's gonna get you into the moment that then boom, things are gonna start happening naturally. That's what we want it. We want to have the instincts come out. That's our goal. So once we get one of these instincts, if it's flowing, it's gonna come out just fine. But now let's say this was not working for you and you're doing your scene whatever. And you find that you know, the moments that it's working is when you're trying to make them do something. Well, then that's what you're leaning into. You're thinking through the scene, Okay, What am I trying to make them do? Am I trying to get them to leave, trying to get them to do their work? We're trying to get them to just come give me a hug, trying to get them to tell me it's okay. You know? What am I trying to make them do or what am I trying to do? So you have to find which point you're falling into, and it's going to be one of these four and the one that you're falling most into. That's the one you lean into. It makes sense. If it's working for you, use it. Lean into it. If it's not working for you, you throw it out. I'm telling you all I wish more actors have this common sense. I wish they knew that If something isn't working for you, leave it alone. Put it away. If it's working for you, then that's what you gotta use. So with those four point examples, when you're doing a scene and you don't really know what's going on, you don't you know you're trying to do the whole listening thing, but it's not completely working for you, where you're gonna find that you're gonna be leaning into one of those four points more than and then another. So if you are leaning into the point of what am I trying to make them do, that's getting you into the moment more. That's making it feel like you're listening better than that's what you gotta lean into. You have to do what works for you. That's why everybody's different personally with those ones. It switches for one project. One works better than the other, and just it just changes. For some people, though, it might be that you know most the time trying to make someone else do something is what works for them. It depends all on the person depends on the scripture, given it depends what is happening but you have to use what works for you. So thank you all for being a part of this watching through this video, I hope you wrote Old is down because this is very important toe have. This is one of the things that I wish I wish people were teaching. This I wish when I was in my class, is that this is what they gave me. Because this is such a simple process. It's so much simpler to just have those four points and know what to choose. But instructors, what they like to do is they like to say, All right, So what are you trying to make them feel for everything. For this For this play that you're in? What are you trying to make them feel for this movie that you're in? What are you trying to make them feel? Sure, you can have elements of it through them. But that shouldn't be the only thing. And I have not found any instructor at all who gives those four points like that? I have not found anyone who's done it. I think I mean, I think I think I'm the 1st 1 to have maybe created that I haven't seen anyone else do it. I've had my yell. Harvard, Juilliard, rotter! People, They've never give me anything like that. I had I had to create it. I had to make it and put it into a simple form. And then now you guys have it as well. Use it. It applies to everybody. It helps a lot. So make sure you're putting that in and make sure you're implementing all this stuff. So make sure you're putting your technology away. You're implementing it. You're implementing the past videos into your work every single day. Make sure that with this stuff here that we talked about with the four points it a script or not, maybe a script. Get a scene, get a friend, start working together and find which point it is. Are you Point number 123 or four. What's happening into the scene and try different things? Try a little points and see what works. You know You can give 10 different scenes, try and with their friends, see which ones air flowing for you, better in which you're working. You know, maybe when you're doing them, one might work better through maybe you're going in your plane, it more casual. And that's working best for you through those you know, 10 scenes. But then as you get better your find, whoa, I could be casual and I can shift into this Or, you know, maybe I'll try this, And as you go along and you get better, then it's gonna become easy. And you're like, Oh, I can do this. I can do this. I can do this. The more you practice this, the more it's gonna just be second nature. And you're going to be like, Oh, of course, it's just this I'm doing 00.10 I'm just doing point to or 0.0.3 point four, it's gonna become easy, but you gotta practice it and implement it. This is one of the benefits. If you do have, you know if you are in a production, if you're in a movie, you're in a show. You're in a play. You get to try these points out. You could see Okay, which one is working for you? You know, Anna. Granted, if it's happening naturally, boom, it's already coming out. But if it's not happening naturally, then we have to find out, OK? How can we bring it alive? What? What can we do? What can we put into the process? So thank you all again for being a part of this. Congratulations through making it through this video. This is one of the most important points that I think you can have. So thank you all. I'll see you in the next video and again, congratulations. 6. Video #5 Physicality: So today we're gonna be talking about physicality. Congratulations first, all of you who have made it all the way through to this video video number five. I congratulate all of you, I hope also, you're taking the steps to write everything down and implement it into your everyday life. Start working on this stuff. Start practicing it because it doesn't do you any good to have something like these videos for knowledge, having the knowledge on what to do for your acting, how to make it better, and then to not implement him to not push it forward. So make sure that you are writing this old down and you are implementing it into your day and you're practicing, and you're making time to do it. A lot of this stuff you can even try. And especially with this one we're gonna talk about with physicality. You can try and do this right now. You could do it today. You could You could try. You could try it right after this video. And you could do it. You could be in line somewhere, and you could do it. So this is something that you can start practicing for sure. and working on. But we're also going to be talking about the importance of it. Physicality. It's something that we all need to work on, and we all need to implement into our acting work. So there are so many constructors out there who don't really talk about the physicality of what you have to do. They kind of bring it up. Sometimes they might be like try, you know, do this kind of thing with the physicality or work on your physicality. Do this, but it's nothing that's really concrete, and no one's really given away to practice how to work on your physicality. And if it's something that's so important and it's brought up, then we should have something in order to practice it in order so we can try to get better at having physicality within our scenes. Now, when I say physicality, I don't mean that like we don't already have physicality because our our bodies already naturally being physical, you know, just just being within a scene. Even if you don't do anything and you stand there, you are being your physicality is there's a neutral physicality. That's what it is when I'm saying physicality I'm saying physicality, that gives you a new character or makes you seem like a new person. It'll make you appear like an even better actor because this is what the best actors do. They do their physicality. A lot of people think when they're doing ah, character, that they have to really change the voice and the voice is something that we're gonna be talking about in the next video. Actually, that's what we're gonna get into. I think physicality is a little bit more important, though, than the voice. But there are actors who like to combine, changing the voice and changing physicality. That's fine. That's great. Some characters. Maybe you will only change the voice, and you can keep your own physicality. That's fine. But for the purposes of this video and working and exploring physicality, I just want to give you an example of of actors who do this. They don't change really their voice, but they are changing their physicality from role to role to role. So think of these actors really quick. Think of Ryan Gosling, James Dean, Paul Newman, Amy Adams, Angelina Jolie, Robert De Niro, George Clooney. Think of these actors real quick and picture the roles that you have seen them in before. Don't picture just one roll picture. You know all the roles of you can or like five rolls. Think of all the things that they've done before. Now, out of all those rules, how many of them have they actually changed their voice for? So they have done some, but for the majority of all their work that they put out that they've given to the world most of it. They haven't really changed their voice that much in terms of putting on an accent or completely changing it where it doesn't sound like themselves, they're always still sounding like themselves. But actors what they try to do a lot of times when they're not very good per se is they try to change their voice. So it's not like there's at all. This is still your instrument. You're working with you yourself. You are your instrument, so you have to play with what you have. You don't always want to try and change it because it can come across those forced sometimes for certain roles, though, you're gonna want to change your voice. But for the most part. Just look at the body of work that they've done. They're not the only actors. There's many more. These are just a few that I mentioned, but think about what they do. How many times do they change their voice and how many times today just keep it in their voice most the time it's staying within their voice. The thing that does change, though, is the physicality. So when you look at a character that's a Ryan Gosling is played. If you look at the movie, I think it's called Lars and the real Girl. He played this guy who was very closed off, you know, he's he's kind of sheltered. He was kind of nervous a little bit, not the most comfortable person you'd want to be around. Well, his physicality was much more different that his own natural physicality, his shoulders might have been up a little bit. He might have had a little bit of a tilt to his head. He might. His movements could have been kind of small, you know. They stayed close to his body when someone talked to him and respond. He and I have big nods of his head and the smile on his face for that character. But if you think of, um, his movie that that he was in LA La land, well, if you think of that movie completely different type of character, he has confidence. When he walks in the room, he stands up tall. He smiles. He has his smile is different, then his smile and Lars and the real girl. If you compare movie in a movie, because the physicality has to be different, depending on the type of character that your plane now you have to make your own judgment on your character. You have to find OK, Do you think the character is gonna be small? Or do you think the character is going to be big at first for practicing? When you want to practice your physicality and you're working on it, it's good to at first, use your own physicality what you have to. Sometimes that'll be enough when you're working, sometimes you don't have to come up with a completely different physicality. Just use really your own physicality, and that could be fine. Not all the time, but sometimes it can, and a lot of times is just a little bit of different transitions with your own physicality that you're working with. So if I have to play a character who say is really, really rich, have to play someone who's really rich And, you know, maybe they started, like, their own, like, big business or whatever. And you know, they're gonna first. They're gonna give me the costume pieces so I may give me a really nice, expensive looking suit. Get me all done up. You know, I'll have whatever I have to to sell the character. You know, maybe there have, you know, $40,000 watch the gift. Maybe we'd have a nice car behind me, whatever it is. So there's all these different points that everyone's working to sell the character and then for me, what I have to dio while if someone says, play rich, will you? How do you play rich with your physicality? You don't have to really try and be like Oh, rich. See, I got money over here. All it is, it's just you. You could be here and you could stand up tall. And, you know, you're really calm in the moments that you're in so you don't have to think. OK, so I have to not showing money. You have everything you need. Everything's been given to you for the physicality part. You just stand up tall and then your emotions. You, you ground your motions within your yourself, the motions of your hands. They don't have to be anything that's really fast and saying Good. Get that over there. It could just be something like a that things over there Go get that. If you have all the elements, it will sell it for you. So when you're practicing, try and have your physicality be something where you play first with tempo, so see what happens when you have a character and you start moving fast or you move a little bit slow, slow down a little bit, see what happens. Does it change in Naturally, it might change the way you're already speaking. So if I'm you know, moving slow and doing all this, my voice will change. But if I'm moving really fast all of a sudden, naturally my voice is gonna try and follow along because it's trying to keep up and you can play with having your motions be really big. You can play with big motions moving your arms all about. You know, you have these big turns, whatever. Or you could play working really small. You know, it's just little things could be the way you do. You look at something the way you move your eyes. Whatever it is, you can play with it being big, you can player that being small, you can play. They're going fast, going slow. You could do it with the script that you have or you can do it with your own self and a way to monitor it is not necessarily going in front of a mirror in trying to do all this stuff . And then watch yourself while you're doing it. Because not truly, riel. Because if you're looking over here, we're gonna move your eyes this way, sir. Kind of trying to see what you're doing while you're looking this way and you're looking here, which isn't always an honest representation of what we give, because we're not usually doing that. If we're looking over here, we're looking here, Um, depending on what's going on. So if you have, like, you know, just take out your phone, take out your phone put it up and then record yourself. Record yourself telling like a story, whatever it is, your own personal story. Or it could be a monologue that you have. Whatever it is, doesn't really matter. Just put the phone up, record it, do it, then recorded and change your physicality a little bit. Make it a little bit smaller. Make it bigger. Make it fast, make it slow and just watch it and find what you like and then find what you don't like. So if you see something and you're like, that was really weird that are that looks really fake doing it like that. That that doing it really big that looked fake. Well, then make it a little bit smaller and then see what happens. And then, if it's still too big, make a smaller Oh, that's too small, making bigger you're playing with it. You are your own instrument, so you have to kind of find how to play your instrument. You have to see if you if you think about it like a guitar, you have to see how do I tune this instrument properly? Does this one Do I have to turn the knob a lot when I'm tuning this instrument Or do I just do it a little bit? Can I strum the instrument? Heart? It doesn't have to be soft. You're playing with your instruments who? It's gonna be a little bit different for each person. Ah, one of the things that I like to do when it comes to recording is all pull up while villages YouTube, an actor that I like and off I'll find, find the scene that they're doing And they don't look at the scene and they'll say okay, or watch a few minutes of it and I'll go great. And I'm trying to see what they have in that scene. And then what I'm gonna do is I'm gonna recording myself and then I'm gonna try and copy it . Now, I'm not gonna copy. Exactly. Motion wise. I'm gonna try and copy the essence of what I see. So, for example, if the character walks into the room feels the space of the room, they own the room, the presence is on them. Well, I'm gonna have to see how I can get that essence down, because if I try to copy everything that they do well, it may not work, say I find a scene of Dwayne Johnson and he walks through the door. He of whatever scene he's in it. He owns the room, and that's the scene I'm trying to copy. Well, if I go and I try to copy that scene, I have to realize that we both are totally different people. And we have our own two different instruments ourselves and Dwayne Johnson, much taller than me, much bigger than me. So for him to fill up a space, it may be a little bit easier. One. He's actually bigger where he can fill up that hole space. So I have to find if I do the exact same thing that he does, and I find that it doesn't fill up the space the way that I wanted to. Maybe it does a little bit, but I'm like, Ah, he had a lot. I didn't have very, very much in there, so I have to find How can I do that? And maybe what I do is I walk in. I try to do some of the physical things that he did, and then I put a smile on my face And maybe it's that smile that makes it look like I own the room and it could be anything. And if it's not that, then I will find something else. But you're aiming for the essence of it, because if you try to copy exactly what they're doing, you may not always get the result, but that's why you aim for the essence. Now, don't get discouraged if, while you're going through this and after, you know 5 10 minutes, you're like it's not working. You're like, I'm trying to copy him and I'm not able to do it. Well, probably not, because if you think about anything, it's hard. Things are hard at first when you haven't done it before. So if I tried to teach you to play piano and I sat you down to play the piano, well, it's gonna be a little bit hard for you if it's the first time we've ever played. But after 10 minutes, you're like, this is too hard. I don't want to do it anymore. Well, then, yeah, of course you're not gonna get any better. Or if I say, you know, try to teach you to play basketball and I'm like, Hey, let's go, Let's go shoot some hoops for a little bit And then I bring you out and then after 10 minutes, you're like, OK, I'm done. I can't. I'm like, this doesn't work for me. Well, if you only try it for a little bit, it's not gonna work. You gotta practice it every single day, and that's why being through this process and with these videos, you're committing yourself to being a blank slate and really focusing on everything that's being said and implementing it and trying it. It's one of the easiest things you can dio watch other people watch the essence that they bring with their physicality, physicality, and then try to mimic the essence, using your own instrument, using yourself, you yourself or your instrument, and you have a lot to bring. If you think about actors pick, you know, 45 actors, whatever you want. And if they all had to play the exact same role, they would all approach that role, and they'd all be different because they all have their own different back stories. They all bring their own thing to the character, say, if someone had to play a character who was businessman, awesome, high corporate company and to say you have Robert Downey Jr. You have Johnny Depp, Matthew McConaughey and Tom Hanks. Well, all these people and they have to say they have to be like they're the cocky CEO of the company. Well, they're all going to approach character differently, but they're all gonna aim for that same essence. So they know what they're aiming for is that cocky essence. So that's what they're gonna aim for. And now, if they wanted, they could go and they could look. Some people love to say OK, they can look at the cocky at essence and see some similarities and see, Maybe they can bring it into the room and see if it works. Sometimes it may not work. Sometimes it may. You can use other people, you know, that's what actors do. And I think was Pablo Picasso. That said, Ah, good artist, copy and great artists steal. So you confined every you can use the stimulus of everything. But now these actors went and tried to portray the character. They're all going to be different. Johnny Depp portraying the character well, he his character, I don't know, but it could be. Maybe his character wouldn't say very much. Maybe his character would be, you know, a little bit more quiet, not his head. And then when he did talk, you know, would be slow and there'd be purpose to it if Matthew McConaughey was doing it. Matthew McConaughey A. To bring out the cocky arrogance of this businessman. Maybe he'd be louder. Maybe his movements would be a little bit bigger. Maybe he'd have different gestures with his hands. Maybe he would get close to the other actor. Maybe Johnny Depp. Maybe he would be a little bit further away. Maybe Tom Hanks. If Tom Hanks had to be the character, maybe he would speak somewhat condescending and that that's how he would show his dominance and show that he's a cocky guy. So it all depends on who's playing the character, but everyone's gonna play it differently. There's gonna be similarities that they have. They're going for the cocky essence. Maybe they're not all jumping up and down. Maybe if they all had to do a party scene, they would be that similarity. They'd be higher in energy. They'd be jumping up and down they're not jumping the same way because they're all different people. But they're still That's still gonna be a similarity that's there. And they're having to play that high corporate CEO. Well, there will be similarities that will be there. But ultimately it's gonna be different because there are all different people and they're all bringing ah different energy to the mix. So physicality is something that's very, very important toe work with, and to realize how important that it is, because that's what makes the difference between our characters. When you see Ryan Gosling people, some people may say, Well, he place the same characters throughout. But if you look at the roles, there are similarities that you're saying because you're seeing the same instrument play within these different roles. But they are having differences to their characters. If you think that if you're watching him and you're thinking well, he could have done this in there. Well, then, great. That means that you're seeing, Oh, there's something that could be added in. So if you are to have done the character, you could do that. Plus add something else, you could add another layer into the character, so you want to be, you want to be active observers. When you're watching, you want to see Oh, that was great. You're like, Wait, they could do that. That might be great. Or they could try this or what they could do is they could add in that thing of unpredictability, what's something unpredictable that they could put in there If you want, Watch Ryan Gosling. He's pretty good at adding in some of that unpredictability, but a lot of it, too. Is it with the scripts, the scripts, the writing. The writers have written some pretty good stuff for people to or with some of the films that he's been in. The writings been really good, and you have to pay attention to the writing when you're when you're trying to figure out your physicality. Because if you are in, say, some wild comedy, well, then your physicality, it's okay to be bigger. You can be bigger, you can do certain things. You're see it because you know there would be these golden nuggets within the script and you could find okay, this is an example of where I could do that. So it builds on your character for you could do. Or if you find that this character through the script in the world that it's in is someone who's maybe more quiet and reserved. Well, then you know that that's the path you can go down because in good writing, you're gonna find that within the works. And good writing is it might be a common thread that you see throughout some of these videos cause I bring it up because it's so important. And there's a reason that all these actors talk about it and bring it up. There's a reason that my my yell instructor told me that a good script give me one of most important things and helpful for an actor because it really is. If you have good writing, it does a lot of the work for you, but you have to read it and you have to pay attention to it, and you have to mind the text. You have to find what's in there to give cues because you got to know what world you're in , what game? Your plane. Each script is kind of like a different world that you're in. It's a different game that can be played I have to as the actor know what game on plane, What? I'm going through these when I'm going through the scripts and my playing basketball Are my playing football or am I playing tennis? When I'm going through, I have to find what's happening. What's the world I'm in? What can I play with? What are the little cues in there? And then once you're there and you find out what what world it is, well say if I, um, I'm in the tennis world, I'm like, Okay, I'm in the tennis world now as my character in there. Well, there's different ways that you could play it. You could say, OK, I'm gonna be build. The character's being great with the backhand. There's no metaphorical, by the way, not actual tennis place, but elements that you could add in to the work are you could use like I could be great in my back, hand or eye could be great at serving, or it could be poor serving but great with my back. And there's different ways that you can play with it. But you get that by going through the script and finding what it is that's in there. The secrets, the little the little, the little cues that air that are within text. Now, if you have bad writing, though, that's what you have to do a little bit more work. Because if you have bad writing, you have to start finding you have to start finding and creating your role, your own golden nuggets. It's kind of like if you are on a basketball team, well, if you're really good and your whole team sucks, well, you're gonna have to pick up the slack form and they're gonna have to try and make this past work, and you're gonna try and have to get the ball here. You're gonna have to try and go around. All these people are gonna have to try and guard more people than maybe you would like, Whereas if your whole team is good and you're working well, then you get to focus on one thing. You don't have to pay attention to what this guy's doing, What this guy's doing, you can say, OK, I have the ball. I can focus on shooting. I know my teammates here. They're going to guard me. They're gonna keep me safe. I can shoot the ball. I'll be fine. That's kind of one of the perfect examples to thinking about it. Good scripts help you. Basically, if you think about it with games, wins the game, bad scripts, you have to do a lot more work. So that's why a lot of actors cherish those good scripts. And within those scripts, that's where we start to find our physicality. We confined how we can use it. What can we do? So start today, start practicing it. If you're going and you're standing in line, I want someone and see how they're standing. Are they leaning on the right foot? There, left foot is their head. Tilted is their shoulder and more to one side. What essence are they giving off? And then just see if you can just for fun, try mimic the essence. You don't have to do it for 10 hours long, but you know, 30 seconds. So you're trying to find what it is that you can use for your physicality, and it's and it's all open ended. So it's not just like, well, my physicality has to be only this. I can only do this. You don't have to you. That's why by watching other people's physicality, you start to learn and you start to see ideas and you could find what you can maybe put into the character. And you can find that you know, there's some things that you can do really well. And another thing is that, Oh, it that's a little trickier to portray with my physicality. And then you work on it and you're trying to find What do I do? Do you? I smile more us, Maya less. Do I take big steps? Do I Don't take big steps. Is my head more down? Is it more up? Is it tilted? You find different things. It doesn't have to always be the biggest movement in the world to use for your physicality . It could be something that's just small and simple like that, You know, right now in my hand, whatever this tales, you know, this could be something for whatever character. I could do this, you know, I could have a character. I could be doing this. I have my arms crossed. It just it's tells a different story. It shows another, another element, another side. So pay attention to the physicality and what it can offer you. You know, find those actors that you really like. Watch them and then try it. Try and portray their essence, and you can copy elements of their physicality. And maybe by doing that, you'll find some stuff for Oh, that really works for you and you like it so you can keep it. And it's just the more you practice it, the easier and easier it'll get, because eventually or get to the point where you do it so much that when you have to suppress a portray, it's a character who's more smaller than you can do that. If you have to portray a character who's bigger or the funding guy or whatever you're trying to portray, you start to get more used to it because if you're practicing that every day, your body starts to become aware of different ways that you can interact with the world and try new things. So practice this guy's implemented into your everyday life. Start watching other actors and start doing what they dio. You're you're in line somewhere. See someone, whether there was the essence they're bringing, try and bring that record yourself record yourself what you're doing. It's also kind of falls into what we're talking about in one of the past videos, which was Watch what you do. Analyze everything that you do. You know, there might be a moment we're standing somewhere than you realize. How are you standing? What's your physicality? What essence are you bringing right now? Wherever you are watching this, what essence are you bringing? So we all have a different essence, and we've built it up over our years, and you get to start to figure it out and start to play with it. And just think about it as being an instrument. This is an instrument that you're starting to now. Pay attention to yourself, and you're starting to find how you can play with it. What you can do differently, what you can add in what limits you have, what limits You want a break and you find all that. But you have to work at it because we're using ourselves. So we have to know what we're doing and what we're bringing. So thank you all for sticking through. Congratulations. You've made it through to the end of this video. I hope you that you've wrote everything down and that you're going to start implementing it right after this video, right? When you turn it off, start implementing it, try it out, including everything else that you've been learning. So I'll see you call in the next video. The next video. We're gonna be talking about the voice. So how we're gonna also be able to implement that and you'll see how you can combine. You can have the voice and the physicality, or if you want, you can just stick with the physicality. And that will be enough. So anyways, I'll see you guys next time. 7. Video #6 Voice: welcome to video number six. So, as promised, this video is going to be talking about our voice. So remember, pen and paper have it out, right? Everything downs down track, implement what you're about to learn. So we talked about physicality and how physicality is very important. And it's one of the more important things, I would say, because that's what we're gonna use more when switching and changing back and forth to different characters. But we are also going to have to use the voice at times and depending on what roles your plane there may be. A lot of rules were having always change your voice. If those are the type of roles that you're getting and auditioning for and trying Teoh act in, Um, so when it comes to the voice, I want you guys to first think of actors who change their voice. So you have examples. So Gary Oldman does this a lot. Meryl Streep and Philip Seymour Hoffman. Now, if you look through all their bodies of work, they have a lot of rules. Many roles where their voice stays the same. It's their own voice that they use because our voices is our instrument, so they're not necessarily trying to change their instrument for every role, for most roles that they're actually playing. They're keeping their voice. They're not thinking of Oh, I have to change my voice for the character. Their voice works because it's still a real voice. It's their natural voice that they're using. And I picked them specifically because they do a lot of roles more than other actors that you might see. They change their voice more often, Um, and when they do it, it still sounds believable. It doesn't sound like a fake put on voice. So a lot of actors that you see, like if you go to an acting class, they put on this actor voice, you see a lot more. If you watch Shakespeare, Shakespeare, see people who they go up there. And instead of still using the real voice saying to be or not to be, they go up there and say t to be or not to be. That is the question. All of a sudden, there voice changes into this very crisp and clear and clean as possible actor voice that they put on. But with that type of voice, it makes the work appear fake and less genuine, whereas when you use your real voice, it sounds much more present riel. And in the moment. And if you watch a lot of Shakespeare work, your noticed that between different actors, the ones that we usually tend to go for and like are the actors who can have her sense of being very real and very present, not putting on an act. Ary voice Marlon Brando did this when he did his Shakespeare work. He wasn't putting on this Shakespearean voice to come and talk. He was able to use his real voice, be president being in the moment with that, he didn't have to try and create something else because there was no need for it. Sometimes with your own instrument, you have to realize that you don't have to create anything new in some areas, like with your voice. Some things you will, depending on the character you have to play, especially if you have to play. Um, like a riel riel person who has actually lived in your representing them, Then, more often than not, then you will change your voice to be able to match them you just have to make sure that you know which characters you're doing that for, in which, not more often than not, though, you want to use your real voice. That's the first thing I want to mention. More often than not, you're gonna have to use a reverse. It has to be very comfortable because you have to start to realize that your voice is your voice. It's perfect. It doesn't have to change, doesn't have to do anything. You start to have to get comfortable with your own voice. This is one of the problems that actors have when they're not comfortable with themselves enough. When they try to put up work, there's that dissonance of being fully in and fully connected. You have to start getting very comfortable with your own voice and not have to think to put a voice on, because usually when you put a voice on, it goes back to that actor voice. That's one of the big problems that people have when they try to put on the voice. It doesn't go into that, um, that place that they want it to be. For example, when Philip Seymour Hoffman does his characters or Meryl Streep or Gary Oldman. When they go up and they do their work, it doesn't seem fake. It seems very believable, even when the voice does change, and that's what we have to get to. But before we can start to change your voice into doing someone else's voice, we have to first become very comfortable with their own voice. In realizing that our own voice is enough. We don't have to try and put on this actor voice. And sometimes there are actors who fall into the trap of not trying to put on an actor voice. But naturally they do put on an actor voice. So an exercise that I like to try and work on this to keep your voice natural is say, you have you have a scene, you have a monologue. Whatever you have, you have the lines here, and all you do is you just start talking saying a sentence. You could say I went to the park and Botha data data, data data, and then you have the lines that are on the page, and let's say the lines are where you Shakespeare lines to be or not to be so I have it and I'll go. Yes. So today went to the park? Um, I got an ice cream cone. And then to be or not to be that is the question. Whether it is nobler in the mind, that's what I would dio for it just to get used to. You have in your natural regular voice, depending on the scene, though, of course. Or you may have to get loud in that moment or soft in the moment. Sure, but first, just get used to your base voice. Just get used to where it is usually, and then you can start to build up from there and go higher or lower in your range. Because there are moments when you might be talking with someone you might go, that's so awesome, and then your voice gets a little bit higher. Or if there's someone that you maybe don't like talking to, you might talk to them back. Okay, right, Okay, cool. And maybe your voice gets a little bit lower. It depends on who you're talking to, and that's kind of comes down to circumstances. But a good way to practice just that being natural and being comfortable with your own voice is toe. Have the script, say a sentence and talk about, and it's just easier. Instead of making up a sentence to say what you did in your day and then you say what you did in your day and then boom, you go straight onto the line. And then if you notice yourself reverting back to a fake actor voice while you're saying that you know there's your voice starts to act fake and not natural, then what you want to do is you want to. Then stop pause, say that sentence again of what? How your day's been or it's a completely different sentence. Say how your day was last week, Whatever, and then go back into it and start reading through, and you're starting to get used to using your own natural voice. Oops! Hit the mike here in your own natural voice and being present with what you're saying and in the moment and working from the text that's in front of you instead of putting on the line and saying to be or not to be. That is the question whether it is nobler in the mind to suffer the slings and arrows of outrageous fortune you could do, you could do it. And there are actors who play with that, changing their voice. And sometimes it can work, depending on the world that you're in, what your directors creating. If he wants everyone to do that, then we're being it. But you have to make sure that you can work from that place of being yourself and being really and with your own voice, because that's your instrument. And that's what you're gonna be using most of the time. Not all the time. You know there are exceptions to things just like how Meryl Streep, Gary Oldman in Philip Seymour Hoffman get their roles, but you have to make sure that when you are working that you can come from a place of your natural voice working from there, you want to try and first, then start to play with levels. After that point, you want to try and play with levels in the voice so you want to see can your voice in your natural voice bring it to ah, higher tone when you're talking, but not to a point where it starts system cartoonish. There are actors who when they start to go and go higher or go lower, it's a fake low on a fake high. It's like if you see a kid and they come and they pretend to talk alone and go whore, you're talking really low, right? No, off they go talk high next. I don't really high right now, but no one really talks like that. There's still more variations in the voice or for your voice. It's your instrument. You may not be able to go that low or that high. You have to see where you can play and you have this vocal range. And maybe here. Here's the range. Here's the top. Here's the bottom. Maybe we're more. We play in this range. You do have the ability to go up to here, and you do have the ability to go down to here. But now, if you go and you go past this range, you go to high. Well, then that's when it starts to become cartoonish in it starts to become to fake Samos. If you go too low, if you go too low and it sounds like you're trying to put on a fake voice and it won't sound very riel or present. Just think about any movie scene that you've seen where someone tries to mock the other person by copying their voice. And then, you see, it's like affecting where my car, I'm talking like you. But that's not really it won't sell it. People will listen and be like that Sounds bake. You have to play with your own range. So if you're arranges here in the middle, then you have to see how low can you go when you're actually talking. How high can you go when you're talking? You can go this high. Maybe, but maybe if you try to go any higher than that, it just sounds weird. So you have to play with it, and you have to find it within your own self. You can get a tape recorder out or you get your phone. Record yourself and see it. Which range doesn't sound really natural in which one doesn't? This is something that you have to play with. It's not something for one day, like OK, you can start to find in one day the range, but you may have more that you could go up or down you also want to be able to play with the speed of your voice. So when you're talking, though, you may be going really high or going really low. You have to see how the speed applies into that. So say, for example, when I'm talking really low. If I'm talking low like this, you know even that even that for me right now it sounds that sounds like it's more to cartoonish for me, but I'd have to Really I'd have to go and listen to it and see how and see how that works. But just for the sake of example here, if I'm talking low and then I want to talk fast for the speed back in, sometimes be tricky because if we're talking low or turn to talk fast, it doesn't always come up very clear. We can understand what the person saying sometimes when you're talking lower, you may have to talk slower. Or if you're talking higher, though, you can talk smaller. But and again, this is my This is a cartoon voice, but it's over doing as an example, but you may, when you're going higher, talk faster, so I'm talking really fast right now, I know my dad did it at all these different things, so you have to just make sure when you are working with the volume, you also apply that you can also apply and see how speed falls into it as well. And if you're not playing, even if you're not, by the way going high or low in your playing in that middle range, what you're going to be doing more often just by playing in this middle range and just bringing the volume up just a notch or bring it down a notch is enough. I'm not saying you have to go and hit your roof here or hit the floor. You don't have to do. You don't have to go to the top or the bottom. You just want to know what your ranges and what you complain. For the most part, though, you're gonna be playing in this range. And if you go this high, that's enough. If you go this low, that's enough. You stay in this range, that'll be fine. That'll be enough. And just by being in this range and playing with the speed, they can create a totally different character in a totally different scene. So if you're in a scene and there and there is, Ah, something that has to happen really quickly, like there's a birthday happening and you're like, Hey, we got to make sure we get everything planned and worked out really fast. Wolf, your there you may not say and go really self slow like, Hey, so the birthday is happening. Bobby is gonna be here and five minutes. We've got to make sure we get everything all set up. We want to get the balloons up there. We want to get ah, over the cake over there, and we want this over the presence over here. If we talk slow like that, that's gonna that that's not gonna work for this scene. Because we also have to see what is the scene. What is the scene wanting? Were playing with the voice and we're playing with right now. It's the speed element of it. But you know that for that you may want to talk a little bit faster. Say hey. All right, we got to get ready, guys. So we got to get the balloons over there. We want the cake here. We want the presence over here. We don't want to talk slow in that moment unless, like, say, a comedy. If it's a comedy than sure, maybe you're the character who's like, just like so off the wall. I'm different than everybody else were like. I talk really slow in all the important moments, and then maybe there's a scene where and not the important moments your talked really fast , like no one cares like, Hey, there's a water bottle over there when everyone's like Okay, so there's different things that you can play with the speed element to it and playing with speed. Just get a script, get a monologue in play, working the lines, going fast, working the lines, going slow and just seeing what it brings out. Sometimes the best way to know what you're doing and how it's all working is to get your recorder out. Record yourself going fast, going slow, and don't pay attention to much that you're if you can, that you're being recorded. It's kind of a tricky things. They might have to do it a few times, but just have the script and do it a little bit faster, a little bit slower and you don't have to go as fast as you can. Maybe you bring up to speed just a notch, and you can see how it changes and shifts character when you're playing with your voice, there's all these different elements that get involved. Are you someone who talks in your higher range? Are you someone who talks in your lower range? Are you somebody who talks really fast or you somebody who talks really slow? So this is how we can build a more deeper connection into the character and what we're creating and have something that appears more well rounded of a character, so to speak. So we want first that physicality, the physicality has to match if we just have the voice right. And if I talked really fast like this and I'm high or if I talked lo and I'm slow, whatever you figure out your high your low your fast, you're slow. Well, if you have no physicality and your addressed, you're basically like a dead body and just standing there, saying the line you're not really gonna be able to sell your point. Probably you're gonna want to also have the physicality down and that would be the first thing I'd say to get. Once you get the physicality down, then you can start to go for the voice. Not all the time, though Sometimes maybe the voice work for you if you know that you're an actor and you know the voice works better for you if you get that first and then your physicality. If you're building this type of character, will then do that, do what works for you. But most the time when I find works for people is if they get the physicality down and then they get the voice just depends The last thing that's very important to have. So you know, for the voice you wanted to be your own voice. You want it to be natural. You have to first learn and get your natural voice down. Get used to that. Do the exercise of saying a sentence and then reading the line. Then you can start to play with your own voice, going higher, going lower, talking faster, talking slower. This next part that I want to say is a very important part, which is the tonal inflection, so the inflections that you have within your voice. So, for example, when people are talking what they get into the trap of, say, if they have to have a low voice, it becomes a low voice. And is all one note like this. There's no level. There's no fluctuation. There's not like it's not. It's basically like this. Hi. I went to the park and then I saw a car drive by. Then there was a dog that ran through the street, and then I saw a bird fly by. That becomes very boring. It's very flat. There's no levels in there at all. But you can say so. I went to the park. There was a car that drove by. There is Ah, dog that that I saw. And then there was a bird that flew overhead. There was levels in there. It's not like that. At other, there was like there was this and they didn't do, did it? It'd to do, and you can play with it. You can have even more levels and valleys and then you say, Yeah, I went to the park and there was a dog that went by. I saw a car that drove and then the bird just like flew overhead. You can you have to play with the tonal inflections cause that's what really hope sells it once you do the work. If you just go and you're talking high, you're talking fast. But it's all like this then that because very flat and very, very boring toe watch and it becomes very fake. It just seems like an actor who is really trying to act. And you're seeing that with a lot of Just go and see and see, um, go and see a play or go and watch actors audition and you can see that that's a lot of sometimes what happens. It just becomes a very flat or one note. Or they may have levels that are going on, and then all of a sudden it goes boom and this flat, and then that b