Acting MASTERCLASS | Gabriel | Skillshare

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teacher avatar Gabriel, Voice Coach

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

18 Lessons (1h 8m)
    • 1. Act Promo

    • 2. Welcome!

    • 3. Pictures

    • 4. Resume

    • 5. Acting Reel

    • 6. Finding An Agent

    • 7. Show me the Show

    • 8. Read, Read, Read!

    • 9. What are My Wants

    • 10. Identify Obstacles

    • 11. Characteristics of the Role

    • 12. Master the Box!

    • 13. Strong Before & After

    • 14. Memorization

    • 15. How To Tame Your Nerves

    • 16. Rejection

    • 17. Let's Put This Into Practice!

    • 18. That's a Wrap!

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About This Class

Welcome to ACTING MASTERCLASS! Get ready to learn how to turn your dreams into reality. 

I have been in show business for over 20 years.  As an award winning actor, I have performed on Broadway, played recurring roles on "Young and the Restless",  FX's hit show "You're The Worst". I also guest starred on Amazon Studios "The Boys", ABC's "Switched at Birth", CBS's "Criminal Minds", Nickelodeon and many other principle leading roles in feature films and television.

I specifically designed this course to isolate all of my WINNING techniques into a program I wish I had as a young actor.  It would have saved me years, not to mention dollars of unnecessary classes and workshops that regurgitated the same jargon over and over.  One of my biggest pet peeves is teachers who spent hours talking FLUFF and NOT getting to the valuable information.  THIS course is everything BUT that.  We get right to it!

Over the span of my 20-year career, I have worked with incredible mentors and powerhouses in the industry.   As a result, I have developed an acting technique that books jobs! 

Join me on this journey to learn how to conquer your fears and manifest your dreams into reality.

I hope to see you soon.

Meet Your Teacher

Teacher Profile Image


Voice Coach


Two-Time Broadway Award Winning Actor/Singer Gabriel has performed starring roles on Broadway, Las Vegas and International stages around the world. His televised PBS concert “Live from the Venetian in Las Vegas”, has aired in over 350 PBS stations across North America. 

Gabriel has studied voice at the Royal Conservatory of Music in Toronto and began his career as an apprentice actor at the prestigious Shaw Festival of Canada. He made his Broadway debut in Sir Andrew Lloyd Webber’s Bombay Dreams, under the direction of 2-time Academy Award winning composer A.R. Rahman. He also starred as Lancelot in the Broadway National Tour of Camelot and Magaldi in the Broadway National tour of Evita (Harold Prince Revival). Gabriel had the distinguished honor of origina... See full profile

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1. Act Promo: Ever dreamed of being an actor, but just never knew where to start. Or maybe you're a bit intimidated by it. I know exactly what you're feeling. I had been there. Hi there. My name is Gabriel bravado, acting coach here. And this is my masterclass. Over the span of my 20-year career, I have worked with the best in the industry. I performed on Broadway, on major network television shows and movies. All of that experience that I have garnered over the years, I've put into a bottle and I want to share it with you. We're just so excited, Jimmy. I told Dr. Vogel bomb that the subject was obviously suffering from isolation and depression. You, I'm Casey, Far East Indiana win bosses has been sticking his nose worth don't belong. So you don't make the mistakes. I did. So you could shave off years of your career of making mistakes and getting right to what works. This course is a condensed version of what works. And I created this course because it's something I wish I had starting off as an actor. What makes this course different than everybody else's? I put my money where my mouth is, I literally share with you all of the material that has worked for me. We go from a to Z in this course. First thing you need is pictures. We find out the pictures that work in the pictures that don't work. A winning format of your resume that can make the difference of getting that audition, acting real. Find an agent's how to break down scenes, how to master an audition, how to memorize lines quickly and not a combat fear. You have a passion for acting. That's why you click that button. Let's take this journey together. I'm going to teach you the techniques to make your dreams a reality. I hope to see you on the other side. 2. Welcome! : Hey there and welcome to my acting masterclass. I'm so excited to have you on this journey. Now before we start, I want you to keep this quote in mind. Love the art in yourself, not yourself in the art. That's a famous quote by Stanislavski. I want you to really think about that quote. Why do you want to act? Is it because you want to achieve fame or fortune? I don't want that to be the driving force. I want us to focus on the craft of acting, that joy of acting the joy of playing pretend. Because remember, that's ultimately what we're doing. As I said in the intro, I've had a lot of ups and downs. This course is all about the UPS, everything that has worked for me, I'm sharing with you and we're gonna go step-by-step through the whole process. I've had a lot of students come to me. I'm based out of LA and there's a, I want to be an actor. Great. Becoming an actor requires skill that requires work. So this course is about tapping into that skill. And I'm going to share with you my acting technique that has worked for me and that I wish I had when I started off my career, it would have saved me years of wasting time and unnecessary classes and workshops and people guiding me the wrong way. This is about what works. Before we get to that winning acting technique, let's get started from ground one. In order to start, we need an agent. There's no way around. An agent is the one who's going to get you in front of the big boys. Now, to get an agent, we need winning pictures. So we're going to be discussing that in this program. As I said, we're going to be covering everything from a to Z, starting with pictures, can get an agent without pictures. And then from pictures resumes the formula that works. And after resumes, an acting real. These their promotion materials, we need to get the attention of the agent and the agent. We land those auditions. And I'm going to be sharing with you specific audition techniques that book the job. Remember, what stands between you and being onset is how you perform in that audition. That is a process that we need to master. There's no way around it. And that's very specific. On a theater trained doctor, I spent a lot of years doing theater, performed on Broadway, national tours. And when I first came to LA, I was all about theatre. And it took me years to realize that this whole process of auditioning in front of a camera and a casting office. And allay is another beast altogether, and it requires a different style of training. This is where you're gonna get it and there's a lot more to that we're gonna be covering. But the most important thing is for you to ask yourself why you're here. If the answer is because acting as something you love doing and it's truly are passion. And when you do it, you don't look at the clock. You know those things that you do and you spend time doing and you look up and then colic and you realize you've spent eight hours doing it and he didn't feel the time pass, then you're in the right place. But if you're here, because you want to be instagram famous and, and get VIP tickets to things and go to events and stuff like that. Then that's another course. This is about the art of acting. That joy of acting that you have within you. Or else you wouldn't click that button. So let's take this journey together and find the art and yourself. 3. Pictures: All right, now moving onto pictures. Your eight by tens. Very, very important. Eight by tens. Much, mostly online now. Anyways, probably the most important investment you'll make in your career. Aside from acting class is essential. These you have to be right on the money with these in order to capture the attention of casting directors, agents, managers. This is the first thing they will see of you before they even get to the resume before they even get to your real Okay. Ah, lot of people miss on this one. And I did, too. When I first moved to Los Angeles thinking this is great, I could just show oppose of me doing this in opposing me doing that wrong, wrong, Wrong stick with me because I'm gonna literally show you the pictures that have worked for me. And they have not worked for me. And why we have to capture the essence of who you are. It's like acting on film. We want to stay away from his glamour shots. What I mean by glamour shots is okay. Pose happy. I'm happy post sad. I'm sad. Pose angry. No. Empty, Empty, empty. The photographer's camera is just a sensitive as an actual TV or film camera. It captures truth behind the eyes. And this is something that I didn't know. When I first got into this, I was this. Okay, Great. You just want to see how he looked. Fine. I'll put on my best suit, my nicest coughed hair. And I'll give them what they want wrong. Every look you put in front of that camera, whether it's tough, guy, whether it's girl next door, you have to have a thought behind the eyes. Now, sometimes a photographer will coach you through that. Sometimes they won't. We don't know. We can't rely on the photographer. We need to be self aware of what needs to be delivered. Okay, So first thing you have to do is find out what your looks are. Okay? We need a commercial look and a theatrical look on various things in between. So, uh, survey your friends, Ask your friends. Your family. What do you see? Me as though I could see you as a detective I could see was a tough guy. I could see you as a tough businesswoman. I could see you as a sports athletic type. Ask your managers. Ask your agents. Ask your friends. This is what casting directors will see us. Okay, if we were to generalize it, we want a corporate look, something a little more with a suit. A little more serious, Something a little more athletic and fun. Girl next door, something a little more sinister, A little more heavy and dramatic. Okay. And of course, you have your commercial, which could be either of those, but with the nice, warm smile this gets me into the other top it was going to tell you about is acting in front of the photographer. You need to have thoughts in your mind when you're taking these photos. Okay, let's look at some photos. I want to show you explaining exactly that. Now, let's take a look at this photo here. Okay? Deer in head lights. I have no far behind those eyes. It just make basically me thinking in my head. Hey, it's a nicely pressed shirt. My hair's quashed. Eyebrows look good. Hey, that's enough. No, I got hardly any response with this eight by 10 at all. And they're this. There is a reason behind that. We need to bring something to the table. So if you look this other picture I have here Boom, I have a thought. My thought was OK. Dressed up corporate, casual corporate. My thought at the time was I just landed this awesome account. It's great. I'm climbing up the ladder. I just got a raise. There was a thought behind my eyes and it came out through the micro muscles of my mouth and face. And then there was a moment. Ah, good photographer will be able to catch this. That's why when you're taking photos, there's a moment where the photography like tick, tick, tick, tick, tick, tick, taking one after the other because you're in thought. Often times will talk to you and say so. Hey, how was your driving over here? Always stuff in church or stuck in traffic. But I got a coffee, the best coffee ever, and it was going to start smiling on that. And the photographer starts taking pictures because you are in the moment again. We can't rely on a photographer to coaches through that. We don't know. Some of them are very tech savvy. Some of them are very good in terms of looks, but some of them don't know how actors think and how what we need is actors. This is why we need to be self reliant when it comes to taking pictures. And this is the stuff that captures the attention of casting directors, managers and so on. Okay, now, here's another example. Totally. And thought I was thinking about somebody that used to bug me in high school that I wish I could just take sweet revenge on and bam! That moment was captured. There was something going on. It wasn't just a stone cold Look. This other photo here, number one never cross your arms. Never do any of these never do any that nothing. Throw that away. Here. I was basically blank. I was like, I'm going to show my pictorial muscles. And that should be enough with my big forearms and No, no, no, no, no, no, no. You need to have thought. Now let's go on to what? To where? You don't want big patterns. You don't want logos. Something clean, neutral, bold colors as well, especially for commercials like a nice bright blue shirt or something that doesn't take away too much attention from your face but it's something that pops out. Bottom line. It's just like acting on film. You need to have fought behind the eyes, and a good photographer will be able to capture it. But I know what your looks are. We went through the looks already. Find appropriate thoughts for those looks, if its corporate than think of moments when you know we all had a job job one point. Think of how Waas think of fun moments with your colleagues. Okay, if it's something athletic and sporty, think of that game you one with your team and how it made you feel. And then all of a sudden, boom, those moments will appear in your eyes and the photographer will capture it. Okay, if it's something a little more sinister, Little dark. We all have those moments and those personal experiences we've had to get us to that headspace. Bring it up, think about it, let it come out the eyes and will capture. This is what makes the difference. Find yourself a good photographer, spend the money. Don't start cutting back on this. If anything, because this is the first thing that any casting director manager agents will see So you need to invest the money. This is your business card. Okay. This is what will represent you. This is the first thing they will see before they get to anything else. Okay. All right. Great. Hope this help. Let's move on to resumes now. 4. Resume: all right now, moving on to your resume, which is usually the second thing a casting director agent manager will see after they liked your photo. They hate this. This person has an interesting look. This person fits this particular role, this category, this feeling, this this essence, that they need this character to be great so they go on to resume. I've seen a lot of resumes. I'm telling you, they could really make or break whether they go to the next level. If it looks amateurish, it looks pretty weak. Any spelling mistakes or any like that, they'll they'll sort of look at it, move on. So it's essential that we have a very easy to see, eye popping resume that will capture the attention and put all the focus on important things that you've done. Now, if you're starting up, you don't have a lot of credits. Understandable. So that's where you need to put a lot of weight on your training. Okay, that's more important. So lack of experience, more training now again. Like I said, I'm going to give you my personal resume to look through as a example. Okay? I put my money where my mouth is here. I don't talk fluffy stuff in, in and in it. Let's get down to it. Let's look at how mine is, cause it's worked for me here we got. Of course, you want to put your name on the top left corner, as you see here. And, of course, on the right there. Actor. Whether you're an actor, singer, dancer, whichever you are, you want to put them right beside your name. Any union affiliation below your name. If you were dual citizen, whether of Europe, Canada, us. You put that in there, too, because that is, that's eye catching, a lot of films, a lot of TV shows, film in Vancouver and other areas. And then you want to put those stats of your physical appearance weight, height, eyes, hair color. If you're a singer, put the voice tech. You are at the bottom there, and, of course, on the right of that, you're going to put either your agents information or your own personal information, which includes phone number, email with a website. If you have it. Some of the stuff, of course, I have to black out because it's my personal information. Ideally you want your strongest experience first. So if you have a lot of theater credits, if you've done a lot of theater, if you're starting up and you did a lot of school plays, so it and that's all you have, you put that at the top. I put television because that was my strongest suit. It used to be Broadway. You know what my brother would credits here? But then I realized, especially in the film and TV role at doesn't really hold a lot of weight, as I thought it did. So you put the name of the production on the left there and what you played for film for television. You don't put the role you played. But what category? Siri's regular co star guest star and so on. Syria's regular is a person who appears. Let's look, let's use Seinfeld, for example. A series regular would be, of course, Cramer Seinfeld. George kept recurring role would be somebody that a pinup appears that not in every episode , but often like, say, Newman Okay, a co star would be, for example, a waiter says, Can I get you anything else? But these days they have really amazing costar credits out there. Guest Star is somebody who the show is themed around. So, for example, using Cycle is an example. Um, the close talker say that guy. He was the guest star for that particular episode. You want to put those there, stay away from putting extra work. OK, I was an extra background. Throw that away. Throw that away. It's better to not have it than have it. And then the column. After that, Here on the right, you put the production company right with its CVS, NBC, whichever, and then the director on the further right there at the end. This is basically how it works for television. How works for film? Now, here's a little trick that I learned that really works. If you put partial list if you proportional list on their assume, you have enough credits that makes it looks like so much experience that he couldn't fit it on his resume and then moving on down here. You put your theater comedy like we talked about earlier. Comedy is so important. We need that improv, especially, and the improv groups you work with. And if you have any awards, even if it's from school. It's fine. Anything, because if you're starting off you, you need to put whatever experience you have from school. Of course, your training, which a lot of you who are probably starting off, will be the heaviest. This used to be my heaviest. I used to put a lot more training in there, but I realized that with the experience that kind of put the training on the back and still important. They look at that. Of course they dio. But if you have enough experience, they realize in their minds that okay, he could hold his weight. He's been on said he knows the rigors of being on set, so there's more of a trust thing. So you put, of course, the training you did, whether it's improv on camera singing, dancing. So in the middle here you would put the name of the studio or the name of the place that you work for on then on the rights you put the people that you work for more specifically, And then, of course, your special skills. Here's another little hint for special skills. Okay, put something corky about yourself, something. We're something that your friends say Oh, my God, you should do that. You're so funny. You do a great so and so impersonation. I used to do still do a great Cramer impersonation. So what, I would put their that's Cramer impersonation you'll ever see, most likely at an audition when they see that you like, I would like to see that. Can you do it for us? Sure, bam. And you put in your cream reputation. Then you stand out something different. Some funny sounds you make or voice imitations, of course, at the bottom of things like languages, dialect, stage, combat, singing anything like that. Languages are very important. If you speak another language, please. But that down. And if you have some knowledge of another language, then put that down as well. Best way to do it is some So, for example, here, fluent in English, Spanish, Italian, I know some friends, so I put some French dialects very, very important as well. But you want to be authentic with those dialects. Don't just put any dialect that you kind of do it, a bar that makes people laugh. You have to be authentically good at that dialect because most likely for going in for, say, but an Italian roll. They will be somebody from that country who's gonna ultimately judge whether that accent is authentic or not. So you want to make sure that if you're doing it, you get the training to do it perfectly. I'm gonna have an example of this resume on file for you to look at as well a downloadable file. So you look look at it and used at a sort of like your template. I'm putting my money where my mouth iss Okay, no fluff. Just get down. Action. Let's hone in on the formulas that work and throw away all the fluff and all the garbage and all that self health stuff. We're here to get on set. We're here to impress casting directors and agents to get that job. Okay, this is what works for me. This is what has worked for me, and I've seen many various different types of resumes, and I went through various different kinds until I found the particular formula that has gone a lot of attention for me. And I want to share with you because you're awesome. All right. Great Hope this helped. Let's move on 5. Acting Reel : OK, moving on to your acting reel. Very, very important. This is your product. This is how you look on film. This is how you act on film. It's ultimately the deciding factor of whether they will grant you that audition or not. Here's a little something you may not know for a lot of the actors. The online actor profiles profiles with acting Rios go to the top of the list. So, for example, if there's a a submission for a role and there's like 1000 submissions, if only 500 have a riel, those get to the top of the list. So it's important to have a real now. A lot of people starting off don't have footage. There's ways around it. Best thing for you to do if you have no footage, is to contact local film institutions, acting schools, director, schools, nearby colleges, universities. They're always looking for actors. They always have projects going on wonderful opportunity to meet future directors and people in the industry and get some footage with an actual script with an actual storyboard in a role and something you could work with that will give you a great credit and also footage on. Most often they will have a nine BD credit, along with that student film and the quality of student films. Now today is top notch. So that's the number one thing I would recommend you doing or any other independent or low budget films going on her in your area. There are a lot of companies out there that do fake Rios were, though film a scene for you and you pay them. Casting directors aren't dumb. They know they know instantly if the project is something made up produced, fabricated. You want your riel. You want the footage in your in your film to match the I M e d. Credit you have so that it looks like Okay, they've done actual projects that have gone through the film festival circuit and so on and so forth. My personal opinion. No need to spend money on getting professional footage done for your riel. You're better off in any case, if there's no if you can't get intending student films or whatever is to actually film to mum locks a comedic any dramatic in a really well lit area, just like we did in the self tape thing we did earlier. Really nicely, well lit, not into the camera, but into the side, into whomever you're talking to. A nice comedy and today's drama. A comedy here, a drama. The Arabs today see your two angles beautifully lit, two different looks. And that's of course, until you get the footage you need telling it's better than some fakey made up produced thing that you're gonna pay a lot of money for. Casting directors will know. Okay, they paid for it, and they'll usually sort of move out of the next. Remember casting directors only. See that literally. The 1st 10 seconds, 12 seconds of a riel will decide whether to call you win or not. It's that quick. They have that many submissions. You need to impress them right out the gate. Now, on my website Gabriel bravado dot com. You will see my riel again. Money. We're on office. I'm going to give you an exact example of how rials done. I went through many incarnations of a real. I've learned a lot of lessons over the years of what works, what doesn't what gets the attention of cash directors and what doesn't so look of my real is an example. You'll notice that I have about five or six different pieces of footage, with only literally 20 seconds to 30 seconds of each best footage forward. Now when I say best footage in the front, I don't mean of the most dramatic in the most over the top moment because that kind of you want something. That's a little light. Maybe a little of the comedic side at first says what it's like when you meet somebody not Hi, I'm an actor, Just something a little more light Comedic 1st 20 seconds And then they say, Oh, this is this is the person. It's like you're meeting them for the first time and then once you buy their attention, then you can get into the more heavier footage things with more emotion. And when I say best footage forward, I mean, of course, quality quality has to be top notch If it's student film, whatever you have, make sure the best quality is at the front, so they know that you're a pro. You've been on set, you want variety. 1st 3 scenes should be completely different. A little comedy, maybe a little drama, something a little more sincere. Also, take a look at my real on my website. It's the first thing you see and you'll notice the way it's edited in terms of its it's literally quick and you don't want it. For example, if you have a lot of footage of one project, don't put three or four or five different scenes of that one project on the rial, because then it shows that you don't really have a lot of footage. Rather, have you have 20 seconds of one project, and then maybe the monologue next if you have nothing else but a song is a C variety in the first few seconds. If you have episodic footage you'll see on my real, it's got the title of the show and who is associated with, for example, Young and the restless see BCBs and so on and so forth. Bottom line is this is about showing the most professional footage you have first, to show that you are a pro. This whole process, your whole profile, the pictures, the resume, everything is to show that you are professional. Hope this helps. All right, moving on to the next 6. Finding An Agent: Okay, Now you have your resume, You have your photos, you have your riel. Now it's time to get an agent. And yes, you need an agent to get in with the big boys to get into his big, episodic sand feature films. You need an agent. They're the ones with the connections, and they're the ones that could help you. Yes, you are able to self submit for certain projects, but not for the big stuff. Not for the series regular parts or the big guest star roles. For that, you do need an agent now. I talked to a lot of students who come to Los Angeles, and they're like and they're obsessed with getting into the big names the C A's and all these big agencies. Not so fast. Number one. Remember, they represent movie stars, and you're gonna be the bottom of the list. Okay, you're better off with a smaller if you're starting off with a smaller boutique agency. And there's a lot of them out there who are gonna work hard for you. And that's what's the most important thing. Remember, agent actor relationship is about a partnership. You want somebody on your side wanting you to succeed. Who's gonna be there for you? Working hard, submitting you for whatever projects are right for you. Okay. And the more passionate you are and professional, you are about your own career. The agent will see that and try to match that. A wonderful resource to find the agents in your local market, whether it's New York, Philadelphia, Los Angeles, wherever you are. Toronto Canada, backstage dot com That is the magazine that started off my career. They have a list of pretty much every agent that is affiliated with SAG. That is a great place to start. It'll give you the agents name, information, contact info as well as how they're accepting submissions. You want to stay away from agencies that start asking for money, or you're gonna have to take a whole new set of photos of this photographer if they're very specific as to where to go to take pictures and to do your real on all that and there might be some commission thing going on there. I want to stay clear of that. You want to approach your agent ready for battle with your pictures, ready to go with your riel ready to go. Resume ready to go, Ready for action, because remember your promotional material. It's their ammo. It's what they're using to present to the big producers and the casting directors out there , so you need to make sure it's tip top shape. They might ask you to make change a few things. Perhaps their agency has a particular format for the resume. Fine, sure, yeah, make those adjustments. But that's it. And you want to be very clear with your type. You want to know exactly what you would be cast for what you've been cast for in the past, so you could help the agent. No, you and your market, where you fit into the markets, help them make their job is easy as possible. Remember, bottom line. It's a partnership between you, the agent. If you're not getting any bites on agents. Another approach, which works and has worked for me, is trying to find a manager. The difference between a manager and an agent is managers. They tend to get a little more of a commission, but they have a more of a personal connection with you. Their roster is usually not as big and they help you work in many aspects of your career. Once you establish yourself a great relationship with a manager, then they can approach certain agents that they feel work for you because a lot of the agents prefer referrals, meaning they don't take submissions. They prefer a referral from a fellow actor or a manager. Another good thing you might consider to is if you're working with an actor who is represented by an agency that you like asking for a referral. Okay, the best thing to do is ask. You'll never get anything if you don't ask. OK, don't be shy. This is your career. Drive forward with confidence. Okay? All right, we'll be not good work. 7. Show me the Show: Okay, You get an email or call from reagents saying you have an audition tomorrow. Usually you want to get a day to prepare. This is our window, toe, master. The audition process. Okay, So what I've done is I tax, um, sides for you. When I'd like you to do is print it out, have it in your hands because this is the proper using for our scene when we get into the studio in a bit. Okay. Typical sides that you'll see in any given episodic show or movie. You will have the name of the show here on the side and on the top, you'll have the role that you'll be playing. And it's it'll cross out the areas that they don't want you to read, and it'll tell you where to start to read and where the scene ends. I try to keep It is general as I can in terms of the character. I called him Alex and Pat because, you know, it could be guy girl. I have a step by step process and how to attack this before we get into the studio. There. Later on, where I teach you how to master the boxes. What I like to call it, you'll be in this frame up, right? You typically before we get into that before we even get on to the studio and start mastering the audition itself. We got to do some prep work. Number one Research the show. Usually you'll have the name of the show on the side. Here, right will tell you what it is if it's see aside, that's Gilmore Girls or whatever it is. Now, if it's a pilot, it's something that it's not on public it. So it's hard to do the research, but they'll have the directors information. So what you could do is go to the director's IBD and see what he's done in the past. That will give you an idea of his style, right? The key here is when I say researching this show is finding out what the style with the feel, what the rhythm is like on your show. Each show has its own rhythm. If it's an episodic something that's on right now, easy, beautiful. Go on YouTube. Look up some trailers. You don't need to see a whole episode because we only have a small amount of time just a few minutes of the episode to get a feel of the rhythm of the show. How they approach the characters is a dark. Is it more funny? Is it? Humorous isn't a drama. The is a drama, Great, Done that moving on to the next thing. 8. Read, Read, Read!: read the entire sides is what you'll find is you get a lot of information about your character and scenes. You're either not in or he was or she was in, in the past in earlier scenes to give you a better idea of how to approach your character. So if you look at the sides that I've given you hear and you read it through, what you'll notice is that Alex and Pat, his or her fiance or partner have some turmoil going on in the relationship based on this scene that we were told to not read. So that gives us an idea that, okay, Alex is not in a very good place in his personal life, okay? 9. What are My Wants: The next thing we need to do is find out what Alex wants. What does he want? Any human interaction we have with another human being? We want something. What is Alex's wants? It sounds to me like Alex is kind of smitten by this Taylor girl or guy. Sounds to me like he wants to maybe impressed this person, right and possibly move forward with some other things as well, because there are a lot of times or he's sort of like flooding over his words, and he's kind of nervous. And yes, maybe you sure I could send step by reading the script, right? 10. Identify Obstacles: obstacles. What your obstacles with preventing Alex from achieving his goal of trying to impress this girl, possibly move forward with something else, girl or guy? Sounds to me that cat is in the back of his head, right. He wants to move forward, but he's got this relationship that it's not going well, But he shouldn't because it's not. It's not moral. It's not the right thing to do. But it is. There's that sort of internal conflict. There's that obstacle. Every time we describe an obstacle, usually we as a person create the obstacle. We are the ones who stop ourselves, whether it's doubt or fear. Another obstacle is you're not supposed to sort of get intimate when you're in the working environments, not professional. This is your job. So maybe it's his professionalism that's holding them back. We have Alex's want and we have his obstacles. Now it's clear what our objectives are in the scene 11. Characteristics of the Role: The next thing we have to do is describe the characteristics of Alex. If you could describe four characteristics of this Alex guy or girl, for example, if you met your friends and you're saying, Hey, I just met this Alex guy is he's an interesting character. He's actually blah, blah, blah, blah. You should be able to know this character well enough that you could clearly describe him to your friends because we need to eventually mesh together and become this character. So if you know him or her, well, that process will be easier. I would say this person is sounds like he's a bit frustrated because he's kind of fighting with his morals off both the workplace and his personal relationship. Yet he wants to move forward. So there's that kind of frustration, maybe some sexual frustration, right? He's obviously a bit nervous having read the script. I'm sensing that he kind of there's times where he overly laps when he's not supposed to, and you sort of fumble some words here and there. And he's kind of like you, right? Trying a little too hard. For example, when he responds to the yes, no, I'm sorry seeing Pat. Hey, Pat. How area? Right. And towards the end, where they're like, Yes, sir. You yet? My car. Okay, great. Just call me if you need anything at all. Right. So there's that eagerness to impress this girl that he's kind of spinning over or God, he's obviously excited. It sounds to me like he's excited towards the end there with all the over laughing at That's so funny. You will come up with your own. I've come up with mine. Frustrated, nervous, kind of eager to impress and excited. Good. So now we have a clear picture who this person is. If Alex was sitting here in front of you, be like, dude, I get you your like this and this and this and this and this. I'm the same way to in certain respects, this is now where are two beings emerge? How can we relate to somebody who was frustrated, nervous, eager to impress on excited? I'm sure we could all relate to that in some capacity. When you see a movie you love that you have never, ever You have no idea what the movie's about and you see the movie towards the end of the movie. You fall in love with these characters. You had no idea who they were, what their backstory waas. But at the end of the movie, you know them like the back of your hand because you went through this experience with them . They're certain characteristics of that person in the movie that you saw that you could relate to. It's the same thing when you're reading sides and you're reading a character. That's why when you read the script the first time you haven't read the entire script, you need to view it as you would a movie. And then that click has to happen with the character you're portraying like I get, I get what you're going through. You know, I've been to the similar situation when I blank blank, blank, blank, blank, fill in the black. Have you ever been a situation? We're eagerly trying to impress somebody you like? Who hasn't? That is the stuff we need to tap into and then without you even try you all of a sudden, merge into this character, become this character, were human beings. Going through a human experience that we have all experienced, there is nothing no seen you will get that you cannot relate to in some capacity where human beings portraying other human beings were playing. Pretend in a scenario that you, at some point I'm sure you have experiences well, even if it's something X extreme as, like a murderer or a villain. Okay, we haven't gone out kill people, but I'm sure if you've ever been stuck in traffic and like, God, this guy just cut me off so far, Swear to God we all could tap into those feelings of wanting to do so. Obviously, we can act upon it, but there's we could always tap into something. We could all relate to these characters in some capacity. Our job is to identify the characteristics of this of this character and how we could relate to it. I get it. I get what you're going through because I went to the same thing when I did this in this in this in this, in this, that simple. Let's move on over to the studio. We're going to see how it's supposed to look and feel and how to master that box so you can go from the addition to being on set. Great work. Let's go 12. Master the Box!: Okay, welcome to the box, is what I like to call it. This is what the casting directors will see. This is what the producers will see through this lens, through this box K, this is what they send out to everybody. So this is what we have to master. What I could like calling mastering the box. There's called box choreography, though. We have to learn how to master, master this area here. And you've mastered Gu edition, you'll get Onset. It's all about what happens here. So let's talk about some technical things here. Number one, we have to know where our limits are. So for example, if I'm doing a scene where there's somebody here, hey, what's up? I lose this. I completely, you lose power. Remember power comes from the eye. So we want to go as far as we can. We'll riddled lose this I so about here or there. Okay. The same thing with when we're going up this, I lose power. You don't see me. This news power. So it was like this, Hey, what's up up there? You're good down there. So in other words, these are limits, bam, bam, bam, bam. It's pretty simple. Next thing I want to talk about is calling your script. The only time you would actually see your script as if you're using it as a prop. Many times I've had auditions where a play, a person in an office interviewing somebody and I had a resume and really, so I see here, sure. Okay, I actually use my script. There's a prompt, then that's when you bring it into screen. But if you're not, if it's just a tool you're using to pick up your lines if you need to, you have it off camera. So I'm holding it. If I need to look down to pick up a line or two, bam, and you can't even tell that it's there. And there's an art to this whole thing about picking up lines. We don't want to be like, this is Antonio's car, but you can use it to run errands Eden if you need to. No. There's a casual way of doing it. If you forget a line. Anyways, this is Antonio's car and you could run errands for it if you need to. And there's all the invoices are in the glove compartment? Yeah. Anything else as a way of looking down, picking up the line, not making it look like you're actually reading the script just takes practice. And here's one thing I would recommend you do every night before you go to bed. Whether you're reading a monologue or a script or a fictional book or whatever you read. I want you to look down, pick up a liner to pick up a few words if you can or a sentence, pick it up and deliver it to a fixed spot. So in my case, when I'm laying down ice, there's a lab right on my ceiling. So I pick up my lies, throw it at the lamp, pick up the line, throw it at the lab. Never reading while looking at your script, train yourself to pick up, deliver, pickup, deliver. So then it will be the normal thing to do when you're at an audition. You, you won't have to worry about doing this because it's not in your muscle memory. Okay. Do that for me every night and I guarantee you this will become second nature to you. Okay. Pick up delivery, pick-up deliver. Normally you could be standing up or sitting down for an audition. You never know they might have a chair set up for you already by all means, but you have every right to say if you feel that the character you're playing would be sitting down to say, may I sit down, mare uses chair to sit down. And they will adjust for you. Remember, they want you to have the best audition possible. They want you to give them the best product to give to the producers. Now if you're standing, we could make entrances. They usually have a tape for you down here on the floor that you know where to stand. So if you're going to make an entrance, which I would what I would recommend doing is leading one foot on the mark. So right now I'm putting my foot on a mark and I've been basically stepping out while keeping this foot on the mark. So I one foot on the mark and I'm just pivoting out. So if I want to walk head, bam, I'm right on the mark. And normally the reader will be off camera, whether it's here or whether it's there. If there's more than two people in the scene, if there are, say, three or four and there's only one person reading and there's multiple characters you want to find who has the most light other than you, what other characters have the most lives? So that would be the person that you would make the casting director. So if you're, for example, doing a scene of u and an office and you're doing an interview, okay. And two people walked into the office and shoot out a thing like a kind of gets you a cop. No, I'm good. Hey, is is George coming to the meeting on fine. And they have smaller parts. The majority of the lines I would make the casting director that way my focus is on the Cassian director shooting other lines. And if she reads now the line of the person walking in, I'm not going to look at her because the persons this way, if shoes shooting me the line of office employee to walking into the room, I'm going to leave her, shoot it out there, and then back to her or him or whoever it is. There are times when the cash and director will have more than one reader. If there are, say, two people, three people in the scene, she might have an associate read the other lines, then it's great. Then you have your eye lines mapped out. But again, so you these things we never know, you never know what setup in the room. So we have to have all our bases covered. The key here is to listen. This is where the bad audition habits happen. You need to listen after you shoot out your line. I don't want you looking down, looking for your next line. Your eyes are up on the person you're listening to and have her give you that emotional stimulation to look down and give the other line. So it's kinda like ping-pong. You shoot it out. Listen for her line, take it in. If you need to look down, pick up, deliver. She shoots the line, you take it in, look down pickup deliver. Now ideally, you want to be memorized, but by all means, if you need to look down and pick up a line again, that's no problem if I'm talking to you doing the scene and all of a sudden icon up, space out. And I'm like, I don't know what the line is. I could just look down and go. Yeah. Yeah, you have my card, right. So we're good. Yeah. Call me. Alright. Bye amines. Looked down, pick it up if you need to, as long as you're not doing that. So create that habits of looked down, pick up, deliver, listen, look down, pick up, deliver, listen. And with enough practice, the pickup deliver aspect of it won't be there because remember the memorization techniques I was telling you about. It'll be solid. You'll just be basically listening processing, delivering, listening processing, delivering. And if you need to look down, by all means, go for it. There's nothing wrong with that. No casting director who has ever said, we're not going to hire and big and because he didn't remember every line. Now if it's a co-star, if it's one or two lines and ma'am, can I get you anything else and maybe yeah, I mean, it's pretty easy to memorize. That's not a problem. But if it is a guest star or series regular, you have two or three seems to work on. This is your friend, this is your tool. Everything you need is here. And another suggestion I would have for as well as you want to have your finger sort of guiding you through each scene. So you basically have a way to keep track of where you're at. So as you're practicing this, practice, having your finger on your next lines so you know exactly where it is. You're never looking now going whole numbers that line. And I don't know if you follow these tactics, you're not going to forget the line, okay? And there's no need to panic, there's no need to. It's not the end of the world. If you forget something, they're not going to blacklist. Do it happens, it's fine. And it's happened to me a couple of times. They're always like gratuitous tried again from the top, no problem. They're not there to make your life hell and they're not there to see how much we can make that factor suffer. They want you to do well, that's all it is. And we're there to have fun. Remember that, remember that we're here to have fun. We're here to play, pretend, and enjoy the craft of acting. Ok. Good work. 13. Strong Before & After : Now looking at the size that we've been working on, let's use this now as the example for audition. Here's something we want to do before and after the actual addition. We want to have a strong before. What is a character doing before? And we have to have that thought process and create it and put it into action before we start the scene, it's not. Are you ready to start? Yes, I'm ready to start. Thanks so much. In here is Antonio's pantry. No, we need to have a strong before. Now, I've determined that this Alex guy kinda has seven for this Taylor girl. So maybe I'm going to give them a strong before of looking or over maybe a little. And yes, in here is Antonio's pantry. And just out of the jellybeans. See how I gave it a beat of looking or up and down. And then she me Excuse maybe looking at me. And here is Antonio's pantry. That was my strong before that is decision I made for this scene. There's many other things you could do. You could probably do a walk in, perhaps a walk-in, right. So here's Antonio's pantry. You'd walk in that way. You will walk in this way. It all depends on where the reader is. So if the reader is here, if this is where the casting director is, I don't want to walk in the same side that he or she is at because I don't get an opportunity to cross. You want to be able to cross as much as you can. It shows that you are working in the room and they see all sides of your face. So if the reader is here, I'm going to enter. So here's Antonio's pantry. Feel free to that way. Same with the opposite or she's here, I'm going to enter the opposite side. So this is Antonio's pantry. See what I'm doing. I'm creating this world, this environment. I went across CAMH at any opportunity. Now, at the end of the scene, you want to have a strong end or a button they call some casting directors love if you go button with a nice improvise word or look or feeling or phrase. Some of them don't like that. The best thing to do that if you're going to do it, have enough space at the end of the scene to button it. That way, if the casting director wants no improvisation after the scene shall have the space to cut, edit it, cut it, send it after the producers. So for example, and the last thing here, yeah, so you have my card, okay, Konami video, right? If I wanted button it, make sure to add space so the casting director could cut it out or keep it depending on what she wants. You don't wanna do this. Yeah. So you have my card. Come even anything and I'll get right back to you at any moment. Okay. Bye. See, I added stuff there at the end that she can't cut out. And then you're not doing the writer justice. Honor the writer land all those lines, give it some space. And if you want to put a button at the end, go for it. So for example, yeah. So you have my card. Okay. Call me if anything else. Okay. Right. That was enough space that if they wanted to cut out that improv park, they can cut it versus going right after the written line and not giving them the option to do so and it doesn't have to be aligned. I put OK. It could be that. It could be. Yeah. So you have on current coming in. You're going to say that's a button with a strong ending versus convening. And done my scene was a good was I good? My higher finish it have a strong finish. Walk off. Strong before, strong after. 14. Memorization: memorizing your lines before your audition. I get this question asked a lot by my students to memorize it. Is it OK to read off the page? Here is what's worked for me and a lot of my other fellow actress. You don't want to waste your time sitting down and blindly remembering words. It's like remembering, you know, you know when you're in school and you have to learn the math formulas and it's like you just you remember the numbers in the formulas, but you have no idea why or what. Therefore you just remember them right? This kind of memorization is different. This is what I call emotional memorization that's gonna help you remember it, because once we know exactly what the character wants, then that is the initiator off the line. So if you're doing a scene, say it's a love scene and the persons we should see other people, the feel unhurt inside of you is going to coax the next line. But why would you do that to me? I have loved you for years. So what's triggering? The next line is your need to to to to come back with an answer to what was given. That is the way we have to start retraining ourselves to remembering lines, for example, going to our sides that we're using as an example when Taylor says, Are you single? My immediate reaction? Because remember, what I'm saying in my mind is I got to stay professional in the working place. She's very good looking, but I shouldn't do this. This is a professional. Are you single? Yes. No, I mean, I kept because I'm seeing Pat. Hey, right, so it was my need or want my subconscious, she said. Are you saying Of course I have? Yeah, for you. Anything. Wait a minute. I can't do that. Every light line that's fed to you from your reader, which would be the casting director associate coming to you. What, here? She's saying to you, that's the emotion of the need to say the next line that's going to trigger what the next, Linus. Once you have it clearly established what your objectives are. What you wants are what your needs are what your obstacles are. You know, you have that clear path of why you're here. Why you're in this slice of life. So everything that is said to you, you have a logical response based out of your emotional wants of that scene. The key to this is tap into your emotional state of mind, and then these lines are supporting the lines. You need a memorize or the ones the line supporting your inner thoughts your wants. So everything that's given to you will trigger that next need that next? Want that next line? I am telling you. If you approach seems that way versus blindly remembering ink on a page, it's going to make a lot more sense to you justify everything you have to say based out of your emotional need in this scene. And I guarantee you it's going to stick a lot better. Yes, there are exercises where you could write down the lines over and over and over again. But personally, what I find is that just a waste of time. You're wasting valuable time. You're better off digging into the emotion emotional motivators of saying these lines. That way, it'll stick, and it'll also under time with your emotions and the scenes of them when you say it will be genuine. Versus this is a line I've learned I will say that's computerised IQ. That's not emotional, not non spiritual. Remember, we are human beings going through a human experience. We need to listen and react. So if you marry your memorization tactics with that methodology, it's gonna help you at its efficient. Because, remember, we get a day, maybe two. If you're lucky to prepare for these things, right, Typically, you get sides. Sometimes I've received sides and eight at night. And my addition was for 10 a.m. the next morning. Right? So we need to be efficient. We have to find Ah, quick, easy way to just get to it. Get to the emotion, get to the motivation and nail that audition. All right, good work. 15. How To Tame Your Nerves: Okay, You've done the work. You're in your car driving to your audition. The butterfly start happening, which is very normal nerves. Let's talk nerves now. This again like rejection, is part of doctors vocabulary. If you're not nervous, there's something wrong. Nerves can help you, Believe it or not, nerves keep you on your toes. It keeps you focused, right? So if you look at it that way, it's easier to swell. Now, here are some techniques personal techniques that I use when confronting with nerves. And still to this day, I still get the jitters. You're pulling into the casting office. You're getting a little more general, you're walking in, Open the door Now. All of a sudden it's full of people that look like you people you kind of know or might not know. And you nervously woke up to sign and you sit down with your side. You're looking around and you're taking in, and you over here a person looks just like you say. We just got cast in this awesome show. It airs on Friday. You should say it so good. Oh, my God. And I'm doing this. So what you doing it and There's so much noise and all the stuff going on, the challenges this we try so hard to stay in that mode. Remember, our job is to stay in that want ni objective of that scene in your head. But from the second you walk into that car, you have to have what I call the simple sentence technique. In other words, three or four words or small sentence that sums up you want and need for your scenes that you're doing. For example, in this particular see that we're working on. If I were to come up with three or four words or a small sentence that keep me in the game , it would probably be something like Got you so attractive. But I have to stay professional and I'm also married, saying that sums up this entire scene for me, repeating that mantra in your head in the waiting room where all the stimuli is trying to get you out of that zone, be it lots of people looking at you blabbing on that the audition being laid to your hungry have to put my money in your meter. All this stuff just repeating this mantra keeps you in that state of mind keeps you in this scene. Because remember, we're getting a slice of life and putting it in front of a camera in a small office in front of people you've never met. That's gonna be seen by producers and big people. So by repeating this mantra over and over again three or four sentence word that sums up your needs and wants and objectives of that scene it will help you stay in the game. And also, when you walk into the audition room, she greets you. He agreed to thank you very much for coming. Thanks for having me just down in the mark there. Let's give yourself a slate. Hi. My name is so and so forth while still repeating in my head. God, she's so attractive. But I have to stay professional. I'm also married That keeps it clear objectives right through into the part when they say, whenever you're ready. So, uh, hi, Taylor. Nice to meet you, but I'm in that scene. I'm in that mode. So what? I find that the most challenges for me and a lot of my students is the environment does its best to get you out of that head space that you need to be in so much stimuli, whether it's a casting director ignoring you on the cell phone, whether you've been waiting for over an hour for your time, whether you're hungry, thirsty, didn't have your coffee. There's all these things, but your job is simple. Repeat that mantra over and over in your head to keep yourself in the game. Remember, casting directors want you to do well. They have a problem, and they need a solution. You are the solution, and the more you stay into that headspace, the more you will easily recreate that slice of life in that moment because it's clear to clear, clear, objective little things. I want to also share with you a little sort of tactics that you could use a lot of people suffer from suffer from. They have dry mouth syndrome. It's it happens a lot when you're nervous. The first thing to dry out of your mouth and they kind of feel well and you just can't really get your mouth of your lips around those words. A good thing that I learned from a lot of my opera singer friends is biting your tongue if you buy a tongue. Not really hard, but by enough. What that does is it triggers saliva to go right to your mouth, and that will hydrate your mouth instantly so your mouth is moist and you're ready to tackle those words with no problems. Nerves are normal. Nerves are natural. It will always be there. Embrace it, love. It's. But remember, if you have a clear objective of where you need to be, what your state of mind is for that scene and you repeat it over and over with one or 23 words or sentence, or like a trigger word to keep you in that state, you're gonna find that that transition from Hi, nice to meet you. Are you ready to go Anytime you're ready? Bam! My minute. I know exactly where we need to be in my head space, and you will nail that audition. They will be so impressed. And I guess what? When you walk out of that room, wash it all away, especially if it's a dark scene that has a lot of heavy stuff, and you have to kind of go in those dark places. Think of unicorns and bunny rabbits and popcorn cotton candy to clear mind and to get back into reality. Because remember again, we're just playing pretend, and it's fun. It's stuff we used to do is Children. Let's embrace it. Let's embrace this this wonderful opportunity to play because we're playing. That's all it is. And you were there to offer a solution. And you will. You're gonna make casting directors and producers happy. You know why? Because you're happy. And that's the bottom line. Excellent work. Let's move on. 16. Rejection: rejection. It's something that we need to make peace with. It's not something we could fight or let it affect us negatively because we just get bombarded with it. And the more Europe peace with it. And the more you see it as a positive versus negative, the better you will be. You could spiral downwards with letting every rejection affect you negatively into spiral down to this negative pool of pessimism. It's why a lot of the actors in this industry go to drugs and grow to alcohol because they're not able to deal with it. But not you. Your difference. Think of rejection as, ah, clear revision to your goal. Right now you have a map from where you are and where you want to be. Every time we get rejected, it's because of two things. It's either something that is out of our control, like a local chemistry read. Or maybe just that if you're playing a family member, you don't fit the look of a family. There are a 1,000,001 reasons that could be Why you didn't get the parts out of your control is something you could do about it. You will know I know after every audition that I do. I know if I did well or not. I know if I was prepared or not, if I did the exercises or not, if I mapped it out Coyer graft everything in my box or not if I did, and I'm solid and I go in there and I gotta give it everything I have and I walk out of there feeling I did my part, that's all. That's that's that's it. From that point on, Not in your control has nothing to do with you. But if you walk in there and you know you were prepared and you know you could have done better than those rejections, make the goal. Make the map clear from here to here. We know where we need to work harder, where we need to refine our ability. That's why rejection is your friend. It makes clear what you need to focus on what you need to work on. It's like you have a marble sculpture. You know what areas need to be smoothed out to create perfection. It's there in front of you. Rejection is giving you that information, so it's a good thing and the more you make peace with rejection, and the more you realize that it's just part of the game, then the less thrown off you'll be and focus on your goal and continue moving forward. Like Rocky says, It's not about winning. It's how many times you can get up from the floor and still move forward. No matter how many times you've been shot down to the floor and you're gonna get shot down a lot. As long as you focus on the craft of it, know that you are an actor. This is your art form. Enjoy just being think of every audition as an opportunity to perfect and refine your craft to focus that map to make your goal from here to there, a lot clear to make that path between here to there. Clearer rejection is a good thing. Embrace. It's Think of rejection. Is somebody on your side helping you be better? It's that tough coach, you know. We always have a tough coats. It's always like you could do better. You could do 20 more. They're on your team. I want you to change your vision. I want you look a rejection as something positive. Focus on the joy of being an actor. The joy of playing. Pretend that's what we like to do as a kid. Enjoy it. All right. Good job on to the next. 17. Let's Put This Into Practice!: Like any art form, painting, dancing, ballet, it requires daily practice and acting as no different. We need to make sure to work that muscle every day in order to keep those muscles sharp so it's there when you need it. I'm going to recommend a book to you. Now I've read thousands of acting books over the years. This is the one book that changed my life and I'm going to recommend it to you. I have no affiliation with him at all. This is just the book that I read that I recommend to you Harold gaskin, How to Stop acting. Literally, this is my bible and again, I've read so many different styles of acting would a hogan miser you name it, but this is what I find is the most efficient. Remember this whole course is about saving you time, getting right to what works basically is principle is exactly what we've been doing. The art of picking up dialogue from the page and delivering it. So this is what we're gonna do to practice every day. Now on your laptop computer or home computer, you have a recording device, right? Like sort of a Skype thing where you press record and you can see yourself. And it's generally, it's about, it's sort of squares you off about here. This is what we wanna do every day. You can go to the internet and you could find monologues or scripts or anything. There's so many resources out there. I want you to read with that camera on you, but this is how you're gonna read, so you're gonna print it out. So in other words, if you get a book with scenes in monologue, something tangible, something that you could work with. And basically if you're going to turn on your computer camera or laptop camera, and I want you to do is look down at the monologue or whatever you're reading. I want you to pick up as much as you can, whether it's a sentence or a word. Let it affect you. And then shoot it out not to the camera. Remember off here or off there, how it affects you. There is no filter. There is no right or wrong answer. You are a human being going through this human experience, how it affects you is right? Go with that instinct. That's exactly what the principals of this book does. Go with your first instinct. Your first instinct is right? Don't doubt that. That's what actors do. They doubt themselves, oh, I'm not good enough. That's not a strong enough choice. If it's from you, it's, it's strong enough. So this whole practice is teaching you to relax and trust yourself. Look down, pick up a dialogue, let it affect you, and then deliver it. This is something that's gonna take practice in order for it to be fluent. And at first there might be a bit choppy. You might be picking up maybe two words or three words. But in time with practice, picking up the dialog, letting it affect you emotionally and once you feel it delivered, might take a while, but eventually you're going to sort of build up that smooth transition from kicking up affecting delivering, picking up affecting you delivering, and by all means, get together with friends, other actor friends. You have a start-up, a meet up group where you guys can get together and just work on scenes and take your time. They say their dialogue, take it in, let it affect you. Looked down, pick up your dialogue, deliver. The key here is to take your time and trust that how it affects you is right. The second thing I want you to do is take improvisation courses. If you're in a major city, they have all these wonderful resources, wonderful improv classes you can take. If not, you just got a and you can get together with a group of people who do improv for fun. Improv is the best way to get out of your head and in the moment, and it trains you to listen to your partner because this is more about listening than anything else. It's that space between the dialogue that that camera picks up and if you're a blank while the camera's going to pick that up. So what improv does is it forces you to listen. So when you're practicing that improv along with these pick-up deliver techniques, it's gonna make you so present at, in the moment and it's gonna make that slice of life genuine. That's all we're doing. We're portraying a genuine moment in life, in a room, in an office room with a stranger who never met. Those are the two things I recommend you do on a daily basis. I mean, improv, you could probably meet once a week or so. But those are the two things I would highly recommend that's going to get your career moving forward faster. Okay, pick up, deliver listening, read this book, ok, there, there it is. And then taking improv classes. I know it sounds simple. I know it sounds while you're telling me that's all there is to it. But when it comes to film and television and in the world of Los Angeles and other major cities, film and television is its own beast. It's very technical. It's all in how you work, the camera, what we're doing is all about that, perfecting that craft. Not running around on stage, acting like a tree and then Iraq and then being overly expressive doesn't work in LA. Take it from me. I'm theater trained and when I came to Los Angeles or took me a good two years to realize that that stuff doesn't work here. It's all about bringing it inside of you. Keeping a genuine and listening, reacting, being yourself, not performing some caricature you think they need or want. Just you. A version of you. Remember, wants, needs, desires, put them together. How does it match you and bear? You're on fire. Okay. Great. 18. That's a Wrap!: All right, congratulations you did. I'm so proud of you. Now I throw a lot at you, a lot of information that I have accumulated over the years in one course. So it's a lot of condensed information, but your passion is to act and that's why you click that button. And that's why you're here today. And I'm so proud of you for finishing this course. Now, like I said, this is a muscle, this is a craft that needs attention on daily basis. Please work on those exercises we were talking about earlier and hit it till it becomes muscle memory. But please always remember why we're doing this in the first place. We are storytellers first. Let's keep in touch with that child inside of us wants to play pretend because ultimately that's what we're doing. This is fun, this is something we love. Don't let the burden of being an adult and the responsibilities affect the child within you. Keep that child alive, keep that child in wonder, keep that child curious. Remember when we were young, we took risks. We were brave. I want you to be that brave child you once were. It's those brave choices that will make the difference in your career. Don't be afraid. Merge that with my daily practices and you will take your career to the next level. Stay strong, stay focused, stay innocent, and just have fun.