Afleveringen
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We begin our 7th season with a call to save acting. Together, we can do it! One of the biggest elements that is missing in acting today is understanding the idea behind the play (or whatever it is that weâre doing) and understanding the size of it. Because of the work we do as actors, we get insight into truths about the human experience that we get to share with an audience. And this is how we need to approach plays: that we are letting the audience in on an idea. We are there to teach, inspire, enlighten and ultimately save.
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In life, we usually don't relive a painful experience when we're talking about it. That doesn't mean it doesn't affect us. It's just that we're not actively trying to "go there." In fact, usually we resist going there with all of our being.
The same should be true when we're acting. We must build the character's past, but that doesn't mean our action is to relive it. This is another example of trusting the work we've done is *in us* and playing the action of the scene.
And if the scene does call for you to "go there," it's important to give yourself somewhere to go. This has to do with knowing where you're going and where you are in the context of the character's journey.
*If you want to access the video version of this bonus episode, you can watch it on Spotify.
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Zijn er afleveringen die ontbreken?
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Season finale! The problem with trying to learn acting in a linear way is that no creative art is linear. You canât fit a lifelong craft into one box or one book. Therefore, there is no one secret, or one method, or one idea that will save you. We have to be able to take on board the fact that acting is multifaceted. It is not about right or wrong, but a matter of depth. And the more youâre able to challenge yourself, and integrate the many aspects of being human, the greater chances that the audience will walk away considering something new.
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Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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In this episode, Milton shares an example of what it means to trust your creative impulses. This means allowing yourself the freedom to wander around until you find a connection to what you're talking about. Although you may know where you're going, you don't necessarily know how you're going to get there, or what choice you're going to discover that ends up bringing you to life.
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Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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âIâm so sick of Mark Ruffalo. Whatever that is, Iâm so sick of it. I am so sick of him that literally there was a part of me that was flirting with disaster.â
On the heels of his Academy Award nominated performance in the film Poor Things, Mark Ruffalo joined his former acting teacher and coach Milton Justice on the podcast I Don't Need an Acting Class to discuss his process. He has since been nominated for an Academy Award.
âIâm always thinking Iâm about four hours away from being fired!â He also lightheartedly admitted that his co-star Willem Defoe, and even the filmâs director, Yorgos Lanthimos questioned his outrageous character choices. âWillem said to me first day on set, heâs like: âAre you out of your fucking mind?â
In the end, Ruffalo was so grateful for the opportunity to take risks and push himself this far: âIt was so liberating. Youâre always trying to throw your elbows out to stay one step ahead of what people expect of you as an actor. I get bored, you know? And I wanna keep being challenged.â
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âIâm so sick of Mark Ruffalo. Whatever that is, Iâm so sick of it. I am so sick of him that literally there was a part of me that was flirting with disaster.â
On the heels of his Academy Award nominated performance in the film Poor Things, Mark Ruffalo joined his former acting teacher and coach Milton Justice on the podcast I Don't Need an Acting Class to discuss his process. He has since been nominated for an Academy Award
âIâm always thinking Iâm about four hours away from being fired!â He also lightheartedly admitted that his co-star Willem Defoe, and even the filmâs director, Yorgos Lanthimos questioned his outrageous character choices. âWillem said to me first day on set, heâs like: âAre
you out of your fucking mind?â
In the end, Ruffalo was so grateful for the opportunity to take risks and push himself this far: âIt was so liberating. Youâre always trying to throw your elbows out to stay one step ahead of what people expect of you as an actor. I get bored, you know? And I wanna keep being challenged.â
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This weekâs episode is based on a question we received about adding your own circumstances in order to increase the stakes, or help you connect. Hereâs the question in its entirely:
Is it acceptable to add your own specific circumstances or facts to bear down on generalities in the script?
Or is this dangerous embellishment? David Mamet says to invent nothing, and that the author has given you only what is germane to the physical action of the play, as the joke-writer gives you only what is germane to the punchline.
For example act 1, scene 4 (Richard III). Murderers and Clarence. There is nothing that mentions how much time they have to kill Clarence in the scene but the actors may add the fact âwe only have 5 minutes to kill Clarenceâ so as to make the present circumstance more engaging and difficult, therefore more entertaining?
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Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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This episode begins with the exercise of telling someone elseâs story. It involves hearing a story from someone in class, and then retelling it as our own. This is a great technique exercise because it allows you to layer in your first impressions improvisationally. You donât have to get it all the first time. And in the process, you find the details that stick with youâ these are the choices that bring you to life, and what allows you to put your own unique stamp on the role. âThis is what you all did with this exercise,â Milton says. âYou allowed yourself to add things that became your contribution.
Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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Milton begins this episode by emphasizing the importance of observing human behaviorâ our own and others. The reason is, it gives us clues to everything, from character to circumstance to what âplaying an actionâ looks like. Milton gives the example of an audition Diego recently worked on, where he struggled to play the action âto seduce.â This is where observation becomes so helpful. Looking at others helps us understand the nature of seduction.
Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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This week, we go back to some of the fundamentals of acting technique. One of which is, The Biggest Sin: Thou Shall Not Make Performance Choices When You First Read The Script. But this is not something weâre always aware that weâre doing. We forget. Orâ we have an immediate response to the character or the circumstances, and run with that first instinct. Orâ because of our own personal beliefs and values, we unconsciously pass judgement on the character weâre playing. Regardless of the reason, what we end up with is something that lacks depth and complexity. The bottom line is: the mistake is almost impossible NOT to make. The key is: catching ourselves in The Biggest Sin, and coming back to the starting line, giving ourselves permission to really sit with the facts and see what questions occur to us, perhaps do some research and see what sparks some fire within us. If you have the luxury of time, allow yourself the space to build the role, piece by piece, layer by layer.
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Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ -
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Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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âDonât shop at Kmart if thereâs a Tiffanyâs at 57th and 5th.â
-Stella Adler on Making Choices
This episode begins with Miltonâs deconstruction of an audition. He talks about the downside of adding a lot of plot points to your preparation for a scene: it means you have to earn every single one of them in a way that feeds you emotionally. âBut the advanced work,â he says, âis making kick-ass choices. You challenge yourself to be smarter.â
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There are some misconceptions about relaxation in acting. You want to be relaxed but not so relaxed that youâre not able to be active as your character in the given circumstances. As Milton says in this weekâs episode: âI think a lot of it is figuring out where to put your focus in the work, rather than trying to solve the problem of being all over the place, or being nervous or being in your head.â In other words, the answer to relaxation is found in the actor-work itself. Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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In this episode, actress Annabelle Dexter-Jones joins us on the podcast to talk about playing twin witches on American Horror Story. She discusses the extensive background and character work the did while working one-on-one with Milton, as well as the exercises that freed her up the most and allowed her to make ever more discoveries.
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Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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An excerpt from Milton's Masterclass at Spotlight in Stockholm, Sweden.
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What do we mean when we say the Given Circumstances? According to Stella Adler, the Given Circumstances includes everythingâ all the facts. And as Milton puts it, it incorporates all the Pâs: the play, the playwright, the plot, the place, the period, and the personality, past and profession of the character.Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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This is one of those ideas in acting that is almost scientific in its certainty. If youâre ever in a scene where your character is meant to be inactive, you must equally compensate for it by finding a way to make what youâre doing especially active. For example, your character is âboredâ or âdepressedâ or âlistless,â you cannot âplay bored or depressed. You must give yourself something active to do, whether itâs an activity with a definite end, or a larger action like something to fight for. In the second half of the class, Milton works with a student on the âLove/Hate exerciseâ and talks about the importance of letting your choices feed you.
Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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The reason why âputting something in your own wordsâ is such a useful exercise is because it covers so much territory: understanding the sequence of thoughts, owning the characterâs point of view and the size of an idea, and what action we are playing. There are concepts that you can apply to any monologue, any scene. Since you donât have time to memorize the words, (and therefore become creatively strangled), youâre forced to get clear about what it is that youâre doing. Have a question for Milton? Send us a voice note below or email us at: â [email protected]â Also, check out our website: â www.idontneedanactingclass.comâ
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