Podcasts about Uta Hagen

A film director, actor and renowned acting coach who trained with Stella Adler and Uta Hagen. Michelle has directed and acted in over thirty plays and musicals in New York and Los Angeles. She has coach A-List Actors privately and on set including Gerard Butler, Chris Rock, Jamie Lynn Sigler, Penelope Cruz, Michael Pena, Isla Fisher, Common, Salma Hayek, Brian McKnight, James Franco, Marcia Cross, Christian Slater, Catherine Bell, Zooey Deschanel, Gabrielle Union, Justine Wadell, Rob Estes, Rick Fox, among others. The Michelle Danner Los Angeles Acting School's philosophy is that artists can draw upon all different  acting techniques from Meisner, Strasberg, Adler, Hagen, Chekhov, & the Stanislavsky Technique and form a toolbox of their own, their very own Golden Box.

BOSSes, get ready for an electrifying conversation with a true entertainment icon. In this episode of the VO Boss Podcast, Anne Ganguzza is joined by the legendary Rolonda Watts, an Emmy-winning, talk show host, actress, and award-winning voice actor. Rolonda's career is a masterclass in professional reinvention. From her groundbreaking syndicated talk show, The Rolonda Show, to her powerful voice acting work on Professor Wiseman in Curious George and her on-screen roles in Mind Your Business and Survival of the Thickest, she embodies the art of pivoting with purpose. The hosts discuss how her journey from journalism to entertainment shaped her, why listening is the most important tool for any communicator, and the life philosophies that have guided her to become a true BOSS.   00:01 - Anne (Host) Hey, bosses, Anne Ganguzza, you know your journey in voiceover is not just about landing gigs. It's about growing both personally and professionally. At Anne Ganguzza Voice Productions, I focus on coaching and demo production that nurtures your voice and your confidence. Let's grow together. Visit Anneganguzza.com to find out more. 00:48 Visit anganguza, hey. Hey everyone, welcome to the VO Boss Podcast. I'mGanguzzayour host, Anne Ganguza, and I have something amazing for you 00:53 , bosses, today.  00:55 Today's guest is a one-woman entertainmentRolondaempire. She's done it all award-winning journalistRolonda daytime talk show host, actor, stand-up comic, best-selling author and one of the most recognizable voices in voiceover. You may have heard her as Professor Wiseman on Curious GeorgeRolonda in the Proud FamilyRolonda kung Fu Panda and now Invincible Fight Girl. She's also the annoucer and promo voice of the Sherry Show, where Sherry Shepard calls her a daytime talk show legend, which I happen to agree. Rolanda Watts is currently lighting up the screen on Bounce TV's hit comedy Mind your Business which I always get to see all the shorts on the Facebook feed, by the way where she plays Lucille, the sharp, sassy family matriarch that keeps it real with tough love and somehow I feel like that just echoes your character to a T. And she I feel like that just echoes your character to a T, and she's also appearing in the upcoming season of Netflix's Survival ofRolondathe Thickest, and was recently inducted into the prestigious Silver Circle by the National Academy of Television Arts and Sciences at the 2024 Emmys, recognizing her lifetime of groundbreaking work in television.  02:04 Bosses, please welcome the incomparable Rolanda Watts, thank you. Thank you, rolanda. I have to tell you, you know I'm a big fan. I mean, I've said this to you before, but, bosses, I am the biggest fan of Rolanda. I actually know Rolanda from watching her on daytime talk TV, and that was a while ago. I want to say that daytime talk shows had just kind of come into like being, and you're one of the first that I watched and I just I just you, your personality, just everything about you was just amazing. It's just magnetic, and so I am so excited to be able to interview you, a talk show host. So I was like, oh man, how am I going to prepare to talk to you? But you are just so gracious and wonderful, and so that kind of gave me a little bit of of hope that I wouldn't completely flub it up today, rolanda.  03:05 - Rolonda (Guest) I don't think you would do that, Anne.  03:08 - Anne (Host) My goodness. So for the bosses, who you know don't really know your story and how you started off, I mean, my gosh, you're a media empire, so I don't even like we could have like five days worth of interviews with you, but it all started as broadcast journalism correct interviews with you, but it all started as broadcast journalism correct?  03:28 - Rolonda (Guest) Yes, Tell us about that. Well, I grew up in Winston-Salem, North Carolina, and I, you know, I went to well, it's a long story about how I became an actor, but it all started with being 12 years old and going to Broadway with my family and seeing Guys and Doll and I was just like, oh my God, I love the stage and that's what I Anne do. So I went to Spelman and majored in theater arts and then there weren't a lot of roles when I got out of college. There just wasn't a track for folks who looked like me in the acting world, and so I fell in love with journalism, went to Columbia's Graduate School of Journalism and I was a news reporter and investigative anchor woman and producer for many years for New York WABC, WNBC Inside.  04:16 - Anne (Host) Edition, and that's impressive. And all of a sudden. Well, yeah, I was an investigative journalist. I mean you just said it like it came so easy. But I Anne imagine at the time. I mean you must have had to really work to get yourself in that space.  04:33 - Rolonda (Guest) Well, it was a crazy time because it was the 1980s. There weren't a lot of women in investigative news reporting, not in New York City, and so it was a groundbreaking time for women and and there was so much in the news, especially in New York, it was the big gang wars, the mob wars. You know, gotti hadn't even come into into play yet, so it was murder and mayhem. I was covering, wow and yeah, an inside edition. I was more murder and mayhem.  05:04 - Anne (Host) I remember that.  05:06 - Rolonda (Guest) Yeah. And then a man by the name of Roger King, who in heaven remains the number one selling as human being in television, asked me if I would like to do my very own syndicated talk show. So for four years I did the Rolanda show and then, when that was over let's loop back to the 12 year old who wore the subway token around her neck as a good luck charm. I said I'm not going to be on a porch when I'm 80 years old, going I could have, would have, should have. I am going to take my chances and go for my lifelong dream and make that 12 year old inside of me happy.  05:41 And I took off and went to Hollywood and that's where I became an actor and a writer and a producer and had my own production company and stumbled into voice acting and all of these things were part of what so many people call me the reinventionist. But I have had to reinvent my life for so many reasons and so many times. But I believe that isRolondamany different things that I've done and it's all around one thing and that's what we do as voice actors Good storytelling.  06:13 - Anne (Host) Yeah, absolutely Absolutely. And it's so interesting because before I had really come into like knowing you again, after you know, watching your talk show, and then knowing you as in voiceover yeah, the Anne and promo voice of the Sherry show, how interesting. Like you started to talk show, you're like a legend and talk show in my, in my brain. I'm like Rolanda, that's so awesome, like you. And now you kind of came full circle back to it a little bit Right, being the Anne and the promo voice.  06:46 And I was watching a clip of you the other day and Sherry was saying something. She was going on. She was gushing about you, which I get that. She was gushing about you and it was so interesting. She was giving you this credit about talking about your talk show and how wonderful you were and you turned it right. The conversation went right back to her about how wonderful she was and I was just blown away by how gracious that was and I just thought, well, no wonder. Well, no wonder you made such a great talk show host, such a great communicator, such a great actor and stand-up comedian and everything, because you just have this wonderful way of connecting with people.  07:29 - Rolonda (Guest) Well, you're awfully sweet, Anne. I'm going to receive all of that, but I thank you for that. You know it's, it's it. I, you know I was. I get blown away too, because Sherry does not hold back about what. What do the folks say? Giving me my flowers? And it's nice to receive them when you can smell them. You know, you know, know, it's really interesting because we did pave the way for sherry and and kelly and and drew and tamron all of them and I also know the hard work that those ladies are doing.  08:04 This job called talk is not easy. The politics that go on, the struggles day to day, the whole idea that the show is bigger than you as a human. It's very trying and you're out there by yourself. So I of course give her her flowers back because you can hand over the baton, but if the person can't run with it it really doesn't count. So to be able to see that continuum is a beautiful, beautiful thing.  08:29 And you know what's really funny is that Sherry's executive producer, who you see on the show all the time, John Murray. John was a college student when he first came to see my show and that's when he got the TV bug. He was bitten by the TV bug and so I would invite him back. In fact, one time I put him on the show so he could come and see how the producers worked and the behind the scenes working Skip to him becoming the executive producer of the Sherry show, and he said there's no other voice that we would have introduced, Sherry, and pass on the legacy than you. So it's really good. I mean, you got to be nice to kids, because they're coming up and they'll be your boss.  09:10 - Anne (Host) Right. Isn't that the truth?  09:12 - Rolonda (Guest) It is, it's like full circle.  09:13 - Anne (Host) You've, really you've done so much and you are.  09:15 I feel as though you've got. I feel like, look, I know how busy I am and I do a lot of stuff, but I feel like you, you're, you're doing it all. I mean you're, you're in that sitcom and I see, I'm thankful. I see the clips that you're posting on Facebook and it's so funny how the Rolanda that I know right, that I had a conversation with at VO Atlanta, I mean I feel like it is just so true to your character. Tell us a little bit about that role. I feel like you're just having the best time doing it.  09:44 - Rolonda (Guest) Oh my God, Lucille Williams, or Lucille is just one of the most wonderful characters. I mean, she's just great. And this coming weekend she's going to break off into her cougarlicious life, I know, oh wow.  10:05 She and her besties. They call themselves the silver sneakers. The nieces have convinced them that they need to give up the old guys, who just need a nurse and a purse, and go and get some of the young guys to go get some cool you know, be cougars and so we see how that works. But it's very, you know, it's fun to play her. She's sassy, she's the matriarch of the family, but at the same time we're writing storylines that give her a full bodied woman-ness. At this certain age, absolutely, absolutely.  10:42 - Anne (Host) I love that.  10:43 - Rolonda (Guest) But Mind your Business is a wonderful sitcom. It's one of those wonderful family sitcoms. It's produced by Bentley Evans, who did Jamie Foxx and Martin, so you're going to get that kind of zany funniness, but it's. But my character is lost her business almost during covid and calls on her family to come in and help save the business. And so she moves in with the family to save some money and all hell breaks loose. They need more of a referee than they do business partners. Now.  11:14 - Anne (Host) I love it. Now, if I'm correct, you're on season two, is that correct?  11:20 - Rolonda (Guest) We're on season two. That's right.  11:22 - Anne (Host) That's right Will there be more seasons. We certainly hope so. I hope so too.  11:25 - Rolonda (Guest) Listen, we're depending on you to watch and binge and love it. We're on Bounce TV or the Brown Sugar app and you Love it.  11:32 - Anne (Host) We're on Bounce TV or the Brown Sugar app and you can go look up where you can watch it. Yeah, I love that. Well, ok, so All right, we have to. Now we have to come to the voiceover aspect of things. So you actually have been doing voiceover since you came to LA, right?  11:46 - Rolonda (Guest) And well, you know what's so crazy, Anne, is that I was doing voiceover work, promos and Anne and voiceovers, and I didn't even know I was a voice actor, because I was doing all of that stuff for my show. I mean, had I known I was a voice actor at that time, I would have had a very different contract, trust me. But but it let meRolonda you know. But, just being a news reporter for so many years in New York City and on Inside Edition across the nation, people just knew my voice. And when, when I moved to LA and gave up the whole news and talk business to come out here and be an actor and a producer, nine months into the game the writers went on strike and instead of hosting an internationally syndicated talk show, I was on the picket line serving pizza to the striking writers.  12:39 And I was like what am I going to do? And I had to eat, I had to pay my rent, I mean what, what? And it was like I'm not going back to news, so what am I going to do? And I remembered that I used to call 411 back when you used to get information and the operator even knew my voice. They would go is this Rolanda. And so I said well this, I know I've got a voice, I'll go do voice acting. And I could not catch a cold because I didn't understand what the business was about. I had a voice and I had a microphone, but I had no idea what voice acting was about. I had a voice and I had a microphone, but I had no idea what voice acting was about.  13:14 So I went over to Calumson and Calumson over there in Burbank and I took a class and that thing saved my life because those that was the one of the that was the well, it was one of the longest strikes in Hollywood nine months and by that time I had created a whole new career and the voice actors weren't on strike. So I said this is a great backup for my physical acting and there are times and when my voice works more than my physical acting and now that I'm becoming a woman of a certain age those roles aren't coming in as quickly. But, honey, I can play a hot 30 year old.  13:53 - Anne (Host) Well, my voice. I love that you're using the woman of a certain age because, as a woman of a certain age, as well, what are you?  14:02 - Rolonda (Guest) going to do.  14:04 - Anne (Host) Exactly. I mean, I say use it Right, I mean absolutely. And so let's talk just for a brief moment about what. So acting and voice acting, same, different, what? What would you say are the key differences? Because you said, oh, I had to go to Kalmanson and Kalmanson, right.  14:22 - Rolonda (Guest) So there are some things, yeah, oh, absolutely.  14:25 - Anne (Host) Bosses need to know that are different and I absolutely always tell people yes, you should, you should, you know, take acting classes. But also there are some, some differences.  14:35 - Rolonda (Guest) Yeah, I find that there there's. It's just a different set of muscles, I think that's what you would say. One is just strictly your imagination and I think, well, for me, one helps the other. Well, for instance, the character I play we talked about Lucille, lucille talks like this she's got a little quiver in her voice and she just real high pitch, like that. So some of those tricks that we learn in terms of texture and pitch and pacing and all of that that we do as we imagine our characters, I do the same thing when I see the character on the page and I say how does that voice, what? What is it about her voice that's going to make her stand out. And they know that's Lucille, that's part of her, because she doesn't have cause. That character doesn't have this voice, not my voice. So I think that that that helps me find my characters In fact.  15:29 In fact I did a play and I had I did three plays at one time. Craziest thing in the world never been done Did three plays at one time, playing 10 different characters, from a nine-year-old girl to a 76-year-old grandmother, and all of those are different voices. You know, one was a journalist, one was a, you know, grandmother one, a, a little girl who grew up in mississippi. I mean, those are just such different voices and I also have bring my physical things, like when I'm thinking of a character in my voice, acting. I think what would they wear?  16:04 Shakespeare said, the clothes make the man and the woman too. Are they wearing a cape that they sold over there, you know? Are they carrying a sword? Does she have really tight bobs in her hair? I mean, does she have a mustache? So there are all kinds of things that I think. If I'm in my prop room or my wardrobe room and it's just my imagination, what can I do to help bring those things to light? Just the way, when they put the wig on and the clothes and the heels on for stage or screen, you could become that character. You do the same in your imagination, yeah.  16:37 - Anne (Host) I love that, I love that parallel.  16:40 That makes so much sense, actually, and it's interesting. So, for voice actors, who have not necessarily acted, what sort of tips would you have to for them to be better actors? Let's say, because it's funny, I do a lot of the stuff that people don't think you need to act for in terms of voiceover, like corporate narration or e-learning, and they think that you don't need to act. But in reality you're always a character, and so when I'll say to my students, envision that scene, it's just to them they're like what, why? Why do I need to do that? Why don't I just read the words? You know why?  17:20 - Speaker 3 (Announcement) I hear it. Yeah, exactly, you know why?  17:22 - Rolonda (Guest) Because we're not looking for readers, we're looking for actors, and I think that's one of the biggest mistakes that folks make who don't become a VO boss is because they don't understand what this industry is about. It's really not even about your voice. It's not about I mean, everybody has a beautiful, unique voice, because there are no two voices alike but it's the acting that's going to make you so different. It's those subliminal things under those lines. Sometimes you have a whole commercial that tells a whole life story in four lines and they, they fought over those lines. Attorneys, 50 people made all those lines. So they mean something. What is the story we're telling here? Right, and who am I in this story and who am I talking to? You know all of those questions. Where am I? Why am I even this story and who am I talking to? You know all of those questions. Where am I? Why am I even talking about this toilet paper? You know, and I'm a bear.  18:21 Why am I. Even I'm a mama bear. I mean why? You know why am I, and I'm not going to act like a bear, but I'm going to act like a mom who's concerned about her kids not wiping themselves. And that's just real stuff. So how do you tap into the authenticity? How do you make it human? Because what our job is is to connect with another human being. That's something that folks down there on Madison Avenue, the big advertisers, can't do in their suits, so they depend on us as actors, to be human, to be just plain old ourselves and human. No bravado, as we're hearing so much in our copy and in our instruction and directions as actors. Authenticity, throw it away, just give it to me. No salesy, no Anne, and I got to tell you that's the hardest thing in the world to do. Even for us seasoned actors, it's sometimes hard to shake off the the, the formality and just get real with it. You know and feel comfortable and confident with that.  19:21 - Anne (Host) Can I ask you to repeat that, can you that you said, you said what you said. It was hard, it's hard, it is hard, right. It is so hard Like I love it because you create that scene Right. It is so hard, like I love it because you create that scene Right In which those words make sense, right.  19:36 And tell a story and sometimes those words are really we don't know. We don't know that, Like I, have some people that are almost indignant that they don't have a storyboard or they don't. They don't understand the words. So therefore, if they don't, they're just kind of well, let's just say them then.  19:58 - Rolonda (Guest) Right In a melody that I think they want to hear. Rolonda, that's great, then they'll have a melody that they just heard, but they won't have the commercial.  20:03 - Anne (Host) I love it, so yes, so you said it's hard, rolanda says it's hard, it is.  20:09 - Rolonda (Guest) I go on record as saying the hardest thing I've ever had to do whether it was talk, tv or vocal or physical acting is being myself. Now in life, I have no problem beingRolondaauthentically Rolanda. What you see is Rolonda you get. But it's something that happens when we pick up that script and that microphone is in front of us and, all of a sudden, things start changing and happening. We're just not ourselves. I don't sound like myself. I don't like toRolondahear my voice. It takes, it's really acting. When you hear people who sound like how did they get that job? They don't even sound like a voice actor. It's because they are turning themselves Rolonda a virtual pretzel justRolondato sound like that, to sound so normal.  20:58 I remember when I first started doing my talk show um, the, the demand of being a, an actor I mean not an actor, but a talk show host with a talk show called rolanda was that you had to be Rolanda. You couldn't be the news reporter anymore. That was crucial to the success, and so it was very hard to even do it then, and I can remember my bosses and my partners calling going get that news reporter out of there, bring back Rolanda. And I said but I've got this crazy laugh and a raspy voice and I, you know, I'm a Southern accent and that's everything that makes my brand. I mean, it's crazy, but that's Rolanda. When you say Rolanda, that's what you hear. So whatever that is about you, whatever that quirky, crazy thing that you think is your fault, that's going to be your greatest asset. You know, when I was a little kid, they called me froggy and I always played all the guys in all my all girls school plays and I thought that was a real fault of mine. And now I can play women, men, little boys, pirates, anything in this industry of voice acting, and there's no limitation. The only limitation is your imagination. It's not about the equipment, it's not even about your voice. It's about your brilliant imagination and what you bring to that character, not even the microphone, what you bring to that character that nobody else thought about. That made that animator go. Oh, I can't wait to draw this character, um, and to make the casting director's job easy. They want you to win, they want you to get this job, so give it to them, show them your special sauce.  22:43 But I think it takes real practice, practice, practice. Like carnegie hall, they say. You just don't walk up into carnegie hall and start playing the violin. No, you got to learn how the instrument works. You got to learn how to maintain it, take care of it, how to make love to that instrument so it delivers that God given art and craft that you've put into it. You've got to do the work. And a lot of people think, well, I can just go pick this up and read. And the sad thing is, and they don't take classes and they have no idea what they're doing wrong. The worst thing that can happen is you go years and years and years building on the wrong stuff because you never took the time to learn the right stuff. You don't know what you don't know. Yeah, that's so.  23:29 - Anne (Host) I'm.  23:29 - Rolonda (Guest) I'm real big on training and classes so that you get the education and the acting experience and you understand how to break down scripts, you understand the vocabulary of this industry and how to network and and and use your resources that are right there at your fingertips.  23:46 - Anne (Host) Well, I think I think you're probably very much a VO Boss on using those resources and networking throughout your whole career. That's absolutely something that I feel that you've you've done so successfully. What would you say is probably the most important thing tip that you could give to to ensure success in this industry? Because it's a evolving industry and, yes, being the the queen of reinvention, right, you've had to reinvent yourself, and reinvent yourself not only in, you know, voiceover, but in, like all the media and how it's evolved over the years. So what would be your, your best tip to ensure success? Don't quit there. You go.  24:26 - Rolonda (Guest) I like that. The only people who don't succeed in voice acting are people who quit. I like that. You know, even the greatest ones. And you know, when we're at the VO Atlanta conference and we're with the greats I mean we're with Bob, who's Porky the pig, and we're with Joe, who's every network's Anne and when you hear these, these, these major vo stars and pros say, man, I do 50 to 100 auditions and may not nab the job a lot of us went whoa.  24:59 - Anne (Host) thank god, it's just not us, because yeah, I mean I can show you a stack in my head. I'm like oh, thank god, because, yeah, I, I just did a ton, I know, yeah, and look, listen I hear some auditions from this month okay yeah, am, I, am, I am I booking every one of them?  25:16 - Rolonda (Guest) no, but that's but. But you have to change your mindset. Every time I show up that microphone and I'm doing an audition, I'm not going up there. Well, I'm not going to get the job anyway. If you've got a bad attitude like that, it's time for you to jump into a classroom and just realign yourself, because this is a long game. And let me tell you what's going to happen when you get great you nab that job, you go and do that commercial. One hour it's gone and you're right back to auditioning again. So don't put all of your emphasis on just the job, but the but, the practice, the maintenance of it. Uh, going to conferences like the VO Atlanta conference, vo Dallas conference, sosa look up these places. That's a good place to hobnob. This is a very solo business. You're a solopreneur, you're by yourself, you, your microphone, your computer and your imagination. That's it. So get out and join memberships. Like Anne. You can come and take my class, the voice acting masterclass with Rolanda. In fact, I'm going to offer your listeners a very special deal if they're interested.  26:29 But that's another way that we build community and you learn what's the cutting edge. Right now we're dealing with AI. What does that mean? Staying on the cutting edge of things that are going to affect your career and really take it as a business. This is not just a hobby. Understand how your taxes work, understand the legalities and understand the questions to ask when you're signing a contract. Now just don't run out there all willy-nilly and not ask the right questions or your voice will be used forever and you not get paid. You know the video game people just had a strike and got some. Where are we moving forward in the business?  27:10 Be able to talk intelligently about the business. So when you're out there meeting people, they know, oh okay, this is somebody really serious. This isn't just somebody who just got a microphone on amazon and call themselves a voice actor, because there's a lot of that. But I say that um, really, just don't quit and understand that every time you show up in front of that microphone, it's another opportunity to show you a special sauce. And if the casting director doesn't get you into this particular job and that's not their decision, it's the producer's or whoever the client is. If you don't make it then, then at least they've heard you. I get a lot of times where they're. Rolonda same client will keep calling me back and I know I've impressed them in those other auditions I've done, so I know they're looking for something for me, so I just keep showing up, doing the best that I possibly can and finding ways to make it different. Because they've heard the same audition 50 million times, sometimes 500 times.  28:12 So what can you do to make it a little different and still stay within the parameters? So there's Ganguzza kinds of tricks and strategies and all kinds of things that you can do to stand Ganguzza and also how you market yourself like anything else. This is a brand Just because Rolonda have a microphone. Anything else this is a brand. Just because you have a microphone doesn't mean you have a brand. So reallyRolonda you know, that's one of the things I tell my students all the time. Once you get the breaking down the script and understand how the microphone and the vocab let's, let's talk about marketing, social marketing. How do we brand ourselves? How can you be one name like Rolanda and people immediately know what that means, and so that's really knowing your stuff and knowing your own voice too, that's so interesting because for a while, when I first started, I had different names.  29:00 - Anne (Host) I mean I, of course I started VO Peeps, I have VO Boss, and then I have Anne Ganguza brand and I'm like I really just need to wrap it all up into the Anne Ganguza brand. So finally, people say I need an Anne Ganguza, like I need a Rolanda. I need an Anne Ganguza, and so I love that that you have that brand and you build on that brand. But, rolanda, let me ask you a question, because I saw the stack of auditions. Do you I mean still, do you get, still I say still do you get an imposter syndrome?  29:31 - Rolonda (Guest) I think I'm pretty much. I'm pretty much at this time in my life. I know who I am. You know I'm not trying to. I've done enough and achieved enough and have enough confidence in myself. I think you know what I think this is. The other thing about this industry is confidence, because you can hear I can hear through a microphone. If you're not confident and you don't even believe yourself, if you see it, I'm going to see it. If you believe it, I'm going to believe it. And that's half the battle, I mean, and that's also part of the practice of this art and this craft, is learning how to still your nerves. Breathing is so much a part, warming up is so much a part of it and it's a full body job. This is an inside job because your beautiful vocal cords are right here in this body encases it. So you got to work out, you got to stretch. You know I love this. Old morgan freeman used to say that the secret to his great voice was a good, deep yawn.  30:29 Absolutely, you know because it just loosens up everything and these 41 muscles up here need to be worked out. A lot of people just jump right up, start reading, don't even warm up their mouths.  30:40 - Anne (Host) As evidenced by your. I think it was yesterday when I saw you on Facebook and you were like all right, I'm going back to the gym.  30:48 - Rolonda (Guest) I know. I messed up.  30:50 - Anne (Host) That's it. I'm going back.  30:54 - Rolonda (Guest) I'm a hot mess but.  30:56 - Anne (Host) I think that warming up I mean it helps, it absolutely does. Just a physical walk, you know, if you go to the gym, a physical warmup does absolutely help. Now, we did talk, we touched upon the confidence issue. We did talk, we touched upon the confidence issue, and one thing that I'm really excited about is that in let's see, is it in September, on the 17th, we are going to have you doing a guest directorship for the VO bosses on improv to improve your confidence and connection. So we will be talking about how bosses can remain confident or stay confident or get confident in the booth, and I love that.  31:35 You said that we can hear. We can hear that confidence and it's really interesting because even if you're telling a story and it may not be the story that ends up being on the video or the commercial right or the commercial right If we're auditioning and we're telling a story and we're convinced of it and we are confident in it, then the people listening, the casting directors, the people that will cast us, will believe it as well, and I think that's one of the telltale signs that they say, ah, shortlist, or that's what's gonna get you the gig.  32:05 - Rolonda (Guest) I think confidence and that's really believing in yourself and being able to take chances and risks. Because you know, think about it. The casting director is hearing 500 people say the same three lines. What are you going to bring to that story that's going to make a difference? I'll give you an example.  32:23 I did an at t commercial and it was about it. It was a very little short commercial and it was about a young girl who sees her mother, who has gone out for girls night at a salsa club, and she says mom, is this you on social media? And the mother goes oh, yes, honey, we were out with Raul last night and we were just dancing and then I something happened. And I said and I just to world. That was not even a line in the script, but I just had this imagination, cuz I used to go out salsa with my girlfriends in California and, honey, when Eduardo would ask us to dance, we would to world. And that just brought that into that like an aunt Lucille, and that's what got me the gig. And it was, and it was just that little button that we say, you know, because they've heard 500 times that people say the same thing yes, I went salsaing with my girlfriend, but nobody twirled but me, nobody's.  33:26 - Anne (Host) nobody else is twirling except for Rolanda. Nobody else is.  33:29 - Rolonda (Guest) honey, that's how much fun I had, which lets you know what that video must have looked like, that the girl saw.  33:36 Absolutely, absolutely, and listen and the fact that these old ladies were even on social media, lets, you know, those boys were young. They taught him how to tick and tock and twirl, you know. So I'm having a whole imaginative thing about going out with my girlfriends and then my girlfriend, my daughter, catching me. Oh please, child, we had a good time. You know, we don't care about what people think at this age. So bringing all of those things, even my own wisdom at this age, like I don't care, honey, I'm twirling with Eduardo because the guys my age don't twirl, so I'm bringing all of that fun into it, you know.  34:11 Another example was when I did judge Joe Brown. You know I was the Anne for that show and when I was doing the audition we had to, you know, was a promo, so I would have to read the line and then listen to the sound bite and then read the line in between. And listen to the sound bite, read, read the line. And I was so big. Judge Joe was such a crazy, freaking judge show. I would say, coming up today on Judge Joe, I'm going to slit your tire and I'm going to beat Shaniqua Mary can't stand, john and then I'm going to cut your other tire and then I would be.  34:46 And then one time I just went, whoa, the next Judge, joe. Honey, they fell on the floor. I was so busy listening that I was reacting like an at home person and I was like, ooh, on the next Joe. I was so irreverent that they created a little animation called lady justice and it was a little bug and I made up this whole story that lady justice was in love with joe just like the daytime audience was gone. Joe, tell them, joe, that's judge, joe, you know because I know the daytime audience. Yeah, so that's the other question we asked who are you talking to?  35:30 - Speaker 3 (Announcement) absolutely, this wasn't the inside edition audience. This. Don't be afraid to take that risk.  35:53 - Rolonda (Guest) You can do a straight one on the next Judge. Joe and Shanique was going to go, but honey, one time let it rip and show them that you can have fun. Fun is the main key. If it's not fun, don't do it.  36:05 - Anne (Host) Yeah, I agree, I think if you can make, if you can make someone laugh, if you can, if you can, if you can bring a smile to that casting director, that person listening to you, oh my goodness. And speaking of because normally I try to make this, you know, a 30 minute podcast, but I do want to touch upon. I do want to touch upon the fact that you are a stand up comedian as well, and we had quite a conversation at VO Atlanta on that, and so I feel like that's just all embedded in your personality and I think you were always a funny person, like from maybe a young girl. But talk to us about being at stand up comedy is tough.  36:41 - Rolonda (Guest) Oh, it's really tough.  36:42 - Anne (Host) But you know something that's a rough audience.  36:45 - Rolonda (Guest) Know your audience. Who are you talking to? That's true. And you know something Lunell taught me that she said know your audience, be able to switch on a dime, whatever. But I'm going to tell you just, VO bosses, that comedy helps immensely. It helps your timing, you know. So much of comedy comes in threes. So when you're doing animation or even some fun commercials, what's that third line where the funny ABC?  37:10 - Anne (Host) read right Where's that?  37:11 - Rolonda (Guest) Where's that? Third line where the funny? Or they want an ABC. Read Right, where's that? Where's that? Where's the funny? And that also gives you the confidence and the imagination and and I tell you funny, joan Rivers told Sherri Shepherd funny girls always work, funny women, funny girls always work, funny women, funny women always work. So adding a little humor to something I think makes you stand out. But I love the craft of comedy. I'm uh got uh some comedy shows here in New York at the comedy village comedy in Harlem, and then I'm going to go out to flappers in LA this winter December for the holidays and I'm opening for Lunell and that's really exciting so yeah, I'm getting my comedy on Awesome.  37:58 - Anne (Host) Look out for me on Netflix one day. I do not doubt it. Well, rolanda, it has been such a pleasure. I wish I could talk to you for another. Well, another five episodes.  38:07 - Rolonda (Guest) Oh, wait a minute. Wait a minute Speaking of Netflix. I got to do this and we're talking about Michelle Boutot's show survival of the thickest.  38:15 - Anne (Host) I'm on that one as well on Netflix. Awesome. Oh, and before and before we actually go, talk to us a little bit about September 17th improv to improve your confidence. A little bit about what we're going to, we're going to be diving into in that class.  38:30 - Rolonda (Guest) Oh, I can't wait to that class because improv is such a great way to gain your confidence, to loosen up and to have a whole bunch of fun. The beautiful thing about improv is there are certain rules that we go by, but it's just fun and it's going to help you tap into your authenticity. One good example we improv every day in life. You talk to your lover very different than you do to your boss, and don't let your best girlfriend call you in the middle of the day, and then, when your mother calls, listen to all the different voices that we have, and that's a lot of improv too. Improv also helps you listen and much of acting is about listening and I think you will surprise yourself, and part of the improv to improve your confidence is finding your own voice and discovering things through this exercise about your own experiences and about your being able to to react on a dime and have fun and laugh about it. Then when you you get those scripts, you can improv in your head.  39:32 I always do a little role play before I start, something Like if I have to play an old grandma, then I talk like an old grandma. Okay, I spin and rush them out. Our teeth don't fit too well. You got a little pain in the rats every once in a while. So you keep building these wonderful things that help you. Listen, you may not get that job, but you know you're going to doggone. Put in the effort because you've done the work. You know you. You will be so surprised, all the places that your voice will take you. And improv too. I mean there are times you're going to meet strangers, a new boss, and going to have to improv too. I mean there are times you're going to meet strangers, a new boss and going to have to improv too.  40:13 So improv is going to be a fun exercise for us. We're going to then take scripts, break down those scripts and do some acting. I'm going to teach you about Uta Hagen's nine questions. We're going to talk a little bit, a bit about Sandy Meisner's techniques, and these are just little things that you can put in your hip pocket that will help you. When you go out into the world and you're in that booth by yourself and you look to the right and the left and there's nobody there but padded walls, what are you going to do? You're not going to freak out, because we're going to learn about warmups and what we do with all this body when we're nervous and behind a microphone, because I can hear nervousness, I can hear it. So let's uh, let's work on that rolanda, did you hear my nerves?  40:57 - Anne (Host) did you hear my nerves when I was interviewing you are so not nervous listen, you need to make it easy.  41:05 - Rolonda (Guest) You've got the ganguza method, that's it there you my own method. I want to be gangouza'd. I love it.  41:12 - Speaker 3 (Announcement) I love it oh my gosh.  41:14 - Anne (Host) Thank you so so much. It has been such a pleasure talking to you today.  41:19 - Rolonda (Guest) You know how much fun we have. We get together and start talking and the sun can come up.  41:23 - Anne (Host) So true, so true.  41:23 - Rolonda (Guest) Thank you, thank you so much.  41:25 - Anne (Host) I so true, thank you. Thank you so much. I'm so excited for you, for our class in September. Bosses, I'm going to give a great big shout out to our sponsor, ipdtl. You, too, can connect and network like bosses, like Rolanda and myself. Find out more at IPDTLcom.  41:42 - Rolonda (Guest) I just wanted to add this that if any of your listeners wanted to check out my voice acting masterclass voice acting masterclass I'm going to offer 50% off if they use the code VO Boss 50.  42:01 - Anne (Host) Oh, I love it. Vo Boss 50.  42:01 - Rolonda (Guest) I'll put that on the show notes, guys. Thank you so much, Just for your listeners. 50% off. Vo Boss listeners go to Rolandacom.  42:08 - Anne (Host) Awesome Thanks. Bye bosses. Thank you, Rolandacom. Awesome Thanks, Bye bosses. Thank you, Rolanda. Bye.  42:13 - Speaker 3 (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via ipdtl.   

Today, I'm thrilled to announce my interview with Tony winner Will Brill, who will be starring in MEET THE CARTOZIANS off-Broadway this fall. Tune in to hear some of the stories of his legendary career, including the unique process of creating STEREOPHONIC, moving the show from Playwrights Horizons to Broadway, being part of the Tonys campaign, why the response to OKLAHOMA surprised him, the cosmic alignment of A CASE FOR THE EXISTENCE OF GOD, dealing with different audience interactions during OUR TOWN, finding success on TV with FELLOW TRAVELERS, James Lapine's fearlessness in shaping ACT ONE, how Tony Shalhoub scripted gibberish, the meta experience of starring in ILLYRIA at the Public Theater, his method of memorizing lines, playing Shakespeare on screen, co-starring with David Cromer in UNCLE VANYA, a guiding quote from Uta Hagen, the mythology around alcoholism in theater, what he learned from James Earl Jones during YOU CAN'T TAKE IT WITH YOU, and so much more. Don't miss this in-depth conversation with one of Broadway's brightest stars.

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

In this episode, SAG Award-winning actress Caroline Aaron shares what it was like growing up Jewish in the South, dining out gratis, thanks to her father's work as a restaurant supplier before his untimely death, and the subsequent Southern meals lovingly prepared by her family's African-American housekeeper—including fried chicken and a distinctive red/orange matzoh ball soup at Passover. She reflects on her activist single mother's influence, dinner table conversations centered on social justice, and the values that shaped her. Caroline also discusses her work with legendary directors like Mike Nichols, Woody Allen, and Tim Burton, and recalls Uta Hagen's unforgettable advice about food and acting. Join me for a vibrant, funny, and heartfelt conversation with one of the most prolific and versatile actresses of stage, screen, and television.Don't forget to follow all of the social media!  @Sarandon_Chris on Twitter @TheOfficialChrisSarandon on Instagram Chris Sarandon on Facebook  www.chrissarandon.com linktr.ee/theofficialchrissarandonSubscribe on Youtube at https://youtube.com/shorts/-vGUyj0TK-Q

Welcome to the DMF. I'm Justin Younts. In this video, I want to talk about how you direct actors. Directing actors is not just about giving them lines to read; it's about understanding the nuances of performance and creating an environment where they can thrive. I start by reading the scene and letting it roll for the first time to see what the actors bring to the table. This initial take is crucial because it allows me to gauge their instincts and creativity. I believe in being straightforward and honest with my actors. If something doesn't resonate with me, I won't sugarcoat it. I think it's essential to avoid overacting and instead focus on authenticity. Actors often get caught up in their heads, trying to deliver the perfect line, but the best performances come from a place of genuine emotion and spontaneity. I draw inspiration from greats like Uta Hagen and Julia Roberts, who emphasize the importance of being present in the moment. The casting process is also vital; finding the right person for the role can make all the difference. Sometimes, the best actors are those who have lived through similar experiences, as they can tap into real emotions. However, it's also important to recognize that not every actor can deliver under pressure. I've seen talented individuals freeze on set, and it can be a devastating experience for them. As a director, I strive to create a supportive atmosphere where actors can feel comfortable exploring their characters. Ultimately, directing is about collaboration and trust. I want my actors to feel empowered to take risks and explore their roles fully. By fostering an environment of creativity and honesty, we can create something truly special together. Please like, share, and subscribe for more insights into the world of filmmaking.00:00:00 - Introduction00:00:05 - Directing Actors: Initial Approach00:00:47 - Directing Actors: Adjustments and Feedback00:00:59 - Directing Actors: Honesty and Authenticity00:02:07 - Acting: Natural Talent vs. Overacting00:02:51 - Acting: Authenticity and Spontaneity00:05:09 - Directing Actors: On-Set Script Reading00:05:42 - Directing Actors: Detailing and Adjusting00:06:58 - Acting: Text and Body Connection00:08:24 - Casting: Importance and Challenges00:11:25 - Acting: Role Immersion and Personality Impact00:12:40 - Conclusion

"I DIED?!?!" We are here with Tony-nominated actor, L. Scott Caldwell. You Might Know Her From Insecure, Lost, The Fugitive, Bad Monkey, How to Get Away with Murder, Waiting to Exhale, The Net, Soweto Green and the Broadway production of Joe Turner's Come and Gone. L. Scott gave us all the scoop on acting opposite Crystal the Monkey in Bad Monkey, bringing her personal story to Rose's story on Lost, and working with August Wilson on the Broadway production of his 1988 play Joe Turner's Come and Gone. All that, plus being killed off as Molly's mom on Insecure (she forgot!), working with Uta Hagen and the Negro Ensemble Company, and what she learned from Joe Pantoliano on the set of The Fugitive. L. Scott was a total dream and we hope you love it as much as we did!  Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Rob Lowe as Stone Phillips and Shaggy Sarah Michelle Gellar as Posh Spice (Chris Kattan as Mel Be) and Debbi Matanopolous The Curious Case of Natalia Grace made into a mini-series with Ellen Pompeo called Good American Family Anne currently binging 2 seasons of Making a Murderer on Netflix  Parker Posey in The Staircase  True Crime Con featured Jon Benet Ramsey's father was the keynote speaker My Favorite Murder We tried to convince Jiggly Caliente to do Lorena Bobbit on Snatch Game Cult-y video Damian sent Anne on TikTok We are currently reading Sarah Schulman's books: People in Trouble, Stagestruck L Scott plays Jodi Turner Smith's grandmother in Bad Monkey Fear of cats: Ailurophobia Had a chemistry test with Crystal the monkey L Scott played Molly's mom, “CeeCee” on Insecure  Dies in A Million Little Pieces, The Gridiron Gang, Insecure Played Rose Nadler of Rose and Bernard on the phenomenon known as Lost Co-starred in big 90s movies like The Fugitive, Devil in a Blue Dress, The Net, Waiting to Exhale Aggie Rodgers was the costume designer for The Fugitive Richard Jordan dies while shooting of The Fugitive  and was replaced with Jeroen Krabbé Soweto Green written by Mfundi Vundla NEC: Negro Ensemble Company Was named “Nombula” = bringer of the rain Won a Tony for her role In Joe Turner's Come and Gone on Broadway  A Play of Giants at Yale Rep 1984  NEC members: Barbara Montgomery, Frances Foster, Michele Shay, Adolph Caesar, Graham Brown, Charles Brown, Samm-Art Williamson OG company: Hattie Winston, Judyann Elder, Rosalind Cash, Denise Nicholas,  Men: Norman Bush, Allie Woods, Robert Hooks,  NEC: The Room and it moved to Broadway the next year Uta Hagen promoted some movie called The Other on Mike Douglas show Got injured going toe to toe with Viola Davis in How to Get Away with Murder Has played a judge, lawyer or doctor more times than she can count Tom Petty music video for “Don't Come Around Here No More” and Genesis “Land of Confusion” video with giant Reagan puppets  

Nazis hiding in South America have been cloning Hitler, and one researcher is crossing the globe, trying to stop their plans to resurrect the Third Reich. A thriller from the writer of Rosemary's Baby and The Stepford Wives that culimates in two very old men slapfighting over the future. Starring Gregory Peck, Laurence Olivier, James Mason, Lilli Palmer, Steve Guttenberg, Uta Hagen, and Jeremy Black. Written by Ira Levin and Heywood Gould. Directed by Franklin J. Schaffner.

Josh and Drusilla are joined by Steve Kleinedler to discuss The Other (1972). Steve is an editor, a former lexicographer, and the submissions coordinator for Salem Horror Fest. From wiki: “The Other is a 1972 American horror[4] psychological thriller film, much in the vein of Stephen King and The Twilight Zone, directed by Robert Mulligan, adapted for film by Thomas Tryon from his 1971 novel of the same name. It stars Uta Hagen, Diana Muldaur, and twins Chris and Martin Udvarnoky, with Victor French, John Ritter, and Jenny Sullivan in supporting roles.”Also discussed: Country (1984), Crimes of Passion, The Werewolf vs The Vampire Woman, Buffy the Vampire the Slayer, Demon Wind, Parks & Rec, It Follows, Only Lovers Left Alive, Good Night Mommy, Uta Hagen, Apaches, and more. You can watch The Other on YouTube here: https://youtu.be/gTQw3jrvxjI?si=asWJD8kiGNKkN3LK NEXT WEEK: The Eyes of Laura Mars (1979) Follow them across the internet:Steve Kleinedler:https://bsky.app/profile/skleinedler.bsky.socialhttps://letterboxd.com/stevekl/ Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/https://www.instagram.com/sister__hyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/https://bsky.app/profile/joshuaconkel.bsky.social  

"Shut up, you ugly bitch!" The Boys From Brazil (1978) directed by Franklin J. Schaffner and starring Gregory Peck, Laurence Olivier, James Mason, Lilli Palmer, Uta Hagen, Steve Guttenberg, Anne Meara, Bruno Ganz and Jeremy Black Next Time: The Addams Family Values (1993)

Laurence Luckinbill's career on stage and screen was filled with high-risk choices that often led to great reward. One of those decisions just happens to be Star Trek related.Trek fans know Mr. Luckinbill as Sybok from "Star Trek V: The Final Frontier," where he donned the pointy ears to play Spock's brother. We learn about how he got the role, his thoughts on who the character is and why he is a more complicated villain than you might believe, working with William Shatner and Leonard Nimoy, and why the much-maligned fifth movie is better than you remember.We also learn about growing up in Arkansas and how he found the theater, lessons from George Kernodle and Uta Hagen, insight into his "Great Americans" one-man play series, and a deep dive into his multi-year role in the milestone play and film, "The Boys in The Band," a breakout show for LGBTQ culture during a pivotal time in gay rights, of which he is the last surviving cast member.This might be one of the most in-depth interviews with this legendary performer on YouTube, so get ready for a deep dive into this actor who has long earned his time in the spotlight. You can pick up Larry's memoirs "Affective Memories: How Chance and The Theater Saved My Life" at this link here - https://amzn.to/4enuNAB Watch his "Great Americans" plays on his YouTube channel - https://www.youtube.com/@UClBi65yUrOuyGwoyBlbAFKAPlease subscribe to our brand new YouTube channel: www.youtube.com/@trekuntold .There, you will see all the old episodes of this show, as well as new episodes and all of our other content, including shorts and some other fun things planned for the future.Visit my Amazon shop to check out tons of Trek products andother things I enjoy - https://www.amazon.com/shop/thefightnerd View the Teespring store for Trek Untold gear & apparel- https://my-store-9204078.creator-spring.com Support Trek Untold by becoming a Patreon at Patreon.com/TrekUntold.Don't forget to subscribe to the podcast and leave a rating if you like us!Follow Trek Untold on Social MediaInstagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntoldFollow Nerd News Today on Social MediaTwitter: Twitter.com/NerdNews2Day Instagram:

Laurence Luckinbill's career on stage and screen was filled with high-risk choices that often led to great reward. One of those decisions just happens to be Star Trek related.Trek fans know Mr. Luckinbill as Sybok from "Star Trek V: The Final Frontier," where he donned the pointy ears to play Spock's brother. We learn about how he got the role, his thoughts on who the character is and why he is a more complicated villain than you might believe, working with William Shatner and Leonard Nimoy, and why the much-maligned fifth movie is better than you remember.We also learn about growing up in Arkansas and how he found the theater, lessons from George Kernodle and Uta Hagen, insight into his "Great Americans" one-man play series, and a deep dive into his multi-year role in the milestone play and film, "The Boys in The Band," a breakout show for LGBTQ culture during a pivotal time in gay rights, of which he is the last surviving cast member.This might be one of the most in-depth interviews with this legendary performer on YouTube, so get ready for a deep dive into this actor who has long earned his time in the spotlight. You can pick up Larry's memoirs "Affective Memories: How Chance and The Theater Saved My Life" at this link here - https://amzn.to/4enuNAB Watch his "Great Americans" plays on his YouTube channel - https://www.youtube.com/@UClBi65yUrOuyGwoyBlbAFKAPlease subscribe to our brand new YouTube channel: www.youtube.com/@trekuntold .There, you will see all the old episodes of this show, as well as new episodes and all of our other content, including shorts and some other fun things planned for the future.Visit my Amazon shop to check out tons of Trek products andother things I enjoy - https://www.amazon.com/shop/thefightnerd View the Teespring store for Trek Untold gear & apparel- https://my-store-9204078.creator-spring.com Support Trek Untold by becoming a Patreon at Patreon.com/TrekUntold.Don't forget to subscribe to the podcast and leave a rating if you like us!Follow Trek Untold on Social MediaInstagram: http://www.instagram.com/trekuntoldTwitter: https://www.twitter.com/trekuntoldFacebook: https://www.facebook.com/trekuntoldFollow Nerd News Today on Social MediaTwitter: Twitter.com/NerdNews2Day Instagram:

https://www.michelledanner.comwww.allinfilms.com   Instagram michelledannerla  There aren't many people who can point to a career full of success as a performer, teacher, storyteller, entrepreneur, and expert. But Michelle Danner can. The legendary acting teacher and founder of the Creative Center for the Arts and the Los Angeles Acting Conservatory, Danner is also now well-established as a successful film director. Her last film,“Miranda's Victim,” stars Abigail Breslin, Luke Wilson, Ryan Phillippe, Emily VanCamp, Mireille Enos, Enrique Murciano, Brent Sexton, Josh Bowman, Sebastian Quinn, Taryn Manning, Nolan Gould, Dan Lauria, Kyle MacLachlan, Andy Garcia and Donald Sutherland. The film tells the true story of Trish Weir (Breslin) who was kidnapped and brutally raped by Ernesto Miranda. The subsequent trials went all the way to the Supreme Court and led to creation of the Miranda Rights. Up next for Danner is the comedy romance film “The Italians,” which stars Matthew Daddario (Shadowhunters), Rob Estes (Silk Stalkings), Perrey Reeves (Entourage), David DeLuise (Wizards of Waverly Place), Olivia Luccardi (It Follows), Lainie Kazan (My Big Fat Greek Wedding), and Abigail Breslin (Zombieland, Little Miss Sunshine). The film is currently playing at festivals around the country. A dedicated mom of two (one is an aspiring filmmaker), Danner still has her “day job” – overseeing the faculty of the Los Angeles Acting Conservatory, and conducting her weekly acting class. Michelle has worked privately with Christian Slater, Salma Hayek, Gerard Butler, Seth MacFarlane, Penelope Cruz, Chris Rock, Gabrielle Union, Zooey Deschanel, Henry Cavill, Isla Fisher and James Franco. A longtime student of legendary acting teachers like Stella Adler and Uta Hagen, Danner's eclectic approach (which she calls “The Golden Box”) allows actors the freedom to employ a wide variety of techniques. Raised in a show business family and with a deep appreciation for all of the performing arts, Danner also continues to run the boutique “Cinema at the Edge” film festival and is currently preparing to direct a new one-person play, Bonnie Culver's “Norris,” starring Anne Archer, based on the memoirs of the widow of writer Norman Mailer. Simply put, there's almost no one in the business who knows as much about acting and success as Michelle Danner – and her continued success in multiple creative fields makes her one of the most successful women working in the industry today. Meosha Bean Films on Plex https://watch.plex.tv/person/meosha-bean Shout out ATL link -https://shoutoutatlanta.com/meet-meos... Listen To Creator to Creators Apple Podcast https://podcasts.apple.com/us/podcast... Watch Meosha films on Tubi -- https://tubitv.com/person/b00c45/meos... Rate comment subscribe hit notification bell for all new videosBecome a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

A special four-guest episode, HB Studio hosts a virtual conversation with the four Uta Hagen Award Recipients: Kelly Quinnett (2019 Awardee, University of Idaho), Yesenia Herrington (2022 Awardee from Texas State University), Katherine LeRoy-Lawson (2023 Awardee from South Georgia State College), and Jenny McKnight (2024 Awardee from Indiana University). Join us as we explore each journey that led to teaching theatre in higher education, connecting with students, mental health support, teaching artist styles, seeking opportunities for student artists, and their time in our Hagen Teacher's Lab. The Uta Hagen Award is offered through College of Fellows of the American Theatre, in celebration of the Uta Hagen centennial and the 2020 centennial of the women's vote (a voice for all women). Led by Bonnie Nelson Schwartz,  the recipients are awarded a scholarship to study at HB Studio's one-week teaching artist intensive program, Hagen Teacher's Lab. Led by Mark Nelson and Carol Rosenfeld.

TVC 648.5: Actress and author Dee Wallace (E.T: The Extraterrestrial, The Howling, Born: Giving Birth to a New You) talks to Ed about some of her acting mentors, which include Charles Conrad, Uta Hagen, and Jeff Corey, and how the acting method taught by Conrad differed from most other approaches to “The Method.” Also in this segment: Dee shares some memories of working with Dudley Moore in 10 and with her husband, Christopher Stone, in The Howling. Dee's latest book, Born: Giving Birth to a New You, is available wherever books are sold online. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Susan Lanier and I discuss MLB manager Hal Lanier; her song, "On the Way to Woodstock"; watching "The Miss America Pageant"; growing up in Dallas; being a DJ at 14; studying with Uta Hagen; acting in the film The Pickle Goes in the Middle; doing non-Union movies in NYC with Warhol and Putney Swope directed by Robert Downey, Sr.; going to LA and getting cast on Happy Days; not knowing the current stars; turning down an audition for SNL; Welcome Back Kotter; doing Night of the Iguana with Tennessee Williams; accidentally getting knocked out by Richard Chamberlain: Taryn Powers; Chloris Leachman; Over and Out; Pat Paulsen; Tony Orlando and Dawn Rainbow Hour; not liking doing con's; Henry Winkler; doing The Hills Have Eyes over agents' thoughts; the touring for the premiere; it being considered a terror classic; being cast and let go from Three's Company; the Facts of Life scale; being in the cast of Sha Na Na; Chuck Berry; moving into music; her cabaret act; an audition for a Brian DePalma movie gives her the singing bug; performs her late husband's composition Superstar and her own songs; Swamp Cabaret; getting into photography;

Today's episode is sponsored by BetterHelp.  We made you a mixtape of some of our fave segments from our full episodes with Daniel Shaw, LCSW,  Dr. Ramani, and Dr. Natalie Feinblatt. Think of this as our Chicken Soup for the Culty Soul power-medley. We've got Dan Shaw dropping knowledge on why traumatizing narcissists are so…traumatizing. We've got Dr. Ramani on how to recover from narcissistic abuse. And we've got Dr. Natalie Feinblatt on Trauma, Addiction & Cult-Informed Therapy. It's practically a super group!  Pull up a box of tissues, and get ready for all the feels. If you've heard these chats before when they were first born as full ALBC episodes, we still think you'll get some good nuggets out of them. And yes, we love the word ‘nugget' in any form in a way that may border on problematic. We'll be sure to talk to our therapist about that.    NOTES: Daniel Shaw, LCSW  is a psychoanalyst in private practice in New York City and in Nyack, New York. He originally trained as an actor at Northwestern University and with the renowned teacher Uta Hagen in New York City, and later worked as a missionary for an Indian guru. His eventual recognition of cultic aspects of this organization led him to become an outspoken activist in support of individuals and families traumatically abused in cults. Simultaneous with leaving this group, Dan began his training in the mental health profession, becoming a faculty member and supervisor at the National Institute for the Psychotherapist in New York. His book, Traumatic Narcissism: Relational Systems of Subjugation, was published by Routledge in 2014 and was nominated for the distinguished Gradiva Award. In 2018, the International Cultic Studies Association awarded him the Margaret Thaler Singer Award for advancing the understanding of coercive persuasion and undue influence. Shaw's book Traumatic Narcissism and Recovery: Leaving the Prison of Shame and Fear will be published by Routledge in 2021. Dan joined Sarah and Nippy to share his story, drop some knowledge about the shameless ways of traumatizing narcissists, and provide insights on the recovery process. Dr. Ramani Durvasula is the author of two books on the subject: Should I Stay or Should I Go: Surviving A Relationship with a Narcissist and Don't You Know Who I Am?: How to Stay Sane in an Era of Narcissism, Entitlement, and Incivility. Her work has been featured at SXSW, TEDx, the Red Table Talk, the Today Show, and Investigation Discovery. You can also find her on her wildly popular YouTube channel where she dispenses wisdom on protecting yourself from hoovering, gaslighting and other narc trademarks. Or put her Navigating Narcissism podcast in your ears, on repeat: It's good stuff. Dr. Natalie Feinblatt is a licensed clinical psychologist in private practice in Los Angeles, California who specializes in the treatment of addiction and trauma. And one of her trauma sub-specialties is working with former cult members. She received her BA from UCSD and her Masters & Doctorate from Pepperdine University, where she wrote her doctoral dissertation on psychotherapy with former cult members and has specialized in helping them ever since. She also does EMDR, Brainspotting, and other trauma-specific therapies. She was also featured on the series finale of ‘Leah Remini: Scientology & The Aftermath.' Follow her on Instagram for tips, tools, and healing resources.     Also…Let it be known far and wide, loud and clear that…   The views and opinions expressed on A Little Bit Culty do not necessarily reflect the official policy or position of the podcast. Any content provided by our guests, bloggers, sponsors or authors are of their opinion and are not intended to malign any religion, group, club, organization, business individual, anyone or anything. Nobody's mad at you, just don't be a culty fuckwad.   OTHER LINKS: Check out our lovely sponsors Join ‘A Little Bit Culty' on Patreon Get poppin' fresh ALBC Swag Support the pod and smash this link Cult awareness and recovery resources   CREDITS:  Executive Producers: Sarah Edmondson & Anthony Ames Production Partner: Citizens of Sound Producer: Will Retherford Co-Creator & Writer: Jess Tardy Theme Song: “Cultivated” by Jon Bryant co-written with Nygel Asselin  

Kim interviews former Days of our Lives star, Steve Blackwood. Steve had 30 years of sobriety under his belt after living in LA for most of his life, until one day her relapsed. Hear his remarkable story of finding his new path towards sobriety by how Steve earning to embrace Annie Grace's philosophy of This Naked Mind and how things finally clicked for him once and for all. Steve Blackwood currently lives in Newburyport, MA. He is a Producer/Director/Writer/Actor. Steve Blackwood's (MACHINE GUN PREACHER DAYS OF OUR LIVES) work include comedies ( including the couples therapy mock-umentaryI FEEL/ MEET THE AUTHOR/ STUCK) that have been adapted into screenplays co-written with award winning Maine writer David Susman). Professor Blackwood  (adjunct  HILLSDALE and OAKLAND UNIVERSITY) is also the author of the acting book THE STEVE BLACKWOOD SESSIONS (AMAZON) that chronicles what he learned as an acting student with mentor Uta Hagen at HB STUDIOS in NY. --- Support this podcast: https://podcasters.spotify.com/pod/show/kim-kearns/support

When I was in high school and dreaming of being an actor, I read a lot of the major acting texts. I read Stanislavksi. I read Stella Adler. I read Uta Hagen. I read Sanford Meisner. I was particularly enchanted with the Meisner book and tried to square it with the Meisner exercises we'd done at the Governor's School for the Arts. They didn't QUITE connect and I could never really apply what I learned to actual shows but I was captivated and all these texts seemed to strive for a more authentic, emotionally honest style of acting. A lot of acting training is concerned with this authenticity. A lot of acting training takes itself very seriously. I took it all pretty seriously. I took myself pretty seriously, truth be told. And then I started working as an actor. The concerns of working actors have very little in common with acting training. For the most part, the jobbing actor becomes less concerned with whether or not you can tell someone their shirt is brown with authenticity (Yes, this was an exercise I did when I was 15.) but whether or not you can be heard and understood by the audience. To keep reading Some Actor Training You Don't Get in School, visit the Songs for the Struggling Artist blog. This is Episode 377 Song: Twist and Shout Image by Stem List via Unsplash To support this podcast: Give it 5 stars in Apple Podcasts. Write a nice review! Rate it wherever you listen or via: ⁠⁠⁠⁠⁠⁠https://ratethispodcast.com/strugglingartist⁠⁠⁠⁠⁠⁠ Join my mailing list: ⁠⁠⁠⁠⁠⁠www.emilyrainbowdavis.com/⁠⁠⁠⁠⁠⁠ Like the blog/show on Facebook: ⁠⁠⁠⁠⁠⁠https://www.facebook.com/SongsfortheStrugglingArtist/⁠⁠⁠⁠⁠⁠ Support me on Patreon: ⁠⁠⁠⁠⁠⁠www.patreon.com/emilyrdavis⁠⁠⁠⁠⁠⁠ Or help me pay off my tickets to and from Crete on Kofi: ⁠⁠⁠⁠⁠⁠http://ko-fi.com/emilyrainbowdavis⁠⁠⁠⁠⁠⁠ or PayPal me: ⁠⁠⁠⁠⁠⁠https://www.paypal.me/strugglingartist⁠⁠⁠⁠⁠⁠ Join my Substack: ⁠⁠⁠⁠⁠⁠https://emilyrainbowdavis.substack.com/⁠⁠⁠⁠⁠⁠ Follow me on Twitter ⁠⁠⁠⁠⁠⁠@erainbowd⁠⁠⁠⁠⁠⁠ Me on Mastodon - @erainbowd@podvibes.co Me on Hive - @erainbowd ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠Pinterest⁠⁠⁠⁠⁠⁠ Tell a friend! Listen to The Dragoning ⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠ (it's my audio drama) and support via Ko-fi here: ⁠⁠⁠⁠⁠⁠https://ko-fi.com/messengertheatrecompany⁠⁠⁠⁠⁠⁠ As ever, I am yours, Emily Rainbow Davis

We kick off Horrortober 9, this year a mixed bag of new and old horror, with a TV movie that puts many modern horror movies to shame: The Other. Host of Adam's Corner Adam Long is here to program the episode and also gush about why the film deserves your attention.Starring the Udvarnoky twins and Uta Hagen, it follows Holland and Niles, two brothers who share a deep connection but also a horrifying secret. This secret becomes all consuming and eventually leads to some of the most harrowing horror in a third act we've seen. For more Kulturecast episodes and podcasts guaranteed to be your new favorite audio obsession, check out Weirding Way Media at weirdingwaymedia.com.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2883470/advertisement

  David Saint is in his 25th season as Artistic Director of George Street Playhouse. He has directed 43 mainstage productions at GSP, having most recently helmed Ken Ludwig's Dear Jack, Dear Louise. Additional productions include Fully Committed and Tiny Beautiful Things for the GSP virtual season, Midwives, and Conscience, in addition to The Trial of Donna Caine, American Hero, American Son, I Love You, You're Perfect, Now Change and An Act of God starring the legendary Kathleen Turner in the 2017-18 season. His time here has been marked by collaborations with such artists as Keith Carradine, Tyne Daly, Rachel Dratch, Sandy Duncan, Boyd Gaines, A.R. Gurney, Uta Hagen, Jack Klugman, Dan Lauria, Kathleen Marshall, Elaine May, Anne Meara, David Hyde Pierce, Chita Rivera, Paul Rudd, Stephen Sondheim, Marlo Thomas, Eli Wallach, and many others including a remarkable partnership with Arthur Laurents. In addition, many new award-winning works have begun their life here during his tenure such as The Toxic Avenger, Proof, The Spitfire Grill, Joe DiPietro's Clever Little Lies, and It Shoulda Been You. He has directed Final Follies at Primary Stages, Clever Little Lies at Guild Hall in East Hampton, NY and off-Broadway at West Side Theatre, as well as the National tour of West Side Story. In July 2016, he directed a two-night concert performance of West Side Story at the legendary Hollywood Bowl. In Summer 2019, he directed a revolutionary new production of West Side Story for IHI Stage Around in Tokyo and served as Associate Producer for the new film version of West Side Story directed by Steven Spielberg. 

Uta Hagen was a legendary theatre practitioner. She originated the role of Martha in the 1962 Broadway premiere of “Who's Afraid of Virginia Woolf?” by Edward AlbeeShe wrote two major books on acting. The first, “Respect for Acting” was published 50 years ago (and still sells very well). The second, “A Challenge for the Actor” was published in 1991. An expanded edition of “Respect for Acting” has been re-published this spring.

This one's got it all: true crime, big reveals, legal drama, Uta Hagen. So if any of those things spark your interest, then this one's for you, dear listener. Because even though this real-life case of a wealthy heiress's mysterious coma initially seemed cut-and-dry, nothing was as simple as it seemed. Was Sunny von Bülow's coma the result of foul play? What was in that strange black bag her children discovered in their stepfather's closet? And did my lady really take insulin?Rob teaches Ray about the case of Claus von Bülow, who was accused of attempting to murder his wife to obtain her fortune; how the testimony of Claus's mistress was a linchpin in the investigations; why you probably shouldn't leave incriminating notes lying around if you're being investigated for murder; how to steal the scene in any movie; and why this case may have been one of the first modern examples of publicly sensationalizing the legal process in order to rivet audiences to their television screens. If you like what we are doing, please support us on Patreon.TEAMRay HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergGabe CrawfordNatalie DeSaviaARTICLESEPISODE CLIPSAmerican Justice: Claus Von Bulow - Full Episode (S6, E13) | A&E"Reversal of Fortune" TrailerADDITIONAL MUSIC & SOUND EFFECTS”Happy Bee,” “Enter the Maze,” and “Aitrack”• Kevin MacLeod (incompetech.com)• Licensed under Creative Commons: By Attribution 4.0• http://creativecommons.org/licenses/by/4.0/Additional Sound Effects from Final Cut Pro, iLife, and Logic Pro

On this episode of The Claw's Corner - Host Rich Cyr chats with the extraordinary Dee Wallace! Dee's important message to the world is: Love yourself beyond anyone or anything else. Love yourself so much that you can't do anything that doesn't make you love yourself more. Originally from Kansas City, Kansas, Dee Wallace has worked as an author, teacher, dancer and actress in film, television, and stage for over 40 years. Her career began in New York where she studied with famous acting legend Uta Hagen before moving to Los Angeles where she found her mentor, Charles Conrad. With over 200 credits to her name, Ms. Wallace is a true tour de force in the industry, working with countless producers and directors and some of Hollywood's biggest names, including Steven Spielberg, Peter Jackson, Wes Craven, Joe Dante, Lewis Teague, Stephen King, Blake Edwards and Rob Zombie. Her many film credits include The Hills Have Eyes, The Howling, Cujo, Secret Admirer, The Frighteners, 10 and of course, her role as Mary in Steven Spielberg's E.T., The Extraterrestrial. She has appeared in almost 200 films, 5 television series, and 400 commercials.Ms. Wallace has just completed three films for release in 2019: Every Other Holiday, Rob Zombie's 3 From Hell, and Jingle Belle. Other recent credits include NCIS, Shooter, and Law and Order L.A. Ms. Wallace is also starring in Amazon's series Just Add Magic. Dee began her channeled healing work over twenty years ago when she dropped to her knees after her husband's sudden death and asked for a way we could “heal ourselves.” Seconds later she received her first message: use the light within you to heal yourself. She has passionately been teaching the art of self creation ever since. Dee is a strong advocate for accepting (at an early age) our own magnificence and power in a positive, loving way. A child's personality is set between 4-7 years of age which has a direct impact on the creation of their life. Dee's important message to the world is: Love yourself beyond anyone or anything else. Love yourself so much that you can't do anything that doesn't make you love yourself more. Dee has authored five books on the subject of self-creation: Conscious Creation, The Big E!, Bright Light, Getting Stuff and Wake Up Now! She conducts a live (call-in) internet radio show each Sunday morning at 9 AM Pacific, and offers monthly webinars on a variety of creation subjects. Dee conducts private sessions from her home in Woodland Hills, California via phone and in person. As a much sought after speaker, Dee has spoken at numerous national and international venues including the Love and Harmony Forum in Japan, The Dillon Lecture Series, Unity Temple, The Kansas Film Commission, and asked to speak in China, New Zealand, Amsterdam, Australia, England and all across the United States and Canada. Dee has appeared on every major news and talk show and has been featured on E! True Hollywood Stories, and Oprah. Enhanced and Uploaded By Rob Bull. Contact Rob Bull For Music, Podcast, or Graphic design info @ Robbull61792@gmail.com

Originally from Kansas City, Kansas, Dee Wallace has worked as an author, teacher, dancer, and actress in film, television, and stage for over 40 years. Her career began in New York, where she studied with famous acting legend Uta Hagen before moving to Los Angeles, where she found her mentor, Charles Conrad. Dee is a true tour de force in the industry, working with countless producers and directors and some of Hollywood's biggest names, including Steven Spielberg, Peter Jackson, Wes Craven, Joe Dante, Lewis Teague, Stephen King, Blake Edwards, and Rob Zombie. Her many film credits include “The Hills Have Eyes,” “The Howling,” “Cujo,” “Secret Admirer,” “The Frighteners,” “10” and of course, her role as Mary in Steven Spielberg's “E.T., The Extraterrestrial.” With over 280 TV movie and film credits on her resume, Dee Wallace is quite possibly the most active woman in entertainment. Dee's important message to the world is: Love yourself beyond anyone or anything else. Love yourself so much that you can't do anything that doesn't make you love yourself more. She began her channeled healing work over twenty years ago when she dropped to her knees after her husband's sudden death and asked for a way we could “heal ourselves.” Seconds later, she received her first message: use the light within you to heal yourself. She has passionately been teaching the art of self-creation ever since. Dee is a strong advocate for accepting (at an early age) our own magnificence and power in a positive, loving way. Her most recent book, “Born,” expands the concepts of Law of Attraction exponentially and simplifies everything you think you know about the power of Self-Creation. “Born” is a powerful book about how Spirituality, Brain Science, and Religion teach the same principles and how you can easily use them to create your life. She offers monthly webinars on a variety of creation subjects. Dee also conducts private sessions from her home in Woodland Hills, California via phone and in person. As a much sought after speaker, Dee has spoken at numerous national and international venues, appeared on every major news and talk show, and been featured on E! True Hollywood Stories and Oprah. JONES.SHOW is a weekly podcast featuring host Randall Kenneth Jones (author, speaker & creative communications consultant) and Susan C. Bennett (the original voice of Siri). JONES.SHOW is produced and edited by Kevin Randall Jones. DEE WALLACE Online: Website: https://iamdeewallace.com/ Twitter: https://twitter.com/Dee_Wallace Facebook: https://www.facebook.com/DeeWallaceOfficialFB Instagram: https://www.instagram.com/thedeewallace JONES.SHOW Online: Join us in the Jones.Show Lounge on Facebook. Twitter (Randy): https://twitter.com/randallkjones Instagram (Randy): https://www.instagram.com/randallkennethjones/ Facebook (Randy): https://www.facebook.com/mindzoo/ Web: RandallKennethJones.com Follow Randy on Clubhouse Twitter (Susan): https://twitter.com/SiriouslySusan Instagram (Susan): https://www.instagram.com/siriouslysusan/ Facebook (Susan): https://www.facebook.com/siriouslysusan/ Web: SusanCBennett.com Follow Susan on Clubhouse LinkedIn (Kevin): https://www.linkedin.com/in/kevin-randall-jones/ Web: KevinRandallJones.com www.Jones.Show

Book Vs. Movie: Who's Afraid of Virginia Wolf The Edward Albee 1962 Play Vs. the 1966 Mike Nichols FilmThe three-hour anger fest that is Who's Afraid of Virginia Wolf is one of the most celebrated and controversial of the 1960s. Edward Albee's 1961 play is about middle-aged couple George & Martha, who have been drinking and battling for years, and one unfortunate evening they have with new friends Nick & Honey. It caused a stir at the time for its “racy” language, the three-hour runtime, and its intense performances by Uta Hagen, Arthur Hill, Ben Piazza, and Melinda Dillon. The play was a sensation and broke box office records. So much, so that afternoon performances were added to meet the demand. It won the Tony Award and the New York Drama Critics Circle in 1963. The same year, it was up for a Pultizer Prize for Drama but lost due to its “profanity and sexual themes.” (There was no prize given that year.)Mike Nichols directed the 1966 film with Elizabeth Taylor and Richard Burton, who ate up each scene with their unique partnership of love, hate, and movie-star charisma. (Their real-life love story is another whirlwind of multiple marriages, addiction, and pain.) George Segal and Sandy Dennis play Nick and Honey, and the entire cast and most of the production received Academy Award nominations. (Taylor and Dennis won) Jack Valenti of the Motion Picture Association of America (MPAA) said this was his first controversial film under his reign. Words like “screw” and “hump” were considered scandalous and had to be deleted from the script. The story of George and Martha is one of the significant cultural landmarks of the 20th Century, with several productions over the past 60 years and several parodies, from The Carol Burnett Show to The Simpsons. In this episode, the Margos discuss the original play and the 1966 adaptation and try to decide which we like better. In this ep the Margos discuss:The work of Edward AlbeeThe legend behind the title of the playThe significant differences between the play and the movieThe 1966 cast: Elizabeth Taylor (Martha,) Richard Burton (George,) George Segal (Nick,) and Sandy Dennis as HoneyClips used:Opening ClipWho's Afraid of Virginia Wolf? 1966 trailerMartha degrades GeorgeGeorge “shoots” MarthaMartha and Nick danceNick talks about boxing“I swear if you existed, I would divorce you!”One day it snaps…Music by Alex NorthBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie: Who's Afraid of Virginia Wolf The Edward Albee 1962 Play Vs. the 1966 Mike Nichols FilmThe three-hour anger fest that is Who's Afraid of Virginia Wolf is one of the most celebrated and controversial of the 1960s. Edward Albee's 1961 play is about middle-aged couple George & Martha, who have been drinking and battling for years, and one unfortunate evening they have with new friends Nick & Honey. It caused a stir at the time for its “racy” language, the three-hour runtime, and its intense performances by Uta Hagen, Arthur Hill, Ben Piazza, and Melinda Dillon. The play was a sensation and broke box office records. So much, so that afternoon performances were added to meet the demand. It won the Tony Award and the New York Drama Critics Circle in 1963. The same year, it was up for a Pultizer Prize for Drama but lost due to its “profanity and sexual themes.” (There was no prize given that year.)Mike Nichols directed the 1966 film with Elizabeth Taylor and Richard Burton, who ate up each scene with their unique partnership of love, hate, and movie-star charisma. (Their real-life love story is another whirlwind of multiple marriages, addiction, and pain.) George Segal and Sandy Dennis play Nick and Honey, and the entire cast and most of the production received Academy Award nominations. (Taylor and Dennis won) Jack Valenti of the Motion Picture Association of America (MPAA) said this was his first controversial film under his reign. Words like “screw” and “hump” were considered scandalous and had to be deleted from the script. The story of George and Martha is one of the significant cultural landmarks of the 20th Century, with several productions over the past 60 years and several parodies, from The Carol Burnett Show to The Simpsons. In this episode, the Margos discuss the original play and the 1966 adaptation and try to decide which we like better. In this ep the Margos discuss:The work of Edward AlbeeThe legend behind the title of the playThe significant differences between the play and the movieThe 1966 cast: Elizabeth Taylor (Martha,) Richard Burton (George,) George Segal (Nick,) and Sandy Dennis as HoneyClips used:Opening ClipWho's Afraid of Virginia Wolf? 1966 trailerMartha degrades GeorgeGeorge “shoots” MarthaMartha and Nick danceNick talks about boxing“I swear if you existed, I would divorce you!”One day it snaps…Music by Alex NorthBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Happy New Year!!! For the final episode of 2022 we welcome notorious acting coach, director, producer, and all-around Hollywood talent Michelle Danner on the show! She and Joe discuss her history in acting, what current projects she is focused on, and how her unique approach to teaching actors has lead to her specific style of crafting a "golden toolbox" of resources for each individual. We hope you had a fantastic end to the year, this year was a really great one which reflected a lot of growth for the show. We're excited to show everyone what we have planned for 2023. Enjoy! About Michelle Danner Based on Michelle Danner's last 30 years of supporting both A-List and up and coming actors to fulfill their maximum potential, film director and international acting coach Michelle Danner has distilled the best ideas and practices of the major acting techniques; Stella Adler, The Sanford Meisner, Lee Strasberg, Uta Hagen, Chekhov, & Stanislavsky so artists can draw upon them and utilize the strengths of each. Every actor is unique, so you will learn to form a toolbox of your own, your very own “Golden Box”. Through studying Michelle Danner's acting technique you will accumulate a comprehensive set of “acting tools” you can use when approaching a role or a scene, whether it be for film, television, or theatre. Make sure to check out the NEW Dtalkspodcast.com website! Thanks to Empire Toys for this episode of the podcast! Nostalgia is something everyone loves and Empire Toys in Keller Texas is on nostalgia overload.   With toys and action figures from the 70's, 80's, 90's, and today, Empire Toys is a one-stop-shop for a trip down memory lane and a chance to reclaim what was once yours (but likely sold at a garage sale)   Check out Empire Toys on Facebook, Instagram, or at TheEmpireToys.com AND Thanks to Self Unbound for this episode of the podcast: Your quality of life: physically, emotionally, mentally, and spiritually, is a direct reflection of the level of abundant energy, ease, and connection your nervous system has to experience your life!    At Self Unbound, your nervous system takes center stage as we help unbind your limited healing potential through NetworkSpinal Care.    Access the first steps to your Unbound journey by following us on Facebook, Instagram, or at www.selfunbound.com   The DTALKS Podcast has also been ranked #9 in the "Top 40 Detox Podcast You Must Follow in 2020" according to Feedspot.com for our work in the Cultural Detox space. Thank you so much to the Feedspot team!  https://blog.feedspot.com/detox_podcasts/

Austin Pendleton might be best known for “My Cousin Vinny,” or “What's Up Doc?” but the 82 year old actor, director, playwright, and teacher is a one-man theater institution. It almost seems like there isn't a great play that he hasn't performed or directed, somewhere, in his 60+ years in the business, and he's not slowing down in the slightest. In this epic, 90 minute episode, what Meryl Streep said of Pendleton will ring true—“there's no line between the man and his work.” He talks about his latest performance, in the celebrated new Tracy Letts play “The Minutes,” then takes us back half-a-century to the the first production of “Fiddler On The Roof,” and tells a few incredible stories of working with the great Jerome Robbins. I ask him how teaching feeds his acting work. He shares some important lessons he's learned from his teachers (like Uta Hagen, Bobby Lewis, and Elia Kazan), legendary actors (like Jo Van Fleet and Kim Stanley), and disasters (like when a horrifically bad review kept him away from substantial roles for 7 years). He leaves us with a vow he made in 1958, which he still lives by, that just might be the secret to his longevity in this emotional roller-coaster of a profession. Plus much more! Sit back and let this great sage of the stage take you on a journey through the life of an actor in a deep, enduring love affair with the work.  Follow Back To One on Instagram

In today's episode I share a powerful insight from famous actor and theatre teacher, Uta Hagen. She reminds us that there is no prize for spending your life looking, acting and thinking the same way as everyone else. Grab a free copy of my book Bridging the Gap here: https://go.jonathandoyle.co/btg-pdf (https://go.jonathandoyle.co/btg-pdf) Enquire about booking Jonathan to speak: https://go.jonathandoyle.co/jd-speak-opt-in (https://go.jonathandoyle.co/jd-speak-opt-in) Watch the Youtube version here: https://youtu.be/0Rp1Tn3Ysv4 (https://youtu.be/0Rp1Tn3Ysv4) Find out about coaching with Jonathan here: https://go.jonathandoyle.co/coaching (https://go.jonathandoyle.co/coaching)

This week we're so excited to be joined by writer/director William Brent Bell! He's the filmmaker behind movies like Stay Alive and The Boy and his latest film Orphan: First Kill is the prequel to the cult classic camp masterpiece Orphan! We talk about his horror history, approaching this prequel with trepidation (and death threats?!) and ultimately falling in love with the surprising story. Stick to the end where he talks about two of his upcoming horror creations which sound fantastic.Then we dig into The Other (1972), a film that seems relatively forgotten but needs to be discussed and championed as a precursor to a ton of horror tropes. We discuss evil twins, its legacy, the fantastic direction from To Kill A Mockingbird's Robert Mulligan, Uta Hagen, the queer screenwriter, some of the horrific imagery and so much more. This is one of the most messed up PG rated movies ever.Follow William Brent Bell on Twitter and Instagram. Follow Mary Beth, Terry and the Podcast on Twitter.If you want to support our podcast, please please take a moment to go rate us on Spotify and give us a rating and review on iTunes. It really helps us out with the algorithms. We also have a YouTube channel! If you want to join our community on Twitter, go here. And, coming soon…a Patreon! Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Can you top this? Yes, we can. How the hell is it possible that this sitdown with The Sopranos Richie Aprile aka David Proval, will go down as one of the most entertaining shows yet? It shall. WOW. What fun. Great stories. Crazy coincidences. More great stories. As if it wasn't enough that David's mother and I share the same family name, and she has the same country of origin as my grandma with the same name, we're both New Yorkers, David went to Yeshiva, my father taught Yeshiva, our paths crossing about a decade ago while filming Henry Jaglom's The M Word with Michael Imperioli, post their work in The Sopranos, pre ours at Women Who Write and Game Changers. Thanks to the suggestion of my new good friend, Mark Metcalf, who also middled last week's stupendous sitdown with Tim Matheson, I know David's extensive body of stellar work, Mark added technicolor. I jumped at his suggestion to invite David. My gratitude to both of them is boundless. What fun! I know I said it before, but it bears repeating. From his grandma and the Yiddish theatre, school plays, Uta Hagen, to Scorcese and Mean Streets, thanks to his friend, Jon Voight, how he got it—DeNiro, Keitel, Pavlo Hummel, again thanks to Voight, which led to Nunzio, a hysterical story about filming with Jack Gilford, Elliot Gould, and James Caan, which included more great stories about James, to the other James… Gandolfini. David's audition(s) for The Sopranos, so much great stuff there, moving from mobster Richie Aprile to a Rabbi in The West Wing, Teri Garr, Richard Dreyfus, coaching Eddie Murphy, an insanely great story there, a Drama Desk Nomination, Innocent Blood, John Landis, Don Rickels, hysterical stuff there, meeting Sinatra, and sitting down with him, a fan, wow, Everybody Loves Raymond, Italy, and his personal discontent… all straight talk, with loads of laughter and a few tears. I loved every single second, especially when his wife of 46 years, Cheryl, joined the conversation from the other room. Forget cowbell. More David Proval! David Proval Live on Game Changers With Vicki Abelson Wednesday, 8/10/22, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3QyEmjX All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fla tunein bit.ly/2gGeItj Also on iHeartRadio, SoundCloud, Voox, OwlTail, Backtracks, PlayerFM, Himalaya, Podchaser, and Listen Notes Thanks to Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com Nicole Venables of Ruby Begonia Hair Studio Beauty and Products, for the best tressed. http://www.rubybegoniahairstudio.com/ And, Blue Microphones

Join Disney's Ike Eisenmann, and author, Jonathan Rosen, as they chat with renowned acting coach, Michelle Danner!Michelle discusses studying under acting teachers like Stella Adler and Uta Hagen, getting advice on directing from Steven Spielberg, directing the upcoming thriller, The Runner, and much more!

Join Disney's Ike Eisenmann, and author, Jonathan Rosen, as they chat with renowned acting coach, Michelle Danner!Michelle discusses studying under acting teachers like Stella Adler and Uta Hagen, getting advice on directing from Steven Spielberg, directing the upcoming thriller, The Runner, and much more!

Episode 153 brings back Morgan Fender and Danielle Anderson! This week, it's a crime to steal a cookie. Up for grabs, a Guns N' Roses Chia pet. Foster rants about Woodrow Craig Wilson. Danielle wants honesty. David throws in an Uta Hagen plug. Don't think about Morgan. Enjoy. #Rushmore-esque

Matt Duffy joins Brian for a discussion of THE OTHER, starring Uta Hagen and directed by Robert Mulligan. They also talk about Hagan's fascinating career on stage and screen!THE OTHER is available on Amazon: https://www.amazon.com/Other-Uta-Hagen/dp/B000GJ0JVAFollow us at filmatfifty.com and @filmatfifty on social media, and please leave us a five-star review on Apple Podcasts or wherever you listen to your podcasts.

Show Notes: 2:00     Do Maggie's parents think about becoming grandparents? 8:40     Listener Question: Chloe – What are your fears for each other?  Maggie severe OCD phase as a child. 15:30   Dan feeling overwhelmed but also loving the abundance of opportunities. 18:19   Dan's new program “Positive Chaos.” 19:50   Mags punks her dad with “The Unbreakable Tire.” 23:58   Listener Question from Christian: Do you have any tips on putting away phones or distractions when you need to get something done? 31:05   IHOP experience in Austin.  THANK YOU to our wonderful servers and cooks!!! 33:20   Listener Question from Valentina: Do you recommend any other podcasts like yours?   36:45   Listener Question from Julia: Trying out for basketball team.  Any tips for handling the stress? 38:15   Misner vs. Uta Hagen: preparing for acting auditions and then what happens... 40:45   Maggie find out from TikTok she was in David Dobrik's vlog.