Podcasts about Uta Hagen

“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

Originally from Kansas City, Kansas, Dee Wallace has worked as an author, teacher, dancer and actress in film, television and the stage for over 30 years. With over 100 credits to her name, Ms. Wallace is a true tour de force in this industry, working with countless directors, producers and some of Hollywood's biggest names including Steven Spielberg, Peter Jackson, Wes Craven, Joe Dante, Stephen King and Blake Edwards. Dee's career began in New York where she studied with famous acting teacher Uta Hagen before moving to Los Angeles where she continued to hone her craft with her mentor Charles Conrad.Her many feature film credits include such classics as The Hills Have Eyes, The Howling, Cujo, Secret Admirer, The Frighteners, 10, and most notably her starring role in one of America's most celebrated films, E.T. The Extra-Terrestrial, directed by Academy Award winning director and film icon Steven Spielberg. She was recently featured in the exciting new remake of Rob Zombie's Halloween.Her countless television credits only add more cache to an already illustrious acting career, with starring roles in over twenty Movies of the Week and four hit television series including her most recent portrayal as the passive aggressive matriarch in a very dysfunctional family on the 2006/7 ABC comedy "Sons and Daughters". Other most recent television credits include, "Grey's Anatomy," "Cold Case," "Without a Trace," "Ghost Whisperer," and a recurring role on "My Name is Earl."As a much sought after celebrity and renowned actress, Dee has appeared on every major news and talk show and has been featured on E! True Hollywood Stories, Oprah and The O'Reilly Factor. Her speaking engagements include numerous national and international venues including the Love and Harmony Forum in Tokyo, Japan; the Dillion Lecture Series; Unity Temple; the Kansas Film Commission; Spiritworks; Energetic Healing seminars throughout England, and her own healing and teaching seminars throughout the United States. On a weekly basis, Dee conducts numerous private healing sessions at her office in Woodland Hills, California.As an author, Dee has written a book devoted to the art of self-healing. She conducts monthly workshops to introduce people to the healing techniques outlined in her book, Conscious Creation. In addition to her ongoing work with fellow actors as an acting teacher and mentor, Dee devotes all her extra time to her beautiful daughter Gabrielle.Presentation from the 2011 Ozark Mountain Transformation Conference.FOLLOW US ON:Facebook: https://goo.gl/rwvBfwInstagram: https://www.instagram.com/ozarkmtpubTwitter: https://goo.gl/LunK5DWebsite: https://goo.gl/2d5cX4ASSOCIATED LINKS:Ozark Mountain Publishing, Inc.: https://goo.gl/xhgoAPQuantum Healing Hypnosis Academy: https://goo.gl/64G7RD

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.

Are you kidding me! I suspected from the first email from Mark Metcalf that we were gonna have fun, but wow! This time with Mark exceeded all my high hoped-for expectations. The Maestro, The Master, yes, but for me, Mark has always been Neidermeyer. Even when he's appearing in Ally McBeal, Hill Street Blues, One Life to Live, Oscar, Jag, Buffy the Vampire Slayer, Seinfeld, Star Trek Voyager, Mad Men, that smug bad boy always shines through and makes me smile. Now, having met him, engaged with him, he's all of the above and so much more. I must see him do Shakespeare. On stage. And watch, once again, his brilliant, Chilly Scenes of Winter. As well as the doc about him: The Appeal of Being Typecast by Hollywood | The New Yorker Documentary https://bit.ly/3xwSvbr We talked Animal House, of course, lots on John Landis, Belushi, a great story about Donald Sutherland, how he got there, what he did once there, and the fun, the fun, the fun. Mark told great stories about Mike Nichols, Herbert Bergdorf, Uta Hagen, Jack Nicholson… I want more! We barely scratched the surface, not even touching Twisted Sister, Buffy, his restauranteur days… I honored my promise to cease after an hour, but have him back, we shall. He assured. I trust he is a gentleman of his word. What a lovely, fun, intelligent, thoughtful, accessible man. More soon. Promise. Loved him before, adore him now more. Mark Metcalf on Game Changers With Vicki Abelson Wednesday, 4/13/22, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here:
https://bit.ly/3uE49ix 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/ Blue Microphones and Kevin Walt

Welcome to Heilman & Haver - Episode 58.  We hope you enjoy the show! Please join the conversation - email us with thoughts and ideas and connect with the show on Facebook and Twitter and Instagram and on our new website: www.heilmanandhaver.com!   EPISODE 58 SYNOPSIS We're pleased to be joined by Michelle Danner, legendary LA acting coach (to the likes of Salma Hayek, Seth McFarland, Gerard Butler, Henry Cavell, and many more!), accomplished film and stage director, and author.  Michelle has also directed and acted in over thirty plays and musicals in New York and Los Angeles and joins us to share her wisdom from nearly 30 years as an acting coach and what she's learned from her time on stage and behind (and in front of) the camera.   ARTS AROUND THE SOUND ANNOUNCEMENTS   "The Crucible" at WWCA... starring Greg! Go see Greg and a cast of talented local favorites perform the Tony Award-winning play, "The Crucible" by Arthur Miller.  The show runs through March 20th and tickets and more info can be had at www.wwca.us.  And check out Greg's five-part blog series, "The Crucible Diaries", for a behind-the-curtain look at the production, available now on our website. "Richard III" reimagined at the Rep Playing now through April 3rd at Seattle Rep it's “Teenage Dick” -  a satirical retelling of Shakespeare's Richard III set in 2010.  You can find Greg's review of the show on our Film & Stage Reviews page and get tickets and more info at www.seattlerep.org.   IN THE SPOTLIGHT: Michelle Danner Michelle Danner is a legendary acting teacher and founder of the Creative Center for the Arts and the Los Angeles Acting Conservatory.  She is also now well-established as a successful feature film director.  Her film “Bad Impulse,” a psychological thriller about family secrets and modern technology won Best Narrative Feature at the 2019 International Independent Film Awards and the Best Director Award at the 2019 Culver City Film Festival. Michelle's other film “The Runner“, an action thriller and true-life coming of age story, has played at 28 festivals around the country and internationally. Danner won Best Director five times including at the Milan Gold Awards, the Montreal Independent Film Festival, and the Paris Play Film Festival. Raised in a show business family with a deep appreciation for all of the performing arts, Danner also runs the boutique “Cinema at the Edge” film festival and recently directed a new one-person virtual play, Bonnie Culver's “Norris,” starring Anne Archer, based on the memoirs of the widow of writer Norman Mailer. A dedicated mom of two (one an aspiring filmmaker), Danner still has her “day job” – overseeing the faculty of the Los Angeles Acting Conservatory, and conducting her weekly acting class. Her list of students has included Christian Slater, Salma Hayek, Gerard Butler, Seth McFarlane, Penelope Cruz, Chris Rock, Gabrielle Union, and Zooey Deschanel.   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.  She joined us from her home in LA. Connect with Michelle: The Michelle Danner Acting Studio On Instagram On Twitter On Facebook

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.