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Sarah Gaboury

About Sarah Gaboury

https://realactorslab.com

Posts by Sarah Gaboury:

card title reads "get on your feet!"

Your rehearsal might be missing this crucial step

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Rehearsal is a crucial part of the acting process. But more important than just rehearsing, is rehearsing right. Whatever your rehearsal looks like right now, here’s my suggestion:

Get. In. Your. Body.

Sitting at your desk, scribbling in your notebook, doing the tablework — it’s all useful, don’t get me wrong — but beware the trap of staying in academic-mode at the table during rehearsal.

Desk work doesn’t get in your body.  

Check out this conversation in class to hear more about why getting on your feet during rehearsal is so crucial. And check out this blog post or this Instagram post to learn even more about how to rehearse.

 

CLASS CLIP TRANSCRIPTION

Student: Yeah, it felt good. I’ve just realized that, yeah, I’ve done a lot more paper work than I have actually…stood up and worked.

Sarah: Yeah, when you stand up you’re like, oh, it didn’t all make its way in, yeah.

Student: Yes.

Sarah: So as you’re trying to do some of that work, see if as early as possible, even if as you’re coming up with the idea for the actions from moment to moment, you’re even working off of your impulse, right?

“Cuz I know where you live!” What does that feel like I’m doing? I’m challenging, I’m exposing, I’m…right, what clues is my body giving me when I try to do that? Oh, it feels like I’m…that was it’s never like, that disconnect happening. You know, you’re always gonna have the muscle memory of working through that.

Student: Yeah.

Sarah: You’re trying to get to that experiential body voicework, right.

Student: Yeah. I do think I sometimes get caught too much in the getting everything down.

Sarah: Totally. And I did the same thing. Because I’m kind of a headier person, you know, and so it was really important for me to do it as early as possible. And I’m seeing that now more, like working with my students, how helpful it is the earlier people start working on their feet. You know?

title reads "Working together with the right representation"

Is it time to ditch your team? When to get a new agent

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The question in class was: how do I know if I should stick with my current representation or move on? I want to be loyal to my team but I’m not when to get a new agent… Check out the video to hear my answer.

CLASS CLIP TRANSCRIPTION

Sarah: So the question that came up in class was, I’ve been with this manager for five years and they’ve really hung in there with me and I’m growing a lot as an actor and I’m not sure if I should hang in there with this manager because I’m not getting any opportunities lately. What should I do because I do want to be loyal to this person, but I also really want to have a career.

And this is a really good question, and it’s not the first time this question has come up. The first thing I always say is, are you doing everything you can possibly be doing on your end to make this decision? Because actors don’t mean to do this, but there’s this internally held belief that when you get representation, that you’re just gonna show up to auditions and they’re gonna make this career happen to you. And I know you think of yourself as a hard-working actor who would never do that, but it can feel like they’re gonna give you your career. And so unless you are doing everything on your end, you can’t know if your manager is able to do their job well.

So, meaning: what’s the state of your Actors Access profile right now? Or whatever world, whatever casting profile you use, whether you are the one who electronically sends it yourself, are you giving your representation all the tools that they need to get you in the door?

You know, sometimes I’ll have an actor say, you know, I really wanna be auditioning for these kinds of roles, but I’m not getting anything like that. And we’ll go and we’ll look inside their profile, well, there’s nothing to indicate on that profile, there’s no headshot that looks like that, there’s no work sample clip to indicate that, so…your managers and your agents can only take you so far. So you’ve gotta get that profile in such great shape. So that’s step one, like are all my credits and special skills up there? Do I have the slate? Is it a solid slate? I think that actually bumps up, that actually puts you ahead in the queue of who’s gonna be seen first. How many, if your current reel doesn’t represent what you’re capable of, then do you have other samples of scenes that you’ve put on self-tape that are up there in Actors Access, short scenes that show what you can do, the kinds of roles you could book right now, that are totally in your wheelhouse.

This is something that, I would say, 97% of actors haven’t totally done. That their profiles could be better, and this is something that, so many of the actors that I’m working with are working on in class. So, if your profile is not in great shape, they don’t have the main tool they need to open those doors for you. So you haven’t given them what they need to do their job. The headshots, the samples, the resume.

In addition to that, what are you doing to make new connections? You know, some people really like casting workshops because they get to make relationships, sometimes it’s hard to make relationships in casting workshops, but sometimes you can, especially if you are going back and going back a few times and becoming known.

So there’s strategies, there’s things that you can be doing, you can set up a meeting with your reps and ask them, what do you need from me? What else can I give you? I just taped this, I’d love your feedback. Are there any gaps? What else do you—how do you see me? How do you want to be submitting me? Do you have all the clips you need? Do you have the headshots you need? Give them a shot. Otherwise, you can’t possibly know.

And if you really are working really hard and you’ve got all the clips, and everything’s in place, then maybe it’s time to have that conversation and reevaluate. I always think it’s a good idea to leave representation when it’s really not a fit. I have some stories…any time a rep is doing something shady, asking you to do something that you’re not comfortable with, that’s not a fit for the long term. So I think that’s really important. And also just to keep in mind, sometimes you’re not ready for representation. Honestly, it’ll be really frustrating for you and for them, if they get you the opportunities when you’re not ready, so work on your craft. That’s what I’d say.

title reads "are you ready to call it quits on acting?"

When you’re ready to call it quits on your acting career

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What do William Jackson Harper, John Krasinski, Naomi Watts and Amy Adams have in common (besides being actors, of course)?  They were about to pack it up and quit acting when they got their big break.  (And by the way, the movie name I forgot in the class clip here re: Naomi Watts was the 2001 David Lynch film Mulholland Drive.)

The truth is, acting and mastery of any craft is hard.  Getting a meaningful career is not easy.  So how can you hang in there?

I don’t get into this here in this specific clip, but something I work with a lot of students on is helping you connect to WHY you act as well as creating measurable goals of things you do personally have control over.  This activates the center of motivation in your brain.

If you don’t know WHY you do it, it’s going to be very hard to keep going so ask yourself:  What lights a fire in my belly?  Is it my deeply held belief that powerful stories can change the world?  Am I compelled by my unique life experiences I wish to express in my work so others know they aren’t alone?  Is it that magical feeling of getting “in the zone” where I lose a sense of time and all I know is the world of the role I’m working on?  Great.  If you don’t know, keep asking.  Don’t settle for someone else’s reasons.  Know YOURS.

If you find out you want to act because, if you’re really being honest, you want to be famous, that’s ok because it’s true.  But a word of caution here:  it’s a fool’s errand.  Most people seek fame because they’re looking for love and validation and I promise, fame doesn’t give you that.  If this resonates, it’s time to dig deep in your personal growth work.

Why do YOU act??  Will you email me and let me know?  I promise I’ll read every response.

CLASS CLIP TRANSCRIPTION

Student: The way that John Krasinski got the role in The Office is crazy. Did I tell you about it before?

Sarah: I don’t know. I can’t remember.

Student: He was, um, to shorten it, he was in New York and he was doing acting for two years and he was trying to get roles and stuff, and he told his mom, it’s not working out, I’m gonna come back home. And then he went to go audition for The Office, and then he’s like, and I got that role. I was just about to give up on it cuz nothing was working out for me, I wasn’t getting anything. It’s like, that’s crazy to hear.

Sarah: You will be amazed at how many of those stories there are.

Student: Yeah, I feel like there would be a lot of them.

Sarah: There are a lot of them. There are a lot. Naomi Watts has another story like that, and she even had had, she was starting to already have a career, but it wasn’t until…oh gosh, what was the name of that movie? It was a long time ago now. I’m forgetting the name of the movie. It wasn’t until the really big breakout movie that she got, where she was packed up, done, like I’m done with acting, screw this. She was like, I’m sick of being broke, I’m sick of all this stuff, and then got this big thing. So it’s…I really believe in that, like being in it for the marathon of it, and knowing that this is not fast and that doing it because, really because you have to, because you love it, and you love storytelling, and you love working on yourself and trying to become better and all of that stuff, and becoming the best storyteller that you can be. And maybe that means for some people, finding their own ways to do that, in the meantime, you know.

Help! I can't relate to this weird character

Making the want real

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How can you connect to a role who seems totally different from you on the page?  One powerful way in is through their wants, needs and dreams.

If this particular character has desires that seem insane or silly to you, ask yourself what their want boils down to.  If they want to launch a spaceship and steal the moon, ask yourself why?  Study the script for clues.  Is it really about the moon?  Odds are it has more to do with wanting love and respect from someone, needing power to gain a sense of self, to find a safe place…What is it really about?  

And then ask yourself what you understand about that.

Find something specific to you that you feel in your gut—something that stirs you up–if it makes you feel a fire of desire (ooh, that rhymes and I like it) that’s something you can use in your rehearsal.  

What you use to connect to a role is part of what makes acting so exciting and so varied from actor to actor.  It’s why we never get tired of the next great Hamlet. Keep exploring until you find something that hooks you in.

CLASS CLIP TRANSCRIPTION

Sarah: Right before you do your scene, in that moment you’re connecting to the circumstances and the deep need of the role you’re working on. This came up in my class this morning. I have an objective, and I don’t know…I know what it is but I don’t feel anything when I think about it. Right, I know in my mind what my character’s want is, but it’s not showing up in my work. It’s not showing up.

Student: Right.

Sarah: So, how do I get it to show up? And if it’s not showing up, it means you haven’t figured out your own way to hook into that want yet. What do I understand about what this person wants? What do I know about this? What do I deeply deeply understand about this need? And it may not be the exact same thing that they understand, that this character understands, but there’s a kernel of truth in there that is a jumping off point.

Student: Mmhm.

Sarah: So there may be something about, even when you’re playing a comedic role, you can easily…I think it’s not necessarily helpful at some point, as you start to work on a comedy like this role, to think of him as a buffoon. Because for you, his need is life and death. I need to be understood, I need to be recognized, I need to be acknowledged. I need to be seen as somebody who knows something. I need to be important. I just want to show up on their doors with a duffle bag full of cash and blow their doors off. God, I want that so bad. What do I understand about that? What do I, the actor, the human, know about wanting to be taken seriously, about wanting to prove myself, and that’s where you begin.

And so every role you work on is gonna be different, because you’re gonna need to understand something different about every role you play, and sometimes there’ll be some similarities, but the circumstances, the rules of the world, the relationships those characters have, their own obstacles and inhibitions, everything shapes how this is gonna play out.

Getting into the scene from "action"

How do I make sure I’m in my scene from the first moment?

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What can you focus on right before you begin a scene?  Sometimes there’s so much going through your head or in the room it can be hard to know where to guide your attention. Or, other times, you feel blank right before the camera starts rolling, and you’re not sure how to ground yourself into the role.

Try these questions and see if you can feel them in your body:

  • Where am I?
  • Where did I just come from?  Where am I going?
  • Who am I talking to?
  • What do I need to accomplish?

There’s no one-size-fits-all process, but these questions are a great place to start. Check out this conversation we had in class to dig deeper.

CLASS CLIP TRANSCRIPTION

Sarah: When you prepare to begin a scene, what can you do?

Student:  Like me personally?

Sarah:  Yeah, or anyone.  What do you think you could do to, you know, if I say like, take your time to begin, what could you do in that moment to get ready to begin a scene?

Student:  I kind of just try to think of myself there. Or like build the relationships that I did build when I was going through it and try to imagine myself there. That’s what I’ve been doing.

Sarah:  Yeah. The place is really important, you know, where you are. We behave, we are very different depending on where we are, right, if we’re in a park, if we’re in a library, if we’re in a hospital, if we’re in a restaurant. Who you’re with. And also, really where you’ve just come from and where you are headed. Sometimes like literally physical destination-wise, but also, like I’m leaving this destination and I’m heading to this one, but also emotionally where I’ve just come from — have I just come from breaking up with my girlfriend and now I’m walking into, like…so you know, where am I.  And oftentimes, even preparing for the opposite.  Preparing for the opposite is really helpful at the beginning of a scene because it helps us with the arc, it helps us have someplace to go.  Sometimes for actors, even who know better, you know there’s a certain emotional journey you go on, so it’s hard to let go of that, of wanting to hit that, you know, even subconsciously knowing, oh I’m gonna get really angry in this scene, or I’m gonna cry in this scene, so thinking ahead to that moment — instead of coming in as we do in life, having no idea where we’re headed and having an expectation of things going a certain way.  And sometimes, we come in with a super strong objective right from the top.  And (this character) does have an overall super-objective, but in this scene the objective becomes revealed to him as the scene kicks in, right?  

Student:  Yeah. Yes. It shifts a little bit.Sarah: So there’s a lot of ways to prepare.  Sometimes even for actors depending on what the role is, just using a certain costume piece, you know, a piece of wardrobe, shoes, something like that can be really helpful for preparing. A necklace that you’ve endowed with something. So, yeah. Finding the ways to ground you in the world of this person.

Playing Big vs Small

Should I play big for stage and small for camera in acting?

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When I was young and preparing for my first lead in a feature, actor Lori Petty gave me some advice she learned from Robin Williams when she first started out. It was helpful and I never forgot it:  

“Adjust it for camera or you’ll look like you’ve been shot.”

I’m sure by now you’ve heard a similar thing–the rather famous tip:  Big on stage, small for camera.  And while there’s truth in that statement, it’s also a bit misleading and got me kind of stuck for a while.

If you’ve always done a lot of theatre, you’ve likely learned how to use your body and voice, sometimes in “big” ways.  And if you work or audition on camera you may be used to thinking “small” when it comes to including voice and body.

But is that all it comes down to?

I often meet actors so afraid to move in their audition tapes they actually look frozen and stiff.  There’s no life or freedom or spontaneity.  I’ve also seen stage performances with gigantic, random arm movements that have nothing to do with the inner life of the actor or the story.  

I don’t think “big vs small” alone is very helpful for any of us– it isn’t as simple as big on stage and small on camera.   

So how should you think about adjusting for the medium in which you are playing?

We dive super deep into this work in class but let me give you some things to think about as you work.

  • Discover and play actions you can embody
  • Adjust the dial of embodiment for the style of the piece 
  • Find the POPE and create specific relationships so you are never general  
  • If you’re working on camera, study the text and/or former episodes of already existing shows for clues 
  • Perhaps most importantly for the camera, find a prep that helps you let the camera in so you aren’t delivering your work (I love this part of the process so much and it’s crucial! I debated adding this to the list as it’s really experiential work for class but perhaps you can begin by experimenting with the thought and see where it takes you.)

Adjusting for camera doesn’t necessarily mean your performance will be or feel “small” — watch actors like Forest Whitaker, Laura Dern, Giovanni Ribisi, Willem Dafoe, Viola Davis, Kevin Kline, Molly Shannon, Eddie Murphy, Benicio del Toro, Meryl Streep (duh), Joaquin Phoenix, Jason Alexander, Octavia Spencer and so many more for some wonderful examples of “big” performances on screen.

How do you adjust for camera?  How do you prepare for a role on stage?

CLASS CLIP TRANSCRIPTION

Sarah: Actors often feel like, you know, stage big, film and tv small, and it’s just not true. Not really. I mean, yes, for some stuff, everything’s here, it’s here, it’s throw it away, leave it alone, whatever. And that’ll be fine for some stuff, but it doesn’t, it doesn’t, it doesn’t always mean that you can’t use your full range of expression in your body. And using those big strong impulses, those big strong, like after you’ve expanded it, right, keeping that impulse really powerful and alive in your body is exciting to me. You know, thinking about being able to play things from that place.

Being Repeatable on Set

How do I keep continuity as an actor?

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Many actors feel intimidated on set, even if they have been around the block.  There’s a lot to think about and a lot to keep track of.  In this clip we discuss how to maintain continuity in your takes and the best way to use your rehearsal time.

Beyond these tips in the below clip, keep in mind that you are on that set for a reason. You’re there to do a job so respectfully own your space on set.  You’ll probably get limited rehearsal time, so use that time to make sure you’re ready to go. Ask the director clarifying questions if you need to and don’t be afraid to prepare how you need to prepare, even if the leads or other actors aren’t going full out.  Of course you’ll be respectful of the time, but don’t feel that you can’t get what you need.

When it comes to continuity, another element not discussed in this particular clip but which must be considered is emotional continuity.  Not only do your physical activities with blocking, props, etc. need to be repeatable — but your basic emotional arc should usually remain the same unless you have the green light to go a totally different direction.  Sometimes your best take won’t get used because it doesn’t cut together with the other shots.

While the director is always your main go-to, if you aren’t getting the support you need from the director and you have a very intense eating or prop or blocking scene, the script supervisor can be a great person to have in your corner.  Great script supervisors freaking blow me away.   I have been on sets where they’ve absolutely been the key to helping emerging actors keep track of everything so they can also focus on rediscovering their choices fresh every time and not become a robot.

This rediscovery of your choices is what we work on all the time in class so that you can repeat things and still keep it fresh.

Try filming yourself to practice continuity in your scene work so you are less thrown when you get to set!

CLASS CLIP TRANSCRIPTION

Student: When you’re worrying about continuity, but also trying to, you know, stay true to the moment, what is something that you’ve done to deal with that?  Because I know in my experiences playing with stuff like that, I’ve always found it difficult to do things that are very easily repeatable or something that’s not going to, if we have to go back, something that’s not going to be completely unrepeatable. Or like not repeat the same, you know, like not get stuck in the same performance over and over again while trying to keep continuity going.

Sarah: It depends on what—it’s a good question, and I think it really depends on what the action is that you’re doing. For simple things, it will be your responsibility when you first do some of your first wide shots, to repeat, like oh, this is where I was drinking the water, this is where I was…and so you want to think about that ahead of time. But if you have a really complicated scene, it’s’ a really good idea to make good friends with the script supervisor. Because that’s what they’re for. They are there for you for that. And they’ll help you, and so you can enroll them and say, hey I’m really trying to…and they will help you with that.

But I do think it’s one of the reasons why you can also figure out a lot of that stuff in the first blocking with the director and talk it out a little bit. Especially if it feels, it’s really, I think it’s really good to just say, I just want to make sure I don’t screw this up. But when you rehearse, a lot of actors get a little nervous on set, especially if they haven’t been on set a lot, and they’ll see other like, you know, if you’re on a show and you’ve got the other series regulars, I think what happens sometimes is you can get nervous and intimidated by regulars who’ve been on the show, and they come in and they do their rehearsal, and they’re like, they’ve barely memorized it yet, and they’re kind of half-assing they’re blocking, and they’re not acting in the rehearsal, and so then you can feel like, oh that’s kind of what I’m supposed to do. Like I’m not really supposed to act.

I really think it’s positive to take that time to really, that is your time, that might be your only rehearsal. So to ask all those questions of the director at that moment, to practice, like okay I’m cooking eggs, what am I doing to my partner and how can I use my action to help with that? And get every opportunity to rehearse that you can. And don’t be, don’t be…there’s, I mean there will literally be like series leads who will show up and barely know their lines and kind of fumble through it, but don’t be fooled. Because there’s plenty of other people who will not do that, and who will come up and school everybody. And they’re the ones who have the careers that you want.

How to get closer to your character

How to lessen the gap between you and your character

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Ever work on a role that you feel super far away from?  Like you can’t understand their motivations or their actions?  It’s soooo frustrating!!  A lot of students tell me they just want to “get lost in a role” – which I’m not sure really happens?  Like in a totally lose your whole “self” kind of way.


If you’re feeling stuck, I invite you to shift how you’re thinking about the role. What if, instead of being a completely different person, they were just you…in a temporary situational self.  If your character is a hitman:  what would that feel like for you?  If your character is going through a devastating breakup, it’s your breakup.  This doesn’t mean you’re always playing yourself…but you can’t not bring yourself to a role, so take the pressure off to be a completely new person who has nothing to do with the core and essence of you.

CLASS CLIP TRANSCRIPTION

Sarah: I do think it’s really helpful to think about, to try to close the gap between you and this role you’re playing, so that you can think of yourself…it’s a temporary situational self. So that you don’t feel like you have to become someone else. So you don’t feel like you have to lose yourself in this role. I think what’s really helpful and something we’ve also been doing a lot lately in class has been creating a palette for yourself. We work on creating our own palettes, like the things that we are doing in our lives and the actions we play all the time in our own world, you know, like how we get what we want, and then starting to look at the similarities in the roles we play, and the extreme differences. So that it helps you shift, it helps you feel less like, I’m trying to get this person, I’m going to go and get my needs met in a slightly different way as myself in this temporary situation.

Student: I see, yeah, I get what you’re saying. Because I used to think of it in terms of, I’ve gotta be this other person, and then I realized, oh, my best acting is gonna be my version of that. You know what I’m saying? Whatever it takes for me to kill a guy, I need to know what that is, you know what I’m saying?

Sarah: Yeah!

the trap of playing emotions

The big emotion trap in acting

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It’s so dang tempting to lean into emotions in your scene and make it all about that.  It can even feel juicy and therapeutic, but in this clip you’ll hear me talk about the big trap of playing emotion and what to do instead.

CLASS CLIP TRANSCRIPTION

Sarah: You can see, right, when we zoom in on this, why it’s so tempting to play the mood. The pain, the pain that he’s in, that’s where most actors are gonna go here. They’re gonna play the pain that Kannell is in with his dilemma.

Student: Right, right.

Sarah: And the pain that he’s in with the missing of this friend and the trauma of the accident. Which you don’t want to skip! You’re not gonna skip that. You’re still gonna build that so that it’s alive and real and visceral and horrible and specific, and really go there in your imagination. You still have to do that work. You want to smell the smell and see what it looked like, who did you—did you see someone die? Did you see his dead body? What do you build? And then you play the action, and the rest will be underneath it. But most actors will go to pain pain pain, dilemma dilemma dilemma, and forget about the other person.

Listening in Acting

You might not actually be listening in acting

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It has almost become a cliché to talk about the importance of listening in acting, hasn’t it?  You’ve probably bought into the idea that listening is super important — but even though you know you should, it’s kinda easier said than done. You have a lot of balls in the air when you’re acting.

Listening is vital in acting because it allows you to react authentically.  If your scene partner delivers a line in a way they’ve never said it before, and you react as you always do, you’re not really and truly listening which means you are telling a lie and killing the story.

Truly listening allows you to let go of your work and react with truth, and it’s really the only way to know if the actions you’re sending to your partner are working. 

This clip will give you a tool to help keep you glued on your partner instead of watching yourself.  Give it a listen and comment below to tell us what you think!

CLASS CLIP TRANSCRIPTION

Sarah: Why is listening important? What does that actually mean?

Student: Listening is important because you can kind of understand the character more and you can pick up things that you didn’t pick up before, just by reading.

Sarah: So what I mean is, listening as your character.  So you’re Gwen, you’re coming into the scene. You’ve been working on Gwen, right, you know, let’s say, you’re gonna go and you’re gonna do this as an audition. Or you’re gonna go and film this, you’ve gotten the job and you’re on set. Listening is important, you’re gonna know the lines, you’re gonna have rehearsed with some choices and some actions, you’re gonna know what the stakes are, why it’s so important to you. You’re gonna have done all that work. And once you’ve done all that work, you kind of have to forget that you did the work. It’s not gonna go away, you’re not gonna forget it. But you are going to let it go. You’re not gonna try to hold onto the work.

Then your job is to listen. You’re listening so that you can react with truth as Gwen. If you don’t’ listen, you will be performing the scene and it won’t look like life because you won’t’ be able to take anything off your partner. You may not, you may get a Destiny who gives you a line in a way you never expected, and if you don’t truly truly listen, it won’t be authentic, your response. That’s why we “forget,” it’s not really forgetting, that’s why you let go of your work, so you’re not rigidly trying to hold onto choices. You’re available to the other person who’s acting the scene with you. If you’re auditioning, if you’re reading a self tape, you still have to listen so that you make sure that you’re really responding to what you heard.

This is one of the biggest biggest keys that gets the most left out, because actors are so worried about their lines and how they’re going to sound. They get so focused on that. How am I going to say this line? Versus, okay I’ve done the work and now I’m gonna let it go, I’m going to listen and respond with truth, with authenticity. The other thing that’s important about listening is that one of the things you’re doing when you send an action, right, I’m hugging, let’s say I’m hugging her with my “thank you so much.” I’m listening while I send that action to see if she feels my hug and if it worked. I’m constantly listening to see how it affects them. It keeps my attention off of me and what I’m doing and am I good and do they like me and did I get the part? Versus, oh I’m just hugging her and I wanna find out if it worked, oh she loves me! You know?

That’s the other kind of listening. So there’s the listening to the actual thing they say to you, but there’s the listening to find out if the little darts I’m sending out with my actions, my squeezing, my hugging, my charming, my snuggling, does she feel snuggled? Oh, she did feel snuggled, oh good! Oh, she’s freaked out by me, I better try something else. Right? Cause that’s the other thing, is like, you might have to decide, oh in that moment, I think she’s weirded out by me, and I heard how she responded. That’s what you’re listening for, right? You’re listening for behind the lines. It might be like, oh she thinks I’m a weirdo, I better try harder. That’s also part of what you’re listening for. Does that make sense? So that’s what I’m talking about with listening. It’s one of the most important things to learn in acting.

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