I Don't Need an Acting Class

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In this episode, Milton talks about the myths actors tell themselves about why they’re not getting hired. The bottom line is this: if you’re good, eventually you’ll start getting hired. In a culture obsessed with tricks, quick fixes, fast-tracks and branding, our abilities as actors has fallen by the wayside. Sure, it’s nice to have credits but the reason to say “yes” to everything is because of what you learn from each job. Have a question for Milton? Send us a voice note below or email us at: [email protected] Also, check out our website: www.idontneedanactingclass.com 

There’s a difference between the preparation work we do when creating a role, and what we’re actually *doing* in the scene. For instance, in your preparation, you may have had to build a past so that each moment is emotionally filled, but that may not be what the scene is about. And so you don’t want to “play” the past, but instead, play what’s going on with you in the scene. This lesson is illustrated as Kaleb and Milton work together on a monologue from the Tennessee Williams play, Vieux Carré. Have a question for Milton? Send us a voice note below or email us at: [email protected] Also, check out our website: www.idontneedanactingclass.com

Welcome back everyone! Hope everyone is enjoying their fall so far. We’re beginning Season 6 with an overview of some of our actor-tools: exploring the nature of character, connecting to something honestly and interestingly, they importance of improvisation, visualization, and how music can influence your work. 

For anyone interested in Milton’s upcoming six-week Technique & Script Analysis Workshop beginning October 7th, there are still a few spots available. For more information or to register, email Walker at: [email protected]

What did you think of the episode? Send us a voice note below!

Hey everyone,

Milton’s 6-week Technique & Script Analysis Workshop will begin October 7th. Classes are Saturdays, from 2PM to 5PM EST and will be held over Zoom for six consecutive weeks. The fee for the 6-week session is $300. This is a great opportunity to get your foot in the door to one of Milton's classes, as he rarely opens up a class to new students. It's also insanely discounted, much to my (Walker's) dismay! 🤪 Anyway, if you're interested you can register or get more info by emailing me, Walker, at: [email protected] Hope to see you soon!

www.idontneedanactingclass.com

www.idontneedanactingclass.com

Hope you've all had a great summer. Just a quick message to let you know we'll be back with Season 6 in September!

In this episode, Milton takes a great question about pacing, which is a note actors get all the time, especially from people like agents and casting directors, and even directors. The reason it’s so precarious is because it’s an “effect/result” direction and never addresses the reason for the pacing. Does the pacing need to be different because of the genre you’re in? Or is it because the moments aren’t “filled” and therefore the work is dying? Or is it both? Most people who give notes about pacing have no idea *why* the pacing needs to change, and so they don’t know how to direct the actor to change it. In so many cases, the actor runs the risk of just “doing it faster” without any regard for *what* will help achieve that result and *why* it needs to be be achieved. He also takes a question from a listener, (James) who asks about casting based on your credits. 

Thank you for a wonderful season! If you have an acting question while we’re on break, send us a voice message (link below ⬇️), or an email at [email protected] and Milton will send you a personal audio response. 

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https://podcasters.spotify.com/pod/show/actingclass/subscribe

In case you missed it live, this week we bring you our Conversation on Acting series with Sharon Carnicke. Sharon is an internationally acclaimed expert on Stanislavsky. Her latest book Dynamic Acting through Active Analysis follows the evolution of a radical rehearsal technique created by Stanislavsky. She is also the author of Stanislavsky in Focus: An Acting Master for the Twenty-First Century, Checking Out Chekhov: A Guide to the Plays for Actors, Directors, and Readers, and is the coauthor of Reframing Screen Performance. She is currently a Professor of Theatre Critical Studies at USC School of Dramatic Art. In this conversation, we break down "The Method" and the biggest confusions and misconceptions surrounding it.

Have an acting question? Send us a voice message (link below ⬇️), or an email at [email protected] and Milton will send you a personal audio response. WANT MORE? Become a subscriber for bonus content! https://podcasters.spotify.com/pod/show/actingclass/subscribe

Film Genres

Genre Conventions are specific settings, roles, events, and values that define individual genres and their sub-genres.