Damian Lewis as Antony in Julius Caesar: 'Friends, Romans, countrymen' | Shakespeare Solos
A two and a half minute performance of Antony's funeral oration, and what its refrain, evidence and final pause ask of...
A two and a half minute performance of Antony's funeral oration, and what its refrain, evidence and final pause ask of...
Kate Winslet on letting preparation go, reading the source novel, holding focus on set and why you should never...
Philip Quast takes Javert's soliloquy apart line by line: the argument inside a lyric, and why he has to reach ahead of...
Karl Malden on what made Brando different: the full pause, being guided versus dragged, and the studio fight over...
A four minute talk on the one idea that dissolves acting's difficulties: once you are ready, there is no performance to...
Stella Adler on acting with your soul, choosing imagination over emotional memory, and playing action in the body...
Casting director turned image coach Sam Christensen on decoding the note "just be yourself," using the slate, and...
Four coaches who disagree with each other about memorizing, nerves and preparation, and the places they all land in the...
Henry Thomas booked Elliott on an improvised scene with no script. What the recording actually shows about playing one...
Objective and emotion as two separate tools, and a way to reach real intensity without mining your own life for it.
What a summer intensive gives you when you cannot commit two years to a conservatory.
A casting director on the ways well trained actors lose the room before they have read a line.
Ken Davitian on booking Borat by convincing the room he had no business being there.
William Esper on deciding what kind of actor you want to be before you decide where to train, and where the American...
Larry Moss on attention, breath, script analysis, and the psychology that stops talented actors long before technique...
Six practical tricks for getting lines down, including two that have nothing to do with repetition.