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Become a Paid Subscriber: https://podcasters.spotify.com/pod/show/actingclass/subscribe Academy Award winner and celebrated acting teacher Milton Justice invites you into his weekly acting class, based on his years of study with the legendary Stella Adler. I Don’t Need an Acting Class delves deep into the craft of acting, breaks down concepts, tools and techniques, explores endless possibilities and offers you a foundation on which to build a solid, dependable process. Produced by Walker Vre ...
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Milton begins this week’s episode talking about a client whose personal life reflects the circumstances of the character he’s playing. It’s yet another lesson about the actor’s instinct to make a character about us, and it’s especially difficult to resist when we have been through almost the exact same experience. The difference is— our relationshi…
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Milton Plays A Car Mechanic The point of this episode is that, while we always need to work hard to make our work believable and interesting, there are times where you might have to work even harder because of your limited imagination and/or life experience. Such as the example provided in this week’s episode: Milton working on a car. This, in life…
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In this episode, we take a look at the play Loose Ends by Michael Weller. We do so through the lens of realism and the contribution that Ibsen, Strindberg and Chekov made to the modern theater. It’s an unusually long episode, but listening to Milton lecture on and analyze the time period of this play is an example of where script analyses can begin…
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Whether it’s stage or screen, you have to be able to analyze the text to figure out what world you’re in, what’s going on with your character and how you fit into the bigger picture. This way, you can come up with a choice that gives you something, moves you, makes you excited. So that by the time you *say it,* you’ve earned it. WANT MORE? Become a…
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This week, Milton explores a few of the ways we can gain insight into character. We can observe a stranger on the street and then, using a specific character trait, improvise a monologue as that person. We can also examine the events that contribute to a person’s identity. The crucial lesson here is that we never stop searching, never stop digging …
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We begin our 7th season with a call to save acting. Together, we can do it! One of the biggest elements that is missing in acting today is understanding the idea behind the play (or whatever it is that we’re doing) and understanding the size of it. Because of the work we do as actors, we get insight into truths about the human experience that we ge…
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In life, we usually don't relive a painful experience when we're talking about it. That doesn't mean it doesn't affect us. It's just that we're not actively trying to "go there." In fact, usually we resist going there with all of our being. The same should be true when we're acting. We must build the character's past, but that doesn't mean our acti…
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Season finale! The problem with trying to learn acting in a linear way is that no creative art is linear. You can’t fit a lifelong craft into one box or one book. Therefore, there is no one secret, or one method, or one idea that will save you. We have to be able to take on board the fact that acting is multifaceted. It is not about right or wrong,…
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In this episode, Milton shares an example of what it means to trust your creative impulses. This means allowing yourself the freedom to wander around until you find a connection to what you're talking about. Although you may know where you're going, you don't necessarily know how you're going to get there, or what choice you're going to discover th…
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“I’m so sick of Mark Ruffalo. Whatever that is, I’m so sick of it. I am so sick of him that literally there was a part of me that was flirting with disaster.” On the heels of his Academy Award nominated performance in the film Poor Things, Mark Ruffalo joined his former acting teacher and coach Milton Justice on the podcast I Don't Need an Acting C…
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“I’m so sick of Mark Ruffalo. Whatever that is, I’m so sick of it. I am so sick of him that literally there was a part of me that was flirting with disaster.” On the heels of his Academy Award nominated performance in the film Poor Things, Mark Ruffalo joined his former acting teacher and coach Milton Justice on the podcast I Don't Need an Acting C…
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This week’s episode is based on a question we received about adding your own circumstances in order to increase the stakes, or help you connect. Here’s the question in its entirely: Is it acceptable to add your own specific circumstances or facts to bear down on generalities in the script? Or is this dangerous embellishment? David Mamet says to inv…
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠⁠ This episode begins with the exercise of telling someone else’s story. It involves hearing a story from someone in class, and then retelling it as our own. This is a great technique exercise because it allows you to layer i…
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠⁠ Milton begins this episode by emphasizing the importance of observing human behavior— our own and others. The reason is, it gives us clues to everything, from character to circumstance to what “playing an action” looks like…
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This week, we go back to some of the fundamentals of acting technique. One of which is, The Biggest Sin: Thou Shall Not Make Performance Choices When You First Read The Script. But this is not something we’re always aware that we’re doing. We forget. Or— we have an immediate response to the character or the circumstances, and run with that first in…
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“Don’t shop at Kmart if there’s a Tiffany’s at 57th and 5th.” -Stella Adler on Making Choices This episode begins with Milton’s deconstruction of an audition. He talks about the downside of adding a lot of plot points to your preparation for a scene: it means you have to earn every single one of them in a way that feeds you emotionally. “But the ad…
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠ There are some misconceptions about relaxation in acting. You want to be relaxed but not so relaxed that you’re not able to be active as your character in the given circumstances. As Milton says in this week’s episode: “I thi…
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In this episode, actress Annabelle Dexter-Jones joins us on the podcast to talk about playing twin witches on American Horror Story. She discusses the extensive background and character work the did while working one-on-one with Milton, as well as the exercises that freed her up the most and allowed her to make ever more discoveries. WANT MORE? Bec…
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠ What do we mean when we say the Given Circumstances? According to Stella Adler, the Given Circumstances includes everything— all the facts. And as Milton puts it, it incorporates all the P’s: the play, the playwright, the plo…
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠ This is one of those ideas in acting that is almost scientific in its certainty. If you’re ever in a scene where your character is meant to be inactive, you must equally compensate for it by finding a way to make what you’re …
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Max Muscato is an American singer-songwriter, guitarist, producer and philanthropist. As a rock artist he brings electrifying performances to every show. Over the last several years Max has gained an extensive following and has toured and opened for: Our Lady Peace, Citizen Cope, Theory of a Deadman, Aaron Carter, Finger Eleven, Ripe, The Allman Be…
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠ The reason why “putting something in your own words” is such a useful exercise is because it covers so much territory: understanding the sequence of thoughts, owning the character’s point of view and the size of an idea, and …
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠ This week, Milton muses about what we mean when we talk about connecting. How much to we, as actors, have to connect to the character’s point of view, and how it that different than the *character* connecting to their point o…
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You promised to bring me the notes for the lecture. I waited for you and when you didn’t turn up I knew you’d forgotten as usual. This is a comprehensive list of what people in class said they would work on when given this one line of dialogue: Relationship to partner Where are we What is the lecture Are you teacher or student How long did you wait…
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠ There are so many (upsides) to improvisation. For one, it helps you get specific, own what you’re talking about, and find choices that you love. It also forces you to listen because you’re constantly having to check-in with y…
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠ Milton begins this week’s episode sharing memories about working with Swedish cinematographer, Sven Nykvist and Helen Mirren, and why “taking the time to build slowly and let it layer in” is such a wonderful way to work. And …
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WANT MORE? Become a subscriber on Spotify for bonus content! ⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠ Your individual experience will inform your “way in” to approaching a role and of course, your interpretation of a character will be uniquely yours. But that doesn’t mean the character is you, and that you don’t have to move …
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WANT MORE? Become a subscriber on Spotify for bonus content! https://podcasters.spotify.com/pod/show/actingclass/subscribe One of the biggest contributions that Stanislavsky (and later Stella Adler) made was the clear logic they brought to the study of acting. This episode includes several ideas in acting technique that simply make sense: make a ch…
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WANT MORE? Become a subscriber on Spotify for bonus content! https://podcasters.spotify.com/pod/show/actingclass/subscribe 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 …
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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 goi…
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Catherine Campion is a lifer in the entertainment industry. She has been working as an actress non-stop since she was 16 - first in theater, then commercials, followed by TV & features. Some favorite roles have been a foul-mouthed cancer patient on Weeds; a MN Iron Range mom standing up to Charlize Theron in North Country; and a nerdy gamer in Silv…
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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 upc…
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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 …
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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 …
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This week, we bring you a private coaching in which Milton breakdown a monologue he’s seeing for the first time with an actor he’s working with for the first time. As the session progresses, you begin to understand his approach. From getting beneath the mentality of a character and they way they see and understand the world that they’re in…to begin…
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Michael Vincent Berry is a Texas-born Actor most known for his roles in American Tragedies: WACO The Trials, Law and Order SVU, Better Call Saul and THEM. Other notable projects include the multi-award winning Crude Massacre, Last of the Grads and the LGBT dystopian film; Innocent Boy. Michael is a veteran stage actor and former Chair of Theatre an…
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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 Foc…
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Film Genres Genre Conventions are specific settings, roles, events, and values that define individual genres and their sub-genres. Love Story Buddy Salvation Road Picture Horror Film Uncanny – source of horror is astound but subject to “rational” explanation – such as beings from outer space, science-made monsters, or a maniac. Supernational – in w…
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This week, our episode focuses on the idea of instinct. Most of us think of that word as something w’re born with, something that is innately part of us. But in the context of training and learning a process, instinct is learned. The more you exercise certain muscles of your technique, the more it is there for you when you need it. For example, one…
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