“The foundation to be the very least a true representation of life as we know it. But simple reality isn’t always enough. It’s the foundation - and without it you will have real problems most of the time. But moving past a baseline reality, we come to the imagination of the actor, an expressiveness, an intelligence, the unexpected moment, the use of irony and humor to deal with difficult situations.”
“A negative attitude can very much affect your performances, your auditions, your relations with the people important to moving your acting career forward. But open the aperture of you lens with a good attitude- enthusiastic, willing to learn, cooperative, charming, full of self esteem and positive humility- this will affect every moment of your life, and let more of your talent to come through for the world to see and experience. An actor with a food attitude has the ability to handle his fellows, solve problems, using a positive manner to make every set and stage they’re on a better place to be fro everyone.”
“The actor is the true manager, the true administrator of his career and it’s potential for development, as well as his very life, and sees to it that these choices are carried out. What choices are you making abut your career, and are these choices moving it forward? Are you taking the actions you need to put your talent and your good attitude into the world.”
Every person or actor is a rare and unique individual. Like a diamond, he can be refined and polished, so that the authentic value and beauty can be seen and appreciated. That is how I approach every actor in every critique. After many long years of studying acting and directing under the tutelage of Milton Katselas and Jocelyn Jones. I learned a thing or two. One was that both were masters at teaching the craft of acting. Hence I have been wise not to fall far from the tree.
His detailed and focused teaching was singular in that acting, for it to be of value and effective, he had to give the actor the tools for creating an acting experience filled with discovery, spontaneity, surprise, and freshness. These tools are the bedrock of our technique. Bottom line, the acting is to be real. But the simple reality is not enough. We come to the imagination of the actor, his expressiveness, his intelligence, his irony, his humor-specially in difficult moments, his impulses. So like Milton, as a director and teacher, I ask a lot of questions from the actor. What is the story? The story is king! How do people deal with moments like these, how do they respond? We want real behavior, real places, real emotions. Finally, the craft has to be supported by an enthusiastic and teachable attitude. One which opens the ears and heart to be led, directed and taught. And by the administration of a proactive artist who makes smart choices his career and its potential for development.
Acting, Attitude and Administration are the three legs of our teaching.