Producer/director Buddy Bregman says, "The only way you can 'stretch' is in a class. You can't 'stretch' on a commercial." Or on a beach.
Maybe it's the air. Or the lack of pulsating, shoulder-to-shoulder humanity. Whatever, as one producer put it, "It never ceases to amaze me how lazy the actors are in L.A."
In New York, you'll find actors hurrying to a different class every night - and apologizing for taking Sundays off. Don't let "laid-back L.A." affect your drive. "Keep active," advises theatrical agent Colee Viedelle. "Our finest surgeons continue to study."
That sentiment was echoed by every single person we interviewed. It's a rare actor who doesn't go stale if he doesn't work at his craft. And that audition call will always come when you're at your stalest. "Acting is like any sport," says theatrical casting director Deborah Barylski. "If you don't keep working, you lose it."
Best training? Theatre. One show will teach you more than six months of training at any acting school. The audience instructs best. "Theatre shows me that the actor has discipline," says director/cinematographer Bruce Logan.
However, theatre alone isn't the answer. You can't learn cold reading, film technique, commercial technique, etc., on a stage. The specialized arts - dance, singing, dialects, mime - also require teachers. "Acting is like being a doctor or a lawyer or anything else; it takes an investment of time and money," says theatrical agent Mary Spencer. "As far as I'm concerned," says voice-over casting director Andrea Romano, "You can't take enough good workshops."
And, perhaps most important, in Hollywood, where memories are long, a class is the only place where you can go to be bad.
USING CLASSES PROPERLY
Lesson #1 (The hardest): You learn when you're bad. Always being the Alec Guiness of Acting 101 only teaches you you're not being challenged enough. "Bombing out" in class can be terrific.
However, it's not a good idea to "explode" in front of Steven Spielberg. Showcases and classes offering "industry nights" where agents, casting directors, producers, and the like are invited to see what you can do, can be valuable, but as an adjunct to - not a substitute for - the class you take to learn. In other words, first ask yourself why you are taking the class.
To be seen? Fine. Be sure you're ready, play your acting cards very close to the vest, and consider learning anything a bonus.
To grow? Equally fine. But then be certain industry people don't attend so you can go out on a limb and stretch your acting to the bombing point.
Don't try to mix the two types of classes together. That's very serious oil and water.
WHICH ONE FIRST?
What a toughie! And so relative to your circumstances.
New to L.A.? Find a class on the business of the business.
New to acting? Get into a good beginning acting class. All other classes pale in significance. "New talent should always be in acting classes. If they're not, I don't even want to talk to them," says personal manager Melissa Torme-March.
No matter where you are as an actor, a good cold reading workshop is a must. If you're a good commercial type, a commercial workshop is a priority.
Beyond that, play to your weaknesses. (A typical mistake: You're great at comedy. What do you take? That's right, a comedy workshop!) Done a lot of stage? Make a beeline to a film technique class. Done nothing but commercials? Find an acting class that emphasizes truthfulness and forces you to abandon your bag of tricks. Can't even make Neil Simon funny? Look for a comedy workshop. You're a character actor or ethnic type? Go for dialects and accents. Used to relying on exacting stage directors? Improvisation will loosen you up for directors who only say "Play it over there."
FINDING A CLASS
That's easy. Besides the teachers we list there are plenty of fine teachers, many of whom advertise in the trades. There are also guides to acting coaches (The Working Actors Guide, for example) on sale at your local drama bookstore. And, of course, there are your fellow actors.
CHOOSING A CLASS
First, don't get caught up in the "reputation game." A famous Hollywood acting school isn't necessarily any better than a teacher quietly plying his trade in Van Nuys - or vice versa. You learn from teachers - not reputations, institutions, buildings, fancy brochures or neon signs. By the time a school becomes famous, the people who brought it fame are often long gone.
And don't buy price. Someone charging three times more isn't necessarily three times better.
Some suggestions:
Does the teacher make promises?
Teachers occasionally help talented students get agents and jobs - but someone who promises this to a stranger is proffering bait; bite, and you're the fish. A good teacher promises one thing only: to train you.
What's the teacher's background?
"The only teachers you should study with are people who have been or are in the industry," says agent Doris Ross. Be sure the teacher knows his stuff. Find out what he's done; where he's gotten his knowledge.
Will he let you audit?
There are perfectly reputable teachers who won't. "You either want to study with me or not," says one. Why? "Lookey-loos." Here's what one well-known acting teacher had to say: "I used to permit audits. Not anymore. I got real tired of dealing with actors who either couldn't make up their minds or who are avoiding the issue by constantly shopping. They're too scared to actually get up and do it, so they constantly shop around, kidding themselves into believing they are working on their craft."
However, our thinking is you shouldn't buy anything without looking it over, much less an acting class. By their very nature, these can get pretty darn personal. So, our advice: audit about three classes in the area you're looking for (i.e. cold reading, comedy, etc.) and then, unless you really didn't like any of them, choose one. No class is going to be perfect. You're not joining the Army - if you're unhappy you can always leave.
To that point, the teacher who won't let you audit should at least be willing to give you an easy out if you're not happy with him. His refund policy should be very clear and flexible.
What goes on? Ask yourself:
- Is this training practical or artsy-craftsy? Here's what one actor said about his class: "They teach you to be very self-indulgent . . . and a lot of psychotic behavior comes out."
- Is the class too disciplined? Too sloppy? A good laugh can be refreshing, but the class shouldn't be a barrelful of monkeys, either.
- Can the students question the teacher? Do they question him too much? If the teacher turns bright red with anger because a student disagrees, you're dealing with a bush-league Hitler. If there are constant challenges, either the teacher can't control the class or there is an underlying lack of respect for him.
- Does the teacher flatter or criticize too much? His critiques should be honest. Some pretty rotten actors have told us their instructor thought they were just marvy, dahling. We've also seen competent actors seriously damaged by whithering attacks and other "head games" played by their teachers. Listen to your gut. If a little voice tells you something's wrong, leave.
- Does the teacher care? Does he give you the feeling he's more interested in the tuition than the students? Do you get the feeling he's improvising what to do next, because he hasn't prepared for class? Does he constantly talk about himself, and how good he is? (Who cares? You're there to act.) Is he fully aware of the delicacy of his position, dealing with people's emotions, needs and hopes? How does he phrase things? "I don't think that worked because . . ." or "That stinks'? Is he out to show you how rough the business can be? (You know that already. You don't need his "help.") Is he straightforward? Non-manipulative? Bored or involved? Perceptive? Kind?
MOVING ON
At the end of each "semester," ask yourself two questions: Have you grown? Can you learn more from him?
In general, though, move around. You'll learn different approaches, act with a more varied group of people, and, probably, keep your classes more in perspective. (If you find someone you don't want to leave, add other classes.)
And remember, study forever. Well trained? How about a seminar on film production or the emergence of the cable industry? A class on fencing? Dance? Horseback riding? Business? Directing?
Sound like a lot of time and money? You got it. Sounds like an actor never stops learning? You got it again.
