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Video tags
Subtitles
Russian
00:00:00
[Music]00:00:02
[Applause]00:00:06
[Music]00:00:33
[Music]00:00:40
well he kind of been built up you know00:00:42
he's kind of an aloof guy i went in and00:00:43
met him and i i kind of when i was in00:00:45
the army said geo what would what would00:00:47
be worse to go to fight korea go study00:00:49
understanding00:00:51
tandy to me00:00:53
was a teacher he was the only teacher to00:00:56
me i mean i and with all due respect to00:00:58
everybody else and meisner came in to00:01:00
excuse me sandy mr meisen god00:01:03
[Music]00:01:11
he was not my father00:01:13
he was nobody's father he was your00:01:15
teacher he was your mentor he had00:01:18
standards00:01:19
and00:01:20
you00:01:21
you better cut it or you weren't back00:01:24
but that00:01:25
was the reality of the world that you00:01:27
were preparing yourself for and anybody00:01:30
who left00:01:31
the neighborhood playhouse00:01:33
left prepared to go to work the next day00:01:35
oh i don't think i was ever comfortable00:01:38
no00:01:39
i think it was a two years of stress and00:01:41
strain almost unbelieved00:01:43
some moments were better than others00:01:46
once in a while you would do an00:01:47
improvisation00:01:49
and get00:01:50
get a slight knot of approval from sandy00:01:53
and that would be a red letter day00:01:57
and there were other days when it was00:01:59
disaster00:02:01
especially my generation of the 60s he00:02:03
was a man who actually knew something00:02:06
one of the first authentic people00:02:09
that i and most of us had ever met in00:02:10
our lives00:02:12
and of course he was autocratic about00:02:14
about00:02:15
about those things he believed in00:02:17
because he knew them to be the truth00:02:20
um00:02:23
and we knew we were being exposed to the00:02:24
truth but as to something which was00:02:26
absolutely practicable which absolutely00:02:28
worked which we wanted desperately to00:02:30
learn [Music]00:02:33
i was talking to a young00:02:36
actress who00:02:38
went to the neighborhood playhouse this00:02:40
is recently and to hear her talk about00:02:43
sandy00:02:44
the kind of respect that she had for him00:02:47
and the excitement that she felt00:02:49
was what we felt uh 20 or 30 years00:02:53
before00:02:54
and i thought isn't it marvelous he is a00:02:56
man who has00:02:57
had a laryngectomy and00:02:59
had he's gone through the torches of the00:03:02
damned physically and the spirit00:03:05
is indomitable00:03:07
and00:03:08
uh00:03:09
that comes through00:03:10
very clearly i mean her i loved it that00:03:13
she was still00:03:14
apprehensive about you know she i said00:03:17
would you dare be late for a class she00:03:18
said never00:03:20
so here we are00:03:22
at the beginning00:03:26
why are you sitting here so00:03:29
silently00:03:35
waiting for me to say something00:03:38
out of this world00:03:41
in the first class that we had sandy00:03:44
asked what do you think is the craft of00:03:46
act and what is acting00:03:48
and uh00:03:50
it was the first class the first day and00:03:52
some poor schmuck raised his hand and00:03:54
started telling everything he learned in00:03:56
college about acting and went on and on00:03:58
and on00:03:59
and00:04:00
sandy listened for a few minutes and he00:04:02
finally went00:04:03
shut up you talk too much00:04:06
and uh00:04:07
with the twinkle in his arm he wasn't00:04:10
but he but his point was made you know00:04:14
that it wasn't a school for sort of00:04:17
working from here00:04:19
and um00:04:21
he said00:04:23
the seed to the craft of acting is the00:04:25
reality of doing00:04:27
the first thing he ever taught us00:04:29
and from there i was on a roller coaster00:04:31
of two years of00:04:34
his method00:04:35
listen00:04:36
[Music]00:04:38
for00:04:39
the sounds00:04:42
[Music]00:04:55
you can hear00:04:57
coming from the street00:05:00
do that now00:05:20
let me ask you this00:05:24
did you00:05:25
listen00:05:28
as [Music]00:05:30
yourself00:05:32
or were you playing00:05:34
some character00:05:39
did you do it00:05:41
in power00:05:43
theatrically00:05:46
or did you00:05:48
count00:06:01
and00:06:03
then i was confused because i couldn't00:06:05
decipher i couldn't hear a car00:06:08
and the sounds were confusing and then00:06:10
um i heard what i thought i'm pretty00:06:12
sure it was a car00:06:14
and then i got bored00:06:15
and then i heard another car so i heard00:06:17
two cars00:06:30
legitimate00:06:32
yeah and two-thirds of it00:06:35
was00:06:36
fake00:06:37
yes00:06:39
what do you do when you teach acting00:06:42
sandy i mean is it possible to talk00:06:44
about00:06:45
but what does an acting teacher do what00:06:47
are you teaching00:06:49
when i first began to teach00:06:53
i taught with that00:06:55
kind of00:06:57
semi00:06:59
intellectual00:07:01
manipulation00:07:04
which00:07:05
one sees00:07:08
at its worst00:07:10
in the colleges00:07:13
you see00:07:16
and00:07:18
rules00:07:20
intellectual theories00:07:23
you know00:07:25
you can talk about00:07:27
how to play a part00:07:42
it's what it's in your head00:07:45
and i am against00:07:49
the head yes00:07:52
you have warm water you have warm eyes00:07:55
you have more mind you have00:08:07
designed00:08:09
to00:08:10
eliminate more00:08:12
intellectuality00:08:15
from the activist instrument00:08:18
and to make him a spontaneous00:08:22
responder00:08:25
to00:08:26
where he is what's happening to it00:08:30
what's been done to him00:08:34
in the beginning there's an enormous00:08:36
amount of work and time devoted to00:08:39
getting rid of all kinds of prejudices00:08:43
about what acting really is so that the00:08:46
initial work is a sort of00:08:48
a process of of getting the actor to00:08:51
really pay attention to the other person00:08:53
isn't that correct00:08:55
right your hair is shiny00:08:58
your hair is shiny your hair is shining00:09:01
your hair is shining00:09:03
your hair is shiny00:09:05
your hair is shiny00:09:08
you're00:09:09
making00:09:10
read it00:09:12
in order to create00:09:15
variety00:09:17
you follow00:09:20
don't00:09:23
do it again with00:09:24
from another object00:09:28
that process went on for considerable00:09:30
length of time until we were truly able00:09:33
to to surrender all the sort of00:09:36
theatricalized behavior that we'd all00:09:39
practiced you know in summer stock or00:09:41
whatever it was that our00:09:43
varying backgrounds had00:09:45
provided for us00:09:46
your earrings are small00:09:48
your earrings00:10:10
which comes00:10:13
from00:10:14
listening to each other00:10:17
but00:10:18
it has00:10:19
no00:10:21
human00:10:22
quality00:10:24
yet00:10:26
often he said00:10:28
acting is like playing the violin he00:10:30
says it takes you 20 years00:10:32
what he used to say it takes 20 years to00:10:34
be an actor and somebody said well why00:10:36
why why does it take 20. he said because00:10:39
for the first 20 years you have to think00:10:41
about it all the time and finally like00:10:44
playing the violin you don't have to00:10:46
think anymore where you put your fingers00:10:48
on this on the bottom you know i mean on00:10:49
the00:10:50
strings there you just know where00:10:54
it's going to take you 20 years to00:10:56
become an actor and i thought how dare00:10:58
he i played lilliam in college00:11:01
i i i'm an actor already and it isn't00:11:04
until the 20 years elapses that you00:11:06
realize00:11:07
what he's saying and why he's saying it00:11:09
well everything aren't you supposed to00:11:10
be an actor now darling well in 20 years00:11:13
have gone by00:11:14
but what i'm saying is00:11:16
what meisner was able to do00:11:18
diagnostically is what's so brilliant00:11:20
about him00:11:21
he00:11:22
takes you down to a certain level and00:11:25
then slowly with these exercises builds00:11:27
you up to a confidence so that you are a00:11:30
craftsman00:11:32
one nice thing about dealing with people00:11:33
from the playhouse is that they've been00:11:36
they've been trained00:11:38
viscerally00:11:40
ineluctably to put their attention on00:11:43
something other than themselves00:11:45
so that it's a lot easier to work with00:11:47
them when you have to cut through the00:11:48
various layers of self-consciousness00:11:50
which come down to protectiveness00:11:52
most actors being badly trained are00:11:54
terrified of being foolish00:11:56
of looking foolish00:11:58
of00:12:00
of of doing something which is out of00:12:02
their control00:12:05
i know that you have to if you're going00:12:06
to be any good00:12:10
your00:12:11
value that's an actor00:12:14
depends00:12:16
not00:12:17
on you00:12:18
but on what your partner00:12:21
does00:12:22
to you00:12:24
and for that you have to be00:12:28
wide open00:12:30
and receptive00:12:36
don't agree with me00:12:38
do it00:12:43
in around 1924 something like that00:12:46
the moscow art theater came to america00:12:47
for the first time it simply astonished00:12:50
everyone with the uh00:12:53
with the perfection of their acting in00:12:54
the depth00:12:56
the depth of their bench so to speak00:12:58
everybody was good and they had four00:13:00
famous great actors and all the rest00:13:02
were wonderful too and the smallest00:13:04
parts were played by wonderful actors00:13:06
and everything was worked out so well00:13:08
whereas we were used to things being00:13:09
done00:13:10
perhaps in a more shoddy way but also00:13:13
fact is the american theater wasn't00:13:15
really mature then and most of our plays00:13:17
were very shoddy plays we didn't really00:13:19
have first-rate world-class theater till00:13:22
eugene o'neill came along some time00:13:24
later in any case all the american00:13:26
actors went and were astonished00:13:28
and some people00:13:30
immediately declared themselves00:13:31
disciples of stanislavski00:13:34
when all of these people saw that there00:13:37
was a man who approached this in a very00:13:39
scientific way00:13:40
and said acting is00:13:43
has to do with reproducing honest and00:13:46
truthful human behavior in imaginary00:13:48
circumstances and there's a way we can00:13:51
break this down00:13:52
into moments and into attitude00:13:55
that's the sort of major breakthrough00:13:56
that i think00:13:58
was made in the 20s and 30s in this00:14:00
country or beginning to be made when00:14:02
when people began to take stanislavski00:14:05
and and make it american00:14:07
the group theater was formed in 1930 at00:14:09
the beginning of the depression its00:14:11
leaders directors harold clermont and00:14:13
lee strasberg and producer sheryl00:14:15
crawford created an american acting00:14:17
ensemble based on the moscow art theater00:14:20
using stanislavski's work as a guide00:14:22
meisner was a founding member00:14:24
this group of actors directors writers00:14:27
and designers sought to do plays that00:14:28
would mirror the life of their time00:14:31
one of the actors clifford odets became00:14:33
the group's most important playwright00:14:35
for a decade until 1940 the group00:14:38
theater included in its ranks such00:14:39
gifted people as stella adler her00:14:41
brother luther franchot tone lee j cobb00:14:44
and elia kazan who was then an actor00:14:47
it's a example of something that's very00:14:49
rare devotion00:14:51
artistic devotion there isn't anything00:14:53
like it we don't have it today00:14:56
a group of people 30 people who were00:14:58
devoted to the same idea and00:15:01
worked together and uh00:15:03
what was remarkable was how we've00:15:06
uh it became the central thing in our00:15:07
lives for years and that doesn't happen00:15:10
in this society and against the title00:15:12
it's always against the time we were00:15:14
always bucking things i don't think it00:15:16
could have happened except in a00:15:17
depressed economically depressed era00:15:22
sandy was uh00:15:23
i remember him all through the group he00:15:26
was a00:15:27
most sensitive00:15:29
urbane00:15:31
and a00:15:33
gentle fine man and a man of00:15:36
unusual and delicate sensibilities00:15:39
but always00:15:41
always an artist00:15:43
and then when the group broke up00:15:45
everybody went their way but00:15:47
sandy stayed00:15:49
his way was to stay in new york at the00:15:51
neighborhood playhouse and00:15:53
continue to teach00:15:55
teach acting there00:15:57
he was a very young man then00:16:00
he was i think 3200:16:02
he was a extremely00:16:05
emotional man00:16:07
i've given to um00:16:09
to uh00:16:10
blowing up00:16:12
uh i i used to do an imitation of him00:16:14
saying don't argue with me00:16:17
uh00:16:18
he couldn't stand it if you argued with00:16:19
him and it was stupid to argue with him00:16:21
but it was a different story then00:16:23
because00:16:24
he was00:16:25
a very busy actor00:16:28
i remember he was teaching a class00:16:30
he came to teach class at nine in the00:16:31
morning the night after an opening night00:16:34
and he played several roles on broadway00:16:38
in the time i was the playoffs two years00:16:40
and yet he was at class every morning he00:16:42
was a dedicated man but he he drove00:16:44
himself so that it was understandable00:16:46
that if the student annoyed him he uh he00:16:49
would blow up and he did00:16:52
i think at the beginning00:16:56
people teach or think of what they've00:17:00
learned00:17:01
so00:17:02
i started that way00:17:05
i thought00:17:06
the way i learned00:17:08
from00:17:10
the group theater00:17:13
but then00:17:14
i began to develop00:17:28
which are the exercises00:17:35
my phone they answer me00:17:37
hey answer you yeah answer me00:17:39
they answer you00:17:40
is that a stupid question00:17:42
is that a stupid question00:17:52
you're not stupid no i'm not you're not00:17:54
stupid no i'm not00:17:57
would you just blind00:17:58
out i always try to feel in my in my00:18:02
acting that i want to00:18:03
boil things down to behavior i think00:18:05
it's the beginning of the end of acting00:18:07
for me is behavior and i think the way00:18:09
sandy uh wanted people improvised to set00:18:11
it up for them to learn how to do that00:18:13
was to talk listen listen talk just like00:18:15
we're doing that not knowing what's00:18:16
coming next00:18:17
and just taking from the moment are you00:18:19
stumped00:18:21
yeah00:18:22
you're stumped yeah you're stunned well00:18:24
i had to tell you something where do you00:18:26
have to tell me00:18:30
a certain kind of basic way to do an00:18:32
improvisation00:18:34
which was based on a repeat exercise00:18:36
which is his foundation exercise and00:18:39
finally came down to not doing anything00:18:41
unless one had to do it00:18:43
so that in the work00:18:45
when something happens it happens00:18:47
because it has to happen not because00:18:49
someone wants to make it happen because00:18:51
a director wants to make it happen an00:18:52
actor thinks they want to manipulate but00:18:54
because it's set up so that it has to00:18:57
occur00:18:58
so that you have your own world which00:19:00
finally becomes a cocoon i found it very00:19:03
safe00:19:05
i guess that's a terrible way to talk00:19:07
about acting00:19:08
but it's the only way it appeals to me i00:19:10
don't really like being in front of an00:19:12
audience00:19:13
and to know my world what i am who i am00:19:17
was a cocoon it was my protection00:19:19
and sandy supplied that00:19:24
my operation00:19:26
i couldn't utter00:19:28
the sound00:19:33
i was in backway00:19:35
where i met00:19:37
[Music]00:19:48
every day00:19:52
was determined00:19:54
to speak00:20:00
i practiced00:20:23
well sure he's had his larynx removed00:20:25
he's had a car terrible car accident and00:20:30
it doesn't it doesn't seem as though00:20:32
it's really slowed him down i mean he00:20:34
still goes to beckley00:20:37
he's still00:20:39
the last time i saw him was that a00:20:40
performance of look back in anger my00:20:42
husband was doing jimmy porter and00:20:44
looked back in anger in new york00:20:46
and um00:20:48
he was just00:20:50
as wonderful and funny and terrifying as00:20:53
ever00:20:55
he's he's just an old lion i think00:21:14
in this00:21:27
so that he was able to pain00:21:32
when00:21:33
by all common sense00:21:37
we should have quit00:21:39
beautiful00:21:43
i think i'm00:21:46
sort of00:21:48
were made00:21:49
into that00:21:51
i'm playing trouble00:21:56
to teach00:21:59
i don't speak well00:22:01
i don't see well00:22:08
i'm00:22:09
excited to know00:22:22
vision00:22:30
i say00:22:32
don't00:22:36
don't00:22:37
fake00:22:40
don't00:22:41
pretend00:22:45
that don't anticipate00:22:48
that she's for the knock00:22:50
at the door00:22:52
now that will train00:22:55
your concentration00:22:58
your absolute faith00:23:03
and00:23:04
it may be00:23:05
your emotion00:23:11
then00:23:12
you can say you're learning how to act00:23:18
then i can say00:23:19
i'm teaching you00:23:23
now00:23:24
let's have it00:23:32
hi man00:23:34
hello00:23:36
[Music]00:23:40
is begin to examine the fact that00:23:43
dialogue is the last thing that happens00:23:45
anytime between two people00:23:47
it's all supported by behavior and00:23:49
attitudes00:23:51
you say something you you mean a certain00:23:54
thing to me when i see you because of00:23:56
whatever relationship we may have you00:23:58
say something00:24:00
i hear it00:24:01
depending on the state i'm in when i00:24:03
come into the room it means something to00:24:06
me it produces a reaction in me00:24:08
emotionally and the last thing that00:24:09
happens is i respond with dialogue in00:24:12
some way you better snap out of this00:24:13
beach club lightheadedness of yours00:24:15
because we've run up against something00:24:16
definitely serious you and i00:24:22
is like00:24:23
the libretto00:24:25
oop of an opera00:24:28
you read the text00:24:30
who you00:24:31
have to make the music00:24:34
and the music is emotional god thanks00:24:36
jock you've got to see this plane00:24:39
the only thing that means anything to00:24:40
him it's like an obsession00:24:45
you're fantastically wrong oh yeah who00:24:47
wants to take on so about you getting00:24:49
married you ever think maybe wants to00:24:50
marry himself00:24:54
just shut up hey gladly00:25:02
from the point of view00:25:04
about00:25:06
simple00:25:07
reality00:25:09
that is00:25:11
the kind of reality which you get00:25:15
just00:25:16
from allowing00:25:18
your00:25:20
business00:25:22
to play truthfully for you00:25:26
you follow it was very good00:25:30
but00:25:31
it didn't go any further than that00:25:36
now what i mean00:25:38
by that00:25:40
i have yet to show you00:25:43
indeed00:25:46
a certain00:25:47
emotional00:25:49
deepening00:25:51
you follow00:25:52
i think the thing that made sandy a good00:25:55
teacher first first of all is his own00:25:57
disciplines as an actor00:25:59
he loves acting himself personally loves00:26:03
the taste of it you know just the taste00:26:05
of acting putting together a role if you00:26:06
see his work it's layered and it has a00:26:09
has a wonderful concentration and a00:26:11
deafness and00:26:13
and he loves the art of things00:26:21
sit back man00:26:22
i have no desire to frighten you i know00:26:25
how to sit mr stanley00:26:28
why'd you smile man00:26:30
would you really like to know00:26:32
i ask the questions here why because00:26:35
you're purring like a pussycat but you'd00:26:37
really like to knock my head off00:26:40
is it not a fact mrs brown it seems as00:26:42
if he's improvised00:26:44
it seems as if this strange creature00:26:47
just came to life that moment before the00:26:49
film before the camera00:26:51
and it is living out this00:26:53
this intense existence00:26:56
and that that is that is exactly what he00:26:58
wanted acting to be and what he tried to00:27:00
get us to do did you not continue seeing00:27:02
mr ellis after you turned down his00:27:03
proposals00:27:05
yes and he on his side can see you00:27:08
yes i kept seeing him as a friend00:27:11
oh you kept seeing him once or twice a00:27:13
week as a friend yes00:27:16
did alison your husband ever meet before00:27:17
that night00:27:18
no you thought you could keep them apart00:27:20
they would never meet yeah00:27:22
get you unlocked the back door that00:27:23
night and let us in but i asked him not00:27:26
to come you know what a man no00:27:28
you don't want him in your home you know00:27:30
it's dynamite well00:27:32
he was there did you have to unlock i00:27:34
think that sandy really did want00:27:37
to be an actor00:27:39
and i think that the delicacy of his of00:27:41
his feelings were not reflected in the00:27:45
way he looked i mean i think that that00:27:47
sandy's quality as an actor was an00:27:50
extremely poetic00:27:52
quality but what was he going to be cast00:27:54
as uh and i think that that00:27:58
i think that that00:28:00
personally i think that injured him and00:28:02
i think that he to a degree00:28:05
turned his back on acting00:28:07
and00:28:08
uh there are many of us that have to be00:28:10
extremely grateful00:28:11
that this00:28:12
that this happened the most obvious00:28:14
market for something like this would be00:28:17
would be professional for years many of00:28:20
sandy's former students thought that00:28:22
his work ought to be recorded that his00:28:25
teaching should be00:28:26
videotaped00:28:28
i got involved in the project00:28:30
i was i was asked to to do it because i00:28:33
spent so much time with sandy's00:28:34
assistant00:28:36
and i've been privy to eight years of00:28:38
very constant and intense work with him00:28:41
offered to00:28:42
all of the colleges which have theater00:28:44
departments and have film departments a00:28:46
really00:28:47
first-rate action course what happened00:28:50
is that we organized classes uh joe papp00:28:52
was very generous and gave us a room00:28:54
down at the00:28:55
at his theater downtown00:28:57
we organized over a two-year period00:29:00
during the summer time00:29:02
one week00:29:03
of two sessions a day one session in the00:29:06
morning a lunch break and then one00:29:07
session in the afternoon i did them with00:29:09
the two cameras running constantly and00:29:11
and we've filmed some 70 some hours of00:29:15
of these classes you know i know you00:29:18
know00:29:20
yes yeah the school is structured on a00:29:22
two-year basis00:29:24
the first year primarily focuses on on00:29:27
stripping away old and bad habits that00:29:30
one may have come there with one00:29:33
i think so00:29:36
how00:29:37
it's defensive rather than offense that00:29:39
is it's a way of of00:29:43
weeding out any false behavior00:29:46
i'm not quite sure00:29:47
[Music]00:29:48
i'm not asking for their names the00:29:50
second year00:29:52
essentially is to take that instinct00:29:54
which you one hopes is now honed down00:29:57
rather sharply and now actively set an00:30:00
objective task for it00:30:02
so00:30:03
one begins then to learn character work00:30:05
and00:30:06
uh00:30:07
all kinds of uh heightened ways of00:30:09
dealing with emotion okay00:30:12
start00:30:13
reading this thing okay00:30:15
so the actor's roster was a thing of the00:30:17
past00:30:18
barbara why don't you chase them away00:30:19
like that i'm tired sam moore's my00:30:22
friend her too00:30:24
you jealous00:30:25
no i'm not jealous of anything okay we00:30:28
can talk about this00:30:30
this00:30:32
is coming00:30:48
what00:31:02
i do have you ever00:31:06
found yourself open a position00:31:12
upset oop inside that00:31:16
if you00:31:29
his imagination yeah00:31:44
not00:31:54
i'm prepared00:32:00
they we got to a place00:32:02
in the method that's called emotional00:32:04
preparation which is your way of00:32:06
becoming emotional for a scene00:32:08
if you have to cry or if you have to00:32:10
laugh or whatever you have to feel or00:32:13
for a scene it's a way of preparing for00:32:14
that00:32:16
and when that happened suddenly i00:32:19
had the bull by the horns because i had00:32:21
for years been00:32:23
you know my mother was always opening00:32:24
the bathroom door and i would be in00:32:25
there sobbing my guts out and she said00:32:27
well what's the matter with you and i00:32:30
was embarrassed to tell her that i was00:32:31
acting by myself in the bathroom that it00:32:33
was just i had gone into these kind of00:32:36
fantasies that would make me cry or00:32:37
laugh or whatever00:32:39
and they all thought i was little00:32:41
bonkers but suddenly what had been crazy00:32:44
in arkansas made sense in new york at00:32:46
the neighborhood playhouse00:32:54
now stay that way00:32:57
and begin00:33:14
you gotta give me a few more months to00:33:15
try to get into play oh so it'll be two00:33:17
years and seven months and you've tried00:33:19
oh barber it's all i asked00:33:25
[Music]00:33:29
yeah yeah00:33:34
well00:33:36
let's go to bed next00:33:39
we're both head higher00:33:42
that's the same00:33:44
hope to say00:33:46
you used to say you know it's like text00:33:48
exists00:33:49
they're like a like an unpainted house00:33:52
right way or an unpainted board it can00:33:53
be red00:33:54
green it can be blue it could be yellow00:33:56
where do you get the paint from00:33:59
where do you get the colors00:34:01
to soak the text in you get the colors00:34:04
from asking00:34:07
what is my life with him like00:34:09
doesn't mean anything unless it's00:34:13
it's miserable he's a but his friends00:34:15
are but he's his friends00:34:17
it was a rather extraordinary experience00:34:19
to come back after 23 years 22 years00:34:23
because00:34:25
there was this sense of00:34:27
of coming back to something and00:34:29
understanding it very very clearly after00:34:32
taking it away and practicing it in a00:34:34
practical sense00:34:36
all right all all the film cameras go00:34:38
into the second positions that we ended00:34:40
up on friday remember those positions00:34:44
the ladder is not out if i have any kind00:34:47
of technique at all as a as a film00:34:49
director which is a long way from00:34:51
acting for the theater in meisner's00:34:53
classes it's all based on what i learned00:34:55
from sandy it's all based on those00:34:57
concepts there's a spine to it00:35:05
what is the intention of the speech00:35:08
the intention of the speech is i'll tell00:35:11
you something about the world i'll tell00:35:13
you how sad and tragic it00:35:15
taught you so clearly is that the basic00:35:19
thing about character is how you do what00:35:21
you do you know it's it's not so much00:35:24
what you do but how you do it and what00:35:26
you begin to see is that there are00:35:28
thousands of ways00:35:30
of doing the text00:35:32
and what is required is a point of view00:35:35
a real sense of who you are and what you00:35:38
are doing00:35:39
um00:35:41
could you talk a little bit about the00:35:42
relationship between00:35:46
an action00:35:48
and an emotion i mean00:35:50
a lot of what we've been doing is for00:35:52
instance00:35:59
[Music]00:36:08
i'm gonna tell you something00:36:13
did you do what i told you to do00:36:18
did it do something to you00:36:22
that's the difference between00:36:25
doing something00:36:27
and00:36:28
what00:36:29
it induces00:36:32
in you00:36:33
emotionally00:36:36
acting is doing00:36:49
circumstances00:36:54
imaginary or emotional i mean00:36:56
i've always heard imaginary00:36:57
circumstances now i'm hearing emotions00:36:59
it's all impaction00:37:03
it's all about you know00:37:06
you think i'm00:37:20
experience wouldn't be trying to00:37:22
acknowledge this00:37:24
did i tell you that no00:37:28
and i do know00:37:31
quite00:37:32
clearly00:37:34
that00:37:45
absolutely00:38:02
after all these years00:38:05
explained00:38:08
when i went to school00:38:12
after school00:38:14
any time00:38:16
i lived in a state of isolation00:38:21
as if00:38:22
i was some kind of moral00:38:25
leper00:38:26
because00:38:28
my parents00:38:40
told me00:38:42
that00:38:43
if it hadn't been for me they wouldn't00:38:46
have had to go into the country where my00:38:50
younger brother got ill the bottom which00:38:55
illness only died00:38:57
so the00:38:59
that cause00:39:01
was00:39:02
quite horrendous00:39:05
i very rarely had an old friend00:39:09
i lived00:39:10
as i'm afraid i still do00:39:13
in a world00:39:16
[Music]00:39:48
do00:39:49
[Music]00:40:13
i imagined00:40:15
that00:40:16
nobody made00:40:18
of the theater00:40:20
nobody00:40:23
anything00:40:25
that made up my life00:40:28
you know00:40:30
i would live00:40:32
in00:40:33
isolation00:40:38
robinson clue so00:40:43
does it work00:40:44
not at all00:40:46
not at all00:40:48
the only time00:40:50
that i'm free00:40:53
and00:40:54
enjoying myself00:40:57
is what i'm teaching00:41:09
the secret of the stars00:41:12
gravitation00:41:13
the secret of the earth00:41:16
layers of rock00:41:18
the secret of the soil00:41:20
to receive seed00:41:23
the secret of the seed00:41:25
the germ00:41:27
the secret of man00:41:30
the sower00:41:32
the secret of woman00:41:35
the soil00:41:38
my secret00:41:41
under a mound00:41:43
that you shall never find00:41:49
the worst possible00:41:51
thing00:41:54
that i can say to you00:41:57
is00:41:58
that it's gonna be made00:42:00
interesting00:42:02
in order00:42:04
to do that00:42:05
it means in its simplest way00:42:10
to find00:42:13
a way of doing it00:42:26
you know where i live00:42:38
but i'll never tell you what my phone00:42:41
number is00:42:53
the secret of the stars00:42:56
gravitation00:42:58
get my suspense00:43:00
i'll try to00:43:01
think it out with you00:43:06
secret of the stars00:43:10
gravitation the secret of the earth00:43:14
layers of rock00:43:16
francis00:43:19
wait00:43:20
because00:43:22
what i do00:43:45
the secret of the stars00:43:52
gravitation00:43:57
the secret of the earth00:44:07
layers of rock00:44:09
the secret of the soil00:44:13
to receive seed00:44:16
the secret of the seed00:44:24
the germ00:44:29
the secret of man00:44:34
the sewer00:44:36
the secret of woman00:44:40
[Music]00:44:43
the soil00:44:46
my secret00:44:52
under a mound00:44:54
that you shall never find00:44:56
[Music]00:45:02
now00:45:07
what00:45:08
we did00:45:11
because it was more interesting00:45:16
you know yeah what made it more00:45:19
interesting00:45:22
everything00:45:26
having a specific00:45:28
uh intention the teasing an attitude00:45:31
made it worse00:45:34
yeah right right00:45:39
it's all over the00:45:41
neighborhood00:45:43
on the00:45:44
walls you could say00:45:48
who wasn't part of the different00:45:52
process00:45:54
between00:45:55
what you and i did00:45:57
absolutely00:45:58
in fact when you00:46:01
if you have felt00:46:03
the experience of the specific00:46:07
uh emotion00:46:10
and then you try to do something and you00:46:11
haven't got it you really do feel so00:46:14
empty you just don't know quite what is00:46:16
wrong but there's something not there00:46:19
it's a terribly depressing kind of00:46:22
nothing00:46:23
and you keep wondering what's the matter00:46:25
but as soon as you did i mean i didn't00:46:28
know what to do with that00:46:30
little piece that i did00:46:32
and as soon as you00:46:34
gave me that specific00:46:37
it was so easy00:46:39
relatively00:46:43
yeah00:46:44
easy and fun it doesn't seem to matter00:46:46
even whether what you're called upon to00:46:48
do00:46:50
is supposed to be00:46:53
harsh or sad or depressing or whatever00:46:57
it when you know what you're doing00:46:58
acting wise00:47:00
it's been fun00:47:21
and i think when you're young you're00:47:23
looking for people to look up to00:47:27
and you run into a lot of people that00:47:29
make you00:47:30
the other way00:47:34
and00:47:35
not excited00:47:37
not00:47:39
cynical00:47:40
it's all00:47:41
nonsense00:47:43
there's too much pretend there's too00:47:44
much nonsense00:47:46
pretension00:47:49
so he was very important for me in terms of00:47:53
my enthusiasm00:47:56
i think of all the people that i00:47:58
directed00:47:59
i think00:48:01
his were the best taught in a way that i00:48:03
liked best00:48:04
they were both sensitive inside and they00:48:07
were00:48:08
free as far as their external behavior00:48:11
went and they weren't00:48:13
sometimes you got actors that been00:48:15
taught00:48:16
the00:48:17
so-called method00:48:19
which is a term i hate00:48:21
but uh00:48:22
they were00:48:24
as if they were playing scenes for00:48:25
themselves00:48:27
but with sandy that they they had this00:48:29
inner life but they were not inhibited00:48:32
externally00:48:35
[Music]00:48:54
but they have a certain kind of energy00:48:58
where00:48:59
what they're doing00:49:01
what they're doing seems to be being00:49:03
done with a kind of00:49:05
i think00:49:06
it's like the energy is contained and00:49:08
it's harnessed and it's and it's00:49:10
specifically00:49:12
pointed onto00:49:14
what the00:49:18
you're telling me he has to be watched00:49:21
he has to be nursed and guarded and00:49:23
cuddled but not by me00:49:26
it ain't nothing you don't learn that00:49:27
later on in life he might need it and00:49:29
when that day comes00:49:33
well you can thank your lucky star that00:49:34
your good friend boone health00:49:36
what he wanted00:49:38
from you was00:49:39
truthful acting00:49:42
and he was able to communicate00:49:44
and the proof of that is the number of00:49:46
people that have00:49:47
come out of there over a00:49:50
40-year period00:49:53
who've gone on to00:49:56
become00:49:57
people who set standards of acting00:49:59
themselves00:50:00
and change the00:50:03
great deal about american acting00:50:06
he00:50:10
is no way to get him out of your mind00:50:13
you know whenever i work on a scene uh i00:50:16
find that00:50:17
he00:50:18
wanders through my uh00:50:20
unconscious and often into my conscious00:50:22
mind you know i think of things he's00:50:23
taught me things ways that i might get00:50:26
into the scene ways i want to understand00:50:28
it better00:50:29
he sets a tone00:50:32
it's constant his presence in my life as00:50:34
a00:50:35
standard bearer00:50:37
sandy00:50:38
is wants to give but i don't find00:50:41
there's a show off e thing that i find00:50:44
in so many other teachers00:50:46
uh look i'll show you how much i know00:50:48
about acting and how dumb you are00:50:51
and what a what a wizard i am i never00:50:53
felt that about fanning i felt that he00:50:55
was truly interested00:50:58
uh00:50:59
in the progress and helping an actor00:51:01
find his way00:51:03
of getting to a part00:51:05
and if it deviated from sandy's a little00:51:07
bit that was all right too00:51:09
as long as the actor made some progress00:51:12
towards allowing his talent to function00:51:22
it's a play00:51:25
an acting teacher is god00:51:27
for the students00:51:30
there there is a tremendous tendency on00:51:33
the part of a lot of the more recent00:51:37
acting teachers00:51:39
to use their god position00:51:43
to00:51:44
tie people to them to [ __ ] them00:51:47
almost so that they're afraid to take a00:51:50
step00:51:51
without the approval00:51:53
of00:51:54
the teacher sandy set you free00:51:58
like a good parent00:52:00
he'd say go out in the world and do it00:52:02
it's tough out there00:52:05
and uh00:52:06
he didn't he didn't say you can't do it00:52:08
without me00:52:10
even my job at the law school i can00:52:11
honestly say i earned what a teacher00:52:15
two years ago when i married you you00:52:17
were going to do such wonders where the00:52:18
laws had never been heard of00:52:20
you had the most beautiful violence00:52:22
about it00:52:24
oh glad some money then00:52:28
you're a strange case francis battle00:52:43
first of all00:52:44
i'll00:52:56
sometimes00:52:58
the material00:53:20
you00:53:21
executed00:53:24
quite well00:53:29
it's when the00:53:30
emotional problems00:53:36
are00:53:37
deeper00:53:38
than your yet00:53:40
prepared to00:53:44
realize who baby was oh that's when00:53:51
you were00:53:53
in a way quite deficient00:53:57
but that's not important00:54:00
you know00:54:01
because00:54:04
diamonds00:54:11
very easy00:54:12
to give advice00:54:15
so00:54:16
i'm gonna tell you something's00:54:17
impossible and00:54:19
keep working00:54:21
all the time00:54:23
oops they00:54:24
do all kinds of plays00:54:28
whether they're right for you or00:54:32
not right for you00:54:33
because00:54:35
eventually00:54:37
died00:54:38
when you who will00:54:40
catch up with each other00:54:46
and your bases00:54:49
which00:54:52
is00:54:54
solid00:54:56
hold on to that00:55:06
i'll see you one of these days00:55:09
[Music]00:55:21
so00:55:27
[Music]00:55:40
so00:55:42
[Music]00:55:53
so00:55:57
[Music]00:56:05
so00:56:18
[Music]00:56:29
youDescription:
Sanford "Sandy" Meisner (August 31, 1905 – February 2, 1997) was an American actor and acting teacher who developed an approach to acting instruction that is now known as the Meisner technique. While Meisner was exposed to method acting at the Group Theatre, his approach differed markedly in that he completely abandoned the use of affective memory, a distinct characteristic of method acting. Meisner maintained an emphasis on "the reality of doing", which was the foundation of his approach.
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