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 get to share with an audience. And this is how we need to approach plays: that we are letting the audience in on an idea. We are there to teach, inspire, enlighten and ultimately save.

WANT MORE? Become a subscriber on Spotify for bonus content!

⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠

Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠

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 action is to relive it. This is another example of trusting the work we've done is *in us* and playing the action of the scene.

And if the scene does call for you to "go there," it's important to give yourself somewhere to go. This has to do with knowing where you're going and where you are in the context of the character's journey.

*If you want to access the video version of this bonus episode, you can watch it on Spotify.

www.idontneedanactingclass.com

Become a subscriber on Spotify for bonus content!

⁠⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe

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, but a matter of depth. And the more you’re able to challenge yourself, and integrate the many aspects of being human, the greater chances that the audience will walk away considering something new.

WANT MORE? Become a subscriber on Spotify for bonus content!

⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠

Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠

Email Walker at questionsformilton@gmail.com for more information or to register.

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 that ends up bringing you to life.

WANT MORE? Become a subscriber on Spotify for bonus content!

⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠

Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠ 

“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 Class to discuss his process. He has since been nominated for an Academy Award.

“I’m always thinking I’m about four hours away from being fired!” He also lightheartedly admitted that his co-star Willem Defoe, and even the film’s director, Yorgos Lanthimos questioned his outrageous character choices. “Willem said to me first day on set, he’s like: “Are you out of your fucking mind?”

In the end, Ruffalo was so grateful for the opportunity to take risks and push himself this far: “It was so liberating. You’re always trying to throw your elbows out to stay one step ahead of what people expect of you as an actor. I get bored, you know? And I wanna keep being challenged.”

“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 Class to discuss his process. He has since been nominated for an Academy Award

“I’m always thinking I’m about four hours away from being fired!” He also lightheartedly admitted that his co-star Willem Defoe, and even the film’s director, Yorgos Lanthimos questioned his outrageous character choices. “Willem said to me first day on set, he’s like: “Are

you out of your fucking mind?”

In the end, Ruffalo was so grateful for the opportunity to take risks and push himself this far: “It was so liberating. You’re always trying to throw your elbows out to stay one step ahead of what people expect of you as an actor. I get bored, you know? And I wanna keep being challenged.”