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Some actors perform every script exactly

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the same way,

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which is fascinating, because sitcoms

and crime dramas are not emotionally

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identical species.

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Today we're talking about musicality,

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genre, rhythm,

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and why the script itself may already

be telling you how to act.

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This is casting actor's cast.

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Well, hello everyone, and welcome to

casting actor's cast.

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I'm Jeff dryesbach.

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And today we're discussing something.

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Well, I think actors often

underestimate this, and that's the musicality

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of the writing.

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Ok?

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Now, before anyone gets nervous, this

is not a music theory class.

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No one is about to play the clarinet.

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Although honestly some auditions do

feel like

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er experimental Jazz.

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What I mean by musicality

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is rhythm,

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pacing,

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interruption,

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tone,

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language, pattern,

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genre, energy.

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Great actors hear the writing,

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and when they do,

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their performances suddenly fit the

world of the project.

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We're going to discuss all of that.

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But first, this is that moment of the

conversation.

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I get to say thank you so much for

tuning into casting actor's cast.

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I'm having a great time presenting this

information to you.

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My only desire in presenting these

podcasts is to help you feel more

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confident and more comfortable about

your journey

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and about your choices

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that are available to you

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as an actor.

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And so we can go back hundreds of

episodes here on the podcast, but if

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you're just joining us, I'm so grateful

that you're here.

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Hey, listen.

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I want to encourage you to check out my

website, it's casting actors cast all

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one word, dot com.

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And there you're going to find

additional information about past

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episodes.

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You'll also see a little form there

that says, dive into the talent pool.

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And if you do that that's going to open

up a whole bunch of free bees for you.

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One is a book I've done doing voice

over work that I wrote called

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conversation pieces out of the studio.

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The voice over workshop for

professional actors it's absolutely

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free by just filling out that form.

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Also there is a video that I put

together a little while ago, but still

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holds a lot of great information, I

think.

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And that is casting

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secrets what they don't tell you, but I

am definitely going to tell you in this very

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interesting and compelling twenty

minute video, again, that's also

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absolutely free to you.

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Also on the website, I have my course

sets available I have a book.

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That's available.

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You can look at past episodes.

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I also have a blog called jeff's jots.

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I love alliteration,

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and what that is is corresponding show

notes to each of my episodes.

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So if you found an episode really

interesting, or something that I said

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that might

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be something you want to kind of hang

on to, you can certainly go to the

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corresponding jeff's jots, print that

out, and now you have the blog.

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So I'm trying to put all of this

together in a very easy to understand

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comprehensive format,

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again, with the goal in mind of being

more confident about your work as an actor.

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That's exactly why I'm doing this.

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The only thing I ask in return honestly

is if you could leave me a thumbs up,

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subscribe to the channel.

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Alike, any of that stuff.

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We're on every podcast provider, a

spot.

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If I actually has the video as well as

YouTube.

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So the Broadway podcast network

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is literally the site that is hosting

the podcasts.

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And you should check out the Broadway

podcast network as well.

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All right.

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my good friends at actor's connection

actor's connectiondot com, slash, New

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York.

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You might want to check out the

offerings they have available lots of

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really good stuff there.

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All right, enough of that let's jump

into this, and we're going to

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kind of open up

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the box, so to speak.

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Because every genre has its own

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rhythm.

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It really does.

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One of the things I teach in my

workshops and in classes,

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I ask the students to kind of come up

with the mood

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of the scene.

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So i'll hand out a film or a television

scene, and I say, now, what mood does this

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kind of give you when you read through

it?

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And then, of course, the answer is very

greatly from, oh, this feels dark, or

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this feels energized, or this feels

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really, really

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a funny mood.

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This is very conversational.

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So whatever the mood is of that

particular piece is something to really

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hang on to.

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Now, that is not specifically genre.

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How do we get a genre?

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This is actually what I do in class.

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No kidding is.

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I will kind of play

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the best way I could describe this as

called drop the needle.

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And that is, literally, I play a piece

of music, just an instrumental piece of music,

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and see if that scene fits with that.

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Music it's as if there is a soundtrack

to this scene.

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Now you might be surprised to find out

what that does is alter the performance.

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The energy of the music

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actually

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fills the actor with a desire

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to really Embrace what that music is

giving you.

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Plus that's also a really great

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key to finding and making new

discoveries in each and every scene,

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something to think about.

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So playing dropped the needle

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that's the old fashioned record player,

where you kind of have the arm, and

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then you drop the needle in a certain

spot on the record.

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Ok, you're all too young to remember

any of this, I guess.

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in any case, it was really kind of a

fun thing that you would get some

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immediate kind of emotional impact from

the music that you're playing.

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Something to consider,

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see what that mood is, and see if you

can find music that matches it, that

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might open up a whole world of new

interpretative discoveries for yourself.

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But let me talk about auditions for

just a minute.

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And one of the fastest ways actors

sabotage auditions is by

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performing every genre

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with the exact same emotional

temperature.

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It's true.

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In other words, hallmark movie,

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played like a Scandinavian

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grief, cinema,

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sitcomplayed

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like a courtroom, trauma

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procedural,

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played like community theatre,

Shakespeare.

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You know what genre matters because

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genre shapes the pace,

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the energy,

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the stakes,

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the silence, the behaviour.

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And the writing usually

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tells you that

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immediately.

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So look for that in the writing.

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For example, let's take a look at

sidcom timing.

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Comedy

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especially requires musicality.

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Comedy lives in timing pace,

interruption,

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rhythm, shifts

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commitment,

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and here's the danger.

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Actors often pause too much in comedy.

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They think I need to show the joke.

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No, the joke is often already in the

writing, so you just need to trust it.

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A sitcom pause that lasts

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four seconds,

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well, that feels like a hostage

negotiation.

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Speed often creates comedy.

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Unexpected commitment

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creates comedy.

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Truth

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creates comedy.

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Now let's compare that to procedural

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television.

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Procedurals usually require,

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oh, precision,

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clarity,

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grounded, stakes,

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efficiency

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and acting.

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In procedural shows rarely

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wander emotionally.

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For like six pages,

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they're solving something.

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They're solving something efficiently,

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which means the acting rhythm changes,

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the language becomes functional,

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and actors must honor

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that

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specific pace.

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So if that opportunity presents itself

for you, please consider

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all of those options that are available

to you within the genre.

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So I like to do these occasional

reality checks.

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And what I call realcasting room truth.

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And here's one,

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actors who understand genre instantly

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stand out

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why?

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Because they feel like they belong

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inside the project.

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Does that make sense?

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You know what I'm talking about.

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And those actors who ignore genre often

feel disconnected from the material

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like they wandered in from another

television show.

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Entirely,

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we're going to talk about the writing,

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the writing that is telling you things.

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And we're going to do all of that,

right after this brief message.

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Now listen.

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This is important.

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Writers give actors clues

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constantly.

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So let's take a look at some of the

clues that you might have if you've got

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an audition scene, or you're actually

booked and you're going to be working

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on the scene.

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First I want you to look at sentence,

length,

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then

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punctuation,

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then

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interruptions,

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then repetition,

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and then finally, vocabulary.

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All of that.

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All of those contain behavioral

information,

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fast, fragmented language,

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urgency,

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long, thoughtful language

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reflection,

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interruptions

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that equals pressure,

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comedy repetition,

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that equals rhythm.

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You see, the writing already contains

the music.

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And then great actors hear.

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It

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that's where life sneaks in

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that's where surprise happens.

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And honestly

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casting directors can feel this almost

immediately.

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We might not consciously say, ah, yes,

excellent, behavioral pursuit,

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but we absolutely feel it

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when somebody is genuinely engaged,

versus emotionally

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presenting,

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one feels alive, one feels manufactured.

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And this is the beautiful part of this

whole process.

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When actors stop chasing emotion,

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they often become

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more emotional,

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ironically

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because the emotion finally arrives

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organically

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unexpectedly,

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truthfully,

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sometimes quietly, sometimes

explosively,

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sometimes not at all.

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And all of that is valid,

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because the goal is not emotional

display.

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The goal is human pursuit.

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Under pressure

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that's acting

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that's behavior.

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And honestly that's where performances

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start becoming

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unforgettable.

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And this is where acting starts

becoming almost musical.

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Not musical, theater

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musical,

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human musicality,

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rhythm,

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tempo, cadence, pressure release,

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because great acting is not just what

am I feeling?

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No

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it's.

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How is this moment

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moving?

270

00:13:20,900 --> 00:13:26,239

And honestly, this is one of the

biggest missing conversations in actor training.

271

00:13:26,740 --> 00:13:27,640

Actors study psychology,

272

00:13:28,675 --> 00:13:28,975

objectives,

273

00:13:29,776 --> 00:13:32,645

subtext back story that's all useful,

274

00:13:33,313 --> 00:13:34,280

believe me it is.

275

00:13:35,48 --> 00:13:37,751

But many actors completely ignore

rhythm,

276

00:13:38,818 --> 00:13:43,56

which is really ironic, because

audiences feel rhythm immediately.

277

00:13:44,24 --> 00:13:44,758

Think about comedy.

278

00:13:45,291 --> 00:13:46,393

Comedy is rhythm.

279

00:13:47,794 --> 00:13:50,730

A joke said half a second too early.

280

00:13:51,398 --> 00:13:52,332

Oh, my gosh, it's dead.

281

00:13:53,400 --> 00:13:54,567

Half a second too late.

282

00:13:55,201 --> 00:13:56,2

Dead.

283

00:13:56,970 --> 00:13:57,771

Same words,

284

00:13:58,338 --> 00:13:59,372

different timing,

285

00:13:59,873 --> 00:14:00,807

different result

286

00:14:01,708 --> 00:14:03,9

that's musicality.

287

00:14:03,943 --> 00:14:07,380

But dramatic acting has rhythm too

procedurals have rhythm.

288

00:14:07,714 --> 00:14:08,748

Sitcoms have rhythm.

289

00:14:09,149 --> 00:14:10,684

Independent film has rhythm.

290

00:14:10,917 --> 00:14:12,485

Soap operas have rhythm.

291

00:14:13,453 --> 00:14:14,587

Hallmark movies have rhythm.

292

00:14:15,955 --> 00:14:17,123

Everything has a pulse.

293

00:14:17,791 --> 00:14:21,961

And one of the reasons actors struggle

with auditions is because they're

294

00:14:22,95 --> 00:14:24,97

emotionally truthful, but rhythmically

295

00:14:25,398 --> 00:14:25,699

wrong.

296

00:14:26,599 --> 00:14:28,468

Now that's a massive distinction.

297

00:14:29,235 --> 00:14:31,371

You can be believable and still

298

00:14:32,105 --> 00:14:36,443

not fit the show because the

performance is operating in the wrong

299

00:14:36,810 --> 00:14:37,777

musical universe.

300

00:14:40,13 --> 00:14:41,114

Ok, here's what I mean.

301

00:14:41,781 --> 00:14:43,516

Take a procedural drama.

302

00:14:44,117 --> 00:14:46,553

Now there, the rhythm tends to be

compressed.

303

00:14:47,721 --> 00:14:47,887

Efficient.

304

00:14:48,588 --> 00:14:48,955

Direct

305

00:14:50,23 --> 00:14:52,25

people speak because they need

information.

306

00:14:53,159 --> 00:14:54,728

The energy moves forward.

307

00:14:55,628 --> 00:14:58,865

Even emotional Scenes still carry

urgency underneath.

308

00:15:00,33 --> 00:15:02,402

Now compare that to independent film?

309

00:15:03,69 --> 00:15:06,306

Independent film often lives in

observation.

310

00:15:07,240 --> 00:15:08,975

Silence matters more

311

00:15:10,76 --> 00:15:10,710

thought,

312

00:15:11,311 --> 00:15:12,145

matters more

313

00:15:12,812 --> 00:15:13,113

behaviour.

314

00:15:14,180 --> 00:15:14,714

Unfold

315

00:15:15,215 --> 00:15:16,149

more slowly.

316

00:15:17,384 --> 00:15:18,251

The pauses

317

00:15:18,985 --> 00:15:20,487

breathe differently.

318

00:15:21,788 --> 00:15:23,456

Now compare that to sitcom.

319

00:15:23,957 --> 00:15:24,324

Rhythm

320

00:15:25,158 --> 00:15:27,227

sitcoms often require acceleration.

321

00:15:28,428 --> 00:15:28,728

They

322

00:15:29,129 --> 00:15:30,730

require faster pickups,

323

00:15:31,631 --> 00:15:32,332

cleaner transitions,

324

00:15:33,533 --> 00:15:34,734

sharper pivots,

325

00:15:35,201 --> 00:15:35,669

not

326

00:15:35,935 --> 00:15:36,670

bigger acting.

327

00:15:36,970 --> 00:15:37,904

Necessarily,

328

00:15:38,505 --> 00:15:40,640

faster relational movement.

329

00:15:41,541 --> 00:15:43,677

The energy rebounds quickly

330

00:15:44,744 --> 00:15:48,14

that's why actors sometimes feel off in

comedy.

331

00:15:48,581 --> 00:15:49,549

They're emotionally committed,

332

00:15:50,817 --> 00:15:54,387

but they're rhythmically sitting in the

scene too long.

333

00:15:55,221 --> 00:15:58,558

And I can tell you that casting feels

it immediately.

334

00:15:59,559 --> 00:16:00,794

The actor isn't wrong.

335

00:16:01,795 --> 00:16:03,830

They're in the wrong tempo.

336

00:16:05,298 --> 00:16:07,300

And I'd like to share something I think

is really fascinating.

337

00:16:08,34 --> 00:16:11,171

Great actors understand rhythm

instinctively.

338

00:16:11,938 --> 00:16:12,639

They do

339

00:16:14,107 --> 00:16:17,210

come on, watch mural street, watch how

she changes tempo

340

00:16:18,345 --> 00:16:20,13

depending on genre,

341

00:16:20,480 --> 00:16:21,114

or

342

00:16:21,548 --> 00:16:25,151

Brian Cranston, for example, or viola

Davis or Steve correl.

343

00:16:25,452 --> 00:16:27,187

They don't just change emotion.

344

00:16:27,787 --> 00:16:28,655

They change

345

00:16:28,788 --> 00:16:29,989

musicality,

346

00:16:30,757 --> 00:16:32,325

pacing, pressure, breath,

347

00:16:32,892 --> 00:16:35,362

interruption, stillness, attack

348

00:16:36,262 --> 00:16:40,967

that's why they feel so genre specific

and believable.

349

00:16:41,868 --> 00:16:44,37

And newer actors sometimes make this

mistake.

350

00:16:44,337 --> 00:16:46,239

They think truth is enough,

351

00:16:47,307 --> 00:16:48,808

but professional acting

352

00:16:49,309 --> 00:16:49,776

is truth

353

00:16:50,910 --> 00:16:51,945

inside a format.

354

00:16:52,979 --> 00:16:54,180

Ok, somebody write that down.

355

00:16:54,180 --> 00:16:55,48

That was really good.

356

00:16:55,615 --> 00:16:57,917

Professional acting is truth

357

00:16:58,651 --> 00:17:00,320

inside a format.

358

00:17:01,388 --> 00:17:02,722

Listen that's the job.

359

00:17:03,556 --> 00:17:05,425

Because television, has architecture.

360

00:17:06,259 --> 00:17:07,560

Genre has architecture.

361

00:17:08,661 --> 00:17:10,730

And once you start seeing rhythm,

362

00:17:11,865 --> 00:17:13,266

you can never unsee it.

363

00:17:14,267 --> 00:17:18,71

For example, some actors rush emotional

moments because they're nervous.

364

00:17:18,571 --> 00:17:19,539

I understand that.

365

00:17:19,939 --> 00:17:21,775

That was sort of what I did.

366

00:17:22,742 --> 00:17:23,877

Others over pause

367

00:17:24,911 --> 00:17:28,14

because they want the scene to feel

important.

368

00:17:29,716 --> 00:17:33,119

But real musicality isn't about random

pauses.

369

00:17:33,953 --> 00:17:34,587

It's about behavioral

370

00:17:35,789 --> 00:17:36,322

timing.

371

00:17:37,457 --> 00:17:38,892

When does the thought land?

372

00:17:39,693 --> 00:17:41,594

When does the interruption happen?

373

00:17:42,495 --> 00:17:43,963

When does the energy shift?

374

00:17:44,597 --> 00:17:46,399

When does some one avoid

375

00:17:46,733 --> 00:17:51,504

or attack, or deflect, or collapse or

recover?

376

00:17:53,139 --> 00:17:54,74

That's musical

377

00:17:54,974 --> 00:17:55,475

and honor honestly.

378

00:17:55,709 --> 00:17:59,779

One of the best things actors can do is

to stop watching Scenes for emotion and

379

00:17:59,779 --> 00:18:01,915

start watching for tempo changes.

380

00:18:02,749 --> 00:18:04,351

Watch when the scene speeds up.

381

00:18:04,584 --> 00:18:06,286

Watch when it suddenly becomes still.

382

00:18:06,753 --> 00:18:08,822

Watch how tension changes the rhythm.

383

00:18:09,556 --> 00:18:11,524

Because tension changes speech.

384

00:18:12,659 --> 00:18:14,894

Fear speeds people up,

385

00:18:15,528 --> 00:18:15,995

or

386

00:18:16,429 --> 00:18:19,65

I should say fear speeds some people up.

387

00:18:20,667 --> 00:18:22,235

And of course, shame

388

00:18:22,569 --> 00:18:24,4

slows others down.

389

00:18:25,772 --> 00:18:27,674

Power changes, pacing.

390

00:18:28,675 --> 00:18:30,243

Confidence changes, breath

391

00:18:30,910 --> 00:18:32,812

need changes, rhythm.

392

00:18:33,947 --> 00:18:35,949

And here's where auditions become

dangerous.

393

00:18:37,617 --> 00:18:41,755

often rehearse Scenes at one emotional

tempo.

394

00:18:42,889 --> 00:18:45,158

Everything becomes evenly intense,

395

00:18:46,192 --> 00:18:48,628

evenly dramatic, evenly emotional.

396

00:18:49,929 --> 00:18:52,966

But great performances have dynamic

range.

397

00:18:53,800 --> 00:18:54,868

They shift gears.

398

00:18:55,935 --> 00:18:58,872

Those gear changes are incredible.

399

00:18:59,706 --> 00:19:02,575

Pitch, pace, pause, punctuation.

400

00:19:04,110 --> 00:19:05,745

A scene without rhythm changes.

401

00:19:06,279 --> 00:19:07,347

It feels flat,

402

00:19:07,947 --> 00:19:10,550

even if the acting is emotionally

truthful.

403

00:19:11,618 --> 00:19:14,254

It's like music played on one note.

404

00:19:15,221 --> 00:19:18,992

And this is especially important for

self tapes because the camera magnifies

405

00:19:19,559 --> 00:19:19,726

rhythm.

406

00:19:20,360 --> 00:19:22,495

You can literally see rushed thinking.

407

00:19:23,797 --> 00:19:25,832

You can see anticipation.

408

00:19:26,599 --> 00:19:28,335

You can see when an actor is waiting for

409

00:19:29,369 --> 00:19:30,704

their moment,

410

00:19:32,505 --> 00:19:35,41

but you can also see spontaneity.

411

00:19:35,942 --> 00:19:36,743

You can see listening.

412

00:19:37,143 --> 00:19:39,346

You can see behavioral interruption.

413

00:19:39,879 --> 00:19:42,115

That's why some self tapes feel alive.

414

00:19:42,415 --> 00:19:43,216

Immediately

415

00:19:43,850 --> 00:19:45,752

they move like real thought,

416

00:19:46,519 --> 00:19:49,122

not rehearsed, emotional presentation.

417

00:19:50,590 --> 00:19:53,426

And here's the truly advanced part of

this.

418

00:19:54,27 --> 00:19:57,697

The best actors understand the rhythm

of the other character.

419

00:19:58,832 --> 00:19:59,366

Also,

420

00:20:01,935 --> 00:20:04,804

the scene becomes interactive music,

421

00:20:05,472 --> 00:20:06,906

not line readings, not emotional.

422

00:20:08,408 --> 00:20:13,546

Behavioral exchange, pressure and

response, attack and retreat, control

423

00:20:14,14 --> 00:20:14,280

and surrender

424

00:20:15,315 --> 00:20:17,450

that's why chemistry exists.

425

00:20:18,251 --> 00:20:21,254

Chemistry is often rhythmic

compatibility.

426

00:20:21,855 --> 00:20:24,624

Two actors affecting each other in real

time.

427

00:20:25,458 --> 00:20:28,795

And once actors begin understanding

musicality,

428

00:20:29,529 --> 00:20:32,165

their auditions change dramatically,

429

00:20:32,999 --> 00:20:36,2

because suddenly they stop performing

Scenes,

430

00:20:36,503 --> 00:20:38,438

and they start riding the pulse.

431

00:20:38,738 --> 00:20:39,305

Of human behavior

432

00:20:40,440 --> 00:20:41,908

inside the genre

433

00:20:43,309 --> 00:20:46,713

that's where professional level acting

begins.

434

00:20:49,549 --> 00:20:50,83

All right.

435

00:20:50,984 --> 00:20:52,218

The musicality

436

00:20:53,319 --> 00:20:55,422

does create believability.

437

00:20:56,890 --> 00:21:00,126

See, when actors fight the rhythm of

the material, the performance

438

00:21:00,827 --> 00:21:01,795

absolutely feels

439

00:21:02,829 --> 00:21:03,530

artificial.

440

00:21:04,264 --> 00:21:06,566

But when actors ride the language,

441

00:21:07,534 --> 00:21:08,635

everything relaxes.

442

00:21:10,170 --> 00:21:11,37

Work begins

443

00:21:11,871 --> 00:21:15,475

breathing naturally, and suddenly

comedy lands better.

444

00:21:16,109 --> 00:21:17,110

Drama deepens,

445

00:21:17,777 --> 00:21:18,878

pacing improves,

446

00:21:19,479 --> 00:21:21,281

Scenes feel alive.

447

00:21:22,916 --> 00:21:24,651

That's absolutely true.

448

00:21:25,452 --> 00:21:25,919

So

449

00:21:26,653 --> 00:21:28,488

if you have a script,

450

00:21:28,988 --> 00:21:29,622

finding the musicality

451

00:21:30,657 --> 00:21:35,829

and the genre, and if you're not sure

how to do that, look at the sentence structure,

452

00:21:36,596 --> 00:21:37,864

look at the scene overall.

453

00:21:38,665 --> 00:21:40,633

And if that doesn't really help you,

454

00:21:41,468 --> 00:21:46,106

look at what's playing, find similar

genres that are playing so that you can

455

00:21:46,172 --> 00:21:47,474

really hear the musicality

456

00:21:48,808 --> 00:21:49,776

of the dialogue.

457

00:21:51,378 --> 00:21:54,914

All right, now, as is my wants, let's

move on to a quick exercise.

458

00:21:55,215 --> 00:21:56,416

I want you to take any script.

459

00:21:56,983 --> 00:22:00,353

Maybe it's a scene you've done in

class, or maybe it's a scene you might

460

00:22:00,353 --> 00:22:01,554

be auditioning for soon.

461

00:22:01,955 --> 00:22:04,257

Maybe you're ready to go and do a self

tape.

462

00:22:05,458 --> 00:22:09,162

if all of that is possible, I want you

to read it out loud.

463

00:22:09,629 --> 00:22:11,297

And I don't want you to do any acting.

464

00:22:12,499 --> 00:22:18,872

I just as you read it, I want you

simply to pay focused attention on the pace,

465

00:22:20,173 --> 00:22:20,807

the rhythm,

466

00:22:22,175 --> 00:22:24,144

the interruption of the dialogue,

467

00:22:24,744 --> 00:22:25,745

sentence flow.

468

00:22:27,147 --> 00:22:29,616

Now ask, what kind of world

469

00:22:30,417 --> 00:22:31,985

does this language live in?

470

00:22:34,20 --> 00:22:36,956

See, that question alone may completely

471

00:22:37,424 --> 00:22:37,724

change

472

00:22:38,758 --> 00:22:39,526

your choices.

473

00:22:40,994 --> 00:22:42,95

Now I give you these exercises.

474

00:22:43,463 --> 00:22:47,934

Almost every podcast episode there's

always a little bit of a challenge to

475

00:22:47,934 --> 00:22:48,668

put before you.

476

00:22:49,135 --> 00:22:51,304

This one is of particular importance,

477

00:22:52,505 --> 00:22:53,473

and I can tell you that firsthand.

478

00:22:55,141 --> 00:22:55,308

Recently.

479

00:22:55,709 --> 00:22:56,343

Teaching at conservatory,

480

00:22:57,377 --> 00:23:00,447

I had the experience of talking about

genre.

481

00:23:01,81 --> 00:23:03,149

And what was clear to me was the

challenge

482

00:23:04,184 --> 00:23:09,155

was that the actors did not really have

enough experience in each of those

483

00:23:09,222 --> 00:23:11,791

genres to fully understand and

appreciate

484

00:23:13,293 --> 00:23:16,629

the mood, the atmosphere, the

musicality that's needed.

485

00:23:17,130 --> 00:23:20,600

So make sure you have a really good

deep understanding,

486

00:23:22,35 --> 00:23:23,837

because that is so informative.

487

00:23:24,671 --> 00:23:28,41

And in my mind, that builds an

incredible foundation for you,

488

00:23:28,575 --> 00:23:33,546

especially in an audition where you're

looking for those things that can help

489

00:23:33,546 --> 00:23:36,149

you feel more comfortable and more

confident

490

00:23:36,516 --> 00:23:37,751

and more prepared.

491

00:23:38,251 --> 00:23:43,56

So that exercise that I just gave you

is something I highly recommend and

492

00:23:43,156 --> 00:23:43,323

listen.

493

00:23:44,90 --> 00:23:44,824

If you have the opportunity,

494

00:23:46,26 --> 00:23:47,861

why don't you send me an email.

495

00:23:48,194 --> 00:23:49,863

Let me know what your experience was.

496

00:23:50,497 --> 00:23:52,365

And of course, as always, if you have

any questions?

497

00:23:52,599 --> 00:23:55,635

That's always re, that's always really,

really great.

498

00:23:55,769 --> 00:23:56,970

And I would appreciate that.

499

00:23:58,71 --> 00:23:58,705

So

500

00:23:59,305 --> 00:24:01,307

let's kind of wrap this up, I think,

right?

501

00:24:01,474 --> 00:24:01,875

Are we ready?

502

00:24:03,209 --> 00:24:04,811

Just remember that the script

503

00:24:05,211 --> 00:24:05,779

is not your enemy.

504

00:24:07,480 --> 00:24:08,348

No, it's not.

505

00:24:08,581 --> 00:24:09,749

It's your scene partner.

506

00:24:11,51 --> 00:24:13,386

And the more actors understand

musicality

507

00:24:14,754 --> 00:24:15,522

and genre,

508

00:24:16,589 --> 00:24:17,924

the more believable

509

00:24:18,91 --> 00:24:18,725

and

510

00:24:19,292 --> 00:24:21,761

connected their performances become.

511

00:24:25,398 --> 00:24:26,266

Much for joining me.

512

00:24:26,266 --> 00:24:27,167

I hope that that was helpful.

513

00:24:27,300 --> 00:24:28,902

I had a lot of fun presenting this

episode.

514

00:24:29,536 --> 00:24:30,503

And I'm Jeff driesback.

515

00:24:30,904 --> 00:24:31,871

This is casting actors.

516

00:24:32,105 --> 00:24:32,272

Cass.

517

00:24:32,439 --> 00:24:36,276

I want you to keep listening, keep

exploring, and maybe stop doing

518

00:24:36,976 --> 00:24:40,480

emotional funeral pauses in romantic

comedies.

519

00:24:41,381 --> 00:24:43,717

Your sitcom career will appreciate it.

520

00:24:45,151 --> 00:24:46,86

I shall see you next