Master Class

Instructor: Aaron Speiser

Scene #1: Two guys are stretching in a park after biking 20-something miles. They are friends and one of them always gets the girls and the other guy who had been married for six days already had his wife leave him. Even worse, the reason she had been having an affair with him is because he is better in bed.

  • They begin by sitting on a bench.
  1. Get rid of these benches… if you are professional bikers and just biked 24 miles are you really going to be sitting on a bench in central park? No. You would probably be sitting in the grass isolated from large crowds of people and stretching.
  2. If you’re really stretching.. then really stretch. Make it real. What are you stretching for? Make it real.

In the beginning of the scene, the guy whose wife left him begins it by looking very depressed and miserable.

  • The first beat is the most important! Stop acting on emotion and telegraphing to the audience what you want them to know! It is so boring to immediately show the audience you are in pain because you just gave it all away. What is actually interesting is being in so much pain but trying so hard not to reveal it.
  • Never focus on pain because we mask pain, and try our best not to focus on it. When you are stressed, frustrated, or in pain what do you do? Sit there and think about it? NO! You try to do activities to take your mind off it so you don’t have to think about it. Do you immediately go to your friends and act like the world is ending? Or do you hide it and hope that they will be able to see through and ask you whats wrong?

Why do we go to our best friends when we have a problem?

  • In the scene, there is an extreme contrast. A man with a lot of woman and a man that only HAD one.
  • In the scene, the guy who always gets girls doesn’t know his wife just left him. He’s a typical bro and thinks his friend is still married by asking, “How’s married life!” The real question here is… does the friend really give a fuck when he says it? NO! He’s just making chit-chat not expecting anything. Do not anticipate the future of the script.
  • The friend came to him because he doesn’t know what to do. He is confused and lost. You don’t go hang out with your friends for no reason and he certainly doesn’t want to be alone otherwise he would be. He wants company…why? He wants someone to talk to feel better and seekĀ  advice from.

Finding the Rage in You

  • We all have real rage/wrath. Do you know when you talk about something and suddenly this rage comes right back over you? Let this primal nature take over.


Scene #2: This is Africa. The scene between an African warlord and a white journalist in a bar. He walks to where the white journalist is sitting with his beer in hand and immediately sets it down in front of the woman.

  • This is a strong movement! Even though it is simple, just setting down your beer, it is a heavy powerful behavior. Has she invited you to sit down, so then you set down your beer? Do you normally go to a talk to a woman at a bar by immediately setting down your beer on her table? Or do you wait and see if she gives you to signal first that it is OK and she is interested.
  • You must know your surroundings in the scene. Would you really talk so loud about blood diamonds in Africa to a warlord while in a bar?
  • When the warlord decides to leave because he finds out she is a journalist, the actress grabbed his shirt to physically restrain him. LOL! That is acting! Not reality. Does a little white girl really try to physically restrain a man who kills people for a living?

Stage Directions

  • Just because the script says you are laughing doesn’t mean you should be laughing. Furthermore, the person playing opposite to you should not ask the question “Why are you laughing” even if it is in the script if the other person isn’t laughing. That isn’t real and you are clearly not living in the moment.Act and React.
  • In the scene, the African asks her if she wants another drink, but during the scene it is still full. That is bullshit, fake, and not real stuff.


Monologue (Brought back from last week): About a military captain and his father.

  • It is common for us to get our voice up in our head and raise our voice when we are angry.
  • But as men… we must find our voice and it must come from the balls. Deep and powerful. Otherwise you sound like a pussy.


Scene #3: A man who never gets laid but tries so hard. He finally has brought a girl back to his place and is trying to get her to go in his house.

  • Don’t decide emotions!
  • Don’t play a characture, play a character. A little goes a long way so keep it simple.
  • For example, if you have to play a man who has never slept with a woman then just use yourself and the script will give you the words and we will obviously see that you haven’t slept with a woman and what kind of guy you are. You don’t have to play a characture of some nerdy loser. Look in the mirror, you are a loser.


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