Master Class with Aaron Speiser

On seeing beneath the lines of the script: Just because the other actors POV is “We were arguing” that doesn’t mean that the other actress is arguing.
When a character says, ‘Why are you arguing? I’m agreeing with you!” Just because the other character says you were crazy, does that mean you were necessarily crazy.

Always look beneath the words.

Words swim on the ocean of murky truth. Once you know that, auditions will get better. Look beneath the words in life.

Scene #1

Even serial kills kill for a reason. Why would you include an accomplice to kill someone? There has to be a reason. Perhaps you need an alibi? In real life, you will see the importance of having an alibi. If you don’t have one, cops will be on your ass first in a homicide crime.

Starting a script with a murder gives you the ultimate freedom to create the backstory.

Motiveless killing is not human. Killing for fun is not motiveless à if you do this, then it is a turn-on and you like it. You have to look at what it is you are going to get out of it.

Mostly everything is covered in Mr. Shakespeare’s scripts. READ MORE. Believing in imaginary stimulus = acting.

If you play someone influenced very easily then look for someone in your life like that. However, make sure to not miscast yourself. Forget false humility.

Your problems must be connected to the script. Make the most dramatic choices that work for you. If something is easy, then that means there is not enough at stake. He must say the right things in the right way à he cannot lose the girl, (what happens if he does)? Raise the stakes.

Scene #2

Two girls at a bar expecting the ‘guy love interest’ on a date. Why does the friend come along? IF you are her, you must ask yourself, what is my objective? What do I want out of this situation? Don’t we always want something?

The obvious reason for a girl to come to the bar is to meet the love interest, Bernie. However, her friend’s true reason is to meet someone at the bar. Otherwise she wouldn’t just go as a third wheel.

If you are telling the story, you must be the engine. You must keep the story going.  Keep the energy up.

When should you move?? Only if you have a strong reason. Movies have a smaller frame so you must be aware of this.

The moment you think about moving, you’ve lost it! Every time you do a gesture and you think about it, that means you’re fucked up already! Focus on your relationship to others, the emotional relationship.

Standing still. Look at actors such as Denzel Washington. He doesn’t have to do much does he? He’s a loaded gun, just stands still and what do you need to do? Nothing.

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