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There is something actors do all the

time that I completely understand.

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They get a scene, they read it,

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they discover that something terrible

has happened in the scene,

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and almost immediately they make a

decision.

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This is a sad scene.

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Or the character's furious.

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This character is terrified, this

character is heartbroken.

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And then

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the preparation begins.

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How do I become heartbroken?

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How do I get angry enough?

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How do I make this feel more emotional?

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And right there,

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before the actor has

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even really started,

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we may have a problem,

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because emotion has suddenly become the

assignment.

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And I'm beginning to think that emotion

may actually actually be the last thing

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we should prepare

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welcome to casting actor's cast.

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I'm Jeff dry's back.

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I want to give you a very simple way of

thinking about scene preparation

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it's not designed to replace

danislavsky.

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It's not replacing meisner.

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Nobody needs to remove their udahogen

books from the shelf.

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And I'm certainly not showing up with

stone tablets from the acting gods

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saying, good news.

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Everybody, we finally figured it out.

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No, no, this is really much simpler.

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It's really an organizational tool,

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a way.

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Many of the things actors already

understand in putting them into an

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order that I think makes

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preparation

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clearer

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and much more playable.

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So let's talk about that.

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The order is this,

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want

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need

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behavior,

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emotion,

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four things.

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But the order matters, because I think

actors sometimes start at number four

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and then spend the entire audition

trying to reverse engineer number 12

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and three.

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So let's start with want.

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And right away, I'm going to use that

word a little differently than actors

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normally do.

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When actors here want, they usually

think, what does my character want?

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And that question has been part of

acting training forever,

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and it is an important question.

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But I want to start one step earlier

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before we ask what the character wants,

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ask what the scene wants.

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Why did the writer, writer write this

scene?

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What has happened here?

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What does the audience need to

understand when this scene is over that

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they did not understand when it began?

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That is the writer's intention.

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And I think it's one of the most

overlooked pieces of active preparation.

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Because actors are not only portraying

people,

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we are telling stories.

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And a scene exists because something in

the story needs to move.

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Someone discovers something.

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Someone changes their mind, a

relationship

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shifts.

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Information gets revealed.

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As decision gets made.

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Someone leaves, someone stays,

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someone realizes that the person they

trusted has been lying to them for

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twelve years,

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which is also known as Tuesday night

television.

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See something changes.

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So before I ask myself,

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how emotional should I be?

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I want to know, why is this scene here?

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That question can save an actor.

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Enormous amounts of unnecessary work.

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Because sometimes we see auditions

where the actor has created all kinds

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of interesting emotional activity.

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There are tears there's tension,

there's anger.

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There's a dramatic inhale that suggests

somebody somewhere should probably call

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an ambulance.

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And yet, the actual scene has

disappeared.

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The actor is performing an emotional

experience,

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but the story isn't moving.

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And those are not necessarily the same

thing.

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Here's an example.

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Imagine a scene where a daughter tells

her father she is leaving town.

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Now an actor might immediately decide,

this is heartbreaking

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m,

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but why did the writer write the scene?

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Perhaps the important event is not that

she's leaving.

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Perhaps the important event is that the

father finally realizes

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she no longer needs his permission.

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You see, that's different.

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Maybe the scene exists

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because the daughter has spent her

entire life trying to please him, and

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for the first time,

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chooses herself.

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Now the scene is not simply about

sadness.

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It's about independence.

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Or perhaps the father secretly wants

her to go, but cannot bring himself to

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say it.

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Now the scene is about release.

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Same dialogue,

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different story telling.

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The emotional possibilities begin to

multiply once we understand what the

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scene is doing.

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That is why I like beginning with the

writer.

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The writer gives us the architecture

the actor gives that architecture life.

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So the first question becomes,

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what does this scene need to accomplish?

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And sometimes I literally recommend

that actors write one sentence,

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no poetry, no dissertation.

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You're not submitting this to the Nobel

committee.

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One sentence.

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This scene exists so that

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dot and finish it.

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This scene exists so that she discovers

he lied.

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The scene exists

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so that he finally asks for help.

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This scene exists

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so that the audience realizes she

already knows.

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This scene exists so that their

relationship changes from professional

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to personal.

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That becomes your north star,

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because now you know what story you are

helping to tell.

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And there's another benefit

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it gets the actor out of themselves.

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That may be one of the most useful

things preparation can do.

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Instead of how my doing,

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is

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this emotional?

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Enough?

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Am I interesting?

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Do they like my choices?

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You begin with, what story am I serving?

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That's a much healthier place to work

from,

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and frankly a much more professional

one,

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because actors sometimes become so

involved in creating a character that

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they forget they are participating.

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In a larger piece of story telling.

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The scene does not exist so that you

can demonstrate the fascinating

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complexity of your inner life.

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I know, disappointing, but there it is.

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The scene exists because the story

needs it

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so want,

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in this framework,

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belongs to the story.

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What does the scene want?

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What does the writer need from this

scene?

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That is step one.

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And once we know that,

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we can finally turn toward the

character.

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Because now becomes need.

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And this is where the work becomes

personal.

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Not personal in the sense of, I'm going

to think about something terrible from

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sevenths grade.

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Personal in the sense of relationship.

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What do I need from you?

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That question changes everything.

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Because acting is rarely about having

feelings alone in a room.

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Even when you are alone in the room,

someone is usually present psychologically

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someone you need, someone you miss,

someone you hate, someone whose

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approval you want,

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someone you're trying desperately not

to think about while clearly thinking

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about them every three seconds.

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Human beings are relational creatures.

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Characters are too.

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So once I understand what the scene

needs to accomplish, I ask, what does

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my character need from the other person?

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Not?

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What do I need to feel?

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What do I need from them?

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I need you to believe me.

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I need you to forgive me.

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I need you to stay.

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I need you to leave.

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I need you to stop.

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I need you to stop treating me like a

child.

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I need you to tell me the truth.

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I need you to respect me.

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I need you to admit that you were wrong.

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I need you to love me.

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Now something begins to happen.

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Because the scene has direction,

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there's energy moving between people.

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And that is very different from the

actor thinking, I need to be angry here,

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angry at what?

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For what?

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Toward whom

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to accomplish?

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What?

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Emotion without direction, can become

theatrical wall paper.

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It decorates the scene, but it doesn't

necessarily drive.

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It.

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Need gives, emotion, somewhere to go.

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And I think this is where actors often

discover that seems they thought were

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about emotion are really about

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persuasion

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or protection,

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or survival or connection.

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A character screaming, I hate you

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may actually be saying,

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please don't leave me.

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A character saying, I'm fine

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may desperately need someone to

recognize

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that they are not fine.

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A character saying, I don't care

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may need the other person to prove that

they do

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that.

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Contradiction is where acting gets

interesting, because human beings are

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almost never as simple as the sentences

they speak.

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I sometimes think the actor's job is

discovering the sentence underneath the sentence.

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What am I really asking from you?

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Once you know that

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you have something to play

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and notice what has happened?

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We still haven't talked about emotion,

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have we?

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We have story, we have relationship,

and already the scene is alive.

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That leads us

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to behavior.

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And this is where preparation becomes

especially practical,

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because need tells me what I am

pursuing.

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Behavior tells me how I pursue it

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let's say, I need you to forgive me

fine.

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How do I behave

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m?

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Maybe I become charming,

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maybe I become defensive.

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Maybe I minimize what happened.

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Maybe I take responsibility.

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Maybe I make jokes.

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Maybe I blame.

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00:11:15,875 --> 00:11:17,277

Maybe I blame somebody else.

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Maybe I become completely still because

I am terrified that anything I say will

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make things worse.

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Those are behaviors,

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and behavior is playable.

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That word matters playable.

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Insecure may describe someone,

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but seeking your approval

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gives me something to do.

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Loving may describe a condition,

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but protecting you

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creates action.

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Egotistical

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might be accurate, but making

everything about myself gives the actor

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a behavioral path.

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This is a very important distinction.

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Labels describe behavior.

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Labels describe activities.

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And labels

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activates.

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Like, for example, if I say my

character is dishonest,

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ok,

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what does dishonesty look like?

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Here?

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Am I avoiding eye contact?

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Am I over explaining?

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Am I changing the subject?

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My becoming unusually helpful?

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Am I attacking you before you can

attack me?

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Suddenly the character becomes specific.

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And I like dividing behaviour into two

categories,

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mental behaviour and physical behaviour.

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Mental behaviour is what the character

is doing, psychologically,

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assessing, testing, protecting,

manipulating, avoiding, controlling, seducing,

272

00:12:53,239 --> 00:12:55,842

concealing, comforting, searching.

273

00:12:56,576 --> 00:12:57,911

Physical behaviour

274

00:12:58,411 --> 00:13:01,281

is how that psychology enters the body.

275

00:13:02,15 --> 00:13:03,216

Do I move toward you?

276

00:13:03,450 --> 00:13:04,284

Away from you?

277

00:13:04,417 --> 00:13:05,385

Do I become still.

278

00:13:05,785 --> 00:13:07,87

Do I fill the space?

279

00:13:07,387 --> 00:13:08,588

Do I avoid your eyes?

280

00:13:09,222 --> 00:13:10,557

Do I stare too long?

281

00:13:10,890 --> 00:13:12,625

Does my voice become faster,

282

00:13:13,126 --> 00:13:13,760

quieter,

283

00:13:14,227 --> 00:13:14,894

sharper?

284

00:13:15,462 --> 00:13:16,262

Do I touch you?

285

00:13:16,429 --> 00:13:17,797

Do I refuse to touch you?

286

00:13:17,931 --> 00:13:20,967

None of those things should become

choreography.

287

00:13:21,701 --> 00:13:22,902

We don't want line three.

288

00:13:23,69 --> 00:13:23,403

Look away.

289

00:13:23,636 --> 00:13:24,904

Line five, touch chin.

290

00:13:25,305 --> 00:13:26,906

Line seven, become emotionally

available.

291

00:13:28,274 --> 00:13:31,44

That's not acting, that's assembling

IKEA furniture.

292

00:13:32,278 --> 00:13:34,981

But behavioral awareness gives the

actor.

293

00:13:35,315 --> 00:13:35,849

Choices

294

00:13:36,249 --> 00:13:38,551

and choices create specificity.

295

00:13:39,152 --> 00:13:40,487

And here is an example.

296

00:13:41,54 --> 00:13:43,790

Two actors can have the exact same

need.

297

00:13:44,257 --> 00:13:46,92

I need you to believe me.

298

00:13:46,993 --> 00:13:49,929

Actor a pursues the need by explaining

everything.

299

00:13:50,497 --> 00:13:52,966

They become verbal, detailed urgent.

300

00:13:54,200 --> 00:13:55,35

Actor b, p, p, p, p, p, p, p, p.

301

00:13:55,35 --> 00:13:57,137

P pursues the same need by becoming

302

00:13:58,171 --> 00:13:59,673

completely calm.

303

00:14:01,141 --> 00:14:01,908

Same need,

304

00:14:02,509 --> 00:14:03,677

different behavior,

305

00:14:04,744 --> 00:14:07,213

and therefore a completely different

character.

306

00:14:08,415 --> 00:14:12,919

That is why I think behavior is one of

the most useful places for an actor to

307

00:14:12,919 --> 00:14:14,554

spend preparation time.

308

00:14:15,455 --> 00:14:17,424

Not how do I make this interesting?

309

00:14:18,91 --> 00:14:22,729

But how does this person behave when

they need something badly?

310

00:14:24,497 --> 00:14:25,598

That question

311

00:14:26,733 --> 00:14:27,834

creates character,

312

00:14:28,902 --> 00:14:31,71

and here's where the other actor

becomes essential.

313

00:14:31,471 --> 00:14:31,938

Because behavior

314

00:14:33,73 --> 00:14:34,574

cannot become fixed.

315

00:14:35,375 --> 00:14:38,411

I may enter the scene planning to

reassure you,

316

00:14:38,978 --> 00:14:40,313

but if you laugh at me,

317

00:14:40,814 --> 00:14:42,415

my behavior may change.

318

00:14:43,550 --> 00:14:44,784

Now I challenge you.

319

00:14:45,218 --> 00:14:46,720

If you challenge me back,

320

00:14:47,53 --> 00:14:47,721

I may react.

321

00:14:48,254 --> 00:14:51,24

If you suddenly become vulnerable, I

may soften.

322

00:14:51,791 --> 00:14:53,727

The need may remain the same.

323

00:14:53,860 --> 00:14:57,263

But my character changes according to

what I receive.

324

00:14:57,630 --> 00:15:00,333

And that brings us to the final part of

this process,

325

00:15:00,967 --> 00:15:01,768

emotion.

326

00:15:02,902 --> 00:15:04,604

The thing actors often prepare.

327

00:15:05,138 --> 00:15:05,605

First,

328

00:15:06,840 --> 00:15:11,211

I want to suggest something that may

sound radical, but isn't really.

329

00:15:12,178 --> 00:15:13,446

What if you didn't

330

00:15:13,613 --> 00:15:14,881

prepare the emotion?

331

00:15:16,16 --> 00:15:19,986

What if you prepared everything that

makes emotion possible?

332

00:15:20,987 --> 00:15:24,758

What if emotion is not something you

impose on the scene, but something you

333

00:15:24,891 --> 00:15:26,559

discover inside it?

334

00:15:27,460 --> 00:15:29,596

Because if I know what the story needs,

335

00:15:30,30 --> 00:15:34,868

I know what I need from you, and I know

how I tend to pursue that need,

336

00:15:35,635 --> 00:15:36,436

then something happens.

337

00:15:36,970 --> 00:15:38,71

When you respond,

338

00:15:38,838 --> 00:15:40,173

you give me what I want,

339

00:15:40,907 --> 00:15:41,775

or you don't?

340

00:15:42,575 --> 00:15:43,376

You surprise me.

341

00:15:43,610 --> 00:15:44,511

Do reject me.

342

00:15:45,78 --> 00:15:46,179

You misunderstand me.

343

00:15:46,179 --> 00:15:47,547

You forgive me, you betray me.

344

00:15:47,547 --> 00:15:51,351

And suddenly I feel something, not

because I manufactured it,

345

00:15:51,951 --> 00:15:53,453

because something happened.

346

00:15:54,587 --> 00:15:57,424

This is a very different acting

experience.

347

00:15:57,791 --> 00:15:59,693

Emotion becomes consequence.

348

00:16:00,760 --> 00:16:02,495

And this is the phrase I want you to

remember.

349

00:16:04,30 --> 00:16:05,765

is not the instruction.

350

00:16:06,232 --> 00:16:07,200

Emotion

351

00:16:07,634 --> 00:16:08,802

is the information.

352

00:16:09,769 --> 00:16:10,603

It tells us.

353

00:16:10,970 --> 00:16:15,508

What is happening to the character as

they pursue what they need.

354

00:16:17,610 --> 00:16:18,712

Think about real life.

355

00:16:19,779 --> 00:16:23,316

You usually don't walk into an

important conversation thinking at

356

00:16:23,316 --> 00:16:24,17

exactly 317.

357

00:16:24,818 --> 00:16:27,854

This afternoon, I intend to become

devastated.

358

00:16:29,389 --> 00:16:30,23

You don't do that.

359

00:16:30,190 --> 00:16:32,325

It happens because something occurs.

360

00:16:33,59 --> 00:16:36,496

You hear something, you realize

something, you lose something, you get

361

00:16:36,663 --> 00:16:38,865

something, you desperately wanted

362

00:16:39,466 --> 00:16:41,267

emotion follows experience.

363

00:16:42,35 --> 00:16:44,4

Why shouldn't acting work the same way?

364

00:16:45,305 --> 00:16:48,641

Now, obviously, actors sometimes know

where a scene is headed.

365

00:16:49,209 --> 00:16:52,145

The script may say that the character

cries fine.

366

00:16:52,812 --> 00:16:55,682

The actor still has to arrive there

truthfully.

367

00:16:56,583 --> 00:17:00,320

And chasing the tears is often the

fastest way not to get them,

368

00:17:01,321 --> 00:17:03,189

because now you're monitoring yourself,

369

00:17:03,957 --> 00:17:04,824

am I feeling it?

370

00:17:05,158 --> 00:17:05,925

Is it coming?

371

00:17:06,493 --> 00:17:07,527

Should I blink less?

372

00:17:08,194 --> 00:17:09,763

Do my eyes look watery?

373

00:17:10,830 --> 00:17:14,501

Meanwhile, the other actress just

revealed that they have been having an

374

00:17:14,501 --> 00:17:18,338

affair with your sister, and you have

completely missed it because you are

375

00:17:18,438 --> 00:17:20,6

checking your tear production.

376

00:17:21,541 --> 00:17:22,876

Now, this is not ideal.

377

00:17:23,610 --> 00:17:27,313

The audience does not care whether the

actor has successfully produced the

378

00:17:27,313 --> 00:17:28,314

assigned emotion.

379

00:17:29,49 --> 00:17:31,851

The audience cares whether something is

happening.

380

00:17:32,986 --> 00:17:34,521

That distinction matters.

381

00:17:34,988 --> 00:17:35,855

Enormously.

382

00:17:36,756 --> 00:17:41,428

I have watched auditions where an actor

became emotional, and it was very affecting.

383

00:17:42,495 --> 00:17:46,766

And I have watch auditions where an

actor became emotional and absolutely

384

00:17:47,534 --> 00:17:48,468

nothing happened.

385

00:17:49,469 --> 00:17:50,837

Because emotion alone

386

00:17:51,871 --> 00:17:53,106

is not story telling.

387

00:17:54,174 --> 00:17:58,278

Sometimes the most moving moment in the

scene is the character trying not to

388

00:17:58,278 --> 00:18:00,313

feel what they are clearly feeling.

389

00:18:01,214 --> 00:18:04,784

Trying not to cry can be more

compelling than crying.

390

00:18:05,452 --> 00:18:09,456

Trying not to become angry can be more

dangerous than shouting.

391

00:18:10,357 --> 00:18:12,492

Trying desperately to remain

professional

392

00:18:12,826 --> 00:18:15,462

can reveal far more than collapsing.

393

00:18:16,96 --> 00:18:16,963

Emotionally,

394

00:18:18,431 --> 00:18:20,967

behavior gives emotion shape.

395

00:18:21,534 --> 00:18:23,370

Not because it is less important

396

00:18:23,937 --> 00:18:26,72

because it has to earn its place

397

00:18:27,841 --> 00:18:28,475

one.

398

00:18:28,975 --> 00:18:31,344

But does the scene need to accomplish

399

00:18:32,312 --> 00:18:32,946

need?

400

00:18:33,613 --> 00:18:35,348

What do I need from you?

401

00:18:36,483 --> 00:18:37,584

Behavior?

402

00:18:38,251 --> 00:18:40,320

How do I pursue that need?

403

00:18:41,454 --> 00:18:42,255

Emotion?

404

00:18:42,822 --> 00:18:45,592

What happens to me because of what I

received?

405

00:18:47,293 --> 00:18:48,495

That is the order.

406

00:18:49,629 --> 00:18:49,796

Story.

407

00:18:51,798 --> 00:18:51,965

Action.

408

00:18:52,665 --> 00:18:53,266

Result.

409

00:18:55,535 --> 00:18:56,803

This does for the actor,

410

00:18:57,537 --> 00:19:01,307

it gives you something concrete to

prepare, without forcing you to decide

411

00:19:01,541 --> 00:19:04,144

and advance exactly how the scene must

feel.

412

00:19:05,78 --> 00:19:08,948

That's what makes preparation useful

without making the performance predetermined.

413

00:19:09,449 --> 00:19:12,952

And I think that is one of the great

challenges of acting.

414

00:19:13,787 --> 00:19:16,489

We have to prepare enough to know what

we're doing

415

00:19:17,57 --> 00:19:19,993

and remain free enough to discover what

happens.

416

00:19:21,227 --> 00:19:23,830

Those two ideas are not opposites.

417

00:19:24,998 --> 00:19:27,667

Good preparation actually creates

freedom.

418

00:19:29,69 --> 00:19:30,704

Imagine a Jazz musician.

419

00:19:31,638 --> 00:19:34,574

They know the instrument, they know the

key, they know the structure, they know

420

00:19:34,574 --> 00:19:35,208

the tune.

421

00:19:35,542 --> 00:19:37,911

And because they know all of that,

422

00:19:38,578 --> 00:19:39,512

they can improvise.

423

00:19:40,914 --> 00:19:42,415

Actors work the same way.

424

00:19:42,982 --> 00:19:44,684

Preparation should not make you rigid.

425

00:19:45,151 --> 00:19:46,419

Preparation should make you available.

426

00:19:47,554 --> 00:19:51,57

That's why I would never want an actor

to leave this episode thinking

427

00:19:52,92 --> 00:19:52,258

wonderful.

428

00:19:52,659 --> 00:19:54,894

Jeff has given me four more things to

control.

429

00:19:56,730 --> 00:19:56,896

Nano.

430

00:19:57,697 --> 00:20:00,800

If anything, I want you to control less.

431

00:20:01,401 --> 00:20:04,4

I want you preparing the conditions

432

00:20:04,904 --> 00:20:06,873

then letting the scene happen.

433

00:20:08,908 --> 00:20:12,12

Here's an exercise you can try with

almost any scene.

434

00:20:12,746 --> 00:20:15,48

Take the script and do not perform it.

435

00:20:15,782 --> 00:20:16,916

Just answer four questions.

436

00:20:17,317 --> 00:20:19,853

First, why did the writer write this

scene?

437

00:20:20,754 --> 00:20:21,921

Write one sentence.

438

00:20:22,255 --> 00:20:23,56

Second,

439

00:20:23,390 --> 00:20:25,291

what do I need from the other character?

440

00:20:26,359 --> 00:20:27,360

Again, one sentence.

441

00:20:28,728 --> 00:20:31,531

Third, what behaviors do I use to

persuade

442

00:20:32,599 --> 00:20:33,433

that need?

443

00:20:35,68 --> 00:20:36,803

Choose two or three possibilities.

444

00:20:37,704 --> 00:20:41,474

Maybe you reassure, maybe you provoke,

maybe you conceal, maybe you protect,

445

00:20:42,8 --> 00:20:42,742

maybe you dominate.

446

00:20:43,376 --> 00:20:44,10

And 4th,

447

00:20:44,678 --> 00:20:46,246

do not write down the emotion.

448

00:20:47,80 --> 00:20:48,314

Leave that one blank.

449

00:20:49,149 --> 00:20:50,717

Then I want you to play the scene,

450

00:20:51,51 --> 00:20:51,851

see what happens

451

00:20:52,919 --> 00:20:57,424

when you finish, ask yourself, what

emotional shifts actually occurred?

452

00:20:58,491 --> 00:20:59,526

Not what you planned,

453

00:21:00,93 --> 00:21:00,794

what happened?

454

00:21:01,695 --> 00:21:03,196

You may be surprised.

455

00:21:03,630 --> 00:21:07,367

The scene you thought was furious may

actually contain, humor

456

00:21:08,568 --> 00:21:12,172

the scene use that was heartbreaking

may contain enormous relief.

457

00:21:12,906 --> 00:21:16,810

The scene you thought was romantic may

actually be about power.

458

00:21:17,711 --> 00:21:21,281

And that discovery is one of the

reasons acting remains interesting.

459

00:21:21,715 --> 00:21:25,552

Because you can study a script for days

and still discover something.

460

00:21:26,119 --> 00:21:28,154

When another human being looks at you,

461

00:21:29,789 --> 00:21:30,724

that's the magic,

462

00:21:31,458 --> 00:21:32,25

not the emotion.

463

00:21:32,258 --> 00:21:32,959

You planned,

464

00:21:33,293 --> 00:21:34,894

the response, you didn't.

465

00:21:36,429 --> 00:21:37,397

So here's today's reset.

466

00:21:37,697 --> 00:21:41,935

The next time you receive a scene,

resist the temptation to decide how

467

00:21:42,35 --> 00:21:43,370

you're supposed to feel.

468

00:21:44,270 --> 00:21:44,437

Start.

469

00:21:44,571 --> 00:21:45,271

Somewhere else.

470

00:21:46,272 --> 00:21:47,374

Start with the writer.

471

00:21:48,408 --> 00:21:49,609

What does the scene want?

472

00:21:50,677 --> 00:21:51,544

Then move to relationship.

473

00:21:52,178 --> 00:21:53,446

What do I need from you?

474

00:21:54,414 --> 00:21:55,548

Then examine the behavior.

475

00:21:56,249 --> 00:21:57,917

How do I go about getting it?

476

00:21:58,752 --> 00:21:59,686

And only then

477

00:22:00,253 --> 00:22:01,921

allow emotion to arrive.

478

00:22:04,157 --> 00:22:04,791

Want

479

00:22:05,592 --> 00:22:06,226

need

480

00:22:06,726 --> 00:22:07,694

behavior,

481

00:22:07,994 --> 00:22:08,795

emotion.

482

00:22:09,796 --> 00:22:11,364

You don't have to force the last one.

483

00:22:11,931 --> 00:22:13,767

If the first three are alive,

484

00:22:14,267 --> 00:22:16,803

emotion usually knows where to find you.

485

00:22:17,637 --> 00:22:20,306

And that may be the most freeing part

of all.

486

00:22:21,74 --> 00:22:23,510

Motion isn't something you bring to the

scene.

487

00:22:24,310 --> 00:22:25,111

Sometimes

488

00:22:25,311 --> 00:22:27,514

it's what the scene does to you.

489

00:22:29,149 --> 00:22:31,217

I know, this was a lot, this dense

episode.

490

00:22:31,618 --> 00:22:33,153

You might want to listen to this again.

491

00:22:33,386 --> 00:22:35,989

Maybe that's a good suggestion as well,

492

00:22:36,589 --> 00:22:39,793

because I know there's a tendency for

me, with my energy and all the coffee

493

00:22:39,959 --> 00:22:42,95

I've had today, to go really fast with

this stuff.

494

00:22:42,262 --> 00:22:45,865

And I really, really want this to be of

value to you.

495

00:22:46,99 --> 00:22:50,103

So it might take you to go to the

website, for example, and download

496

00:22:51,371 --> 00:22:56,109

the jeffs jots, which is the blog that

corresponds to the episode.

497

00:22:56,676 --> 00:23:00,480

There are all kinds of ways that you

can kind of absorb this even more

498

00:23:01,81 --> 00:23:01,548

in the meantime.

499

00:23:02,15 --> 00:23:03,450

Thank you so much for joining me.

500

00:23:03,450 --> 00:23:04,184

I'm jeffer eisbach.

501

00:23:04,417 --> 00:23:05,885

And this is casting actors cast.

502

00:23:06,586 --> 00:23:08,655

And I will talk to you next time.

503

00:23:08,988 --> 00:23:09,155

Thanks.

504

00:23:09,289 --> 00:23:09,756

So,