00:00Now, I know you said you did acting classes and things like that, but I'm sure you have like a method of how you kind of bring your characters to life.
00:07I feel like both of the characters that you're more popular for nowadays, at least kind of have like, how do I say, like an underlying sensitivity to them that is expressed through scenes where you're not necessarily being sensitive, but like it's kind of it resonates.
00:21So how do you inform that from your own life experiences to kind of like bring that to characters like Diamond and Ian?
00:30Yeah. So, you know, going to a scene study class is definitely necessary, but it's just it's the tip of the iceberg.
00:38So, you know, to kind of get down into where you're talking about seeing is like, you know, over the years, I've understood that you really got to, you know, I kind of look at I kind of look at myself.
00:50It's like it's like an instrument and you have to you have to make sure the tool is sharpened.
00:55So it's like a scene study class. It's therapy so that you can get used to accessing your emotions on demand.
01:02You know, we don't need it when we're in the car. We need it as soon as they call action.
01:05Right. So it takes practice to do that. You know, voice work, body work in terms of, you know, I may you know, I may I may hold myself, you know, different type of ways.
01:14My posture tells a part of the story as well. Right. So it's like, you know, the and it's just there's there's just lots of different things that, you know, I and lots of artists do to make sure that the instrument is ready to go.
01:25So, you know, that's one part of it, just in terms of, you know, the actual work that's put in.
01:31But on the flip side and you get you get to work on this through therapy also is like, you know, access and some things that I actually have in my own life that I can bring into the character as well.
01:43Well, you talk about some of these deeper, deeper moments, you know, I feel like a lot of that stuff is, you know, a lot of it has to do with focus.
01:52If you can if you can feel it and you can think it and you can see it in your own mind, you don't necessarily have to project anything.
01:58You know, the camera has a way of magnifying what's going on. So you can actually see a person think if you're really thinking it, though.
02:04So sometimes when we get caught up in, you know, the 40 people in the room, the booms and all the cameras and the lights, it's like it can take you out of your focus.
02:12You start just worrying about your lines and hitting your marks and stuff. And we kind of lose a little bit of the, you know, the reality, the levity of it.
02:20But I think just focusing on some of the things that I talked about kind of helps us, you know, stay in that moment, because I feel like a lot of my performances,
02:29at least what I'm trying to do and a lot of the feedback that I'm that I'm hearing is that they're grounded.
02:34And, you know, even though there's stuff going on the surface, it's much deeper than that.
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