How We Role: A Podcast for Actors by Casting Networks

How to Be #1 on the Call Sheet with NBC Stumble's Jenn Lyon

• Casting Networks • Season 2 • Episode 27

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How do you become a lead on a major network series? NBC Stumble star Jenn Lyon* joins host Robert Peterpaul to unpack what being number one on the call sheet and leading a cast with joy really means.

This episode focuses on how actors can work their way up, covering:

  • How making bold (and even odd) audition choices can lead to booking.
  • Learning from incredible #1's like Julianne Moore (on Sirens), Timothy Olyphant (on Justified), and Niecy Nash (on Claws).
  • Technical aspects of shooting a mockumentary style show like Stumble.
  • How to create a warm and inviting environment for guest stars and the crew on set.
  • Tangible tips on the craft of acting from self tapes to comedic beats and much more!

*Jenn Lyon is an award-winning actress who stars in the leading role of Courteney Potter in the hit NBC comedy series STUMBLE opposite Taran Killam. Likely best known for the role of Jennifer Husser in the hit TNT series CLAWS (opposite Niecy Nash), additional credits include the role of Chloe (opposite Julianne Moore) in Netflix’s limited series SIRENS, the villainous (and fan favorite) witch, Esther Finch, in Netflix’s DEAD BOY DETECTIVES, Paramount+ series HAPPY FACE (starring Dennis Quaid and Annaleigh Ashford), ELSBETH (starring Carrie Preston) as well as Linda on Hulu’s ENGLISH TEACHER (for which she garnered critical acclaim and Emmy buzz). You also may recognize her as Lindsey from JUSTIFIED or you might know her as the lady taking too long in front of you at any local grocery store. As a classically trained theatre actress, she has worked extensively on and off-Broadway. Broadway credits include Tom Stoppard’s 11-time Tony award winning THE COAST OF UTOPIA as well as Larry David’s FISH IN THE DARK. 

This is - How We Role. Discover fresh casting calls at castingnetworks.com.

Follow Host, Actor and Producer Robert Peterpaul (Amazon's Sitting in Bars with Cake, The Art of Kindness podcast) on Instagram @robpeterpaul and learn more at robertpeterpaul.com.


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Welcome & Jenn Lyon Intro

Speaker 1

Jenn Lyon, 57 Brooklyn. Yes, I'm willing to shave my mustache. And you're listening to How We Roll.

Speaker

Wait, do you do you say that?

Speaker 1

I mean, I don't say it about the mustache, but dudes have to say that. Don't you guys have to be like, I'm willing to shave.

First Jobs And Finding Identity

Speaker

When it comes to working in entertainment, there's a lot of hows. And they all boil down to how we navigate this wild industry. While how we follow our dreams is uncertain, how we roll along the way is in our hands. Welcome to How We Roll, a podcast for actors by casting networks. Hello, actor friends. It's your host, Robert Peterpaul, back with a really extraordinary episode. I'm thrilled you're joining us today. I just think you're number one. Maybe not on the call sheet just yet, but you are number one for showing up for yourself and looking for some acting inspiration today. We're going to give you just that as we breakmerry-go down how to lead a major TV show alongside the joyful Jenn Lyon. Jenn Lyon is an award-winning actress who currently stars in the leading role of Courtney Potter in the hit NBC comedy series Stumble, opposite Taryn Killam. As you'll hear me exhaustively say, it's my favorite new comedy on TV. Do not sleep on this show. You may also know Jenn as Jennifer Husser in the hit TNT series Claws, Chloe in Netflix's limited series Sirens, which I binged, Linda on Hulu's English Teacher, for which she garnered critical acclaim and emibuzz, or Lindsay from the FX series Justified. As a classically trained theater actress, Jenn has worked extensively on and off Broadway, with credits including Tom Stoppard's 11-time Tony Award-winning The Coast of Utopia, as well as Larry David's Fish in the Dark. I mean, the list goes on. It's longer than a CVS receipt. But as she puts it, you might know her best as the lady taking too long in front of you at the local grocery store. I thought I recognized her. I was just trying to get some Nutella. I truly cannot say enough about how much I enjoyed speaking with Jen. I would hang out with her for hours. She was incredibly generous and open with her wisdom, sharing what it takes to book a leading role on a major series, tangible self-tape tips that I'm gonna definitely implement starting today, and we just had a grand old time. Thank you so much for tuning back in to season two of How We Roll. If you want to see some fun behind-the-scenes content, you can visit us on social media at Casting Networks and at Rob Peterpaul. Let's connect. There you will also see we frequently poll our followers and listeners for questions so we can make sure we're getting your hows answered here on the show. Here's how we roll with being the number one on the call sheet, featuring the joyful Jenn Lyon. Jen, thank you so much for stumbling on over to the podcast today. I'm sorry.

Speaker 1

Okay. I didn't know we were gonna just go right into the get on the pun foot, and but honestly, respect.

Speaker

Yeah. I R E S P E C T find out that it's about to get more punny as we go along. And I have not really said this to you yet, but I just have to say I am such an admirer of you as a performer in your versatile array of performances. I mean, when I think of a character actor, I look at your career and I sort of just rise to the heavens because you literally I'm gonna say it. I think you're one of the greatest character actresses of our generation. I said it.

unknown

What?

Speaker 1

I said it. That is the nicest compliment you could ever give me, Robert. That's what I want to be in the I've always wanted to be a character actress. It's like it like the whole phrase endows so much for me. It like makes me think of, you know, I think about like Mary Louise Burke, I think of um Margot Martindale, I think uh I just think of like all the I think of Mel Carter, I think of all these great character actresses, and it's like to be included in that little phrase even makes me feel wonderful.

Speaker

Oh, I'm so glad. I genuinely mean it. I think I first peeped you, I was late to the party in Sirens, and I was like, who is this guest star friend track? Because you're just stealing all the scenes. And now I'm obsessed with Stumble, and we're gonna get into all of that. But before I just keep complimenting you and I become a merry-go-round and I can't stop, we should probably get into today's topic. And the question we always like to start by asking is what was your very first job in this business?

Speaker 1

My first like paying job? Or like the first free thing I did. Um my first equity paying job, like that, or like I also worked at a theme park and I got paid for that before I was ever equity.

Speaker

Oh, that's entertainment. Uh maybe the first time you felt like, okay, I'm I'm in this business now. I'm I'm officially being paid to do what I want to do.

Speaker 1

Aaron Ross Powell Okay. Well, listen, I was 18 when I worked at the theme park, and I thought I had arrived. And um, but I did it wasn't really the mountaintop that it seemed to be at the moment. So I'll say my first equity showing.

Speaker

Wait, were you a performer at a theme park?

Speaker 1

In fact, I was.

Speaker

Okay. I was picturing you taking tickets. I don't know why. That that didn't make sense. Performer makes much more sense. Yeah.

Speaker 1

Yeah. That hurts me.

Speaker

Um sorry.

Speaker 1

Uh no, I was um I worked at this theme park called Paramount's Carowinds, and it was half in North Carolina and half in South Carolina. And I hosted the karaoke show outdoors, and I also was run around Sue in the 50s review.

Speaker

Wow. Run around Sue. I did not know Run Around Sue was gracing us here today. Okay. Congratulations.

Speaker 1

Maybe you want to act right now, you know? Maybe you want to put some respect on it.

Speaker

Yeah, let me let me our S P C T stand up a little bit straighter. But I thought you were going to bring up something we had in common, which is that our first real breakout roles were in the Nativity Play growing up. Did I make that up?

Speaker 1

You're right, Robert. I mean, that's not a it's not paid. It's a volunteer. It's a it's for the love of the game.

Speaker

It's faith paid.

Speaker 1

Right. It's paid at the end. Um Yeah, yeah. But listen, who did you get to be?

Speaker

Okay. Well, long story short, I was the only one that could say frankincense because my dad's name is Frank. And so I booked it. I probably could have been Jesus, but you know, semantics. Yeah.

Speaker 1

I know, but also like he's just a baby. It's like it's not that great of a role.

Speaker

Yeah.

Breaking Into Stumble

Speaker 1

And also, like, I think a villain track is always more interesting because like you're saving the world. Like, I agree. It's like it's it's a romantic lead.

Speaker

Honestly. Okay, well, who were you? Who were you then?

Speaker 1

Were you the I'll tell you what, I never got to be Mary because my dad didn't want to be seen as playing favorites. So I was frequently a lamb. And then once I got, you know, once I warmed up and knew how to do like rooted and grounded performances, um, I got to be the angel that announced to everyone, Behold, we bring you good tidings of great joy. For unto you is born a savior this day. And he is Christ the Lord.

Speaker

And did you pocket that monologue for the future Equity Call auditions?

Speaker 1

Because I mean for SETC, I did it. I would yeah, I was like, this is both contemporary and classic. So get ready.

Speaker

That is amazing. I love that so much. Well, I guess from then to now being number one on the call sheet with NBC's half-hour comedy Stumble, which again, if you're not watching it, I mean this is gonna be one of the great shows that you're gonna look back on. You might not have a DVD set, but you're gonna want to watch it, you know, in rotation with Parks and Rec in the office. It's so good. Congrats again. Thank you. While of course it's a massive ensemble series, your character Courtney Potter, who's this driven cheerleading coach, I'm gonna laugh just thinking about it, is at the top of the pyramid. You see what I did there. We Sorry. I'm so sorry.

Speaker 1

No, I've got it. We've got it. We're doing it together.

Speaker

You got the tone. We love a good audition story here. So how was that process for Stumble? And were you sort of aware of anything you did along the way that you think booked you to the job?

Speaker 1

Okay. So yes, I got my managers had like sent this script to me and they were like, we don't even think we can get you in for an audition because they only want names for this. But just be ready. Because if if we can get you in, this is a great role for you. I read it. I molted on my skin, I grew feathers. I was like, I this it it appeared to me like John Nash's mathematics appeared to him in a beautiful mind. You know what I mean? It was just like, I was like, I know this backwards and forwards, man.

Speaker 3

Yeah.

Speaker 1

And also there was so much room for like discovery and whatever. So I really worked on it really hard for like a week. And I even made, because the audition scene was um the whiteboard scene you see in the pilot where she's talking about sheer camp and everything she needs to happen and uh or that that needs to happen that she needs to do. And and then also another scene in the bedroom with Boone. But I made my own poster board whiteboard. I was like, I'm gonna think of funny shit to do if I get to do this. And so then it came up that um I was gonna get to audition because and this is how this is so good for actors to know. You never know what's gonna like get you uh an uh uh the ability to get your foot in the door. They I I wasn't getting an appointment. The director, Jeff Blitz, went to dinner with two people that I don't know. I know them now because I sent them gifts. But they he was lamenting the fact that they couldn't really find the right girl. And they said, Have you seen English teacher? Do you know who Jenn Lyon is? And he was like, No. They showed him clips at dinner of English teacher, and then he was like, Oh, we should see her. So, like, thank you, Connor, thank you, Barrett. And then by the time he called, you know, and said we'd like to see her, I was prepared, you know.

Speaker

That's incredible. My nanny always says you never know who's watching. And it it does sound creepy, actually, now that I say it out loud.

Speaker 1

But it's got a stoker vibe. Yeah. But also the reason I got sirens was I was doing a play at South Coast rep in California when Molly Metzler was doing element OP, the play version of Sirens there. And I met her, this was a decade ago. And I met her there then. Loved her, loved the play. Um it was so cool. I just was like, wow, this is fucking cool. And then Sirens came around, and Nicole Cassell, who had directed The Pilot of Claws, was directing. So I just had both those connections just from the past. So like just always, I think my advice is like uh just always be sweet, be good, be I guess maybe not sweet is the word, but like be prepared, be kind, be curious about people, and like it always pays off down the line.

Speaker

I think that's beautiful. And it makes me wonder too, because a lot of actors, especially starting out, really are told they have to network, which can be such a dirty word. I know. I think it's just being kind and kind of making friends.

Speaker 1

Aaron Ross Powell I do too. Because when you think of network, you think of like going to an opening and standing there while people are talking to you and looking for somebody actually famous. And like that feels gross. But what if networking is the work you do and being curious about other people? Then it's just sort of a life skill.

Speaker

Okay. I'm starting a little dictionary here, and I'm just gonna write your definitions down. That was so good. I'm gonna interweave some questions from our listeners because they are very excited that you were coming on here. And this sort of connects to what we're talking about now in the audition space. This is a tough question to answer, maybe, because I'm sure like most of us, it's a lot. How many auditions do you think roughly you put in before booking a leading role? And and I guess not even necessarily on stumble, but English teacher, like anything that you feel like, okay, was a bit more standout. I'm sure it's hard to guess.

Speaker 1

Okay. So is this for theater or is this for film and TV?

Speaker

This is for film and TV.

Speaker 1

Okay. Oof.

Speaker

Uh and this is from at Lifestyle with Shuvom. Tough tough question, friend.

Networking As Curiosity

Speaker 1

Thank you so much. At Lifestyle with Shuvom. Um So before I got a fun guest star or before I got a recur? Like what are we talking about?

Speaker

Let's say fun guest star, because I feel like that is a big jump from co-star to guest star.

Speaker 1

So I guess that would be probably justified for me. And I would say I went on because I came from the theater, so like I didn't really know from film and TV, and I did a lot of really bad auditions where I was just yelling. And I can remember Meg Simon being like, You could take your voice down. And I was like, I'll be whispering. And she was like, just trust me, the camera's right here. Um a hundred?

Speaker

Okay.

Speaker 1

That just maybe a hundred. Because I did I mean, I did it poorly for a long time before I got a really good and and Justified was supposed to just be a guest star, and then it turned into a recur. Um yeah.

Speaker

A lot of people on our team love you for that, and that's what they were most excited about when we confirmed it.

Speaker 1

I just love Tim Oliphant, what a gem.

Speaker

Yeah.

Speaker 1

He's the best.

Speaker

It's on my list. But I I will say you brought up something important, which is that there's so many terms when you're starting out as an actor, especially, that are like a little bit ambiguous. It's like we hear make a choice and you kind of know what that means, but do you know what it means? And then you hear things like big or small. And you just brought up big or small sometimes just means speaking at a lower volume. It doesn't mean lowering your energy.

Speaker 1

No, it's like I made that mistake too. Like they told they would tell me to bring it down. And so then I would give like a really flat read. Yeah. That's no, you keep your intention clear and crisp. You just take your volume down. You play the room you're in, you know? I was always playing not really to the balcony, but to the check caching place across the street. And it's not necessary when the camera's close.

Speaker

We want that check. Well, okay. Check mate, we're gonna move into today's topic, which is we're I'm so sorry. The more things coming. We barely scratched the surface. I I am not okay. I have to go. We have a lot of actors listening to this podcast that I'm guessing would love to be a number one on the call sheet one day. And I recognize your show obviously brilliant ensemble, but sort of being at the helm of that first of all, what do you think being number one really means? Like how would you define that?

Speaker 1

What do I think being number one really means? I think usually if you're number one on the call sheet, you're the motor of the show. Like the plot and the and the motor is you. Like you're the driving force, usually. Um And also they'll really rush you out of breakfast to get into hair and do that. You know, like don't take a lot of time. Don't have toast. Just eat your eggs and get in there.

Speaker

Um because usually the first one there.

Speaker 1

Yeah, yes. And but yeah, I think I think you're the motor. And then a lot of the other people are different kinds of engines, or they're the brakes or the obstacles, or or whatever. But yeah, I think number one is usually the motor.

Speaker

Yeah, I think that's a great way to put it. I'm gonna write that down too. And I feel like you've learned from a lot of great number ones in your day, from we mentioned sirens with Julianne Moore to Nisi Nash on Claws.

Speaker 3

Yeah.

Speaker

So you've worked with some incredible folks. What do you think is the greatest lesson, I guess, you've learned from people like that that you now think about as as the number one I just saw Julianne uh last night.

Audition Volume Vs. Intention

Speaker 1

I was at Playwright's Horizon seeing the dinosaurs, my friend Maria Elena's in it. And also seeing like Kathleen Chalfont on stage and Liz Marvel and April Mathis. I was just like, everybody should see this. It's a sneaky little play. You're like, this is small, but like the acting is so good. And talk about character actresses anyway. I digress.

Speaker

No, good to know. I'm gonna write that down.

Speaker 1

She was there in the lobby seeing April, because they just did a workshop together. Um and working with Julianne, like she is such a high-caliber actress, and she doesn't have to stay for eyeline. I don't know if you guys know what that is, but it's like when your character, when the camera turns around on you and they're getting your coverage, the other person, sometimes if they're a big star, they don't stick around. Somebody else reads their lines. You're acting with a person who isn't the person. Um, and she stayed for eyeline for everything, which was like, she stayed for eyeline when the cameras were completely blocking her. Wow. You know, like it was we couldn't even see her anyway. But she was like, I want it to be my voice. I want to be like, she's such a teen player, which is a great lesson. Tim Olifant helped me so much, I didn't know what I was doing on Justified. And he and we were getting like rewrites all the time, like on the day, and I didn't know if that was a thing that could happen because I was from the theater and like it's usually been written hundreds of years before.

Speaker 3

Yeah.

Speaker 1

You know, or the playwrights there, and but once you're in, once you're doing it, it's locked, you know. So um having to work on the fly in that way, he was so helpful. Like what these number ones all have in common, Nisi also, is that they take care of the people around them, not at the expense of their own energy. They also know how to conserve their energy, which is something I'm not great at because I play too much.

Speaker

But I know I'm I'm gonna ask you about that.

Speaker 1

I play too hard, I play so hard. I mean, I play so hard before they yell action, but then by the time they yell action, I'm like, I know.

Speaker

Are you finding a balance for that or sort of a way to navigate that? Because we're similar in that, you know, you walk into a room, you just start to feed off everybody, and you want to have a good time, and then you get on set, and maybe you're sort of like, Well, I'm gonna still bring it, but I might pass out.

Speaker 1

Dude, I used to play so hard in the production van on the way to set during claws that I would get nauseous. And Carrie Preston would be like, You need to be in timeout, you sit by yourself for a minute and get your shit together. Because I would just play too hard. And then I would get in the van and I would purposely not talk to anybody so that I would could conserve it and not get nauseous before I got to set.

Speaker 3

Yeah.

Speaker 1

So yeah, that's something that I'm learning. But they're all they're sort of masterful at conserving their energy while taking care of the crew and the people around them. And I hope to get better at it. If everybody wasn't so fucking funny.

Speaker

Well, I think that adds to the vibe. And it's sort of like, you know, I guess just being self-aware to know when you think you need a granola bar or you need some quiet time. But it is hard.

Speaker 1

I do. And sometimes like because also you don't want to move your chair away because you want to be with everybody. But sometimes I do have to be like, I gotta learn, I gotta make sure I've got these lines, I gotta and everybody's great about it. You know.

Speaker

Yeah. They're great. Well, I guess what did it feel like that very first day walking onto the set? I mean, you've gone through this crazy audition process from what I know with network shows like that, especially you kind of sign your life away without even knowing if you're gonna get the part, and you have this whole emotional journey, and then you finally get to the set. What did that feel like?

Speaker 1

So scary. Oh, so scared. Um, like when we shot the pilot. I was we shot the pilot in Atlanta, and the very first day, my first scene was with Taryn, which I was so glad about because he was very scared. And he is the most he's the most giving, funny, generous partner you could have. It was just great. And then what was interesting was we had to shoot so fast that it felt like theater. Then I was doing confessionals, so I would do a thing straight to camera, run to the bathroom, change a shirt, come back, do another confessional, which is a straight-to-camera thing. So it felt like quick changes. It felt like I was like, oh, my body knows how to do this, you know? Like the fear and the setup and the waiting sort of engendered um more scariness for me. But once I was like actively doing the work, it kind of um settled down. And also I had never looked straight down the barrel of the camera so much. And that was terrifying. I had never done it before.

Speaker

Yeah, I'm sure. I have so many questions about that specifically, because I feel like mockumentary style must come not only with its own tone, but with technical things that you're doing.

What Being Number One Means

Speaker 1

It really is technical, dude. Because I was like, every time I look down the barrel, I'm like, am I a little bit cross-eyed? I just feel like it's a little bit like that. So they're like, put an X on a box and you look there.

Speaker

You should watch myself tape.

Speaker 1

So it's like it really and also you spend 20 years not looking at the camera and acting like it's not there. So they would be like, hey, on this take, why don't you check in with the camera after you say that? And I would be like, oh, I feel scared about it. But then like you learn to do it, yeah.

Speaker

Do you kind of feel like because when I watch the show, it it almost starts to feel like the crew, quote unquote, within the story, like they're characters. Like, do you have a lot of the same cameramen that you are looking at that you're sort of like, that's my partner?

Speaker 1

Yes. We have two. We have Sarah and Jim. And shout out. They are shout out, Sarah, shout out Jim. They are the best. And they also are funny themselves and kind of like they both have like a Cheshire cat quality that really activates me. You know what I mean? It's hard to it's hard to make them laugh, but also they're very giving. So it kind of like it, it it lights my little pilot light that they're right there, you know? And also they are you're your camera A and camera B. Because directors change around, but your camera people will stay the same usually. And they are kind of invaluable to an actor. They'll tell you, you can tell if you got it or not. A lot of times, like you might work with a director that you don't really trust their taste, or not the case with Stumble. Um you don't trust their taste, or you don't trust that like they understand the thrust of the scene or what you're trying to do, or they're dealing with their own thing. And but your camera guys are stalwart. I say guys for also ladies, and they'll you're having a relationship with them. You know, there's been many times where I've like looked to camera to be like, and they've been like you know, like they know they're there all the time. Yeah.

Speaker

I would just want to throw that out there. Someone passed their SATs. You know, I think it's it's it's interesting on this show, especially because I mean I guess this is true with most mockumentary series, but there's like a joke on a joke in the sense there's a funny button to the scene and then there's a zoom in on you. So do you are you aware of those things like the camera choreography? How much time goes into that?

Speaker 1

Yes, I am aware of it. Um because I'm listening and they'll say like do a push-in, you know, so I know I've got to stay in frame and be stay stay active, basically. Um Yeah, a lot of choreography goes into it to make it seem effortless. Um and also like the the lighting has to change because usually mockumentaries, it's set up to, you know, like if they're shooting the kids and then also shooting me at the same time, and you want to be able to get wides and whatever, but like I'm an actress of a certain age. So I need to have a little bit of light on the floor, little footlights shooting up into this visage.

Speaker

And so theatrical.

Speaker 1

You know, and so like uh they'll have to, if they want to get it in the wide, then they have to move the lights. And then I, you know, you know, they'll call out if it's a wide, a medium, a close, um, whatever. And it's also interesting, like the kids on the show, it a lot of it it's their first gigs, and so they're just learning this terminology, like how I imagine some people that are listening to this might learn it. And so somebody will be like, yeah, we should get it in cowboy. And then they'll look to me and I'm like, oh, that's knees up, you know? Or they'll be like, we need an OTS. And I'm like, that's over the shoulder. And I'm like, I remember when I didn't know it, and now I feel so excited to know it and like impart it. You know, it's cute.

Speaker

I love that. You're like, yeah. That's so special. And I've heard you talk about in interviews the fact that coming on as a guest star. I mean, I know with the co-star circuit, I think those are the hardest auditions because you're just saying the one line and you're like, dude, how do I show them I can act? And it's like just say the line. But I've heard you talk about the fact that when you come in as a guest star, especially sort of to your point earlier, it's like there's different directors. You kind of want to be able to show them your take on the character, but you want to be a team player. So now is the number one, do you sort of feel more confident in being able to like voice yourself and collaborate? Is that a different feeling? Okay.

Lessons From Great Leads

Speaker 1

Yeah, definitely. And I think, you know, the blessing of getting to be on shows that have run for multiple seasons is that you you you get your sea legs in a way. You're like, I know how to talk about this in a collaborative manner. Um also actors, I think intuitively, because we're so interested in behavior and people and stuff, like we're kind of like social survivalists. You can drop us into any situation and we're gonna get a read on the people around us and what we need to do to make the best work happen. And I think what when you're number one, there's just a lot, there's a level of grace given to you that a guest star doesn't get because you got to come in and get the job done that in a machine that's already going. Um But I do think that the the fun thing about being a guest star is that you're kind of this you're this new musical theme that's playing. Like all these musical themes are set, like in Peter and the Wolf or whatever, and then you come in and you've got this little trill to do. And it's exciting. And I mean, hopefully, the everybody doesn't want to just like go to lunch and be done. Um but I think they both have their merits. But I would say that being number one, like you definitely get people are more amenable, like right off the bat. Yeah. They're like, Oh, I wonder what she has to say. Whereas when you're a guest star, they might be like, oof, what does she have to say?

Speaker

Well, I'm sure that's not the case with you, but I will say, you know, if my puns are down here, your metaphors are off the charts. Okay, that that little musical metaphor you just say that was so good. But you mentioned the guest stars, and this show has some great ones. Some some of the people I love, and I've I've gotten to know a bit. We have Jay Harrison Gee, Annalie Ashford. I mean, theater's finest are coming in and out. So as the number one now, is that something you think about as sort of setting the tone? And when you were a guest star and Yes.

Speaker 1

Absolutely. I want our set to be warm, loving, inviting. I want people to feel prepared. I want them to like because I've come in and been a guest star before and like been handed a prop right before I shoot. I've never touched them, but I don't know what I'm doing. I haven't seen the room, and you're just like trying to keep your pants on. So I always want them to feel comfortable and be like, like um, we had a brilliant gentleman that came on and he had to work with a ventriloquist dummy. And it was like we were getting ready to shoot, and he had just been handed it. And so as number one, I was like, okay, I feel like I can step in here and be like, hey, can we give this brilliant actor just a chance to work with this box so that when he pulls it out and make sure it works correctly? And like because nobody's trying to, you know, give anyone short shrift. They're just, you know, trying to keep it moving.

Speaker 3

Yeah.

Speaker 1

And so I feel like that is something that I get to do that I feel great about. Also, like Jay Harrison Ghee. They are so good. Uh-uh.

Speaker 3

Needs to come back.

Speaker 1

I know, I know. I would be so stoked. And Annalie Ashford and Jeff Hiller and Marceline Hugo, like everybody. We've been really, really lucky with guest stars.

Speaker

And busy? I mean, you have to.

Speaker 1

She's so cute, so precious. But I do love, you know, I love that we're pulling from the theater community, because like that's that's where our character actors are, and that makes me feel great.

Speaker

For the tone, yeah. And I I loved playing that dummy food in Trolloquest. It was like such an honor to come on there and just be that little dummy.

Speaker 1

That little dummy. And you know, you're a shapeshifter. People didn't know. They didn't know it was you, Hundy.

Speaker

They didn't know.

Speaker 1

And that's a testament.

Speaker

Thank you so much. Well, I will say getting to sort of like fleshing out a character because Courtney feels so sort of fully realized, and I can see already like obviously parts of you are shining through like in every sort of major actor. I mean, that sounds sort of silly, but I I'm curious about your the physicality. I mean, she feels like sort of that she has that intense sort of coach walk to her. Oh, yeah. I read you had consultants from the cheer doc.

Speaker 1

Well, Monica Aldama, who I don't know if you guys watched the Cheers the Cheer documentary. I was I loved it during the pandemic. So she's an executive producer on the show, so she was there with us every day. And I watched her like a little hawk. I mean, I read her autobiography before we started. I rewatched the documentary, and I stole, I just blatantly stole her mannerisms. And she let me and she gave me her blessing. And because, like, you know, they say like the court makes the king, like there's a couple of things she does that are like psychological gestures you can hold on to, but really it's the way that the air changes when she walks in, and it's the immediate deference that she's given. And um you watch her work with a group of cheerleaders, and it's like, I mean, she walks in and like they love her so much that there's like a there's a wish for like mama to be happy, but they also like respect her. And she just she's that bitch. She is a very good thing.

Speaker

There's that bad news bear sort of element to it. Yeah, dude.

Speaker 1

Yeah, like my look, Courtney is decidedly wackier than Monica is. Monica has a deadpan that is unparalleled. You cannot crack her. Um and I think Courtney has like a real penchant for she's just more absurd, you know, for the tone. But um, yeah, I'm really lucky that Monica was there and I got to like trail her.

Speaker

Wow. That's really cool. And I'm guessing as you know, they get to know you and the show it becomes like sort of written into the pop culture pantheon, which I predict in their seasons galore, they're gonna start writing towards you. I think that's how writers room work a lot of the same.

Mockumentary Technique

Speaker 1

Yeah, I think they already have. Like they they just get it and then they write jokes that they know I would love to do, and then I'm a shameless ham bone. I just love any physical comedy, I love misdirects, I love anything. Like when we were doing the and this just goes to show you, like to put your own spin on things. Like, you know, when we were doing the audition, the stuff that made it into the pilot about like drawing that cat, I know how to do, like, that was just me. Because I was like, what if she loves doodling so much that she can't stop and it takes her focus and she just is like, hold on, shoot, a Christmas tree? Wow, Courtney. And um and then that like they drew, they did more scenes with like more doodles that like that's just the thing that she loves about herself is that she's got a skill for drawing and she'll use it to the benefit of the team in the school.

Speaker

So I think as actors, sometimes these things are just very innate and maybe we don't remember, but is that something you remember being like, okay, here's this take I'm gonna doodle more?

Speaker 1

Like, is that something you thought about, or are you just kind of I thought about doing it for the audition because it made me laugh. I, you know, I always want to do stuff. Like a lot of times we get in this rut where we're like, I want to do what they want. And of course you want to stay within the world of the play, and that's true. But I the older I get, the more I'm like, I gotta do what I think is funny because it's gonna light me up and make me active and give me that little shimmer in a way that like if I was just trying to go down the road and be like, this is who this, this is what's right on the page, I think that I don't know, it's sort of you're like you're narrowing yourself down, you're cutting off your your curiosity and your ability to bring yourself to the table. So yeah, I definitely planned it for the interview because I was like, because when I was doodling and messing with it, I mean the audition, not the interview. Um I was like everybody has something that they draw all the time. You know, if you're on hold, you draw what are you what's yours, Robert?

Speaker

You know, I do love that old sort of 80s, 90s S, you know. You do the Superman S. Exactly. Superman S. That's true.

Speaker 1

I do a series of flowers and vines. I do this lady with a ponytail. Like But I thought to myself, as I was doing it, I was like, she definitely just gets she gets involved. This is something that she you know, we just all and I was like, that's just relatable. It's like it's almost like a stand-up bit. It's an observation. So I think anytime you can make the world come alive a little bit more, I I think that's welcome.

Speaker

Yeah. Well, I guess in the same vein, the writing is so insane and hilarious on this show. It literally makes me laugh out loud, which I too. I'm I'm a like I I like having fun and laughing, but it's hard to, I feel like, make me laugh out loud with a show. And I wonder how that was I'm gonna cut that. That was a weird sentence. How much input do you have and sort of like how much improv is actually involved now that you're filming? Is it like very stick to the script or here's an alt joke, try it, try it, try it.

Speaker 1

Yeah, yeah, yeah. It's very here's an alt joke. I mean, the scripts are so well written. And a lot of times we'll get like, we'll get it exactly as written, and then we'll do takes where we get to play. There's always a fun run. There's always, or we'll in in discovery, in rehearsal, Taryn will say something and then I'll say something. And like, so it's like super collaborative. And also there's writers coming in and out from LA where the writer's room is. And if somebody's on set, then they'll run over with a piece of paper and be like, say this instead, say this this time. And you're like, oh my God, that's so fucking funny. Yes, of course. You know.

Speaker

Yeah.

Speaker 1

Or you'll be like, whoa, I just had an idea. Can I try this? And it's yeah, it's it's so fun.

Speaker

Yeah, it's so good. I mean, I wonder, I recently shot something where the night before I got a list of it was just me, alt jokes, like two pages. And I did spiral a little bit because I was like, do I have to memorize all these? Will they sort of run to me? What's gonna be the vibe? And so I wonder for you, you're in this groove, obviously, but how have you navigated that throughout your career, sort of the last-minute changes coming in and not letting it just totally take you down? Because then you have this inner struggle of like, this is what I want to do and I love it. Why am I stressed?

Camera Partners And On-Set Trust

Speaker 1

I know, dude. I know. It's just stressful because you it's the fear of failure. You're like, I'm not gonna get all these memorized, or I'm not gonna do a good job, or I'm not gonna You know, I do the the look, any actor I think that's like, I just don't let it stress me out. I don't think that's true. I think your initial reactivity is just there. Like, I'm gonna get upset. I'm gonna be like, it's 10 PM and I just gotta rewrite. Like my insides are gonna do that. But like that's my first draft self, right? I can amend it. I can edit it. And like that's not the self that's gonna show up, but I can let myself have a little reactivity, and I do. And then I just try to take a deep breath. Like if I had got that list of alts, I would go through it and be like, what are the best ones? You know, I'd be like, I can keep how many can I keep in here? Ten, fifteen, probably ten, realistically. And um and I would keep those in.

unknown

Yeah.

Speaker 1

You know, and then when I got to set, I would try to find somebody, I would try to find somebody to ask and be like, which of these do you love the best? You know, so that so that you know what they're looking for, and then you can kind of meld it with what you think to, you know.

Speaker

Yeah. I I know like nothing's as hot as it's ever served to have another metaphor that pills in comparison to yours, Jen. But it it is sort of a stressful thing. So I appreciate you breaking that down because it it's a reality. And at the same time, when you get on set and there's if it's a good set and there's good people, everybody's going through the same thing. And so I love what you said about sort of allowing yourself to be a first draft and then remembering that you can rewrite it.

Speaker 1

Yeah, just l listen, ain't nobody knows your inner world. Your inner landscape can be an absolute shit show tornado of elbows. You can just be like, whoa, whoa, whoa. And then it quiets, you know. We do the practices we need to do to help our nervous system and everything. But like that initial reactivity, I think like that's your birthright.

Speaker

Yeah. Yeah. Yeah. Well, what are some of those practices you have on set? Because I imagine you're always giving, you're the number one, you're in almost every scene. I mean, that's a lot. What do you do when you go back to your trailer to practice self-kindness? Is that something you think about?

Speaker 1

Yeah. Well, I'll tell you what I do, and this is nerdbird, but I do an extensive vocal warm-up before I get to set. I use the time in the production van. I didn't always do it, but like for this, Courtney's voice sits like low, like my natural voice is kind of like up here, and her voice sits like lower, it's gruffer. So I have to really get my breath low. I have to get grounded. And my poor van driver, Peter, um, I do like, it takes me like 35 or 40 minutes to get to set, and I do a vocal warm-up like from 2014 that I recorded, where I recorded when I was doing His Girl Friday at La Jolla. Um, the voice teacher there, Eva, recorded me a vocal warm-up, and I still do it. And it gets all your resonators, your cutters, your shapers, it gets you grounded in your body. You're like patting yourself all over your you know, the theater warm-up.

Speaker 3

Yeah.

Speaker 1

And I think that that really helps me because I'm like, no matter what, I'm connected to my breath and I'm grounded. Like, can't nobody tell me I'm not standing on my own two feet because I just made it happen.

Speaker 3

Yeah.

Speaker 1

And then whatever comes my way, I don't know. It's just easier to it's easier to take in. Um I make sure I eat food. My blood sugar has to stay even. Like, you don't want to be getting hangry, dude. It's a bad idea.

Speaker

No. How's the crafty? And I actually need to know for some. Precious. Precious. Okay. That's good. Yeah.

Speaker 1

Um really, really cute. Um Yeah, what do I do? I I mean, look, I also wallow in despair. Like a scene will be done. I'll go back to my we have d we have stages, so we have like dressing rooms, and I get the um, what is it? Esprit d'escalier. It's the French phrase for the wit of the staircase, and it's where you're like, oh, that's what I should have done. So I dep that happens to me, and then I have to go in a small spiral, and then it's time to do the next thing. So like you don't really have time to wallow. But yeah, you just you take deep breaths. I I think you have to have practices. It's like when you do yoga, what you practice on the mat, you take with you off the mat. So I have a yoga practice, I have a vocal warm-up, I have a meditation practice, I keep my blood sugar even, I stay hydrated, like I do the things that will help my body not freak out. It can kind of face whatever's coming. Because like if you need all the circumstances to be great all the time, then you're in order to be okay, then you're gonna be a mess. Because it's always gonna be a bunch of crazy shit coming at you. So you have to do the your homework and your body work before you get there so that whatever happens, you're ready and you're solid.

Guest Stars And Setting The Tone

Speaker

Such good advice. A bunch of crazy shit coming at you. It might be the title of this episode. I'm so sorry. I I think coming from the theater really teaches you that. And I mean, my therapist told me this the other day. She's like, if you start to overthink things and then let it be true for yourself, watch how you will defend yourself. So in those moments when you're like spiraling and you're sort of like, I should have done this, I should have done that, and you're like, Yeah, you should have. And then you'll instinctively be like, No, I did what I did, and it was great.

Speaker 1

In fact, no, in fact, I did what I did. Okay. Yeah.

Speaker

I need you to film like a reel of yourself in your trailer with those two personalities going at each other. Maybe that would be a good thing.

Speaker 1

I will. I'll do it. Yeah, that's really smart.

Speaker

Well, you're really smart. And I have some proof here today about the fact that you are a great number one and you're doing a grand old job to help sort of bolster what we're saying here. I may have reached out to a co-star of yours. Just to get a little quote. I'm gonna read it to you. And then you're an investigative reporter. I am. I did just audition to be a reporter in the line of 10 for the new exorcist film. Didn't book it.

Speaker 1

Because they were scared. They were scared of this level. You were trying to that wasn't the that wasn't really No, no, no. That's tough, Robert. Because that's for the possessed person to do. You're kind of the straight man. Well, we'll talk about it.

Speaker

Okay, thank you. I just thought, you know, if I'm gonna be exercised, do it. I was on a treadmill. It was great. But this is your quote. I'm gonna read it to you. It's it's really lovely. Okay. Okay. Just give everybody some insight into what it takes to be a good number one. The thing I admire most about Jen Lyon is that every time she comes to set, she has such a light aura around her. The good vibes that she brings set the standard for everyone else on set. She balances being incredibly prepared and technical with leaving room for spontaneity and playfulness so well. Her choices are so incredibly funny, and I look up to her ability to pivot when needed. She is the star everyone has been waiting for. Mama? No, I agree. Are you aware of all that? How does that sound?

Speaker 1

I didn't I had been wondering about my aura. And if it was light, is it dark? What's the color? I've never gotten a read on it. Is it a summer? Is it a winter? I don't even.

Speaker

Why not both?

Speaker 1

What a f what a fucking gorgeous thing to hear. I'm gonna put that in my pocket and like live off of it in tiny nibbles for weeks. That's so nice.

Speaker

I'll send that to you. It's one okay, I'm sure it could have been a lot of your co-stars.

Speaker 1

Are you gonna tell me who it was?

Speaker

I'll tell you who it was. Usually on my other pot, I make people guess these things. It's a little silly. But that was your friend Ariana Davis, who might have been asleep when she said it. Because I mean, her she is so funny on this show, too. She is so funny.

Speaker 1

Talk about Aura. Like, she comes to work so happy. But like happy doesn't even do it justice. Like, she is she's ready, like she's game, she's curious. I mean, I that's what I love most about actors, I think, is that they are innately, hopefully, curious, right? And she is curious, man. Like, she wants to know how everything works. She's curious about what's gonna happen, how things are going, like other people, like, oh, what a gem. What a sweet thing to say. That makes me feel great.

Speaker

Yeah. Oh, I'm so glad. Well, she did have a question for you, too, that I promised I would read. Yeah, we have the same manager, so we were going back and forth. She wants to know what has being number one on the call sheet for a network show taught you about yourself as an actor. What pressures do you feel as number one, and how do you navigate them?

Speaker 1

Okay, first, what has it taught me? Um It has taught me to trust my instincts, I think, because we're shooting so fast, we're block shooting, that means shooting multiple episodes at once. And we're in cutter we're um sorry, we're covering an incredible amount of material every day.

unknown

Wow.

Speaker

So how long is a typical day, by the way? Sorry to interrupt.

Building Courtney’s Physicality

Speaker 1

Um, I would get picked up at like 4 30 a.m. And I would arrive back home at like 10 p.m. You know, so like you you gotta do hair and makeup and get into costume and stuff. So it takes a minute, but then you're just shooting a whole lot and then you're getting out of here, and then so you don't have time to you're like cramming lines. I'm working a lot on the weekends to get the lines for the next episode. And so I had to really trust my technique. Thank you, School of the Arts, for giving me a craft and a way of working because. If I didn't have that, I would be lost. You know, but I understand that I can look at a scene, see the beats, see the objective, understand the theme and the event of it, and hit the ground running, you know? So it taught me to like do the work, but then trust my instincts, I think. And then the second part of the question was what?

Speaker

Oh, well, that was beautiful because I was gonna kind of nerd out and ask you about your craft, but you just beautifully summarized it very quickly, which is great. Well, she said, what pressures do you feel as number one? Oh how do you navigate them?

Speaker 1

Aaron Ross Powell Well, I feel pressure to take care of everybody. I want them to feel loved and cared for. I want them to feel like they matter. I don't want anyone to feel um I don't know. I just I have a real motherly instinct towards if the crew, and these are grown men and women, you know, but I'm like, I'm like, do you need a band-aid? I see that what's going on here. Um so I want them to all like coming to work. Um I feel pressure, yeah. If I'm being honest, I feel pressure for the show to succeed. Um because I know I'm not a name. I know I'm not like a star that they can bank on and they really took a shot on me. And I know I don't have anything to do with that, you know, but I do I would be lying if I didn't say I felt that pressure, you know?

Speaker

I appreciate you saying that. I mean, I think this is I mean, you've always been a star. I think this is making you a star from my little Muppet opinion over here. And I do feel as though if in some alternate universe the show never does succeed, it's not because it's not a great show, because everybody I can't I literally cannot stress enough how comforting, hilarious, and just all around amazing this show is. And it seems like you're just having the best time, which can lead to it. I I almost called you Courtney, which can Jenn lead to, I think, the biggest money burner in the business, which is a bad case of the giggles. So does that happen? How do you navigate that?

Speaker 1

I mean, yes, there everybody is everybody, not only are they funny in like a comedic technique way, everybody has incredibly stupid faces. And so looking at them when they are doing what they're doing, like Ryan Pinkston, his face is uh so dumb. His resting face is absolutely so stupid to look at. And it sends me sometimes I have to look past him or I have to look into the corner of his forehead. Because if I maintain eye contact, I'm gone. Taryn also has an incredibly stupid face. I mean, these are handsome people, but if you really give him a look, very dumb, very funny. Um so I just have to like playing it straight is hard, dude. I'd like to pride myself that like I can I don't break that often, but it's tough. It's really tough.

Speaker

Yeah. And I I feel like Courtney's sort of a rare mix. I guess it's similar to Amy Pouler and Parks and Wreck, where it's like you are the straight man, but you're also the hilarious leads.

Speaker 1

But you're also like wacky, yeah.

Speaker

Yeah, that's such a fine line to navigate, I feel like.

Speaker 1

It is. And like you wanna sometimes I, you know, sometimes you get the feeling that you're like, gosh, I wish I could be wackier in this scene. Like I don't want to just be the straight guy in the scene. But also like letting these other characters have these moments and shine like that is feels a hundred times better. It just feels it feels so good. Like to be the setup that then gets the punchline. It's like just it's it I don't know, it feels like a million bucks. It's so good.

Speaker

Oh, I love that. Well, I mean, okay, let's not go so over the fact that your faces are also stellar. I mean, you're given face as well, your reactions in the face. I do.

Speaker 1

I have a lot of face. I like it. Makes me very glad. Look, everybody's face is their own. But I really hate Botox and filler and like all the bullshit that everybody's doing to their faces. And I don't want to ever do it. I hope I can escape it. I think I can. But like I I think it's very important for actors that your face move and register the things that are happening around you. Um so yeah, I'm glad I I'm glad my face isn't frozen and that I can continue to make look at this. Just every look at that. Look at you. Every every dumb face we ever wanted.

Alts, Rewrites, And Staying Loose

Speaker

Yeah. It's a lot. The rest of the interview is gonna be like when you were talking about silly faces, I made multiple, but you looked away every time, and now I'm not sure what to do. Should I keep that in? Should we take it out, guys? Um I'll probably share it on Instagram. But I wonder comedy's so vulnerable. I mean, even just making a weird face, it is it is vulnerable, you know? And you also talked about being in the car and making weird noises in front of your driver to warm up your voice. I've heard you talk about even on a big Netflix show, it's like you're the villain and you have to pretend you're whipping up magic, and it's like hilarious because there's nothing there. It's CGI. Can you speak to that, sort of leaving the vanity at the door and just come into the bit.

Speaker 1

Well, just you just have to, dude. Like you can't nothing's gonna keep you. Again, you get to have the internal shit shore shit. Okay, one more time. You get to have the internal shit storm tornado of elbows feelings of embarrassment and everything. But you just have to do it. And if you just think of the performances you love, just think of them. They are boldly drawn. They are, I mean, comedic performances. They are committed, like within an inch of their life. Like they're not, you can feel when somebody's tentative. So like you just have to do it anyway. Like, be afraid, be embarrassed, and do it anyway. I am embarrassed 100% of the time. Always. I stay embarrassed.

Speaker

I love that. That's your quote. I have a posted here. I think it's Amy Poehr that says nobody looks stupid when they're having fun. You know?

Speaker 1

So I disagree. I think you could still look incredibly dumb. But like, here we are, and you're just a little monkey on a rock spinning in a vast expanse of space. Oh, that's beautiful.

Speaker

It's funny. Somebody make that into a drawing and send it to us because I just would love to see that image. I think that's so fun. And you do get these moments. You have the you have the alter ego where you get to tap into something a little bit more wacky, which is so fun, hoping she comes back. That was a great storyline. Lorraine. So Lorraine, that's it. Lorraine. And I I wonder for you if during this time when you when you're filming this like wild comedy, do you do you feel like there's a technical lesson you've learned that you call back to the most? Like something from school that you snap into.

Speaker 1

Yes. I know automatically what it is. Gerald Friedman, in fact, who's a brilliant R.I.P, uh Broadway director, and he was the dean of our school, he taught a semester and it was called timing your business. And in comedy, it's incredibly important. It's very different to say the line and close the window shade than it is to close the window shade and say the line. It's very different to um rifle through a set of drawers at the beginning of a line versus the middle versus the end. Like, how do you time your business? And I it's it's incredibly important on camera as well, like for sound, for everything. And so that was really invaluable for me in in terms of uh like technical work and comedy work, and also just like old school shit, like you don't move on somebody else's setup, you don't be wacky on somebody else's punchline. Like it's kind of like theater stagecraft shit that I'm so glad I knew about and that I could then take to uh acting on film and on camera.

Speaker

Wow, that's excellent advice. I think that's gonna help a lot of people, even with self-tapes as far as with self-tapes, babe, time your business. Yeah.

Speaker 1

You know?

Speaker

Time your business.

Speaker 1

Yeah.

Speaker

So in just in general in life, time your business.

Speaker 1

Time it's time your business, honey.

Speaker

That bathroom, hit the timer. Sorry, okay. Anyway, we're gonna play a surprise game where we're gonna try and mine you for more of these tangible tips. If you're down. Okay. It's usually it's called casting keywords, but we're gonna make this an actor edition. Okay. And so I'm gonna say a phrase, and then you just fill in the blank with your best piece of advice. And it's a flash round, but if so, whatever pops into your head, but if we go off on a tangent, we probably will.

Speaker 1

Okay. I'm ready.

Speaker

Okay. I like to spend my time. Oh, I kind of asked you this, but I like to spend my downtime in my trailer doing regretting what I just did. No.

Speaker 1

Okay. Okay, one more.

unknown

Okay.

Speaker

No, I like that you s I actually love that you say this though, because I you're such a success and people look up to you, and it's like, no matter what level you're at, right? It's all relative. But I just feel like hearing you say this is gonna affirm to a lot of people, okay, I thought that was a bad take, but I watched it. It doesn't matter what was going on in my brain, you know?

Speaker 1

Yeah, it's fine. They're gonna, it's gonna work. Um, I'll just spend my time in my trailer. Listen, take a lay down. Lay down. Take a lay down because you're doing so much work, you're on your feet, whatever. Like, take you a little lay down, do a little meditation, take an astronaut nap. Um like just let gravity, you know, take a hike for a minute and lay your body down. And um, yeah, that's what I I mean, I love laying down. That's one of my best hobbies.

Speaker

Yeah, I love that. I love that for you. My favorite hobby is to ask random questions during a game. And the next one here is my favorite way to quickly memorize lines is write them down. Yay! We were talking about that before we started recording. That's my favorite too.

Speaker 1

Yeah, I write them down beside it. Um, I I write them a lot, in fact. And it just helps me. I also record them into I know everybody's using like rehearsal or whatever the other one is. I use the old school line learner. Do you remember that one?

Self-Care, Warm-Ups, And Nerves

Speaker

Yes. Yes.

Speaker 1

I use line learners too. I just record all my lines and then I listen to it while I'm walking around. Yeah.

Speaker

I know. And it's really bad. I do do that sometimes if I don't have a reader, but I've actually booked things that way. Like I'm my own reader.

unknown

You do.

Speaker 1

Because sometimes what are you gonna do? People are busy. Yeah.

Speaker

And sometimes it's like a little hack because it's a little less vulnerable because you can just like do whatever and no one's there and you don't have to.

Speaker 1

Especially if it's like kind of monologue scenes or whatever. I'm like, I'm not gonna spend somebody's time for them to say two lines and like let me just work it up.

Speaker

I love that you say that. Okay, the next one is to get in the zone before performing.

Speaker 1

I warm up, motherfucker. Warm up. Put that on a t-shirt. Get connected to your breath, do a warm-up. Don't just hit it cold. Like get into your body. This is your whole ass instrument. Get into the whole thing.

Speaker

This might be similar, but if I have to prep for an emotional scene, I Oh, that's not this this is uh um different.

Speaker 1

Okay. If I have to prep for an emotional scene, I listen to sad shit.

Speaker

I listen to sad music. Sarah McLachlan in the arms of an angel on repeat.

Speaker 1

I watch an ASPCA commercial. No, but like there's a happy face scene where I had to cry. And look, when you're on set, it's different than when you're in a play. In the play, you got the story underneath you. It's all building towards this moment, whatever you have time, you're in the wings. When you're on set, so much shit is happening around you. Like a gaffer's getting a light up, somebody's um yelling for sound to fix something. Like it's just there's just such a whirlwind around you that sometimes you do have to put in headphones and stay in the space you need to be in. So I will listen to um just the saddest songs I could think of. And one of them is definitely um the unimaginable soul from Hamilton.

Speaker

Oh, that's a good choice.

Speaker 1

Boy, that'll get you, bud. It's quiet up to help.

Speaker

Bring him home. I don't know.

Speaker 1

Oh, come on. It just it's a music, man.

Speaker

Yeah, I love that. Music's very helpful. But obviously, I mean, maybe one day we can have that implanted in our ears and it's like a little cheat sheet. But have you learned the thing as far as okay, save the big emotional reaction for the close-up? Like, do you get that technical? Does that help?

Speaker 1

Um It just depends. I i Okay. Look, I have blown it in the wide more times than I can count because it's like it's there for you because it's the beginning of the scene or whatever. And honey, sometimes they don't get to your coverage till after lunch. So you've you've got to find a way uh back into it. You have to have like a little springboard for yourself. I think, you know, the hardest is when because uh, you know, if it's if it's a scene where it starts on you weeping, you might be able to get away with like using a tear stick or something if you're dried up. But if it's a monologue where you're not crying and then you have to start crying, that's all you. And so you really do have to find a way to hold your reserve a little bit. Like you can have it, because you want the other person you're acting with to also get the force of what you're doing if they need it. But you have to hold a little bit in reserve. And I think that's something I'm just now learning. And I'm 30 now.

Speaker

Yeah, it's taking a while. Listen, so wise for your age. And I just feel like, you know, hold uh hold the reserve, time your business. There's a lot of things we're getting here to put on t-shirts. I just have a few more in this little quick game. And the next one is the best self-tape tip I have for a TV scene is make a physical choice at the beginning.

Speaker 1

I think that's always interesting. Like sh you know, and it's not even like hacky. It's like, look, let's say you're being interviewed in a police interrogation scene and it's just sitting there. What can you do in the beginning to convey the world around you? You know what I mean? Like, are you like touching your necklace and then realizing you need to sit up straight before you start talking? Like, what are you how can you make it come alive instead of you just being like a little knot on a log? You know?

Speaker

Are you a fan of submitting two contrasting takes too?

Speaker 1

Is that something you Yeah, if it's necessary like if they're really contrasting, sometimes like I just sent him one, this is like a couple of months ago. Um, and one of it was like a really emotional scene, and one of them I really let myself cry. And in the other one, which is more interesting to me, I tried to keep the lid on it. And that's more interesting to me, but I sent both to my agents. And of course, I mean, I feel like the agents are like, do the crying one, like show you can do the thing. That's less interesting to me. Even watching it, I'm like, I like it when somebody's trying to hold on, you know. But you know, uh but yeah, if if it is a real contr uh contrast, yeah, I'll I'll send two.

unknown

Okay.

Speaker

I keep asking me about self-tapes, but I'll move on to this little next one in the game, which is the weirdest acting choice I have ever made in an audition is God, there's so many, babe.

Speaker 1

I don't even know. I have made the choice to like jump into frame. I've made the choice to like pop up into frame.

Speaker 3

Yeah.

Comedy Timing And On-Camera Craft

Speaker 1

I've made the choice to like like I'll do it from over here to be like What'd you say, Paul? Just I just the dumbest shit. I've made the choice to wear like a jaunty hat at an angle. I've done real dumb shit, bad wigs. I've just I've really You could ask my agents. It's it's it's not great. They've had me, I'll send something to them and they're like, okay, here's what you're gonna need to do in the retape. Like We love you for taking a big swing, but let's tone it down, you know.

Speaker

I love the big swings. I did something where I was a teacher recently and I I made like finger puppets that he was telling the story with because it was an unhinged teacher, and I was like, it's funny if they're on toothpicks, but it's sometimes it doesn't land, but it's kind of your point earlier, which is like you're having fun.

Speaker 1

Fucking take a big swing, dude. Write a poem and don't read it to anybody. You know, like whatever. It's in there. It's all it's bubbling in there. And even if that's not the take they choose or whatever, like I don't know, at least you tried it.

Speaker

Yeah. Yeah. Okay. That was certainly excellent advice right there. And I know you have a mama that you've gotten some great advice from. I wrote one down. I think it was services the rent you pay for being alive.

Speaker 1

That's right. That's what my mama always said. And it's I think it's directly from Shirley Chisholm and also Muhammad Ali, but like that is the truth and the way. And whenever anybody is like struggling with their self-esteem, I'm like, why don't you do some esteemable acts? Like, why don't you go do some things that will make you feel good about yourself and the world? Like it doesn't, it's not self-generated. You have to you have to be love in action for the world around you if you want to feel loving and good, I think.

Speaker

That's so beautiful. I'm like circling my last question here like a shark. I just keep thinking of more and more. I know I gotta let you go. But it that that did make me think of it.

Speaker 1

Well, that's like your whole podcast about kindness.

Speaker

I know. Oh, come on that one too. That's I love that one. I love it. Yeah, we could we could pop them on this feed because you're so kind already. But I wonder to me, this not like the exciting nervous psych out moments are the ones where, okay, you're almost gonna book stumble and maybe you have one final read or chemistry, whatever it is. In those downtime moments, is that what helps you? Getting out of your own head and doing something not in the industry? Like how yeah, absolutely.

Speaker 1

Yeah. Go donate blood, go fucking walk dogs at the shelter, get help your next door neighbor do something, you know, take a help somebody on the train with a stroller. Like it doesn't have to be, you know, just look, you can look for ways to be helpful in your life all the time. And but I do think that like a concentrated act of service or volunteering will enrich your life in ways that are like immeasurable. And it's so much better than like sitting around and waiting to hear, uh waiting that you're it's so much better than sitting around and waiting to be chosen, basically.

Speaker

Yeah. Yeah. That was you're so lovely. That was beautiful.

Speaker 1

Robert, you're setting the example.

Speaker

Uh so I usually we end this show by sharing a gotten or a given. So the best you've certainly just given a bunch, but the best piece of advice you feel like you've either gotten in this industry or have to give. And we could specifically make it for actors since that's a lot of people listening today.

Speaker 1

Gosh. The best advice I've ever gotten.

Speaker

It's just a small question.

Speaker 1

So scary. I'm like, what is it? Um You know, I I don't know if it's the best advice I ever got, but it was helpful to me. Sometimes I would be getting stuck on an audition about like how to play something. And I remember my pal said, think about an actor that you admire so much, and like how would they do it? Like, how would Mary Louise Parker approach this scene? Like, what weird way-in would she have and how would she do that? You know, like how would Viola Davis tackle this? You know? So it's like, even if you don't if you kind of feel bankrupt, you're like, I don't have this, I don't know what to do, to think about someone that you admire and how they might approach it. And somehow that becomes a way in. Not that you're gonna do an impression, but it's just about like it just opens your imagination a little bit, I guess.

Speaker

That's amazing advice. Is it crazy that there's people that probably think of you before they audition? You know, someone might be listening to this before their self-tape, which break a leg.

Speaker 1

Yeah. Break a leg, buddy.

Speaker

Break a leg. Well, it has been so wonderful to get to share a little bit of time with you. And I appreciate all your advice. And I just think we're so lucky to have a number one like you to look up to in this industry.

Speaker 1

Because Robert, thank you so much. What a gorgeous interview and what a gorgeous service you provide to people. And I just hate that you didn't get that reporter. I'm upset.

Speaker

Well, when we hang up, please call them. I need a poll. You need to say, this is the number one from Stumble, and you need to put him on the line of the ten other reporters that you probably won't see when the film actually comes out, but he needs to be a good thing. Okay, but it is important. And his head will be spinning.

Speaker 1

His head will be spinning, honey. So check it out.

Speaker

Thank you so much.

Speaker 1

Thank you, Robin.

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Robert Peterpaul

Host