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I found it baffling and I didn't understand it, and I was really upset. And then, later on, it began to sink in, and it's been with me ever since.
Some, like Sally Kirkland, have stayed with their mentors' methods to this day.
I think with every program, there are things that you take from it that are valuable, and things that you don't take from it because it doesn't do anything for you.
It depends on the kind of actor that you want to be.
I remember a really good friend of mine was playing a leading role and was very overwhelmed by the whole thing and feeling kind of quite unconfident, and she said, "What do you really love? I found him very difficult and baffling, but subsequently it's been one of the most influential things in my professional life.
You know that thing about it's not about you, it's about the story?
The central line of something can be quite obscure or quite not what you'd expect.
But once you discover it, then you can work on your part, so that everybody knows what the play is about and serves that central line in their choices.[We did this workshop] about two or three weeks during the days when we were doing shows at night.
That's where I took my first acting class, under Lowry Marshall.
Then, after I finished there, I auditioned for NYU and got my master's from there.
And he said to us that the central line in that piece was a stage direction that says that the wheels of the trolley squeak as it's pushed into the room.
You think, if you were in that situation and waiting for that moment to identify your son's body, you would remember that squeak the rest of your days,.
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