Milton will be teaching a week-long acting workshop at Clap Class in Marseille! The class will be held in English. Must have experience in film, television or theater, and be fluent in English.

Monday, November 18th to Friday November 22, 2024; 10 a.m. to 6 p.m.

To register: go to clapclass.fr

Two topics are covered in this episode: our tendency to be disconnected from what you’re talking about, and our tendency to be disconnected from what’s going on with you in the scene. We shy away from being truly connected because it means vulnerability, it means “going there.” Even if you’re talking about something simple or you’re in a moment that’s not particularly heightened, when we’re connected, we’re revealing ourselves. It’s why we fall back on an analytical tone. Because it keeps us removed. Milton also talks about the importance of being active at all times, whether we’re speaking or not. A great way to listen actively is to talk out your reaction to what another character is saying. This creates an internal monologue so that something is always “going on” with you, whether you’re listening or looking out of a window.

*This episode is in audio and video format. To watch the video version, find it on the Spotify app.

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Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠

Milton gives another round of notes to Chris who is doing a monologue from All My Sons.

This week, Milton coaches Chris on a monologue from All My Sons. This episode is both audio and video. You can watch the video version on Spotify.

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Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠

This week’s episode calls to mind the Steve Martin quote: “Be so good they can’t ignore you.” You want to make choices that are so inventive that they have no choice but to hire you.

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Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠

In this longer-than-usual episode, Milton coaches the class through Jed’s audition for a TV series in which an out-of-control robot is stealing children. You’ll hear how Milton talks out the entire scene several times. This includes his dialogue, the dialogue of the others in the scene and his response to the others in the scene, as if telling someone a story of what happened. In doing so, he finds choices he loves, which makes the scene more than being a mere plot device. He finds a clear action, gives himself obstacles which help him play that action, and starts getting a sense of who this person is.
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Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠

In this episode, Milton begins talking through The Rainmaker by N. Richard Nash. It’s an example of how we can begin working on a play by ourselves. There is no right way. We can take our initial impressions (whatever hits us first) and wander around with them in a non-performative way. We do this, in large part, to discover what world we’re in, and that becomes our entree into all the specific elements that exist in that world. “But I resist making a decision for as long as possible,” Milton says, referring to the barn in the play. “The reason is: I want every decision I make to feed into my understanding of what the scene is about. And at this point, I don’t know enough yet, about the play or my character, to create the barn. But once I know more, I’m going to build it in a way that helps me an as actor, that gives my character something to play against.”

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Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠

Two of Milton’s students are currently starring in an off-Broadway musical, and this week he discusses his recent work with them. He talks about the similarities between the structure of a film and the structure of a musical. In (almost) every scene there is a song, which takes place because the circumstances become so heightened that the only thing one can do in that moment is to sing; and like in film, each scene turns, (i.e. a big change happens and usually it’s during a song.)

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Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠