Winter 2017 WHAT’S THE CALL TIME FOR THE COACH?
was on me, and have found a way to check in with him about what he wants without being intrusive. I’m walking a fine line, being present and doing my job without getting in the way and asking annoying questions.
Here’s what I’ve learned as an actor: Being part of the “crew” is not the same as being “talent.” You get treated far better when you’re talent. As coach, there’s no chair for me, I have to find my own perch. Yesterday, freezing By Lee Garlington to death, I asked the wardrobe person if I could have a After 33 years of working as “the coat. He told me they were out of coats, maybe he could actress” each and every time I set foot on a set, my job get me a robe. It didn’t happen. I ended up borrowing a title this week was “coach.” It’s been illuminating in ways jacket from the dolly grip. I know if my job title was I want to pass on to you. talent, I would have gotten a coat! Here’s how this happened: A good friend of mine, a As an actor, I don’t spend much time at video village. successful actor, gets hired by television shows to coach As crew, that was my spot. As crew, I’ve been privy to the young actors on the set. He booked an acting job this all manner of conversation I don’t hear when I’m talent. week and recommended me to take his place for the Listening to what is going on from the director’s 13-year-old actor he currently coaches. perspective, the producer’s, the star of the show, the script I’ve coached actors on the “business of the business” and supervisor, the writer and the DP was fascinating. What I’ve coached actors for auditions, but I’d never done this. they need or want in any given moment is not necessarily I’d never walked onto a set and been expected to watch a what we’re experiencing as performers. young actor for 10 hours and work with him on his lines, The single most revealing part of this process? Watching give him suggestions the actors perform over and over in the monitors at video and encouragement, IN THIS ISSUE: village. Seeing how we shine, how we get in our own way, help him understand how we annoy the heck out of the folks at video village, what’s going on in was so enlightening. The writers, producers and directors How to Register the scene and how 3 need a very specific beat that we don’t understand because for Classes to stay present when we, as actors, are in the moment, and they, as writers, listening as well as producers and directors, are looking at the whole picture in speaking. Workshop a way that we can’t. Once again, I was reminded how 4-5 impersonal it all is. They’re not really paying attention to And yes, I’ve made Schedule a couple of mistakes. us. They’re attending to the story, the suits, the arc of the show and getting the exact color they need. Like making a Workshop to the This show is funny, not yet on the air. The kid is a pro, 6-8 suggestion young actor and Descriptions having been acting for most of his life. The set is easy and having the director relaxed, the vibe is confident — a pickup for the back nine immediately tell him is expected. This was a great gig, and I am ever-soConservatory not to do that. I grateful for what I learned this week. Rules and 12 copped to the director right away that that I’m also very clear that I prefer being an actor!
Regulations