1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:14,400 --> 00:00:17,440 -You are getting into a car, starting it up, 4 00:00:17,440 --> 00:00:19,021 and beginning to drive. 5 00:00:23,310 --> 00:00:25,313 Watch the road. 6 00:00:26,840 --> 00:00:29,180 Watch the scenery go by 7 00:00:29,180 --> 00:00:32,643 until soon the city is far behind you. 8 00:00:35,750 --> 00:00:39,150 You find yourself on a lonely road. 9 00:00:39,150 --> 00:00:41,087 You've never been there. 10 00:00:42,750 --> 00:00:46,170 It's twilight and slowly a mist 11 00:00:46,170 --> 00:00:48,843 comes rolling in from nowhere. 12 00:00:50,100 --> 00:00:53,453 You get out of car and into the mist. 13 00:00:56,073 --> 00:00:59,389 The mist thickens into a fog. 14 00:01:02,460 --> 00:01:04,023 You are lost in it. 15 00:01:09,040 --> 00:01:12,570 Good morning. -Good morning! 16 00:01:13,849 --> 00:01:16,499 -Moni's one of the main reasons I came to Juilliard. 17 00:01:18,710 --> 00:01:20,093 He's taught so many people. 18 00:01:26,485 --> 00:01:28,593 -Very good. 19 00:01:28,593 --> 00:01:31,555 -You know if you say to any Juilliard student, Moni. 20 00:01:31,555 --> 00:01:33,730 -And stop, and run; stop. 21 00:01:33,730 --> 00:01:35,740 Laura: Their eyes sort of get a little bigger 22 00:01:35,740 --> 00:01:37,550 and there's a little twinkle. 23 00:01:37,550 --> 00:01:39,340 -Quarter turn, yup! 24 00:01:39,340 --> 00:01:42,581 Laura: He's the one person who everybody had. 25 00:01:42,581 --> 00:01:43,960 -With our entire body. 26 00:01:49,546 --> 00:01:51,630 -I remember hearing about Moni 27 00:01:51,630 --> 00:01:53,703 prior to getting to the school, 28 00:01:54,770 --> 00:01:56,047 because he was legendary, he had been there 29 00:01:56,047 --> 00:01:58,791 from the very beginning of Juilliard. 30 00:01:58,791 --> 00:02:01,310 But they do a very interesting thing at Juilliard 31 00:02:01,310 --> 00:02:03,960 where they keep him from you for a year. 32 00:02:03,960 --> 00:02:05,160 Class: Woo, woo, woo! 33 00:02:06,560 --> 00:02:08,210 -I think to build fear. 34 00:02:08,210 --> 00:02:11,847 -There's this feeling of fear. 35 00:02:11,847 --> 00:02:12,710 Class: Left and right-- 36 00:02:14,086 --> 00:02:15,531 -Simultaneous! 37 00:02:15,531 --> 00:02:19,208 -Because so many students would walk out exhausted, 38 00:02:19,208 --> 00:02:21,030 dripping with sweat. 39 00:02:21,030 --> 00:02:25,130 You could tell that they had been really tested. 40 00:02:25,130 --> 00:02:26,288 -You have a huge space! 41 00:02:26,288 --> 00:02:28,725 You have a huge space here. 42 00:02:37,210 --> 00:02:40,600 -People didn't really know necessarily how to describe it. 43 00:02:40,600 --> 00:02:42,790 It was just that, oh my gosh, get ready, get ready 44 00:02:42,790 --> 00:02:45,083 'cause Moni's gonna kill you, Moni's gonna kill you. 45 00:02:46,520 --> 00:02:48,900 It was instantly very intense 46 00:02:48,900 --> 00:02:52,136 and something I had never really connected to, acting. 47 00:02:56,640 --> 00:02:57,860 -What if you had no words? 48 00:02:57,860 --> 00:03:00,557 How do you express yourself physically? 49 00:03:00,557 --> 00:03:02,859 Working with Moni gave us the ability 50 00:03:02,859 --> 00:03:04,650 to strip our inhibitions away 51 00:03:04,650 --> 00:03:05,720 and allow ourselves to go 52 00:03:05,720 --> 00:03:08,281 as far as we wanted to go as an actor. 53 00:03:08,281 --> 00:03:11,208 -This foul Egyptian hath betrayed me. 54 00:03:11,208 --> 00:03:12,041 -Away, away, corrupters of my faith! 55 00:03:39,853 --> 00:03:44,853 -By the mere unpredictability of rhythm I am startled. 56 00:03:45,170 --> 00:03:46,453 I move that way, oh! 57 00:03:53,010 --> 00:03:53,931 Who is that? 58 00:03:54,983 --> 00:03:58,450 I always found in the movements for actors, 59 00:03:58,450 --> 00:04:02,830 it was dancers coming and teaching you to do a plie 60 00:04:02,830 --> 00:04:04,399 or to do assemble, 61 00:04:04,399 --> 00:04:06,359 and I found it totally irrelevant-- 62 00:04:06,359 --> 00:04:08,700 Class: High knees in-- 63 00:04:08,700 --> 00:04:13,690 -Because actors have to deal not with an external form 64 00:04:13,690 --> 00:04:17,470 but with a form that emanates from the inwards life 65 00:04:17,470 --> 00:04:18,680 of the character. 66 00:04:18,680 --> 00:04:20,923 That's how I see movement for actors. 67 00:04:41,104 --> 00:04:43,643 -What's the best drama school in America? 68 00:04:45,210 --> 00:04:46,360 I applied for Juilliard 69 00:04:47,562 --> 00:04:51,202 and I wanted it so, so badly. 70 00:04:59,040 --> 00:05:02,033 I went in and I remember being intimidated by Moni. 71 00:05:03,082 --> 00:05:06,386 I did Hamlet, "Oh, that this too, too solid flesh." 72 00:05:06,386 --> 00:05:10,907 And Moni was like, "Okay, do the Hamlet again, 73 00:05:10,907 --> 00:05:14,336 "but this time I want you to think maybe he's crazy." 74 00:05:14,336 --> 00:05:16,010 So I started again, 75 00:05:16,010 --> 00:05:17,874 he stopped me after like three lines. 76 00:05:17,874 --> 00:05:20,560 -Stop. 77 00:05:20,560 --> 00:05:21,433 And run; stop. 78 00:05:22,497 --> 00:05:24,352 -"Okay, this will be the last time I stop you, 79 00:05:24,352 --> 00:05:26,780 "but I want you to be crazy." 80 00:05:26,780 --> 00:05:27,930 -Half turn, half turn. 81 00:05:27,930 --> 00:05:29,640 -So I took my shoe off 82 00:05:29,640 --> 00:05:31,657 and like slapped myself in the face with it 83 00:05:31,657 --> 00:05:34,519 and was like rolling around on the floor. 84 00:05:34,519 --> 00:05:36,867 And after maybe 10 lines he stopped me and was like, 85 00:05:36,867 --> 00:05:37,900 "Okay, thank you." 86 00:05:37,900 --> 00:05:41,832 I left and I was in the basement of a house in Cincinnati, 87 00:05:41,832 --> 00:05:44,165 painting the floor on my own. 88 00:05:44,165 --> 00:05:46,376 I got a call that I'd got into Juilliard, 89 00:05:46,376 --> 00:05:48,720 hung up the phone, sitting in this basement on my own, 90 00:05:48,720 --> 00:05:51,722 I was like, "Sweet." 91 00:05:51,722 --> 00:05:53,270 No one to celebrate with. 92 00:05:53,270 --> 00:05:58,093 -Uh-huh, and to the right. 93 00:05:59,146 --> 00:06:02,523 When I was 17 in Jerusalem, 94 00:06:03,590 --> 00:06:06,599 I went to see a show, a mime show, 95 00:06:06,599 --> 00:06:09,382 which I didn't know what it was at all. 96 00:06:11,150 --> 00:06:14,640 And when lights came up, you saw this figure 97 00:06:15,720 --> 00:06:18,890 who created everything from nothing. 98 00:06:18,890 --> 00:06:23,890 The wind, the trees, animals, fire, water, 99 00:06:24,833 --> 00:06:29,833 with no props, no words, no set. 100 00:06:31,270 --> 00:06:34,450 It was so magical, so incredible, 101 00:06:34,450 --> 00:06:36,613 I was utterly spellbound. 102 00:06:38,133 --> 00:06:40,083 I wanted to do that. 103 00:06:42,040 --> 00:06:44,083 Where does one learn that? 104 00:06:47,510 --> 00:06:50,360 I heard about Mr. Etienne Decroux, 105 00:06:50,360 --> 00:06:53,550 who actually created modern mime. 106 00:06:53,550 --> 00:06:55,150 There were always mimes, 107 00:06:55,150 --> 00:06:57,410 but there was never, never a technique 108 00:06:57,410 --> 00:06:59,410 where you can go and learn. 109 00:06:59,410 --> 00:07:01,186 And he developed this technique, 110 00:07:01,186 --> 00:07:03,533 and I decided to study with him. 111 00:07:04,460 --> 00:07:07,210 He was an imposing personality. 112 00:07:07,210 --> 00:07:09,963 He knew it, and he used It. 113 00:07:11,165 --> 00:07:14,240 You had to stand there on your feet 114 00:07:14,240 --> 00:07:16,702 like for an hour and 45 minutes, 115 00:07:16,702 --> 00:07:21,702 just working with your eyes going up there, up there, 116 00:07:22,395 --> 00:07:27,395 there, there, there, there, there, there, 117 00:07:27,400 --> 00:07:31,131 and then all kind of designs with the eyes. 118 00:07:31,131 --> 00:07:34,360 He was a kind of a scientist. 119 00:07:34,360 --> 00:07:37,830 He loved discovering the possibilities 120 00:07:37,830 --> 00:07:39,963 of the physical expression. 121 00:07:41,240 --> 00:07:44,470 His motto was give me one square yard, 122 00:07:44,470 --> 00:07:46,863 one light, and I'll give you the world. 123 00:08:15,037 --> 00:08:17,957 It was not easy for me at the beginning 124 00:08:17,957 --> 00:08:22,410 because physically, I was a actor, I was loose. 125 00:08:22,410 --> 00:08:25,923 As a mime you never let go of physical tension. 126 00:08:28,290 --> 00:08:30,610 All I wanted to do is to be a mime 127 00:08:31,600 --> 00:08:33,863 and that really became my passion. 128 00:08:48,910 --> 00:08:50,673 -Kevin! -Moni! 129 00:08:51,506 --> 00:08:55,720 I find actors really the most interesting people. 130 00:08:55,720 --> 00:08:57,315 Kevin: It's an act of empathy. 131 00:08:57,315 --> 00:08:58,894 -Absolutely. -If you can't empathize, 132 00:08:58,894 --> 00:09:01,233 how can you play another character other than yourself 133 00:09:01,233 --> 00:09:03,137 if you don't have -- -It's empathy, 134 00:09:03,137 --> 00:09:06,490 you have to have incredible understanding, 135 00:09:06,490 --> 00:09:09,290 knowledge of the human character. 136 00:09:09,290 --> 00:09:12,810 Today, an actor cannot be just, you know, 137 00:09:12,810 --> 00:09:16,230 the way once they used to be all about the speech and-- 138 00:09:16,230 --> 00:09:17,983 -Yeah, when I was at Juilliard, 139 00:09:18,870 --> 00:09:23,870 I was just an unformed amoeba of insecurity. 140 00:09:24,490 --> 00:09:26,210 Like what's the right way to do it? 141 00:09:26,210 --> 00:09:27,560 There's a right way and a wrong way. 142 00:09:27,560 --> 00:09:30,967 I was very in my head, 143 00:09:30,967 --> 00:09:35,967 and Moni Yakim got me out of my head into my body. 144 00:09:36,325 --> 00:09:38,322 A lot of it is getting to know yourself, 145 00:09:38,322 --> 00:09:40,883 and a lot of it is getting to forget yourself. 146 00:09:42,070 --> 00:09:43,809 There's always a mask. 147 00:09:43,809 --> 00:09:46,111 The mask is the source. 148 00:09:46,111 --> 00:09:47,527 If you're playing a character, 149 00:09:47,527 --> 00:09:50,383 even if you're just playing or being yourself, 150 00:09:50,383 --> 00:09:53,193 you can be more yourself because it's not you. 151 00:09:54,390 --> 00:09:57,290 Oh, what an old and peasant slave am I. 152 00:09:57,290 --> 00:09:58,710 I'm doing now an exercise 153 00:09:58,710 --> 00:10:01,487 where you have to be your most hilarious. 154 00:10:01,487 --> 00:10:04,093 -Forms, 'cause you can see, and all for nothing! 155 00:10:06,240 --> 00:10:08,020 -Then you move to a dramatic spot 156 00:10:08,020 --> 00:10:10,119 where you have to be your most dramatic, 157 00:10:10,119 --> 00:10:11,933 even I think too melodramatic. 158 00:10:19,280 --> 00:10:22,729 And most of the time the dramatic spot 159 00:10:22,729 --> 00:10:25,413 is funnier than the comic spot. 160 00:10:25,413 --> 00:10:30,413 Because when you reach the utmost level of tragedy, 161 00:10:30,704 --> 00:10:33,117 it becomes hilarious. 162 00:10:33,117 --> 00:10:35,200 -I'm havin' a breakdown! 163 00:10:36,501 --> 00:10:40,090 I'm havin' a breakdown, I'll tell you somethin'. 164 00:10:40,090 --> 00:10:43,810 -Mina is the precursor to Moni at Juilliard. 165 00:10:43,810 --> 00:10:45,080 You get Mina the first year, 166 00:10:45,080 --> 00:10:47,210 you get a little taste of what she has to do. 167 00:10:47,210 --> 00:10:50,880 Of course what she's doing is less of a movement language 168 00:10:50,880 --> 00:10:53,258 and more about masks. 169 00:10:53,258 --> 00:10:56,810 -Masks enable the actors to get in touch 170 00:10:56,810 --> 00:10:59,510 with their instinctive self, 171 00:10:59,510 --> 00:11:01,660 and not to be just in your head 172 00:11:01,660 --> 00:11:03,651 and think all the time and preplan. 173 00:11:03,651 --> 00:11:06,323 It becomes kind of boring and restrictive. 174 00:11:08,240 --> 00:11:09,900 -Every actor wants the ability 175 00:11:09,900 --> 00:11:12,370 to be able to create the world around them. 176 00:11:12,370 --> 00:11:13,590 When you play with a kid, 177 00:11:13,590 --> 00:11:16,160 a kid sees everything in the room he's talking about. 178 00:11:16,160 --> 00:11:19,670 He can turn that spoon into a sword or whatever he wants. 179 00:11:19,670 --> 00:11:22,170 And Mina, you know, gives you that. 180 00:11:22,170 --> 00:11:27,170 -Okay, wonderful. 181 00:11:29,007 --> 00:11:33,424 -I was a sparrow spirit who ran spirit dance studios 182 00:11:36,810 --> 00:11:41,223 and I got mugged by, where is he, that guy. 183 00:11:41,223 --> 00:11:43,130 Just mugged me, came up to me 184 00:11:43,130 --> 00:11:45,763 and asked me if I like cocaine. 185 00:11:47,460 --> 00:11:50,092 And I was like, yeah, but I've got a dealer, thank you. 186 00:11:50,092 --> 00:11:52,140 And then he was like, great, you're gonna come 187 00:11:52,140 --> 00:11:54,360 to the corner with me and give me $500 188 00:11:54,360 --> 00:11:56,647 and buy cocaine from me or I'm gonna shoot you. 189 00:11:56,647 --> 00:11:58,820 And so I did. 190 00:11:58,820 --> 00:12:00,670 -It's important what's reading the character, 191 00:12:00,670 --> 00:12:03,220 because a moment ago he was a little bit like that. 192 00:12:04,340 --> 00:12:06,360 You immediately have a character there. 193 00:12:06,360 --> 00:12:09,783 Character who is like this, maybe, you know. 194 00:12:10,670 --> 00:12:13,124 If your legs are like this, or like this. 195 00:12:14,580 --> 00:12:16,180 You have to watch people. 196 00:12:16,180 --> 00:12:18,440 My father taught me that when he lived here 197 00:12:18,440 --> 00:12:19,900 for a couple of years in America. 198 00:12:19,900 --> 00:12:21,767 He used to take the subway and he said, 199 00:12:21,767 --> 00:12:23,757 "I love to sit there and just watch people. 200 00:12:23,757 --> 00:12:27,410 "You know, their feet, their legs, everything about them." 201 00:12:27,410 --> 00:12:28,985 He was totally fascinated. 202 00:12:28,985 --> 00:12:31,451 Look at people, look at life around you. 203 00:12:31,451 --> 00:12:35,305 Trust yourselves, guys, you're really, you're good. 204 00:12:35,305 --> 00:12:39,585 Trust yourselves; very, very important to just go there. 205 00:12:39,585 --> 00:12:43,860 And let's start by flexion, pelvis, 206 00:12:43,860 --> 00:12:46,495 chest, waist, leg and head. 207 00:12:46,495 --> 00:12:48,162 All right, let's go. 208 00:12:49,002 --> 00:12:50,490 Flexion, forward bend. -Mina and Moni, 209 00:12:50,490 --> 00:12:52,290 sometimes they would teach together. 210 00:12:52,290 --> 00:12:55,700 It was amazing how well they worked together. 211 00:12:55,700 --> 00:12:56,533 And since they were married, 212 00:12:56,533 --> 00:12:58,925 they really had the ability to come in 213 00:12:58,925 --> 00:13:00,840 and tell their story, 214 00:13:00,840 --> 00:13:03,286 to help you explore where you wanted to go. 215 00:13:07,557 --> 00:13:11,724 -I met Mina on the stairs going to my first class 216 00:13:14,224 --> 00:13:17,292 because she studied with Marcel Marceau. 217 00:13:21,502 --> 00:13:24,460 Marceau was a different bag all together. 218 00:13:24,460 --> 00:13:27,083 He was the real entertainer. 219 00:13:27,083 --> 00:13:30,454 He was the one that wanted to amuse the audience 220 00:13:30,454 --> 00:13:32,954 and that was a big clash between Marceau 221 00:13:32,954 --> 00:13:37,693 and Mr. Decroux who was actually the teacher of Marceau. 222 00:13:39,934 --> 00:13:44,530 And Decroux always felt that Marceau commercialized 223 00:13:44,530 --> 00:13:47,503 the great art that he was creating. 224 00:13:48,555 --> 00:13:50,863 And for that he never forgave him. 225 00:13:54,150 --> 00:13:57,350 -Before I met Moni, I had a relationship 226 00:13:57,350 --> 00:14:01,333 with Marcel Marceau while I was in his school. 227 00:14:02,250 --> 00:14:04,743 And then I started to see Moni much, much more, 228 00:14:06,860 --> 00:14:11,373 and Marcel was very nice about it; he understood. 229 00:14:15,170 --> 00:14:19,230 -By that time Mina and I were in love with each other. 230 00:14:19,230 --> 00:14:22,973 I wanted to be with Mina as much as I could, 231 00:14:22,973 --> 00:14:26,970 so I just decided to try and influence her 232 00:14:26,970 --> 00:14:29,540 to come with me to Mr. Decroux's school, 233 00:14:29,540 --> 00:14:31,256 which was totally different. 234 00:14:33,870 --> 00:14:37,013 It had to do with precision and focus. 235 00:14:38,450 --> 00:14:42,620 Since I was by that time pretty good with this technique, 236 00:14:42,620 --> 00:14:44,123 I started to teach her. 237 00:14:46,130 --> 00:14:48,433 And Mina became my first student. 238 00:14:51,500 --> 00:14:55,293 I owe her my evolution as a teacher. 239 00:14:58,250 --> 00:15:00,650 -Every time I approach any piece of material 240 00:15:00,650 --> 00:15:01,887 I think about Moni, 241 00:15:01,887 --> 00:15:04,830 and I think about the things that he taught me, 242 00:15:04,830 --> 00:15:08,123 and I think about how I can apply those things. 243 00:15:09,271 --> 00:15:12,090 -The second year it's about honing it in on you. 244 00:15:12,090 --> 00:15:14,520 Figuring out how all those different basic acting steps 245 00:15:14,520 --> 00:15:17,320 work best coming from you. 246 00:15:17,320 --> 00:15:20,024 Oscar: Movement teacher is such a reductive word 247 00:15:20,024 --> 00:15:22,480 for what it is that he does. -Low, toes, outside. 248 00:15:22,480 --> 00:15:24,750 -What he's actually doing is putting together 249 00:15:24,750 --> 00:15:26,274 all the pieces of what we're learning here. 250 00:15:26,274 --> 00:15:27,989 So we're doing scene class, 251 00:15:27,989 --> 00:15:30,596 we're doing vocal work, we're doing the breathing, 252 00:15:30,596 --> 00:15:32,759 we're doing like , 253 00:15:32,759 --> 00:15:34,200 you know, all these different things. 254 00:15:34,200 --> 00:15:37,853 And then when we think, you know, this is just a move, 255 00:15:37,853 --> 00:15:39,190 just to express the body a little more. 256 00:15:39,190 --> 00:15:40,240 But it's actually not that. 257 00:15:40,240 --> 00:15:43,142 It's actually this is how you relate 258 00:15:43,142 --> 00:15:44,973 to the rest of the world. 259 00:15:46,980 --> 00:15:50,347 Movement is action and action is acting. 260 00:16:01,923 --> 00:16:06,270 I was always really intensely obsessed with people 261 00:16:06,270 --> 00:16:09,540 and like why people behave the way they do. 262 00:16:09,540 --> 00:16:13,772 -Everybody follows Claire, let's go, Claire. 263 00:16:15,091 --> 00:16:20,091 Together, one sound, one action, one entity. 264 00:16:23,888 --> 00:16:28,278 Tap tap toe, we get up to the left. 265 00:16:28,278 --> 00:16:30,198 Forward, back, forward-- 266 00:16:30,198 --> 00:16:32,250 When I was a kid I would create a character 267 00:16:32,250 --> 00:16:35,103 an then I would just live as this character for days. 268 00:16:36,550 --> 00:16:37,993 Like I just had to. 269 00:16:39,380 --> 00:16:40,992 My mother thought I was insane. 270 00:16:46,560 --> 00:16:49,423 I just had this massive excess of energy. 271 00:16:51,172 --> 00:16:55,270 It would never come out as directly as anger or sadness, 272 00:16:55,270 --> 00:16:57,750 I just like knew I just had to do something. 273 00:16:57,750 --> 00:17:02,673 -Lie down, sit up. 274 00:17:09,195 --> 00:17:12,747 Sit up, lie down. 275 00:17:12,747 --> 00:17:17,580 Claire is going to tell us the tallest tale she can invent. 276 00:17:17,580 --> 00:17:20,074 -So I was walking on water the other day-- 277 00:17:20,074 --> 00:17:22,090 -Uh-huh? -Came up and it told me 278 00:17:22,090 --> 00:17:23,034 that it liked eating brains. 279 00:17:23,034 --> 00:17:24,697 And I ate some very nice -- 280 00:17:24,697 --> 00:17:27,335 -And how did you feel when you ate it? 281 00:17:27,335 --> 00:17:29,418 -Delicious! -Oh, uh-huh. 282 00:17:35,850 --> 00:17:40,850 And have a terrific day. 283 00:17:45,668 --> 00:17:50,323 When we look at someone who wants to come and study with us, 284 00:17:52,850 --> 00:17:55,073 we are looking for raw material, 285 00:17:58,210 --> 00:18:00,063 not necessarily the skills. 286 00:18:01,650 --> 00:18:04,253 It's the potential that we are looking for. 287 00:18:06,950 --> 00:18:10,371 I would like you to look at your total personality 288 00:18:10,371 --> 00:18:12,244 as if it were a jewel. 289 00:18:12,244 --> 00:18:17,244 Each facet refracts light differently to the beholder's eye. 290 00:18:17,446 --> 00:18:20,025 Director: And ready, and play even more on it. 291 00:18:20,025 --> 00:18:21,810 And do this one just a little bit quicker. 292 00:18:21,810 --> 00:18:23,639 Push this, compress this stuff a little bit more 293 00:18:23,639 --> 00:18:25,830 and play a little bit more, okay? 294 00:18:25,830 --> 00:18:29,241 And ready, and action. 295 00:18:33,200 --> 00:18:36,262 Each facet is necessary to the structure 296 00:18:36,262 --> 00:18:38,199 of the polished stone, 297 00:18:38,199 --> 00:18:42,943 if the full potential of the gem is to be revealed. 298 00:18:45,200 --> 00:18:47,657 It's difficult to talk about life, in a way, 299 00:18:47,657 --> 00:18:49,410 about what happened in life, 300 00:18:49,410 --> 00:18:52,733 because whatever happens in life is accidental. 301 00:18:54,620 --> 00:18:58,003 As much as we think we are wise about it, 302 00:18:59,109 --> 00:19:02,610 there is always something that happened that is unexpected 303 00:19:03,590 --> 00:19:06,663 and our entire life changes. 304 00:19:14,780 --> 00:19:18,663 I dream all the time about going back to Israel. 305 00:19:21,480 --> 00:19:23,693 I'm very connected to the country. 306 00:19:27,200 --> 00:19:30,563 I was born in Jerusalem and I grew up in Jerusalem. 307 00:19:31,912 --> 00:19:35,440 My parents came from Arabic countries 308 00:19:35,440 --> 00:19:38,993 so I felt that I was second-class citizen. 309 00:19:40,320 --> 00:19:44,623 My mother was born in Alexandria, Egypt, an Egyptian Jew. 310 00:19:45,900 --> 00:19:48,755 And my father came from Aleppo. 311 00:19:48,755 --> 00:19:52,763 I'm the youngest of four older brothers and one sister. 312 00:19:55,150 --> 00:19:59,160 Where I grew up, I remember sitting on my balcony 313 00:19:59,160 --> 00:20:02,390 observing the people that were working in the streets. 314 00:20:02,390 --> 00:20:07,340 It was an unbelievable theater of characters. 315 00:20:07,340 --> 00:20:10,233 People came from all over the world to live there. 316 00:20:11,750 --> 00:20:14,917 At the time, Palestine was under British mandate. 317 00:20:14,917 --> 00:20:16,227 - Army and the Palestine police, 318 00:20:16,227 --> 00:20:18,100 they can see the burning wreckage of the-- 319 00:20:18,100 --> 00:20:22,940 Us, as kids, we used to hear British soldiers 320 00:20:22,940 --> 00:20:26,397 scream at us, "Fuck off, little miserable Jew. 321 00:20:26,397 --> 00:20:28,463 "Get off the street," and so on. 322 00:20:29,930 --> 00:20:32,604 My brothers were involved in the underground. 323 00:20:32,604 --> 00:20:34,402 - 200,000 Jews are being checked 324 00:20:34,402 --> 00:20:37,530 by two divisions of British troops and Palestine police. 325 00:20:37,530 --> 00:20:41,420 Fighting for liberation from the British mandate, 326 00:20:41,420 --> 00:20:43,872 my brothers were my heroes. 327 00:20:43,872 --> 00:20:46,190 Seeing people being killed, 328 00:20:46,190 --> 00:20:48,491 seeing my brother seriously wounded, 329 00:20:48,491 --> 00:20:52,070 mortal danger started to sink in. 330 00:20:52,070 --> 00:20:53,773 It was a war of survival. 331 00:20:55,726 --> 00:20:58,240 Ultimately the British left, 332 00:20:58,240 --> 00:21:02,190 and the United Nations voted for Israel's independence. 333 00:21:02,190 --> 00:21:05,199 This led to a war with our Arab neighbors. 334 00:21:05,199 --> 00:21:07,162 The war is very long. 335 00:21:09,397 --> 00:21:14,238 There was a lot of street violence at that time. 336 00:21:14,238 --> 00:21:17,339 As kids, we were stoning each other, 337 00:21:17,339 --> 00:21:19,937 beating each other constantly. 338 00:21:19,937 --> 00:21:22,715 We committed some crimes, 339 00:21:22,715 --> 00:21:24,828 and people didn't want to mess with us 340 00:21:24,828 --> 00:21:27,764 because otherwise we'd go break their windows, 341 00:21:27,764 --> 00:21:29,713 beat their children. 342 00:21:30,700 --> 00:21:33,508 It was fun being the king of the street. 343 00:21:35,292 --> 00:21:39,566 I understood that people had to go to become soldiers, 344 00:21:39,566 --> 00:21:41,249 that was a given. 345 00:21:42,082 --> 00:21:46,075 I volunteered to a serious fighting unit. 346 00:21:47,360 --> 00:21:52,325 And my sergeant really started to harass me during training. 347 00:21:52,325 --> 00:21:56,967 He became an authority that I couldn't tolerate anymore. 348 00:21:56,967 --> 00:21:59,804 I swear. -I swear. 349 00:21:59,804 --> 00:22:01,500 That I will not. 350 00:22:01,500 --> 00:22:03,529 Class: That I will not. 351 00:22:03,529 --> 00:22:05,529 -Move these hands. 352 00:22:05,529 --> 00:22:06,423 Class: Move these hands. 353 00:22:08,343 --> 00:22:10,710 -When we had roll call 354 00:22:10,710 --> 00:22:13,683 my sergeant would come and check our guns. 355 00:22:13,683 --> 00:22:16,523 One day he pushed the butt 356 00:22:16,523 --> 00:22:19,933 of my gun and hit me on my face. 357 00:22:22,950 --> 00:22:26,402 I just lost my brain, totally. 358 00:22:26,402 --> 00:22:28,565 I pulled the gun from his hand 359 00:22:28,565 --> 00:22:31,450 and beat the hell out of him with it. 360 00:22:31,450 --> 00:22:36,170 He fell to the ground, all bloodied. 361 00:22:36,170 --> 00:22:37,652 And chin up. -Up. 362 00:22:37,652 --> 00:22:39,233 -And flat, chin up. -Up. 363 00:22:39,233 --> 00:22:40,910 -And flat, chin up. 364 00:22:40,910 --> 00:22:43,863 Well, I had to spend one year in jail. 365 00:22:45,340 --> 00:22:49,530 They were accusing me of inciting a mutiny. 366 00:22:49,530 --> 00:22:52,493 Maybe 20 of the unit ran away. 367 00:22:55,000 --> 00:22:56,133 -Present. -Present. 368 00:22:57,608 --> 00:23:00,840 -And up. 369 00:23:00,840 --> 00:23:04,320 -This is the first sense I ever had of having a master. 370 00:23:04,320 --> 00:23:08,641 To me that was the beginning of having a concept 371 00:23:08,641 --> 00:23:12,318 of the phenomenon of discipline. 372 00:23:12,318 --> 00:23:16,620 Class: Hast thou forgot the foul witch Sycorax? 373 00:23:16,620 --> 00:23:18,610 -Physical tension, there's a lot 374 00:23:18,610 --> 00:23:20,340 of tension involved for actors. 375 00:23:20,340 --> 00:23:22,551 -Reach your goal up there. 376 00:23:22,551 --> 00:23:25,220 Make sure you have one. 377 00:23:25,220 --> 00:23:29,830 -Moni's class was the time for me to push myself physically 378 00:23:29,830 --> 00:23:31,602 so that I could no longer be tense. 379 00:23:31,602 --> 00:23:33,936 He would push you through physical barriers. 380 00:23:33,936 --> 00:23:36,624 Class: My mistress with a monster is in love. 381 00:23:36,624 --> 00:23:38,438 More adventurous, more adventurous. 382 00:23:38,438 --> 00:23:39,271 -My mistress with a monster-- -Guys, you are not 383 00:23:39,271 --> 00:23:40,895 adventurous enough! -Is in love. 384 00:23:40,895 --> 00:23:44,497 -Being adventurous means you go to places 385 00:23:44,497 --> 00:23:47,320 that you don't know exist. 386 00:23:47,320 --> 00:23:52,320 There is a world out there that is unknown to you. 387 00:23:52,990 --> 00:23:56,631 And that's what you are throwing yourself into. 388 00:23:56,631 --> 00:24:01,047 Everybody, go. 389 00:24:04,365 --> 00:24:06,220 -I think what he taught me 390 00:24:06,220 --> 00:24:08,423 was how to physically be alive. 391 00:24:10,070 --> 00:24:11,360 You're growing up, also. 392 00:24:11,360 --> 00:24:13,300 You know, you're either in your early 20s 393 00:24:13,300 --> 00:24:15,380 or you know you're still trying to figure out 394 00:24:15,380 --> 00:24:17,630 who you are and what you like and what you don't like. 395 00:24:17,630 --> 00:24:20,304 How do you handle challenge, rejection, you know, 396 00:24:20,304 --> 00:24:22,985 you're still learning how to function in the world. 397 00:24:22,985 --> 00:24:25,845 You're alive, you're really alive. 398 00:24:27,822 --> 00:24:28,930 The one thing you look-- 399 00:25:19,394 --> 00:25:24,394 Every day, 14 hours locked in these rooms. 400 00:25:27,330 --> 00:25:29,990 -Coming to America was by accident. 401 00:25:29,990 --> 00:25:32,623 It was not really on my mind. 402 00:25:34,504 --> 00:25:38,488 I loved going to work with my master, Mr. Decroux. 403 00:25:38,488 --> 00:25:40,540 I worked hard. 404 00:25:40,540 --> 00:25:43,787 I was in Paris, and my priority was always 405 00:25:43,787 --> 00:25:46,440 my work with Decroux. 406 00:25:46,440 --> 00:25:48,970 However I needed some money to eat, 407 00:25:48,970 --> 00:25:53,049 so I also joined a theater called Theatre Franco-Allemande. 408 00:25:53,049 --> 00:25:55,686 And in one of these performances, 409 00:25:55,686 --> 00:25:59,733 a lady by the name of Stella Adler happened to be. 410 00:26:02,660 --> 00:26:05,130 As a young woman she traveled to Russia 411 00:26:05,130 --> 00:26:08,060 and brought the teaching of Konstantin Stanislavski 412 00:26:08,060 --> 00:26:12,320 back to America, where she completely revolutionized 413 00:26:12,320 --> 00:26:14,857 the approach to acting. 414 00:26:17,310 --> 00:26:19,634 Many of the best-known actors in the world 415 00:26:19,634 --> 00:26:22,763 came from Stella's school. -Hey stella! 416 00:26:24,098 --> 00:26:25,500 -Just a moment, stop coughing. 417 00:26:25,500 --> 00:26:27,311 No actor coughs, they don't sneeze, 418 00:26:27,311 --> 00:26:31,030 and they don't catch colds. 419 00:26:31,030 --> 00:26:34,543 They're not tired, they don't yawn, and they don't chew gum. 420 00:26:39,826 --> 00:26:41,510 -After the show, 421 00:26:41,510 --> 00:26:42,967 she asked my colleague, 422 00:26:42,967 --> 00:26:45,097 "Who was this man who played the drum major?" 423 00:26:45,097 --> 00:26:46,605 And that was me. 424 00:26:46,605 --> 00:26:48,775 She said, "He's a very talented guy. 425 00:26:48,775 --> 00:26:50,587 "Let me meet with him tomorrow, 426 00:26:50,587 --> 00:26:52,980 "let him come to my hotel." 427 00:26:52,980 --> 00:26:54,888 And the next day I knocked on her door, 428 00:26:54,888 --> 00:26:59,581 and when she opened the door I was utterly, utterly stunned. 429 00:26:59,581 --> 00:27:04,581 There stood this tall, beautiful, gorgeous woman 430 00:27:04,800 --> 00:27:06,913 with penetrating eyes. 431 00:27:08,430 --> 00:27:11,710 I was so overwhelmed by her presence 432 00:27:11,710 --> 00:27:13,833 that I couldn't utter a word. 433 00:27:15,980 --> 00:27:17,940 And the first words that I heard 434 00:27:17,940 --> 00:27:21,607 through my incredible confusion were, 435 00:27:21,607 --> 00:27:23,537 "You come to America, darling, 436 00:27:23,537 --> 00:27:26,187 "and you're going to be a big star. 437 00:27:26,187 --> 00:27:29,147 "But first, you have to study with me." 438 00:27:31,400 --> 00:27:33,777 I didn't know what to do. 439 00:27:33,777 --> 00:27:36,016 To get to America I need a visa, 440 00:27:36,016 --> 00:27:39,619 and I need an affidavit, someone to sponsor me. 441 00:27:39,619 --> 00:27:42,920 And she called a guy who took me with him 442 00:27:42,920 --> 00:27:44,960 to the American embassy. 443 00:27:44,960 --> 00:27:47,517 Dressed in a beautiful suit and a tie, 444 00:27:47,517 --> 00:27:49,450 filled up all the papers, 445 00:27:49,450 --> 00:27:51,575 and a week later I had my visa. 446 00:27:51,575 --> 00:27:56,575 Basically, Stella Adler brought me and Mina to America. 447 00:28:02,020 --> 00:28:05,500 -We were young, we were in love, 448 00:28:05,500 --> 00:28:07,863 and we were in New York. 449 00:28:09,160 --> 00:28:12,198 We lived for a short time when we arrived here 450 00:28:12,198 --> 00:28:14,109 in Brooklyn, actually. 451 00:28:14,109 --> 00:28:18,069 We found work in a restaurant, an Israeli restaurant. 452 00:28:18,069 --> 00:28:21,583 Moni was the chef and I was the waitress. 453 00:28:22,567 --> 00:28:25,050 -For months after we arrived here, 454 00:28:25,050 --> 00:28:28,390 we didn't know anything about anything. 455 00:28:28,390 --> 00:28:30,587 We hardly knew English at the time. 456 00:28:30,587 --> 00:28:34,620 I told Stella Adler I don't know how I'm going to survive. 457 00:28:34,620 --> 00:28:37,729 Stella said, "Don't worry about payment. 458 00:28:37,729 --> 00:28:39,910 "You'll teach in my school." 459 00:28:39,910 --> 00:28:42,603 And she asked me to teach physical acting. 460 00:28:43,900 --> 00:28:46,210 She did not want me to teach mime. 461 00:28:46,210 --> 00:28:48,050 Basically she hated mime. 462 00:28:48,050 --> 00:28:49,098 -But she really didn't like mime-- 463 00:28:49,098 --> 00:28:51,350 -Because, and I loved mime, 464 00:28:51,350 --> 00:28:53,700 and I was not about to give it up 465 00:28:53,700 --> 00:28:57,283 because she told me, "You should stop it." 466 00:28:57,283 --> 00:28:59,249 She felt it was the art of showing, 467 00:28:59,249 --> 00:29:02,453 and not the art of being, and not the art of living. 468 00:29:04,020 --> 00:29:05,933 She felt it didn't go deep enough. 469 00:29:07,890 --> 00:29:09,770 I thought that we were acting like 470 00:29:09,770 --> 00:29:11,583 better than anybody else. 471 00:29:12,480 --> 00:29:16,033 But I understood, basically, what she was talking about. 472 00:29:19,570 --> 00:29:21,200 In mime you have to show 473 00:29:21,200 --> 00:29:22,958 because you are creating a world 474 00:29:22,958 --> 00:29:25,862 that doesn't exist, from nothing. 475 00:29:31,470 --> 00:29:35,423 This is a technical thing, and she was very afraid of that. 476 00:29:40,900 --> 00:29:42,780 Instead of quitting mime, 477 00:29:42,780 --> 00:29:47,780 we decided to integrate more of this into our mime pieces. 478 00:29:51,500 --> 00:29:56,500 We called ourselves the Yakins, with an N at the end. 479 00:29:57,110 --> 00:29:59,118 But somehow, I don't know why, 480 00:29:59,118 --> 00:30:03,140 wherever we went in the posters they put the Yakims. 481 00:30:03,140 --> 00:30:06,300 Maybe it's easier, so let's leave it like that. 482 00:30:06,300 --> 00:30:09,601 We started to perform in colleges, Jewish centers, 483 00:30:09,601 --> 00:30:12,900 in small theaters all over America. 484 00:30:12,900 --> 00:30:15,410 -Played the Borscht Belt in the Catskills. 485 00:30:15,410 --> 00:30:16,903 We made people laugh. 486 00:30:17,852 --> 00:30:20,773 We received fantastic reviews 487 00:30:20,773 --> 00:30:24,637 and a few people came, young people that saw the show, 488 00:30:24,637 --> 00:30:27,557 and said, "Why don't you teach us to do that?" 489 00:30:27,557 --> 00:30:29,007 -We want to learn that. 490 00:30:29,007 --> 00:30:31,880 -And we said, well, get some people 491 00:30:31,880 --> 00:30:34,065 and get a space and we'll do it. 492 00:30:34,065 --> 00:30:36,277 So that's what they did. 493 00:30:36,277 --> 00:30:39,895 And that's how we opened our first school. 494 00:30:51,310 --> 00:30:55,920 -We used to do a lot of mime with a kerchief on our face 495 00:30:55,920 --> 00:30:59,100 in order to express ourselves physically 496 00:30:59,100 --> 00:31:03,003 and not to show any expression through the face itself. 497 00:31:03,847 --> 00:31:06,043 -The neutral mask is just a blank mask 498 00:31:06,043 --> 00:31:07,803 that you put on your face. 499 00:31:09,361 --> 00:31:13,780 And the audience is able to see your expressions 500 00:31:13,780 --> 00:31:15,290 through the way your shoulders are, 501 00:31:15,290 --> 00:31:18,083 or through the tempo of your body. 502 00:31:18,967 --> 00:31:22,170 You don't have to throw your performance 503 00:31:22,170 --> 00:31:23,630 in an audience's lap. 504 00:31:23,630 --> 00:31:26,090 You can have them lean forward 505 00:31:26,090 --> 00:31:27,866 and be interested in what you're doing, 506 00:31:27,866 --> 00:31:29,503 rather than project everything. 507 00:31:31,380 --> 00:31:34,418 -My master, Decroux, used to say that the face 508 00:31:34,418 --> 00:31:38,940 and the hands are the whores of the body 509 00:31:38,940 --> 00:31:41,258 because they sell cheap. 510 00:31:41,258 --> 00:31:44,666 -The more you are emotionally neutralized, 511 00:31:44,666 --> 00:31:47,700 the more vulnerable you become. 512 00:31:47,700 --> 00:31:48,940 It was a strength, 513 00:31:48,940 --> 00:31:51,680 and it was something that you had tapped into. 514 00:31:51,680 --> 00:31:53,873 It's something every actor needs. 515 00:32:05,585 --> 00:32:08,410 -When you are in love with someone, 516 00:32:08,410 --> 00:32:10,163 they say love is blind. 517 00:32:13,950 --> 00:32:16,760 You keep seeing this mask on this person, 518 00:32:16,760 --> 00:32:18,713 you don't see the reality of it. 519 00:32:19,928 --> 00:32:22,803 Then when you take off the mask, 520 00:32:24,350 --> 00:32:26,113 you see what's underneath it. 521 00:32:32,770 --> 00:32:34,703 And sometimes it shocks you. 522 00:32:41,653 --> 00:32:44,200 And you want to stay with the mask, 523 00:32:44,200 --> 00:32:46,730 you want to stay with that vision 524 00:32:46,730 --> 00:32:49,733 that you fell in love with in the first place. 525 00:32:53,893 --> 00:32:56,740 But when you see the reality, 526 00:32:56,740 --> 00:32:58,833 the romance can be much stronger. 527 00:33:03,304 --> 00:33:05,208 -Come on, Peter! 528 00:33:05,208 --> 00:33:08,035 -Come on, Peter, whoa! -Go big! 529 00:33:08,035 --> 00:33:10,990 -We're always big-- -Freeze! 530 00:33:10,990 --> 00:33:13,189 Alex, take the class over. 531 00:33:14,697 --> 00:33:18,152 And just listen to Alex, everything will be perfect. 532 00:33:34,294 --> 00:33:36,211 -And play with rhythm. 533 00:33:37,429 --> 00:33:40,096 Make it a big part of your move. 534 00:33:59,030 --> 00:34:03,275 -When I was close to 15, years before the army, 535 00:34:03,275 --> 00:34:06,080 my father did not relate to me much 536 00:34:06,080 --> 00:34:08,173 because he was ill at the time. 537 00:34:12,830 --> 00:34:15,370 My older brother was desperate 538 00:34:15,370 --> 00:34:17,494 to take me away from the streets. 539 00:34:17,494 --> 00:34:20,460 He sent me to evening schools 540 00:34:20,460 --> 00:34:22,933 and I could never stick to it. 541 00:34:22,933 --> 00:34:24,112 One day he came home 542 00:34:24,112 --> 00:34:27,160 and asked me whether I want to be an actor. 543 00:34:27,160 --> 00:34:31,437 Not knowing why, my answer was, "Absolutely." 544 00:34:33,317 --> 00:34:37,543 A friend of his decided to create a theater in Jerusalem. 545 00:34:38,440 --> 00:34:40,463 And he told me to go to this address. 546 00:34:42,330 --> 00:34:47,248 And I entered, there were people there rehearsing. 547 00:34:47,248 --> 00:34:50,850 Most of the people in the theater were Ashkenazi, 548 00:34:50,850 --> 00:34:53,170 people that came from Eastern Europe. 549 00:34:53,170 --> 00:34:56,280 They were the sophisticated, educated people, 550 00:34:56,280 --> 00:34:59,450 so I was extremely inhibited. 551 00:34:59,450 --> 00:35:03,700 For two months I didn't open my mouth, just observed, 552 00:35:03,700 --> 00:35:06,939 and they made me the assistant state manager. 553 00:35:06,939 --> 00:35:09,244 This is the backstage door 554 00:35:09,244 --> 00:35:12,505 where we used to bring all the scenery through here. 555 00:35:12,505 --> 00:35:17,505 During the performance I didn't let anyone backstage talk 556 00:35:17,890 --> 00:35:20,167 while the action was going onstage. 557 00:35:20,167 --> 00:35:22,830 I didn't allow them to touch props. 558 00:35:22,830 --> 00:35:26,203 I became like a total control freak. 559 00:35:27,440 --> 00:35:30,429 In the next play, I went home, I took pillows, 560 00:35:30,429 --> 00:35:32,600 I put them under my shirt. 561 00:35:32,600 --> 00:35:37,600 I put the jacket of my father and draw a mustache, 562 00:35:39,049 --> 00:35:41,347 and I created a character. 563 00:35:41,347 --> 00:35:45,490 And while they were rehearsing, I just inserted myself. 564 00:35:45,490 --> 00:35:48,950 And little by little they realized that it was me, 565 00:35:48,950 --> 00:35:52,952 and there was an absolute uproar. 566 00:35:52,952 --> 00:35:56,393 So the director decided to write a part for me. 567 00:35:58,270 --> 00:36:00,100 I understood at the time 568 00:36:00,100 --> 00:36:03,010 that there is a different type of life 569 00:36:03,010 --> 00:36:05,663 that would take me away from the street. 570 00:36:06,669 --> 00:36:11,525 I felt this kind of total immersion 571 00:36:11,525 --> 00:36:14,843 that made me forget about the other world. 572 00:36:16,200 --> 00:36:19,810 The theater, it was my personal secret 573 00:36:19,810 --> 00:36:23,273 as far as the kids in my neighborhood were concerned. 574 00:36:24,180 --> 00:36:26,730 For me it was actually like a temple 575 00:36:26,730 --> 00:36:28,193 that was called a theater. 576 00:36:30,900 --> 00:36:32,380 Announcer: The New York Pantomime Theater is 577 00:36:32,380 --> 00:36:34,320 the foremost exponent of the art of mime 578 00:36:34,320 --> 00:36:35,840 in the United States. 579 00:36:35,840 --> 00:36:37,480 It is the largest, most highly-trained 580 00:36:37,480 --> 00:36:38,716 company in this country. 581 00:36:38,716 --> 00:36:41,417 Although its repertory is based in classical technique, 582 00:36:41,417 --> 00:36:43,513 the company has been hailed for its innovative, 583 00:36:43,513 --> 00:36:45,812 creative mimodramas for adult audiences 584 00:36:45,812 --> 00:36:47,732 and young audiences alike. 585 00:36:47,732 --> 00:36:49,673 Moni Yakim and his wife, Mina, 586 00:36:49,673 --> 00:36:51,809 who together founded the New York Pantomime Theater 587 00:36:51,809 --> 00:36:54,012 have been recognized by Marcel Marceau 588 00:36:54,012 --> 00:36:57,493 as an unequaled pantomime duo of dazzling talent. 589 00:37:01,780 --> 00:37:03,111 -I created, I believe, 590 00:37:03,111 --> 00:37:06,713 a mime theater that was not seen before. 591 00:37:08,290 --> 00:37:12,425 So that was truly my great and sole interest. 592 00:37:28,711 --> 00:37:30,342 -Third year, it's about taking you 593 00:37:30,342 --> 00:37:32,843 which has now been built up over the past two years, 594 00:37:32,843 --> 00:37:37,333 and inviting you into the performance space. 595 00:37:39,150 --> 00:37:40,161 Taking everything you've learned 596 00:37:40,161 --> 00:37:43,166 and interpreting it through performance. 597 00:37:47,960 --> 00:37:49,867 -He has asked me to come and sit in on rehearsal 598 00:37:49,867 --> 00:37:51,105 for that fucking piece-- 599 00:37:51,105 --> 00:37:52,982 -Same sentence, that includes for sabotage, 600 00:37:52,982 --> 00:37:55,044 disturbing the peace, inciting a riot-- 601 00:37:55,044 --> 00:37:58,667 -When I see her, all I see are stars and skies and-- 602 00:37:58,667 --> 00:38:03,667 -Excellent, we'll do now the entire monologue in gibberish, 603 00:38:04,220 --> 00:38:08,800 sustaining the relationships and the intentions. 604 00:38:08,800 --> 00:38:11,150 And whatever you mean to convey 605 00:38:11,150 --> 00:38:12,998 with everything that you are saying, 606 00:38:12,998 --> 00:38:15,577 all in gibberish; and go. 607 00:38:21,238 --> 00:38:25,740 Every exercise that we do, as free as it is, 608 00:38:25,740 --> 00:38:30,145 it is always connected to some kind of a control. 609 00:38:35,300 --> 00:38:36,893 The control is in the rhythm. 610 00:38:39,550 --> 00:38:44,550 The rhythm is the vision that is expressed 611 00:38:44,760 --> 00:38:47,723 through the freedom of your physicality. 612 00:38:47,723 --> 00:38:50,959 Beautiful, and now we express it all physically, 613 00:38:50,959 --> 00:38:53,183 without a word, without a sound. 614 00:38:54,750 --> 00:38:56,633 And then you free yourself from it. 615 00:39:01,900 --> 00:39:03,230 In a movement class, 616 00:39:03,230 --> 00:39:05,918 you're sort of obsessively analyzing all the time 617 00:39:05,918 --> 00:39:08,173 how your body's working. 618 00:39:10,716 --> 00:39:13,272 -There's a physical metamorphosis that happens 619 00:39:13,272 --> 00:39:17,670 that we all know uniquely from that experience 620 00:39:17,670 --> 00:39:18,967 and from that man. 621 00:39:22,430 --> 00:39:25,410 I remember the feeling, pulling up to the heavens 622 00:39:25,410 --> 00:39:28,790 and being suspended in space and air, 623 00:39:28,790 --> 00:39:32,803 and elongated in a way that you didn't think possible. 624 00:39:40,700 --> 00:39:42,562 -In the exploration of the inner life 625 00:39:42,562 --> 00:39:44,685 through a physical movement, 626 00:39:44,685 --> 00:39:49,020 he was pushing us to extremes. 627 00:39:49,020 --> 00:39:51,703 And in being pushed to an extreme, 628 00:39:54,270 --> 00:39:56,920 you can find every aspect of who you are. 629 00:39:56,920 --> 00:40:01,920 Your fear, your drive, your ambition. 630 00:40:08,480 --> 00:40:10,953 Commercial theater was not something 631 00:40:10,953 --> 00:40:13,092 that I was very involved with. 632 00:40:13,092 --> 00:40:17,290 But I directed a few things that would not distract me 633 00:40:17,290 --> 00:40:18,853 from my mime theater. 634 00:40:21,150 --> 00:40:23,053 I became a director in demand 635 00:40:23,053 --> 00:40:25,595 after I did "Jacques Brel". 636 00:40:28,562 --> 00:40:29,610 -We started it off Broadway, 637 00:40:29,610 --> 00:40:31,383 we ended on Broadway. 638 00:40:32,260 --> 00:40:35,430 Jacques Brel did not want to come, actually, to see the show 639 00:40:35,430 --> 00:40:39,570 because he was opposing the war in Vietnam. 640 00:40:39,570 --> 00:40:43,790 After a year he was convinced to come and see it. 641 00:40:43,790 --> 00:40:48,030 Didn't say a word, and flew back to Paris. 642 00:40:48,030 --> 00:40:51,707 A week later he came back, and when we asked him, 643 00:40:51,707 --> 00:40:52,870 "Why did you come back to see the show?" 644 00:40:52,870 --> 00:40:56,822 He says, "I wanted to know why I liked it so much." 645 00:40:58,964 --> 00:41:02,183 "Jacques Brel" ran in New York 5 1/2 years. 646 00:41:04,484 --> 00:41:07,490 It was a worldwide success. 647 00:41:07,490 --> 00:41:11,983 I directed it in Canada, Tel Aviv, Paris, London. 648 00:41:13,050 --> 00:41:15,975 I was an international director. 649 00:41:17,070 --> 00:41:19,993 Announcer: Ladies and gentlemen, take your seats, please. 650 00:41:19,993 --> 00:41:21,510 For the most totally-- 651 00:41:21,510 --> 00:41:23,390 -After Brel saw the show, 652 00:41:23,390 --> 00:41:26,100 he gave his consent for the show 653 00:41:26,100 --> 00:41:28,906 to be adapted into a screenplay. 654 00:41:28,906 --> 00:41:32,013 I was in it and I choreographed it. 655 00:41:33,538 --> 00:41:36,840 Jacques Brel himself appeared in the film, 656 00:41:36,840 --> 00:41:39,800 singing the most famous song he ever wrote, 657 00:41:39,800 --> 00:41:40,990 called "Ne Me Quitte Pas." 658 00:41:47,984 --> 00:41:51,877 Just being with Brel was a thrill. 659 00:41:51,877 --> 00:41:56,276 Being a waiter serving him while he is singing this song 660 00:41:56,276 --> 00:41:58,867 was even a greater thrill. 661 00:42:25,320 --> 00:42:27,353 My focus was really mime. 662 00:42:27,353 --> 00:42:31,036 I did not really latch on to that success 663 00:42:31,036 --> 00:42:35,203 in order to further my career as a theatrical director. 664 00:42:39,510 --> 00:42:44,473 However, most unfortunately, mime started to go downhill. 665 00:42:46,670 --> 00:42:49,639 Only street mimes with the striped shirt, 666 00:42:49,639 --> 00:42:52,694 and did the wall going up and down 667 00:42:52,694 --> 00:42:57,403 and pulling ropes and pushing cars and imitating people. 668 00:42:58,720 --> 00:43:02,780 People thought that that what mime was now, 669 00:43:02,780 --> 00:43:04,810 like a circus act. 670 00:43:04,810 --> 00:43:07,872 When I said mime, people started to snicker. 671 00:43:07,872 --> 00:43:10,869 But our mime was totally different. 672 00:43:10,869 --> 00:43:12,913 We were really theater. 673 00:43:50,830 --> 00:43:55,580 -Oh, that this too, too solid flesh would melt, 674 00:43:56,722 --> 00:44:00,793 thaw, and resolve itself into a dew! 675 00:44:02,127 --> 00:44:04,500 Or that the Everlasting had not fixed 676 00:44:04,500 --> 00:44:06,900 his cannon against us self-slaughter. 677 00:44:06,900 --> 00:44:11,023 How weary, stale, flat, and unprofitable 678 00:44:11,023 --> 00:44:13,028 seem to me all the uses of this world! 679 00:44:13,028 --> 00:44:15,228 Fie on it, ah, fie! 680 00:44:15,228 --> 00:44:19,241 It is but an unweeded garden that grows to seed; 681 00:44:19,241 --> 00:44:22,902 things rank and gross in nature possess it merely. 682 00:44:22,902 --> 00:44:25,570 That it should come to this. 683 00:44:25,570 --> 00:44:28,083 -Fortune and Antony part here. 684 00:44:28,083 --> 00:44:30,660 Even here do we shake hands. 685 00:44:30,660 --> 00:44:31,808 All come to this? 686 00:44:31,808 --> 00:44:34,269 The hearts that spanieled me at heels, 687 00:44:34,269 --> 00:44:36,260 to whom I gave their wishes, do discandy, 688 00:44:36,260 --> 00:44:39,507 melt their sweets on blossoming Caesar, 689 00:44:39,507 --> 00:44:42,746 and this pine is barked that overtopped them all. 690 00:44:42,746 --> 00:44:43,913 Betrayed I am! 691 00:44:44,845 --> 00:44:48,560 -Think about it, Marcus, where else it come from? 692 00:44:48,560 --> 00:44:51,388 We just naturally mad at gay folk? 693 00:44:51,388 --> 00:44:56,388 Come on, imagine how they got down back then. 694 00:44:58,664 --> 00:45:00,831 -Hey, where is everybody? 695 00:45:02,965 --> 00:45:05,968 -Unurged wouldst vow that never words 696 00:45:05,968 --> 00:45:07,683 were music to thine ear, 697 00:45:07,683 --> 00:45:10,079 that never object pleasing in thine eye. 698 00:45:10,079 --> 00:45:12,600 -George! -Wouldst thou not spit at me 699 00:45:12,600 --> 00:45:17,600 and spurn at me, and hurl the name of my husband in my face! 700 00:45:17,874 --> 00:45:21,374 -To be or no to be, that is the question. 701 00:45:23,522 --> 00:45:25,272 -Where is everybody! 702 00:45:26,253 --> 00:45:31,253 Hump the Hostess! 703 00:45:36,303 --> 00:45:38,515 -Dip him, dip him! 704 00:45:43,900 --> 00:45:46,740 -Fourth year is just about performance. 705 00:45:46,740 --> 00:45:48,120 You have all the tools, 706 00:45:48,120 --> 00:45:50,510 so apply them to whatever role we give to you. 707 00:45:50,510 --> 00:45:52,930 -We had the pleasure of working with Moni 708 00:45:52,930 --> 00:45:54,355 as a director in the fourth year. 709 00:45:54,355 --> 00:45:55,397 We had this wonderful opportunity to 710 00:45:55,397 --> 00:45:57,301 sort of really put into motion 711 00:45:57,301 --> 00:46:00,722 and really realize the work that Moni does. 712 00:46:00,722 --> 00:46:05,190 -Yeah, I've directed like 60, 70 shows here at Juilliard. 713 00:46:05,190 --> 00:46:07,110 -To be reminded, like mama-- 714 00:46:07,110 --> 00:46:10,161 Each play has its own life, its own world, 715 00:46:10,161 --> 00:46:13,510 its own style, its own meaning. 716 00:46:13,510 --> 00:46:15,997 -Suppose that death is here with me. 717 00:46:15,997 --> 00:46:19,000 -Each play presents a different challenge. 718 00:46:19,000 --> 00:46:20,300 What happened today? 719 00:46:20,300 --> 00:46:21,730 And a different approach. 720 00:46:21,730 --> 00:46:23,730 There were a lot of gaps again today. 721 00:46:23,730 --> 00:46:26,456 Too much thinking, too much thinking. 722 00:46:28,550 --> 00:46:32,283 Each play is a world in itself. 723 00:46:34,282 --> 00:46:37,600 Moni was like, you know, what piece as an actor 724 00:46:37,600 --> 00:46:39,905 would you be interested in doing? 725 00:46:39,905 --> 00:46:43,678 I thought "Clockwork Orange" would be a great play. 726 00:46:43,678 --> 00:46:45,150 I went to him after class 727 00:46:45,150 --> 00:46:46,980 and I was like I'll adapt the book. 728 00:46:46,980 --> 00:46:50,520 When he read it, he said it was too dark, 729 00:46:50,520 --> 00:46:51,900 and that's not really the kind of thing 730 00:46:51,900 --> 00:46:54,550 he wanted to be working on at this point in his life. 731 00:46:55,938 --> 00:46:58,410 -I was not in a mood to get into 732 00:46:58,410 --> 00:47:01,637 a depressing kind of a play. 733 00:47:01,637 --> 00:47:05,760 So this year I'm going direct "Metamorphosis" 734 00:47:05,760 --> 00:47:07,533 adapted from the works of Ovid. 735 00:47:09,541 --> 00:47:12,653 What kind of world am I dealing with? 736 00:47:13,608 --> 00:47:18,421 I have to find a way to bring his poetry to life. 737 00:47:18,421 --> 00:47:20,770 -I had such specific ideas about 738 00:47:20,770 --> 00:47:24,193 how that "Clockwork Orange" world was meant to exist. 739 00:47:25,160 --> 00:47:26,433 And I started thinking about it like 740 00:47:26,433 --> 00:47:30,559 if I did it as an independent project, I'll direct it. 741 00:47:30,559 --> 00:47:32,543 I know what I want it to look like. 742 00:47:33,670 --> 00:47:37,098 I'm gonna set the chairs up so that there will be action, 743 00:47:37,098 --> 00:47:41,857 entrances, exits, and scenes, even playing behind people 744 00:47:41,857 --> 00:47:45,547 so that they feel like they're engulfed by it. 745 00:47:45,547 --> 00:47:47,830 And all the characters' physicality 746 00:47:47,830 --> 00:47:49,403 would be very exaggerated. 747 00:47:53,120 --> 00:47:56,341 The protagonist, Alex, is from the slums. 748 00:47:56,341 --> 00:47:58,947 -So what's it gonna be, then? 749 00:47:58,947 --> 00:48:03,113 And is a murderer, a rapist and a bad guy. 750 00:48:03,113 --> 00:48:05,915 And he's very affected by classical music. 751 00:48:12,748 --> 00:48:13,908 -You know, where did they get 752 00:48:13,908 --> 00:48:16,423 this classical music background? 753 00:48:17,570 --> 00:48:20,240 As a director I'm just asking. 754 00:48:20,240 --> 00:48:21,230 What do you do with that? 755 00:48:21,230 --> 00:48:23,194 How do you solve this mystery? 756 00:48:23,194 --> 00:48:24,713 How do you justify it? 757 00:48:24,713 --> 00:48:27,089 -He's artistically inclined, you know, 758 00:48:27,089 --> 00:48:29,553 he's got more going on 759 00:48:29,553 --> 00:48:32,171 because he has a artistic soul. 760 00:48:32,171 --> 00:48:35,231 It's interesting. -It's a fantastic character. 761 00:48:35,231 --> 00:48:36,530 -Yeah, I think so. -It's great that you 762 00:48:36,530 --> 00:48:37,363 are doing it. 763 00:48:37,363 --> 00:48:39,911 And again I apologize that I couldn't do it. 764 00:48:39,911 --> 00:48:41,174 -'Cause I wanted to play the part. 765 00:48:41,174 --> 00:48:44,530 -I know, I know. 766 00:48:44,530 --> 00:48:49,530 -Yeah, yeah, but I feel like as an artist 767 00:48:51,100 --> 00:48:54,474 I have like a duty to dive into the things 768 00:48:54,474 --> 00:48:56,210 that make me feel uncomfortable. 769 00:48:56,210 --> 00:48:59,721 -You are absolutely right, absolutely right. 770 00:49:02,245 --> 00:49:07,080 And out. 771 00:49:07,080 --> 00:49:08,940 Make sure you struggle against it. 772 00:49:08,940 --> 00:49:13,940 I am blessed to work with people that know my vocabulary. 773 00:49:14,063 --> 00:49:15,305 -Is it an animal? 774 00:49:15,305 --> 00:49:18,140 -I can teach them while I direct them 775 00:49:18,140 --> 00:49:20,763 Yeah, but there you're telling me what, my god, 776 00:49:20,763 --> 00:49:22,303 it's gonna be fantastic. 777 00:49:22,303 --> 00:49:25,203 The juices are starting to work. 778 00:49:25,203 --> 00:49:28,530 Staging, it's never arbitrary. 779 00:49:28,530 --> 00:49:31,260 Like falling rain. 780 00:49:31,260 --> 00:49:36,260 Staging is really the meaning and the actor is its soul. 781 00:49:40,367 --> 00:49:45,367 All of you, I've seen you at work now for almost four years 782 00:49:45,791 --> 00:49:47,607 and I think you are brilliant. 783 00:49:47,607 --> 00:49:49,630 I'm not joking. 784 00:49:49,630 --> 00:49:52,340 However being a teacher/director, 785 00:49:52,340 --> 00:49:55,177 I saw what it is that you hang onto. 786 00:49:55,177 --> 00:50:00,177 I see your habits, and I'm trying to throw at you things 787 00:50:01,225 --> 00:50:06,220 that I feel you need to add to your vocabulary. 788 00:50:06,220 --> 00:50:11,220 -You've heard of Orpheus and his bride Eurydice. 789 00:50:15,930 --> 00:50:19,470 -I am bored with the best that you can do 790 00:50:22,960 --> 00:50:25,413 because you have been doing it forever. 791 00:50:26,660 --> 00:50:29,500 Let your imagination fly into a place 792 00:50:29,500 --> 00:50:30,803 that you are not used to. 793 00:50:34,869 --> 00:50:38,570 Fuck the result that I'm looking for here, 794 00:50:38,570 --> 00:50:42,213 you're just stretching a little bit in a different way. 795 00:50:43,899 --> 00:50:47,880 Four words, guys, let's fuck shit up! 796 00:50:55,140 --> 00:50:57,360 This project started off small 797 00:50:57,360 --> 00:51:00,414 but it's snowballed into this multi-department, 798 00:51:00,414 --> 00:51:03,713 huge, student-initiated thing. 799 00:51:05,270 --> 00:51:08,240 -My name's Alexander, the shame is mine-- 800 00:51:08,240 --> 00:51:11,110 Which is incredibly fulfilling and exciting, 801 00:51:11,110 --> 00:51:14,963 but also I really feel the weight of it, too. 802 00:51:17,260 --> 00:51:18,208 -Come out! 803 00:51:18,208 --> 00:51:20,067 Now you'll see a decapitation. 804 00:51:20,067 --> 00:51:21,760 Headless though he is, 805 00:51:21,760 --> 00:51:23,993 the dead man runs around for a short while. 806 00:51:25,020 --> 00:51:25,995 -Get out. 807 00:51:25,995 --> 00:51:29,262 -Let me out, let me out, let me out! 808 00:51:35,560 --> 00:51:39,169 -You had us sit as an audience with the actors. 809 00:51:39,169 --> 00:51:43,033 Why did you choose to do it like in a dim light? 810 00:51:45,046 --> 00:51:46,582 -Yeah. -Why didn't you do it 811 00:51:46,582 --> 00:51:49,422 like with fluorescent light, totally open? 812 00:51:49,422 --> 00:51:52,460 I sat near the actor 813 00:51:52,460 --> 00:51:54,923 but I didn't feel any connection. 814 00:51:54,923 --> 00:51:56,800 -The way that they were rigged, 815 00:51:56,800 --> 00:51:58,560 they were quite low on the boom. 816 00:51:58,560 --> 00:51:59,860 And so if they went bright, 817 00:51:59,860 --> 00:52:01,475 the audience couldn't see anything. 818 00:52:01,475 --> 00:52:03,010 And so I ended up-- 819 00:52:03,010 --> 00:52:04,293 I couldn't see anything. 820 00:52:04,293 --> 00:52:08,020 -I couldn't see a lot of it. -Yeah, exactly. 821 00:52:08,020 --> 00:52:10,830 -You could've gone further, in my opinion, 822 00:52:10,830 --> 00:52:12,640 with the brutality of it. 823 00:52:12,640 --> 00:52:16,930 Involving us as audience more with it. 824 00:52:16,930 --> 00:52:19,563 Because that's what the play is about. 825 00:52:20,810 --> 00:52:25,200 The senseless violence is part of us. 826 00:52:25,200 --> 00:52:28,901 You know, maybe you can get up now and kill someone. 827 00:52:28,901 --> 00:52:30,200 -Yeah, yeah, yeah. 828 00:52:30,200 --> 00:52:33,139 -You talked about the character having also 829 00:52:33,139 --> 00:52:35,770 an artistic side to him and so on. 830 00:52:35,770 --> 00:52:38,250 And it seems to me that you went more 831 00:52:38,250 --> 00:52:40,551 into the artistic expression. 832 00:52:40,551 --> 00:52:43,128 That slightly disappointed me. 833 00:52:43,128 --> 00:52:47,123 I felt it was brave, I felt it could have been braver. 834 00:52:49,538 --> 00:52:52,803 -The thing with Moni is whenever I got criticism from him, 835 00:52:54,180 --> 00:52:57,393 which happened a lot, it was, 836 00:52:58,840 --> 00:53:03,840 it never felt like there was his ego behind it 837 00:53:04,040 --> 00:53:07,995 or any other motivation other than as an artist, 838 00:53:07,995 --> 00:53:10,010 you just, you should know. 839 00:53:11,130 --> 00:53:13,926 -Sometimes I'm not so sure about, you know, 840 00:53:13,926 --> 00:53:17,207 I'm teaching and I have other interests and I go home 841 00:53:17,207 --> 00:53:21,100 and I said, "Am I not wasting my time teaching?" 842 00:53:21,100 --> 00:53:26,100 You know, Moni is the one who is absolutely totally devoted 843 00:53:26,624 --> 00:53:28,603 and loves teaching. 844 00:53:29,741 --> 00:53:33,770 -Hold the kite, thread of a kite, 845 00:53:33,770 --> 00:53:38,770 and it pulls up, and I pull it back down. 846 00:53:39,611 --> 00:53:41,837 It pulls up, and I pull it back down. 847 00:53:43,163 --> 00:53:46,540 The father of one of the students in our mime school 848 00:53:46,540 --> 00:53:48,505 was a good friend of John Houseman. 849 00:53:48,505 --> 00:53:51,672 And let go the thread, good, and pull. 850 00:53:52,568 --> 00:53:55,107 -Young man, what's your game? 851 00:53:56,470 --> 00:53:58,713 -John Houseman is of course the founder. 852 00:53:58,713 --> 00:53:59,572 -Founder of Juilliard. 853 00:53:59,572 --> 00:54:01,030 -He and Michel Saint-Denis-- 854 00:54:01,030 --> 00:54:02,380 -Of the drama division. -The founder of the 855 00:54:02,380 --> 00:54:04,313 drama division at Juilliard. 856 00:54:04,313 --> 00:54:08,485 He saw a review of our show. 857 00:54:08,485 --> 00:54:12,474 He said, well, they say they created a new kind of movement 858 00:54:12,474 --> 00:54:15,160 and I thought it was interesting, 859 00:54:15,160 --> 00:54:17,828 because we are going to start the Juilliard drama division 860 00:54:17,828 --> 00:54:20,345 and I'm looking for teachers. 861 00:54:20,345 --> 00:54:23,560 He said would you be willing to come for a weekend 862 00:54:23,560 --> 00:54:24,957 and do some classes, 863 00:54:24,957 --> 00:54:27,700 and my ears pricked when I heard it. 864 00:54:27,700 --> 00:54:31,140 I thought, hm, I will have resources 865 00:54:31,140 --> 00:54:33,255 of talents for my company. 866 00:54:35,050 --> 00:54:36,720 So I said, "Yeah." 867 00:54:36,720 --> 00:54:41,720 And that was the reason why I wanted to teach at Juilliard. 868 00:54:41,860 --> 00:54:43,240 There was no other reason. 869 00:54:43,240 --> 00:54:47,306 Because my company was the central thing in my brain. 870 00:54:47,306 --> 00:54:49,550 I guess they liked what I did 871 00:54:49,550 --> 00:54:51,003 and they asked me to join. 872 00:54:52,850 --> 00:54:57,060 I always clashed with John Houseman, the director. 873 00:54:57,060 --> 00:54:58,710 -Trimming the fat. 874 00:54:58,710 --> 00:55:00,490 He was a dictator. 875 00:55:00,490 --> 00:55:03,601 His ego was a very prominent one. 876 00:55:03,601 --> 00:55:07,330 -Saturated fat, now you know the difference. 877 00:55:07,330 --> 00:55:10,265 -He used to call me the erratic Israeli. 878 00:55:10,265 --> 00:55:13,030 When he said something and I didn't like it, 879 00:55:13,030 --> 00:55:16,440 I had to respond, I didn't have much tact at the time. 880 00:55:16,440 --> 00:55:19,883 In the company, I was the authority. 881 00:55:20,999 --> 00:55:25,999 It was my place, and I would do within it whatever I want. 882 00:55:28,260 --> 00:55:31,673 I never thought that I'd stay at Juilliard for that long. 883 00:55:32,780 --> 00:55:36,547 So basically I'm one of the founders of the drama division 884 00:55:36,547 --> 00:55:39,213 and the only one that's still teaching at Juilliard. 885 00:55:57,555 --> 00:56:00,118 -Good evening, ladies and gents, and welcome aboard. 886 00:56:00,118 --> 00:56:01,360 Before we take off today-- 887 00:56:01,360 --> 00:56:04,680 You know, showcase is not like a play. 888 00:56:04,680 --> 00:56:07,018 I found it very frustrating. 889 00:56:07,018 --> 00:56:09,600 -Okay, enough! -That we do all the training 890 00:56:09,600 --> 00:56:10,953 that we do and it comes up to the point 891 00:56:10,953 --> 00:56:13,630 of doing these tiny, tiny snippets 892 00:56:13,630 --> 00:56:17,049 that you feel like you can explode in between two scenes. 893 00:56:17,049 --> 00:56:17,882 -Time for everything even if it's already, 894 00:56:17,882 --> 00:56:19,763 when it comes just trying to-- -Cathy, I really don't wanna 895 00:56:19,763 --> 00:56:21,710 have this conversation. 896 00:56:21,710 --> 00:56:23,474 -It's intimidating, the scenes begin, 897 00:56:23,474 --> 00:56:25,978 you see all these people in suits with their lists. 898 00:56:25,978 --> 00:56:28,192 -Mary, I love you! 899 00:56:28,192 --> 00:56:29,025 Oh christ, now I've said it. 900 00:56:29,025 --> 00:56:31,309 And then it just sort of dissolved 901 00:56:31,309 --> 00:56:34,632 only by like throwing myself into the scene. 902 00:56:34,632 --> 00:56:37,410 Now, oh my heart is breaking. 903 00:56:37,410 --> 00:56:39,020 You must think I'm so stupid 904 00:56:39,020 --> 00:56:40,560 but I, I can feel it breaking. 905 00:56:40,560 --> 00:56:41,940 -No-- -God I just wish I could 906 00:56:41,940 --> 00:56:43,690 stop talking; I can't! 907 00:56:43,690 --> 00:56:45,457 I, I can't! -I've never heard you talking 908 00:56:45,457 --> 00:56:48,163 this much, I mean you're usually so quiet. 909 00:56:50,351 --> 00:56:53,563 -I have loved you for a long, long time. 910 00:56:53,563 --> 00:56:54,579 -How long? -Months. 911 00:56:54,579 --> 00:56:55,730 -Oh. 912 00:56:55,730 --> 00:56:57,220 -Remember that big snowball fight 913 00:56:57,220 --> 00:56:58,053 in the park? -In the park! 914 00:56:58,053 --> 00:57:00,070 -Yes, that was when I first fell in love with you. 915 00:57:00,070 --> 00:57:01,510 You were wearing a red coat. 916 00:57:01,510 --> 00:57:02,498 -Oh, that coat. 917 00:57:02,498 --> 00:57:04,220 If you knew how I felt about that coat. 918 00:57:04,220 --> 00:57:05,590 I mean, that coat is like all the good things 919 00:57:05,590 --> 00:57:06,423 from when I was a kid. 920 00:57:06,423 --> 00:57:08,618 It's like being an adult but having your childhood, too. 921 00:57:08,618 --> 00:57:09,451 Do you know what it's like? 922 00:57:09,451 --> 00:57:11,880 It's like one of those movies where you're safe 923 00:57:11,880 --> 00:57:12,874 even though it's an adventure. 924 00:57:12,874 --> 00:57:15,755 Like the hero is doing all this really dangerous stuff 925 00:57:15,755 --> 00:57:17,150 but you know he's gonna be okay 926 00:57:17,150 --> 00:57:19,130 because of the kind of movie it is. 927 00:57:19,130 --> 00:57:20,660 Being in that red coat is like, 928 00:57:20,660 --> 00:57:23,100 is like being safe inside of an adventure. 929 00:57:23,100 --> 00:57:24,923 -I do understand, I do. 930 00:57:26,030 --> 00:57:27,780 -I don't know, I don't know about tomorrow, 931 00:57:27,780 --> 00:57:29,911 but right this moment, right this minute, 932 00:57:29,911 --> 00:57:31,463 I love you. -Oh, Mary! 933 00:57:36,897 --> 00:57:40,650 -I didn't know two people could understand some things, 934 00:57:40,650 --> 00:57:42,480 share some things. 935 00:57:42,480 --> 00:57:44,483 -It must be terrible not to. 936 00:57:46,026 --> 00:57:48,410 -You're really handsome, did you know that? 937 00:57:48,410 --> 00:57:49,690 Does your mother tell you that? 938 00:57:49,690 --> 00:57:50,612 -Yeah, she does. 939 00:57:55,704 --> 00:57:57,815 I don't have representation, 940 00:57:57,815 --> 00:58:02,460 and fourth year is a lot of people are getting approached. 941 00:58:02,460 --> 00:58:04,095 And I was looking around while all my classmates 942 00:58:04,095 --> 00:58:06,481 were getting agent and manager attention 943 00:58:06,481 --> 00:58:08,233 and I wasn't getting anything. 944 00:58:09,210 --> 00:58:11,840 But a Juilliard alumni, a friend of mine, 945 00:58:11,840 --> 00:58:13,770 got me into the audition room 946 00:58:13,770 --> 00:58:16,515 for this beautifully written Broadway play, 947 00:58:16,515 --> 00:58:20,488 and much to my surprise, I got the job. 948 00:58:20,488 --> 00:58:23,433 I guess the regular experience 949 00:58:23,433 --> 00:58:26,130 has been flipped on its head for me, 950 00:58:26,130 --> 00:58:28,750 because I happened to get the job first, 951 00:58:28,750 --> 00:58:32,493 and now the agencies are interested in me. 952 00:58:33,410 --> 00:58:38,410 East 62nd, don't know what the area's called but, 953 00:58:40,128 --> 00:58:43,811 I mean, I don't know who the fuck shops at these places. 954 00:58:43,811 --> 00:58:47,753 This does not in any way represent 955 00:58:47,753 --> 00:58:50,592 my experience in life. 956 00:58:50,592 --> 00:58:54,560 Typically the smaller agencies care more about you 957 00:58:54,560 --> 00:58:55,598 as an artist. 958 00:58:55,598 --> 00:58:57,740 But I feel like with Juilliard, man, 959 00:58:57,740 --> 00:58:59,913 I've had enough attention. 960 00:59:00,840 --> 00:59:03,730 If you're ambitious you go to one of the bigger ones, 961 00:59:03,730 --> 00:59:05,927 and it can pay off in a really big way. 962 00:59:16,330 --> 00:59:18,333 -Life is full of surprises. 963 00:59:22,800 --> 00:59:27,800 Most people are scared to get away from the familiar, 964 00:59:31,500 --> 00:59:33,503 and to look at things differently. 965 00:59:40,957 --> 00:59:44,100 All this experience that we gather, 966 00:59:44,100 --> 00:59:46,593 and all this so-called wisdom, 967 00:59:50,810 --> 00:59:54,140 suddenly we need to learn new things, 968 00:59:54,140 --> 00:59:56,783 to deal with a new situation. 969 01:00:02,630 --> 01:00:05,223 And theater is full of surprises. 970 01:00:08,613 --> 01:00:11,763 If theater is not surprising, it's not interesting. 971 01:00:14,029 --> 01:00:17,827 The fact that I don't know what's going to happen, 972 01:00:19,750 --> 01:00:21,143 that keeps me interested. 973 01:00:35,680 --> 01:00:38,040 -Tell me a little bit about the project on Broadway. 974 01:00:38,040 --> 01:00:41,210 -It's "The Curious Incident of the Dog in the Night-Time". 975 01:00:41,210 --> 01:00:45,660 It's the story through the eyes of a boy who's autistic. 976 01:00:45,660 --> 01:00:48,767 -Mm-hm, so you just went and auditioned for it? 977 01:00:48,767 --> 01:00:51,870 Was that it? -Yeah, yeah, I auditioned for 978 01:00:51,870 --> 01:00:53,580 the director, there was a big movement call. 979 01:00:53,580 --> 01:00:56,997 It was very intense, it was like two hours long, I think, 980 01:00:56,997 --> 01:00:59,410 and it started off simple, 981 01:00:59,410 --> 01:01:02,298 like you'd have to run down a room, around a chair, 982 01:01:02,298 --> 01:01:05,273 not touch the chair, not slip over, and run back. 983 01:01:05,273 --> 01:01:07,520 And then it got into very specific things, 984 01:01:07,520 --> 01:01:12,520 walking for 10 paces, turning sharp right after 10 paces, 985 01:01:13,933 --> 01:01:15,290 and then walking back. 986 01:01:15,290 --> 01:01:18,260 And then imagining that there was a tiny spacecraft 987 01:01:18,260 --> 01:01:20,597 taking off from one point on their body 988 01:01:20,597 --> 01:01:23,130 and going to another point. 989 01:01:23,130 --> 01:01:24,513 Very, very physical. 990 01:01:26,990 --> 01:01:29,906 -You should have worked harder. 991 01:01:29,906 --> 01:01:32,513 - Thank god I had your class. 992 01:01:33,700 --> 01:01:36,713 I was transferring our classwork straight into it. 993 01:01:39,480 --> 01:01:42,414 -Okay, so let's separate a little bit. 994 01:01:46,096 --> 01:01:50,236 And go ahead, Sammy, you start. 995 01:02:03,610 --> 01:02:08,200 What I try to do with them is to give them 996 01:02:08,200 --> 01:02:13,200 their first experiences of expressing themselves 997 01:02:13,548 --> 01:02:15,953 physically as actors. 998 01:02:19,253 --> 01:02:22,770 Okay, we are going to have a little game now. 999 01:02:22,770 --> 01:02:25,670 Whatever Colin does in the center, 1000 01:02:25,670 --> 01:02:27,520 everyone of you should do the same. 1001 01:02:27,520 --> 01:02:30,927 They are sometimes very agile and very capable, 1002 01:02:30,927 --> 01:02:35,194 but the way an actor moves is totally different. 1003 01:02:47,350 --> 01:02:51,513 As an actor, everything you do has to be justified. 1004 01:02:55,781 --> 01:03:00,230 Whether you move an eye, you move a hand, 1005 01:03:00,230 --> 01:03:03,423 you move your torso, must have a reason. 1006 01:03:09,064 --> 01:03:12,304 When every part of the body functions 1007 01:03:12,304 --> 01:03:15,300 as it ought to function for the character, 1008 01:03:15,300 --> 01:03:17,413 there is a complete physical harmony. 1009 01:03:22,781 --> 01:03:25,614 And I reach for the goal up there, 1010 01:03:26,511 --> 01:03:30,403 to stretch to the maximum while they are on their toes. 1011 01:03:31,880 --> 01:03:33,063 It's very simple. 1012 01:03:35,243 --> 01:03:38,225 They engage immediately their imagination, 1013 01:03:38,225 --> 01:03:40,993 what is this goal that I want to reach, 1014 01:03:42,623 --> 01:03:47,583 that is vital for them, that they cannot do without? 1015 01:04:17,976 --> 01:04:21,126 And have a great life, everybody. 1016 01:04:21,126 --> 01:04:25,043 -We love you! 1017 01:04:28,441 --> 01:04:30,691 Look up every day. 1018 01:04:48,910 --> 01:04:50,619 What I hope that the student will get 1019 01:04:50,619 --> 01:04:54,680 from any class that I give is a fired imagination, 1020 01:05:01,961 --> 01:05:06,280 with some kind of passion to connect with the material 1021 01:05:06,280 --> 01:05:09,123 they are going to work on after my class. 1022 01:05:20,655 --> 01:05:23,488 Announcer: Magdalene A. Sagani. 1023 01:05:24,796 --> 01:05:27,990 Alexander Sharp. 1024 01:05:27,990 --> 01:05:30,579 -Because I've seen it so many times, 1025 01:05:30,579 --> 01:05:32,332 I've learned not to be surprised 1026 01:05:32,332 --> 01:05:35,570 when brilliantly talented actors 1027 01:05:35,570 --> 01:05:39,030 that look as if they really can play 1028 01:05:39,030 --> 01:05:42,032 many different characters and leading characters, 1029 01:05:42,032 --> 01:05:46,270 basically spend their life in real estate 1030 01:05:46,270 --> 01:05:48,799 or serving in a restaurant. 1031 01:05:48,799 --> 01:05:52,073 That surprised me at the beginning 1032 01:05:52,073 --> 01:05:57,073 but then I learned that it has to do a lot, also, with luck. 1033 01:06:01,920 --> 01:06:06,450 With funding for my company, we were never very successful 1034 01:06:07,620 --> 01:06:12,000 because I did not understand at all the business culture. 1035 01:06:12,000 --> 01:06:13,370 Announcer: The New York Pantomime Theater 1036 01:06:13,370 --> 01:06:15,443 has been commissioned to make theatrical presentations 1037 01:06:15,443 --> 01:06:17,735 for major business corporations. 1038 01:06:17,735 --> 01:06:18,910 Timex, General Host-- 1039 01:06:18,910 --> 01:06:22,590 -I found myself do little bits on television. 1040 01:06:22,590 --> 01:06:26,240 Announcer: You can press GEON vinyl into music on records 1041 01:06:29,342 --> 01:06:31,771 or foam it into life preservers, 1042 01:06:31,771 --> 01:06:33,787 or shape it into a squeeze toy. 1043 01:06:35,450 --> 01:06:38,150 Announcer: The Avon life plan is another of those ways 1044 01:06:38,150 --> 01:06:39,550 to say you care. 1045 01:06:39,550 --> 01:06:41,650 We rented our own space, 1046 01:06:41,650 --> 01:06:43,833 but when the rent quadrupled in one year, 1047 01:06:43,833 --> 01:06:46,513 it became very difficult. 1048 01:06:51,230 --> 01:06:54,990 For a year or two it was all about raising moneys 1049 01:06:56,560 --> 01:06:59,620 and I had to come up to some kind of decision, 1050 01:06:59,620 --> 01:07:02,593 whether this was the kind of life that I wanted to lead. 1051 01:07:03,870 --> 01:07:07,050 And I decided I couldn't take it anymore, 1052 01:07:07,050 --> 01:07:09,330 that raising moneys was not something 1053 01:07:09,330 --> 01:07:13,449 that I was interested in, and that was it. 1054 01:07:13,449 --> 01:07:16,133 We decided to close shop. 1055 01:07:17,950 --> 01:07:22,950 It took a span of 24 hours, that 26 years were just gone. 1056 01:07:29,787 --> 01:07:33,433 I used to wake up at four, 4:30 in the morning, 1057 01:07:34,991 --> 01:07:37,483 imagine a mime scene. 1058 01:07:41,050 --> 01:07:44,633 At night I would rehearse it with my people, 1059 01:07:46,260 --> 01:07:47,673 and then we performed it. 1060 01:07:53,350 --> 01:07:55,800 Suddenly I wake up at four in the morning 1061 01:07:55,800 --> 01:07:58,493 and I'm thinking about a mime scene, 1062 01:08:01,844 --> 01:08:04,723 but I don't have anymore where to perform it. 1063 01:08:09,884 --> 01:08:14,884 This loss, of being constantly, constantly creative, 1064 01:08:21,480 --> 01:08:24,673 started really to hit me hard. 1065 01:08:53,522 --> 01:08:56,522 I never thought I'd stop performing. 1066 01:09:05,230 --> 01:09:07,513 But life is life no matter what you do. 1067 01:09:25,880 --> 01:09:28,383 At that time, around the station. 1068 01:09:30,685 --> 01:09:32,727 Announcer: The hit of the season on Broadway is 1069 01:09:32,727 --> 01:09:35,189 an explosion of sights and sounds. 1070 01:09:35,189 --> 01:09:38,200 "The Curious Incident of the Dog in the Night-Time", 1071 01:09:38,200 --> 01:09:42,952 about a 15-year-old boy with autism, starring Alex Sharp. 1072 01:09:42,952 --> 01:09:46,450 -He gets overstimulated by things every day, 1073 01:09:46,450 --> 01:09:47,680 like walking down the street 1074 01:09:47,680 --> 01:09:49,220 and there are tons of people around me, 1075 01:09:49,220 --> 01:09:51,462 I just want to like crouch down and start groaning. 1076 01:09:51,462 --> 01:09:54,616 So I feel like that all the time in my real life. 1077 01:09:54,616 --> 01:09:58,330 You also have to be someone who'd like being on their own 1078 01:09:58,330 --> 01:10:00,460 in a tiny spacecraft. 1079 01:10:00,460 --> 01:10:04,209 Feels like an exaggeration of qualities 1080 01:10:04,209 --> 01:10:07,197 that I think a lot of people already have. 1081 01:10:21,260 --> 01:10:23,010 -Hi, you are insane. 1082 01:10:26,722 --> 01:10:28,556 My gosh. -I could see you out there. 1083 01:10:28,556 --> 01:10:30,350 -Are you going to do it again tomorrow? 1084 01:10:30,350 --> 01:10:32,519 -Yeah. -And the day after? 1085 01:10:32,519 --> 01:10:34,260 -Uh-huh. -Fantastic. 1086 01:10:34,260 --> 01:10:35,282 -Thank you so much. 1087 01:10:35,282 --> 01:10:37,100 -No, no, don't thank me, I thank you. 1088 01:10:37,100 --> 01:10:42,100 I mean it was wonderful to see you do what you did. 1089 01:10:42,639 --> 01:10:44,282 I really mean it. 1090 01:10:44,282 --> 01:10:46,218 -Thank you, that means a lot. 1091 01:10:46,218 --> 01:10:49,388 Thank you for coming, it meant so much to have you here. 1092 01:10:49,388 --> 01:10:50,467 -Thank you. -Thanks so much. 1093 01:10:50,467 --> 01:10:52,417 -You wanted to do "The Clockwork Orange" 1094 01:10:52,417 --> 01:10:53,910 'cause it was crazy, 1095 01:10:53,910 --> 01:10:55,580 here you are doing something crazier. 1096 01:10:55,580 --> 01:10:56,914 -Yeah, I know, right? 1097 01:10:56,914 --> 01:10:58,978 This is a lot crazier. 1098 01:10:58,978 --> 01:11:03,978 -So agile, focused, why didn't you do it in school? 1099 01:11:05,451 --> 01:11:07,240 'Cause you were rebellious? 1100 01:11:07,240 --> 01:11:09,810 -Oh no, 'cause I couldn't do this without Juilliard. 1101 01:11:09,810 --> 01:11:11,756 -It's amazing, amazing work. 1102 01:11:11,756 --> 01:11:13,227 -Thank you. -Bravo. 1103 01:11:13,227 --> 01:11:16,113 -Oh I'm so glad you came, thank you, thank you. 1104 01:11:18,860 --> 01:11:21,487 Moni is just like the father of Juilliard, 1105 01:11:21,487 --> 01:11:22,723 do you know what I mean? 1106 01:11:24,470 --> 01:11:26,423 He's like the dad that stayed. 1107 01:11:28,447 --> 01:11:30,150 He's amazing, man. 1108 01:11:31,364 --> 01:11:33,557 -Fourth year I did this play called, 1109 01:11:33,557 --> 01:11:35,600 "Someone to Watch Over Me". 1110 01:11:35,600 --> 01:11:38,077 After the show, Moni came up to me and he hugged me. 1111 01:11:38,077 --> 01:11:40,197 I was like, oh, wow, hey thanks, Moni. 1112 01:11:40,197 --> 01:11:43,357 And he said, "You've really grown, I've watched you come in 1113 01:11:43,357 --> 01:11:47,866 "as a kid who spoke awful and had no movement skills, 1114 01:11:47,866 --> 01:11:51,337 "and you've blossomed into a really great young actor." 1115 01:11:53,591 --> 01:11:55,430 Announcer: Good morning, everyone, 1116 01:11:55,430 --> 01:11:59,670 and welcome to the 2015 Tony Award nominations. 1117 01:11:59,670 --> 01:12:01,470 The nominees for best performance 1118 01:12:01,470 --> 01:12:04,817 by an actor in a leading role in a play are-- 1119 01:12:04,817 --> 01:12:07,277 -"You've done all that work yourself. 1120 01:12:07,277 --> 01:12:09,767 "You've been able to build and grow on your own, 1121 01:12:09,767 --> 01:12:11,967 "and I want you to know that when you get out of school 1122 01:12:11,967 --> 01:12:14,587 "you have the mechanics now to do whatever you want to do. 1123 01:12:14,587 --> 01:12:16,335 "So don't be afraid to do anything." 1124 01:12:16,335 --> 01:12:19,057 Announcer: Nighy, "Skylight", Alex Sharp, 1125 01:12:19,057 --> 01:12:21,981 "The Curious Incident of the Dog in the Night-Time". 1126 01:12:40,470 --> 01:12:42,630 -I am standing here with Alex Sharp 1127 01:12:42,630 --> 01:12:43,720 from "Curious Incident". 1128 01:12:43,720 --> 01:12:45,350 Alex, this is your Broadway debut 1129 01:12:45,350 --> 01:12:46,347 and your first Tony nomination. 1130 01:12:46,347 --> 01:12:47,630 How does it feel? 1131 01:12:47,630 --> 01:12:50,190 -So crazy, I'm having the time of my life. 1132 01:12:50,190 --> 01:12:52,910 -I can imagine, and you're a recent Juilliard grad. 1133 01:12:52,910 --> 01:12:54,947 -I am. -And what was that like? 1134 01:12:54,947 --> 01:12:55,843 -That, being at Juilliard? 1135 01:12:55,843 --> 01:12:58,730 -Juilliard, yeah. -It was great, it was great. 1136 01:12:58,730 --> 01:12:59,757 You know I couldn't do this part 1137 01:12:59,757 --> 01:13:01,600 without the training that I had there, 1138 01:13:01,600 --> 01:13:03,980 so I'm very grateful for that. 1139 01:13:10,487 --> 01:13:15,481 -And the American Theater Wing's Tony goes to Alex Sharp. 1140 01:13:20,856 --> 01:13:24,560 -This time last year I picked up my diploma 1141 01:13:24,560 --> 01:13:25,930 graduating from Juilliard. 1142 01:13:25,930 --> 01:13:28,751 So to be holding this is insane. 1143 01:13:28,751 --> 01:13:33,751 Thank you so, so much for this incredible honor. 1144 01:13:37,960 --> 01:13:40,053 -Like any great teacher's legacy, 1145 01:13:41,185 --> 01:13:42,743 you're not in the spotlight. 1146 01:13:45,090 --> 01:13:49,473 You've prepared others for the spotlight. 1147 01:13:49,473 --> 01:13:51,703 -He's a true teacher that way. 1148 01:13:52,800 --> 01:13:56,526 And there's the love that this man has of his work, 1149 01:13:56,526 --> 01:13:59,033 and the evolution of his work. 1150 01:14:00,178 --> 01:14:04,044 And how he has given it to us. 1151 01:14:04,044 --> 01:14:06,544 -Good morning. -Good morning. 1152 01:14:08,021 --> 01:14:12,000 -45 years now, you cannot measure this. 1153 01:14:12,000 --> 01:14:16,361 You cannot measure this man's sense of dedication, 1154 01:14:16,361 --> 01:14:19,763 of love, it's just love. 1155 01:14:22,344 --> 01:14:25,243 -Oh my god, another year, yet. 1156 01:14:26,420 --> 01:14:29,076 -He's just completely connected to the earth, 1157 01:14:29,076 --> 01:14:31,560 and from that springs all these roots 1158 01:14:31,560 --> 01:14:33,443 and all these branches. 1159 01:14:33,443 --> 01:14:35,515 -I'll tell you what we'll do first. 1160 01:14:35,515 --> 01:14:37,680 I don't remember, really, your names, 1161 01:14:37,680 --> 01:14:40,536 so we'll do that the first thing, okay? 1162 01:14:40,536 --> 01:14:43,550 And you know my name, yeah? 1163 01:14:43,550 --> 01:14:46,468 That's good, oh I'm so glad, because I don't.