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(light music)

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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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-: You are getting into a car, starting it up,

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and beginning to drive.

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(engine rumbling)

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(tires screeching)
Watch the road.

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Watch the scenery go by

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until soon the city is far behind you.

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You find yourself on a lonely road.

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You've never been there.

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(rapid drumming music)

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It's twilight and slowly a mist

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comes rolling in from nowhere.

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You get out of car and into the mist.

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The mist thickens into a fog.

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(upbeat percussive music)

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You are lost in it.

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Good morning.
-: Good morning!

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-: Moni's one of the main reasons I came to Juilliard.

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He's taught so many people.

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-: Very good.
(class shouting)

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-: You know if you say to any Juilliard student, Moni.

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-: And stop, and run; stop.

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Laura: Their eyes sort of get a little bigger

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and there's a little twinkle.

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-: Quarter turn, yup!
(class grunting)

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Laura: He's the one person who everybody had.

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-: With our entire body.

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(class shouting)

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-: I remember hearing about Moni

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prior to getting to the school,

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because he was legendary, he had been there

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from the very beginning of Juilliard.

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But they do a very interesting thing at Juilliard

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where they keep him from you for a year.

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Class: Woo, woo, woo!

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-: I think to build fear.

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-: There's this feeling of fear. (laughs)

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Class: Left and right--

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-: Simultaneous!
(cane smacking)

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-: Because so many students would walk out exhausted,

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dripping with sweat.

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You could tell that they had been really tested.

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-: You have a huge space!

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You have a huge space here.

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(woman screaming wildly)

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(class shouting)

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-: People didn't really know necessarily how to describe it.

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It was just that, oh my gosh, get ready, get ready

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'cause Moni's gonna kill you, Moni's gonna kill you.

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It was instantly very intense

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and something I had never really connected to, acting.

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(woman vocalizing)

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-: What if you had no words?

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How do you express yourself physically?

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Working with Moni gave us the ability

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to strip our inhibitions away

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and allow ourselves to go

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as far as we wanted to go as an actor.

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-: This foul Egyptian hath betrayed me.

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-: Away, away, corrupters of my faith!

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(dramatic cello music)

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(wind blowing)

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(breaths whooshing)

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-: By the mere unpredictability of rhythm I am startled.

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I move that way, oh!

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(sighing)

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Who is that?

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(exuberant breathing)

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I always found in the movements for actors,

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it was dancers coming and teaching you to do a plie

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or to do assemble,

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and I found it totally irrelevant--

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Class: High knees in--

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-: Because actors have to deal not with an external form

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but with a form that emanates from the inwards life

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of the character.

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That's how I see movement for actors.

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(uplifting string music crescendos)

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-: What's the best drama school in America?

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I applied for Juilliard

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and I wanted it so, so badly.

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(footsteps pattering rapidly)

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(class laughing)

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I went in and I remember being intimidated by Moni.

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I did Hamlet, "Oh, that this too, too solid flesh."

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And Moni was like, "Okay, do the Hamlet again,

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"but this time I want you to think maybe he's crazy."

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So I started again,

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he stopped me after like three lines.

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-: Stop.
(feet patter to abrupt halt)

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And run; stop.

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-: "Okay, this will be the last time I stop you,

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"but I want you to be crazy."

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-: Half turn, half turn.

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-: So I took my shoe off

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and like slapped myself in the face with it

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and was like rolling around on the floor.

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And after maybe 10 lines he stopped me and was like,

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"Okay, thank you."

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I left and I was in the basement of a house in Cincinnati,

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painting the floor on my own.

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I got a call that I'd got into Juilliard,

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hung up the phone, sitting in this basement on my own,

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I was like, "Sweet." (laughs)

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No one to celebrate with.

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-: Uh-huh, and to the right.

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When I was 17 in Jerusalem,

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I went to see a show, a mime show,

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which I didn't know what it was at all.

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(rapid upbeat bongo drumming)

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And when lights came up, you saw this figure

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who created everything from nothing.

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The wind, the trees, animals, fire, water,

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with no props, no words, no set.

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It was so magical, so incredible,

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I was utterly spellbound.

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I wanted to do that.

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Where does one learn that?

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I heard about Mr. Etienne Decroux,

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who actually created modern mime.

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There were always mimes,

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but there was never, never a technique

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where you can go and learn.

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And he developed this technique,

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and I decided to study with him.

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He was an imposing personality.

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He knew it, and he used It.

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You had to stand there on your feet

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like for an hour and 45 minutes,

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just working with your eyes going up there, up there,

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there, there, there, there, there, there,

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and then all kind of designs with the eyes.

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He was a kind of a scientist.

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He loved discovering the possibilities

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of the physical expression.

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His motto was give me one square yard,

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one light, and I'll give you the world.

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(wood creaking)

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(saw rasping on wood)

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(ratchet cranking and pounding)

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(suspenseful drumming music)

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It was not easy for me at the beginning

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because physically, I was a actor, I was loose.

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As a mime you never let go of physical tension.

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All I wanted to do is to be a mime

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and that really became my passion.

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(rhythmic percussive clapping)

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-: Kevin!
-: Moni!

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(both laughing joyfully)

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Moni: I find actors really the most interesting people.

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Kevin: It's an act of empathy.

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-: Absolutely.
-: If you can't empathize,

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how can you play another character other than yourself

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if you don't have (mummbles)--
-: It's empathy,

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you have to have incredible understanding,

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knowledge of the human character.

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Today, an actor cannot be just, you know,

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the way once they used to be all about the speech and--

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-: Yeah, when I was at Juilliard,

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I was just an unformed amoeba of insecurity.

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Like what's the right way to do it?

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There's a right way and a wrong way.

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I was very in my head,

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and Moni Yakim got me out of my head into my body.

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A lot of it is getting to know yourself,

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and a lot of it is getting to forget yourself.

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There's always a mask.

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The mask is the source.

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If you're playing a character,

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even if you're just playing or being yourself,

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you can be more yourself because it's not you.

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Oh, what an old and peasant slave am I.

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Moni: I'm doing now an exercise

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where you have to be your most hilarious.

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-: Forms, 'cause you can see, and all for nothing!

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-: Then you move to a dramatic spot

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where you have to be your most dramatic,

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even I think too melodramatic.

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(Kevin grumbling wordlessly)

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(Moni laughing)

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And most of the time the dramatic spot

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is funnier than the comic spot.

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Because when you reach the utmost level of tragedy,

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it becomes hilarious.

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-: I'm havin' a breakdown!

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I'm havin' a breakdown, I'll tell you somethin'.

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-: Mina is the precursor to Moni at Juilliard.

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You get Mina the first year,

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you get a little taste of what she has to do.

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Of course what she's doing is less of a movement language

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and more about masks.

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-: Masks enable the actors to get in touch

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with their instinctive self,

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and not to be just in your head

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and think all the time and preplan.

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It becomes kind of boring and restrictive.

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-: Every actor wants the ability

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to be able to create the world around them.

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When you play with a kid,

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a kid sees everything in the room he's talking about.

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He can turn that spoon into a sword or whatever he wants.

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And Mina, you know, gives you that.

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-: Okay, wonderful.
(class talking raucously)

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-: I was a sparrow spirit who ran spirit dance studios

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and I got mugged by, where is he, that guy.

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Just mugged me, came up to me

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and asked me if I like cocaine.

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And I was like, yeah, but I've got a dealer, thank you.

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And then he was like, great, you're gonna come

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to the corner with me and give me $500

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and buy cocaine from me or I'm gonna shoot you.

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(Mina laughs)
And so I did.

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-: It's important what's reading the character,

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because a moment ago he was a little bit like that.

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You immediately have a character there.

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Character who is like this, maybe, you know.

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If your legs are like this, or like this.

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(students laughing)

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You have to watch people.

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My father taught me that when he lived here

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for a couple of years in America.

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He used to take the subway and he said,

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"I love to sit there and just watch people.

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"You know, their feet, their legs, everything about them."

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He was totally fascinated.

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Look at people, look at life around you.

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Trust yourselves, guys, you're really, you're good.

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Trust yourselves; very, very important to just go there.

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And let's start by flexion, pelvis,

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chest, waist, leg and head.

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All right, let's go.

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Flexion, forward bend.
-: Mina and Moni,

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sometimes they would teach together.

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It was amazing how well they worked together.

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And since they were married,

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they really had the ability to come in

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and tell their story,

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to help you explore where you wanted to go.

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(light tinkling music)

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-: I met Mina on the stairs going to my first class

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because she studied with Marcel Marceau.

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(accordion music)

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Marceau was a different bag all together.

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He was the real entertainer.

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He was the one that wanted to amuse the audience

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and that was a big clash between Marceau

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and Mr. Decroux who was actually the teacher of Marceau.

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And Decroux always felt that Marceau commercialized

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the great art that he was creating.

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And for that he never forgave him.

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-: Before I met Moni, I had a relationship

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with Marcel Marceau while I was in his school.

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And then I started to see Moni much, much more,

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and Marcel was very nice about it; he understood.

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-: By that time Mina and I were in love with each other.

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I wanted to be with Mina as much as I could,

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so I just decided to try and influence her

260
00:14:26,970 --> 00:14:29,540
to come with me to Mr. Decroux's school,

261
00:14:29,540 --> 00:14:31,256
which was totally different.

262
00:14:31,256 --> 00:14:33,870
(moody string music)

263
00:14:33,870 --> 00:14:37,013
It had to do with precision and focus.

264
00:14:38,450 --> 00:14:42,620
Since I was by that time pretty good with this technique,

265
00:14:42,620 --> 00:14:44,123
I started to teach her.

266
00:14:46,130 --> 00:14:48,433
And Mina became my first student.

267
00:14:51,500 --> 00:14:55,293
I owe her my evolution as a teacher.

268
00:14:58,250 --> 00:15:00,650
-: Every time I approach any piece of material

269
00:15:00,650 --> 00:15:01,887
I think about Moni,

270
00:15:01,887 --> 00:15:04,830
and I think about the things that he taught me,

271
00:15:04,830 --> 00:15:08,123
and I think about how I can apply those things.

272
00:15:09,271 --> 00:15:12,090
-: The second year it's about honing it in on you.

273
00:15:12,090 --> 00:15:14,520
Figuring out how all those different basic acting steps

274
00:15:14,520 --> 00:15:17,320
work best coming from you.

275
00:15:17,320 --> 00:15:20,024
Oscar: Movement teacher is such a reductive word

276
00:15:20,024 --> 00:15:22,480
for what it is that he does.
-: Low, toes, outside.

277
00:15:22,480 --> 00:15:24,750
-: What he's actually doing is putting together

278
00:15:24,750 --> 00:15:26,274
all the pieces of what we're learning here.

279
00:15:26,274 --> 00:15:27,989
So we're doing scene class,

280
00:15:27,989 --> 00:15:30,596
we're doing vocal work, we're doing the breathing,

281
00:15:30,596 --> 00:15:32,759
we're doing like (patters rapidly),

282
00:15:32,759 --> 00:15:34,200
you know, all these different things.

283
00:15:34,200 --> 00:15:37,853
And then when we think, you know, this is just a move,

284
00:15:37,853 --> 00:15:39,190
just to express the body a little more.

285
00:15:39,190 --> 00:15:40,240
But it's actually not that.

286
00:15:40,240 --> 00:15:43,142
It's actually this is how you relate

287
00:15:43,142 --> 00:15:44,973
to the rest of the world.

288
00:15:46,980 --> 00:15:50,347
Movement is action and action is acting.

289
00:15:51,533 --> 00:15:54,450
(slow moody music)

290
00:16:01,923 --> 00:16:06,270
Alex: I was always really intensely obsessed with people

291
00:16:06,270 --> 00:16:09,540
and like why people behave the way they do.

292
00:16:09,540 --> 00:16:13,772
-: Everybody follows Claire, let's go, Claire.

293
00:16:13,772 --> 00:16:15,091
(class hooting)

294
00:16:15,091 --> 00:16:20,091
Together, one sound, one action, one entity.

295
00:16:23,888 --> 00:16:28,278
(scatting rhythmically) Tap tap toe, we get up to the left.

296
00:16:28,278 --> 00:16:30,198
Forward, back, forward--

297
00:16:30,198 --> 00:16:32,250
Alex: When I was a kid I would create a character

298
00:16:32,250 --> 00:16:35,103
an then I would just live as this character for days.

299
00:16:36,550 --> 00:16:37,993
Like I just had to.

300
00:16:39,380 --> 00:16:40,992
My mother thought I was insane.

301
00:16:40,992 --> 00:16:45,992
(class vocalizing rhythmically in unison)

302
00:16:46,560 --> 00:16:49,423
I just had this massive excess of energy.

303
00:16:51,172 --> 00:16:55,270
It would never come out as directly as anger or sadness,

304
00:16:55,270 --> 00:16:57,750
I just like knew I just had to do something.

305
00:16:57,750 --> 00:17:02,673
-: Lie down, sit up.
(class whooping)

306
00:17:09,195 --> 00:17:12,747
Sit up, lie down.
(class whooping)

307
00:17:12,747 --> 00:17:17,580
Claire is going to tell us the tallest tale she can invent.

308
00:17:17,580 --> 00:17:20,074
-: So I was walking on water the other day--

309
00:17:20,074 --> 00:17:22,090
-: Uh-huh?
-: Came up and it told me

310
00:17:22,090 --> 00:17:23,034
that it liked eating brains.

311
00:17:23,034 --> 00:17:24,697
And I ate some very nice (mumbling)--

312
00:17:24,697 --> 00:17:27,335
-: And how did you feel when you ate it?

313
00:17:27,335 --> 00:17:29,418
-: Delicious!
-: Oh, uh-huh.

314
00:17:30,455 --> 00:17:33,205
(class whooping)

315
00:17:35,850 --> 00:17:40,850
And have a terrific day.
(class applauding)

316
00:17:42,049 --> 00:17:45,668
(police siren wailing)
(man speaks foreign language)

317
00:17:45,668 --> 00:17:50,323
When we look at someone who wants to come and study with us,

318
00:17:52,850 --> 00:17:55,073
we are looking for raw material,

319
00:17:58,210 --> 00:18:00,063
not necessarily the skills.

320
00:18:01,650 --> 00:18:04,253
It's the potential that we are looking for.

321
00:18:06,950 --> 00:18:10,371
I would like you to look at your total personality

322
00:18:10,371 --> 00:18:12,244
as if it were a jewel.

323
00:18:12,244 --> 00:18:17,244
Each facet refracts light differently to the beholder's eye.

324
00:18:17,446 --> 00:18:20,025
Director: And ready, and play even more on it.

325
00:18:20,025 --> 00:18:21,810
And do this one just a little bit quicker.

326
00:18:21,810 --> 00:18:23,639
Push this, compress this stuff a little bit more

327
00:18:23,639 --> 00:18:25,830
and play a little bit more, okay?

328
00:18:25,830 --> 00:18:29,241
And ready, and action.

329
00:18:29,241 --> 00:18:33,200
(slow emotional music)

330
00:18:33,200 --> 00:18:36,262
Moni: Each facet is necessary to the structure

331
00:18:36,262 --> 00:18:38,199
of the polished stone,

332
00:18:38,199 --> 00:18:42,943
if the full potential of the gem is to be revealed.

333
00:18:45,200 --> 00:18:47,657
It's difficult to talk about life, in a way,

334
00:18:47,657 --> 00:18:49,410
about what happened in life,

335
00:18:49,410 --> 00:18:52,733
because whatever happens in life is accidental.

336
00:18:54,620 --> 00:18:58,003
As much as we think we are wise about it,

337
00:18:59,109 --> 00:19:02,610
there is always something that happened that is unexpected

338
00:19:03,590 --> 00:19:06,663
and our entire life changes.

339
00:19:06,663 --> 00:19:09,413
(wind whooshing)

340
00:19:14,780 --> 00:19:18,663
I dream all the time about going back to Israel.

341
00:19:21,480 --> 00:19:23,693
I'm very connected to the country.

342
00:19:27,200 --> 00:19:30,563
I was born in Jerusalem and I grew up in Jerusalem.

343
00:19:31,912 --> 00:19:35,440
My parents came from Arabic countries

344
00:19:35,440 --> 00:19:38,993
so I felt that I was second-class citizen.

345
00:19:40,320 --> 00:19:44,623
My mother was born in Alexandria, Egypt, an Egyptian Jew.

346
00:19:45,900 --> 00:19:48,755
And my father came from Aleppo.

347
00:19:48,755 --> 00:19:52,763
I'm the youngest of four older brothers and one sister.

348
00:19:55,150 --> 00:19:59,160
Where I grew up, I remember sitting on my balcony

349
00:19:59,160 --> 00:20:02,390
observing the people that were working in the streets.

350
00:20:02,390 --> 00:20:07,340
It was an unbelievable theater of characters.

351
00:20:07,340 --> 00:20:10,233
People came from all over the world to live there.

352
00:20:11,750 --> 00:20:14,917
At the time, Palestine was under British mandate.

353
00:20:14,917 --> 00:20:16,227
-: [Radio Broadcaster] Army and the Palestine police,

354
00:20:16,227 --> 00:20:18,100
they can see the burning wreckage of the--

355
00:20:18,100 --> 00:20:22,940
Moni: Us, as kids, we used to hear British soldiers

356
00:20:22,940 --> 00:20:26,397
scream at us, "Fuck off, little miserable Jew.

357
00:20:26,397 --> 00:20:28,463
"Get off the street," and so on.

358
00:20:29,930 --> 00:20:32,604
My brothers were involved in the underground.

359
00:20:32,604 --> 00:20:34,402
-: [Radio Broadcaster] 200,000 Jews are being checked

360
00:20:34,402 --> 00:20:37,530
by two divisions of British troops and Palestine police.

361
00:20:37,530 --> 00:20:41,420
Moni: Fighting for liberation from the British mandate,

362
00:20:41,420 --> 00:20:43,872
my brothers were my heroes.

363
00:20:43,872 --> 00:20:46,190
Seeing people being killed,

364
00:20:46,190 --> 00:20:48,491
seeing my brother seriously wounded,

365
00:20:48,491 --> 00:20:52,070
mortal danger started to sink in.

366
00:20:52,070 --> 00:20:53,773
It was a war of survival.

367
00:20:55,726 --> 00:20:58,240
Ultimately the British left,

368
00:20:58,240 --> 00:21:02,190
and the United Nations voted for Israel's independence.

369
00:21:02,190 --> 00:21:05,199
This led to a war with our Arab neighbors.

370
00:21:05,199 --> 00:21:07,162
The war is very long.

371
00:21:07,162 --> 00:21:09,397
(suspenseful music)

372
00:21:09,397 --> 00:21:14,238
There was a lot of street violence at that time.

373
00:21:14,238 --> 00:21:17,339
As kids, we were stoning each other,

374
00:21:17,339 --> 00:21:19,937
beating each other constantly.

375
00:21:19,937 --> 00:21:22,715
We committed some crimes,

376
00:21:22,715 --> 00:21:24,828
and people didn't want to mess with us

377
00:21:24,828 --> 00:21:27,764
because otherwise we'd go break their windows,

378
00:21:27,764 --> 00:21:29,713
beat their children.

379
00:21:30,700 --> 00:21:33,508
It was fun being the king of the street.

380
00:21:33,508 --> 00:21:35,292
(boots stomping in unison)

381
00:21:35,292 --> 00:21:39,566
I understood that people had to go to become soldiers,

382
00:21:39,566 --> 00:21:41,249
that was a given.

383
00:21:41,249 --> 00:21:42,082
(troops shouting)

384
00:21:42,082 --> 00:21:46,075
I volunteered to a serious fighting unit.

385
00:21:46,075 --> 00:21:47,360
(suspenseful drumming)

386
00:21:47,360 --> 00:21:52,325
And my sergeant really started to harass me during training.

387
00:21:52,325 --> 00:21:56,967
He became an authority that I couldn't tolerate anymore.

388
00:21:56,967 --> 00:21:59,804
I swear.
-: I swear.

389
00:21:59,804 --> 00:22:01,500
Moni: That I will not.

390
00:22:01,500 --> 00:22:03,529
Class: That I will not.

391
00:22:03,529 --> 00:22:05,529
-: Move these hands.

392
00:22:05,529 --> 00:22:06,423
Class: Move these hands.

393
00:22:08,343 --> 00:22:10,710
-: When we had roll call

394
00:22:10,710 --> 00:22:13,683
my sergeant would come and check our guns.

395
00:22:13,683 --> 00:22:16,523
(female student shouting)
One day he pushed the butt

396
00:22:16,523 --> 00:22:19,933
of my gun and hit me on my face.

397
00:22:22,950 --> 00:22:26,402
I just lost my brain, totally.

398
00:22:26,402 --> 00:22:28,565
I pulled the gun from his hand

399
00:22:28,565 --> 00:22:31,450
and beat the hell out of him with it.

400
00:22:31,450 --> 00:22:36,170
He fell to the ground, all bloodied.

401
00:22:36,170 --> 00:22:37,652
And chin up.
-: Up.

402
00:22:37,652 --> 00:22:39,233
-: And flat, chin up.
-: Up.

403
00:22:39,233 --> 00:22:40,910
-: And flat, chin up.

404
00:22:40,910 --> 00:22:43,863
Well, I had to spend one year in jail.

405
00:22:45,340 --> 00:22:49,530
They were accusing me of inciting a mutiny.

406
00:22:49,530 --> 00:22:52,493
Maybe 20 of the unit ran away.

407
00:22:55,000 --> 00:22:56,133
-: Present.
-: Present.

408
00:22:57,608 --> 00:23:00,840
-: And up. (drones tonally)

409
00:23:00,840 --> 00:23:04,320
-: This is the first sense I ever had of having a master.

410
00:23:04,320 --> 00:23:08,641
To me that was the beginning of having a concept

411
00:23:08,641 --> 00:23:12,318
of the phenomenon of discipline.

412
00:23:12,318 --> 00:23:16,620
Class: Hast thou forgot the foul witch Sycorax?

413
00:23:16,620 --> 00:23:18,610
-: Physical tension, there's a lot

414
00:23:18,610 --> 00:23:20,340
of tension involved for actors.

415
00:23:20,340 --> 00:23:22,551
-: Reach your goal up there.

416
00:23:22,551 --> 00:23:25,220
Make sure you have one.

417
00:23:25,220 --> 00:23:29,830
-: Moni's class was the time for me to push myself physically

418
00:23:29,830 --> 00:23:31,602
so that I could no longer be tense.

419
00:23:31,602 --> 00:23:33,936
He would push you through physical barriers.

420
00:23:33,936 --> 00:23:36,624
Class: My mistress with a monster is in love.

421
00:23:36,624 --> 00:23:38,438
Moni: More adventurous, more adventurous.

422
00:23:38,438 --> 00:23:39,271
-: My mistress with a monster--
-: Guys, you are not

423
00:23:39,271 --> 00:23:40,895
adventurous enough!
-: Is in love.

424
00:23:40,895 --> 00:23:44,497
-: Being adventurous means you go to places

425
00:23:44,497 --> 00:23:47,320
that you don't know exist.

426
00:23:47,320 --> 00:23:52,320
There is a world out there that is unknown to you.

427
00:23:52,990 --> 00:23:56,631
And that's what you are throwing yourself into.

428
00:23:56,631 --> 00:24:01,047
Everybody, go.
(class vocalizing wildly)

429
00:24:04,365 --> 00:24:06,220
-: I think what he taught me

430
00:24:06,220 --> 00:24:08,423
was how to physically be alive.

431
00:24:10,070 --> 00:24:11,360
You're growing up, also.

432
00:24:11,360 --> 00:24:13,300
You know, you're either in your early 20s

433
00:24:13,300 --> 00:24:15,380
or you know you're still trying to figure out

434
00:24:15,380 --> 00:24:17,630
who you are and what you like and what you don't like.

435
00:24:17,630 --> 00:24:20,304
How do you handle challenge, rejection, you know,

436
00:24:20,304 --> 00:24:22,985
you're still learning how to function in the world.

437
00:24:22,985 --> 00:24:25,845
You're alive, you're really alive.

438
00:24:25,845 --> 00:24:27,822
(rapid drumming)

439
00:24:27,822 --> 00:24:28,930
Woman: The one thing you look--

440
00:24:28,930 --> 00:24:33,930
(man vocally scatting)
(woman vocalizing)

441
00:24:37,824 --> 00:24:41,767
♪ Oh, so much for me ♪

442
00:24:41,767 --> 00:24:44,141
♪ But please sing for me ♪

443
00:24:44,141 --> 00:24:47,533
♪ And to me, yeah ♪

444
00:24:47,533 --> 00:24:51,301
♪ Please do sing, ow ♪

445
00:24:51,301 --> 00:24:53,884
(upbeat music)

446
00:25:19,394 --> 00:25:24,394
Every day, 14 hours locked in these rooms.

447
00:25:27,330 --> 00:25:29,990
-: Coming to America was by accident.

448
00:25:29,990 --> 00:25:32,623
It was not really on my mind.

449
00:25:34,504 --> 00:25:38,488
I loved going to work with my master, Mr. Decroux.

450
00:25:38,488 --> 00:25:40,540
I worked hard.

451
00:25:40,540 --> 00:25:43,787
I was in Paris, and my priority was always

452
00:25:43,787 --> 00:25:46,440
my work with Decroux.

453
00:25:46,440 --> 00:25:48,970
However I needed some money to eat,

454
00:25:48,970 --> 00:25:53,049
so I also joined a theater called Theatre Franco-Allemande.

455
00:25:53,049 --> 00:25:55,686
And in one of these performances,

456
00:25:55,686 --> 00:25:59,733
a lady by the name of Stella Adler happened to be.

457
00:26:02,660 --> 00:26:05,130
As a young woman she traveled to Russia

458
00:26:05,130 --> 00:26:08,060
and brought the teaching of Konstantin Stanislavski

459
00:26:08,060 --> 00:26:12,320
back to America, where she completely revolutionized

460
00:26:12,320 --> 00:26:14,857
the approach to acting.

461
00:26:14,857 --> 00:26:17,310
(quirky string music)

462
00:26:17,310 --> 00:26:19,634
Mina: Many of the best-known actors in the world

463
00:26:19,634 --> 00:26:22,763
came from Stella's school.
-: Hey stella!

464
00:26:24,098 --> 00:26:25,500
-: Just a moment, stop coughing.

465
00:26:25,500 --> 00:26:27,311
No actor coughs, they don't sneeze,

466
00:26:27,311 --> 00:26:31,030
and they don't catch colds.

467
00:26:31,030 --> 00:26:34,543
They're not tired, they don't yawn, and they don't chew gum.

468
00:26:38,535 --> 00:26:39,826
(audience laughing)

469
00:26:39,826 --> 00:26:41,510
(audience applauding)
-: After the show,

470
00:26:41,510 --> 00:26:42,967
she asked my colleague,

471
00:26:42,967 --> 00:26:45,097
"Who was this man who played the drum major?"

472
00:26:45,097 --> 00:26:46,605
And that was me.

473
00:26:46,605 --> 00:26:48,775
She said, "He's a very talented guy.

474
00:26:48,775 --> 00:26:50,587
"Let me meet with him tomorrow,

475
00:26:50,587 --> 00:26:52,980
"let him come to my hotel."

476
00:26:52,980 --> 00:26:54,888
And the next day I knocked on her door,

477
00:26:54,888 --> 00:26:59,581
and when she opened the door I was utterly, utterly stunned.

478
00:26:59,581 --> 00:27:04,581
There stood this tall, beautiful, gorgeous woman

479
00:27:04,800 --> 00:27:06,913
with penetrating eyes.

480
00:27:08,430 --> 00:27:11,710
I was so overwhelmed by her presence

481
00:27:11,710 --> 00:27:13,833
that I couldn't utter a word.

482
00:27:15,980 --> 00:27:17,940
And the first words that I heard

483
00:27:17,940 --> 00:27:21,607
through my incredible confusion were,

484
00:27:21,607 --> 00:27:23,537
"You come to America, darling,

485
00:27:23,537 --> 00:27:26,187
"and you're going to be a big star.

486
00:27:26,187 --> 00:27:29,147
"But first, you have to study with me."

487
00:27:31,400 --> 00:27:33,777
I didn't know what to do.

488
00:27:33,777 --> 00:27:36,016
To get to America I need a visa,

489
00:27:36,016 --> 00:27:39,619
and I need an affidavit, someone to sponsor me.

490
00:27:39,619 --> 00:27:42,920
And she called a guy who took me with him

491
00:27:42,920 --> 00:27:44,960
to the American embassy.

492
00:27:44,960 --> 00:27:47,517
Dressed in a beautiful suit and a tie,

493
00:27:47,517 --> 00:27:49,450
filled up all the papers,

494
00:27:49,450 --> 00:27:51,575
and a week later I had my visa.

495
00:27:51,575 --> 00:27:56,575
Basically, Stella Adler brought me and Mina to America.

496
00:27:56,618 --> 00:28:00,118
(upbeat music crescendos)

497
00:28:02,020 --> 00:28:05,500
-: We were young, we were in love,

498
00:28:05,500 --> 00:28:07,863
and we were in New York.

499
00:28:09,160 --> 00:28:12,198
We lived for a short time when we arrived here

500
00:28:12,198 --> 00:28:14,109
in Brooklyn, actually.

501
00:28:14,109 --> 00:28:18,069
We found work in a restaurant, an Israeli restaurant.

502
00:28:18,069 --> 00:28:21,583
Moni was the chef and I was the waitress.

503
00:28:22,567 --> 00:28:25,050
-: For months after we arrived here,

504
00:28:25,050 --> 00:28:28,390
we didn't know anything about anything.

505
00:28:28,390 --> 00:28:30,587
We hardly knew English at the time.

506
00:28:30,587 --> 00:28:34,620
I told Stella Adler I don't know how I'm going to survive.

507
00:28:34,620 --> 00:28:37,729
Stella said, "Don't worry about payment.

508
00:28:37,729 --> 00:28:39,910
"You'll teach in my school."

509
00:28:39,910 --> 00:28:42,603
And she asked me to teach physical acting.

510
00:28:43,900 --> 00:28:46,210
She did not want me to teach mime.

511
00:28:46,210 --> 00:28:48,050
Basically she hated mime.

512
00:28:48,050 --> 00:28:49,098
-: But she really didn't like mime--

513
00:28:49,098 --> 00:28:51,350
-: Because, and I loved mime,

514
00:28:51,350 --> 00:28:53,700
and I was not about to give it up

515
00:28:53,700 --> 00:28:57,283
because she told me, "You should stop it."

516
00:28:57,283 --> 00:28:59,249
She felt it was the art of showing,

517
00:28:59,249 --> 00:29:02,453
and not the art of being, and not the art of living.

518
00:29:04,020 --> 00:29:05,933
She felt it didn't go deep enough.

519
00:29:07,890 --> 00:29:09,770
I thought that we were acting like

520
00:29:09,770 --> 00:29:11,583
better than anybody else.

521
00:29:12,480 --> 00:29:16,033
But I understood, basically, what she was talking about.

522
00:29:19,570 --> 00:29:21,200
In mime you have to show

523
00:29:21,200 --> 00:29:22,958
because you are creating a world

524
00:29:22,958 --> 00:29:25,862
that doesn't exist, from nothing.

525
00:29:25,862 --> 00:29:29,029
(slow ethereal music)

526
00:29:31,470 --> 00:29:35,423
This is a technical thing, and she was very afraid of that.

527
00:29:40,900 --> 00:29:42,780
Instead of quitting mime,

528
00:29:42,780 --> 00:29:47,780
we decided to integrate more of this into our mime pieces.

529
00:29:51,500 --> 00:29:56,500
We called ourselves the Yakins, with an N at the end.

530
00:29:57,110 --> 00:29:59,118
But somehow, I don't know why,

531
00:29:59,118 --> 00:30:03,140
wherever we went in the posters they put the Yakims.

532
00:30:03,140 --> 00:30:06,300
Maybe it's easier, so let's leave it like that.

533
00:30:06,300 --> 00:30:09,601
Mina: We started to perform in colleges, Jewish centers,

534
00:30:09,601 --> 00:30:12,900
in small theaters all over America.

535
00:30:12,900 --> 00:30:15,410
-: Played the Borscht Belt in the Catskills.

536
00:30:15,410 --> 00:30:16,903
We made people laugh.

537
00:30:17,852 --> 00:30:20,773
We received fantastic reviews

538
00:30:20,773 --> 00:30:24,637
and a few people came, young people that saw the show,

539
00:30:24,637 --> 00:30:27,557
and said, "Why don't you teach us to do that?"

540
00:30:27,557 --> 00:30:29,007
-: We want to learn that.

541
00:30:29,007 --> 00:30:31,880
-: And we said, well, get some people

542
00:30:31,880 --> 00:30:34,065
and get a space and we'll do it.

543
00:30:34,065 --> 00:30:36,277
So that's what they did.

544
00:30:36,277 --> 00:30:39,895
Mina: And that's how we opened our first school.

545
00:30:39,895 --> 00:30:41,978
(rhythmic thumping)

546
00:30:41,978 --> 00:30:45,228
(class hooting wildly)

547
00:30:51,310 --> 00:30:55,920
-: We used to do a lot of mime with a kerchief on our face

548
00:30:55,920 --> 00:30:59,100
in order to express ourselves physically

549
00:30:59,100 --> 00:31:03,003
and not to show any expression through the face itself.

550
00:31:03,847 --> 00:31:06,043
-: The neutral mask is just a blank mask

551
00:31:06,043 --> 00:31:07,803
that you put on your face.

552
00:31:09,361 --> 00:31:13,780
And the audience is able to see your expressions

553
00:31:13,780 --> 00:31:15,290
through the way your shoulders are,

554
00:31:15,290 --> 00:31:18,083
or through the tempo of your body.

555
00:31:18,967 --> 00:31:22,170
You don't have to throw your performance

556
00:31:22,170 --> 00:31:23,630
in an audience's lap.

557
00:31:23,630 --> 00:31:26,090
You can have them lean forward

558
00:31:26,090 --> 00:31:27,866
and be interested in what you're doing,

559
00:31:27,866 --> 00:31:29,503
rather than project everything.

560
00:31:31,380 --> 00:31:34,418
-: My master, Decroux, used to say that the face

561
00:31:34,418 --> 00:31:38,940
and the hands are the whores of the body

562
00:31:38,940 --> 00:31:41,258
because they sell cheap.

563
00:31:41,258 --> 00:31:44,666
-: The more you are emotionally neutralized,

564
00:31:44,666 --> 00:31:47,700
the more vulnerable you become.

565
00:31:47,700 --> 00:31:48,940
It was a strength,

566
00:31:48,940 --> 00:31:51,680
and it was something that you had tapped into.

567
00:31:51,680 --> 00:31:53,873
It's something every actor needs.

568
00:31:53,873 --> 00:31:56,790
(slow moody music)

569
00:32:05,585 --> 00:32:08,410
-: When you are in love with someone,

570
00:32:08,410 --> 00:32:10,163
they say love is blind.

571
00:32:13,950 --> 00:32:16,760
You keep seeing this mask on this person,

572
00:32:16,760 --> 00:32:18,713
you don't see the reality of it.

573
00:32:19,928 --> 00:32:22,803
Then when you take off the mask,

574
00:32:24,350 --> 00:32:26,113
you see what's underneath it.

575
00:32:32,770 --> 00:32:34,703
And sometimes it shocks you.

576
00:32:41,653 --> 00:32:44,200
And you want to stay with the mask,

577
00:32:44,200 --> 00:32:46,730
you want to stay with that vision

578
00:32:46,730 --> 00:32:49,733
that you fell in love with in the first place.

579
00:32:53,893 --> 00:32:56,740
But when you see the reality,

580
00:32:56,740 --> 00:32:58,833
the romance can be much stronger.

581
00:33:03,304 --> 00:33:05,208
-: Come on, Peter! (laughs)

582
00:33:05,208 --> 00:33:08,035
-: Come on, Peter, whoa!
-: Go big!

583
00:33:08,035 --> 00:33:10,990
-: We're always big--
-: Freeze!

584
00:33:10,990 --> 00:33:13,189
Moni: Alex, take the class over.

585
00:33:13,189 --> 00:33:14,697
(class shouting in unison)

586
00:33:14,697 --> 00:33:18,152
And just listen to Alex, everything will be perfect.

587
00:33:18,152 --> 00:33:22,272
(hands clapping rhythmically)

588
00:33:22,272 --> 00:33:26,772
(class members vocalizing wordlessly)

589
00:33:34,294 --> 00:33:36,211
-: And play with rhythm.

590
00:33:37,429 --> 00:33:40,096
Make it a big part of your move.

591
00:33:41,064 --> 00:33:44,481
(slow moody piano music)

592
00:33:59,030 --> 00:34:03,275
-: When I was close to 15, years before the army,

593
00:34:03,275 --> 00:34:06,080
my father did not relate to me much

594
00:34:06,080 --> 00:34:08,173
because he was ill at the time.

595
00:34:12,830 --> 00:34:15,370
My older brother was desperate

596
00:34:15,370 --> 00:34:17,494
to take me away from the streets.

597
00:34:17,494 --> 00:34:20,460
He sent me to evening schools

598
00:34:20,460 --> 00:34:22,933
and I could never stick to it.

599
00:34:22,933 --> 00:34:24,112
One day he came home

600
00:34:24,112 --> 00:34:27,160
and asked me whether I want to be an actor.

601
00:34:27,160 --> 00:34:31,437
Not knowing why, my answer was, "Absolutely."

602
00:34:33,317 --> 00:34:37,543
A friend of his decided to create a theater in Jerusalem.

603
00:34:38,440 --> 00:34:40,463
And he told me to go to this address.

604
00:34:42,330 --> 00:34:47,248
And I entered, there were people there rehearsing.

605
00:34:47,248 --> 00:34:50,850
Most of the people in the theater were Ashkenazi,

606
00:34:50,850 --> 00:34:53,170
people that came from Eastern Europe.

607
00:34:53,170 --> 00:34:56,280
They were the sophisticated, educated people,

608
00:34:56,280 --> 00:34:59,450
so I was extremely inhibited.

609
00:34:59,450 --> 00:35:03,700
For two months I didn't open my mouth, just observed,

610
00:35:03,700 --> 00:35:06,939
and they made me the assistant state manager.

611
00:35:06,939 --> 00:35:09,244
This is the backstage door

612
00:35:09,244 --> 00:35:12,505
where we used to bring all the scenery through here.

613
00:35:12,505 --> 00:35:17,505
During the performance I didn't let anyone backstage talk

614
00:35:17,890 --> 00:35:20,167
while the action was going onstage.

615
00:35:20,167 --> 00:35:22,830
I didn't allow them to touch props.

616
00:35:22,830 --> 00:35:26,203
I became like a total control freak.

617
00:35:27,440 --> 00:35:30,429
In the next play, I went home, I took pillows,

618
00:35:30,429 --> 00:35:32,600
I put them under my shirt.

619
00:35:32,600 --> 00:35:37,600
I put the jacket of my father and draw a mustache,

620
00:35:39,049 --> 00:35:41,347
and I created a character.

621
00:35:41,347 --> 00:35:45,490
And while they were rehearsing, I just inserted myself.

622
00:35:45,490 --> 00:35:48,950
And little by little they realized that it was me,

623
00:35:48,950 --> 00:35:52,952
and there was an absolute uproar.

624
00:35:52,952 --> 00:35:56,393
So the director decided to write a part for me.

625
00:35:58,270 --> 00:36:00,100
I understood at the time

626
00:36:00,100 --> 00:36:03,010
that there is a different type of life

627
00:36:03,010 --> 00:36:05,663
that would take me away from the street.

628
00:36:06,669 --> 00:36:11,525
I felt this kind of total immersion

629
00:36:11,525 --> 00:36:14,843
that made me forget about the other world.

630
00:36:16,200 --> 00:36:19,810
The theater, it was my personal secret

631
00:36:19,810 --> 00:36:23,273
as far as the kids in my neighborhood were concerned.

632
00:36:24,180 --> 00:36:26,730
For me it was actually like a temple

633
00:36:26,730 --> 00:36:28,193
that was called a theater.

634
00:36:30,900 --> 00:36:32,380
Announcer: The New York Pantomime Theater is

635
00:36:32,380 --> 00:36:34,320
the foremost exponent of the art of mime

636
00:36:34,320 --> 00:36:35,840
in the United States.

637
00:36:35,840 --> 00:36:37,480
It is the largest, most highly-trained

638
00:36:37,480 --> 00:36:38,716
company in this country.

639
00:36:38,716 --> 00:36:41,417
Although its repertory is based in classical technique,

640
00:36:41,417 --> 00:36:43,513
the company has been hailed for its innovative,

641
00:36:43,513 --> 00:36:45,812
creative mimodramas for adult audiences

642
00:36:45,812 --> 00:36:47,732
and young audiences alike.

643
00:36:47,732 --> 00:36:49,673
Moni Yakim and his wife, Mina,

644
00:36:49,673 --> 00:36:51,809
who together founded the New York Pantomime Theater

645
00:36:51,809 --> 00:36:54,012
have been recognized by Marcel Marceau

646
00:36:54,012 --> 00:36:57,493
as an unequaled pantomime duo of dazzling talent.

647
00:37:01,780 --> 00:37:03,111
-: I created, I believe,

648
00:37:03,111 --> 00:37:06,713
a mime theater that was not seen before.

649
00:37:08,290 --> 00:37:12,425
So that was truly my great and sole interest.

650
00:37:12,425 --> 00:37:15,675
(moody thumping music)

651
00:37:23,305 --> 00:37:26,805
(intense symphonic music)

652
00:37:28,711 --> 00:37:30,342
-: Third year, it's about taking you

653
00:37:30,342 --> 00:37:32,843
which has now been built up over the past two years,

654
00:37:32,843 --> 00:37:37,333
and inviting you into the performance space.

655
00:37:39,150 --> 00:37:40,161
Taking everything you've learned

656
00:37:40,161 --> 00:37:43,166
and interpreting it through performance.

657
00:37:43,166 --> 00:37:46,083
(class chattering)

658
00:37:47,960 --> 00:37:49,867
-: He has asked me to come and sit in on rehearsal

659
00:37:49,867 --> 00:37:51,105
for that fucking piece--

660
00:37:51,105 --> 00:37:52,982
-: Same sentence, that includes for sabotage,

661
00:37:52,982 --> 00:37:55,044
disturbing the peace, inciting a riot--

662
00:37:55,044 --> 00:37:58,667
-: When I see her, all I see are stars and skies and--

663
00:37:58,667 --> 00:38:03,667
-: Excellent, we'll do now the entire monologue in gibberish,

664
00:38:04,220 --> 00:38:08,800
sustaining the relationships and the intentions.

665
00:38:08,800 --> 00:38:11,150
And whatever you mean to convey

666
00:38:11,150 --> 00:38:12,998
with everything that you are saying,

667
00:38:12,998 --> 00:38:15,577
all in gibberish; and go.

668
00:38:15,577 --> 00:38:19,577
(class chattering in gibberish)

669
00:38:21,238 --> 00:38:25,740
Every exercise that we do, as free as it is,

670
00:38:25,740 --> 00:38:30,145
it is always connected to some kind of a control.

671
00:38:30,145 --> 00:38:32,521
(Woman speaking in gibberish)

672
00:38:32,521 --> 00:38:35,300
(woman speaking in gibberish)

673
00:38:35,300 --> 00:38:36,893
The control is in the rhythm.

674
00:38:39,550 --> 00:38:44,550
The rhythm is the vision that is expressed

675
00:38:44,760 --> 00:38:47,723
through the freedom of your physicality.

676
00:38:47,723 --> 00:38:50,959
Beautiful, and now we express it all physically,

677
00:38:50,959 --> 00:38:53,183
without a word, without a sound.

678
00:38:54,750 --> 00:38:56,633
And then you free yourself from it.

679
00:38:59,475 --> 00:39:01,900
(chair clattering)

680
00:39:01,900 --> 00:39:03,230
Alex: In a movement class,

681
00:39:03,230 --> 00:39:05,918
you're sort of obsessively analyzing all the time

682
00:39:05,918 --> 00:39:08,173
how your body's working.

683
00:39:10,716 --> 00:39:13,272
-: There's a physical metamorphosis that happens

684
00:39:13,272 --> 00:39:17,670
that we all know uniquely from that experience

685
00:39:17,670 --> 00:39:18,967
and from that man.

686
00:39:18,967 --> 00:39:22,430
(soft ethereal piano music)

687
00:39:22,430 --> 00:39:25,410
I remember the feeling, pulling up to the heavens

688
00:39:25,410 --> 00:39:28,790
and being suspended in space and air,

689
00:39:28,790 --> 00:39:32,803
and elongated in a way that you didn't think possible.

690
00:39:40,700 --> 00:39:42,562
-: In the exploration of the inner life

691
00:39:42,562 --> 00:39:44,685
through a physical movement,

692
00:39:44,685 --> 00:39:49,020
he was pushing us to extremes.

693
00:39:49,020 --> 00:39:51,703
And in being pushed to an extreme,

694
00:39:54,270 --> 00:39:56,920
you can find every aspect of who you are.

695
00:39:56,920 --> 00:40:01,920
Your fear, your drive, your ambition.

696
00:40:01,937 --> 00:40:04,520
(upbeat music)

697
00:40:05,824 --> 00:40:08,480
♪ If we only have love ♪

698
00:40:08,480 --> 00:40:10,953
Moni: Commercial theater was not something

699
00:40:10,953 --> 00:40:13,092
that I was very involved with.

700
00:40:13,092 --> 00:40:17,290
But I directed a few things that would not distract me

701
00:40:17,290 --> 00:40:18,853
from my mime theater.

702
00:40:21,150 --> 00:40:23,053
I became a director in demand

703
00:40:23,053 --> 00:40:25,595
after I did "Jacques Brel".

704
00:40:25,595 --> 00:40:28,562
♪ If we only have love ♪

705
00:40:28,562 --> 00:40:29,610
♪ With our arms open wide ♪
-: We started it off Broadway,

706
00:40:29,610 --> 00:40:31,383
we ended on Broadway.

707
00:40:32,260 --> 00:40:35,430
Jacques Brel did not want to come, actually, to see the show

708
00:40:35,430 --> 00:40:39,570
because he was opposing the war in Vietnam.

709
00:40:39,570 --> 00:40:43,790
After a year he was convinced to come and see it.

710
00:40:43,790 --> 00:40:48,030
Didn't say a word, and flew back to Paris.

711
00:40:48,030 --> 00:40:51,707
A week later he came back, and when we asked him,

712
00:40:51,707 --> 00:40:52,870
"Why did you come back to see the show?"

713
00:40:52,870 --> 00:40:56,822
He says, "I wanted to know why I liked it so much."

714
00:40:56,822 --> 00:40:58,964
(joyful vaudeville music)

715
00:40:58,964 --> 00:41:02,183
"Jacques Brel" ran in New York 5 1/2 years.

716
00:41:04,484 --> 00:41:07,490
It was a worldwide success.

717
00:41:07,490 --> 00:41:11,983
I directed it in Canada, Tel Aviv, Paris, London.

718
00:41:13,050 --> 00:41:15,975
I was an international director.

719
00:41:15,975 --> 00:41:17,070
(explosion booms)

720
00:41:17,070 --> 00:41:19,993
Announcer: Ladies and gentlemen, take your seats, please.

721
00:41:19,993 --> 00:41:21,510
For the most totally--

722
00:41:21,510 --> 00:41:23,390
-: After Brel saw the show,

723
00:41:23,390 --> 00:41:26,100
he gave his consent for the show

724
00:41:26,100 --> 00:41:28,906
to be adapted into a screenplay.

725
00:41:28,906 --> 00:41:32,013
I was in it and I choreographed it.

726
00:41:33,538 --> 00:41:36,840
Jacques Brel himself appeared in the film,

727
00:41:36,840 --> 00:41:39,800
singing the most famous song he ever wrote,

728
00:41:39,800 --> 00:41:40,990
called "Ne Me Quitte Pas."

729
00:41:40,990 --> 00:41:45,490
(Jacques singing in foreign language)

730
00:41:47,984 --> 00:41:51,877
Just being with Brel was a thrill.

731
00:41:51,877 --> 00:41:56,276
Being a waiter serving him while he is singing this song

732
00:41:56,276 --> 00:41:58,867
was even a greater thrill.

733
00:42:25,320 --> 00:42:27,353
My focus was really mime.

734
00:42:27,353 --> 00:42:31,036
I did not really latch on to that success

735
00:42:31,036 --> 00:42:35,203
in order to further my career as a theatrical director.

736
00:42:39,510 --> 00:42:44,473
However, most unfortunately, mime started to go downhill.

737
00:42:46,670 --> 00:42:49,639
Only street mimes with the striped shirt,

738
00:42:49,639 --> 00:42:52,694
and did the wall going up and down

739
00:42:52,694 --> 00:42:57,403
and pulling ropes and pushing cars and imitating people.

740
00:42:58,720 --> 00:43:02,780
People thought that that what mime was now,

741
00:43:02,780 --> 00:43:04,810
like a circus act.

742
00:43:04,810 --> 00:43:07,872
When I said mime, people started to snicker.

743
00:43:07,872 --> 00:43:10,869
But our mime was totally different.

744
00:43:10,869 --> 00:43:12,913
We were really theater.

745
00:43:50,830 --> 00:43:55,580
-: Oh, that this too, too solid flesh would melt,

746
00:43:56,722 --> 00:44:00,793
thaw, and resolve itself into a dew!

747
00:44:02,127 --> 00:44:04,500
Or that the Everlasting had not fixed

748
00:44:04,500 --> 00:44:06,900
his cannon against us self-slaughter.

749
00:44:06,900 --> 00:44:11,023
How weary, stale, flat, and unprofitable

750
00:44:11,023 --> 00:44:13,028
seem to me all the uses of this world!

751
00:44:13,028 --> 00:44:15,228
Fie on it, ah, fie!

752
00:44:15,228 --> 00:44:19,241
It is but an unweeded garden that grows to seed;

753
00:44:19,241 --> 00:44:22,902
things rank and gross in nature possess it merely.

754
00:44:22,902 --> 00:44:25,570
That it should come to this.

755
00:44:25,570 --> 00:44:28,083
-: Fortune and Antony part here.

756
00:44:28,083 --> 00:44:30,660
Even here do we shake hands.

757
00:44:30,660 --> 00:44:31,808
All come to this?

758
00:44:31,808 --> 00:44:34,269
The hearts that spanieled me at heels,

759
00:44:34,269 --> 00:44:36,260
to whom I gave their wishes, do discandy,

760
00:44:36,260 --> 00:44:39,507
melt their sweets on blossoming Caesar,

761
00:44:39,507 --> 00:44:42,746
and this pine is barked that overtopped them all.

762
00:44:42,746 --> 00:44:43,913
Betrayed I am!

763
00:44:44,845 --> 00:44:48,560
-: Think about it, Marcus, where else it come from?

764
00:44:48,560 --> 00:44:51,388
We just naturally mad at gay folk?

765
00:44:51,388 --> 00:44:56,388
Come on, imagine how they got down back then.

766
00:44:57,831 --> 00:44:58,664
(class laughing)

767
00:44:58,664 --> 00:45:00,831
-: Hey, where is everybody?

768
00:45:02,965 --> 00:45:05,968
-: Unurged wouldst vow that never words

769
00:45:05,968 --> 00:45:07,683
were music to thine ear,

770
00:45:07,683 --> 00:45:10,079
that never object pleasing in thine eye.

771
00:45:10,079 --> 00:45:12,600
-: George!
-: Wouldst thou not spit at me

772
00:45:12,600 --> 00:45:17,600
and spurn at me, and hurl the name of my husband in my face!

773
00:45:17,874 --> 00:45:21,374
-: To be or no to be, that is the question.

774
00:45:23,522 --> 00:45:25,272
-: Where is everybody!

775
00:45:26,253 --> 00:45:31,253
Hump the Hostess!
(class laughing)

776
00:45:31,762 --> 00:45:36,303
(class members cheering)
(class members clapping)

777
00:45:36,303 --> 00:45:38,515
-: Dip him, dip him!

778
00:45:38,515 --> 00:45:41,848
(class members singing)

779
00:45:43,900 --> 00:45:46,740
-: Fourth year is just about performance.

780
00:45:46,740 --> 00:45:48,120
You have all the tools,

781
00:45:48,120 --> 00:45:50,510
so apply them to whatever role we give to you.

782
00:45:50,510 --> 00:45:52,930
-: We had the pleasure of working with Moni

783
00:45:52,930 --> 00:45:54,355
as a director in the fourth year.

784
00:45:54,355 --> 00:45:55,397
We had this wonderful opportunity to

785
00:45:55,397 --> 00:45:57,301
sort of really put into motion

786
00:45:57,301 --> 00:46:00,722
and really realize the work that Moni does.

787
00:46:00,722 --> 00:46:05,190
-: Yeah, I've directed like 60, 70 shows here at Juilliard.

788
00:46:05,190 --> 00:46:07,110
-: To be reminded, like mama--

789
00:46:07,110 --> 00:46:10,161
Moni: Each play has its own life, its own world,

790
00:46:10,161 --> 00:46:13,510
its own style, its own meaning.

791
00:46:13,510 --> 00:46:15,997
-: Suppose that death is here with me.

792
00:46:15,997 --> 00:46:19,000
-: Each play presents a different challenge.

793
00:46:19,000 --> 00:46:20,300
What happened today?

794
00:46:20,300 --> 00:46:21,730
And a different approach.

795
00:46:21,730 --> 00:46:23,730
There were a lot of gaps again today.

796
00:46:23,730 --> 00:46:26,456
Too much thinking, too much thinking.

797
00:46:26,456 --> 00:46:28,550
(soft somber music)

798
00:46:28,550 --> 00:46:32,283
Each play is a world in itself.

799
00:46:34,282 --> 00:46:37,600
Alex: Moni was like, you know, what piece as an actor

800
00:46:37,600 --> 00:46:39,905
would you be interested in doing?

801
00:46:39,905 --> 00:46:43,678
I thought "Clockwork Orange" would be a great play.

802
00:46:43,678 --> 00:46:45,150
I went to him after class

803
00:46:45,150 --> 00:46:46,980
and I was like I'll adapt the book.

804
00:46:46,980 --> 00:46:50,520
When he read it, he said it was too dark,

805
00:46:50,520 --> 00:46:51,900
and that's not really the kind of thing

806
00:46:51,900 --> 00:46:54,550
he wanted to be working on at this point in his life.

807
00:46:55,938 --> 00:46:58,410
-: I was not in a mood to get into

808
00:46:58,410 --> 00:47:01,637
a depressing kind of a play.

809
00:47:01,637 --> 00:47:05,760
So this year I'm going direct "Metamorphosis"

810
00:47:05,760 --> 00:47:07,533
adapted from the works of Ovid.

811
00:47:09,541 --> 00:47:12,653
What kind of world am I dealing with?

812
00:47:13,608 --> 00:47:18,421
I have to find a way to bring his poetry to life.

813
00:47:18,421 --> 00:47:20,770
-: I had such specific ideas about

814
00:47:20,770 --> 00:47:24,193
how that "Clockwork Orange" world was meant to exist.

815
00:47:25,160 --> 00:47:26,433
And I started thinking about it like

816
00:47:26,433 --> 00:47:30,559
if I did it as an independent project, I'll direct it.

817
00:47:30,559 --> 00:47:32,543
I know what I want it to look like.

818
00:47:33,670 --> 00:47:37,098
I'm gonna set the chairs up so that there will be action,

819
00:47:37,098 --> 00:47:41,857
entrances, exits, and scenes, even playing behind people

820
00:47:41,857 --> 00:47:45,547
so that they feel like they're engulfed by it.

821
00:47:45,547 --> 00:47:47,830
And all the characters' physicality

822
00:47:47,830 --> 00:47:49,403
would be very exaggerated.

823
00:47:53,120 --> 00:47:56,341
The protagonist, Alex, is from the slums.

824
00:47:56,341 --> 00:47:58,947
-: So what's it gonna be, then?

825
00:47:58,947 --> 00:48:03,113
Alex: And is a murderer, a rapist and a bad guy.

826
00:48:03,113 --> 00:48:05,915
And he's very affected by classical music.

827
00:48:05,915 --> 00:48:07,167
("Ode to Joy")
♪ La la la la la la la la ♪

828
00:48:07,167 --> 00:48:09,952
♪ La da da da da da da ♪

829
00:48:09,952 --> 00:48:12,748
♪ La la la la la la la la ♪

830
00:48:12,748 --> 00:48:13,908
-: You know, where did they get

831
00:48:13,908 --> 00:48:16,423
this classical music background?

832
00:48:17,570 --> 00:48:20,240
As a director I'm just asking.

833
00:48:20,240 --> 00:48:21,230
What do you do with that?

834
00:48:21,230 --> 00:48:23,194
How do you solve this mystery?

835
00:48:23,194 --> 00:48:24,713
How do you justify it?

836
00:48:24,713 --> 00:48:27,089
-: He's artistically inclined, you know,

837
00:48:27,089 --> 00:48:29,553
he's got more going on

838
00:48:29,553 --> 00:48:32,171
because he has a artistic soul.

839
00:48:32,171 --> 00:48:35,231
It's interesting.
-: It's a fantastic character.

840
00:48:35,231 --> 00:48:36,530
-: Yeah, I think so.
-: It's great that you

841
00:48:36,530 --> 00:48:37,363
are doing it.

842
00:48:37,363 --> 00:48:39,911
And again I apologize that I couldn't do it.

843
00:48:39,911 --> 00:48:41,174
-: 'Cause I wanted to play the part.

844
00:48:41,174 --> 00:48:44,530
(Alex laughing)
-: I know, I know. (laughs)

845
00:48:44,530 --> 00:48:49,530
-: Yeah, yeah, but I feel like as an artist

846
00:48:51,100 --> 00:48:54,474
I have like a duty to dive into the things

847
00:48:54,474 --> 00:48:56,210
that make me feel uncomfortable.

848
00:48:56,210 --> 00:48:59,721
-: You are absolutely right, absolutely right.

849
00:48:59,721 --> 00:49:02,245
(dramatic percussive music)

850
00:49:02,245 --> 00:49:07,080
And out.
(student exhales vocally)

851
00:49:07,080 --> 00:49:08,940
Make sure you struggle against it.

852
00:49:08,940 --> 00:49:13,940
I am blessed to work with people that know my vocabulary.

853
00:49:14,063 --> 00:49:15,305
-: Is it an animal?

854
00:49:15,305 --> 00:49:18,140
-: I can teach them while I direct them

855
00:49:18,140 --> 00:49:20,763
Yeah, but there you're telling me what, my god,

856
00:49:20,763 --> 00:49:22,303
it's gonna be fantastic.

857
00:49:22,303 --> 00:49:25,203
The juices are starting to work.

858
00:49:25,203 --> 00:49:28,530
Staging, it's never arbitrary.

859
00:49:28,530 --> 00:49:31,260
Like falling rain.

860
00:49:31,260 --> 00:49:36,260
Staging is really the meaning and the actor is its soul.

861
00:49:40,367 --> 00:49:45,367
All of you, I've seen you at work now for almost four years

862
00:49:45,791 --> 00:49:47,607
and I think you are brilliant.

863
00:49:47,607 --> 00:49:49,630
I'm not joking.

864
00:49:49,630 --> 00:49:52,340
However being a teacher/director,

865
00:49:52,340 --> 00:49:55,177
I saw what it is that you hang onto.

866
00:49:55,177 --> 00:50:00,177
I see your habits, and I'm trying to throw at you things

867
00:50:01,225 --> 00:50:06,220
that I feel you need to add to your vocabulary.

868
00:50:06,220 --> 00:50:11,220
-: You've heard of Orpheus and his bride Eurydice.

869
00:50:13,906 --> 00:50:15,930
(audience applauding)

870
00:50:15,930 --> 00:50:19,470
-: I am bored with the best that you can do

871
00:50:20,645 --> 00:50:22,960
(audience laughing)

872
00:50:22,960 --> 00:50:25,413
because you have been doing it forever.

873
00:50:26,660 --> 00:50:29,500
Let your imagination fly into a place

874
00:50:29,500 --> 00:50:30,803
that you are not used to.

875
00:50:34,869 --> 00:50:38,570
Fuck the result that I'm looking for here,

876
00:50:38,570 --> 00:50:42,213
you're just stretching a little bit in a different way.

877
00:50:43,899 --> 00:50:47,880
Alex: Four words, guys, let's fuck shit up!

878
00:50:48,794 --> 00:50:52,044
(cast members howling)

879
00:50:53,151 --> 00:50:55,140
(feet stamping rhythmically)

880
00:50:55,140 --> 00:50:57,360
This project started off small

881
00:50:57,360 --> 00:51:00,414
but it's snowballed into this multi-department,

882
00:51:00,414 --> 00:51:03,713
huge, student-initiated thing.

883
00:51:05,270 --> 00:51:08,240
-: My name's Alexander, the shame is mine--

884
00:51:08,240 --> 00:51:11,110
Alex: Which is incredibly fulfilling and exciting,

885
00:51:11,110 --> 00:51:14,963
but also I really feel the weight of it, too.

886
00:51:17,260 --> 00:51:18,208
-: Come out!
(cast member shouting)

887
00:51:18,208 --> 00:51:20,067
Alexander: Now you'll see a decapitation.

888
00:51:20,067 --> 00:51:21,760
Headless though he is,

889
00:51:21,760 --> 00:51:23,993
the dead man runs around for a short while.

890
00:51:23,993 --> 00:51:25,020
(door latch rattling)
(fists thumping violently)

891
00:51:25,020 --> 00:51:25,995
-: Get out.
(suspenseful string music)

892
00:51:25,995 --> 00:51:29,262
-: Let me out, let me out, let me out!

893
00:51:29,262 --> 00:51:33,845
(string music crescendos passionately)

894
00:51:35,560 --> 00:51:39,169
-: You had us sit as an audience with the actors.

895
00:51:39,169 --> 00:51:43,033
Why did you choose to do it like in a dim light?

896
00:51:45,046 --> 00:51:46,582
-: Yeah.
-: Why didn't you do it

897
00:51:46,582 --> 00:51:49,422
like with fluorescent light, totally open?

898
00:51:49,422 --> 00:51:52,460
I sat near the actor

899
00:51:52,460 --> 00:51:54,923
but I didn't feel any connection.

900
00:51:54,923 --> 00:51:56,800
-: The way that they were rigged,

901
00:51:56,800 --> 00:51:58,560
they were quite low on the boom.

902
00:51:58,560 --> 00:51:59,860
And so if they went bright,

903
00:51:59,860 --> 00:52:01,475
the audience couldn't see anything.

904
00:52:01,475 --> 00:52:03,010
And so I ended up--

905
00:52:03,010 --> 00:52:04,293
Moni: I couldn't see anything.

906
00:52:04,293 --> 00:52:08,020
-: I couldn't see a lot of it.
-: Yeah, exactly.

907
00:52:08,020 --> 00:52:10,830
-: You could've gone further, in my opinion,

908
00:52:10,830 --> 00:52:12,640
with the brutality of it.

909
00:52:12,640 --> 00:52:16,930
Involving us as audience more with it.

910
00:52:16,930 --> 00:52:19,563
Because that's what the play is about.

911
00:52:20,810 --> 00:52:25,200
The senseless violence is part of us.

912
00:52:25,200 --> 00:52:28,901
You know, maybe you can get up now and kill someone.

913
00:52:28,901 --> 00:52:30,200
-: Yeah, yeah, yeah.

914
00:52:30,200 --> 00:52:33,139
-: You talked about the character having also

915
00:52:33,139 --> 00:52:35,770
an artistic side to him and so on.

916
00:52:35,770 --> 00:52:38,250
And it seems to me that you went more

917
00:52:38,250 --> 00:52:40,551
into the artistic expression.

918
00:52:40,551 --> 00:52:43,128
That slightly disappointed me.

919
00:52:43,128 --> 00:52:47,123
I felt it was brave, I felt it could have been braver.

920
00:52:49,538 --> 00:52:52,803
-: The thing with Moni is whenever I got criticism from him,

921
00:52:54,180 --> 00:52:57,393
which happened a lot, it was,

922
00:52:58,840 --> 00:53:03,840
it never felt like there was his ego behind it

923
00:53:04,040 --> 00:53:07,995
or any other motivation other than as an artist,

924
00:53:07,995 --> 00:53:10,010
you just, you should know.

925
00:53:11,130 --> 00:53:13,926
-: Sometimes I'm not so sure about, you know,

926
00:53:13,926 --> 00:53:17,207
I'm teaching and I have other interests and I go home

927
00:53:17,207 --> 00:53:21,100
and I said, "Am I not wasting my time teaching?" (laughs)

928
00:53:21,100 --> 00:53:26,100
You know, Moni is the one who is absolutely totally devoted

929
00:53:26,624 --> 00:53:28,603
and loves teaching.

930
00:53:29,741 --> 00:53:33,770
-: Hold the kite, thread of a kite,

931
00:53:33,770 --> 00:53:38,770
and it pulls up, and I pull it back down.

932
00:53:39,611 --> 00:53:41,837
It pulls up, and I pull it back down.

933
00:53:43,163 --> 00:53:46,540
The father of one of the students in our mime school

934
00:53:46,540 --> 00:53:48,505
was a good friend of John Houseman.

935
00:53:48,505 --> 00:53:51,672
And let go the thread, good, and pull.

936
00:53:52,568 --> 00:53:55,107
-: Young man, what's your game?

937
00:53:55,107 --> 00:53:56,470
(audience laughing)

938
00:53:56,470 --> 00:53:58,713
-: John Houseman is of course the founder.

939
00:53:58,713 --> 00:53:59,572
-: Founder of Juilliard.

940
00:53:59,572 --> 00:54:01,030
-: He and Michel Saint-Denis--

941
00:54:01,030 --> 00:54:02,380
-: Of the drama division.
-: The founder of the

942
00:54:02,380 --> 00:54:04,313
drama division at Juilliard.

943
00:54:04,313 --> 00:54:08,485
He saw a review of our show.

944
00:54:08,485 --> 00:54:12,474
He said, well, they say they created a new kind of movement

945
00:54:12,474 --> 00:54:15,160
and I thought it was interesting,

946
00:54:15,160 --> 00:54:17,828
because we are going to start the Juilliard drama division

947
00:54:17,828 --> 00:54:20,345
and I'm looking for teachers.

948
00:54:20,345 --> 00:54:23,560
He said would you be willing to come for a weekend

949
00:54:23,560 --> 00:54:24,957
and do some classes,

950
00:54:24,957 --> 00:54:27,700
and my ears pricked when I heard it.

951
00:54:27,700 --> 00:54:31,140
I thought, hm, I will have resources

952
00:54:31,140 --> 00:54:33,255
of talents for my company.

953
00:54:33,255 --> 00:54:35,050
(students laughing)

954
00:54:35,050 --> 00:54:36,720
So I said, "Yeah."
(students laughing)

955
00:54:36,720 --> 00:54:41,720
And that was the reason why I wanted to teach at Juilliard.

956
00:54:41,860 --> 00:54:43,240
There was no other reason.

957
00:54:43,240 --> 00:54:47,306
Because my company was the central thing in my brain.

958
00:54:47,306 --> 00:54:49,550
I guess they liked what I did

959
00:54:49,550 --> 00:54:51,003
and they asked me to join.

960
00:54:52,850 --> 00:54:57,060
I always clashed with John Houseman, the director.

961
00:54:57,060 --> 00:54:58,710
-: Trimming the fat.

962
00:54:58,710 --> 00:55:00,490
Moni: He was a dictator.

963
00:55:00,490 --> 00:55:03,601
His ego was a very prominent one.

964
00:55:03,601 --> 00:55:07,330
-: Saturated fat, now you know the difference.

965
00:55:07,330 --> 00:55:10,265
-: He used to call me the erratic Israeli.

966
00:55:10,265 --> 00:55:13,030
When he said something and I didn't like it,

967
00:55:13,030 --> 00:55:16,440
I had to respond, I didn't have much tact at the time.

968
00:55:16,440 --> 00:55:19,883
In the company, I was the authority.

969
00:55:20,999 --> 00:55:25,999
It was my place, and I would do within it whatever I want.

970
00:55:28,260 --> 00:55:31,673
I never thought that I'd stay at Juilliard for that long.

971
00:55:32,780 --> 00:55:36,547
So basically I'm one of the founders of the drama division

972
00:55:36,547 --> 00:55:39,213
and the only one that's still teaching at Juilliard.

973
00:55:47,340 --> 00:55:50,340
(suspenseful music)

974
00:55:57,555 --> 00:56:00,118
-: Good evening, ladies and gents, and welcome aboard.

975
00:56:00,118 --> 00:56:01,360
Before we take off today--

976
00:56:01,360 --> 00:56:04,680
Alex: You know, showcase is not like a play.

977
00:56:04,680 --> 00:56:07,018
I found it very frustrating.

978
00:56:07,018 --> 00:56:09,600
-: Okay, enough!
-: That we do all the training

979
00:56:09,600 --> 00:56:10,953
that we do and it comes up to the point

980
00:56:10,953 --> 00:56:13,630
of doing these tiny, tiny snippets

981
00:56:13,630 --> 00:56:17,049
that you feel like you can explode in between two scenes.

982
00:56:17,049 --> 00:56:17,882
-: Time for everything even if it's already,

983
00:56:17,882 --> 00:56:19,763
when it comes just trying to--
-: Cathy, I really don't wanna

984
00:56:19,763 --> 00:56:21,710
have this conversation.

985
00:56:21,710 --> 00:56:23,474
-: It's intimidating, the scenes begin,

986
00:56:23,474 --> 00:56:25,978
you see all these people in suits with their lists.

987
00:56:25,978 --> 00:56:28,192
-: Mary, I love you!

988
00:56:28,192 --> 00:56:29,025
(woman gasps)
Oh christ, now I've said it.

989
00:56:29,025 --> 00:56:31,309
And then it just sort of dissolved

990
00:56:31,309 --> 00:56:34,632
only by like throwing myself into the scene.

991
00:56:34,632 --> 00:56:37,410
Now, oh my heart is breaking.

992
00:56:37,410 --> 00:56:39,020
You must think I'm so stupid

993
00:56:39,020 --> 00:56:40,560
but I, I can feel it breaking.

994
00:56:40,560 --> 00:56:41,940
-: No--
-: God I just wish I could

995
00:56:41,940 --> 00:56:43,690
stop talking; I can't!

996
00:56:43,690 --> 00:56:45,457
I, I can't!
-: I've never heard you talking

997
00:56:45,457 --> 00:56:48,163
this much, I mean you're usually so quiet.

998
00:56:50,351 --> 00:56:53,563
-: I have loved you for a long, long time.

999
00:56:53,563 --> 00:56:54,579
-: How long?
-: Months.

1000
00:56:54,579 --> 00:56:55,730
-: Oh.
(audience laughs)

1001
00:56:55,730 --> 00:56:57,220
-: Remember that big snowball fight

1002
00:56:57,220 --> 00:56:58,053
in the park?
-: In the park!

1003
00:56:58,053 --> 00:57:00,070
-: Yes, that was when I first fell in love with you.

1004
00:57:00,070 --> 00:57:01,510
You were wearing a red coat.

1005
00:57:01,510 --> 00:57:02,498
-: Oh, that coat.

1006
00:57:02,498 --> 00:57:04,220
If you knew how I felt about that coat.

1007
00:57:04,220 --> 00:57:05,590
I mean, that coat is like all the good things

1008
00:57:05,590 --> 00:57:06,423
from when I was a kid.

1009
00:57:06,423 --> 00:57:08,618
It's like being an adult but having your childhood, too.

1010
00:57:08,618 --> 00:57:09,451
Do you know what it's like?

1011
00:57:09,451 --> 00:57:11,880
It's like one of those movies where you're safe

1012
00:57:11,880 --> 00:57:12,874
even though it's an adventure.

1013
00:57:12,874 --> 00:57:15,755
Like the hero is doing all this really dangerous stuff

1014
00:57:15,755 --> 00:57:17,150
but you know he's gonna be okay

1015
00:57:17,150 --> 00:57:19,130
because of the kind of movie it is.

1016
00:57:19,130 --> 00:57:20,660
Being in that red coat is like,

1017
00:57:20,660 --> 00:57:23,100
is like being safe inside of an adventure.

1018
00:57:23,100 --> 00:57:24,923
-: I do understand, I do.

1019
00:57:26,030 --> 00:57:27,780
-: I don't know, I don't know about tomorrow,

1020
00:57:27,780 --> 00:57:29,911
but right this moment, right this minute,

1021
00:57:29,911 --> 00:57:31,463
I love you.
-: Oh, Mary!

1022
00:57:35,005 --> 00:57:36,897
(lips smacking)

1023
00:57:36,897 --> 00:57:40,650
-: I didn't know two people could understand some things,

1024
00:57:40,650 --> 00:57:42,480
share some things.

1025
00:57:42,480 --> 00:57:44,483
-: It must be terrible not to.

1026
00:57:46,026 --> 00:57:48,410
-: You're really handsome, did you know that?

1027
00:57:48,410 --> 00:57:49,690
Does your mother tell you that?

1028
00:57:49,690 --> 00:57:50,612
-: Yeah, she does.

1029
00:57:50,612 --> 00:57:53,779
(audience applauding)

1030
00:57:55,704 --> 00:57:57,815
I don't have representation,

1031
00:57:57,815 --> 00:58:02,460
and fourth year is a lot of people are getting approached.

1032
00:58:02,460 --> 00:58:04,095
And I was looking around while all my classmates

1033
00:58:04,095 --> 00:58:06,481
were getting agent and manager attention

1034
00:58:06,481 --> 00:58:08,233
and I wasn't getting anything.

1035
00:58:09,210 --> 00:58:11,840
But a Juilliard alumni, a friend of mine,

1036
00:58:11,840 --> 00:58:13,770
got me into the audition room

1037
00:58:13,770 --> 00:58:16,515
for this beautifully written Broadway play,

1038
00:58:16,515 --> 00:58:20,488
and much to my surprise, I got the job.

1039
00:58:20,488 --> 00:58:23,433
I guess the regular experience

1040
00:58:23,433 --> 00:58:26,130
has been flipped on its head for me,

1041
00:58:26,130 --> 00:58:28,750
because I happened to get the job first,

1042
00:58:28,750 --> 00:58:32,493
and now the agencies are interested in me.

1043
00:58:33,410 --> 00:58:38,410
East 62nd, don't know what the area's called but,

1044
00:58:40,128 --> 00:58:43,811
I mean, I don't know who the fuck shops at these places.

1045
00:58:43,811 --> 00:58:47,753
(laughs) This does not in any way represent

1046
00:58:47,753 --> 00:58:50,592
my experience in life.

1047
00:58:50,592 --> 00:58:54,560
Typically the smaller agencies care more about you

1048
00:58:54,560 --> 00:58:55,598
as an artist.

1049
00:58:55,598 --> 00:58:57,740
But I feel like with Juilliard, man,

1050
00:58:57,740 --> 00:58:59,913
I've had enough attention.

1051
00:59:00,840 --> 00:59:03,730
If you're ambitious you go to one of the bigger ones,

1052
00:59:03,730 --> 00:59:05,927
and it can pay off in a really big way.

1053
00:59:07,276 --> 00:59:10,859
(quirky suspenseful music)

1054
00:59:16,330 --> 00:59:18,333
-: Life is full of surprises.

1055
00:59:22,800 --> 00:59:27,800
Most people are scared to get away from the familiar,

1056
00:59:31,500 --> 00:59:33,503
and to look at things differently.

1057
00:59:40,957 --> 00:59:44,100
All this experience that we gather,

1058
00:59:44,100 --> 00:59:46,593
and all this so-called wisdom,

1059
00:59:50,810 --> 00:59:54,140
suddenly we need to learn new things,

1060
00:59:54,140 --> 00:59:56,783
to deal with a new situation.

1061
01:00:02,630 --> 01:00:05,223
And theater is full of surprises.

1062
01:00:08,613 --> 01:00:11,763
If theater is not surprising, it's not interesting.

1063
01:00:14,029 --> 01:00:17,827
The fact that I don't know what's going to happen,

1064
01:00:19,750 --> 01:00:21,143
that keeps me interested.

1065
01:00:29,661 --> 01:00:32,494
(subway rumbling)

1066
01:00:35,680 --> 01:00:38,040
-: Tell me a little bit about the project on Broadway.

1067
01:00:38,040 --> 01:00:41,210
-: It's "The Curious Incident of the Dog in the Night-Time".

1068
01:00:41,210 --> 01:00:45,660
It's the story through the eyes of a boy who's autistic.

1069
01:00:45,660 --> 01:00:48,767
-: Mm-hm, so you just went and auditioned for it?

1070
01:00:48,767 --> 01:00:51,870
Was that it?
-: Yeah, yeah, I auditioned for

1071
01:00:51,870 --> 01:00:53,580
the director, there was a big movement call.

1072
01:00:53,580 --> 01:00:56,997
It was very intense, it was like two hours long, I think,

1073
01:00:56,997 --> 01:00:59,410
and it started off simple,

1074
01:00:59,410 --> 01:01:02,298
like you'd have to run down a room, around a chair,

1075
01:01:02,298 --> 01:01:05,273
not touch the chair, not slip over, and run back.

1076
01:01:05,273 --> 01:01:07,520
And then it got into very specific things,

1077
01:01:07,520 --> 01:01:12,520
walking for 10 paces, turning sharp right after 10 paces,

1078
01:01:13,933 --> 01:01:15,290
and then walking back.

1079
01:01:15,290 --> 01:01:18,260
And then imagining that there was a tiny spacecraft

1080
01:01:18,260 --> 01:01:20,597
taking off from one point on their body

1081
01:01:20,597 --> 01:01:23,130
and going to another point.

1082
01:01:23,130 --> 01:01:24,513
Very, very physical.

1083
01:01:26,990 --> 01:01:29,906
-: You should have worked harder. (laughs)

1084
01:01:29,906 --> 01:01:32,513
-: (laughs) Thank god I had your class.

1085
01:01:33,700 --> 01:01:36,713
I was transferring our classwork straight into it.

1086
01:01:39,480 --> 01:01:42,414
-: Okay, so let's separate a little bit.

1087
01:01:42,414 --> 01:01:46,096
(class chattering)

1088
01:01:46,096 --> 01:01:50,236
And go ahead, Sammy, you start.

1089
01:01:50,236 --> 01:01:54,069
(hands clapping rhythmically)

1090
01:01:58,233 --> 01:02:01,816
(class members vocalizing)

1091
01:02:03,610 --> 01:02:08,200
What I try to do with them is to give them

1092
01:02:08,200 --> 01:02:13,200
their first experiences of expressing themselves

1093
01:02:13,548 --> 01:02:15,953
physically as actors.

1094
01:02:19,253 --> 01:02:22,770
Okay, we are going to have a little game now.

1095
01:02:22,770 --> 01:02:25,670
Whatever Colin does in the center,

1096
01:02:25,670 --> 01:02:27,520
everyone of you should do the same.

1097
01:02:27,520 --> 01:02:30,927
They are sometimes very agile and very capable,

1098
01:02:30,927 --> 01:02:35,194
but the way an actor moves is totally different.

1099
01:02:35,194 --> 01:02:37,944
(class cheering)

1100
01:02:47,350 --> 01:02:51,513
As an actor, everything you do has to be justified.

1101
01:02:55,781 --> 01:03:00,230
Whether you move an eye, you move a hand,

1102
01:03:00,230 --> 01:03:03,423
you move your torso, must have a reason.

1103
01:03:09,064 --> 01:03:12,304
When every part of the body functions

1104
01:03:12,304 --> 01:03:15,300
as it ought to function for the character,

1105
01:03:15,300 --> 01:03:17,413
there is a complete physical harmony.

1106
01:03:22,781 --> 01:03:25,614
And I reach for the goal up there,

1107
01:03:26,511 --> 01:03:30,403
to stretch to the maximum while they are on their toes.

1108
01:03:31,880 --> 01:03:33,063
It's very simple.

1109
01:03:35,243 --> 01:03:38,225
They engage immediately their imagination,

1110
01:03:38,225 --> 01:03:40,993
what is this goal that I want to reach,

1111
01:03:42,623 --> 01:03:47,583
that is vital for them, that they cannot do without?

1112
01:03:48,880 --> 01:03:52,213
(uplifting piano music)

1113
01:04:10,324 --> 01:04:13,741
(class members cheering)

1114
01:04:17,976 --> 01:04:21,126
And have a great life, everybody.

1115
01:04:21,126 --> 01:04:25,043
(class cheering)
-: We love you!

1116
01:04:28,441 --> 01:04:30,691
Moni: Look up every day.

1117
01:04:36,569 --> 01:04:39,486
(class applauding)

1118
01:04:48,910 --> 01:04:50,619
What I hope that the student will get

1119
01:04:50,619 --> 01:04:54,680
from any class that I give is a fired imagination,

1120
01:05:01,961 --> 01:05:06,280
with some kind of passion to connect with the material

1121
01:05:06,280 --> 01:05:09,123
they are going to work on after my class.

1122
01:05:18,974 --> 01:05:20,655
(class members whooping)

1123
01:05:20,655 --> 01:05:23,488
Announcer: Magdalene A. Sagani.

1124
01:05:24,796 --> 01:05:27,990
Alexander Sharp.
(class members cheering)

1125
01:05:27,990 --> 01:05:30,579
-: Because I've seen it so many times,

1126
01:05:30,579 --> 01:05:32,332
I've learned not to be surprised

1127
01:05:32,332 --> 01:05:35,570
when brilliantly talented actors

1128
01:05:35,570 --> 01:05:39,030
that look as if they really can play

1129
01:05:39,030 --> 01:05:42,032
many different characters and leading characters,

1130
01:05:42,032 --> 01:05:46,270
basically spend their life in real estate

1131
01:05:46,270 --> 01:05:48,799
or serving in a restaurant.

1132
01:05:48,799 --> 01:05:52,073
That surprised me at the beginning

1133
01:05:52,073 --> 01:05:57,073
but then I learned that it has to do a lot, also, with luck.

1134
01:06:01,920 --> 01:06:06,450
With funding for my company, we were never very successful

1135
01:06:07,620 --> 01:06:12,000
because I did not understand at all the business culture.

1136
01:06:12,000 --> 01:06:13,370
Announcer: The New York Pantomime Theater

1137
01:06:13,370 --> 01:06:15,443
has been commissioned to make theatrical presentations

1138
01:06:15,443 --> 01:06:17,735
for major business corporations.

1139
01:06:17,735 --> 01:06:18,910
Timex, General Host--

1140
01:06:18,910 --> 01:06:22,590
-: I found myself do little bits on television.

1141
01:06:22,590 --> 01:06:26,240
Announcer: You can press GEON vinyl into music on records

1142
01:06:26,240 --> 01:06:29,342
(bright horn music)

1143
01:06:29,342 --> 01:06:31,771
or foam it into life preservers,

1144
01:06:31,771 --> 01:06:33,787
or shape it into a squeeze toy.

1145
01:06:33,787 --> 01:06:35,450
(toy squeaking)

1146
01:06:35,450 --> 01:06:38,150
Announcer: The Avon life plan is another of those ways

1147
01:06:38,150 --> 01:06:39,550
to say you care.

1148
01:06:39,550 --> 01:06:41,650
Moni: We rented our own space,

1149
01:06:41,650 --> 01:06:43,833
but when the rent quadrupled in one year,

1150
01:06:43,833 --> 01:06:46,513
it became very difficult.

1151
01:06:46,513 --> 01:06:50,013
(slow somber piano music)

1152
01:06:51,230 --> 01:06:54,990
For a year or two it was all about raising moneys

1153
01:06:56,560 --> 01:06:59,620
and I had to come up to some kind of decision,

1154
01:06:59,620 --> 01:07:02,593
whether this was the kind of life that I wanted to lead.

1155
01:07:03,870 --> 01:07:07,050
And I decided I couldn't take it anymore,

1156
01:07:07,050 --> 01:07:09,330
that raising moneys was not something

1157
01:07:09,330 --> 01:07:13,449
that I was interested in, and that was it.

1158
01:07:13,449 --> 01:07:16,133
We decided to close shop.

1159
01:07:17,950 --> 01:07:22,950
It took a span of 24 hours, that 26 years were just gone.

1160
01:07:29,787 --> 01:07:33,433
I used to wake up at four, 4:30 in the morning,

1161
01:07:34,991 --> 01:07:37,483
imagine a mime scene.

1162
01:07:41,050 --> 01:07:44,633
At night I would rehearse it with my people,

1163
01:07:46,260 --> 01:07:47,673
and then we performed it.

1164
01:07:53,350 --> 01:07:55,800
Suddenly I wake up at four in the morning

1165
01:07:55,800 --> 01:07:58,493
and I'm thinking about a mime scene,

1166
01:08:01,844 --> 01:08:04,723
but I don't have anymore where to perform it.

1167
01:08:09,884 --> 01:08:14,884
This loss, of being constantly, constantly creative,

1168
01:08:21,480 --> 01:08:24,673
started really to hit me hard.

1169
01:08:53,522 --> 01:08:56,522
I never thought I'd stop performing.

1170
01:09:05,230 --> 01:09:07,513
But life is life no matter what you do.

1171
01:09:25,880 --> 01:09:28,383
Alex: At that time, around the station.

1172
01:09:30,685 --> 01:09:32,727
Announcer: The hit of the season on Broadway is

1173
01:09:32,727 --> 01:09:35,189
an explosion of sights and sounds.

1174
01:09:35,189 --> 01:09:38,200
"The Curious Incident of the Dog in the Night-Time",

1175
01:09:38,200 --> 01:09:42,952
about a 15-year-old boy with autism, starring Alex Sharp.

1176
01:09:42,952 --> 01:09:46,450
-: He gets overstimulated by things every day,

1177
01:09:46,450 --> 01:09:47,680
like walking down the street

1178
01:09:47,680 --> 01:09:49,220
and there are tons of people around me,

1179
01:09:49,220 --> 01:09:51,462
I just want to like crouch down and start groaning.

1180
01:09:51,462 --> 01:09:54,616
So I feel like that all the time in my real life.

1181
01:09:54,616 --> 01:09:58,330
You also have to be someone who'd like being on their own

1182
01:09:58,330 --> 01:10:00,460
in a tiny spacecraft.

1183
01:10:00,460 --> 01:10:04,209
Feels like an exaggeration of qualities

1184
01:10:04,209 --> 01:10:07,197
that I think a lot of people already have.

1185
01:10:07,197 --> 01:10:12,197
(audience applauding)
(audience whistling)

1186
01:10:21,260 --> 01:10:23,010
-: Hi, you are insane.

1187
01:10:23,982 --> 01:10:26,722
(Alex laughing)

1188
01:10:26,722 --> 01:10:28,556
My gosh.
-: I could see you out there.

1189
01:10:28,556 --> 01:10:30,350
-: Are you going to do it again tomorrow?

1190
01:10:30,350 --> 01:10:32,519
-: Yeah.
-: And the day after?

1191
01:10:32,519 --> 01:10:34,260
-: Uh-huh.
-: Fantastic.

1192
01:10:34,260 --> 01:10:35,282
-: Thank you so much.

1193
01:10:35,282 --> 01:10:37,100
-: No, no, don't thank me, I thank you.

1194
01:10:37,100 --> 01:10:42,100
I mean it was wonderful to see you do what you did.

1195
01:10:42,639 --> 01:10:44,282
I really mean it.

1196
01:10:44,282 --> 01:10:46,218
-: Thank you, that means a lot.

1197
01:10:46,218 --> 01:10:49,388
Thank you for coming, it meant so much to have you here.

1198
01:10:49,388 --> 01:10:50,467
-: Thank you.
-: Thanks so much.

1199
01:10:50,467 --> 01:10:52,417
-: You wanted to do "The Clockwork Orange"

1200
01:10:52,417 --> 01:10:53,910
'cause it was crazy,

1201
01:10:53,910 --> 01:10:55,580
here you are doing something crazier.

1202
01:10:55,580 --> 01:10:56,914
-: Yeah, I know, right?

1203
01:10:56,914 --> 01:10:58,978
This is a lot crazier.

1204
01:10:58,978 --> 01:11:03,978
-: So agile, focused, why didn't you do it in school?

1205
01:11:05,451 --> 01:11:07,240
'Cause you were rebellious? (laughs)

1206
01:11:07,240 --> 01:11:09,810
-: Oh no, 'cause I couldn't do this without Juilliard.

1207
01:11:09,810 --> 01:11:11,756
-: It's amazing, amazing work.

1208
01:11:11,756 --> 01:11:13,227
-: Thank you.
-: Bravo.

1209
01:11:13,227 --> 01:11:16,113
-: Oh I'm so glad you came, thank you, thank you.

1210
01:11:18,860 --> 01:11:21,487
Moni is just like the father of Juilliard,

1211
01:11:21,487 --> 01:11:22,723
do you know what I mean?

1212
01:11:24,470 --> 01:11:26,423
He's like the dad that stayed.

1213
01:11:28,447 --> 01:11:30,150
He's amazing, man.

1214
01:11:31,364 --> 01:11:33,557
-: Fourth year I did this play called,

1215
01:11:33,557 --> 01:11:35,600
"Someone to Watch Over Me".

1216
01:11:35,600 --> 01:11:38,077
After the show, Moni came up to me and he hugged me.

1217
01:11:38,077 --> 01:11:40,197
I was like, oh, wow, hey thanks, Moni.

1218
01:11:40,197 --> 01:11:43,357
And he said, "You've really grown, I've watched you come in

1219
01:11:43,357 --> 01:11:47,866
"as a kid who spoke awful and had no movement skills,

1220
01:11:47,866 --> 01:11:51,337
"and you've blossomed into a really great young actor."

1221
01:11:53,591 --> 01:11:55,430
Announcer: Good morning, everyone,

1222
01:11:55,430 --> 01:11:59,670
and welcome to the 2015 Tony Award nominations.

1223
01:11:59,670 --> 01:12:01,470
The nominees for best performance

1224
01:12:01,470 --> 01:12:04,817
by an actor in a leading role in a play are--

1225
01:12:04,817 --> 01:12:07,277
-: "You've done all that work yourself.

1226
01:12:07,277 --> 01:12:09,767
"You've been able to build and grow on your own,

1227
01:12:09,767 --> 01:12:11,967
"and I want you to know that when you get out of school

1228
01:12:11,967 --> 01:12:14,587
"you have the mechanics now to do whatever you want to do.

1229
01:12:14,587 --> 01:12:16,335
"So don't be afraid to do anything."

1230
01:12:16,335 --> 01:12:19,057
Announcer: Nighy, "Skylight", Alex Sharp,

1231
01:12:19,057 --> 01:12:21,981
"The Curious Incident of the Dog in the Night-Time".

1232
01:12:21,981 --> 01:12:23,329
(Alex laughing)

1233
01:12:23,329 --> 01:12:26,579
(soft uplifting music)

1234
01:12:40,470 --> 01:12:42,630
-: I am standing here with Alex Sharp

1235
01:12:42,630 --> 01:12:43,720
from "Curious Incident".

1236
01:12:43,720 --> 01:12:45,350
Alex, this is your Broadway debut

1237
01:12:45,350 --> 01:12:46,347
and your first Tony nomination.

1238
01:12:46,347 --> 01:12:47,630
How does it feel?

1239
01:12:47,630 --> 01:12:50,190
-: So crazy, I'm having the time of my life.

1240
01:12:50,190 --> 01:12:52,910
-: I can imagine, and you're a recent Juilliard grad.

1241
01:12:52,910 --> 01:12:54,947
-: I am.
-: And what was that like?

1242
01:12:54,947 --> 01:12:55,843
-: That, being at Juilliard?

1243
01:12:55,843 --> 01:12:58,730
-: Juilliard, yeah.
-: It was great, it was great.

1244
01:12:58,730 --> 01:12:59,757
You know I couldn't do this part

1245
01:12:59,757 --> 01:13:01,600
without the training that I had there,

1246
01:13:01,600 --> 01:13:03,980
so I'm very grateful for that.

1247
01:13:10,487 --> 01:13:15,481
-: And the American Theater Wing's Tony goes to Alex Sharp.

1248
01:13:15,481 --> 01:13:18,648
(audience applauding)

1249
01:13:20,856 --> 01:13:24,560
-: This time last year I picked up my diploma

1250
01:13:24,560 --> 01:13:25,930
graduating from Juilliard.

1251
01:13:25,930 --> 01:13:28,751
So to be holding this is insane.

1252
01:13:28,751 --> 01:13:33,751
Thank you so, so much for this incredible honor.

1253
01:13:37,960 --> 01:13:40,053
-: Like any great teacher's legacy,

1254
01:13:41,185 --> 01:13:42,743
you're not in the spotlight.

1255
01:13:45,090 --> 01:13:49,473
You've prepared others for the spotlight.

1256
01:13:49,473 --> 01:13:51,703
-: He's a true teacher that way.

1257
01:13:52,800 --> 01:13:56,526
And there's the love that this man has of his work,

1258
01:13:56,526 --> 01:13:59,033
and the evolution of his work.

1259
01:14:00,178 --> 01:14:04,044
And how he has given it to us. (sighs)

1260
01:14:04,044 --> 01:14:06,544
-: Good morning.
-: Good morning.

1261
01:14:08,021 --> 01:14:12,000
-: 45 years now, you cannot measure this.

1262
01:14:12,000 --> 01:14:16,361
You cannot measure this man's sense of dedication,

1263
01:14:16,361 --> 01:14:19,763
of love, it's just love.

1264
01:14:22,344 --> 01:14:25,243
-: Oh my god, another year, yet.

1265
01:14:26,420 --> 01:14:29,076
-: He's just completely connected to the earth,

1266
01:14:29,076 --> 01:14:31,560
and from that springs all these roots

1267
01:14:31,560 --> 01:14:33,443
and all these branches.

1268
01:14:33,443 --> 01:14:35,515
-: I'll tell you what we'll do first.

1269
01:14:35,515 --> 01:14:37,680
I don't remember, really, your names,

1270
01:14:37,680 --> 01:14:40,536
so we'll do that the first thing, okay?

1271
01:14:40,536 --> 01:14:43,550
And you know my name, yeah?

1272
01:14:43,550 --> 01:14:46,468
That's good, oh I'm so glad, because I don't.

1273
01:14:46,468 --> 01:14:49,218
(class laughing)

1274
01:14:56,462 --> 01:14:59,962
(upbeat percussive music)