A Quote by Gregory Smith
That's basically how I learned everything as an actor. I was just a kid, and I worked with these actors, and I'd ask them questions, and then something would work for me, and I'd try to move forward with it.
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How hard would it be to ask children what they see in their heads? How big should the house be in comparison to the family standing in front of it? What is it about the anatomy of the people that doesn't look right? Then let them try it again. Teach them to learn how to see and ask questions.
It is the most powerful submission in the sport. It is a beautiful thing. You're holding them into you, their back is on you, and you are basically choking them gradually like a boa constrictor and once you've got them, the pressure goes on and they have to submit or they are going to stop breathing. It happened to me early in my career, and I panicked, and gave in, I tapped out too early. I learned a lot from that. I learned from it, learned how to do the move better, learned how to avoid it being done to me.
What we try to do in TSAW, which is Tasha Smith Actors Workshop, is to help the actor get to the core of who they really are and how they really feel. So, we may have them do a dump, where you just basically express everything that you feel that you have not been able to express, whether it's good, bad, or ugly.
Kevin Bacon and I recently worked on a move together, R.I.P.D. Just before we'd begin a scene, when all of us would feel the normal anxiety that actors feel be- fore they start to perform, Kevin would look at me and the other actors with a very serious expression on his face and say: "Remember, everything depends on this!" It would make us all laugh. On the one hand, it's not true of course, but on the other, everything does depend on this, on just this moment and our attitude toward this moment.
Somebody has said something - or not just somebody, hundreds, thousands of people have something negative to say about me. I have learned that if I'm going to continue to do what I'm supposed to do and move forward, then I cannot let that faze me.
I think all the actors I've worked with knew that I was an actor. Like, I get into the dirt with my actors and we figure out the rhythm of the scene and how it needs to sound and what the blocking is, the way you would with another actor.
I have begun to regard everything as more of a process so that the sense of right and wrong diminishes in my psyche. That's been healthy for me and makes everything so much more fun. If something does not quite work out as expected or planned, I simply look for what did work, what I learned from the situation, and really try to keep it moving forward.
From one week to the next, everything changes from who you're playing to the defense's scheme. You just try to build on the things that you did well and correct the things that you did poorly in the game; then, move forward from there and hopefully continue to get better and better and better as you move forward.
You have to talk about mistakes and then talk about what you have learned and how to move forward. You acknowledge missteps right away, you deal with them, and you move ahead.
There are two questions that you ask yourself as a writer, and one of them is, 'But why?' The question that takes the book forward is, 'What if? What if x y or z happened? How would those characters react?'
You can ask anybody who's ever worked for me or worked with me, who's ever served with me, when I tell you I'm going to try to do something, I will get up every single day and work my heart out for you.
Get yourself out. Be brave. Don't leave before you're ready, because you should know that you tried everything. So there's a conviction and a confidence when you step away from something that may or may not be conducive to your life. I think if you run away too quickly, you're going to have that "Oh God, did I try everything?" feeling. Try everything. Make it work. Do everything you can. If it's not working, then know when the signal is and move on. Change. Try something different.
I wouldn't know what to say about something that worked in a perfect way, so I guess, in everything, I try to find what doesn't work and expose it and then see how it relates to people and their stories and their character.
You have to let go of stuff when you act for a while. You stay too attached to things that have worked or haven't worked, it kind of makes it harder for you to move forward. So I try to concentrate on the experience that I have and then let the public expression of it be its own deal.
I would say that the fundamental question of geography is about how humans shaped the Earth's surface and how we, in turn, are shaped by the ways in which we have shaped the Earth's surface. So, for me, geography was just a set of tools that allowed me to ask these kinds of questions and to try to think through them.
Going to directing wasn't a reaction away from acting as much as it was a move towards something I always wanted to do. Ever since I was a kid, I was interested in the camera and how it worked and why one director would place it in this part of the room and then another would place it in that part of the room.
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