Acting

When I first started out acting, I used a great deal of sense memory recall to experiences that I had had as a child and young adult to bring out my emotions. I would think of something in my own past that still had an effect on me personally. Some of them were still so vivid in my mind that it would be hard to control them once the tears started. As I grew older, I began to realize that I actually had sufficient empathy for the human condition that I could place myself in my character's shoes. When I walked around in them a bit, the tears would come naturally. I performed in a play called "The Mirror" written and directed by an incredible person, Stefan Marks. The opening of the play were the four characters Spring, Summer, Fall and Winter, each establishing their current state of mind. My character, Fall, had just experienced the loss of his spouse and was grieving her death. Somehow, every night we performed, I would just think about what this poor man was going through and voila, the tears would just gush. This was a comedy, and Fall's tears would cease abruptly as he would be distracted by a passing squirrel which would stimulate a philosophical monologue questioning what the squirrel thought of me crying and whether it knew what I had lost. Going from crying with me to laughing at my abrupt transition was really fun!

Ah, this is a difficult one -- there are so many techniques you can use. I would say to not get locked into a technique. Instead focus on the story -- why is your character crying? Put yourself in their shoes, if you can play the story as if it was real that can ground you into the correct emotional space. But to hit the tears on cue - you can't TRY to go for tears. For me, sometimes listening to sad movie scores that bring back scenes that got me emotional, or imagining the sad music is the soundtrack - I've used that technique. Emotional recall can work - but often you've gotten over the thing that used to make you cry so that fails. Sense memory is better - your body remembers better than the mind, so putting yourself into sensory recall is a good technique.

These scenes require a lot of focus for the actor and a good director understands this and will demand quiet and stop of all work on set.

Wonderful question. In my experience, crying on cue comes from intentionally focusing your mindset on moments in your life that caused deep emotional damage—moments that truly broke you.

Learning to access that place takes time and practice. You train yourself to use your own memories to bring your body to the brink of tears, and then apply that emotional state when the scene calls for it.

In acting, you’re selling truth. To give your strongest performance, you have to dig deep and pull real emotion into the moment—making it feel genuine and alive.

that's an incredible level of experience to draw from for your roles Magne Osnes Haugen - imagination can take us quite far when crafting a role. but being honest and vulnerable about our own past experiences and allowing them to serve our character work, is a totally different story.

Bruce Mathews - "I actually had sufficient empathy" ... that's the 'magic' word: empathy

I was wondering how this was going to play out. I feel like no matter how advanced AI gets it still won't be able to authentically replicate human emotion. As for it giving actors more security...absolutely. I think they need to think about how they cast their roles and how they want them to be portrayed.

I think it is a win for actors for sure. The whole Tilly Norwood had everyone freaking out. While I think it is amazing that Val Kilmer could finish his role, I am glad the Academy said he isn't eligible for an Oscar. How would you feel if you lost to AI? In category.

Jason Raymaker, I feel the same. No matter how advanced the tech gets, it still can’t hit that real emotional truth actors bring. And yes, this definitely gives performers more security. It also puts more responsibility on casting to think intentionally about who they bring in and how they want those roles to live on screen. It’s a good reset for everyone involved.

Hi Suzanne Bronson :) I feel the same. It really is a win for actors, especially after the Tilly Norwood situation had everyone on edge. And with Val Kilmer, it was touching to see him finish the role, but I’m glad the Academy drew a clear line. Losing to an AI performance would feel awful. Keeping that category human just makes sense.

Great! fantastic news for the industry — projects will start moving faster again.

how do I apply.

“Hi Amanda, I’m an aspiring actor and screenwriter from Nigeria. Are there opportunities or programs I can apply for under this new deal? I’d appreciate any guidance.”

HI Gershom Itam SAG AFTRA is the talent labor union in the US. So it is not in Nigeria and there is nothing to apply for. If you are looking for opportunities and programs, there are plenty of those here on Stage 32. There is a job board, plus classes and webinars, and labs. Simply go the Education tab. You can email success@stage32.com what your goals are, and they can provide for you what steps they recommend. Other than that, network, network, network. Make connections, cultivate those, you will find opportunities.

Thank you Mrs Suzanne, do u mind cus I would love to share one of my script and short video with you Mrs Suzanne?

Ana, this is a great distinction, emotional depth rooted in context and internal conflict is what truly makes performances resonate beyond surface-level emotion. For actors exploring this, Stage 32’s labs and coaching can help deepen that work, and we’re always here to support and guide you!

Hi Suzanne,

Thank you for letting me know, I appreciate it! I’ll adjust my post accordingly.

Ana Rodrigues, this is such a strong distinction, and I love how clearly you’ve articulated it. I think this is especially important for actors because it shifts the focus away from “how big can I play this emotion” to “what is driving this emotion beneath the surface.” When you’re working on a role, what helps you most in uncovering that deeper layer, backstory work, script analysis, or something more instinctive?

For me, it’s a combination of both analysis and instinct.

I usually begin with the script and the character’s backstory to understand their emotional foundation — what shaped them, what they fear, and what they’re trying to protect beneath the surface.

Once that framework is clear, instinct takes over in performance. That’s when the emotional truth starts to feel lived rather than simply interpreted.

For me, it usually begins with script analysis.

I look first at what the character wants, what they fear, and where their internal contradictions live—because that tends to reveal the emotional engine beneath the surface.

Backstory helps when it meaningfully informs behavior, but I try not to invent psychology that isn’t supported by the text.

From there, instinct takes over in performance—but instinct grounded in structure tends to be far more reliable than instinct alone.

Really good question. I'm sure there are those who will say something to the effect of "Find some common ground with your character" or "substitute your feelings about A with B and use that". Or, there's always Sir Lawrence Olivier's credo (to Dustin Hoffman) of 'Why don't you try acting?"

I don't think there's an easy answer here. For some, it's fun to play someone totally opposite -- they might find it liberating in some way. For others, it's about engaging in deep character study to try to find that element of commonality. And, for others, they simply would turn down the role. I think it boils down to what you as a performer are comfortable with.

I start with what I want the Character to represent. How do they interact in the world. What are their Good Points and Bad. Where is their motivation coming from. then I write from there.

Nick Frost as Ed in SHAUN OF THE DEAD. My favorite sidekick. A drug dealing lazy roommate who's flatulence provides his BFF Shaun with many laughs through out the movie. "You've got red on you!" Finally saving Shaun from the Zombies, as he becomes a Zombie himself. In True BFF form, Shaun keeps Ed as a Videogaming Playmate in his Shed, as the movie ends. I loved his Monkey. And why is the Jukebox playing??? "Its on Random!"

If you haven't seen SHAUN OF THE DEAD, shame shame! One of the best Horror-Comedy's ever made.

Gabriel Byrne as Tom Reagan in Miller's Crossing. He doesn't say much, and sometimes what he says contradicts what he feels. But you can tell the difference through the subtleties of his acting. One of my favorite film characters of all time.

Hi Laura Hammer great tips. I am focusing more on voiceover and audio recording than I am on commercial work.

Love this post Laura. You are right, it’s like we say here at Stage 32 - You have to treat networking like a job, and you have to be the CEO of you. Your professional presence is key in order to stand out for creative roles.

Well said, Amanda Toney !

I just watched I SAW IT and it’s great Colin! You have a real presence for the screen. How do you feel about self tapes vs. in person auditions?

I have no particular preference, but I do like the convenience of self-taping in my apartment.