The Real Life Actor with Jeff Seymour

Season 2, Episode 1. We start 2023 with an awesome episode with friend and acting teacher, from Los Angeles, Jeff Seymour, aka The Real Life Actor.

Jeff has been an acting coach for 42 years. He currently has a number 1 rated podcast, The Real Life Actor, with 151 episodes which can be found on all platforms. Jeff also wrote a book on acting, The Real Life Actor, available on Amazon.com. He currently teaches six international Zoom classes a week, as well as private training and audition coaching.

I am a HUGE advocate of Jeff and his training, it has been my mainstay regime since commencing as an actor. I thoroughly recommend his book, his podcast and his training.

Jeff’s approach to acting is simple, honest and real.

In this episode, we discuss all aspects of his training, and how it was developed "in the trenches" and grew from experiences learnt in the field as an actor. We learn why it is unnecessary to fill one's toolbox full of tools, but how to have just the most pertinent and most important information at hand and in your head to bring a scene to life.

By treating whatever is happening in the scene as the most important thing (as we do in real life) you will never have a problem in making your scene real. And keeping actors "out of their heads" so they can play the scene truthfully and organically.

We also look at some of the technical sides of acting and call into question the industry generalisation of auditions such as the standard blue or grey back-ground, and the need to just deliver the scene.

And we also discuss why an actor needs to honor the writer's words, and how you can say those words verbatim and in a way that the audience believes they are being said for the first time.

Check-out  The Real Life Actor for further information.

And grab yourself a copy of the book from Amazon.com.

And follow Jeff on Facebook for updates.

Jeff is touring Australia in late February 2023, email him at jseymour878@gmail.com for dates and booking details.

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Transcript

00:00:01 David John Clark

Welcome, welcome all and thank you for returning. We're up to season two of the late Bloomer Actor podcast. I'm so excited to start this season off with a very special guest, Mr. Jeff Seymour, AKA The Real Life Actor.

If you have paid close attention to my Late Bloomer Actor logo, you would have noticed that the book, primary book I'm holding is the Real Life Actor, so it's just awesome to now have him on the show.

Jeff welcome and thank you so much for coming on board mate.

00:00:31 Jeff Seymour

Oh, thank you. Thank you for having me, it's a pleasure.

00:00:33 David John Clark

A bit different to being on the other side because I know you run your own podcast, which we'll talk about. But being a guest.

00:00:38 Jeff Seymour

Yes, yes I do, but I Real-Life rarely talk to people, so yes, this is this is great. It's very different but it's going to be a blast nonetheless.

00:00:48 David John Clark

Awesome awesome. I'm starting my new season so this is season two of my podcast and I've always focused on it being the journey of late bloomer actors and what we can now learn for them. But I'm switching it around a little bit and making it more about to reflect this. The shows about my journey as a late bloomer actor and bringing in guests that have contributed to my journey in some way either directly or indirectly so I can share what I've learned from them.

And Jeff, you, you've been a big part of that journey for me, having been introduced to your work initially online, but then more directly back in March of 2017, that now when you agreed to add Adelaide to your Australian tour, much to my pestering, right?

00:01:31 Jeff Seymour

That's right, wow. Or even, five years. My God.

00:01:34 David John Clark

Yeah yeah, time flies especially when you have a pandemic in the middle of it.

00:01:39 Jeff Seymour

That's right.

00:01:40 David John Clark

Was that your first?

00:01:41 Jeff Seymour

Ah, right. Before the pandemic, when the pandemic hit, that was the year that I was going to be coming back. Umm but yes, here we are. But I'm finally gonna get to make it, but yeah.

00:01:52 David John Clark

Was that your first tour? The one that you came down when we met? Have you been to Australia before that?

00:01:57 Jeff Seymour

No, no. I've been there, well, I've been there a total of four times.

00:02:02 David John Clark

Ohh beautiful.

00:02:03 Jeff Seymour

Yeah, so I'm not sure, but I know the first one, though I think was like in 2000 or something like that. And then there was a big break and then I was doing it like every year. And then I missed that year when the pandemic, but I'll be there in February, so.

00:02:19 David John Clark

Yeah, so we'll. We'll talk about that and try to get out some dates and everything so people know what cities you're going to and everything so, but let's, let's talk about you first just quickly.

So, for people that don't know a lot about you or might hopefully being introduced to Jeff Seymour for the first time, listening to this podcast, can you tell us a bit about your history? How did how did you getting into acting specifically and so, how and why did you begin teaching acting, including the development of your own approach, the Real Life Actor?

00:02:50 Jeff Seymour

Well, let's see. I became an actor. I came out here when I was, to LA, when I was 19 and I went to a theater school and I was lucky enough to get an agent when I graduated and I started acting in television. My first job was in 1979, in October of 1979, so I've been at it for 43 years. A year after I got out of, almost immediately, I think it was less than a year, I Real-Life knew that I always wanted to teach. I come from a family of teachers and didn't teach acting, but you know other things and I Real-Life knew that always interested me. I was also interested in the mechanics of how things work. I'm very fascinated by that and I think you may know David, I'm also fascinated by vintage cars. I restore cars. It's my fever, you know classic cars and mechanics, and I think in another life I was an engineer or inventor or something and so I was always fascinated by process and why we do and what kind of you know, two of my brothers were very successful sports coaches.

So, the whole idea of you know how it works, but I also though I, I was truly in the catbird seat because I was an actor at the same time. So I was doing field work the whole time.

00:04:12 Jeff Seymour

Now I know that you know many teachers or plenty have been actors and then they became teachers. But what happened with me was I started teaching, you know, a year later and I never stopped teaching, so I always felt like I was a scientist. You know, in the field all the time and I was making mental notes about everything. About what I saw on sets. I opened my own theater that I ran for 10 years that I designed and built. I got a building, and you know got it and did that was very successful in LA so I had my own laboratory to use these ideas I had. I was teaching 5 classes a week there. I mean I was thoroughly immersed in the idea of you know how to make things better.

00:05:00 Jeff Seymour

Now I should add here because I just mentioned that I did the theater thing. You see, it became paramount that I figured out a way to get actors to do the best possible work in the shortest amount of time, because I had a house next door, I got this whole property and I lived in the house. So I truly was immersed in theater. And my theater was 15 feet away. So I was always there and I was I did everything and I lived on what those box office tickets were, which meant that I had to get great reviews. The shows had to be well reviewed or I didn't get to eat as well. So it became very important.

00:05:39 David John Clark

And that's important.

00:05:40 Jeff Seymour

So, I had to figure out what works. How can I get actors to do work better? How can it be consistent? How can I direct more efficiently, and so many things in that laboratory? Teaching 5 classes a week? Being able to direct show after show. I directed all the shows and produced them. I was able to really develop what I thought worked best and that was many years ago and here we are now, 42 years of teaching and this was the original idea. But I do believe I've gotten a lot better at dispensing it. Certainly, if I've learned anything, I mean, the idea is still the same, but I think I've gotten better and more efficient at getting people, after 42 years, to do it. And I feel like I'm getting smarter every day. Hopefully that's the case.

00:06:30 David John Clark

I love that because the old adages, of those who can't, teach, but in in your case, and that's clear cut, that you still do, and you have acted from the day you've walked on stage and started teaching as well. So, we all know.

00:06:45 Jeff Seymour

Yeah, that’s true. I not only acted, but I also, you know, running your own theater and then acting in the shows and directing those, well, that's a whole, the whole experience you know. And then, as you know I created with another guy a comedy series that I sold to a network in Canada and did that for two years. So, I got to, you know, executive produce my own TV show and I was in total charge and I wrote all the scripts with my buddy, two seasons, 26 episodes. 

00:07:15 Jeff Seymour

I'm able to use all these experiences of having sat there and from day one, not just having things happen to me, but having them happen to me, and of course immediately thinking what is the lesson here? What did I learn here? What can I tell someone else about this thing and what not to do? Because I just did it? Don't ever do that again. You know. I become this, you know, this tester. I'm out there constantly in the trenches. But I just did a big show in New York. As you know, a play and it, it was a big deal. And you know, doing 8 shows a week. I feel blessed to be able, to actually be constantly in, you know, artistic combat and be able to, of course, tell actors about that.

00:08:05 Jeff Seymour

Now this is one thing though. I've heard that phrase my whole life of course, those who can, do, those who can't, teach. But I truly believe that I think in in acting you're better served if the people that are training you have actually been successful. I think that's really important. I feel like acting and being in the industry is really, almost like going into combat. It's just, it's just a life of warfare trying to figure out how to negotiate the coral reefs and get through and not lose your mind. And I think it's more important than this instance. It's more beneficial, it's more accurate, if the person who's giving you information, who is your coach, who's your teacher has actually been in battle, and like a fair amount. It would be like being trained by people who are teaching you how to go and be in combat by teachers who've never ever been in combat. They've never had a live bullet go over their head. They have no idea what this feels like. I really, I hate to draw such a dark comparison, but after having been gutting it out in the industry for 43 years. You know it's not war, but it's a battle. It is a battle.

00:09:28 Jeff Seymour

And there's a lot more than like figuring out how to say lines and learning your intentions. There is a ton of stuff that you should be, you should know about and a small part of it has to do with acting. Acting isn't a hat trick, if it's the hat trick, then anybody who was a decent actor would be working all the time. I mean you have to, oh, you're good, go ahead. You graduated. Go pick up your money. You're a star. Go on. Next! You know, that's not how it occurs. It's a constant slugfest in mud, you know, trying to ... things change, what they're looking for, fads that …  the volatility of the business from when I started is so crazy now because there's so much product. There's so many people that want to be, you know, working actors that it's, it's way different than when I started. When I started, you know in 79. I would look at that like it was a sleepy little town compared to today because there's so many outlets. There's so much going on.

00:10:34 David John Clark

Do you, do you think that it's changed for the better for actors or is it harder if you go back and look back at back in the 80s and 90s?

00:10:42 Jeff Seymour

You know, I'm just going to call it even. I'm going to call it. Well, yeah, listen, OK, you just said something when you look back, is it harder? I would say the one difference is that is different is in the old days, I f you got an agent and the agent believed in you, it wouldn't be uncommon for them to put up with you and work for you and try for you and you never get nothing for it. It could be a year. And they would stick with you. They would even tell you. I remember my first agent, went on to become a super-agent, saying to me, you know what? It may take 10 years, but we're gonna get it done and I remember. And of course, as a kid of 22 or one or 20, whatever it was about 10 years, I'll be dead by then. You know when you see how fast that flies, but no agent would ever say to anyone, "It may take 10 years”, today. If they said ten months, I'd say boy, you got a really good agent. Because the volatility. It's like they cast you once they cast you twice, you know if people don't start biting, they just kind of cut the fishing line and reach in their tackle box and pull out another.

00:11:55 Jeff Seymour

It's become a much more volatile high speed quick turnover. And I also think that's been influenced also by our lack of attention spans. How things have quickened, fast, new, noise. Tell me who. Then you know. It's just so quick. It’s the It’s the idea that we used to get 8 by 10's and sit there and look at them and flip them over and read their resume and then flip them back over. You know, I mean, that's how I used to do it when I cast people and now it's just thumbnails. You know you're looking at teeny pictures, which is another reason why we're told, hey, make sure your pictures, mostly your head. Because it's a lot of your body, by the time it goes thumbnail. Your head's like this so you know new technology and new ways of picking your fruit. It's a different business, but I'll say that I think it evens out because there's a ton more product.

00:12:49 David John Clark

That's interesting, interesting isn't it? Yeah, what drew me to your approach initially when I found the the Real Life Actor online and then and got to meet you and do some courses etcetera with you and been following you for these years now is your philosophy on acting being the same as real life hence the title of your method, The Real Life Actor without needing to resort to resort to a lot of exercise malarkey, I think you've called it in your book.

00:13:16 Jeff Seymour

Yes, I've called it many things, malarkey would be the Real-Life nicest thing I'd probably call it.

00:13:22 David John Clark

Yes it, and that's what really resonated with me being a late bloomer actor. An actor needing to rely on a life experience rather than acting training because I haven't done and can't do the three-year drama school. Can you delve into how and why this has resonated so much for me? Why does it? Why does it work for so many actors that you train, that train with you?

00:13:46 Jeff Seymour

Well, first of all, let me preface it by saying one can make an argument, that any exercise, anything: stand on your head and bicycle your feet for two minutes before you do your scene, you know, do push-ups, balance this egg on the back of your hand. You know, I could come up with many things and I swear to you. I could give you good reasoning why that thing would actually kind of help your acting. I could tell you well, the blood goes to your head, you get up, you get a rush, you feel, you know a little physically, whatever, a little looser. You walk over, hit your mark, you feel better and you'll do it once or twice and you'll think yeah, it felt better. And then suddenly this would be something we could do. There are tons of things that an actor could do that one could make an argument that probably helps.

00:14:38 Jeff Seymour

My philosophy has been I'm not interested in that. What I'm interested in, is the most pertinent important information, just that that an actor needs in their head to be able to work, to be able to do the scene. Along with knowing the lines. Extra is extra. I know there is this romantic notion that you know the more work you do, the more stuff you have in your head, the longer your back story, the more action verbs you've lined up, blah blah blah, the Well better the stew. You're gonna no! And I'm going to tell you why, it's really simple. Here's why: Because in real life, where we do our best work, we do our best work in real life. Geez, I worked my entire life trying to be as confident and as clear as I am in life when I'm confident and clear when I'm in my shoes.

00:15:29 Jeff Seymour

When I'm at my best in life, you know the way I feel that this the freedom I have. My ability to express myself as fine as Jeff can by just a twist of a word or the inflection that is forever at my fingertips, effortless, and I can be a pretty clever dude. I worked my life as an actor trying to get to a point where I can be that free and that clear and that good because that's as good as I can be. I can't be any better than I wish I could, I can. But I want to be at least that good. That much freedom that much confidence when I'm at my best in life. That's as great as you can be.

00:16:07 Jeff Seymour

I know that in life when I'm having my most magnificent moments living like doing stuff, being angry, being very clear about something, making a great argument, being funny, whatever it is I'm doing, when I'm at my zenith in life when I'm doing my best work. I never have, man, not many thoughts at all. I don't have things in my head that's how I'm so clever. I mean, I know what I want to talk about, but I have so much freedom I just am able to express myself on the spot. Just Bing bang Bing. It's so easy. That to me is the brilliance of being kind of an artistic musician. You're able to just riff and play and be great, but you can’t if you have a bunch of thoughts in your head, you just can't do it. And this comes from guys acting for 43 years man. I've actually been doing it. OK, so if somebody else tells you that's not the case, well, here's what you can do. Look them up on IMDb and if they've done more work than I have and more things, then believe them, but if they haven't, at least consider what I'm saying because I've been in the trenches and I've been around lots of actors, and I paid rapt attention my entire life.

00:17:18 Jeff Seymour

I've paid rapt attention, man, that the best actors I watched I figured out what they were doing. I figured out what their thing was. Believe me, I was always wondering, who are these people? Why is he so good? Why is she so good? What does she do right before she acts? How does she get this done? What is her demeanor? And what I express, what I'm talking about is a lifetime of watching that stuff. And seeing it over and over and over again to see who are the best people.

00:17:49 Jeff Seymour

And also, as we get on as actors and we get to be leads in TV shows and we work a lot. What do we really get better at like aside from a little better at acting, what also? What do we really do? What is it about our confidence and the way we carry ourselves and how we handle the pressures of the set? How do, what is it that we get better at and why? And I try and analyze that, but I don't try, I think I do. And then I share that in the teaching because it's like, look.

00:18:25 Jeff Seymour

Here's an old saying. Start where you want to end up. So, if you can walk onto a set because you know, kind of how things are already, you don't have to spend 20 years doing it like how to handle yourself, how to deal with the director, you know what it's all about, how not to freak out if you screw up, you know lots of things that have to do with working.

00:18:46 Jeff Seymour

If you've really got that in your bones, it's amazing the work you can do on set and it's amazing how people will treat you because you will seem, like a professional and like a really a really good one and not just because you did your acting right and I get, I know this because a lot of my students will tell me who's like, never worked and suddenly they get a big part, they will tell me how people actually mentioned their professionalism. And how impressed they were with the way they handled themselves and just did what the director said. And I said, I know because I'm telling you if you do that shit, everyone notices. Everyone, and then it bodes well and then you get more confident and that's how you really kind of snowball into a better professional, but it's a lot more than getting your acting right.

00:19:37 David John Clark

Yeah, that's interesting because you're sort of saying about ticking all those boxes when you walk on set. Now I find that when I'm in front of the camera and I'm on set and I'm in the scene and I've got the actors there and everything's happening. That's when my best work comes out and I'm not proclaiming to be the greatest of actors or anything like that. I'm still on my journey, but I tend to have really good work when I'm in those moments. How would you suggest that actors try to attain that when they're doing the cold virility of an audition, so to speak? You know, I tend to get in front of that camera in a stark room with a reader, either my wife or someone on zoom and it just goes to shit and I can't get that realism.  I think you attributed it once to watching an argument of two people on a street a, a boyfriend, girlfriend fighting and being riveted by it. How do we get that?

00:20:32 Jeff Seymour

There's a real easy answer. I'm going to give you the easiest answer in the world and it's the only answer and it's a truthful answer and it is the answer. If you make, what you're doing in the scene, the point you're trying to make, the lie you're trying to tell, the person you're trying to win back, the person you were firing, then for reasons why. If you truly make that more important than your acting, you will never have a problem. In as much as, you will always do as good as you can do then. And nothing will keep you from doing that.

00:21:20 Jeff Seymour

You can only do what you can do, and you who are who you are and you'll make the choices and you're the actor you are. But as far as being able to actually get a lot of wood on the ball every single time, every single time, I don't care if it's on a little fuzzy this I don't care if it's live and people are there. I don't care what the situation is. If you are able to distill in your mind down to the thing you were actually doing, and just accomplish that, it won't matter what you're looking at or who's speaking back to you, and I'll give you a great example.

00:21:52 Jeff Seymour

Imagine that you have a major row with someone who in your international people, David, and you've just found out something that was horrible that your partner did. And at this point he's on the other side of the world, up in the mountains somewhere, elk hunting, and he is able to get some little device, and it's really scratchy, like phone connection and you're like watching them on your phone, but this is the time because there is something tick tocking away a business deal and you know some other part of the world and you are pisssed off and you want to read him the riot act. David, there is no doubt that you would look down at your little phone with an image going in and out freezing now and there, but you know that he is a good chance he can hear what you're saying. You would focus on this little piece of crap image that was going in and out and you would pepper this guy with the best work of your life. Why? Because the thing you were telling that guy was more important to you than anything you don't care if his face is in and out, you can't hear him. You got something to say and you tell him. You see how easy it would be in real life, David? Do you see that? Right, do you know what I mean? It would be super easy Dave. Even if you couldn't see his face. He only had a headset and he's up at the North Pole because he loves to go dog sledding every year in that big, you know, Iditarod thing and waste money. You'd be talking to him all scratchy and you could be chewing that guy a new rear end. And it wouldn't matter to you. Now look at that. We take technology. We scratch it. We have a face that goes in and out. Well, is that any better or worse than when you have to read or your friends on zoom or a person standing in the room that happens to be your wife or your neighbor? When you make the commitment to tell somebody something on your mind, certainly as easily as you people do in real life, and you focus on that, and only that that nothing can take you down, man. Because nothing takes me down. I don't give a shit who's watching or what's going on. Sometimes when you got to let somebody know what the deal is. That you'd go. Because I decided! Why? Because I wanted to because it's important to me because I don't need to question it, and who are you to ask me anyway? Shut up! You know. I mean we are belligerent about the way we will attack stuff in life.

00:24:15 Jeff Seymour

But when it comes to acting well, God, this is weird. There's like a thing over there and the dog keeps coming in. And you know who's blowing their bugle? You know, we just start hearing these things, yet you could find yourself in real life in that situation, and you wouldn't even hear any of that stuff. You'd be so focused on what you were doing, somebody would interrupt, you’d go, yeah hey Bill, good see as soon as the door closed, right? You'd be right back at it. Why? Because we wanted to.

00:24:41 Jeff Seymour

When the actor’s attention is that, that's actually what they want to do. I think you know I can't help it. I said well, you could actually because in life you know you don't go to the bathroom in your pants while you're walking down the street, hopefully. You can control yourself. You could control yourself. Don't tell me that you wanted to do.  They don't want to do that in real life. It's not like they go, focus, I’m mad at David, focus! I never do that. I just come in and tell you what's what! That's a lot of power in that you see. These are things that actors are never told. They're just told about action verbs and you know, making strong choices.

00:25:19 David John Clark

That’s awesome. It's really a lot to take on there because especially since COVID has forced, a lot of people into their homes to do their self-tapes or zoom meetings, and that so there's lots of training and lots of online ability there to find out how to self-tapes get the technical approach right to get your camera set up and everything right to I find and I'm finding myself …..

00:25:36 Jeff Seymour

Well, I did a …. podcast on that. I've done a few podcasts on that. Yeah, and I did one recently about and how to get the most out of your self-tapes. I make it really, really, really, really, really simple. Really simple, and it's a pretty good podcast, but you know my bugaboo is, and it's one of the things I mentioned, is I don't want to see a blue background or a grey background. Like the store bought one, you know, like I got a little plastic sheet. Whatever that thing is, it's blue. I don't understand this at all. Somebody started it and then it just became like a thing and no one ever questioned it. Why blue? What are we can do something electronically with the background? We're going to put a tyrannosaurus rex behind you? Why do we need it to be blue? Well, to see the contrast. OK, well a lot of stuff is good contrast, I'm right here, why, you can't see me? I blended into the wall? My head has disappeared? It's painting.

00:26:27 Jeff Seymour

I mean now if we were shooting something, I wouldn't use this painting. But I use this wall all the time and have a great big window here, and I'd let natural come in and I sit here and my idea has always been I don't want to remind people that they're watching an audition. Do they know they're watching an audition? Of course they do, but I don't want to remind them the entire time it's going on, this is an audition. I think it's way more elegant if the actor can find in their house any wall...  don't have a bunch of crap on it. We don't want to be distracted. But if it's just a neutral wall, you can even paint a wall. Just, but kind of just be a wall and don't go blue and don't go grey with that little modeling. You know in the United States we have Sears, you know, Sears and Roebuck and I remember the old days you go get a picture with your family all looking off like a bunch of dodos you know lined up and there would be that grey modeled background you know and you pay $39.00 and you have a family picture you put up your rec room, that's what it looks like to me.

00:27:27 David John Clark

I'm looking off to the right now, because I've got my grey background that I use.

00:27:31 Jeff Seymour

I know you do.

00:27:31 David John Clark

It's the blind.

00:27:33 Jeff Seymour

Every everyone does and you see my sleight of hand is sleight that I think I'd rather you shoot it in such a clever way, especially if it looks like natural light, like somebody just sat down and then you just did this incredible, like I'm almost watching an independent clip out of an independent film or something. You know, now I don't want you to do that, I don't want you to create a set or nothing, but I like the elegance of not standing on formality with, this is my audition, here is my blue backdrop, my name is Jeff, you know. I just think it's better that you crush the acting in front of a regular wall with just some cool light. And that's how you win it. You know, I've had a lot of success with my students here by telling him to do that, and I know they also their managers and agents will remark on how cool it looks. And really, it's the simplest thing in the world. I'm like, you know, anti … Don't work hard, you know I don't want it to look like you worked hard. That's the thing, it looks like we're begging, we're asking.  I want you to look like you're a made actor. You went over and said here just turn the thing on I'll sit over here and just let's do the scene and you just crush this scene that's what I want it to feel like when I watch it.

00:28:52 Jeff Seymour

But when I see blue, I just think ohh somebody's trying to get a job. Let's see how they do. I mentioned in the podcast I said here's an example. If you saw Harrison Ford the way he looks right now is an older man, so you know it's right now he's a world superhero star and he was in front and you didn't see the sound, but he was in front of a blue background. You'd think it was a gag. You'd think, Oh he must be doing a little stunt. You'd think, you'd see the blue background. You think? Well he's not auditioning! What is this? Is he reading mean tweets. I mean, you'd think what, why is he in front of a blue background? And you would associate it with something like he's trying to get a job or something. You wouldn't think, oh that, there he is. I mean, that's how what we associate when we see those blue backgrounds. That's what we think. I just don't think we should rub that in their face, that's all.

00:29:39 David John Clark

Fair enough and I love the idea of let's spend some time and money and make sure your technicals are right, but when you come down and you hit that record button, forget about the camera, forget about the lighting. If you start yelling in your scene and you come off camera, don't worry, I'm no longer in my position. Just deliver the scene and continue on and finish it.

00:29:57 Jeff Seymour

Well listen, I use my iPhone 13 you know. I mean I have lots of clients that come here. They always sit at the same wall with the same light coming in. I use that and a microphone that clips on them and that's it, and it always looks great. I go to iMovie, they go to iMovie for mine. I certainly do a little title. Fade to black come up so I can control where it starts and where it ends. It looks like it looks like, nothing there, it's there, it's not like there's a lot of production quality like I'm trying to or you put it together tight, you send it, that's it. But I like the idea of, that’s why I don't think people should over dress. I don't think you should ever do anything that looks like you're trying too hard. You know, if you get dressed in a tuxedo, come on, I know we're at your house and maybe you have a tuxedo, but you look silly. Or if you get in total camo gear or something you know like a costume. But if you're supposed to be dressed nice and you, you're a man, you have a jacket on. Or if you're a woman, you have a dress on. That's fine, but if you have an evening gown on then it's like that, you're trying too hard. You're playing dress up.

00:31:04 Jeff Seymour

We have to think of ourselves as already made actors. That's what I'm saying. Start where you want to end up. You have to tell yourself, look ….What would a guy who worked all the time do? How hard would that person work? Would he go and rent a doctor's outfit? No, he would maybe put on a white shirt, roll his sleeves up, look like one of those doctors in a hospital who's well made, but you would do the doctor part brilliantly in front of a regular wall? You would just crush it. I think Oh my God, look at what this guy just did, like doing nothing. Also people always say I want to look different, I want to be different, I want it different. Well, if you're all in front of blue backdrops, I mean ...

00:31:42 David John Clark

You're all the same.

00:31:43 Jeff Seymour

Then you all look the same.

00:31:44 Jeff Seymour

You look like he came from the same sausage factory.

00:31:48 David John Clark

I love that, I love that and I've sort of, I've got a question in front of me that I actually didn't ask, but we've just talked about it, but I wanted to mention it because chapter one of your book and this ties everything we've just said. You have a statement in there, so stop acting like an actor and start thinking like a human, and I love that, and I think you talk about in your book or I'm trying to remember whether you told me directly or probably both, but all the exercise malarkey that people use or what animal am I using or what am I drawing on, what colour am I? You used a scene of an actor that was doing a rehearsal for a scene of two tribes that were coming together and the other tribe had his son and was gonna kill him, and he was sitting at home trying to say, work through ….

00:32:38 Jeff Seymour

Yeah, how would he Well, react to this? How would he react to that? Yeah, yeah.

00:32:42 David John Clark

And I love the way that you said he said, well, he's a father. His son's about to be killed. Deliver the lines.

00:32:50 Jeff Seymour

Yeah, yeah, you see, as you know I never ever talk about acting in any of my classes and never have and there's no reason why because I'll tell you why no scene has to do with acting never has to do with acting. Why would I talk about acting? What does acting have to do with this divorce scene taking place in the bedroom, right after they came back from the New Year's Eve party and they're getting undressed out of their fine clothes. And now they're having this knocked down. They've had it. This is the night they divorce. What does acting have to do with it? Has nothing to do with it. What is the scene about? Well, I could ask the guy hey, what's going on, why you so angry? I can ask the woman, hey, what's going on? Why you so angry? What's happening here? What is it? What is it that's wrong? What do you want? What do you want? You know, as we would in life, the exact same way. If I could be a referee, if I could somehow come in like some kind of therapist and the person would answer me directly and honestly, you would tell me what you're up to and you would tell me what you're up to. That's how I believe we should do it, because now we're not saying, hey, here's a bunch of acting stuff, now, forget all that and just do the scene and that old saw. We're only talking about the stuff that you need to remember. Not the stuff that you supposed to forget, because what if you don't remember to forget? You see, then you're just an actor in your head, so I don't give you stuff I don't want you to think about.

00:34:14 Jeff Seymour

I try and program the actors about as close to the way we program ourselves like I, you know, because I've been doing this my whole life. I've told you I've been in the trenches I've always thought about it, I would be in arguments. I would be doing things and I would find myself thinking wow and this interesting. This is how I do it, huh? And I'd make a mental note because I think, wow, you know people think you do it in another way, like for instance, as I've gotten older, I've had a number of people die. My mother and my father, my brother, my nephew. And I've been given the news. Or I was there? And one thing I realize is that when people get the news, no one ever cries. I look around the room as soon as they get the news. No one goes what! They don't do it. Everyone sits around like trying to even fathom what that means. And we, what, why? I mean how when? And we just kind of look at each other and. Yeah, and then you know, four days later I'm doing something obscure and then suddenly somebody asked me a question, I mentioned my father and I breakdown and blubber. I think that that's how life works. That life is different. You know, it's not the way most actors think they want, they should do it. We rarely think about real life. We plan things, we, we think, oh yeah, this is how it would go. And then I'll do it this way and …. Most actors will cop to that, they won't tell you that's what they do, but that's what they do. They sit at home and they go over their lines and they keep trying to say their lines in a way that makes sense. I mean, why wouldn't you do that? And you're trying to get them right, so you do them over and over and over and over again because you want to learn them and you want to be a dutiful actor. And every time you do it, you give it shape. You give it a sound. You experiment a little in your house with your cat, maybe with the refrigerator. And then you say it one way and you go, Ohh and it kind of informs you and you go, oh yeah, that's what I mean. I guess you know, and that's kind of cool.

00:36:11 Jeff Seymour

But then, what most actors do is they remember what they did with their refrigerator. And they go to the set and they think, well, do it that way because when I said it in my kitchen, it sounded really cool. Now you know they're not overthinking it that way, but that's what they end up doing. They end up bringing to the set the thing that they rehearsed and kind of locked it down a little bit, you see. And I think that's the death of any good acting. It's another thing of don't plan stuff. Don't think about too much stuff. Know your lines. Honestly understand, as in life, what your beef is and start talking and let's see what happens.

00:36:49 Jeff Seymour

Now I know I've done this my whole life with actors and I know it works, but don't talk about acting. Oh my God. And again, if you want to do deep knee bends or yoga or whatever, sure oh all that stuff. I guess you know if it makes you feel better go do it. But if you tell yourself, if I don't do this, I can't act, then you're giving your power away, and some actors do that. Oh, I need to do this first, I need to do that. I have to write all this down. I must do this thing you know, or I can't act. And that takes away a lot of power, and not only that, but then if something goes wrong, they think oh I didn't do enough of this. And then they go and they keep doing, that's not where the problems are. The problems are clear, but.

00:37:30 David John Clark

I once said online, I mentioned how the word objectives, and they say, actors what's your objectives here and I know you don't like that word and you don't use it and someone said to me, oh, please don't take my objectives, alright that's all I've got but is that still a little bit there because you were mentioning before you go on the scene.....

00:37:50

No no, the objectives are there.  but I really, in my refined way of working with actors. I try not to use those kind of blunt object words. You know to me objective isn't something I ask a friend. In life, I wouldn't, you know, if you were talking to some guy and you were like talking about business and or you were having a discussion with a woman, let's say and the woman went to the bathroom, I wouldn't walk over to you and I wouldn't say to you, hey, what's your objective here David? Because, see that smacks of acting. That's smacks of planning. I'd say something like. You know, what are you upset about? What do you want? Why are you talking to her? What are you trying to get out of her? What are you trying to get out of this moment?  What, what, why? Why are you talking about that stuff? Is this something you want? I would say it that way. Because that feels more like life. But objective it's, too stark a word it, it makes it makes me feel like it's kind of acting manipulative. As opposed to what we say. With people, why do you keep talking to her man?  I'm basically saying what's your objective?  So, if you hate it, if you hate your neighbor so much, how come you go there every day? What's that about? I'm actually saying what's your objective? But that's how I talk to actors. I'd rather do it that way. Because I find that then the way they pursue that it comes out a lot more organically and kind of a in a more nuanced way, let's say, with more finesse than when you use the word, objective! You know it's, like, OK, you know. And there's this thing you know and objective! I find that the objective! finesse of the way they do lines becomes a little more blunt because thinking about objective, you know. As opposed to life, which I don't think we think that way, so part of the Real Life Actor thing is, I try to use words I'd use in life. If I were asking a friend what was up, you know, be like that, you know we say like choices.

00:39:48 Jeff Seymour

Yeah, we make choices. I'd say well, how you gonna fire the guy? Well, the guy makes a choice and how is it, he's really sweet to the guy? He's very nice. He gives him a big package. He says look, you've been great. He gives him a letter of recommendation. I made a choice to be nice to the guy. You know he's a good guy. I wanted to know it's OK, was you? I told him get off the premises or I'm gonna call the cops. I'm tired of his shit blah blah blah what's my choice? I was blunt, that's my choice. I don't like to say choice though. I like to say how would you do that, but that's what we're talking about.

00:40:16 David John Clark

Fair enough. So it's about not putting the acting terminology on it to actors don't end up in their head in their head, so to speak and panicking.

00:40:22 Jeff Seymour

Listen listen you Real-Life gotta keep actors out of their head. That's the thing you. Got to keep me out of their head.

00:41:16 David John Clark

Just going back to your book, a little bit in chapter 24 you talk about the differences between stage acting and film acting that there's really no difference. A lot of people say that the best actors are the ones that have come up with a stage background because they've, it's a different acting and then they can bring it to film but can you elaborate a little on that? Because that's something that goes, as I said, goes different to.......

00:41:40 Jeff Seymour

Yes, now because I've had so much stage experience and you know, I just ….

00:41:43 David John Clark

It's a love of yours, isn't it, stage, you love the stage?

00:41:46 Jeff Seymour

Oh yeah, Oh my God. I mean, my dream was actually to have worked the theater that I just worked at. You know well, that's never going to happen. I mean how? I'm not even near New York. It's a closed community. Nobody gets in from the outside. My very successful actor friends who are in all the big movies. They love theater. They can't even get auditions, you know? 's like it's so closed. And then somehow, I got in and did this show, which was just one of those miracle stories, but I can tell you from working there and being able to do all the work I've done that no, there is no difference at all.

00:42:22 Jeff Seymour

I'll make this short, you just acclimate whatever you're doing to the size of the space. If you're an extreme close up. You have to think in terms of smaller because the cameras here and the mic is right here, and that's what that's about. And if you're in a 3000-seat house, then the people in back row have to hear me now that should not take away from my reality. And here's a simple reason. David, I could put you up there at the back row. You and I could be in the theater in the middle of the day and I could say hey, David, can you hear me? And you'd say, yeah, and I can hear you and I get a sense of how loud that was. And then let's say you asked me to tell you that story, like where I grew up and I started telling you just because I needed you to hear me in the back row, am I suddenly phony? Why would I be phony? I mean, why wouldn't it be better for me to tell it truthfully? Because or like real, because you would understand it better, why? Why would I do anything with that? Now, do you need to speak up? Do you need to have other qualities? Do you need to understand like working live and people laughing and feeling an audience? There's a ton of stuff like that that is so important.

00:43:38 Jeff Seymour

A simple one is. It blows my mind, how many professional actors will actually keep talking after the audience starts laughing their arse off? I mean, I have sat on stage and looked at professional actors and thought, are you deaf? Do you not hear the laughter? You're supposed to be quiet now?

00:44:01 Jeff Seymour

I mean, you know. So, there are things you have to know. Now, why is a theatre actor perhaps, I don't know if it's necessarily true, but I can understand where this sentiment comes from, perhaps more capable, let's say on many different levels, when they move over to film or television? I would say because, I think at the end of the day, the well-trained actor who understands how they use their body, who have had to move across stages continuous with people watching, no cutaways, no cut, you don't flub lines. If you do, you got to make it work. Understanding humor and drama because you felt the heartbeat of the audience you know, which you never feel when you work on a soundstage?

00:44:55 Jeff Seymour

I think those things maybe gift certain actors to where then when they work on a set, they're just they feel super capable. Super capable, I mean at the end of the day, if you're a great stage actor working on a set, it's like it's too easy compared to that. I did 8 shows a week. The show was three hours long. I mean. I couldn't believe it. I mean, we do one of those shows and then I'd sit there. I think we gotta do another one today? And you know, you just think, wow, I feel like I'm some kind of crazy boot camp place, you know?

00:45:30 David John Clark

I love it and you're you're revisiting that role, I believe you said you’ve been asked to revisit in Montreal?

00:45:35 Jeff Seymour

Yes, I've been asked by the artistic director and director of a theatre in Montreal, a big theater up there. She had actually seen the show in New York and then called my agent and offered me and said, would you play the same part? And it's so funny because she was introducing me, she actually let me in. I asked to be in on the casting process. I didn't want to be too Snooty, but after having worked in New York I wanted to know what I was getting into if I was gonna do a 3 hour show again and play the part I was playing and they were only two gracious. They said absolutely. So, they would introduce me as and this is Jeff Seymour. He originated the role in New York, and I thought, wow, I did originate a role. I mean honestly, I actually did, which of course would also be a dream for me growing up loving theater to think that you would open up in the future. You know the playbook and it would say original cast and I would be the cat that that did it first. You know, I've read those my whole life in the beginning of the thing you see the names of the people, and I thought wow. So at least I got one of those before I died.

00:46:41 David John Clark

That's great I think, and it's certainly well deserved. I know you've said that you don't like to say, “Hi, I'm Jeff Seymour, the Real Life Actor, and I've trained so and so and so and so and so and so.” You don't have that, but I Real-Life think you deserve that a little bit too. That recognition, especially, you know, just that place. So, what's your thoughts there?

00:47:01 Jeff Seymour

I don't, I … listen, I'm not saying I don't deserve recognition. The reason why I never talk about the people that I've taught. Is because, there are a number of things there. One: I don't feel good taking credit. I know how hard it is actually to be an actor and OK first of all, number of things. Most of the people that have gone on and done very well that I've worked with over these 42 years. I swear to you, when they came into my shop from day one, I watched them work and I thought, yeah, this kids alright. He's got a fast pitch. This lady, this lady knows how to you know hit the ball I mean it was just it. It didn't surprise me when they went on and did very well.

00:47:49 Jeff Seymour

OK, now what did I do? Well, I like to think that I maybe greased up the flight path a little for them I kept them from thinking nonsense. Some of them came to me and I said, OK, you're right. All your instincts wanting not to do all that shit you've been taught. You're absolutely right. Don't do that anymore, and you know. I don't feel good about that I think it's a you know. I just, I don't want to take credit, but the main reason is. That's just the personal reason. The main reason is. I don't want actors to come to me like they go to these other gurus, some of which come to your continent. Because they go Oh my God. He taught so and so and so and so. And he taught so and so and so. I want to go there, and maybe nothing makes sense. Then it doesn't work for you, but you think somehow magic will touch you. I don't want actors to come to me for that reason. I want them to come to me because they, they've listened to a podcast, they like what I say, it aligns with who they are and what they want. Or they've read my book and it aligns with some thinking that they have and then when they come to me, they're just right for my Dojo. Because the other people, before I had my podcast, for instance, I would get these people to come in with those other thoughts, and then it would be like, you know, they want to tell me about like why and I'm saying get out of here. I’m not interested in having an argument with you about what is my Dojo. If you wanna work out here, we do it this way. And so, it has helped me that way. I feel if I start doing that stuff. I just don't want to do it. I want to do it because people hear what I have to say and they like it and they want to come and study with me. I don't need to and I can't claim credit man, it's just it feels, because I know how hard it is to just remain standing, you know? When I hear these actors and they've been in there for five years or something. And you know they're full of piss and vinegar, as you say, I go, that's great man. I hope it lasts. But you know, talk to me after 25 years. I know that most of the people I went to school with, a lot of which were very talented. A lot of them were very talented. They just couldn't last man. Life is hard, you have kids. You gotta, how do you make money? I mean, it is a tough sport.

00:50:08 David John Clark

It is and a lot of people say that about acting that it is really, really tough. Sometimes I look at my career where I'm at that I've had it, it's difficult for me because I haven't done acting as a young person. But then on the flip side of that, maybe I'm going to have it easier because I've started late and I'm coming into retirement so I’ll have an income stream and I'll be able to focus on it completely and I reckon I was one of those actors that came to you. I came to you because you resonated with me and I've certainly improved over time with you. I think you said it once on a zoom meeting, said geez Clarky, you've really really improved, so that's great.

00:50:46 Jeff Seymour

Yes, and I actually meant that. Hey listen, I'll tell you the same thing for all the older cats out there that are listening. I was just talking to my agent who forever is so kind and supportive, you know, and I just, it amazes me how much he believes in me. It's so crazy, you know, because I'm getting on right and you think well and I've had some heyday. I've had some good times and CLARK I'm working and but you know I'm looking for another heyday and I said, you know, ours is gonna be a better story. Mine's going to be a better story because it'll show you that, you know, if you older cats just keep at it, you keep loving what you're doing and you keep improving, you keep improving your skills. That it ain't over till it's over. So, you can think the same way because you know there's a lot of heroes for the younger people. Because people are working when they're younger all the time. But as we get older, we think about the person, you hear about, you go, you know that Lady, no one even knew who she was until she was 50. And look at her now! She just won an Oscar, you know, you hear those things and you think like, well, it's not impossible. You know, I mean we herald those actors that weren't discovered until they were older, I think you'll be one of those.

00:52:08 David John Clark

And so, the Jeff Seymour will never retire then?

00:52:16 Jeff Seymour

Well, you know I do love working on old cars, but I adore doing what I'm doing and I don't ever feel like I'm working. Certainly not when I'm acting and not when I'm teaching. I love it so and it's like you know the easiest thing in the world in a sense, you know. It's like what I feel most comfortable with and, it's not like I have to go and box people or run or do something and physically I can't do you know? Least a few months left before I start slowing down.

00:52:51 David John Clark

Few months ohh no.

00:52:53 Jeff Seymour

I was joking there.

00:52:55 David John Clark

That's good, that's good. I've got a big question here just before we start to wind up and it's going towards your recent episode on your podcast. The episode’s, called “Many reasons why you should be word perfect.” This really touched on a point I often discuss, which is the memorization of lines. Can you discuss your thoughts on how best to commit scripts to memory so that an actor can make it seem like it's being spoken for that first time? Why is it so, so important for the actor to honor the writers’ words?

00:53:31 Jeff Seymour

Well, the short answer is because those are the writers’ words. That's the deal. I mean, let let's just start with the actors saying what's gonna set me apart, what's gonna make me indispensable? What's going to make them want to hire me over and over again? Well, here's one thing. Be the actor who says the lines, verbatim. Now, do we hire actors who don't say the lines verbatim? Yeah, we do. We do, but as I say in the podcast, I've sat there many times and some of the times on my show, it was my script and I'd hear them messing with the words and I think wow. And I'm sitting right here. And you know, now you can tell that the difference between someone who fudges a word because they're nervous and they say it and then other people start adding shit. You know, I, I've never been impressed with that, ever. In fact, I found it insulting. Yeah, you know, if you wanna do that, why don't you just go create your own show and then you can say whatever you like. But if I'm gonna pay you, you're gonna say my words that's just that that seems simple to me. Again, you come in, you get nervous, you say a bunch of other shit because you just forgot what you were doing. For a second, we can tell, when that's happening. And believe me, we can tell when people are lazy, we can tell when people have taken the idea of the line and I can tell the difference between they just memorized it that way, they think that's easier for them to say, they think that sounds more clever, or they just screwed up because they're nervous. We can generally tell. And we are never impressed. With people who make shit up, it makes me nervous.

00:55:09 Jeff Seymour

So, let's make it simple. Would we hire that person? Yeah, sure if there were the absolute best person without a doubt, but if there was someone else who was also great and they said every line perfectly.

00:55:21 Jeff Seymour

Oh, there's So, never a question I'll take that one why I don't want any problems and you know what? We can't do this thing where we're filming and then you keep screwing up the lines and then the lady or the guy has to walk out and say what the line is and they have to walk back and we I don't wanna do that man I don't wanna do that and I don't even know who you are and you've only worked a little bit and now I'm giving you a job and you came in here, you didn't sell all my lines, or you can say them on the set because you know you need to. We just don't go, well that's fine, if he gets close just keep the cameras rolling. That's not how it works. No, no writer, that has any self-esteem, will go OK fine, just, it's close! Let's get home today. Nobody thinks this way every writer thinks that their stuff is the best. So, first of all, that's why you have to do it. It sets you apart. It makes you seem like a professional, even if you think the script is terrible. You might be wrong, so let's just make it even. We do the lines the way they're written. 

00:56:16 Jeff Seymour

OK, now how do you, how do you do that? How do you get it that way? Sometimes it's easy. I'm sure you've done it.  David, I'm sure you've tried to memorize some things and you find the words come a little easier. And then other things it's like impossible, and you wonder what is the difference? It's not necessarily a difference between good writing and bad writing. Sometimes people write in a way that just flows with the way David sees the world.  And other times they write in a way, and it's not how David sees things and it becomes very cumbersome. But the bottom line is. That's what you’ve signed on for. figure it out young man get your lines down. I mean I got all sorts of podcasts that talk about it. Exercises to do, tricks. My gist exercise, the thing where we use playing cards. I mean I got a lot of great exercise about really understanding what you're talking about. A lot of philosophy about it. But all of that is to say, figure it out. You do your best and if your best is whatever you got and you really worked hard and you really tried and now you've got to film it and send it in because it's time that's the best you could do man. No shame in that, you tried. You did it! Let's see what happens. Your aspiration, though, has to be ultimately, be word perfect.

00:57:36 David John Clark

And you've mentioned a lot in the in that memorization, no matter how you do it, don't memorize it in a way of how you think you're going to deliver it. Learn the lines and I think.....

00:57:45 Jeff Seymour

Oh yes, you asked that question as well. Yeah, there are a lot of tricks to that. I have all the time and .... the people I'm training. There's always someone who's really stuck in that, so I tell them, look. Do not keep doing it the same way each time you're practicing it. Think about what you're saying. Make sure you're speaking through your line. Slow it down, speed it up, say it with a silly accent, lay on your back, run your lines on your back with a friend of yours. It's walking around the room. You just keep doing it different ways so that the end result is you do memorize it. But you do not fall in love with the way you say it, because you will then try to just do that and it will always be a little fakey. You have to get to a point where you can just let her roll when they say action and trust, like in life, it'll come out right. It'll come out the way it needs to if you just get out of your own way, this is a very tricky part. This part, actors have a hard time just letting their fingers go and relaxing and letting it just trying that. And of course, I encourage that in all my classes all the time. I'd rather have you, I'll tell people, look I want next time you say I want you to do some of that stuff differently, to force yourself to say the line differently, pause a little longer, say it quickly. You force yourself. I know that sounds like a very external kind of exercise, but what it does is it forces the actor to say it differently. And lo and behold, when they did, it made perfect sense and then a bunch of lines after that are changed now, because they've kind of caught the wave of allowing themselves to just start speaking. Once you get to the point where you understand this and you can do this well, it never becomes a problem again, you'll never have this thing. I can tell you, when I was doing the New York show and I did 86 of those performances. Every night, I would just hit delete in my mind, even if I had some incredible moment. Don't, don't, don't think you're going to repeat it, Jeff. If it happens tomorrow night, great, but you know what? Something else will happen. Don't try to repeat your shit! Because it always is a little phony, so I would just delete. I didn't care and I would just go back the next night and just start ABCDEF. I'd go through the show. I wouldn't care next night that that was my mantra. That's what I did, you know, and I think I benefited from that because all this stuff's tricky, but once you figure it out it's the easiest thing in the world, it's just what you do and you won't be a problem. Getting there is a little slippery.

01:00:17 David John Clark

It's slow process, but you get there eventually. I love that idea of, I know I had that in my head and I haven't been doing it recently. You know, learning the lines fast and slow and lying on your back and with a silly accent, so certainly something I need to bring back into my work and hopefully see some improvement in front of the camera, especially for my auditions. 

01:00:35 Jeff Seymour

Yeah, you will, because you know even saying it in a silly accent or going, I don't think that you, you keep trying to actually speak through your words and what you end up reinforcing in yourself is I could say this so many different ways and still make sense, so then you don't feel as beholden to one way because you've said I've done in a bunch of ways. And it sounds I know how to speak, look I'll do it this way. I'll do it while I'm eating and you realize and to the point of that exercise is, you get to a point where you feel like I could do this anyway, let's just, go ahead start talking. Let me just see what happens, you know. And that's where you want to get.

01:01:09 David John Clark

Love it alright and mindful of the time Jeff. I just wanna ask one quick question before I ask my final question and then talk about your book and podcast and you coming to Australia quickly but they talk a lot about branding for actors. What's your brand or what character type do you play? What's your thoughts there? Can, this especially when you talk real world, that actors can just go in there, well, if you're the father, you're the doctor, does that mean we can just play anything and just put yourself in that person's shoes and act it? Or do you think do you have a branding.

01:01:42 Jeff Seymour

I don't think we put ourselves in that person's shoes as much as we find that person in ourself. I think this is my latest. I want to keep telling people this, I think it works a little better. You find that person, you find that slice of that thinking in yourself. Because otherwise we go and we try and be something we're not. We just trying to, we got an idea of how a doctor might be. You know I'm a doctor, I'm the doctor. I'm the doctor and I'm the Doctor who doesn't have a lot of patients, meaning I can't, I don't like to talk to people long and I don't look at them in the face when I speak to them and I just find that in myself. You see, that's, but, your question there, was branding branding? Yeah, you know? Well, when I'm working with actors and I see them do something that a character in a certain type of scene, maybe it's a ROM com. Maybe it's where the woman is playing super crazy or the guy is very malevolent, or there's something. This scene and that character. I know there are times I'll watch an actor do something and I'll say to them this kind of thing is in your wheelhouse. You should know that, meaning: In my travels of watching things in people and acting and sitting in over 10,000 auditions. What you just did in that genre in that scene is incredibly authentic to me, and it comes to you kind of naturally and you look right in your hair and your face, it's like you're easily cast in that, and you'd look really good when you did it. A lot of times what happens how people become stars or get on in their lives? Is all of the planets aligned and you're given this part that is just so in your wheelhouse, it's so up your alley, and you can't even guess like you're a nice guy, David. But then we give you this part that is so creepy and weird and for whatever reason David, when you do the lines and you look at the people, it's like oh man, that is the weird guy next door and nobody would ever think that would be David. And then people see you do it and then now you're working all the time and unfortunately, it's gonna be a lot of parts like that for a while, because that's where everyone's going to suddenly want because you blew their mind. But that can happen. Because you know what's in your wheelhouse, you see?

01:04:02 Jeff Seymour

I'll talk to a lot of actors and say, what do you see yourself doing? I want to be the new, you know Asian Superman or they'll say some crazy thing which OK, great you know Muslim top, that's a good aspiration. But seriously, man, I mean you're a little teeny guy and you don't have the body for it. So what are we talking about here? You know, being realistic with the way you look. And what is your strength? It can take you a long time to understand it. If you have someone that can recognize it and you and tell you that's good. But I know the big successful moments I've had in my life, just like even the New York thing, why I even got the role was because it's just perfect for me. It was, it was right in my wheelhouse. And as a result, I got to break into that place because I was the man they wanted and it wasn't hard. What I did, you know when I did it, it felt like easy for me, you know? So, it was like it was just the perfect kind of thing. Perfect kind of emotionalism. You know, and that's what it was you know. And but then people saying, oh wow, you seem like you know what you're doing and I think well that's because you toss me a slow pitch for what I what I hit. You know, and that's how that's how it works.

01:05:13 Jeff Seymour

So, branding in the sense of So, maybe really trying to be honest and understanding what your strengths are, you know, and not worrying about trying to be things that you know just really trying to get working. Like how am I going to get working? What So, is that I can do to start working? Then once you're working, understanding what is plausible in the world that the types of roles you could play, even if you had to do some convincing, that'd be OK. But then when you did it, people would go, Oh, I see why you convinced us. You know, being realistic these things are important because it is a volatile industry and you get like one chance. One chance off the bat if you know in the main stadium and you're going to want to get some wood on the ball.

01:05:55 David John Clark

Thank you, that's fantastic. Well, Jeff, we probably answered the question all up, but it's, this will be more like a summary, I guess. What three things would you consider to be pivotal for an actor to be, in becoming a successful actor or improving in their career of acting.

01:06:15 Jeff Seymour

OK yeah very easy three things. Well, the business of being able to persevere is so huge that one thing I'm always telling actors when they want to get started and oh they're sure they're in love. And you know you're in love with the business until you're not. There's no shame when you realize one day, I don’t want to do this anymore. Good, it's your life. You're living it. Enjoy the ride. Go do something else, if you cannot act, flee. But if you're committed to it because you love it because it means so much to you because you love entertaining because you love you, have empathy and the whole idea of being a storyteller, being parts of stories is something that's just so. You love movies and television. This is your jam. Then the best thing you can do is get ready for the long haul. Not a sprint. And the number one thing I would tell any actor is figure out a way to achieve neutral buoyancy in life to where you're making enough money somehow to where you can pursue being an actor. So, some kind of job where you can get away if you need to. But you're making enough money to where you and your mind are comfortable. Not deprived, not always under you know, this thing of losing everything. If you can live modestly and you just need a modest amount of food and a modest amount of activities, and that will bring you peace. Because the important things you have to be peaceful. You have to be happy. Because we can see it in auditions, we can see it in actors. You're not as shiny. You look beat. We want winning race horses, so you need to find a way to figure out your life to where your basic life, where you live, the people you hang out with. It's good, you feel good. Because you're going to need this. So, you've got a job. You've got neutral buoyancy. You don't need to be going up, but you're certainly not going down. You're able to maintain a lifestyle, and it's OK. Life is good. That is the number one first thing you have to do.

01:08:19 Jeff Seymour

The second thing is. And I'm not saying this because I'm a teacher, but you should be in the Dojo weekly. You should be doing, you should be doing some kind of, you need to get better. I mean, I am constantly thinking how can I, am I improving? Let me do this. I'm constantly thinking about acting. Thank God I get to work with actors and I'm going over it and I can't wait to revisit this play that I just did because I feel smarter now and because when your day comes and they call you out onto the field and the Colosseum and they let the tiger loose and you're the gladiator. You know you've got to be able to do your best. Because this is your shot and this is where things have changed. These days you get like a shot and they'll watch you. And if you just kind of punk out, you don't do anything, they don't think in two years Ohh, let's see Jeff again, I bet he's gotten better. No, there's a billion people in line. They don't have time to see Jeff again. The lion ate him. It's over, so that's very important is you keep practicing.

01:09:26 Jeff Seymour

And above all, above all, I think you have to along with that, neutral buoyancy is figure out a way to find bliss in your life, to have a certain positivity. Because I know when you have positivity and you've got food in your belly and you can keep the lights on. Man, you make better choices. You don't get desperate. Better things come to you. You're able to just be this person that we are attracted to because I know I'm attracted to those people intuitively more than I am the ramshackle beat-up person. I'm more attracted to this person, who seems to have life figured out, you're OK. You seem happy. What's with you? I want to talk to you. That attraction, we see it. We can feel it. We know when we've got people that don't necessarily need us desperately. We want to be that person's friend, not the person who's licking our boots and desperate, no, I know, it's sad! Here's some money. Go get some food, but no, we want these winners. So, whatever you can do to get yourself in that space and find some simple peace in your life and be able to put food in your belly and keep your lights on. And keep hitting the bag. Keep hitting the bag. Keep hitting the bag. Admitting there's more to learn. You know watching movies and you just immerse yourself in the world and be positive. That's it. That's the best you got. And no guarantees even then.

01:11:00 David John Clark

Love it, that is a fantastic way there to end the podcast. Thank you very much, Jeff. That is just an awesome insight into your approach and so, acting in general and it's the reason why I follow you and so, love working with you. So, thank you.

01:11:14 Jeff Seymour

Pleasure man, are you kidding? You know, obviously I talk about this stuff all the time, so talking about it's really easy.

01:11:21 David John Clark

And you love it. You clearly love it, and that's what's fantastic. Now actors, they can jump on Amazon and they can get hold of your book, The Real Life Actor which I have my very own copy of course both digitally and the hard copy. So, they can get that on Amazon, can’t they nice and easy? And where else can they find you online if they wish to reach out and find out about your work?

01:11:43 Jeff Seymour

Well, reallifeactor.com, thereallifeactor.com. Certainly, there's a lot of stuff there, and then the Real Life Actor podcasts. I just did the 154th podcast and I'm currently rated number one in in the performing arts category, apparently, these past few weeks. I never go below 2, but I guess that's because I have so many in my library now that even if I haven't, you know there'd be some space and there's sometimes, but now I'm doing them weekly so. You know people are seeing them around the world, listening to them around the world. I'm just thrilled to death that I get people from Bahrain to Hawaii to you know, Chile and it's just gorgeous. It's such a great thing. I love it.

01:12:28 David John Clark

And thank you for doing them. They are fantastic. I listen to them religiously and I have all my podcasts queued up and I'm a bit behind. But as soon as yours comes out, I go straight to it and listen to it within hours that are being released. So, thank you very much.

01:12:42 Jeff Seymour

Thank you.

01:12:43 David John Clark

Jeff, thank you very much for being on the podcast. Anything you'd like to say to all my listeners before we go.

01:12:49 Jeff Seymour

No, just keep on keeping on guys. Just keep on keeping on. Just keep doing it. There you go.

01:12:55 David John Clark

Love your work, thank you very much, cheers.

01:12:56 Jeff Seymour

Thank you.