Acting Class With Dustin Hoffman
Dustin closes his MasterClass with one lesson he wants every actor to remember. Dustin Hoffman – Teaches Acting Download, Teaches Acting Download, Teaches Acting Groupbuy, Teaches Acting Free, Teaches Acting Torrent, Teaches Acting Course Download, Dustin Hoffman – Teaches Acting Review, Teaches Acting Review. Teaches Acting Groupbuy. Oscar, Emmy, and Golden Globe winner Dustin Hoffman has studied with some of the greatest acting teachers of our time, including Stella Adler, Lee Strasberg and Sanford Meisner. Now, he's the one doing the teaching. Hoffman has teamed up with the San Francisco-based startup MasterClass to offer an. For a course that gives you hours of access to Kevin Spacey and Dustin Hoffman teaching acting. I recently signed up to Aaron Sorkin's Screenwriting Masterclass. I could have found much of the same or similar material online for free. May 25, 2018 - Masterclass.com All-Access Pass – A Film Editors Review. Small free samples of different courses, even if you're not signed up to Masterclass.com. And the superb performances from Robert Redford and Dustin Hoffman. You can also download a transcript of his interview with President Obama.
The man who has brought to life Ben Braddock, Carl Bernstein, Tootsie, Rain Man, and Bernie Focker teaches as part of MasterClass, a site that unites maestros in various fields with students of all skill levels. James Patterson gives a course on writing and Usher schools in the art of performance. The allure is the promise of learning from the best of the best. You rate and review the work of your peers, and they’ll do the same for you. Some students even receive online feedback from the teacher (in my case, a two-time Oscar winner) if they upload samples of their work — all for $90.
The class consists of 24 video lessons, which are about 10 to 12 minutes each. About half of them are Hoffman lecturing. The other half show him workshopping a scene with two actors. There’s also a collection of printable resources, including scripts and lesson plans. Not listed on the package, though available in abundance, are moments of Hoffman in his IDGAF glory, scenes so uncomfortable they might as well be family therapy sessions, and some hard-truth lessons about what it really takes to be an actor.
Lessons One Through Eight: Hoffman No Longer Gives A Shit
It’s not that I ever assumed Hoffman was a stuffy guy — an Ac-tor. I was just surprised to see him so casually blunt about everything. Right off the bat, he wants you to know we are lazy humans. All of us. It’s unattractive, but it’s the truth. Hoffman beseeches us to show all sides of our humanity — even the bad stuff — when we’re acting. “We’re all mean bastards,” he says in lesson one. “We’re all lying, deceptive people. We’re all chicken shit.” He’s begun wearing a beaded bracelet that I can’t stop looking at. It goes well with his suit. His shoes remain out of sight for now, but I have a feeling they’re probably incredible. My takeaway: Hoffman has entered his “I don’t give a fuck” phase, and it looks quite good on him.
Now that we all understand we’re terrible people, we move right into scene work with actors Nick and Molly, who have never met before and will be acting out that “It’s my fault” scene from Jerry Maguire, where Dorothy is trying to end things with Jerry. This is where we see Hoffman in his element. He pushes them to find a personal connection to the material. “Reveal, reveal, reveal yourself to each other,” he tells them. “Text is the last fucking thing that’s gonna do that.” He encourages them to just say the lines, maybe even make up some lines along the way. These improv moments, he assures them, are often what makes it into the film.
This is where it gets interesting. Hoffman, having noticed Nick was a bit smitten with Molly, asks Nick if he was disappointed when he learned his scene partner had a boyfriend. He admits he was, a bit. Hoffman’s getting real now. “We bullshit each other,” he tells the actors. “We bullshit ourselves. The hardest thing to do is not bullshit ourselves.” There’s an uncomfortable silence, almost like we're all in trouble. “If we don’t bullshit ourselves on some level, it’s too painful not to be alive.” This is one of many moments where it’s unclear if Hoffman may tear up a bit.
Then, just like that, we’re back to fun Hoffman. He’s whispering directions into one actor’s ear, leaving the other one in the dark. It’s like watching a game show. He starts talking about how you go into acting for the babes. I find myself really into his devil-may-care attitude.
Wedged between his stories about Robert Duvall and shouting at acting coaches, Hoffman’s dropping some real, practical advice. Turning to us, his rapt, unseen audience, he tells us to audit acting classes until we find the coach who really thinks we’ve got something. He addresses the imposter syndrome many actors feel after getting so many rejections. He talks about method acting, the Strassberg relaxation exercise, and managing your ego. He recommends writing out your lines. Hoffman, for all of his unpredictability, shares the wisdom.
Get download MasterClass – Dustin Hoffman Teaches Acting,Dustin’s approach to acting is unique. In this lesson, he reveals the principles of his method. Actor Dustin Hoffman attend the 2009 Library Lions Benefit at the New York Public Library – A Schwartzman Building on November 2, 2009 in New York City. 2009 Library Lions Benefit New York Public Library – A Schwartzman Building New York, NY United States November 2, 2009 Photo by Mark Von Holden/WireImage.com. Dustin closes his MasterClass with one lesson he wants every actor to remember. Get Dustin Hoffman – Teaches Acting on senselearn.com right now! Dustin Hoffman – Teaches Acting Download, Teaches Acting Download, Teaches Acting Groupbuy, Teaches Acting Free, Teaches Acting Torrent, Teaches Acting Course Download, Dustin Hoffman – Teaches.
Now it’s time to show what I’ve learned. We the students are asked to upload a video in which we perform another scene from Jerry Maguire — the 'Who's coming with me?' one where Jerry leaves his job and takes his goldfish with him. Because I don't have a goldfish on hand, I use a toy boat. Close enough, right? I film my scene at Refinery29’s in-house studio. Michael, who runs R29’s Twitter account, graciously agrees to record my performance. (This is a true show of friendship.)
I've reviewed several classmates’ videos, and my own has been up for nearly two months, but no one has reviewed it. I contact the publicist to request that Hoffman review my footage personally. Alas, no dice.
I didn’t sign up for Hoffman’s Master Class because I’m an aspiring actor yearning to hone my craft. But, I do a fair amount of on-camera work as part of my job at Refinery29, I write and star in a web series called Five Phases, and I often do woman-on-the-street-style videos that require me to think on my feet. So, I was hoping for some feedback.
As I sit here wondering what it will take to get Hoffman to give me some pointers, I return to the video lessons. And, as if aware of my waning interest, he transitions into lecturing on comedy. Now we're talking.
He echoes my own personal sentiment, which is that you can’t teach a sense of humor. For those who struggle to infuse the funny into their work, he recommends jotting down amusing moments from your own life. He starts to tell a series of cheesy jokes that get the camera crew cracking up. Then he starts telling a story about buying condoms as a youngster, and how he and his friends referred to them as Kotex. Hoffman’s brought me back. “Comedy is a disguise for the profound,” he says.
Woah.
Later, he transitions into a lesson about staying in the moment. That’s when I notice his beaded bracelet is gone. He’s making a vague analogy about how fruit slowly becomes alcohol. Contrary to the point of the lesson, I am unable to be present. I’m distracted thinking about the location of his bracelet and how his face is several shades tanner than his hands. When I bring my thoughts back to his attention, he’s abandoned the funny condom stories for an account of Marlon Brando picking up a glove. He chokes up.
A title card appears, signaling a change in topic. “React To Everything,” it reads. But, Hoffman instead talks about the first time he touched a woman’s boobs in school. I can’t get enough of his stories. They’re raw and honest and they seem to come out of nowhere.
Keeping the candid spirit alive, he adds that when people say they’ve wanted to be an actor since the age of five, they’re full of shit. Really, it’s just that they’ve always had an inner voice shouting, “Look at me! Look at me!” Personally, I find myself more into listening than watching. My ears are open for the next wild Hoffman tale.
Now we’re gonna do more scene work. This time, two male actors, Nick and Graham, will do one of the final scenes from Good Will Hunting, in which Chuckie is trying to explain to Will why he needs to get out of Boston, man. I began wishing these actors would use really bad, fake Boston accents — and my wish comes true. It's equal parts cringey and glorious. Wicked bad.
The big difference between this scene work and the Jerry Maguire session is that the new actors know each other really well. They were on a softball team together. Hoffman delights in this information and uses it to mess with their heads. “We’re fuckin’ around,” he tells the actors, “literally fuckin’ around because this ain’t gonna be a movie.” Let your freak flag fly, Dusty!
Hoffman asks the men how they feel having still not “made it” as actors — a touchy subject that makes the situation feel a bit like a therapy session. He wants them to use that vulnerability in the scene as an improvisation tool. He then likens their dreams of stardom to...a penis at full attention. “That’s a hard on,” Hoffman tells them. “That’s an erection. And that erection can’t go away.”
After a few takes, these men are acting their butts off. It’s like a textbook about acting come to life. Now that Hoffman’s broken down their real issues and has made them yell at each other, they’ve loosened up. It’s like that point in an episode of Bar Rescue when you realize Jon Taffer fixes more than just failing bars — he heals families.
The camera pulls back for a wide shot that reveals Hoffman’s lower half for the first time. That’s when we see: He’s been wearing sneakers with his suit the whole time. I feel like on some level I always knew he must be, but seeing it is joyous.
Okay. Hoffman doesn’t come outright and say this, but the implication is: If you’re not getting work, here’s what you can do to keep your spirits up and your craft sharp.
You’re going to get rejected — a lot. It’s not because you’re terrible. You can have a great audition and simply not have the “look” they want. Hoffman goes on record to say he disagrees with this industry problem. “It’s like falling in love with someone you’ve never met,” he says.
Then he talks about the time he auditioned for The Graduate and, in an attempt to “loosen her up,” he pinched Katharine Ross’ ass. She promptly and firmly told him to never do that again.
I encourage you to not dwell on that anecdote so as to preserve your love of Hoffman.
He has some soothing sentiments for actors. He addresses the despair many actors feel when they’ve received nothing but rejections. “How do you stop the candle from going out inside you?” he says, adding that he knows plenty of talented people who gave up because they just couldn’t take it anymore, people who let the criticism get to them and let themselves believe they weren’t talented after all. In this case, Hoffman advises to make a film, write a script. There’s no excuse not to do this in this digital age. It takes just one person to give you a chance. Finding that person is the challenge.
Make mistakes. Practice your craft. It’s only appropriate that, as we draw to the end of the class, Hoffman takes on the carpe diem tone of a valedictorian’s speech. “Don’t allow yourself to be in a passive position,” he says. “Don’t wait for an agent to call.”
So, Is MasterClass Worth It?
People will take Hoffman's MasterClass for a lot of reasons. They want answers. They want help. The allure of having even a remote connection to a Hollywood legend appeals to the aspiring actor desperate for a way into the business — a way to interact with greatness.
Many comments from students on the video lessons include plugs of who they’ve worked with and links to their reels and personal web sites. That seems like a losing battle — at least in this context. The whole point of the course is to do something you’re passionate about. Anyone seeking something other than the satisfaction of having studied under a Master will be disappointed. As Hoffman says during one of the final lessons, “If you don’t love this as much as you love getting laid, you’re in the wrong place.”
I remember the bright lights, the stage. I remember how they all agreed (after only moderate prodding) that in that glorious St Matthew’s Primary School play of 1978 I made a damned fine Christmas tree.
But the Hollywood talent spotters must have been inexplicably out of town (Ipswich), that night. Because there were no calls from directors, no agents knocking at the door. Stardom failed to beckon.
Until now. Because now I have discovered MasterClass.com, “access to genius”.
We’ll tell you what’s true. You can form your own view.
From 15p€0.18$0.18USD 0.27 a day, more exclusives, analysis and extras.
Newly launched by a pair of San Francisco technology entrepreneurs, it promises “the best online education in the world, from the best people in the world”.
You can learn writing with James Patterson, best- selling author of the Alex Cross detective novels.
Coming soon are photography with Annie Leibovitz and performance with pop star Usher.
And most eye-popping of all there is “Dustin Hoffman teaches acting”: “In his first ever online class, the two-time Academy Award-winning star of The Graduate, Tootsie and Rain Man teaches you everything he’s learned during his 50-year career.”
At just $90 (£58), this surely was the moderately priced path to stardom cruelly denied me in 1978.
I signed up. I got access to the video classes: “Dustin imparts his wisdom and tips in 24 lessons”.
I got the class workbook and homework (“interactive assignments”, some to be completed by acting with fellow students, in person or via Skype).
I got a lovely email from a chap called Brad, the “community manager”, inviting me to “reach out” and sign up to the Facebook group and Twitter feed.
(Brad didn’t bother with the formality of a surname, but given the celebrity-packed nature of MasterClass, I wasn’t discounting the possibility it was Pitt.)
Best of all, I got Dustin himself, online, on video, telling me: “Hi, my name is Dustin Hoffman, welcome to my master class.”
He was in his armchair, looking relaxed, much younger than his 77 years and, frankly, with the swimming pool behind him, rich. What more motivation did a budding actor need?
And that was before the wisdom and tips.
“The whole idea of the unconscious,” said Dustin, “is that it’s unconscious. So it’s slippery. You can’t find it.”
How true. How very true.
And apparently life is like a hot furnace.
“I liken life to a hot furnace. If you are coming too close to some realisation about yourself that is painful, it’s like sitting on a hot furnace: you jump off.”
But Dustin’s big take-home message was still to come: “I don’t want to see someone being a prick without showing the prick in them … Admit it’s part of yourself. Yeah, that’s me. That prick is me!”
So it was all about embracing your inner prick? This was going to be much easier than I thought.
Because I had worried about the effort involved in emulating Dustin’s legendary method acting: that story about him staying awake for three nights to play a man who had stayed awake for three nights – and being told by his co-star, Sir Laurence Olivier: “Try acting, dear boy, it’s much easier.”
That, I was relieved to learn, was a myth. Olivier was actually advising Hoffman, compensating for a stressful divorce with all-night partying, to change his lifestyle not his acting method.
No wonder I and my fellow students were so excited after our first lesson.
“I love what Dustin Hoffman has to say about playing characters versus playing three-dimensional HUMANS!” said “a fellow actress”, “a lifelong learner/dreamer” from Los Angeles on the lesson discussion message board.
“Love that gold nugget in this lesson!” added Joanna Ke, a “storyteller”, also from Los Angeles.
And then an email pinged in my inbox. It was Brad, with thrilling news: “Dustin is critiquing student work! He’ll pick examples he thinks the class can benefit from most… submit your video… film yourself performing scenes from the Jerry Maguire script at the bottom of the lesson plan – ‘You Complete Me’ or ‘I Love Him’.”
Dustin may have missed my Christmas tree, but there was no way he was missing my prick-embracing ‘You Complete Me’.
I knew just the man to help me: Bryn Williams, 57, head of acting at London’s Sylvia Young Theatre School. It was in his blood – his nine-times great-grandmother was Joan Shakespeare, sister of William.
He had taught a 12-year-old Nicole Kidman and a 14-year-old Heath Ledger. “You could see their talent immediately.”
Hoffman was one of his heroes: “An actor of his calibre has a plethora of stories, techniques which aren’t necessarily taught in any kind of drama school. It’s incredible he is passing this on.”
He agreed with embracing the inner prick, “drawing out the whole character rather than a one-dimensional hero or villain”.
And he wholeheartedly concurred when Dustin told two young actors, while coaching them through the roles played by Tom Cruise and Renée Zellweger in the original 1996 Jerry Maguire: “The great thing about acting is when you are there with a stranger and you are trying to have that stranger help you get to your essence, as you are trying to help that person.
“Yes, you are making love in the real sense.”
That, said Mr Williams, was “critical”.
“You may be with a total stranger, but you have to connect, make it look like you have known each other forever. Hoffman is encouraging them to find the truth in what they are saying and the situation they are in.”
Well, if it was like that, Bryn: I’m Cruise, you’re Zellweger, let’s make love.
But he didn’t want to move that fast. Before ‘You Complete Me’, Mr Williams apparently needed to teach me how to walk from point A to point B.
He quoted the great director Peter Brook: “A man walks across an empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.”
“All we are doing,” said Mr Williams, “is displacing air, but with a performer – when you displace the air, you own the space around it. That’s what makes people stand out: they own their space.”
After displacing air, lying down...
The weird thing was, this stuff actually worked. In improvised scenes, even I could tell I was getting more convincing. Mr Williams was pitching in with comments such as “Good work!”
For a professional journalistic sceptic, it would have been most disconcerting. But it was music to the ears of Tinseltown’s next great star.
I was ready for my ‘You Complete Me.’
And as I delivered the immortal line “I love you. You … complete me”, I felt, in the real sense, truly, deeply, 100 per cent connected to my inner prick.
But Mr Williams disagreed. “Wooden,” he said. “Very, very wooden.”
I decided against telling Mr Williams about my fantastic 1978 Christmas tree.
We tried again.
Now I wasn’t just wooden. I was “flatlining – using the same tone the whole way through”.
Once more, with too much feeling.
“If I were Renée Zellweger,” said Mr Williams, “I wouldn’t say: ‘You had me at hello.’ I would say ‘Fuck you” and walk off. You are on the attack. Make it gentler.”
We tried me saying it with my eyes closed, to concentrate on the sound of the words. We tried a bit of improv, with me inserting my own words into the script to inject some much-needed spontaneity into the delivery.
And after two hours of exercises and rehearsal… “It’s improving,” said Mr Williams.
I thought so too. Which is why I had to ask: could I be a star?
Mr Williams is a polite man, a kind man. There was a long pause.
“It will be a long learning process.”
Watch and learn: Hoffman’s big roles
The Graduate (1967)
Awkward graduate Benjamin Braddock is seduced by Mrs Robinson (Anne Bancroft).
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Hoffman, then a relatively unknown stage actor, played a character who in the novel had been a tall, blond, blue-eyed athlete in the Robert Redford mould.
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Movie insiders who saw preview screenings told the producers: “What a great movie you almost had. If only you hadn’t miscast the lead.”
The film was a hit and Hoffman got a best actor Oscar nomination.
Tootsie (1982)
Struggling actor disguises himself as a woman to win a part in a soap opera.
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Hoffman accepted the role only on condition that he could pass as a credible woman, insisting on a pre-production make-up test.
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Voted the second funniest movie of all time (behind Some Like It Hot) by the American Film Institute.
Rain Man (1988)
Road-trip movie, with selfish Charlie Babbitt (Tom Cruise) trying to get a share of the multimillion-dollar inheritance left to brother Raymond (Hoffman), an autistic savant with an incredible memory for airline-crash statistics (“Qantas never crashed”).
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Early on, Hoffman is said to have told director Barry Levinson he wanted to be replaced in the role “because this is the worst work of my life”. He won an Oscar.