A Conversation with Acting Coach Joseph Pearlman, by James Scarborough

Joseph Pearlman offers a refreshing perspective on the acting profession. He focuses on the importance of enjoyment and enthusiasm. His teachings embrace fun in the pursuit of acting excellence. He wants actors to liberate themselves from fear and desperation, the better to foster an environment of creativity and authentic expression.

His philosophy promotes practical steps that actors can take to eliminate desperation and self-doubt. He wants actors to focus on selfless, outcome-detached performances. This increases their chances of success by appearing more relaxed and in control during auditions. This mindset shift not only increases the likelihood of securing roles but also contributes to a healthier, more fulfilling career.

His strategies are not confined to performance techniques. Pearlman encourages actors to sidestep conventional barriers and directly engage with key industry players to advance their careers. He also encourages personal branding and a magnetic personality that resonates in auditions and professional interactions.

Joseph Pearlman infuses acting with joy, authenticity, and strategic industry engagement. He sets a standard for how actors approach their profession and prepare for their roles. This holistic approach promises a vibrant and impactful presence in the entertainment industry. He makes the journey as rewarding as the destination.

JS: How do you tailor your coaching methods to accommodate the different experience levels of actors you work with?

JP: The training I provide is tailored for actors who have already received extensive training, either in a conservatory or through private study. I don’t believe in a one-size-fits-all approach. Instead, I meet each actor where they are, helping to bridge the gap between being a student and becoming a working artist. The personality of the actor is crucial—it contributes 90% of the performance. I integrate various techniques as building blocks, but ultimately, the actor must become the creator of their own unique method.

The work I do is more of a collaborative dance than a rigid, pre-prescribed method. I often engage actors with a series of questions—I might ask an actor 100 questions to really dive deep. The aim here is to find emotional ways of relating to and identifying with the characters. I've observed that strict adherence to a single technique can stifle an actor, making it difficult to shake off and potentially flattening their personality. This can lead actors to question their own instincts.

Therefore, I work with each actor individually, taking them as they are and utilizing the power of the present moment and precise questions to guide them to emotional richness. I believe the difference between good and great acting is the ability to start emotionally full, rather than empty. While known methods and techniques can be useful as a foundation, it’s essential for actors to break away from these so their performances feel fresh and free, not constrained by prior training.

JS: What is the most common misconception actors have about the acting process that your teaching aims to correct?

JP: Great question. There are many myths, misconceptions, and uncertainties in acting. A common one is that actors feel they must restrict their physicality within the frame because they've been instructed to minimize their movements. I always remind actors never to apologize for the space they occupy in a frame. Unless directed for a specific tight shot, your physicality is integral to every performance. The body is an essential tool in the creative process.

When working with actors, I emphasize the use of the physical body combined with the present moment and the spoken words. Thinking about character responses or writing them down might seem useful, but it can disconnect you from one of your most powerful tools: your physicality. It's crucial to allow yourself to be as physically expressive as you would be in real life.

Another major misconception is that actors must transform into another character through heavy makeup or by embodying what they assume the character should be, trying to “get it right.” There is never a right way. Instead, I teach that character development is about finding aspects of the character within yourself. For example, if you see someone across the street experiencing something profound, don’t try to become them. Instead, ask yourself: "If that were me, how would I feel? What would that be like?" This approach fosters a deep connection with characters, making your portrayal authentic and relatable. One example is when playing a doctor, lawyer, or any other professional role. You need to let go of preconceived notions about who that person is and discover your own interpretation—find the doctor or lawyer within yourself.

Many actors are also misled into believing the quality of their performance depends solely on external feedback, whether from a director, coach, or even playback. While feedback can be helpful, the most reliable indicator of a great performance is how it feels to the actor. There are four elements of a great performance: 1) Fun—if it isn’t fun, it isn’t working; 2) Effortlessness—it should feel as natural as any everyday activity; 3) Impact—it should effect change in your partner, other characters, and the audience, mirroring the essence of life with all the mundane parts edited out; 4) You—it should feel true to you, your version of it, not just a representation of a character.

An even more damaging misconception is that suffering is necessary to create great art. This belief can be detrimental and could potentially end a career. Instead, every part of the process should be enjoyable. Similarly, trying to please a director, casting agent, or coach can hinder your creativity. In auditions, my primary rule is to stop trying to guess what someone is looking for. Assume you are what they are looking for and bring your unique, brave, and exciting choices to the piece.

JS: How do you help actors prepare for auditions, especially in terms of developing their ability to quickly understand and embody a character?

JP: I believe that great work is never solely a product of time and effort, but rather of impact, great choices, and fun, utilizing the power of the present moment. Just as the greatest artists—whether performing artists or visual artists—can be inspired to greatness in mere seconds and minutes. Therefore, the path to great work is never about suffering, effort, or time.

When working on auditions with my clients, which I do all the time, it's really important to identify all the different kinds of auditions they might face: first reads, whether live, on Zoom, or on tape, cold reads, callbacks, producer sessions, taking notes from a director, casting director, etc. In my approach to auditions, I help my clients stand out without having to be loud or screaming, by making brave choices that are nothing like what production and casting were expecting but better than they could have ever imagined.

The goal of an audition is not to please, to hold back, or to play it safe, but to discover—not to preplan—but to discover in the process of working with an actor a new level of consciousness. Einstein once said that you can't solve a problem using the same level of consciousness that created it. After discovering with the actor, we often find a very powerful hook, which is something that emotionally engages an actor in seconds and eliminates the need for acting. It makes it so they don’t have to act! Actors are always surprised by this and consistently say it was never what they thought it would be; they could have never imagined it before going through the discovery process.

To reiterate, what we aim to do in an audition is to let go of the idea of getting work or a job and instead have fun in the process by bringing yourself to it with a powerful and brave choice. Actor Bryan Cranston described a pivotal moment in his career many years ago when he stopped viewing auditions as just trying to get a job—and when he did, he started getting a lot of work. It was because the process then became fun, and when you have that kind of fun, it's infectious.

It's important to remember that in an audition, people are trying to get a sense of who you are and what it would be like to spend time around you. Like in many industries, people prefer to work with those they like, trust, and enjoy being around. You have an opportunity to show that in an audition. Many actors also go into auditions without considering that the people there might want to know them as human beings, not just as actors. So, we take that into consideration when working on the mindset for the audition. Are you prepared to speak about yourself if someone asks about you? Don't forget that you are a human being walking in there.

JS: What strategies do you recommend actors employ to maintain their focus and composure in the stressful environment of an audition waiting room?

JP: Great question, and there are many answers to it. The exciting thing about finding a hook for every scene—it's the thing that allows you to start emotionally full instead of cold, removing the need to warm up as you go. And removing the need to ‘act.’ When you have this hook, it doesn't matter what happens in the waiting room; you can get into character in seconds. However, the waiting room itself is an exercise in really tuning your inner game and your mindset. It's about not getting caught up in what you hear other actors doing. Nowadays, with little to zero in-person auditions and mostly Zoom ones, I think it's easier to claim your space before going into a live Zoom or online audition.

This is where the mindset work I do with my actors comes into play. We find a hook for the actor, whether they are walking into a room virtually or in person. It’s important to note that in-person auditions will never return in the way they once were, and I believe this is a phenomenal shift for actors. Location is no longer an obstacle, allowing production companies and casting directors to see talent they never would have encountered otherwise—this opens up powerful opportunities for actors.

Back to the mindset in a waiting room or pre-audition environment, the key is finding a way to light yourself up and walk in as the most empowered and vibrant version of yourself. I guide actors through a process of envisioning what it would look and feel like if the audition were successful. We take it further by imagining the person they would become, either working on the project they are auditioning for or having completed it, and then walking back into a space with those creators. How would you walk in? How would you interact with them? They’re not just imagining this but actually stepping into that version of themself!

It’s all about shifting your mindset, and you can do this in seconds, similar to how we find the hook in acting. The inner game is all important. Not only in this industry but in life as well—to be prepared and empowered by your inner narrative.

JS: Based on your experience, what is the biggest shift in the acting industry over the last decade. How should actors adapt to this change?

JP: There have been many shifts in the acting industry, James, especially in the last decade, and even within the last couple of years. These days, major shifts happen in the industry monthly! One of the most significant changes is the diminished importance of location. Many actors I work with in Japan are landing some of the biggest roles in the world without having to leave Japan or fly to where the work is. A lot of this change stems from the reality that in-person meetings and auditions are not returning in their traditional form. Companies are moving away from the expenses associated with traditional casting offices, such as the cost of maintaining physical spaces stocked with equipment like printers.

Regarding the current casting processes, I've had conversations with numerous working casting directors and executive producers from some of the biggest offices. They've all shared a consistent message: self-taping is here to stay and will remain a staple of their casting processes. They recognize that actors are spread across the country and want them to have the opportunity to audition for roles regardless of their location.

Furthermore, the sentiment is that in-person auditions are unlikely to make a significant comeback. While there might be occasional exceptions where a big-name director requires in-person chemistry reads, many are finding that Zoom chemistry reads are more effective. Casting directors have observed that actors tend to perform better in these settings because they are more relaxed, not intimidated by the need to travel to a studio and wait in a sterile environment. This relaxation translates to better performances, which are appreciated not just by casting directors but also by producers and studio executives who prefer watching taped auditions at their convenience over scheduling long sessions to see actors in person.

This shift towards remote auditioning isn't entirely new. About 20 years ago, voice actors underwent a similar transformation. Previously, they had to travel to casting offices to record their auditions. With technological advancements, they began recording from home, and those who adapted continued to find work, while those who resisted fell behind.

These changes grant actors more control and power to craft their most compelling auditions and bring their best selves to the casting process. It's also a relief for many to know that they can live where they are happiest, without feeling pressured to reside in traditional acting hubs like Los Angeles or New York to succeed in their careers.

JS: You’ve often emphasized the importance of actors not relying solely on casting directors for their career success. Can you expand on this and offer an alternative strategy?

JP: Yes, this is really important and represents a huge mindset shift. Although casting directors play a crucial role, making final casting decisions is not their responsibility; that falls to the executive producers, the network, and the production companies. While building and maintaining great relationships with casting directors is important, it's even more crucial for actors to establish connections with executive producers, production companies, directors, and writers. Unlike a casting director who may work on one or two projects at a time, a production company could be in pre-production for anywhere from seven to three hundred projects. Building meaningful, sustained relationships with these industry players over the months and years can be far more impactful. This is one of the main principles I teach in the career work I do with actors.

Actors should not wait for auditions to fall out of the sky; instead, they should proactively catch opportunities upstream, often before they ever go to casting. Many actors relate a common story: they have an agent or manager but are going out for few, if any, auditions each year. This is because most agents and managers are not adept at helping their actors compete for roles; they are only trying to help them compete for auditions, which is misguided. The difference lies in agents who actively use the telephone to pitch their actors versus those who simply submit them online through various breakdown and casting services.

The reality is that an agent or a manager, regardless of their level or whether they pitch or not, is never accessing more than 10% of the opportunities available to an actor. Therefore, it is essential for actors to always have a clear vision of their future, recognizing who they want to collaborate with. I assist them in developing a powerful, compelling value proposition that they can use when picking up the phone to build new inroads and relationships with executive producers, production companies, and casting directors. Armed with these relationships, they can then approach any casting office that works with a particular production company, essentially coming to casting producer- and network-approved.

A significant issue is that actors go to great effort and expense to secure auditions—auditions that are at their Olympic best, by the way—and these auditions may never reach the eyes of producers and production companies because they are filtered out at the casting level. This is simply unacceptable for an actor who is legitimately right for a role and at their best. Why choose those odds with your career? The real difference here is the ability to use the telephone effectively. As Steve Jobs said, the ability to use the telephone properly—whether you're an agent, a manager, or an actor—separates the doers from the dreamers. There is too much fear, uncertainty, doubt, and disempowering advice being fed to actors, making them believe they do not have the right and responsibility to take charge. I hope this clarifies the importance of these strategies.

One of the things that makes a big difference in actors getting more work is coming to the casting process producer or network approved. That is what the career work I do is designed to achieve.

JS: Handling rejection is a significant part of an actor's career. What advice do you give your students to constructively deal with rejection from auditions?

JP: When you stop viewing every audition as merely an attempt to get a job—as Bryan Cranston noted—it really shifts the mindset and helps prevent derailing your inner game during this process. Also, it's important to recognize that traditional auditioning is just one of many ways to gain access to and book high-level work, so it’s vital to understand that auditioning is only one avenue.

In my community of actors, many of whom I have been working with for years, we experience intense weeks where shows are canceled, and big roles are lost at the very last minute, which can be devastating. However, the actors trust in the absolute safety of our workspace, allowing us to engage in intensive mindset work. Together, we use the power of acting to quickly shift their emotions, helping them return to their most empowered, confident, and happy selves.

Again, James, we're combating a lot of dense, outdated and very disempowering advice out there that misleads actors into thinking that this career is merely a lottery or a numbers game. Jason Bateman mentioned in his SAG Awards acceptance speech some years ago that an actor is always just one job away from a career breakthrough role. Therefore, empowering actors to regain control of their own power and emotions is one of the greatest joys of my work.

JS: How do you coach actors to access genuine emotion during performances while ensuring they do not become overwhelmed by these emotions?

JP: The work I do I describe as "clean burning," meaning that no matter how deep or intense the emotional exploration goes, the actors are never personally harmed by it. Ever. This is because they are protected by the power of the present moment in our work together. As I mentioned earlier, the tools of creation for an actor include the power of the present moment, their physical body, and their words. This work can be conducted in a completely dark space without any objects, which I find fascinating.

There are techniques that encourage actors to delve into powerful emotions by metaphorically cutting themselves into pieces. Unfortunately, this approach can lead to actors feeling overwhelmed, causing them to shut down and potentially abandon their acting careers. However, in our sessions and classes, we operate under the protection of the present moment, and this method has never once harmed an actor’s psyche.

One of the most effective ways to understand what I'm describing is to observe it firsthand. Please consider this an invitation to be my guest at one of my master classes via Zoom next week! I recommend Thursday at 7pm :)

Many traditional techniques focus on regressing actors to their younger selves, potentially re-traumatizing them by obsessively dredging up pain and trauma. This can be incredibly damaging. In contrast, I believe that we can relate and identify with any experience, whether we have personally undergone it or not. We have the capacity to connect, relate, and identify infinitely if we allow ourselves to dive into the depths of our imagination in the present moment. All of the work I do with actors is vocalized; it's almost as if we are surfing the present moment together!

JS: What is one technique or exercise you find most effective in enhancing an actor's performance that might not be well-known?

JP: One of the most powerful techniques in the work I do involves asking actors this question: "If it were you, how would you feel?" or "Under what conditions would it be possible for you to feel this or that, relating to the character?" This approach helps actors personalize their roles and engage with them more deeply.

A particularly effective exercise I use is called "Reset Button #1." It's a powerful tool that acts as an amazing ‘hook” for actors.

[The best definition of a "hook" is the element within a scene that makes sense so intuitively that you don't have to "act." It liberates you, allowing you to simply play the scene moment by moment, without knowing what will happen next. It's the trigger that instantly lights you up to emotional fullness and then sets you free.]

The premise is to work under the condition that a director has told you the scene was written for you to play as yourself. This encourages actors to trust that all the emotional groundwork they've laid is sufficient, allowing them to just be themselves in the moment with their scene partner.

I instruct actors not to play the scene as they imagine it should be, but to let go of all preconceptions about the scene. Instead, they should step into it as if they are encountering someone on the street or at a café, engaging in a moment-by-moment interaction so natural that the audience can't tell whether they are acting or genuinely conversing. This exercise is incredibly freeing for actors, helping them reconnect with their authentic, amazing selves.

It's a true test of all the work they've done; if the emotional seeds have been properly planted, they will naturally surface without the actor having to force anything. This empowers actors to trust that they are interesting enough on their own and to realize that the greatest work doesn't need to be a product of strenuous effort. Or any effort.

JS: What are key practices you believe every actor should engage in regularly to advance their career, outside of attending auditions and acting classes?

JP: As mentioned before, the inner game is everything, so the mindset work that we do is crucial for all actors throughout our collaboration, and they can continue it on their own as well. Additionally, the ability to live anywhere in the world that makes you happy has been a real game-changer, significantly boosting the inner game for actors. The acting teacher Sanford Meisner once said that it takes 20 years to become an actor. Whether I agree with that or not is beside the point; the essence of those 20 years is about gaining life experience. Therefore, the greatest thing an actor can do is to integrate everything—from the industry to the myriad of acting-related activities—into their life. To go live their lives in the relentless pursuit of fun!

JS: How should actors approach the business side of their careers, including networking, agent relations, and brand building?

JP: A bit earlier in some of the questions, I emphasized that actors need to realize they are the captains of their own ships and are responsible for 99 to 100% of their career successes. The cavalry is never coming. You are always the cavalry! In the career work I do, I empower them to build game-changing relationships with major production companies in the right way. This involves learning how to effectively sell themselves over the phone in a manner that doesn't feel like they're just selling themselves or tooting their own horn.

It starts with the inner game and mindset, but also having a clear vision of their future. Actors should not default to what they think they can get or accept whatever comes their way. They need to realize they are the ones ticking the menu boxes of their careers, giving them agency and showing them how to do it. They should never rely on someone else to deliver a haul of auditions.

One of my greatest teachers in high school always said, "What is for you will not go by you," and I believe that in the most powerful and passionate way. However, it's also important to realize that opportunities won't just fall through the window onto your lap. You have a right and a responsibility to reach out and grab it. For actors, this means bravely and fearlessly picking up the phone, pitching themselves, and building those relationships every single day.

One of the best approaches is to go into these interactions with the intention of simply making a couple of friends!

JS: Anxiety and nervousness are common among actors. What are some effective methods you teach to quickly alleviate these feelings before and during performances?

JP: I love this question because there's a lot of advice out there that hasn't been useful. The power of the “hook” is crucial—it's not only about energizing actors to immerse themselves fully into the scene and feel liberated, but it also helps them cut through/burn through the fog of anxiety and nerves, allowing them to "out-fun" these feelings. This approach is the best way to combat anxiety and nerves if they arise. It's also important to recognize that the character might be experiencing some of these emotions as well, which can be an integral part of the performance :)

JS: Are there any widespread myths about acting that you believe are particularly harmful for aspiring actors?

JP: There are many harmful myths in acting, but one of the most detrimental is the belief that actors do not have the right to personally reach out to production and casting to build relationships. This misconception places unnecessary limits on actors and undermines their potential influence in the industry.

Another damaging myth is that suffering is necessary, whether for creating great performances or for achieving career success. Contrary to this, as Jason Bateman inspiring noted, an actor is just one job away from a major career breakthrough. Moreover, trying to please others is counterproductive because you cannot create and please at the same time.

Actors have more agency than they often realize. It starts with adopting the mindset that you are a colleague and an equal. When engaging with industry professionals, approach each conversation with gratitude and from your most empowered self. This shift in perspective can open up numerous opportunities and redefine an actor’s journey in the industry.

Additionally, it’s crucial to understand that you should never have to suffer abuse in any form in this industry—whether it's from an acting teacher, a director, or a casting director. You can and should walk away from such situations. You do not have to endure someone else’s abuse. Stand firm: no role is worth enduring abuse. Your dignity and well-being are paramount and must be met with respect and support. Empower yourself to proudly walk away from anyone or any project that mistreats you.

JS: Do you incorporate Method acting techniques into your coaching. If so, how do you ensure actors do not lose their sense of self in the process?

JP: While any scientific approach to the study of acting might be construed as a method-based approach, we have evolved far beyond traditional "method" acting in my coaching and community. I often find myself helping actors recover from the negative impacts of method-based approaches, which can flatten their personalities and make them never want to act again. It's incredibly rewarding and exciting to jumpstart their personalities back into their work! Countless actors I've worked with tell me how grateful they are that I have helped them bring the fun back to acting. This feedback is a real gift and fills me with gratitude every day.

JS: What’s your philosophy on giving feedback to actors? How do you balance critique to be constructive without discouraging an actor?

JP: My philosophy on giving feedback to actors centers on starting with love. I find it easy to tell an actor what's working and what isn't because from there, we can fix it together in that single working session. One of the great joys and privileges of my career was working with the great character actor Jeff Cory, the greatest acting teacher I ever had and the most influential person in my work. During my time in conservatory, achieving a breakthrough or transformation could take weeks or months. However, in Jeff's classes, he could help an actor achieve a breakthrough and transformation in every single session. It’s crucial to provide feedback with love and know exactly how to help actors address issues within that same working session.

Jeff was a character actor who, unfortunately, was blacklisted and had to leave the industry. When he returned to Los Angeles from Canada, he began teaching acting in a studio above his garage in Malibu. He worked with young talents like Jack Nicholson on "Rebel Without a Cause" and influenced others like Steven Spielberg, Robin Williams, and many more. He was a true mentor to me, both personally and professionally.

Again, it all comes back to starting with love and creating the safest possible communities for actors to explore and discover. Ensuring that actors feel safe to show up as they are and explore is my number one priority every single day in all of my classes and coaching sessions.

JS: How important is flexibility in an actor's approach to different roles and directors. How do you train actors to adapt to various directing styles?

JP: Flexibility in an actor's approach to different roles and directors is crucial—especially on set. One of the most enjoyable aspects of my coaching is teaching actors how to take direction effectively. This often starts with gaining clarity from the director, as not all directors know how to provide clear or useful notes. The first step is always to ensure you understand what is being asked.

Once clarity is achieved, I encourage actors to take a moment to internalize the note, adopting the mindset that both you and the director want the performance to succeed. Then, refine a hook that serves the note, ensuring that it still aligns with your interpretation of the character, rather than merely trying to adjust based on what you think someone wants.

This approach underscores the importance of infinite flexibility. That’s why we work on finding multiple hooks for every scene. The power lies in the ability to seamlessly shift in any direction needed, effortlessly adapting without having to redo any of the foundational character work.

JS: With the rise of digital and self-taped auditions, what new skills do actors need to master to stay competitive?

JP: I love this question because it highlights the importance of actors now working in the correct medium—on camera! One of the great joys of Zoom and online training is that actors are working on camera 100% of the time. This is a significant shift from traditional methods where actors performed primarily for a room, using only a small percentage of their training time to actually work within a frame.

Another amazing advancement with training on camera online is that actors can work within their own home self-tape studio setups. We can directly tape auditions and performances right from class while working with a reader. Since self-tapes are crucial in today's industry, what better way to master this skill than by practicing in that space the entire time? This approach not only improves their on-camera skills but also enhances their comfort and familiarity with the self-tape process, which is essential for staying competitive in the current acting landscape.

JS: Finally, what long-term career strategies do you recommend actors pursue to achieve sustained success in the industry?

JP: It's crucial for actors, early in their careers, to crystallize a clear vision of their future—specifically, what they want to achieve. It's powerful to start with the end goal in mind rather than defaulting to what they think is possible or what others think they should do with their career. So, having that clear vision is like placing a roadmap on their wall, detailing the collaborators they aspire to work with throughout their career.

It is also essential for actors to know their industry, which means consistently engaging with good content of all kinds whenever possible. This not only keeps them informed and inspired but also helps them understand trends and opportunities, equipping them with the knowledge to navigate their careers effectively.