you have a voice as an artist. It's just
getting your own confidence. I love
showing up on the set and and and
working with the writers and the
directors and the other actors. I like
to look at things and say, "God, you
know, I mean, if it didn't work, I want
to know why didn't it work?" I want the
per what I want in a performance is I
want it to be spontaneous. I want it to
be now. I allow and want to hear uh
someone's opinion. I like a challenge. I
really enjoy a challenge. I've created
it. it. I am the character and I'm there
in the moment and whatever happens
happens. To be able to watch Newman
develop a character, Hoffman, Nicholson,
you know, Hackman, Duval, and be able to
see them work and then watch their
rushes on things. All I can do is do my
best. All I can do is give everything
that I have. I don't go, it
sucks. I'm blowing it, you know.
He's an American actor and filmmaker.
He's been nominated for three Academy
Awards and has won three Golden Globe
Awards. He's considered one of the
biggest movie stars in Hollywood. He's
Tom Cruz and here are his top 10 rules
for
success. You have a voice as an artist.
It's just getting your own confidence.
Uh,
and you find it just by doing it. By
doing it. And when you're playing that
character, that is your character. And
your instincts on the character are your
instincts on that character. And we
constantly looking at life. What is it?
What is it? Where are you? Look how
interesting. Look at different cultures,
different beliefs. You know, how do they
come to that? How do I feel about that?
How do you know? What do I think? It's
it is a daily adventure. You have your
voice. It's there. Just do it. Do it. Do
it. Do it. Create. You know, don't let
anyone stop you from from being
creative. You do it. And and that
confidence will come.
That's why I say, you know, people,
there's no right way to do it. You know,
there's no right way. You do have your
voice. It's it's there. And it's uh it's
a matter of you just finding that
confidence, you
know. Yeah, you bet. I love what I do. I
love showing up on the set and and and
working with the writers and the
directors and the other actors. And
there's a a thrill and an exhilaration
of working, you know, an 18-hour day and
knowing you've done good work and you
feel very proud of yourself for that.
And it's it's not something that's ever
you I never feel a I can feel a sense of
completion on that particular project.
Sometimes I look back I look back
and you know where did I get off going
to New York to say that I'm going to be
an actor? you know, I mean, where but
but I think the thing that's that's
really helped me is to, you know, a lot
of
people when they treat failure as
a personal kind of horrendous defeat and
really let life kick them pretty hard.
And
uh
I like to look at things and say, God,
you know, I mean, if it didn't work, I
want to know why didn't it work? you
know, why why didn't you know, why
didn't it work and really
uh you know, try to lift myself up and
have the courage to really evaluate it
and learn from it and say, you know,
what happened? Okay, let's go. I want
the per what I want in a performance is
I want it to be spontaneous. I want it
to be now. Mhm. Not, you know, not
happening in the past. We try to work
towards getting rid of the mechanics of
the technique. Let's find the
spontaneity and that with the power
of my own imagination or my own ability
to believe or my own creative idea of
what I've created here, it just happens.
It just goes and whatever is there, I
don't judge it. And there's times where
as an actor when I'm working where I
feel nothing and I don't panic and go,
"Oh my god, I feel nothing." It's I
always take it from the point of view
of, "Okay, well that's, you know, I'll
that's interesting. I feel nothing." As
the character, I feel nothing at this
moment. I don't invalidate. And when I'm
on when I'm once I'm there at that
moment, I don't fight what's going to
happen. I don't try to create what's
going to happen. I've done my work. It
gets inside of you. Uh so that it's just
it's there. It's you're in the character
and what happens happens and you want to
fly. You want to play jazz. You want it
to be spontaneous and and and let it
rip. Are you good with conflict? What do
you mean conflict? Can I handle
conflict? Do I Are you Are you good with
it? Like I have no problem with
conflict. I wonder how are you with
conflict? Depends who I'm finding. It
depends on who I'm fighting with. You
don't worry about conflict. No, I don't
mean us. Although we still have time.
Let's go. I get into it. I prefer not to
have conflict. Let's resolve things.
Well, that's entirely up to you. Okay,
that's good. But if you worked with a
director and where it's it's not gone
well where there's been a lot of this
and and I'm sure you've been making
fools for so long and it's a business
filled with egos and artists that it
might be Yeah. I guess I've never had
that though with I've had I allow and
want to hear uh someone's opinion. So I
use uh writers, directors, actors where
it's, you know, I find myself I just
listen, you know, I want to listen and
download and uh so I've actually never
had conflict with
uh with anyone on the set with
directors, actors, never. You know, it
depends my definition of of taking
chances. I mean, I I like a challenge. I
really enjoy a challenge and uh kind of
based my my work on that in my life. And
uh and by a challenge I mean you know an
obstacle that
uh you know that I feel I can overcome
but you know with with a little
excitement you know and I like
adventure. I really like adventure. How
much of your personal experiences do you
use in your craft?
I you know I create a character and it's
all
about the story of that character and
creating almost an umbilical cord for
myself to that piece of material.
There's
times, you know, I am who I am. I I'm
I'm constantly looking at life every day
and people. So it is my point of view
but from that character I'm discovering
this character. How does he feel about
things? It's my instincts, but I don't
personally kind of
restimulate painful experiences.
Uh I have found personally that that
that that it's made it difficult for me
to not be there in the moment for
myself. That the availability of emotion
is greater for me when
it's I'm I've created it. it. I am the
character and I'm there in the moment
and whatever happens happens. It's more
available every take after take after
take, you know, and that's what works
for me. The power of my own imagination
and my own ability to to believe and I I
create everything to get myself to the
point
where I am that character and I don't
invalidate whatever choice or impulse
that I have on a scene, whatever it is.
Do you learn something from every
director you work with? Every director.
every actor that I work with, every
director has has a their own taste and
style and uh every actor I mean
especially early on is when you hear
about this is how what acting is and for
me be to be able to watch Newman develop
a character Hoffman, Nicholson, you
know, Hackman Duval and be able to see
them work and then watch their rushes on
things or go in rushes. You all know
what rushes are, right? You know, you go
in the next day and look at the scenes
and then and then how they cut together
and and editing it. That was very
helpful because I I started to see how
these actors work and that they all have
their own way of working and their own
technique that they have developed that
works for them. It's it's not just the
end result. You know, I find that it's
it is very much the journey of of
creating and there are no absolutes.
There is no perfect way to do it. And I
remember back on T,
well, I'm just all I can what can I do
as an all I can do is do my best. All I
can do is give it everything that I
have. And I thought if if I can do that,
if I if I get the opportunity to do
something that I love for the rest of my
life, I remember thinking that's that's
what I'm going to do. I'm never going to
take this for granted. Uh, and I'm going
to work hard. Now, let me see if I get
this right,
Seth, because I want to Are you saying
that at the end of the day where it's
not happening or it's not going
uh where do I go to the
well
that when I get to that place, you know,
where it's just not happening, uh I go
for a walk first of all and I look
around uh and
then Uh I just take it from the point of
view of the character. I say it ain't
happening. You know
so from that I go well that's
interesting and then I kind of explore
that that's not happening you know I
feel whatever you know there's moments
you just go man it just it's numb. I
don't go it
sucks blowing it you know I'm gonna blow
it I'm gonna cr you know the scene's not
going to work. I actually do the
opposite. that I try to get extroverted
and
uh step out and think of, okay, well,
I'm feeling this right now. And then
I'll go I'll actually do takes like
that. I'll do a scene like that. It's
the 15th hour. I'm tired. My character's
tired. I I just I take it from that
point of view of I'm tired. Okay. Well,
that's interesting. Well, I never
thought I, you know, of I it's kind of
this thing. I've never thought of this
point of view, but I'm going to just go
with it and see what happens. And then
from that comes energy from that because
you're creating it. You are you're still
creating. You're not giving up. You're
not using effort to try
to fulfill your preconceived idea of you
know which we all do. We all come up
with, you know, different ways of what
we think the scene should be or what we
what we want. And then uh I don't
invalidate those feelings of me being
tired. I sit back and I go, "Okay, I'm
tired. The character's tired. I'm
tired." you know, or I feel empty and
I'll just play the scene. I'm empty. You
know, what whatever the scene is, I'll
just take it there for a take and then
from that I know the worst thing that I
can do is kind of vapor lock, you know,
lock down on it and go, you know, try to
push it somewhere else. I just explore
that and then from that it brings me to
where the scene is supposed to be or the
character or from that is the scene and
everyone kind of goes, "Wow, I never
thought I was going to go there because
now it's not just me. I'm working with
other actors or the director.
Uh, and that's that's what I do. Thank
you so much for watching. I made this
video because Omar Dawoud asked me to.
So, if there's a famous entrepreneur
that you want me to profile next, leave
it in the comments below and I'll see
what I can do. I'd also love to know
which of Tom Cruz's top 10 rules
resonated most with you, leave it in the
comments and I'll join in the
discussion. And my personal goal on the
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appreciate it. Thank you so much for
watching. Continue to believe and I'll
see you soon.