The the the eh eh right to to knowledge it it it it it it it it's not we we we, we we we,
we. *laughter* You bastards, you you you you you think because I I I can't speak I can't think.
We we. You treat us like we're we're we're dirt, but we're Clay too. We we we become doctors...
Then I suppose my opinion doesn't really count. Oh it counts, but don't forget
this is still your fault. My fault?
Parker actually is my middle name. Really? Yeah. What's your last name?
My last name is Haas, H A A S, that was my father's name.
It floats back to you.
When I was about 7 years old (yeah) living in New York eh I had an agent
and we met with a talent manager out in eh Queens,
and she said "You gotta lose that last name". Lose the Haas? Yeah, "No one's gonna know how
to pronounce that, they're gonna say all different things, just stick with Parker"
My actual name is eh very Arabic.
Siddig El Tahir El Fadil Abderrahman Mohammed Ahmed Abdel Karim El Mahdi the
that's the first few. Right.
Let's just wait for the siren.
Repeat the question then the answer. Repeat the question then the answer. Sure.
Back to one.
I, I thought that Haas was like some other name. No that's my name,
Corey Parker Haas is my original full name.
Absolutely, Alex in fact was uhm my first best friend,
a golden retriever who he called Alex after his character in Clockwork Orange,
(Amazing) and then I called myself Alexander after my first best friend who was a golden
retriever, so in effect I'm named after a character that Malcolm played on screen.
From what I realised as soon as I started teaching was that I was really teaching myself, in other
words all of the things no one had ever told me, all the moments on set, or, or coming to LA.
All of the difficult moments, all of the moments of not knowing how to bring about a breakthrough.
All those moments you know. Every actor that I worked with I, I gave them that care, like I'm,
I'm gonna help you and give you what no one gave me, I'm gonna, I'm gonna give you what people gave
me too, but I wanna be there for you in way that that people weren't there for me at the time that
I needed it you know, and there were definitely those times, so there's just a level of compassion
for me for the actor having lived my life as an actor and with actors and with artists uhm I, I,
I, I know what actors go through, and so there's nothing that an actor. If an actor
goes through some kind of intense thing I'm totally willing to be there with you
and go through it with you and, and help you by giving you choices that make you reconnect you
with yourself and help you move forward 'cause I don't think actors have a lot of people like that.
Everything's going really well, touch wood, I dunno, so it's good, thankyou.
You know I don't, I don't, I'm not, I'm not,
I'm not a teacher that just likes to say words. It's all doing to me, acting is doing,
so sometimes people just wanna talk, we gotta get up, we gotta do it, it's all just getting
up and doing, and by doing you start to learn, you start to change habits by just letting your
body get up and start to take these notes, and try these adjustments you know, and start to see wow
you know what, what you're capable of , what your potential is, and to me it's always working toward
your potential, you know I don't create that, that, that's you, you have potential, and so word
is working towards peeling away the layers until you're ready and really want to let people see it.
Good idea, and yes as you say it's a big, it's a big deal.
So the character must care about something,
and here again is where actors, there's a tendency sometimes to get caught up in
just the memorization of the lines, and playing what the breakdown told them to play period.
I spend all day going over and over my lines trying to make sure I remember them,
so I don't forget them, so that when it comes to it
just goes boom and here are all my lines, and my fear is forgetting my lines.
And so there's no room in there for the humanity,
and if they understand that this character actually cares about something,
and we all care about things, so then if we can tap into where the care is in the actor
it might be they might care about the same thing the character does, but we might have to translate
it into something a little different, but once you realize you know this is what I care about.
Yah, so been here before, ah easy.
And so I'm just looking for what you care about, you know who do you care about? because
that's what this character is in the middle of caring, and so it, it doesn't necessarily mean
you're hugging everyone, it just means, I mean you may be willing to fight for it.
They're not interested, they are, but they're not actually interested.
There is an investment that, that this, this human care to me is what I love to watch,
that's what I think the great actors are are doing, they're showing, no matter what the text is
about. You could be in outer-space in the future, but if there... the human beings actually care,
the the actors have translated this thing into something personal then I'm interested.
Quite a lot of actors do it too, it just became a thing.
But from my experience as an actor training and technique are really
there to help you solve problems and so everyone's going to encounter problems,
there's no great actor you can listen to an interview with who doesn't talk
about the problems they have with the character or the role, eh with text.
Argh ugh lost concentration, can we stop? Waah I just want a cup of cof...
Uhm and so you know technique is there to help you solve problems,
so you can go without technique but once you start to have a problem you can reach out to technique,
because that's what it's there for, and, and that's why it survived as long as it has.
That just wasn't my kind of thing, so I am not doing that.
You you must have some degree of love for this thing, because it's very hard to do,
and that love of the work sometimes falls by the wayside because you have so many, the agent tells
you something , the manager tells you something, the accountant tells you something, everyone's
telling you something, suddenly that the love isn't even in the mix, that ingredient's gone.
It never happens.
And you can find yourself really suffering in an audition, you can find yourself suffering
in a moment when you really wanted to be able to give them your best work,
and you suddenly wonder why it's not there, it's not available.
Pfffffffft.
So for me that love of the work, I'd much rather see someone come in and show their
their work that they love to do, and that's really what I try to reinforce with actors,
keep that love that you have for the character, for making choices,
for the process, and walk into the room from that love that you have rather than from the fear.
You have to try.
Sometimes an actor says "I don't know how to do this", but actually the character does,
and just by starting to play the character and trust the
character the actor can learn how to do something, so its it does take trust.
'Cause it's so hard.
Uhm but that's, that's what I want for the actor you know is for the actor to have a
place where you can feel trust, where you feel safe, and when you know that uhm
you can watch a teacher eh make changes that empower the actor.
Aargh what are you gonna do
after this is over? Do you want a cup of coffee? Let's have a cup of coffee.
I mean I want to walk in as an actor to a room empowered, and I want you know as
a teacher, you know I want the actors to walk in empowered and know what that is,
you know for men and for women, and so everyone's at a different place not
continuum and so it's always just moving forward in a way that feels right for you,
but when you do it, when you leap forward you feel it, and everyone sees it.
Maybe over 10 years.
There are very very few people who naturally understand how to step in to
given circumstances with a sense of truth and urgency and and move the action forward.
Everyone has different strengths, uhm different actors have different strengths, but you know
there's a thing about opportunity, and when the opportunity comes you want to be ready,
so if you're not training and suddenly you get in the door for something great
and they need you to do more than you normally do and step out of your comfort zone, and you
suddenly realize you don't know how to go beyond your comfort zone,
you don't know where to go once you do, that's what training is for you know. Training is is to
support you and build you into something that you can do everything you want to do, I mean
when you're a pianist you don't just suddenly sit down you know and play middle C and then
from there it's all smooth sailing, you you have to learn how to work with an instrument,
and this this is our instrument, so you gotta learn how to work with it for sure you know.
It's a big deal to be disappointed on that scale.
And and and lawyers and and we have good teachers who care,
o... otherwise how can a kid who who who who who talks like me get on the debating team,
and and education is no better than the student who receives it, and you are no better than us. We
the the the guy, who this school was named after Darwin he he he he he s, s, s, s, stuttered ah
*applause*