Brad Greenquist

@bradgreenquist
bradgreenquist.com
bradsclass.com

EP 100: Brand Greenquist (autogenerated)

Dane Reis: [00:00:00] you booked it episode 100. Okay. Let’s get started. I am excited to introduce my guest today. Brad greenquist. Are you ready for this Brad?

[00:00:14]Brad Greenquist: [00:00:14] I 

[00:00:14] think so a little nervous, but yes, let’s go.

[00:00:17] Dane Reis: [00:00:17] Oh right. right. Brad is the best known for playing Victor Pascal in the original pet cemetery. Other horror works include the films, lost souls and Annabel creation and television productions.

[00:00:29] The diary of Ellen rim Rombauer, Stephen King’s golden years, monsters and grim. He is also well known to Saifai fans for his appearances on several star Trek episodes, as well as Stargate. The heroes and the leftovers Brad wrote, produced and directed an award winning short film run for your love as well as producing another short film, like a butterfly, which garnered 17 festival awards.

[00:00:55] Brad works regularly as an actor director and producer in the Los Angeles area theater scene. He also teaches an on-camera acting class at his studio. Brad’s class in Santa Monica in his spare time, Brad trains in the martial art of Kempo, and currently holds the rank of second degree Brown belt. Brad, that is a quick intro of who you are and what you’ve done, but why don’t you tell us a little bit more about yourself, filling the gaps, who you are, where you’re from and a little bit more about what you do as a professional in the entertainment industry.

[00:01:30]Brad Greenquist: [00:01:30] Well, okay. Uh, I’ll kind of work backwards. I’m an actor, obviously. Um, Uh, not a lot of movies, a lot of TV stuff. Um, I kind of built my career playing bad guys. Um, so I never had my own series because I always got killed off at the end of the episode. But playing bad guys has been a very it’s it’s, it’s been a great way to have a career, you know, because they’re all different.

[00:01:52] And they’re all really interesting. I mean, I mean, I have been everything I’ve been, uh, murderers and rapists. Since serial killers and mass murderers and pedophiles, I mean the whole gamut. Um, and they’re fun roles play, you know? So, uh, that’s been my career mostly. And now, now that I’m older, uh, I’m playing, you know, things like bad lawyers and stuff like that.

[00:02:11] Nasty business people. Um, uh, Hmm. Somebody told me I had been on over a hundred, over a hundred sets, I guess that’s probably true. Something like that. Yeah. Um, uh, and, uh, let’s see those other questions. Where am I from? Uh, I was born in Maryland and moved around. My father was in the army, so we moved around a lot and, uh, I ended up doing most of my growing up in Virginia.

[00:02:32] Yeah. In Northern Virginia, outside of Washington, DC. Um, And I went to college in Richmond. Then I went to New York, lived in New York for 10 years, and that’s where I got my start acting. Um, and, uh, then moved to Los Angeles and I’ve been in Los Angeles for 20 some years. Um, still acting, uh, teaching a lot as well.

[00:02:51] I’ve been teaching for probably 20 years. Um, I teach on camera acting. Uh, teaching actors mostly how to transition from stage to film. Um, and these days I don’t have live classes, of course, because we’re in the middle of this, uh, this pandemic. Uh, so I do a lot of, uh, training online on zoom, uh, teaching everyone how to make good self-tape auditions.

[00:03:13] And in that way, I teach camera techniques, uh, through, through the venue of, um, Of, uh, self taping auditions, and it’s been really good. Really, really good. And I’ve been very, very busy. I’ll be glad when the pandemic is over so I can take a little break.

[00:03:28]  uh, yeah, yeah, yeah, yeah. I’ve been really, really busy.

[00:03:29]Um, Uh, apparently there’s not, there’s nobody who teaches what I teach or the way I teach it, um, uh, around, uh, that, that anyone else knows of. Cause they all say, Oh, I can’t have never found anybody like you. So, so yeah, it’s good. I guess I have something to offer, you know?

[00:03:41]Dane Reis: [00:03:41] Yeah, that’s brilliant. And let’s move on to this section here. And Brad, look, I am a sucker for a good quote. What is your favorite quote? You’d like to share with everyone

[00:03:53]Brad Greenquist: [00:03:53] Okay. Here’s my favorite quote. Um, my favorite it’s been my favorite quote for many, many years. And it’s a quote from a dusty of ski, the Russian writer Dostoevsky. Uh, he said, this is not a pen. It is a prayer. One must have compassion for that. That’s the quote. Yeah. I know. Kind of a head scratcher, 

[00:04:13] Dane Reis: [00:04:13] yeah, I was like, I’m sitting here thinking that’s why I’m so excited. I’m

[00:04:15] like, ah, I think I’m thinking, I’m thinking

[00:04:17] that I’ve 

[00:04:17] Brad Greenquist: [00:04:17] tell you what, what it means to me. This is not a pen. It is a prayer. One must have compassion for that. So dusty IFC was a writer, of course, and for him, he didn’t, he wasn’t writing. It was all a prayer. And the way I interpret this and it means a lot to me is that you have to hold your creative life.

[00:04:36]It has some, a sacred quality to it. You have to prioritize it. You have to honor it. and that is, that is your prayer. It’s a prayer to, I don’t know, to whom, um, it’s a prayer to your own soul perhaps, but  many actors don’t show up for themselves. Okay. They show up for other people, they show up for rehearsal, they show up for an audition, but they don’t show up for themselves.

[00:05:01]And this quote is saying, look, your creative life is sacred. You’ve been given this gift. You have to develop it. You have to develop it. And, and every act of creativity is a prayer. A wish, a hope. That goes out to the universe and maybe it comes back to you. And maybe not that doesn’t matter. It’s, it’s, it’s in the doing.

[00:05:23] And you have to honor that you have to honor that you’ve take time to do your creative work, whether it’s acting, whether it’s writing, whether it’s music, whether it’s painting. Any of those things that, that society in general tends to go, Oh, come on. Don’t do that. Come on out with us. Do you know? You can paint any time.

[00:05:45] Oh, you’re just an actor. You don’t work. No, you have your time and it’s sacred and you do your work and that’s how you grow. That’s what it means to me.

[00:05:55]Dane Reis: [00:05:55] Yes. I love that. And  I really love how you said. Oftentimes us as artists, we show up for other people instead of showing up for ourselves and.  when, when you said, you know, we’ll show for rehearsal, I immediately went to going to cleaning rehearsals or blocking rehearsals because I primarily come from the stage world.

[00:06:14] And I think any stage actor can relate to that feeling in a room when you’re doing a really intense cleaning rehearsal, where everyone is. Doesn’t really want to be there. You get that, that feeling of that vibe because it’s tedious hard work and takes a lot of focus to do those cleaning rehearsals. And I love that quote because you’re like, no, you’re not doing it right.

[00:06:36] Just so you can make the product a bit better. It’s also taking that opportunity to make you as an artist better.

[00:06:43]Brad Greenquist: [00:06:43] yes, exactly. And rehearsal is, you know, that’s giving to the production. Um, but you have to give to your yourself your, you know, you know, you have to look at your, your, your creativity as a child, a child that needs to be encouraged, and that needs nutrition needs. Food water exercise. And you, you need to do this every day.

[00:07:02] You need to, even if you’re doing a play, you also need to do your work. You know, whatever that might be, whatever creative thing that might be, you know, it could be that an actor paints and that’s how they exercise their creativity. You know, creativity. It’s not like a rock that’s just there. No, it’s a little seed that has to grow.

[00:07:22] And the only person that can grow it is you, you, you have this child. And it’s up to you, whether that child lives super dies that’s that’s that’s. Yeah. And so creativity, whether it’s an acting or writing or whatever, it doesn’t matter. Um, uh, it needs to be given nutrition and it needs to be exercised. So you, you need to do things you need to, you know, you know, there’s nothing to stop an actor from, from learning, from a role, earn Hamlet, learn Hamlet.

[00:07:52] Just learn Hamlet, right? Learn Juliet, uh, learn, learn any of the great roles, learn them, learn the role, you know, spend a year or two on one role, one play by yourself, right? that’s how you grow. Um, right. Uh, baseball pitchers. They have to pitch every day. Uh, the hitters have to hit every day. Why should an artist not be doing that

[00:08:15]Dane Reis: [00:08:15] Yes. Yes, absolutely. I completely agree with you. I love that

[00:08:19] perspective. I love that. 

[00:08:20]Brad Greenquist: [00:08:20] we tend to only show up when somebody says we have to be there. But you’re, you’re in the meantime that creativity inside of you, that child is saying, Oh, are you gonna come over? Are you gonna come? Are you gonna, are we going to go play? And you just ignore it. And then 10 years down the line, you’re wondering why you haven’t made any inroads in, in making money with your creativity.

[00:08:40]Well, guess what? You haven’t been there for yourself.

[00:08:42]Dane Reis: [00:08:42] Yeah, 100%, 100%. And I want to move on now to. This section and Brad, of course you are an entertainer, I’m an entertainer. And I think that you would agree that this industry can be one of the most subjective, brutally, honest and personally emotional industries in existence. And yeah. You know, You know, as well as I, that in order to.

[00:09:09] Have and create a successful career in this industry like you’re having now. It takes a lot of dedication, hard work, and while yes, of course, radius amount of fun and excitement doing what we do. There are also our fair share of obstacles, challenges, and failures we are going to, and we’re going to have to move forward through.

[00:09:31] So tell us, what is one key challenge, obstacle or failure you’ve experienced in your career? And how did you come out the other side better because of it.

[00:09:41]Brad Greenquist: [00:09:41] my major obstacle was that I had nothing to recommend me to be an actor. Um, I had nothing, I had no talent. I was very shy, very withdrawn, uh, very insecure, um, uh, a person who kind of lived by my routine. And I had nothing. I had nothing, that would have ever told anybody. I would make a career being an actor.

[00:10:07]I mean, you know, and seriously, no talent at all, none. and, uh, I overcame that by, by, well, just persistence, I think, uh, just an incredible drive. Two, two, two. Be somebody, you know? Um, so I’ve worked very, very hard. I’ve taken a lot of classes. I still train still, now, uh, and, and, you know,  that was the biggest obstacle and the, the, the, the thing that got me over it was just not giving up, not giving up.

[00:10:32] At all, just continuing to try, try, try, try, try, try, try, try, try. And it was worth, it was worth it. Cause otherwise, you know, I’d have been unloading trucks for the rest of my life. I’m I’m certain of that.

[00:10:44]Dane Reis: [00:10:44] Yeah, right. right. And I think you said it right there. You just have to keep trying and trying and trying and trying and showing up and showing up day in and day out. And like you said, through your quote, you have to feed that creativity and. As long as you feed it, it grows and it matures and to be, and it’s become a very successful career for yourself.

[00:11:00]Brad Greenquist: [00:11:00] Yes. Yes. And that creativity connects to other creative people. Uh, and, and that brings you in to a community of creative people. And then eventually you have to learn business, of course. Um, but it’s just, you know, I refuse to give up because you know, there was nothing, there was no alternative. I didn’t have the skills to do anything.

[00:11:19] Dane Reis: [00:11:19] Right. Right. And that’s, that’s incredible. And let’s move on to a time that I like to call your. Spotlight moment. That one moment in time you realized, yes, I am going to be an entertainer for living or maybe it was, yes. This is what I need to be doing as an entertainer. Tell us about that.

[00:11:42]Brad Greenquist: [00:11:42] Yeah, that was that’s pretty clear. Um, when I was, I was probably 16. Uh, I went to see Marcel Marceau. The French mine. I saw him at the Kennedy center in Washington, DC and being 16, you know, I bought the most expensive seat I could, which was the cheapest seat in

[00:12:00] the place way up in the back of the third balcony, you know, way up there.

[00:12:07]Um, and so Marcel Marceau was, you know, about a centimeter tall, you know, he was so far away down on that stage. Um, but he. Kept 3000 people, maybe 2000. I don’t know what the Kennedy center holds, but the place was packed. There were, there were no empty seats and he just had them in the Palm of his hand with no other actors, no words, just him, no other cast to just him on stage for two hours.

[00:12:37] And he had all those people in the Palm of his hand. And when it was over, I was shaking. I was literally shaking and I thought, Oh my God, if I could do, if I could do something like that, just something that’s that, what, what I just saw was a miracle, an absolute miracle. I mean, without even uttering a single word, he had everybody in the palms of his hands.

[00:12:59]So, so that’s, that’s when I, I knew that this is what I had to try. I had to try, uh, I’ve never kept 3000 people entertained for. Two hours by myself. Maybe next year I’ll do that. But, um, that is what got me into this industry. You know, I started and I started taking classes in mine and then I realized, you know, eventually that, Oh, I am never going to make a very good mine.

[00:13:24] I’m not, they just don’t have the, the body for it, the fluidity to do that in the way that I would like to do it. So I switched to acting and, uh, and that’s worked out pretty well.

[00:13:35]Dane Reis: [00:13:35] Yeah, I love that story. I love, I love that you said I, I, I bought the most expensive seat I could afford, and it was the cheapest seat in the theater. I remember I, I had the fortune of studying abroad in Vienna, Austria, and we went to the state opera house tonight. I was a music major at the time. And I was like, eh, opera kind of boring, but tell you what I became a huge fan of lover of opera after that experience.

[00:13:58] But same thing, the most expensive seat I could find was a Jiro 50 standing room seat, you know, for three and a half hour opera, but you love it. You love it, but you get to see the best people in the world

[00:14:09] Brad Greenquist: [00:14:09] Yeah, yeah, yeah, Yeah, yeah, yeah, yeah. There’s some kind of magic isn’t there. I mean, when you see people that are so good at what they do, especially in performance, there’s just, I don’t know what it is and I I’m, I still, I still get so enthralled at, uh, at an amazing performance, you know, I guess the most recent was, uh, seeing, um, Elvis Costello perform live.

[00:14:30] Oh man, it’s a similar kind of thing. Just man. He was, he was telling stories with his music with, with sound that it was amazing. Just amazing, you know, same kind of thing though, you know? Um, cause it doesn’t really matter what the form is, whether it’s opera or mine or theater or, or, or, uh, music, it’s just, it, it touches you somewhere and, and.

[00:14:50] Picks you up lifts you, you, you know,

[00:14:51]Dane Reis: [00:14:51] Yeah, absolutely. And I want to piggyback on that question and let’s talk about your number one. Booked it moment. Walk us through that day, the auditions and call backs. If they happen to be a part of it, what was going on in your life? And what about that moment? Makes it your favorite? Booked it moment. 

[00:15:13]Brad Greenquist: [00:15:13] Well,

[00:15:13] Well, I’ll give you one of my favorites, cause I have lots of favorites and this is, this was a, when I was in New York, I’d been there for about a year and you know, I was waiting tables, had no money at all. Um, Uh, and there was a, um, there was an. Equity call. And he called, uh, EPA equity, the principal audition, which is, you know, a general cattle call for people to come in and they sit there and watch the audition.

[00:15:37] Every, everybody, you know, one minute at a time after, after actor, after, after actor, after actor, uh, and it was for a Broadway production of, um, Tennessee Williams night of the Barnum. , um, But there was some misprint in the, in the paper and backstage, uh, and they changed the date at the last moment. And so I went in and there was nobody there.

[00:15:55] And usually you have to wait in line, you have to get there at seven in the morning and wait in a line until nine in the morning and sign up and then come back at two or something like that. But there was nobody there. So I was able to go in right away and I did this audition. That was really, really very good, you know, just a monologue.

[00:16:09] And, um, the casting director said, Oh, that was great. That was great. Stay in touch. I said, okay. So, uh, so then I sent a postcard through the mail. That’s how we did it back in those days, this was 84. Uh, send a postcard every day, uh, to the, that casting director saying, hi, he’s still here, Bubba. Um, and, uh, then after two months I hadn’t heard anything.

[00:16:30] So I thought, Oh, okay. Another disappointment. So I stopped sending the, um, , uh, postcards and, uh, like two weeks later, I got this call saying, ah, Brad, we’d like you to come in and audition for the director for night of the iguana. Can you come in tomorrow? And, uh, can you have a German song? Oh, okay.

[00:16:48] And I knew that this friend of mine had worked at an amusement park where he had to sing a German drinking song. So I was like, okay, okay. I’ll learn this. German song. He taught it to me and I sang it for a whole day and then went down there and, uh, and the audition was, was in the, in the theater. Yeah, Virginia theater, I think it was, uh, in New York on Broadway.

[00:17:05] And, uh, and I did the audition and after the audition. Um, uh, you know, the director was mumbling to some people and then they said, okay, thank you, Brad. And as I came down and was walking up the aisle, the director stepped out and he said, you just love being up there. Don’t you? I said, yeah, I do. Okay. Um, good.

[00:17:22]Uh, I’ll see you soon. Oh, no. He said, do you want to be in the show? And I said, yeah, of course I do. And he said, okay, I’ll see you soon. And I walked out of the theater. And I turned a corner and went to a diner that I knew was half, you know, half a block away. And I just, I just, I ordered a coffee and cried, cried because I knew I was going to get it.

[00:17:41] And then I got the call that evening. And, uh, two days later we were rehearsing. That was, yeah. So, you know, I didn’t even have an agent. I had nothing, you know, I was new in New York and, and, uh, And I got this Broadway show, unfortunately, the show bombed out of town, but it was still a great experience. It was a great, great experience.

[00:18:00] And it, it really, you know, then I was able to go to agents and say, well, well, I booked this Broadway show without an agent. How’s that? Oh, what? Oh yeah, I’ll represent you. You know? You know? So that, that was a, that was a really special one. That was really, really great.

[00:18:14] Dane Reis: [00:18:14] Oh, I love that story. So good. And let’s take a moment to talk about the present. What projects are you working on now? What are you looking forward to? And look, it’s a crazy time. We are amidst this global pandemic. How do you see the entertainment industry moving forward in the next couple of years?

[00:18:36]Brad Greenquist: [00:18:36] I’m not working right now. I’m teaching a lot online, uh, but I’m not, I’m not, uh, performing, I’ve turned down a number of things because, um, It’s just, you know, I’m 60 years old. It’s too dangerous for me to be a Guinea pig on, on the, the, you know, the productions that are opening up, um, Los Angeles is on fire.

[00:18:52] As far as this pandemic goes, there’s so many infections and so many deaths, and I’ve known too many people who were. Severely sick for a long time or, uh, or who have passed away because of the pandemic. So I don’t want to take those chances. So I’ve been turning down, everything that’s come my way. Uh, but when the, when the pandemic hit, I had two movies that I was going to do.

[00:19:15]Uh, one was a big budget film, you know, like a, I don’t know, like two weeks on a big budget film. And the other one was, uh, the lead in low budget film. Um, Uh, and I was doing a play. We were in the middle of rehearsing, a play and everything got shut down and I don’t know what will, uh, which of those projects, if any of them will they’ll, they’ll start up again.

[00:19:35]Um, so, you know, I don’t know. I just don’t know. but in the meantime, the, the play I was doing was about the booth family, uh, John Wilkes booth and Edwin booth and their crazy father. And I played the crazy father. Junius Brutus booth. And, uh, I had to, part of the play I had to perform a bit of Hamlet as Junius Brutus booth would have done in 1840.

[00:19:55] And I started researching what actors did in 1840. And, uh, this has become kind of kind of an obsession with me. So even though I don’t know if the play is ever going to be produced, if the theater will produce it, I’ve been just, I I’ve read over 70 books on that. I’m trying to figure out what. What actors did.

[00:20:16] And then, you know, looking at that time and how theater, how theater was and what actors went through, then it was just become a, a good obsession to have during this pandemic. It’s kept me very, very, very, very, very active.

[00:20:32] That’s what I’m doing. I don’t know where it’s going to lead. I have no idea, but, you know, see, here’s the thing, here’s the thing. It doesn’t matter where it leads. It’s the doing. It’s doing it in the moment. If it doesn’t need to lead to a job, you see what I mean? you see what I mean? The reward is in the doing it’s the doing?

[00:20:51] That’s the reward.

[00:20:53] Dane Reis: [00:20:53] Yes, absolutely. Absolutely. Well, Well, let’s move on to one of my favorite sections in the interview. I call it the grease lightning round. I am going to ask you a handful of questions. I want you to answer them as quickly and concisely as possible one after another. Are you ready? All right. First question. What was the one thing holding you back from committing to a career as an entertainer?

[00:21:19]Brad Greenquist: [00:21:19] there was nothing holding me back because I had nothing at my back. I had nothing to fall back on. So there was nothing, there was nothing. I had nothing,  uh, nothing holding me back ever.

[00:21:30] Dane Reis: [00:21:30] Love it. Second question. What is the best piece of advice you have ever received?

[00:21:37]Brad Greenquist: [00:21:37] Your only reward Yes, I sure can. Uh, this is, uh, I studied with the actor Michael Moriarty for many, many years. And, and, uh, this is the advice he gave me. He said, you’re the only thing you have control over in this business is your own performance. You don’t have control whether you get the job or not, whether you’re the right type or not.

[00:22:00]Um, uh, you have no control over that. You don’t have much control over your performance in the final product, but, but what you do have your control over is your own performance, so you better enjoy it. So don’t go to an audition and think that the reward is getting the job. No, the reward is the moment of performance.

[00:22:19] Are you enjoying it? Because if you’re not, you got to change it because that’s the only reward you can count on. Is the joy of performing in that moment.

[00:22:29]Dane Reis: [00:22:29] absolutely. That’s so true. I love that advice. It’s amazing.

[00:22:33] Brad Greenquist: [00:22:33] and if you do that, you, you attract more work to you by the way. Cause that’s what I do. I really don’t care if I booked the job. I really don’t. Uh, and uh, what I want to do is I get to perform. I go in there and give them a little song and dance for one minute. No more because you’re not paying me, but I get my enjoyment out of it.

[00:22:54] I got to perform, I made somebody smile or I made somebody go, Ooh, creepy. You know? You know? And, uh, just that, that, that lack of neediness is very attractive 

[00:23:06]Dane Reis: [00:23:06] absolutely. And that lack of neediness has, has come up a number of times throughout this interview process with different guests on the show. And you’re so right. And I always say it, I can even attest every single book that moment that I’ve ever experienced to that feeling. It’s when I get in my head, when I feel needy, when I feel nervous,

[00:23:26] it just doesn’t work. 

[00:23:28] Brad Greenquist: [00:23:28] Yes. When you go in the room and go, please like me. It’s a real turn off. I mean, it’s the same as going on a date with somebody who’s so needy. It was so really needs you to like them or love them. It’s you, you, it just chases you away. It’s the same thing. But if you just go in and go, okay, I get to do a little performance.

[00:23:45] This is what I love to do. If it, if I’m not enjoying this, then I ought to get out of the business. So I go in audition. Or if it’s nowadays, it’s all self-tapes, you know, so I have time making these self-tapes. Um, and, uh, and you know, then everyone’s like, Oh, that was great. That was great. You know? Um, but then the reward really is just the joy of performing because that is what drew us all to this career is the joy of performing.

[00:24:10] If that’s not what drew you to it, then you need to change. You need to, 

[00:24:14] Dane Reis: [00:24:14] Yes. Agreed. And the third question, what is something that is working for you right now? Or if you’d like to go pre COVID, what was working for you before our industry went on? Pause.

[00:24:28]Brad Greenquist: [00:24:28] Oh, well, I think just what I said, I really don’t care if I book something there’s things I’d like to book, but I know that as soon as I get my heart set on it, I’ll be disappointed. So I don’t really care. You know, I mean, this comes with age too. I’ve done a lot of work and, um, and it’s great. Some projects, most projects were great.

[00:24:49] Some. Maybe not so great. Uh, but I’ve worked with a lot of really wonderful people. Um, and I will again, and I know that, so it doesn’t matter to me. And that’s a good thing. That’s a really good thing.

[00:25:01] Dane Reis: [00:25:01] yes. And the fourth question, what is your best resource? Whether it’s a book, a movie, a YouTube video podcasts, maybe a piece of technology

[00:25:15]Brad Greenquist: [00:25:15] Oh, well, there’s this book that, uh, helps all the time. Uh, William Goldman’s book, uh, adventures in the screen trade. William Goldman was a screenwriter, brilliant screenwriter. And this book, it was written in the eighties, I think. Um, uh, it, it really lays out what Hollywood is all about. Adventures in the screen trade it’s about power.

[00:25:33] It’s about stardom. It’s about how the industry really works. And, uh, if I were teaching a college class and I had actors, I would, it would be required reading because it really gives you a whole new perspective on what Hollywood is really doing and how you fit into that puzzle.

[00:25:53]Dane Reis: [00:25:53] Oh, that’s amazing. I mean, I mean, just that last sentence right there of saying how understanding, how you fit into that puzzle. Is everything because we are only one little aspect, one little inkling of an entire project. And to be able to, especially early on in your career, wrap your head around everything that’s involved in creating a production, whether it’s stage or film, you need to understand that if you have that idea in your head, it makes it a much easier, I think do then go into those rooms.

[00:26:24] uh, with that lack of neediness as well, because you go, wow. I’m just one little part of this giant project.

[00:26:31]Brad Greenquist: [00:26:31] yes. And then you go in not thinking so much about, do they like me or what can I do, but rather. What problems does the scene have that I can solve as an actor? What can my, how can my performance make this story clearer? Or how, what can my, what can I do to help the story be a little bit more moving or a little bit more interesting or, or simply tell the story in a very simple, direct way?

[00:27:03] what do I have to give to this project? Right. Right. Not, you know, what am I going to get out of it? You see what I mean? What can I, What can I, what can I give to this project? How can I help this project? they need me? Right. If you, if you learn to solve problems, if you learn to look at every audition as a problem solving, uh, um, If you learn to look at every audition as a problem solving challenge, you will get farther ahead because you are solving problems that nobody else knows how to solve, because you are the expert on performance.

[00:27:38]You see You see director may not know how to solve this problem, or a writer or producer or the cinematographer. Um, but. You might because you’re, you are the expert on performance and you know, you know, Oh, I need to lower my voice here and deliver it really quickly like that. And that’ll draw people in for this, this moment here for the big reveal.

[00:27:57]That’s, that’s how, that’s how the scene should work. You see what I mean?

[00:28:00]Dane Reis: [00:28:00] Yes, absolutely. Love it. And the fifth question, if you had to start your career from scratch, but you still had all the knowledge and experience you’ve collected from your career in this industry, what would you do or not do? Would you do anything differently or would you keep it the same?

[00:28:19]Brad Greenquist: [00:28:19] Um, you know, it go the other way around. I think I I’d like to get some of that. Niva T I had, when I started that. You know, , um, I saw a, uh, a video of yoyo, ma the cellist, and he was watching a video of his performance when he was four years old and he turned to the interviewer and said, that’s what I’m always trying to get back to.

[00:28:43]And I think as a. All performing artists are trying to get back to that roughness that we once had. You, you know what I mean? We get so polished and so good after a while. And it’s nice to get back to something that is rough and you don’t know that it’s rough, but it’s maybe more authentic, you know,

[00:28:59]Dane Reis: [00:28:59] Yeah, absolutely. And the last question, what is the golden nugget knowledge drop you’ve learned from your successful career in this industry? You’d like to leave with our listeners.

[00:29:12]Brad Greenquist: [00:29:12] The golden nugget I have is that there is no golden nugget. There are thousands and thousands of tiny grains of sand that you have to tend to. There’s no one answer this, but there’s a lot of work to be done. And it’s all in these tiny, tiny little things you need to train. You need to keep at it.

[00:29:29] You need to live your life. You need to, um, uh, take care of your appearance. You need to constantly be reading, watching films. I mean, there’s so much, there’s, it’s a ton. It’s a thousand little, tiny little golden nuggets. There isn’t one. There’s no one that’s gonna help you. It’s a lot of them, a lot of them and you need, you need to seek them out.

[00:29:52] No one can tell you, you have to find them yourself. 

[00:29:54]Dane Reis: [00:29:54] Love it.

[00:29:55] Brad Greenquist: [00:29:55] I sound a little bit like Yoda don’t I

[00:29:57] Dane Reis: [00:29:57] No, but it’s great because I mean, we all have our own journeys. Right. Right. And in the things that inspire us and in our own skill sets and the things that we can bring to the table and we have to experiment and try and find those, you know, it’s like mining, right. So you’ve got to, you’ve got to sift through a lot of the dirt and the, or before you can actually find. That little golden grain of sand.

[00:30:17]Brad Greenquist: [00:30:17] Yup. Yup, exactly. Yup. That’s, that’s how it is. And you got to find a lot of them,

[00:30:25] Dane Reis: [00:30:25] Yeah. And to wrap up this interview, Brad, it is time to give yourself a plug. Where can we find you? How do our listeners connect with you? Is there anything you want to promote?

[00:30:38]Brad Greenquist: [00:30:38] Oh, um, well, you can always find me on Instagram. That’s pretty easy. Although I haven’t been very active lately cause there’s been nothing to talk about. Cause of the. The plague we’re in. Um, but if any, if anyone out there is interested in, uh, getting some online, uh, meaning, uh, feel free to go to my website.

[00:30:55] Brad’s class.com, uh, B R a D S C L a S s.com. Or you can just Google my name, Brad greenquist and you’ll end up at that website. And, um, and then you can email me through there and, um, and you know, if you’re interested, we can certainly, um, Uh, give you some training. I am working with people all over the globe right now.

[00:31:14]So, uh, that’s kinda cool. Um, doing self-tapes and just basic camera acting. So, uh, and otherwise, uh, well, that’s, that’s how you can get ahold of me and that’s how you can find me. That’s where I am.

[00:31:22]Dane Reis: [00:31:22] Brilliant. And for everyone listening, I’ve put the links to his website and his Instagram in the description of this episode. So you can easily connect with him. Brad, thank you so much. I feel like I’ve had an amazing masterclass through this interview. Thank you.

[00:31:40] Brad Greenquist: [00:31:40] You’re very welcome, Dane. Thank you for having me on your, on your podcast. It’s been a real, real, real pleasure. Great questions by the way. Great questions. 

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