The Vs. Studio Blog

“The ultimate is not to win, but to reach within the depths of your capabilities and to compete against yourself to the greatest extent possible. When you do that, you have dignity. You have the pride. You can walk about with character and pride no matter in what place you happen to finish.” -Billy Mills

Second Wind: A phenomenon in distance running, such as marathons or road running (as well as other sports), whereby an athlete who is out of breath and too tired to continue suddenly finds the strength to press on at top performance with less exertion. Various theories have been suggested to be the cause of gaining ‘second-wind’ during running but as of yet, there has been no definite confirmation for the onset. Some researchers suggest that the second wind may be a result of the body counteracting the balance of the body’s oxygen consumption requirements and the build-up and removal of lactic acid within the working muscles. Others claim that the second wind phenomena is due to the release of endorphins during running which are the body’s naturally producing brain chemicals that are secreted and act to lower pain levels and reduce feelings of stress. Some scientists believe the phenomena may be psychological.

Second winds are just like making art.

No matter how many times prior your second wind has kicked in, you feel this time it won’t. This time is different. This time you’ll be exposed. You’re scared. You’re in pain. You don’t know what to do.

The only thing keeping you going is sheer will. And belief.

Belief in yourself. Belief in your idea. Belief that at some point your second wind will kick in. And when it does, you’ll be okay.

It’s the getting there that sucks.

Don’t give up. Keep going. Keep going through the suck. You’ll get there.

P.S. – Billy Mills, pictured above, has an incredible Olympic story. Watch this clip from the 1964 Olympics. Talk about a second wind and finishing kick! There’s also a terrific movie about him called “Running Brave.”

“I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let’s face it.” -Terry Malloy in On The Waterfront

“Maybe all one can do is hope to end up with the right regrets.” —Arthur Miller, The Ride Down Mt. Morgan

Does the below monologue sound familiar? Or some form of it? Have you heard or said something similar? I used a financial example (a) because it comes up fairly often around me (I have a background in finance and investing) and (b) a neighbor friend just said it to me yesterday morning. (I paraphrased slightly, but not much.)

I think it’s applicable to any type of goal or dream or burning desire we have in life…

“Aw man, I knew this stock was gonna go up. I just knew it. I watched it every day, I was reading articles, I know the industry really well…I told my wife, I told friends, I was like, we should invest big. At the time, it was like $3 a share and now it’s over $70! If I just…(insert whatever excuse you choose), I woulda invested.

“If I woulda invested, then I coulda been done. Outta here. Rich…Of course, I didn’t do anything.”

(Long ass pause.)

“Motherf-cker. I shoulda listened to myself.”

Don’t woulda coulda shoulda.

Go make your art.

P.S. – To watch one of the greatest film acting scenes of all time, click Here.

A prior post was about sunk costs. They deal with the past.

We should also be aware of opportunity costs. They deal with the future.

In microeconomic theory, the opportunity cost is the loss of value or benefit that would be incurred (the cost) by engaging in an activity or choosing an option, versus/relative to engaging in the alternative activity or choosing the alternative option that would offer the highest return in value or benefit.

Put more simply, when you decide to do something, be aware of all the other things you won’t be able to do as a result of your choice. That’s opportunity cost.

We can apply this to making art.

If you decide to do a passion project and go all in, realize all the other things you’re giving up. Things you won’t be doing as a result of your decision. Don’t let that paralyze you. Just be aware. If after bringing awareness to this fact, you still feel that engaging in this project will bring you more value (I don’t mean monetarily, although that could be part of it. But really personal value, artistic value, psychological value, etc… ) than doing any of those other things, (or not doing anything at all) then it’s worth it. Go for it. Feel great about your choice.

One of the most brilliant pieces of acting advice I ever received was this:

“The frustration is the acting.”

All the stuff that happens in between your next line–often the opposite of what you want as the character, yet are feeling deeply–is riveting to watch and super fun to play.

No one exemplifies this more than Jackie Gleason in The Honeymooners. Watch this clip here. (Or really, every single episode.)

Yes it’s great to be the champion.

But you know what’s even greater?

To champion someone else. Or cause. Or organization. Or piece of art you really believe in.

Who or what can you champion today?

“I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.” -Joan Didion

Playwrights…

Leave your thesis statements behind. Don’t try to prove anything. Don’t know where you’re going.

Instead, know your characters inside and out. Put them in a room and get ’em talking. Trust them and the power of your subconscious to illuminate the way.

There’s a famous acting adage that goes: “The more interested you are, the more interested we are.” This is why we can endlessly watch babies at play. Or people fully engaged in their work (aka “flow”). Even the old man feeding the pigeons in the park can be captivating. (This is why authentic behavior on stage or screen is an absolute must. Another post for another time.)

The same holds true when it comes to the element of surprise. For your acting and your writing.

The more you can surprise yourself with what just happened, the feeling of “Where in the world did that come from?”, the more surprised we will be.

And guess what?…When we’re surprised, that means you’re unpredictable.

And when you’re unpredictable that means we’re riveted. Because we have no idea and can’t wait to see what happens next.

And when that happens, you’ve got us right where you want us. Open, alert and ready to receive whatever it is you have to offer.

Go make your surprising art.

There’s a lot of interest today on the topic of morning routines. It’s a frequent podcast question. There are several books devoted solely to it. Lots of social media around it.

And understandably so. It makes intuitive sense to get your day off to a good start. After all…You are the power plant.

What gets less attention but might actually be more important, is your evening routine. Especially because a good evening routine can both unlock the power of the subconscious and lead to a better night’s rest. Which is vital to your energy and your artistic creativity. Ryan Holiday, an author I’ve recommended prior, especially his books on Stoicism, just put out a great article on evening routines. You can read it here.

As with any routines, trial and error is key. One size does not fit all. Pick and choose what you think might work for you and your lifestyle, and give it a shot. Try it out for a month or so. If it works, great. Keep it. If not, try something else.

And if you have some good morning or evening routines/practices you wish to share, I am all ears!

A most generous act you can do for a friend and fellow actor is to think of a role(s) they’d be great in and tell them. Call them up and ask, “Hey, have you every thought of playing (insert role and play)? You’d be awesome in it! Here’s why….”

This is actually an assignment we do in our Vs. Producing Workshop. We often don’t see ourselves the way others see us. It’s powerful when someone else “casts” us in a part.

(You can also do this for your director friends. Recommend a play they should read and consider for directing.)

Bonus points if you buy the play and mail it to them.

And if you find yourself on the receiving end of this generosity, please, PLEASE, get the play, read it immediately and no matter what you thought of it, call that person up and thank them profusely for thinking of you.

“The fact is always obvious much too late, but the most singular difference between happiness and joy is that happiness is a solid and joy a liquid.” -J.D. Salinger, Nine Stories

“I’m going to need all of you. Put your embarrassment in a box and set that box on fire, when I clap you clap.” -John Kolvenbach, Stand Up If You’re Here Tonight

The epigraph to J.D. Salinger’s Nine Stories is the Venerable Master Hakuin’s famous Zen Koan:

“We know the sound of two hands clapping. But what is the sound of one hand clapping?

The answer?

Well, that’s entirely up to you.

Hint: Don’t worry about coming up with an answer. Just sit with it for a while. Like all koans, allow it to break through your logical thought and reasoning, both of which are responsible for attachment and subsequent suffering.