When I saw the film “Gypsy” with Rosiland Russell and Natalie Wood at the age of 4, I was transformed. Seeing the transformation of Miss Wood from tomboy to buxom striptease star made a lasting impression. I would parade in front of the tv where my parents and siblings were trying to watch the news or whatever and sing “Let Me Entertain You”. When I was around 8 years old I discovered I had the knack for making people laugh at my impressive impersonations of famous people such as LBJ, Paul Lynde, and Wally Cox.
Out of the Depths short film. I have a lead role. #CoalMiners https://t.co/vtujQA2flL #WestVirginia
— Suzanne Sadler (@meisneractress) March 22, 2015
Did you study acting Initially I was on a path of musical theatre having studied piano from about the age of 5 until my late teens. I studied voice in my 20s which coincided with my search for an acting school. At the time I was living in Connecticut which was commutable to New York City via the Metro North train. I had taken classes at a few places in Manhattan but nothing resonated with me until I enrolled at The Acting Studio with James Price. James was a close friend and protégé of Sanford Meisner. It was a 2-year intensive Meisner program. I commuted into the city 4 times a week for two years. The experience was life changing.
Suzanne Sadler Demo from Suzanne Sadler on Vimeo.
What acting technique do you use
As I’ve said, Meisner is the “technique” that I devoted myself to but once you go through that or I would say any technique, at some point you have to drop the technique. In other words, you don’t want the audience to see a technique. You want them to see a real living breathing person. There are many tools I use when necessary. Sense memory is a tool. I haven’t yet employed method acting in any role but there may be a time when I will find it necessary.
What wrong impressions do actors hold about acting
Acting is not indicating. We’ve all seen that and it’s ugly. An actor simply has to listen and react truthfully to what is being thrown their way. Listening is key. Really listening. When an actor says, “I feel it”, you know they’re in trouble. It isn’t about feeling. It’s about doing. Being in the moment. Listening and then reacting honestly.
Do you take courses to improve your craft
Continually studying and working with others is vital. I will be honest in saying that the last several years I have not been able to take part in classes and workshops mainly because of where I am located. I was able for many years to be part of a weekly film class which truly helped me in staying fresh. It’s a safe venue for risk taking and getting the feedback from someone you trust.
What acting books do you read
“Acting for the Camera” by Tony Barr is fabulous. “The Actor’s Audition” by David Black. “Acting in Television Commercials…” by Squire Friddell. Sure I’ve read Stanislavski’s books. Uta Hagen’s “Respect for Acting”. You can learn from all of them.
How do you keep fit as an actor
I exercise regularly. It’s important at my age to stay fit. Acting takes a lot out of you. You need to have the stamina for those long days on set.
When you’re offered a role, what do you do next
It depends on the role and what type of production. When it’s for the stage, that’s a whole other ballgame and one which I haven’t played in (unfortunately) for some time. I do go over the script countless times. To glean what I can about my character. How others view me. What is being said about me in scenes where I am not physically present. Obviously if there’s an accent and/or physical attribute required then you have to gear yourself up for those exigencies.
How do you take a character in a script to a honest, believable and breathing person
My process is personal and one that I have trouble defining so it’s difficult for me to share with you what I go through in order to fulfill the writer’s purpose of his/her characters. I have learned to keep it simple. Again, really being able to listen to the other person in a scene is vital. Let what they do affect you. However you can make that work.
How do you stay fresh on set
For me, simply knowing that the camera is rolling is enough to get me back in the game even if I’ve been hanging out for 4+ hours waiting for technical shit to be right. It isn’t easy with the variety of egos on set and the need for perfectionism to keep “fresh”, i.e., keep your cool. I have found that at times the ridiculous wait times can actually help feed your performance in the end.
Ripped
Describe a memorable character you played
Years ago I took part in a short film, “Not A Stranger” probably around the year 2001 which was a project of a student attending the International Film & Television Workshops in Rockport, Maine. My character was a woman named Donna whose husband kept her prisoner inside their home. The actor I worked opposite was fabulous and helped me take on the role and all things required of being a person who had no contact with the outside world.
Explain one creative choice you took on set
There aren’t a lot of directors or sets that allow an actor to make a creative choice so that’s a slippery slope. I will say that working on the film “Is That You?” opposite renowned Israeli actor Alon Aboutboul and being directed by Dani Menkin was a very organic and freeing experience. The cameras kept rolling as we (the actors) felt our way based on our own real desires based in the moment. Alon was very improvisational and I followed his lead. In fact, a scene that wasn’t in the script made it into the final cut. It was very moving. We had our heads together, eye to eye, and Alon – as the character – reminisced about a past experience. I reacted truthfully to his words and it was simply beautiful.
What do you want most from a director
Guidance. Restraint. I want the director to have the sensitivity to know when to tell me something and when to just let me go my own way. However, I would honestly like them to actually direct me more! Too often they just let me go with it but I think my performance is not as good as it should be at times. Point things out I may be missing. There’s always room/need for improvement.
What actors do you long to work with
That’s a very tough question since there are dozens of actors I would give my right arm to work opposite. This may sound odd but it would be Denzel Washington.
Why
He always looks like he has a secret. Something he knows that you don’t. That’s very tantalizing and a wonderful aspect of every performance. I think it would be challenging and educational to work with him. Not intimidating but an actor who could bring out the best in myself.
What advice would you give to actors
To never give up on your dreams. To work as often as you can. But,if the rejection becomes too much to handle to give it up…for a period of time. I am actually contemplating this myself. I’ll never stop the pursuit but I find that the older I get I don’t handle the long periods between projects as well as I did when younger. I’ve been very busy submitting taped auditions the last few months but still waiting to “get that role”.
Briefly write about your career
In the beginning I only considered the theatre, never being in front of the camera. When I obtained an agent during my thirties in Nashville, I started getting cast in corporate films, commercials, and music videos. I was continually being told that the camera “loves” me. I found a fabulous acting teacher specializing in film technique who I studied with for several years which started my pursuit of roles in independent films. Although in “real” life I’m the person making others laugh, I have yet to be in a true comedy. I am a very emotionally charged person and have complete access to my emotions. Never afraid to go dark and deep. So, directors tend to cast me as the emotionally distraught mother/wife with the added benefit of having someone who can cry on cue. Although I shy away from horror films, “Paracosm: the untold stories” which was directed by renowned erotica graphic artist Dorian Cleavenger, was one of my best experiences. Plus it was a period piece set in Victorian England so I had the chance to use my talent for accents. First time playing on set filled with movie magic and creatures. I loved working with Bill Raymond in “Heart of the Beast” who audiences know as “The Greek” from THE WIRE. My most recent job was playing the part of someone who had been murdered by their husband. It was one of those reenactments which I also stay away from but this one was different. Very professional crew. Great care getting the story right while having empathy for the family of this woman. It’s hush-hush for now but will be airing on a major cable station in the future.
