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HomeActingMatt Miller Interviews Tim Bagley!

Matt Miller Interviews Tim Bagley!


Open up Tim Bagley’s checklist of TV and movie credit and it would simply unroll to your ft. Tim Bagley has been engaged on stage and display screen for many years and with good motive: he’s critical about comedy—and performing generally. I met Tim in 2015 on the set of Lecturers the place he performed Principal Pearson and he was form sufficient to speak with me not too long ago about his profession and his strategy to performing. The next is an edited transcript of our dialog.

Tim Bagley

MM: Quite a lot of the actors studying this interview have had some expertise performing on stage however may be reasonably new to engaged on digicam. Leaping backwards and forwards between these two mediums could be difficult even for extra skilled actors. You’ve got labored each on stage and on digicam on the highest ranges. How do you calibrate your decisions as an actor—particularly for digicam work?

TB: The factor about digicam work is that a lot of it’s internalized. I feel simply good performing, generally, is internalized, it’s a must to be linked to your inside emotional life. I simply keep in mind that once I was working with the Groundlings and once I do theatre now I’m considering extra bodily, externally. How do I ensure that all people within the again row can see what I’m doing bodily? While you’re engaged on digicam, the digicam actually picks up every thing…the digicam will present what you’re considering if it’s there internally…you don’t have to point out or point out—ever.

MM: You talked about the Groundlings. I do know you studied and carried out there for years. What drew you to improvisation?

TB: I used to be having hassle early on in my profession sort of imagining myself in various roles, like as a king, ? Characters and eventualities that have been by no means like me.  One among my lecturers, Nina Foch, inspired me to go examine improv with the Groundlings the place I wouldn’t have time to consider it. In sketch comedy and with the Groundlings particularly you sort of immediately put a personality on. If any person labeled you as psychopath in a scene why you then simply needed to be a psychopath immediately. It was actually good for me to only learn to be within the second and go along with no matter was occurring. In scene examine courses you usually must work to only learn to be current, however in improv you haven’t any alternative. It simply forces you to be current and within the second.

After the Groundlings, I began learning with Howard High-quality and he taught me the best way to discover the character inside myself, in order that I’m not considering by way of externally placing one thing on to cover myself, however reasonably revealing a part of myself within the character. And I’m nonetheless learning proper now actually; I’m taking a category with Helen Hunt. I’m at all times making an attempt to get higher. That’s our accountability as actors. I’m at all times making an attempt to push myself past my consolation stage.

MM: Do you’ve got any rituals as an actor? Something you do earlier than an audition or earlier than taking pictures a scene to assist floor you?

TB: I imply the primary factor for me is simply doing my preparation. I’m going via my means of breaking a scene down, figuring out what I’m preventing for, figuring out what I need, figuring out what obstacles are in my method. I at all times have a Second Earlier than that I attempt to floor in some sort of bodily reality. Then it’s crucial to memorize the strains so I do know them backwards and forwards. So then whenever you’re on set with all of the issues occurring they don’t distract you. You realize what you’re doing and also you’re not fascinated by your subsequent line, you’re simply capable of be current. You’ll be able to take a look at your scene accomplice and simply reply to them. I simply at all times need to be as ready as I can presumably be.

MM: Shoot days on a movie or a TV present as an actor could be each exhilarating and exhausting, seemingly limitless one second after which lightning quick the following. What have you ever realized about staying prepared and/or passing the time on set? Any suggestions?

TB: Ha! Sure! It’s actually laborious in case you have an enormous emotional scene and also you assume it’s developing in like ten minutes so that you go forward and get your self into that emotional place after which it’s really like three hours later that they name you. And you may’t actually keep in that emotional state for 3 hours. So I at all times ask to have the twond AD or a PA give me like a half an hour heads up earlier than I’ve to go on set so I’ve a way for the timing of the manufacturing. I work with whoever I’ve entry to to be able to ensure that I get a heads up. That’s my one tip. There’s nothing worse than being referred to as to set whenever you’re not ready.

MM: Are you able to discuss your relationships with casting administrators? What are some issues early profession actors ought to have in mind as they’re going out for auditions and assembly CD’s?

TB: I bear in mind a sense early on that they have been simply miles aside from me. However they’re so much like actors. They must principally audition or interview for his or her jobs and there’s so much at stake for them once they deliver folks in and present them to a director.

What I at all times attempt to do once I’m getting into to fulfill a casting individual is to essentially are available ready. I need them to know that I’ve acquired their again. Not by saying that to them, however by getting into and turning out a very good audition. It’s the easiest way you possibly can insure a future relationship with that casting director.

Tim Bagley on Monk
MONK — “Mr. Monk Fights Metropolis Corridor” Episode 7013 — USA Community Photograph: Vivian Zink

The opposite factor is, casting administrators are folks they usually have their issues…issues which are work associated, issues with the producers, issues with the writers. They’re people who find themselves simply making an attempt to current themselves nicely. Like actors.

MM: Do you watch your work? I do know some actors who don’t ever watch the completed movie or TV present they’re in.

TB: I normally do watch it. I watch it to study and to develop. I bear in mind Elizabeth Taylor one time saying she by no means watches her work and I believed to myself “Huh, perhaps if she did she wouldn’t have pushed as a lot as she did.” [Laughs]

One time my niece stated to me, “Uncle Tim, why is it everytime you’re on TV your eyes at all times bug out?” So I watched for that and I observed that she was proper. So I needed to learn to sort of calm down my eyes and never work as laborious. I simply assume for those who watch your work you possibly can study out of your errors.

[Laughs] Oh! Additionally, there was this one time I used to be on an episode of V.I.P. and I used to be taking part in a global terrorist serial killer and I got here into the scene with an enormous gun with a silencer on it. And I bear in mind considering, “nicely, I’ve acquired to point out the loopy eyes.” However then once I noticed it performed again and it was so excessive and ridiculous and I believed, “Tim for those who’ve acquired a gun with a silencer on it, all it’s a must to do is stroll into the room. They’re going to be scared. You don’t have to point out them that you just’re harmful. You don’t have to point out them loopy eyes. Simply be calm. The gun will do all of the work.” So yeah, you study stuff like that from watching your dangerous performances.

Tim Bagley on set
Tim on the set of “Grace and Frankie” with Sam Waterston, Kyra Sedwick, and Martin Sheen

One different expertise of watching my work not too long ago, there was a scene on Grace & Frankie when a visitor director got here in, Kyra Sedgwick, and she or he instructed me we’re going to shoot a scene the place your character is smoking a hookah. She wished to know if I might inhale and blow smoke rings. And I instructed her I’ve by no means completed smoke rings, however I’ve 4 days. So, I went to a few hookah bars on Melrose and requested folks there they usually confirmed me the best way to do it and I practiced. After which once I went to set I blew some rings and she or he was like “How did you try this?!” And I instructed her I went to some hookah bars to study and she or he was so impressed, however the reality is: that’s an actor’s job. In the event that they inform you they need to see you do that, it’s your accountability to learn to do it. I’ve realized how to take action many issues due to performing jobs.

MM: That’s a part of the enjoyment of performing, actually, isn’t it? Delving into elements of life you may not have explored in any other case.

TB: Sure, it completely is. And I watched that scene as a result of I wished to see the way it regarded. And positive sufficient, it regarded actually good. It regarded like I had been smoking hookahs all my life!

MM: That’s so nice. You’ve got labored with a formidable array of actors through the years. Any favourite scene companions? Anybody you’re keen on working with due to how they problem you in a scene?

TB: I’ve had so many and I do know folks at all times say that, however I simply love actors and I discover one thing joyful in taking part in with each one in all them.

Tim Bagley

I’ll say one expertise I had, and I by no means actually discuss this, however once I labored with Tony Shalhoub on Monk…it was my first episode on the present and I used to be solely presupposed to visitor star as soon as. He simply made me really feel like 1,000,000 bucks, like I used to be simply gold. We improvised somewhat and I might see him laughing and to see him laughing meant a lot to me. And so they stored calling me again for extra episodes and each time we had a scene collectively Tony would say ”Can we improvise somewhat right here?” And I discovered later that there actually was no different improvisation in that present; I feel he simply loved our playful trade. What I took away from that was how he made me really feel. He made me really feel like I used to be a rare actor and I simply assume it’s so essential that once we play with folks we ensure that they know we recognize what they’re doing. Tony is such an aesthetic man and only a good actor. He was continuously stunning me, and it could make me step as much as his stage and attempt to shock him. It was thrilling to play a scene with him. However once more, the large takeaway was simply the way in which that he handled me. It meant every thing to me. And I simply at all times take into consideration that once I’m working with different actors now.

MM: I can say from my expertise watching you’re employed on Lecturers that you’ve most undoubtedly handed that good power ahead. All of the Katydids liked being in scenes with you.

Grace and Frankie

TB: Thanks. We had the very best time on that set!

You’ll be able to see Tim Bagley within the last season of Grace & Frankie popping out on Netflix this summer season.

Matt Miller

Initially from Kent, Ohio, Matt Miller is a Chicago-based director and producer.

As a industrial director, current credit embody work for Eggo, America’s Greatest Eyeglasses, Black Flag, AT&T, Seeso, Hyundai, Crest, and The Hartford.

An completed stage director as nicely, Matt’s credit embody Irish Theatre of Chicago’s manufacturing of The Seafarer (nominated for five Joseph Jefferson Awards, WINNER for Greatest Ensemble), The Killer Angels with Lifeline Theatre (WINNER Joseph Jefferson Award for Sound Design), Superior Donuts with Mary-Arrchie Theatre Co., and Oblivion for Steppenwolf’s First Look Repertory.

Check out Matt’s workshop, Discover The Humorous: Industrial Workshop with Matt Miller: In Particular person! Learn to establish the humorous in industrial copy and goal the very best locations to improvise from probably the greatest within the business!

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