After coaching many Actors to their own success (while condensing my theories down to a logical and organic one), it became a so-called “Cold Reading Technique” simply because it can be incredibly fast. The key to it all is truly “The K.I.S.S. Method” (Keep It Simple Stupid)… and in the real world, Cold Reading doesn’t really exist. You will always have time to prepare, whether it is 5 days or 5 minutes.
What I discovered is that if I couldn’t explain how to approach a scene to a child, I was thinking too much and getting in my head - and it would therefore translate and result into the Client getting stuck in their head. No bueno.
Ironically, my Technique started out as a Script Analysis Tool for my own use while preparing for roles by utilizing all of the varied instruction from my past - just by keeping what worked and discarding the rest. Basically speaking: “The Greatest Hits of Acting” from my perspective + several original tricks that you will love!
The real eye opener happened for me when I started Writing Scripts. It amazed me how many Actors really didn’t understand the formula of Story Telling from a Writer’s Perspective and chose to simply make stuff up - rather than truly seeing it for what it is and how the rhythms are practically spoon fed to them and how they can now make intelligent choices rather than random ones.
The best analogy I can give you is this:
Imagine you are a brilliant self-taught Musician that learned to play by ear and you practiced and practiced until your skills were incredible. You get invited to play with a famous Orchestra. You show up excited and ready to go. You sit down and they hand you the Sheet Music of what you will be playing for the next 2 hours… Good luck with that.
Script Analysis can be a tricky beast. I know. I have had many Teachers in my past try to shove the concepts of endless Beats and Subtext down my throat. For me, it was too much work in the wrong direction. A lot of Actors I’ve seen would just end up re-writing the dialogue at face value and ultimately accomplish nothing. But I discovered how to successfully create subtext and make it organic - and then I found an even easier shortcut to the process that streamlined everything.
Not too long ago, I had a busy, working Actor come over to learn my Technique and the decision to do so "was on a whim" because they "always liked learning something new to add to their arsenal." I believe that alone is very wise. As they left, they said (and I quote): “I can’t wrap my head around how easy this is… It’s brilliant.”
Most of the Actors that learn my Technique have the same expression on their face as they leave.
Come see me.