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Tina Rowley

This is so great. Publish the other half, already!

Paul Mullin, I love where you're coming from on this whole debate. I'm deeply allied with this point of view. Just because we can't quite articulate something or identify or pull it to pieces with our tools, doesn't mean there's no there there. And the MIG analogy is superb.

If I could high five you with the force that I intend on this stuff, your whole family would fall over.

Paul Mullin

Thanks, Tina!

I'm delighted that you like it. Sheesh, I think I might be blushing, so stop with the gushing already!

(PS Don't you dare stop.)


This, this transcription right here, this is why I love men.

Paul, have you seen Drunk History? Google it.

Lyam White

This is really incredible, Paul.

I thought I had something to add, but I think there's more processing to do. Or maybe I just need to read more (since any trains of thought it inspires in may might well have reached fruition in the remainder of the conversation).

Paul Mullin

I hate to break it to you, Lyam, but I'm about 2/3 of the way through the second side, and mostly we just get drunker.

But in the spirit of full disclosure, I will post it in due time.

Geni Hawkins

Actually, I liked the second half even better. Attempting to retain some degree of coherence while plastered beyond belief isn't only funny on stage, you know.

But, holy crap, the section on whether or not an actor ever has the "right" to question the director's choices for their character surprised the hell out of me. Really? Some people just do as they're told and don't try to defend their own choices? (I'm not talking about being a total diva, being argumentative for its own sake or making oneself a PITA, I'm talking about explaining why you think, as an actor, that a particular choice you've made is more real than what a director is asking.)

Paul Mullin

Thanks, Geni!


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