Tetragrammaton

Tetracketka

I think if you do a thing for a really long time, you can get into, anything can be by

rote. You know, you can get to the place where you're doing things kind of beautifully,

unconsciously, and then you can get to where you're maybe on autopilot

and like the right kind of instinctive and unconscious is wonderful and then there's that thing where

I don't want to say phoning it in because I hope I've never done that but but where you're too

familiar with a set of moves, and I definitely

am approaching a place where I almost feel that I'm not really sure I remember what I'm supposed to do or how I'm supposed to approach it and I'm kind of happy about

that. But I think if I kind of stand back from it all, I think that when it's working really well,

you feel like you're channeling something through that, yeah, you might have, you know, just like a

musician or you've done the work work and the craft work to create the conduits

that you're accessing the channel through,

but that you've tapped into something where you're not having to,

yeah, you're letting something go through you that's not you.

And I think, I think at the center of it is empathy.

I kind of think if an actor can't anchor themselves in real empathy,

there's nothing really good. There might be performative kind of bullshit or,

you know, comedy or humor or whatever. But for me, it's kind of like you've got to get to a place

where you're trying to seek some sort of a deep understanding of a different person's

experience and what flows out of it in interesting ways

But ultimately that's I think that's empathy you know when you're in it

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