You gotta be justified by the script. You can’t just make big, bold choices, because you think it would be interesting and believe me i’ve seen actors do that in auditions, where they just do crazy things, because they want to show you they’re expressive. I'm going: “Well, yeah, but it's got to be justified by this writing.” Guys, the big revelation for all of you on our one year anniversary is: “It’s really all about the script and it’s your job to bring the author’s words to give them life.” They really don’t have a life of the page, so you are the life. You are the light, you are the life, you are the way, right? That’s you. It's not arbitrary, it's born of this specific writing and that's why I will tell you, we had August Wilson today, Clare Boothe Luce is a good writer with “The women”, “Doll’s house part 2” is pretty proven. It’s not Ibsen the original Doll’s House, but there’s a real merit there. So, you’re going to learn and you’re going to grow from that, because there's possibilities there. The hardest thing to act are bad television scripts, because there’s nothing on the page. Because they have to write them weekly, but the skills you learn, what you're here is to learn is a vocabulary. I mentioned this in the last few weeks, a vocal vocabulary, that’s vocal variation, a physical vocabulary, an emotional vocabulary, those are the viewpoints and the guideposts. Once you have all those tools, they’ll start to instinctively come out of you in ways that aren’t born of your head and that's when acting’s really fun.