Film & TV, The Creative Process: Acting, Directing, Writing, Cinematography, Producers, Composers, Costume Design, Talk Art & Creativity

• An Actor Prepares - SHARON LAWRENCE on Crafting Complex Characters - Highlights

  “I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward’s words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine’ when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That’s another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she’s earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson’s Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

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• SHARON LAWRENCE on Acting, Activism & The Art of Transformation

  “That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward’s words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine’ when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That’s another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she’s earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson’s Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

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• Childhood, Creativity & the Stories that Define Who We Are with MEGAN ABBOTT - Highlights

  “I think that it all goes back to childhood. I’ve always really been writing about family. I suppose we always are. I do think that it is the original wound, and it's where we are kind of wired and built from those early years. So I think every other relationship just replicates that. It's very natural for me to go there, I suppose because the feelings are most intense there. We just keep recycling these relationships and dynamics over and over again—until maybe someday we can catch ourselves and try to break the bad patterns. It feels the most visceral and real to me, always. You're always looking for that in writing. You want everything to be at this peak intensity, or at least I do. That seems the most natural place to start.I've thought about that a lot while writing the book. We really are in the age of the grifter, as they keep saying. In some ways, it's the most deeply American type, the hustler of American aspiration. And money, I think that was hovering in my head when I wrote the book. How women persuade and convince one another of things feels particularly complex to me. I think there are so many layers to female relationships. That was really interesting to me to pursue because, in some ways, it's much more veiled and complex. So I tend to write about groups of women a lot, regardless of the field, but particularly the way they communicate or don't communicate, or communicate without words to one another, is an ongoing fascination of mine.”Megan Abbott is the Edgar award-winning author of twelve crime novels, including Beware the Woman, You Will Know Me, Give Me Your Hand, and the New York Times bestseller The Turnout, the winner of the Los Angeles Times Book Prize. She received her Ph.D. in English and American literature from New York University, and her writing has appeared in the New York Times, the Guardian, the Paris Review and the Wall Street Journal. Dare Me, the series she adapted from her own novel, now streaming on Netflix. Her latest novel, El Dorado Drive, is available June 24, 2025.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

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• Exploring  Family Dynamics & Fierce Female Friendships with Novelist MEGAN ABBOTT

  “I always say to young writers, you need to put your heart on the page. Don't worry about being like anyone else. I would say that foremost, in any of the arts, it is self-expression at its core. I don't buy rules or a set criteria or a static criteria. I don't believe in any of that. I think the most exciting talents are kind of inexplicable. You can't really understand why that art works. It just does, and that feels like it comes from a very pure place.I think that it all goes back to childhood. I’ve always really been writing about family. I suppose we always are. I do think that it is the original wound, and it's where we are kind of wired and built from those early years. So I think every other relationship just replicates that. It's very natural for me to go there, I suppose because the feelings are most intense there. We just keep recycling these relationships and dynamics over and over again—until maybe someday we can catch ourselves and try to break the bad patterns. It feels the most visceral and real to me, always. You're always looking for that in writing. You want everything to be at this peak intensity, or at least I do. That seems the most natural place to start.”Megan Abbott is the Edgar award-winning author of twelve crime novels, including Beware the Woman, You Will Know Me, Give Me Your Hand, and the New York Times bestseller The Turnout, the winner of the Los Angeles Times Book Prize. She received her Ph.D. in English and American literature from New York University, and her writing has appeared in the New York Times, the Guardian, the Paris Review and the Wall Street Journal. Dare Me, the series she adapted from her own novel, now streaming on Netflix. Her latest novel, El Dorado Drive, is available June 24, 2025.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

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• Building Bridges, Breaking Cycles: Personal Stories of Healing, Social Justice & Activism

  How do our personal relationships affect political movements and activism? What can we learn from Native American tradition to restore ecological balance? How can transforming capitalism help address global inequality and the environmental crisis?DEAN SPADE (Author of Love in a F*cked-Up World: How to Build Relationships, Hook Up, and Raise Hell Together) shares his reflections on the importance of understanding common relational patterns within activist movements. He emphasizes the need for solidarity and collective action in response to global crises like the conflict in Gaza and ecological disasters. Spade argues for resilience and mutual support within activist communities as essential for sustained efforts toward systemic change.TIOKASIN GHOSTHORSE (Founder · Host · Exec. Director of First Voices Radio · Founder of Akantu Intelligence · Master Musician of the Ancient Lakota Flute) discusses the often-overlooked Native history and the Western historical domination that has shaped contemporary educational perspectives. He highlights the need for reconnection to Native perspectives and calls for an acknowledgment of the spiritual and cultural richness lost through historical and ongoing colonial practices.ALEXI HAWLEY (Showrunner · Writer · Creator of The Rookie · The Recruit) explores the complexities and challenges of depicting policing on television. Reflecting on the creation of his show "The Rookie" in the aftermath of Philando Castile's murder, Hawley discusses the show's evolution in addressing injustice in the justice system and the effort to portray an aspirational version of policing that acknowledges real-world issues.JERICHO BROWN (Pulitzer Prize-winning Poet · Director of Creative Writing Program · Emory University · Editor of How We Do It: Black Writers on Craft, Practice, and Skill) delves into the complexities of being a Black writer, emphasizing the importance of embracing one's identity rather than trying to transcend it. He discusses how blackness enriches his craft and argues that the power of writing comes from its capacity to create new ways of seeing and understanding the world.PAUL SHRIVASTAVA (Co-President of THE CLUB OF ROME) analyzes the need for collaborative efforts across various sectors—businesses, governments, and individuals—to address global inequalities and environmental challenges. He underscores the imperative to reshape capitalist principles to reduce extreme inequalities and to foster a sustainable and equitable global system.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram: @creativeprocesspodcast

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