Joe Anthony Studios

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Joe Anthony Studios Joe teaches actors to communicate rather than perform. This allows them to get out of their actor brains and into their child’s heart.

Joe Anthony’s inspiration to teach can be credited to two life-changing mentorships: the first by Dr. David Payne Carter, New York University’s renowned professor, author and theater historian and Corey Allen, legendary Hollywood actor (Rebel Without A Cause) and Emmy-winning director (Hill Street Blues, Star Trek: Next Generation). Joe’s career began in 1995 with the tremendous honor and opportunity to, along with Corey Allen, develop an acting program for Columbia College Hollywood. Together they developed a one-of-a-kind, three-level curriculum culminating in acting and directing students working together in their final year at the film school. In 1996, he was also approached by one of Los Angeles’ most well-known cold-reading studios for film and television actors where he taught for seven years. Joe’s love of theater and desire to further himself as a teacher led him to launch Joe Anthony Studios in 2002 where he now coaches both actors and directors privately and in classes.

10/05/2026

Actors have the opportunity to play out a scene multiple times and the challenge is to keep it fresh. Here’s how.

I take the same walk almost every day. Same streets, same turns, same houses. And it’s never the same walk twice. Some days I notice the light. Some days I’m lost in thought. Some days a neighbor stops to talk and the whole thing changes.
That’s exactly what a script is. The words don’t change. Your blocking doesn’t change. But you do. Your thoughts are different today. Your feelings are different. And the person across from you is bringing something new every single time.
The actors who stay fresh on take 40, or in week six of a run, aren’t working harder to recreate something. They’re letting themselves take the journey again instead of replaying a memory of it.
If your work starts to feel rehearsed, flat, or “locked in,” that’s something we can fix together. I’ve been helping actors make the leap to professional work for 30 years, in person in LA and online.
Comment or DM TRAINME and I’ll send you info about coaching with me.
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You’ve got your lines handled. That was never the hard part. The hard part is the thing nobody trains you on: staying cu...
10/03/2026

You’ve got your lines handled. That was never the hard part. The hard part is the thing nobody trains you on: staying curious about something you’ve technically already seen a thousand times. Kids do this constantly — a bug on the sidewalk is a whole universe to them. Somewhere along the way, most of us stopped looking down. Not because we lost the ability. Because we stopped practicing it. If your work feels flat, it’s probably not your technique. It’s that you’re playing a scene you already know the ending to, instead of discovering it like your character does. Comment TRAIN and I’ll walk you through how we rebuild that muscle.

10/03/2026

How much of your prep is spent on what your character knows?
The backstory. The facts. The given circumstances. All useful. But none of it is what drives a person through their life.
What drives us is what we don’t know yet. What we’d like to know. That’s what pulls us out the door and into the world, chasing answers.
So here’s your assignment this Halloween season: go through your script and find every question your character asks. Every one. Then look at them together. You’ll get real insight into what’s on their mind when they’re alone.
Then go further. Find the question underneath all of them. The one with no definitive answer. The one they can’t seem to answer and can’t seem to stop asking.
That’s the question that haunts them. And it should haunt you, too.
🎃click the link in the bio for info on training
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10/01/2026

The less certain you are the better your work gets.
That sounds backwards. We’re taught to nail down every choice, know every motivation, and walk in with answers. But real people don’t live with answers. They live with doubt, and they take action to seek answers.
That’s the secret to character. Everyone is hoping and fearing underneath it all. The specific way someone covers that fear, the mask they choose, is what makes them who they are.
So treat preparation as permission to swim in uncertainty as the character. Don’t solve it, just exist in it.
Then treat play as the moment you get to be brave. Take a stand. Commit to something, moment by moment, with all that doubt still there.
Certainty makes actors stiff. Commitment in the face of uncertainty makes them alive.

DM me the word MASK and I’ll send you details on coaching at my studio. I’ve spent 30 years helping actors find the person behind the mask, and I’d love to help you find yours.
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Know your words. But what does it mean to know your words and what does it take?Most actors learn their words by memory....
10/01/2026

Know your words. But what does it mean to know your words and what does it take?

Most actors learn their words by memory. They practice exercises that help them. Remember the words written for them to say. But that’s superficial. Our words in life don’t come from repeating them over and over again. They come from thoughts hidden in our minds. There is a difference between learning your words by memory and learning your words by heart. To learn your words by heart means you have to accept that they are yours not some characters. You have to take personally the things that you get to say and then you need to make time to reflect on where they come from. Once you do that, your words are in your heart, and they will have more impact when people listen to them.

09/29/2026

Stop memorizing your lines.
Not because you don’t need to know them, but because memorizing is only studying the surface. The words are the tip of the iceberg. Everyone can see them. What they can’t see is everything underneath: where those words come from, and why you need to say them.
Here’s how to go beneath the surface:
1️⃣ See the line as a vocalized opinion, not dialogue.
2️⃣ Accept that this opinion is yours, at least while you play this part. Acceptance leads to justification and curiosity.
3️⃣ Imagine what you’re saying, not yourself saying it. One is performance. The other is substance.
4️⃣ Spend time wondering about that opinion.
Do this and you won’t just know the words. They’ll mean something to you. And that’s what the audience actually receives.
💬 DM me BENEATH and we’ll start your training today
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09/28/2026

Ask a room full of actors how it feels to share something true while an audience watches. 30 years ago most said thrilling. Today more say terrifying.
That’s not because they are less talented. That’s because they are less practiced. We continue to build lives that let us avoid being truly seen. Texting instead of talking, staying inside instead of showing up. And without the practice of getting vulnerable and surviving it fear gets louder and resilience never gets built.
Acting is one of the last places where being witnessed is the whole point. That’s not something to fear. That’s the gift.
If the stage scares you, you’re not broken. You’re just out of practice. And practice is something we can do together.
DM me witness and I will reach out personally to help you start building that muscle today
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Your job as an actor is to make believe you’re living in the story world the writer has created. Everything written in t...
09/26/2026

Your job as an actor is to make believe you’re living in the story world the writer has created. Everything written in the script is simply a suggestion. It’s up to you to accept whether that suggestion is true or not. Remember that acting is a child’s game and children begin play by accepting the game. Without hesitation. Children want to be gullible. And then at some point in our lives, we learned that being gullible isn’t cool and then as adults, we rail against it. You have to learn again to allow yourself to be gullible when you are reading your stories. The writer suggests where you are and when you are and who you are with and what you’re doing and what you’re saying. Your job begins by accepting that those things are really happening. Then your imagination can take over. But only after you accept the rules of the game.

09/24/2026

Stop trying to feel.
I know. Every director, every teacher, every class you’ve ever taken has told you the opposite. Your job is to feel something. Find the emotion. Get there.
But think about what that actually asks of you. To feel something on cue, you have to check in with yourself. Am I feeling it yet? Is it enough? Is it showing? That’s a self-conscious experience. And self-consciousness is the enemy of presence.
Nobody walks through life trying to feel things. We walk through life trying to make other people feel things. We want them to laugh, to agree, to back off, to stay, to say yes.
Replace feel with deal.
Deal with the person in front of you. That’s it. And you can only deal with one thing at a time, which means there’s no room left to watch yourself. The feeling shows up on its own, because you’re in it.
DM me the word DEAL and I’ll tell you more on how we train presence at the studio.
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09/23/2026

If you’re building your character from the breakdown’s adjectives, you’re judging the person you’re supposed to be defending.
Breakdowns are judgmental by nature. They’re written by someone describing your character from the outside, the way a gossiping neighbor would. If you take that description as your acting instructions, you’ll end up commenting on the character instead of living as them.
Your job isn’t to prove you’re a neat freak. Your job is to be present to a world full of mess that needs cleaning up. That’s where the behavior comes from. That’s where the truth comes from.
Read the breakdown for information. Then put your attention outward, on the people and the world that make your character who they are.
✨Want to find out what’s holding your auditions back? DM me FLIP and I’ll send you a link to book a free call with my team to talk about your goals.
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4634 Van Nuys Boulevard
Los Angeles, CA
91403

Telephone

+13233504456

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