TWoP Fame Audit: The Cast Of Veronica Mars p3
a little harsh wit
-re Piz actor now going on to Greys spinoff :
Assets: "Discovered playing beach volleyball" = "probably not ugly."
Liabilities: It also = "probably not originally chosen on the basis of talent."
-re Dick Casablancas actor:
Assets: Maybe "Blond Douche" is harder than it looks. In fact, it would almost have to be. heh.

they are less optimistic than I am about Kristen Bell and about Jason Dohring. I think Dohring might have a first rate acting career ahead of him. anyway I hope so.

Rob Thomas in Neptune Noir forward to Boom Goes the Dynamite re Logan & Veronica says that the two are very different re acting craft: kristen can turn it on & off. jason "is very method-y", you can see him turn into Logan. and Thomas quotes Lawrence Olivier to Dustin Hoffman: Have you ever tried just acting?

but in couch baron twop intrvw, much of wh copied in a post below:

CB: Being a fan of Brando, are you a fan of the Method, then?
JD: I wouldn't say so, because I don't use past memories in the present to create feelings, but you can know what something's like, and create it in the present, you know, without kind of going back there. I think over time-- I know that good acting can be done through the Method -- I think Sean Penn is un-fucking-believable. But I don't know how great of shape he's in as a person now, and Brando was sort of the same way. so, he thinks actually calling up emotions from your own past (I guess that's Method) can lead to good acting but also debilitates you, wears you out.

Method acting - Wkp: Method acting is an acting technique in which actors try to replicate real life emotional conditions under which the character operates, in an effort to create a life-like, realistic performance. This is contrasted with a more abstracted, less involved style of acting in which the actor himself or herself remains an outside observer of the character he or she is portraying.
"The Method" was popularized by Lee Strasberg at The Actors Studio and the Group Theatre, in New York City in the 1940s and 50s. It was derived from "the Stanislavski System", after Konstantin Stanislavski, who pioneered similar ideas in his quest for "theatrical truth." In the Stanislavski System the actor analyses deeply the motivations and emotions of the character in order to personify him or her with psychological realism and emotional authenticity. However, using the Method, an actor will recall emotions or reactions from his or her own life and uses them to identify with the character being portrayed.
"The Method" (versus "the method" with a lowercase m) usually refers to Lee Strasberg's teachings, but really no one method has been laid down. Stanislavski himself changed his System constantly and dramatically over the course of his career. In general, however, method acting combines a careful consideration of the psychological motives of the character, and some sort of personal identification with, and possibly the reproduction of the character's emotional state in a realistic way. It usually forms an antithesis to clichéd, unrealistic, so-called "rubber stamp" or indicated acting. Mostly, however, the surmising done about the character and the elusive, capricious or sensitive nature of emotions combine to make method acting difficult to teach.
Depending on the exact version taught by the numerous directors and teachers who claim to propagate the fundamentals of this technique, the process can include various ideologies and practices such as "as if," "substitution," "emotional memory in acting," and "preparation."
Sanford Meisner, another Group Theatre pioneer, championed a separate, though closely related school of acting, which came to be called the Meisner technique. Meisner broke from Strasberg on the subject of "sense memory" or "emotional memory," one of the basic tenets of the American Method at the time. Those trained by Strasberg often used personal experience on stage to identify with the emotional life of the character and portray it. Meisner found that too cerebral, and advocated fully immersing oneself in the moment of a character and gaining spontaneity through an understanding of the scene's circumstances, and through exercises he designed to help the actor gain emotional investment in the scene and then free him or her to react as the character.
Stella Adler, the coach whose fame was cemented by the success of her students Marlon Brando, Al Pacino, and Robert De Niro, as well as the only teacher from the Group Theatre to have studied Acting Technique with Stanislavski himself, also broke with Strasberg and developed yet another form of acting. Her technique is founded in the idea that one must not use memories from their own past to conjure up emotion, but rather using the Given Circumstances.