Greg Braun is an actor, director, and co-owner of The New Collective acting studio in Los Angeles. Since I first met Greg Braun in 1999 at the School of Visual Arts in Manhattan, I have been in awe of his talent. I've had the privilege of seeing him perform on stage and screen, and I appreciate the depth and truth he brings to each character. I recently caught up with Greg to learn more about his dynamic career in the arts and the important work of The New Collective LA.
How did you discover your passion for the art of acting?
I was a freshman in high school, and lucky enough to have an incredible drama teacher, Rich Russo, who encouraged me and helped me believe in myself.
Do you remember the first time you truly loved an acting performance?
It was interesting. As a teenager when I started to become interested in the complexities of great acting performances, I always loved the older male characters the most. The strongest memory I have was seeing Brando in "The Godfather". His portrayal of an old man fascinated me. I think it may have had something to do with the fact that I felt like an old man myself, even though I was thirteen. Then, I always wanted to play old men in high school in plays like "Sunshine Boys" and "My Fair Lady". It got to be pretty hilarious.
How did you become an actor yourself?
After doing plays all through high school, I pursued it further. I went to college for a year, then just went straight to New York City to really go for it.
Which actors inspire you and your own work?
Naturally, all the great Actors Studio actors of the '50's, '60's, and '70's: Marlon Brando, James Dean, Montgomery Clift, Robert De Niro, Al Pacino, and Dustin Hoffmann. All of them were role models for how to have strength, power, and vulnerability at the same time.
Where else do you find inspiration?
I feel like all the arts provide inspiration. I've always been a music lover. I love going to art galleries to be transported into an artist's vision. I also feel that nature provides the greatest inspiration of all, so I love getting out to the beach, the mountains, or the desert and let my mind wander.
Which part of yours did you most relate to?
The craft of acting demands that you must find a way to relate to every part, but it's not until I started working with Susan Batson, my mentor, that I truly began to understand what that process was really about. So, I would say, the parts that I worked on after beginning to study with Susan were ones that I related to the most.
Susan directed a modern adaptation of "The Lower Depths" by Maxim Gorky, and we worked on developing our characters for months before even starting rehearsal. My character's name was Aly; he was a troubled street kid who loved to rap and run away from the police. Working on that was such an amazing experience and an unbelievable education. We performed for several weeks at the Actors Studio in New York and went on to do a six-week run in Hamburg, Germany.
Do you have a performance which stands out as something you are personally and exceptionally proud of or that is particularly important to you?
My first real film job in LA was a proud step for me. It was a stand-out character role in a Hollywood production, an independent film called "The Third Nail". I got to wear prison garb, say a lot of evil things to people, and get shanked to death by five angry prisoners. We shot in an old prison often used for film shoots, and I really got to work with great actors and a great film director, Kevin Lewis. I've had a few other independent film experiences in LA and loved them.
Where and how do you like to relax when you're creating?
In nature, with coffee, inspiring music, my script, and a couple of sharp pencils.
If you could collaborate with any artist in all of history, who would you choose and why?
Harold Clurman, founder of the Group Theater and prolific Broadway Director and writer. He was the greatest leader and innovator in the American Theater. He passionately believed that the theater was a primary art form, one of the fine arts. You can feel his passion for the theater in his words. My favorite book by him is his memoir, "The Fervent Years". I never had an opportunity to meet or work with Clurman, but my mentor Susan Batson did. I've always felt an affinity for his writing and his work. I feel like, if I ever had the chance to meet and work with him, I would be like a sponge, and it would change my life forever.
Are there any particular comforts you like to have to hand when performing?
I always found that music was always very important. I always put a playlist together for every character.
How would you like your acting to be perceived?
Just that the character felt like a real human being.
Who are your mentors and heroes?
My teachers, in order of appearance were: Rich Russo, Sandy Dennis, Peter Jenson, Joe Paradise, Viveca Lindfors, and Susan Batson.
What inspired you to start your own acting studio?
I started the New Collective LA with fellow actor and good friend Matthew Word in 2009 after the economy crashed. A huge writer's strike was happening in Hollywood, and it felt like there was a deep need for a space that supported the art of acting and the actor's process on a daily basis. I had previously been teaching for Susan at her acting studio that she created with her son, Carl Ford, called Black Nexxus. When the opportunity revealed itself in '09, we were able to form the New Collective with Susan and Carl's permission, and I will always be forever grateful.
What sets The New Collective apart from other acting studios?
Our program is designed to offer flexibility so that actors can tailor their program to serve their individual needs. We also offer the most one on one attention than any other acting studio. Everyone gets up and works in every class.
What would you like potential students to know about The New Collective?
We are a creative haven for the artist. We work with actors from all levels and all backgrounds. We aim to honor where you have come from in your process, and give you new things to incorporate. We are not a "strip you down and build you back up" kind of place.
Is private coaching available at The New Collective?
Yes, we do private coaching and tapings.
What are your future plans for The New Collective?
We really would love to see our actors taking their work beyond just working on their craft. We want to cultivate and environment for actors to create their own work. We recently renovated our space and have a brand new, 50-seat theater that we rent out for productions. We would love to have our theater being utilized by our actors creating their own projects and putting them up in our theater. It's already been happening here and there, and that's really exciting for us.
What have been the biggest rewards and challenges of having your own business?
The main challenge has been believing that it can be done, that the acting studio can be successful, but it always comes down to doing the work. The rewards have always come from committing to doing good work and caring about the work - caring about helping actors find their power and learn how to fly. Staying on track with that has always alleviated the fear and doubt.
What do you love the most about teaching acting?
I love that teaching keeps me involved in the art all the time and I love being able to turn a light on for artists searching to develop their process.
Do you have a favorite motto or quote?
"Everything you can imagine is real." - Pablo Picasso
What artistic projects do you have on the horizon?
I've directed two productions at the New Collective: "Frankie and Johnny in the Clair De Lune" and "True West". I would love the chance to direct another play, although it's challenging with my teaching schedule. I trust that the next project is on the horizon and always shows up at the perfect time.
What do you most want to achieve as an artist?
Just living an art-filled life.
What advice would you give to a child who wants to grow up to be an actor?
Never stop believing in your dreams.
What do you most like to do when you're not acting?
Spending time with my beautiful wife.