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| Foreword | |
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| Audition Story | |
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| Acknowledgments | |
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| Prologue | |
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| Getting Out of Your Own Way | |
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| You Are Your Own Worst Enemy | |
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| Audition Story | |
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| Your Friend, The Casting Director | |
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| The Success/Failure Syndrome | |
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| It's a Numbers Game | |
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| It's Out of Your Control | |
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| Commitment, Commitment, Commitment | |
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| How You Present Yourself | |
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| Audition Story | |
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| First Impressions | |
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| Should You Enter as the Character or as Yourself? | |
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| Audition Story | |
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| Photographs (Head Shots) | |
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| Resumes | |
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| Resume Layout | |
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| The Big Taboo--Don't Touch The Casting Director! | |
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| It's Never How You Expect It To Be | |
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| Use What You're Not Given | |
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| Stop Apologizing for Yourself | |
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| Coming From the Character's Point of View (POV) | |
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| The Actor's Barometer | |
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| The Interview | |
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| Audition Story | |
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| Audition Story | |
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| The Interview | |
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| Taking in the Room | |
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| What They Really Want To Know | |
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| Audition Story | |
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| Guide to a Healthy Instrument | |
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| Audition Story | |
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| Audition Story | |
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| A Healthy Instrument | |
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| That Old Backpack | |
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| The Five Ego States | |
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| Turn Up the Volume! | |
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| Breaking Down the Scene | |
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| Relationship | |
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| Audition Story | |
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| Types of Relationships | |
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| Scene Excerpt--Thelma and Louise | |
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| Relationship QandA | |
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| Changing Relationships | |
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| Scene Excerpt--Thelma and Louise | |
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| Relationship Contract--Hannah and Her Sisters | |
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| Scene Excerpt--Hannah and Her Sisters | |
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| Applying the Relationship Contract | |
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| Siblings: Where is Your Character in the Food Chain? | |
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| Love Relationships | |
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| Stages of a Love Relationship | |
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| Intention | |
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| Audition Story | |
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| Second Read-Through | |
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| Scene Excerpt--Thelma and Louise | |
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| Action Verbs | |
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| Opposing Adjectives | |
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| Physical Behavior | |
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| Obstacles | |
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| Types of Obstacles | |
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| Scene Excerpt--Julia | |
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| Adjustments | |
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| Scene Excerpt--The Silence of the Lambs | |
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| Key Phrase | |
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| History | |
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| Audition Story | |
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| Creating the Past | |
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| Scene Excerpt--The Goodbye Girl | |
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| Different Histories | |
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| Scene Excerpt--In the Line of Fire | |
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| Personalization | |
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| Audition Story | |
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| Personalizing Thoughts and Feelings | |
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| Senses and Imagery | |
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| Blood and Guts | |
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| Stanislavski's Magical "As If" | |
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| Substitution | |
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| Scene Excerpt--Thelma and Louise | |
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| V.I.P.S. | |
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| Audition Story | |
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| Scene Excerpt--Beaches | |
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| Scene Excerpt--Beaches | |
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| Opening Beat | |
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| Audition Story | |
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| The Five "W's" | |
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| Where Am I? | |
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| When Does the Opening Beat Take Place? | |
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| Scene Excerpt--Kramer vs. Kramer | |
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| Who Else Is in the Environment? | |
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| What Am I Feeling? | |
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| What Is My Physical Action? | |
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| Scene Excerpt--Thelma and Louise | |
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| "Help, I'm Next!" | |
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| Units and Transitions | |
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| Audition Story | |
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| Scene Excerpt--Thelma and Louise | |
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| Scene Excerpt--The Prisoner of Second Avenue | |
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| Baby Beats | |
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| Adjustments | |
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| Scene Excerpt--The Goodbye Girl | |
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| Closing Beats | |
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| Core and Masking | |
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| Audition Story | |
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| Layers of Core and Masking | |
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| Period Pieces | |
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| Masking With Anger | |
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| Masking With Indifference | |
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| Masking With Humor | |
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| The Vulnerable Moment | |
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| Scene Excerpt--Thelma and Louise | |
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| Scene Excerpt--Ordinary People | |
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| Sense of Humor | |
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| Audition Story | |
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| Personality | |
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| Breaking the Stereotypes | |
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| Humor vs. Lightness | |
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| Action/Adventure Films | |
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| Buddy Films | |
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| Scene Excerpt--Thelma and Louise | |
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| Likability | |
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| Daytime Dramas (Soaps) | |
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| Moment to Moment | |
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| Audition Story | |
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| Tennis, Anyone? | |
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| The Coverup | |
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| Mistakes Are Your Friends | |
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| Crazy Things That Throw You | |
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| Audition Story | |
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| Audition Story | |
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| Audition Story | |
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| Audition Story | |
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| Audition Story | |
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| Audition Story | |
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| Audition Story | |
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| The Callback Syndrome | |
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| Making Adjustments | |
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| Sample Scene Breakdown | |
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| Audition Story | |
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| Meeting Gene Hackman | |
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| Scene Excerpt--I Never Sang for My Father | |
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| First Read | |
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| Second Read | |
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| Third Read | |
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| Scene Excerpt--I Never Sang for My Father | |
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| The Haber Phrase Technique | |
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| Reading in Phrases | |
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| Audition Story | |
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| The Trap of Memorizing | |
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| Developing the Phrase Technique | |
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| The Haber Phrase Technique | |
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| Putting the Technique into Practice-- L.A. Law Closing Argument | |
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| Scene Excerpt--L.A. Law | |
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| Put your Thumb into Action | |
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| "That Darn Paper" | |
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| Commonly Asked Questions Regarding the Technique | |
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| Using the Haber Phrase Technique in a Scene | |
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| Audition Story | |
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| Audition Story | |
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| There's No Such Thing as a Monologue | |
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| Working with a Partner | |
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| Landings | |
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| Resolutions | |
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| Comedy Resolutions | |
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| Scene Excerpt--Thieves | |
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| When Do You Get Your Next Line? | |
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| Scene Excerpt--I Never Sang for My Father | |
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| When to Turn the Page | |
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| Repetitive Phrases | |
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| Eye-Staring Contest | |
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| Throw It Away! | |
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| Joining Sentences | |
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| Putting It Together--I Never Sang for My Father | |
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| Scene Excerpt--I Never Sang for My Father | |
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| Don't Lose Your Life! | |
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| Silence is Golden | |
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| The State of Confusion | |
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| Words from the Pros | |
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| Meet the Pros Seminar | |
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| Audition Story | |
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| Do's and Don'ts | |
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| Audition Story | |
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| Pictures and Resumes | |
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| Agents and Managers | |
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| Getting in the Door | |
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| Preparation | |
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| The Audition | |
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| Callbacks | |
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| Screen Tests | |
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| Feedback | |
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| Afterword: An Interview with ED Asner | |
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| Epilogue | |
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| About the Authors | |