April 24, 2025 • 25 mins
Episode 145 - Teaching the True Art of Acting
In this episode of the Faith and Family Filmmakers podcast, Jaclyn continues her conversation with Tina Gallo. They delve deeper into her journey of returning to the acting industry after taking time off to raise her son. Tina reflects on how faith-based films inspired her, recounts a pivotal vision that motivated her comeback, and discusses her transition into teaching acting. She emphasizes the importance of understanding the writer's intent, the collaborative nature of acting, and her mission to elevate the quality of faith-based films by cultivating disciplined, authentic actors through her school, Nashville Studio of Method Acting.
Highlights Include:
- Welcome and Introduction
- Tina's Return to Acting
- A Vision and a Turning Point
- The Voiceover Plan
- Self Taping Changed Everything
- The Joy of Teaching: A New Calling
- Credentials From Learning With the Masters
- Method Acting and its Misconceptions
- The Nashville Studio of Method Acting
- The Importance of Script Analysis
- Cultivating True Artists
Bio:
Tina Gallo has established a remarkable career in the entertainment industry over four decades. As an award-winning actress, she captivates audiences with her commanding presence and brings a vibrant energy to each role. Tina honed her craft by studying under the masters of the Stanislavski System, and her impressive resume includes a wide range of credits in television, film, commercials, and theater productions.. Having started traveling with Frank Sinatra’s entourage for over two years, Tina relocated to New York City to pursue her ambitions. Her dream materialized as she launched her acting career in the Big Apple before making her mark in Hollywood, most notably for her role as DiDi on the iconic soap opera General Hospital. Despite taking a break to raise her two sons, Tina's passion for acting never waned, and she has been blessed with a steady stream of work in recent years including performances in Christmas at Keestone 'One More Dream' and Joe's Surrender.
Beyond her acting endeavors, Tina is a devoted nature enthusiast and animal advocate. She operates a home studio for voice-over work and is writing her book, "Unfiltered: 40 Days of Devotional Reflections to See Yourself as God Sees You." Tina's unwavering dedication to her craft and commitment to empowering aspiring actors make her a respected figure in the entertainment industry.
Tina on Facebook: https://www.facebook.com/tina.galloreidTina’s school - Nashville Studio of Method Acting: https://www.tinagallo.com/nsma
NSMA on Facebook: https://www.facebook.com/nashvillemethodacting
Purpose Film and Media Festival
Submit: https://filmfreeway.com/PurposeFilmandMediaFestival
Register: https://www.purposefest.net/
FAFF Association Online Meetups: https://faffassociation.com/#faff-meetings
Screenwriters Retreat - Mexico: https://www.faffassociation.com/writers-retreat
Jaclyn's Book - In the Beginning, Middle and End: A Screenwriter’s Observations of
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Jaclyn (00:00):
Welcome to the Faith and Family Filmmakers podcast.
My name is Jaclyn, and todayI'm speaking with Tina Gallo.
This is our second interview.
If you didn't catch her first one,please listen to the previous episode.
It was a great interview and we'reactually gonna pick up where we left off.
We were talking about Tina had spentsome time, away from the industry so she could raise her children, and then as they were grown, she realized.
(00:23):
The faith-based film industry islooking like it's, uh, moving in a direction that she wanted to be part of.
So Tina, why don't you tell me howdid you get back into the industry?
Tina (00:33):
Oh, well.
Well, nice to be back.
Thank you, Jaclyn.
Well, I remember sitting downit, it, I guess it was probably the Kendrick Brothers, right?
It was facing the Giants and fireproof.
It was around that time when thosemovies started coming out and I remember thinking, wow, this has purpose.
There's a mission, you know, and Iwould love to take the talent that God had given me and be a part of this.
(00:59):
And so that's where itbegan stirring in me again.
But obviously I didn't know how to goabout that at the time, being a single mother, uh, focusing on my son, um, you know, just getting him through life.
Um, he was, I think, gettingready to become an Eagle Scout.
He was in scouts and, you know,we were thinking about college and getting him through school.
(01:20):
all of those things.
And so I, my mindset was I'd have togo to New York or LA and I thought, well, I'm not gonna do that again.
Um, and compromise my son and he'shad a life, you know, and I wasn't gonna uproot him I kind of felt like I was being selfish to just go back into that world again.
And I knew what it was like and thededication that it took, running around to auditions and all that.
(01:41):
So, um, but that started the stirringand I thought, wow, I'd love to do this.
and then, you know, fast forward alittle bit, um, I had an encounter with the Lord actually one day in my bedroom.
I don't know if I can go into all this
'cause of the time, but, uh, okay.
Well.
I was sitting by my, well, it'sfunny, okay, I'll tell you this story.
(02:04):
My son was probably atthat time, maybe around 11,
Jaclyn (02:08):
Okay.
Tina (02:09):
and I, we really never used the word can't in my home because it's contrary to the word of God.
It says, I can do all thingsthrough Christ who senses me, right?
So when he would say, I can'tdo that, I'm, I can't, mom, I'd say, oh, yes you can.
And.
He'd say, I'd try.
I said, well, don't try.
Let's do, and so it was justsomething we would do in my, in my home that I raised him on.
(02:32):
And one day this was stirring up inme and um, I. He said to me, mom, why don't, I was in real estate at the time and I was really burned out.
It was not my calling.
I had a team, I was doing well,but it was not my calling.
And that was when theshifting was beginning.
And the love for acting was reallystirring up in me again because of all the things I was beginning to see and I wanted to be a part of.
(02:57):
And one day I was sitting in my roomon my vanity and I looked to the left of me and it was like a vision.
I was about 90 something yearsold lying on my deathbed, and I think it was my oldest son.
I couldn't see clearly,but I feel it was him.
And he leaned over and he said tome, mom, do you have any regrets?
(03:21):
I'm sorry.
I'm about to cry.
It's so real.
And I, I never looked at life ofhaving regrets because I felt like I always learned from something.
Jaclyn (03:31):
Mm-hmm.
Tina (03:32):
And I remember tears coming down my eyes and I said to him, just one.
And he said, what's that?
I said that I gave up my profession, mylifestyle, I realized at that time how much I was missing the art of acting.
Not the fame of acting, but the artand the true art, and reading the scripts and the stories and all of it.
(03:58):
That made me feel alive inside.
And, um, sorry.
Yet the tears come and I just remembersitting there watching this vision and so I had to go into the room and I was tucking my son in and he said, mom, we must have been talking about something.
(04:19):
He said, mom, why don't youjust become an actress again?
Jaclyn (04:23):
Wow.
Tina (04:25):
And I said to him, Aaron, I can't do that.
I'm too old.
I was like in my forties at the time.
I said, I can't.
And he looked at me.
He goes, but mom, you can do all thingsthrough Christ Jesus who strengthens you.
Jaclyn (04:41):
Oh.
Tina (04:42):
And I'm getting goosebumps right now saying it.
I remember just looking at him.
It was that aha moment of, oh my gosh,I just, I did everything I've ever
Jaclyn (04:55):
Yeah.
Tina (04:56):
My words and he just gave them back to me.
And so I had come in mybedroom thinking about that.
Oh man, I have to undo that.
But I sat down on like, um, atrunk I had in my room and I was sitting on the trunk and I thought, oh man, Lord, how do I do that?
I can't, how do I do that?
(05:16):
And then at the same time, I'dhave to go undo what I just said.
Jaclyn (05:19):
right.
Tina (05:21):
And, um, I got a great idea of my own idea.
Which was, I know what I'll do voiceovers,and then I don't have to be in front of the camera so nobody will see me.
And that'll work because I came from thementality understand in Hollywood, once you were over 40, you were like done.
Jaclyn (05:41):
Uh.
Tina (05:42):
Especially the kind of things that I usually got, And so that was my mentality.
It was ridiculous.
I look back now, but that reallywas the day in the era that I came out of, and it was very slim.
Pickens getting rolls after, 40.
So was my idea.
Well, it was interesting.
As I pursued the voiceover, Godput me in front of the camera.
Jaclyn (06:02):
Hmm.
Tina (06:02):
So that's how it began.
And in the meantime, I did go backin the bedroom and I did sit down and talk with my son and I said, well, you know what I'll do, Aaron.
I'm gonna pray about it.
And if God calls me back tothis, then he's gonna make a way.
If he does, I will obey it.
And we prayed together.
He went to sleep and I left it like that.
(06:24):
And then I started trying to do thewhole voiceover and I did some of that, but God put me in front of the camera and that's how I, I made my entryway back into the industry.
Jaclyn (06:35):
I love it.
Tina (06:36):
And with self taping, know, self taping came around eventually.
Um, which allowed for being able toaudition no matter where you lived.
I.
Jaclyn (06:44):
right?
Tina (06:44):
so that was another piece of it.
I did not have to be in New York or la.
We could work from anywhere.
Um, at least do the auditions now.
So I had to learn that whole,that was a new animal in itself.
'cause I came from the world of,you know, everything in person.
And so that took me abouta year to, uh, really, um.
Learn how to do good and effectiveand truthful artistic self tapes, where I was being true to the behavior of my character.
(07:14):
And so I fell in lovewith it all over again.
Never left me.
and God opened that door and made a way.
So that's how I came back.
Jaclyn (07:23):
And so then how did you move into teaching acting?
Tina (07:27):
That's all.
God, there again.
Um, but truly because I neverever had a vision of teaching.
If you ever asked me in my life,you know, what about teaching?
I'd go, oh, no.
You know, that's, no thank you.
I mean, I just never saw that for me.
Um, and it's one of thegreatest joys I have now.
God called me to that.
(07:47):
Um.
I was asked to teach a commercial coursehere in Nashville, a two day commercial course one day, and I did do that.
Um, I. Then after I taught thatcourse, I started getting calls.
I teach, do I teach acting?
And I was like, no, I'm sorry.
I don't, I just don't, you know.
And I, I just let it go and keptsaying, no, I don't, I don't.
(08:11):
And then I remember a plat, um, I don'tknow if it was Zoom, it might have been a different platform because I don't remember seeing the people watching me, but someone asked me if I would.
Do an hour talk about acting.
And I remember thinking,what am I gonna say?
I don't know.
How am I gonna fill up an hour?
(08:33):
And, um, I agreed to do it and I'll,I'll tell you what, I was really kind of fearful of doing that it was new.
And I thought, well, you knowwhat, then you're gonna just do it afraid girl, because
the Lord will give me the words.
He will give me the words.
Jaclyn (08:48):
And I mean, you've been passionate about it for years, like almost your whole life.
You've had this passion to think, youcan't think of what to say for an hour?
No.
Come on.
Tina (08:57):
You know what I think it was, I think I did not wanna spend an hour talking about myself.
Jaclyn (09:02):
Oh, yes.
Tina (09:03):
That's what I think it was.
And I was like, what am I gonna do?
Go on for an entire hour and just talkabout me and pat my myself on the back.
Like, what is this?
So I prayed about it, andreally, I love where it went, and that hour went by so quickly.
It was so, so fast.
I loved it, but the Lordled it into the direction.
(09:24):
That created such an excitement inme, which was talking about the roots and the training that I had, which in the day I took for granted.
But my goodness, I am a proudlifetime member of the actor studio.
That is huge.
know, in New York, that'sall everybody ever wanted.
And you know, I'm up there like, well, notme, but Al Pacino's a member, you know?
(09:47):
Um, um.
Baldwin Pacino and Ellen Bernstein,they're like the directors.
Lee Strasberg started thatfrom the Early Group theater.
And so I'm a lifetimemember of the actor studio.
I started with HB Studios, got towork personally with Uda Hagan.
Then went over to Strasberg.
He had just passed on and I workedwith his handpicked teachers.
(10:10):
Then I got to work and went over toStella Adler, worked with her personally.
Went over to Sandy Meisner, didn'twork with Sandy, he had just had that operation on his throat and had a trip, what do you call it in your, like a hole in your throat.
Forget what
Jaclyn (10:24):
Oh, is that a tracheotomy?
Tina (10:26):
Yeah, that's it.
but you know, I worked with, whata blessing to work with the masters under Stanski themselves.
And then I end up with, uh, Jack Walter.
And so.
All of that I realized was stirringup in me as I was doing this talk, and it went into talking about stanski and it and I, got to share about working with these masters personally.
(10:47):
And then I realized only whenI moved to Nashville that there was a myth about method acting.
Every time you mentioned theword method, people were like, oh, I don't like Lee Strasberg.
I like Sandy Meisner.
And I'm like, I would ask themquestions, well, can you tell me the difference of the two?
And then I'd get thisthing on emotional recall.
Like it was spooky and weird andit was gonna make you crazy, and you're gonna have to bring up all these hurtful elements of your life.
(11:10):
And it was so far from what we've learned.
And it wasn't true.
And if you wanted to use emotionalrecall, you could, but does anybody have good memories?
works for that too.
You know, and what I learned by workingwith all these instructors is that they had different things that they called, Lee was known for relaxation.
(11:30):
Um, Stella is fabulous atscript and character analysis.
Her and Sandy, you know, it wasall about, they all wanted the same thing, which was what Stanski wanted.
Same kind of approaches if you tookthat class called it a little bit different, but it was to find truth in the work, truthful behavior.
I always tell my students,I don't teach you to act.
(11:51):
I teach you how not to act.
It's about honoring a writer andunderstanding the world of the writer, and then taking realities of the moment within the script and bringing a truthful behavior to the realities of those moments.
And so.
I didn't know how we do that onlinebecause I started in person and then after Covid hit, I started getting students from all over after I watched Jack Waltzer, he's still teaching at 97 today, do it online.
(12:22):
And I thought, well, I can do this.
I can actually keep this authenticlike conservatory style and do this.
And I got a real hunger to do that for thefaith-based actors I don't promote that.
You have to be a Christianin my classes and you don't.
But everybody is pretty much,we pray in my classes, there's rules, there's no swear words.
(12:44):
you don't have to curse to begood at your craft and your art.
Jaclyn (12:48):
Amen.
Tina (12:48):
really artistic.
Um, and.
It's just amazing to see thateverybody in there, we pray together.
We're a family, we're a group.
We have a private group page.
They support each other.
There's no judgment,there's no competition.
It's just all about the artand the craft of acting.
I bring in unbelievable.
(13:09):
Guest, Armand Deante,a-list actor joined us.
Larry Moss, a-list actingcoach for Hillary Swank.
Leo DiCaprio, I mean, he's oneof the top-notch acting coaches.
He came in and joined us.
Sally Fields's gonna be joining us.
and it just goes on andon, and that's a gift.
(13:29):
And I'm able to get those peoplein because they're lifetime members to the actor studio.
And so they come in andthey pour back to my
Jaclyn (13:36):
Mm.
Tina (13:38):
I learned from the students just as much as they learned from me, and we're all in this together.
But my heart is to bring even betteracting to the faith-based films because I see the writers are doing that and productions are doing that now, and these projects are getting better and we need great actors to, uh, bring good life and authentic life to these performances as well.
(14:03):
So that's my heart.
Jaclyn (14:04):
Yes.
And I totally agree.
I really, I can see that there'sthis rise of pursuing excellence and you know, when each.
Element is bringing thevery best that it can.
Then when we bring that together,we can truly honor God with that and inspire people that are watching.
Um, and what I really love, Imean, you're talking to a writer here, what I love about what you said was like understanding.
(14:29):
What the writer was intending, and becauseI do, when I write, I am writing with the mindset of I am trusting my actor to do what you are saying actors need to do.
Tina (14:43):
That starts with honoring the writer.
You know, it's funny, I teachmy students all the time because this is the way I was trained.
You have to read your script.
You know, it's funny.
Anthony Hopkins reads hisscript like 99 times because it's always bringing new life.
Um, Armand Deante said it, you know,he's been on set recently where actors can't even remember their lines.
(15:05):
They don't know their lines, orthey only have read the sides.
That's one of the things I drillinto my students some don't last because they don't wanna do the work.
I'm just being honest.
But we're right now going through a longday's journey into the Night by Eugene O'Neill and I combined the script analysis and the character analysis together because to me, one of the greatest masters of doing that was Stella Adler.
(15:28):
But I've been on sets where the actors.
Don't know the whole storybecause they haven't read it.
And that is really sad because Iremember when I was a young actress and it was at Strasberg, you know, where we would really break down scripts and we had conversations.
But what you just said.
(15:49):
How can you understand the worldthat the writer is bringing here?
Or even your character if youdon't understand the world that the writer is writing about?
And so Armand had said that when hejoined us as well, because you don't have a foundation, these actors don't last.
But it does take disciplineand it takes a commitment.
But even Larry Moss says it in his book,he shared with us when he joined us, you know, at least read it three times.
(16:14):
Once like an audience.
Second time, read it and bring languageto it and take your notes about the world, about the social economics of the character, whatever it all is, and then read it again the third time out loud.
But you've gotta under understandthe social economics, the timing of when this is being written.
So many elements that help bring that lifeto the character that you're portraying.
(16:38):
And so there's no shortcuts.
And so in my classes, I do, um,teach them, you know, don't look for the shortcuts in the work.
if you're wanting to be a true artistand you wanna be sustained and you want to work, because it does take effort and, that discipline for sure.
And if a writer can sit down and puttheir heart such as yourself into a story, there's so many subliminal messages.
(17:05):
That you are writing in there for us.
And we're not gonna findit by just reading it once.
It's the more that we read it,we start seeing the life of this.
And, and the beauty, when you startportraying those characters that you so eloquently write is the nonverbal moments.
Jaclyn (17:22):
Yes,
Tina (17:23):
And we have to be able to understand those.
Right?
Jaclyn (17:25):
Yes.
And that's what I mean when it,comes down to trusting the actor.
Because if I have to write all theactor's thoughts on the page, for one, it's not good writing, but for two, how is an actor supposed to act?
They're just telling my story.
that's not how it works, right?
This collaboration between the writer andthe actor is the writer has to create.
(17:47):
The characters, the scenario,and then create this authentic expression for the character, and then the actor has to recognize that and then bring that to life.
Tina (17:58):
Yeah.
' cause I've heard the saying manytimes too, being taught to an actor, you know, just think about the moment before and the moment after.
Well, that's not necessarily true.
it's not just the moment before.
It's the world.
It's the whole world.
And that comes from understandingthe story and reading it.
Jaclyn (18:17):
And here's a great example of that actually.
There are times where I will writea particular character that in their scenes, they're not connected to this other part of the story, but in other parts of the story, something is happening, which creates irony within that particular character's scenes.
And you're not gonna see that ironyif you don't read the whole story.
Tina (18:39):
Exactly.
And so it's your interpretation ofthe moment before, but what created that moment before that brings you into this reality of this moment?
Oh, yes.
Beautiful.
Um.
You know, there's so much truth in that.
So what we do at the NashvilleStudio of Method acting is cultivate artists to behave truthfully.
It's about behavior, perform authenticallyand train under and abide by the techniques of the Stanislavski system because it is a system, but it's beautiful and it's long lasting.
(19:08):
classical training because.
It's a system that teaches you how tobuild and you get a strong foundation.
You come out of my classes, and inthese classes you learn that you have a process and there's not only one way to get to the work.
You find the different tools thatwork for you and then you use it.
There's no teaching that, oh,you have to use emotional recall, or you have to use substitution.
(19:32):
You know, you find what works for youand then you use it, but you're given the opportunity to discover that.
You find where the work takes you andit's a beautiful, fun experience and I hope that everyone feels that they're becoming a true artist because it's about the art of acting and it is an art.
Jaclyn (19:51):
Yeah.
I love it.
I love that you said, when you weretalking about like in your whole story, clearly for you it is about the art, it is about the passion of developing yourself, to be able to pursue excellence, which I love that too.
That's something we talk a lotabout here and in the other, things that we do with faf Association.
(20:13):
So can you tell me howcan people find you?
How do they get ahold of you?
Learn more about what you're doing?
Tina (20:19):
well, they can find more information on my website.
Um, probably my school page,which is www dot tina gallo.
Dot com forward slash nsma andthe information is on that page.
We also have an upcoming, workshopI bring in, a major casting director and well, I've got a really great director coming into, um, it's, it's a workshop slash.
(20:48):
Showcase and that's gonna behere in the Nashville area.
It's an opportunity for allmy students to come together.
We are gonna open it up this time.
Um, there'll be an auditionthat someone will have to do that's not been in the school.
and that's gonna be June 21st and22nd here in Nashville as well.
Uh, we'll be posting out aboutthat and who the guests are gonna be our special guest shortly,
Jaclyn (21:09):
And is that something that you do?
regularly?
Tina (21:13):
Every year.
Uh, last time we had it, wehad Beverly Holloway join us.
We had Director Lisa Arnold come in.
We had a voice actor, uh, coach come in.
and they performed for Beverly andLisa This year it's gonna be someone from la, major casting director and major director coming in.
So it's just exciting.
We're always growing, we're always doing.
(21:33):
It's all about helping the actorget to a new level and also putting out that fire of the myths of method.
You know, I think Ellen Burstyn says itbest, she says, what method acting is is simply this, like Lee Strasberg would always say it's a method to the work.
That's really it.
It's just another method to the work.
I don't know.
I always look at it as people, youknow, you ever see a circle and someone tells a secret in the circle, and by the time it goes all the way around and gets to the last person in the circle, you know, the secret changed.
(22:06):
And I think there's just been a lotof teaching out there that's not been accurate, that has given this, this myth that it could be something bad for you.
Um, you know, method acting.
I mean, they all taught very similarand it's, it's one of the best trainings you can get and I honor it and I love keeping the legacies alive, but, it's just a system and a method to the work.
(22:28):
Um, and you find what in my classes, likeI said, there's not one way to get there.
You're gonna be introduced to it all.
We do a little bit of all of it, Meisnereveryone, and you find what works for you.
It's as simple as that.
Jaclyn (22:39):
Perfect.
Thank you so much for beingon our podcast, for sharing your life, your heart, your.
classes and you know, and I lovethat you have the I can attitude.
I know you had the moment where you werethinking, I can't, but clearly you came back around and, you know, that's, that's something that, you know, God honors that when we honor that with him, because we know that with him, all things are possible because he can strengthen us.
(23:04):
Yes.
Tina (23:05):
Well, thank you for all that you're doing, for all of us actors and for our industry as well.
Jaclyn, I appreciate you so much.
Thank you for allowing me tobe on your platform today.
I really appreciate that withall of my heart and, uh, being able to share a little bit, and I pray that we're just all.
Following our calling and, bringinghonor to the Lord in everything that we do and that his favor be on us and that we bring glory to him.
Jaclyn (23:31):
Amen.
Amen.
We'll have those links in the show notes.
Thank you so much forbeing on the podcast.
God bless.
Welcome to the Faith and Family Filmmakers podcast.
My name is Jaclyn, and todayI'm speaking with Tina Gallo.
This is our second interview.
If you didn't catch her first one,please listen to the previous episode.
It was a great interview and we'reactually gonna pick up where we left off.
We were talking about Tina had spentsome time, away from the industry so she could raise her children, and then as they were grown, she realized.
(00:23):
The faith-based film industry islooking like it's, uh, moving in a direction that she wanted to be part of.
So Tina, why don't you tell me howdid you get back into the industry?
Tina (00:33):
Oh, well.
Well, nice to be back.
Thank you, Jaclyn.
Well, I remember sitting downit, it, I guess it was probably the Kendrick Brothers, right?
It was facing the Giants and fireproof.
It was around that time when thosemovies started coming out and I remember thinking, wow, this has purpose.
There's a mission, you know, and Iwould love to take the talent that God had given me and be a part of this.
(00:59):
And so that's where itbegan stirring in me again.
But obviously I didn't know how to goabout that at the time, being a single mother, uh, focusing on my son, um, you know, just getting him through life.
Um, he was, I think, gettingready to become an Eagle Scout.
He was in scouts and, you know,we were thinking about college and getting him through school.
(01:20):
all of those things.
And so I, my mindset was I'd have togo to New York or LA and I thought, well, I'm not gonna do that again.
Um, and compromise my son and he'shad a life, you know, and I wasn't gonna uproot him I kind of felt like I was being selfish to just go back into that world again.
And I knew what it was like and thededication that it took, running around to auditions and all that.
(01:41):
So, um, but that started the stirringand I thought, wow, I'd love to do this.
and then, you know, fast forward alittle bit, um, I had an encounter with the Lord actually one day in my bedroom.
I don't know if I can go into all this
'cause of the time, but, uh, okay.
Well.
I was sitting by my, well, it'sfunny, okay, I'll tell you this story.
(02:04):
My son was probably atthat time, maybe around 11,
Jaclyn (02:08):
Okay.
Tina (02:09):
and I, we really never used the word can't in my home because it's contrary to the word of God.
It says, I can do all thingsthrough Christ who senses me, right?
So when he would say, I can'tdo that, I'm, I can't, mom, I'd say, oh, yes you can.
And.
He'd say, I'd try.
I said, well, don't try.
Let's do, and so it was justsomething we would do in my, in my home that I raised him on.
(02:32):
And one day this was stirring up inme and um, I. He said to me, mom, why don't, I was in real estate at the time and I was really burned out.
It was not my calling.
I had a team, I was doing well,but it was not my calling.
And that was when theshifting was beginning.
And the love for acting was reallystirring up in me again because of all the things I was beginning to see and I wanted to be a part of.
(02:57):
And one day I was sitting in my roomon my vanity and I looked to the left of me and it was like a vision.
I was about 90 something yearsold lying on my deathbed, and I think it was my oldest son.
I couldn't see clearly,but I feel it was him.
And he leaned over and he said tome, mom, do you have any regrets?
(03:21):
I'm sorry.
I'm about to cry.
It's so real.
And I, I never looked at life ofhaving regrets because I felt like I always learned from something.
Jaclyn (03:31):
Mm-hmm.
Tina (03:32):
And I remember tears coming down my eyes and I said to him, just one.
And he said, what's that?
I said that I gave up my profession, mylifestyle, I realized at that time how much I was missing the art of acting.
Not the fame of acting, but the artand the true art, and reading the scripts and the stories and all of it.
(03:58):
That made me feel alive inside.
And, um, sorry.
Yet the tears come and I just remembersitting there watching this vision and so I had to go into the room and I was tucking my son in and he said, mom, we must have been talking about something.
(04:19):
He said, mom, why don't youjust become an actress again?
Jaclyn (04:23):
Wow.
Tina (04:25):
And I said to him, Aaron, I can't do that.
I'm too old.
I was like in my forties at the time.
I said, I can't.
And he looked at me.
He goes, but mom, you can do all thingsthrough Christ Jesus who strengthens you.
Jaclyn (04:41):
Oh.
Tina (04:42):
And I'm getting goosebumps right now saying it.
I remember just looking at him.
It was that aha moment of, oh my gosh,I just, I did everything I've ever
Jaclyn (04:55):
Yeah.
Tina (04:56):
My words and he just gave them back to me.
And so I had come in mybedroom thinking about that.
Oh man, I have to undo that.
But I sat down on like, um, atrunk I had in my room and I was sitting on the trunk and I thought, oh man, Lord, how do I do that?
I can't, how do I do that?
(05:16):
And then at the same time, I'dhave to go undo what I just said.
Jaclyn (05:19):
right.
Tina (05:21):
And, um, I got a great idea of my own idea.
Which was, I know what I'll do voiceovers,and then I don't have to be in front of the camera so nobody will see me.
And that'll work because I came from thementality understand in Hollywood, once you were over 40, you were like done.
Jaclyn (05:41):
Uh.
Tina (05:42):
Especially the kind of things that I usually got, And so that was my mentality.
It was ridiculous.
I look back now, but that reallywas the day in the era that I came out of, and it was very slim.
Pickens getting rolls after, 40.
So was my idea.
Well, it was interesting.
As I pursued the voiceover, Godput me in front of the camera.
Jaclyn (06:02):
Hmm.
Tina (06:02):
So that's how it began.
And in the meantime, I did go backin the bedroom and I did sit down and talk with my son and I said, well, you know what I'll do, Aaron.
I'm gonna pray about it.
And if God calls me back tothis, then he's gonna make a way.
If he does, I will obey it.
And we prayed together.
He went to sleep and I left it like that.
(06:24):
And then I started trying to do thewhole voiceover and I did some of that, but God put me in front of the camera and that's how I, I made my entryway back into the industry.
Jaclyn (06:35):
I love it.
Tina (06:36):
And with self taping, know, self taping came around eventually.
Um, which allowed for being able toaudition no matter where you lived.
I.
Jaclyn (06:44):
right?
Tina (06:44):
so that was another piece of it.
I did not have to be in New York or la.
We could work from anywhere.
Um, at least do the auditions now.
So I had to learn that whole,that was a new animal in itself.
'cause I came from the world of,you know, everything in person.
And so that took me abouta year to, uh, really, um.
Learn how to do good and effectiveand truthful artistic self tapes, where I was being true to the behavior of my character.
(07:14):
And so I fell in lovewith it all over again.
Never left me.
and God opened that door and made a way.
So that's how I came back.
Jaclyn (07:23):
And so then how did you move into teaching acting?
Tina (07:27):
That's all.
God, there again.
Um, but truly because I neverever had a vision of teaching.
If you ever asked me in my life,you know, what about teaching?
I'd go, oh, no.
You know, that's, no thank you.
I mean, I just never saw that for me.
Um, and it's one of thegreatest joys I have now.
God called me to that.
(07:47):
Um.
I was asked to teach a commercial coursehere in Nashville, a two day commercial course one day, and I did do that.
Um, I. Then after I taught thatcourse, I started getting calls.
I teach, do I teach acting?
And I was like, no, I'm sorry.
I don't, I just don't, you know.
And I, I just let it go and keptsaying, no, I don't, I don't.
(08:11):
And then I remember a plat, um, I don'tknow if it was Zoom, it might have been a different platform because I don't remember seeing the people watching me, but someone asked me if I would.
Do an hour talk about acting.
And I remember thinking,what am I gonna say?
I don't know.
How am I gonna fill up an hour?
(08:33):
And, um, I agreed to do it and I'll,I'll tell you what, I was really kind of fearful of doing that it was new.
And I thought, well, you knowwhat, then you're gonna just do it afraid girl, because
the Lord will give me the words.
He will give me the words.
Jaclyn (08:48):
And I mean, you've been passionate about it for years, like almost your whole life.
You've had this passion to think, youcan't think of what to say for an hour?
No.
Come on.
Tina (08:57):
You know what I think it was, I think I did not wanna spend an hour talking about myself.
Jaclyn (09:02):
Oh, yes.
Tina (09:03):
That's what I think it was.
And I was like, what am I gonna do?
Go on for an entire hour and just talkabout me and pat my myself on the back.
Like, what is this?
So I prayed about it, andreally, I love where it went, and that hour went by so quickly.
It was so, so fast.
I loved it, but the Lordled it into the direction.
(09:24):
That created such an excitement inme, which was talking about the roots and the training that I had, which in the day I took for granted.
But my goodness, I am a proudlifetime member of the actor studio.
That is huge.
know, in New York, that'sall everybody ever wanted.
And you know, I'm up there like, well, notme, but Al Pacino's a member, you know?
(09:47):
Um, um.
Baldwin Pacino and Ellen Bernstein,they're like the directors.
Lee Strasberg started thatfrom the Early Group theater.
And so I'm a lifetimemember of the actor studio.
I started with HB Studios, got towork personally with Uda Hagan.
Then went over to Strasberg.
He had just passed on and I workedwith his handpicked teachers.
(10:10):
Then I got to work and went over toStella Adler, worked with her personally.
Went over to Sandy Meisner, didn'twork with Sandy, he had just had that operation on his throat and had a trip, what do you call it in your, like a hole in your throat.
Forget what
Jaclyn (10:24):
Oh, is that a tracheotomy?
Tina (10:26):
Yeah, that's it.
but you know, I worked with, whata blessing to work with the masters under Stanski themselves.
And then I end up with, uh, Jack Walter.
And so.
All of that I realized was stirringup in me as I was doing this talk, and it went into talking about stanski and it and I, got to share about working with these masters personally.
(10:47):
And then I realized only whenI moved to Nashville that there was a myth about method acting.
Every time you mentioned theword method, people were like, oh, I don't like Lee Strasberg.
I like Sandy Meisner.
And I'm like, I would ask themquestions, well, can you tell me the difference of the two?
And then I'd get thisthing on emotional recall.
Like it was spooky and weird andit was gonna make you crazy, and you're gonna have to bring up all these hurtful elements of your life.
(11:10):
And it was so far from what we've learned.
And it wasn't true.
And if you wanted to use emotionalrecall, you could, but does anybody have good memories?
works for that too.
You know, and what I learned by workingwith all these instructors is that they had different things that they called, Lee was known for relaxation.
(11:30):
Um, Stella is fabulous atscript and character analysis.
Her and Sandy, you know, it wasall about, they all wanted the same thing, which was what Stanski wanted.
Same kind of approaches if you tookthat class called it a little bit different, but it was to find truth in the work, truthful behavior.
I always tell my students,I don't teach you to act.
(11:51):
I teach you how not to act.
It's about honoring a writer andunderstanding the world of the writer, and then taking realities of the moment within the script and bringing a truthful behavior to the realities of those moments.
And so.
I didn't know how we do that onlinebecause I started in person and then after Covid hit, I started getting students from all over after I watched Jack Waltzer, he's still teaching at 97 today, do it online.
(12:22):
And I thought, well, I can do this.
I can actually keep this authenticlike conservatory style and do this.
And I got a real hunger to do that for thefaith-based actors I don't promote that.
You have to be a Christianin my classes and you don't.
But everybody is pretty much,we pray in my classes, there's rules, there's no swear words.
(12:44):
you don't have to curse to begood at your craft and your art.
Jaclyn (12:48):
Amen.
Tina (12:48):
really artistic.
Um, and.
It's just amazing to see thateverybody in there, we pray together.
We're a family, we're a group.
We have a private group page.
They support each other.
There's no judgment,there's no competition.
It's just all about the artand the craft of acting.
I bring in unbelievable.
(13:09):
Guest, Armand Deante,a-list actor joined us.
Larry Moss, a-list actingcoach for Hillary Swank.
Leo DiCaprio, I mean, he's oneof the top-notch acting coaches.
He came in and joined us.
Sally Fields's gonna be joining us.
and it just goes on andon, and that's a gift.
(13:29):
And I'm able to get those peoplein because they're lifetime members to the actor studio.
And so they come in andthey pour back to my
Jaclyn (13:36):
Mm.
Tina (13:38):
I learned from the students just as much as they learned from me, and we're all in this together.
But my heart is to bring even betteracting to the faith-based films because I see the writers are doing that and productions are doing that now, and these projects are getting better and we need great actors to, uh, bring good life and authentic life to these performances as well.
(14:03):
So that's my heart.
Jaclyn (14:04):
Yes.
And I totally agree.
I really, I can see that there'sthis rise of pursuing excellence and you know, when each.
Element is bringing thevery best that it can.
Then when we bring that together,we can truly honor God with that and inspire people that are watching.
Um, and what I really love, Imean, you're talking to a writer here, what I love about what you said was like understanding.
(14:29):
What the writer was intending, and becauseI do, when I write, I am writing with the mindset of I am trusting my actor to do what you are saying actors need to do.
Tina (14:43):
That starts with honoring the writer.
You know, it's funny, I teachmy students all the time because this is the way I was trained.
You have to read your script.
You know, it's funny.
Anthony Hopkins reads hisscript like 99 times because it's always bringing new life.
Um, Armand Deante said it, you know,he's been on set recently where actors can't even remember their lines.
(15:05):
They don't know their lines, orthey only have read the sides.
That's one of the things I drillinto my students some don't last because they don't wanna do the work.
I'm just being honest.
But we're right now going through a longday's journey into the Night by Eugene O'Neill and I combined the script analysis and the character analysis together because to me, one of the greatest masters of doing that was Stella Adler.
(15:28):
But I've been on sets where the actors.
Don't know the whole storybecause they haven't read it.
And that is really sad because Iremember when I was a young actress and it was at Strasberg, you know, where we would really break down scripts and we had conversations.
But what you just said.
(15:49):
How can you understand the worldthat the writer is bringing here?
Or even your character if youdon't understand the world that the writer is writing about?
And so Armand had said that when hejoined us as well, because you don't have a foundation, these actors don't last.
But it does take disciplineand it takes a commitment.
But even Larry Moss says it in his book,he shared with us when he joined us, you know, at least read it three times.
(16:14):
Once like an audience.
Second time, read it and bring languageto it and take your notes about the world, about the social economics of the character, whatever it all is, and then read it again the third time out loud.
But you've gotta under understandthe social economics, the timing of when this is being written.
So many elements that help bring that lifeto the character that you're portraying.
(16:38):
And so there's no shortcuts.
And so in my classes, I do, um,teach them, you know, don't look for the shortcuts in the work.
if you're wanting to be a true artistand you wanna be sustained and you want to work, because it does take effort and, that discipline for sure.
And if a writer can sit down and puttheir heart such as yourself into a story, there's so many subliminal messages.
(17:05):
That you are writing in there for us.
And we're not gonna findit by just reading it once.
It's the more that we read it,we start seeing the life of this.
And, and the beauty, when you startportraying those characters that you so eloquently write is the nonverbal moments.
Jaclyn (17:22):
Yes,
Tina (17:23):
And we have to be able to understand those.
Right?
Jaclyn (17:25):
Yes.
And that's what I mean when it,comes down to trusting the actor.
Because if I have to write all theactor's thoughts on the page, for one, it's not good writing, but for two, how is an actor supposed to act?
They're just telling my story.
that's not how it works, right?
This collaboration between the writer andthe actor is the writer has to create.
(17:47):
The characters, the scenario,and then create this authentic expression for the character, and then the actor has to recognize that and then bring that to life.
Tina (17:58):
Yeah.
' cause I've heard the saying manytimes too, being taught to an actor, you know, just think about the moment before and the moment after.
Well, that's not necessarily true.
it's not just the moment before.
It's the world.
It's the whole world.
And that comes from understandingthe story and reading it.
Jaclyn (18:17):
And here's a great example of that actually.
There are times where I will writea particular character that in their scenes, they're not connected to this other part of the story, but in other parts of the story, something is happening, which creates irony within that particular character's scenes.
And you're not gonna see that ironyif you don't read the whole story.
Tina (18:39):
Exactly.
And so it's your interpretation ofthe moment before, but what created that moment before that brings you into this reality of this moment?
Oh, yes.
Beautiful.
Um.
You know, there's so much truth in that.
So what we do at the NashvilleStudio of Method acting is cultivate artists to behave truthfully.
It's about behavior, perform authenticallyand train under and abide by the techniques of the Stanislavski system because it is a system, but it's beautiful and it's long lasting.
(19:08):
classical training because.
It's a system that teaches you how tobuild and you get a strong foundation.
You come out of my classes, and inthese classes you learn that you have a process and there's not only one way to get to the work.
You find the different tools thatwork for you and then you use it.
There's no teaching that, oh,you have to use emotional recall, or you have to use substitution.
(19:32):
You know, you find what works for youand then you use it, but you're given the opportunity to discover that.
You find where the work takes you andit's a beautiful, fun experience and I hope that everyone feels that they're becoming a true artist because it's about the art of acting and it is an art.
Jaclyn (19:51):
Yeah.
I love it.
I love that you said, when you weretalking about like in your whole story, clearly for you it is about the art, it is about the passion of developing yourself, to be able to pursue excellence, which I love that too.
That's something we talk a lotabout here and in the other, things that we do with faf Association.
(20:13):
So can you tell me howcan people find you?
How do they get ahold of you?
Learn more about what you're doing?
Tina (20:19):
well, they can find more information on my website.
Um, probably my school page,which is www dot tina gallo.
Dot com forward slash nsma andthe information is on that page.
We also have an upcoming, workshopI bring in, a major casting director and well, I've got a really great director coming into, um, it's, it's a workshop slash.
(20:48):
Showcase and that's gonna behere in the Nashville area.
It's an opportunity for allmy students to come together.
We are gonna open it up this time.
Um, there'll be an auditionthat someone will have to do that's not been in the school.
and that's gonna be June 21st and22nd here in Nashville as well.
Uh, we'll be posting out aboutthat and who the guests are gonna be our special guest shortly,
Jaclyn (21:09):
And is that something that you do?
regularly?
Tina (21:13):
Every year.
Uh, last time we had it, wehad Beverly Holloway join us.
We had Director Lisa Arnold come in.
We had a voice actor, uh, coach come in.
and they performed for Beverly andLisa This year it's gonna be someone from la, major casting director and major director coming in.
So it's just exciting.
We're always growing, we're always doing.
(21:33):
It's all about helping the actorget to a new level and also putting out that fire of the myths of method.
You know, I think Ellen Burstyn says itbest, she says, what method acting is is simply this, like Lee Strasberg would always say it's a method to the work.
That's really it.
It's just another method to the work.
I don't know.
I always look at it as people, youknow, you ever see a circle and someone tells a secret in the circle, and by the time it goes all the way around and gets to the last person in the circle, you know, the secret changed.
(22:06):
And I think there's just been a lotof teaching out there that's not been accurate, that has given this, this myth that it could be something bad for you.
Um, you know, method acting.
I mean, they all taught very similarand it's, it's one of the best trainings you can get and I honor it and I love keeping the legacies alive, but, it's just a system and a method to the work.
(22:28):
Um, and you find what in my classes, likeI said, there's not one way to get there.
You're gonna be introduced to it all.
We do a little bit of all of it, Meisnereveryone, and you find what works for you.
It's as simple as that.
Jaclyn (22:39):
Perfect.
Thank you so much for beingon our podcast, for sharing your life, your heart, your.
classes and you know, and I lovethat you have the I can attitude.
I know you had the moment where you werethinking, I can't, but clearly you came back around and, you know, that's, that's something that, you know, God honors that when we honor that with him, because we know that with him, all things are possible because he can strengthen us.
(23:04):
Yes.
Tina (23:05):
Well, thank you for all that you're doing, for all of us actors and for our industry as well.
Jaclyn, I appreciate you so much.
Thank you for allowing me tobe on your platform today.
I really appreciate that withall of my heart and, uh, being able to share a little bit, and I pray that we're just all.
Following our calling and, bringinghonor to the Lord in everything that we do and that his favor be on us and that we bring glory to him.
Jaclyn (23:31):
Amen.
Amen.
We'll have those links in the show notes.
Thank you so much forbeing on the podcast.
God bless.
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