WRITER’S NOTE: I wrote this article exactly ten years ago in the year 2010.
It was just another day at the office for me, staring at a computer and taking calls, when I got a message from my good friend Shane whom I hadn’t seen for a while. He informed me our acting mentor from Diablo Valley College, Jim Kirkwood, had passed away at 5 a.m. this morning. For the past year or so, Jim had been fighting cancer and had to endure an operation to remove a tumor which lasted several hours. Hearing this news was a blow to me and everyone else who had the unique privilege of having taken an acting class taught by him.
Right now, my heart feels so heavy and I am wondering why tears are not coming out of my eyes. I want to feel this loss fully for Jim had such a profound effect on my life and so many others in Northern California. For many years he was an acting teacher at Diablo Valley College, and I enrolled in several of his classes during my time there before I transferred to the University of California at Irvine. Much had been said about him and how hard it was to get into his classes, and that he had studied with some of the greatest acting teachers including Lee Strasberg and Stella Adler. For those truly serious about acting, you could not pass up any course he taught.
When it came to my first class with Jim, I was nervous to say the least. The man was treated like a legend in the area, and it felt incredibly intimidating to be in his presence. Giving out grades was never a priority for him, and his one rule which stood out among others was if you missed three of his classes without informing him as to why, you were out. This was back in the day when those strict guidelines actually unnerved me.
Anyway, I came to this new place of learning straight out of high school where I did many plays and considered myself a really good actor. Of course, the whole thing about acting back then is that when you’re onstage and you have nothing to say, get off. That first day with Jim, he immediately gave you a sense of what acting was really about. It was about living in the moment, acting with purpose and having an objective in mind. You could not think too much about the outcome of the scene you’re in because it would just take away from the thing you are fighting for. Every character has something to go for, and this is what empowers the actor through the entire show. Even when you are onstage and have nothing to say, he made you see listening is a big part of performing as well.
Among the lessons I remember the most from his classes was when he explained you did not need to have preconceived ideas of how to play a scene or say a line. It was never about pushing for some grand emotion which spelled out award-winning to the audience; it was about letting the emotion come to you while you pursue your objective. To just deliver a line in a preconceived way would just kill the moment. You would just come across as lifeless and vacant, and your scene partner would suffer as a result.
Jim demonstrated the danger of preconceiving what you will do beforehand by giving different readings of the line “get the hell out of here!” The first one was angry, the next was dismissive, the one after that had him laughing like he was talking to a friend, I think he made it look like he was crying in another and so on. By the end, everyone in the class including myself were laughing because he made it all look ridiculous, and it was. By getting stuck in this way of acting, you were never really connected to the scene or those you are working with onstage.
Sooner or later, we came to see that we get our performance from the other actor in the scene. While this became more abundantly clear to me years later while I was a student at Second City, this lesson really originated in Jim’s classes. There was no “me, me, me, me, me, me” in his class because we were all put on the same level. No one was necessarily better than the other, so no prima donnas were ever present (thank goodness for that by the way).
For those new to Jim’s classes, his regimen was to break us down and get rid of all those high school emoting habits many of us had been stuck with for far too long. He could be brutally honest with you, but it was never in a Simon Cowell kind of way (I would have dropped out of his class were it the case). He wanted you to see what you did wrong and how you could improve on it for next time. Feelings did get hurt from time to time and our self-confidence took several direct hits at what seemed like point blank range, but it was never done out of spite or cold-heartedness. Simply put, we had a lot to learn and the road we were on was designed to be a long one and for good reason.
Of couse, he was quoted one time as saying the following, “Getting talent out of this person is like rearranging the deck chairs on the Titanic!”
Another great lesson he taught us which has never left my mind was when he did the “pick up the pen” bit. With this, he went back to when he was an acting student himself and being taught by Lee Strasberg. Now Lee instructed him to pick up a pen which was laying there on the stage. Since he did not tell Jim how he should pick it up, Jim just walked up on stage like he was doing a happy skip across the park and just stumbled upon the pen. We were all laughing hysterically as he looked at the pen with a giddy look on his face, playing up the emotion of the scene as he picked it up.
Lee, however, was not impressed, and Jim said he was made to put it back up on the stage and pick it up again. This time he moved stealthily around and looked like he was about to steal the pen. In this moment, he made it look like he was waiting for the perfect moment and then found it by absconding with the pen just like Indiana Jones took off with the golden idol in the beginning of “Raiders of the Lost Ark.” Lee again shook his head and told Jim he was still doing it wrong and to do it again.
Now Jim came onto the stage as if his leg were broken, and he was limping over to the pen. At this point, he tried, and failed, to make it look realistic when he was struggling to reach for the pen despite the injury he was faking miserably. Once again, he got the pen and went offstage. It was at this point that Lee was really losing his patience with him:
“Jim, did you hear anything of what I just said?!”
“Yeah, but what am I doing wrong?”
“I told you to pick up the pen!”
“Well I didn’t tell you to go all over the place doing this big act around it, did I?”
“So, what do you want me to do?”
“JIM, JUST PICK UP THE PEN!!!”
So, Jim just walked straight up to the pen and picked it up, and then he walked off the stage as quickly as he got on it. After that, the audience of his fellow students, one of whom was James Dean, applauded him loudly. Jim said he did not understand what the big deal was, and Lee, who also applauded, explained it to him:
“You followed through with the objective. You didn’t think about it, you just did it and with the same level of energy. You didn’t need to put on a big show, you just needed to just pick up the pen. In that moment, that was your only objective. This is the difference between a good performer and a great actor.”
This last sentence has stayed with me to this very day. It is easy to get up and put up a big act just to get laughs from all your friends, but it is another thing to be the character instead of just playing one. You never play the emotion, you play the action, and the emotion will come to you.
I went through a rollercoaster of emotions throughout my time in his classes. Back then I was trying to get all my general education courses out of the way so that, when I transferred to a four-year university, I could concentrate solely on my major. As a result, I did not always give his classes my full-on attention, and it did lead to me having a nervous breakdown one day. It felt like I was failing the class and myself, and while my fellow classmates were there to console me, I was a complete wreck. Jim took pity on me though, gave me a hug, and he always had everyone give their scene partners a hug before and after a scene, and urged me to not be so hard on myself.
But in the end, through all that emotional agony, we each came into our own and got to have that one moment where all the training and character work we did paid off. We had gotten to where we had studied the scene and memorized our lines so many times, we were no longer thinking about what we were doing. All that mattered was we went after our objective. Nothing else mattered. Getting a compliment from Jim was not always easy, but when you got it, you knew you damn well earned it. When we each got that moment, it wasn’t just a victory for us, but for the class as well. Each of us wanted the other person to succeed.
On the last day of Jim’s Advanced Acting class, we all chipped in and got him a plaque thanking him for all he had done for us. He looked at it and immediately burst into tears. It meant so much that we did this for him, and it was a symbol of the kind of people we were becoming thanks in large part to the time we spent with him. Everyone in the class came around to give him a hug, not wanting him to cry. Another guy, I can’t remember his name, offered him a bottle of scotch but then realized he had already drunk it.
In the end, Jim’s classes were never about becoming a star or a celebrity. His classes were about how an actor must live life to the fullest and be serious about their art and their individual craft. It was about getting better and taking on new challenges throughout our lifetimes, and to never be complacent as artists. The life of an artist, be it an actor or director, is never meant to be an easy one. But then again, how else could you learn and grow? It’s like what my brother keeps telling me, “If life were easy, no one would bother showing up.”
I loved how I got to make Jim laugh. I was in his directing class and did this one scene where I used magazine covers with gorgeous women on them as stand ins for a couple of characters. He got a kick out of the fact one of them was an issue of Playboy Magazine with Pamela Anderson, and he jokingly asked me if he could borrow it. Being the embarrassingly literal-minded person I was back then, I thought he was being serious and handed it to him earnestly. Along with the class, he was in utter hysterics.
Then there was another time where we were working on scenes and voicing out what was going through our minds in order to keep us in the moment. Be it if you didn’t know your line or were frustrated and had to vent it somehow, we needed to be there fully and not let all these distractions cloud our ultimate goals. For me, my chief distraction involved a comedy album I bought a few days earlier from a nearby record store. It got to where I could no longer resist it:
“DAMN IT!! I GOT STEVE MARTIN’S NATIVE AMERICAN SINGING GOING THROUGH MY HEAD!!!!”
Jim got a kick out of that and would never let me forget it. It’s nice to have such memories of him this way.
Now Jim is gone, and this loss is deeply felt by all those who were lucky to be in his presence. I write this with a heavy heart, and it will still take some time to accept the fact I won’t get to see or talk with him ever again. It didn’t matter how old he was, he left us way too soon. The last time I saw him was at a Christmas party with friends from his class, and he dropped by and was endlessly interested in what we were all up to. His words of kindness meant a lot to me and I will never forget them.
I thank him for all those lessons on character development, understanding a script and the character’s place in it fully, and of the passion he brought out of all of us. We did not just come out of his class as better actors; we came out as better people. Much of what he taught still comes back to me every once in a while, so I know I am still growing as an artist.
I miss you Jim. Why did you have to leave us now? Leonard Cohen was right; this is no way to say goodbye. But what you taught will live on through all of us for you touched so many lives, and everything you taught will be passed on to future generations. You will live on with us always.
I still wish you were here though. It feels very empty here without you.