• The class is small. Enrollment is limited to 12 students.
• Every student works in every class.
• All levels accepted: beginning actors, working actors, stage actors and even non-actors.
• The class is ongoing: join when you want, leave when you must.
• We work on auditioning and shooting; film and television scenes and commercial copy;prepared and cold.
• We work on lead roles, supporting roles, guest star, co-star and those dreaded under-fives.
• Taught by a working actor with over thirty years experience.
• Guest Artists: from time to time I bring in guest artists (film directors, agents, casting people, cinematographers, guest teachers) to further enrich and inform the process.
• We're down on the Third Street Promenade in Santa Monica. A comfortable space in a secure area with plenty of parking.
• Actor-friendly payment terms and conditions.
• I provide a supportive working environment that is itself entertaining. A good place to learn, to pose questions, to practice. An exciting place to succeed, a safe place to fail. You'll be challenged, certainly. And you'll have a lot of fun along the way.

Making a movie (or shooting a TV episode) is basically a series of problems to be solved. In today's economic environment in Hollywood, an actor who can work efficiently and well, and help solve the shooting problems along the way, is a viable commodity... someone to be hired again and again. This is how careers are made and sustained. Here are a few common problems actors can help solve, if they know how:

• How can we get an effective two-shot with a single set up, rather than two over-the-shoulders requiring two separate set-ups?
• The sun is going down and we need a shot - an emotional one. How do you deliver in one take with little or no preparation?
• The director wants to cut the dialogue of a scene in half. How can you communicate the emotional content of the scene visually?
• What can you do on set to convince the editor to give you the last shot of the scene? Why is that even important?

Such problems are both internal ("I just got a rewrite ten minutes ago and now I'm expected to shoot - how do I pull this off?") and external ("The camera operator is asking me to pull my face towards camera -- but if I do that, I loose eye contact with the other actor!") Therefore, in class we work both internally (training the creative impulses) and externally (understanding the camera, the mics, the editor's needs).

Internal Work: The Actor's Impulses
This part of the class is loosely Meisner based (as opposed to text-based). We get our impulses from the other actors rather than from the text. This involves listening to the other actor, and allowing our own impulses to respond without filter. We train these impulses through a series of cold reading exercises that form the basis of our work (much like a musician's sight reading). Through this process you'll come to rely solely on your own instincts and, with nothing else to hold onto, your personality will come to the fore. This in itself creates self-sufficient actors who need nothing. You'll be able to entertain us with or without a good script, with or without a good acting partner, whether you're tired or you've been given a rewrite two minutes ago or even if you have no script at all. No matter what happens, your instincts will be free, your personality will be at the forefront, and you will be highly watchable, able to keep us entertained.

External Work: the Camera, the Microphones, the Editing Bay
You'll learn to play to the camera. You'll learn how to deliver shots that the editor will want to cut to. You'll learn what the camera likes and doesn't like about your face, your body, your voice and personality, and how to use your personal limitations to your advantage. You'll learn how to speak effectively to the mics. You'll learn how to hit marks and play an emotional scene to a piece of tape on the matte box. You'll learn how to include the camera in the scene, to make love to the lens and seduce the boom. These are fairly easy techniques to grasp when you can see in action, on screen. But they take a lot of practice to execute them without distraction!

Film Clips: Learning from the Masters
We also study film and television scenes in class, dissecting the work of such masters as Brando, Judy Dench, Johnny Depp, Kate Blanchette, James Stewart, Bette Davis, Cary Grant and even Charlie Chaplin.

A good example of this is Sergio Leone's film, "Duck You Sucker!" Watch the close-ups: James Cobern is an excellent example of how subtle an actor can be in close-up. Contrast that with Rod Steiger's work in the film, a great example of how huge an actor can be in close-up. Notice, too, that both Cobern and Steiger pull their noses to camera in close-up, always getting both eyes to the lens... even in what look like profile shots (a Sergio Leone specialty!).

I've also found that this is a great way to introduce students to great actors they may otherwise never discover (Maria Falconetti, anyone?).

Business Concerns:
Yes, we also address the marketing of the product, the marketplace, and effective strategies for running your own business. Headshots, resumes, marketing decorum, seducing representation, booking negotiations, contracts, what to expect on the set, union concerns... all of it. Actors tend to subliminally prepare themselves for failure. My intention is to prepare my students for success... the greatest success they can imagine for themselves.

Brad's Class! is suitable for students of all levels.

NEW ACTORS: My class will give you a solid foundation and methodology, allowing you to get out of your own way and trust your instincts. And you'll have a lot of fun with the camera, discovering what works best for you and the lens. You'll discover your type and your strengths, and learn to always play to them.

STAGE ACTORS: Ever wonder why you're not getting any camera work? There are reasons! It takes some understanding of the medium and some adjustments to your stage technique... and a lot of practice!... all of which you'll get in my class.

WORKING ACTORS: You'll get plenty of practice with all those things you are called upon to do on the set (hit marks, modulate your voice, play to the close-up, walk & talk, etc.). The class is also a space in which to try things, to experiment with the camera... so you can take risks here and observe the results first hand... to try all that stuff you've always wondered about without risking the gig.

NON-ACTORS: Often writers, directors, or merely curious persons take my class. Why? Because it's fun! And it's terrific for everyone, because the non-actor learns a bit about acting, and the bona fide acting students learn a great deal from the one who doesn't take it (or themselves) so seriously.

Brad's Class! costs $200 for every 4 weeks.

Payment is by CASH or CHECK ONLY. No credit cards.

Payment Schedule: Students may pay every four weeks ($200), or every two weeks ($100) or every class ($50). Regardless of how you choose to pay, you are still responsible for paying for all classes while registered, whether you attend or not. I reserve the right to charge any student every four weeks, should necessity dictate.

Substitute Students: If you know ahead of time that you will miss a class, you are free to find someone to take the class for you (a friend or acquaintance or fellow actor. Sometimes also there are former students who are happy to sub for regular students). This sub will attend class in your stead, pay the $50 and participate. If you've lined up a sub and they fail to show, you are still responsible for paying for that class.

If you know you will be missing three or more consecutive classes, just drop out of class and rejoin when you are able (assuming the class is not full). If class is full when you want to rejoin, you will have to wait until a spot opens up.

Class is held once a week, on Wednesday evenings from 7 pm to 11 pm.

The class is ongoing, with a three-week break in summer and a three-week break over the winter holidays.

New students can join whenever they want (provided there is space); enrolled students may drop out whenever they must.

The Promenade Playhouse
1404 Third Street,
Santa Monica, CA 90401

The Promenade Playhouse is on the Third Street Promenade in Santa Monica, between Broadway and Santa Monica Blvd. It is on the west side of the Promenade, two doors south of Santa Monica Blvd., next to Anthropologie, and across the Promenade from Wetzles Pretzles. The address on the awning is 1404 - 1408. Enter the door, walk down the hallway. After passing the stairs, you'll see two entrances to the theater. We are in the second entrance... the door across from the bench... the door marked "Theater".

Parking:

Park in any of the parking structures lining Fourth Street or Second Street. Parking is $3 for the evening if you enter after 6pm.

Directions:

From the Valley, via the 101 to the 405:

The quickest way from the Valley at that time is to take the 101 West to the 405 South. After driving over the mountain and past the Getty, get off at Sunset (right exit, left on Church St., right onto Sunset). Take Sunset west to Bundy, Kenter or Gretna Green. Turn left on any of those, and then right on San Vicente Blvd. Stay on San Vicente until it turns south (at the beach) onto Ocean Ave. Stay on Ocean to Santa Monica Blvd. Turn left on Santa Monica Blvd., right on 2nd Street and then into the first Parking Structure (on your left).

From Hollywood, via the 10:

The quickest way from Hollywood at that hour seems to be to find your way south to the 10 freeway via surface streets (Western, or Vine/Rossmore/Crenshaw, or La Brea, etc). Take the 10 west to Santa Monica. Exit at the 4th St/5th St. exit. At the fork in the ramp, bear left. Turn right onto 4th St. After crossing Broadway, turn left into the parking structure on the west side of 4th Street.

Alternate route from Hollywood:

In Hollywood, get on the 101 south. Take it to the 110 south (toward San Pedro). Follow the 110 south through downtown LA, then take the 10 west toward Santa Monica (and then follow directions above).

Yes. If you're interested in auditing a class, email me and let me know. Most classes are open to audits, but not all. We'll arrange a date for you to come in and watch the class in action. We can also talk then, either before class or after (or both).

Yes! From time to time I invite Guest Artists to come into class, either to teach, or to participate in class, or for a Q&A. Here are some of the Guest Artists we've had in the past:

Adrian Fulle, film director, writer, producer (Shiloh Falls, Finding Preet)

Jeff Myers, cinematographer (Shiloh Falls, Behind Those Eyes)

Jamison Reeves, Commercial Casting Director

Denton Heaney, Talent Agent (The Gage Group)

Michaela Watkins, Actress, Improv Teacher (The Groundlings)

Kim Robillard, Actor & Acting Teacher (Terminator 3)

Stephanie Silverman, Actress & Acting Teacher (Toolbox Murders)

If you have an audition you need to work on, or a role you want help with, or would prefer ongoing private sessions instead of attending class, you can book me for private coaching, schedule allowing.

PRIVATE COACHING RATES:

For sessions without the camera (one hour):

Actors currently enrolled in Brad's Class!: $75.

Actors not enrolled in Brad's Class!: $100.

For on-camera recorded sessions (one and a half hours)

The extra time is necessary for reviewing your recorded work while transferring it to a DVD to take with you.

Actors currently enrolled in Brad's Class: $120.

Actors not enrolled in Brad's Class: $150.

If you are interested, email me and we will find a mutually acceptable time. All sessions are conducted in a Santa Monica location.

Oh yeah! Check it out!

FEATURE FILM BOOKINGS:

Godspeed (Lead)
Shiloh Falls (Supporting)
Watercolors (Supporting)
18 Fingers of Death (Featured)

TELEVISION BOOKINGS:

Nip/Tuck (Guest Star)
Entourage (Guest Star)
Numbers (Guest Star)
Eli Stone (Guest Star)
Bones (Guest Star)
Gilmore Girls (Recurring Co-Star)
NCIS (Co-Star)
Arrested Development (Co-Star)
Journeyman (Co-Star)

SHORT FILM & STUDENT FILM BOOKINGS:

Rats (Lead)
Angels in the Dark (Lead)
Noir (Lead)
Who is Bobby Domino? (Lead)
Who is Bobby Domino? (Supporting)
Intelligence (Supporting)
Thrill Killers (Supporting)
LA LA LOCO Baby (Supporting)
The Memory Thief (Featured)
Untitled Spicy Mac Project (Featured)

COMMERCIAL BOOKINGS:

T-Mobile (National)
Domino's (National)
Jack in the Box (National)
AT&T (National)
Starbucks (National)
Mountain Dew (National)
Tic Tac (National)
AXE (National)
Zyrtec (National)
Listerene (National)
Yes! Car Credit (England)
VH1 Pepsi Super Bowl Smash (National)
Cancer Research (PSA)

STAGE BOOKINGS:

Turtle Love (one-woman show)
The Unadorned
Death of a Salesman
A Christmas Carol

"Brad's classes completely changed my entire outlook on acting. I am able to be myself again! I take risks and I'm not scared to get 'messy.' His class is a constant reminder that acting is fun! The less serious you take yourself, the better chance you have. Since studying with Brad, I have booked several guest star roles and over ten national commercials. Thanks Brad!" - Megan Paul, actress ("Entourage")

"Brad has been in the business over 30 years and has the best class this side of the Mississippi (and other side). He understands the strengths and weaknesses of the individual actor and brings out the very best in every student. He understands this business inside and out and teaches every aspect of it. So if your looking for a class that teaches you how to work in this business, then very simply it is Brad's Class." - Jeremy Fultz, actor ("Who is Bobby Domino?")

"I have trained as an actor in both London and Los Angeles, but I have never encountered a teacher like Brad (although I was really looking for one!) When you read the forewords to books by teachers like Gushkin and Meisner from their early students who (as now established actors) look back fondly on those early days with pioneering teachers, you often think how lucky they were. Well, now I am one of the lucky ones! A small class with intimate teaching that is both daring and experimental. As a working actor Brad is bringing a wealth of experience and understanding. He is not teaching just from the Actor's perspective, but very focused on the director's perspective and also there is a even a nod to what producers want. The students are encouraged to be indulgent, to be creative, to find organically what works and what does not. The environment is safe and encouraging, but gets challenging on a more practical level. The class is not formulaic and each class may be working on a new area, but you will do things in Brad's class that other classes are not structured to do. He breaks the 'rules', but sets some golden ones in their place....but, I cannot reveal all of his secrets! I have studied with directors and teachers from all over the world, but none of them are as good as Brad Greenquist. He is the only teacher with whom I consistently study, as no one else delivers such diversity of skills and knowledge." - Karl Hunter, actor

"Brad's passion for acting is contagious. He has been constantly inspiring and enlightening. Along with teaching me the often-not-thought-of technicalities of film acting, he has helped build confidence, gain freedom and most of all, trust my instincts. An actor could ask for nothing more." - Ellie Araiza, actress ("Shiloh Falls")

"In a profession where a majority of acting teachers try to get you to improve by putting you down, Brad gets you better by encouragement. I've personally seen over the years many, many students (including myself) make tremendous gains simply because Brad nurtured them like a loving parent would." - Greg Ross, actor

"It's clear that Brad really cares about each individual student's progress and learning. The things I have learned from Brad continue to serve me as an actor and will stick with me for the rest of my life." - Sean Riblett, actor ("Gilmore Girls")

"Brad's class gives you the inner POV of a working actor. You end up following this actor around: onto the set, into the casting office, and even to the actor's home office. What I mean is: you are right there, looking over this actor's shoulder as he shoots his close up; you are inside the actor at the moment he connects to a truthful emotion and brings it to life, putting the audience on the edge of their seats. You see for yourself how he deals with the millions of challenges that bombard him on the set: sound, camera, other actors and everything else. You are inspired to emulate that actor, and by the end of Brad's Class you feel as though you have actually become that actor. This class is simply addicting." - Falk Hentschel, actor ("Arrested Development")

My own studying over the years has been wide and varied. Therefore I bring many techniques into the classroom (Meisner, Stanislavsky, Grotowski, breath-based techniques, vocal techniques). I received a BFA in acting from Virginia Commonwealth University in 1983. In New York I studied with the great actor Michael Moriarty for six years. In Los Angeles I studied with Hollywood's best-kept secret, the brilliant Ian Tucker, for ten years. Along the way were other marvelous teachers and coaches (John Delancie, Patsy Rodenburg, Suzanne Celeste, Michael Donovan) and various workshops and limited-term classes (commercial workshops, audition workshops, voice and mime classes, writing and cinematography classes). Most importantly I bring over thirty years of on-set observations: of myself, of other working actors, and of some of the greatest actors of our time (Jack Lemmon, George C. Scott, James Earl Jones, Isabella Rosselini, Kate Burton, etc.).

I first started teaching in 1988 at Michael Moriarty's Acting Studio in New York City. I have since taught on-going classes or Master Classes at The Governors' School in Virginia, the Idaho Film and Television Institute, The David Kagen School of Film Acting and the Classical Theatre Lab in Los Angeles. I have taught Brad's Class since it's founding in 2005.

As for my professional acting career: you can check out my credits elsewhere on this website, along with film clips and commercial clips. I am a member of the Academy of Television Arts and Sciences, and a member of the Pacific Resident Theatre Company.

One more thing: I am a working actor, and that is where I make my money. I don't teach for the money. I teach because I enjoy it, and as a form of payback to all the wonderful mentors who have given so much to me along the way. Acting can only be passed down face to face, from individual to individual, generation to generation. I consider myself a link in this chain, a chain that reaches from right now back to my own teachers, and to their teachers, and to those teachers' teachers, binding us all not only to D.W. Griffith and the first flickers of the cinema, but all the way back to the dawn of theater, to Thespis himself. This is a very cool thing... and this is why I teach.