Tackling Procedurals 
​with the Mechanics of Believability

Coaches:  Jim Blanchette &
Lisa K Wyatt

Tuesdays 7:30-10:30 pm
January 8 — February 26

It is difficult to do your best acting work when you are worried about sounding like a complete blithering idiot.

With all the procedural TV shows (cop, medical, legal, military) it is more than likely that actors will work on scripts with a lot of intricate technical jargon that they will be instructed to “make it sound natural.” This eight-week intensive on-camera workout focuses on time-tested and dependable techniques to get past the difficult language to do your best acting work. You will learn to prepare tricky text quickly and consistently and learn the techniques that will make you sound like the professional you are portraying rather that an actor who is spitting out lines.

Step by step, we’ll guide you through:

♦ Prepping a Script without Locking in Line Readings
♦ Memorization
♦ Making Memorable Choices
♦ Playing the Scene, Not the Words
♦ Preparing Emotionally Engaging Material
♦ Hooking Blocking to Memory

♦ Playing People, Not Professions

♦Serving the Script

Customized material will be chosen for each member of the Garage. Since the Garage is a place for working actors, members are free to bring in audition sides or material they need to work on.

Minimum Enrollment: 8
Maximum Enrollment: 16

Workshops are held in
Van Nuys, CA


Welcome, all.

Tuesday, November 13,


Come and find out for yourself the acting world’s best kept secret. Find out how to prepare, rehearse, memorize and develop characters more quickly and more believably than you ever thought possible.

RSVP to:


A place for actors to workout with and master
The Mechanics of Believability. 

Audit Night

Winter Workshop

The Garage

We train in The Mechanics of Believability, the techniques developed by Lieux Dressler to address the needs of the industry. At its core, The Mechanics of Believability is a physically-based script preparation system. We show you how to explore text thoroughly and efficiently as an actor to find interesting choices, rather than immediately narrowing options as a director or using the popular but ultimately defeatist filter of “what THEY want.” Do it. Do it now. Do it Again. These are the director’s primary demands from the table read to the final take. For a creative and successful relationship, an actor must be able to fearlessly face a director and be flexible in his work. We don’t teach you how to act, we show you how to get there quickly and reliably with no drama. ​