Another Speaker

I did. Oh, no. And it was really bad. And Jenna, who's still a stage manager there, used to move her hand like a puppet mouth to let me know I was doing it.

I did. Oh, no. And it was really bad. And Jenna, who's still a stage manager there, used to move her hand like a puppet mouth to let me know I was doing it.

I did. Oh, no. And it was really bad. And Jenna, who's still a stage manager there, used to move her hand like a puppet mouth to let me know I was doing it.

Like you're doing the thing.

Like you're doing the thing.

Like you're doing the thing.

Oh, my gosh. You're doing the thing where you are moving your mouth for everybody else's lines. Okay, I have a question for you guys, since you're both on the show.

Oh, my gosh. You're doing the thing where you are moving your mouth for everybody else's lines. Okay, I have a question for you guys, since you're both on the show.

Oh, my gosh. You're doing the thing where you are moving your mouth for everybody else's lines. Okay, I have a question for you guys, since you're both on the show.

Does it help that you're looking at cue cards and not necessarily the actor that you're looking at? Or is that actually worse in terms of like the nervousness of like, holy shit, I'm here just talking on national television as it's happening?

Does it help that you're looking at cue cards and not necessarily the actor that you're looking at? Or is that actually worse in terms of like the nervousness of like, holy shit, I'm here just talking on national television as it's happening?

Does it help that you're looking at cue cards and not necessarily the actor that you're looking at? Or is that actually worse in terms of like the nervousness of like, holy shit, I'm here just talking on national television as it's happening?

I, depending on the sketch and the blocking, you know what I mean? If it's a ton of lines that you got to get through really fast, it's better to make sure that your eyeline is correct with cameras and stay on cards. Gotcha. If it's more performance based and you're doing a lot of physicality and moving around.

I, depending on the sketch and the blocking, you know what I mean? If it's a ton of lines that you got to get through really fast, it's better to make sure that your eyeline is correct with cameras and stay on cards. Gotcha. If it's more performance based and you're doing a lot of physicality and moving around.

I, depending on the sketch and the blocking, you know what I mean? If it's a ton of lines that you got to get through really fast, it's better to make sure that your eyeline is correct with cameras and stay on cards. Gotcha. If it's more performance based and you're doing a lot of physicality and moving around.

You want to like always dart over to the person.

You want to like always dart over to the person.

You want to like always dart over to the person.

There's a skill that some people have way better than me called jumping cards because there's multiple sets where you can move around the scene and jump from one set of cards to another mid-sentence.

There's a skill that some people have way better than me called jumping cards because there's multiple sets where you can move around the scene and jump from one set of cards to another mid-sentence.