Welcome And Guest Introduction

Greg Staffa 0:00

You're listening to the Staffa Corner Podcast, a Staffatarian look at entertainment and life with your host, Greg Staffa. My guest today, you may have spotted her on shows like Chicago PD, Chicago Med, and Chicago Fire. Please welcome to the Staff of Corner, Paige Bourne.

Paige Bourne 0:37

Hey, thanks for having me on,

Growing Up Creative In Wisconsin

Paige Bourne 0:39

Greg.

Greg Staffa 0:39

So tell us a little bit about your upbringing. Where are you from and where did you grow up?

Paige Bourne 0:44

Sure. I'm originally from Wisconsin, like in the Milwaukee area. I mean, I'd say I was like a creative, imaginative child, but I never really did like theater until my freshman year of high school. And even then I remember like my first semester of high school. I was just very overwhelmed with all of the changes. Didn't really do any extracurriculars besides, you know, band. Um, but I did have some friends who participated in the fall play. So I just went to go support them. And it just looked like they were having so much fun up there. And it looked like a great way to kind of, you know, make friends with classmates from other years. And so I tried out for the spring play, was cast, and was just hooked immediately. And I remember, I think it was my junior or senior year of high school, after one of the play productions, this woman came up to me and she's like, Oh, what are your plans after high school? You're gonna major in theater, aren't you? And I didn't know that was even a thing you could do at the time, but whoever that lady was, she was super helpful because that's what I ended up doing. So yeah, I went to college and got a theater degree and really just did theater exclusively for the longest time. I was all set to go to San Francisco for an apprenticeship at a Shakespeare theater when COVID happened. And that's when I had to really pivot to on-camera acting since that was all that was really safe to do at the time. But thankfully, since I had an improv background, I wasn't totally new to on-camera acting because I know a lot of commercial directors like having, you know, improv and like comedic actors for their commercials. So yeah, that's when I really just dove into the on-camera world.

Why Improv Makes Strong Actors

Greg Staffa 2:26

What got you interested in doing uh improv?

Paige Bourne 2:30

You know, at first it was because I was kind of struggling with how I was being cast, because like especially in academic theater settings when most of like the participants are the same age, I always played like the wacky character parts. You know, you need like granny, you need the crazy neighbor down the street. That was always me. But then when I wasn't in an academic theater setting, it like shocked me that they would want an actual 70-year-old woman to play a granny instead of me. And and, you know, like I was especially typed at the time as very much like an ingenue character, which I just didn't find as fun as the character parts that I was used to playing. So at first it was just kind of a way for me to cast myself and and play whatever kind of role I wanted. But um, the more that I got into improv, I mean, to me, that's been just as helpful as any acting class because improv relies on listening, on being a good scene partner and fully committing. And so those same skills make you a great improviser, but they also tie perfectly into the skills you need as an actor. So yeah, it's just helped keep me creative and and quick on my feet. And I think one of the best things improv teaches you is that failure is okay, like failure won't kill you. You know, you can commit hard to something, and if it doesn't work, like that's fine, you'll get another chance at it, and and that's been really great.

Shakespeare Discipline And Script Breakdown

Greg Staffa 3:54

You've done a lot of Shakespeare, and that seems to be more structured and more disciplined, whereas improv is the complete opposite. Was it tough to kind of switch between the two, or did you find one medium helped you with the other medium? How does that that balance work for you?

Paige Bourne 4:13

Yeah, I think having a Shakespeare background and even like a foundation in theater laid a really great groundwork for my work at improv and you know and in other areas of my career as well. Because with with the skills you learn in theater, like you have to be very disciplined, you have to be on time. Like you need to make sure your ducks are in a row so that you don't hinder what anyone else is doing. And so that made transitioning into, you know, like on camera work and other areas so much easier because I already kind of had that background. But something that's really helpful with Shakespeare too is just kind of doing like the investigative work that you need to do with any text, where for me, when I just read Shakespeare Cold, I I understand very little of it, to be completely honest with you. And so it takes me a lot of time and a lot of effort to break down the script to really understand like what I'm saying and what's going on. And so that's been a really important muscle for me to develop whenever I get any sort of script, because I, you know, even if the text seems easier or more straightforward than Shakespearean text, like I think any actor should still be doing that same level of of work into their character and into really making sure that they understand what they're saying and sometimes like what they're what they're not saying, or you know, what they might be implying.

Greg Staffa 5:37

And

Turning A One Line Audition Real

Greg Staffa 5:38

does that same approach apply, you know, for like Chicago and Med, you were simply credited as life jacket woman. When you get a script like that where you have a role that you know may just be a couple seconds or so, is that same amount of research go in because you never know what might happen in the future for that character?

Paige Bourne 5:58

Yeah, you know, that was a really interesting audition because on the page there wasn't really a lot there. Like I think that character had just a very small bit of dialogue, which is like, help, I can't breathe. So obviously she's she's not going to be talking a whole lot because she can't breathe. But the descriptions around that little bit of dialogue were really helpful, where the the script kind of mentioned this like mass casualty event and like the chaos of the emergency department. And mining those clues from the descriptions in the text is how I kind of made that audition come to life. Because that could have easily been a five-second audition, say the line done. But in kind of finding those clues that created the environment of the emergency department, like that's where I kind of figured, like, oh, I mean, you know, when I've been horrifically burned, like this woman has, well, I've never thankfully been burned quite to that degree. But if I've burned my finger on the stove, I know like it kind of makes my hand shake, and you know, it's kind of all I can think about, and and your mind gets clouded. So all of those things really helped influence my performance. So even though for the purposes of my audition, I had nothing but myself and my backdrop, it helped me kind of place myself into the world that this woman would be in in a really, you know, frantic emergency room.

Greg Staffa 7:20

And is that where improv comes in then to kind of put yourself quickly in situations and react to them?

Paige Bourne 7:27

Yeah, exactly. I mean, I think that's where that kind of concept of like, you know, go big or go home. If we're gonna do this, let's make a big choice, fully commit to it. And hey, if it works, awesome. If not, at least I gave it a hundred percent. Yeah, I mean, I would love to go back and watch that audition tape because I, you know, I never have since sending it in. But yeah, I mean, like I really committed to it. I didn't have a life jacket at home, but I did have like a vest, and I alone in my room doing my self-tape did exactly the the same, you know, heightened level of performance that I would do on the day on set. So yeah, I think improv was a really nice um background to have that prepared me for auditions like that. Because I mean, for all of the Chicago shows that are like, you know, really heightened procedurals that have all these, you know, emergency situations, like you can't go in at 50% for scenarios like that to really sell it and to sell the different like emergency scenarios that go on. I think being able to go in and just give 110% to your performance is the way to like really sell those kind of procedural stories.

Filming The Frantic Gurney Sequence

Greg Staffa 8:36

Was that a hard scene to shoot? Because if I remember correctly, you were on a gurney being wheeled through the hospital. So, and you're line, I mean you just had the one line, but even just you laying there was the performance. Was that a difficult thing as you're being kind of whisked along and you know all the lights are going by and the commotion and everything? Is that something that's fun? Is that a little nerve-wracking?

Paige Bourne 9:00

Yeah, it it was a tall order to film because I know the director wanted to create this really frantic environment and how it was shot, and it was supposed to just be this like you know, sweeping movement to like open the scene and really introduce this like crazy larger-than-life emergency scenario. So I remember you basically follow me from like leaving the ambulance and kind of like getting triaged all in kind of one sweeping motion. So figuring out the timing on of all of that was crucial. I mean, there's all these different like background actors and and things that had to be coordinated, um, just to kind of make sure that everyone was at that heightened pace right from the start. And then they also did some really cool camera angles. Like there's one camera angle that's like directly over my head. And I remember the camera team was trying to figure out how we could get this shot because they really wanted that close-up of like the fantastic special effects makeup work that they did, but also so you could see like how horrifically this woman was injured. And so, you know, they they tried all these different things, and eventually the camera up just was like, Is it okay if I get up on the gurney with you? And I'm like, Of course, whatever we need to do to get the shot, let's do it. So I kind of put my legs together on the gurney and this camera up, like kind of straddled my legs, holding the camera, I mean, like less than a foot above my face. And he's like, Are you sure you're okay with this? And I'm like, Yes, as long as it looks good, let's do it. So he actually rode along with me on the gurney and all of those like close-up shots, which I'm sure looked crazy, but the way that those shots ended up on camera, I think it like turned out so great.

Greg Staffa 10:47

Yeah, the scene, if and if you haven't seen it, it has a real raw look to it that is very striking.

Paige Bourne 10:55

Yeah, for sure. I mean, he was just like hanging on to that camera, and and I'm sure it created like a really great, like shaky cam effect. But yeah, I mean, he was hanging on to that camera for dear life and just like riding on the gurney with me, which was which was really fun.

Making Small Roles Feel Human

Greg Staffa 11:10

What is your approach when you would get a role that might only be something like that that maybe has one line or brief? Because I've talked to so many actors, and for me it'd be it would be tough. If I you know, if I worked temp jobs and they said, Here we got this one-day job for you, I'd be like, Oh, great. Alright, I'll I'll show it up, I'll clock in, I'll do what they tell me to, but then tomorrow is a whole new thing. But there are so many actors that have said, I was only, you know, in one scene, and the next thing I know, I'm in it for five seasons. You know, you never know what character might resonate with the director and then the fans. You never know where that character might go. You know, maybe the life uh jacket woman is so inspired by the med she becomes a doctor, you know, three seasons later, and you know, she's back with her burns on her, you know, her body and stuff like that. When you get a role, do you think this could be something long term? Is your mindset just do the best you can every time? How do you approach those knowing that this might be a one and done?

Paige Bourne 12:16

Yeah, no, sure. I mean, uh, in in a a little spot in the back of mind with every audition, you know, every actor always hopes, like, man, I I I could see so much more for this character. I hope I get to do, you know, at least more than one episode or, you know, take it as far as it can go. But to be honest with you, for the purposes of just the audition, I think it's a an easy misstep for actors to make with these like smaller co-star roles to just really like make a meal out of it and like do all this extra stuff. And so I've learned that at least for the purpose of the audition, I try and just make sure that this character fits into this world. And, you know, usually when you're playing these parts, you might just be helping out the exposition, or maybe you're just kind of helping like to build out the the world and like the reality of the world that's being created in these different shows. So I try to just kind of like get in and get out and do my part, and that's it. And I found that to be really helpful and I found that to work for the purposes of the audition. Once I actually like get cast, and then I have time between getting cast and my day on set, that's where I'll go in and you know, do the work that's helpful for me to kind of like build the background for the character. And then once I actually get on set, I try to just kind of then like not keep that front of mind. Or I guess I'm not actively thinking about it when I'm on set. The work is there and it's informed whatever I do, but I'm not really actively thinking about, you know, the backstory and all that character stuff, just so I can be open to what's happening in the moment. And hey, if it only ends up being one episode, I'm glad I got to do that character work and and make a backstory. I mean, to me, that's all the fun of acting for me is getting to create these different characters. But if it does turn into, you know, a bigger arc or a larger role, then it really helps to have already laid the groundwork for who this character is and what what backstory they might have. And yeah, I think that's where we we keep coming back to improv. I think that also comes into play and has been really helpful for these smaller roles where they might only say one line, but they need to be as three-dimensional as any other character on the show. So that's why I think it's my responsibility as an actor to make sure, even if I'm just saying, hey, here's your coffee, that this person feels like a real person and feels like someone who would be in the world of of whatever show I'm on.

Greg Staffa 14:46

That what you just said was very relevant. I'm blanking out on who said it. There was some famous actor, it might have been Brad. Oh I'm blanking out. There was some famous actor um who was doing a movie with another woman, and they had a scene where they were in a restaurant, and the waiter came up and said, Here's your coffee, or something to that effect, basically what you just said.

Paige Bourne 15:12

Yeah.

Greg Staffa 15:12

And both the actor and the actress, who are megastars, I just I'm blanking out who they are, said, Wow, that guy's gonna go somewhere. And it was just that one line, he was a nobody, and saying, Here's your coffee to something to that effect. And it turned out that was Pedro Pascal. Oh, cool. And now years later he's a famous actor doing all that. But these two actors, and I god, I wish I could remember who it said, but it it goes back to what you said, where something like that that seems insignificant can get on everyone's radar and say, you know, wow, there's something there, and he ends up going to be on the major star. So I found it interesting that you basically gave that story and it was similar to what they had said. I just wish I could remember who was it that said it. Anyway, which is scary for you? Walking on to a stage that's more improv where you know you have to be quick on your feet, or going from a television set and knowing that you have to get everything perfect because there's limited times that you can film it.

Paige Bourne 16:16

Oh, that's a tough one. You know, I'll have to choose the second one of stepping on a set. You know, thankfully, like with a lot of improv that I've done and being in the Chicago comedy community, is like you start seeing the same people and same faces, and you know that you know everyone has each other's backs. So that has actually become a really comfortable environment to be in, as strange as that might sound. But every time you walk on a set for the first time, especially if you're doing these small roles, it just feels like the first day of school on every new set you you walk on to. And especially for like the the one Chicago shows that have been running so long. I mean, they are a well-oiled machine. Everybody knows everybody, they have, you know, their their ways that they get every episode done. And you have to just kind of fit into this machine that is already moving. And the other thing too is when you're working on these shows, you're working with a much bigger budget. And I would hate to like blow a take because I, you know, forgot my line or didn't hit my mark. And now we need to reset all of this stuff that I'm sure costs a ton of money for my little, you know, line flub or whatever. So whenever I step in like a TV or movie set, I really want to make sure that I have everything in order that I need so that I can just be a part of that like well-oiled machine, you know.

Greg Staffa 17:38

Now

The One Chicago Trifecta Milestone

Greg Staffa 17:39

you have done, I don't know if it's rare, but you've done the Chicago Trifecta. After doing like number two, was that a goal of yours to get on all three?

Paige Bourne 17:51

Yeah, I know. I I finished my One Chicago bingo card. I want like a like a plaque or something. But um, no, seriously, I've been really lucky with the One Chicago shows. I've basically been cast every time I've auditioned for one of the shows, which is like super awesome to be able to do. I would say that just like if you're a New York actor, you know, the the kind of saying is like it's a rite of passage to to do a law and order show. Well, that's kind of like what the One Chicago shows are to Chicago actors, is like that's where a lot of people get their first network TV experience. Like Chicago PD was my first network TV appearance. And doing the One Chicago shows is also how I got my SAG card. So yeah, I mean, I I I can't say that I was like, you know, going down my list and crossing all of them off, but I'm just really like lucky and grateful to have been on all three of them and to kind of see like the different way that each of the three shows work. You know, there's there's kind of different like quirks and vibes to each of the three shows, um, and it was just really cool to you know be like a fly on the wall for the for the day and to see how they operate.

Greg Staffa 19:01

Interesting. And I just looked it up because it was driving me nuts. It was Matt Damon and Emily Blunt, and while they were filming the adjustment bureau, they noticed that uh Pedro Pascual was playing a a Matre D. And they said that guy is well, he said Matt Damon said that guy is fucking good, and it was just basically a scene of him having handing him coffee, and they both instantly knew that he would be a major actor someday. So sorry that was driving me nuts, but it was basically your example that you gave is that example that happened, so it just proves your point. Just you're not Pedro Pascual yet.

Paige Bourne 19:42

Yeah, yeah, let's hope so. If I could even have a fraction of the career he's had, I would be the happiest camper. But you know, that's funny you said that because I was watching Nurse Jackie a little while ago, and it's got all of these New York actors and who, you know, went on to have huge careers. And I can't remember when that show came out, might be like 10, 20 years ago. But Pedro Pascal was like a small like guest actor on one of the episodes, and it was crazy to see like, whoa, Pedro Pascal, in 15 years, like you won't believe the career you're gonna have. So it was so so cool to see him in an early role, and he of course just like killed it, even though he only had like a couple of scenes to work with.

Greg Staffa 20:23

Well, I think that's important for all the uh I mean I think it gives actors and actresses hope because I mean you basically saw a page worn in watching, you know, nurse Jackie. It wasn't you, but that was a type of role that you would have gotten back then, possibly, and now he's there. So that gives I mean that has to give you some hope of what the future brings.

Paige Bourne 20:47

Yeah, exactly. I mean, you you never know, but I'll I'll take it. I would love that.

Acting Career Marathon Mindset

Greg Staffa 20:52

What has been the biggest lesson? I mean, you're a young woman, you're trying to make it, you've done, you know, some appearances on some notable shows and stuff like that. What has been like the biggest life lesson that you take away from what you've done so far and how do you apply it going forward?

Paige Bourne 21:09

Sure. I think the biggest thing that I've learned is that an acting career is a marathon, not a sprint. And you've got to be able to fulfill yourself personally and creatively to sustain a career that's gonna last that long. I it it always makes me laugh every time there's an award season, and there's always like, you know, that person or that handful of people that just seem to pop up out of nowhere and were that like overnight sensation. And it's just funny because if you actually do a deep dive into any of those people, you'll realize that there were years and years that they put in of doing, you know, unpaid community theater or like short film with friends, you know, whatever, that like all of that work compounded over years and years is what turned them into, you know, the overnight sensation that. They became during the award season. And so, you know, for my own acting career, you know, I need to realize that like I need to make sure that I'm not just an actor, that I need to make sure I'm creatively fulfilled so that I'm not just waiting for my phone to ring or like the next opportunity to come. So for me, that's you know, that's been doing improv. I've there's a sketch group that I'm a part of. So we will write sketches and and do shows, and that keeps me creatively fulfilled. Um, you know, I'm interested in like writing and directing. I'll probably start with like short films, see how it goes, and then just get like bigger and bigger from there. But um, you know, all of those things that kind of fill up your creative cup so that, you know, you're you're not just waiting for the phone to ring, like I said before. And even beyond that, too, like, you know, doing other maybe artistic or creative things that aren't acting. Um, you know, I love listening to music, I love visiting museums, um, it makes you a well-rounded person, and it also just helps give you things to pull from even when you are acting, just to kind of, you know, be that be that well-rounded person.

Greg Staffa 23:12

How

Rejection Auditions And Casting Reality

Greg Staffa 23:13

do you not become, and maybe you'll admit that you are, but how do you not become a basket case being in Hollywood? The I mean you have to imagine the level of rejection that it takes to get cast in a role. How many auditions did it take before getting on to this or that? Or, you know, yeah, I got a role, but it was only one episode. To me, on paper, you've had a successful career that's growing. But when you're in the trenches, it m has to be easy to second guess yourself to feel like I've gone on all these auditions and no one wanted me. I got a role, but it was only, you know, two lines and it's only one episode. How do you stay motivated and and what do you do to kind of keep that drive and fire going?

Paige Bourne 23:58

For sure. I mean, if I kept track of all of the auditions I've ever done, and then like the percentage of you know, which of those I actually booked, it'd probably be very depressing to look at all of those numbers. But you know, I was listening to an interview that Brian Cranston did many years ago where he said auditioning is the job of the actor. You know, actually booking the job is kind of like vacation in a sense, but the real work is going in. And even if you just get to play that character for the audition, like that is a performance you get to have. You get to show, you know, those directors, those casting directors, this is what this role would look like on me. So that's been a really helpful perspective to have when I'm auditioning. That, you know, instead of just putting so much stakes and hope on booking the role, um, that I just try and find the joy in auditioning and creating a character, even if it doesn't go beyond, you know, um, a self-tape. Um, so that's been really helpful. And it's it's been a good way for me to even find creative fulfillment and auditioning, which can be a really tough thing to do, especially when you, you know, have a lot of them to do it. It almost feels like, I don't want to say a chore, but just like something to check off your list. Let's see, I'm trying to think of another thing too. I think uh another thing that's helpful too is you know, kind of touching on what I spoke about before of how an acting career is really a marathon, not a sprint. That, you know, I really think that like casting directors are on the side of actors. I know sometimes actors feel like, oh, like, you know, I've been called in by this one casting office so many times and I never get cast, they must hate me, and that's not the case at all. It's really cool to get to go in repeatedly for the same casting office and especially get getting to hear their perspective, where so many times, even if that particular role doesn't work out for you, it's really cool to know that they're actively trying to see where you could fit in, you know, whether it's that show or a project in the future, or like maybe for a role you've auditioned for, there might be something totally out of your control, out of your hands that prevents you from being cast. You know, maybe you're you're too tall for a part or you look too similar to someone else in the cast. There's nothing you can do about that. But the cool thing is, is if you make fans of the casting directors, they'll keep bringing you back so they can keep seeing where you might fit in on maybe that same show or maybe uh another show that they cast in the future.

Greg Staffa 26:34

And two points I want to make uh off of what you just said. One of the things that that I've discovered doing, you know, writing as an entertainment critic and whatnot since 2012 is I've been amazed at the people I've written about who might be uh a lowly just episode writer. And as a critic, I might say I really love the episodes that are written by this writer, and it's just one writer out of you know 30 that cover a show that's you know 24 episodes or whatnot, and then that writer goes on to become uh you know a head writer, or that writer becomes a showrunner. And so, like you had said, you know, getting in front of those people and kind of being repetitive and and learning from them, and I mean you didn't say it, but I assume part of it is showing them respect, they remember those kind of things, and so you never know when you know they're looking for someone and they say, Well, I have someone in mind that might be perfect for this.

Paige Bourne 27:32

Yeah.

Greg Staffa 27:33

So it it Hollywood has a way of talking to each other that I think a lot of a lot of actors realize and they utilize it, and other actors don't really seem to to realize that things they do, you know, to the lowly people have an impact. The other thing I wanted to mention is you made a good point where auditioning is a lot like buying a home or an apartment. You might tell your realtor, I am looking for a two-bedroom, two-bath with a yar large yard, and the realtor brings you to one house and you're like, nope, this isn't the one for me, and they bring you another one, and nope, this isn't for me, and then finally they find one and you're like, This is perfect. Even though all the other ones had that match and had that look, it wasn't what you were looking for. And a lot of people, actors, you know, you audition, you might have a perfect audition, but it wasn't what the director was looking for. And so I've talked to a number of actors and actresses that have said, you know, I had the best audition of my life, I was perfect. It w I had the character down pat. I didn't get the job, I didn't understand why, but then I went to the film and saw the person that they cast, and he was perfect, and it wasn't at all what I was going for, and it I realized that it wasn't what the director was for. So the point is it's not personal when you're not getting these roles. It's you know, finding the look that the director is trying to fulfill. So, but still, it has to be hard to kind of go through all those things.

Paige Bourne 29:04

Totally. And I've helped some friends cast their projects, and that was incredibly eye-opening for me to see, you know, kind of the other side of things where I remember watching people's audition takes, and by and large, like no one sent in a bad tape, like at all. There were just certain tapes that maybe like stuck out more than others, or maybe you could tell, like, oh, these two people, I don't know what it is, but there's just something like really special about you know, like the chemistry they have on camera that you you kind of can't like put your finger on. And it's it's just those like little minute details that really you know push one audition over another. But yeah, that was really helpful to see what happens on the casting end of things. And it it's helped me be a better actor, but it's also helped me have a better perspective on auditioning. That like, okay, if you don't get cast, that's not a failure, it's just kind of one of those stepping stones along in your career.

Greg Staffa 30:01

Now,

Self Tapes Control And Letting Go

Greg Staffa 30:02

my understanding is, and some of this is a little bit before your time, but prior to COVID, there's a lot of in-person auditioning. And then when COVID hit, they switched more to sending in tapes. Are we seeing a return to uh more in-person auditions, or is it still relying a lot on tapes?

Paige Bourne 30:22

I'd say for TV and film work, it is still like the vast majority is self-tapes. I think the only auditions I've really gone in person for are like for theater, and maybe sometimes when you get to like the callback and beyond stage for commercials, they'll want to see you in person. But yeah, I mean, especially just because of when I kind of made the pivot to doing more on-camera work, that was, you know, during and and post-COVID. So I've gone on very few in-person, you know, like TV and film auditions, which for me, I I kind of like that. I mean, I do enjoy being in the room and kind of getting like that real-time feedback and direction, but um, I've had a lot of fun learning self-take self-taping. Um, I like that you have a lot of control over your environment when you're self-taping. And yeah, I mean, you know, with with any part of acting, it's really best to learn how to be adaptable. And so, yeah, being able to like be just as comfortable doing a self-tape as you would in the room, I think has been really important.

Greg Staffa 31:27

Interesting. I would have I was kind of leaning in towards an answer, and it wasn't the answer that you gave me because I was wondering how much of your improv was itching to go in front and be able to adapt on the go and and you know to change things up if you sense that it's not going well, versus sending in the tape and locking it in and going, here it is. I was assuming that your improv kind of you know was itching to get out there and do auditions where you could, you know, I make those live adjustments and whatnot, like an improv person would. So I'm surprised to hear you say that you like the kind of control of the of the tape.

Paige Bourne 32:07

You know, that that's funny you say that because I am certainly a recovering perfectionist. Improv has helped a lot with me kind of like being able to loosen the grip on things, but there's just something about self-tape where I I you know I I feel like a a mini director in a sense, and so I love being able to control my lighting, being able to control, you know, like the angles or how close up I am. So that's been fun. But yeah, I mean like there is a little bit of that like control freak that comes out a little bit in my self-taping. But yeah, I mean, thankfully improv has helped me to kind of like chill out in that regard in person. But yeah, it's it's an interesting mixture between, you know, wanting to have control and just kind of like letting go, you know, for the for the improv side.

Greg Staffa 32:54

Now you've

Second City Tools For Comedy Writing

Greg Staffa 32:55

done a little bit of writing too, is that correct?

Paige Bourne 32:57

Yeah, a little bit.

Greg Staffa 32:59

What kind of writing have you done? And is that something you're looking to expand on?

Paige Bourne 33:04

Sure, yeah. You know, many years ago, really the only writing I ever did was like nonfiction essay writing, and I felt really comfortable in that space. And the idea of writing like narrative and dialogue especially was like terrifying to me. And so that's where I did the conservatory program at Second City. That was really the first time that I really dove into you know writing dialogue and scripts. And you know, that's like a year-long program. And I really came out of the second city conservatory with so many tools in my writing tool belt. And so now I mostly write comedy sketches and you know, feel more and more comfortable doing that now that I've been doing it for a couple of years. And I'm in a sketch group here in Chicago, and I mean, it feels just like being in a writer's room where I know that I can, you know, have a pitch or a rough draft of a script, and I feel pretty confident with it. But it's been so helpful to have, you know, a group where we've been meeting now for like two or three years now. So we all know each other's voices, we know each other's sense of humor. And it's really great to take my rough draft of a script and kind of run it through their feedback because they just add so many different things that I would have never thought of before. And that's just made me be a better writer too. So now that I've been doing it for a couple of years, sort of like I was mentioning to you before, I'd really love to now go from like, okay, I've been doing these like comedy sketch size scripts. I'd like to now take the next step and try writing a short film, see how that goes. And, you know, someday I would love to write a feature. The the idea of that seems like a a lot to take a bite out of, but I'd like to just kind of, you know, take these steps and just keep writing more and more.

Greg Staffa 34:57

It

Burnout Fear And Choosing Growth

Greg Staffa 34:58

sounds, and I mean this in the politest way, it sounds there's an element of you that is very stubborn and stuck, that likes challenging yourself to get out of your comfort zone. You had done Shakespeare and you liked that, but then the improv was a little bit scary, but it forced you to do things, and it just seems, and correct me if I'm wrong, but it seems like you like going against your own comfort in order to learn from that. And then there's an aspect of you that likes being kind of stuck in our ways, but says, I need to do this to kind of break that mold that I impose on myself. Is that overthinking it or is there an element of truth to that?

Paige Bourne 35:38

No, that's right on. I Greg, I think before you know chatting with you, I probably wouldn't have like had the insight to say that about myself, but you hit the nail on the head. It was kind of interesting. After I graduated from college with my degree in theater, I didn't do any sort of acting for like two years after that. And in hindsight, it really came from like a place of burnout and fear, where now that I was out of an academic setting and I was in this, you know, big world of acting and like the entertainment industry, I was just so overwhelmed and lost. And I didn't really know what my next step was. And I was really afraid that whatever step I did make would be wrong and like ruin my career before it could even begin. And I guess what I've learned over time of doing these things that push me out of my comfort zone is that like you have to be able to do those things. That's how you grow as a person, that's how you grow creatively and in your artistic career. And, you know, like like improv teaches you of like, there's a there's a phrase in the improv world, I'm blanking who came up with it, but it's something along the lines of like fall and the net will catch you. And that's kind of been like the recurring theme of all of the different artistic pursuits that I've tried of like, all right, improv kind of scares me, but I feel like it's something I should stretch myself and do. And like, oh, you know, it didn't kill me. I actually learned a lot and I made a lot of great friends in the process. Great, let's keep going, you know. And then I do Shakespeare and then I do writing. And so, yeah, I mean, ever since then, I just realized I I don't get anywhere being too afraid to do something. And I would much rather try something, whether it's a big failure or a massive success, at least I could say I tried, you know, because I I don't ever want to have the regrets being like, oh, you know, I wish I would have done, you know, this, that, and the other thing back in the day, you know.

Greg Staffa 37:34

When

Dream Work Dark Comedy Ensembles

Greg Staffa 37:35

let's say, you know, you've you're building your career, you're building your resume, everything is pointing towards a long, successful career. If Steven Spielberg came to you and said, I loved you as life jacket woman, I thought your performance was just outstanding as you know, the burned victim, and I was brought to tears. I'm working on a project, but I don't know what it's gonna be. I love your input and I'd love to cast you in it. What kind of role could I make for you? What kind of story would you like me to tell backed by Steven Spielberg Money? What would you want to do?

Paige Bourne 38:11

Oh man, well, if Steven Spielberg ever said that to me, I think I would just, you know, melt on the spot. I could just retire happy. I think the kind of roles that I dream of are like ensemble dark comedies, things kind of in the vein of like hacks or berry, you know, that kind of thing where you might have a really funny scene one moment and then it turns dark really fast, and maybe it switches back to humor again just like that. I love that particular tone of acting, and I think that's a really it's really attuned to what I'm good at as well. And the other thing too is like I love ensemble acting as well. Chicago's a really great town for ensemble, you know, theater or acting, where a lot of the theater companies out here, and I think this kind of thinking is present in the indie film world as well, is you know, there's no stars or big divas. It's really all about who you are as an ensemble and as a team. And I I really gravitate towards that, and and that's the kind of approach to storytelling that I really like. Sometimes I kind of equate like uh an acting project, whether it be theater or on film, as like the Avengers, where you know, everyone's got their different role and their different strengths and abilities, and you really just have to find a space for all of those people to come together and put those different abilities towards a common goal. So, yeah, I mean, if if I could do some sort of ensemble comedy, that would be a dream project.

Greg Staffa 39:49

Well, you look at you know, Second City is known for producing so many great talents, you know, Paige Born Bourne included in that. But a lot of them, instead of going off to solo film careers, they started doing stuff like Saturday Night Live, which continued that ensemble thing. They didn't, even though they became big stars, a lot of the early Second City people went more in towards ensemble stuff like Second City or like uh Saturday Night Live. And so it's interesting that you would say that. Wrapping

Recovery New Work And Staying Curious

Greg Staffa 40:23

things up, what are you able to tell us about what the future holds for you? Any roles that we should look for you on? Is there a a new Chicago spinoff coming soon?

Paige Bourne 40:32

Or yeah, I'm I'm just waiting for Chicago Life Jacket Woman, but my phone hasn't rung for that yet. No, but um, you know, Greg, it's interesting you ask that because around two months ago my appendix ruptured. So that really threw a wrench in my plans. There were a lot of really cool things I had on the calendar that I unfortunately had to bow out of. Now though, I'm doing much better than I was before. So I'm just kind of getting back in the saddle and auditioning again. So, you know, hopefully we'll see what comes from that. So right now I'm just uh I've got my sketch group here in Chicago. We're called Communal Beverage. We've actually got a show we're doing in just a couple days where we're testing out material for just a one-off show. We'll see how that goes, and then we'll we'll do a longer run at one of the comedy theaters here in Chicago.

Greg Staffa 41:23

Good luck with that. And wrapping things up, final question is what I ask all my guests. When we say Paige Bourne, it's hard not to include, you know, the Chicago series and stuff like that. It's hard not to mention your Shakespeare background. We tie a lot of what we say about you to the roles that you've had or some of your background. But when Paige gets up in the morning, she goes into the bathroom, splashes a little water on her face, and looks in the mirror, who's it that she sees?

Paige Bourne 41:52

Hmm. That's a good question. You know, sometimes when I kind of look back on the things that I've gotten to do so far, I mean, I'm I'm really doing it for like, you know, little little childhood page who hadn't even done theater yet, but was, you know, playing imaginatively and creatively with her friends. I mean, if if you told me at eight years old that I would have like been on TV, that would have absolutely blown my mind. So that's been a really cool perspective to have. You know, whenever I'm bummed that I I didn't get a certain role or, you know, bummed that an audition didn't go the way I wanted, it's really great just to have that perspective of looking back that I just would have never expected any of this. You know, no one else in my family is like in the entertainment industry or you know has acted like this. So I feel like in a lot of ways I've kind of been a guinea pig in like forging my my you know acting path. But another thing too is I think I'm a just endlessly curious person. Like one life is not enough to live for me. I I want to try all these different jobs. I I'm so interested in all these different time periods and things, and that's what makes acting so fulfilling for me is you you get to jump in all these different time periods and you get to you know try all these different professions, and you you almost get to like wear all these different characters, and and that's what satisfies this like endless curiosity that I have. And for me, I I always want to learn something new every single day, and I have never been disappointed in acting because I'm always learning something new, I'm always meeting new people, and it's yeah, it's just it's been a great way to stay curious.

Greg Staffa 43:36

Wow. Well,

Final Reflection And Farewell

Greg Staffa 43:37

Paige Borden, thank you so much for coming on. It's been a pure pleasure talking to you. I look forward to seeing what the future has for you, and uh wish you all the luck.

Paige Bourne 43:46

Thanks, Greg. I appreciate it.