June 1, 2025
Unlocking Your Intangible Toolbox: Acting Techniques for Everyday Life
Send us a text When Marine veteran Jim Rojas found himself in an acting scene opposite Linden Ashby, something unexpected happened. Though Jim wasn't even on camera or in character, Ashby reached across with profound gratitude after the scene wrapped. This moment revealed to Jim that his lifelong mental habits—creating different versions of himself in various scenarios—had perfectly prepared him for acting. What began as childhood coping mechanisms had become a sophisticated operating system ...
When Marine veteran Jim Rojas found himself in an acting scene opposite Linden Ashby, something unexpected happened. Though Jim wasn't even on camera or in character, Ashby reached across with profound gratitude after the scene wrapped. This moment revealed to Jim that his lifelong mental habits—creating different versions of himself in various scenarios—had perfectly prepared him for acting. What began as childhood coping mechanisms had become a sophisticated operating system for his mind.
Jim calls this "spiritual shape-shifting," and it's revolutionizing how people approach everyday challenges. At its core is the Stanislavski system—a century-old acting methodology built on seven questions that dissect any moment: Who am I? Where am I? When is it? What do I want? Why do I want it? How do I get it? What's in my way? By systematically answering these questions, actors create authentic experiences within imaginary circumstances. Jim realized these same questions could help anyone navigate real-world situations with greater awareness and effectiveness.
The science backs this approach. From Dr. Lisa Feldman Barrett's theory of constructed emotions to programs like Sense Theater helping autistic children understand social interactions, these techniques have proven their value far beyond the stage. Jim's "intangible toolbox"—presence, awareness, emotional regulation, empathy, critical thinking, and more—represents skills systematically taught to actors that benefit everyone.
In his book "All Your Best Selves," Jim details how these performing arts techniques can transform your life anytime, anyplace, with anyone. As he powerfully states: "When we gave the world literacy for reading, it changed the world. When we gave people mathematical literacy, it changed the world. Why wouldn't it change the world if we gave people mental and emotional literacy in a systemic way?" Discover how accessing all your best selves could lead to the richer, fuller life you deserve.
https://www.amazon.com/dp/1647469740/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=164743261
Want to be a guest on Living the Dream with Curveball? Send Curtis Jackson a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/1628631536976x919760049303001600
00:00 - Introduction with Marine veteran Jim Rojas
01:37 - Jim's journey into acting
03:54 - Spiritual shape-shifting explained
07:02 - The Stanislavski system for life
08:45 - Real-world applications of acting techniques
13:09 - Book launch and final thoughts
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Welcome to the Living the Dream Podcast with Curveball, if you believe you can achieve.
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Welcome to the Living the Dream with Curveball Podcast, a show where I interview guests that teach, motivate and inspire.
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I interview guests that teach, motivate and inspire.
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Today, I am joined by actor and Marine veteran, jim Rojas.
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Jim has spent 20 years in the acting industry, so we're going to be talking to him about his work and everything that he's up to.
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So, jim, thank you so much for joining me today.
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Thank you, Curtis.
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I appreciate you having me.
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Thank you for your time.
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Why don't you start off by telling everybody a little bit about yourself?
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I mean, it's a lot.
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I imagine I've lived a very colorful life, but I think most significant things about myself happened when I was young.
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When I was four years old, I had an instance that happened where my parents took me to midnight mass and the concept of eternity just kind of opened up in my head.
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When you know, the priest was speaking words, you know, kingdom without end, you know, and the concept hit me that if there's no end, there's no middle.
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There's no middle, it's just a perpetual beginning.
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So, like you know, it's really neon.
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From now I still exist.
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I don't need to get to my existence.
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It, it freaks me out, it's a little.
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So I regressed into my head and I started creating what I now see as programs, and two of the most predominant ones are my bubbles.
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My suits are like characters, my bubbles are like the holodeck of the Star Trek universe.
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So what I would do in my mind was I would take different versions of myself, put them in these bubbles, which are different environments or different circumstances, and then I would let them run their course.
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Then come around 2008,.
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I was maybe four years into acting and I had an incident that happened.
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I was filming a movie called Hunger and I was opposite an actor called Lyndon Ashby and I wasn't even on camera.
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I wasn't in character, I was just reading lines with him.
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The camera was on him, but when they yelled, they yelled cut.
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He reached over and shook my hand and the gratitude was intense.
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I could tell he really appreciated.
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I didn't know what I'd done because I wasn't acting, I was just there, and it was a little bit after that that the realization hit me that my whole life was in a sense preparing me for that, because my suits were no different than characters, my bubbles were no different than scenes.
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I just learned a way to create an operating system for the supercomputer called the human brain.
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Well, how did you get into acting in the first place?
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Well acting.
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That was an accident.
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I had just gotten out of the Marine Corps and my first job out was at a restaurant called Lone Star Steakhouse and when I was working there I was on right.
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I was a Marine, I was like 22, something like 22.
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And there was a girl that was working there and she was talking about her voice lessons and I was just, you know, marine jarhead.
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I was breaking balls talking about how easy voice lessons were compared to what a Marine does.
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She did you know, stood up and challenged me.
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She said I bet you couldn't take voice lessons, soldier boy.
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And I'm like bet I could.
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So I went to, I found a voice instructor and I signed up not for two but like six weeks of voice lessons.
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But when I started it just kind of took off.
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He put me into a concert and that led to my first play.
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Then, uh, I did another play after that and that led to the role of judas and jesus christ the superstar.
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And it's like within the first two years I probably racked up 20, 30 credits, from the first year probably about 50.
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Uh, it was a very speedball experience for me but, like I said, it just happened on an accident.
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Most of my life does, because I just kind of go with the flow.
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Well, talk to the listeners about spiritual shape-shifting, to tell us what you mean when you say that.
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Absolutely.
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Thank you for that question and this is basically what I'm saying.
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Let me just prime it with this when you look at like a submarine that's underwater, it can't see anything.
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It has to shoot out sonar which pings stuff and when it pings stuff it comes back with information like okay, what is um, what's on the ground?
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Are there submarines or anything on the surface?
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So it lets you see what you can't see.
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That is kind of what I'm saying, what these systems do.
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So what I'm saying with acting, what we do now it's evolved to the point where we're feeling real emotions in imaginary circumstances.
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We're creating real human mindsets for use on the stage.
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So we're creating, we're working very, very hard to create living human beings for the imaginative and we're changing in and out of these people all the time and we do it all the time as well.
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It's called code switching in the common world.
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It's like when a kid from an urban city environment goes to more affluent neighborhood and then he changes his personality to fit in there because he can't act the same way around his friends as he can in this country club.
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So we do it to a certain degree.
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It's just acting as hyper code switching.
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You're switching who you are mentally and emotionally into completely different people for the purpose of the role.
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What I'm saying is you can take these tools and techniques and use them in your life, because the reality is these masters who created these tools and techniques.
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They created it for actors, to manipulate the human mind and emotions.
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But we don't have a set of mind and emotions for the stage and a set for real life.
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So, essentially, what these masters did, what they created for actors on the stage, they created for all of us.
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They just never thought of the implications.
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Now I want to just jump into the Stanislavski system, because this is kind of where I'm going with it.
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This was created by a gentleman named Konstantin Stanislavski about 100 years ago and it's his base system for actors to break down a moment and think about in life how many people ever took the time to break down the moment they were in to understand what was going on.
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And this is kind of where I'm going with the sonar thing.
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Okay, this system is based on seven questions.
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Number one who am I?
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This is the moment in relation to you.
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Number two where am I?
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This is the moment in relation to the environment around you.
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When is it?
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This is the moment in relation to the environment around you.
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When is it?
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This is the moment in relation to time, because time changes people Before or after a meal, when's a good time to talk to them?
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So, like I said, these all have very poignant needs.
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Number four what do I want?
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This is the moment in relation to purpose.
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Why do I want?
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This is the moment in relation to desire.
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How do I get it?
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This is the moment in relation to action.
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What's in my way?
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This is the moment in relation to obstacles.
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So, by being able to take apart a moment, you have much more choices in that moment.
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And where this attaches to spiritual shapeshifting is you can take these different mindsets, attach them to different versions of you, to different versions of you, and then, whenever you have a problem, you can literally shift through it.
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These problems with different mindsets, and each version of you will see the problem differently and give you more answers, if that makes sense.
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Absolutely Well.
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How can people use these techniques that you talk about in our own lives?
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OK, that's a great question, a couple of different ways like job interviews.
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Think about how many people rehearse their job interview before they go into it, versus how many people just go in cold and nervous.
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Now, with who am I?
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It's a question like in a job interview who am I?
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This question asks.
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Is your integrity developed with this job?
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Is it kept with this job?
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Where am I?
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Is this job commute something I can maintain?
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Is this a place that I can stay in through changes about, or is it just something I'm passing time?
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What do I need to overcome?
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Are there other applicants?
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Are my skill sets on my resume on par in relation to those with the other applicants?
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What about a conversation?
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Who am I?
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Do I need to bring comfort to this conversation, sternness or just an ear to absorb someone else's pain?
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Where am I?
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What are the circumstances, the situation this conversation is having?
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Is it public?
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We private?
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When is it?
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How long has passed since a difficult time or event?
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So what I'm saying is every moment of your life you can dissect, and if you dissect your those moments, it's going to give you answers that you didn't have.
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So it's being able to see things people normally wouldn't see and, like I said, this works on everything, because for 100 years now actors have been using it on everything, only for the imaginative.
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I'm saying the implications of using this in real life will transform the world.
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Because, I'll say this, when we gave the world literacy for reading, for language literacy, it changed the world.
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When we gave people mathematical literacy, it changed the world.
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When we gave people mathematical literacy, it changed the world.
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Why wouldn't it change the world if we gave people mental and emotional literacy in a systemic way?
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Well, talk to the listeners about that intangible toolbox that you talk about.
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Tell us what that intangible toolbox is and what's in that intangible toolbox.
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Absolutely Basically what the intangible toolbox is and what's in that intangible toolbox?
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Absolutely, uh, I'm gonna basically what the intangible toolbox is.
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This is the skill sets that actors develop as in their spirit as a human being, because when you look at acting, when you get the script, the script is like a coloring book black and white.
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The actor is the crayons.
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Our life experience is what colors that script.
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It's what adds ticks to the characters.
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It's what adds to the moments.
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Now we do that by building our intangible toolbox.
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Now I'm going to list off just a few of the things that you can find in that actors are learning in their intangible toolbox and, as I read these off, just tell me if these are any things that people could use in their life that they don't have.
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All right, presence, situational awareness, initiative, grit, projection, wit, breeziness, motivation, emotional regulation, empathy, critical thinking, teamwork, public speaking, problem solving, creativity, listening, independence, mindfulness, preparation, organization, goal orientation, interpersonal skills, communication.
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Now, like I said, that's just a short list of what we learn.
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These are systemically taught skills.
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Why aren't we teaching this to all people in the world if we're proving to teach it to a small group?
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Well, can you give some examples?
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Can you point to some examples out in the world where the techniques that you talk about does work for people?
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absolutely, there's actually several.
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Um, I learned this when I was researching for the book um, dr feast.
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Uh, lisa feldman barrett.
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She authored a book how emotions are made.
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She's presenting the theory of constructed emotions that's trying to supplant this theory of the triune brain.
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The theory of the triune brain came around like in the 60s and basically saying we all have a set of emotions and everybody around the world has it and that's who we are and there's no real science to back it up.
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They just kind of came up with it because they didn't have all the MRIs and stuff that they can actually see up with, because they didn't have all the MRIs and stuff that they can actually see.
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Well, her research is science supported and it's saying that emotions are created in real time as things are happening to us and that's exactly what supports what actors have been doing for all this time.
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University of California, irvine, had a course where they brought to the memory science the memory learning department, together with the acting course to teach actors a new way to be actors and essentially the way they said it was like learning the song learning the meaning of the song before you learn the song.
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Um, there's a place called sense theater where it teaches kids with autism how to interact in the world.
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And the simplest way I can put it is like this when actors study a play, they have the script to go on.
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When improvisers have to put on a show, they don't have to have a script.
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They don't have a script, so they have to study the way the play works, the structure of the play.
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So that's what Sense Theater is doing.
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They're taking that philosophy, teaching kids with autism how a social environment works so they don't have to pick up on the cues, because that's the biggest problem they have is they can't pick up on cues.
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So if you teach them beforehand how the environment works, they can recognize it.
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Trauma drama is taking acting techniques and teaching the kids who've undergone trauma.
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But they're not going through the trauma the kid went through.
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It's a different kind of trauma, so they're teaching them something that's safe for them to go through, so they can learn how to deal with trauma.
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Um, dr joseph levy moreno, back in the 1950s, created psychodrama, literally from taking acting techniques and putting it into the group therapy therapy environment and, like all of these instances have shown where it works.
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Um, going back to uh, and I don't think I mentioned that uh, dr and Noyce of Elmhurst College were doing some work with acting and there was another doctor named Thalia Goldstein.
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She was talking about the help where it worked with elderly people who were suffering from dementia, and acting techniques and mnemonic techniques that we use were helping them to rebuild their memories in slight ways well, tell us about any upcoming projects that you're working on that people need to be aware of well, the main thing is is the book.
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I just uh put it out not too long ago.
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Um, it's where I really get in depth and talk about it.
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It breaks down in three parts.
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The first part is talks about my life and how I came to the idea.
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The second part is the idea itself and the third part is the intangible toolbox where I show, I break down the stanislavski system, how it works in acting and how it works in life, and give a lot of examples in a way, uh, the meisner technique where it shows how to read behavior.
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Uh, uda hoggins 10 exercises again which help you how to break down a moment in her way.
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I briefly touch into improv and showing how that works.
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So this has been the main focus.
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Now it's just trying to get the book out.
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It's called all your best selves, how the performing arts toolkit can help you anytime, anyplace, with anyone, and right now it's only on amazon.
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But that's, that's my push because, like I said I I know this is a world-changing idea and I hate that it's in my hands because I'm not the hero the world needs, I'm the hobo it has.
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But I understand the importance of this idea.
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Well, throw out your contact info so people can keep up with everything that you're up to.
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Oh yes, Sure, Absolutely.
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I'm on.
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My website is wwwtbcentrprisescom, and on social media my handle is Soy Candy.
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You can find me on Facebook, Twitter what are the other ones?
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Instagram.
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Sorry, like I said, I'm still new to social media too.
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Like I said, this whole push once I got the book out, it was kind of floundering.
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So I jumped into social media thing and I just kind of podcasting thing, trying to learn how this works and trying to get better at it Most definitely what closes out with some final thoughts.
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maybe if there was something I forgot to talk about that you would like to touch on, or any final thoughts you have for the listeners.
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Well, I would like to give this one last thing and just encompass what we're talking about, and this is something that people deal with all the time, and in acting, we know the stage fright people just they get nervous in situations and they don't know what to do, what these skills do, what acting key.
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The key to acting is it's not acting, it's knowing.
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Once you know all, we answer all the questions, you know what you're going to do.
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It makes life a lot easier because you're not at the mercy of other people.
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You can make your own own choices, you can be your own person.
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So, like I said, I think the most important thing is getting in here, unlocking all the different versions of who you are and living a richer, fuller life, because that's what people deserve.
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We're not doing that right.
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We're not living the best lives that we can.
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All right, ladies and gentlemen, tbc Enterprise, check out Jim's site, check out his book, check out everything that he's up to.
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Please be sure to follow rate.
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Review, share this episode to as many people as possible.
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Jump on your favorite podcast app.
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Check out the show, share it, review it.
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If you have any guests or suggestion topics, curtis Jackson 1978 at attnet is the place to send them.
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Thank you for listening and supporting the show and, jim, thank you for all that you do and thank you for joining us.
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Thank you, Curtis.
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Thank you for having me have a great day.
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For more information on the Living the Dream with Curveball podcast, visit wwwcurveball337.com.
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Until next time, keep living the dream.
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