Josh Randall Biography
Josh Randall born as Joshua Reeve Randall is an American television actor best known for his appearance in the NBC sitcom Ed and in Scrubs in 2005. He also had a recurring role on CBS’ CSI: Crime Scene Investigation.
Josh Randall Age
Randall was born on 27 January 1972 in Pacific Grove, California, United States. He is 47 years old as of 2019
Josh Randall Family
His mother, Sharon Monterey, is a syndicated columnist and his father, the late Monterey was a Chemistry and Physics teacher and also owned a gym at Monterey High School died in 1997 of colon cancer and was commemorated shortly after by having the gym after him. He has two siblings; his brother Nathan Monterey and a sister Joanna Monterey.
Josh Randall Wife
Randall has been married twice. He first married a Canadian actress Claire Rankin on September 10, 2000, and the couple divorced in 2013. In 2017, he became engaged to British actress Kacey Clarke. The couple married in 2018
Josh Randall Net Worth
He must have made a good fortune from his acting career. He has appeared in many films and television shows which makes us believe that he has accumulated over a million dollars. His net worth is still underestimation and will soon be updated
Josh Randall Ozark
Randall was cast as Bruce Liddell, Marty Byrde’s Chicago business partner in season 1 and 8 of the American crime drama web television series “Ozark”
Josh Randall Suits
Randall was cast as Dr. Chaz McManus in the episode one of the American legal drama television series “Suits”
Josh Randall Blackout
He co-created together with Kristjan Thor an immersive horror experience Blackout, also known as Blackout Haunted House in 2009
Josh Randall Criminal Minds
Randall guest-starred as Matthew Downs, a member of the Face Cards and Izzy Rogers’ lover in the seventh season of the American police procedural crime drama television series “Criminal Minds.”
Josh Randall Wanted Dead or Alive
Randall appeared as McQueen, a Confederate veteran and bounty hunter with a soft heart in the American Western television series “Wanted Dead or Alive.” He frequently donates his earnings to the needy and helps his prisoners if they have been wrongly accused
Josh Randall Blue Bloods
Randall was cast as Detective Tommy Pierce in “Stirring the Pot,” the eighth episode of the ninth season of the American police procedural fictional drama series “Blue Bloods”
Josh Randall Interview
Blackout’s Josh Randall Teaches Us About Physical Touch In Immersive Theater
At Midsummer Scream, Josh Randall, co-creator of Blackout, sat down to teach his first ever class on the use of touch in extreme haunts. Below are key points from that class, lessons from Blackout’s past, and a description of the basic tenets of safety they use. While this is not applicable to all experiences and is not meant to be, we hope that someone reading it will find it useful—and it starts people thinking about how to handle touch and safety in their experiences. Thank you to Eliot Bessette for his help with this article and to Josh Randall for teaching this class.
For those of you unfamiliar with Blackout, they are the godfather of extreme haunts, pioneering many of the psychological and frightening aspects that immersive horror companies employ today. They revolutionized the haunted house industry by becoming its antithesis: marketing to adults, having guests go through alone, and most importantly, letting actors touch participants. As years progressed, other companies found inspiration in this and an entire genre of full-contact and extreme haunts was born. But as things grow in intensity, safety has taken the forefront in conversations. How do you touch people safely? And what do you do if things ever become unsafe for someone? Blackout’s Josh Randall talks to these points and more below.
It is important to note that Randall admits, “we made all this shit up on the spot. This is literally ten years of us just doing shows, trial and error, and making a ton of mistakes… There’s no one right way to approach this. It comes down to the shows themselves and what you—as a creator—what you’re going for and what you’re trying to achieve… The bottom line is that you have to figure this out for yourself. You have to have a kind heart. You have to think about safety first. You have to think about your audience members and what they are going through. And then work backward from what it is you’re trying to achieve.”
This is a must-read for any creator, new and established, utilizing touch in their experience.
Why We Touch
While Blackout may be associated with extreme violence in shows, most audiences don’t understand that most of the physicality of Blackout came out of trying to keep their audiences safe. A normal audience member isn’t thinking about that in the moment because the light, fog, and theatrics all create an aesthetic that feels dangerous. Randall is quick to tell us that when “that actor is bear-hugging you and literally putting you up against a wall, it might feel like they are shoving you into a wall—but to them, they’re holding you really tight at your center; they actually have their hand behind your head; they’re making sure you’re not falling.”
Pick Kind People
So, how do you find the right people to touch audience members safely? Well, Randall says the most important rule is “to find people with a kind heart.” Whether it’s Blackout or Castle Rock or The Strangers Experience or Blumhouse’s The Purge, Randall always implements this in his hiring. “You genuinely have to look for people with kindness. You have to trust your actors before you throw them back there. Hands down, if you’re not working with the right people, the game is over, there is nothing to talk about. There is no exercise, there is no rehearsal that you can do to get someone on the right page.”
Randall wants people that genuinely want his audiences to be safe but can act scary. “I personally get really scared by actors that show up for auditions in monster costumes. I would never trust that actor who comes at me and tries to scare me and tells me that they are the most badass, scariest actor ever—I will never trust them in a room with an audience member of mine.”
Claire Rankin photo
“We’re looking for people that are genuine. We’re looking for people that are actually able to care. We’re looking for people that are able to sit in a room with you, look you in the eye, hopefully understand where it is you’re coming from, and start immediately shifting their own brain to determine what they need to do to get under your skin, and how they need to touch you.” Randall explains that this touch differs between audience members. “With certain people, that can be a really aggressive touch. For certain people, that can be a really soft touch. For other people, that may be no contact at all.” He wants actors that can understand these differences and not escalate the intensity when it is not required.
Escalation of Force
As shows and runs continue, Randall recommends creators and actors be aware of escalation of force. What this means is that after repeating a scene fifty or a hundred times, an actor forgets that this is the only time that the audience member has been through the scene. So even though you’ve strangled someone two hundred times and you’re really bored, this is the first time that a participant has had an actor put their hands around their neck. With extreme simulations, actors can’t escalate their touch over time. “I might be strangling you. I might be waterboarding you. I might be shoving your head into a wall or into water or into the floor, and ultimately if I’m doing it two hundred times a night, just as a human, I’m going to get bored and I’m going to start increasing the force.”
Randall says there’s a second instance of escalation of force. In this manner, an audience member is not responding the way that you expect them to respond. Thus, your natural inclination as an actor is to push harder—which Randall reiterates “is the exact opposite of what you need to do.” Why? Because this is when people get hurt. Randall explains, “I have a whole laundry list of shows where I’ve gotten hurt. All it takes is that split second for it to pull you out of it, and the only thing you think of is ‘They just hurt me.’ I don’t care what you’re setting up. I don’t care how good the lights are. I don’t care how good the fog is. I don’t care about any of that. I’m hurt. That’s it. I’m done. You lost me. You totally lost me as an audience member. I have no stake in your narrative whatsoever.”
Whether it’s an actor getting bored or trying to elicit a stronger reaction from an audience member, escalation of force is a real phenomenon and must be considered. Randall suggests rehearsing with casts prior to train actors on how hard to go—and ensure it stays there. “I generally always use a one-to-ten scale. I’ll say, ‘That was a really good choke. But it was at a three for me. I need it at a six.’ Once we hit seven or eight, you need to start calling it a day. That’s just for us; that’s just for a Blackout thing. We try to hit a level where it’s effective across the board, but you have to get the actors to keep it there.”