Actors Talk - Come Inside The Acting Business: Recent Episodes
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Michael Bott – Marathon Man Follow MICHAEL BOTT on Twitter @MichaelBott and @ActorChatTV
Here is the Michael Bott WEB SITE
Why do I say Michael Bott is a Marathon Man? Because it seems to me he embodies the notion that an acting career is ‘a marathon not a sprint’. He’s in for the long haul.
With 35+ years experience in stage and film acting with credits such as the National Theater and the Royal Shakespeare Company in addition to a number of film and television roles (most recently a 15 episode stint on the BBC daytime drama DOCTORS) Michael Bott has a resume to be proud of.
This actor’s journey hasn’t been all in a straight line, however. After about twenty years in ‘the game’ Michael stepped away temporarily from acting to work as a videographer and documentary filmmaker. One of his projects is an outstanding documentary called STANDING WITH STONES. More about that project a bit farther down the page.
Michael Bott – Actor Chat
I first became aware of Michael via the BLAB.IM live streaming platform. I had heard about BLAB while listening to a podcast and I decided to see what all the stir was about.
Of course I went there searching for content about acting and filmmaking and one of the first shows I happened upon was one called Actor Chat, with Michael Bott as the host and discussion leader. I found the Actor Chat sessions to be absolutely terrific and I was hooked on them and I suppose to an extent on Blab.
I recall being absolutely shocked while listening to one of the Actor Chat recordings when I heard the discussion veer onto a topic that included a reference to some content from an episode of this podcast. Wow! I always HOPE that some helpful information is being distributed through Actors Talk, but to hear something referenced in a live chat happening across the Atlantic was pretty cool indeed.
Michael Bott – Actor Notes Podcast
As I began to search for more information about Michael Bott and his career, I soon learned that, like myself, he produces a podcast.
Once I had found and subscribed to his ACTOR NOTES podcast, I became an even bigger fan. The presentation skills Michael Bott possesses are top notch. With a smooth delivery and a wonderful tone to his voice, I quickly ‘binge listened’ to (at the time) all nine episodes of Actor Notes. I never miss an episode.
As a bonus, not only is the listener treated to Michael’s thoughts about acting and ‘the business’ but he also has a series of shows featuring his wife, Sharon Bott, who is a life coach and a terrific podcaster in her own right.
If you check out just one episode, I think you’ll become a regular listener.
Michael Bott – Standing With Stones One of his documentaries, a film called STANDING WITH STONES, which he photographed and directed, is particularly impressive. Imagine packing up in a motor home and hitting the road to through Britain, Ireland and Scotland to shoot a film about prehistoric stone structures. That’s what he did, along with fellow traveler on this project, writer, Rupert Soskin.
Here’s what Michael Bott has to say about the project:
In 2005 my dear friend Rupert Soskin and I threw caution to the wind and embarked upon the production of an epic documentary film – a travelogue visiting the standing stones, stone circles and other ancient sites of Britain, Ireland and Scotland. It took two years and the result, of which we are very proud, is ‘Standing with Stones.
Standing with Stones – The Trailer from M. Bott on Vimeo
The post Michael Bott – He’s A Marathon Man | 066 appeared first on Actors Talk.
Chantel Riley – From Open Call To Broadway Chantel Riley was working at an insurance agency in Toronto,CAN and pondering if she should become a dance instructor at the school where she had studied. Then IT happened. A friend told her about and open call for Disney. For THE LION KING.
Let’s put a hold on Chantel Riley’s story for just a second. Time for a reality check.
Open Call – Cattle Call Google search the term OPEN CALL or alternatively CATTLE CALL and, if you’re an inexperienced, hopeful actor/singer/dancer, prepare to be jolted into reality.
Open Calls are just that – OPEN. To anyone who fits the basic profile of the talent sought – age, gender, height, body type, sometimes even ethnicity can all be relevant to what the producers are searching for.
Still since we are talking Open Calls, there is almost a certainty that if the casting call specified the producers are looking only for blonde women at least 6 feet tall, there will be a certain number of hopefuls who show up not even coming close to the desired specs. They’ve heard the stories about actors getting discovered in stranger ways and JUST MAYBE THEY will be the lucky one who gets picked ahead of the mass of actors who DO actually meet the desired spec. Stop it. Throw cold water on your face and get a grip on reality.
Chantel Riley has been in THE LION KING on BROADWAY for several years as of this writing and now she’s landed her first role in a major Hollywood film. RACE from Focus Features is the film about American track star Jesse Owens and his experiences at the 1936 Summer Olympics in Berlin. After seeing the trailer for this film several times recently, RACE has the look of a good film and hopefully, a big hit.
*Chantel Riley, Paging Chantel Riley Typically everyone is told to arrive at the same time. The actor (or the actor’s parents) will sign in and take a seat. Then they will typically wait. And wait. And wait.
According to Chantel Riley, when she arrived at the open call she attended, it was packed. She signed in. And she waited. Just like everyone else.
At some point, if the actor is actually in the ballpark physically, she/he will be called to audition. If the audition goes well, the actor may get a callback. Or, as with any other audition, the actor may be terrific, but just not what the producers are seeking. Such is the nature of the business.
That’s the good news.
Open Calls – The Bad News The bad news is that the experienced, trained talent is grouped, at least initially, in with the likely majority of ‘talent’ who have little or no training and a similar amount of experience. This is one reason experienced, trained actors stay away from open calls. There is no filter for who is allowed to attend.
I’m not even going to get into the total SCAM OPEN CALLS that purport to be casting for Disney or some other reputable entity when in fact they don’t. Does that really happen? Again, just take to Google or your favorite search engine and do some research.
The bottom line on Open Calls and Cattle Calls is this: If you have the time and patience and if you have little training and no agent representation, then go for it. If you have training and experience but you’re not booking work then you might want to consider an open call. As long as no one asks you for any money, ANY MONEY, all you’re likely to be out is your time. You might even get some good from the experience.
Back to the Chantel Riley story Why all the above about OPEN CALLS. Because this episode of Actors Talk is about a dancer / singer who did take the shot at a legitimate Open Call and hit the jackpot.
Chantel Riley was working at an insurance agency in Toronto,CAN and pondering if she should become a dance instructor at the school where she had TRAINED. (Keep that word TRAINED in mind.)
Then IT happened. A friend told her about and open call for Disney.
Chantel Riley was a talented, TRAINED dancer/singer but a largely untrained actor at the time. Still he had the desire backed by her extraordinary talent and she was able to perform at a high level under a stressful situation.
The Callback Following her initial audition, Chantel Riley received a callback. She came back with prepared to perform some new material she had been given. That callback went well but still she would wait to see if this open call was the beginning of a new adventure, maybe a new career, or just a false alarm, an afternoon diversion. Promise with no payoff. That’s certainly what it was for the majority of the other performers who waited their turns with Chantel Riley that day in Toronto.
But the call DID come and Chantel Riley was flown to Germany to AUDITION again, this time for the German company of THE LION KING.
After learning THE LION KING show IN GERMAN, learning it phonetically as she did not speak German, Chantel Riley joined the cast of THE LION KING and performed as NALA in that company for a year.
Then the opportunity came to AUDITION again, for the BROADWAY company. Yes, she had been hired and had been performing the character for a year and still she had to audition again to make the BROADWAY cast.
Chantel Riley – RACE and THE LION KING What a story, eh? Yes, the improbable…almost impossible it seems, does happen now and again. It happened for Chantel Riley.
She’s been in THE LION KING on BROADWAY for several years as of this writing and now she’s landed her first role in a major Hollywood film. RACE from Focus Features is the film about American track star Jesse Owens and his experiences at the 1936 Summer Olympics in Berlin, Germany. After seeing the trailer for this film several times recently, RACE has the look of a good film and hopefully, a big hit.
Let’s Be Clear The Chantel Riley success story that I’ve briefly described above is a LONG SHOT. A very long shot. Even with great talent Chantel Riley’s story could have had a very different outcome.
I say that not to be negative to put some caution out to all the hopefuls who will hear her story but lack her talent and work ethic. If you have THE DREAM, by all means GO FOR IT. But go for it with training and preparation.
Give yourself a chance to rise above the masses of people who will show up at an open call untrained and unprepared for what is required.
Chantel Riley has a great story. Let it inspire you but not deceive you into thinking that what she has accomplished has been easy or for the faint of heart. Could you learn a book and a score in a foreign language, perform that show not really understanding what you were saying and do it convincingly enough to remain employed until the language barrier became a lesser issue and you could finally begin to rock your talent? That’s what Chantel Riley did and I have great admiration for that kind of hard work and great talent.
So YOU Want To Be On Broadway? Work hard. Maximize your talent. Always keep training. And follow your dreams knowing you’re ready to do your best.
MAYBE,just maybe, you can be the next Chantel Riley. And maybe I’ll get the chance to tell your story one day.
That would be really cool. Go for it.
Actor Michael Bott Join me in early March for Actors Talk Podcast Episode 66 when I’ll be interviewing British actor, Michael Bott.
The post Chantel Riley – RACE and THE LION KING |065 appeared first on Actors Talk.*
JOE HANSARD – CHARACTER ACTOR Joe Hansard, the actor I’m pleased to spend some time with on this episode of Actors Talk is a wonderful character actor from the New York area. Joe has been a professional actor for several decades and it shows in his presence on the screen. Whether he’s playing one of America’s most wanted, a NY Cop at the turn of the century on THE KNICK or a homeless person on the mean streets of the big city, Joe Hansard brings something special to each role. The label, Character Actor, is a badge of honor, as well it should be. He wears it well.
Follow Joe on Twitter
Interested in having Joe Hansard in your project? Joe’s Agent
Equally at home in mainstream media and the independent film scene, Hansard has years of experience as both lead and supporting player. Known for an eclectic screen persona, his characters span the gamut, from hillbillies to the homeless — a mixed bag of lovable creeps, kooks, cops, etc.
What image comes to mind when you hear the term ‘Character Actor’?
If you’re a fan of the Steven Soderbergh series, THE KNICK, then you’ll recall seeing Joe Hansard recently in his fine turn as Tuggle, a bull dog of a detective who bites off more than he can chew in THIS IS ALL WE ARE, the final episode of season two. Or maybe you caught him as the homeless man in MYSTERIES OF LAURA or on THE WIRE, HOMICIDE: LIFE ON THE STREET or one of the many other shows to which he’s contributed his talent.
Joe Hansard – Nature of The Business It’s the nature of the business that many fine actors, fine character actors in particular, often labor in a kind on anonymity. They are ‘that guy in that thing.’ Or ‘you
know…THAT guy.” Familiar faces who always deliver something interesting in what can be rather pedestrian programming.
They are actors whose faces may ring a bell but whose names, sadly, often escape us. But to the people who produce and cast television and film roles, it is these wonderful actors who can be pivotal to the success of a project.
I’ve been following the career of Joe Hansard for a few years now and, full disclosure, I consider him a friend. Not that we’ve ever met. But as a character actor myself, I’ve always appreciated what my fellow character actors bring to the set and then to the screen.
Wonderful actors like Joe Hansard are, in large part, made we want to try to work in this crazy business…made me believe there might be a place for me.
I hope you’ll enjoy my chat with Joe Hansard. Joe Hansard offers a revealing glimpse into the struggles and celebrations that make up an actor’s journey.
It’s an honest and revealing chat and a look into the heart of a terrific actor.
CHARACTER ACTOR – It’s a title Joe Hansard wears honorably and wears well.
And if you haven’t checked out THE KNICK, be sure to do so.
Be bold, start with the final episode of Season 2, THIS IS ALL WE ARE, so you can see what I’m talking about when I say Joe Hansard is an actor I will always look forward to watching on screen.
MORE ABOUT CHARACTER ACTORS What exactly IS a character actor?
That question will likely provoke lively debate among fans but here’s a decent definition I found in Wikipedia:
A character actor is a supporting actor skilled at playing distinctly unusual, interesting or eccentric characters, such that they are “almost unrecognizable from part to part, and yet play many, many roles convincingly and memorably.”
Not a bad definition. But What about you? Who is on your ‘go to’ list of favorite character actors?
Perhaps you think of Paul Giamatti, Steve Buscemi, Gary Oldman, Danny Trejo or John Hawkes.
Let’s not forget wonderful female character actors like Joan Cusack, Tilda Swinton or Maya Rudolph to name just a few.
Listeners closer to my age might first think of someone like Karl Malden, Jack Albertson, Alan Arkin, Ned Beatty or Wilford Brimley. And character actresses like Lois Smith, S. Epatha Merkerson, Sharon Gless, Mary Kay Place, Regina King,
Older still might go to Peter Lorre, Charles Bickford, Walter Brennan, Gabby Hayes, Harry Carey or his son Harry Carey Jr. who like his father had a very successful career
as a Hollywood Character Actor, predominantly in westerns.
I can’t leave out actresses like Ellen Corby, Jessica Tandy or Thelma Ritter.
I would also be remiss if I excluded my great friend, the late Gregory Walcott a leading man early in his career but best known as a reliable guest star on hundreds of episodic television shows from the 1950s through the 1980s and for dynamic character turns in films such as Battle Cry, Joe Kidd, The Eiger Sanction, Norma Rae and my favorite of his character roles, Weenie in Prime Cut opposite Lee Marvin and Gene Hackman – two more examples of character men who had long careers as major stars.
Who Is Missing? Is one or more of your favorites missing? Of course they are. Any ‘top of the head’ listing of these wonderful actors is bound to leave out scores of deserving men and women.
Want to have some fun? Check out these few lists of favorite character actors, male and female. If you really want to honor your favorite character actors, make your own list on IMDb.
Best Female Character Actors of All Time
25 Great Character Actors
Best Character Actors Of All Time
The post Joe Hansard Character Actor The Knick |ATP 064 appeared first on Actors Talk.
LUCAS KITCHEN – A CREATIVE MIND – NOTES Affiliate Link: Infinite Tomorrow: The Kingdom Chronicles Book One
On this page you’ll find the host’s notes taken as he listened back to the recorded interview with Lucas Kitchen.
TIME STAMPS At various headings and in the interior of some comments you may find some ‘time stamps’ designated [21:29] for example.
That is the approximate location within the recording that the comments noted occur. Hopefully that will make it easier for you to skip to areas that you might find most interesting.
If you’d like the notes in their entirety, look for the ‘Read Full Transcript’ notice at the bottom of the page and click the arrow.
Please let me know if adding the time codes is of any help or value to you!
LESSONS FROM DAD [4:15]
Dad had a lesson he taught us – never go anywhere without a sketchbook
We always had something to draw with or something to write with
There were definitely times when we’d stop the van and pull over to sketch a scene or something
MUSIC THEN WRITING [5:37]
Writing came along later, I think for a very specific reason. Being a pretty poor speller and confused about punctuation as a young kid, I thought I couldn’t write.
I thought that technical skill that I lacked would keep me from writing. So for years I shied away from letting people see my written work because I was afraid I was
doing it wrong.
I wish someone would’ve sat me down and said ‘hey, you’re a good storyteller, you havve some weaknesses, it would be great if you worked on those because you really
could do something with this. [6:14]
LUCAS KITCHEN – VOCATIONAL EDUCATION ROCKS [7:50]
I’m a big believer in high school level vocational programs. I first picked up a camera in a high school media class. I got acquainted with a lot of the basics of video production there, using a camera, storyboarding, etc.
LUCAS KITCHEN – KID’S CAMPS TO START [8:28]
First professional
projects were kid’s summer camps. Someone asked me to shoot video at a summer camp. He called around and booked 10 camps to video that
summer and a freelance videography career was born. That phase of the career lasted 7 years.
LUCAS KITCHEN – THE DREAM [9:28]
Work on freelance videography projects to fund the kind of film projects I really wanted to be doing. The benefits were that I had the equipment and the skill to put together shot film projects and even some feature length documentary projects. The freelance work was fueled by the education and confidence gained originally via the high school vocational video classes
LUCAS KITCHEN – WHY STAY IN A SMALL MARKET [12:00]
I wondered if Lucas had ever considered giving up a rather enjoyable small town lifestyle for life in a bigger market. My question, which I failed to follow up on
properly was really about being able to work with more accomplished people than one might find in a smaller market.
Lucas’ talks about the reality that in larger markets there is a lot more competition from talented people. In his East Texas location, there is a lot of work and less
competition
LUCAS KITCHEN – OTHER THOUGHTS ON STAYING PUT once you get to the level you thought you wanted to be to…a lot of times it’s not nearly as satisfying as you thought it would be [11:40]
The peaceful lifestyle would be very hard to give up. When I was in L.A. or in even more distant locations like India, shooting, I realized I’d really rather be at home. I like east Texas.
LUCAS KITCHEN – STORYTELLING [12:40]
Writing a story is just magical
From the first time I bought a camera to do commercials, I dreamed about making feature length narrative movies
Read Full Transcript
LESSONS FROM DAD [4:15]
Dad had a lesson he taught us - never go anywhere without a sketchbook
We always had something to draw with or something to write with
There were definitely times when we'd stop the van and pull over to sketch a scene or someething
MUSIC THEN WRITING [5:37]
Writing came along later, I think for a very specific reason. Being a pretty poor speller and confused about punctuation as a young kid, I thought I couldn't write. I
thought that technical skill that I lacked would keep me from writing. So for years I shied away from letting people see my written work because I was afraid I was
doing it wrong.
I wish someone would've sat me down and said 'hey, you're a good storyteller, you havve some weaknesses, it would be great if you worked on those because you really
could do something with this. [6:14]
VOCATIONAL EDUCATION ROCKS [7:50]
I'm a big believer in high school level vocational programs
I first picked up a camera in a high school media class. I got acquainted with a lot of the basics of video production there, using a camera, storyboarding, etc.
KID'S CAMPS TO START [8:28]
First professional projects were kid's summer camps. Someone asked me to shoot video at a summer camp. He called around and booked 10 camps to video that
summer and a freelance videography career was born. That phase of the career lasted 7 years.
THE DREAM [9:28]
Work on freelance videography projects to fund the kind of film projects I really wanted to be doing
The benefits were that I had the equipment and the skill to put together shot film projects and even some feature length documentary projects
The freelance work was fuled by the education and confidence gained orginally via the high school vocational video classes
WHY STAY IN A SMALL MARKET [12:00]
I wondered if Lucas had ever considered giving up a rather enjoyable small town lifestyle for life in a bigger market. My question, which I failed to follow up on
properly was really about being able to work with more accomplished people than one might find in a smaller market.
Lucas' talks about the reality that in larger markets there is a lot more competition from talented people. In his East Texas location, there is a lot of work and less
competition
OTHER THOUGHTS ON STAYING PUT
once you get to the level you tought you wanted to be to...a lot of times it's not nearly as satisfying as you tought it would be [11:40]
The peaceful lifestyle would be very hard to give up
When I was in L.A. or in even more distant locations like India, shooting, I realized I'd really rather be at home. I like east Texas.
STORYTELLING [12:40]
writing a story is just magical
From the first time I bought a camera to do commercials, I dreamed about making feature length narrative movies
DISTRIBUTION MODEL CHANGES [14:13]
We talk about how the business of making and distributing creative content has changed dramatically in recent years. With the maturing online platforms such as
YouTube, it's not an absolute requirement to get a theatrical release for your project.
The same kinds of changes are happening for #actors as well, as more and more roles are being cast from self-taped auditions sent to regional production centers, in
Texas, Louisiana, Georgia, New Mexico, etc. [14:52]
IDEA EUPHORIA [17:30]
Lucas talks about having ideas for what he calls extravagant movies wth enormous budgets. After a time of shooting film work he realized that these ideas were
unrealistic
FIRST FEATURE BOMBS [17:57]
The first narative feature we did was a total bomb! We totally rushed the writing phase. We were like oh people will just love it and we'll just skimp on the script.
[We had the attitude of] We'll make it where we're loose or whatever. We made it and it was the worst move ever."
It looked good, good cinematography, but they made terrible mistakes with the story.
The experience made him realize how much work it was to do narrative features and how expensive they are to produce...the expense was a real deal breaker...he began to
ask himself what am I going to do with all these great story ideas that are too expensive to make as movies?
WHAT DO I DO WITH ALL MY STORY IDEAS [18:37]
Lucas related that he realized he would not be able to make movies that were so expensive to shoot but he had all these fantastic story ideas. What could he do with
them?
He decided that even though he knew his technical writing skills would need an editor and proofreaders, he would start writing these ideas as books instead of movies.
I started wrting and I just had a blast. It was like I could build a set in thirty seconds. I could cast the story in another fifteen seconds. And I could be shooting
a minute later. I mean, that's what it felt like. The tool for storytelling was just so much more readily available.[19:27]
That was sort of intoxicating. It was such a magical thing. So what got me into writing was wanting to do movies. As soon as I kind of discovered that, the big
narrative movie dream was basically replaced. [20:09]
I'd love to see my stories made into movies, but this is the medium for me, I think.
AUDIOBOOKS [21:13]
In my mind the audiobook is just the most fantastic thing I've ever experienced.
I love audio. When I write something I'm interested to see it become an audiobook fairly quickly.[21:29]
There are some in my audience that don't necessarily read, they listen.
PICKING A NARRATOR[22:00]
I asked Lucas how it was as the author to hear his characters speaking out of someone else's mouth.
He said in essence that he has learned through trial and error that is was worth it to connect with professionals, with people who have some experience - narrators who
have some craft. ( My term not his.)
You can get blinded by Mr. Big Voice. What Lucas says he has learned is that getting an actor who understands how to tell a story with his/her voice is much more
important that just finding someone who has a 'big' voice. [22:28]
INFINITE TOMORROW - WHAT'S THE STORY [23:22]
It's set on a planet called Newearth, a planet that comes after our earth and it opens in a sort of gardened setting where 12 young boys are being taught by a
character called an Elvangeline. It's sort of a 'boy goes on a journey' story. The protagonist [Abriel] is given a task to complete. Anyone who is familiar with ths
style of story understands that the lesson is in the journey not in the completion of the task.
It's largely what I [the author] would call a millieu story. It's largely about the world he's living in. This NEWEARTH. More books may come from this same setting,
possibly a trilogy. [24:20]
FANTASY, SCIENCE FICTION or SCIENCE FANTASY [24:53]
I'm very interested in technology and where it is going in the future. How we as humans interact with technology. I'm enamored of the idea that science fiction and
fantasy are not really all that different. An author that Kitchen likes once said 'the only dfference between science fiction and fantasy is that one has rivets and
one has trees.'
In a lot of my stories, the fantasy elements are woven into the scifi elements [25:58]
WHO IS THE AUDIENCE [27:10]
I don't really know who it's for until it's finished. [With this book]I'm sort of targeting fantasy lovers who are young at heart, that love a journey sort of story. I
read Narnia and The Hobit every couple of years and those are children's books. I feel like a young teen could enjoy it and an older reader will get more from it. I've
been saying it's probably best for age 13 and up.
A SPIRITUAL JOURNEY [28:31]
The story has at its core a spiritual journey or quest that is undertaken by Abriel, the protagonist. Lucas talked a bit about the spiritual aspect of this story. He
spoke about how fiction is often effectively used as a means to tell a story with spiritual or social significance. He also alluded to influential people throughout
history from Jesus to Martin Luther King, Jr. to Ghandi and how they were great storytellers.
ABOUT FICTION [29:11]
I think whenever we have a lesson or moral we really want people to understand, I think there's no better vehicle than fiction, just because it [the lesson] sort of
creeps up on you, you realize it at some point but you're still enjoying the story
Web Site [30:03]
Lucas describes the type of works that can be found there: fiction of all kinds, web comics and
wearefiction.org
JOIN ME ON BLAB [32:10]
I'm going to try something a bit different for me this coming Saturday 1/30/2016 as jump into live streaming on the BLAB.im platform
Blab is a relatively new platform that combines some of best traits of Google Handouts and Hangouts On Air with a real time chat feature where audience members can
easily make comments or ask questions in real time. It looks like a very promising platform for an interview show like Actors Talk Podcast. It is live, so whatever
happens, happens. Join me if you'd like as I interview fellow podcaster, videorgapher Doc Kennedy.
That's a wrap for Episode 63.
The post INFINITE TOMORROW – LUCAS KITCHEN |063 appeared first on Actors Talk.
THE AUDIO PLAYER HAS MOVED TO THE BOTTOM OF THIS PAGE
After recovering my site following the recent hack as explained in the podcast audio, I have started using a new tool called Thrive Content Builder. Unfortunately there are some issues between this plugin and my audio player. So for now, Please scroll all the way to the bottom of the page to listen to this episode. Hopefully I'll be able to return the player to the top of the page soon. Thanks for your patience!!
Interview with Sean Johnson and Sydnee Simone
I got HACKED! Listen to my comments following the interview with Sean Johnson Jr and Sydnee Simone and I'll tell you how I rescued 4 YEARS of podcast episodes after some low life hacked my site and my web host closed me down!
Screenwriting Workshop WITH New York Film Academy Top Graduate SEAN JOHNSON JR
Writer of "Down By The River," Sean Johnson will be hosting his 2nd annual Screenwriting Workshop in Houston, Tx on January 16th, 2016.
The top graduate of New York Film Academic will be sharing the secrets to help you turn your idea into a feature length screenplay. 99.9% of notable screenwriters use this same technique from what we like to call the "Beat Sheet."
He will teach you how to finish your story from beginning to end before you even type the first letter of your script! You can reserve your seat now!
Click here to go to the EventBrite Sign Up Page.
Or you can make a payment for $75 via PayPal.
The PayPal Email is seanjohnsonjr@me.com and we'll send your ticket to enter the workshop.
seanjohnsonjr@me.com
Jason Tyler
Sean Johnson's screenwriting class teaches how to know your screenplay from the beginning to end before you even type the first letter of your title page! He truly teaches you how to master the screenplay
Nzinga Rideaux
Sean Johnson's Screenwriting Classes are a must for beginners. As an aspiring screenwriter I thoroughly enjoyed the class and his one on one coaching style. I am now in the process of completing my first screenplay for review. This would not have happened if I had not taken this class.
My guests for this episode of Actors Talk are filmmakers Sean Johnson and Sydnee Simone. Sean is one of the Exec. Producers and Syndee is the director and one of the lead actors in a new indie film called Pastor's Daughters.
In this episode I spent a few minutes with Sean and Sydnee exploring some of the challenges of producing in the low budget indie market, in the faith-based niche and also to some extent, for an African American target audience.
Pastor's Daughters was the first feature film that Ms. Simone has directed but as you'll hear in the interview, she was well prepared following a long season of training behind the scenes from every position from PA to Unit Production Manager prior to accepting this directing assignment.
For those of you who are long-time Actors Talk listeners and readers, you'll remember Sean from previous episodes. He first appeared on Actors Talk in Episode 14 to talk about his first feature film, DOWN BY THE RIVER and then again in Episode 41 to talk about another film he produced called WALK BY FAITH.
I love having Sean on Actors Talk because he is actually out in the marketplace making movies. And as you'll hear his movies ARE getting distribution deals.
CLICK THE LINK BELOW TO GET YOUR COPY OF INFINITE TOMORROW
Infinite Tomorrow: The Kingdom Chronicles Book One
The post Sean Johnson and Sydnee Simone |062 appeared first on Actors Talk.
From The Novel To The Audiobook From the novel to the audiobook. That’s the journey we’re taking in this episode. If you are an actor who wants to explore audiobook narration but don’t know where to start, this episode will hopefully give you some information you can use.
In this episode I’ll be talking with my good friend John Jones. In the interview you’ll hear me refer to him as John J Asher. That is his pen name.
As John J Asher he has written a collection of short stories called Stories From Separation, Texas and the novels A Dignified Exit, Yellow Mesquite and The Dogs of Mexico. All of these works can be found at his website, JohnJAsher.com or on his author’s page on Amazon.
This episode is a bit different in that it was not recorded via a Skype interview, it was recorded in person in John’s home. Other than the intro and outro to this episode, all audio was recorded live on a Zoom H4N portable recorder.
A Little Backstory John grew up in West Texas, in a town of about three hundred. His earliest artistic inclinations were not toward writing but drawing and painting. John tells me in the interview that he was always drawing and sketching as a youngster, even in the Baptist Hymnal at church. His favorite subjects to draw: Guns. Maybe he was just preparing for some of the action scenes he would much later write in THE DOGS OF MEXICO.
From west Texas, John journeyed to Southeast Texas to the Golden Triangle, though I’m not sure that’s what it was called in those says. He worked at the refinery in the Beaumont-Pt. Arthur area and continued to draw. John met several local artists including Lynn Sweat with whom he remains friends to this day.
With layoffs happening at the refinery, John took the opportunity to take a severance from that job and head to New York. There he worked as an artist and illustrator. After having completed a significant number of paintings, John approached several New York galleries and made some promising connections. While waiting for an upcoming show that would showcase his work, John lost all of his paintings, over 50 in number, and collection of art books in a house fire.
The fire took a toll on John’s aspirations in the art world. He spent the next several years designing and building a new house on the site where his house and all his paintings had burned.
John continued to work as an illustrator for many years in New York and later in Austin, Texas where he now lives and writes.
Audiobook Production at Home I have talked and written previously about my interest in narrating audiobooks. I believe I’ve also mentioned some of the challenges associated with producing and narrating audiobooks.
The challenges can seem quite daunting. I know that for a fact. It was contemplating these seemingly endless challenges that kept narrating as a ‘bucket list’ item rather than a reality for far too long.
Let me give you an idea of what is required by ACX, the Audiobook Creation Exchange, to produce acceptable audio:
AUDIO SUBMISSION REQUIREMENTS – FROM THE ACX SITE
Audiobooks uploaded to ACX must adhere to the following requirements. The ACX Quality Assurance team may reject titles that do not meet these standards, and their retail release may be delayed. The following requirements help ensure customers get a great listen.
Your submitted audiobook must
be consistent in overall sound and formatting and be comprised of all mono or all stereo files include opening and closing credits and a retail audio sample that is between one and five minutes long
Each uploaded audio file must
contain only one chapter/section that’s shorter than 120 minutes and the section header must be read aloud have room tone at the head and at the tail and be free of extraneous sounds
measure between -23dB and -18dB RMS and have -3dB peak values and a maximum -60dB noise floor
be a 192kbps or higher MP3, Constant Bit Rate (CBR) at 44.1 kHz
I have to tell you it was those last two lines that stopped me in my tracks. I don’t have a proper recording studio. I don’t even have a walk-in closet available to convert into a studio like a lot of narrators use in their home recordings.
So I was pretty certain that I could not meet the ACX specifications for recording fidelity. I was so sure of it I didn’t try.
Fortunately, I was able to take a wonderful class that I have written about previously, the ACX Audiobook Master Class taught by Dan O’Day and David H. Lawrence XVII. I won’t go into more about that class here but if you are interested in knowing more, check Actors Talk Podcast Episode 58.
My Home Studio For all of you who think you can’t record at home and get good audio because you don’t have a sound proof booth or a great walk-in closet to use, take a look at the photos below. These are photos of my ‘studio.’
Yes, The Dogs of Mexico was recorded in its entirety right there in that little space with nothing more than a few moving blankets behind and to the side and a Reflexion Filter-X behind the AT2020 USB Plus microphone plugged into an old Acer netbook I had sitting around unused.
Had I not taken the ACX Audiobook Master Class, I never would’ve had the confidence to give audiobook recording a try in my funky non-studio recording space. I’m glad I took the plunge.
Not only did my audio pass muster with ACX/Audible, it passed through quickly without even one technical glitch to fix. If I can do it, you can do it. Here’s a sample of the audio:
The Home Recording Challenge While the audio quality I produced was acceptable to ACX, I will tell you that getting there was not easy. Not from an equipment standpoint. The equipment above together cost less than $300. No, it wasn’t the equipment that was the issue it was the lack of sound proofing.
Because I don’t have a sound proof recording space, certain adjustments had to be made.
I had to record mostly between the hours of 9pm – 2am because that’s when everyone else in the house was in bed.
I had to be able to turn off the A/C to eliminate that noise.
I had to have quiet from the neighborhood – no cars passing by. And no birds chirping.
All of those things dictated that I had to record at night. That presents a challenge as well. After working all day, a body gets tired. And a tired voice is not good for narration.
So I would typically take a nap for an hour or so in the early evening so I could be rested enough and have good vocal energy to do my nightly recording.
I was able to do some daytime recording but it was sporadic and wasn’t the greatest experience because of all the additional noise issues. Stopping and starting for cars or kids playing or, did I mention BIRDS?
Those are some of the challenges with recording at home and without a proper sound treated space. But still it is doable. I know it is because I did it.
How Is The Pay I’ll get back to you on that.
I produced The Dogs of Mexico on what is called a Royalty Share basis. I did it that way because it was my first book and the author is a friend. If the audiobook sells, the author and I will split the royalty after Audible takes their cut. This is not likely to be a significant money-maker unless we get very lucky with sales.
Narration opportunities on ACX come with several types of payment: PFH – Per Finished Hour; RS – Royalty Share; Stipend – A form of PFH pay; and a so-called hybrid method that is part PFH and part RS.
I won’t lie. There is a lot of competition – Go figure – It’s the ACTING BIZ – when is there not a lot of competition. And it takes time to build up some credibility as a narrator. I’ve just completed book one!
I’m now in the hunt for the next “Dogs of Mexico” to add to my experience and grow my ability as a narrator.
Get The Audiobook If you have an Audible account, check out THE DOGS OF MEXICO and see if it’s your cup of tea.
If you don’t have an Audible account use the banner link below and sign up for a 30 day free trial and get THE DOGS OF MEXICO as a free book. If you do the free trial deal, understand that you must cancel before day 30 or you will be billed $14.95 / month until and unless you cancel your subscription.
Note: Some links above are affiliate links. That means if you click a link and buy something I get a small commission. You won’t pay any more for the items but a commission flows this way to help support the podcast. Thank you in advance.
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**> Your success, however you may define that, is likely tied to some ‘personal indelibility’ some instant reaction people have to YOU, not to the part you’re playing, but to YOU. That’s hard to teach…in fact you can’t teach it. But you can open people’s eyes to it.
** Michael Laskin – Actor – Teacher – Author In this episode of Actors Talk I’m speaking with actor, teacher and now author, Michael Laskin about his new book The Authentic Actor The Art and Business of Being Yourself and about how he came to pursue the actor’s life.
Some actors and other artists I speak with know from a very early age that we want to act or write stories or music or pursue other creative endeavors, and sometime it’s others who see in us something we might not yet see in ourselves.
Such is the case with Michael Laskin. I found out that Michael is a Minessota kid who was a good student but really had no aspirations to become a professional actor…at least not until his high school guidance counselor planted that seed in his mind that acting was something he could study and just maybe do well.
He went to Northwestern and studied theater, moved to Minneapolis and became immersed in the regional theater scene: he was in the company at the Gutherie, worked in Seattle, Louisville, off-Broadway for 10-11 years and in 1983 decided to move to L.A.
With that as a background we pick up the interview where I’m asking Michael what percipitated the move away from a successful career in regional theater into the film and television world in Los Angeles.
ACTING – FROM STAGE TO SCREEN
Michael Laskin made the move from busy regional theater actor to L.A. based actor around 1983 with a play called THE BASEMENT TAPES written by Erik Brogger. So, I wondered, was the transition from stage to screen an easy one or were there some bumps in the road.
**> “For me it was a difficult transition and…in a large way it has informed my teaching and the book I wrote…”
** He had early success.
Michael tells how his friendship with a writer on HILL STREET BLUES, Stephen Bochco’s seminal 1980s era cop show, help Michael gain a foothold into the L.A. market.
Within six weeks of landing in L.A. he had an agent and he had booked his first job.
But, Michael says,
**> I was terrible in my first job. I saw it on TV and I was just mortified….That pivot from stage to screen was a challenge.
LEARNING FROM A REAL PRO > … most TV and film actors do not get the chance to be transformative. we are generally hired to be something akin to ourselves a more truthful dynamic version of who we appear to be when we enter into any human transaction..
** Michael credits the late Jack Warden for helping him make the transition into becoming an authentic actor.
While working on a recurring role on Warden’s show CRAZY LIKE A FOX, Michael says he learned by watching how Warden worked.
Michael says he realized “Oh, he’s the same guy I’m talking to off the set when he’s on the set…it’s seamless. He’s mastered the art of completely being himself while doing all the things one has to do…to be a good actor.”
THE HEART OF THE MATTER Michael says he ‘went to school on Jack Warden and on several other skilled actors he was able to work with and observe.
So what were the biggest challenges he had to overcome to make that transition from skilled stage actor to skilled on camera actor?
That, says Michael in the interview, gets to the heart of what his book, THE AUTHENTIC ACTOR is about.
A key idea that Michael explores is that actor training is largely still wedded to approaches, ‘the old dogma’ as Michael says, that train the actor to DO rather than to BE. In those schools of actor training “It’s about what you can go not who you are,” he says.
**> You may see someone and you say ‘he’s not very good…but he’s booking everything…what is he doing? The thing is he’s not doing anything…he’s just disabusing himself of the notion that he has to pretend to be somebody else.”
** So is the Authentic Actor just to ‘play himself’ in every role?
**> “If that ‘self’ that you present is examined and interesting, if yoiur worldview is clear and interesting, that kind of trumps talent a lot…
** TALENT – THE PRICE OF ADMISSION One phrase you’ll hear from Michael is ‘talent is the price of admission.’
It’s a given that most people who are working in the business are talented. Talent alone simply isn’t the whole answer.
ON CREATING THE KIND OF CLASS HE WOULD LIKE TO TAKE When he was presented with the opportunity to teach, Michael says he was actually disaffected with acting classes and especially with acting ‘gurus’ where the class becomes more about the teacher than the students.
He says he didn’t really see anyone teaching this notion of marrying the ‘who you are’ with ‘what you can do’ and he thought perhaps he could design a class that would be one he would like to go.
ABOUT THE AUTHENTIC ACTOR I love this book, The Authentic Actor. As producer of Actors Talk, I am often approached by publishers, publicists, writers and performers who would like to be interviewed. For the most part, I have to say ‘no’ simply as a matter of time.
But I also don’t want to bring to you, the Actors Talk audience, material that I don’t really find valuable and think YOU will find valuable.
All of the authors I’ve interviewed have met that standard. I knew immediately upon reading the galleys for THE AUTHENTIC ACTOR that Michael Laskin knew what he was talking about, had a clear vision for what he was teaching and that his experiences and his teaching can help actors of all experience levels.
THE AUTHENTIC ACTOR is certainly an excellent addition to the library of the beginning actor. But those of us who have been ‘at it’ for a little while or a long while will also benefit from Michael Laskin’s approach.
The book is brilliantly and thankfully devoid of fluff.
I promise you will not have to read twenty pages to get two paragraphs of usable content. Every chapter has nuggets of gold. Every chapter. And the chapters are rather short – not because of anything lacking – but because the author gets to the point.
Maybe it’s because Michael Laskin and I are of a similar age ( I think I’m a year older than he.) But I found myself saying ‘yes’ out loud as I read this book. I was not only learning some new concepts but also having my own ideas and concepts reaffirmed by his teaching. I get where he’s been and where he is in his own career.
A TEACHER, A MENTOR – NOT A GURU He has the heart of a mentor. If you’ve listened to many of my Actors Talk episodes, you know how much I value mentorship.
Let me stop now because I don’t want to make Michael Laskin sound like a guru. He would hate that. Because that’s not what he is about. It’s not about him. It’s about you. The person. The actor.
If you want to understand more, I recommend, without reservation, that you purchase THE AUTHENTIC ACTOR. Read it. Underline it. Keep it handy.
If you want to do Actors Talk Podcast a favor, use the Amazon link at the top of the page when you go there to buy THE AUTHENTIC ACTOR. A few cents in commission will flow back this way to help keep all episodes of the podcast free for the listening.
You can also purchase THE AUTHENTIC ACTOR from the publisher Michael Wiese Productions.
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MARKUS FLANAGAN IS A ROGUE When I found out that actor-writer-teacher Markus Flanagan was doing ROGUES OF L.A., a new web series, I was immediately intrigued.
At first, I admit, I was a little confused. Perhaps because I learned of the project via social media and didn’t have all the details, I wasn’t sure exactly how Markus was involved.
I assumed he was acting in the show but didn’t realize until doing some investigating that his involvement ran much deeper than ‘just’ another acting gig.
You see, Markus Flanagan isn’t only part of the cast, he created and produces the show. That really should have been my first inclination.
Rogues trailer from Rogues of LA on Vimeo.
Over the past couple of years I’ve gotten to know Markus a bit, first as my guest on Actors Talk (Episode 12 – One Less Bitter Actor) then at an all too brief meeting here in Austin and also by watching some of his teaching videos online.
Through these points of contact I’ve come to trust Markus as an artist who truly has the heart of a teacher…the kind of person you’d want to mentor your kid if they were pursuing the actor’s journey.
So what kind of web series would this guy create? And why would he even go down this road? With a resume as robust as his, isn’t a web series somehow beneath him?
Sometime I make myself laugh out loud.
See, the Markus Flanagan I’ve come to know is not about the surface stuff that blinds many people in the acting business. It’s not about how cool it must be to work on this or that hit show. It’s about the experience. Is it remembered fondly for all the right reasons, or is it remembered as just another payday that really wasn’t all that rewarding.
His character, his values, his connection to ACTING go deeper. He is a teacher in the best sense of the word. He is a mentor. He is an artist. But he’s also a DOER.
Not satisfied to just come up with the idea for the show and try to sell it off, not interested in waiting for someone to give him ‘permission’ to do the show at a traditional network, Markus made the decision from the getgo to produce ROGUES OF L.A. as a web series.
The web series is the result of too many creative people frustrated over the thought that becoming successful at acting is now more about marketing than actually acting. When anyone with desire to contribute can’t find a suitable outlet they begin the slow progress into living the mundane life that’s presented.
ROGUES OF L.A. – THE PREMISE
The premise is beautifully simple: what if a group of twenty-somethings look around at their world, their immediate community and decide that they will be givers not takers; helpers not the helped? Why? Because they can.
“Rogues” are about finding a place to contribute, by fixing other people’s problems. It’s risky and it’s exciting and it’s being done by characters that aren’t specialists in this sort of thing.
Simple premise, yes? But brilliantly so. For a series, the story possibilities are almost endless.
From a practical point of view, and in order to keep the budget manageable, Markus Flanagan has tapped into all the resources he has at hand : He is a teacher at both his own Westlake Acting Studio and at California Lutheran University. These resources provide a ready supply of locations on campus and he is able to tap into his database of current and former students to act in the show.
But lest you think the show is acted only by beginning actors and students, know that Flanagan has asked for and received strong support from seasoned professional colleagues from in front of and behind the camera. Another benefit of the show: younger actors getting on set with seasoned pros who are there for the love of the work.
A SAG-AFTRA SIGNATORY PRODUCTION Did I mention that because ROGUES is produced under a SAG-AFTRA New Media Agreement, that a number of actors put to work on the show have already secured SAG-AFTRA membership. This is a very big deal for young actors in the L.A. market where being in the union is a goal not easily accomplished.
There are just so many layers to this story that I could write much longer…but I’ll spare you, hoping that you listen to my interview with Markus where he explains his concept for not only the ROGUES OF L.A. series, but also for the potential of forging a network of similar shows spread out across the country…or the world for that matter.
It’s a bold vision and one that I personally find quite exciting.
Be sure you to to the ROGUES OF L.A. page on Facebook and LIKE it.
Hit the ROGUES OF L.A. web site and watch the episodes online. And just maybe you’re a writer and/or producer who wants to take Markus up on his idea of building a ‘franchise’ of similar shows.
You never know, this could be the start of something big. But then, I think it’s pretty big right now.
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Audiobook Narration I’ve been interested in audiobook narration for quite some time. Since I have no experience in that aspect of the voice over business, I’ve never really pursued it. There just seemed to be too many uncertainties. Too many complications.
When I heard or read information from narrators, it was often of the negative sort. It was too time consuming. It was a hard niche to break into. Etc. Etc.
ACX
ACX is a marketplace where professional authors, agents, publishers, and other Rights Holders can post fallow audiobook rights.
At ACX, those unused audio rights will be matched with narrators, engineers, recording studios, and other Producers capable of producing a finished audiobook, as well as with audiobook publishers.
The result: More audiobooks will be made.
Too many authors have been left out of the quickly growing and culturally repositioned digital audio market. Until now.
ACX puts you in the driver’s seat. If you’re a Rights Holder, you choose how you produce your audiobook—whether on your own or by engaging a Producer on ACX—and you choose among two royalty models.
If you’re a Producer, ACX allows you to post a profile and be seen. Plus, you can be proactive and audition on ACX for posted titles.
I’m not sure when I first became aware of Audiobook Creation Exchange or ACX.
Probably a couple of years back.
I’ve had account there for more than a year, I do know that. But once I created the account, I didn’t do anything with it.
Actually, the story is worse than that.
Not only did I not ‘do anything’ with ACX, I actually turned down a couple of opportunities that came my way from just establishing a profile there.
What? Yes, I turned down potential audiobook narration, money paying work. Why?
Because I was afraid. Of what?
I was afraid I wouldn’t be good enough…I’ve never narrated a book before.
I was afraid I would not be able to deliver the audiobook narration files in a manner that complies with the ACX audio quality control requirements.
And the editing requirements. It takes a LONG time to edit the narrated audio, removing bad takes, etc. Right? Yes. But one of the core elements of the ACX Master Class is instruction on how to speed up the editing process using the excellent, free audio editing software, AUDACITY.
I have no experience interacting with a rights holder in this way and I was also afraid of not knowing enough to be even modestly professional.
So I did nothing…mostly. Oh I would hit the site once or twice a month and download audition material to practice on. But really, that was it.
ACX MASTER CLASS About a year ago I got an email about a class called the ACX Master Class.
The class, with a comprehensive syllabus covering audiobook narration on ACX, was to be taught by Dan O’Day and David H. Lawrence XVII. Dan O’Day, I wasn’t familiar with, but I was fairly familiar with Lawrence, who is a well-known voice over talent and teacher. He is also the developer of an app I like quite a bit called, Rehearsal. It’s an iPhone app for actors that helps with line memorization.
As it turns out Dan O’Day is very well-known and respected in the radio world.
As time to register for the class approached, I began to receive more marketing materials about the class and I was, indeed interested.
However, when it came time to register, I discovered that the class was quite expensive. As in QUITE expensive.
Due to the expense and some uncertainties I had about whether a union issues and about meeting the ACX quality control standards, I decided to pass on the class.
ACX MASTER CLASS REDUX
Fast forward to January, 2015 and I began receiving emails again about the ACX MASTER CLASS. The same class I had passed up in 2014. The marketing materials this time around included testimonials from students from the first class…the one I passed on. One of the first videos I saw was the one just above. This video was recorded by the narrators without the input of the class creators. At least that’s their story, and I have no reason to doubt it.
After listening to the testimonials and doing a good bit of online research, frankly, looking for any ‘bad news’ that was lurking about concerning the class, I decided that this time around I was not going to let the opportunity pass.
I talked it over with my wife, Jane. I had her watch some of the student testimonial videos with me and she was as sold on the idea for me as I was for myself.
So, I’m happy to report that beginning on the evening of February 2,2015, I will begin a four-week master class on audiobook narration and specifically how to use the ACX site to begin working in this very interesting niche of the acting business.
It is my plan to report back my own experience in the class.
I have every expectation that my ‘final report’ will be very positive. But, if I find the class is not what it’s cracked up to be, I’ll certainly report that as well.
Did I mention that this class is expensive? It is. But it also looks to be a very good value. Sometimes, you get what you pay for.
Either way, I’ll let you know in a month.
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WATERCOLOR POSTCARDS WATERCOLOR POSTCARDS aka HOME IS WHERE THE HEART IS, is now available on DVD at AMAZON.COM or for streaming or digital download on AMAZON.COM and on iTUNES
Don’t miss this film which features a top-notch cast headed by: Bailee Madison, Jonathan Banks, John C. McGinley, Laura Bell Bundy, and Conrad Goode. as Butch. Director is Rajeev Dassani.
Conrad Goode – A Change In Plans Conrad Goode, unlike a lot of the prior guests on Actors Talk, did not grow up dreaming of becoming an actor, writer or filmmaker. He had other dreams and aspirations.
Conrad Goode’s father and step-father were both accomplished football players. That’s American football. College and Professional football to be more precise. Conrad’s father was an All-American football player for the University of Missouri and went on to play professionally for a time in the Canadian football league. Conrad’s step-father, Irv Goode had a long career in the NFL with the then, St. Louis Cardinals and the Miami Dolphins.
It is not surprising, given this background, that Conrad grew up wanting to excel in sports. And excel he did. He was highly recruited out of high school and considered powerhouse schools such as Ohio State and Notre Dame before deciding to stay closer to home and attend the University of Missouri.
Watercolor Postcards Trailer 1 from Rajeev Dassani on Vimeo.
There he, like his father before him, won All-American honors and like his step-father, transitioned from college into the pros. He was drafted as the 87th overall pick by the New York Giants in 1984. His dream of playing professional football had become a reality.
But…yes there is a ‘but’… it didn’t take long for the life in professional football to lose its luster. There is a scene in WATERCOLOR POSTCARDS where BUTCH, a former pro football player, played by Conrad Goode, talks about how he wound up in this small Texas town selling watercolor postcards on the side of the road.
I had to break down years of brainwashing from all the football coaches to show any type of vulnerability…
He, Butch, had become disillusioned with football and simply walked away. And when he did, he found freedom from expectations but lost the relationships of those who could only see him as ‘Butch the football player.’
Conrad Goode tells me in our interview that this scene is definitely autobiographical. One day during preseason he realized his love for the game was gone. Football no longer made any sense to him. He was with the Chicago Bears at the time and simply went into Mike Ditka’s office and told him the passion for football was gone and so was he.
Conrad Goode The Actor When Conrad Goode was still with the Giants he had received a call rather ‘out of the blue’ from a talent agent who helped him get cast in a beer commercial. Somehow something as pedestrian sounding as a beer commercial proved to be the key that unlocked a new passion for Conrad Goode.
After retiring from professional football, he would spend a decade studying to develop his craft as an actor.
I had suggested in our discussion that there were many athletes, many professional football players who have toyed with acting and the movie business.
As Conrad Goode said to me,
“A Lot of football players have tried to get into the film business, but a lot of them don’t want to do the work…I stayed in classes for ten years…Meisner for two years, scene study for five years…different types of classes working on my craft so when I got the opportunity, I knew I wasn’t going to lock up when standing next to Jack Nicholson or something like that….”
Obviously this transition or transformation from football player to dedicated actor was not an overnight thing, not easy. His first acting teacher had some advice that he took to heart:
…You’re going to have to tear that macho football stuff away if you’re going to be a good actor. He pushed me into writing. I started writing poems. Poems became songs. And I really enjoyed writing. When I was in school I couldn’t stand it. I started writing scripts in the late ’80’s and here we are…
You can’t have one without the other.
Conrad Goode has put his athletic talent and his physical presence to good use in his acting career. But he has always wanted to be seen as more than the bad guy. One of the reasons he has worked so long and hard to bring WATERCOLOR POSTCARDS / HOME IS WHERE THE HEART IS to the public is because he wrote the role of Butch for himself so he could play against type.
Holding onto the script wasn’t always easy. There were a few times when he could have sold the script and walked away with a nice payday, but no guarantee of a role in the film
I could have sold it a couple of times. They were writing some big checks and passing them across the table but they wanted me to walk away from the project. I knew this script. I HAD to be the guy if anyone was going to see me in another light than being a heavy.
So, for eleven years he held onto the script and through persistence, passion and perseverance he was able to get this passion project made with an outstanding cast and a terrific young director.
This type of tenacity and gumption along with Conrad Goode’s talent deserve recognition and support in the marketplace.
Hey, we all like action films. Conrad Goode would have had a far less successful career if not for action films. But his acting chops go deeper than that. If you even occasionally like movies where character and story instead of action and special effects are the stars, then you should definitely check out WATERCOLOR POSTCARDS aka HOME IS WHERE THE HEART IS.
By the way…what’s up with the two titles? The film was produced as WATERCOLOR POSTCARDS. The distributor for US territories has decided that they can better promote the film as HOME IS WHERE THE HEART IS. As Conrad Goode says in our interview….filmmakers, read the fine print. He had no idea the distributor could change the title, but they could and they did.
Either way it’s a film I’m happy to ask you to support. My thanks to Conrad Goode for adding his story to the body of work at ACTORS TALK.
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Revisiting 1500 STEPS EASY SKETCH PRO 2.0 AFFILIATE LINK: Take me to Easy Sketch Pro [10/30/2014 [12:20:04] AM] Josh Reid: Hey Tommy. Just wanted to let you know I finally finished 1500 Steps. If you are interested I’m up for a follow-up interview… I hadn’t logged onto Skype for a few days and had missed […]
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BLIND COURAGE – Never Lose Faith – Never Give Up Bill inspired me to look at my life and to just keep going — whether it’s on the script, my career, my family — to just keep going and have a good attitude. Below you’ll find some of my thoughts on this project and about […]
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KYLE PROHASKA – FILMMAKER This is my second time to interview Love Covers All writer-director, Kyle Prohaska. Kyle was previously my guest on Actors Talk Episode 15. Kyle had written, directed and produced his first film, STANDING FIRM, for his own production company, Praise Pictures, when barely more than a teenager. As a young director […]
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A YouTube Star is Born I don’t think it’s any mystery as to why I started ‘Confessions of a Bitter(sweet) Actress.‘ … At the time, I was frustrated that I wasn’t able to showcase my talent to an audience because I wasn’t getting auditions and therefore wasn’t booking… until I realized that auditions and bookings […]
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Beverly Leech – Building Actor Muscle My guest for this episode is actress, teacher, writer, dancer and failed childhood clarinet player Beverly Leech. Beverly is a busy Los Angeles based actress, who has written a most excellent book called Actor Muscle – A Professional Guide to the Business of Acting. Beverly got her early training […]
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Meet Actress – Producer Anita Cordell I did not produce because it was the love of my life or anything. It was a way for me to become a part of a project called the 168FilmProject Though I’ve known Anita Cordell for several years as a Facebook friend, I only recently had the pleasure […]
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JEN RUDIN – A Unique Perspective When I was approached by publicity representative of HarperCollins about the possibility of interviewing casting director Jen Rudin about her new book CONFESSIONS OF A CASTING DIRECTOR I was immediately interested. My interest was not solely because Jen Rudin is a busy casting director (The Incredibles, The Princess And […]
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IF YOU COULD DO ANYTHING …I’ll tell you this: If you believe it’s impossible, then it is. But if you believe it’s possible, then it is. It comes down to you. What would you do? If you could be anybody you wanted to be, if money weren’t an issue and failure not an option, what […]
The post Director Tracy Trost – Living The Dream | 049 appeared first on Actors Talk.
Angel’s Perch – The Story Everyone has an emotional home. It’s not necessarily where you were born, or even where you grew up, but it’s the place that you dream about in the quiet moments—the place that defines your happiest memories. A young man must return to his small Appalachian hometown to face his grandmother’s […]
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VOD DISTRIBUTION – 20 TIPS FROM INDIE RIGHTS’ LINDA NELSON I hope you have or will listen to the interview with Linda Nelson. This podcast episode is not intended to be nor does it pretend to be an all-inclusive discussion about Video On Demand. But if you’re an indie filmmaker struggling to get a handle […]
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What Is Hack Hollywood Hack Hollywood is an online community and training course for actors. It’s a subscription site that costs $27 per month. So the question is: Is Hack Hollywood worth your monthly investment? Or is it just another program or system that makes big promises that it can’t possibly deliver on? Is it […]
The post Hack Hollywood – What Is It and Does It Work | 046 appeared first on Actors Talk.
Crowd Funding From A New Perspective ATP Episode 45 is jam-packed. The main focus of Episode 45 is my interview with filmmakers Susan Shearer and Christopher Shawn Shaw about their new faith-based short film project FAMILIAR SPIRITS. Before getting to the interview I have a phone message to share from writer-director Ron Newcomb, a former […]
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Can A First Time Director Make A Good Movie? Well, of course. But it is not going to be easy. Every movie director was once a ‘first time director’ so what’s the big deal? Am I using ‘first time director’ as an excuse in the discussion of Michael Crabtree’s ODD MAN OUT? Or maybe as […]
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The 15 Guideline Map To Booking I first became aware of Amy Lyndon about two years ago when I discovered her book online. I had been going through a bit of a rough patch in my own auditions and just felt disconnected and a bit adrift, sad to say. I knew that I could get […]
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Funny Girl – Actress Mara Marini My guest interviewee is talented, funny and, very easy on the eyes as we used to say and she is actress Mara Marini. Many of you will have seen Mara in her multiple appearances on PARKS and RECREATION a very popular television show here in the US. She’s also […]
The post She’s Talented Smart and Beautiful – Meet Mara Marini | 042 appeared first on Actors Talk.
SOMETHING DIFFERENT HAS A NEW TITLE WALK BY FAITH Click HERE to order the DVD A new independent feature film from WISDOM PRODUCTIONS and the same family of filmmakers who brought us DOWN BY THE RIVER, Sean Johnson Jr. , LaMarcus Tinker and Trina Brown. SOMETHING DIFFERENT had its premiere on September 29,2013. If you […]
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NOTES FROM THE SET OF SATURDAY NIGHT FEVER, WAR GAMES AND MORE My guest for this episode of Actors Talk with Tommy G. Kendrick is film and television director John Badham. Most listeners will know Badham from his films Saturday Night Fever with John Travolta, War Games with Matthew Broderick and Ally Sheedy, Short Circuit […]
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Turning Minutes Into Moments AND Moments Into A Career In “Know Small Parts – An Actor’s Guide To Turning Minutes Into Moments and Moments Into A Career” Laura Cayouette approaches the acting business with the viewpoint and insight that can only come from experience. In this case, experience with auditioning for and booking scores of […]
The post Laura Cayouette Helps Actors KNOW SMALL PARTS | 039 appeared first on Actors Talk.
KEVIN SIZEMORE – RETURN ENGAGEMENT Connect with Kevin Sizemore on Facebook or on Vine, Twitter or Instagram with the handle @kevinsizemore This is the second appearance on Actors Talk for actor, Kevin Sizemore. Kevin was my guest for Episode 25 in October of 2012. At that time, Kevin was promoting a new film called Red […]
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North Of Hollywood For every fan of Hollywood, the movie business, of the actor’s journey, you’ve probably read numerous accounts of ‘how to succeed’ in shown business. Rarely will you have the opportunity to read such an honest account of what succeeding in Hollywood can mean, especially if one gets attached to the fame that […]
The post 037 ATP – North Of Hollywood – Actor Rick Lenz’ Award Winning Look At Hollywood Life appeared first on Actors Talk.
Cut Through The Noise With An Original Film Score
About This Episode
I am very excited to bring you this episode of ATP because it's actually a reboot you might say of a an early episode...Episode 9 to be exact which was originally released on March 4, 2012, so just over 1 year ago. This episode features an interview with and music by a wonderful composer of film music, Jurgen Beck.
Why bring back an episode from over a year ago? Am I just getting lazy? Well no, I hope not. This interview is one of my favorites and I think there is really great information for filmmakers, especially perhaps more inexperienced filmmakers who can get clued into some of the issues involved with the very important process of securing original music for your film and video productions.
The episode was broadcast during the early days of the podcast when the listenership was a fraction of what it is today. For example a year ago each episode was getting maybe 400 plays while each episode is now averaging about 8,500 plays from almost 120 countries around the world.
So the vast majority of you, my current audience have not heard what I think is one of the best ATP episodes I've produced.
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My Name Is Paul
Jurgen also recently completed the score for what looks like a very exciting new feature film call MY NAME IS PAUL. The trailer for this film was just recently released.
My Name is Paul (MNIP) Teaser Trailer from Trey Ore on Vimeo.
Want to know even more about Jurgen Beck? Please visit his web site.
Listen to and purchase pieces you hear in this podcast and many, many more at JurgenBeck.com
"One of the most satisfying aspects of composing music is watching the filmmakers I get to score music for go on and get selected into film festivals and winning awards." Jurgen Beck
Film music. What would a great film be without a great score? Well it just wouldn't be a GREAT film, would it?
Think of your favorite films and I'll wager that somewhere in that thought process there is a tune or a melody or a riff of music that immediately comes to mind.
I'll go back into my own film going experiences and pull out a couple of examples off the top of my head:
What would the Pink Panther series be without the scores by Henry Mancini? Of course you'd still have the brilliant comedic performances by Peter Sellers and the direction by by Blake Edwards but who can think of The Pink Panther and not begin to hum a few bars of the theme music?
On the dramatic side of things, I think about the music of composer Maurice Jarre and some of the films of David Lean. The scores for Lawrence of Arabia and Doctor Zhivago (including the popular hit Laura's Theme) immediately come to mind. During the interview, Jurgen Beck mentions the work of composer Hans Zimmer.
Yes, the film score is a vital component to the experience of watching and becomming absorbed in a film.
The Interview
This interview was conducted via skype between my home in the Austin,TX area and Jurgen's location near Dallas,TX. The interview lasted for over an hour but it has been edited for time so that I can include some music cues written for film projects by Jurgen Beck.
In a little over an hour we touched on many aspects of composing original music for film. The interview begins by getting a feel for Mr. Beck's childhood and when he first realized he had a gift for music.
We move through a discussion of his development as a mostly self-taught musician, his teen years writing, arranging and producing music for his own and other bands.
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THIS IS WHERE WE LIVE
As I said to a buddy with whom I saw the film at SXSW: As actors this is the kind of project that touches that THING inside of us that makes us want to pursue the actor's journey.
CREAM OF THE CROP
THIS IS WHERE WE LIVE premiered at SXSW 2013 and was I believe 1 of 8 films selected for the narrative competition out of around 1200 submissions.
That alone speaks to the level of work in this film. It is a drama, it is compelling and it got to me on a very personal level because I'm dealing with some of the issues the family in this film deal with - as caretakers to more than one family member with physical and emotional challenges.
Set in the Texas Hill Country, THIS IS WHERE WE LIVE is a portrait of the Sutton family: Diane, while ignoring her own health issues, is caregiver to her son August, who has cerebral palsy, and her husband, who is in the early stages of Alzheimer's. Overburdened, she hires Noah, a local handyman, to build a wheelchair ramp up the front steps to the family home. August observes Noah working, and through dinner with the family. Diane notices their connection, and stops Noah as he leaves to ask if he could use some money helping out with August. The friendship that Noah and August forge has a ripple effect; life makes unexpected turns for those around them, and forces Noah to confront his past.
THIS IS WHERE WE LIVE: TRAILER from Bluff City Productions on Vimeo.
The script rings true, the performances are nuanced and real, all in all it's a beautiful example of what filmmaking on any budget should aim for but for an film produced on what I assume was a relatively modest budget, it is truly impressive.
AUSTIN BEGINNINGS
MARC MENCHACA is one of the stars of TIWWL and, by the way he also wrote the screenplay and is co-director as well.
Marc is carving out a fine career as an actor with appearances in films like The Alamo and in high profile television productions such as Homeland, Person Of Interest, Law & Order: Criminal Intent, CSI:NY, CSI:Crime Scene Investigation, Treme and many others.
I began my interview with Marc by talking about working on The Alamo, a film on which we both worked as actors in Austin, TX in 2004.
Which was hotter? Shooting winter battle scenes in the Texas summer heat for The Alamo or working in Africa for months on GENERATION KILL, A TV mini-series from 2008?
THIS IS WHERE WE LIVE - THE SCREENPLAY
The script is very accomplished...so I was assuming it was NOT a first screenplay effort.
In fact, Marc tells me it was his first feature length screenplay. He began writing it in 2010.
Marc says he learned as he went and credits his co-director on TIWWL, Josh Barrett with being an effective sounding board during development of the screenplay.
THE CAST
Marc ran down the principal cast for the production. Among the issues related to casting we discussed how the cast was largely hand-picked with actors Marc knew in either Texas, NY or Los Angeles.
This is one of those films where you leave saying 'everybody was good.' And they were. Happily there are no weak moments among the actors in TIWWL and that is certainly a credit (no pun intended) to each of the players. Among the principal actors are:
Ck McFarland
Ron Hayden
Tobias Segal
Frances Shaw
Barry Corbin
Katherine Willis
Marco Perella
Brian Orr
The biggest challenge was finding the right actor to play August, a character who has cerebral palsy. Casting this role was crucial to the success of the film and Marc found his August in the person of Tobian Segal, a New York actor with whom Marc had worked on a previous project.
SHOOTING THE FILM
One other aspect of the production that I wanted to explore with Marc was the division of directing responsibilities. As writer and one of the lead actors,
THE RETRIEVAL
The Retrieval, beautifully written and directed by Chris Eska, is one of only two films I was able to see at SXSW 2013. I have to say, if I could do it over again and could see only two films, I'd see the same two films in a heartbeat.
The other film I saw at SXSW 2013 was the equally impressive This Is Where We Live. I'll defer talk about that outstanding film until the next episode of Actors Talk Podcast which will feature my interview with the writer, co-director and star, Marc Menchaca.
Search Stories about THE RETRIEVAL ON GOOGLE
A CIVIL WAR DRAMA
Here's a log line for the film as taken from IMDb:
"On the outskirts of the Civil War, a boy is sent north by a bounty hunter gang to retrieve a wanted man."
The boy, Will, is played with skill beyond his years, by newcomer Ashton Sanders. Will is led in his errand by Marcus, who has traded his soul for survival in a strong supporting performance by Keston John. Their task is to go north into Union territory and retrieve Nate, a freedman with a bounty on his head.
Marcus and Will are sent on this 'errand' by Burrell, the villain of the piece, played with a disturbing ease by well-known horror film star Bill Oberst Jr.
Tishuan Scott as Nate delivers what will surely be a breakout performance, a performance rewarded the special jury prize for acting at SXSW 2013.
As the story unfolds
Nate is duped into believing that his dying brother has asked Marcus and Will to find him and bring him home.
That, of course, is a lie designed to coax Nate to take the journey back where he can be turned over to Burrell for a reward.
It's a simple story of trust, betrayal and survival. Two black men sent to retrieve another black man for a white man's bounty, set against the backdrop of war, circa 1864. Not so simple after all.
The Retrieval clip 2 from Chris Eska on Vimeo.
KUDOS TO WRITER/DIRECTOR CHRIS ESKA
With a script, direction, cinematography, editing and performances that are all first rate, The Retrieval achieves that which other films with far greater budgets can only wish for. This is a story, a film that never veers off course and for that writer/director Chris Eska and producer Jason Wehling and the entire production team must be congratulated.
Imagine the challenges: a period story, a young actor in one of the crucial roles, shot almost exclusively in exterior locations, a Civil War battle as one of the set pieces and all this on a low-budget SAG contract.
The result, a very fine film. The kind of film that all indie filmmakers should look to for inspiration - for validation that great work can be accomplished where great talent is brought to the task.
The Retrieval is a welcome reminder that in filmmaking, money may make things easier, but talent makes them possible.
Tishuan Scott wins Special Grand Jury Prize for Acting at SXSW 2013 from Arts+Labor on Vimeo.
AN ATP FIRST - AN IN PERSON INTERVIEW
I've know Tishuan Scott for a couple of years now, introduced through common work in SAG-AFTRA actor's conservatory events. I've known him to be an outspoken proponent for union actors in our right-to-work state, not always an easy task.
When I learned that Tishuan was in one of the SXSW narrative film selections, I made it a point to get to a screening. Good decision on my part!
I was so blown away by both his performance and by the whole film, I set out secure an interview with Tishuan for ATP.
In person, Tishuan Scott is a rather gregarious presence with a booming bass voice. The voice is not quite James Earl Jones, but not far from it. Dennis Haysbert...that's certainly in the ball park. Be prepared to hear this voice coming from a radio or television or movie screen for a long time to come.
That great voice is a gift and as Tishuan Scott tells it,
BRANDING and REINVENTION FOR ACTORS AND ENTERTAINERS
In this episode of Actors Talk Podcast, we'll explore the concepts of REINVENTION and BRANDING and how they relate to those of us who are actors or other entertainers.
BRANDING is a hot topic these days. Everywhere in social media circles people in all manner of businesses, in and out of show business, are told that to maximize their success in those endeavors they must be aware of their BRAND. They must avoid all things that are 'off brand."
Be sure to check out John C. Morgan's web site for information on his services and appearance schedule: John C. Morgan As President George W. Bush
And don't miss the YouTube Channel for some very funny video content!
REINVENTING THE PRESIDENT - FINDING A NEW CAREER
John C. Morgan made a reluctant entry into the world of the celebrity impersonator during the first term of former president, George W. Bush.
Some twenty years before, John had given up on his dream of making his career in the music business as a singer-songwriter. John says a combination of fear, rejection and a realization that he was not 'serving his family well' led him to give up on that dream.
After putting the music business aside, John went back to the family business and helped his mom and dad run their appliance store in Orlando, FL. There John became what he describes as a 'pretty ambitionless guy', a 'couch potato', active in his local church but not doing much else with his life .
I wanted to do a lot more...but hesitated because of a lot of fears, mistrust and self-doubt...I just chose contentment rather than going for my dreams.
One gets the feeling that giving up on that dream had taken a toll and he had just decided to settle for what it appeared life was going to offer him.
YOU LOOK LIKE W
After George W. Bush came to national prominence, people started tapping John C. Morgan on the shoulder, telling him how much he looked like W.
While he apparently found that amusing, it really didn't mean anything to him at the time. John says he was completely unaware there was a thriving industry of celebrity look-alikes: Cher, Lucy and Ricky and of course, Elvis and many others.
Everyone knew of the Elvis impersonators but Morgan was oblivious to the possibilities of using his resemblance to the President as a way of earning extra money, much less of making that the basis for a reinvention of life as he knew it.
A friend in the entertainment business suggested he should capitalize on his resemblance to George W. Bush but still, John just didn't see that as his future.
...It didn't fit in my paradigm of normal, and normal is what I wanted to be.
So he dismissed the idea.
FROM A DEAD SLEEP TO A NEW CAREER
John may not have been all that interested in the possibilities of pursuing the celebrity look-alike business, but his wife's interest was piqued.
One evening John's wife, Kathy saw a George W. Bush impersonator on a late night talk show and she did a web search to see who else was working in this arena. As John says:
It was really the speaker fees that caught her eye. When she saw how much they were making for an appearance, she actually woke me out of a dead sleep, dragged me to the computer and said 'I just found your new career. You are going to become a George Bush impersonator.
FEAR OF REJECTION
This is a concept with which most actors are familiar and it's one that John struggled with as well. We talk quite a bit about this fear and about the struggle between self doubt, faith and fear.
There's no doubt in my mind that I was born to perform. Those twenty years that I gave it up were difficult for me to deal with...I was being molded into a man that God could use...There are reasons not to do something, but fear is not one of them. I didn't want to look back ten years,
HBOs TREME recently wrapped production in New Orleans, LA after shooting thirty-six episodes.
That is far too few episodes for a show that has consistently delivered some of the best acting, writing and directing on television. Do only the good (television shows) die young?
Join me for a glimpse behind the scenes on TREME with actor Jay Huguley. Huguley joined the all-star cast in season three as real estate developer Will Branson.
Jay Huguley and I spoke about his actor's journey from hometown Tenafly, NJ to Treme and beyond.
We also talk a bit about the actor's work, working with 'black belt actors', about the different dynamics an actor faces when moving from project to project - the guest star vs the series regular.
We ended our conversation talking about TWELVE YEARS A SLAVE, and what Huguley says is "the best script I've ever read...and I read a lot of scripts."
ACTOR JAY HUGULEY
Actor Jay Huguley was born in Tenafly, NJ and remembers his parents taking him to see shows on Broadway. But the acting bug didn't really start there. The high school years afforded an introduction into 'show business' as Huguley began to book catalog print jobs and other work as a model.
And it was in modeling that Huguley would get his first taste of success. After signing with a top modeling agency following college, he worked in Paris, Milan and Sydney, Australia.
When the desire to become an actor took hold, he put in the work necessary to learn the craft and to grow as an actor.
A play brought Jay from New York, where he had studied with Anna Strasberg at the Lee Strasberg Institute, to Los Angeles.
There he studied at the Beverly Hills Playhouse with famed director and acting teacher Milton Katselas,(1933-2008.)
In Katselas, Jay Huguley found not only a great acting teacher but a mentor whose instruction, inspiration and faith in his ability remain an important part of this actor's journey.
TREME
TREME, a creation of Eric Overmyer and David Simon is set in New Orleans, LA shortly following hurricane Katrina.
From Wikipedia:
In 2008 HBO commissioned a pilot episode for the series but did not "green-light" a complete series at that time. The pilot was announced at the 2008 Television Critics Association summer press tour. Simon initially hoped to film the pilot episode of the series in 2008 and to continue filming in 2009 if the series was commissioned. The series was planned to film on location and was predicted to be a boost to the New Orleans economy.
The pilot did not actually begin filming in New Orleans until March 9, 2009. Award-winning Polish director Agnieszka Holland was hired to direct the pilot. Holland had worked with the creators previously on The Wire, directing three episodes of that series. After the pilot was written HBO commissioned another ten scripts.
THE CAST
If you want to see a 'who's who' of outstanding writing, directing and acting, just visit the TREME IMDb page and scroll through the complete cast and crew listing. The writing, directing, acting and production are all top notch.
Many in the initial cast had worked with David Simon on previous projects such as THE WIRE, THE CORNER and Homicide: Life On The Street.
If you've seen even one episode of TREME then you know that the music, the food, the city of New Orleans are used splendidly in the show as are the fine actors who make up the principal cast: Khandi Alexander, Academy Award Winner Melissa Leo, Wendell Pierce, Steve Zahn, Kim Dickens, Rob Brown, Michiel Huisman, Lucia Micarelli, India Ennenga, Clarke Peters and so many other fine actors, including Jay Huguley.
Simon and his team have done a masterful job of incorporating the mood and the music, as well as the social ills, the corruption, the intrigue of New Orleans into every episode. Why then, one must wonder,
ONE LESS BITTER ACTOR - THE ACTOR'S SURVIVAL GUIDE
On April 11, 2012 I recorded an interview with actor, teacher Markus Flanagan that dealt in large part with information and ideas from his terrific book One Less Bitter Actor. That interview was first distributed on April 12, 2012 as Actors Talk Podcast Episode 012.
For the past several years I've been recommending Markus Flanagan's ONE LESS BITTER ACTOR to every actor who asks me for advice about 'the business' about pursuing the life of a professional actor. The book really is THAT good.
Let me quote myself from a Review I wrote of One Less Bitter Actor for a blog post from 2008:
Just the chapter on Auditioning is more than enough reason to purchase ONE LESS BITTER ACTOR. How I wish I’d had this book thirty years ago. I had no mentor, no acting guru and no relative in the business. The information and insight in this one chapter could have saved me a lot of angst, anger and agony along the way. And it is a book that every actor, particularly every actor at the beginning of his/her career should read and should keep handy for review during the tough times.
April 2009 talk at the University of Colorado from Markus Flanagan on Vimeo.
Austin Actors Conservatory
I'm happy to say that the Austin Actors Conservatory will be presenting Markus Flanagan in an afternoon seminar on Saturday, February 23rd at Studio E in Austin. TX.
Visit the Austin Actors Conservatory page on Facebook. If you're a member of SAG-AFTRA, join the AAC and help us bring more great programs like this to Texas actors. If you're not a SAG-AFTRA member, join as a 'Fan' of the AAC and join with us in workshops, seminars and networking opportunities.
Actors Talk Podcast Episode 12
Because Actors Talk has grown significantly since the original broadcast of this interview with Markus Flanagan, I'm taking this opportunity to re-distribute the interview originally published back in April 2012 as Episode 12 of ATP.
If you can make the Austin seminar on February 23rd, don't miss it. If you're not able to make the seminar, I think you'll get a lot out of this interview and I urge you to purchase a copy of One Less Bitter Actor. You won't Regret it.
If you like to listen to audio books, use this link to get One Less Bitter Actor at audible.com. Use the banner link below to get the audio version of ONE LESS BITTER ACTOR for FREE with a trial subscription to Audible.com. Cancel within 30 Days if you want to and there's no charge. You keep the audio book. If you purchase a subscription to Audible.com, I receive an affiliate commission.
The post One Less Bitter Actor The Actor’s Survival Guide | 031 appeared first on Actors Talk.
Building A Fan Base With Google+ Hangouts On Air
On January 16, 2013 I hosted the first Actors Talk Podcast Google+ Hangout On Air with a panel of independent filmmakers: Benjamin Dane, Sean Johnson Jr. & LaMarcus Tinker and Christopher Shawn Shaw.
In case you're not up to speed on just what a Hangout On Air is, check this link from Google http://www.google.com/+/learnmore/hangouts/onair.html
As you can see if you visited that link, the unique aspect to the Google+ Hangouts On Air is that they are broadcast publicly, live-streamed to YouTube, to your web site, to any site you choose to embed the link provided once the HOA begins. It is an opportunity to connect with a vast audience who can not only watch the Hangout live, but can interact by submitting questions and comments that can be responded to during the broadcast by you and your guests.
Want to introduce your fan base to your cast? Set up a HOA and get the ball rolling and the buzz started. That's just one of many possibilities I see for actors and filmmakers having new opportunities for promoting their films and their careers.
For those of you interested in producing your own Hangout On Air (once you're in the know they are referred to as an HOA) I can give you a few insights:
First, there is a learning curve...but it's not incredibly steep. If you are not already, secure a Gmail account, activate Google+, fill out your profile and start to add people to your Circles. Don't know what that means? Just get started and you soon will.
After something of a slow start, Google+ as a community is really growing rapidly and the technology that Google is implementing and improving is driving that growth.
In the few weeks that I've been actively circulating within the Google+ community I have seen changes, especially to Hangouts and Hangouts on Air, almost daily.
And speaking of Community, one of the biggest assets that Google+ has going for it is the Communities. Think of these like Facebook group pages but with much easier and much more consistent interaction among community members.
Need some information on how to start a Hangout On Air, how to use Google+ and Podcasting, where to find like-minded artists, foodies, geeks, you name it and there is likely an active Google+ Community with plenty of folks willing to answer questions and help you get started.
I've found several great sources for learning the Hangout and Hangout On Air ropes but none better than Ronnie Bincer. His daily video tutorials and explorations of Google+ functionality have been a goldmine as a resource. A resource that is FREE. No doubt if I get to the point where paying for assistance with growing my ATP audience is an option, I know where to start.
Think there might be TOO MUCH information making it hard to find? Well...this IS a Google product and it's no hard trick on Google+ to search for and find archived posts and videos on most any subject you need to research.
Another bonus is that because Hangouts On Air reside on YouTube following their broadcast, you can always check YouTube as another source for instruction.
So actors and filmmakers and podcasters, I hope you'll check out Google+ and especially the Hangouts and Hangouts On Air. I'm still taking baby steps in learning how to use this FREE technology but I see great possibilities for using these tools to connect to my existing audience and to hopefully grow the audience well beyond what I formerly thought possible.
Here's the YouTube Video of our first Actors Talk Podcast Hangout On Air:
THE FILMMAKERS ROUNDTABLE
The HOA that I produced on January 16, 2013 ended up running almost two hours. Did I intend for it to run that long? Not really. But in retrospect, I should have realized that if all my panel was able to make an appearance that, with four guests, it would take some time.
FROM STAND UP COMIC TO BUSY FILM ACTOR
With some bumps along the way. In Part 1 of my recent interview with the very busy comedian-actor, Michael Joiner we talked mostly about his career as a stand up comedian.
In this final part of our interview Michael Joiner and I talk about acting in films, about the changes going on in the 'faith based' film arena, about his faith and how that has influenced his career.
A QUICK THANK YOU
Before moving further into this episode of the podcast, I'd like to use this space to publicly thank actor MANDELL BUTLER for the kind words he posted to his Facebook page about Actors Talk Podcast. I won't quote the whole mini review but in part is says this:
For all those who have ever had questions about working in the TV/Film Industry on any level (as an actor or behind the scenes), I highly suggest you listen AND subscribe to Actors Talk Podcast...
At the bottom of this page I'm posting a photo and link to Mandell Butler's web page. Just paying it forward here. Now back to our regularly scheduled program.
GETTING PERSONAL WITH ACTOR MICHAEL JOINER
We talk extensively about how he came to be cast in THE GRACE CARD, starring with Michael Higgenbottom and Louis Gossett Jr - yes THAT Louis Gossett Jr. - how his impulse was to decline the role before ever reading the script and how his performance as racist cop, Mac Macdonald has opened doors to many other film projects.
About 2002, Michael Joiner and his family moved back to Los Angeles, CA so he could further his acting career. While in Hollywood Michael studied to improve his 'acting chops' and in particular cites working with teacher and film director John Swanbeck, teacher for actors such as Kevin Spacey, as being particularly instrumental in his growth as a film actor.
WHO LOVES THEIR JOB MORE THAN ACTORS?
"I love God, I love my wife, I love my family, but I don't think there's anyone who loves their job they way actors do.."
For a time all seemed to be going according to plan - God's plan as Michael Joiner tells it - and then it happened.
Although he felt safe on this journey of faith in the film business, the economic downturn in 2008 - 2009 that impacted so many families hammered Joiner and his family as well.
STORMS OF LIFE
We ended up having to sell our house on a short sale. I was heartbroken...I yelled at God a few times and said He didn't know what He was doing... [I told him] Don't you know I need to be in Hollywood?
When I came to my senses, as I always do, I said, 'Well Lord, I don't know what to do about my acting career because we're going back to Kansas City to live. But I do know what to do as a husband and a father and I'm going to do that.
But even through this disappointment and apparent failure Michael says he still felt that he was not through with acting. He says he told his wife:
"Michelle, God still has something [for me], He's telling me 'just stay sharp with my acting technique and do what I can with what I have and God's gonna do something..."
THE GRACE CARD
Michael Joiner and Michael Higgenbottom on Patrol in The Grace Card.
Michael Joiner's story, with its success and struggle and even doubt is told with such disarming honesty that even the non-believer will be intrigued. Before being called literally 'out of the blue' to be the lead actor in The Grace Card, what was Michael's opinion of most so called Christian Films?
When called by The Grace Card director David G. Evans to discuss possibly playing the lead in the film Michael offers this:
"He told me it was a Christian film...I almost said no thanks because...he lost me at 'Christian Film'...
But he asked to read the script and found that it was written by Howie (Howard) Klausner writer of the Clint Eastwood film, Space Cowboys.
"
...
God's Smart Aleck Michael Joiner Riffs On The Film Business, Clean Comedy and Faith
in this in-depth interview exclusively for Actors Talk.
The discussion with Michael via Skype was conducted a couple of weeks prior to distribution of this podcast episode. To be honest, it's been a chore to pare our conversation, which lasted over an hour, down to a manageable time for the podcast.
God's Smart Aleck Michael Joiner On Stage
It takes very little effort to locate video of Micheal Joiner doing stand-up. Do yourself a favor when you're in need of a laugh and check out his YouTube Channel. Here's a sample of the comedy videos you can find there.
The difficulty for me has been that there is so much I wanted to share with you that it's been hard to cut anything out.
So, I've decided to make minimal cuts to the material and to expand the conversation from one episode into a two-parter.
In this first episode, Michael and I talk almost exclusively about comedy. We go into his beginnings in the business, not as a comic but as a movie extra and as a photo double for actor Bruce Willis. Michael took some advice that Bruce Willis offered and he left Hollywood to return home and begin to study acting and perform in live theater.
Michael Joiner's Acting Reel
Below is the trailer for a new Michael Joiner film called BROKEN FAITH.
On Short Cuts To Acting Success
I asked Michael what kind of training he had before he moved to L.A. to pursue acting:
"...I was a total wannabe. That's why I have a bit of compassion for folks who fall into that catgegory of 'wannabes' 'cause there's 'wannabes' who stay 'wannabes' and there's 'wannabes' who...don't know any better...someone needs to school them...That's why to this day when anybody asks for my advice, I tell them they need to study. If they balk at that, I don't have much more to say...there's no shortcuts... "
Returning Home
He moved back to Indiana in 1988, feeling a spiritual calling to return to that area. I asked Michael if he had to choose to be involved in only one area of the entertainment business, would it be as a comedian or would it be as an actor? He wasted no time in answering: ACTING.
That question elicited the story of how Michael began doing stand up comedy. Many people might assume a stand up comic, especially a very successful one would have been driven from an early age to pursue the field. No so for Michael Joiner. In fact, he had to be persuaded to perform in a church talent show by a friend who saw in him something he didn't see in himself.
"The comedy came by accident. I was one of the youth pastors at my church... I was doing a lot of comedies at this theater ..he would come to my plays and...saw I had potential to be a comedian I guess and he said 'why don't you do some comedy at our [church] talent show? I said, 'no, I'm not even into that.' So he begged me some more and I did it. I just got the bug right there. I fell in love with it. Soon after I started making a living...not only as a Christian comedian. My style is very 'un-churchy...it's just clean comedy. And so I started doing secular gigs as well and it really started paying the bills... "
IMPROV - A Valuable Tool for All Actors
During our conversation, Michael suggested that actors should take some improv classes and even try stand-up comedy. At which point I confessed that I had in fact taken a whirl at the stand up comedy scene back in my days in Dallas, TX. I related to Michael how I had participated in a 'Gong Show' type open mic at a disco and that I had actually been gonged by a monkey who was one of the judges. Apparently the monkey was a pretty good judge of talent. My stand-up 'career' didn't last very long.
On The Road
Michael talks about doing a lot of 'hell gigs'...many in Texas as it turns out....as he learned the craft or becoming a successful stand-up c...
There's A Little Bit of Geek And Hero In All Of Us
On January 16,2012 I published the first episode of Actors Talk that featured an interview with a guest, conducted via Skype.
My guest for that episode was producer-director Ron Newcomb. I had met Ron on Facebook after he had posted a trailer for his film THE FELLOWS HIP: RISE OF THE GAMERS, a comedy with heart that centers around a group of geeky gamers obsessed with the LOTR online game. At the time of our first conversation, TFH was in post-production.
I knew Ron had what looked like a potentially good film and I knew he was going through experiences as a first time feature film producer-director that I wanted to share on Actors Talk.
What I didn't know at the time was that Opening Act Productions had secured the rights to use the LOTR Online Game as a centerpiece of their film. Fortunately, Ron Newcomb was kind enough to come along for the ride and give us an inside glimpse at how this production was put together and where they were in the production process.
Now eleven months later, THE FELLOWS HIP has had quite a ride, indeed. It is now an award winning film, having picked up the BEST FEATURE FILM award at the GenCon Film Festival. The producers sought and signed a domestic distribution agreement and sales to some international territories were recently negotiated at AFM, the American Film Market.
In this episode of Actors Talk, Ron has agreed to return and discuss some very important lessons learned about post-production, marketing, the film festival circuit, seeking distribution, sales agents, producer's reps and perhaps most important of all, a component of this part of the filmmaking process that many young filmmakers know little about, DELIVERABLES.
What lessons did you learn from this filmmaking experience that will inform how you approach your next production?
Hire good people and then give them the freedom to do the kind of work they're capable of.
Post-Production Experience
I would bring a post-production team on very early on - even in pre-production. I would go ahead and engage them, get them on board and make sure that expectations are set. Unfortunately we had one company that went out of business on us and another company that wasn't able to do the work, which took us into an extra YEAR of post-production.
After Post-Production - Marketing Strategy
I asked Ron if their plan included taking the film to festivals to generate interest or did they have a different plan of attack for THE FELLOWS HIP?
Ron says the question really is "do you want to get into the distribution game yourself."
As part of this discussion Ron mentioned companies like distribber, an IndieGoGo subsidiary that has become a relatively recent player in the indie film distribution world.
For more information about distribber, be sure to check their web site and look for the 'How It Works' tab.
There is an excellent summary of costs and potential revenue from distribber on the FAQ page.
The FELLOWS HIP production team asked themselves all the typical questions that other indie filmmakers ask when they've got a finished film:
-Do we want to self-distribute
-Do we want to go after a distribution deal
-Do we want to hire a sales rep or
-Do we want to go after film festivals
Ron offers this view on festivals:
'to me [festivals] are good for a couple of things. One is to build your pedigree so that you can kind of point to your success on the festival circuit and say 'see, this is validating, I have a good film.'
And the downside of festivals
They (film festivals) are everywhere and many of the festivals have no coverage or clout with buyers, with distributors. Of course the high profile festivals, Sundance, Slamdance, Cannes, Toronto are well known in part because they DO attract film buyers.
How to be a voice actor: Do you have to have a 'radio voice', the 'voice of God' to be successful with voiceovers? What kind of training is required? How do you go about recording a demo? What is a niche market and how do you get work there? Can you do VO work part time or is this a full time or nothing gig? Must you live in a major market to make money in voiceovers?
If these are some of the questions you have about working in Voiceovers then please join me with my guest for this episode, Ms. Bettye Zoller.
International Award-Winning Voiceover Talent Bettye Zoller
"You know...modeling, film acting, Broadway stardom, getting a TV sitcom lead role, all of that is a build...it's a career build. It takes time and first and foremost it takes training. WHY...WHY...answer the question somebody, why do all these people think that voiceovers are instant success? It drives me nuts. Why? Voiceovers aren't a get rich quick scheme, it's a build, you know? "
From Bettye Zoller's site VoicesVoices.com
Casting Directors, Agents,Clients,and Producers, say she is "unique " because she offers so many types of voice deliveries, characters, dialects, attitudes, yes, she is a virtual compendium of voice over types and genres.
From major network promos (BBC, LIFETIME, BRAVO, THE WEATHER CHANNEL, FOOD NETWORK, WABC NYC) to a smooth romantic trailer for DISNEY BOOKS, to upbeat, comedic, inspirational and touching radio and TV commercials (CHIFFON MARGARINE “It’s Not Nice to FOOL Mother Nature,” PACE PICANTE SAUCE “It’s Made In NEW YORK CITY!!.” AMERICAN AIRLINES, BANQUET FOODS, AMERICAN RED CROSS, U.S. NAVY, and many hundreds more.
She narrates audios at the Smithsonian American History Museum, the Holocaust Museum, the Ellis Island Museum, the Kimbell Museum, and many others. She voices apps, building tours, city walking tours, GPS systems in Germany, toys, games, video games, websites, greeting cards, Lionel trains, kiosks, computer software, and audio books. She is a Simon and Schuster author, narrator, producer with over twenty audio titles that she’s written and published in the voice speech communications and voice over education field.
She is a professional audio engineer skilled in post production and demo creation and owner of the full service VoicesVoices Recording Studio is in Dallas, Texas. She is the recipient of ADDYS, CLIOS, 1st PLACE NATIONAL GOLDEN RADIO AWARDS. And she’s the dedicated educator who has started so many in broadcasting and voice overs.
She is degreed through doctoral study from four universities.
THE NICHE MARKET DEMO
Bettye suggests cutting individual demos for specific niche markets such as medical, real estate, art galleries, buildings, museums or monument tours, etc . These demos should have a few examples of from the specific niche you are targeting.
Medical work, for instance, can require the ability to pronounce complicated and sometimes odd sounding terms. The VO actor has to be able to make such terms sound as natural and 'real' as possible without stumbling over the terminology. So, if you have a background in medical work or if you have a facility for handling that kind of material, it would be wise, says Bettye Zoller, to prepare a demo just for that market segment.
Bettye suggests producing this type demo in a 'bare bones' production style with little to no post-production, no background music, etc. Let the caster hear your voice and how you communicate this particular type of material.
The same ideas hold true for other niche demos whether they are for an art gallery or a real estate company or some other specific market segment.
Another area Bettye suggestS not overlooking is promo work for local radio and televsion outlets. This can be an especially effective marketing effort in regional or smaller markets where the producers might welcome someone different who can add a new voice to ...
Actor Kevin Sizemore takes us behind the scenes on his new film RedLine and on his journey as a professional actor.
In the show opening I mention Producer-Director Ron Newcomb and his project THE FELLOWS HIP - RISE OF THE GAMERS. TFH has signed with distributor Highland Film Group. Highland Film Group is taking TFH to the American Film Market in Santa Monica, CA in October to acquire foreign distribution agreements. My interview with Ron Newcomb on Episode 4 of Actors Talk was my first interview and it's been really exciting to see how this project has progressed since that interview on January 16, 2012. Congratulations, Ron and all your team!
I also mention the free audio book deal available only to podcast listeners through AUDIBLE.COM at this link - FREE AUDIO BOOK OFFER
ACTOR KEVIN SIZEMORE
Kevin Sizemore Demo
I caught up with actor Kevin Sizemore at his home in the Los Angeles area on Tuesday evening October 2, 2012 to talk about his new film Red Line in which he stars with Nicole Gale Anderson, John Billingsley and Kunal Sharma.
Kevin had just finished up with a coaching session with one of his acting students when I called and that's where we began our conversation about his actor's journey.
Photo of Kevin, his wife Gina Lombardi and son, Gunnar Sizemore at the San Diego premiere of RedLine.
We began our conversation talking briefly about Kevin's work as an acting coach; He teaches classes out of his house and limits his class size to no more than 12 student actors at any one time.
According to Kevin, he limits his class size so " the actors have the opportunity to get up two or three times a night and we're going to rework these scenes so many different ways...because when you're going out for a real audition you can't just prep it one way because you're going to get redirected. And when you get redirected, if you've only learned it one way, you're stuck."
GROWING UP IN WEST VIRGINIA
We also talked about Kevin growing up Princeton, WVA, a town of about 3500 residents at that time, located on the border of West Virginia and Virginia. In high school, Kevin says he
was more of a 'behind the scenes' tech guy. He admits that he didn't participate in any plays in high school because Drama was held in 7th period and he was through with school by 5th period and he didn't want to stay at school that long. Kevin says that was "the worst decision I could have ever made."
As a high school senior, Kevin found out about a Maxwell House Coffee commercial that was casting in a nearby town. He convinced his father to take him to the audition and as
fate would have it, he booked the job. Kevin says that experience gave him a taste of 'what it's like to get that energy when you're in front of the camera...from that point on I
said okay this is what I'm going to do with the rest of my life.'
EXTRA WORK IN PITTSBURGH
From there Kevin went to Pittsburg and entered the Art Institute of Pittsburgh. While in school he began 'moonlighting' as an extra in films such as Innocent Blood and Hoffa and Bob Roberts...all film projects that came to the Pittsburg area to shoot.
While working as an extra in the Tim Robbins film Bob Roberts, became disenchanted with extra work after working all night for "$35 and a half-way decent sandwich...I got so mad...I said, If I'm going to do this [be an actor] I'm not doing any more of this extra crap, I'm done...That's when I moved to New York City. That's when I started trying to get my career stated. That was in 1992-1993."
WORKING HIS WAY TO HOLLYWOOD
On transitioning from extra work to actor, Kevin said, "I do think there's a time if you're going to be an actor, this is what you're going to do for your career, you've got to lay it
in the sand and say, Okay, I'm done here...you've got to know when you've got to cut it off,
The Film Business and the Law. It's in the contract. Or is it?
L.A. Attorney Gordon Firemark
My guest for episode 24 is Los Angeles based entertainment attorney Gordon Firemark. Gordon represents clients in theater, film, television and new media.
I spoke with Gordon on September 20, 2012 and we discussed a host of topics that can impact actors and filmmakers, their projects and their careers.
I first encountered Gordon Firemark while listening to Daniel J. Lewis's The Audacity To Podcast where he was discussing legal issues pertinent to podcasters and new media producers.
In addition to being an attorney, Gordon Firemark is a self-described audio geek. who produces and co-hosts with attorney, Tamera Bennett, the entertaining and informative Entertainment Law Update Podcast.
He is the author of The Podcast, Blog and New Media Producers Legal Survival Guide. Indie filmmakers can get information at this link about Gordon's upcoming Film Finance Bootcamp.
You can also find Gordon Firemark at his ENTERTAINMENT LAW ANSWERS YouTube Channel. There you'll find a number of videos in which Gordon responds to real show business related legal questions. The video below is an example:
Episode 24 - Included In The Discussion
So you're an actor or you want to be an actor, screenwriter, film director or producer. What do you know about your rights and responsibilities concerning rights of privacy,
work for hire, copyright and trademark issues.
What does any of this legal stuff matter if all you want is to be an actor, to get a job in TV, to have a film career?
Actors, you've ripped your scenes from the DVDs of films in which you appear. Is that a copyright infringement or a fair use?
What about auditions? Can they be distributed to YouTube or another public video sharing site without the actor's permission?
Chain Of Title
FILMMAKERS, are you certain you have a clear CHAIN OF TITLE to your project?
From Baseline Intelligence:
The phrase “chain of title” within the context of the film industry refers to a series of documents or agreements that establish proprietary (ownership) rights in a motion picture and all its parts. It is a collection of all of the documents that relate to the creation of and transfers of title to any property used in the making of the film.
Why is it imperative to have CHAIN OF TITLE issues resolved before you seek a distribution deal?
How do these issues impact a documentary filmmaker?
Actors, can you copyright a performance on stage or in a film or video?
Producers, can your actors hold a copyright claim against your film? What about your director, DP, editor or a crew member?
That's seems like an almost bizarre notion but it's one that is currently being litigated in Hollywood as part of the infamous INNOCENTS OF MUSLIMS video case in which the Prophet Mohammed is reportedly shown in a unflattering light. According to The Hollywood Reporter and other news outlets, actress Cindy Lee Garcia is asserting copyright claims against the project's producer as well as against YouTube and even individuals who reposted the video on YouTube.
What, if any, are the implications for other actors and filmmakers?
Copy right Laws
How do you get a copyright on a work you've created? How does a copyright differ from a Trademark?
Is it necessary to have a registered copyright? A registered trademark?
Indie producer-filmmaker, your budget is so low you can't afford to hire a lawyer to draft contracts so you're working solely on handshake deals. Or maybe you've done what you can by using forms from a web site or a book.
But is your project safe from claims by an associate, an actor, an editor or other crew person that THEY have certain rights to the project? Rights you didn't intend or don't believe you've granted?
Some of the best paying jobs and actor can book are in commercials. But what does it take to book work in this highly competitive business?
This episode of Actors Talk with Tommy G. Kendrick is sponsored by AUDIBLE.COM. For a free trial offer EXCLUSIVELY for podcast listeners follow this link for details.
Here's a great YouTube.com video that gives a taste of the information covered in this episode of Actors Talk with Tommy G. Kendrick.
Here's a LINK to a second Carolyne Barry YouTube.com video with more tips for actors.
Learn How to Hit The Ground Running in my conversation with triple threat actress, teacher and casting director CAROLYNE BARRY.
...there's not one way to do or become anything...
You have to sort of make your own decisions based on the input of
people whose opinions you RESPECT
Carolyne Barry on beginning your actor training with commercial classes...
People say to me, I hear you're supposed to start in commercials..that's how you start.
And I go well, you've got it ass backwards.
The better the actor you are the better you're going to do in commercials. So I think you should train seriously in a professional setup for a year to two years. then you go get a commercial agent. And then you start doing commercials.
What people should say is the first place you should try to get work is commercials but not the first place you should get trained.
But where do you start?
How do you keep from getting ripped off?
What is the standard for professional instruction?
Do you really need to take a commercial acting class?
How many actors get seen for each role in a typical national commercial? What do you need to know to compete?
Is your head shot appropriate for online casting?
Can you work in Commercials if you're non-union?
What percentage of commercials today are SAG, AFTRA or SAG-AFTRA and what percentage are non-union?
What are the key mistakes actors commonly make during the commercial audition?
What is the proper way to work with cue cards and how do you learn?
How to Slate Like a Pro
Do you CHEAT OUT or MOTIVATE OUT?
What is MASTER TALENT TEACHERS and why you should know
These are just a few of the topics I discuss with Carolyne Barry who has a thirty year career as an actress and teacher. Why should you listen to her?
She's booked over 400 national commercials as an actress and she has cast over 500 commercials.
She is at the top of the list of the best and most sought after commercial acting coaches in Hollywood.
I highly recommend you visit CarolyneBarry.com and check out her blog posts. Recent posts include COMMERCIAL AUDITIONS INSIDER AUDITION TECHNIQUE, DEALING WITH STRESS, AUDITION PREPARATION TIPS, MEETING WITH A POTENTIAL AGENT and so many more.
This is a wealth of FREE information. Each one of these blog posts is like a free acting class with Carolyne Barry. Be sure to bookmark her site and visit it often.
Carolyne Barry is also the driving force behind an intriguing new endeavor called MASTER TALENT TEACHERS
About MTT
Achieving success with a career in the arts can often be daunting and intimidating. You might feel lonely, overwhelmed, a bit lost; swimming in a sea of opportunity with no real way to grasp onto that thing that will allow you to turn what you desire into your artistic career. That’s why we created Master Talent Teachers.
MTT is a group of successful talent teachers with long and illustrious careers who have come together as a creative, synergistic group to pass on our recipes for success to you. We are a creative eclectic mix of gender, age, ideology, approach, disciplines and expertise.
We are not offering “get rich quick” plan or a “ten easy steps to success” program. Better yet, MTT offers important craft and career training as well as how wh...
Think Like A Producer and Stand Out From The Crowd
Check out this video about building your own buzz:
Actors are trained to be in touch with their feelings; to be emotionally expressive. Actors are trained to be in the moment and can be short sighted; actors are sensitive, we take things personally, especially when acting; The problem is you can't run a business like that - you can't run a business based on your feelings. You can't run a business without a long term vision. - Emily Grace
Theater school doesn't cover it. Even the best acting classes don't cover it.
What is IT?
Approaching acting as a business.
The importance of having clearly defined career goals and a plan of action to achieve them.
Understanding how to effectively market oneself in an industry that is brutally competitive. An industry where talent alone is not enough.
Most universities and most professional acting programs don't teach actors:
How to THINK LIKE A PRODUCER so you can ACT FOR A LIVING
For more information about EMILY GRACE PRODUCTIONS and to find out how you can work with Emily, visit EmilyGrace.tv
Here is some information about Emily Grace that I've pulled from Emily's web page:
I’m Emily Grace. I help actors get in the driver’s seat of their career with marketing plans that work. I am also an actor myself, so I get the actor’s mindset, struggles, fear, doubt and anxiety. And what I’ve learned in my years of experience in the entertainment industry is that talent is an amazing gift to have, but it actually isn’t the most important ingredient to acting success.
So what is the most important ingredient? It’s marketing. It’s business savvy. It’s having a plan that gets results, and putting that plan into persistent action long enough for it to get results.
I’ve got a unique perspective – I am an actor, a writer, and a producer, and nothing has prepared me more for a life in the arts than my time working as a producer and for a producer (at the $5-$50 million dollar budget).
I love actors. I love their courage, their passion, their determination and their heart. But there are very few people teaching actors what they truly need to know to act for a living – and that is how to be a good business person.
I teach actors how to think like a producer, so they can act for a living.
Yes, you want to be creative, free, and fulfilled. But what good is your acting talent if no one knows about you? It’s time to get out of acting class and into the business where offers are made, deals go down, and you get paid to do what you love.
If you’ve got the talent, the training, the drive and the determination, but no one took the time to teach you the business and marketing, that’s where I come in. I’d love to help you get where you want to go with one of my powerful programs, or private coaching.
I’ll (lovingly) whip you into shape and help you take control of your career. Whether you have representation or not, it’s your career. I’ll help you make a plan to make it happen.
The VIDEO below and the one above (with Emily Grace as a panelist) originated as live streaming events that were available only to members of SAG-AFTRA through the SAG Foundation LifeRaft program.
These videos have now been made publicly available on the SAG Foundation YouTube channel. I've included these two videos that are apropos to our topic for this episode of Actors Talk. If you are a SAG-AFTRA member be sure to get on the SAG Foundation mailing list so you can be aware of these events when they are presented live.
Don't forget to take advantage of the great offer from Audible.com for a free month of their service that includes 1 free book download. I suggest One Less Bitter Actor by Markus Flanagan.
Some links, including those for Audible.com and Bluehost.com, are 'affiliate links'.
Does my child have what it takes to make it as an actor in Hollywood?
That is the most common common question asked of Hollywood acting coach Diane Christiansen by parents of young actors.
Diane Christiansen takes on this question and much more in a three part series of free videos on the MASTER TALENT TEACHERS web site.
I am very pleased to have Diane as my guest interviewee for this episode of Actors Talk.
She has the experience (twenty years as an acting coach in Hollywood) and the accolades from industry resources and publications that demonstrate her professionalism and her success in the specialized area of coaching young actors in Hollywood and, thanks to the internet, across the US and in several foreign countries.
She is a past receipient of Back Stage West Reader's Choice Awards as having the Best Acting Class for Teens and Kids.
She has been voted the #1 Top Rated Acting Coach in Hollywood for kids and teens by Children in Film.
She has been voted one of the top 10 most effective coaches in Hollywood by Actors Access.
Here's a bit of information off MASTER TALENT TEACHERS web site that will give you a taste of what you will find there:
What does it take to became a successful actor?
The desire to become an Actor
The commitment to find professional training
The support system to get you there
The drive and talent to succeed
An understanding of your art and yourself – KNOWLEDGE
…And most of all – A LOT OF FAITH.
In other words…you need to be more than cute and talented. You need to be ‘The Package’ and you need to be coach-able and so does your parent.
Some of the most talented and adorable kids and teens I’ve trained have parents that will ruin it for them.
In the interview, Diane mentions a couple of very helpful web sites for parents and young actors:
The BizParentz Foundation
The BizParentz Foundation is a non-profit corporation providing education, advocacy, and charitable support to parents and children engaged in the entertainment industry. The organization promotes a positive public image regarding child performers and educates the public regarding the safety and rights of child performers including child labor laws and regulations.
CHILDREN IN FILM: NOTE: Some content on this site may require a fee but the information looks very valuable for the parent of a young actor.
The following CIF articles directly relate to your child's emotional and spiritual well being. When preparing for showbiz, the child's emotional needs often go undiscussed. How will you teach your child to deal with fear, anxiety, stress and depression?
Children In Film is working together with child and family therapists, teachers, and spiritual leaders to bring you helpful info on this topic. We welcome your feedback on this or any other part of our website.
Responsible Parenting Articles:
College Bound?
Team Etiquette
Paperwork Prep
The Psychology Behind Fame
Giving Back
Morality On Set
Dealing with Rejection
Here are some additional questions to consider and research prior to deciding on a coach for your young actor:
How can make sure your child is training in a safe environment?
How can you know you're working with a teacher or coach who really knows how give your child the tools to become a working actor?
How can you know you're spending your money wisely?
What is the Coogan Law and why do you need to know?
What do parents need to know about Child Labor Laws?
What parents need to know about dealing with the actors's union, SAG-AFTRA
To be competitive in the acting business, training is a basic requirement.
In an industry that is notoriously tough to break into and tougher still in which to sustain a career, mere training isn't enough.
FREE FALL COPS - A TV Show In The Palm Of Your Hand
I learned about the FreeFall Cops project while moderating a recent Austin Actors Conservatory workshop where Phil Hardage appeared on a panel about working in the film industry.
Click Image, Go to iTunes, Purchase App
See Full Cast and Crew List at the bottom of this page
With his wealth of experience, primarily as a 1st Assistant Director on projects like THE NOTEBOOK,THE TREE OF LIFE,THE ROOKIE,THE ALAMO,SPY KIDS,PIRATES OF THE CARIBBEAN, FRIDAY NIGHT LIGHTS, BURN NOTICE, DALLAS, LONGMIRE ON A&E, Phil knows film production.
He knows how to analyze a script, how to break it down for scheduling and budgetary purposes. His experience and expertise are significant assets to any film production on which he works. So it's not a huge leap to understand that he possesses some of the key tools necessary to produce his own projects.
That's what he has done with FreeFall Cops, an intriguing new series that has just been released for distribution on, wait for it: iTunes.
It's no secret that film and television distribution as we have known it is in the process of a major overhaul, maybe we should say a re-invention. Anyone with a NetFlix streaming account or a bookmark to HULU.com understands where this discussion is headed.
Phil Hardage and his production partner, writer George Ayres have fashioned a good old fashioned shoot 'em up action/cop show into a series that is intended to be mobile, viewed on a smartphone or other mobile device that can download and play an iTunes App. Hardage and Ayres are tapping into the still evolving new media distribution opportunities offered by maturing internet technology.
http://www.youtube.com/watch?v=ZPjsmTkVakE&feature=colike
FreeFall Cops is not your grandaddy's old TV series. Heck, it's not anyone's old TV series. This series has been tailored for this new media world, scripted in serial form as a series of ninety second, that's right 90 second, episodes.
The first question that may arise is 'what kind of story can you tell in 90 seconds?' If the first series of FreeFall Cops is an indication, the answer is the same story you can tell in a 30 minute or 1 hour traditional television program. It's just shorter. And to watch it, the viewer isn't tethered to a television set. It is truly 'television' designed to be viewed in the palm of your hand.
The idea of watching longform television or a feature length film on my iPhone frankly has little appeal to me. But a well produced series of 90 second 'television' episodes? Hummm. Now that gets my interest.
The first 'series' of FreeFall Cops consists of five episodes all available as a package in the iTunes App Store for $.99. So for a buck you can download and check out this new media distribution experiment.
Shot under a SAG New Media Agreement and headed by a terrific professional cast (Brad Leland, Julio Cesar Cedillo, Matt Pulliam, Tory Taylor Tompkins, Joshua Moody, Jorge A. Jimenez, Rocio Garza, Louis Moncivias), shot with a 54 person crew, FreeFall Cops is professional quality all the way.
And for indie producers and those who might want to be, FreeFall Cops offers an interesting model. In fact, Hardage and his team envision a sort of 90 Second Network and have other projects in development that will also be designed and produced to fit this form and format.
Let's be clear. I don't think anyone is proposing that all future television or film projects should be limited to 90 seconds and be viewable on mobile devices. But the fact is that there is a lack of scripted narrative content for these devices and FreeFall Cops looks like an attractive entertainment alternative to scrolling through emails and tweets.
Is this a viable form for scripted entertainment? Is it a novelty that will fade or is it a glimpse into the possibilities available within the evolving...
PLAN 9 FROM OUTER SPACE, originally titled GRAVE ROBBERS FROM OUTER SPACE was written and directed by fringe filmmaker Ed Wood Jr. Plan 9 was Wood's magnum opus, his pride and joy. Wood's filmography includes GLEN OR GLENDA (1953), JAIL BAIT (1954), BRIDE OF THE MONSTER (1955) and PLAN 9 FROM OUTER SPACE (1959).
Gregory Walcott as Jeff Trent in Plan 9 From Outer Space
After the dismal failure of Plan 9, the career of Ed Wood Jr. veered off into an even lower rung on the Hollywood ladder as he wrote and directed porn movies and wrote and published transvestite themed paperbacks.
Vampira and Tor Johnson from Plan 9
In addition to Gregory Walcott, Plan 9 starred Bela Lugosi, who had been dead for a couple of years when the film was shot; Tor Johnson - a 400 pound ex-wrestler, Vampira - the original 'mistress of the dark' on local L.A. television and Lyle Talbott - probably most memorable to us baby boomers from the Ozzie and Harriet show when we were kids.
Note: If you purchase a PLAN 9 FROM OUTER SPACE DVD from a link on this page, Actors Talk Podcast will receive a small affiliate commission from that sale. You can, of course go directly to Amazon and bypass any link from Actors Talk. The highest quality DVD is from IMAGE ENTERTAINMENT. Other product may be inferior.
Here is an excerpt from Ed Wood's biography as published on IMDB and written by Jack Backstreet:
Hacks are nothing new in Hollywood. Had Edward D. Wood been born a decade or so earlier it's easy to imagine him working out of some Poverty Row outfit in Gower Gulch, competing with the likes of Victor Adamson, Robert J. Horner and Dwain Esper for the title of all-time hack. He would've fit in nicely at Educational Pictures in the early '30s or PRC in the following decade. Wood, like everyone, is imprisoned in their own time, and in the 1950s Edward D. Wood Jr. simply had no competition. He was ignored throughout a spectacularly unsuccessful career and died a penniless alcoholic, only to be "rediscovered" when promoters in the early 1980s tagged him the worst director of all time (mostly thanks to the Medveds' hilarious book, "Golden Turkey Awards")- and was given the singular honor of a full-length biopic by Tim Burton. This post-mortem fame has made him infinitely more famous today than he ever was when alive.
Ed Wood Jr. as he appeared in Glen or Glenda
...
Wood attempted to break into the film industry, initially without success, but finally landed the chance to direct a film based on the real-life Christine Jorgensen sex-change story, then a hot topic. The result, Glen or Glenda (1953), gave a fascinating insight into Wood's own personality and shed light on his transvestism (an almost unthinkable subject for an early 1950s mainstream feature). Although devoutly heterosexual, Wood was an enthusiastic cross-dresser, with a particular fondness for angora. On the debit side, though, the film revealed an almost complete lack of talent that would mar all his subsequent films, his tendency to resort to stock footage of lightning during dramatic moments, laughable set design, and a near-incomprehensible performance by Bela Lugosi as a mad doctor whose presence is never adequately explained. The film deservedly flopped miserably but Wood, always upbeat, pressed ahead.
All of his films exhibit illogical continuity, bizarre narratives and give the distinct impression that a director's job was simply to expose the least amount of film possible due to constant budget constraints. Visible wires connected to pie-pan UFOs, actors knocking over cardboard "headstones", cars changing models and years during chase sequences, scenes exhibiting a disturbing lack of handgun safety, and the ingenious use of shower curtains in rudder-less airplane cockpits are just a few of the trademarks of an Edward D. Wood Jr. production. When criticized for their innumerable flaws,
SAG ULB Agreement in 2012 - Issues and Answers
Hello friends and welcome to EPISODE 18 of ACTORS TALK with me, I'm TOMMY G KENDRICK the producer and host of this program coming to you from Round Rock, TX. If you're wondering where that is we're just up Interstate 35 north of Austin, Texas which is not only the self-appointed LIVE MUSIC CAPITAL OF THE WORLD, but it is also a veritable hot bed of independent filmmaking.
The mission, if you will, of ACTORS TALK is to bring you the listener interesting, informative and hopefully entertaining content that will be of service to you on your journey as a professional actor or other creative individual involved in or hoping to become involved in THE MOVIE BUSINESS.
PLEASE LEAVE VOICE MAIL OR WRITTEN COMMENTS ON THE WEB PAGE. Voice Mail can be left toll free at 1-877-518-2530. Comments or questions for follow up can also be left at the bottom of the page following the show notes.
Reason's I've read online as to why producers should NOT become signatory to the ULB Agreement:
The ULB forbids me from releasing the film on DVD or VOD.
Ultra low budget films are unlikely to get theatrical distribution. So what can I do with a film produced under the ULB? Why would use this agreement?
SAG-AFTRA member actors just walk off my film if they're working under the ULB Agreement and they get a better offer.
SAG owns my film. They get 3.6% - 5.4% of Distributor's Gross Receipts.
SAG doesn't care about filmmakers, SAG only cares about making money for SAG
Too much paperwork
IMPORTANT LINKS FOR THIS PODCAST:
SAG Residuals Hotline Phone: 800-205-7716
PAYROLL INFORMATION FOR INDIE PRODUCTIONS (Some Suggestions):
INDIEPAY
Q&A with JOHN FINN, CEO and founder of IndiePay
ABS PAYROLL
SAG-AFTRA and SAGIndie
SAGIndie
SAGIndie FAQ
SAG Production Center
SAG-AFTRA
MISC LINKS OF INTEREST
BoxOfficeMojo
IMDb
TEXAS MOTION PICTURE ALLIANCE
Listed above just a few of the reasons I've run across in indie film forums and chat rooms about why a producer should NOT work with SAG (SAG-AFTRA is the new, merged actors union. The ULB is a SAG contract that will remain in force until it's already established expiration date. New SAG-AFTRA agreements will then be negotiated.) especially on the ULB or Ultra Low Budget Agreement. The problem is that a number of those reasons are partially or wholly inaccurate.
Some of these ideas are kept alive by internet posts that often go back for years. Producers searching for current information assume that terms of some agreements no longer in existence are still in force, because they can still read it on an old blog or forum post. There is one site in particular (easily found with a Google search so I'm not interested in linking it here) that breaks down the ULB. That site has information that is in some parts incorrect, misunderstood and misinterpreted by information seekers.
Certainly not all of the information and perceptions about working with craft unions is wrong. SAG and AFTRA and now SAG-AFTRA were created by actors for the protection of actors. SAG-AFTRA is not tasked with protecting or promoting producer's interests to the detriment of actors. So, no apologies here for rules about wages and working conditions established in the SAG-AFTRA agreements. Agreements. That's an important word.
Union CONTRACTS or AGREEMENTS that we are discussing are legal instruments whose terms and conditions have been NEGOTIATED and AGREED TO by representatives of two parties - the ACTORS on one side and the PRODUCERS on the other - each negotiating for terms and conditions that best serve the interests of their constituents. ONLY when terms and conditions are AGREED to by both parties is the contract settled and put into force for an agreed upon term. Upon expiration of that term,
Steven Spielberg, Clint Eastwood, Martin Ritt, Michael Cimino, John Sturges, Tim Burton, Delbert Mann, Raoul Walsh, John Ford, Mervyn LeRoy. These are a few of the directors with whom Gregory Walcott worked in his long, productive career.
If you need a quick refresher, check out Greg's IMDb page for a list of credits while you listen to the podcast.
Greg always enjoys hearing from fans.
GREGORY WALCOTT FAN MAIL ADDRESS: PO Box 622 Canoga Park, CA 91305
In 1949 he hitch-hiked from Wilson, NC to Los Angeles, CA hoping to break into the film business. Between 1951 and his retirement in the mid-1990s he appeared in over 300 television shows and over 50 feature films.
And talk about sharing the screen with stars! How's this for a partial list(in random order) Tony Curtis, Henry Fonda, Clint Eastwood, Sally Field, Fess Parker, Gene Hackman, Lee Marvin, Ben Johnson, Goldie Hawn, Sissy Spacek, Harry Carey Jr., James Garner, Claudett Colbert, Ward Bond, Jeff Bridges, Angela Lansbury, and on and on.
On television, he guest starred on what seems like every western series produced between the mid-1050s to the early 1970s: Cheyenne, Alias Smith and Jones, Zane Grey Theater, Sugarfoot, Shotgun Slade, The Rifleman, Colt .45, Overland Trail, Tombstone Territory, Riverboat, Wagon Train, Rawhide, The Big Valley, Danile Boone, The High Chapparral and perhaps most famously in multiple episodes of Bonanza.
In 1967 he produced and starred in "Bill Wallace of China", one of the early indie films aimed at a faith-based market. He is also an ordained minister who was a guest speaker in countless churches and conventions across the country.
Greg became a regular player in Clint Eastwood projects appearing in The Eiger Sanction, Thunderbolt and Lightfoot, Joe Kidd and Every Which Way But Loose. In the podcast, Greg talks about working with Eastwood and his demeanor on the set.
He is a shining example of a Hollywood success story that has a happy ending. He is proof that there are not just good people working in Hollywood, there are great people there. He is Gregory Walcott and he is this week's guest on Actors Talk.
I'll let you know now that if you're looking for information on Plan Nine From Outer Space, or information about its director, Ed Wood, this conversation will not help you out. Maybe another time. But for this time with Greg I wanted to concentrate on some of the projects that better define his talent and his rightful place as one of Hollywood's best. There is plenty of information available about Plan 9 and while Greg doesn't mind talking about 'the worst movie ever made', it's not something I wanted to address in this conversation.
Gregory Walcott is also a terrific writer. In 2003 his wonderful memoir "Hollywood Adventures...The Gregory Walcott Story" was published by the Wilson Daily Times. The book is now difficult to find but is often available on Amazon.com.
As one might expect, a quick search of Ebay.com finds a large list of Gregory Walcott film memorabilia available for sale.
Here is a very well written bio that I've taken from the Rotten Tomatoes web site. This biography was written by film critic Bruce Eder and I think it provides a good, unbiased third party summary of Greg's Hollywood career.
Biography as published on the Rotten Tomatoes site:
A top-flight character actor and sometime leading man, Gregory Walcott has managed to bridge the tail-end of the studio system, the heyday of series television, and the boom years of the post-studio 1970s, and carve a notable career in the process. He was born Bernard Mattox in 1928 (some sources say 1932) in Wendell, NC, a small town about 10 miles east of the state capitol of Raleigh. After serving in the Army following the end of the Second World War, he decided to try for an acting career and hitchhiked his way to California.
INDIEGOGO VS KICKSTARTER - Does crowdfunding work? How does it work? Which crowd funding resource is best for your project? How did Shea Weaver Grubbs decide on INDIEGOGO vs KICKSTARTER as a fund raising mechanism for her documentary STRING THEORY, based on the life and career of singer-songwriter LEVI WEAVER? There are some of the issues we discuss in this episode of ACTORS TALK with Tommy G. Kendrick.
SPECIAL UPDATE - JOIN LEVI WEAVER ON USTREAM - LIVE FROM BALTIMORE, MD SUNDAY JUNE 3, 2012 at 7pm
Am I the only one old enough to know the Rick Nelson tune, Travelin' Man? Surely you've heard it at least. If not you should, if only because it was an early introduction to the artistry of not only Rick Nelson, but also his guitarist, the incredible James Burton. But I digress.... Travelin Man - "I've made a lot of stops, all over the world". I thought of that song when I learned of the story of LEVI WEAVER.
String Theory covers a moment in the life of musician Levi Weaver. Following a six year span of his career, from touring with Imogen Heap to playing intimate house shows around the world and every kind of venue in between, the film features personal interviews, a multitude of concert footage, and uncommon access to Levi’s personal road footage. String Theory is a feature documentary with a first-hand look at the constant tension between art and commerce, Levi Weaver’s ever-evolving and inspiring creative process, and the distances he has driven to measure the road between fame and true success.
My friend Shea Weaver Grubbs (no relation to Levi Weaver by the way) recently sent me a notification that she is involved in an INDIEGOGO campaign to fund a documentary called STRING THEORY. Relax. I'm NOT going into a discussion of particle physics or quantum mechanics...in fact I just had to look those terms up to write them down.
FIND OUT MORE ABOUT STRING THEORY HERE: FACEBOOK OR HERE: STRING THEORY ON INDIEGOGO OR Connect with the project on TWITTER
Listen to LEVI WEAVER on iTunes
No, STRING THEORY is a documentary about the life and music of singer-songwriter, LEVI WEAVER. That description, singer-songwriter, sounds a little too simple when describing an artist like Levi Weaver. Listen to some of his music, like I have over the past few days and I think you'll agree.
STRING THEORY could use your help. Grubbs and her husband Jonathan already have hours of concert and backstage footage that Weaver himself has compiled over the years. From the looks of their INDIEGOGO teaser, that footage alone could make a worthy documentary. But they aren't settling for editing only archival footage collected by the artist himself.
Over the next year, the STRING THEORY production team will, with a skeleton crew, travel across the USA and the UK documenting Levi Weaver's life as a troubadour. The tour will take Weaver mostly into a series of HOUSE CONCERTS, intimate gatherings of fans and soon to be fans who will literally gather in a private residence for an up close and personal concert experience with this exceptionally talented performer.
I hope you will listen to the podcast to get more or a sense of who Levi Weaver is and why Shea Weaver Grubbs is right to pursue him as a worthy subject for this documentary. If you are so moved, please donate to their effort and know that you can be a part of a film that will not only document a Travelin' Man, but will also explore the friction between SUCCESS and FAME and how that impacts not only artists who often ply their trade in virtual anonymity, but also any individual who has felt a passionate calling to a career that just hasn't worked out the way one thought it would.
The post 016 ACTORS TALK PODCAST – SUCCESS vs FAME – LEVI WEAVER and the STRING THEORY...
Can a first time filmmaker with zero experience and a micro-budget succeed in the marketplace? If you're Christian Filmmaker, Kyle Prohaska the answer is a resounding YES!
When he was approximately 18 years old, with no prior experience as a film director, Kyle Prohaska and an elder at his church formed Praise Pictures. Praise Pictures was formed as the umbrella under which Prohaska would shoot his first film, a feature length project called STANDING FIRM.
I asked Kyle Prohaska about his earliest attractions to the arts and he talks about picking up pencil and paper and learning to draw. He also talks about how learning to draw began to teach him concepts about perspective, color, shapes and the use of light.
Unlike some filmmakers, Prohaska did not grow up taking his parents camera out to make little short films. Instead his interest in films and in becoming a filmmaker was piqued by watching and rewatching VHS copies of films he loved. He would eventually become inspired by the early successes of the Kendrick brothers (no relation to this podcaster) - FLYWHEEL and FACING THE GIANTS.
Prohaska took the unusual step of plunging ahead into making a feature film without ever having made a short or any other film project. Don't try this at home, kiddoes.
In the interview we go on to discuss the ups and downs of making STANDING FIRM on a shoestring budget and with an all volunteer cast and crew.
Prohaska, an accomplished graphic illustrator and web site designer also touches on what makes a good web site, what attracts viewers to a web site and how to leverage the power of social media.
We talk about his experience with Facebook and Facebook advertising that helped propel the Standing Firm Facebook Page to an unprecedented number of 'Likes' for Standing Firm. Currently that number stands at: 292,551. That is a truly unbelievable number of likes for an independent film by a first time filmmaker, especially one that is aimed at a niche market. Those are results that a Hollywood PR firm would envy.
And I haven't even touched on the fact that STANDING FIRM is or will soon be available on NetFlix, NetFlix Streaming and at a redbox kiosk near you!
All this and more this extensive interview with Kyle Prohaska in Actors Talk with Tommy G. Kendrick Episode 15.
And Finally, in an act of shameless self-promotion, I invite all in this audience to find a screening of Richard Linklater's new film BERNIE, starring Jack Black, Shirley MacLaine and Matthew McConaughey (and I just might be in there as well) coming soon to a theater near you.
The post 015 ACTORS TALK PODCAST – STANDING FIRM with KYLE PROHASKA – AN UNLIKELY TALE OF UNCOMMON SUCCESS appeared first on Actors Talk.
DOWN BY THE RIVER - A FILMMAKING FAMILY AFFAIR
Before we get into the current episode I want to take time to acknowledge a few people who reached out over the past week or two in support of Actors Talk Podcast. First Mr. Brett Chapin of LaLa Land on CRN an internet radio show that is part of CRN Digital Talk Radio and they can be found HERE ON FACEBOOK
I also want to thank Mads Nybo Jorgensen @madsvid on Twitter, a listener from the UK who tweeted about several episodes this week. Thanks Mads, for the great support.
And finally, thanks to Benjamin Dane, actor-producer who was my guest on episode 007 when we talked about his new film Beyond The Farthest Star. Check out Episode 12 to see the very nice comments Benjamin made about my interview with One Less Bitter Actor writer, actor Markus Flanagan.
And now, here's some information about Sean Johnson and DOWN BY THE RIVER:
Sean Johnson Jr. Bio:
Sean Johnson was born on October 11, 1985 in the city of New Orleans, Louisiana. At age 13, his life was shattered when he watched his father get a life sentence in prison. His mother, Trina Brown, a well known playwright in New Orleans kept him from following after that same path. Johnson assisted his mother with her plays like “Christmas in the Hood” and “We’re in this together." He would eventually discover that he had his mother's gift for writing.
After high school and two years of college and still not sure what he should do with his life, Johnson was drawn to screenwriting and began writing screenplays. He received a scholarship to New York Film Academy in Los Angeles and graduated from the school as one of its top writers in more than a decade. But it would take more than that to swim with the sharks of show business. His mother and his mentor, Ameer Baraka, kept him encouraged as he knocked on the great walls of Hollywood at the time of the writer’s strike.
Over time, Johnson realized that his passion to write was also his gift. Not long after he got an offer for a writer's internship at Raleigh Studios and was subsequently hired by Sagemont Studios to write the compelling family-based drama "Down By The River". The film is to be realeased in 2012.
Down by the River - Trailer from William Molina on Vimeo. Type: Independent feature Executive producers: LaMarcus Tinker, Sean Johnson Co-executive producer: Alethea Bailey Produced by: Trina Brown, W.L. Molina Written by: Sean Johnson Directed by: William Leonardo Molina cast: Sean Johnson, Adriana Ford, Alethea Bailey, Trenise Gray, Beny Schwarzt, Chad Thackston, Chuck Houston
The Story
Skylar Ford (Sean Johnson) is a young man who aspires to be a writer, but must balance following his dreams with helping his mother, Tammy (Alethea Bailey) take care of his little sister, Hannah (Adriana Ford), who suffers from sickle cell anemia.
Despite his lack of time, Skylar manages to complete his first story and attempts to get it published by a local publishing house, but finds that rejection is harder to take than he anticipated. As Hannah's birthday rapidly approaches, her estranged biological father, Leroy (Beny Schwarzt), comes home unannounced after several years, creating serious tension within the family.
When Skylar meets Hannah's doctor, Julia (Trenise Gray), their desire for Hannah's well being creates a spark that brings Julia closer to the family. After a local publisher gives Skylar hope, he discovers that balancing his work, his family, and his dream is more difficult than he could have ever imagined.
While Skylar attempts to hold things together, Hannah suddenly collapses at her birthday party, and the whole family is thrown into an emotional spiral which tests Skylar's limits, his faith, and makes the dreams he desperately pursues feel more out of reach than ever.
The post
WHAT IS KARMALICITY AND HOW DOES IT WORK? WHO IS JOHN SOREN? DOES KARMALICITY WORK? WHAT IS THE IMDb STARmeter RANKING AND WHY DOES IT KEEP BOUNCING UP AND DOWN? WHAT ARE FACEBOOK LIKES? HOW CAN ACTORS HARNESS THE POWER OF SOCIAL MEDIA TO PUBLICIZE THEIR CAREERS?
FROM THE KARMALICITY WEB SITE:
Karmalicity is Karmic Publicity for Entertainment Industry Professionals!
It works based on a very simple idea: You help others, and they'll help you. In this case, it's all about publicity. When you check out others' pages and support them by Following, Liking, Viewing or Subscribing, you'll get other people to Follow, Like, View and Subscribe to you!
Since its beginning in late May, 2011 (as ActorLikes), Karmalicity has already grown to over 3300 members! If you're an Actor, Producer, Director, Writer or any other Entertainment Industry Professional, Karmalicity can help you get the exposure and publicity you want for yourself and your projects. There's nothing automated about it - it's real people, really Viewing, Liking, Following and Subscribing to you and your content. Best of all - Karmalicity is free to use!
This episode of ATP which features an interview with actor and Karmalicity developer John Soren will address some of these issues. We'll also talk to John about his journey from Washington state to Los Angeles to continue his actor's journey and a bit of advice about a MUST HAVE tool every actor needs in order to compete as a 'new' actor in town.
But first, let's talk a bit about the Internet Movie Database or IMDb.
There was a time when IMDb was a clever little curiosity. It was a nifty web site to go and check out an actor you saw in a movie but whose name you couldn't recall. It's still great for that purpose but over the past decade, the use and 'power' of IMDb has broadened considerably.
Recently, in a casting director seminar produced by the Austin Actors Conservatory, the guest casting director advised actors to monitor their IMDb STARmeter rankings and to make sure their credits on IMDb were up to date. Why? Because in casting sessions, said the CD, directors and producers, laptops at the ready, were often checking IMDb pages for the actors appearing before them. The people 'in the room' might be using IMDb for several reasons: verifying the credits on the resume in front of them is one, but there are other reasons as well.
An actors IMDb page and their credits provide a tremendous amount of information that MIGHT help sway a casting decision: What level of projects has the actor worked in? Is the credit listed in that Oliver Stone movie a principal role or extra work? Has the actor been working lately or has he been out of the game for some extended period of time? What directors and name actors has the actor worked with?
Some of this information can be great ice breaking material: "You worked with David Lynch. That must have been interesting. Tell me about that experience."
So it is that something so seemingly trivial as a STARmeter ranking, a mysterious metric that most of don't even understand has come to have some importance in the lives and careers of actors world wide.
I have been a user of IMDb for a number of years. I use it for the aforementioned purpose of linking an actor's name to his or her performance in a film I'm watching but I have also tried to make sure that my own film credits are kept up to date.
What started out as an ego thing, has morphed into a job requirement. As an actor I have to make sure I have my 'tools' in order: Headshots, check. Demo Reel online, check. Online casting service subscriptions updated and ready for my agent to use, check. IMDb credits accurate, check. STARmeter ranking stable and hopefully showing up as 'in the green', meaning that my ranking is improving.
As I write these notes, my STARmeter ranking is 28,522 and is trending to the red.
Download iTunes Stitcher SoundCloud Leave A Review Join: Actors Talk Email List Come Inside The Acting Business SUBMIT Powered by the Simple Podcast Press Player ONE LESS BITTER ACTOR by MARKUS FLANAGAN “Tommy, what a fantastic interview! I re-tweeted it. It really is great. I want all my actor friends to hear this.” Benjamin Dane, […]
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Listen to the Episode Below (00:58:24) Download iTunes Stitcher SoundCloud Leave A Review Join: Actors Talk Email List Come Inside The Acting Business SUBMIT Powered by the Simple Podcast Press Player REVIEW: NORTH OF HOLLYWOOD by Rick Lenz In NORTH OF HOLLYWOOD, author Rick Lenz says: I love acting, but I don’t much care for […]
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HOW TO MAKE A SHORT FILM IN 168 HOURS AND LIVE TO TELL ABOUT IT We were assigned the verse John 15:14-15 and had just over a week to write the script, cast the film and prepare the locations before the 168 hour production clock began ticking down. PLEASE USE THE “VOICE MAIL HERE” TAB […]
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