Jamie's Blog

New Blog/site

2011-09-04T20:17:00.000-07:00

Hello all! I have a new blog/site. Please go to jamierosestudio.com for info about acting coaching and my new book, Shut Up & Dance!

Hello out there!

2010-05-19T11:13:00.001-07:00

Hmmm. So much for the plans of mice and men. I promised to start writing here again, but, well, so it goes.

I have been writing though. Working on a book. It's not about acting. It's called: Shut up and Dance! How to stop leading and start loving.

It's a relationship self-help book for women inspired by my hobby/obsession of partner dancing (specifically the Argentine Tango and West Coast Swing). I've been hard at work on it, I will keep you posted.

My teaching is going great. I have been focusing on private coaching and I love it. I have students from beginner to professional, and love and appreciate them all for the different qualities they bring to the work. My students keep me in love with acting, and for that I am so grateful.

Zen and the Art of Film Acting

2009-09-25T10:25:00.000-07:00

An article I wrote awhile back on film acting is in this week's issue of Actors Ink.

Click Here to read.

Inspiration

2009-08-27T18:12:00.000-07:00

I saw this posted on Facebook and wanted to share it. Amazing. Inspirational.

"In a Chinese modern dance competition on TV one very unique couple won one of the top prizes. The lady, in her 30's, was a dancer who had trained since she was a little girl. Later in life, she lost her entire left arm in an accident and fell into a state of depression for a few years.

Someone then asked her to coach a Children's dancing group. From that point on, she realized that she could not forget
dancing. She still loved to dance and wanted to dance again. So, she started to do some of her old routines, but, having lost her arm, she had also lost her balance.

It took a while before she could even make simple turns and spins without falling. Then she heard of a man in his 20s who had lost a leg in an accident. He had also fallen into the usual denial, depression and anger type of emotional roller coaster.. But, she was determined to find him and persuade him to dance with her.. He had never danced, and to dance with one leg....are you joking with me?? "No way!"

But, she didn't give up, and he reluctantly agreed thinking, "I have nothing else to do anyway." She started to teach him dancing. The two broke up a few times because he had no concept of using muscle, how to control his body, and knew none of the basic things about dancing.. When she became frustrated and lost patience with him, he would walk out. Eventually, they came back together and started training seriously.

They hired a choreographer to design routines for them. She would fly high (held by him) with both arms (a sleeve for an arm) flying in the air.. He could bend horizontally supported by one leg with her leaning on him, etc..

In the competition, as you will see, they dance beautifully and they legitimately won the competition."

click here to see video

RIP Jakey the Cat

2009-08-21T14:14:00.000-07:00

Yes. I did promise to start keeping up with the blog. But life decided to throw me a painful curve. My beautiful kitty Jake got killed by coyotes last Friday. A window was accidentally left open, and, well, you get the idea.

I was shocked by the intensity of the grief I experienced over this loss. I felt physically ill. I couldn’t stop sobbing. Couldn’t eat or sleep. It was like an orgy of grief. I felt surrounded by a solid mass of pain that I couldn’t escape, I was eating it and breathing it. Like drowning in sand. That stage, thankfully, is finally over and now I just feel sad. But friends, I will share some potentially uncomfortable truth with you. Being an actor and a writer, a part of me watched my reaction and took notes.

I know, it sounds mercenary, heartless, uncaring, and it is with a certain sense of shame that I even admit it. But I think it’s very important. Because I’m sure I’m not alone.

Let me assure you that I could not have loved this little guy more. I was one of those freaky cat-lover ladies. I doted on him. My friends got sick of hearing me go on-and-on about him. But, I’m an actor though and through. My job is to be able to reproduce humanity. I had not experienced this level of grief before. I’ve had roles where this state was required, and I imagined it, but now I know first hand.

Yes, just like in the movies, I dropped to my knees. Yes, just like in the movies, I cried “no no no” over and over and made keaning sounds while clutching my chest.

For me, part of the many blessings of being an artist, is that it gives me a place to place all the pain and happiness I experience in my very human life and use it to bring life to the characters I play.

I know that part of why people go to the theater and watch films and TV is to see themselves; to see their own life’s hopes, dreams and sorrows acted out. And by living along with the actors they can experience what Aristotle called catharsis, and can find relief by a shared humanity.

So as actors, writers, and human beings, as hard as it can be, we can welcome whatever life brings us, whether pain or joy, because of course that is our artistic material, it is our paint and ink, we use it to draw our lives.

Pericles Redux

2009-07-20T17:51:00.000-07:00

I know, I know, I have been neglecting the blog! It's just that this summer has been BUSY BUSY BUSY! I've been teaching lots of privates and have also started some kid and teen classes, plus my house is being renovated so I've been kind of camping out in my own home. So, more soon I promise! Meantime, I just read a rave review of my pal John Farmanesh-Bocca's play Pericles Redux playing at the Kirk Douglass. This is a great opportunity to check out a fantastic company of actors. Click here to read the review. I'm going this Wednesday night the 22nd. I hope to see you there.

"Tantalizing" Lisa Pettett

2009-05-14T11:39:00.001-07:00

Read below this weeks LA Weekly review of Richard III Redux and it's RAVE about JRose Studio alumnus Lisa Pettett.

GO RICHARD III REDUX: OUR RADICAL ADAPTATION The radical part of this stylish, modern-dress patchwork isn’t so much in director John Farmanesh-Bocca’s decision to preface Richard III with a flashback version of its chronological antecedent, Henry VI, Part 3. Nor is it in the Procrustean condensation required to fit both plays into an evening that clocks in at a mere 100 minutes. What is radical is the Veterans Center for the Performing Arts production’s argument that doing so makes for a more sympathetic, emotionally traumatized Richard (Stephan Wolfert). If the case isn’t airtight, blame Shakespeare — even Clarence Darrow would cop a plea before the persuasive power with which the Bard prosecutes his most irredeemably sociopathic of stage villains. That the effort proves such a rollicking good time is strictly the fault of Farmanesh-Bocca and his iridescent ensemble (ably lit by Randy Brumbaugh). Wolfert’s antic performance as the crook-backed usurper is almost Lon Chaney–esque in its physical dimensions, confidently spanning the valiant-defender-of-York honor in Henry and the gleefully scheming gargoyle of Richard. Bruce Cervi and Tim Halligan provide nuanced support as Richard’s ill-fated brothers caught in the cross hairs of dynastic ambition, while the versatile Carvell Wallace inflects the conspiratorial Buckingham with a distinctly Kissingerian menace. The best reason for this redux, however, may be Lisa Pettett’s tantalizing turn as Queen Margaret, a portrayal of matriarchal political manipulation right out of The Manchurian Candidate. Mortise & Tenon Furniture Store, 2nd floor, 446 S. La Brea Ave., L.A.; Sun. & Mon., 8 p.m., through June 8. (888) 398-9348. A Veterans Center for the Performing Arts production. (Bill Raden)

Happy Birthday Will!

2009-04-23T00:21:00.001-07:00

On Monday, I had the pleasure of spending some time with director, actor, dancer, teacher (is there anything he doesn’t do?) John Farmanesh-Bocca. I met him last week when I saw my talented student Lisa Pettet play Margaret in a piece he directed, Richard III Redux. It’s a fascinating riff on Richard the III, incorporating lots of music and movement, that not only shows us Richard’s diabolical heart, but thankfully, his humor. There are some wonderful performances, Lisa of course, ( she is fab as usual), and Stefan Wolfert as Richard. It’s very interesting and worth checking out and it's produced by a great group, The Veterans Center for the Performing Arts. Click here for info.

At Peets in Venice over iced green-teas (hey, it’s VENICE!), John and I had a vigorous discussion about performing Shakespeare, particularly the importance of paying strict attention to iambic pentameter when approaching the text. We talked for almost two hours and I left feeling inspired and invigorated.

I spent a lot of time in the late eighties studying “The Bard” and my conversation with Farmanesh-Bocca reminded me of why I so loved working on Shakespeare’s plays (and sonnets). For an actor, Shakespeare is the apex, like climbing Mount Everest. The work will hold all you can give it-- all of your heart, all of your imagination, all of your intellect, all of your breath, all of your body, and it can always hold more.

I believe every actor should work on Shakespeare, even if he has no intention of ever performing it. It’s like a batter swinging six bats before stepping up to the plate. Studying Shakespeare will improve all of your acting.

Here is an excerpt from The Mystic in the Theatre, Eleonora Duse by Eva Le Gallienne:

"...she loved to hear the sound of Shakespeare's own words, and would ask me to read it aloud to her. Then she would sit awhile pondering over it in silence. 'The sound reflects the meaning,' she would say; 'blood; drowzy; incarnadine; those words sound like their meaning.' Then, after a moment she added: 'Of course it is Macbeth himself one would want to play. What an extraordinary complex nature! In spite of his maleness--so much woman in him! Ah, Shakespeare! He knew everything!'"

In honor of Shakespeare's birthday (and anniversary of his death), I will end this post with one of my favorite sonnets. Number 55. I love it because it is TRUE! His verse still lives...

Not marble, nor the gilded monuments

Of princes, shall outlive this powerful rhyme;

But you shall shine more bright in these contents

Than unswept stone, besmear'd with sluttish time.

When wasteful war shall statues overturn,

And broils root out the work of masonry,

Nor Mars his sword nor war's quick fire shall burn

The living record of your memory.

'Gainst death and all oblivious enmity

Shall you pace forth; your praise shall still find room,

Even in the eyes of all posterity

That wear this world out to the ending doom.

So, till the judgment that yourself arise,

You live in this, and dwell in lovers' eyes.

RIP Eleonora Duse, a mystic in the theatre.

2009-04-21T22:04:00.000-07:00

I couldn't sleep during this LA heat wave so spent most of last night reading. I finally cracked open a book that has been on my shelf for at least fifteen years, Eva Le Gallienne's famous biography of Eleonora Duse, The Mystic in the Theatre. I picked it up and couldn't put it down. When I started reading it was 11pm Monday April 20th, and at around 3am this morning, Tuesday April 21st, I read about Duse's death:

"That afternoon in Pittsburgh forty-five hundred people saw Duse play with a magical power, a spiritual intensity which even Desiree (Duse's companion of thirty years) had never seen in her before. It was her last performance. The play was La Porta Chiusa--The Closed Door.

(She developed pneumonia afterwards.)

In those days there were no "wonder drugs", and for two weeks Duse, attended by two doctors, battled for her life...her strength gave out, and she died in Desiree's arms. Her last words were: "Pack the Trunks. We must move on!"
It was April 21st, 1924."
__Eva Le Gallienne

I didn't know the date of Ms. Duse's death until I read those words. Eleonora Duse, a mystic indeed...

Magic

2009-04-14T11:27:00.001-07:00

Click Here

Ole Elizabeth Gilbert

2009-04-13T17:58:00.000-07:00

Watch this wonderful video all the way through. It is truly inspirational. Elizabeth Gilbert, author of Eat, Pray, Love, talks about genius, creativity, and second acts.

Click Here for Video

"The State of Our Industry"

2009-04-07T11:22:00.000-07:00

Recently a viral email was circulated with the subject line: "The State of Our Industry" (I have pasted it below**)

Here is a letter I sent to one of the folks who sent it along to me:

Hi Judy,

I received that viral email from my manager and know of other good managers who sent it out. And my immediate reaction was, my manager feels bad that he can't get me in. I know he works tremendously hard for me and he is frustrated. I let him know that I appreciate him and his hard work. And I also let him know that I will continue to do my part (no pun intended) by keeping a positive attitude and playing full-out at every audition no matter how tough it gets out there.

I am a "Guest Star" level actor and I have seen the roles I would usually play go to straight-to-offer film actors. I also read for my very first co-star role a few weeks ago. It has gotten tougher out there. But so what else is new? It has always been tough! When "talkies" came in, many actors raised in silent movies couldn't make the shift. Then television came in, now "new media", and that is just our industry, take a look at the world? Um...lots of change out there to say the least.

The nature of our business (and of course life itself) is change. That's the deal. We can sit around complaining about it, or we can step up. Along with the downward shift in traditional opportunities in television, i.e. guest stars roles going to film stars, folks not getting their quotes, actors with "strong credits" doing co-stars, there is also more opportunity for actors to produce their own projects than I've ever seen (and I've been a working actor since 1967). It is like the Wild West out there (something that was said when television first came in). Now is the time for actors to stop relying on other folks to supply outlets for their creativity. Either write your own project or find some talented writer friends and make a web series! Or make your own small film. There is so much possibility out there. Yes. Not as much money. But now is the time to ask yourself 'Am I in it for the money? Or am I in it for love?' If you are in it for love, then you can get through anything. And the beautiful paradox is, if you are in it for love, then the quality of your work is important to you so you are always growing as an actor. And of course if the quality of your work is excellent, it increases your chances of booking.

Personally, I am in the business for love. I love my craft And I am in for the long haul. I will probably have a monologue prepared for my own funeral. Maybe holographic images will be perfected by then!

The business is changing. And I say OK! Let's all change with it!

Best,
Jamie Rose

**The following was written by an Agent to his clients. He described the situation succinctly.

"I know a lot of your are getting antsy to get out more, and frankly many of you are in a tight financial pinch; as such, I wanted to describe to you all the current climate in LA and the factors influencing the current environment.

-SAG STALEMATE: Since the SAG contract expired on June 30, 2008, there have been few to no STUDIO feature films (this does not include companies such as Lionsgate and the Weinstein Company who are not in AMPTP and as such have completion agreements). Some analysts say there are up to 200 feature films on hold. Around September, we started to see a mass movement of film actors to TV projects. Many of my "name" actors have done one-day guest stars (this is very typical right now), and we are seeing a number of Guest Star level actors doing CO-STAR roles. Remember from November of 2007 to March of 2008, due to the Writer's Strike, again there were no feature films shot. So for the film actor, there has only been 4 months of work in the last 17 months. THE BOTTOM LINE: Due to the lack of studio feature film production, BOTH film and TV actors are now competing for a limited number of jobs in the episodic and pilot environments.

-PILOT SEASON: During the Writer's Strike of 2007-2008, Studios adapted and used the void to eliminate pilot season as we know it. Gone are the days of hundreds of pilots. In fact, this year, there are only 67 pilots to have registered for production - of which only about 35 have been green lit for production.

http://www.variety.com/article/VR1118000479.html?categoryid=3284&cs=1&query=pilots+casting+2009

And this year, due again to a sagging economy, studios and networks believe that by committing named stars to their projects, they will receive more money from this year's up-fronts from ad agencies. They are banking on star power to leverage better buys at the all important UPFRONTS. So, stars and pop-stars like Richard Dreyfuss, Chevy Chase, Brittany Snow, Elle McPherson, Rebecca Romijn, Ashley Simpson, Scott Caan, Skeet Ulrich, and proven TV talents like Kelsey Grammar, Eric McCormick, John McGinley, Joel McHale, Jenna Elfman, Donald Faison, Maura Tierney, Peter Krauss, Craig T. Nelson, Dax Shepherd, etc.... You do the math, 37 pilots... top stars being sought...

-TV: While TV has been steady, again due to the conflagration of film and named actors doing Guest Starring roles, we have seen a horrible trickle down. Many Guest Stars are now doing Co-stars and Co-stars/Developmental Actors (those with less than 5 primetime credits) frankly are not getting seen much. One CD recently told me that she had over 25 women who would be considered 'working actors' going for a co-star role. BOTTOM LINE: Again, due to the abundance of name and working actors, many less-developed actors are not even being seen right now.

-ECONOMIC IMPACT I - THE EROSION OF QUOTES/RATES: There are really three major impacts to actors during this economic crunch. First, we are seeing the erosion of quotes. Due to the availability of so many talented actors, CD's and Producers are in the driver's seat in negotiations. When they say, "well we got someone else who will do it for less", they ain't kidding. I have spoken to a number of my peers who have confirmed this erosion of pay for their actors. In short, right now, quotes are eroding and for many, the minimum has become the maximum pay.

-ECONOMIC IMPACT II - THE CONCLUSION OF SAG STALEMATE: Many are hoping that with the end
of this stalemate, Hollywood will get back to normal. I have to say, that I am not one who necessarily believes this. First off, due to the economic conditions, most studios have lost their millions of dollars from hedge funds; and European, Asian and Middle Eastern money has dried up. Even Stephen Spielberg has had to beg, borrow and steal to get his company financed .... And it wasn't anywhere near what he originally asked for. I believe that, even after the SAG stalemate is over, there is probably not enough money for 50 Studio Feature Films to be done right out of the gate. BOTTOM LINE: While this will help us move towards normalcy, it will not be the cash cow some people think it will be. One side note, is that I expect that more formulaic projects will be down out the gate as Studios will be less likely to take significant risks since most of these projects will be financed by both the studio and their investors. In short, you will see more Iron
Mans, Animation, and SAWs... they are money in the bank when you factor in ratios, etc.

-ECONOMIC IMPACT III - OVERALL STATEMENT OF ENVIRONMENT: It is important that everyone follow the economic conditions closely. I know it is easy to be skeptical over the studios, networks, cablers, production houses, show runners, etc, losing money, but it is a cold-hard fact right now. These entities are truly in a difficult spot. If you have read much lately, there have been dramatic cut backs at every studio and network, from firings to asking show runners to cut between 2-7% of their budgets (not to mention the 25+% cutback shows like the Sarah Silverman were asked to swallow recently). Furthermore, these networks and studios are largely owned by conglomerates who have lost in the billions over the last 6 months. When I attended NATPE in January, all the talk was how to get 'thinner.' Everything is getting tight. Budgets, Marketing, Staffing, etc., and this will undoubtedly impact the actor. Also, the foreign sales market (where much of the TV and Film money is made, is being hit hard by the erosion of the US Dollar. So these entities are not able to recoup the costs they were in better days by the one-time explosion of the foreign markets. BOTTOM LINE: The economic conditions are forcing the industry to be as 'thin' as possible.

-COMMERCIALS - INDUSTRY AND ECONOMIC IMPACTS: One analyst said last year, that 2008 was the worst commercial market since maybe 1974. I would not argue with this. Think about it: three of the top products/services for ad agencies are banks, cars and other financial services - all of which were struck down in 2008/early 2009 by this recession. This was confirmed when news struck that even the Super Bowl did not sell out advertising this year. The good news is that the advertising industry tends to be one of the first ones to be negatively impacted by a recession, but one of the first to grow as the recession moves to an end as advertisers of products want to start accumulating market share before the turn of the economy. Another impact relates to the overall conditions of the TV/FILM/PILOT situation. Many strong actors have made enough money on TV/FILM, etc so that they have not had to do commercials in years. Due to the last few years and the lack of work, many top actors are now back in the commercial market; thus again, causing a logjam in casting. BOTTOMLINE: The economic slowdown has caused a dramatic decrease in ad sales and the lack of work has caused more actors to re-enter the commercial market.

THE GOOD NEWS!!

Okay, so that is where we are today. You know me, I try to always call it straight as I see it. So, I am not going to sugar-coat this either. I anticipate that 2009 will be a tough year overall for actors (and agencies). First off, the economy will not likely get straightened out until at least the 3rd to 4th quarter of this year and so all the factors above will remain in place through most, if not all, of 2009. Secondly, until the labor situation gets straightened out, we will not be seeing dramatic amount of film production, and this seems to be dragging along as well (as we enter the 8th month of the stalemate - it was announced today that SAG is thinking now about taking AMPTP to court for anti-trust violations). But again, even if it was finalized, there is not enough investor money to see the film production level normalize and increase for most, if not all, of 2009. Also, since movies cost around $40 for two (tickets, popcorn, etc) - this is not a recession proof field anymore. During our last significant recession, there were few choices for guilty pleasures to get away from the stress of our times - so many people flocked to the theatres. NOT SO THESE DAYS, one can go to the web, TV, cable (not around in 1974, 1982, 1988 much), Video Games, Netflix, RedBox (movie for a $1). So studios are probably not in any big rush to make films - as people cannot afford this once cheap diversion - better to divert for a few bucks to all the many other sources of guilty pleasures. OKAY, so that didn't sound like good news...

-The good news is that there are some paradigm shifts occurring that make 2010 -2012 look like it might be one of the most prolific times in Hollywood history. Due to technological developments, there are more platforms being developed than ever. The internet is driving millions of new viewers each year. Zillion is going to transform the way we view advertising. For those who don't know, it has recently been unveiled by the maker of Real Player and the 'mouse.' It is a system that makes you watch ads before downloading movies (they already have 14,000 Titles ready for download), TV, other forms of entertainment to your TV Screen. However, the consumer can choose the products they want to see (let's say you go retail clothing and watch a Macy's ad and love the jacket; you can immediately click on the ad/jacket and go directly to their website where you can buy it). Also, you earn points by watching the commercials that you can use towards purchases. Furthermore, SONY and others are now selling TVs that wirelessly connect to your computer, so you can download TV/FILMS at anytime from your computer (websites like Hula, Netflix, etc) directly to your TV. In short, technology is making more platforms which will
require more content than ever. Also, Cablers are all embracing doing scripted shows, some have up to 5 shows this year... again, more content is needed and thus MORE ACTORS!

-BOTTOM LINE: More platforms = more content = more actors! So as long as SAG/AFTRA can protect your rates and jurisdictional issues, there will be more good compensated work than ever in Hollywood by 2010-2012. "

The Bird and Mr Banks

2009-03-30T11:38:00.001-07:00

Last Saturday I had the privilege of seeing Sam Anderson perform the title role in The Bird and Mr Banks. Anderson's work was extraordinary. And the play itself, the writing, the direction, the set, made me remember how transformative fine theater can be. Yes, as Aristotle demanded: a cathartic experience. I am still thinking about it days later. It's playing at the consistantly excellent Road Theatre in North Hollywood California. Click her e for more information.

RIP Natasha

2009-03-19T14:06:00.000-07:00

Natasha Richardson. A beauty. A heartbreaking talent.
Watch her sing "Maybe This Time" as Sally Bowles in Cabaret. This pretty much sums it up.
Click Here.

Sanctuary

2009-03-18T09:25:00.001-07:00

Last night in my class I had one of those experiences that make me so grateful to be an actor and a teacher. A very talented student and colleague of mine Ogy Durham, and a wonderful young actor named Nicole Lagstein did a scene from Chekhov’s Uncle Vanya. Both actors came to class fully prepared, they had both obviously paid a lot of attention to wardrobe and brought in rugs and accessories so that the stage was transformed into a quiet and lonely dining room in an old home. The storm had passed, and Sonya and Yelena reached for life by reaching out to each other and got a few moments repast from their individual loneliness. The critique after the scene was invigorating. Both students asked challenging questions which led to deep script analysis work. Like that late night conversation between Yelena and Sonya, our little class in a tiny theater deep in the valley became for a few hours, a sanctuary, a repast from the loneliness of the “business” of acting. A small group of artists in the pursuit of growth and excellence, reaching for life.

Quote for the Day

2009-02-19T12:25:00.000-08:00

I read this on my pal Michael Lally's blog today. Seemed so apropos for the times.

"Fill your bowl to the brim
and it will spill.
Keep sharpening your knife
and it will blunt.
Chase after money and security
and your heart will never unclench.
Care about people's approval
and you will be their prisoner.

Do your work, then step back.
The only path to serenity."

Lao-tsu from the Tao te Ching (the Stephen Mitchell translation)

Back to the Blog!

2009-01-21T18:42:00.000-08:00

One of my new years resolutions is to get back to the blog--so here I am!

This has been a great year for me as an actor and a teacher. I have been doing a play in Los Angeles, "It's Just Sex", that has been extended twice, a lead role on a Disney Web Series, great guest stars on House and Two and a Half Men, and I even got to be a Casting Director on two projects "Children of the Corn" and the Web Series I am on, In2ition. But the professional development that has made me the happiest, has been the chance to help get some of my students some acting work. Two students, Tracey Paleo and Desiree Dundr have worked in the play I am doing "It's Just Sex", Tracey as my under-study (with guaranteed performances) and Desiree in a fun cameo as "Amanda the Hooker". Pete Punito, my long-time student and Studio Monitor, got cast in In2ition in a role that will return if the show gets picked up for a second season.

Jamie as Mrs. Fox with Pete Punito as Agent Cortell.

Back in Iowa

2008-11-08T14:31:00.001-08:00

I am back in Iowa--Des Moines this time--teaching a class and giving a talk at the White Rose Film Festival.

The class was this morning. A great group of actors. And the films I have seen have been fantastic. My "Keynote" speech is tonight. More later...

2008-09-05T23:03:00.000-07:00

I took this pic while waiting for my bags after my casting trip to Iowa. Nothing like customer service...

Video Clip of Today's Iowa Open Casting Call

2008-08-17T11:49:00.000-07:00

This is a video clip of the line of people waiting to audition this morning....

COTCvideoclip

Children of the Corn-Iowa Casting

2008-08-15T06:20:00.001-07:00

I arrived in Iowa late Wednesday night, and have spent the last two days from 10am -7pm seeing local actors. Production placed ads in the local newspapers, the director has done interviews on radio and TV inviting kids to come audition, and my assistant, Ben Easter (more on him later), even went to the Iowa County Fair and handed out flyers headed with the title "Want to be in a movie?"

We were all so worried that no one would come to the casting call. Ha! On our first day people were lined up around the block! We couldn't keep up with them. It was completely overwhelming. If it wasn't for Ben and Production Assistant Melinda Burns, I would have spent the day cowering in my hotel room crying

On day one of casting, kids (with their parents) arrived as early as 6:30am to be first in line for our 10am start. We were behind even before we started the day.

Then we had to walk along the line of people and decide who would be pulled into my office to read lines. I have to confess, I just didn't have the stomach for this. I couldn't walk down that line and say "you" "you" "you", passing over some hopeful eight-year-old and his eager mother. I am a coward. I made Ben do it.

In the room reading, the kids were all sweet and of course somewhat nervous. I definitely found some talented kids who will be reading for the director this weekend.

There were a few chilling moments--examples of overly ambitious parenting. A young girl of maybe thirteen read, her reading was good, but she had braces on her teeth. I told her gently that because of the setting of the film, we couldn't use any kids with braces (there is no "Orthodontist of the Corn"), I wanted her to know that it wasn't that she did a bad reading--it was a "look" thing. Ben told me that her mother pulled him aside after the audition and said forcefully :"I want you to know that I will have her braces taken off. This is THAT important!" Ben was stunned. Having a small part in our little TV Movie is so important that she would put her child's well-being second? I am worried about the message this young girl is getting about the priorities of her life.

I was a child actor, I started at age six, and I definitely had some emotional fall-out from spending my formative years in the competitive world of show biz. The sets were great, it was the auditioning. Whether or not she gets the job, I think it is dangerous for a child to be in a situation where they will be "picked" or "not picked". I had enough trauma in the schoolyard when the "captains" picked teams for the softball games. Being hopelessly afraid of the ball, I was always picked last. (Don't even get me started about Dodge Ball--having bright red hair, there I was picked first!) Now imagine an almost weekly situation where I was led into a room full of adults and asked to "perform", and then waiting for the phone to ring to hear if I got the job.

For many years, I wouldn't teach acting to kids. I felt that they should be sheltered from this kind of life. But around a year ago I started giving private lessons to a little girl named Madeline Stauffer. When her mother contacted me we had a chat and I realized that she was a completely supportive and caring parent. She explained that Madeline was driven to become an actor and she wanted to give her the support to explore her dreams. Madeline gets great grades at school and has plenty of other extra-curricular activities so I know she is having the full "childhood" experience. And she approaches her work with me with absolute dedication and seriousness. While I know she has dreams of being the next Miley Cyrus, she also has a deep love of the craft, she wants to be a great actor. It is my pleasure to help her towards this goal.

If it wasn't for Madeline I don't think I would have been able to do this job of casting "Children of the Corn". She has helped me to understand that acting can be a wonderful enhancement to a child's life. I love meeting each child who comes in to read. I feel like I have a chance to make them feel safe and accepted, and in this way it is a kind of healing for me. I get to give the kind of audition experience I would have liked to have had when I was a little girl.

OK. More soon. I am off to another day of Iowa casting! Until then, enjoy this clip of me in my first acting job. A "Kool-aid" commercial. I'm six. I'm the one with the curly hair.
Kool-aid A-gogo

Casting Children of the Corn

2008-08-04T08:59:00.000-07:00

I have a new job in addition to my duties as an actor and acting teacher. I am the Casting Director for a remake of the 70's cult horror film "Children of the Corn".

This is an amazing experience. Every professional actor should put in some time as a Casting Director as part of their training. I wish I had done this twenty years ago--it would have saved me a lot of mistakes.

No time for details now, I am off to conduct a casting sesson. More later!

Liam Neeson in Beckett's "Eh Joe"

2008-07-26T11:23:00.000-07:00

Check out this article about Liam Neeson's perfomance in "Eh Joe", currently playing at Lincoln Center in NYC. Be sure to click on the link to the multi-media slide show....

Click here to read article.

Audition Technique

2008-07-20T22:20:00.000-07:00

Many actors are confused about whether or not they should memorize their lines for their TV and Film auditions. One camp says to always be "off book" and another says to barely look at the material so that it stays "fresh". I believe that each audition is different. Sometimes I memorize the text completely, sometimes just sections. Sometimes at a reading I am asked to stay and read for another role so if I am married to the idea of always memorizing I am in big trouble.

I have had a lot of writers, producers, directors and casting people come out and speak to my class about auditioning and they all agree that they don't care at all if an actor has the lines memorized. In fact the writers, who are usually the executive producers on the shows we audition for, always prefer that actors use the script--they want to hear their lines read correctly! What all care deeply about is that the actor bring life to the role. The actor should be as memorized as necessary to accomplish this.

Here is a video I found on YouTube of Hugh Laurie auditioning for House MD. I think it is a great example of an actor using the script while still bringing a full realization of the character.

Click here to see the video.

Note when Mr. Laurie apologizes for his appearance at the beginning of the clip, saying that "things haven't been going well lately". I may be completely wrong here, but I suspect his choice of appearance was quite deliberate. Perfect for the role.

NYC Tango Dancers

2008-07-14T21:32:00.000-07:00

One last NYC moment: I was in a clothing shop on 40th street killing time before heading out to see "In The Heights" when a flash of red caught my eye through a window into an adjacent building. I looked closer and saw what appeared to be some kind of kid's ballroom dancing competition. I grabbed a bit of video footage. Enjoy.

Click here to view clip

In The Heights

2008-07-14T10:10:00.000-07:00

My last night in NYC I saw the Tony Award winning musical In The Heights. A joyous ending to a fabulous trip.

This play oozed with the guileless enthusiasm of its creator Lin-Manuel Miranda. You could feel the energy walking into the theater. The audience broke out in cheers several times throughout the performance. An invigorating, splendid night of theater!

Click here to see Lin-Manuel Miranda's acceptance speech/rap when he received the Tony for best score. His genuine gratitude and humility is palpable. Inspiring.

New York City

2008-07-09T08:28:00.000-07:00

I am in the final day of my NYC vacation. I came here to get inspired and this city never fails me. So far I have seen November by David Mamet, August: Osage County by Tracy Letts and The 39 Steps.

Each play inspired me in it's own way: November was wonderfully well-executed. Nathan Lane dropped his "Broadway Baby" schtick and delivered an hilarious and smart performance. Laurie Metcalf is a force of nature when she does comedy. She always does some kind of wacked-out utterly surprising physical movement that astounds me. The 39 Steps was fun and it was pure pleasure to witness the virtuosity of the actors. I love movement-based theatre and the original choreographer of this play was trained in the LeCoq method, something I have always been deeply interested in. But the real stand-out for me was August: Osage County. This play is should be up there with Death of a Salesman and The Crucible. It is truly an American masterpiece. I can't stop thinking about it. The writing and the performances were sublime. Particularly Amy Morton. She was magnificent. I have no idea why she wasn't nominated for a Tony. She is an amazing actor. But really everyone was fantastic. I wept at the end, not just because of the subject, but because of being reminded of what a moving experience live theatre can be. Those actors and that particular audience, of which I was a part, shared a few hours together in an intimate and focused way that will never be repeated. That is part of what I love so much about live theatre. It is a living thing. The show is a little different each performance: the audience changes, laughing in a new place, or not laughing at all. The actors change--they are a day or a week or a month older, an actor has had a fight with their spouse hours before the show, or has a cold. Live performance is ephemeral. And when the performance is over there is no record. It burns to ash.

A couple of great NY moments:

1. On the subway on Monday heading uptown, I glance to my left and see that one of the actors from August is sitting right next to me. Frank Wood. He played Bill Fordham. A wild coincidence since I had seen the show only the day before. I struck up a conversation--told him how much I loved the play. Incredibly nice guy and a great actor.

2. At the Met with my good friend Michael Lally. We were walking in a crowd and I was goofing with him and said in a funny voice "Get off my back." A guy to my right says "You don't want to hang out with me then!" I turned to see a young attractive blind guy smiling at me, one hand grasping a cane and the other on his friends back as he was being guided through the crowd. We cracked up.

The Fall

2008-06-20T11:40:00.000-07:00

Saw Tarsem Singh's magnificent film The Fall yesterday. Gorgeous images and exquisite performances from Lee Pace and Cantinca Untaru. Here is a link to the website: The Fall

Singh's direction of the young Ms. Untaru is masterful. He pulled such unguarded truthful moments out of her--in particular the scene where "Roy" asks her if she was lying about his being able to feel his big toe. Her performance was breathtaking. It never felt like she was acting. We, the audience, were watching her as she lived through the events of the film. All acting techniques are designed to bring us to this kind of performance--back to a childlike, simple, ability to, as Sanford Meisner so famously said: behave truthfully under imaginary circumstances.

See it!

The Real Deal

2008-06-06T12:02:00.000-07:00

I was talking to a a student the other day and he was apologetic that he "still had a day job." This guy is a high-school teacher who is so devoted to bettering his craft that he takes the bus across the valley (during rush-hour) to my acting class in Sherman Oaks after teaching all day in Pasadena. The trip can take up to two hours. To me he has no reason to apologize--he is a champion! Given these tough economic times--the fall out from the writers strike, the glut of reality TV, the high prices of gas and food--isn't it about time that we all stopped equating our acting income with our artistic worth? I thought this was a good time to share an article I wrote awhile back....

The Real Deal

Recently I was at a party and overheard someone say in a derisive tone “he describes himself as an actor but he's only had one job in the last five years.” I had to join in, “That's interesting. How often would he need to work for you to consider him an actor?” The person looked uncomfortable and couldn't come up with an answer.

What is an actor? Is being an actor about how many jobs you book? Having representation? Making money? If so, how much do you need to make? And what if you haven't worked for a while? How long does one need to be out of work to no longer have the right to call himself an actor? Three months? Three years? And who gets to decide the length of time?

It's remarkable what people will say to actors. Once, when I was on the phone discussing rates with a car insurance salesman, he asked me what I did, and when I told him that I was an actor he said “Someone once told me that if someone says they're an actor you should ask them if they make their medical to find out if they're the real deal. So” he asked, “do you make your medical?” I was astounded at his rudeness—I replied “Well yes actually. Now tell me, did you meet your sales quota last month?”

I have the blessing of being an acting teacher as well as an actor and my students are a constant source of inspiration. Being in class with them every week keeps me connected to what being an actor really means. Dedication, determination and most important, the heart of a champion.

I am reminded of the Dodgers in that amazing game in 2006. It was the 9^th inning and the Padres were winning 9-5. Figuring that their team was beat, the Dodger fans had begun to leave the stadium. Then, at the bottom of the 9^th, the Dodgers came back and hit four consecutive home runs--only the fourth time that's happened in an inning in major league history. Then Garciaparra hit a two-run homer in the 10^thand the Dodgers ended up winning 11-10. Now, if the Dodgers had lost their heart in the 9^th—thought to themselves 'we're obviously losing—there's really no reason to keep trying since we don't have a chance'—they would never have won that game.

I have a student with Parkinson's disease. This guy is one of the best actors in my class—very talented, but what blows me away is his heart. He has a full-time job, his arm shakes like crazy when he's tired or nervous, and yet he shows up every week rehearsed, his lines cold, and plays full out every time he gets on the stage. When that arm really gets shaking we say he “wears his heart on his sleeve.” I don't think the deal gets anymore real than that.

I have another student who also works a full-time “straight” job and is tremendously talented. He is so driven by his desire for excellence that he almost always has two scenes going at any given time. He is always meticulous about every aspect of his craft. The other day I received this email from him:

“…after 9 years of busting my ass, doing drops on lunch breaks, class, workshops, mailings, student films, working survival jobs that suck the soul out of me,…I have had a grand total of about 3 auditions for paid gigs…If I could ever get in the damned room, I could do some damage.Then again, no one said it was going to be easy, did they?”

This actor has the heart of a champion.

I don't believe that being an actor has anything to do with how much money you make or what kind of recognition you get from the industry. When someone is lucky enough to make their living solely from acting that's wonderful. But what really impresses me is what an actor does when he is not working.

Do you have the heart of a champion? Do you keep playing full out when the fans are leaving the stadium and it looks like there's no hope? Are you an actor? The real deal? The answer is in your own heart.

The Victory Groove or Throw Your Heart Over the Bar

2008-05-27T13:03:00.000-07:00

On my morning walks I love to listen to inspirational audio books. I feel like it is a kind of brain washing--a good kind. I overwhelm any negative and/or anxious thoughts with positive ones. I find that for my daily “treatment”, the sweeter and cornier the book the better. My current favorite is Norman Vincent Peale reading from an abridged version of his classic “The Power of Positive Thinking.” Here is an excerpt:

“A famous Trapeze artist was instructing his students how to perform on the high trapeze bar. Finally, having given full explanations and instruction in this skill, he told them to demonstrate their ability.

One student, looking up at the insecure perch upon which he must perform, was suddenly filled with fear. He had a terrifying vision of himself falling to the ground. He couldn’t move a muscle, so deep was his fright. ‘I can’t do it! I can’t do it!’ he gasped.

The instructor put his arm around the boy’s shoulder and said, “Son, you can do it, and I will tell you how.” Then he made a statement which is of inestimable importance. It is one of the wisest remarks I have ever heard. He said, ‘Throw your heart over the bar and your body will follow.’…

Heart is the symbol of creative activity. Fire the heart with where you want to go and what you want to be. Get it fixed so deeply in your unconscious that you will not take no for an answer…’Throw your heart over the bar’ means to throw your affirmation over every barrier, throw your visualization over your obstacles. In other words, throw the spiritual essence of you over the bar and your material self will follow in the victory groove thus pioneered by your faith inspired mind. Expect the best, not the worst and you will attain your heart’s desire.”

____Norman Vincent Peale, The Power of Positive Thinking.

“The victory groove”…love it. Sounds like a Beat Poem. This book was written in 1952. Check it out…

Post "House" post (finally!)

2008-05-17T16:36:00.000-07:00

A week ago I had the pleasure of doing a guest star role on the fabulous television show House.

It was great. The producers, director and the regular actors did their best to make me and the other guest actors feel welcome, from the table-read through the shoot. Just a wonderful experience.

House has a table-read (a read-through of the entire script with the full cast) before each weeks episodes filming begins. This is usual in half-hour comedy but not so much in one-hour. The pace of one-hour television shoots is usually too intense. In fact the actors on House give up their lunch hour to do the table-read. It is nice to have the opportunity for a read-through because you get a feeling of the flow of the show. And speaking for myself, it really helps create a feeling of ensemble. I feel like I am a part of the process of the whole show rather than just a gun-for-hire coming in for a day or two to shoot my scenes, often never even meeting the other actors on that weeks episode.

One of my students asked me how the regular actors performed at the table read---he asked if they were at “performance level”. He assumed that the guest actors would be because they could easily be replaced, but wondered about the regulars. The regular actors on House gave as much at this reading as the guests. In my experience most actors do. I think they realize how important is for everyone to get a real sense of the script. Especially the writers. There will often be re-writes after the table read. Especially in half-hour where the script changes sometimes after every run-through.

When I do a guest role on a show I really look at it like I am a guest in someone’s home. If I am invited for dinner I don't complain about the food, I don’t tell my hosts how they should rearrange their furniture. Likewise, on a set, I don’t change my lines--I learn them “word-perfect”, I show up on time. I know that if I am a gracious guest, I may be invited back. This was a great “House” to visit, the “hosts” were incredibly warm and gracious, I would love to visit again…

FYI: my episode is the first of the new season. It will air in the Fall.

House MD

2008-05-11T12:52:00.000-07:00

I finished filming my role on "House" at 3am Saturday morning! I had a fantastic time. Will post details soon.

Luck

2008-05-02T17:11:00.000-07:00

“Luck is what happens when preparation meets opportunity.”—Seneca

I’ve had a string of good luck lately. I’ve gone from acting job to job for the last couple of months—did a pilot for a web series called In2iton, the episode of Two and a Half Men (read below) and now I am doing House M.D. It feels absolutely wonderful to be working and I am so grateful. For each of these jobs there were at least five other women who could have done the role as well as I, but I was lucky in that I matched the producers and/or directors visions for these roles. But I wouldn’t have been lucky had I not performed to the best of my ability at each of these auditions.

Before I booked these roles there were several auditions that I didn’t book. My auditions for those roles were just as strong as these last few. It’s not like suddenly I have changed—suddenly I have discovered some kind of booking “trick” or “formula” or “right” way to audition. Well, actually I am doing the one booking “trick” that I teach—the one I have always used in my thirty-year-plus career as a professional actor—the one “booking formula” that gives you the best shot at getting the job. Do great work. Always act to the best of your ability every time you get the chance to put your work out there.

Now I know that this probably sounds obvious, but believe me it’s not. I was talking to a Talent manager friend today and he shared with me a story about a client. This is a client who doesn’t often get a shot at series regular roles and my manager friend was thrilled that he was able to get this client an appointment for a regular role on a top series. He emailed the client the appointment and the sides two weeks ago and then today, the day of the audition, the client calls the office and says, “I can’t open the attachment that contains the sides.” My manager friend said he was absolutely speechless. He is considering dropping the client.

A few times a year I bring in a working professional from the entertainment industry into my Acting Studio for a seminar. I have a dear friend who is a top Talent manager, and she agreed to do a Q & A and then let my students read for her. I thought this would be a great opportunity for them to hone their audition skills in a safe environment and get their work seen at the same time. I pulled scenes from TV and Film for each student—doing my best to tailor them to each student’s strengths and I gave them the material a week before the she came out for the visit. The night of the seminar I found out that at least half of them had barely looked at the material!

When I was in classes when I was a young actor, if an industry guest came out and I had the chance to have my work seen I always did everything I could to make sure my work was as good as I could possibly make it. I was shocked when so many of my regular students didn’t’ do the same. I knew these students. Most of them had been with me several months--even several years. I knew they were hard workers, so what could explain their apparent laziness? And then I realized, it looked like laziness—but it wasn’t—it was fear.

Fear has many disguises: It can show up in the form of not putting enough time into preparation for auditions; not dressing appropriately; not keeping your PR tools (photos, demos, etc.) up-to-date; missing class; resisting direction; or being late for professional appointments. Recently I suffered from this last one myself. For a while last year I just could not seem to show up on time for my auditions. After a few weeks of this, I took a hard look at my behavior. And I realized that I was sub-consciously withholding from really doing my best at my auditions. I hadn’t booked in awhile and I was feeling frustrated, so, like a little kid throwing a temper tantrum, I was acting out by being late. But of course the only person being hurt by my tantrum was me.

If I pulled my punches, if I didn’t give my all, I was not really putting myself completely on the line. If I didn’t play full out--to the best of my ability--and got rejected, a part of me could think, well, I didn’t really show my best, so therefore it’s not a complete rejection, if I show my best and don’t get the part—that really hurts. But of course that was wrong thinking.

For me the worst feeling is when I have a chance and I don’t grab it. When I don’t make the best of each and every opportunity. Of course it hurts when I give it my all and don’t get the role, but at least I gave it my best shot. I can live with that. When I don’t do my best, that’s what eats away at my soul. So, I have to be willing to go out there and put myself on the line, over and over again for as long as it takes. And then of course, I may get lucky

House

2008-04-29T09:57:00.000-07:00

Just booked an episode of House. The table read was yesterday. What a great cast. I'm back to one-hour drama but the show has a lot of humor--thank god!

Two and a Half Men....post-job post....

2008-04-25T11:28:00.001-07:00

Working on Two and a Half Men was a blast. I had forgotten how wonderful it is to work on a four-camera show. We rehearsed on Monday and Tuesday and then did some “pre-shoots” on Wednesday and Thursday—scenes that had a lot of complicated camera set-ups so wouldn’t be appropriate to shoot in front of a live audience. Then on Friday, more rehearsal and then we did the show in front of a live audience. The pre-shot scenes were shown in playback on monitors so the audience could get the flow of the show. As it turned out, most of my scenes were shot in front of the live audience. I was a little nervous—it’s been a few years since I did a play and I haven’t done a sitcom in forever but as soon as I heard that laughter I felt like I was home. All my old comedy chops came back. Holding for the laugh—sometimes getting another one if you hold correctly—letting the wave of laughter subside and then feeling it start to swell again--the laughs are so addicting!

On the night of the show, there were several times (between scenes of course!) that I felt moved to tears for being there. Having the perspective of knowing so many talented actors who rarely if ever get the chance to work (and spending plenty of time out-of-work myself!) makes me so appreciative when I get to work as an actor. It really feels like a gift. The auditioning, the rejections, the having faith when all seems lost is the real work of the actor. The job is the pay off! A manager I know tells new actors that their job is not acting, it is auditioning, and I think she’s right. And I don’t just mean the audition itself. It’s all that in between time. Keeping your spirit and your acting chops up when you don’t have any auditions. Then finally getting one and preparing—giving it your all and then after the audition—what I call the after-burn—not hearing anything. Was I good? Did they like me? We actors rarely get feedback on our work. Certainly if you get the job or a callback after a pre-read that is your feedback, but at the producer callback level the playing field is pretty even-most everyone there can do the role and do it well—at that point it’s mostly a matter of type. Are you the producer and/or directors vision? All you can control is the quality of your acting work; you can’t control their creative process or subjective opinions. The fact is that you are probably not going to book most of the roles you go in for but that doesn’t necessarily mean you are doing a bad job. Look at me and my Two and a Half Men experience—I auditioned for that show four times before I got a role. Believe me, if I had been doing a bad job on my auditions the producers would not have kept bringing me back.

And now for the other kind of “after-burn”, the post-job blues…sigh…but before that, here are some pics from Two and a Half Men.

Robert Wagner. Yum! I love having the chance to work with Hollywood Icons like "RJ." I always feel like I am connected to Hollywood history. When I touch him I am connected to Natalie Wood, Jill St. John--wow! And he is still such a looker!
Jon Cryer is an absolute sweetheart. And of course a comic genius. Turns out that our parents worked together in the early 1960's! It was a production of Guys and Dolls, my dad played "Skye Masterson" and my mother and his parents were in the chorus!
Holland Taylor has been added to my list of all time favorite actresses. Watching her work was an acting lesson. Brilliant! And gracious and beautiful too. (BTW: that chest is not entirely mine...part of a gag in the show...EGADS!)
Conchatta Farrel is warm, kind, supportive, sensitive and yet another comic genius. Meeting her was an absolute gift. The women on this show are incredible.

OK. Remember to watch on Monday May 5th! (I play a CSI-Marg Helgenberger type....)

Two and a Half Men

2008-04-18T09:22:00.000-07:00

Just an update. I have been busy rehearsing and taping. This week has been marvelous. A real gift. I am reminded how wonderful it is to work on a sit-com in contrast to one-hour. We rehearse! What a concept!

My role is great. I get to work with every actor on the show and they are all magnificent. Particularly Holland Taylor. I can't take my eyes off her. An amazing actor! Watching her work is a lesson in comic acting--always based on truth and frigging hilarious.

I tape most of my scenes tonight in front of a live audience. Can't wait! Details in my next blog.

Dream!

2008-04-13T20:25:00.000-07:00

What an inspiring week this was.

Several years ago, my father understudied a role in Joe Bolonga and Renee Taylor's Bermuda Avenue Triangle during its LA run. Because of prior commitments Bolonga and Taylor couldn't use him when they took the show to New York, but they told him that they loved him and were determined to work with him again.

I was going through a very dark time in my life, my teacher Roy London had just died and I was going through a very painful breakup of a long-term relationship. I was feeling very pessimistic. I said something to my dad like, “Oh people always say stuff like that, you’re such a dreamer.” He replied, “ I have to have my dreams, they’re what keep me going.” I felt like I had snapped out of a dream. A bad one. And then I felt so ashamed.

This interaction led me to a real change of heart--I vowed to never stop dreaming and staying positive and to always be supportive of my fellow actors— ultimately it led to my teaching career. Well, last Monday, my seventy-five-year-old actor father learned that he is joining Joe Bolonga, Renee Taylor and Lainie Kazan on a tour of Bermuda Avenue Triangle in Florida later this month.

Then , Thursday, I went to Hollywood Blvd to see a family friend receive a star on the legendary walk of fame. The friend is actress Kate Linder. She has had a regular role on the Soap Opera, Young and the Restless for 25 years. Her longevity on the show plus her abundant philanthropic work—Linder is active with the Make-A-Wish Foundation, is a founding board member of TV Cares, the Academy of Television Arts and Sciences’ AIDS awareness charity and also spent this past Thanksgiving visiting troops in Afghanistan and Pakistan with the USO—is impressive enough, but what blew me away was when I found out that she never gave up her day job after booking the Soap—on weekends she still works as a flight attendant for United Airlines! I just love that!

Later that day I learned that I booked a really great guest star role on one of my favorite shows, Two and a Half Men. I have been auditioning for this show since it began. I thought I would never get hired, and this despite the fact that the creators of the show are both friends of mine. But, once again, it is proven to me that life has endless possibilities and surprises if you just keep showing up. And, of all the roles I have auditioned for on that show, this is my favorite-the one I would have picked for myself!

Keep showing up. Never stop dreaming. And remember, the person who’s star catches your gaze as you stroll down the Hollywood Walk of Fame can be the same person who asks if you want an extra pillow on your next flight out to New York…

Keep Going!

2008-04-04T17:23:00.000-07:00

The other day I received an email from an actor who has been in LA for ten years and even though he’s been relentless with his mailings etc., he has yet to get a manager or agent. He wrote about his despondency about not going on meetings: “I'm getting to the point now where I don't know how much longer I can go on with having every professional attempt I've made get rejected…when you continually put out effort year after year, the smallest little break, even if it's just a meeting or an audition can recharge your energy, even your spirit. I'm starting to run very low on both.” He has a good day job but in his words “…no matter how good a job it is, it’s not acting.”

Whew. Most of the actors I know can relate to this. It is so tough out there. Tougher in many ways than when I started out. But, I remember when I started out, the older actors would complain about how tough the business was compared to when they started out. So, the business is always changing. And it's always been tough. I am reminded of Norma Desmond from Billy Wilder’s Sunset Blvd who couldn't make the jump from silent pictures into “talkies” and probably even more relevantly, from ingénue into woman-of-a-certain-age. She couldn't let go of her image of how her life was supposed to be so she was cut off from the possibilities of her present. What if she had allowed herself to change? To play supporting roles? I bet Mr. DeMille would have given her a job..another close-up.

The same day I received the email from that actor, I visited a manager friend in his office and guess what? The manager was despondent! He was so frustrated that he couldn't get a certain client in for a role--he was worried about changes in the business--he was worried that there will be another strike. So here you are—people on both sides of the table struggling with the same feelings. So what do we do? Well, the business has always been hard. It has always been a miracle that any of us have gotten work. But I know personally that the way to become really despondent is to focus on the problem. And from my perspective, I think the actor has it better in many ways than the manager. The manager is totally dependent on the acceptance of others—the casting directors etc. to give his clients an audition. His fulfillment comes from getting people work. The actor is also somewhat dependent on others too but the actor can find a way to do what he loves. He can go to class, if he can’t afford class then he can learn a new monologue or a new dialect, he can contact the AFI or one of the many local universities with great film departments and offer his acting services, he can audition for a play.

I saw the comedian Margaret Cho on TV the other night on a great show on CNN called The Big Idea. She was discussing how many times she was told to forget her dream of becoming a stand-up. In fact a top agent she met early on told her to give up because Asians never make in in show business. She didn’t listen because giving up was simply not a choice. She was doing what she loves. And she was going to continue doing it whether or not she was “successful” at it. I feel the same way. I know that as long as I am doing my work I am happy. When I am in the moment—that glorious moment when I am really “in” the scene-- where it feels like the part is playing me—I have no idea if I am getting paid, or how much I am getting paid or what my billing is or if I have a dressing room. I am just experiencing pure joy. And often, when I am completely fulfilled by the process of doing what I love and not paying attention-I get a little break. I’ll get an audition or role or maybe a sweet note from a student thanking me for something they heard in class. And it's enough to keep me going.

I always tell actors to give it a finite period of time to see if the acting thing works out—say thirty or forty years—if it doesn’t work in that time, then give it another twenty. You may or may not “succeed” (whatever the heck that means), but what a great time you'll have trying.

Calling All Fools

2008-04-01T11:27:00.001-07:00

April 1, 2008
How apropos that I would make my first blog entry on April Fools Day. I love being foolish. I think that’s part of why I love being an actor and working with actors. Permission to be foolish. In Shakespeare’s work the Fool is often one of the wisest people in the story. In Twelfth Night, Feste the jester is described as "wise enough to play the fool." The fool was often sort of the conscious of the play. In that way I think actors can be society’s conscious. I think actors supply a real need. People go to the theatre, or to see a film to see their feelings, hopes and dreams depicted and played out, and, to use Aristotle’s word, to experience catharsis. And I think this catharsis is necessary for people. That is why we keep telling stories and listening to them--going to the theatre, seeing plays, reading stories. I am reminded of a few years ago when I did a play at Playmakers Rep in North Carolina. I have lived in Los Angeles virtually my entire life and started working as a professional actor at the age of six. With the exception of a few plays in High School and College, all the work I have ever done as an actor has been professional. Every time I did a play in Los Angeles, it seems there was always talk of this or that casting director or agent or movie star in the audience. There was always a bit of a “showcase” feeling--like doing the play might lead to more work. Don’t get me wrong—I know there is plenty of great work being done in the theatre in LA—I am just talking about my personal experience in some of the productions I have been involved in. So, anyway, when I did this play in Chapel Hill, NC it was really the first time in my life that I knew that there weren’t going to be any casting directors, or agents, or movie stars out in the audience. That my performance was completely between me and god and the audience. A contract based on love. I, the audience, come here to be entertained, moved, possibly changed. I, the actor, step onto to the stage to hopefully entertain, move, and change you. The theatre was filled every night. The people came to the theater—they needed to come--to share their humanity. I fell in love with acting in a way I never had before. Foolishness. What a gift.