Friday, April 15, 2016
Money and Fame Are Not the Answer
Yes, they may answer the questions of what to give your landlord, or grocer, and yes it can make certain types of roles easier to book because you've got a demonstrable built-in audience, but you probably didn't become an actor because it is a get-rich-quick scheme or the easiest way to have strangers recognize you and know your name.
Meaning. Meaning is what makes a life closer to a life worth living. Right now I am too busy to write more in depth thoughts here and now, but staying sane is important, and building a good life is more important than building a good career, even as they intertwine. And so I challenge you to take this last weekday of the week, and find something meaningful to pour some of your time, heart and breath into. Do something meaningful to you. Then, have a great weekend (thanks to my friend Heather Fusari for putting me onto the video).
Tuesday, April 05, 2016
Have Fun Fighting For It
Any project can go into turnaround (stop moving toward production and release) at any time. Any project can suddenly, and without warning, transform so significantly it is hard to call it the same project anymore. Life can change in an instant. And there is no going back.
There isn't any rewind button on stage any more than there is in life. Film seduces with the promise of do-overs, but as I once did on a pilot, you can hear them say, "moving on," "we got it," or "new deal," after only one take and realize that one take is all the editor will have of you to choose from (happily, my worry was unneeded: I'd done well, and since my character was named Winchell, one of the other actors started calling me, "one-take Winchell" as a compliment that helped knock me out of my actor-insecurity moment).
Life happens in the now. Breathe, commit to what is happening this moment, and have fun. After all, that is part of why we choose this, right? (Herzog quote from Legendary filmmaker Werner Herzog on doing what you love and his advice to those heading into the world of film.)
Friday, March 25, 2016
Nose to Spite Face
I'm so glad that [film or tv show] did poorly at the box office/got canceled, because I have written/am attached to something very similar to it...
And what, they were stealing your thunder? No. They weren't. They were the example your business plan could've used to justify people giving you their money to make your thing. A rising tide raises all ships. Cheering the failure of anything in media or entertainment is hard to not put squarely into the category of bitterness.
Sure, we all have shows or projects we aren't personally fans of, or that didn't reach their potential or we otherwise just don't like. But keep your negative comments to yourself. Not only do they make your own projects less possible (self-interest), and they also may offend anyone who touched the project (common politeness) who you may want to hire you, recommend you or fund you, but also: feeding the negative, giving complaints your voice, and maybe even your online platforms and name, make your world worse, make it more sad and less positive (your quality of life).
Sure, maybe thus and such a project falls sort of its potential, and misses the mark artistically. Learn from it and hope they make their money back so everyone has a chance, including you and your friends, to make more stuff. I saw one too many people on my social media feeds today cheering projects' failures, failures that translate into other people's lost jobs, lost income and artistic heartbreak. Be nice.
Wednesday, March 16, 2016
SAG, AFTRA Health Plans Could Merge by January
The SAG and AFTRA health plans, whose still-separate status four years after the two actors unions merged has remained a major irritant, are expected to merge by January 2017, said an AFTRA plan trustee Friday.
There is underway a merger of the health plans,said Disney/ABC labor vp Marc Sandman at a UCLA law school panel.There is an expectation that it will be complete as of January next year
(from SAG, AFTRA Health Plans Expected to Merge by January, Says Trustee, thanks to Ben Whitehair for bringing it to my attention).
Wednesday, February 17, 2016
Being a Clerk
We can be an order taker, or we can create something. Delivering what we're asked for as an actor, without any unique artistry is doable, and you only have to turn on a TV or watch some movies to see it being done. There's nothing wrong with that. There is nothing wrong with delivering as asked, as expected.
There is nothing particularly right with it either. Don't get me wrong, paying your bills and getting hired again is important. But so is taking pride and doing great work, not just good work, but great work. Our goal isn't just to do a solid job, it is to do more, more than we can plan or design. Could be tapping into or connecting to a universal force of inspiration, the muses, the divine. Whatever it is, it isn't incompatible with delivering as promised.
Like anything anyone creates, it can be good, or somehow more than average, better than normal, and therefore somehow greater than the sum of its parts. Making anything, there can be workmanship skill, craft and art, not merely competence. It doesn't mean be reckless or unguided, but means to be un-mundane.
There is only one single February 17th, 2016 in the history of the universe. What can you do to make it special, important, something worth experiencing, doing more than just surviving until the 18th. Whether it is doing a day job well, really well, or folding laundry with deft precision, or maybe grocery shopping with clarity to literally nourish yourself, or as on the job as picking up a glass in the clearest way, or saying "hello" in character in a way that speaks volumes, we can do well today. Let's do well. Let's try failing well and be proud of our work, not just because the checks clear and the phone rings again.
(thanks to Chet Grissom for bringing Ethan Hawke Remembers Robin Williams' Acting Advice to my attention.)
Friday, February 05, 2016
You Are the Insurance Policy
The default of the world is to resist our efforts.
I'm frustrated at how much trouble it is to get my movies made.
The film/s I'm in is/are stalled in post.
I can't seem to get my script read, let alone sold.
We spend our professional lives in a creative industry, meaning an industry that makes things that don't exist before we and our colleagues make them exist. This means there are a great many forces against us and or work.
This is not a complaint, it's an observation. Much of the universe tends toward chaos and loss of energy: literally the fabric of the universe cools and slowly winks out of existence (Google "entropy" for more on this). So we should not be surprised when circumstances seem to conspire toward messing up our plans:
- to do what we intend for an audition, including get there on time,
- to have the set we are working on run smoothly with all people, equipment and stuff present and fully functional, including the video and audio files not getting corrupted, effectively destroying half a days work,
- to connect with other like-minded, effective and talented people to collaborate with, including have your txt message not say it was "delivered" to them without actually arriving on their device,
- to do anything necessary to accomplish what we like to think of as our professional tasks*.
We think our role is only to be an assistant storyteller, to portray the character, and though our acting bring it to life. But that is not our only task:
* we are the insurance policy our employer took out, to get our part of the production done no matter what; even when the unexpected happens, when all plans fall apart and everything seems hopelessly chaotic and lost, we do our jobs anyway, we play our part anyway and make our characters happen anyway.
We are paid because a robot or computer cannot handle "exceptions," they cannot manage the unforeseen or accidental. They give us money because we can react to chaos in a productive way. Our job exists because a sequence of instructions cannot do it. Not only is film acting often strongest when it is accidental behavior caught on film, not only are we the squishy and is our job largely in a sense about facing uncertainty with courage, but we can expect our expectations to be wildly fallen short of. We can plan to have all our plans go awry.
For it may be that when everything has gone "wrong," when everything has gone horribly badly, that is it then that we are actually earning our keep. Our ability to persist, problem solve and prevail in the face of anything the world presents us is _exactly_ why someone decided to give us some of their treasure in the first place.
Like all other forms of insurance, our employers will hopefully look back on the projects we are part of (that fortune has smiled on) and think, "it seems calamity never came and since everything went exactly as we hoped or better, we didn't need any contingency plans after all." We are their contingency: in the event that machines can only capture our work and not do it for us, then we are the solution. We bring the emotion, humanity and life that nothing else can.
Our job is to feel bad, our task is to embrace and live in:
- uncomfortable moments (ex: we love but don't know how to admit it without risking getting hurt),
- almost intolerable events (ex: a loved one's life is being threatened or is actually ending right in front of us),
- and fantastical horrors (ex: the space monster just bit off our legs).
When reversals and frustrations come, it is just a return to the status quo: something new is not being created as we hoped it could be.
Many jobs and careers exist solely to address when things go wrong. Lots of people's work life is only about when pre-planned goals remain unrealized despite past action. They have jobs just focused on being able to put things back together when they fall apart. A cardiologist has little to do if if all hearts remained healthy on their own. So too us. We are here to insure the status quo cannot survive. Our goal is to help make change happen.
The status quo uses inertia and a myriad of things to stop us, to stop any creative endeavor, to foil all progress. Our job, the reason we are being employed, is to step into the fray, move into the chaos and dwindling energy supplies and animate a made up person. And in so doing we help tell a story.
In fact, in the process of making things, the process of creating, the only insurance against all that would defeat us is us.
Our job isn't just to do our work despite setbacks, our job is to handle the setbacks. Our characters fight for what they want and don't yet have. That lack is what drives them. Without the obstacles there may be no story. Without problems in our job, there is no need for us to have been hired to solve them. If there are no problems, it is an unexpected easy day. Sort of like how our job is to audition and the bookings are our vacations. When problems do appear, just think, "ah, yes, this is why I have a job, to push back against this."
Ridiculous problems and absurd setbacks are the whole point of our position. The reason we're here is to handle the stuff no one would design or deliberately build in, and try to get the problem solved anyway. We are the bulwark against the universal trend toward loss and disorder. We're here to insure action is taken against a world that will defeat us if it can, and sometimes will. But whether we reach our aim or not, our task is the pursuit. In short: our job is to act.
Wednesday, November 25, 2015
David in The Thanksgiving Experience
David was nominated for Best Actor in a Leading Role, the film won Best Acting Ensemble and was nominated for 10 awards total, including
Best of, for the Los Angeles 48 Hour Holiday Film Project. David had the chance to work with extremely talented cast and filmmakers on The Thanksgiving Experience. It was shot over the course of just 2 days, from idea to finished film. Happy Thanksgiving!
Wednesday, September 16, 2015
What's Old Is New Again: Antitrust
70 years ago, movie studios could own movie theatres. And they did. They could fill them with whatever films they wanted, like their own movies they made themselves. The ownership of everything from the beginning of the production all the way through the final sale to the end consumer (vertical integration) means lots of money and control. Never letting any competition in, or dictating terms to them, can be good for your short term bottom line.
In 1948, in US v. Paramount, the Supreme Court said it was no longer ok for studios to own the theatres too. That's why today they by and large don't. Or do they:
Giant-screen specialist IMAX Corp. is joining the content creation party, and will be generating its own movies and other programming in the near future, the company’s entertainment chief executive officer Greg Foster said Wednesday.
With the digital explosion creating countless new streaming platforms, there has been a rush to fill the content void by media firms and companies better known in other sectors, like online retailer Amazon.com and Marriott Hotels
I'm not saying that making a handful of films to fill holes in programing is at all anti-competitive, nor it is likely to run into the Department of Justice's lawyers taking any action. It does suggest an interesting possibility for distribution in general: does a company (like Netflix, Amazon, Hulu, etc.) making the show and owning the distribution channel it is released on seem similar to a movie studio owning theatres? Right now it's an academic thought; there is still a great deal of competition between these players and the vast majority of their new offerings were not made in house, at least not yet.
It isn't just me looking at such things, and according to the Wall Street Journal, as recently as June the government was still moving forward on whether the largest chains are already crossing antitrust lines:
Regal Entertainment Group and AMC Entertainment Holdings Inc., the nation's two largest movie theater chains, have received formal inquiries from the Justice Department's Antitrust Division, signaling growing government scrutiny of a tactic large theater operators commonly use to keep movies out of competing locations.
If the coming months and years result in consolidation in theatres and/or online outlets, maybe the anti-competitive possibilities will require more attention. Right now though, it just makes for an interesting show.
Monday, July 27, 2015
Aside from the state of being alive, there are very few things that are objectively good, if in fact any are. I'm talking about more than things seeming good or being good, I'm getting more at judgements that lead us to believe something is unflinchingly good or bad, and what we do about it. It is 3am and this may not make much sense in the light of day.
I'd hazard a guess that 95% of the things we have chosen to call good, and then acted as if they were, had little to no intrinsic, undeniable "good" in them. But we somehow felt or thought it useful to call them "good." We judge so very much not merely in terms of does it serve some purpose or reach toward a goal. In a thousand little and big almost invisible assumptions about "goodness" we accept and reject elements of reality as we encounter them.
This may court or shun things, people and situations. Almost as if our thoughts build our world and lives by pushing our attention toward some things and by blinding us to others. There is a major world religion that by and large says our thoughts make reality.
Sometimes our characters do this categorizing into "good" and "bad." They build themselves little internal cages that become their prisons: they trap themselves in expectations and assumptions. It can make sense when they do. Putting a value judgement on things makes it easier to insulate oneself from the actual complicated and nuanced world. Why deal with the vague and not-always-readily-obvious-realities when it can become this simple:
- Assess all things, people and situations you already know or encounter and label them either good or bad.
- Move toward the things labeled "good" and away from the things labeled "bad."
- repeat steps 1 to 3
So much simpler and less scary than actually connecting with each moment honestly and completely as they happen (and connecting with each thing and person in those moments). It is also a form of death-while-living: in exchange for promising freedom from pain and uncertainty, it demands only a subtle but complete disconnect from one's own life.
Being vulnerable and connected to one's own life is arguably the only way to be present and actually live life, as opposed to watching oneself living life. Does Hamlet stay in the moment? Not a whole lot one could interpret. Hamlet bemoans his situation and only swiftly addresses the central issues of the play once he already knows he is literally a walking dead man. Do we stay in the moment? No, often distraction, stress and compromise between contrasting goals leads us to shield ourselves from genuinely experiencing all of the emotional realities of a moment as they unfold.
It can a useful defense that keeps us alive; admiring the beauty of a lion's run as it angrily charges you may well be the last thing you ever do if you can't put that aside long enough to avoid being killed. However, similarly closing oneself to fully seeing the truth, in an important relationship in our lives for instance, may not only not protect us, but may actually allow far more harm and heartache into our life than fully recognizing reality ever could.
[Truth has a habit of being impervious to our wishes and immune to our opinions. Without launching into too much weird hair-splitting, I think you can almost say that one of truth's defining attributes is that it is not subject to whim. Not sure if such an objective truth becomes one and the same with objective reality, a reality that exists regardless of whether we think it does or not, but it seems like objective good would have to somehow interact with object realities and objective truths.]
So being alive may be an only objectively good thing because of its opposite. The opposite of being alive is the ultimate lack of options, dearth of possibilities. And possibility is the substance of the future, and each moment of everyday we make possibilities real.
It is tempting to translate this into something actionable for all of us by saying, "be alive," but that feels like a bit of weak direction, like a director saying, "be angrier." Instead, I think the objective for all of us, in work and life, may be "keep going." I'll close this late night blog post (please forgive any errors and rambling-ness) with a quote I've heard attributed to Tracy McMillan:
Everything works out in the end. If it hasn't worked out yet, then it's not the end.
Friday, July 24, 2015
Be Good to Yourself
Decide this minute to never again beg anyone for the love, respect, and attention that you should be showing yourself
Tuesday, April 28, 2015
99-Seat Theaters to Pay Minimum Wage
National leaders of Actors' Equity Assn. on Tuesday imposed a $9 hourly minimum wage for members who perform in Los Angeles County theaters with fewer than 100 seats...
The minimum wage for rehearsals and performances will take effect June 1, 2016, for scores of theater companies that already work under the 99-Seat Theater Plan. For decades that plan has required only token payments for actors when they perform - and nothing when they rehearse.
New producers who want to hire union actors will have to start paying the minimum wage immediately.
Backers of the wage hike argued that acting deserves the dignity of a minimum wage, and union leaders said they were responding to complaints from the L.A. rank and file about poor pay
Saturday, April 18, 2015
David in Bring the Funny screening in festival
Bring the Funny was produced for the same show that produced
Corporate Dialects, which David is in and wrote as well.
Wednesday, April 08, 2015
When Words Don't Work
Sometimes it's easy to get lost in the lines. They give such a nice structure, a cushion, almost like a blanket. Scripts are nice that way. Plays and screenplays are good, constant, acting companions. When in doubt, reach for the blanky and it will make everything better.
It often does. When words are in the right place, the character can be found, sussed out, accessed through the text. What is said is, after all, an extension of the character's wants.
But sometimes, if for no other reason but to change it up (or if the text is not as strong as it might be), maybe we should find what to do without words. What if your character couldn't speak, what then? Instantly I can imagine the stakes feeling higher, need more desperate, and as tactics constrict, pushing against the wordless trap could intensify or even clarify things.
What isn't said? What can't be said? What won't be said, and screams its silence. These are moments of both drama and comedy that we all live, and know. When inexplicably you simply couldn't say, "I love you, don't go," so they did go. When somehow the shock, or shame, or something else that defies articulation defined an instant, and then echoed into a string of days to promise a life of incomprehensible regret. These instances, small and big, where words simply didn't come or couldn't do justice are just as much part of our character's arc and life as the things they utter.
It is not just acting between the lines. It is letting the person live and breathe, during which they may happen to have something said to or by them. The uncertainty of letting go of the blanky, that is sometimes where our work lies. It lies there, where the truth lives.
At least that is what my midday Wednesday musings tell me. Break a leg out there.
Sunday, March 15, 2015
Cable Bundle Breaking
Years later than I would have liked, it seems the forced bundling together, long a part of the business model of cable companies (big channels carrying the smaller ones that are bundled with them), may be coming to an end. For decades, audience seeking a handful of channels has been sold access to the shows on those channels only if they also buy access to many (sometimes hundreds) of other channels, channels they have little and sometimes no interest in. This has subsidized some channels that, in the 20th century, would have had no other way to get into enough homes to be appealing to advertisers.
One holdover from this period in media distribution include some sites requiring you log in with your cable provider's credentials in order to stream a single episode of some shows (they need to confirm you are paying for the whole bundle, and the restricted access to the show you want is the leverage they use to preserve the bundle model). No business model that needs an obstacle to remain in place in order to survive is robust. Movie theatres used to be able to assume that if you wanted to see the movie, you would rent a chair in their theatre. That stopped being the case for them, and the years of smaller channels getting into homes because they are bundled with bigger ones may also be on the way out.
Another holdover is the impossibility of legally accessing some premium channel's shows in any way other than a full blown cable subscription with premium channels added on. Back when a single show would drive people to sign up for cable (The Sopranos, for example, did that at one time), this was a protective measure; it allowed cable companies to conduct business vaguely as they had for decades. Frustrating as it may be for the audience, there were business reasons for doing it; show producers needed the cable companies in order to be able to offer their show to as many homes as possible. Back in the day, broadcast television and cable were the only meaningful ways to get TV shows in front of an audience (satellite television's business model was close to cable's, so for this post I am lumping them together).
The rise of broadband internet and other technologies and trends has made such bundling less the only option. For many demographics, cable bundling was never appealing and never bought into, literally or figuratively. Now, the premium channels seem to be making noises of letting us all legally get their shows without the hundreds of channels (and dollars spent) we may not be interested in.
Business by crowbar may not be gentle, but short-term it can get things to happen. Like the music industry suing their customers, business by crowbar isn't nice, but seeing it done to those who have done it so long themselves, makes me think turn-about may be fair play. Cable used the shows the audience wanted as a crowbar to force the audience to buy a whole bundle. Now HBO is using Apple as a crowbar to break their shows apart from the cable bundle.
Make no mistake, the scales have tipped. Even old school media heads have ceded that streaming is the future of video.Clearly the bundle is changing. The days of the 500-channel universe are over,CBS chief Les Moonves said Wednesday at an investor conference.The days of the 150-channel universe in the home are not necessarily over but they're changing rapidly. People are slicing it and dicing it in different ways