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Saturday, January 31, 2004
Appointment / Audition
In November of 2003, I starred in the bittersweet UCLA grad student film
Solo,
written and directed by the creative
J.S. Lerner
(Justin).
Due to the assignment parameters, along with his substantial preparation, the shoot took one day (four hours in a single morning).
At its same-day wrap party, I provided my calling cards should any student director be looking for "my type."
Indeed the cards did make some rounds, as a few weeks later I was called in, auditioned for, and was cast as a co-star in the darker
Pathos,
written and directed by
Gina Nelson.
Justin and I stayed in contact, and he dutifully sent off the finished film on DVDs to myself and my
Solo
costar
Jason Cole.
In one of his emails, Justin reported that
Martin Kisselov
When we got to the last candidate for Tommy, opposite whom I would do my scene, I'd noted earlier when he read with the other boy for the brother, that this Tommy didn't just sneeze as the script called.
He sneezed while rubbing his nose (rather messily looking) with his sleeve.
Earlier, Martin had begun to encourage us to improvise if we felt it would help.
At the end of my scene, Tommy offers me some soup.
I'd begun to add, "Soup sounds good."
With the second to last Tommy I said, "Soup sounds good: clam chowder sounds better."
who was Assistant Camera for Solo), indicated interest in using me in his own film project.
Towards the end of January 2004, I did receive an email from Martin, inviting me to audition for the role of a father for his approximately six minute film on Saturday the 31st between 3:50pm and 4:30pm
(amazingly, they had scheduled auditions as well for the following day as well: on SuperBowl Sunday).
I replied that I'd be there
(Saturday), and I inquired after any particular attire that might "help" the character, to which Martin replied, indictating if I had a raincoat it would probably help.
He also told me the scheduled shoot dates would be the last weekend/last four days of February.
Characteristically, I arrived at the UCLA campus before 2pm.
After using the campus BofA ATM about which I knew from which to extract my rent to pay, I went back to Melnitz Hall to wait.
The pretty
Quyen Tran
When we got to the last candidate for Tommy, opposite whom I would do my scene, I'd noted earlier when he read with the other boy for the brother, that this Tommy didn't just sneeze as the script called.
He sneezed while rubbing his nose (rather messily looking) with his sleeve.
Earlier, Martin had begun to encourage us to improvise if we felt it would help.
At the end of my scene, Tommy offers me some soup.
I'd begun to add, "Soup sounds good."
With the second to last Tommy I said, "Soup sounds good: clam chowder sounds better."
assistant director for Solo) spotted me as I arrived and said hello.
I came across Justin as well, who pointed me in the "right direction," as the Soundstage 3 in which I thought was the audition turned out to be the "wrong" Soundstage 3, apparently.
I showed Justin my updated resume, which includes Solo
(and Pathos).
Martin greeted me and went inside, I filled out the paperwork and I then read the script.
As suggested, I'd brought with me my old trench-like raincoat, and realized to my chagrin I really should not have shaved.
Martin's email had indicated the father was an alcoholic; looking at the script I realized I should have left on my couple days' growth.
I had at least brought with me a change of clothes in case I felt the script warranted it.
As another candidate went in to audition, I quickly scooted to the bathroom and changed from my "casual business" attire into my blue flannel shirt and black jeans.
I didn't have long to wait.
Amy came out, greeted me and ushered me in where about six or seven people were all sitting at the long table.
I'd not expected a "casting committee," somewhat similar to those back east when I'd audition
(for the adult productions)
at the
Studio Playhouse.
I sat in the single chair facing them, and everyone super-pleasantly greeted me.
Martin implied I was all but "a celebrity:" that everyone there "knew" me either by having seen Solo and/or be having visited my website
(apparently every one of them have been here to my website).
Amusingly, I found it simultaneously flattering and almost a li'l unsettling.
They were all a'smiles about it, so I decided It Was A Good Thing.
Martin introduced to me
Timm Doolen,
who'd be reading the lines opposite me.
I'd be reading Billy, the father, who's "returned home," as it were, albeit not exactly expected or really welcomed with open arms.
After doing my initial interpretation, Martin suggested some adjustments, so we ran it twice more, each time with a different tact.
Martin then began to ask not only About Me but inquire About The Character Billy, below the surface.
I dunno what happened.
All I can figure is that Dionysis
(god of drama/theatre)
or such, plunked his hand on my shoulder and, in "contact," using my mouth/voice, answered Martin's questions about the character.
Suddenly I felt I was very much in touch with the character Billy, and seeing aspects and levels that "normally" I might not have realized.
I'd hoped my answers were accurate as suddenly I very much began to yearn to play this role.
We clarified my schedule, that I was far "more available" Saturday than Sunday When we got to the last candidate for Tommy, opposite whom I would do my scene, I'd noted earlier when he read with the other boy for the brother, that this Tommy didn't just sneeze as the script called.
He sneezed while rubbing his nose (rather messily looking) with his sleeve.
Earlier, Martin had begun to encourage us to improvise if we felt it would help.
At the end of my scene, Tommy offers me some soup.
I'd begun to add, "Soup sounds good."
With the second to last Tommy I said, "Soup sounds good: clam chowder sounds better."
for callbacks), but I'd be available either day.
Thanking me, Martin told me he would be making his decision about callbacks by Wednesday.
Having done all I can, I now could only wait and see for then...
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Wednesday, February 04, 2004
Callback calls
I received a page from Timm, working with Martin, indicating that callbacks would be Sunday afternoon.
My time block would either be 2pm to 4pm or 4pm to about 6pm.
As I had the major APS networking event Sunday, I quickly began checking MTA routes to see if I could somehow pull off doing both.
The schedules stubbornly refused to gel, possibly due to the distance and/or the fact it would be Sunday.
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Sunday, February 08, 2004
Callback and Candidate Competition
I arrived at UCLA at 1:50pm for my 2pm callback.
This was due to the fact that by mere seconds I had missed the previous bus I'd wanted to catch.
I was brought in, and I pointed out to Martin, if he wanted me to, I could shave the scruffy facial hair I'd deliberately allowed to grow.
Martin was quite impressed how committed to the character I was When we got to the last candidate for Tommy, opposite whom I would do my scene, I'd noted earlier when he read with the other boy for the brother, that this Tommy didn't just sneeze as the script called.
He sneezed while rubbing his nose (rather messily looking) with his sleeve.
Earlier, Martin had begun to encourage us to improvise if we felt it would help.
At the end of my scene, Tommy offers me some soup.
I'd begun to add, "Soup sounds good."
With the second to last Tommy I said, "Soup sounds good: clam chowder sounds better."
so I didn't have to shave it).
I met
Thabo Wolfaardt,
who would be gaffing lights for the project, and was also the fellow who is best friends with
Melanie Blair.
It was through Thabo that Melanie saw J. S.'s Solo film, hence her wanting me in her USC
Pelha Naach
film.
As the day progressed, Martin demonstrated an amazing talent to communicate with the young actors.
As the film has two brothers, one friend, and the father to the two brothers, the other three males were all younger than I.
The age range of the older brother seemed to be around 16 to early 20s, though one guy towards the end seemed to be in his later twenties.
The younger brother candidates ranged from around seven to thirteen or fourteen.
Martin worked quickly and efficiently, mixing and matching every conceivable combination.
Each trio
When we got to the last candidate for Tommy, opposite whom I would do my scene, I'd noted earlier when he read with the other boy for the brother, that this Tommy didn't just sneeze as the script called.
He sneezed while rubbing his nose (rather messily looking) with his sleeve.
Earlier, Martin had begun to encourage us to improvise if we felt it would help.
At the end of my scene, Tommy offers me some soup.
I'd begun to add, "Soup sounds good."
With the second to last Tommy I said, "Soup sounds good: clam chowder sounds better."
two boys and the father),
were photographed, to see which combination might seem more "genetically" a family.
For much of the time, I did my scene over and over with the various candidates playing the older son.
Then my competition showed up.
At the previous audition he had gone just before me, and he'd been called back as well.
It took me a while to realize it was Lon Chaney Jr. of whom he reminded me
When we got to the last candidate for Tommy, opposite whom I would do my scene, I'd noted earlier when he read with the other boy for the brother, that this Tommy didn't just sneeze as the script called.
He sneezed while rubbing his nose (rather messily looking) with his sleeve.
Earlier, Martin had begun to encourage us to improvise if we felt it would help.
At the end of my scene, Tommy offers me some soup.
I'd begun to add, "Soup sounds good."
With the second to last Tommy I said, "Soup sounds good: clam chowder sounds better."
and that's actually a compliment, my being a huge fan of the old
Universal classic horror films).
As it was, one of the young men auditioning at first had me think of Eric Stoltz but I realized he could portray the brother to Alicia Witt.
I cannot guess at to his age, but my competition could easily portray a longshoreman, among other roles.
His interpretation was very good, though rather different than mine.
As Martin best described it, my interpretation was along the lines of a
"sad lost puppy"
while the other was
"a dog with teeth, that might bite..."
Martin told us that the "apartment" was going to be an entire set, build "from scratch" within one of the sound stages
(shades of the circus set in the soundstage for the
Pathos
project).
When we got to the last candidate for Tommy, opposite whom I would do my scene, I'd noted earlier when he read with the other boy for the brother, that this Tommy didn't just sneeze as the script called.
He sneezed while rubbing his nose
When we got to the last candidate for Tommy, opposite whom I would do my scene, I'd noted earlier when he read with the other boy for the brother, that this Tommy didn't just sneeze as the script called.
He sneezed while rubbing his nose (rather messily looking) with his sleeve.
Earlier, Martin had begun to encourage us to improvise if we felt it would help.
At the end of my scene, Tommy offers me some soup.
I'd begun to add, "Soup sounds good."
With the second to last Tommy I said, "Soup sounds good: clam chowder sounds better."
rather messily looking),
with his sleeve.
Earlier, Martin had begun to encourage us to improvise if we felt it would help.
At the end of my scene, Tommy offers me some soup.
I'd begun to add, "Soup sounds good."
With the second to last Tommy I said, "Soup sounds good: clam chowder sounds better."
With this final Tommy, the sleeve-sneezer, I said, "Soup sounds good,"
adding with slight worry,
"You don't still sneeze into the soup, do you...?"
Having gotten down to the last group of young men, and I had done my scene with them so I "could go," what astonished me most was it was 5:00pm.
I'd not even noticed the three hour passage of time!
As each candidate left, Martin assured everyone that he would contact Everyone by Tuesday evening, one way or the other.
Each scene had been videotaped, and Martin confessed he knew he had Very Tough and Difficult Decisions to make.
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Tuesday, February 09, 2004
Decision
Martin called and left a message on my pager in the early afternoon that he'd chosen me to play Billy, the title role in his
The Father
UCLA grad student project.
I called him back and we discussed the upcoming rehearsals dates and times.
He indicated that Tommy would be played by the young man
Damien Midkiff
(who resembled a Nordic version of a young Crispin Glover).
Martin indicated he'd be in touch with his costume designer, and that the costume designer would be in touch with me, and/or would be at the first read-through.
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Saturday, February 14, 2004
Read Through
I arrived earlier than even I'd anticipated, having caught the bus "just" previous to the one I'd scheduled myself to catch.
Damien
(playing Tommy),
also arrived impressively early.
Inside the studio, Martin had us read through the script.
Playing Brian was
Tyler Neitzel,
one of the two most talented young men reading for the role.
The character Brian is eight, though Tyler I think mentioned being eleven or so.
Once we'd read through the script, Martin was gracious enough to let my segment be done first.
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Sunday, February 15, 2004
Confirmation
I am very impressed with Martin and his crew.
In the late afternoon around 4pm or so,
Sibila Yaneva
called my pager with a polite reminder of my 6pm rehearsal Monday night.
I returned the call as quickly as I could, but I was in the middle of something at the convention.
I got her voice mail
(so she may have been calling someone else at that moment),
and confirmed I'd be there.
I cannot help but be amused that she and Martin still "remind me who they are" when they leave messages, as though I'm doing dozens of student films at once
(all directed by a "Martin"),
and/or that I know several dulcet-voiced ladies named Sibila...
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Monday, February 16, 2004
Rehearsal
As Martin had requested, I wore the same outfit I'd worn to the audition and callback, as the costume person
Sholeh Memauri
was in attendance.
I'd arrived at 5pm for my 6pm call; the rest had been rehearsing since 4pm.
Martin works well with his actors, encouraging improvization.
My segment with Damien ran a few times, our adding different aspects and layers.
We may be able to get in one other rehearsal before our shooting weekend, depending on cast members' schedules.
Sibila provided a "form" asking about what sort of foods we each like.
I indicated being "something of a 'picky' eater."
As they were wondering about food, I suggested they check out
Ikea
where they could purchase a substantial amount of inexpensive Swedish meatballs with which to feed the cast and crew.
Martin and Sibila virtually glowed over the idea.
I couldn't help but be pleased with the idea that food would be served that I like...
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Saturday, February 21, 2004
Calltimes set
Sibila emailed out the shoot-weekend Callsheet, as it were; specifically the actors' calltimes, shoot scheduled
(though as she points out, there's not yet a shot list).
Apparently there was enough scheduling conflicts to preclude one more scheduled rehearsal prior to the shooting dates.
My calltime Thursday the 26th was at 10:30am, and my first shot is scheduled around noon after a scheduled 11am lunch.
I planned to arrive around 9:30am'ish, as
(with this crew and director),
I wouldn't be surprised if by then they are running a bit ahead of schedule.
Even if they are dead-on schedule, at least I'd be in time for lunch.
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Wednesday, February 25, 2004
Revised script and final preparations
I'd received emails from
Sibila
and
Sholeh.
While having seen my outfit at the rehearsal, Sholeh wanted to discuss my wardrobe, and she arranged to call me in the morning on the 25th.
She called around 10:30am.
Apparently they wanted pants a little less black as are the jeans I wear.
I indicated I have grey slack and khaki slacks, but they not "worn" (as in, distressed).
These are my office-work pants.
She and I arranged for her to drop by my place around noon to take a look.
The night before, Sibila forwarded to us a
copy of Martin's revised, updated script, which now had added our lines we'd improvised during the rehearsal of the 16th.
Sibila also forwarded to us the revised shooting schedule/callsheet.
My updated calltime tomorrow was 12:30pm, the day ending scheduled at 5:30pm.
Damien and my calltime Friday was 7:00am, the day ending scheduled at 5:30pm, at which point my work would be done and I would be wrapped.
The pleasant Sholeh arrived and, having actually found a parking spot, came up to my flat and looked over alternate pants.
We agreed I'd bring the grey and the khaki pants from which for Martin to choose.
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Thursday, February 26, 2004
Shoot - Day One
I arrived at UCLA at 10am, surprising the A.D.
(and even Martin),
at how early I was.
To my surprise, on the film's crew, handling the boom mic, was
Gina Nelson's
pleasant A.D. from
Pathos:
William Bibbiani.
William indicated he would "only" be working that day and the next.
"Same with me," I pointed out.
He and I chatted between shots set ups throughout the day.
As my actual calltime was 12:30pm, I had already acquired permission to scoot off to have lunch with a friend of mine who works on campus.
I returned at noon, just as lunch was called.
Over cast/crew lunch,
Thabo
told me that
Melanie Blair
was currently working on editing her
Pelha Naach
USC film.
Apparently once they are shot, USC films are dropped off and USC sends them off to be developed.
The developed film is returned and is either then or is simultaneously digitized.
Meleaie was editing the film on a
digital
Avid editing
system.
Thabo said the footage he'd seen looked great.
When I'd returned, I found it was being catered.
As the food being served was some sort of burritos, I was relieved I'd already eaten, otherwise I'd have had to go out to forage.
Martin was slightly aghast I wasn't eating, and to learn I don't like burritos.
I jokingly pointed out we'd gone over my picky eating habits, but thankfully I'd already really eaten.
Martin still impressively insisted that should I became hungry (my having not partaken of the provided lunch), to let him know, and he'd send someone out to get something I'd eat.
Gods, I will work on any project this man does.
His clear and sincere respect for his actors is incredible.
William told me he had "just" seen the dailies from Pathos and that all the footage is excellent.
It should look fantastic when it's all put together.
Currently, he indicated, Gina is working mostly on the film's pacing.
Martin informed me that when the film is completed, it'd have a big-screen screening for the cast and crew, after which would be a celebratory "wrap" party.
Today we filmed the latter half of my scene, which is the film's closing scene, in the kitchen.
The sets are most impressive.
I clarified with Martin that the "Steve apartment" was bright and cheery deliberately to offset the darker ("danker") Tommy/Billy apartment.
Once again the time flew by.
I sat at the table while Damien (playing Tommy) worked on the soup.
On the table was a older cookbook, opened to soups.
I am always amused when crew people expect actors to do something that's not been instructed or explained, and then wonder why we're surprised.
After shooting the scene from one angle, the sound operater
David Harrison
wanted a "wild track."
Still being relatively new to working as a principal with films, at first I thought he meant "room tone," about which I know: this was the first time I'd ever had to do wild tracks.
What he wanted was my line, on its own.
No one was really "that near" me but I heard him off around the corner off set adding wanting an audio "Wild track of the 'Are you cold like that?' line."
I was surprised.
They just started recording sound and no one had said anything to me directly.
Did they mean me?
Did they want me to say my line aloud?
I was able to see Martin begin somewhat miming a head turn for me, which I hoped I was interpreting correctly as directing me to turn my head towards Damien and saying my line, which I did.
I was correct and I said my line: without stopping tape, they had me say the line a second time.
Later they did the same with Damien and his line, but at the last second, Martin informed Damien when to say it.
The second to last shot of the day was my close up of my line.
Martin had me also do sat the line "slightly differently," so he'd have choices in editing.
To make sure my reactions to Damien's line were the same as we'd been filming, Martin had Damien slow his line to time it as to how he'd been saying it when he was on camera.
The closing shot of the day, the end of which was quite near
(it was 5:15 and we were Finished At 5:30...),
was to be a dolly-shot headed to me as I looked at Damien and said my line again.
A technical gaffe with the camera caused the "time to run out," and the shot was scrapped.
It would not even be done first thing the next day.
While a bit disappointed (anticipating it'd be a great shot for a demo reel
[moving in towards me as my head turns generally towards the camera, figuring it'd have looked like a cool out of context shot in a movie trailer]...), as I'm a professional, I know the Story Is The Star.
At least they got the shot with the line prior to the technical difficulties.
The next day would be the living room scene: my arrival, brief dialogue with Damien, and being led off to the kitchen.
As I changed out of the grey slacks back into my jeans, Martin indicated my being picked up in the morning for my 7am call.
I was grateful, though it was unexpected.
I'd figured I'd just take the #2 bus again, this time a litte before 6am to be there around 6:35 for my 7am call.
Sholeh had been wrapped an hour or so earlier, and Martin called her and enrolled her into picking me up in the morning at my place.
I thanked him but also kept pointing out Sholeh had been to my place: she knew where it is.
To my amusement, Martin still handed me the cell phone "to give her directions."
"Sholeh?
I still live at the same place I lived yesterday..."
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Friday, February 27, 2004
Shoot - Day Two
Damien and P.A. Amy Kernan
had also arrived and waited with us.
One of the drivers was running a bit late so Sibila came and picked us up.
It was slightly sad as we learned Sibila would not be able to be there today, beyond dropping us off.
Her day-job work at some talent agency refused to acknowledge her not being their personally purchased slave, and they demanded she come in to work today.
When we got going, we began shooting the first half of my scene, set in the living room.
They started with a relatively wide master shot and then began coverage shots as the day progressed.
Most of the time the only reason for a third or more take would be a slight problem such as noticing a slight glare from a light that quickly would be corrected.
Thanks to several performance and camera rehearsals just before doing actual takes, generally each shot would be only one or two takes.
Damien and I worked well together and throughout the day Martin as well as members of the crew indicated great impressed delight with our performances.
Lunch presented a problem or two.
For one thing, it wasn't being catered: they were going to get take-out at Koo Koo Roo, from which I don't eat.
The UCLA commissaries were closed as then-candidate John Kerry was speaking at the UCLA theatre.
Amy was sent to Fatburger to acquire a lunch for me.
My only error was forgetting Fatburger also serves steak fries which are better than their "regular" fries (so as I hadn't specified, I got the tolerable skinny fries).
Still it was perfect, considering it becoming a major quest, her having to argue there just to get it, going through some sort of construction to get to the place.
Everyone seemed disappointed when they realized I was wrapped for the project.
With great anticipation I look forward to seeing the screening in the big theatre.
Martin was anxiously looking forward to the evening as he and (I think Sibila) will be going to Burbank to view the dailies.
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Thursday, December 09, 2004
Screening
Sibila emailed us regarding an upcoming screening, finally being settled down for tonight.
It still got pushed... from 8pm to 9pm.
I'd already had a busy week.
I had commercial auditions each day of the week, and an initial audition for
The Immigrants.
Justin Lerner attended the screening as well, indicating that he had begun teaching a film course whose site links to my site.
So,
The Father
was pretty good.
It was cool to see the other scenes in which I wasn't involved, of Damien and Tyler.
It was rather startling to learn that a large and plot-driven chunk of dialog between Damien and myself was omitted.
Afterwards Martin assured me he would provide the deleted scene as well, as the dialog therein would work well for a demo reel.
I didn't know long it would take for me to obtain: it turned out our director was immediately off back to Europe to get married.
The additional footage that would have been great for a reel... was never provided.
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