I just auditioned for a student film up at AFI this morning (I’m told I would know by Tuesday); to my surprise afterward I found my friend David Schroeder waiting to audition for the same role…!
I just auditioned for a student film up at AFI this morning (I’m told I would know by Tuesday); to my surprise afterward I found my friend David Schroeder waiting to audition for the same role…!
Last November I worked a day on a film called Lower Learning as Featured Background. As my on-set report reflects, based on results, I really should have been upgraded to Day Player for the scene. Not only was I part of a two-shot close-up with a principal, interacting with him but physically interacting with him (“albeit” a hand-shake), the director directed my personally (in actuality a director can only direct principals and other contract role players: featured and general background are directed by Assistant Directors: if the director wants something changed he tells the AD who tells the backgrounder).
But I figured, hey, it’s a tight shot of me with the pleasant and very funny Nat Faxon, so I patiently waited for the film to be released.
There is a concept of Life I’ve deduced, called Badger Luck. Those who are friends and/or good to me, tend to do Really Really Well. Those who do wrong by me or do wrong by my friends… tend to get karmic backlash. Years ago when I was booked to work five days on one film and at the very very end of the first day, about 90% of us were told we weren’t to return, that feature film Went Nowhere, never even got released (and it starred Kim Basinger Forest Whitaker, Tim Roth, Danny DeVito, Ray Liotta, et al). Never got released. Hmm.
Now with Lower Learning, (as of this blog entry’s date and time), its imdb entry still shows no release date. Ironically, at the bottom of its poster it does show October 10, 2008: I’d come across a small poster for it hastily affixed to a few local light poles, that it was only opening at the Laemmle Sunset 5. A producer friend of mine surmised this meant they could only just “four-wall it.” They couldn’t get a wider release.
I went and saw it this past Saturday morning and… well… apart from the fact my scene is omitted completely (being a flashback, not much of a real loss to the storyline: just “explaining” a minor backstory point that technically didn’t need explaining), based on the rest of the film… the flashback might have been considered the funniest scene of the film. The “comedy” is about a loser elementary school with a corrupt principal, in which pretty much all of the faculty have lost all will to teach, to inspire, or in some cases even to live. It’s almost surprising no character commits suicide in this feature, though one does come an instant away from actually doing so.
I think I actually laughed once, and there were two to three actual moments (not sequences), which had me chuckle. Beyond that the film seemed to strive towards depressing the audience as much as were its characters.
btw, apart from myself in the auditorium, there were five or six others who attended the same matinee, and they actually managed to sit through the entire film as well: I did not ask them if they’d worked on it in some capacity.
Now would the film have been a success (or at least watchable), had my scene been included, and/or even more so had they honourably upgraded me to Day Player contract? We’ll never really know. One can only go by what happened to/with the film after I wasn’t upgraded and after the scene on which I worked was cut. As always, results don’t lie.
(Ironically, I still added the title to my NetFlix queue, on the off chance its DVD contains Deleted Scene/s as Bonus Material…)
This morning I went down to USC for the audition class. As I was heading to my temp day-job from there, I arrived at the 8:50am class around 7:20am.
With an hour and a half with which to wait, I drowsed for about an hour, waking up just before Hilde (with whom I made the appointment, and I now presume may be the teacher’s aide), apologetically had to bring into the classroom the sofa on which I had been sitting. She put out a sign-in sheet, already aware I was first. By the time I was done and headed out there were about five men and one woman waiting.
Hilde took our sets of headshots and resumes and brought them in; I’d taken the liberty of attaching my demo reel DVD disc, as it looks much cleaner than its YouTube variant. The class’s teacher Nina Foch had already thanked those of us already waiting, before heading into the class herself (at the time I did not know who she was, as she never introduced herself, nor did anyone introduce her to us).
Hilde had given us each sides which turned out to be a few pages from different movies. Mine was a scene from Moonstruck, which as it turns out, I’ve never actually seen, which probably is a Very Good Thing, as it had me auditioning a scene as though it had never been done.
I studied my scene while inside the teacher worked with the class. Hilde came out and called me inside.
I’ve done over forty student films, but this was the first time it was more than one to three people: it was about thirty plus, or certainly seemed that way. But at the very front of the multitude was a table next to which was the teacher, and behind which was (I think her name was) Debbie. I said hello and shook her hand, as well as Conner, who would be reading the lines in the scene with me. The scene was straight-forward enough that I barely had to consult the pages, but the reading wasn’t first up.
Debbie started out with a simple question such as how long had I been in Los Angeles, but the teacher cut her off. I said nothing as I knew a process was going on. The teacher did a polite aside, indicate she was teaching [the class] how to audition [actors]. I just waited, intrigued with the process.
The teacher pointed out not to ask direct questions, and demonstrated, saying, “Tell me about going to medieval festivals.” I began to recount the fun involved, my attending in garb and before hand collecting dollar coins with which to pay for things, et al. The teacher gently prodded about what I wear and how I behave at the faire, et al. Debbie made an attempt, “but” began to ask if I climbed rope ladder games at the faire. I presume she meant to ask that. She got as far as “climbing rope–” when the teacher corrected her again, pointing out, and speaking in a robotic voice, “You might as well be asking, ‘Tell me what you can do, hu-man’…”
She stressed [Debbie] doesn’t have to ask What Can You Do?, when by just listening [the actor] will convey everything s/he can do.
So we got to the reading. Connor clearly is not an actor: his read was similar to how Randy’s character on My Name is Earl reads aloud. He wasn’t the worst. I did my best, and the teacher thanked me, as did Debbie, who asked if I could do it one more time. She realized she couldn’t quite communicate what she wanted adjusted. She was trying to request a stronger attitude with the big line towards the end. The director was even more confused that I, asking what motivation did she want me to have? Debbie couldn’t quite articulate what she sought, and the teacher gently kept driving home the point What Motivation was wanted? Debbie expressed wanting my being more assertive. She and the teacher agreed the rest had been spot on.
I did the scene again from the top, ironically being stopped just shy of the big line to which Debbie had referred, but I had shifted the last line I had said, a bit more lovingly. I guess that was the line to which she’d actually referred.
I was thanked but before I left, the teacher pointed out to me I should have my headshot redone; it’s completely wrong. “The rule is,” she said. “Men up; women down,” defining that as photographing upwards for males and photographing down for females. My photo is shot downwards. She told me the photo was “killing” me; they’d all seen my headshot and “then suddenly this handsome man walks in,” the class from which she acquired concurrence.
Ack. I’d gotten the new headshot from a good friend who did it for free as she was building a portfolio so as to become professional headshot photographer. I’ll have to see if she’ll charge me. If she’s open to a reshoot, I can certainly take her to lunc for it [bg], but if she charges “headshot prices,” my photographer roommate certainly could do it [g]…
Well, anyone paying attention to my site is aware I booked the McDonalds commercial, and even received a DVD copy.
I still very much into blogging at my MySpace blog page, and I tend to forget to mirror some of the information here. But then, that is the reason for my on-set report index.
Yesterday/Saturday the lovely Tommi called to relay I was booked for an Interview today/Sunday for something called the Untitled Hemmingston Pilot, on which I could find nothing. If selected I would be playing a porno producer, working Tuesday and Wednesday.
I received the hotline number, which indicated to call after 7:30pm, but at least stating the location would be in Century City. The line was updated by 8pm, my calltime was 1pm, at 2000 Avenue of the Stars. I arrived at 12:25pm, and noted it’s the new building that, when I temped for a couple of months on the opposite corner, it was just starting to be built. Now it was very finished as well as clearly very much in use.
I was directed to basecamp where I found the AD (or PA) signing in people. I got my voucher and filled it out. Lunch was called and I was invited to partake; they had an okay fetuccini alfredo.
The two other candidates for the role arrived, and eventually we were brought over “to the producers,” meaning, we were sat on a stone bench of sorts while in the deep shadows of the nearby crew tent, the guy to my left was selected (I sat between the two).
I headed to Westwood and procured my ticket for a late June event at the LA Film Festival, and waiting for a bus home, Tommi called. She had just seen my submitted For The Week availability, in which I declared I was NOT available Wednesday, Thursday and Friday, as I was Unofficially On Avail for a commercial for which I’d had a callback on Friday. I assured Tommi it was okay; with a one in three chance of being selected, I risked what happened anyway. I wasn’t chosen, and I’m paid for going there.
And if the gods continue to smile, I could still be booked for the commercial, working one or more of the three scheduled days. We concurred if I’m not booked on the spot, that I’d notify Booked Talent that I was again available…
I’ve been busy: the past three days (Monday through Wednesday), I’ve been on set for (and will be extremely visible in) the feature comedy indie film Barry Munday.
The full report is here…
Well the LA United Film Festival screening of Strictly Background tonight was very well received.
All ten of us, along with Jeff Olan, were there. (The other night at the film festival’s kick-off party, Cary had indicated seeing me in something recently but couldn’t recall what it was; tonight he said he’d remembered, it was on PBS and I realized he meant Red Ace Cola Project, as he regularly watches the Fine Cuts program on KCET, and he’d spotted me as Eddie therein.)
As always, Strictly Background elicited laughs with its humour and irony, worried gasps with its pathos, and cheers with its triumphs. The Q&A was interesting; I jokingly took a couple of photos of the audience [bg]; mostly as I had no one available to take a photo with my camera of us on stage. At one point with the mic, I was able to relate my working on and visibility in Walk Hard (and that Jason had spotted me when he first saw it, unaware I’d worked on it), Lower Learning and the very upcoming Big Stan, as well as announcing the most recent work, as the principal lead in the regional wild spot McDonalds commercial.
There were some interesting comments amongst the questions. One was that it be mandatory viewing for all new SAG members. Another suggested it be shown at all high schools (I would presume that would be to let young still-dreamer types know it’s as even much more hard work than it is simply being attractive).
Many very nice people thanked and congratulated me (as well as the rest of the cast), one of whom turned out to be the lovely Jocelyn, who’d only sent me a MySpace add request quite recently.
Jeff Olan had set up some sort of after-party at Busby’s. I had a ride with Jack ["John"] and his wonderful wife Elizabeth, and initially we figured we’d stop in briefly. On our way to the nearby event, the directions and details indicated there was a ten dollar cover charge just to get in after 10pm, and it was 9:55pm when we left the theatre. As it was there was no available street parking, so nothing other that expensive valet parking. As much as we wanted to attend, the combined expense and impracticality was too much of an issue. I didn’t have much of a chance to talk with Jeff Olan and/or meet some of those he brought (the only one I recognized right off was actor Jon Polito). As we went around the corner from being unable to find a place to park, we could see at the door people having to pay to get in, which pretty much clinched it for us.
Jack and Elizabeth got me home safely about a quarter after ten.
Last night was the big kick-off party for the Los Angeles United Film Festival.
Just to make sure, I called Jason Connell before heading out, to clarify the level of attire. I figured “upscale casual,” as they’d say on set, but Jason said flatly, “It’s black tie.”
“Black tie?” I repeated incredulously. Jason reiterated it was to be black tie. I paused, suspecting Jason could be pulling my leg; I’m not as gullible as I am one who takes as honourable a man’s word. But as I had to be sure, I pointed out politely I’d be displeased if I get out my tux, bus all the way there only to find out it was a joke, at which point he started laughing that, yeah he was just messin’with me. [g]
I arrived earlier than expected: the buses I took should have gotten me there spot-on 7pm, but it was more like 6:45. As I’d not been to the Gibson Guitar Showroom, I had to look around for its entrance, not quite at the front as it would have seemed, and at which there was no signage at the front.
Inside the lovely ladies of the PR firm handling the event were scrambling to be ready as the clock struck seven. Inside, host Jason was pleased to see me, amusingly though not surprisingly being pulled in every direction at once throughout the evening (though I doubt it he found it that funny [g] …).
Marvin arrived shortly after I did, and of the rest of the cast, Terry, Mark, Tafan, Cecilia and Cary all were there, like the crowd, showing up in dribs and drabs, but the place did indeed get packed relatively quickly.
Almost immediately after arriving I discovered there was virtually nothing for a soda-drinker such as myself to drink. It was like being on a set with the world’s worst craft services. There were these numerous vitamin and energy drinks, one of which was some sort of tea that the girl insisted tasted like orange soda, with natural sugar-cane sweetener. Thankfully I noticed they were adding vodka in the novelty glass, to which I quickly put a stop regarding my serving. Sheesh, what if they served that to someone with a drinking problem, not mentioning they were tossing a big dollop of vodka in it?! Their drinking containers were plastic glow cups; similar to glow-sticks, these glowed a bright pink, giving the impression one was drinking some sort of nuclear waste material. The orange tea itself was okay, until I swallowed, then each mouthful tasted utterly sweetener’less, and that gagginly-bitter taste that I hate from tea. As I needed the hydration, I was able to drink it, but I literally classified it as “Drinkably potable unpleasantness.” [bg]
Casting director Jeff Olan came as well, but I was surprised Jack ["John"] Richards was not in attendence, though he could have arrived after I left; my ears were ready to start bleeding around 9:30. As it was, Louis was just arriving as I finally departed around 9:40pm.
One of my best friends attended, though sadly will not be coming Saturday night to the screening, having made other plans despite my planning on spotting the ticket (though my friend was not aware I was planning to do that). As tickets were on sale right at the party/event, I was glad before she arrived I hadn’t already bought one to hand to her, then to learn she wasn’t going to attend. Considering her networking skills, and Jeff Olan having informed me earlier he is bring numerous industry folk Saturday night, I was taken aback she wouldn’t have considered I’d have gotten her in to the screening evening.
For the event, Jason had had on hand a videograper for the film festival as well as relating to Strictly Background, as well as a interviewer and videographer from Hollywood Reporter, which interviewed each of the Strictly Background cast members in turn, as did, after a sense, Jason’s own videographer. In that case instead of being asked questions, I just had to ramble on a bit about working on Strictly Background, et al. When I was done I discovered the Jason and the cast had been brought up on the platform/stage for a photo opp, so I was just able to get up there with them.
As so often with these sort of events, they had that sort of DJ who clearly believes that no one attending such an event should be allowed actually carry on any sort of conversation with anyone else, cranking the music volume “up to eleven…” (at least classic old school stuff).
While my friend hadn’t the gas to drive me home, thankfully the next bus back up Santa Monica Boulevard was already in sight as I reached the nearest bus stop, so I got home shortly after 10pm.
The Los Angeles United Film Festival begins tonight/Friday and runs through Sunday April 18th-20th at the Fine Arts Theatre, 8556 Wilshire Boulevard in Beverly Hills .
All tickets for the festival screenings are purchasable securely online via PayPal. Remember also to order your ticket/s (all of ten dollars each), to see the heart-felt, four-time award-winning feature documentary Strictly Background (in which Yours Truly is second billing [g] …), screening tomorrow Saturday April 19, 2008 at 6:50pm!
This will be the last southern-California local film festival at which Strictly Background will be shown.
I will be in attendance; after the screening will be a Q&A with the director and what cast is in attendance. To my knowledge it could be all ten of us, but I will certainly be there, and I hope to see some of my local MySpace friends there as well…!
So the Getty Images photographer at the event takes dozens of photos, and only uploads 26 of them… Requesting my name spelling got him one of my contact cards so he could spell it correctly, and the only shot of me that gets uploaded (and a lot of photos were taken of me throughout the evening), was of my racing onto the stage (from a video interview), as I’d only just been hastily notified to run there, whilst yanking off my jacket: on the right in the fourth photo that’s my blue shirt’s sleeve. Smooth.
Next time I’ll have sticky-notes with my name typed on’em instead of wasting my contact cards.
Gee, thanks Getty Photogaphs!
Jason sent some links to articles on and about the film festival and in general:
The Reel Deal with Bob and Glenn
The wee hours notwithstanding, I find myself awake due to a deranged woman, screaming for about 45 minutes at the top of her lungs obscenities at her husband and “friends” pretty much directly beneath the window, so I figured I should make a few mentions:
The McDonalds regional wild spot commercial shoot was Friday evening, my full report on the shoot is up here.
At some point in the near future, my Strictly Background director Jason Connell will be converting my two Jimmy Kimmel Live Under-5 gigs, which I have on DVD, into a format (QuickTime and/or Windows Media Player), that I can save here on my site for immediate playback.
For the moment, on my page, I placed a link to the Accountants Gone Crazy video I found on YouTube, in which I can be seen playfully chasing a co-worker, chugging ketchup, and firing staplers into the air like six-shooters.