Becoming an Actor

Actors 101

Actors are said to be a dime-a-dozen. Everyone in the world wants to be an actor, and that's why there's so much competition in the field. There are thousands and thousands of headshots flying around and photo shoots and auditions, and to what purpose? Being cast for a script that was written by an amateur. A part in a film that will go no further than a few film festivals.



Actors don't really have a choice, because they need to accept whatever roles are offered to them to get experience. They have to nod and accept any project that comes their way, even if it's the worst thing they've ever read.



Of course, there are those occasions when our dear thespians go to those auditions and completely fall in love with the script. "I went in to audition because I heard about this project and the synopsis was really interesting. As soon as I got the script and I read the few words, I was totally into it. Then when I finished reading just those two pages... I knew I had to do this, I was in shock and in love with the writing," says Martin Lobe, who auditioned for the role of Donald in Machiavelli Hangman (http://www.hangmanmovie.com).



"You go to hundreds of auditions and you hope you'll hit that one gold mine... it's not about the money as long as the writing is so good," offers Martin James.



Having said all this, one would think that it's definitely easier to work behind the camera than in front of it. Filmmakers make up their own destiny, they write or they find a good script and they go out actively looking for actors. Actors, on the other hand, have to simply wait there to be picked.



Casting Directors feel that it's not so negative. If an actor is good, filmmakers will seek him out, it's just a matter of polishing your tools and you will be found eventually. "Think of it as a more passive-aggressive approach to starting a career. You have to smile, and let them make the first step."



While many would argue that Machiavelli Hangman or Pulp Fiction was all about the writing and it made the acting what it is, others claim that the acting made those films what they are. For instance, Lost In Translation would not have become the brilliant film that it is if it wasn't for Bill Murray's improvisational genius. The script is said to have been originally only 15 pages long and Murray had to fill in the gaps. That's a lot of filling!



There is also a certain masochistic element to being an actor. You have to get used to getting rejected and you have to use it to get stronger. The rejection has to become a pleasure that you can turn into energy. "Some actors go in expecting to be rejected. They get a certain high from it," Bob Fern-Jacobs, after auditioning for Lord of the Rings.



Actors, keep at it, get better. Build your experience, and they will come!

About Author

Paula Stigger is a writer of filmic articles and a full-time independent entertainment columnist. This article has resulted from interviews conducted with the actors participating in the upcoming film Machiavelli Hangman. http://www.hangmanmovie.com









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007 Zealots Protest Daniel Craig

Bond Fans Not Happy With Craig

In the upcoming James Bond film, “Casino Royale,” British actor Daniel Craig will play the lead role of James Bond. This, however, does not sit well with a group of James Bond fans, who have launched a Web site, http://www.craignotbond.com.



A statement on the site said that “EON Productions angered fans around the world when they fired Pierce Brosnan at the height of his popularity as Bond. To add insult to injury, EON cast a short, blond, odd-looking Daniel Craig in the role of Bond.”



The site goes on to ask, “How can a short, blond actor with the rough face of a professional boxer and a penchant for playing killers, cranks, cads, and gigolos pull off the role of a tall, dark, handsome and suave secret agent?”



The angry group of Bond fans have threatened to boycott “Casino Royale” and any other Bond films that Craig will star in.



Though Craig may have a wounded pride from all of these happenings, he does have a big supporter in his predecessor, Pierce Brosnan.



“I think Daniel is a very fine actor. These are rocky waters, and they’re going to get him one way or another, but I think he will have the last laugh at the end of it,” Brosnan said.



Craig has had roles in “Munich” and “The Jacket.” He accepted the role of Bond last October, and filming for the movie began last month in Prague. Last week the producers of the film cast French actress Eva Green as Bond girl Vesper Lynd and Danish actor Mads Mikkelsen as the villain le Chiffre.

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Russell Crowe and Nicole Kidman

Crowe and Kidman to Unite in Aussie Film

After a failed attempt at collaborating on “Eucalyptus,” Russell Crowe and Nicole Kidman are looking to team with “Moulin Rouge” director Baz Luhrmann. All three are Australian.



Crowe and Kidman have signed on to star in what is being called an epic Australian Outback film set in the years up to and including World War II. The film, codenamed “Project Oklahoma,” will begin in the 1930s and stretch to the 1942 Japanese bombing of the tropical city of Darwin.



“We’ve talked a bout it for over seven years, that we must do something together in Australia.” Luhrmann said to the Sydney Morning Herald.



Kidman said that she was looking forward to making a “uniquely Australian story” with Crowe, who she calls her “good friend.”



Luhrmann compared the film to “Gone with the Wind” and “Lawrence of Arabia.” “Collateral” screenwriter Stuart Beattie will work with Luhrmann on the script for the film.



Kidman has had a working history with Luhrmann, who directed the three minute, multimillion-dollar Chanel No. 5 commercial in which Kidman starred.



The rumored budget for the film is said to be about $40 million in Australian currency, which is equivalent to about $30 million in U.S. dollars. Filming is set to begin in August, and the film is projected to be released in 2007.

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Movies



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George Takei Comes Out

Gay Sulu

Actor George Takei of Star Trek fame has come out of the closet and announced his gayness to the world. The actor played the character of Sulu the helmsman on the TV show Star Trek and later in the movies based on the television series. Takei, in his announcement, cited the fact that society has changed to such an extent that he no longer felt he had to conceal his sexual orientation. But mostly, I believe, he knew that it wasn't going to negatively affect his career as much as it might have, both because of the more tolerant atmosphere in the United States and also because being a pretty old guy by this time with money in the bank, his career is undoubtedly winding down. If he has a career at all.

He had been slated to appear in the last Star Trek movie with the original cast in a very small part, but he found out that were he to decline this part, the writers would make a reference to Captain Sulu having his own Star Ship. Which is what he decided to do. The other Star Trek actors roundly criticized him for turning down a real-life role paying actual money so that the fictional character he used to play could get an imaginary promotion. I'm guessing that he knew that whatever lasting fame and immortality he would ever have was tied to the character of Sulu and he wants his obituary to read that he played the role of Captain Sulu instead of merely Commander Sulu. It also shows a lot of dedication to the creative process to pass on real cash.

I'd read his autobiography a number of years ago. Obviously he hadn't made any reference to his lifestyle back then, but I do recall him saying that it was difficult for a Japanese actor to get any roles aside from 'houseboy' in plays and movies. Kids, back in those days every gay man was an actor. Every single one of them (for the most part), every single day had to pretend that he was straight and not acknowledge the thoughts and desires that were illegal in all fifty states. It's no surprise that so many of them chose to get paid for what they were doing already for free.

Star Trek for it's time was extremely ground breaking merely for showing an egalitarian work place where men and women and people from different countries and ethnic groups worked side by side. That work place did not exist in the mid 1960's and to even show it as a possibility was controversial. Portraying openly gay characters would have been entirely beyond the pale.

If you look at old time TV shows and movies you can see that there were gay characters portrayed, but only for comic relief. You know, look at those funny men who act like women - that sort of thing.

My belief is that a lot of the 'buddy' movies of the past were actually code for gay relationships. Look at Abbot and Costello. Don't tell me that those two men weren't involved in a loving monogamous relationship. Or Hope and Crosby. Why were they always on the road to somewhere or the other? It was because they would keep getting run out of town for their deviant ways and had to take to the road. Martin and Lewis? Okay. Sure there was always a lot of talk about Dean and his women - so maybe he was Bi - but you always, always knew who his first love was, didn't you? At the end of the movie, who did Dean Martin end up with?

And the three stooges, what was their story? Why were these three men always together everywhere? Well, I've got the answer and it's simple if you think about it: Gay swingers.

About Author

Steve Sommers is the author of REXROI, and Evil Super-Villains need Love, Too ... and other important wisdom. (Both books can be viewed by simply clicking on the titles)



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D. C. Anderson

San Francisco voice coach, George Quick reviews the latest CD from D.C. Anderson

“Spin it a couple of times before forming an opinion. It’ll grow on ya.” – D.C. Anderson

D.C. Anderson is a New York City based actor, singer/songwriter and photographer. As an actor he has appeared on Broadway in Andrew Lloyd Webber's The Phantom Of The Opera, on National Tour in Pippin (as Pippin), The Life And Adventures of Nicholas Nickleby, and Martin Guerre, regionally at the Guthrie and Steppenwolf Theaters and in episodic TV and movies made for television. As a cabaret performer he has made 6 appearances in the Mabel Mercer Foundation's Cabaret Convention at Town Hall in NYC as well as gigged at Don't Tell Mama, Triad, 88's, Toulouse, Davenport's, Downstairs Cabaret Theater, the Plush Room, the Cinegrill and Gardenia cabaret rooms. Cabaret Noel: A Broadway Cares Christmas, the 2 CD holiday benefit recording, was initiated and co-produced by D.C. in 1993. In 1995, along with Karen Benjamin and Margaret Irwin, he produced the first in what has become an annual nationwide benefit event – A Holiday Cabaret. His solo recordings include the CD's Time Was (1993), The Box Under The Bed (1997), Blue Summer Day (2000), All Is Calm, All Is Bright (2001), Collected (2002) and Ballad (2004). D.C. is also a Bistro award-winning songwriter. A revue of his songs Not For The Squeamish has been performed in New York City and Minneapolis. His songbook Songs By D.C. And...Volume 1 is available through LMLMusic.com. PBS stations nationwide have broadcast his 1997 concert as a part of the Brownville Concert Series. www.dcanderson.net

D.C. Anderson is a friend of mine. We’ve worked in the theatre together a few times. In the nineties, we performed together in a production of Man Of La Mancha. Around that same time, I directed him in a production of You’re Gonna Love Tomorrow. During that same season, I directed him in a production of Dames At Sea. D.C.’s sister, Claudia and I worked together on a tiny little holiday production of Amahl And The Night Visitors. Back then, D.C. gave me his first CD, Time Was, and it played over and over at my house (still does). I have always thought that D.C. Anderson has a perfect voice (in the same way that I’ve always thought that Barbara Cook has a perfect voice). He has an ideal vocal production that I’ve always strived for and always teach in my voice and acting lessons. The sound is musical, effortless and alive. There’s nothing forced about what D.C. does. His singing voice is his speaking voice made melodic. Since D.C. is a strong actor, there’s a real presence in his songs – he’s there in-the-moment in each song. Each song is a mini-play, or really, in these recordings, more like a small independent film. I have used recordings by many famous singers to demonstrate certain performance techniques when teaching my voice lessons, about this ability to fully become the song. D.C. Anderson’s recordings are a master’s lessons in performing this way, together with his impeccable vocal technique.

“Theatre people” will enjoy this CD, while this CD is not really “theatrical” (in that it is not a bunch of show tunes). This CD is a collection of songs that are gentle, humorous, sad, witty, grieving, tender and touching. It’s a sort of song cycle of modern art songs - songs that are in a sort of folk style. I write that with trepidation, as it implies a sort of “stuffy” or “old fashioned” sensibility, and this CD is not “stuffy” or “old fashioned” even while it is in the best possible way, “old school.” This CD is like a well-made independent film. Not catering to the mass-market style of popular music today, i am still is true to itself, true to D.C. Anderson as an artist.

I was lucky enough to receive this CD in the mail a month ago and have been living with the CD ever since. Now I think it is time that I tell others they should add this CD to their musical libraries. Students of voice and acting should pay close attention. There’s a self-deprecating sense of humor in some of the songs and in the note that accompanied the CD:

“You’ll either head right over to your computer to order additional copies for friends, relatives and co-workers from LMLMusic.com or iTunes or you’ll turn to your cat and say, ‘yet another CD from D.C. – isn’t that nice’ and put it under his bowl to protect the linoleum. ”

D.C. has a cottage industry with his recordings at www.dcanderson.net (not unlike my own little cottage industry of teaching voice and acting in San Francisco). D.C. plans to conquer the world of recorded sound, friend by friend - and I plan to help him make that a reality.

Now, for some of my favorite songs on the collection (they’re all wonderful, these are just my favorites today as I write this). First there’s I Am Still, which is such a beautiful poem, a short film of a piece. I should mention here that the music is by Steven Landau and it is quite good. Steven, another old friend, was musical director of the first national tour of Titanic, and musical director and arranger for the critically acclaimed Deaf West Theater production of Big River, which played at the Mark Taper Forum in Los Angeles, on Broadway at the American Airlines theater, and on international tour. Years ago, I was part of a singing duo, Corber and Quick, with Judy Corber (who is now the brilliantly talented up-and-coming jazz-singer-to-know, Judith Wexler www.judywexler.com). Steven Landau was our orchestra at the keyboard. He was a great arranger for us, and a great man. I’m so happy that he’s writing these great songs with D.C. They’re great pairing, along with the other composers on this collection.

This is how intimate the CD is - one of the funniest bits is the false start to Have Fun, it takes us right into the recording session with D.C. The song is pretty damned funny as well, and Elizabeth Doyle’s music gives a very enjoyable Maltby/Shire feel to it. D.C. is so great at putting hilarity, joy and fun right into his voice. Sad Man – an achingly tender song, with music by Ron Zimmerman. These lyrics are so simple and moving. The music has an almost retro sixties feel, while it sometimes reminds me of Sondheim, sometimes of Bacharach and David, it always perfectly suits the lyrics. The man in this song is so fragile, so vulnerable. Simply an elegant song, sung by a master musician. The intensely intimate guitar work at the top of Hard This Goodbye sets up the lonely lyricism that follows. The piano joins D.C. and the guitar for an effective trio. There’s a driving force to this ballad… driven to the hard goodbye of the title. There are few rare gems like The Visit in this world, and I am grateful to D.C. and to Steven for putting this one in such a perfect setting. Oh, I could write something about each song. Let me just add that Dear Mother is exquisite. The final song, Fixed Up Heart with music by Steven Landau, is another fluid blending of lyrics, guitar, piano, singer and song. Listen to this CD to discover which songs are your favorites.

Okay, I have to comment on Hello Nancy, Goodbye Ron. Nancy Reagan and Ronald Reagan… D.C. has captured honest feelings that many of us experienced in dealing with this iconic couple - the man who turned his back on the AIDS crisis, and the woman who fights for stem cell research and a cure for Alzheimer’s. When the people in this country are so divided (so the media tells us), it is comforting to experience art of this sort, that deals with the grey areas (or, since we are divided red from blue, should that be the violet area?)

This is a great CD. It does grow on you as D.C. says. I find that it is a wonderful CD to listen to on the iPod, as it gives it that same intimacy with which the CD was recorded. Buy the CD, tell your friends about the CD. Go see D.C. live on December 4th in Manhattan at the Metropolitan Room and, believe it or not, in Fargo North Dakota playing Buddy in Follies: The Concert at North Dakota State in February of next year.

Thanks for taking the time to read this. I hope you’ll take the time to visit D.C.’s website (www.dcanderson.net) and buy an album or two (the holidays are coming, and D.C.’s music makes for great gift giving).

Meanwhile, I continue to teach voice and teach acting in San Francisco while I continue to write about theatre and singing, among other things, at my website (www.performancecoachsf.com). Another project I’m now directing is an experimental first production of the new musical Homeland, by Jay Kuo, performing at the Magic Theatre in mid-December. (We had great success with Jay’s first musical Insignificant Others at The New Conservatory Theatre Center in San Francisco this summer). If you’re interested in voice coaching, acting lessons and such, drop by my website – www.performancecoachsf.com and see what I have to offer.

About Author

George Quick, a San Francisco
voice coach has been a professional actor for over 30 years, a
voice coach for 15 years and a professional theatre director for more than 10 years. Quick teaches acting,
singing and public speaking in San Francisco.




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