Podcasts about neighborhood playhouse

First, there's the voice. Devoid of affectation or theatrics, it's a delightful instrument, one wielded with true subtlety. Technically a dramatic mezzo, it moves with graceful ease from slightly husky sensuality to bluesy boisterousness conveying, at turns, sweet romanticism and gently aching melancholy. Its purity of tone matched by impeccable phrasing, this is a voice to be reckoned with. Then there are the songs. On Arms Full of Roses, her debut album, Hayle covered pop classics “Look of Love” and “Can't Take My Eyes off You”, but it was her own compositions, evocative of Gershwin and Cole Porter, that truly captured the imagination. Her virtually unclassifiable style, and extraordinary gift for both music and lyrics, is again evident on So Much For Good Behaviour. Featuring original songs sure to be mistaken as classics, (“But You Do”, “Summer's Kiss” and “Impossible You” among them); a who's who of Canadian musicians (including the legendary Guido Basso, with a haunting chromatic harmonica solo on Summers Kiss); and the contributions of Juno Award-winning recording engineer John Bailey, and Emmy Award-winning producer Don Breithaupt, So Much For Good Behaviour is a confluence of artistry and ingenuity. “These songs wrote themselves. In fact, I didn't quite know where they were going until they took me there,” says Hayle, of her quirky, complex and layered compositions. Consider the poetry and homage to a by-gone era, and you'll understand why this is something special: Drunk on second chances / This serenade / A cavalcade / Of flowery would be trues... and It's helplessly, haplessly / Hopelessly, maddeningly / Wonderful Wanting You... and Did I misread your glance as something more than fleeting / Did I mistake the kiss that lingers on my lips / I only ask as winter passes / You will remember / And save me your Summer's Kiss And Then. Montreal-born and Toronto-based, this jazz chanteuse has had a fascinatingly chameleonic career, and draws from a deep well of experience in creating her work. Hayle's musical, vocal and lyrical maturity, so evident on the albums, is eloquent testimony to a lifelong commitment to the crafts of singing and song writing. Robyn Hayle, began vocal and piano lessons at the Royal Conservatory in Montreal at age seven, and won her first International Music Competition at nine, singing “Faust.” By thirteen, she was performing in city clubs, singing backup for popular Quebec entertainer Tony Roman. At 15, Hayle became the youngest music student ever at McGill, but soon defected to rock 'n roll. She toured with such stars as Johnny Farrago and Patsy Gallant and headed her own bands, prior to relocating to Toronto, where she was soon in demand for jingles and voiceover work — in both official languages. In Toronto, Robyn also worked on children's programming for TVO, including Sesame Street, and the internationally acclaimed Today's Special, in which she played the computer “TXL Series Four”, and did animated voices that earned her a global cult following. A stint in New York City studying at the Neighborhood Playhouse was followed by a move to Los Angeles. RH Returning to her first love — and passion — Robyn Hayle is currently promoting the recently released So Much For Good Behaviour. #robynhayle #standupcomedian #todaysspecial #chrispomay #livewithcdp #barrycullenchevrolet For more information, contact info@robynhayle.com.https://robynhayle.comhomehttps://beacons.ai/chrisdpomayhttps://www.cameo.com/chrispomaypaypal.me/chrispomayWant to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/54200596.

WE'RE BACK! On the island that is. After a two week hiatus, Luk and Dom have returned to the island with the season 2 premiere, "Man of Science, Man of Faith" another crucially important episode in the history/canon of Lost. Jack and Locke argue about going down the hatch after blowing it open, the origin of how Jack met his wife is revealed, and we get our first new main character, Desmond Henry Hume! After that, Dom is joined by fellow Neighborhood Playhouse alumni Daniel Mazzarolo to break down the Brazilian entry for foreign film and surprise best picture nominee, I'm still Here, which stars Fernanda Torres as Eunice Paiva, who's husband was one of many killed by the military dictatorship of Brazil during the 1970's. The movie is nominated for Best Picture, Best Actress for Torres and Best Foreign Language Film. Be sure to keep tuning into brand new episodes every week only on the #talkintvpodcast

Alright people! The 2024 recaps are over, so we can now, FINALLY, look ahead to 2025. And after an absolutely embarassing turn by the Chiefs, as well as Kendrick putting the final nail in Drake's coffin, we can talk about the movies that we saw a few brief glimpses of during the game as well as some of the movies we're looking forward to this year. Dom is joined once again by Luk as well as newcomer and Neighborhood Playhouse alumni Helen Romeu-Coombes, as we break down the new Fantastic Four & Jurassic World trailers we got this past week as well as some of the biggest (and smallest) movies we're getting later this year. All of this and more, every week, only on the #talkintvpodcast

Music licensed from Lickd. The biggest mainstream and stock music platform for content creators.Rocking All Night by Pete Masitti, John Andrew Barrow, https://t.lickd.co/yY7qAnkb17A License ID: 5JQPWa0dZPpIf you want to use music from famous artists, try Lickd to get track credits and unlimited stock music: https://app.lickd.co/r/2499b92c963c4df295ab0375c59aab2fRon has a background in art both physical and 3D  as well as music and video and has worked to produce 3D content for various multimedia projects.  Ron has been involved in paranormal and UFO research for over thirty years following personal experiences which led him to eventually found Wild & Weird West Virginia around 2017 along with  friend and business partner Joe Perdue.  The mission is to investigate,  document, and record the many strange accounts in West Virginia and beyond.  Through this they hope to  help others who may have experienced an encounter to try to find some answers. Ron was featured in the Small Towns Monsters film. "The Mothman Legacy" and can be seen in "On the Trail of UFOs  - Dark Sky" and most recently featured in the Bigfoot series "Sasquatch Unearthed: Mountain State Monsters (True Bigfoot Encounters)"Ron's editing work and art can be seen in the series "Paranormal Horizons" which was written, filmed and created by Wild & Weird WV for Small Town Monsters Productions in 2024. Ron has also contributed both art and accounts for Dave Spink's "Real West Virginia UFOs -The Revised Edition" As well as artwork for the same authors book "Cooking With Cryptids" and other publications.Ron has spoken at many conventions including The Mothman Festival and the Wytheville UFO Festival to name a few.https://www.wildandweirdwv.com/bioJoe PerdueJoe is a USAF Veteran, Chef,  Master Naturalist & Conservationist.   Joe's main interests are Bigfoot related, following a sighting in his past he became fascinated with the possibility that a large undiscovered primate could be living in our forests.  He is a Co-founder of Wild & Weird West Virginia as well as the lead sculptor and mold maker for the Wild & Weird product lines as well.   Joe is also host of the Wild & Weird West Virginia Podcast "Wild & Weird Radio" .  Walter Koenig — actor, director, screenwriter, novelist, acting professor, and comic book creator — played Ensign Pavel Chekov in the orignal Star Trek begining with Season 2.Born in Manhattan in 1936 to Lithuanian Russian Jewish parents, Koenig was bitten by the acting bug early in his youth. He studied at the Neighborhood Playhouse in New York, where he worked with fellow students James Caan, Elizabeth Ashley, and Dabney Coleman. His stage career spans 30 years and includes stops in New York, Chicago, Los Angeles and many other cities. He appeared in many plays and television shows of the late 1950s and early 1960s, including the Mr. Novak series, and even produced and wrote his own feature film in 1967, I Wish I May. And then in 1967 came Chekov.Koenig of course has also played Chekov in the first seven of the big screen Star Trek films and played the recurring character of Alfred Bester in the TV series Babylon 5. Aside from two genre roles, he has appeared in 40 different TV series and television movies, including "Anthony and Cleopatra" starring Timothy Dalton and Lynn Redgrave.Become a supporter of this podcast: https://www.spreaker.com/podcast/gary-s-night-dreams-talk-radio--2788432/support.

TVC 661.4: Ed and guest co-host Chuck Harter welcome back actor, author, producer, director, screenwriter, and novelist Walter Koenig (Star Trek, Babylon 5). Walter's memoir Beaming Up and Getting Off: Life Before and Beyond Star Trek is a delightfully candid, often poignant, and very insightful read that walks you through his growing up years as the son of Russian immigrants in 1940s Manhattan; his formative years as an actor with the Neighborhood Playhouse in New York (where his classmates included Christopher Lloyd, Jessica Walter, Dabney Coleman, Brenda Vaccaro, Elizabeth Ashley, and James Caan); his lifelong love of theatre; and his deep appreciation for the many opportunities that Star Trek has given him. Beaming Up and Getting Off is available in hardcover and as an eBook through Jacobs Brown Media Group. Topics this segment include the through line between Walter's three appearances on Mr. Novak and how he was eventually cast as Chekhov on Star Trek in 1967. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Douglas J Cohen Doug received the 2010 Fred Ebb Award for Musical Theatre Songwriting and won two Richard Rodgers Awards for writing book, music, and lyrics for NO WAY TO TREAT A LADY (produced twice off-Broadway resulting in over 100 productions worldwide; an upcoming NY commercial production in-the-works through producer Larry Hirschhorn) and THE GIG (O'Neill National Music Theatre Conference, Manhattan Theatre Club Stage II, Goodspeed, York Theatre Company concert on CD and reading in conjunction with the Noël Coward Prize, and Sacramento Music Circus). Doug is the composer/lyricist of THE BIG TIME (book by Douglas Carter Beane) which debuted at the NYMF Festival; plans are underway for a Broadway-bound production. Nominated for a 2005 Drama Desk Award (Outstanding Lyrics, CHILDREN'S LETTERS TO GOD), he penned co-book, music, and lyrics for THE OPPOSITE OF SEX (Williamstown Theatre Festival) and received a Jonathan Larson Grant for composing BARNSTORMER, which has recently been optioned for New York by producer Lawrence Poster. Doug is the composer of GLIMMERGLASS (NAMT Conference 2000, readings through the Village Theatre and Melting Pot, productions at Goodspeed at Chester, Spirit of Broadway – Best Production of 2008) and A CHARLES DICKENS CHRISTMAS (produced by Theatreworks/USA and licensed through MTI). He also penned book and lyrics to VALENTINO'S TANGO (with music by Howard Marren, choreographed/directed by Chet Walker) and contributed original songs to JACKIE COLLINS' HOLLYWOOD LIES, and BOOZY (Robert Moses), the latter produced by Les Freres Corbusier and directed by Tony nominee Alex Timbers, which enjoyed runs at both the Ohio Theatre and Culture Project. His latest musicals are NINE WIVES with collaborator Dan Elish (which has been optioned by producers Larry Hirschhorn and Jayson Raitt and selected for the 2013 Goodspeed Festival of New Artists) HELEN OF TROY written with future West End lyricist/ playwright Zoe Samuel and workshopped at Coastal Carolina University, and BRIDGES, commissioned by The Berkeley Playhouse written with BARNSTORMER collaborator, Cheryl L. Davis. His new play, LOVELY SEND ANYWHERE, a finalist for the Laurents-Hatcher Award, has been developed at the Lark Play Development Center and received a reading in October 2012 starring Santino Fontana and Condola Rashad. A graduate of Amherst College, Doug recently joined the faculty of the Neighborhood Playhouse where he teaches the 2nd year students in song interpretation. He is a member of the Dramatists Guild, ASCAP, and the BMI Musical Theatre Workshop. How to Survive a Killer Musical: Agony and Ecstasy on the Road to Broadway When the young composer-lyricist Douglas Cohen first secured the musical rights to the novel No Way to Treat a Lady by William Goldman—the acclaimed author of The Princess Bride and Marathon Man—he hoped it would be his big break, the first step on a gilt path to artistic triumph and commercial success in the form of a hit Broadway musical. What happened after that, while memorable, was anything but. How to Survive a Killer Musical chronicles Cohen's decade-long quest to bring that musical to the stage—writing, re-writing, and shepherding it across the US and Europe amidst all manner of adversity and plain rotten luck. It's a fascinating portrait of passion, persistence, and resilience—a coming-of-age story populated with famous mentors and formidable adversaries, told with refreshing honesty and humor.

In this episode, we dive into the world of performance and self-expression with Elma Linz Kanefield, author of 'Hamlet's Mirror: Reaching Your Performance Potential'. Elma shares her expertise on how to overcome obstacles, build confidence, and unlock your full potential. Join us as we explore the intersection of performance, psychology, and personal growth, and discover how 'Hamlet's Mirror' can help you reach new heights in your craft and beyond.About ElmaElma Linz Kanefield, LCSW, CPC, succumbed to debilitating stage fright as a young performer which left her voice… silent. However, rather than remain devastated and at the effect of her fear, she transformed her fright into her life's calling and became a specialist in the psychology of the performing artist.So passionate was Elma about addressing the special personal and professional needs, challenges and possibilities of performing artists that she relocated in 1980 from the Midwest to New York City to open the only Psychotherapeutic private practice exclusive to performers. For the last four decades Elma has been healing and empowering artists at all ages and stages of their lives and careersIn 1986, Elma became the Founding Director of The Juilliard School's Counseling Services. She created the first of its kind, on-campus, fully staffed psychotherapy facility, offering unlimited, confidential sessions to serve the entire graduate and post-graduate student body. The Juilliard School's Counseling Services remains the only mental health service in the world for performing arts students in an independent performing arts institution. Elma has continued to serve The Juilliard School as a clinical and organizational consultant.Elma attended Connecticut College in New London, Connecticut and attained her undergraduate degree with honors in psychology at Webster University in St. Louis, Missouri. She went on to earn her Masters of Social Work at Washington University in St. Louis and did her post-graduate studies in Advanced Psychodynamic Psychotherapy at the Psychoanalytic Institute in St. Louis. In New York City, Elma became a Certified Professional Life Coach at iPEC, the Institute for Professional Excellence in Coaching. She also studied at The Neighborhood Playhouse in New York City and Yale Music Summer School in Norwalk, Connecticut. Elma is a member of Actors Equity.Elma's philanthropic work includes Board memberships on: The Actors Center, The New York New Music Ensemble, The Juilliard Council, The Actor's Fund's Dancer's Resource Advisory Council, and Chair of the Artist for the Cure Benefit at Carnegie Hall. In 1999, Elma became a member of The Lotos Club, an arts and literary club founded in 1870 in New York City. As a member, she was asked to serve on The Lotos Foundation Board that offers grants to noteworthy arts organizations in the city.Not only has Elma written and lectured about her specialization on the psychology of the performing artist, but her pioneering expertise on stage fright has been written about and quoted in The New York Times, Time Magazine, The US and Canadian Opera News, In Style Magazine, The Daily News, and other trade publications. Elma recently published a book reflecting her life's work entitled Hamlet's Mirror, Reaching Your Performance Potential Onstage and Off.https://www.elmalinzkanefield.com/https://a.co/d/fzLfJc2Become a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.

This Canadian actor was most famous for his role as Montgomery Scott (Scotty), the chief engineer of the Starship Enterprise in the television and film series “Star Trek.” He did appear in other TV shows and movies, but was limited due to being typecast. James Doohan in real life was with a Canadian infantry division that landed at Juno Beach on D-Day. He was accidentally hit by six rounds of fire from the gun of a Canadian sentry. A bullet to his chest was stopped by a cigarette case given to him by his brother. One bullet hit his right middle finger, which had to be amputated. He would conceal that hand in the movies, sometimes using a flesh-colored glove. Doohan was part of a radio group, “The Neighborhood Playhouse” which included Leslie Nielsen and Tony Randall. Did James use an accent when he played Scotty? He'll answer that question. Because of the engineer character he played on “Star Trek,” many students pursued careers in engineering. The Milwaukee School of Engineering presented Doohan with an honorary degree in engineering.

Join us on this week's Transforming 45 episode as we welcome the remarkable Amy Lyndon—an esteemed celebrity acting coach, actress, and CEO of I Am Enough. Amy is Hollywood's revered Celebrity Acting/Booking Coach, renowned for her groundbreaking work through her revolutionary book, "The Lyndon Technique: The 15 Guideline Map to Booking." In this creative conversation, Amy shares her extraordinary journey—a path marked by dedication, relentless pursuit, and profound experiences. Amy's career began with her early steps into acting at age 10 and later traversing to study at acclaimed institutions like The Neighborhood Playhouse, The London Academy of Performing Arts, and Syracuse University. Her wealth of knowledge and experiences span across training with Master Teachers Stella Adler and Harry Mastrogeorge, honing her skills at esteemed institutions, and accumulating over 110 IMDB credits. Amy's insightful guidance extends from sharing the philosophical principles of booking to unraveling the importance of marketing and business strategies in the acting world. Amy's poignant insights into the essence of getting lost in one's craft—be it acting, dance, or art—highlight the connection between dedication, purpose, and finding one's voice. Tune in to delve into the world of acting, purposeful dedication, and the transformative power of getting lost in your passion. As always where you can find me: Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Download Free Guide and join mailing list⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook Group⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ lisa@leaninfindhome.ca Where you can find Amy: I AM ENOUGH BRAND ▶ http://iamenoughcollection.com Use code ENOUGH20 to receive 20% off anything on the site.   LEARN AMY'S BOOKING AND BUSINESS TECHNIQUE AT HOME   GET A FREE 15 GUIDELINE MAP TO BOOKING CHEAT SHEET ▶ http://thelyndontechnique.com   JOIN AMY'S PRIVATE CLUB FOR ACTORS ▶ http://actor.club   JOIN AMY'S BIZ AND BOOKING SITE ▶ http://theactorstoolbox.net    LEARN THE TECHNIQUE AT HOME ON VIMEO ON DEMAND ▶ https://vimeo.com/ondemand/thelyndontechnique.com    LEARN HOW TO BOOK ACTING JOBS FROM UDEMY COURSE ▶ https://www.udemy.com/course/how-to-book-acting-jobs/?referralCode=987987F24E0E0E09DE24   AUDIO BOOK: THE LYNDON TECHNIQUE EXTENDED AND UNPLUGGED https://www.audible.com/pd/The-Lyndon-Technique-Audiobook/B01N0OCGTK   LISTEN TO AMY'S PODCAST “ACTORS! YOU ARE ENOUGH!!” ▶ https://podcasters.spotify.com/pod/show/actorsyouareenough   JOIN THE LYNDON TECHNIQUE CLASSES & BUY MERCH ▶ https://thelyndontechnique.com/store/   TWEET AMY ▶ http://twitter.com/amylyndon    FOLLOW AMY ▶ http://instagram.com/amylyndon   FACEBOOK ▶ https://www.facebook.com/AmyLyndonLevine    YOUTUBE ▶ https://www.youtube.com/c/AmyLyndonCelebrityBookingCoach Learn more about your ad choices. Visit megaphone.fm/adchoices

Nicole ArlynTake a walk with me down Fascination Street as I get to know actress, author, producer Nicole Arlyn. In this episode, we chat about her growing up in a small community where there may have been some artistic elements to the local water source! Then we discuss what made her choose Ohio State University, and compete in The Miss Ohio beauty pageant, before leaving it all behind to follow her dreams as an actress in Paris, France. She tells us what brought her back to New York to study at The Neighborhood Playhouse, and what famous magician finally talked her into going to Los Angeles to make a name for herself in Hollywood. Along the way, Nicole shares stories of some of her acting projects like: Pot Luck, Clay Pigeons, and Til Death Do Us Part. Of course, I ask her what it was like to work with such greats as: Joaquin Phoenix, Michale Imperioli, and Jason Patrick. Finally, we get into why she decided to write 26 fantasy novels, including The Sugarspear Chronicles.... which she is turning into films with her 8 year old son and their Bird I The Wild production company. This is a lot of fun, and a wild ride, to be sure. Enjoy!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4068452/advertisement

For episode 091 of Actorcast, we are joined by James Brill! Jim is an acting teacher who teaches the Meisner Technique at The Neighborhood Playhouse. I had the opportunity to study with Jim this past summer and it was an incredible experience. In this episode, we talk about Jim's experience studying with Sanford Meisner himself, what the Meisner Technique is exactly, why actors must work from a point of view, and much more. You can learn more about the Neighborhood Playhouse by visiting their website at https://neighborhoodplayhouse.org/. You can visit them at 340 E 54th St in New York City, or call at 212-688-5770 to learn more about their program. Jim also teaches at his own private studio. You can learn more about that by visiting his website at https://www.jamesbrillacting.com/ James Brill has been teaching acting in New York for close to three decades both privately and at The Neighborhood Playhouse. In 1983 he graduated from The Playhouse where he studied acting with Sanford Meisner, William Alderson and Richard Pinter. After graduation he began his career as an actor and has worked in theatre, film, & television. Early on Mr. Brill was drawn to the idea being a teacher of the Meisner Technique and began an apprenticeship under his artistic mentors from the Neighborhood Playhouse to learn the craft of teaching acting. In addition to being a faculty member at The Playhouse he has also taught at the University of the Arts in Philadelphia, the American Academy of Dramatic Arts in NYC, and runs a successful private acting studio in NYC.

Walter Koenig — actor, director, screenwriter, novelist, acting professor, and comic book creator — played Ensign Pavel Chekov in the orignal Star Trek begining with Season 2.Born in Manhattan in 1936 to Lithuanian Russian Jewish parents, Koenig was bitten by the acting bug early in his youth. He studied at the Neighborhood Playhouse in New York, where he worked with fellow students James Caan, Elizabeth Ashley, and Dabney Coleman. His stage career spans 30 years and includes stops in New York, Chicago, Los Angeles and many other cities. He appeared in many plays and television shows of the late 1950s and early 1960s, including the Mr. Novak series, and even produced and wrote his own feature film in 1967, I Wish I May. And then in 1967 came Chekov.Koenig of course has also played Chekov in the first seven of the big screen Star Trek films and played the recurring character of Alfred Bester in the TV series Babylon 5. Aside from two genre roles, he has appeared in 40 different TV series and television movies, including "Anthony and Cleopatra" starring Timothy Dalton and Lynn Redgrave.A natural writer, Koenig has written for the television shows

‘City Lights Theater Company' – Silicon Valley's Outreach for Assistance: City Lights Theater Company has inspired and stimulated audiences since its establishment in 1982. Located in the heart of downtown San Jose, this vibrant theater space draws in a diverse community of artists, educators, students, and theater enthusiasts. Explore the links below to discover what makes this venue buzz with creativity and find opportunities to become a part of it. America's Theater and Live Shows Problems: Decline in ticket sales: Ticket sales for the latest season were down 27% from the pre-pandemic levels. This represents a loss of over $1 billion in revenue Regional Theatres Closing: Last year, 20% of regional theaters had closed. This represents a loss of over 100 theaters. Lack of Diversity: In the past year, 22% of Black Americans and 28% of Hispanic Americans went to a live performance, whereas 48% of White Americans did the same * Data cited from internet sources and may not be 100% updated City Lights Theater Company's Mission: City Lights Theater Company creates provocative live productions that engage, inspire, and challenge audiences and artists through innovative concepts, intimate staging, and uncompromising storytelling. About the Guest: Lisa Mallette has worked as an actor, director, and manager for countless theater companies throughout the Western United States. She became Managing Director of City Lights Theater Company of San José in 2001 and Executive Artistic Director in 2004. She has since led City Lights through over a decade of unprecedented artistic and administrative growth, winning widespread public and industry acclaim and closing 16 consecutive years in the black, a run ended only by the COVID-19 pandemic. Lisa is a Pacific Conservatory of Performing Arts graduate in Santa Maria, California, the Neighborhood Playhouse in New York City, and a proud Actors' Equity Association and SAG/AFTRA member. In this Episode: In this episode, you can anticipate an insightful conversation with Lisa Mallette, the dedicated leader of City Lights Theater Company. Lisa shares her journey, experiences, and the organization's remarkable history since its founding in 1982. Discover how City Lights has continually inspired and challenged audiences through various plays and musicals, including fresh, new works. We dive into the dynamic atmosphere of their downtown San Jose theater, which is a magnet for artists, educators, students, and avid theatergoers. And we learn more about the captivating world of theater and how you can actively participate in this thriving creative community. “Thinking strategically is one vital lesson. And the other one is to be kind.” – Lisa Mallette Show Notes: The history of City Lights Theater Company how it was established by a group of passionate artists in San Jose, and how it has evolved over the years How City Lights has become a hub for innovative and thought-provoking productions, including a wide array of fresh new works Insights into Lisa Mallette's journey and her role as a dedicated leader in steering City Lights to success How City Lights aims to create a holistic theater experience, fostering connections between artists and audiences Why building meaningful relationships is key to City Lights' success and how it influences their approach to theater The challenges faced by City Lights and the broader theater industry, especially during the COVID-19 pandemic Reconnecting with Live Theater: Understand the efforts to rekindle the audience's love for live theater in an era dominated by streaming and digital entertainment Advice on what it takes to succeed as an artist, emphasizing kindness and collaboration How the theater industry is changing, evolving, and adapting to the challenges of our times An Invitation to Get Involved: Discover opportunities for engagement with City Lights Theater Company, whether you're an artist, patron, or enthusiast Links Mentioned: Susan G. Komen Breast Cancer Foundation Silicon Valley Pride Teatro Visión Connect with City Lights Theater Company: Facebook | Instagram | LinkedIn | YouTube If you are interested in joining ‘City Lights Theater Company', contact: Address: 529 S 2nd St. San Jose, California, 95112 Website: https://cltc.org/Email: citylights@cltc.org

For episode 087 of Actorcast we are joined by my friend, actor and singer, Luisa Tascone! Luisa is such a wonderful person. I had the opportunity to meet her through my time at the Neighborhood Playhouse and was excited to have her on the show to share her story of training and working in the industry. We talk about what inspired her to pursue this career, why she enjoyed her training at the Neighborhood Playhouse so much, as well as her experience working in the United States as an Australian. To keep up with all of Luisa's work, be sure to follow her @luisatascone and visit her website at www.luisatascone.com. Luisa Tascone (AEA, MEAA) is an Italian Australian actor and singer trained in the Meisner technique and contemporary and classical singing. She is an alumni of the world-renowned acting school The Neighborhood Playhouse School of the Theatre in NYC. Recent credits include lead actor in the short films ‘Through Fault' (awarded Best Australian Short Film at PRIDE Film Festival), ‘Blue Belt' (awarded Best Youth Short Film at St Kilda Film Festival) and ‘The Keys' (awarded Best Short Horror at Bloody Mirror Film Festival). Luisa has also performed Off-Broadway in the premiere musical production of ‘Oceanborn' (part of the Rave Theatre Festival produced by multi-award winning Broadway Producer Ken Davenport) and appeared in commercials for some of Australia's highest-ranking businesses including Fox Footy, Medibank, Commbank and Chemist Warehouse. Recently she co-founded a new Melbourne theatre company Mi Casa Theatre (@micasa_theatre) and performed in their first production‘Tales from the Vault' in April 2022. Follow my work at https://patrick-mcandrew.com and @patrick.mcandrew

When we drill down into the biographies and training histories of the cast of the hit show, "Succession," there's no uniformity of background. Some of them carry the pedigree you might expect: the American conservatories; Yale, Juilliard, Carnegie Mellon, or the London conservatories; RADA, LAMDA, and Central. Some come out of the New York studios; the Neighborhood Playhouse, Stella Adler, the Lee Strasberg Institute. A few have bypassed those training pathways altogether. This episode compares and contrasts the pathways of some of our favorite actors. --- Send in a voice message: https://podcasters.spotify.com/pod/show/storyofacting/message

For episode 086 of Actorcast and the season 5 premiere, we are joined by Todd Susman. I had the opportunity to train with Todd Susman at the Neighborhood Playhouse and he is just a wealth of knowledge when it comes to acting and the entertainment industry. In our conversation we discuss everything from preparation, auditioning, decision making, imperfections, and much more. You can learn more about Todd by visiting https://www.imdb.com/name/nm0839881/?ref_=nv_sr_srsg_0_tt_1_nm_7_q_TOdd%2520Susman Todd Susman has been a professional actor since 1969.  He's been a regular in six television series and a recurring character in fifteen or more, including five years recurring as “Officer Shifflett,” the town cop in “Newhart.” Todd has done twenty-two television pilots, myriad movies made for TV, and performed in countless episodic television shows, voice-overs, and on-camera commercials.  He was the “Public Address Announcer” in the TV series “MASH” for eight years, and the “Man From Mitsubishi” for another eight years on radio.  Todd starred as “Wilbur Turnblad” in "Hairspray" on Broadway.  He recurred as Jason Biggs's father in “Orange Is The New Black,” and recently filmed episodes of “Blue Bloods,” “Unbreakable Kimmy Schmidt,” “The Good Fight,” “For Life,” and “Bull.”  Todd worked with Denzel Washington in “The Taking Of Pelham 123” and Al Pacino in “You Don't Know Jack.”  For the past ten years, Todd has added writing plays, teaching and coaching to his repertoire.   Follow my work at https://patrick-mcandrew.com.

James Lott Jr chats with Nicole about Brooklyn, LA and more! Actress/author/producer Nicole Arlyn currently stars as a retired killer opposite Natalie Burn, Cam Gigandet and Jason Patricv from Jeffrey Reddick, the creator of Final Destination in director Timothy Woodward Jr.'s action/thriller Til Death Do Us Part. From Cinedigm in theaters and vod everywhere. In writer/director Eric Weinstock's romantic short, Love Don't Fade Away, she stars opposite Ronnie Marmo's Lenny Bruce character as Cindy Vaughn, a Connecticut housewife caught up in her husband's drama, and in director David Lipper's horror film, Wolf Mountain, she plays writer/actor Kelli Price's deceased mother, seen in flashback. A Brooklyn-native who grew up on Long Island, New York, Nicole graduated from Lynbrook High School, where she did plays and modeled. But her film debut came many years earlier, at the age of six months, when she appeared in cult filmmaker Philip Marshak's feature film Potluck. She later studied at the Sorbonne in Paris, where she was the lead actress in the short experimental film, Femme de Versaille, directed by Andre Duclos. She also studied at Ohio State University, where she was in the Miss Ohio State Beauty Pageant. However, she considers The Neighborhood Playhouse in New York City as her true educational home. She later studied with celebrated acting teacher Susan Batson, whom she considers her key mentor. After the Playhouse, she worked in numerous off-Broadway productions, and made several indie films, including Blixa Bargeld Stole My Cowboy Boots with Michael Imperioli, and writer/director Carrie Ansell's comedy Flushed. Nicole then moved to Los Angeles where she continued to study the craft of acting with Susan Peretz (Dog Day Afternoon) at the Third Street Theatre. She was soon cast in Clay Pigeons, directed by David Dobkin, playing opposite Joaquin Phoenix, and also starring Vince Vaughn, Janeane Garofalo, and Georgina Cates. Her other film credits include: Frogs For Snakes, The Wedding Planner, Chinese Whispers, Lunch Break, Greasewood Flat, Brooklyn Bound, and Reboot Camp.

Actress Louise Sorel will sit down with me in The Locher Room to look back at her incredible career that spans over six decades on stage, television, and film.Daytime audiences know Louise for her role as Vivian Alamain in Days of Our Lives, Augusta Wainwright on Santa Barbara and Emily Tanner on Beacon Hill. In addition, Louise has appeared on All My Children, One Life to Live and Passions and Port Charles in smaller roles.Louise received theatrical training at the Neighborhood Playhouse in New York and began performing on stage when she was 15 years old. She spent several years on Broadway and made her film debut with The Party's Over in 1965. She has appeared in Plaza Suite, Night Gallery, The Return of Charlie Chan, Airplane II: The Sequel, Where the Boys Are and Crimes of Passion to name a few.She has made guest appearances on more than 50 prime time programs and TV movies including Star Trek as Rayna in the Requiem for Methuselah episode, The Fugitive, Bonanza, Route 66, The Big Valley, Vegas, Hart to Hart, The Incredible Hulk, Hawaii Five-0, Magnum P.I., and one of my favorites, Charlie's Angels to share a small few.Don't miss the chance to catch up with Louise in The Locher Room.Original Airdate: 11/9/2022

Want to watch the video version of this podcast? Please visit Youtube here: https://youtu.be/EtPv_ppbN0E 0:00 - 3 Reasons Why Filmmakers Should Hire A Producer's Rep 9:14 - 3 Reasons Why You Should Submit To Film Festivals 22:38 - Harsh Truths About Selling A Movie 34:28 - What Filmmakers Don't Understand About Distribution 48:03 - Why 86 Percent Of Filmmakers Don't Trust Film Distributors 1:00:13 - How Much Money Do Independent Movies Make? 1:11:05 - 10 Minute Rule For Filmmakers According To A Producer's Rep 1:24:55 - Honest Truth About Getting A Movie On Netflix 1:37:38 - How To Maximize The Money You Make When Selling A Movie 1:46:42 - How Movies Make Their Money Back Glen Reynolds founded Circus Road Films in 2006 to provide strategic advisory services to filmmakers. Circus Road guides filmmakers through the festival and distribution process and negotiates licensing agreements on their behalf. Glen has participated in the sales of over 900 narrative and documentary feature films with many of them premiering at Sundance, Slamdance, SXSW, Cinequest, Tribeca, Hot Docs, Fantastic, Telluride and Toronto. Distributors of these films include Fox, Sony, Warner Bros, Universal, Lions Gate, Magnolia, IFC, Strand, Oscilloscope, Drafthouse, Netflix, Hulu, HBO, Showtime, Starz, Lifetime, ESPN and Syfy. Some favorite films sold include the first films of some successful filmmakers such as Absentia, written and directed by Mike Flanagan (Midnight Mass); Pop Skull, written and directed by Adam Wingard (Godzilla vs Kong); and Newlyweeds, written and directed by Shaka King. (Judas and the Black Messiah). Recent work includes Clean (Tribeca/IFC) with Adrien Brody, My Dead Dad and 18½ with Willa Fitzgerald (101 Films). Glen has also co-produced twenty films to date including his favorite Conversations with Other Women which premiered at Telluride and stars Aaron Eckhart, Helena Bonham Carter, and Olivia Wilde. Other great production experiences include developing two projects with Craig Brewer (Hustle & Flow) and co-producing five films with Ram Bergman (Knives Out, Star Wars: The Last Jedi). Glen holds a JD from the University of Texas at Austin, a BA in English from NYU and is a graduate of the Neighborhood Playhouse in New York. He serves as a judge for the UCLA Screenwriting Competition and on the jury for the Woods Hole Film Festival. MORE VIDEOS WITH GLEN REYNOLDS https://bit.ly/3idqRHf CONNECT WITH GLEN REYNOLDS http://www.circusroadfilms.com https://www.instagram.com/circusroadfilms https://www.facebook.com/filmsales https://twitter.com/CircusRoadFilms (Affiliates) SAVE $15 ON YOUTUBE TV - LIMITED TIME OFFER https://tv.youtube.com/referral/r0847ysqgrrqgp ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *These are affiliate links, by using them you can help support this channel.

LYM EP 312 is a conversation with Peter Miller.  Peter is a Quebec-born actor whose credits include the television series MVP, Virginie, and Lance et Compte.  He's also appeared in films of note, Mambo Italiano and Rouge Sang, and portrayed Galeazzo Maria Sforza in the 2009 short film series Assassin's Creed: Lineage. Peter graduated from the Neighborhood Playhouse in Manhattan and built a journeyman career in acting. Before he became an actor, Peter played the same role in the Canadian Football league, drafted in 1992 he played for the Saskatchewan Roughriders, BC Lions, and Toronto Argonauts as a linebacker over a six-year career.I met Peter a number of years ago when he was preparing for the television series MVP in which he was to play a tough guy in professional hockey. We remained friends and I've always admired his tenacity, dedication, and humility.  This is a beautiful conversation about persistence, passion, and playing your role no matter what the circumstances.  I hope you enjoy it.If you liked this EP, please take the time to rate and comment, share with a friend, and connect with us on social channels IG @Kingopain, TW @BuiltbyScott, LI+FB Scott Livingston. All things LYM at www.LYMLab.com, download your free Life Lab Starter Kit today and get busy living https://lymlab.com/free-lym-lab-starter/

Watch the full interview on YouTube here: https://go.doctormikemedia.com/youtube/StevenHeVOD Steven He is a comedian, actor, and media pioneer who you may have seen online in the last year as the "emotional damage" guy. This line from one of Steven's videos hit a meteoric viral rise in the summer of 2022, but unlike many viral stars who are a flash in the pan, Steven was ready. His years of hustling as a working actor and content creator allowed him to run with his success and build a rapidly growing audience of people who enjoy his "Off Brand" TikToks or YouTube shorts about his most popular character known only as "Asian Dad". Steven has big plans for the future with the impending release of his original series "Ginormo" and a seemingly never-ending waterfall of fresh content across social media. We talked about his health, specifically the recent surgery he had on a cyst above his eye he believes was caused by stress. We also shared stories of our immigration backgrounds. Steven was born in China, raised in Ireland, and then went to college in the UK and studied acting at the Neighborhood Playhouse in NYC, so we actually have a lot on common. I'm so grateful we got to spend a full day together and hope you enjoy our conversation! Follow Steven: YouTube: https://www.youtube.com/@StevenHe IG: https://www.instagram.com/thestevenhe/ TikTok: https://www.tiktok.com/@steven_he?lang=en 00:00 Intro 00:51 Worst Auditions 08:32 Starting Social Media 16:38 Emotional Damage 19:26 Mental and Physical Health 26:36 Eyebrow Surgery 44:00 Reading Negative Comments 59:20 Chinese Pressure 1:05:35 Why He Left China 1:13:20 Coping Mechanisms 1:22:53 Failure Management 1:31:30 Lightning Round 1:37:08 Q/A Executive Producer and Host: Dr. Mike Varshavski Produced by Dan Owens and Sam Bowers Art by Caroline Weigum CONTACT: DoctorMikeMedia@gmail.com

Follow my story on IG for more @wadesellers --- Support this podcast: https://anchor.fm/wadesellers/support

Today on 10-1, I meet with actor Mackenzie Davis (Terminator: Dark Fate, Happiest Season, Blade Runner 2049 etc) who has been working in Toronto for the past few months while shooting Station 11. We graduated from The Neighborhood Playhouse 10 years ago, and thanks to the pandemic, we've had a little bit of time to sit on my front porch and discuss life, the business, and parse through the lessons that we learned in theatre school a life time ago. Here we are, Inside Mackenzie Davis.

Award-winning, writer, director, actress Christina began her career acting in such cult films as Suburbia, Boys next door and Dudes. She was one of three women accepted into Fox Searchlights new director s program, her IFP nominated Best screenplay, debut feature, PERFECTION was part of their rough-cut labs, Independent film week and winner of The Adrienne Shelly female directing award.PERFECTION screened at The Oxford film festival where Christina won Best Actor and Best Narrative feature and also screened in the San Francisco International Women's film festival, the USA film festival in Dallas, Texas, The Egyptian theatre in Hollywood, CA, premiered at the RIO cinema London, The Quad cinema, New York and screened at The Laemmle' s Monica 4plex in Santa Monica, CA.Christina has sat on the juries for the London feminist film festival, the Eastern European film festival, the 100 word film festival, NC and has served head of the jury at the USA film festival, Dallas.Her upcoming projects include, EXPECTING GRACE set in Marseilles France, her short, HOOKER #2 and the punk rock pilot, POSEUR. Christina has lectured at The New York film academy, The Met School, London, Harvard Westlake, Cal State Fullerton and is an adjunct professor at Loyola Marymount University in Los Angeles in the film and television department.Show NotesChristina Beck's Website - https://www.christinabeck.comChristina Beck on Instagram - https://www.instagram.com/cbrubylee_xtinabeck/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistTranscripts Are Auto-GeneratedChristina Beck:I always say to my students, Pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories. But to say something visually is powerful. I think it can change minds and hearts.Michael Jamin:You're listening to Screenwriters Need To Hear This with Michael Jen. Hey everyone, this is Michael Jamin and you're listening to Screenwriters. Need to Hear This. We got a special guest for you today. If you are an indie filmmaker, an aspiring indie filmmaker, you're gonna wanna listen to this. You're gonna wanna meet Christina Beck, who I've known forever. She's an old friend, independent filmmaker, but she's you. She also teaches at Loyola Marmont University and the Fame Stella Adler Theater where she teaches screen screenwriting as well as film producing filmmaking, all that stuff. Well Christina, welcome to the big show.Christina Beck:Thank you. Thank you so much. I was gonna call you Mr. Jam and it's a habit. I can't help it.Michael Jamin:It's a habit. There it is. Cause cuz Christina briefly worked for me as an assistant for me and my partner on a show. And then I force you to call me Mr. JaminChristina Beck:. it just kind of fell into this thing. Yeah, no, you did not force me. You didn't force me at all.Michael Jamin:I never did that.Christina Beck:But I will correct you Mr. Jamin. So I actually don't teach at Stella Adler. I teach at least Strassburg, but I could see where you would choose that. Oh, at least Strasberg. Yeah,Michael Jamin:Just I would think,Christina Beck:Right. Well, they're all,Michael Jamin:They're East Strasberg. Go to that one.Christina Beck:Yeah, but sad. They're not around anymore. But the legacies are for sure.Michael Jamin:I haven't been to West Hollywood forever. Yeah. And you guys see, you got your one sheet from, That's from Perfection. Let's talk about what you're at, some of your movies that you've done, cuz Christina is an indie filmmaker. She's a hustler. She makes her movie, she writes your stuff. You also started as an actor, right? Where, let's take me back to the beginning. You basically started, you wanted to be an actress, right?Christina Beck:Yes, yes. Yeah. So I grew up here in Hollywood, actually not in Hollywood. I grew up in the Valley. Let's get real about that. So I like to call it the main streets of Studio City. And although it was very different back then, I know today it's a unaffordable, you can't even get in there. But back in the day it was the suburbs, basically. And my folks were in show business. My father was a screenwriter and an actor, and my mother was an actress, a model kind of actress. She ended up studying in New York with some very significant people. Sandy Meisner had a full scholarship for the Neighborhood Playhouse, which was a big deal back in those days. But my beginning with acting really started just as a kid. being extremely bored in the valley and putting on shows. I was that kid. I was putting on shows, arranging the stuffed animals. If we ever had company, they were held hostage to my extravagant. Really? Yeah. It was Cabaret 24 7 and . I know. Yeah. You didn't know that about me. Yep. I didn't know that. Yeah.Michael Jamin:I also didn't know your dad was a screenwriter. I didn't know that as well. Did he work aChristina Beck:Lot? Yes, he didn't work a lot as a screenwriter. He worked a lot as an actor. So when he came out to Hollywood, he's from Texas originally, and he came out to Hollywood and straight away got signed to William Morris, got put under contract at Universal and did a bunch of movies. But then he did westerns. I always played the bad guy on Bonanza andMichael Jamin:Yeah, Christina, I didn't know your Hollywood royalty Well,Christina Beck:A little bit, yeah. Yeah. Oh wow. Definitely the lineage is there. Yeah. But his real love was screenwriting. He didn't love acting. He really did fall into it. And he had a great look and he was a cowboy, so he played a cowboy, but he wasn't even really a cowboy. He's just from Texas. But yeah, there's this really great story. So Robert Blake, who some of us know strange stuff all around that guy. But that said, back in the fifties, he was friends with my father was friends with him, and Robert Blake had a part where he had to ride a horse. And my dad said, All right buddy, I'll take you out. And they went to, I think probably, well, I don't know what it's called now, but it used to be called Pickwick, which is in Burbank near Disney. They went out over there and not only did he teach him how to ride a horse, he helped him learn his lines. And because I heard this story later after my father passed Robert said, Your father, he really sat with me in this tiny little apartment and he had me drill my dialogue and I got the roof because of him and just very sweet old school. Wow. Hollywood, stuff like that. But that said, when my father wasn't working as an actor, he was always in his, it was dad's den type, type type, type type. He was always working on screenplays and he loved writing.Michael Jamin:Yeah. Do you feel the same? Do you acting more, writing more for you? Well, are you like your dad orChristina Beck:Not? No. Yeah. No, I'm not like my dad. I, there's bits of me that I like him, but it's more acting was definitely the first bug. And like I said, putting on shows at home. But then I got kind of lucky, I was in the valley still. So on Ventura Boulevard near Vineland there was this place called Moral Landis Dance Studio. And my mother used to go and take a jazz class there. This is the late seventies. And next door was a place called the American National Academy of Performing Arts. So I kind of wandered over there and at this academy place, and I ended up joining an acting class. And my very first acting class, an acting teacher, was a man named Francis Letter. And I didn't notice at the time, so I'm like nine years old, 10 years old, and he is about 80 or maybe seven in his seventies. And so I joined this acting class and then he asked me to be in the adult acting class, and I gotta play all the juicy, the bad seed and just fun stuff like that. Oh wow. And so it turns out that later on I found out that he was a big deal and he was in Pandora's Box, the silent film starring opposite Louise Brooks. And he's, and he did a ton of stuff for a long time. And then he was part of the actor studio in New York, and he was from Eastern Europe, but came over here right before the war, I think, . So that's when I really just was in heaven as a kid acting in this class. And then I also did some commercials with my brother. We were in some commercials. And then I became a teenager, , and then I became really rebellious and mm-hmm got into the punk rock scene and completely fell in love with music and artistry. I mean, really at that time too, this was the early eighties when punk rock wasn't necessarily vi What's so funny,Michael Jamin:Cause I can't picture you doing being into punk rock. I guess it,Christina Beck:I got pictures. I got pictures, and I've actually written the whole show about it. Yeah, I . But all that to say, yeah, I, I never wasn't like the punk rock chick. I more, I liked the artistry of it. I liked the right, And when I say that, I mean there were a lot of wonderful, cool artist people that I'd met mostly, much older than me at the time, but they were musicians and writers and actors. But they were on this kind of rebellious thing where we don't need permission to do anything, we just get to be creative. And that's what I loved mostly about that whole scene. And then there were different facets of it that were cuckoo and, and intense and lots of drugs and lots of alcohol and lots of inappropriate stuff. But then I got cast in a movie, so now it's my late teens.And my best friend, she was well there is a woman named Penelope's Theorists who has made films that we know of Wayne's World and different Hollywood films. But at that time she had made a documentary called The Decline of the Western Civilization, which is a really amazing film even to this day because she really got into that la punk rock scene at that particular time in space. And it was an incredible film. And she wanted to make a narrative film. So she wrote a script and got it produced by a furniture salesman guy. And I think Roger Corman of course. And so I got cast in that. And like I said, I was in my late teens and at that time I was kind of over punk rock and I was like, Eh, don't wanna, this is stupid. But I ended up doing it. And that is where I really was like, okay, this is the way I wanna spend the rest of my life.I loved being on set. And to answer your question, it's really tricky. I love in the realm of all that we do in terms of writing has its moments and then the pre-production, but being on set to me is definitely my favorite. And post is a whole nother exploration. But yeah, so it was from that moment on that I was just like, Okay, this is what I wanna do. And I did a couple more films with Penelope and then I moved to New York City and I wanted to be a real, I also felt like, okay, I didn't really, I need to be a real actor. I really have. And soMichael Jamin:A theatrical actor, is that why you moved toChristina Beck:New York? Well, yeah, I mean I love theater and my very best friend, you might know her, Cynthia, Man. Oh, okay. Yeah, it's Shannon. Familiar . Yeah. So we wereMichael Jamin:Frozen. That's how I met my wife. That's how I met her. I met you through her. I met you honestly, Christina. That was the first time it was really, I met you really on real early on, but go on. When I was with Cynthia. Really? Yeah. Tour or something.Christina Beck:I know, it's so great. Michael Jamin:But go on. AndChristina Beck:So Cynthia was in New York and at that time, for me, I felt like I really wanted to study and be a serious actor because I come from more of a film background. I did study a bit with Francis, but I really wanted to pay my dues as an actor. And I, I studied with a bunch of different great people. I auditioned for everything that was there at the time. AndMichael Jamin:Tell me, I'm gonna interrupt for a second, hold on. But tell me what your thoughts are, the difference between acting for film or television and acting for the stage.Christina Beck:Well, in my experience and what I'm also kind of revisiting lately, well when you're acting in film, it's very subtle. There's a camera and the camera picks up everything. And so when you're on stage, you are playing to the back row. People in the back need to see and understand what's going on. And it's just a very different, and I think most actors can do both. Some are, I guess more comfortable doing one or the other.Michael Jamin:But when you study and you train, do you sometimes study specifically or did you specifically for film versusChristina Beck:No, no, I didn't. No.Michael Jamin:Are are classes like that? Yeah. Just forChristina Beck:Fun. Yeah. Yeah. There's like on camera classes where people, it's for auditions I think, but also to get to practice how you come off on camera. Yeah. I never did that . I never, yeah. Really did that. But here's a weird, maybe creepy thing. Ever since I was a kid though, I always felt like there was a camera on me. , I would visualize, I could almost disassociate a little bit, this is a psychological thing here, but I felt, I would kind of imagine walking to school, what would it be if this character was walking to school? I almost was above myself a little bit watching myself. And that's a weird thing to say cuz actually when you're acting in a film, you really shouldn't be watching yourself. But that's where I am also a director. SoMichael Jamin:In other words, you were visualizing visualize how you would shoot yourself or is it more of Yeah. Was it more of a fantasy thing or how would I appear on, I wanna shoot myself if I was walking down the street?Christina Beck:Yeah, it's more the that one. And of course a little bit of fantasy, but it was escapism. But it was also, I was sort of able to take myself little Christina walking to school fifth grade out of it and see it from this other angle. And I don't know what that's about, but I do now I I see things that way all the time.Michael Jamin:Really How you would shoot it, where you would place the camera Christina Beck:Or where is the camera? Yeah. And it's such a funny thing cuz we live in a world now where everyone has a phone and everyone is documenting, everyone is shooting themselves. And that's a little different. But I guess it's similar in a way.Michael Jamin:Did you have film equipment when you were that Young? Christina Beck:I mean, Well my dad I none. We really didn't. My dad, no, my dad did my made some super great films and actually. Yeah, we did a lot of home movies when I was little. So I was usedMichael Jamin:To with sound.Christina Beck:No, no sound. No, it'sMichael Jamin:Interesting.Christina Beck:So yeah, yeah, being tied up on a tree and then my brother coming up on a horse and all sorts of me crying. Yeah, I got it. I got it all.Michael Jamin:Wow. Then so after New York, so how long were you in New York?Christina Beck:Three years. I was there for three years. AndMichael Jamin:Then what made you decide to come back?Christina Beck:Well, I wrote a play and that's kind of what happened. So I'm in New York, I'm studying, I'm auditioning for Everything film. I remember that there was one year where I really went out for everything that was shot in New York or anywhere around there and didn't get anything. And at the time I was studying with a woman at Playwrights Horizons who was a writer and an actress. And she said, Listen, you guys really should start writing characters that you feel you could play or just more of an empowerment in terms of instead of waiting around for everyone to give you a role, write something. So a bunch of us did, and it really started out by writing monologues. So I was in a group of women and we formed a little theater company and so we wrote characters and monologues for these characters and then we put it up and that was really great. And then I gotMichael Jamin:You. Don't skip that step. How did you put it up? How do people stage playsChristina Beck:You a lot of time? Well, at that time, at that time, which was a long time ago we raised a little bit of money, kind of similar to a lot of independent film stuff. But we raised a little money, family and friends type of thing. We actually did it at the Samuel Beckett Theater, which was where Playwright Horizon, I think they're still there on 42nd Street, I think eighth and ninth, 42nd Street, . And we put it up for a weekend and we got reviewed and we got in. It was great. It was super fun. And it also felt like I started to feel more complete as stuff that I could do as an actress. I always, I didn't, waiting around, I don't waiting for, I just felt like I have more to do and I was always journaling and stuff as a kid and as I got in my teens.And so writing to me didn't feel that far off from what I was already doing. And coming into it as an actor, I knew I've read enough plays and I've read enough monologues to understand how to write in that form. So I ended up when I was living in New York, I'd come back to LA and visit in the summers. Cause summers are horrific in Manhattan. So there were some musicians that I met that were doing some kind of cool stuff. And this one guy played, he had a character that he did. And so I wrote a play. I kind of inspired me to write this play about him. He was playing a lounge singer and he, his friend had this group and it was kind of rock and roll stuff, but then they would go into a lounge sort of thing. And I thought, oh, that would be funny to, what would it be if these lounge singers had a kid and tried to live their life? And it was a little autobiographical, the father's alcoholic and the mother's sort of obsessed with her beauty. And so these themes started to come up in my work. So I wrote this full length play and there was music in it too. And then we also shot some video footage, so it was sort of like a multimedia thing. So I kind of had to come back to LA to do that.Michael Jamin:So you staged it?Christina Beck:Yes. I didn't direct it, so I wrote it and I starred in it. But a friend of mine this woman named Modi, who I met from the punk rock days, but also she was Penelope's assistant on some of the film stuff I worked on with her and was a video director in her own. And so she came in and she directed it and it was great. It was amazing. It was.Michael Jamin:And how do you even get the theater to put it up?Christina Beck:We raced a little bit of money and then we got producers and they put it up up.Michael Jamin:What do you mean? How does that work? You got producers, what doesChristina Beck:That mean? Yeah, so the woman who played my mother in this is an amazing singer, artist, actor. Her name is Jane Cotillion. And so she loved the play and she said, Oh, I know this guy Billy DeModa and he's a casting director and maybe he could produce it. And he didMichael Jamin:. This is just from being out here, just from honestly, just meeting people, being in circles, taking acting classes and because that's the thing about la everyone's trying to do something right?Christina Beck:Absolutely, yeah. I mean think it's now because of Zoom and different things in the world and there's so much more accessibility. I think it's possible to collaborate and not be here. But all that said, especially at that time, you had to be here. And I do think it's still important to be in the place where you wanna be if you can. And these people I knew, so I knew about the guy, his name is Manny Chevrolet and he and his friend had this act and they were opening up for the Red Hot Chili Peppers and I knew them from suburbia, which was the movie I did with Penelope I knew. And so it was kinda a group of people that I already knew. And then the musical directors, this guy named Tree, who's good friends with, and they were just all these people that kind of organically came on board.Michael Jamin:Interesting. And tell me, but how do, you're also, obviously you've written and directed and produced a bunch of movies, indie movies, some are shorts, some are full length, but do you go about, alright, so you work on the script. How long do you work on the script and when do you know it's done?Christina Beck:Yeah, that's a great question. And then everything's a little bit different. So with short films, well I'm teaching a course right now, so I feel like I already have this in my mind. Short film is one idea and that script can take a long time to write. It's not easy to write a short film because basically you're trying to squeeze in this one idea in a way that has a beginning, middle, and end. So you don't have the luxury of necessarily three acts, but you have to have this.Michael Jamin:How long is it short for you? Well,Christina Beck:Okay, so that's another great question because what I have learned now, I think a sweet spot for a short is anywhere from 10 to 12 minutes. I think if you can sit, do it in a shorter amount of time, even better because depending on what you wanna do with it. So there's a whole film festival world, which is pretty much the best place for your shorts to be seen if you can get them produced. So it's a matter of programming these films. So if you have a film that's 20, 25 minutes, that obviously takes up more time. And most film festivals, they program the short films in a block. So they're literally trying to pack in as many as they can and good ones. And it's all different too because the academy nominated films, they can be up to 40 minutes. But even again,Michael Jamin:When you say program, when they're looking for blocks, what is their intention?Christina Beck:Well, they'reMichael Jamin:Showcasing what I mean, you have to understand that right as well. How does the film festival, how do they make money so that they would want you?Christina Beck:Right. Well that's a whole other thing. So there's different kind of aspects to that. So there's short films that are star driven, meaning you can put a star name in it. Now that always brings money and cache to a festival but not you can make a great short film and not have a star in it, is really what I wanna say. Because a good short film is something that has a very original idea. Again, it's short enough where you want more basically. And it's not making a feature and then picking a scene from the feature and making a short out of it. Sometimes you can create characters or create a separate script. So I made a short film for Fox Searchlight, I got in this new director's program with a feature script and they would not let us just take us a scene from the feature.They were like, no, no, no, you have to make a short on its own, but with the same characters and the same relative premise. So that's kind of how I learned about that trap. But to answer your question the short films that get noticed at festivals or can even get into a festival are ones that are very authentic to whatever the genre is and the writer's vision. What are you talking about? Is it something, And that's also a weird trap too, because as a writer, I don't wanna be thinking about a festival, you know? I mean that's way down the line. But you have to live in both of those realities in a way. Because if this is a calling card as a writer or as a director of Indy films you have, it's good to keep in mind, okay, I'm not gonna write a 45 minute short film and expect it to be programmed. That would set myself up to fail if I could write. WhenMichael Jamin:You say programmed, you mean, what do you mean by programmed? Are they gonna play for that weekend?Christina Beck:Yeah, so in a film festival, they have a program of films they have, whether the festival is a week long or a weekend , depending on what festival it is. But for instance, let's just say Sundance, I believe a week. So there's some pretty intense statistics that I just found out from a friend of mine. So they had the largest amount of submissions of short films this past year than ever over 10,000 short films. And they only program 59 films. So wow. like, oh my God. And Sundance is wonderful and amazing and if you can get in, great, It's not the only festival. There's a gazillion festivals and anyone is a great experience to get in and go to have that festival experience. But to answer your question about programming , are we there? The people that program the festivals are people that watch the films and decide, we have a three short film programs, A, B, and C. This is just making this up, but it's kind of how they do it. We have 30 minutes in each block, so I gotta squeeze. It all depends. Sometimes there's a film that's a little longer, but they really like it, so they're gonna put that in there. And then there's less room for other films.Michael Jamin:. And how much does it cost to submit to a festival? Usually?Christina Beck:It varies. It definitely varies and it varies. Sometimes they have early submissions that are always a little cheaper. Also depending on you can always ask for a waiver. Sometimes they give them to you, sometimes they don't. So it can be anywhere from 20 bucks to 75 to 150 bucks. It definitely can add up.Michael Jamin:When you make a film, how many festivals will you submit to?Christina Beck:Again, that all depends. There's certain festivals that you can target for. Again, there's the big five seven festivals, Sundance and Berlin and Toronto Telluride and then those are kind of the biggies. But then there's everything that tears down from there. So yeah, it can get very expensive and super daunting. And that's a whole other conversation. The film festival world. Huge, big.Michael Jamin:Now let's say you get into a festival into a big prestigious one. What is the goal? Eventually I And what is the goal? You got, you're short, eight minute film is in Sundance. What are you hoping?Christina Beck:Right, right. Well you're hoping for Eyes on the Film and that's a really also interesting question that you asked because back when those festivals, especially Sundance is a very different festival today than it was when it first started as most things are. But those, that would be the eyes, all the, everyone would be there and you would get would just get the cache of this is a Sundance film. It would give you opportunities to meet agents and if you don't have representation it'll help with that. And it's still, those things can still happen, but now you can get eyes on your film, on the internet, you know, can generate that if that's what you really want, if that's your goal. So know we need those things, but we don't as much anymore. It's a very different business today. But initially you wanna get eyes on your film people to see your work, hire you for more stuff.Michael Jamin:And when you say on the internet, you mean YouTube or Vimeo or what's the platform? Both.Christina Beck:Yeah, I think YouTube is, I don't know if Jimmy I don't know how many people, I mean you can certainly send people there, but I think YouTube a little more, right,Michael Jamin:People find right. But what do you tell your kids in your class today? Are you telling to do more on social media? Are you like a TikTok or what else are you telling to get found?Christina Beck:Well don't more talking about the actual craft of the work, whether it's directing or screenwriting. I don't come up with all of that in terms of my work is as a writer director when I made my feature, I was very fortunate to I submitted the script to well I got into that Fox Searchlight program, which no longer exists. But there are other programs, there's lots of diversity programs, different studios have programs for emerging writers. And that one at the time I was one of two women, there were all men. There was like 40 men and two women. And nowadays it's definitely even doubt a lot. But all that to say that helped with, oh she was in that program, so let's take a look at her script. And then I submitted to an organization in New York called the If P, which now is called Gotham, but they do the spirit awards and Filmmaker magazine, which is something that I started reading very early on and I got nominated for best screenplay. So from that I got on their radar. So it's kind of just taking steps to be seen. It's always about people. Knowing what you're doing and what your vision is for this work,Michael Jamin:Do you go to a lot of film festivals even when you're not in them? Do you go just to watch or to meet people or anything?Christina Beck:I do in town. Yeah, in LA I will. I went to right Berlin when I didn't have anything in Berlin sadly. But I was there, I for a meeting with some European producers and then just happened to watch some amazing films. Film festivals are great cuz you meet like-minded people, whether it's people in the industry but also you meet other filmmakers, other writers, other directors, people that are maybe a little above you, maybe you've done a little more than them, but it's a really cool, cause the energy at most festivals I went to Can God, when was it 2006? I was trying to get my feature made and I was very naive. I made a short film version of my feature and I went to Can and I had my DVDs and I had my little pitch idea and I didn't really know that these meetings that they have, cuz there's a film market, some festivals have a film market and that's always really great. Berlin has one there's a film market here at afm. Kind of different energy though for sure, but can, it was like, oh my god, I was so lost. I was just like, what am I doing here? It was amazing and it was horrible and it was like that within each hour I just felt like I was in, was so over my head and yet really cool, wonderful things happened and I met people there that I'm still in touch with today.Michael Jamin:Hey, it's Michael Jam. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist. People ask me this a lot, but do you find from where are that, it's that right meeting writers and actors and directors. Do you feel it's like collaborative or is it competitive?Christina Beck:Well, I think it's collaborative and you can kind of sniff out people that are competitive. I, I've been in quite a few groups of women especially, so back a couple, one when my first short film screened with the American Cinema Tech, not my very first short film, but the first short that I directed. And I met a woman there named Kim Adelman and she's amazing. She's written a book about short films. She's incredible and she supports a lot of female directors. And her and this guy named Andrew Crane created a program at the cinema tech. And so through that we made this thing called the Female Filmmaking Collective. And so we would bring other women directors and this was kind of, well this is like 15, 16 years ago. And then there's been other women's filmmaking groups. The film Fatals, a member of the a w Alliance of Women Directors.So all that to say there's, for the most part, the energy is very much like, yay, how can I help you? And then there's a few people that are anywhere in the world. It is, it's their personalities, the spirit of, I try to stay in the spirit of that there's enough for all of us. Cause otherwise that makes me uptight and I don't wanna be uptight. But definitely, yeah, I think I don't write with other people. I haven't yet. I've tried to in different increments, but it just hasn't quite felt right. But I do collaborating for sure. And especially filmmaking when you're actually getting in production that's like all about collaboration,Michael Jamin:Especially with the good dp, you know, What are you shooting? What do you like to shoot on? Or do you care that much? What kind of camera?Christina Beck:Well, I like things to look like film . I mean, we shot my first short that I wrote Disco Man that was shot on 16. And my dp, I found him at USC Film School and he's a really good friend and we just shot something this last spring. So that was a long time ago. He became chair of the film school that I teach at now. But all that to say, yeah, again, it's the people that you meet here, you meet them there, we're all still here and still love film making. So that said, my DP for Perfection, my feature, his name's Robert Psal and he's amazing. Cause this guy, not only is he super talented, we shot that film for two years on the weekends, two and a half years. So to get someone to literally, okay, we got a little more money, Rob, come over, we gotta shoot this other would. And then a lot of times just he and I would jump on a bus and I'd borrow a camera from a friend. We had prime lenses, which if you put that on digital cameras, it gives a more cinematic look. So we had those for a while. We shot that film literally in four different formats, meaning four different cameras. And I DidMichael Jamin:You find it matched? Okay, Did itChristina Beck:Worked for the film? I don't know. Recently someone asked to see it, this wonderful DP that I was talking to, he lives in France and I felt a little self, cause I'm like, Oh my God, he's gonna see how, And he is like, Oh, it's shot so beautifully. And I'm like, wow, nobody knowsMichael Jamin:All this.Christina Beck:Yeah,Michael Jamin:Why you don't have to worry about that stuff. Well, and what aboutChristina Beck:It's gotta be in focus, let's put it that way, . Yeah. And sound is a big deal too,Michael Jamin:For sure. Absolutely. That's huge. It's hugely important if you can't hear it. Right. But what about how concerned are you when you shoot the stuff crossing the line or the cameras? Are you relying your DP for that, making sure that you know, don't have these jump cuts because the character's looking the wrong way? AndChristina Beck:IsMichael Jamin:That your concern or you let the DP handle that?Christina Beck:Well, because so far I've been mostly acting in the stuff that I've shot. I definitely rely on my DP as well as my script supervisor. . I mean, I can tell myself when we're setting up a shot and then sometimes you can cross that line and it's okay, it's not gonna be an editing nightmare, but you sort of have to gauge it. And I don't make those kind of decisions by myself. And I really do rely so much on my DP and my script D because it's, it's that funny thing for me. What the reason I became a director in film was because I made a short that another different short besides Disco Man that it's called Blow Me. And I didn't direct it. And I did a lot of directorial stuff on that project. And my director at the time was busy with other things.And so we weren't really able to finish the film for a long time. And actually my co-star was an editor as well. So he kind of got the film and he edited and we worked on it together. And what I learned, and this goes back to the film festival thing. So in film director has the say in everything in terms of how final say on music and different stuff. And being a screenwriter and an actor and even a producer, I didn't have the same access to the vision that I had. So I thought, ooh, I need to direct this stuff . SoMichael Jamin:Yeah,Christina Beck:That's how that shifted. HowMichael Jamin:Do you go about, but how do you go about fundraising for all this stuff and what kind of budget do you usually try to get?Christina Beck:Well, it's tricky. That's the hardest part. And I just was at a film festival here in la, it's the American French Film Festival. They have it every year at the dga. And I was listening to a panel of producers and directors and from Europe and the UK and Los Angeles. And the thing is, those foreign countries, they have film funding built into their system, literally the government. And there are different types of ways that those more character driven films. This is what I'm pretty much more interested in what we would call art house films. , especially right now, there's just this huge divide, which is very mm-hmm , much like the whole world that we're in right now. So there's tiny budgets and huge budgets and the middle size budget isn't really around anymore. No support for it. And it's happening in Europe too right now. So I was listening to see, okay, are they going through it too? So that said, yeah, there's different ways. And I would say for first time directors that are making a feature or a short film for the first time, Crowdfunding's great, there's amazing platforms. I did that with a company called Seed and Spark and they were really supportive and helpful. And we haveMichael Jamin:Some, Well what do they do? What do they do that's better than putting it up on what's some crowdfunding site?Christina Beck:Well they are a crowdfunding site, butMichael Jamin:Why not just use your own, I don't know what's the difference between, well go fund me or whatever.Christina Beck:Well I don't, yeah, get, well go Fund Me I thought was more for donations. Yeah, so there's fiscal sponsorship, which is something you'd need so that people that are donating to your project get an actual tax write off that's properly done. So you wanna do that but they help curate and they have a platform. I mean, look, you've written the thing, you're doing all this work. Are you gonna set up a website so people can give you money? So, and maybe you're really good at that. Places. Well indeed, Gogo and Kickstarter, and I mentioned Student Spark because they're someone that I did it with, but all those places haven't already. It's like, why reinvent the wheel? They've done all that work. So literally you can just send people there. They take a small percentage of whatever you get and different platforms have different things. I don't know. I know there's one that if you don't make your gold then you don't get any of the money. So I didn't do that one , butBut going back to someone who's starting out and wants to make something a short or a feature and hasn't already exhausted their family and friends, there's nothing wrong with doing that. Also there's grants and And those aren't easy to come by, but they're there. And depending on, there's different places. There's like in San Francisco, there's the San Francisco Film Society has very specific grants for people that shoot in the Bay Area. And a lot of films have gotten made through that grant. They give a significant amount of money. So there are ways, and it's not easy. I mean really, ideally a private investor is great and there's gonna be a loss. So now most of the indie films, and these aren't Es, and I'm not an expert, I'm just speaking from my own experience. But an indie film may not get a theatrical release. I did not with my feature. What I did get is I got the theatrical experience in film festivals and I was lucky to be programmed in Los Angeles through the American Cinema Tech. And I got to see my film at the Egyptian Theater, which was heaven. And I was there for that. You were there. So, and now it's available to stream. So most projects go to streaming and huge projects go to streaming now. So it's just in this very differentMichael Jamin:World. Is it, where is your playing, where is the streaming now?Christina Beck:On Tubby? Tubby . AndMichael Jamin:This is per perfectionist. Which one isChristina Beck:Yes. Perfection.Michael Jamin:Which, yeah,Christina Beck:Yeah. Okay. And all that's on my website. Christina Beck do com.Michael Jamin:Christina beck.com. Interesting. Wow, that's interest. ButChristina Beck:This is, and my shorts are on there too.Michael Jamin:All your short. Is there a down, getting to a big festival, that's gotta be a game changer. But can a little festival help you?Christina Beck:Well, yes, because again, you see your film on a big screen, you see your film with an audience, you meet other filmmakers and yeah, as you know, Mr. Jamin, everything in this business is preparation and luck. So you're honing your craft , you're doing what you love. There's no slam dunk guarantee. Even with the bigger festivals. I know people that have gotten into huge festivals and got big representation and then a year later nothing. So it's like nothing. Yeah. Yeah. I guess I always say to my students, pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories.But to say something visually is powerful. I think it can change minds and hearts. So I come to it with that. And it is frustrating. I have a feature that I wrote last year that I have not made yet. We shot a few scenes in the spring with some of my students and my first dp, me, Kyle to kind of see where it lands and figure out do we wanna do a crowdfunding thing? Do we wanna try to get in Grant? Like what? And I don't know honestly, I don't know if I have the bandwidth to go through that hustle for getting financing right now. Right now. BecauseMichael Jamin:If not that, Oh well I was gonna say, if not that, then what? You know.Christina Beck:Well, right. Well, I mean look, ideally if we were all Henry Ja or somebody who has a trust fund, independent filmmaking is for people that have a trust fund basically.Michael Jamin:Or can fund, right? Or you,Christina Beck:Yeah, I'm teasing, right? Yeah.Michael Jamin:, how many, when you shoot, how many people on set, How many crew members do you wanna have? What's your skeleton crew?Christina Beck:My skeleton is probably 12 peopleMichael Jamin:That I'm surprised it's that big. So who,Christina Beck:WellMichael Jamin:Let's walk. You mean you've gotta skip supervisor DPChristina Beck:Happens fist. Yeah. Okay. Scripty, dp, ac sound mixer, boom. Makeup, hair. That could be one person blah. Who am I forgetting? Producer. Of courseMichael Jamin:You're gonna want someone with the lights.Christina Beck:Well, right. Lights, gaffer, grip. Then we have,Michael Jamin:How many cameras are you rolling at once?Christina Beck:Oh, one . Yeah, one. Okay. Yeah. Okay. Yeah. This isn't like tv, but I did actually, I made a short film with three cameras. Once I did that one I did for search site. Yeah, that's true. But that was a, people were like, Why did you do that?Michael Jamin:But that's still not even year 12. That might be, I don't know. I lost count.Christina Beck:Well, I'm missing people. I'm on the spot here. I'm trying to think. I'm totally missing people. I mean, there's craft service,Michael Jamin:Right?Christina Beck:Oh my God. Probably like the most You got people person, Yeah. Anyways, yeah. 10 to 12. It just adds a pa. You need a pa you need, yeah. Yes. But yes, you can do it with five people. I've done it with three. I mean,Michael Jamin:Are you pulling any permits or are you sort of shootingChristina Beck:That? I do permits when I am renting equipment. And I have, I've also completely gorilla so many things.Michael Jamin:Wait, if you have, why do you have to have a permit if you rent co equipment they requireChristina Beck:Because yeah, you have to have insurance and there's film LA and yeah, there's a whole thing that needsMichael Jamin:To happen. Yeah. People get paid off. Yeah.Christina Beck:. Well, it's kinda a, Yeah,Michael Jamin:It's hard and happens. Yeah, it's hard. It's a hustle. But you do it cuz you love doing it, right?Christina Beck:Yes. Yes. That is true. Right? That is true.Michael Jamin:And how many scripts do you have that are just sitting around that? Are you, I guess I won't even try with that one or,Christina Beck:Yeah, I know that breaks my heart cuz I was at a ratio of, at one point having everything produced. I was like, I don't remember everything's been produced. But now I've written more scripts. I like, Yeah, I have probably, but not a ton. I have a couple features and I've written a few series, so yeah, Not yet. Not yet. ButMichael Jamin:What about just something you could do and now we'll wrap it up cause I don't wanna keep for chill up. But what about doing something where you could just shoot it in your apartment? Write it specifically for your apartment?Christina Beck:Yeah, well I would still need to get permission from my landlord. I'd still need to get equipment. Cause you can't shoot without permission if you wanna have insurance and you have to have insurance. Now look, my , my feature perfection in my old apartment, I actually did have permission from my landlord, but we shot so much of it just really running gun. And that can be done. That can have, But you still, And also I wanna pay people. I'm at a place where I can't ask people to work for free. Now if it's your first project and stuff, I encourage everybody to ask people to work for free if you treat them well. And if they're newbies too and it's a shared experience of discovery and stuff and they feel connected to the work and you feed 'em well, you gotta feed well. You gotta giveMichael Jamin:'em some very, But it seems like you have the perfect person for that because you have a bunch of students who wanna just get their names on stuff.Christina Beck:That's true. That's true. Yeah. Well, and I would probably and probably will end up shooting this feature with, And look, my students are amazing. They are so talented and professional when I get on their set. So this year I've had two students cast me in their short films. So I got to show up really as an actor on these. That's fun. Well, it's great because I was talking to the other film professors, because we work with them on the scripts and we sign off the scripts and then they go off and shoot. So these, they're kind, they're on their own, they're chaperoned and then they come back and bring, and we work on the edit and stuff, but we don't know what really goes on in those sets. So I was saying to this other professor the other day, I'm like, Yeah, I was there. I gotta be there and see what, And the truth is these students are wildly professional and I wouldn't really honestly wanna work with anyone else. But then they are so good. SoMichael Jamin:Someone called me up a student, I don't wanna say where they needed a 50 year old man. Now I don't play 50. We all know that. I play mid thirties ofChristina Beck:Course.Michael Jamin:But I was like, right, I didn't really wanna do it. I was like, all right. And then he goes couple weeks later he's like he's like, Yeah, well we're gonna need you to read . I wasChristina Beck:Like,Michael Jamin:I'm off only . Oh my God. I didn't want it that bad. But I think that was part of the experience that they wanted to have was they wanted actors. I'm not reading dude Christina Beck:Great. Well they're trying out their stuff I guess. Who knows? In terms of, Yeah, but wrong guy. They got the wrong guy with you.Michael Jamin: offer only.Christina Beck:That's right. That's right. Mr. Jam .Michael Jamin:How funny. Yeah. So, alright. This is so fascinating cuz this is a world I know nothing about this whole people cause people ask me all the time I got India. I don't know, Ask Christina. So where do people follow Christina back on? How do they learn more about what you're doing?Christina Beck:Well, like I said, my website and then myMichael Jamin:Give it to you again so that,Christina Beck:Okay. It's christina beck.com. There you go. And yeah, and then I'm on Instagram X Beck. AndMichael Jamin:What do you mean wait, X dyna? How do you spell that?Christina Beck:X I don't remember that. T I n a.Michael Jamin:Oh it. So it's X.Christina Beck:Yeah.Michael Jamin:I dunno why you said Ina. We'll work on this later. Christina Beck:Put a little thing up there. We don't have to talk about it. Yeah, yeah. And I just wanna say lastly, I am so not an expert on this. Please. I've been just finding my way as I go. But you know, I've watched other writers, The path is just, it's just not a straight line. And I think to stay connected to purpose and okay, I feel like I gotta tell certain stories. And when I talk to my students about this, okay, why do you have to tell this story? And we ask ourselves those questions and why now and all those things. Which in as far as indie film goes, I feel like we're in a little bit of a dip right now where the character driven independent films, at least in America, are not being celebrated as they once were. . And I believe that that'll shift.And I talk, I've talked to many people about this and we've gone through so many different, you know, can look back in the 1970s where Paramount was like studios were making beautiful character driven films. And I don't know if we'll ever go back to that, but I do think like you said, you can have a tiny crew and you could make something. I could make something in my living room. Absolutely. And one of my favorite filmmakers is a woman named Barbara Loden. She sadly passed away a long time ago. She was an actress. She actually was married to Ilie Kaza and she made a film called Wanda. And it's an amazing film and you can find it online. It's on the Criterion Channel and different places like that. But she had a tiny crew. She had maybe six people. And , sometimes people besides the attacks right off, they wanna contribute. They wanna be a part of it. They wanna be a part of this passion storytelling.Michael Jamin:Sometimes they also wanna give you their notes. Right?Christina Beck:WellMichael Jamin:Sometimes that money goes and comes with strengthsChristina Beck:Or here's the other thing. Yeah. Find an actor who really wants a great part that has some dough that wants to coce or something. And you guys can collaborate on that and you can write something that's really great for them that they would never get cast in. There's a lotMichael Jamin:Of you recommended. That's a great idea. That's a great idea. You recommended to me to watch Thunder Road. Remember that? Oh yeah,Christina Beck:I watch that. The short.Michael Jamin:And I loved it That and I loved, and I didn't realize I didn't, it was actually, I watched the scene from it, but it was actually, I guess a feature or whatever, but the scene stood on its own. I go, this is a beautiful it short. But it was a beautiful scene.Christina Beck:Oh, so you watched from the feature or did you watch the short film?Michael Jamin:Yeah. Yeah. Cuz I think you gave me the link to Vimeo or something. OhChristina Beck:Okay.Michael Jamin:I just watched that one church scene where he wasChristina Beck:Like, Yeah, yeah.Michael Jamin:So over,Christina Beck:Yes. That guy is amazing. He's the real deal. He's a guy to follow. Cause he's Joe Independent film. He, Jim is his name actually . And he makes stuff and he works as an actor. He'll do commercials, whatever. And then he'll take that money and that's what caves did. Caves made whatever he was working in television stuff he wasn't crazy about. And then he would take that money and then he would just make the films he wanted to make. So maybe it hasn't changed at all. It just goes back to that thing again where if you have this story you gotta tell and it does start with theMichael Jamin:Story. What kinda stories do you feel you have to tell?Christina Beck:Well I feel like I almost keep telling the same story, but I, I'm reallyMichael Jamin:Love different versions ofChristina Beck:It. That's right. That's, as I get older, I get this different perspectives of it. But I do, I love the story of people, characters that have perceived limitations or real ones and they slowly find their way out of that predicament. And yeah, I like happy and things. I like to see the journey of someone of starting off in a place where they don't feel and they get a little better.Michael Jamin:And you said before I cut you off, you was, it all starts, the focus has to be on the script.Christina Beck:It's all about the script. That's the blueprint. That is the blueprint. Especially if you're shooting with no money and no time. And because you don't have the luxury and we never have the luxury. You see it all the time and any budget level. But the truth is, the script really is everything starts there. That's how you get anybody on board. That's how you can refer if a DP who's maybe a great DP and wants to do something small because he loves the story or he loves the subject matter and that script should be tight and ready to shootMichael Jamin:. Right. And because you could shoot something and you get the biggest crew and the biggest budget and it looks like a movie. But if the script sucks, so what? No, it's not anyone's gonna wanna watch it, but it may look like a movie. Yeah,Christina Beck:Yeah, that's right. And then it won't get programmed really in festivals cuz there's so much competition. I just think that thing that we kind of all know, make it a personal story, doesn't have to be autobiographical, but make it something that you really connect to or a topic that really you do have some experience in that you can bring something that maybe we haven't seen yet or we haven't seen from that angle, like you said. Yeah. That's the stuff that's really gold. I love that Thunder Road short. It's such a great example of a guy who just took a very, very simple premise. And the other kind of novelty of that short is he shot it in one take, which is pretty cool. That's not easy to do.Michael Jamin:That's not easy. What I'm saying. He did it and that's a novelty. But as you pointed that out, I forgot. I like the story of it.Christina Beck:Well that's the thing, you should just be looking at it like, oh, where's the cut? No, we wanna be engaged. And that was very engaging and that was a very personal story. I mean, I don't know about his personal story, but I know that I felt that in his work. Yeah,Michael Jamin:Yeah. It's all about that. It's all about being vulnerable and about sharing something that's that only you can do, right?Christina Beck:Yeah. Yeah. I mean hopefully, I mean, I don't know, I think it's two, there's too many topics now that people are dealing with in terms that need to, voices that need to be heard in the world, I believe. And yeah, this is a powerful way to get our voices out,Michael Jamin:But that means writing. So that's what I think cuz everyone's looking for diverse voices and voices that have been underrepresented. So that means writing about, I think your experience, that's what we want from youChristina Beck:Because Well, I think so too.Michael Jamin:Yeah. Now's your shot.Christina Beck:Yeah, I think so too. No one can steal your idea. That's a whole thing too. Sometimes people are like, Oh no, someone's gonna steal this idea. Well there's real, there's not that many ideas really when you think about it, the same story over and over. I'm still telling the story of someone overcoming. I love characters that overcome their limitation or their perceived limitations or their background. I come from alcoholism and all sorts of other things. And that doesn't mean that I'm gonna keep getting it on the nose with those topics, but it informs the way I look at the world growing up in that environment. And today I'm really grateful for that. But when I started writing, I was still very tortured by that. So , but keeping it, that process of keeping it personal and having that point of view with those circumstances makes it only something that I can sayMichael Jamin:I Christina, I think everyone should start taking your class one of either your classes, but the LMU one is a little difficult cause they have to enroll, but the other one Yeah.Christina Beck:Well, yes, is different. Yeah. I mean, I'm also, I do workshops too sometimes, so,Michael Jamin:Oh, you do private workshops?Christina Beck:I do screenwriting workshops.Michael Jamin:And Is that on your website as well?Christina Beck:Yeah, not right now, , but it was, Oh,Michael Jamin:How would that basically work? Yeah.Christina Beck:Well, I've worked, so I've done six weeks workshops where we really start off with, Okay, what's the story you wanna tell that's most personal to you? And so it's literally creating a character or that story from the point of view of the storyteller and the steps to take, whether it would turn into a series or a short film, or a feature or a play.Michael Jamin:And it's six weeks and it meets once a week or something.Christina Beck:Correct.Michael Jamin:That sounds really good. How many people are in that course, or outta time?Christina Beck:Well, it's different times I, It's been usually pretty intimate. Not a ton of people , but now we can do stuff on Zoom, which is great. Right.Michael Jamin:Wow, that sounds pretty cool. Yeah, people should check you. Yeah, you better put that up once this, IChristina Beck:Guess. I guess I'm Do that. Yeah, I guess so. ButMichael Jamin:Tell people where to find that again, so in case that you make that happen, that sounds like a beautiful thing.Christina Beck:Oh, thanks. Yes. Christinabeck.com.Michael Jamin:Christinabeck.com. Christina, thank you so much for joining me. This is a good talk. I thought this wasChristina Beck:Really helpful. Thanks, Mr. JaminMichael Jamin:Now I wanna be an independent filmmaker.Christina Beck:No, you don'tMichael Jamin:. No, you don't.Christina Beck:If you wanna make money. No. There are some that make money. There are some that make money, right? Yes, yes, yes, yes. But yeah, thank you. Thank you so much. It's so fun to talk with you, Mr.Michael Jamin:Yeah. Thank you. Thank you. I'm gonna sign up, right? Everyone, Thank you for listening. And yeah, for make sure you get on my free weekly newsletter michaeljamin.com/watchlist. What else we gotta talk about? We have a course. Yeah, we can check out my course at michaeljamin.com/course. And if we post this in time, I don't know, but I'll be doing two shows in Boston, November 12th and 13th from a paper orchestra. It's my stage reading, and then two shows in December 10th and 11th. And for tickets, go to michaeljamin.com/live. All right. Thank you again, Christina. Wonderful.Christina Beck:My pleasure. Thank you. Thank you. Thanks for asking. Yeah.Michael Jamin:Hey, it's Michael. One more thing. Come see me perform. I'm going to be in Boston area, actually, Amesbury, Massachusetts on November 12th and 13th at the Actor studio, performing my show, a paper orchestra. And then I'm gonna be back in Los Angeles on December 10th and 11th again at the Moving Arts Theater Company. So tickets are on sale. Go get 'em at michaeljamin.com/live. It's a small, intimate venue. I'm gonna be performing for my collection of personal essays, and each one's gonna be followed by like a 20 minute q and a. We get to talk about the work. It's a fun event. So I hope to see you there. Go get them tickets again are at michaeljamin.com/live, and of course, sign up to my weekly newsletter that's called the watchlist at michaeljamin.com/watchlist.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review ,and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhillaHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

 Leah Lamb teaches how to think in the language of stories. I've been taking classes with her for the better part of a year, and I can say it works. In this interview she steps back and looks over two huge stories of our time, the story of climate change, and the story of initiation.A bit about Leah:Leah learned about how stories could be allies and friends when she was a child wandering the fields, creeks, and ponds of a rural farm in Vermont. Her first loves were writing and theater. Leah experienced first-hand how stories can unite when her play about suicide, “Berries,” was produced by VA Young Writers for The Theater. She went on to study the Eric Morris technique and the Meisner Technique at the Neighborhood Playhouse in New York City and interned at Williamstown Theatre Festival.Her love of the environment led her to study at Prescott College, where she earned a double major in outdoor experiential education and environmental education through performance. After she worked with youth at risk for many years as a wilderness guide with Outward Bound and other programs, her commitment to social justice led her to earn a master's degree in social work from Virginia Commonwealth University.To explore Leah's upcoming classes, go here: https://leahlamb.com/upcoming-classes/To support the podcast and get goodies, go on over to Patreon.The podcast Instragram is here. To be notified about upcoming creative writing and art workshops, sign up for the Story Paths mailing list here.  CreditsMusic and SFX by JeffSpeed68Theodore LowryMwiccube3LuckylittleravenpostproddogL. Subramaniam

Today's guest is Jannica Olin. You may remember her from a bonus episode back in Season 1. I am so glad to have her back, talking about an exciting opportunity where she will perform her one-woman show, (IM) Perfekt next week in NY City. Jannica is a Swedish born actress and TEDx speaker, and is known as Hollywood's Bald Blonde. I'm super excited to share this interview with you, and to have you learn more about all Jannica is doing to encourage her audience to examine disempowering thoughts about identity, beauty and labels. *More About Jannica - A graduate of The Neighborhood Playhouse in New York, Jannica has worked extensively in theatre, film, commercials and music videos in the US, UK, Australia and Sweden. In 2014, Jannica lost all her hair to Alopecia and went on an inward journey of finding her place in the world again, as a woman, and as an actor. What she uncovered through that journey, led to the TEDx Talk; Welcome To My New Normal, and centers around the idea: If I Am Not My Body, Who Am I? - when that which defines you is gone.Jannica's journey with Alopecia also inspired the one-woman show; (IM)PERFEKT which had its world premiere at the Hollywood Fringe Festival in June 2019 to sold-out houses and took home the Producers's Encore Award; the Critics' Choice Award and the Audience Choice Award, as well as a nomination for The Diverse Diva Award by The Los Angeles Women's Theatre Festival. (IM)PERFEKT has been invited to perform twice at Santa Monica Playhouse, and at the 28th annual Los Angeles Women's Theatre Festival. Jannica received a BroadwayWorld Regional Theatre Award nomination in 2020 for Performer of The Decade and Production Of The Decade. In 2017, Jannica was nominated for the Los Angeles Business Journal's Women's Summit; an event that recognizes and honors outstanding professional women who have made significant contributions to their professions and the Los Angeles community.Thank you for listening to today's episode. If you happen to be in NY city or the surrounding areas, and want to go see Jannica's show next week on Friday, October 14th - the United Solo ticket sale link is here in the show notes for your convenience. To learn more about Jannica, watch her Tedx Talk, or read her interview with the Hollywood Reporter, check out the show notes below for all those links. I've also attached a link for Andy Grammar's music video, "Damn It Feels Good to be Me" where Jannica is featured being all she's worked to become. What a fun video to watch.Tickets to (IM)PERFEKT in United Solo: https://unitedsolo.org/imperfekt/Instagram: @jannica.olinwebsite: www.jannicaolin.comTEDx talk: https://youtu.be/rbyzkul4JIkInterview with the Hollywood Reporter: "Actress Jannica Olin Shares Her Personal Journey Living With Alopecia: “How Can This Become My Superpower?”https://www.hollywoodreporter.com/lifestyle/lifestyle-news/actress-jannica-olin-alopecia-imperfekt-1235127608/Watch Jannica's TEDx talk here: https://youtu.be/rbyzkul4JIkYouTube - Damn It Feels Good to be Me (Official Andy Grammar Video) https://www.youtube.com/watch?v=nDza6TCO-RA Support the show

ABOUT LEE GRANT (FROM TCM.COM)An attractive brunette with angular features, Lee Grant began her career as a child performer with NYC's Metropolitan Opera. By age 11, she had become a member of the American Ballet Theatre. After music studies at Juilliard, she won a scholarship to attend the Neighborhood Playhouse and switched her focus to acting. Grant understudied the role of Ado Annie in a touring production of "Oklahoma!" before landing her breakthrough stage role as a young shoplifter in Sidney Kingsley's "Detective Story" in 1949. Hollywood soon beckoned and she recreated the role in William Wyler's 1951 superb film version. Grant won the Cannes Film Festival Best Actress prize and earned a Best Supporting Actor Oscar nomination for the role. Seemingly on the verge of a brilliant career, the actress found herself the victim of the blacklist when her husband, playwright Arnold Manoff was named before the House Committee on Un-American Activities. Grant herself refused to testify and the film offers over the next decade were sporadic.Returning to Manhattan, Grant found work in TV (e.g., the daytime soap "Search for Tomorrow") and on stage (i.e., "A Hole in the Head" 1957; "Two for the Seesaw" 1959). After earning an OBIE Award for her work in Genet's "The Maids" in 1963, her small screen career began to pick up. In 1965, Grant joined the cast of the primetime soap "Peyton Place" as Stella Chernak and picked up an Emmy for her work. She earned a second statuette for her performance as a runaway wife and mother who ends up at a truck stop in California in "The Neon Ceiling" (NBC, 1971).By the time she had earned her second Emmy, Grant's feature career had been rejuvenated with her stellar work as the widow of a murder victim in Norman Jewison's Oscar-winning "In the Heat of the Night" (1967). That same year, she essayed a neurotic in the campy "Valley of the Dolls." In "The Landlord" (1970), she was the society matron mother of Beau Bridges and her comic portrayal earned her a second Oscar nomination as Best Supporting Actress. Grant then played the mother of all Jewish mothers, Sophie Portnoy, in Ernest Lehman's film version of Philip Roth's novel "Portnoy's Complaint" (1972). Hal Ashby's "Shampoo" (1975) finally brought her a Best Supporting Actress Academy Award as a Beverly Hills matron having an affair with her hairdresser. The following year, Grant received a fourth nomination for her deeply moving portrayal of a Jewish refugee in "Voyage of the Damned."Her subsequent screen roles have been of varying quality, although Grant always brings a professionalism and degree of excellence to even the smallest role. After striking out as a sitcom lead in the underrated "Fay" (NBC, 1975), she delivered a fine portrayal of First Lady Grace Coolidge in "Backstairs at the White House" (NBC, 1979), was the domineering mother of actress Frances Farmer in "Will There Really Be a Morning?" (CBS, 1983) and excelled as Dora Cohn, mother of "Roy Cohn" (HBO, 1992). On the big screen, Grant lent her substantial abilities to "Teachers" (1984) as a hard-nosed school superintendent, "Defending Your Life" (1991), as an elegant prosecutor sparring with adversary Rip Torn, and "It's My Party" (1996), as the mother of man suffering from complications from AIDS.While Grant has continued to act in features and on TV, she has concentrated more on her directing career since the 80s. After studying at the American Film Institute, she made the short "The Stronger" (1976) which eventually aired on Arts & Entertainment's "Shortstories" in 1988. Grant made her feature debut with "Tell Me a Riddle" (1980), an earnest, well-acted story of an elderly couple facing death. She has excelled in the documentary format, beginning with "The Wilmar 8" (1981), about strike by female bank employees in the Midwest. (Grant later directed a fictionalized account entitled "A Matter of Sex" for NBC in 1984). She steered Marlo Thomas to an Emmy in the fact-based "Nobody's Child" (CBS, 1986) and earned praise for helming "No Place Like Home" (CBS, 1989), a stark look at the effects of unemployment. A number of her documentaries have been screened as part of HBO's "America Undercover" series, including the Oscar-winning "Down and Out in America" (1985), about the unemployed, "What Sex Am I?" (1985), about transsexuals and transvestites, "Battered" (1989), about victims of domestic violence, and "Women on Trial" (1992), about mothers who turn to the courts to protect their children. In 1997, she produced, directed and hosted the well-received "Say It, Fight It, Cure It" (Lifetime) which focused on breast cancer survivors and their families.ABOUT KILLIAN AND THE COMEBACK KIDSIn August, film distributor Hope Runs High will release its latest feature film across VOD platforms - bringing the much-lauded "Killian & the Comeback Kids" to a national audience outside of its 30 city theatrical release. For composer-writer-director Taylor A. Purdee, "Killian & the Comeback Kids" is a passion project that has united a dynamic team of creatives both onscreen and off. Concurrently with digital release, the film's screenplay will be preserved by The Academy of Motion Picture Arts and Sciences' permanent archive.With the film's initial theatrical releases, Purdee became the youngest director in 2020 and 2021 to have a film playing in major American exhibition circuits. He is also the first bi-racial director-star of African American descent to have a film theatrically released in the United States in the 21st century.'Killian' is the story of a young mixed-race musician forced to return to his rural hometown, burdened by the expense of his college degree. A chance encounter with a childhood acquaintance takes his summer in a new direction as the pair enlist a rag-tag band of other struggling locals to play a music festival coming to their once-prosperous steel town. With youthful ambition and an unflagging passion for folk-rock, Killian and the band take a shot at uniting their divided community and setting the stage for their futures.Purdee discusses the film's resonance in the current moment. "Folk music has always represented three things: a lot of self-determination, social responsibility, and a DIY spirit that happens to run through most younger generations. In a moment where the culture seems increasingly divided, when higher education could be viewed as more of a corporate scheme than a ticket to prosperity, and when one-third of our young people remain suspended in an elongated adolescence, our view of professional and personal identity is worth reimagining."The film's music by Purdee and his The Cumberland Kids bandmate Liam Higgins garnered Oscar buzz, and Purdee's original screenplay will be preserved in The Academy's permanent archive. The film stars Taylor A. Purdee, Kassie DePaiva, Nathan Purdee, John Donchak, Shannon O'Boyle, Shane Andries, Emily Mest, Yael Elisheva, and Andrew O'Shanick, and features Maddi Jane and Academy Award-winner Lee Grant."With a cast built of new faces, street musicians, Broadway mainstays, daytime superstars, new media darlings, and a living legend of classic Hollywood, our disruptive star power is the perfect mixture for an unconventional film in unconventional times."SYNOPSIS: Killian & the Comeback Kids is the story of a young mixed race musician forced to return to his rural hometown after an expensive college degree. A chance encounter with a childhood acquaintance gives the summer new direction. Together they throw together a rag-tag band of other struggling locals for one shot to play a music festival coming to their once prosperous steel town. Armed with only folk-rock, Killian and the band hope to unite the community - - if just for one night. A little musical at the cross roads of small town America and a burgeoning youth culture only just beginning to find its voice.Here's the trailer:https://www.youtube.com/watch?v=rI6n2nkk8V0

William “Rusty” Russ is an actor and television director who is best known for playing Alan Matthews on the sitcom Boy Meets World (1993–2000). He also appeared in the television series Wiseguy, the soap operas Another World and The Young and the Restless, and the feature films The Right Stuff (1983), Pastime (1990), and American History X (1998).Son of a naval officer, he was born in Portsmouth, VA. He enjoys thrill sports and is an avid downhill skier.  He's a self-affirmed “Navy brat” who graduated from the University of Michigan, where he studied drama.William is married to Clare Wren and has a daughter and son.Russ' acting began on the New York stage before he embarked onto a television and film career. Trained at the Neighborhood Playhouse, he appeared on stage with Al Pacino in “The Basic Training of Pavlo Hummel” and Holly Hunter in “Ghost on Fire.”During the 1980s, Russ found work in more supporting roles such as Crisis at Central High (1981), a television film also starring Academy Award winning actress Joanne Woodward, The Border (1981), The Right Stuff (1983), St. Elsewhere (1986) and Crime Story (1986).William also guest-starred in the television series Miami Vice in the notable 1985 episode “Evan” as the title character, an ATF agent who shared a history with Don Johnson's character, Sonny Crockett. He also made fourteen appearances on the 1987–1990 crime drama Wiseguy.In 2014, Russ reprised his role of Alan Matthews from Boy Meets World on its spinoff Girl Meets World. In season 2, he joined the production crew and directed one episode, being the only cast member to direct episodes of both Boy Meets World and Girl Meets World.Be sure to join Mick & Mook on August 3rd to meet the highly talented William Russ.###

Walter Koenig — actor, director, screenwriter, novelist, acting professor, and comic book creator — played Ensign Pavel Chekov in the orignal Star Trek begining with Season 2.Born in Manhattan in 1936 to Lithuanian Russian Jewish parents, Koenig was bitten by the acting bug early in his youth. He studied at the Neighborhood Playhouse in New York, where he worked with fellow students James Caan, Elizabeth Ashley, and Dabney Coleman. His stage career spans 30 years and includes stops in New York, Chicago, Los Angeles and many other cities. He appeared in many plays and television shows of the late 1950s and early 1960s, including the Mr. Novak series, and even produced and wrote his own feature film in 1967, I Wish I May. And then in 1967 came Chekov. John Russell has been a professional psychic for 50 years. Internationally known, he has provided psychic readings for clients in over 40 countries. John filmed a TV pilot for The History Channel in which he psychically explored the assassination of President Abraham Lincoln.For over 15 years he has been a popular featured guest, heard worldwide, on many radio shows and podcasts. Over the last year and a half John has been interviewed over 100 times

Erika Smith, who is an actress and recording artist. She recently signed with Visionary Talent Agency, and the launch party was held at South by Southwest. Her IMDB page is here: https://www.imdb.com/name/nm1653613/. Erika was raised in the suburbs of Boston, Massachusetts. She studied acting at New York's Neighborhood Playhouse, comedy at the Upright Citizen's Brigade and the Groundlings in Los Angeles and holds a BFA in Music from Hunter College. She acts and sings in film, television and theater and is a recording artist as well. She is also a Marilyn Monroe impersonator and recently performed at the Bellagio in Vegas. This is a recent press article about her: https://www.broadwayworld.com/bwwmusic/article/Erika-Smith-To-Release-First-Album-CALENDAR-GIRLS-20220217

Erika was raised in the suburbs of Boston, Massachusetts. She studied acting at New York's Neighborhood Playhouse, comedy at the Upright Citizen's Brigade and the Groundlings in Los Angeles and holds a BFA in Music from Hunter College. She acts and sings in film, television and theater and is a recording artist as well. Erika is mostly famous for her similar look as  Marilyn Monroe. She has acted in numbers of TV/ Movies.   Before The Dust Settles, Lady Peacock, and The Three Chris's to name a few. Apart from acting she has also studied comedy and can be seen performing in various comedic roles. Support the show (https://www.patreon.com/quidditasfactor)

Brenda Vaccaro joins Stephanie and Angela to talk about being sure of her calling to act, the joy of relationships spanning projects, and being present. Brenda shares stories from studying in the 60s at the Neighborhood Playhouse up through her time on set on And Just Like That.  Edited by: Drake GeorgeOriginal Music by: Yah Supreme (Yahya Jeffries-El)

Laura Buckles is an American actress and producer-writer. Originally from Denver Colorado, she has been in the film industry with titles such as “The Bold and The Beautiful”, “Mad Men”, and “Isolation In”. She also hosts a podcast called "Says Who?" where she interviews real working actors about their lives and careers and what it's like to be a working actor in the entertainment industry. She is currently living in the Los Angeles area. She is a writer-producer and actor. She will do almost anything in the Indigent in the entertainment industry. She is also an improv actor in a company here in Los Angeles. They've been going strong for winning seasons. She grew up partially in Denver, some time in Pakistan but mostly in England. Living overseas while growing up instilled in her a love of travel and an appreciation for culture and art, as well as the ability to overpack for any occasion. She has studied at Second City, Sears and Switzer, HB Studios, and Neighborhood Playhouse. She started acting at 2 months old when she embraced non-traditional casting by accepting the role of baby Jesus in her family's live nativity scene (...fine, she slept through most of it). Her three-year run was cut short when at the age of 2, baby Jesus left the manager in search of chocolate chip cookies and excitement. She also has a set trained Jack Russell named Milo. When neither of us is on set, they're looking for sunny spots to lie in, adventures to go on, and a (you guessed it) good cookie or two. Outline of the Episode: ● [02:35] The Brief Introduction about Laura Buckles. ● [05:11] How do Laura Buckles manage in different cultures? ● [08:23] How do different cultures get Laura into the acting? ● [10:43] Is Laura go Pakistan to prepare for the role? ● [11:46] What was it like playing the role that Laura had in the movie? ● [14:40] How you show kind of what's going on in somebody's head in the movie? ● [16:23] Would Laura ever want to be a cop in real life? ● [21:11] Dinner scene of a Couple in the Movie seem off, What Laura tells about it? ● [23:44] Behind the scene of the Movies? ● [27:15] How the appearance of the Laura character is decided? ● [35:00] What type of writer is Laura..? ● [38:32] What made Laura want to start the podcast ● [30:48] Does Laura show have something specific that it does every episode? ● [46:00] Has Laura had someone cry on her show yet? And if so, how did she handle it? ● [47:26] Can Laura impersonate anyone famously? ● [49:46] Does Laura have a bad Uber Experience? ● [53:41] What Conspiracy Theory does Laura believe in?Catch Laura BucklesWebsite: http://www.laurabuckles.com/ Instagram: https://www.instagram.com/lebuck/?hl=en LinkedIn: https://www.linkedin.com/in/laura-buckles-a7458312/ Facebook: https://www.facebook.com/laura.buckles.3 Connect with AmigosPC! Website: https://www.amigospc.net Facebook:https://www.facebook.com/TwoandahalfAmigos Instagram: https://www.instagram.com/amigospc Twitter: https://twitter.com/AmigosPC Check out Official AmigosPC Merch at: https://www.teepublic.com/stores/amigospc?ref_id=24626 Join the conversation with the Amigos by becoming a member of Amigos pc get direct access to our discord and other cool free stuff https://amigospc.supercast.tech/

Today on the Rarified Heir Podcast we are talking to actress and writer Dinah Manoff, who you know from her film roles in Grease, Child's Play and Ordinary People as well as on television in series' like Empty Nest, Soap and State of Grace. She's a Tony award winning stage actress who created the role of Libby in Neil Simon's I Ought To Be In Pictures on Broadway and went on to star in the film with Walter Matthau and Ann-Margret. It's only fitting that the daughter of Oscar and Emmy Award winning actress and director Lee Grant and writer Arnold Manoff would one day write her very first novel, The Real True Hollywood Story of Jackie Gold, which is out now. While not her story exactly, The Real Life Story of Jackie Gold is about celebrity, Hollywood, paparazzi, the business of celebrity and seeks to answer the question: did Jackie Gold  jump or was she pushed? It's the story of a white hot actress who recounts her life in flashbacks from her hospital bed after a tragic accident which is both funny and ripped from today's headlines.  We talk to Dinah about a wide range of other topics including the blacklist, Neil Simon, Marie Osmond, Peyton Place, growing up in the Malibu Colony, Richard Mulligan, Tony Curtis, her mother's Oscar winning documentary Down and Out in America, The Neighborhood Playhouse, Victor Buono, Cal Arts, soft core porn made at her home and so much more. It was a real thrill talking to the woman behind Marty Maraschino (like the cherry) who was funny, open and ready to talk. It's coming up next on the Rarified Heir Podcast.

Pamela Moller Kareman is the executive director of the Neighborhood Playhouse School of Theatre. Just a few of their alumni includes Tony Randall, Mary Steenburgen, Robert Duvall, Jasmine Cephas Jones, Gregory Peck, Christopher Lloyd, Chris Noth, Dylan McDermott, Allison Janney and Joanne Woodward. For more than two decades Pamela has taught the Meisner Technique in New York and she continues to nurture new generations of actors. The school just reopened their famed red doors for in-person classes in September. This episode was recorded September 15, 2021. Learn more about your ad choices. Visit megaphone.fm/adchoices

Absolutely loved having JoAnna Beckson on Dystopia Tonight. I had the pleasure of taking her Meisner class when I was a young comic and what I learned from her is invaluable both as a teacher and now as a friend. We discuss how she got into acting/directing, having the neighborhood kids put on a show she directed at the age of 5, to back packing through Europe, falling in love with another actor in her troupe, being trained by Sanford Meisner, auditioning, diving into teaching and directing, and working with comedians like myself, Joe Starr, Rob Bartlett, Ted Alexandro, Jim Gaffigan, Ray Romano, Dave Attell (the list goes on!) and how the business has and will continue to reshape itself after covid. Enjoy!   Check out her official bio below:   JoAnna Beckson was trained as an actress and teacher by Fred Kareman, William Esper and Sanford Meisner of the Neighborhood Playhouse. She has worked extensively as an actress and director both Off-Broadway and Off-Off-Broadway in such theaters as The Ensemble Studio Theater, Intar II, The Working Theater and Woman's Interart. She is also a founding member of New York City's prestigious Circle Repertory Company's LAB. Along with being a consultant for Disney and Paramount Studios, JoAnna has maintained the dual career of Actress/Director and Teacher of acting in New York City for many years. “Say Something Funny”, an original dramedy she conceived, directed and co-produced at the Criterion Center-Broadway, was optioned for sitcom development by Nelle Nugent, a five-time Tony Award winning producer, and by Dick Clark Productions. JoAnna's involvement in the daily “business” of acting gives her special insight toward helping actors develop their craft and solve the problem of finding work. For the past fifteen years, JoAnna has also been an Adjunct Professor at New York University's School of Professional Studies as well as the Graduate Film Department at NYU Tisch School of the Arts. JoAnna also leads workshops at the School of Visual Arts, and the New York Conservatory for Dramatic Arts.

Christina Crawford (born June 11, 1939) is an American author and actress, best known for her 1978 memoir, https://en.wikipedia.org/wiki/Mommie_Dearest (Mommie Dearest), her account of growing up with her adoptive mother, film star https://en.wikipedia.org/wiki/Joan_Crawford (Joan Crawford). Christina Crawford was born in Los Angeles, California in 1939, to an unmarried teen. According to her personal interview with Larry King, her father was married to another woman and supposedly in the Navy; her mother was unmarried. Crawford was adopted from a baby broker in Nevada because Joan was formally denied an adoption by social services for being an unfit candidate in California in 1940 (due at least in part to her status as a divorcee). Crawford was one of five children adopted by Joan. Her siblings were Christopher (1942–2006), adopted in 1943, and twin girls — Catherine (Cathy, 1947–2020) and Cynthia (Cindy, 1947–2007) — adopted in 1947. Another boy, also named Christopher, was adopted in 1941 but was reclaimed by his birth mother. Crawford has stated that her childhood was affected by her adoptive mother's alcoholism. At 10, Crawford was sent to Chadwick School in Palos Verdes, California, which many other celebrity children attended. However, her mother sent her from Chadwick to graduate from Flintridge Sacred Hearthttps://en.wikipedia.org/wiki/Flintridge_Sacred_Heart_Academy ( )Academy in La Cañada (now the city of La Cañada Flintridge), California, and curtailed Crawford's outside contact until her graduation. After graduating from Flintridge, she moved from California to Pittsburgh to attend Carnegie Mellon School of Drama and then to New York City, where she studied at the Neighborhood Playhouse in Manhattan. After seven years, she gained a Bachelor of Arts degree from UCLA. After 14 years as an actress, Crawford returned to college, graduating magna cum laude from UCLA and receiving her master's degree from the Annenberg School of Communication at USC. Then she worked in corporate communications at the Los Angeles headquarters of Getty Oil Company.

This was a really fun and simultaneously important conversation with 3 very talented women. It was an absolute pleasure speaking with Luisa Tascone, Eliza Charley & Tegan Jones about their own individual journey's with creativity and finding their voice in the industry. It was also really inspiring to hear how this trio has come together to create some very needed theatre opportunities and connection for the performing arts community in Melbourne post COVID.  In this episode we speak about:The conditioning of growing up in different cultures and how performing arts is sometimes encouraged but sometimes discouragedHonouring your own creative expression and staying true to your path  How to define your own measure of success What happens when your identity is tied up to your creative and artistic successThe importance of community connection for artists post COVIDAnd more!ABOUT:Tegan Jones:Tegan is a Melbourne-based actor, singer and producer who trained with Wendy Ward at the Ward Acting Studio in Meisner technique in both Melbourne and New York. As a producer, Tegan has over 15 years project management and theatre producing experience, now with her production company - Ignite Productions - working with independent creatives to help their projects to fruition by bringing Business Smarts to the Arts. Luisa Tascone:Luisa is an actor, singer and presenter from Melbourne with over a decade of experience.  She is a graduate of the world-renowned New York acting school The Neighborhood Playhouse and recently returned to Melbourne after training and working in NYC for 3 years.Eliza Charley:Eliza Charley is an actor, writer, and producer with an alter-ego career as a business and marketing strategist.MiCasa Theatre:In 2021, Mi Casa Theatre and Ignite Productions partnered together to build a sustainable model for creative opportunities in the independent theatre scene through high-quality, low-cost and fast-turnaround events that reconnect artists and community after the past year.BOOK TICKETS TO THEIR UPCOMING SHOWS:Tales From The VaultFollow on Instagram: @micasa_theatre & ignite_productions_We would really appreciate if you could leave a review on Apple Podcasts.To listen to more episodes of The Creative Zone Podcast, click hereContact Tali: @talibrashJoin the waitlist for upcoming: The Voices Of ProgramFollow @thecreativezonepodcastSupport the show

In this episode of the podcast Joe talks to actor Matt Pascua about the various communities he has in his life and the support each of them provide. On the cusp of Pride Month 2021 Matt talks about the important role the LGBTQ+ community has played in his life. We also discuss the theatre community and our own social community of friends/family. As we start to emerge from this global pandemic we need to ensure we are giving ourselves grace and space while reconnecting with our own communities. Enjoy! About Matt Pascua -  MATT PASCUA first discovered his passion for acting in New York, where he trained at the Neighborhood Playhouse, Stetson Studio, and the William Esper Studio. He began performing in staged readings, new works off-off-Broadway, and regional productions.  Simultaneously, he found opportunities in viral videos, primarily with CollegeHumor, as well as commercial, print, and voiceover work, including spots for MTV, VH1, and McDonald's and campaigns for Puma and the Meth Project. Today, his growing resume now features primetime credits on ABC (Grey's Anatomy, Castle), Freeform (Bunheads), and Fox (Rosewood​).  He is an alum of the ABC Discovers Talent Showcase, which takes pride in Lupita Nyong'o, Chadwick Boseman, Randall Park, and many others as some of its previous selected artists. His independent film work has seen nationwide theatrical release and the film festival circuit, most notably at the Cannes Film Festival (Anthony Meindl's Where We Go From Here) and the Toronto International Film Festival (Jean-Marc Vallée's Wild).  Projects of his can currently be streamed on Amazon Prime, Hulu, and Netflix. Matt is a grateful member of Actors' Equity and SAG-AFTRA.   To quickly and easily leave a rating/review for this podcast please go to:  https://ratethispodcast.com/dtalkspodcast Thanks to Snuffy for this episode of the podcast! Snuffy is a clothing brand about empowering you to show your weird - unapologetically, with bravery and confidence. 10% of profit goes to LGBTQ+ organizations led by Trans* people of color. Shop online now at snuffy.co Also, thanks to Empire Toys for this episode of the podcast! Nostalgia is something everyone loves and Empire Toys in Keller Texas is on nostalgia overload.   With toys and action figures from the 70's, 80's, 90's, and today, Empire Toys is a one-stop-shop for a trip down memory lane and a chance to reclaim what was once yours (but likely sold at a garage sale)   Check out Empire Toys on Facebook, Instagram, or at TheEmpireToys.com The DTALKS Podcast has also been ranked #9 in the "Top 40 Detox Podcast You Must Follow in 2020" according to Feedspot.com for our work in the Cultural Detox space. Thank you so much to the Feedspot team!  https://blog.feedspot.com/detox_podcasts/

TVC 530.5: Walter Koenig talks to Ed about how playing Bester on Babylon 5, in some ways, brought his career full circle. Walter’s memoir, Beaming Up and Getting Off: Life Before and Beyond Star Trek, walks you through Walter’s growing up years as the son of Russian immigrants in 1940s Manhattan; his formative years as an actor with the Neighborhood Playhouse in New York (where Walter learned his craft alongside such classmates as Christopher Lloyd, Brenda Vaccaro, Jessica Walter, James Caan, and Dabney Coleman); his lifelong love of theatre; and his deep appreciation for the many opportunities that Star Trek continues to give him. Beaming Up and Getting Off: Life Before and Beyond Star Trek is available in hardcover and as an eBook through Jacobs Brown Media Group. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

TVC 529.5: Walter Koenig talks to Ed about the events that led to his being cast as Alfred Bester on Babylon 5. Walter’s memoir, Beaming Up and Getting Off: Life Before and Beyond Star Trek, walks you through Walter’s growing up years as the son of Russian immigrants in 1940s Manhattan; his formative years as an actor with the Neighborhood Playhouse in New York (where Walter learned his craft alongside such classmates as Christopher Lloyd, Brenda Vaccaro, Jessica Walter, James Caan, and Dabney Coleman); his lifelong love of theatre; and his deep appreciation for the many opportunities that Star Trek continues to give him. Beaming Up and Getting Off is available in hardcover and as an eBook through Jacobs Brown Media Group. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

NO BS WITH SB is proud to present 020 GUIDO GRASSO “Guido’s acting abilities are well known and sought out by the movie and television industry. In 1998, Guido landed his first feature film role in Bonanno: A Godfather Story playing the young Peter Maggadino. After Bonanno, Guido studied in New York refining his craft at the Neighborhood Playhouse and The New Actor’s Workshop. In New York, he worked with Mike Nichols, George Sills and George Morrison. Since then, Guido appeared in various films and television spots. He was chosen to appear in two episodes of the acclaimed series Curb Your Enthusiasm where he appeared in scenes with Larry David and the venerable Martin Scorsese. In 2012, he was seen in the feature film Mirror Mirror starring Julia Roberts. In 2013, he appeared in the film Nicky Deuce with some cast members of The Sopranos (James Gandolfini, Michael Imperioli, Tony Sirico, Vincent Curatola and Steve Schirippa). He can also be seen in The Walk directed by Robert Zemeckiswith Joseph Gordon Levitt. Guido is blessed with a rapier wit, an outstanding stage presence and indelible comedic delivery. Guido’s stand-up career is on a meteoric rise and he has been selected to open for Australian comedy super star Joe Avati on two world tours. Also part of the notorious Italian Bad Boyz of ComedyGuido loves hand tossing pizza and is fluent in English, French and Italian. For bookings USA: (929)406-5254 For bookings Canada: (514)691-0468 guidograssoshow@gmail.com Film and TV appearances Marie Eve Blackburn (514)814-8796 #guidograsso​ #nobswithsb​ #sebastienbourgault​ #comedian​ #actor​ #comedy​ #montreal​ #newyork​ #funny​ #standup​ #peroni​ you can listen the podcast everywhere Apple Podcasts Breaker Castbox Google Podcasts Overcast Pocket Casts RadioPublic Spotify Stitcher thanks to PERONI RESTAURANT http://restaurantperoni.com/

NO BS WITH SB is proud to present 020 GUIDO GRASSO “Guido’s acting abilities are well known and sought out by the movie and television industry. In 1998, Guido landed his first feature film role in Bonanno: A Godfather Story playing the young Peter Maggadino. After Bonanno, Guido studied in New York refining his craft at the Neighborhood Playhouse and The New Actor’s Workshop. In New York, he worked with Mike Nichols, George Sills and George Morrison. Since then, Guido appeared in various films and television spots. He was chosen to appear in two episodes of the acclaimed series Curb Your Enthusiasm where he appeared in scenes with Larry David and the venerable Martin Scorsese. In 2012, he was seen in the feature film Mirror Mirror starring Julia Roberts. In 2013, he appeared in the film Nicky Deuce with some cast members of The Sopranos (James Gandolfini, Michael Imperioli, Tony Sirico, Vincent Curatola and Steve Schirippa). He can also be seen in The Walk directed by Robert Zemeckiswith Joseph Gordon Levitt. Guido is blessed with a rapier wit, an outstanding stage presence and indelible comedic delivery. Guido’s stand-up career is on a meteoric rise and he has been selected to open for Australian comedy super star Joe Avati on two world tours. Also part of the notorious Italian Bad Boyz of ComedyGuido loves hand tossing pizza and is fluent in English, French and Italian. For bookings USA: (929)406-5254 For bookings Canada: (514)691-0468 guidograssoshow@gmail.com Film and TV appearances Marie Eve Blackburn (514)814-8796 #guidograsso​ #nobswithsb​ #sebastienbourgault​ #comedian​ #actor​ #comedy​ #montreal​ #newyork​ #funny​ #standup​ #peroni​ you can listen the podcast everywhere Apple Podcasts Breaker Castbox Google Podcasts Overcast Pocket Casts RadioPublic Spotify Stitcher thanks to PERONI RESTAURANT http://restaurantperoni.com/

Victoria spoke with Virginia Dutton! "It's All Therapy" - Virginia shared about her gift - the ability to paint the energy of another person. She talks about her early and ongoing challenges with diabetes, the conversation that she refused to believe as a little girl about being blind, and the determination that spread like wildfire inside of her to not only live life, but FEEL through it. She shares that some of the darkest moments were all gifts, and "it's all therapy". Having left a successful career on Wall Street to pursue her vocation as an artist, Virginia Dutton lives and works in New York, New York. Virginia's uncanny aptitude for sensing, focusing, and expressing energy in color and texture are at the heart of her gift for painting. Her ability to express herself through different and unusual media creates art in which energy takes chromatic, solid form. Her works of art have been presented and sold on 1stdibs.com, Housing Works Design Gala benefit events, Regis High School silent auction, Marjorie's Fund Gala silent auction, CATM Chelsea gallery's Art Live, the Museum of the Shenandoah Valley, Arlene Angard's Upper East Side Gallery, Spring Market Art X Design at the DDB, and the Historical Gallery. Virginia also had her studio opened for Industry City's 2018 Open House event. Virginia studied theatre at The Neighborhood Playhouse and has appeared in many stage productions as well as film.

Stefano Dafre is an actor trained at the famous Neighborhood Playhouse in NY has worked with legendary directors like https://en.wikipedia.org/wiki/Ang_Lee (Ang Lee) and is also a filmmaker whose work has appeared at the  https://en.wikipedia.org/wiki/Cannes_Film_Festival (Cannes) Film Festival and on  https://en.wikipedia.org/wiki/NBC (NBC) television. This artist discusses his process for all the artistic disciplines he works in. His Film “The Day I had to Grow Up” currently playing on Amazon Prime https://www.amazon.com/gp/video/detail/B08LNZT7P7/ref=atv_dp_share_cu_r (https://www.amazon.com/gp/video/detail/B08LNZT7P7/ref=atv_dp_share_cu_r) Time Stamps [00:01:00]   Intro- Growing up in Canada, coming to US- Early Training [00:06:55]   Acting Process [00:08:49]   First time working-Ang Lee [00:11:30]   Running a Set today as a Director [00:14:21]   How he went from Actor to Director-Meeting Russ [00:19:27]   Getting Sick and Learning the Art of film Directing [00:28:12]   Stefano asks about Russ films- discussing techniques [00:32:00]   Comparing approaches [00:41:45]   First time directing-working with a DP [00:45:28]   Letting go and Trusting in Art [01:00:00]   Stefanos Films go to Television and Canne [01:11:42]   Hanging out with Denis Villeneuve [01:16:00]   Let’s get under Stefanos Wing [01:17:50]   Where are you as an artist now [01:24:37]   We shall meet again  Links Links to Russ on YouTube and his Websites https://linktr.ee/russcamarda (https://linktr.ee/russcamarda) Stefanos’ Links http://www.rossofilmsinternational.com/board-members (http://www.rossofilmsinternational.com/board-members) http://www.sdafre.com/ (http://www.sdafre.com) https://www.amazon.com/gp/video/detail/B08LNZT7P7/ref=atv_dp_share_cu_r (https://www.amazon.com/gp/video/detail/B08LNZT7P7/ref=atv_dp_share_cu_r) Russ Movies https://www.imdb.com/title/tt2137381/ (https://www.imdb.com/title/tt2137381/) https://www.imdb.com/title/tt2414886/ (https://www.imdb.com/title/tt2414886/) http://www.russcamarda.com/ (http://www.russcamarda.com) http://tagstudiony.com/ (http://tagstudiony.com) Production partners https://idunleashed.com/ (https://idunleashed.com) Support this podcast

Hosted by Coni Koepfinger and Brandy ChapmanJoan Kane (director/producer/dramaturg/writer/actor) is the founding Artistic Director of Ego Actus.Selected workJoan Kane directed Sycorax at HERE, Play Nice! at 59e59 theaters, I Know What Boys Want at Theatre Row, Six Characters in Search of an Author in Oslo, Norway and Kafka’s Belinda in Prague. She also directed both Safe and what do you mean at 59e59 theaters and in the Edinburgh Festival Fringe, getting four star reviews for each.Awards and honorsJoan was awarded Best Director in the 2016 United Solo Festival where she has directed six pieces. Joan was named lone of the 2011 People of the Year in honor of her contributions to the NY theatre scene and inducted to the Indie Theatre Hall of Fame by nytheatre.com. Her shows have been nominated for 61 awards, winning 21Selected other workJoan has also directed plays and readings at the Lark, Ensemble Studio Theatre, Urban Stages, Workshop Theater, Nylon Fusion, Articulate Theatre, Abingdon Theatre, Oberon Theatre, the Samuel French Short Play Festival, the Actors Studio, T. Schreiber Studio, the Broadway Bound festival and many others.EducationJoan graduated from the High School of Performing Arts, studied acting at the Neighborhood Playhouse and has an MFA in Directing from The New School and an MS in Museum Education from Bank Street College. Career ArcEarly in her career she was an Equity, AFTRA and SAG actress. She later became a teaching artist for Henry St Settlement, Young Playwrights and Theatre for a New Audience. Joan went on to teach in New York City Public Schools where she was also a staff developer and at Fordham University as an adjunct professor for both under graduate and graduate classes.MembershipsJoan is a member of The New York Madness Company, Rising Sun Performance Company, The Episcopal Actors’ Guild, the League of Independent Theatre, the Dramatists Guild, New York Women In Film and Television and the Society of Stage Directors & Choreographers. She is a voting member for the New York Innovative Theatre Awards Artistic Achievement committee and a Nominator for the Kilroys List. Joan is also an ex-officio Vice President for Programming on the Executive Board of Directors of the League of Professional Theatre Women.

SYNOPSIS:Gerald Thomson, an ex-stuntman in his early 70s, is now the special client of a hospital facility, in Calabria region, South Italy. He is in a wheelchair, as a result of a work accident. Louis, his son, flies from N.Y. to Calanzaro in order to bring his father home--not only because he’s getting married, but also because the medical care in the Italian hospital is rather poor. Gerald stubbornly refuses to get back home.The funny, yet dramatic conflict which arises between the two, reaches a climax when Gerald tells Louis that he is not his biological father. A series of small unfortunate events takes place, culminating with an accident, when Louis kills Maria, his dad’s much younger and beautiful friend. Taking advantage of the fact that Gerald’s brain seems to have been a bit affected lately, Louis calls in the accident, telling the hospital’s personnel that his father is the one who killed Maria.SHORT BIOS:Joe Anania (Gerald Thomson) Joe Anania is a NYC-based actor who was trained as an acting teacher in the Sanford Meisner Technique by Philip Gushee who was one of the founding members of the Neighborhood Playhouse. His acting credits include work on the “Sopranos”, “Law and Order” as well as films, national commercials and theater, performing in contemporary plays, as well as plays by Ionesco, Chekhov and Moliere. Joe recently acted in two One-Act Plays in New York, “The Bear” by Anton Chekhov and “Penguin Blues” by Etan Phillips. Joe was the founding member of two theatre companies in New York City: “Performers Ensemble” and “Inner Visions Theater Company.” Joe’s recent One Man-Show “Split Decision” premiered at the Cherry Grove Theatre, He has maintained his own acting studio since 1993 (ananiastudio.com) PS I was one of his students. Juan Perez (Louis)Juan studied film, theater, and acting at New York University, Brooklyn College, and Michael Howard Studios. He has performed in theatrical and cinematic productions for over a decade. Theatrically, he has performed in productions including ‘A View from the Bridge,’ ‘Wait Until Dark,’ and ‘Pulp Shakespeare.’ In video productions, Juan parlayed his memorable performance as Bernardo in ‘Jose’s Place,’ into the uniquely manic lead in ‘La Casa Loca’(Maverick Entertainment). Juan currently produces videos for corporate clients and artists in Los Angeles.Christy Donahue (Maria/Carla)Christy’s acting credits span traditional theater, interactive dinner theater, commercial and film work, and staged readings (in person, online, and via livestream). Favorite credits include Carol Grady in Brooke and Carly (available on YouTube), Evy Meara in Neil Simon’s The Gingerbread Lady, Karen in Dinner with Friends, and Annette in God of Carnage.Playwright Theo HerghelegiuTheo is a theatre director, playwright, actress and translator, resident in Europe – Romania, Bucharest, with over 20 years experience in Performing Arts, 28 years experience in Creative Writing, Translations, Interpreting and Tutoring, and has had an interesting experience in Journalism. She is also a representative figure with the Romanian Independent Director Carrie Wesolowski is a NYC-based actor, director, host, and singer who has appeared in numerous off-Broadway, community theatre, independent film productions, television and international news programs. Carrie is a graduate of the Gushee/Anania Studio and did advanced work at the Anania Studio. She hosted “Movie Talk Show” for three years. Carrie recently acted in and directed “Love, The TV, and Me at Julia’s Reading Room. Carrie’s latest project is directing and acting in Coni Koepfinger’s “Simon Says, “ a finalist in Playbill VTF Live: https://vtf.live/simon-says/ Carrie is happy to be directing Theo Herghelegiu’s “Ain’t No Sour Cherries For Dinner” and guiding the actors in finding the comedy amidst the pathos.

Jorge Suquet is an actor based in Madrid, Spain. We trained together at the Neighborhood Playhouse in New York City. It was there that we became friends, and we have remained close friends for the past sixteen years. You’ll learn a little bit about the path Jorge has taken since our lives took us away from New York City. I encourage you to seek out his body of work. He references many Spanish properties like Freedom and Angel o Demonio, and he displays his abilities as an English actor on the Starz program, Black Sails as well as Isabel Coixet’s The Bookshop, co-starring Emily Mortimer, Patricia Clarkson, and Bill Nighy.

Career Q&A with Allison Janney on October 7, 2014. Moderated by Debra Birnbaum, Variety. In addition to starring in MOM, Emmy Award winner Allison Janney recently guest starred in the cable series "Masters of Sex." Her recent film credits include "Get on Up," "The Way, Way Back," "Touchy Feely," "Trust Me" and "Bad Words." She lent her voice to the animated film "Mr. Peabody & Sherman." Janney co-starred in the Academy Award-nominated film "The Help," for which the cast won ensemble awards from the Screen Actors Guild, National Board of Review and the Broadcast Film Critics. Janney appeared in the Oscar-winning ensemble hit "Juno," and in the movie version of the Tony Award-winning play "Hairspray." For her role in "Life During Wartime," she was nominated for Best Supporting Actress by the Spirit Awards. She also appeared in "Away We Go," "Strangers with Candy," and was heard as the voice of "Gladys" in the animated film "Over the Hedge," as well as "Peach" in "Finding Nemo." Janney received another Spirit Award nomination for her work in the independent feature "Our Very Own," and starred opposite Meryl Streep in "The Hours," which received a SAG Award nomination for Outstanding Ensemble Cast in a Motion Picture. Other feature credits include the Academy Award-winning film "American Beauty" (for which she won a SAG Award for Outstanding Ensemble Cast in a Motion Picture), "Nurse Betty," "How to Deal," "Drop Dead Gorgeous," "10 Things I Hate About You," "Primary Colors," "The Ice Storm," "Six Days Seven Nights," "The Object of My Affection" and "Big Night." Janney is perhaps best known for her starring role as White House Press Secretary CJ Cregg in the television series "The West Wing," for which she won four Emmy Awards and four SAG Awards. While she was a freshman studying acting at Kenyon College in Ohio, Janney auditioned for Paul Newman. Soon after, Newman and his wife Joanne Woodward suggested she study at the Neighborhood Playhouse in New York. She followed their advice and went on to make her Broadway debut in Noel Coward's "Present Laughter," for which she earned the Outer Critics Circle Award and Clarence Derwent Award. Also, she appeared in Arthur Miller's "A View from the Bridge," receiving her first Tony Award nomination and winning the Outer Critics Circle Award. Janney was last seen on Broadway in the musical "9 to 5," for which she earned a Tony Award nomination and won the Drama Desk Award.

Today I sit down with television and film actress, Broadway star, and singer-songwriter, Jasmine Cephas Jones. Introduced into the world of entertainment by her father, actor Ron Cephas Jones, and her mother, jazz singer Kim Lesley, Jasmine went to school for the performing arts starting in middle school . She spent many years studying voice at LaGuardia High School in New York City as well as throughout her college years at Berklee College of Music. Today, Jasmine shares the feelings of vulnerability that came soon after where she felt something was missing and was unsure about exactly what kind of career she wanted to pursue. When she realized the missing link she had been searching for was acting, Jasmine immediately committed to studying the craft through experience with the LABrinth Theater Company and training in the Meisner teachings of the Neighborhood Playhouse for Theater. She shares her experiences with the peaks and valleys of the business, from being dropped by an agent, to landing the roles of Peggy Schuyler and Maria Reynolds in the Tony award winning Broadway hit musical, Hamilton. Even after conquering the world of Broadway, Jasmine ventured out to Los Angeles where she reveals she felt as if she was starting from scratch, grinding all over again to prove herself in the business of show business. While she admits to having moments of wanting to give up, Jasmine shares the mindsets she’s carried with her over the years to help keep her moving through those moments of uncertainty. The belief she has in herself has earned her an extensive list of credits including roles on, HBO’s “Girls” and “Mrs. Fletcher”, as well as roles in films such as “Blindspotting”, “The Photograph”, “Monsters and Men” and can currently be seen on Quibi’s newly released, “#FreeRayShawn”. If you’re looking for tips, be sure to take notes as Jasmine reveals details about her own process for creating riveting characters that light up the screen.   For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me (@alyshiaochse)! Show Links: INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher SELF-TAPE TO BOOKING: Audition Process Post-Quarantine Guest links: IMDB: Jasmine Cephas Jones INSTAGRAM: @jazzy_joness TWITTER: @JasCephasJones YOUTUBE: Jasmine Cephas Jones APPLE MUSIC: 'Blue Bird' EP Release Credits: WRITER: Erin McCluskey SOUND DESIGN: Zachary Jameson WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Bebe Katsenes

Matthew has developed a distinct and comprehensive professional technique and a life philosophy that has evolved into what is now known as The Actor's Foundry. As an actor, Matthew graduated from The Neighborhood Playhouse and has worked in Film, TV and stage in both LA and Vancouver.

Over a 70-year career, Wynn Handman added sharpness and craft to the natural talents of actors including Christopher Walken, Allison Janney, Raul Julia, Richard Gere, James Caan, Anna Deveare Smith, Joanne Woodward, and Mia Farrow.  The World War II veteran studied acting on the GI bill and fell in with Sanford Meisner at the Neighborhood Playhouse in 1946, when the "playhouse" was still two floors of an office building west of Times Square.  In this remarkable conversation, Handman tells Alec about his experiences with Meisner, Lee Strasberg, and his many students -- as well as growing up in the 1920s in a Manhattan neighborhood where the streets still had not been paved.  Handman died of complications from COVID-19 on April 11, 2020.

Bill Barretta began performing with The Jim Henson Company in 1991 and has become one of the core Muppet performers. Originally from Philadelphia Pa, Barretta was trained at The Neighborhood Playhouse in New York City under the late, great Sanford Meisner and has appeared in several films and television shows such as, Murder in the First, Born to Be Wild, Jack and the Beanstalk: The Real Story, (which he also co-wrote and received a Saturn Award), Nightmares and Dreamscapes and more recently, Unbreakable Kimmy Schmidt. Barretta began his career with The Jim Henson Company, landing the character of Earl Sinclair on the ABC hit television series Dinosaurs. From there, he transitioned to supporting and then ultimately featured roles, making his film debut as a principal performer playing Clueless Morgan in Muppet Treasure Island. Barretta soon developed several new characters on the ABC series Muppets Tonight, including Pepé the King Prawn, Johnny Fiama and Bobo the Bear, to name a few. Along with having his own Muppet creations, Barretta is honored to have taken over several of Jim Henson’s roles: Rowlf the Dog, The Swedish Chef, Dr. Teeth and Mahna Mahna. In addition, Barretta has served as coordinator, co-producer and executive producer for many Muppet projects over the last twenty-six years, including It’s a Very Merry Muppet Christmas Movie, The Muppets’ Wizard of Oz, Muppets Letters to Santa, The Muppets, Muppets Most Wanted, the most recent ABC Primetime series The Muppets, and the highly successful live shows, The Muppets Take The Hollywood Bowl, and The O2 Arena. Barretta has directed, produced and written countless projects for the Muppets over the last twenty-six years including commercials for, UL, Long John Silvers, Pizza Hut, Subway, Lipton, Toyota, PAM and an abundance of Social Media content. Barretta also recently co-starred with Melissa McCarthy as private-eye Phil Philips in the “The Happytime Murders”. …Oh, and he’s a nice Italian boy. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/cindy-gilman/support

Amanda Bearse and Teresa Ganzel, TV royalty, were just beginning rehearsals for The https://judsontheatre.com/ (Judson Theatre Company )production of THE ODD COUPLE when COVID-19 shut everything down. Bearse played Marcy D’arcy, the Bundy’s neighbor in the hit sitcom MARRIED WITH CHILDREN, and Ganzell spent ten years working with Johnny Carson on THE TONIGHT SHOW. Hear what these funny ladies have to say about theater, comedy, television, and timing. About the Guests Amanda Bearse played Marcy D’Arcy on over 250 episodes of Fox’s Married…With Children during its 11-season run, and co-starred in the cult horror film Fright Night opposite Chris Sarandon. After graduating the Neighborhood Playhouse under Sanford Meisner, Bearse began her professional acting career in New York on All My Children. Directing episodes of Married…With Children launched her episodic tv directing career, and she went on to direct episodes of many other series including MADtv. Reba, Sabrina the Teenage Witch, George Lopez, The Jamie Foxx Show, Dharma & Greg, and Jessie. After over three decades in entertainment, Amanda made her off-Broadway directing, as well as acting, debut in 2018 at New York City Center with Party Face starring Hayley Mills, coming full circle with her work in theater. Teresa Ganzel is perhaps best known to audiences everywhere from her 32 appearances on The Tonight Show starring Johnny Carson; for playing Jackie Gleason’s wife in The Toy starring Richard Pryor; and for starring opposite Jeff Goldblum in Transylvania 6-5000. She also appeared opposite Bill Paxton in the comedy mini-series Fresno starring Carol Burnett. Teresa was a series regular on The Duck Factory with Jim Carrey, Roxie with Andrea Martin, and Teachers Only with Lynn Redgrave and Jean Smart. She has made dozens of memorable guest appearances on beloved shows including Three’s Company (as Greedy Gretchen), Coach, Mama’s Family, Alf, Newhart, Love Boat, Hotel, and Married…with Children. Game show fans may remember Teresa as a celebrity player on The $25,000 Pyramid and $100,000 Pyramid tournaments as well as Super Password and Hollywood Squares. Teresa’s distinctive voice can be heard in blockbuster films like Despicable Me 3, Toy Story 3, Monsters University, Monsters Inc., Up, Wall-E, Horton Hears a Who!, and Cars. Her recent theatre credits include Harvey starring French Stewart at Laguna Beach Playhouse; Heartbreak Help with Melissa Peterman and Marisa Jaret Winokur; the national tour and Off-Broadway production of Viagara Falls; and Meet & Greet with Vicki Lewis.  Morgan Sills s a Producer/Director with Broadway, off-Broadway, and regional theatre credits. In the past five years, he has produced or directed eighteen shows in theatres in New York and around the United States. On Broadway, Morgan was a producer of the Tony-nominated 2014 revival of Of Mice and Men as a partner in Piedmont Productions (with fellow North Carolina producer Bruce Long). Of Mice and Men starred Oscar and Emmy nominee James Franco (Spider-Man), Chris O’Dowd, Gossip Girl’s Leighton Meester, Tony winner Jim Norton, and True Blood’s Jim Parrack. The show recouped its capitalization in the twelfth week of its eighteen-week limited engagement and was the first-ever Broadway show taped for broadcast by Britain’s National Theatre Live. Morgan is in his eighth season as Executive Producer of Judson Theatre Company in Pinehurst, NC, the recipient of NCTC's 2016 George A. Parides Professional Theatre Award for excellence in professional theatre in North Carolina. https://indyweek.secondstreetapp.com/2020-Best-of-the-Triangle-Final-Ballot/gallery/226131827 (RDU on Stage has been nominated for three Indy Week Best of the... Support this podcast

From directing live television in the sixties, to jumping out of airplanes and water-skiing in the MeKong Delta (while serving his country during the Vietnam War), from studying acting under the tutelage of the legendary Sanford Meisner (at the Neighborhood Playhouse), to becoming recognized the world over for his work on stage and screen, Tucker Smallwood has lived an extraordinary life and continues to live life extraordinarily.Fans of Chillpak Hollywood Hour might recognize Tucker as “Kid Griffin” from The Cotton Club, “The Mission Director” in Contact, “Commander Ross” in Space: Above and Beyond, “the Xindi Primate” in Star Trek: Enterprise, “God” in The Sarah Silverman Program, and “Sheriff Andy Taylor” in “Home”, the most controversial episode of The X-Files.Born to a father who served the U.S. as a diplomat and an educator, Tucker details some of his own service to country in the book Return to Eden. Commanding a Mobile Advisory Team, becoming severely wounded in action, recovering from his injuries, moving to New York and studying acting, establishing a career as a performer on Broadway, in film and on television, and continuing to explore the mysteries of existence (UFOs! Ghosts! Golf!) are some of the many topics Tucker explores in the book.Dean and Phil welcome Tucker to the show this week. We can guarantee that you won’t want to miss it!

Maximilian Carlo Martini was born in Woodstock, New York, to an Italian father and an American mother. He is a citizen of the United States, Canada, and Italy. His parents were involved in the arts and instilled in him an appreciation for all things creative. After moving around a bit as a child, he made his way back to New York City and began to study acting. Starting out at the Neighborhood Playhouse he did the majority of his training with 'Michael Howard' in Manhattan. He then took a break from acting to focus on his early love of fine art, attending the School of Visual Arts in Manhattan and receiving a BFA in painting and sculpture. https://www.imdb.com/name/nm0242882/  Twitter and Instagram:  @maxmartinila Charities: https://www.garysinisefoundation.org https://highergroundusa.org https://www.warriorsheart.com   Mike Simpson has served over three decades in the military as an Airborne Ranger, a Special Forces Operator, and finally as a Doctor of Emergency Medicine assigned to the Joint Special Operations Command (JSOC). Throughout his career, Mike has deployed to 17 different countries, from counter-narcotics operations in the jungles of South America, to the Global War on Terror (GWOT) in Southwest Asia and North Africa. Along the way, Mike has been trained as a demolitions expert, SWAT Sniper, High Altitude Low Opening (HALO) parachutist, civilian paramedic, Special Forces Medic, Operations and intelligence Sergeant, and finally, a board certified Emergency Medicine Physician. Mike is also a martial arts enthusiast, who trains in Brazilian Jiu Jitsu and Muay Thai. His passion for martial arts motivated him to become a practicing fight doctor. As one of the foremost experts in both tactical trauma medicine and combat sports medicine, Mike is highly sought after as a lecturer and instructor, working extensively with Mixed Martial Arts (MMA) fighters, law enforcement, and military organizations providing medical care and training. He co-stars on Hunting Hitler on the History Channel. Email: doc@drmikesimpson.com Facebook: https://www.facebook.com/DoctorMikeSimpson/ Instagram: @drmikesimpson Website: https://drmikesimpson.com Shop affiliates: https://drmikesimpson.com/new-page-1 Supplements: https://onnit.com/motw (Save 10% on every purchase when you use this page)  Nutrition: https://www.freshly.com/subscriptions/1807965?clickid=SREyh7XScxyJTlPwUx0Mo3cTUknxrzxsKVe91A0&irgwc=1&utm_campaign=usa_plans_all-d_all-p_acq_cpa_Michael%20Simpson_&utm_medium=affiliate&utm_source=ignite&affsrc=1&utm_term=paid-affiliate&plan_id=422&promo_code=rad40 Merchandise: https://rangerup.com/collections/doc-simpson promo code: MOTW15 (Save 15%) https://Strikeforceenergy.com Promotion code at checkout for 20% off: MOTW  

This week we were joined by the hilarious Chris Scopo. He performs at some of the best clubs, not only in New York, but across the country. He has opened for top comics such as Robert Kelly, Dan Soder, Andrew Schulz, Joe List and Luis J. Gomez. He studied two years of acting at Stetson Studio with Ron Stetson of the Neighborhood Playhouse. We talked about comedy, pc culture, technology, relationships among many other hilarious topics. Give it a listen and if you dig it, subscribe!

My guest today is actor and Meisner technique coach Adrian Griffin. He is a graduate of the famed Neighborhood Playhouse, where he studied with Sanford Meisner, Bill Alderson, Ron Stetson, and Robert Modica. For the past 30 years he has been a working actor at the Shaw and Stratford Festivals, Neptune Theatre, Sudbury Theatre Centre and many other theatres across Canada. He is also the founding Artistic Director of both On A Wing and Prayer and THE CO. theatre companies. Adrian has been teaching Meisner’s work for over 10 years and is an experienced audition coach, for roles that range from Shakespeare to contemporary film and television. This is a not to miss episode for actors. Detailed Show Notes: http://dianefoy.com/005

We are in the room with the legendary Elizabeth Ashley (Russian Doll! Barefoot in the Park! Take Her, She’s Mine! Evening Shade! You Can’t Take It With You!). Our friend Liz is absolute royalty in the American Theatre and we are so very honored to have gotten her “on the mic” for your listening pleasure. Liz is currently playing Ruth -the therapist - in the series Russian Doll on Netflix, which premiered to unanimous applause. We get her take on modern life, shooting the series all over NYC, keeping “the goddamn loops” straight, and the glorious differences of working on a female driven set. She then takes us on a wild ride from her early days in New York at the Neighborhood Playhouse (with fellow classmates Robert Redford and Candice Bergen) and her Broadway debut, to Neil Simon writing "Barefoot in the Park" for her, and beyond… hosting SNL during Eddie Murphy’s rise, her year as a ship’s captain, friendships with Penny Fuller, Lucille Ball & Joan Rivers, recalling Agnes of God, the on-set fun during Evening Shade with Burt Reynolds and Michael Jeter, and so much more. We’ll have what Ms. Ashley is having. #ElizabethAshley @RussianDollNetflix @danakellycraig @sferezy Discount code for our listeners!!! Use code KKPNM928 at Telecharge.com for up to $55 off tickets to KING KONG! Thank you to Broadway Crew for the hookup! @broadwaycrew IN THE ROOM WITH STEVEN & DANA is delightfully sponsored by Babe Rosé. @drinkbabe We would be gob smacked into next week if you gave us a rating and review on iTunes! We so appreciate your lurve, shout outs, and support! XOXO

Patrick Flannery is an actor based in Dublin. Despite his absurdly Irish name, he was born in Greensboro, North Carolina. The son of an actor, Patrick was a collegiate athlete before he became involved in the arts himself. He moved to New York City to attend Fordham University where he majored in Political Science. However, just before graduating, Patrick made the decision to pursue a career as an actor. He took classes in the Meisner technique at the Neighborhood Playhouse in New York City and made perhaps the most impulsive decision of his life when he chose to move to Dublin after vacationing there. Patrick completed the full time course at Bow Street in Dublin. Since graduating from Bow Street, he has worked on screen in the BBC's Little Women as well as various short films. On stage he worked in the Edinburgh Fringe success Play On Words with the Tiger's Eye Theatre company, as well as Bash: The Latter Day Plays with the Out of Time Theatre Company. He is represented by the Nolan Muldoon Agency and intends upon staying in Europe at least until that guy with the orange hair and skin moves out of the White House.

Leah Yananton is a filmmaker, writer, actor, and performance artist based in Los Angeles. Yananton appeared regularly at The Groundlings Theatre in the Catmilk Show under the direction of founder Gary Austin. She is a member of Rob Watzke’s SHPLOTZ! improvisational theater company, with weekly performances featuring special guests such as Helen Slater, Helen Hunt, and Jason Alexander. Yananton’s professional film experience began in the camera department on Spike Lee’s Bamboozled and Marc Levin’s & Mark Benjamin's Brooklyn Babylon. She went on to travel the globe working on documentaries for HBO, National Geographic, and the Discovery Channel. She received her B.F.A. from Columbia University where she received the Stephen Ades award for Creative Writing as well as a scholarship from the Ministry of Education of Taiwan, to study Mandarin Chinese. While studying in Taipei, she wrote and directed her first bilingual short film Baozhi / The Newspaper. Returning to New York, Yananton co-wrote and directed “The Naked Show,” the full-length off-off Broadway political satire about college activism and mainstream media in the wake of 9-11 and the start of the Iraq War. She studied directing under Columbia School of the Arts dramaturgy professor Lenore DeKoven as part of Our Workshop East. After completing the two-year Meisner acting conservatory program under James Brill at The Neighborhood Playhouse, Yananton wrote, directed and acted in the surreal short film, THE BURIAL (15 min) an Official Selection at the L.A. Shorts Fest, and appeared in Steven Spielberg’s WAR OF THE WORLDS. Yananton was commissioned to direct the documentary MANHATTANVILLE: A NEIGHBORHOOD UNDER SIEGE (32 min) which chronicled Columbia University’s controversial expansion into her West Harlem neighborhood. MANHATTANVILLE screened at the Harlem Film Festival, Girl Fest Hawaii, and L.A. Shorts Fest, and continues to be screened by the Columbia community and West Harlem neighborhood to facilitate dialogue. Yananton performed LANDESCAPES, a performance art video installation commissioned by the cWOW Gallery in Newark. Leah is also developing an environmental justice documentary IN OUR BACKYARD, about the municipal polluting of an African American community in Athens, GA. Her next narrative feature deals with the problem of commercial exploitation of sexuality among the LGBTQ community in West Hollywood, and is currently in development.

Born in New York City and a graduate of The Neighborhood Playhouse, Richard Neil was a principal member of Chopstick Theatre in Charleston, S.C. He toured extensively, performing classic roles, such as Stanley Kowalski in A Streetcar Named Desire. He has appeared in two of Bill Viola's signature pieces, "Ocean Without A Shore" and "Man With His Soul." He starred opposite Makoto Fujita in the Japanese actor's last film, Takashi Koizumi's Best Wishes For Tomorrow. Richard is a busy voice and motion capture actor, most notably as Aratak in Sony's "Horizon Zero Dawn: The Frozen Wilds." He is the brother of documentary filmmaker, Ellen Weissbrod.Richard Neil, best known for his work as Aratak in the best-selling video game ‘Horizon Zero Dawn: The Frozen Wilds' and for such films and TV series as “Veronica Mars” and “Eli Stone” The hit movie PRODIGY, in which he plays the lead role. In PRODIDGY, on VOD this month, a psychologist engages a dangerous, young genius in a battle of wits -- unaware of the supernatural power the girl possesses, or that her life hangs in the balance.

Born in New York City and a graduate of The Neighborhood Playhouse, Richard Neil was a principal member of Chopstick Theatre in Charleston, S.C. He toured extensively, performing classic roles, such as Stanley Kowalski in A Streetcar Named Desire. He has appeared in two of Bill Viola's signature pieces, "Ocean Without A Shore" and "Man With His Soul." He starred opposite Makoto Fujita in the Japanese actor's last film, Takashi Koizumi's Best Wishes For Tomorrow. Richard is a busy voice and motion capture actor, most notably as Aratak in Sony's "Horizon Zero Dawn: The Frozen Wilds." He is the brother of documentary filmmaker, Ellen Weissbrod.Richard Neil, best known for his work as Aratak in the best-selling video game ‘Horizon Zero Dawn: The Frozen Wilds' and for such films and TV series as “Veronica Mars” and “Eli Stone” The hit movie PRODIGY, in which he plays the lead role. In PRODIDGY, on VOD this month, a psychologist engages a dangerous, young genius in a battle of wits -- unaware of the supernatural power the girl possesses, or that her life hangs in the balance.

Peter Van Norden has been acting for 45+ years on both stage and screen. We cover how musicals shaped his life, training at the Neighborhood Playhouse with Sanford Meisner, working with two star-studded productions of Hamlet, learning from Meryl Streep, how to measure your acting career, and we work on a monologue from The Hothouse by Harold Pinter (Peter is now appearing in this show in LA). This episode is sponsored by Audible: get a free audiobook and a 30-day trial at workingactorsjourney.com/audible

Kevin Van Doorslaer is from a Belgian carny family that goes back generations. He grew up on the road from town to town and then fortuitously ended up in New York where he was the first Belgian to graduate from The Neighborhood Playhouse. As an expat in New York and Los Angeles he worked in film and theatre before coming back to Belgium for a very personal project. http://www.kevinvandoorslaer.com/index.php/en/

Walter Koenig played ensign Pavel Chekov on Star Trek for two seasons and has the distinction of not only being the last regular cast member hired, but was also the only one not included in The Animated Series. This week co-hosts Bob Turner and Kelly Casto discuss the actor who was brought in to lighten up the show. Koenig graduated from college with a psychology degree, but decided to go into acting, instead. He studied acting at the prestigious Neighborhood Playhouse in New York. Some of the actors who also studied there while Walter did include Dabney Coleman, Christopher Lloyd and James Caan. Walter auditioned for Star Trek in 1967 and was hired because of his resemblance to singer Davey Jones of the Monkees.  He found out that he'd been hired not with a call or a telegram, but when someone from the costume department began to measure him for his costume. He was hired initially to be a recurring character.  But after receiving so much fan mail the producers decided to make Koenig a permanent part of the cast.       

Illeana Douglas talks about her memoir, I Blame Dennis Hopper. Illeana calls herself "The Great Rememberer" of Hollywood History and talks about documenting it for future generations. Illeana Douglas is an actress, writer, and producer. She studied at "The Neighborhood Playhouse". While working in New York as a stand-up comedian and sketch comedy artist, she got a job "screaming" for Martin Scorsese's The Last Temptation of Christ (1988). This led to a long working relationship in the films, New York Stories (1989), Goodfellas (1990) and Cape Fear (1991). She received critical acclaim as the suspicious sister of Matt Dillon in To Die [...] The post Illeana Douglas | I Blame Dennis Hopper appeared first on Book Circle Online.

Illeana Douglas talks about her memoir, I Blame Dennis Hopper. Illeana calls herself "The Great Rememberer" of Hollywood History and talks about documenting it for future generations. Illeana Douglas is an actress, writer, and producer. She studied at "The Neighborhood Playhouse". While working in New York as a stand-up comedian and sketch comedy artist, she got a job "screaming" for Martin Scorsese's The Last Temptation of Christ (1988). This led to a long working relationship in the films, New York Stories (1989), Goodfellas (1990) and Cape Fear (1991). She received critical acclaim as the suspicious sister of Matt Dillon in To Die [...]

Here in episode two, I talk with Don Williams, the Managing Artistic Director of the Art of Acting Studio in LA. We talk what he looks for in a potential student or actor for the shows he directs, as well as theater vs. film and TV. Since 2002 Don has worked as Head of Acting, Managing Artistic Director and Chief Academic Officer for the Art of Acting Studio, Los Angeles and the Stella Adler Studio NYC. Don holds an MFA from the National Theatre Conservatory and BA from California State University Fresno. As director, Don Williams off- Broadway: Lebensraum, Turn of the Screw, Look Back in Anger, Libidoff.Regional: Waiting For Lefty, Marisol (LA premiere), Long Way Go Down (LA Premiere), Muckrakers (LA Premiere) Macbeth, Speed The Plow, Midsummer Night's Dream, the Laramie Project, Carrying, All in the Timing, Prelude to a Kiss, The Dining Room. At New York University: The Shape of Things, Dancing at Lughnasa, North Shore Fish, , That Championship Season, Twelve Angry Jurors, The Last Days of Judas Iscariot, the Rimers of Eldritch. As actor stage: the Neighborhood Playhouse, 78th Street Theatre Lab, the Harold Clurman Lab Theater, New York University, The Producers Club, the Denver Center Theater Company, the Marin Theatre Company, the San Jose Stage Company, the California Shakespeare Festival, Theatre 1050 and the Hot Ink Play Series to name a few.

Joe Flanigan moved with his family to a small ranch on the outskirts of Reno, Nevada when he was six-years-old. He attended boarding school in Ojai, California, and later received a degree in history from the University of Colorado, where he was a world-class skier. Following a year abroad in Paris, Flanigan wrote for various national print publications and worked on Capitol Hill. After moving to New York to study acting, he joined The Neighborhood Playhouse and it wasn’t long before his acting career was launched in earnest. Moving to Los Angeles in 1994, Flanigan’s television debut was an auspicious one, starring opposite Jacqueline Smith in the NBC miniseries Family Album. He was the series lead on Stargate: Atlantis and a series regular on Sisters and First Monday. Flanigan has guest starred on Warehouse 13, Stargate SG-1, CSI: Miami, Birds of Prey, Tru Calling and Judging Amy, as well as Murphy Brown, in which he was cast as Murphy’s love interest, Scott. He has made regular appearances on the series Womens’s Murder Club, Profiler, Providence, Cupid and Dawson’s Creek, and also had leading roles in a number of television pilots, including Best Laid Plan, The Precinct, Sherman’s March, The Force, Man-Made, Club Paradise and 111 Gramercy Park. He co-starred in the made-for-television movies Edna Buchanon, Tell Me No Secrets and the USA original movie Thoughtcrimes directed by Breck Eisner. Among his feature film credits is Gary Marshall’s romantic comedy The Other Sister, starring Diane Keaton and Juliette Lewis. Flanigan also starred in Silent Men and Farewell to Harry, and co-starred in A Reason to Believe, The First to Go, and Good Day For It. A competitive skier for many years, Flanigan still enjoys outdoor sports tremendously, and counts among his pastimes rock climbing, mountain biking and surfing.

"9 to 5" star Allison Janney talks about her transformation into a musical comedy performer, and why the dancing didn't worry her but the singing did. She also discusses her theatrical education at Kenyon College, the Neighborhood Playhouse and the Royal Academy of Dramatic Arts; what it was like to be directed in her very first college show by Paul Newman and her subsequent tutelage under mentor Joanne Woodward; her challenge in finding an agent; what an aptitude test said she was most suited for professionally; how the movie "Hoosiers" helped her conquer her fear of making her Broadway debut opposite Frank Langella in "Present Laughter"; why she's not a Shakespeare aficionado in general and why we'll never again see her performing in Central Park, where she starred in "The Taming of the Shrew"; how "The West Wing"'s "walk and talk" sequences reminded her of theatre; and "the truth" about how she scarred Anthony LaPaglia for life when they appeared on Broadway in "A View from the Bridge". Original air date - August 17, 2009.

"9 to 5" star Allison Janney talks about her transformation into a musical comedy performer, and why the dancing didn't worry her but the singing did. She also discusses her theatrical education at Kenyon College, the Neighborhood Playhouse and the Royal Academy of Dramatic Arts; what it was like to be directed in her very first college show by Paul Newman and her subsequent tutelage under mentor Joanne Woodward; her challenge in finding an agent; what an aptitude test said she was most suited for professionally; how the movie "Hoosiers" helped her conquer her fear of making her Broadway debut opposite Frank Langella in "Present Laughter"; why she's not a Shakespeare aficionado in general and why we'll never again see her performing in Central Park, where she starred in "The Taming of the Shrew"; how "The West Wing"'s "walk and talk" sequences reminded her of theatre; and "the truth" about how she scarred Anthony LaPaglia for life when they appeared on Broadway in "A View from the Bridge". Original air date - August 17, 2009.

"The Little Mermaid"'s Sherie Rene Scott talks about creating the role of Ursula in the stage version of the beloved animated film, including what she believes the character thinks of herself. She also talks about her earliest dreams of being on stage while still a child in Kansas, her training at the Neighborhood Playhouse when she came to New York, her particular affection for Randy Newman's "Faust" and why it never made it to New York, working amidst the turmoil of the changing creative team of Disney's "Aida", how her family reacted when she got the title role in the stage version of "Debbie Does Dallas", creating the role of Christine Colgate in "Dirty Rotten Scoundrels" and the future of her one-woman show "You May Now Worship Me". Original air date - May 16, 2008.

"The Little Mermaid"'s Sherie Rene Scott talks about creating the role of Ursula in the stage version of the beloved animated film, including what she believes the character thinks of herself. She also talks about her earliest dreams of being on stage while still a child in Kansas, her training at the Neighborhood Playhouse when she came to New York, her particular affection for Randy Newman's "Faust" and why it never made it to New York, working amidst the turmoil of the changing creative team of Disney's "Aida", how her family reacted when she got the title role in the stage version of "Debbie Does Dallas", creating the role of Christine Colgate in "Dirty Rotten Scoundrels" and the future of her one-woman show "You May Now Worship Me". Original air date - May 16, 2008.