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Life is busy, both for Ed and myself, but anytime I email him asking for a lunch date, he always gives me a time within the month, assuming that he is in town (that said, for a good portion of the last year, at the age of 81, he has been touring the country, with his one-man show: an honest, dynamic, 90-minute portrayal of FDR).   This lunch is different though, and he knows it.  This one is… on the record.  However, no real agenda exists.   It’s merely an excuse to capture a fraction of his wisdom in print.

I offer to pick him up at his home in Valley Village – he still drives, but judiciously.  It’s a modest house, in no way indicative of the person who resides inside, that, like it’s inhabitant, contains a rich history of our industry.  Every tabletop has a plethora of awards on it, not for need of self-reassurance, but more due to economy and lack of storage space.  The coffee table, nightstand, mantle, office desk, and more all house Emmy Awards.  A furniture piece in the kitchen contains five Golden Globes, all side-by-side.  Another table contains a hodgepodge of awards from TV Guide to TV Land – all denoting some sort of life achievement.   The rest of the mantle, which, as said, is bookended by Emmys, contains a variety of items that can only be associated with an icon.  A handful of dolls representing the likes of everyone from Lou Grant to Carl Fredricksen (his character in Disney/Pixar’s UP), a photo of him playing Celebrity Jeopardy, his grinning mug gracing the front of a Wheaties cereal box, and a handful of photos with friends over the years – from embracing Betty White in a bear hug to playing games with Richard Dreyfuss.  Everything feels commonplace in its space, but it adds up to an extraordinary life.

Even before Ed voices his choice of restaurant, I know where we are going, for often our elders become creatures of habit. The Eclectic Café in North Hollywood is near his house, boasts affordable meals, and the management always greets him with a hug upon entrance.  I can’t blame him for being a repeat customer.  We sit down and order.   I know this lunch will not be as casual as those previous, because as I tell him, it’s my goal to in some small way, communicate to others how special these outings are to me.  “You’re kind of like my Morrie, ya know?”  He looks like he wants to throw up upon hearing that.  I ignore it, and take it for what it is: an expression from a man who knows his bark is part of his charm.  I know, in the end, the conversation will take its own path, as it always does.

“What was your first role?” I begin.  “I was paid for the first time when I joined a playwright’s theater club after getting out of the army.  It was populated with people from the University of Chicago.”  “Do you have a favorite role?” I ask.  “Favorite role.”  A pause, while he searches through a catalogue of parts that is likely well into the four digits now.  “I loved doing KING HENRY IV PART I.  It was my second year at that theater.  It has some of the most interesting speeches in Shakespeare.  I was also highly praised for my Prospero (from Shakespeare’s THE TEMPEST).”  I chimed in, “I think everyone inherently expects that you would say Lou Grant.” “Yes,” he starts, “but that is much later.  When I think of the totality of Lou Grant, nothing is even close.  Plus the fact that it is my singular achievement, in being awarded Emmys for portraying Lou Grant as both a comic and dramatic character.  I am the only one who got Emmys like that.”

“You are known for being politically active,” I say, punctuating that this interview will cover a variety of ground, as his career is not one to be summed up in sound bites and easy answers.  “Yea, but only since I acquired fame as an actor,” he responds.  “I would contribute when I could and give my name.  After the success of LOU GRANT is when it started to count – to the point that it led to the cancellation of the series.  I agreed to be on a board supporting medical aid in El Salvador with other actors, including Howard Hesseman and Lee Grant.  We went to New York and Washington to make an announcement of its formation and contribution to provide medical aid.  Because of my popularity in playing Lou Grant, I became chief spokesman.  I read the preamble of the group and we opened up to questions (at a press conference).  The second question was from a cable news reporter who asked if I was in favor of free elections in El Salvador.  I said ‘Yes,’ with which he followed, ‘What if those elections yield a communist government.’”  Ed makes a face, indicating he was both frustrated and taken aback.  “This is 1982 – the second year of Reagan’s presidency – and the question was out of left field.  I gave some sort of waffle answer and went on to the next question, and gave a limp answer there too.  The whole time I was thinking, ‘I have been avoiding putting myself on the line, taking a stance, all this time, protecting myself, to come here now and waffle?’  So I went back to the guy who asked the question and said that I wasn’t satisfied with my first answer.  I said that if that is the government the people of El Salvador choose, then so be it.  But in saying that I knew I was dooming myself, and to a degree, my career.  And in all the controversy that followed, that particular statement was never mentioned, but I was immediately regarded as a Communist.” (It’s true that to date, more than once, I have friends or acquaintances ask me if Ed was, in fact, a Communist.  He is not, though I find it intriguing that belief still occupies a space in some people’s mind above his work and craft.)  “I was accused of giving union money to the organization, which is not true.  I was immediately attacked by Charlton Heston for not properly identifying the fact that I was not speaking as President of the Screen Actors Guild at that time.  Nothing less would have satisfied him than me cutting my throat in public.” (For more information, see this November 1982 feature in PEOPLE).

“Did you and Charlton Heston ever talk directly about your issues?”  He pauses.  “During my first meeting as President (of the Screen Actors Guild), he had assembled a group outside.  The board was about to pass the absorption of extras into the union.  He was outside with news cameras, along with some stuntmen and day players who supported his opposition, fearful that extras would take their jobs away.  I went out there to confront the press.  Charlton Heston acted like he owned the guild up until that point.”

“Were other known actors posing problems?  Any other known actors in the opposition?”  “He was representing the elitist actors.  We had an election deciding the fate of the extras.  It was to decide whether to bring in the 1500 extras who didn’t have SAG cards.  Their union had gone belly up.  The union represented them throughout the east, in Hawaii, and so on, and it was only in California and on the west coast that they weren’t represented.  And the vast majority of extras had SAG cards already.  We had two elections and to be fair, we went as far as to dictate that we didn’t need a majority, but a 2/3 plurality.  But we never got it.  Not then.  After I left office though, it became automatic under some other law.”

“Where do you think the balance is regarding an artist/actor’s position in the greater political sphere,” I followed up, knowing that, in my mind, the line is gray and completely dependent on circumstance.  “Do you mean, should he keep his mouth shut?” he asked, reminding me there is no need for formalities – and he is right, sometimes one should simply say what they mean.   “No,” I respond.  “Not that – everyone is entitled to an opinion.  I just don’t ever want to speak with authority in an arena where I lack education.  But at the same time I do believe that individuals have a duty to use their name and energy and talents to raise awareness for issues that aren’t receiving attention.”  He seems pleased that this is now a dialogue.  He responds, “There is no balance.  Nobody takes into consideration that it is perfectly right for John Q. Public to say, “Who the fuck are you to be telling me what to think?’  Because I am a celebrity, people will open their ears when they might not give the time of day to another person.  But you must also take into account that once an actor takes a position, he may well alienate 50% of his viewing public, and that becomes problematic for the producers.  He is in essence endangering his career.  People don’t consider that.  I won seven Emmys and five Golden Globes before I had the courage to become outspoken.”

I wanted to dive into politics fairly early on, knowing it would eliminate the need for any type of proper question-and-answer etiquette.  At the same time, I also wanted to ensure we dedicate time to what is at the heart of Ed, his work and his craft.

“So many actors, even after they ‘make it,’ fear that it won’t continue.  Did you ever fear that it could stop?” “Sure.  I came to California in 1961.  I worked and worked, getting a little more money, some better roles and such, for seven years.  Then the bottom fell through.  I stopped getting roles.  I went through years of fret and worry.  I had three kids.  I feared I’d have to walk away from my house.  Then that third year was the busiest year I had ever had.  I made $50,000.  And the following year was Mary Tyler Moore.  Young actors now can worry about winning and losing, but it’s always been like that.  How do you get over the fear of not knowing where the next job is coming from?  You learn to live with it.” He adds, as an after-thought, knowing that he should offer something a little more tangible.  “Some actors decide to produce as well.  But there are few successful actor/producers.  Tom Hanks is certainly one.  Danny DeVito is another.  People seem to find that little dwarf exciting.”

“Did you always want to be an actor?” “I didn’t think it was something you did.  I was a bourgeois from Kansas City.  Doctor.  Lawyer.  Even Indian Chief.  But actor?  In college I went to a summer school and decided to try out for a play.  T.S. Eliot’s MURDER IN THE CATHEDRAL.  I ended up being the lead.  I was hooked.”

“What are your thoughts on the theater?” “I think it’s the place to start but I don’t care if I ever go back to the theater.  There are as many phonies on stage as there are in front of a camera.  That said, it’s the place to learn.”

“What actor have you most enjoyed working with?” “Mary (Tyler Moore), of course.  Jack Lemmon was wonderful (shared credits include FACE OF A HERO on Broadway, and the Oliver Stone film JFK).  And Steven Weber – I loved working with him (they collaborated on Aaron Sorkin’s STUDIO 60 ON THE SUNSET STRIP).

“Are you a workaholic?  Are you ever going to stop?” “Is that the sign of a workaholic?  What else am I good for?”  I elaborate, “I didn’t know if you would ever reach a time where a 7am call time wasn’t attractive anymore.” “This is probably one of my many gaseous statements but I liken myself to a musical instrument.  When presented with the libretto by an author, I aim to be the best instrument to hit the notes.  I am a specialist.”

“How important is it as an actor to have a career that spans multiple mediums?  At 81, and with your history, you still work in a variety of fields.  Film, TV, theater, video games, music videos, voice-over, etc.”  “You learn from it all.  I feel I can get as great an epiphany from doing a voice-over as I can from being on a stage in front of 7000 people – which is too many anyways.  The ideal theater seats 500.”

“Do you have thoughts on the current state of Hollywood?” “Oh I don’t think we’re progressing at all.  There is more youth-oriented bullshit, more zany comedy – which to me is meaningless.  To expect the appearance of a SOME LIKE IT HOT out of the comedies out there now – not a chance.” I knew that we were entering back into a dialogue, as this topic is one we frequently revisit.  For him to believe that good work no longer exists is, to me, both unbelievable and false, as he himself is still currently a part of great art.  I start, “But you have to admit, there is still a lot of good work being done as well.” “Where?  Like what?” he yells, knowing his answers before I utter my questions.  “Let’s look at the last few years I said. “WINTER’S BONE.  THE KIDS ARE ALL RIGHT.  For heaven’s sake, what about UP?”  “Yes,” he concedes, “but look at 1939.”  I remind him that believing there is good work now in no way discredits the amazing work that has come before.  I also point out that crap has always existed; we just choose to remember the good work.

We are well into our second hour, so I make the decision to start approaching a finish line of sorts. “What do you want people to remember you for?  What do you want your legacy to be?” He grunts. “You do know you will have one, right?” I kind of sheepishly respond.  “I don’t know anything.  That’s too awesome to assume.”  I tell him that it is with the greatest confidence that I know his career is one that will be perpetually referenced and remembered. “Do you want to be remembered for acting?”  He softens, “I look at Kirk Douglas.  I look at what that son-of-a-bitch has put away in his life.  Lonely are the brave.  He has a lust for life.”

“Who do you still want to work with?” Without missing a beat, he gives his list, “Edward Norton.  Roberto DeNiro.  I would like to see what Philip Seymour Hoffman is like in combat.  Harrison Ford.  I think he could hold his own with me.”

“Do you have a method?” “It’s all innate.  If necessary I will try to change the dialogue if it doesn’t reflect the feeling.  But that’s with inferior writers.  Note that there are also writers who should kill you if you try to change their words.   What I was taught is that it is all about ‘doings.’ Every utterance by you is done to affect somebody.  Be it God.  Or your inner being.  To convince yourself.  To convince your friend.  Active verbs.  Convince.  Demonstrate.  Question.”

“Are you happy?” I question.  As suspected, he answers with an emphatic no.  For even if Ed was happy, I would still expect him to say no.  “Why aren’t you happy?” I follow up.  “Have you looked around you?  The state of our nation?  The state of our world?  We live in a jungle.  You are talking about divorcing our lives from what’s around us.  Maybe someone successful during the Depression could do that.  But I doubt it.  They turned their back on the starving and the unemployed.  I can’t do that.”

I remind him that out of thousands and thousands of actors in the world, his career is in the top 1%.  If he is not happy, with all the opportunities and recognition he has received, what hope does the rest of the acting community have? “That’s their problem,” he laughs. He continues, seriously, “The point is, the work is the glory.  It’s not that there are not rewards, but to be able to have a moment in front of a camera, or on a stage, where you hear the pin drop, that’s what we’re all here for.  Acting is a job like any other, in that, when you do it well, that’s where the joy is.  I think I am being honest.  Yes.  There is the selfish part that is being watched by thousands or millions, and when that leads to money, it’s all well and good.  But it’s like when a tree falls in the forest, you know?  It’s the same as having that moment.  Having that moment in your mind and in your heart – that is when the solace comes.  You will always have that moment.”

We get ready to leave the restaurant.  They inform us that our bill has been taken care of by the joint’s owner.  I know this can’t be completely foreign to Ed, but he still acts shocked and tries to fight it.  Part of his rough exterior undoubtedly comes from the fact that he is continually showered with praise and lifted up so high.  He has to somehow offset it, and indicate that it hasn’t gone to his head.

Ed stops for a second, his expression indicating he wants to end today’s lunch on a challenge rather than a mere statement. “I fear for all art.  There is a wonderful quote from Brecht: ‘Art is not a mirror held up to society, but a hammer with which to shape it.’  Is Tony Kushner our last hammer?” he asks.  “So if you fear for art,” I say, “is it then up to artists to save it?”

“Yes,” he says, “We have to find the artist who will do that.”

Andrew and Ed, on set.

Andrew Carlberg is an independent film and theater producer, currently working for Executive Producer Laurie Zaks on the hit ABC series CASTLE.  He also founded and chairs The 4th Wall, a theater initiative in partnership with The Geffen Playhouse.  Theater: THE MERCY SEAT (L.A. Premiere; VS Theatre at The Ford); WISH I HAD A SYLVIA PLATH (West Coast Premiere; Rogue Machine at The Lounge); 110 STORIES (L.A. Premiere at The Geffen Playhouse); DAVID DEAN BOTTRELL MAKES LOVE (World Premiere; Comedy Central Stage and Rogue Machine).  Film: AFTER-SCHOOL SPECIAL (written by Neil LaBute; starring Sarah Paulson and Wes Bentley; World Premiere: Palm Springs Int’l ShortFest) and I HAVE IT (written by Bekah Brunstetter; starring Larisa Oleynik and Devon Gummersall; World Premiere: Rhode Island Int’l Film Festival).  Andrew also has a handful of music videos to his credit.  For more information, visit www.westernskiesproductions.com.

The following is a chapter from his free ebook New Thoughts for Actors. He teaches regular workshops in Los Angeles (and periodically in New York) and coaches privately. Email info@jackplotnick.com to get on the mailing list for his weekly $30 drop-in cold reading workshops and monthly $5 Lecture for Charity.

TAKE IT FROM WHERE YOU ARE

In college I had an acting teacher who, if she felt a student’s performance in a scene hadn’t gone well, would shout “BE THERE!”

I always found this so frustrating.

I wanted to “be there”, but I really had no idea how to “get there”.

Where is “there”?

I believe what she meant was “be there in the moment.”  And I certainly couldn’t disagree with the thought.

It is important to experience a scene specifically focused on the moment-to-moment thoughts, words and events of the scene, and not to have your thoughts stray to unrelated areas.

However, many actors use this phrase of “being there” as a weapon against themselves.

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Often, in my workshop, when I ask an actor how he felt a scene went, he will reply,

”I just didn’t feel like I got there”.

To which I say,

“You’re mistake is thinking that there is a ‘there’ to get to.”

In voicing his experience like that, the actor has created a reality wherein there is a possibility of NOT getting there.

You must be very careful of how you word things to yourself

It is mistake to believe that there is some place you must get to.  By setting up your reality this way, you have created a possibility to fail.

By creating a reality where there is a “there” to get to, you will always be striving to get there.  Your ego will not allow you to achieve your goal of “getting there”, and you will spend the scene chasing after an experience you think you are supposed to be having.

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Why create a reality in which you can lose?

Why not get rid of that way of looking at it?

Why not choose a reality wherein you can’t fail?

Just remember this:

You’re always “there”.  You can’t leave “there”.

Right before I am going to perform I say to myself:

“I am going to take it from where I am”.

What I mean by this is wherever I am is a fine place to start a scene.

I completely accept where I am internally, how much preparation I’ve done, and how I am feeling.

As long as you begin a scene in an honest place, the scene will take you where you need to go.  Only from honest soil can the scene grow and become something wonderful.

It used to be that I’d look at an audition room door and feel that I had to be something totally different from myself once I entered that room.  The door became an impenetrable wall of fear.

And whatever I thought I was missing upon entering, I would simply try to fake, in hopes that the missing emotion would catch up to me or, if worse comes to worse, I could just trick the audience into believing me.

But then I realized that exactly who I am in the waiting room is who I should be in the audition room.  Exactly.

The only thing separating me from who I am in the waiting room, and who I will be in front of the casting agent is 15 steps.

And so it is with any performance.  The scene will take me where I need to go.

I have a friend who described it likes this:

When he was a young actor he saw a performance as the act of jumping though the chalk paintings of MARY POPPINS.

Sometimes he’d land safely in a completely different, colorful world full of magic… but more often he’d SPLAT onto the pavement.

Now he’s happy, no longer experiencing the nerves he once felt, safe in the knowledge that he’s the same person onstage and off.  He is only involved in his honest journey.

Actors who want to “get there” will approach a scene with a long “to do” list.  They frantically attempt to check off each item as they go.  They are constantly evaluating whether or not they have “done enough” to enable themselves to fully experience the scene.

Where does this list come from?  Often it is the ghostly echo of voices from past acting teachers.  Things like; “Make sure your beats are clear” or “You must find circumstances from your own life that coincide with that of the character’s”, etc…

There are a million things an acting teacher could remind you to do.  Do you really want to enter a scene with a list of shoulds and shouldn’ts in your head?

When you do a scene, you want to have only your character’s thoughts in your head.  Obviously you can never have your thoughts 100% aligned with that of the character’s or you would be insane.  However, the goal is to have as few “outside” thoughts as possible.  Well, the character you are portraying certainly isn’t focusing any attention on a laundry list of acting techniques.  He doesn’t have a preconceived notion of how this experience should look and unfold.  He isn’t focusing on whether he is “there” or not.

Imagine it like this:

When you have a goal to “get there”, it’s as if you envision your performance as a board game, like “Candy Land” or “Life”.

You see your goal as moving yourself through many spaces in order to get to the final square, which is your destination:  “THERE”.

Perhaps each space along the way represents some important acting step or technique you feel you must remember.  One teacher had told you, “Always maintain eye contact with the person you’re talking to”, while another said, “I don’t believe you are angry unless you show me.”  The list goes on and on.

If this sounds familiar, it is time to let go of that way of thinking.

Just push that game board off the table and onto the floor!

You can skip all those steps by simply saying to yourself the affirmation:

“I am going to take it from where I am.”

If you are hungry, then the character could be hungry at the top of the scene.  If you are tired, then the character could be as well.  If you are experiencing nerves, don’t feel you have to pretend you are not.

Once you look at it this way, the panicked feeling that you are faking something or hiding something from your audience goes away, and you experience a great sense of relief, and relaxation.  You no longer have to fear that you are a sham that will be found out.   Accept what is, and all pressure to be something else fades away.

(Please don’t misunderstand me.  When I say, “Take it from where you are”, that is meant for the moments right up to when the scene begins.  Once the scene has begun, you should dive wholeheartedly into the circumstances which the scene presents.)

As actors, we always want to convince ourselves that there’s something we’re missing, some approach to the scene that we haven’t thought of.

I had an audition where I had to play a man on crystal meth.  I have no idea what the effects of crystal meth are, so I was very anxious before the audition.

I thought, “I should’ve done more research.  I’ve got to prove to these people that I’m a man on crystal meth.”  I was trying to envision what they wanted to see, and then felt a pressure to make myself appear that way.

I could’ve brought all this self-doubt into the room with me, but instead I accepted that there was nothing I needed to know, do, or prove.  By freeing my mind of these negative thoughts, I was able to more fully throw myself into the imaginary circumstances of the scene.  …And I booked the job!

So, the next time you think, “ I want to get there”, just remember that by creating a place you have to get to, then by definition, you are not there.

Why not just accept that where you are is fine.  You see, it’s the panic that you don’t know what to do that ruins the audition.  The “fake it till you make it” reflex.

“Take it from where you are” is a shortcut to say, “Fuck it, I’ll just go in and enjoy myself.”

Also a filmmaker, Kristina freelances as a videographer, is co-creator of the web series Frick, and collaborated with Claire on the Brains of Minerva Acting in Horror interview series. Kristina was recently accepted into the graduate film program at NYU’s Tisch School of the Arts.

Kristina appears in Chillerama, Adam Green’s much-anticipated new horror movie, which will see a theatrical release this fall. Her German film Bela Kiss will bow in German theaters in 2012. In the meantime, check out Kristina’s performance as Maks Vex, rogue super heroine here, and follow her on Twitter here.

As I’m writing this, I’m sitting on a train from Munich, Germany to Esslingen, Germany- a 2.5 hour journey- where I am going to see a presentation of the first 15 minutes of Bela Kiss, a German thriller in which I played the lead last year. It was an ultra low budget project shot in the Black Forest with English speaking actors, all of whom had to be German citizens. I am taking this trip on my own dime, to show support, reconnect with the director, and also to see whether this is a project I will feel confident promoting in the states (note: it was amazing and I JUST found out that it has been picked up by Drei Freunde for theatrical distribution in Germany – the same company that distributed the Swedish version of The Girl with the Dragon Tattoo!).

The reason I am in Germany right now, though, is not to watch 15 minutes of a film I shot. Next week, I’m shooting a TV pilot in Berlin for Germany’s version of HBO and they flew me to Germany. Sometimes the timing works out!

I’m lucky to be a dual- citizen as well as to be quad-lingual… But the recognition that these things could help me in my career as an actress did not occur to me until a few years ago. And, though very exciting, building a career simultaneously on two continents (and in several different countries) has been a gamble.

I strongly believe the only reason I was even able to break into the European acting market was because of my break-out role as Lynda in Rob Zombie’s remake of Halloween. It was a studio film that had an international audience. Through it, I was able to go to festivals and horror conventions where I met people from Italy, Germany, France, Serbia and Spain who appreciated my work. I simply made it a point to tell everyone I had dual citizenship and would love to work more in Europe. I took my opportunity and ran with it. I try as much as possible to stay in touch with these contacts and keep them up to date with my work. The term “out of sight, out of mind” applies everywhere in the world. So, working in Europe, NY and LA creates 3 times as many contacts to keep up with – something which has been overwhelming at times. Thank God for the Internet.

You may be wondering why I even would want to work in Europe. The answer is very simple: to go back to my roots and be closer to my large extended family. And then, three years ago, I fell in love with Berlin. I had been flown there to shoot a trailer for a film (the writer and director found me on a website listing all English speaking citizens). Berlin is a city teeming with angst-y, intellectual, chain-smoking, politically conscious artists who love the art for the art and not because of the money that comes with it… I had found my second home, though I don’t smoke and have to say sitting in a bar in Berlin can be nauseating! But from that time on, I knew I had to find a way to work in Berlin while continuing to book jobs in NY and LA.

There are ups and downs to this process. The downs involve 1) difficulty finding a supportive agent in both America and Europe 2) union rules and degree of protection vary from country to country and 3) the money that it costs to invest in this endeavor often evens out with what you earn. The upside is …. you’re working!! And isn’t that what actors are always complaining about? Not working enough? Plus, work begets work. And good work, anywhere in the world, begets even more!

The hardest thing about trying to work internationally is finding support from agents on both continents. I have struggled very much with this. No one in LA wants to hear about their client working overseas for too long – unless they’re getting some money – and the agents in Europe don’t believe me when I say I can be on a plane within a day because I have so many points on my frequent flier card. You do end up missing castings in both places. And the time difference between LA and Europe – 9 hours- is pretty daunting and makes telephone conversations almost impossible. Overall, it seems too difficult for everyone; for everyone except me, who’s actually doing all the work. In October, after I spent 2 months in Germany playing the lead in Bela Kiss where I was able to do some of the best work of my career for deferred payment (yes, feel sorry for my bank account…) my LA based agent dropped me three days after my return to the states and one day after I turned down an offer they sent me for the worst script I had ever read in my life… but, alas… it paid. I still haven’t found a new agent.

The last two years, my agent in Berlin got me this many auditions: 0.

And yet I’m working!! Viral and Skype casting has become more prevalent. And, in Germany, casting directors often cast off of your reel. I have a friend in Germany who’s full reel is about 40 minutes and the casting directors watch every minute of it, are familiar with it, and show only the pertinent scenes to whomever is interested. The guys who cast me in the trailer we shot in Berlin three years ago wrote the part in the TV pilot for me that I’m going to shoot next week. In fact, the part is called Kristina! And I’m supposed to be shooting a film in Italy this fall.

However, if I do not book a US based job in the next few months, I will possibly lose my SAG health insurance, and this leads me to the next point: Unions. Working in different countries involves learning and dealing with different customs and different industry standards. In Germany, I recently found out to my astonishment that the crew have a union that enforces overtime, while the actors do not. There IS a union for actors in Germany. You can find it here. However, it simply has no negotiating power. It offers free legal services though for a small fee of 50 euro a year.. If you don’t have an agent and need someone to look over your contract, they are specialized in this.

So you’re probably wondering “what about the SAG universal rule?” Well, most European productions will have nothing to do with it. It is completely foreign to them. Why should they have to pay SAG for an actor who is working in their country under their rules? And that is exactly what I’m doing.when I use my EU passport. I am going there to work in rules. However, what this means is that, although I’m getting paid, SAG is not registering it and if I don’t make enough money in a year, my health insurance falls through. Again, this is a gamble.

It is also very interesting to learn how an actor’s daily rate is calculated in Germany. Actors get higher wages if they attended an acting conservatory. Yes. You heard me right. The main television stations ZDF, RTL and ARD have a rating system. For example, you would get paid the most if you attended the best acting school and have worked previously for said station.

Now, to the cost of working bi-continentally. So far, in my experience, I have made no money. This pilot I will shoot next week will be my first real paycheck. All the other work I’ve done has been pro-bono or deferred payment with travel costs paid for. So no money lost but none earned. It’s kind of like when you’re first starting off acting and do theater for free or short films for free. I considered it an investment. And it HAS paid off. If the pilot is picked up, I will have a recurring role that will work for at least a few months in Berlin. And since Bela Kiss will be playing theatrically, I suppose that will lead to more work.

But the experience I’ve gained is priceless. And the opportunity to play roles that would most likely be played by film stars in America is also priceless.

The experience of working with highly trained actors on set – most German actors have gone to a conservatory and worked extensively in theater – is definitely different from the US. The art of acting is taken very seriously. I would probably say there’s less FUN on set and people are really intense – there are less compliments thrown around. But I see how seriously they take their job and with what respect acting is treated and it makes me PROUD to be an actor… In a casting session in Germany, it is highly frowned upon to arrive with your sides! In fact you are automatically disqualified if you are not off book. Quite different than here wouldn’t you say? The down side of this is that German acting can be quite stiff at times. However, I think this is changing as American TV and American style naturalism is becoming popular over there.

Concerning languages and accents, I have had to work very hard to get rid of any trace of an accent when I speak German. In Italy, they love the accent. In America, my languages and accents have helped me do voice overs for video games. I shot a movie in Serbia for six weeks. A year later, there was an audition for Criminal Minds for a Serbian serial killer. Guess who got the role? I went into the audition with the little knowledge of Serbian I had learned on set. It all ends up intertwining.

So, in the end, is it worth it? Well, probably not if you don’t have dual citizenship to start off with. Without that, there are simply too many hurdles to conquer. And probably not if you don’t love languages and traveling! After that, though, how much effort do you want to put into working overseas? I would say, if you don’t have to spend too much out of pocket, it’s worth trying. If you have contacts that you can start off with, that’s good. And just ask, ask, ask. Ask people to introduce you to casting directors and agents and producers. If you are a working actor and have an acting reel with American television shows on it or any film work here, they really love that. Hollywood is still the mecca of film after all. And in the inter-connectivity of today’s world, who knows if working overseas cannot actually get you on Hollywood’s radar a little bit quicker than waiting in traffic on the 405…

Joy has given us an excerpt from her book Pitch Perfect: Communicating YOU Flawlessly and is offering the whole book to Minerva readers for $5.

5 Ways to Woo the Media

Don’t just contact members of the press. Wow them! Here are 5 easy ways to make a beautiful and lasting impression with media professionals. Use these tips to solidify your connections and you might find that you’ll get called again and again to be featured.

1. Figure out why you want them. Before you approach a particular journalist, make sure you know why you want them. Be clear about your pitch and why it fits their needs, beat, style, strengths and interests.

2. Familiarize yourself with their work. Writers write for people to read their work. Broadcasters want to be watched. Nothing is more flattering than experiencing someone who’s familiar with their work and possibly a fan. Isn’t it flattering when people know your work?

3. Respect their time. Before you start a live conversation with any media professional, take a minute to ask them if this is a good time for them. Be on time for scheduled interviews. And, be flexible to accommodate their schedule.

4. Get to know the human behind the story. Make personal connections without overstepping your boundaries. If you both went to UCLA, make the connection. Talk about being parents, being single, being from Florida. Do your research on the media pro and see if it unveils similarities. This can be found by reading their bio or wiki page. TIP: Try casually bringing up the commonality from your perspective and allow them to make the connection.

5. Offer them your help for free. Media professionals always need good leads or experts for their stories. Offer to help them get those leads whenever possible and offer your help for free. This will keep you in the know about what they’re working on and make you a trusted ally.

Would you like to read the whole e-book?  Joy is offering Pitch Perfect for only $5 for Brains of Minerva readers.  Get it here.

Want more great reading on self-PR?  Check out these posts:

Ask Joy – Publicist Joy Donnell on the Red Carpet and Spreading the Word About You

Ask Joy – Publicist Joy Donnell on Rebranding Your Acting Career After Working in Reality TV

Ask Joy – Publicist Joy Donnell with a 2011 DO List

Ask Joy – Publicist Joy Donnell on Press Releases, Blogger Briefings and Getting the Word Out

An Expert’s Tips on Assembling Your Press Kit (Yes, You Need One!)

How & When to Reach Out to the Press

Ask Joy – Publicist Joy Donnell on Freeing Yourself from False Impediments

Ask Joy – Publicist Joy Donnell on Starting Twitter Chats

You’ve seen many of your students through the whole grad school process, from choosing which schools to audition for through graduation and starting (or re-starting) their professional careers. Can you share with us some characteristics/habits/choices that students who are most satisfied with the grad school experience seem to share?

Actors who have a good sense of themselves, where they are at in their lives, and a clear idea of where they want to go next, are, I believe, in a good place to pursue a graduate degree in acting. In addition to that, preparation is key. I know from personal experience that just showing up to the audition and hoping for the best is not a good way to go! I tell the actors that I work with that by simply seeking out a coach, they have already taken a huge step ahead of most actors auditioning for graduate school.  It simply speaks to their commitment, their interest in doing the best work they can and honestly puts them in a place to succeed.

The number of applicants and the “slim” odds of securing a place in a program are deceiving. When I watched the auditions as a student at Yale, I was shocked to see who was walking through the door. There is no screening process for these auditions. Anyone can fill out the application, pay the application fee and show up – and they do! Most have not put the time into the work. Confidence is huge. Having put in the work and feeling prepared is a great way to build confidence. On the other side, being “fixed” is dangerous. Ultimately you want to have a balance. I like to encourage my clients to think of going in to “rehearse” the monologue in the audition rather than “perform” the piece. It is liberating to be in process with the work. It is also incredibly important to love the pieces you choose. They must be pieces that you are hot for and that offer those in the room a glimpse into your work, your process and yourself as an artist. Subtle differences in an actor’s approach to the experience can take the pressure off and allow the actor to share their work with those capable of offering the training they seek.

The actors I have seen really succeed in this process have allowed themselves permission to be themselves in rooms they audition in. It may sound simple but one of the most important things you can do is be yourself. They want to see you. An actor must reveal him/herself in their work and really allow themselves to be present in the room. Each program is looking for people -  actors they want to work with and be in the room with several hours a week for several years.

It seems that so many of the highest profile acting grad programs offer curriculum/experiences with very different strengths and emphases. Can you give us a brief overview of the types of programs out there and what a prospective student should start thinking about when choosing which schools to apply for?

Things to consider when deciding on which program to attend can be as simple as the geographic location of the school or which program you felt the best connection with. Clients of mine have been married and/or own homes in New York and did not want to leave New York for school, some clients want to be in New York and only New York because of the networking opportunities and relationships that result from being in the place they want to spend their career, some want to get out of New York and be somewhere warm, some feel being out of New York will help them focus on the training rather than becoming distracted by the city. Other considerations might be: Is there a relationship to a professional theater company? Will I be working with student directors or professional directors or a combination of both? How many production opportunities are there each year of the program? Will I be developing relationships with student playwrights, directors and designers? Do I work exclusively with the actors in my class for all years of the program or do I work with all of the actors at the school? Is the school a part of a larger university and campus? Do graduates have a showcase for industry professionals in New York and L.A. upon graduation? What are the alumni of the school up to? What is the school’s reputation among casting directors and industry professionals? Will I have the opportunity to have extracurricular outlets to direct or write as well as act? How many years is the program? What is the classroom time to performance ratio? Is teaching to be part of my training? How many actors are in each class? Are there international opportunities? What is the day-to-day schedule? The answers to these questions will help you determine your priorities and decide which schools might be the best fit.

What are some of the best tools and resources for finding out about acting grad programs?

Finding out what each program offers and from that which program is a good fit for you is probably one of the most challenging aspects of the entire grad school process. For this reason I host an MFA Grad Panel in New  York offering the chance to hear first hand from very recent graduates of several popular MFA programs. The 2010 panel included graduates of the following programs: A.C.T., A.R.T., Brown/Trinity, NYU, Rutgers, UCSD and Yale Drama. There is no substitute for first-hand experience and although each graduate’s experience is unique to them, you can learn a lot by hearing from someone who has been through a program. The MFA programs change often as do the programs’ faculty, the dean of the school, and the artistic director of the theater associated with the program, which makes it very important to gather information from current students or very recent alumni.

The websites of each program offer great information on curriculum, faculty and mission statements but are limited beyond that. The auditions themselves are the best resources for finding out if a program is the right one for you. Just as the faculty and department heads are getting a feel for you and your work in the audition, you want to be getting a feel for them. Looking at Playbills and imdb.com for actors whose work you are drawn to and discovering if they went to a grad school and where they went can also be a useful jumping off point.

The admissions office of a school will often put you in touch with a current student and/or alumni to be of help answering questions. A few schools have information sessions and/or visitors days that offer prospective students the opportunity to meet the Dean, talk with faculty and students, see a production, tour the campus and get answers to any questions. Seeing productions at a school is also a great way to get a taste of the program and the work of the students. However, it is important to remember when seeing the work of students in a program that they are actors in training and are likely working on roles that offer them something of a challenge.

When is the audition “season” for acting grad schools and how far in advance do you suggest students start researching schools and preparing their auditions?

The auditions for most programs begin in New York in January and go through the end of February. Many programs audition in several cities around the country – typically, New York, Chicago and San Francisco. I have worked with actors who begin coaching with me as early as up to a year before the auditions begin. The bulk of my clients begin working in the early Fall and continue through the end of their auditions.

What does the typical grad school application and audition entail?

Every MFA grad acting program has their own application, audition requirements and unique audition structure, which can become overwhelming if you are applying to many schools. The components of the application (typically filled out and submitted online) require a personal statement, an application fee and several recommendations submitted by faculty or industry professionals who can speak to your work as an actor and a person. The personal statement is an applicant’s chance to articulate who they are, why they are seeking training at the graduate level and how that school’s program would uniquely serve them.

The audition itself typically consists of sharing from two to four monologues, (classical and contemporary pieces) and an interview. In my coaching sessions with clients, I do my best to prepare each actor for what they can expect based on the schools they are applying to. Many schools (Yale, NYU/Tisch, UCSD and A.C.T.) have a series of different kinds of callbacks (“end of the hour” callbacks, “end of the day” callbacks, “group callbacks” etc.) to narrow down the search whereas other programs have only a single audition from which they will ultimately make their decisions (Brown/Trinity, A.R.T.). Yale, NYU and UCSD also have “callback weekends” typically at the beginning of March when the final applicants (approximately 50 for NYU, 30 for Yale and 16 for UCSD) are brought to the school to participate in classes, meet the faculty and get a feel for whether the school is a good fit them and whether they are a good fit for the school. It is from this weekend that the final class is chosen. Knowing how your audition will go down in advance and actually “rehearsing” it has proven hugely helpful. Each year I offer my clients a series of Mock Auditions in which I replicate the experience you can expect to have at the schools you are auditioning for — including a waiting area, an initial audition, a callback, a song, and interview.

At Yale, current students are allowed to watch the auditions for students for the upcoming year. You said you started your work coaching people through the process because of many of the mistakes you saw people making over and over. Could you share some of them and how auditioning students can make better choices?

The experiences I personally had auditioning for grad schools, the incredible time I had as a student in grad school, and the fact that while I was at Yale I was invited to sit in on the prospective students auditions led me want to help others achieve their own dreams of going to grad school. Having been through the experience myself, with varying successes (I auditioned for my top choice school three years in a row) as well as witnessing the process from the inside while a student at Yale Drama, I knew I could offer help to those who wanted it. One of the biggest things I discovered watching people audition for Yale was how much actors appeared to be working to prove themselves in their audition, or wow the auditors with their work. I remember Ron [Van Lieu, Chair of Acting at Yale Drama], saying he would much prefer an actor come in and simply do good work than worry about being great! The pressure of the situation can feel terrifying and the stakes seem incredibly high but this is not American Idol. There is no prize to get or contest to win, what you are seeking is training. I love working with an actor to making sure he/she is bringing all of him/herself to the work. If this happens the school can see the person revealed through the work, not just the effort behind the work. This hugely important. I saw one actor after another make this mistake. More often than not, an actor would come into the room and introduce him/herself with warmth and openness and then when the monologue would begin, rather than reveal themselves through their work they would completely disappear. It seemed they were working to show you who they wanted you to think they were rather than the person they are.

Ultimately one of the things I believe applicants have the hardest time grasping, is that each program is looking for people. They are not looking for the best actors. Not young people or old people. Not the most good looking people. Not someone who has it all figured out. Not the most experienced actor. But generous, committed, imaginative, bright people who have a desire to grow and expand within the art form. One of the things I work with actors most on is making sure they are bringing themselves into the room and into the work. They have very little time to get to know you and your work, so bringing generous amounts of you and that can help you help them learn about you.

Many actors I talk with automatically discount the idea of going to grad school because of the financial investment, especially in this economy and with such uncertain prospects upon graduation. Can you give us some insight into how your students have found ways to finance their education, tips on doing so and/or mistakes to avoid?

I find that if the interest in furthering your training is there, it should be worth the expense. It can be dangerous for actors to limit where they apply based on what they believe to be the cost of the program. I recommend actors apply to the schools they are interested in and not let money be a deterrent. When you get accepted to a program then the conversation of how to afford it can begin. Because many of the schools are incredibly competitive there is often opportunity to request scholarship or grants when they have invited you to their school. I do not know of any situation where a student was not able to attend school because of money. And most schools subsidize the cost of the training with stipends, workstudy, scholarships, financial aid and/or paid teaching opportunities.

Are there any “wrong reasons” to go to grad school?

Because you are scared of real life. Because you think it will guarantee you success.

One of your panel guests said she didn’t know “what a big family grad school would be” and really benefited from the sense of community. I know when I went I was totally focused on how it would improve my craft, but, I think the biggest benefits were actually in my personal development. Can you talk about some of the non-acting benefits the process has had for your and you students?

One of the greatest gifts grad school offers beyond the actual training is strong personal and professional relationships – a community that carries into the professional world and beyond. Many clients who have gone on to MFA programs were surprised to find out how much they loved having the opportunity to teach undergraduates as part of their MFA requirements. Other benefits include extracurricular opportunities to direct and write and having the chance to explore another city. The collaborations with professional theaters and institutions affiliated with your program often give you professional homes after you complete the program and a network that enriches your professional and personal life for decades.

In the last MFA Panel discussion you hosted, one of the grads, who I believe had been acting in LA before going to Yale, said she looked at her time in grad school as “a chance to get back to the purity of acting” for 3 years. What kind of payoff can that investment have for an actor later in their career? How has it shaped your career?

It’s almost impossible to speak to how much my graduate training has influenced my career.  The three years I spent at Yale were the most fulfilling of my life.  All of my expectations were met and exceeded by many more gifts that I could have never expected.  The most significant of these was, of course, the training itself.  The class time with Ron Van Lieu and Evan Yiounoulis, Beth McGuire and Waltson Wilson, James Bundy, Peter Francis James and all of the faculty, helped me to find a technique I could stand behind and the confidence to become the artist I am.  I have also been fortunate to take the excellent training I received and pass it on to the next generation of actors as I serve on the acting faculties of the National Theater Institute (NTI) at the Eugene O’Neill Theater Center and the Powerhouse Apprentice Training Program at Vassar College.

The second biggest assets from my time at Yale were the relationships I formed with the other students at the Drama School. Yale benefits from being the only school where all of the disciplines of the theater are represented with a degree program.  Many of the playwrights, directors, designers, stage managers, technical designers, theater managers, dramaturgs and the other actors I met at Yale are now some of closest friends and all together we have developed into a kind of extended family.  Playwrights I had worked with while at Yale have since written roles for me in their work.  Directors I had worked with while at Yale call me up and cast me without an audition.  And the actors I had worked with at Yale are now not simply former ensemble members of mine, but true family.  The ongoing support, inspiration and love I receive from those who I spent those three years with has been worth the cost of tuition and then some.  By coaching, I strive to help others have the experience I feel so fortunate to have had.

Photo by Buck Lewis

Can you tell us the history of the New Media department? Can you share some recent progress SAG has made in regards to getting new media producers on board as SAG signatories?

Senior leadership at the Guild created the department in 2007 to investigate new technologies and the way those technologies effect the work of our members. Mark Friedlander was its first director and continues to lead the department. Recently, the department has expanded its purview to include a contracts administration function as well. We encourage actors to spend some time perusing SAG’s Digital Media Center to learn more about all the resources and services the department has to offer.

SAG has seen tremendous growth in the volume of signatory productions. Comparing the first half of 2011 to same period a year before, SAG more than doubled its number of covered productions. The department has seen an approximate 9-fold increase in annual signings over the last three years (2007 to 2010) and is on track to beat that again this year.

Sarah and I recently talked to a Seattle actor who had just joined SAG after booking 2 commercials. She wants to continue to build her reel but says that when she auditions for new media projects in Seattle she has been told several times by producers that “we don’t want the hassle of dealing with the union on this” and she’s out of the running. What advice do you have for an actor in her position? How can she advocate for the union with producers who are skeptical of the process of becoming a signatory?

It’s a pretty common occurrence for us to meet reluctant producers.  However, it is equally common that once we have a chance to explain really simple and fast our process is that they decide to sign up. Our growth in the space is a pretty good indication of that success.

The process of becoming signatory to the SAG New Media Agreement is very simple.  And they can do it fast. We have worked very hard to be responsive to producer feedback in simplifying and streamlining our procedures. Most recently we launched a web app, the Online Signatory Application, which allows producers to quickly and easily complete the process of becoming a signatory on the SAG website. A producer can often complete the process in as little as two days.

Becoming a signatory often leads not only to the production benefiting from the SAG talent pool, but also SAG’s resources can make all aspects of the filmmaking experience more efficient and professional for everyone involved.

Dena Beatty, Executive Director of the Seattle & Portland Branch Office has had great luck recently with helping actors get producers on board working SAG. As is often the case, working with SAG enables a filmmaker to up-level the whole production by taking advantage of SAG’s experience. Dena was able to help a filmmaker attract investors by suggesting he produce a (union!) web series as a predecessor to his feature. Another great initiative leading to more union jobs has been SAG’s efforts to partner with the Oregon Media Production Association to educate producers about the great supply of union talent in the Portland area. (Here you can read about these and other non-union to union stories & a view a step-by-step guide about turning non-union projects : SAG Organizing)

What consequences might an actor face if, as a union member, she knowingly works in a non-union new media project?

All members of SAG must abide by Global Rule One, which prohibits them from working in New Media on a non-union production. A member failing to abide by Rule One may face union discipline.

Members who violate Rule One could be required to appear before a Trial Board conducted by a group of their peers. A Trial Board has the authority to discipline, to impose fines, suspend, or recommend expulsion of a member from the union.

What’s the biggest misconception new media producers have about becoming a SAG signatory?

That it is a difficult, time consuming, and expensive process. None of those are true. It is a very easy and fast process and can be completed online. And our rates in new media entertainment are negotiable.

The rates for both background performers and principal performers are completely and separately negotiable between the producer and performer. If the producer offers a deferred rate, they will also need to negotiate the details of what event will trigger the payment to the performer. Other terms that are negotiable are hours in a work day and overtime rates. In all cases, we advise our producers to abide by all labor laws applicable to the state in which they are filming. The performer rates are not affected by the production budget, and SAG does not disclose budget details to the performers.

What are the goals of the New Media department and how can SAG members help you achieve them?

When David White, SAG’s Interim National Executive Director, assumed his post, he issued an imperative to the staff that SAG “match the level of technology in other media.”

To that end, we’re working on a Digital Production Center 2.0 release. This will offer producers more capability to manage their entire production on-line, and many of the daily forms will be able to be completed remotely. We also expect this to speed up the financial assurance process (e.g., making sure a production has sufficient bonds in place to protect the cast). Currently, the Center streamlines productions by reminding the production when its paperwork is due and by acting as a portal for SAG members to access information about their production in one place.

We want to continue to evolve the department with the growing business needs of the new media space. We want to be a resource for our members and the production community at large. Feedback and open dialogue among all the parties involved in this industry will help us to do just that.

Is there anything else you’d like to tell our readers about working SAG in new media?

It’s the new media producers who can say it best. To see what they have to say about working in new media with SAG, take a look at this video.

If you are an actor new media has provided an unprecedented opportunity for you to take charge of the types of roles you play. Go produce the SAG project you have always wanted to be in. And if you’re a producer and have concerns about working with SAG, please give us a call and let us help you. We want to be partners in the growth of this business.

SAG New Media Resources:

SAG Production Center

Online Signatory Process

New Media Online Signatory

SAG New Media

New Media Related Videos

SAG New Media Reps on the Production Center

New Media Producers Work with SAG

She began her career acting and then writing and directing for genre impresario Roger Corman. Katt is known for her gritty and sensual visual style and her facility with actors, which has enabled her to elicit great performances from the likes of Drew Barrymore, Sara Gilbert, Alison Lohman and Tom Skerritt, to name a few (she also teaches in LA). Watch below for insight into the fans of horror, why horror is the young actor’s friend, and a great story on how she got the ‘go’ on her first script.

For more in this series on Acting in Horror, watch our interviews with Paul Solet, director of Sundance’s Grace, here and here, and our talk with actor Dileep Rao, star of Avatar, Drag Me to Hell, and Inception.

Video introduction by Ryan Kravetz

The following is a chapter from his free ebook New Thoughts for Actors. He teaches regular workshops in Los Angeles (and periodically in New York) and coaches privately. Email info@jackplotnick.com to get on the mailing list for his weekly $20 drop-in cold reading workshops and monthly $5 Lecture for Charity.

ACTING “STRAIGHT”

I received an email from an actor who had been reading my website, and had a specific concern he wanted to share with me:

Dear Jack,

There is an issue I have been constantly dealing with, and I think it is the reason I have held myself back all these years.

Every time I get an audition, it’s usually to play a straight, ‘total guy’. I know I’m not a raging queen but I go back to all the teasing from school, all the ‘faggot’ calling and it actually makes me think I can never get parts because I am gay and straight guys have it so easy.

This is a major issue. I guess I just wanted to know if you had felt that and if so how you deal with it.

My response was similar to the following:

As a gay man, I also struggled with that exact issue.

There was a time, not long after I had graduated college, when I felt I had a terrible secret.

And that secret was that I wasn’t really a “MAN”.

(Or at least not the kind of “man” I thought I was supposed to be.)

When I would perform, I was afraid that everyone could see my secret, and I let this issue negatively affect my performances.

Then, one day, it just hit me…

I AM a man.

I just simply am.

I don’t have to prove it, or “Act” it.

It just is.

By definition, I am a man.

My insecure ego was creating this self-doubt.  It was an illusion.

Are all men super-macho?

No.

My god, if Andy Dick can portray a straight man on “Newsradio” then certainly you or I can.

Not all straight men act “butch”.

Do straight men cross their legs?

Hell yeah!

Do straight men get emotional?

Hell yeah!

Stop cutting out your self for fear that you are not right.

If you look at a list of the top TV shows of all time, there are plenty of popular and successful actors that are far from macho: Alan Alda, Bob Newhart, Mathew Perry, Jerry Seinfeld, Don Knotts, Kelsey Grammer, Patrick Stewart, Tony Randell, Larry Hagman…

None of these men had any problem being seen as a straight leading man.

Why do we want to focus on the few tough-guy characters?  Remember, for every Captain Kirk, there is a Mr. Spock standing right there alongside him.

And even William Shatner isn’t intrinsically a tough guy.  He often plays very sweet, endearing roles.

Speaking of top TV shows, look at Henry Winkler.  He was hardly the actor you’d first imagine to play the womanizing tough-guy “The Fonz”:

From Wikipedia.org:

An interesting note about his character on ‘Happy Days’ was that director/producer Garry Marshall originally had in mind a completely opposite physical presence.  Marshall sought to cast an Italian model-type male in the role of Fonzie.  However, when Winkler, a Jewish Yale MFA student interpreted the role in auditions, Marshall immediately snapped him up, smelling success. Winkler’s character gradually became the focus of the show as time passed, a testament to Winkler’s acting and Marshall’s foresight.

You can only be who you are.

If they want someone with an innate energy that is tough and hyper-masculine, they will hire that guy.

However, as was the case with “The Fonz”, the more interesting choice was the less “on the nose” choice.

I heard a story, that for his HAPPY DAYS audition, Henry was merely doing an impression of Sylvester Stallone, who he had just worked with in LORDS OF FLATBUSH.

So, the tough inner life as funneled through a sensitive actor was just what the role needed.

So don’t talk yourself out of roles!

There is a secret to gays portraying straight roles:

If you try to prove you are straight, YOU WILL COME OFF AS GAY-

(- or at least stiff and stilted as though you are hiding something: i.e., that you are gay!)

However, if you don’t care, and don’t get involved in being anything but who you are, THEN YOU WILL COME OFF AS STRAIGHT.

We are all the same really. All humans share the exact same integral characteristics.

So if you honestly play the circumstances of the scene, you will come off as straight as the character is.

However, if you deny a part of yourself, and strictly control and monitor your behavior, then you will not be able to play the scene.  Instead, you will be delivering some lifeless idea of the character.

You are your own tool to make your art.  If you are not using your tool, then there is no human being inhabiting the role.  The scene will be dead.

Why do we focus on the few hyper-masculine images out there?

Our ego wants to keep us in a place where we feel we are not “enough”.

Just accept that you will never be Vin Diesel.  So what?!  No one expects you to be!

Besides, that macho thing that you wish you could be is so fucking limiting.  Those people don’t get many jobs.

On the other hand, think of your favorite film actors;  Philip Seymour Hoffman, Dustin Hoffman, Tobey Maguire, Gene Wilder, Ralph Fiennes, Jeremy Irons, Jason Schwartzman, Kevin Kline, Mathew Broderick, Jake Gyllenhaal, Bill Murray, Johnny Depp, Owen Wilson, Richard Dreyfuss, etc. etc.

THEY certainly aren’t putting on some bullshit macho crap.

That macho behavior crap is learned and acted by the people who do it.  It’s not real for ANYONE. No one comes out of the womb and acts like that. They see people do it, and they imitate it.

So, it’s not even REAL to begin with.

You are so much more interesting than that.

You have warmth and sensitivity. Why would you want to deny or hide that?!

A great tool to rid yourself of this issue is affirmations:

I release and destroy my need to be “masculine”.

I release and destroy my need to be an “Actor” – I’m just here to be me and have fun.

Those kids from your childhood may have called you “faggot”, but they’re gone now.

So, whose voice is that you’re hearing in your head, still calling you “faggy”?

It’s YOU!

They may have given you the baton, but you are the one who is still running with it.

Read the Finding Your Inner Child chapter on my website, and start treating your inner child with the love and acceptance he should’ve been given from the beginning.

He wants to shine.

The actor who had originally written to me responded to my thoughts as follows:

You are so right, I have always tried to “act” like a straight guy, and was so nervous that someone would ask about my girlfriend or wife, that I was not “being” the goofy, sweet, caring, funny person I am.

I always hold back, for fear of being found out as being gay, and therefore not as valuable as a “real” straight guy.

Outrageous! I know, I so see it!

I don’t know many actors who are gay and do great work. So I always wondered what it was I was or wasn’t doing right. Thank you for being there and open to talking to me about all of this. I am really very excited about this ‘new’ chapter or step for myself.

A side note:

With so many great actors coming out as gay lately, and still playing straight parts, there are plenty of terrific role models; Neil Patrick Harris, T.R Knight, Ian McKellen, Rupert Everett, Robert Gant, Chad Allen…