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Casting Call e n t e r t a i n m e n t

NEWS!

Audrey Hepburn 1st Edition 2012

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The contents of this magazine may not be reproduced or transmitted in any form or by any graphic, digital, electronic, mechanical or other means including photography, or any nature without the prior written permission of Casting Call Entertainment Inc. We have taken all resonable measures to ensure the accuracy of the information in this magazine, but cannot accept responsibility for any errors, submissions or any liability resulting from misuse of any such information. All Rights Reserved. CCE reserves the right to remove a listing at anytime.

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CastinG CaLL 2012 Take 1 Summer

Sharry Flaherty Publisher & Creative Director To say this husband and wife team are driven, is quite the understatement. Being full time owners and operators of Allure Salon for the last six years, would be enough for the average couple - But when their son, Sean Patrick Flaherty showed an interest and the talent to be an actor, they readily grabbed at the challenge. Learning everything possible to help their son, they discovered that promotion and training were not only necessary parts to his success, but also that there was a lack of honest guidance in the field. Sharry has since helped to manage Sean’s career, and he now has a few major motion pictures under his belt, and has enjoyed doing voice-over and commercial work as well. Sharry and Kevin founded Casting Call Entertainment, offering affordable acting and modeling classes, and their studio also offers photography (an often overlooked tool). Branding their business further, Casting Call News has children and young adults interviewing entertainment professionals. The monthly online publication, Casting Call Entertainment Magazine covers all topics relevant for current and future entertainers. Sharry wrote “Ominous”, an Indy full length feature to be complete in 2009. The couple partnered with Ryan McMackin and Sam Gilliam for Dark Water Productions which is producing the film. Both are passionate about film making and are eagerly scouting for their next project for the near future. What a powerhouse duo.

Letter From The Editor According to Hollywood folklore, a studio functionary at RKO Pictures is said to have commented on the screen test of Fred Astaire in the early 1930’s: ‘...can’t sing, can’t act, but can dance a little.” Fred Astaire showed everyone he could dance more than a little - he even went on to dance with a coat rack in ‘Royal Wedding’ and make the coat rack look good! And my point well, I really don’t have one - except I think sharing fascinating tidbits of information on success stories allows readers to say, “Hey, I didn’t know that...” So, we hope we have given our readers their own, “Hey, I didn’t know that...” moment by presenting an in depth look into the careers, and a glimpse into the personal lives, of those who were gracious enough to spend time with us. Behind every success story is one of hard work, sometimes laced with disappointment, but overcoming the challenges life may scatter in your way, shows the determination of those who dream. Whether these stories are from in front of the camera or behind it, our efforts, we hope, will inform, enlighten, and encourage our readers no matter the path they choose. Stories of people from 22 to 92 show age is irrelevant - it is the caliber of the individuals that stand out and how not just talent, but determination and persistence, is a common thread. Perhaps they all believed, as Rose Tremain, famed British author, so eloquently put it, “Life is Not a Dress Rehearsal.” All of us involved take a great deal of pride in what we have presented, and recognize nothing would have gone to print without the co-operation and candor of those we were privileged to interview. While some got their lucky break early, others, well, not so much! But, although the stories are diverse, they have one thing in common - perseverance; their passion, to keep their dreams intact, is a lesson for us all We want to extend our deepest appreciation and un-ending gratitude to those who have allowed us to take a look into their personal lives, their successes, and their dreams. Woody Allen said, “90% of life is just showing up,” but success does NOT just ‘show-up,’ just ask anyone who’s achieved it! I always dreamt Fred Astaire would ‘show up’ up at my door, asking me to be his dance partner which just goes to show ya! Dreaming of being on the best-seller list would first require having my ‘nearly finished but very witty’ book being published rather than sitting on a shelf in a binder on my desk. And my point - well, I really don’t have one - except that we may have to adjust those dreams on occasion and be accountable to ourselves. So we hope this publication will inspire everyone, regardless of when they started or how long it takes, who has ever had a dream. It’s never too late to have a life, and it’s never too late to change one. You’ll have to excuse me, now; I gotta go work on my book...!

The Cast President & Publisher Sharry & Kevin Flaherty Editor Patti Tripp Concept & Graphic Designer

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Dee Mangino

Sales Gary Flynn Melissa Salinas

Casting Call Entertainment News Offices at: 2790 E. Flamingo, Suite F Las Vegas, Nevada 89121 Statements, opinions, comments and points of view in the articles and columns by contributing writers are their own, and not necessarily agreed upon or endorsed by the publishers of Casting Call Entertainment News. Letters to the editor are welcomed, but will not be printed without a name or phone number for prior verification. Photos, tapes, art work, or any materials submitted to Casting Call Entertainment News will not be returned unless specifically requested. Casting Call Entertainment News is not responsible for the legitimacy or claims of any advertiser. As with anyone you do business with, we urge you to use common sense. No listing or advertisement should be considered as an endorsement or recommendation by Casting Call Entertainment News. If you have a legitimate complaint or encounter any questionable practice with any of our advertisers, please inform us in writing.

NO ADVERTISING OR EDITORIAL MATERIAL FROM CALLBACK MAY BE REPRODUCED OR USED IN ANY MANNER WITHOUT EXPRESS WRITTEN PERMISSION FROM THE PUBLISHERS.

Welcome to Casting Call Entertainment - The informative must-read, for everyone connected to or interested in a show business career. In this industry, knowledge is an advantage and we offer a very powerful tool. We are Casting Call Entertainment, a Las Vegas to Los Angeles publication, full of professional advice, inspiring interviews and the most relevant information for the entertainment community. Actors, models, singers and dancers will keep up to date with the latest on current trends, auditions, insider secrets and so much more. Producers, directors, agents and casting professionals can gain fresh ideas, contemplate new perspectives and perhaps even, discover that next big talent. Our mission is to entertain and educate our readers, by covering every aspect of this multifaceted business, one take at a time. We are truly happy you could join us.

N ow - Letâ&#x20AC;&#x2122;s s tart th e s h ow !

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Jack Hirshberg A Lifetime of Memories

Born in Canada, Jack was writing at the young age of 12; he was a newspaper reporter in the 1930s, becoming a syndicated columnist with ‘Hirshberg’s Hollywood’ published throughout Canada. Jack kept everything as far back as the early 40’s; looking at his ‘memories’ is a trip back to the Gold Era of the ‘movie star.’ The Academy of Motion Picture Arts and Sciences maintains a special collection of the ‘Hirshberg Papers’ which span the years 1953-80, including hundreds of articles, tape-recorded interviews, and memorabilia. Buried in his scrapbooks, you even find a small photo album from the late 30’s where he documented every segment of the Canadian radio broadcast featuring Pauline Winters, including hand-written notes on bits of paper below each picture. Jack was a founding member of the Publicists Guild of America in 1937, and his work would go on to become an integral part of the industry, In the early 40’s, he headed to Hollywood, joining Paramount to handle special promotions for new actors and, while it may have appeared glamorous, it certainly did not pay well. Jack’s first salary at Paramount was a staggering $17.50 a week (to be sure, there are no zeros missing, that was it!). On becoming an apprentice publicist, he rose to the salary of $37.50 a week, and actually wrote to a friend he was feeling “like a millionaire.” He used to wonder what he would ever do if he earned $100 a week... But Jack never did it for the money - he did it because he was a writer! His career interrupted by the war, he found himself in the Navy, and, ironically, suffered from seasickness for the length of his service. But writing a part of his nature, and Jack documented his Navy career with more scrapbooks which reflected an in depth history of World War II that would serve as more than memories. They guaranteed an A+ during ‘show-and-tell’ at school, having been used by generations of the Hirshberg ‘kids.’ Re-joining Paramount after the war in November of 1945 to make his mark as a publicist, Jack documented Hollywood history in a manner seldom seen. One column in 1946 had Jack commenting on a talented, 21 year old from a vaudeville trio, deeming him the ‘heir-apparent’ to filling Bill (Bojangles) Robinson’s dancing shoes. He was proven right and then some! That young man was Sammy Davis Jr. Jack covered everyone from a politically active actor who had higher aspirations (yep, Ronald Reagan) to Walt Disney, from ‘Casablanca’ to ‘Going My Way’, from Irving Berlin to Spike Jones.

The names were endless - during his impressive career, he represented everyone from Cecil B. DeMille to Gary Cooper, from to Martin & Lewis to both Bob Hope and Jack Benny, from Bing Crosby to that generation’s newest singing sensation, Frank Sinatra. He was the publicist for ‘Funny Face’, a film pairing the beautiful Audrey Hepburn with the classic style of Fred Astaire. He wrote articles for movie magazines highlighting real ‘movie ‘stars’ - the kind of stars who were bigger than life on screen, while keeping details of their private lives off the agenda. Going independent in the late 50’s was a hard move for Jack; he wondered if he could make it on his own. But with his talent and work ethics, he had nothing to worry about. He made it, and made it big. Jack could be seen at the long commissary tables dining with cast and crew; you would see Jack behind the camera during filming, and he would be seen beside some of the most glamorous people in Hollywood. He was always working, always writing, and always the gentleman. Whether he worked on his column, a magazine article, or in his function as a publicist, his work was done on his typewriter with two fingers. Yep, the first finger of each hand pounded out some of Hollywood’s most memorable moments.

The “stars” who crossed his path found out one thing - Jack had incredible work ethics and he captured their respect. While a publicist for Frank Sinatra, he had arranged for a dinner for Frank and his friends at a swanky restaurant - being the proper publicist (and gentleman), he remained in the corner, in the background. He noticed no one was eating after being seated so he quietly went over to check on the guests. It was then Mr. Sinatra told Jack he, too, was a guest, and they would start when Jack, himself, took his seat at the table. Jack never assumed anything; it was obvious those who knew him appreciated the man, not just the publicist. He retired more than once, yet always held in high esteem; he was talked ‘out of retirement’ several times, and, on one occasion, in 1976, by Robert Redford. His hearing had become somewhat diminished and, while knowing that, Mr. Redford would not take that as a reason not to come out of retirement. He purchased Jack’s first hearing aid and talked him into coming back to work on ‘All The President’s Men.’ There was a bond between the two as Jack went on to work on numerous Redford films, even into the 80’s with ‘Brubaker’ and ‘Ordinary People.’ Jack believed in hard work and, perhaps more importantly, he believed in ethics, and everyone who knew him over his long career knew that, as well. He did not play favorites; he was too much of a gentleman to name favorites, nor did he ever list those who may NOT have been. During the “In Memoriam” segment of last year’s Oscars, the Academy neglected to mention the passing of this incredible man - many of his friends and colleagues were surprised and upset, while his family was hurt. For so many years, he had an impact on Hollywood. He worked with some of the most glamorous stars ever to have graced the screen. Jack was a born writer; he was incredibly good looking (rivaling some of the stars he knew) - but he was also an incredibly talented and honest man. His children, Jill Zinner, Susan Davis, and Robert Purvin knew him as a father, not a publicists, not one who hob-knobs with Hollywood celebrities - Jack’s philosophy was his work was his work, and his life was his life which allowed his family to remain “normal” by Hollywood’s standards. The accolades from all of those who knew him remark about his high standards and principals of being a good man, and a great writer. But his family knew Jack as a father - a father who considered his “family” one of his greatest moments, which says a lot about the man. In January of 1971, Jack wrote a column entitled, “A year of shame and tawdry products for the industry”, noting the same studio that brought you the inspirational ‘The Sound of Music’ was also responsible for the controversial, sexually explicit, ‘Myra Breckenridge.’ Perhaps, when we find a channel showing one of Jack’s films such as, ‘All the President’s Men,’ ‘Hello, Dolly,’ ‘Planet of the Apes,’ ‘The Electric Horseman’, ‘Dr. Dolittle,’ ‘Play It Again, Sam,’ or the timeless ‘Some Like It Hot,’ we find ourselves thinking...”they don’t make ‘em like that anymore” - even 40 years ago, Jack knew there was a change coming to Hollywood. Jack was highly regarded by those he worked with, but it did not always have that “warmfuzzy” moment. On one occasion, while working on ‘The Vikings’ in Europe with Kirk Douglas, Kirk was quick to show his admiration for Jack and his family by continuously showering them with surprise gifts. However, it seemed at one point, Mr. Douglas became a little bothered over “something”, deciding to go to where Jack and his family were staying, and destroying the presents he had bestowed on them. Jack had his own way to repay the reversal of fortune - he went out, bought a brand-new VW, shipped it back to the US - billing all expenses to Mr. Douglas.

You get to know a man when you read his writings; however, with Jack, it goes a little further - you get to know the heart of the man, the caliber of his integrity, and the depth of his spirit. It was the way Jack lived his life. When he left us at the age of 92, we did not just lose a great publicist, an incredible writer, but the world lost a great man and he will be missed.

Born in Switzerland, Sofia’s diverse life only adds to the depth of her charm and charisma. Her modeling career lasted ten years before her acting profession and, with a major in Business and Economics; we asked how all of this transpired. Her reply: “I never did realize it. I just started and became it.” Her modeling career began in her mid-teens; commenting on its challenges and pressures. Sofia feels these challenges were a part of rediscovering the truth and difference, allowing her to grow up into the woman she is today. The financial aspect of her modeling career enabled her to earn the kind of money that paid for business and economics school, then later her transfer to America to follow her dreams. “It had its positive side to be appreciated and validated for being pretty when I felt I wasn’t like many teens, as many teens only seeing the flaws and burdened by insecurities known for going through in their infamous teen years. As exciting as it was to earn that kind of money, which, for me, paid for, it can become crippling to buy into the shallow game of surface-ness, as we truly are so much more than that.” As an actress, a model, fashion designer with her own boutique, The Look Store (found at www.thelookstore. com, her intensity is not limited to acting: “Hopefully,

I will never cease to expand because that, in itself, brings me joy and great pleasure. That said, I would not exclude producing something soon, myself, whether in television or film. I could see myself directing at some point. I have been flooded with many requests to write a cookbook or open a Mediterranean restaurant - though I will skip the latter for now, a cookbook could be a possibility - definitely one of my passions. Of course, all of the above would mean so much more if I could also share it with a family. So the possibilities are endless...” With her busy schedule, she does, on occasion, find free time which is spent walking on the beach with her girlfriends, reading on her porch, cooking for her friends, painting, shopping with her mother, and expanding on other creative avenues. From her first acting role in ‘WKRP in Cincinnati’, to the mob-boss in the ‘Soprano’s’ then to the other side of the badge on ‘CSI Miami,’ it began in 1992: “...at the Beverly Hills Playhouse, Milton Katselas’ theatre group in 1992. I realized theatre and acting were not only going to become one of the big passions of my life, but also allowed me most to grow into the woman I am today - where art imitates life, and life imitates art. Work came very soon thereafter with my first series regular role on the NBC sitcom ‘Café American’ staring Valerie Bertinelli in which I played a flamboyant, wacky, Italian fashion model. Then, many pilots, films, and TV series followed.” Sometimes, the accent was not a part of the role; “ ...Once I realized communication had little to do with just words but rather about an intention, learning a new language was not that big of a problem or barrier, same

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goes with the accent…” To Sofia, it was like putting on a new dress, a great new form of expression. “Of course, it took a lot of practice. Watching shows and movies in English, reading books in English, thinking in English if I’m in an English conversation, and dialectic coaches… Like anything, practice, practice, practice and a great deal of imagination, believe in it and in one’s own ability.” Currently, on her role of agent Abbey Lanning in the ongoing crime television series, ‘Tatort’ (going strong for over 40 years in Germany, Austria, and Switzerland), one wonders how it feels to be a part of a television series with such a lengthy, successful run: “It’s always great to be invited and contribute to something so successful and has such an amazing cult following. I am not only saying that for the ongoing residuals... LOL. The audience one can reach is, of course, impressive, and it challenges and motivates one to do great work, as all entertainment is fueled and motivated by its audience.” Abbey Lanning takes her “home” to Switzerland; it allowed Sofia to re-connect with childhood friends, even visiting with her and taking her back to her roots, and have a wonderful time filming in Luzerne. Being from Italian and Greek heritage - “I was born in Switzerland and went to school there, so in a way it was a homecoming. ...of course coming home to Los Angeles in the Hollywood Hills is always the most peaceful as this has been my home for many years where all my friends are, where I get recharged, where I study, where I sharpen my craft and where I spend my time between one job and the next with great pleasure.” Her resume brings a cast of strong, intelligent women, all very different - from Abbey Lanning in ‘Tatort,’ to Homeland Special Agent Bianca LaGarda in ‘The Border,’ to Detective Yelina Salas in ‘CSI Miami’. So, how does she keep each character fresh and new? “Each character is always done in a new unit of time; even each take is done in a new unit of time. As each present time is unique to itself, one will bring new experiences and sentiments to a role. That said, each character has its own background and history, its own pathology and motive that tie into the storyline. Each show has its own flare and style, which also influences the choices, as one’s character is all part of a choreography, just like you would pair up actors; you bring your own style, but also a style that communicates with its show. So even though they are all cops and women with guns, the communication will completely differ” Commenting on her most challenging role - “I would say ‘Passionada’ (Celia Amonte, a Portuguese Fado singer) because I had a fear of singing in front of a large audience, and a large audience it was with no less than a 1000 people and my heart was racing a million miles a minute, but it was also one of my favorite roles to play... The greatest challenge is hardly ever the character one plays as some characters one might play with in this challenged and challenging industry of magic.” With her share of leading men in the past, who would she like to see in her future? “There are numerous, wonderful actors besides the obvious Robert Di Niro, Al Pacino, Martin Scorsese, George Clooney. There are many handsome leading actors I could mention and many great directors. I think it will have to do with the roles available, and that I’m right for, and I am certainly open and ready to expand into feature films.” Her passion and heart is not limited to her acting, it extends to her charity work: Sofia supports The Citizens

Commission on Human Rights (CCHR), primarily is a nonprofit mental health watchdog, responsible for helping to enact more than 150 laws protecting individuals from abusive or coercive practices. She is involved in Criminon, a rehabilitation program for inmates, Elevate Hope, Rally for Kids with Cancer and many others. Sofia embraces these worthwhile causes with an unselfish dedication. Displaying a deep understanding of the strong female roles she has portrayed, she draws from her own family: “The first woman that comes to my mind is my mother, and then my grandmother, who towers over all her 11 children at only 5 foot 2, and my Greek grandmother at 5 foot 4 over her 11 children. These are 3 very strong women indeed...” Her family has instilled some secrets to remaining healthy and youthful - “I lead a pretty healthy life and surround myself with healthy friends and people. I try to laugh at life as often as I can. I don’t smoke, drink little, and try to get my eight hours sleep, work out and laugh a lot.” If there were any advice to young people aspiring to get into the industry today, Sofia says, “... follow one’s dreams, and choose one’s friends carefully, not those who do not support those dreams. Believe in them without permission and follow through with passion and persistence.” With an insatiably quest for knowledge, what she has learned about herself and others? “. . . that you never stop learning and the most important thing is not to focus on trying not to fall, but on getting up again and keep going. Being willing to experience anything can only cause others what they are willing to experience - seems to be the greatest way to stay happy and to share happiness with others”.

If you want to learn even more about Sofia, go http:// www.sofiamilos.com/home.html where you’ll find a warm invitation from Sofia - “Benevenuti a casa mia” – Welcome to My Home.

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Allure Salon

Definition of ALLURE: entice or attract through personal charm - and that is exactly what Allure Salon has been doing for 20 years. Initially opened by owner Elaine Pratt, Sharry Flaherty secured the business 10 years ago and has been carrying on the tradition of professional services combined with the charm of a friendly staff. The full service salon offers hair styling, nail care with manicures, nail art, body massages, and complete make-up artistry. Being located next door to Casting Call, it offers the perfect location for both aspiring models and actors, to the local clientele, some of who travel across town to remain loyal no matter the distance. This says a lot for a local salon and the value clients put on a business. You will notice several things when you walk in the door - the first being called by name, making it a personal welcome; the second is the smell of fresh complimentary coffee and the friendly conversations between staff and clients. It is a warm, welcoming atmosphere where you can stop and chat with the repeat customers you see every week or two on a continuing basis. You can slip into the one-of-a kind boutique annex and browse the incredible fashion and accessories at prices that will be a stunning surprise bargain. The display cases in the shop offer custom jewelry and a host of supplies to compliment the services. Allure Salon insures every new customer is made to fee not only at home, but that they are among new friends. The services are of the best quality which is why many customers have been returning for years. But Allure is not just a salon of the finest caliber; they are a contributing factor to the community. They have continually supported local charities in every way possible, and making a difference. From Family Promise, to World Aids Day, to The Mrs. Nevada Pageant, to Corner 4 Success, to CESS, to Hope 1 for

the school district, Allure has been deeply involved in giving back. Allure knows that any business can be successful, but it is what they do with that success that makes an impact in those less fortunate, or those in need of a direction to improve their lives. In todayâ&#x20AC;&#x2122;s world, it is refreshing to find a business that realizes success is more than the bottom line, but how your success can be translated into lending a helping hand. The passing of Elaine Pratt in 2001 from Cancer All of those who knew her, miss her terribly. Allure has made it their mission to not only continue to top quality of service they have been known to provide for 20 years, but in the last ten years have expanded to include more than professional services and a fashion boutique. They have stepped up to the plate to give back to the community which makes their customers proud to be a part of such a remarkable business. Located at 2790 E. Flamingo in Las Vegas, it is a salon that is not only easy to get to, but one you will want to go back to time and time again. The Staff is like family, full of the warmth you will find inviting. Unlike other salons where you never see the same customers, let alone the same staff when you return, Allure has a reputation for long-term employees which exemplifies not only the caliber of their professionalism, but the confidence of the customers in knowing this is a place where the services they require will be met with the smell of fresh coffee, a welcome when you enter the door, and everything they could ask for in a Salon. So whether you are ten minutes away, or ten miles away, it is certainly a place you feel comfortable from the moment you walk in, and, most certainly, one you will return to again.

Casting Call Entertainment, based in Las Vegas, has become known throughout the industry as a company providing young, sometimes raw talent, a road to achievement, offering those who are willing to work at their craft the right tools to create success. Initially, the catalyst for the business, before its inception in 2009, was Sharry Flaherty’s young son, Sean Patrick Flaherty. Sean was determined for his age, all of 9, and found his calling, aspiring to be a part of the entertainment business. To his credit (and his talent), he was soon to find success. He started landing gig after gig and, within 10 months, he had 3 full-length features on his resume, along with the worldwide theatrical release of “Daddy Day Camp” starring opposite Cuba Gooding Jr. As Sean’s career took off with amazing speed, it became apparent that a large number of hopeful actors of all ages, even parents, were reaching out to Sharry for advice and direction; the criteria was not just getting the experience and training, but to have the right people, in the right place, to blend the dreams and goals together. At that point, Sharry, founder and owner of Casting Call Entertainment, was on a mission. “I was going to run it like a business. That is the mistake most parents or adults do when getting into the show business. It is 10% show 90% business; most forget the business part.” Knowing it’s a tough business, Casting Call is not just about the talented actors and models for film and television; they want everyone who walks through their door to be prepared when they leave. Sharry based it on her values, “I feel as a talent manager, my job is to prepare my actors by making sure they are training with the best instructors, making sure their marketing materials are representing them well and remain true to who they are, and networking them with the right people.” From optimistic actors to models, from film makers to voice over artist, Casting Call wants the people they work with to be educated, know how to promote themselves in a professional manner, how to attract the right people; they provide the best head-shots and portfolios, demo reels, post-cards, and offer an avenue to reach the top casting directors both

in L.A. and Vegas. Being able to showcase their talent and abilities, including IMDb credit, is all a part of building the foundation for success. Casting Call does not limit their focus on what goes on in front of the camera and is not limited to actors; Casting Call is about focusing on the entire scope of the industry - they allow actors to work on producing their own short films to help them gain hands-on experience on actual sets. Working on conjunction with their sister-company, Dark Water Production, Casting Call is offering an Introduction Production package which includes, working with Dark Water Productions, providing a complete package covering every aspect of film, from script, to full studio set, location shot, choice of co-stars, running auditions as a casting director, credit producer, and editing the final score, and graphics. The end result is an incredible enhancement to a resume, one that allows them to get not just one foot in the door, but TWO - and do it with a professional product. Casting Call enlists highly respected professionals to train, teach, and mentor in all aspects of the art. From cold reading to improv,

to audition techniques, scene study, voice over, modeling for both print and runway, along with marketing class - all of the experience is a comprehensive format. Casting Call is affiliated with top names from L.A. who teach monthly workshops that include Casting Directors with notable credits such as Peter Pappas (‘Two and a Half Men’ and ‘The Big Bang Theory’), Scott Wissner (‘The Mole’ and the ‘Joe Schmo Show’), Helen McCready (‘Forensic Files’ and ‘It’s a Living’), Erica Silverman (‘Law and Order’ and ‘Fringe’), and Andy Henry (‘C.S.I’. and the ‘X-Files’). To see just how indepth their contribution is you can log onto www.castingcallentertainment.com to take advantage of their taped interviews from a wealth of talent and experience in the business. Casting Call entertainment also has a sister company Sharry Flaherty Management in Beverly Hills, CA, where they manage talent who are fully prepared and come with their training, marketing material, demo reels and, of course talent, with a great resume. They will sign on Las Vegas talent who fill the criteria and are able to travel to Los Angeles for weekly auditions. With a lot of talent to be found in L.A., Sharry

Casting Call Entertainment

firmly believes in helping the local Vegas talent, as well, and as much as possible. The success of Casting Call Entertainment has been proven by their own credentials, having worked with major television and feature films, along with State, National and International commercials. Sony Pictures, MTV, HBO, Tru T.V., and Showtime have all worked with Casting Call. High-profile brand products have used talent from Casting Call - names such as Burger King, Herbal Life, Campbell’s Soup, ESPN, AOL, and Geox Shoes. Both Casting Call Entertainment and Dark Water Productions offer the professional platform needed for aspiring actors and other venues of the industry, they sincerely care about each individual who walks through their door. They are expanding even more with a publication to aid, inspire, and help educate to aid actors, filmmakers, and models to promote themselves, allowing them to be their own PR Rep at an affordable price. The publication is distributed to over 500 locations throughout the Las Vegas Valley, and direct mail to L.A. It reflects the on-going commitment of Casting Call and their dedication to success, going out to casting directors, agents, producers, and studios, as well as television, casting directors, agents, producers and, studios. The paper is filled with interviews from many successful actors and entertainers, and other high-profile success stories to both inpire and educate all of those interested in starting a career in the entertainment industry. Their dedication to the individual results in a well educated, well informed, and well cared for group of talented people who know they are in good hands whatever their goal. Talent is a precious commodity, especially young talent. Being given the opportunity, every opportunity, to be working with the right people with the right tools can make all the difference in someone’s future. Casting Call Entertainment’s dedication and understanding instills work ethics and commitment that will compliment their talent, and allow the students to grow, perhaps, even beyond their own expectations - a perfect blend for getting both feet in the door. ‘

P ete r P a p pas

doesn’t. Actors have more of an outlet to reach out to casting, via workshops, showcases, etc; again, being proactive is the key!” It worked for Peter, he puts this formula out there to anyone getting into the business, and it applies to any field in the industry.

Peter Pappas was in finance, having graduated from Rhodes Collage in Memphis with a BA in Business Administration/Finance. So, how does a senior accountant with KPMG Marwick get into ‘show business? Well, after two years as an auditor, Peter went to work for Sony Pictures Entertainment in its Motion Picture Finance Division, going on to become manager of the Family Entertainment Unit. After 2 years as an auditor, Peter went to work for Sony Pictures Entertainment in its Motion Picture Finance Division, where he went on to become Manager of the Family Entertainment Unit. His internship in a friend’s office allowed everything to click. In 2000, Peter switched careers and got into television casting as an assistant with Valko/Miller Casting; lucky for the television viewing audience Peter did not find “finance” exciting any more as he has been in love with his new-found career ever since! It is obvious Peter not only loves what he does, but he has managed to find time to be involved with Casting Call Entertainment in Las Vegas. He often mentors aspiring actors and provides experienced direction on what they need to do to make it through that dreaded casting call and, hopefully, get the part that will jump-start their career. It is a tough business and Peter knows they have to do their homework, in a manner of speaking. It takes more than raw talent in this competitive industry and being a good actor, no matter the age, has to be prepared. Peter’s advice comes from both his heart and his experience; “Preparation is the key; an actor should study their sides from top to bottom, know their lines, know any special stage direction in the scene, etc.” However, remember, props can help drive the scene and the action if they aren’t distracting - again, being prepared can make all the difference for the call back. In the casting office, the diversity of talent can be enormous; the casting decision will determine if you get the chance t o be shown to the producer or director. Without making it through the audition, this may never happen. Being pro-active in order to be prepared is something casting directors and casting assistants look for. Peter emphasizes being pro-active - he made certain he was! “I did my research on who the relevant casting directors were in the industry and did my best to contact them via mail and email - sometimes that works, sometimes it

With all his well-deserved success, there are those occasions when he might be asked to have someone bypass normal channels of having someone pay their dues, and be asked to help pave the way. Peter has not forgotten from whence he came, and he knows, from personal experience, you sometimes need that one person to give you a shot. “I do get asked quite frequently by friends and family to see someone who they think might be someone I’d like to meet; I’m always open to giving someone a shot as someone gave me when I first got into casting...” Peter is aware how someone can help give you the opportunity, but then he is also well aware of the fact you have to show them what they’ve got. “I can open the door but the actor has to have the skills and abilities to walk thru it and make it a success.” Again, Peter’s advice takes us back to being prepared and being pro-active; Peter knows the value of his advice can make the difference in attaining real success first hand because it worked well for him. It is not just only getting that lucky break, it is a process. Peter’s involvement in hit comedy series like ‘The Big Bang Theory’ and ‘Two and a Half Men’ comedy series takes more than an eye for talent since timing is so critical to good comedy, and he knows it may be there naturally, but it can also be acquired. “I do think comedic timing can be learned; it’s definitely inherent for a lot of actors but for those who it isn’t, {they} can certainly learn it in classes and cold read workshops.” Knowing comedy isn’t for everyone and that some just can’t grasp the timing, there are avenues with workshops and class that allow an actor to find out they are better suited for dramatic work.

Changing to the dramatic side of acting, ‘The Secret Life of an American Teenager’ deals with some sensitive subject matter, and casting brings another aspect to getting it right. “In today’s society, this show deals with really relevant story lines and tells them honestly and with integrity that they deserve. Finding the right actor to connect to the material is part of the fun of my job... Each actor brings his/her own spin to a role and having this material being so rich...” Peter is dedicated to his craft, be it comedy or drama, and he certainly knows the importance of the final product - that includes getting the right people for the right role and having it accepted by audiences. “We are all in this business to make entertainment, to provide the public an outlet to laugh, cry, be scared, get angry... I want every actor that comes thru my door for an audition to do a great job; we are all working towards a common goal”. But does that commitment to creating entertainment and having the access to so much talent and, often incredible parts, ever given rise to the thought of going to the other side of the “casting couch” and acting himself? “Ha, no; I will stay behind the camera, thank you! Although, I must say that being a great reader for the actor in an audition is something I thrive on...you have to give the actor something for them to work off of in order for them to give you back a great read... At this point in my life, I love being a casting director and couldn’t see myself doing anything else!” What seems to impact Peter the most is the end result of what he does so well - it also tells you a lot about the man. “... it does make my job a lot more fun when I am able to tell the actor that he or she got the part... this did happen on a pilot I cast...we really put the actor thru it, going back and forth, etc... When the decision was finally official, telling him was the icing on the cake!” Anyone who has the chance to be a part of the casting process with Peter will know, whether they get the part of not, they will come out of it a better actor for it knowing they were in good hands the minute they walked in the door. The finance world may have lost, but the acting world won. (You can see Peter’s credits at IMDb.com)

THE MULTI-TALENTED TANYA WRIGHT

‘True Blood’ is not the first time we’ve seen this beautiful and talented individual; with shows from ‘NYPD Blue’ to “24” and ‘The Handler’, we’ve seen a diversity of roles. Which one role or character was Tanya’s favorite so far? «I have enjoyed ALL the roles I›ve played; I am grateful to have made appearances on some of the most groundbreaking shows in television history! The ones that stand out in particular, though, are my roles in “24” (the show really kept you on your toes ‘cause the entire season took place over the course of a day, and you never knew what was going to happen next!) and ‘True Blood’. The fans who enjoy the show really make it fun for the actors - they are such a dedicated and loyal group! ...I’ve talked to some 70 year old grandmothers and some 12 year old boys—and everything in between, LOL!” How did Tanya get her start in acting? “Serendipity and some persistence from Malcolm Jamal Warner (Theo on ‘The Cosby Show’). He thought I’d be great for the role of his girlfriend on the show. I was a shy teenage and wasn’t sure, but I auditioned and got it - doing a few episodes on the show.” Being one of the most popular shows on the television then, the attention, at first, made her nervous, retreating from acting - “...went back to my writing, which was the thing I originally wanted to do with my life, be a writer. Gradually, I began to realize I really did love it; I let go of my fear and went at it with everything I had. Came to LA with three hundred bucks with the intention of staying there for 6 weeks only! 15 years later...”

As an actress, Tanya says she’s been fortunate to portray different types of roles, from comedy to drama, and Tanya says, “I love it ALL. I will tell you, though, you have to be more thoughtful about comedy. I’ve got to change it up –comedy/ drama - often, or I will get bored!” Over the years,

like many successful individuals, Tanya has been inspired, and people with courage inspire her the most. “People who have COURAGE inspire me. I am actually really inspired by artists like Lady Gaga; I also love the fierceness of Beyonce, but I get an extraordinary amount from people who have everyday lives, who make sacrifices for love and the things they believe strongly in. I live my personal life very simply - very quietly - but I tend to gravitate naturally toward people who really live out loud...” She is, indeed, a mentor, herself, an inspiration. Somehow, she manages to keep it together. Her advice to someone if they are feeling overwhelmed is concise. “STOP. Just stop - immediately, if not sooner - and re-group. Stay still as long as you need/have to...” Playing the role of Kenya on True blood, how does she feel about being involved in such a successful show? “Incredible! The thing I am most grateful for is the fact that people are taking a chance on me with my book and movie, ‘Butterfly Rising’. ‘True Blood’ has gotten me in the door, but at the end of the day I have to stay in the room”. ‘True Blood’’ is one of the most popular and hottest TV shows on cable; if given the chance, would Tanya choose to go down the path of Vampire or Werewolf? “VAMIPIRE, LOL! I’d love to see someone as non-believing as Kenya turn into the thing she doesn’t believe in”. Does Tanya find any similarities to her character, Kenya? “I am a pretty straight shooter, though not nearly as tough as Little Miss Kenya! Hardworking, get-it-done type. Ambitious. Saucy at times:)” For African American actresses, there have been challenges for roles. What advice does she give to those who are getting into the business or try-

ing to get recognized to get roles they feel they are destined to play? “I would first be VERY SURE that this is what you want to do with your life. The journey won’t be easy... lonely sometimes - you will be confused and disheartened. You may not even have the support of those closest to you! But if you are REALLY SURE there is NOTHING ELSE YOU CAN DO WITH YOUR LIFE, then I would say to commit like you’ve never committed before, study hard, work long, get in everything you can (student films, plays) and STAY CONNECTED to the industry - that starts with your peers. Share information, go to workshops and, when you fall down, brush yourself off, and get back up. Resilience is a REQUIRED part of the journey...” Reflecting on her most challenging role so far, that of Rose Johnson in ‘Butterfly Rising’ - “I wrote and directed ‘Butterfly Rising.’ She is a woman who makes strong and unpopular choices; hopefully, you will now to understand her through my portrayal of Rose in the movie and have compassion for her.” Looking to the future and utilizing her vast talent, what possibilities could be on the horizon producing, directing, or writing? “I just wrote, directed, and starred in my first feature film - ‘Butterfly Rising’ (www. butterflyrisingthemovie.com); I also wrote the book of the same name. ‘Butterfly Rising’ is the story of two women (Rose Johnson and Lilah Belle) who take a road trip to meet a mythical medicine man named Lazarus of the Butterflies. These women are on a quest to realize and fulfill their dreams. I love connecting with, and hopefully inspiring, other artists to create the life of their dreams. It can be done!” Tanya is in the process of setting up her own entertainment company where she will write books, make movies, television shows, and create ancillary digital worlds around the products she create. “It’s a very exciting time for creative, entrepreneurial types in the entertainment industry.” In future films or television projects, Tanya looks forward to an opportunity to work with other great names in the industry. “Sean Penn. I think he is the greatest living actor, period. Martin Scorsese, David Finch, Darren Aronofsky. These folks are

super-talented visionaries. I’d love to create with them.” Tanya is committed to programs close to her heart. “I came out of a program called the Albert G. Oliver Program. AGO selects highly motivated 7th grade students of African American and Latino descent and offers them the support and guidance they need to gain admission to some of the Northeast’s best independent schools and continues to support them through the college admissions process. Go to http://www.theoliverprogram.org/ to donate!” Having taken roles of strong, powerful women, we asked what women she has drawn from in her life. “My grandmother! She died [very recently] - she was 83 years old-- and I can say, without question, she was the great love of my life. I am forever grateful for her love and support of me and my dreams! She was a terrific lady. I have never experienced a more loving and giving human being in my entire life. I am so happy to be loved by her.” We asked Tanya how she finds time for herself while maintaining her spiritual physical balance. “I am an artist; though a lot of my time is spent with others, it is REQUIRED that I take time to reflect for myself. I must be alone regularly in order to create.” So, what is her secret to remain so healthy and youthful? Well, for one thing, she’s happy! “I sincerely love doing what I do. I spend a lot of time with my dogs who keep things fun and playful (especially my Lab, Macarena, who LOVES tennis balls, LOL!). I get out in the sun a lot. I’m pretty easy going; I eat well and TRY to drink as much water as humanely possible (I just took a sip of H2O...). I stay present and try to always be thoughtful about my approach to people and/or situations that are unpleasant.” In her quest for knowledge, what are the most important things she has learned about herself - the most important things she has learned about others? “I’ve learned that I am a person who actually PREFERS to do many things all at the same time - it’s like, when I am writing, directing and acting all at once, ALL pistons are firing! When I shot ‘Butterfly Rising,’ I’ve never been so alive. Exhausted, yes, but...alive! I’ve learned that we are ALL human, we all change and have the opportunity to grow, and that REAL LOVE is good:). Last, I love to stay connected to folks - the people who support what I do are my inspiration!” You can stay connected with Tanya on Twitter - @ tanyaTTwright - for the latest information on ‘Butterfly Rising,’ go to www.butterflyrisingthemovie. com. Much more on this incredibly, talented individual can be found on Facebook - http://facebook.com/1pricelessgrl

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CASTING A WIDE NET FOR SUCCESS

It’s hard NOT to find yourself in show business when growing up in L.A. with a famous Director for a father (Jerry London/”Shogun”). The question was - what part of the industry would it be? After the University of Southern California studying film and television, Lisa London found herself a Production Assistant, but quickly moving into Casting, a profession she has excelled at during her career thanks to her experience, her work ethics, and the business she’s known all her life. Be it actor, director, writer, producer, Lisa believes “you can’t give up, even when the many roadblocks and stops come in your direction.” Her learning ground was on the sets with her dad; Lisa got to watch her father doing what he did so well - direct! “I got reality on the actors’ journey; I learned how different problems arise, and how you have to be quick in solving them. Overall, being on sets was the best learning ground.” Working as a Production Assistant on the pilot, “Hotel” (directed by her dad), she got to sit in on the casting sessions with well-known casting directors from Lynn Stalmaster and Associates. “I would offer my opinions about the actors, not that anyone asked for it. About 3 months later, Lynn’s business partner & casting director, Toni Howard, called me and offered me the job as a Casting Assistant.” Once Lisa got into casting, she immediately knew she had found her calling, realizing her affinity for actors. “As I grew up, I spent a lot of time on sets, talking to the actors such as Gregory Peck, Timothy Hutton, and Richard Chamberlain to name a few. On the set of ‘Shogun’, John Rhys-Davies used to recite Shakespeare to me.” She developed passion; she developed persistence. Her life in L.A. was full of highlights of some of the most famous names in the industry, filled with memorable experiences. Her favorite? “... probably my favorite was when I was a production assistant on a movie of the week, ‘The Scarlett and the Black’, starring Gregory Peck, Sir John Gielgud, and Christopher Plummer. We shot the entire movie in Italy on location, and it was a fantastic experience to be on the set with these acting icons.” Putting the experience with her dad to good use, Lisa has honed her talent. Her hard work has established a successful, lengthy working relationship with Adam Sandler’s company, Happy Madison Productions, and, with it, comes the chance to cast comedy, a genre Lisa feels is the most fun because, as she puts it, “who doesn’t love to laugh.” She knows casting comedy takes instinct. “If a person has a natural funny

bone, they can also learn about timing. There are different kinds of comedy from sitcoms to half hour film shows, romantic comedies, comedy action movies, and comedy movies. Each one has its own specific beat. Improvisation is a great way to learn about comedy because you learn to go with your instincts and not censor yourself.” She proved her instincts to be correct with the phenomenon - ‘Hannah Montana’. From over 1,000 people auditioning, one individual stood out for Lisa - Miley Cyrus. “Sometimes casting directors talk about the ‘it’ factor, and the ‘it’ factor” could be related to one’s personality, charisma, one’s confidence, one’s talent (which could include one’s acting talent, singing ability, dance ability, etc.) and one’s looks, etc. It is the je ne sais quoi (an intangible quality that makes something distinctive or attractive). Miley had that something special, that ‘je ne sais quoi’ and my business partner, Catherine Stroud, and I saw if from the beginning. We knew from her first audition; she had a number of callbacks before she won the role, but we knew she was going to be a star.” While the rest is television history, this just shows how the right casting director can make his or her own mark. Lisa London has made hers! Discovering new talent is part of the job, but so is fighting for someone you believe in. Lisa sat across from Jason Earles and knew he was something special; she recognized what a funny young man Jason was, and how he knew where the comedic moments were in a scene. “I knew Jason’s work a bit before he came in, and I knew that he was good with physical comedy. I also met Jonah Hill for a movie, “Grandma’s Boy”. Jonah had done a movie, ‘I Heart Huckabee’s’ and he also had a scene in 40-Year-Old Virgin, but that movie hadn’t come out yet. Jonah was so funny and talented. He read for the villain part in “Grandma’s Boy” and I knew he wasn’t right for that role, but I felt he should have a role in the movie. ...I talked to the producer, Allen Covert, and said you have to meet this actor, Jonah Hill. He is super talented and you will want to put him in your movie. Allen and the

LISA LONDON

director, Nick Goossen, met him and expanded a different role for Jonah.” Casting Directors see a diversity of talent and they work in collaboration with directors and producers. “The director and producers have a vision and it is our job to fulfill that vision. It is also about creativity and passion. We bring in some choices that are exactly the way the producers and director see it and then possibly a couple other choices which could be in a different direction or an actor who might have something unique about them that isn’t exactly the way the director envisioned the role. I am always very passionate about an actor if I believe in them, but sometimes you win the battle and sometimes you don’t. That is part of the casting process.” On “House Bunny,” or any project she casts, Lisa reads the script and immediately thinks of some top-notched talent for the roles. “Then I discuss with the producers and directors who they see for the role. We usually know ahead of time what roles they want names for, or what name actors are already attached to the project. Then we move onto the supporting roles.” Casting a movie is usually different from casting a television series with television being a faster paced process and entails a large base of actors. “I love casting television because of the time constraints you see so many more actors in a short amount of time, but it gives you a very wide net to pull from when you are casting films. I also love casting movies as well; it’s exciting when I see someone who is talented who didn’t get a role in television and I can bring them in for a role

in a movie.” One of her passions is to cast a musical or romantic comedy; “I go see lots of musicals and I love seeing actors who can sing or singers who can act. I just love watching those types of movies, and I also think it is great when you can put an actor in a role that you wouldn’t ordinarily see them in.” Lisa never aspired to be an actor, knowing it takes a different sort of passion and drive; however, producing is another story. “I love casting and finding new talent; putting together a cast for a movie or television project is so exciting when it works and is successful. I’m working on producing a couple projects with Catherine Stroud, but we are using our talents as casting directors to put the project together.” If there were one thing that stands out the most in the life of Lisa London, it is her critically acclaimed father, Jerry London. Thanks to his numerous films and television credits, Lisa got to hang out incredible sets, got to travel to amazing places such as Italy and Japan, and got to be a production assistant on a number of projects. “I learned so much from him and he taught me about show business. He is not only such a talented director, but also a fantastic human being. I saw how he handled actors, the producers, the crew and he did so in a very calm, but productive manner, and he would always end up with an amazing finished project. He also taught me that this business is all about persistence and you can’t take it too seriously.” Lisa learned from her dad, and learned well, but the passion for her craft, the passion she thrives on, is discovering talent and putting a great cast together. How fortunate it is for audiences to have someone like Lisa London to find those individuals, to cast those parts, to work diligently in the profession in which she has found her calling. Lisa was ‘cast’ in the right part - Casting Director!.

THE CREATIVE GENIUS OF DESIGNER DANIEL PATRICK

Having an athlete for a father and having played professional rugby hardly seems like the foundation for becoming an internationally known designer. Even at the young age of 4, taking pride in his appearance was only the beginning; he also quickly understood discipline and hard work were a part of being a success. He is disciplined. He works hard. His name is Daniel Patrick. It is not just the fashion critics and fashion industry elite that have been noticing this creative individual. Usher, not just a music icon, but known for his fashion “style”, has been photographed wearing a Daniel Patrick - quite a commentary on Daniel’s talent. Other high profile entertainers like Will I Am, The Black Eyed Peas are wearing “Daniels Patrick”; you can add to that list Steven Tyler of ‘Aerosmith,’ Jared Leto from ‘30 Seconds,’ Chris Cornell from ‘Sound Garden’, and Taboo. ...and to think, it began just a few years ago with his first design and a trip to New York. His first design was leather, hooded jacket he did for his final collection in Fashion College and, at that moment, he fell in love with leather. Wearing it to New York in 2009, fresh out of college, people took notice. They wanted that jacket! His confidence grew from that point and he knew he could really do this. He returned from his trip with a vision, one that would allow him to make his mark on the fashion world. Daniel channeled a “basic purpose of creating aesthetics in human appearance” and began designing. His imagination captured fashion intensity and allowed Daniel to work on his own rather than under the control of another designer. He accomplished what he set out to do. Introducing his Nomadic Collection took fashion in a new direction. Daniel’s use of distressed fabrics, blistered leather, drapery, organic cottons, lambskin leather, washed sheepskins, and pure wools are mesmerizing. One looks at his designs as a piece of artwork, a sculpture, or an architecture creation you study in detail. You follow every line, every curve in the fabric; one only needs to look at the deep color pallet of blacks, browns, dirty greens, and deep-burnt reds and you see his motivation - the energy of New York City and the discipline of the Japanese Samurai. Discussing his Nomadic Collection, Daniel said, “The

nomadic warrior theme is very much post apocalyptic in nature, embracing imperfections and more primitive forms and bringing that theatricality to the human forms of dress and blending it into everyday life... I think of new ways to wear clothes and try to push the boundaries and conventional forms of dress.” And no one has ever done it better! His designs emerge as a beginning of a movement...lost in time. The over sizing of his pieces shows a fluidity, and the massiveness and heaviness of his designs come across as intriguing. He has won acclaim internationally and is thought of as one of the most creative minds to hit fashion in awhile. Daniel enjoys being liberal with regard to designs, with no limitations; he is also a taskmaster when it comes to attention to details, and is strict within himself. “...I always strive for perfection even through imperfections if that makes sense.” Imperfections need to make sense to Daniel and are a part of his striving for perfection. The quality of his craftsmanship shows in every piece he creates. Be it an un-finished hem, oversized collar, studs and crushed glass, subtle embellishments, every detail is part of his unique artistic expression. Daniel’s ability to match design with materials shows no limitations. Admitting he is a “bit of a nomad myself”, traveling the world allows him to draw both his inspiration and energy from everything around him, bringing his vision to the forefront of his designs. The primitive, raw nature of leather seems to be his favorite and comes to life in his clothing lines. Daniel speaks of the human form as an inspiration. He also is listening to the voice within, “I am a firm believer that anything is possible with enough intention; I guess I’m a dreamer, but it’s this mentality that has brought me success. When people get past considerations they have that they can’t do it and it’s too hard and realize ‘hey, I can actually do this’ - you’ll be surprised at what can be accomplished.” What he has accomplished so far is only a glimpse into what lies ahead. Daniel enjoys working with earth tones - browns, khakis, olive and rust, his brand is not about pastels. The color needs to feel right and he would never rule out the use of any color as long as it sticks to the ‘story’ he brilliantly portrays in his collections. However, if the right project came along, Daniel

believes his designs are quite theatrical in nature and he would like to translate his creations to a film. How lucky film audiences would be to see Daniel’s work blended with a major film studio on a future endeavor, allowing his talents to be an integral part of a major script! Daniel’s Nomadic Collection was photographed with the desolated backdrop of the Mojave Desert - he turned this barren landscape into a work of art with his creations. His most recent studio shoot with famed photographer Marie Kroes has her immense talent behind the camera capturing the creative vision of Daniel Patrick in front of the lens. For those of us who wait to see what is yet to be, Daniel replies, “Expansion is definitely in the works and on my mind. Expansion of my product line to include shoes, jewelry, a women’s line, accessories, and expansion into new territories throughout the US and the world, opening up new outlets and that is just the beginning.” It IS just the beginning. A bright new star in the fashion world, Daniel Patrick has only just begun to shine. For more about Daniel Patrick, so go to http:// danielpatrick.net and see for yourself.

for the length of his service. But writing a part of his nature, and Jack documented his Navy career with more scrapbooks which reflected an in depth history of World War II that would serve as more than memories. They guaranteed an A+ during ‘showand-tell’ at school, having been used by generations of the Hirshberg ‘kids.’ Re-joining Paramount after the war in November of 1945 to make his mark as a publicist, Jack documented Hollywood history in a manner seldom seen.

sensation, Frank Sinatra. He was the publicist for ‘Funny Face’, a film pairing the beautiful Audrey Hepburn with the classic style of Fred Astaire. He wrote articles for movie magazines highlighting real ‘movie ‘stars’ - the kind of stars who were bigger than life on screen, while keeping details of their private lives off the agenda. Going independent in the late 50’s was a hard move for Jack; he wondered if he could make it on his own. But with his talent and work ethics, he had nothing to worry about. He made it, and made it big. Jack could be seen at the long commissary tables dining

background. He noticed no one was eating after being seated so he quietly went over to check on the guests. It was then Mr. Sinatra told Jack he, too, was a guest, and they would start when Jack, himself, took his seat at the table. Jack never assumed anything; it was obvious those who knew him appreciated the man, not just the publicist. He retired more than once, yet always held in high esteem; he was talked ‘out of retirement’ several times, and, on one occasion, in 1976, by Robert Redford. His hearing had become somewhat diminished and, while knowing that, Mr. Redford would not take

One column in 1946 had Jack commenting on a talented, 21 year old from a vaudeville trio, deeming him the ‘heir-apparent’ to filling Bill (Bojangles) Robinson’s dancing shoes. He was proven right and then some! That young man was Sammy Davis Jr. Jack covered everyone from a politically active actor who had higher aspirations (yep, Ronald Reagan) to Walt Disney, from ‘Casablanca’ to ‘Going My Way’, from Irving Berlin to Spike Jones. The names were endless - during his impressive career, he represented everyone from Cecil B. DeMille to Gary Cooper, from to Martin & Lewis to both Bob Hope and Jack Benny, from Bing Crosby to that generation’s newest singing

with cast and crew; you would see Jack behind the camera during filming, and he would be seen beside some of the most glamorous people in Hollywood. He was always working, always writing, and always the gentleman. Whether he worked on his column, a magazine article, or in his function as a publicist, his work was done on his typewriter with two fingers. Yep, the first finger of each hand pounded out some of Hollywood’s most memorable moments. In January of 1971, Jack wrote a column entitled, “A year of shame and tawdry products for the industry”, noting the same studio that brought you the inspirational ‘The Sound of Music’ was also responsible for the controversial, sexually explicit, ‘Myra Breckenridge.’ Perhaps, when we find a channel showing one of Jack’s films such as, ‘All the President’s Men,’ ‘Hello, Dolly,’ ‘Planet of the Apes,’ ‘The Electric Horseman’, ‘Dr. Dolittle,’ ‘Play It Again, Sam,’ or the timeless ‘Some Like It Hot,’ we find ourselves thinking...”they don’t make ‘em like that anymore” - even 40 years ago, Jack knew there was a change coming to Hollywood. Jack was highly regarded by those he worked with, but it did not always have that “warm-fuzzy” moment. On one occasion, while working on ‘The Vikings’ in Europe with Kirk Douglas, Kirk was quick to show his admiration for Jack and his family by continuously showering them with surprise gifts. However, it seemed at one point, Mr. Douglas became a little bothered over “something”, deciding to go to where Jack and his family were staying, and destroying the presents he had bestowed on them. Jack had his own way to repay the reversal of fortune - he went out, bought a brand-new VW, shipped it back to the US - billing all expenses to Mr. Douglas. The “stars” who crossed his path found out one thing - Jack had incredible work ethics and he captured their respect. While a publicist for Frank Sinatra, he had arranged for a dinner for Frank and his friends at a swanky restaurant - being the proper publicist (and gentleman), he remained in the corner, in the

that as a reason not to come out of retirement. He purchased Jack’s first hearing aid and talked him into coming back to work on ‘All The President’s Men.’ There was a bond between the two as Jack went on to work on numerous Redford films, even into the 80’s with ‘Brubaker’ and ‘Ordinary People.’ Jack believed in hard work and, perhaps more importantly, he believed in ethics, and everyone who knew him over his long career knew that, as well. He did not play favorites; he was too much of a gentleman to name favorites, nor did he ever list those who may NOT have been. During the “In Memoriam” segment of last year’s Oscars, the Academy neglected to mention the passing of this incredible man - many of his friends and colleagues were surprised and upset, while his family was hurt. For so many years, he had an impact on Hollywood. He worked with some of the most glamorous stars ever to have graced the screen. Jack was a born writer; he was incredibly good looking (rivaling some of the stars he knew) - but he was also an incredibly talented and honest man. His children, Jill Zinner, Susan Davis, and Robert Purvin knew him as a father, not a publicists, not one who hob-knobs with Hollywood celebrities Jack’s philosophy was his work was his work, and his life was his life which allowed his family to remain “normal” by Hollywood’s standards. The accolades from all of those who knew him remark about his high standards and principals of being a good man, and a great writer. But his family knew Jack as a father - a father who considered his “family” one of his greatest moments, which says a lot about the man. You get to know a man when you read his writings; however, with Jack, it goes a little further - you get to know the heart of the man, the caliber of his integrity, and the depth of his spirit. It was the way Jack lived his life. When he left us at the age of 92, we did not just lose a great publicist, an incredible writer, but the world lost a great man - and he will be missed.

NOT YOUR TIME JAy KAMEN

If you take a young man, give him an old video Super

people from Michael, to Jason Alexander, to Jay Kamen

to have a character break the fourth wall and stare into

Michael’s ability and talent will certainly attract atten-

8 camera, long winters in Wisconsin, and factor in a lot

who was writer, producer, director, composer who also

the lens. There is a certain energy that is inherent in any

tion and future projects, but with those offers come

of hard work over the years - what might possibly be

found time for a cameo. From Michael’s view, “There

musical. It is paramount that the lighting and camera

decisions, decisions based on what draws Michael’s

the result? Michael Nie - honored with The International

are a number of advantages to working with a direc-

work support that energy. Shooting a musical number

to them. “I am drawn to strong character pieces. I like

Cinematographers Guild Emerging Cinematographer

tor that is involved

is like shooting an ac-

stories that connect with an audience on an emotional

Award 2011. After attending the University of Wiscon-

in a film in so many

tion sequence. Like

level as well as an intellectual one. Whether a film is

sin, his proving ground, he had learned working on stu-

ways. I could have

any well-planned ac-

based in history or fantasy, a comedy or tragedy, I look

dent films allowed him to hone his craft, one in which

one conversation and

tion sequence, it is

for complex, compelling characters”. Along with the

he would soon excel. In 2004, Michael headed to LA

cover a variety of is-

important to sched-

characters and scripts, there is what the camera sees

and knew what a competitive industry he was heading

sues. In this way, the

ule enough time to

beyond the actors and their words. “My work has taken

into. “When I drove across country and arrived in Los

process is stream-

capture all of the an-

me from Japan, to Abu Dhabi and back home again. I

Angeles for the first time, my family and friends were

lined and you save

gles and characters

have traveled to places I had previously only imagined.

a source of encouragement helping me tackle this in-

time. The danger is

involved. The sound

If I could choose anywhere in the world to shoot my

tensely competitive career head-on. Without my family

that the director can

is almost always add-

next film, New Zealand, Ireland, and Iceland come to

and friends and their continued support and enthusi-

be pulled in many

ed later, so the cam-

mind. However, in the end, I will always be driven and

asm, I would be nowhere in this business”.

directions at once...

era has an incredible

guided by the nature and quality of the project”.

On Not Your Time,

amount of freedom.

Michael was ready and willing to learn his craft from the

Jay Kamen’s famil-

Because there are

ground up in order to gain an in depth, working knowl-

iarity with the mate-

so many options, the

It would seem his next project gives him the chance for

edge of the business. He worked in every capacity from

rial and passion for

greatest challenge is

both - location and a compelling story. “Every project I

gaffer to film loader, from lamp apprentice to crane op-

such a personal proj-

erator - he had paid his proverbial dues. Michael notes,

ect

worked

our

advantage”.

“Filmmaking is not a solo endeavor. It is, without ques-

sorting out how best

have ever been involved with has provided me with new

to capture the performance that emphasizes the cho-

experiences. One such project is a short film currently

reography while maintaining the director’s vision. It is

in production, a fantasy piece titled Dust. Dust has tak-

tion, a collaborative art form. The role of the cinematog-

But when the camera stops rolling and the final “cut -

essential that the performer, director, cinematographer,

en me from the soundstages of California to the coun-

rapher demands clear communication. A cinematog-

that’s a wrap” is heard, it is by, no means, the end. “Every

and choreographer are all on the same page”.

tryside of Japan. It is the story of a man who, having

rapher is equal parts artist, technician and manager. If

film project is made and re-made three times...prepro-

you hire a talented crew and treat them professionally,

duction, production, and postproduction all play a sig-

Talent and hard work can make for success and de-

to reinvent himself. The story is steeped in Eastern phi-

they will take care of you and the project stands a good

nificant role leading up to the finished film. When the pro-

served recognition, but in the film industry, there are no

losophy, and is in stark contrast to the Western world in

chance at being successful. The time I have spent in the

duction of a film is wrapped, the project is far from over.

guarantees, and Michael is fully aware of that. “Whether

which I grew up. The making of this film has impacted

trenches has given me a better understanding of how

I think it premature to judge the quality of a film before it

or not I am successful at the moment is for someone

my work by expanding my worldview”.

to manage and communicate my vision of the project

is finished. When production finished on Not Your Time,

else to decide. If a strong work ethic and understanding

to others”.

I was pleased with how the film was progressing, but my

of my craft are a given, I attribute the progress I have

Expanding his worldview will give the viewing audience

involvement was far from over. I would revisit the project

made in my career to my desire to tell relevant stories

the chance to expand their view, as well and see more

months later for the final coloring and transfer to film”.

through images.” He is passionate about his work and

of Michael’s talent on the screen. The work, the chal-

his life. “The day I am no longer telling relevant stories

lenges, the process of what goes on behind the camera

His experience has cast a broad net from which he produces some incredible results from his photography to

experienced one of life’s greatest tragedies, manages

cinematography work. Working in those trenches and

Musicals such as Not Your Time present their own

is the day I will pass the torch to someone else. At this

is intense. It is a collaboration of so many aspects of the

learning his craft from all aspects, he was able to move

unique challenges as they show a world we don’t nor-

point, however, there are plenty of interesting stories to

industry. Whatever lies in Michael’s future will be excit-

from operating a crane to operating a camera. And how

mally live in and experience every day. “At any moment,

tell, but it often takes more than that combination”.

ing for audiences; as Michael puts it, “ ...Stay tuned”!

lucky audiences are to have him there. His film, Not

a character can break out in song. It is not uncommon

Your Time, received rave reviews being compared to All That Jazz. “During preproduction on Not Your Time, Giuseppe Rotunno’s work on All That Jazz was used as a reference. That said, I never set out to mimic another artist. While it is inevitable that films will be compared, I strive for my work to be unique in its own right”. Not Your Time does just that! The final result took a lot of hard work with a lot of talented

Michael, we most certainly will!

MICHAEL NIE EMERGING CINEMATOGRAPHER OF THE YEAR 2011

To see more on Michael, visit his (www.michaelnie.com) and for a complete filmography, go to www.imdb.com. And on being honored as Emerging Cinematographer for 2011 - a well deserved CONGRATULATIONS.

Cobb Mountain did not offer a lot of acting opportunities and certainly not a music teacher. Marcus learned to walk in a trailer park and graduated from a two-story house on an acre of land. His parents were married at 18 and had practically nothing - but they gave him encouragement. When he decided to move to L.A., it must have seemed more like a different world than a different town. “My Uncle Burt {who had given him an old electric organ and his guitar} was a musician and actor... He showed me my first blues scale on a piano... When I was 18, I asked my Uncle John what professions he thought were viable. He said ‘the computer industry and the entertainment industry will never die’... but that was the rational excuse I needed”. Marcus had encouragement from teachers - Larry Allen, Richard Radford, and Richard Shout. Marcus admits “Man the list could keep going”. He grew up watching icons - “... there are the countless actors I grew up with - Tom Cruise, Johnny Depp, Mel Gibson, Brad Pitt, Gene Hackman, John Travolta,

in movies”. Big breaks were fleeting; “I remember booking a Coke commercial, my first job. I had been told by well meaning acting ‘buds’ that it was a huge deal; I’d be able to retire after that job. I quit my day job, went to the Warner Brothers lot, saw Jennifer Aniston and Lisa Kudrow having lunch - this was during the height of ‘Friends.’ I thought, man, I did it; I’m on top of the mountain. Unfortunately, that commercial didn’t pay enough to retire; in fact, I had to go back and ask for my old job! That sucked. ...I think it’s

Elvis Presley, Will Smith...the list really goes on. When I was growing up I loved watching movies... and when I was 17, I dropped out of college. I had great grades, but it wasn’t for me. I didn’t know what I wanted to do. I watched Lethal Weapons 1-3 followed by Braveheart in one day! ...I realize now, I was studying them; at the time, I just knew they sucked me in and I think there was a little decision during that time that I wanted to be

s u c

v e r y important to recognize any small win and focus on that and love the whole game of it. If I compared myself to guys further in their career, it would be pretty grim. I like to set a goal, like, ‘be the character fully in this next audition.’ If I do it, that’s a big accomplishment.” Playing roles such as Fr. Thomas (Point Pleasant), Matt Evans (South Beach), Leo Crux (Make It or Break It), to Noah (Psycho Girlfriend) - Marcus found a way to relate. “I could relate to some degree to all of them. But, man, each of these roles were people with such different lives and ideas than mine”. Was there one role more challenging over the others? “I really liked the original pilot of ‘South Beach.’ There was some recasting and we needed to re-shoot it. There was one particular scene where the character discovers his dad had gambled his college money. When we shot the original pilot, it was all so effortless and organic. The re-shoots with the new actors- who were great- but it just threw me off. It felt like a re-enactment of the original incident. It was just weird”. ‘Beverly Hills Chihuahua 2’ was the number 1 selling DVD in America; now Marcus is currently shooting ‘Beverly Hills Chihuahua 3’ with Frances Fisher, Kyle Glass, Cedric Yarbrough, and George Lopez. Working on any sequel presents challenges especially

following previous successes. “Is it getting better or worse? Things are either getting better or worse - it’s not going to stay the same. When I read the script, I couldn’t help but laugh; I thought, this is funnier than the second. Then, when I talked to the Director, Lev Spiro, he was really funny and smart and had a great vision. Then, I found out

His unique musical style is influenced by a diverse list of recording artists - Bob Dylan, The Eagles, Modest Mouse, The Pixies, Elvis Presley, Sam Cook, and The Beatles. This influence can be appreciated by listeners on his successful album “On the Bright Side.” But every artist has a favorite track or two, or three. “. ..’Desperate’ and ‘If That’s What You Want’ tend to be the most popular, but I’m partial to ‘Something’s Going On’ - that song always takes me to the exact place where I wrote it and that time. It was coming out of an awful place and discovering hope.” And the listening audience is discovering Marcus Coloma. His writing and directing is still expanding, along with his music, and can be seen at the incredibly intriguing http://youtube. com/user/IforkT - a rather dark, but funny project. His formula? “Anything that I think of goes.” From emu pasta, wombat soufflé, to teleporting - anything does go in ‘IforkT’, a well-crafted piece of work. “I love that project; it’s so much fun! ... All those guys are my friends and there’s no budget so I had to be very creative with the writing. It’s like, you have 4 locations, 2 days, no crew, not much experience, go. Luckily, my buddies are talented enough to cover me. But, I’m dying to start ‘IForkT’ up again when I get the time. It’s just literally shoot anything that I think of, and tell that story within the resources I’ve got in a way that, hopefully, people will understand and like it and want to see more. As out there as that series is, it’s closer to me than anything else I’ve done.” With all his projects, his album, his writing, and directing, does he have a favorite career path? “Such a difficult question to answer, like choosing which is your favorite kid. I look at it more as a priority list. Each can take some effort to accomplish something of quality. So my list of trying to master would go: Acting, Directing, Singing”. And so, another list. The future of Michael Coloma will certainly have a list of accomplishments that continue to grow with all the talent embodied in the boy who learned to walk in a trailer park. Lucky for all of us that putting one foot in front of the other eventually led him to L.A. and one of the brightest futures on the horizon. To listen to his talent, go to http://itunes. apple.com/us/album/on-the-bright-side, and to learn more about Marcus and his ‘list’ of accomplishments, go to http://www.imdb. com; and see where anything goes at http://www.youtube.com/user/IforkT

a m lo

Louanne Brickhouse, the Creative Executive of the first and second, is still running the show, and the Executive Producer, Sarah White, is still there and I knew this is going to be better than the second.” So can the audience expect surprises from ‘Beverly Hills Chihuahua 3’? “Absolutely! That’s what had me laughing; there are things in this movie that have absolutely never been done.” The ‘rescue dog’ premise seems to have impacted the way Marcus looks at those strays running around Hollywood; “Funnily enough, during Beverly Hills Chihuahua 2, I saw a stray Chihuahua walking in Downtown L.A. I went back to find him and failed. Two weeks ago, there was this little white dog running around, and again, by the time I weaved through the traffic, I had lost sight of the guy and couldn’t find him. So, at this point I am dog-less”. But rest assured, it does not appear Marcus will stay that way. Acting is only a glimpse into Marcus Coloma. It brought him to L.A., but his music seems to be his passion, one he embraces with a defined talent, and where he is the most fulfilled. “Recording my music in a studio is an out of body experience, better than anything. I love it”. He plays the drums, but admittedly, does not have that calling. Being an accomplished acoustical guitarist, “...I could spend hours on a guitar, and minutes at a drum set. I admire drummers, but I don’t have that calling.” There is yet another list the list Marcus would like to hear from and be asked to join them in a recording studio. “...Tom Petty, Beck, John Mayer, Bob Dylan, Wyclef, Chris Martin, Don Henley, Paul Simon, Sting, Jimmy Page, Jack White, so many… I could learn something from so many of these guys.” And if any of you are listening, Marcus would be there, guitar in hand.

ARE YOU IN TOURISM? ARE YOU MISSING AN IMPORTANT BUSINESS OPPORTUNITY? Destination Services Association (DSA) is the oldest, non-profit tourist association (34 years) in Nevada. Our destination services’ members range from shows, tours, ticket brokers, museums, restaurants, weddings, services, chapels, publications, transportation and hotels, covering both gaming and nongaming companies. Our monthly luncheons provide the chance for you to network, trade ideas, and build alliances with other diverse professionals working in the tourism industry. These opportunities offer access to a broad networking base, as well as the chance to listen to incredible speakers offering cutting edge information, along with their experienced insight. Working in conjunction with our partners in Boulder City, Mesquite, Jean, Primm, and Henderson, DSA truly expands the community and adds to the integrity of the industry. DSA members receive invitations to both mixers and events which are usually free to the members. The chance to be a guest at numereous shows allow the members to increase their working knowledge of the Las Vegas entertainment community, as well. The variety

of opportunities is shown by a sampling of where our members have gone as invited guests: Absinthe!, Legends in Concert, Thunder From Down Under, Tony n’ Tina’s Wedding, Hitsville, Bonkerz, Viva Elvis, Vegas the Show, and others. Just in the last 3 months, DSA members have been to Louie Anderson, Comedy Jam, Big Al’s Comedy Club, Carrot Top, Human Nature; the Top of the Stratosphere hosted an incredible wine tasting, and 225 guests enjoyed a fantastic pool party at Azure at the Palazzo This month alone, we enjoyed three different comedy shows, as well as two new restaurants, Coconuts, at Town Square, and Marbella, on W. Flamingo. When looking for a way to expand your group business and your horizons, take a few moments to check us out. Visit our website at www.dsa-lasvegas.com. We are looking forward to seeing you soon, so please - Join us! Shelley Stepanek President Destination Services Association

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The incredibly successful and highly acclaimed “SHOGUN” is releasing its 30th anniversary edition on DVD. What better time to hear from the man behind the camera, and who captured the Outstanding Directorial Achievement from the Director’s Guild of

“SHOGUN “. “I worked with James Clavell the author of “SHOGUN “...we went to England for casting and to Japan to find the crew and locations.” Eric Bercovici, who wrote “SHOGUN “, and also produced it, worked very closely with Jerry. The massive script was 600 pages, and

THE MAKING OF A DIRECTOR American for his spectacular work - Jerry London.

The Emmy

winning (13 nominations), Golden Globe Award recipient TV Series, “SHOGUN” was given its life on film by its Director, and the Anniversary edition has an additional disk on the making of “SHOGUN” which allows one to go behind the scenes and get a glimpse into the magnitude of this undertaking. It shows how Jerry’s creative vision succeeded, in every sense, taking the viewer into a strange land filled with wonder and intrigue. So, how does a kid tagging along with his uncle on the back-lots of L.A. move to be the driving force behind the camera on the shores of Japan calling the shots on one of the most successful mini-series in television history? Determination and talent. His life has been spent in L.A., growing up in Hollywood; his Uncle, Sol London, was at RKO-Pathe Studios in Culver City, and took the time to give Jerry the experience of walking the lots as a kid. At an early age where he watched the actual making of movies, he was fascinated with the process. What sticks in his mind the most from these early years? “Seeing

work? “Only after I saw the first hour edited. I knew then it was something special.” Eric and Jerry working together not only led to a successful, award winning series, but a long relationship, one that goes deeper than writer-director, “We are like brothers now.” Often projects are shot out of sequence. As an Editor, you turn it into a cohesive work - but as a Director, how difficult is it to maintain the creative process and to remain focused on continuity when the gap in between could be days or weeks? “I had to do the directing process on the whole script before we started shooting. This was a massive job doing notes and diagrams, and noting actor attitudes in each scene... It’s a good thing I was prepared so well, I knew that the schedule would never hold for seven months of shooting. We had many tremendous mishaps and schedule changes. I was ready for anything and we eventually finished under schedule.” A director interacts with so many elements of the production, one of which being the writer(s). Whether an original script or an adaptation from a novel, in any form, it all depends on how good the script is. How does a

image on it.” That image, in the years

director impact a success? “Casting.

to come, would be filled with “Directed

Pick good actors. Select great scripts.

by Jerry London.” How fortunate for

Do it right from the beginning” - all the

the viewing audience Jerry skipped

things Jerry London has learned to do

the college scholarships offered him to

so well. But learning how to do it right,

“Get into the movie business”, pursue

did not just happen. It took years of

his fascination, and share his talents as

hard work and paying his dues.

a Director.

Jerry has directed eleven mini-series,

His introduction to the movies was in

over forty movies for television and

film editing. As a film editor, he was

about three hundred and fifty episodes.

in “show-biz”; he learned a lot in the

His

cutting room as an apprentice, from

Studios... “I was in the editing dept for all that time, learning and spending time on sets, watching camera movement, staging, actors’ behavior.”

At Desilu he was able to meet his mentor,

Producer Ed Feldman who produced ‘Hogan’s Heroes’. “He made me his Associate Producer and moved me up to Director. He is completely responsible for starting my career.” Mr. Feldman knew talent when he saw it. Knowing editing was his introduction into the industry, and Jerry still works closely with his editors, now done electronically. Times have changed - the process has changed with the onset of elaborate technology. Directing has changed in the way you view the scenes; “Before you relied on your eyes and the camera operator’s eyes.

Now you see what you are shooting, using

a monitor attached to the camera. Editing is faster, all seen on monitors, and pushing buttons.” But it all starts with the director’s vision. That vision was vividly brought to life with Jerry’s work on

numerous

episodic

directing

credits include such TV Classics as

splicing to how to sync dailies. After

and ‘Daniel Boone’. For eight years, he spent his time at Desilu

was

he know while working on it, he had such an acclaimed piece of

piece of celluloid in my hand with an

also worked on ‘The Danny Thomas Show’, ‘The Untouchables’,

“

such a success –

Globes Award, the Peabody award and numerous Emmy’s. Did

for ‘Gone with the Wind’... holding a

Love Lucy’ where he was able to get the entire feel of it all. He

“SHOGUN

winning the Golden

‘King Kong’s’ arm, and Tara - the set

a year of apprenticeship, he became Bud Molin’s assistant on ‘I

1079 scenes.

‘The Rockford Files’, ‘Happy Days’, ‘Kojak’, ‘Mary Tyler Moore’, ‘The Six Million Dollar Man’, ‘Hogan’s Heroes’, ‘The Brady Bunch’, and ‘The Bob Newhart Show’- (the list is extensive). When he looks back on his accomplishments over the years, he get a sense of nostalgia when he catches a re-run or sees some of the kid stars all grown up. “I don’t think anyone likes getting older.” The years Jerry spent giving us some of most unforgettable television are ones cherished by those who watched them for the first time, and the millions who are able to see his work in syndication all over the world. For that, Mr. London, we thank you! With the transition from comedy, and having been so successful at it, what drew Jerry to directing drama? “Comedy is a writer’s medium... Just get the reactions and jokes on film. Drama is an interpretation of the material, through actors, camera movement and editing, music, photography, sounds etc.” He took a chance moving to the dramatic side after having so many hits in the comedy genre. He was given an episode of ‘Love American Style’, changing the style of directing from comedy to drama which led to a conversation with Tony Barr, head of programming at ABC at the time. Within 6 weeks or so, he was directing ‘Marcus Welby, MD.’ “I wanted to do drama from the start. When ‘Love

American Style’ came up, I felt it was my chance. I took a chance and did something completely different. Luckily it worked. Tony Barr helped my career enormously.” Jerry is not one to take all the credit for his success; he is gracious in attributing his ‘breaks’ to people who help mold the Director he has become today. Reaching his success from editing to directing is paved with the who’s-who of television, and he does have his favorites for different reasons. ‘HOGAN’s HEROES ‘ was the most fun... very funny characters; ‘NEWHART’ was the easiest, the material was great and Bob and Suzanne Pleshette were dreams to work with. ‘KOJAK’ was also a ball; Telly never rehearsed and had a photographic memory. ROCKFORD was also a great show to work on... Garner was the finest actor and could make any line in the script work. Also the scripts were great. ‘PARTRIDGE FAMILY.’ Loved Shirley Jones and staging and shooting musical Numbers. This prepared me for the big numbers

Early in his career, Jerry directed theater, and, recently went back to both the theater and comedy, directing the successful ‘Mom’s the Word’. “You work much closer to the actors when doing stage work; it is a completely different staging process from film.” Does that leave the door open to the possibilities of more theater or Broadway? “I would love it. It is finding the right material to work on.” So, if a good writer has something great, there is a great director looking for that script! Hollywood has changed since Jerry first held that piece of celluloid in his hand - the chance to walk the sets and learn from the ground up may be gone, but he does have some advice for aspiring directors. Having taught Film Production at UCLA and Los Angeles Film School, his credentials prove his advice works.

Second, direct plays; learn how to work with actors. Third, learn the ...........editing process.

in the mini-series ‘ELLIS ISLAND’. “MINI-SERIES...These

are

end product is a working knowledge

The

of all those parts.

productions are like features, you

There are those eccentric individuals

get more time to shoot and major motion picture actors to cast.”

or those with large egos in Hollywood

But

and the director will face them at one

what are big name motion pictures

time or another. Handling that takes

actors like to work with? “The bigger the actor the easier. Peck,

Charlton

into account a skill not all directors

Like Gregory

Heston,

possess.

Richard

Christopher Plummer, John Gielgud, Rock Hudson, Lee Remick, This list of well-recognized actors reflects a

mutual respect of great talent and great direction; one could not find a better combination of effort. Has television changed over the years? “They make too many reality shows and not enough movies and mini-series. More shows are geared for a younger audience.

“Get them to trust you!

Instill confidence right away so you

Burton, Faye Dunaway, Julie Christy, Patty Duke,etc...”

Fourth,

know the camera.” Jerry’s knows the

the

best forms of film to work on.

“...take

Psychology courses; you have to handle high powered people.

The networks make more

profit on reality and series. Too bad for the viewer. Hooray for HBO and SHOWTIME, the exceptions!” Along with these changes have come changes in the business, be it movie or television; the studios themselves have changed, and perhaps not always for the better. “Some top executives are interested in only getting ratings and making a profit. They don’t a think of making or creating artful films.” That is unfortunate for all of us who ever held a remote. There was a time when a director could hand pick the crew, from casting director to editor - it has since changed dramatically. This can impact the entire process and sometimes hinder the director’s ability. “Sometimes a network or producer will trust you enough to let you pick your own people.” Directors like Jerry London know how to pick his own people; he has proven that time and time again. Having spent his entire life in L.A., seeing every side of the industry, how did he feel about his own children getting into the business? It appears from their success they had a solid Father figure and mentor wrapped up into one package. “My daughter Lisa is a successful Casting Director and loves working with actors (London/ Stroud Casting). My son Todd is always working on big projects as a Producer; he did HBO’s ‘ROME’ and ‘The PACIFIC’ among others. He is now an executive with Walt Disney Features”. Jerry managed to keep his home life real, not an easy accomplishment in Hollywood - as a successful L.A. Director; he kept his homelife grounded without being caught up in the Hollywood-hype. It wasn’t always easy; “It’s easier now. I was away for ten years in the eighties. I shot in almost every country, continent, and state. I brought my family for visits. It was great for my kids who got to see the world.” Their travels contributed to their understanding of not only the world, but an understanding of the business.

can work seamlessly together.” Trust also includes understanding the relationship between a director and producer, director and writer, director and editor.

“It is

collaboration. You must give and take. But be strong if you believe in something. On one of my CBS movies I fought for the actress Virginia Madsen early in her career. The network wanted someone else; I stood firm and Virginia was great!” Reality shows are taking up more time slots; TV movies are down from 175 to 50 for the year. What have reality shows done to television and the viewing audience? “The viewing audience has changed. The overall quality of television series has gone down. Many viewers don’t watch anymore. Ratings used to be very large; “SHOGUN” had a 60 share; now the hot shows are lucky with a 28”.

Television still has hope.

“Producers and Executives like

Michael Wright at TNT and J.J. Abrams at Bad Robot think outside of the box, developing something new and original... Others use the copycat formula. If it had ratings last season let’s do one like it. There are too many duplicates like LAW AND ORDER, NCIS, CSI, etc. Too many DANCING AND SINGING talent shows.” From Gregory Peck, to John Gielgud, to Richard Burton - stars from the golden era of Hollywood - although the era is gone, who would he like to see on his horizon at some future project? “I am a big fan of Al Pacino,” as is anyone who has even seen Mr. Pacino. Jerry London directing a project staring Al Pacino would be the perfect blend of talent in front of and behind the camera. Jerry’s entire life seems to be an ongoing Hollywood experience with lots of stories to be told - so will Jerry ever let us in on some of those stories, the “inside story” he has compiled his whole life? “ollywood I am writing the book now, and will tell about the working experience, actors’ eccentricities, and how some agents manipulate you.

How younger producers are afraid the older

directors have too much knowledge and won’t be a collaborator with them...NONSENSE!

I love the filming process and love

working with my crew, actors and the producers.” For even more details on Jerry’s contribution to television, films, and his amazing career, go to http://www.imdb.com; and http:// www.jerrylondon.com

SMILING BECAUSE HE GETS TO DREAM Born on his grandmother’s birthday, Kristopher was the best present she said she could have gotten, but it was tough times ahead for the little boy being raised by a single mother. She owned a hosiery store, “High Steppers,” where Kristopher would spend his free time re-enacting movies in the back of the store while his Mom contributed to his efforts by helping make his costumes, including his Batman out fit. It wasn’t until he was 16 he discovered his passion for filmmaking. The day he bought a cheap video camera on a whim, the teenager immediately fell in love and started making short films with the local neighbors. At 18, they lost their house and moved to Las Vegas, but he moved to L.A. a few months later feeling the need to grow and experience becoming a man, knowing he had to put himself into it full time and take risks. While in L.A. He attended UCLA and the UCLA Extension, and then found himself lucky enough to land his first network credit work at the age of 19 with NBC Universal He made a presentation while at FOX, but it didn’t work out and it fell by the wayside; though not long term, Kristopher admits it opened doors. He was young and wanted to learn all the mechanics and gears of the business, so he looked at it as an opportunity, one to learn from where he could approach something with confidence. He turned to acting and landed bit roles in ‘The District’ as a teenage accomplice and “The Shield” as angry kid; he soon realized “I had a lot to say storywise and as an artist... I couldn’t express what I had in me by staying in front of the camera. I had to step behind the camera and tell the story. At heart, I’m a story teller and always have been.” He was always a visual person, even as a kid. “My brain works visually and if I can express myself in a creative form, in a visual sense, I can do what I’m supposed to do and get the job done.” That’s why he feels he is a director. As for venturing back into acting - “Sure, but I would

need a burning desire” but that desire would have to give him the same fulfillment as being on the other side of the camera. He might turn to acting again if he felt challenged as an artist, be it drama or comedy. Comedy presents its own challenge - “Comedy is timing - but I think it is more a natural approach, not so much about being able to lean timing. It’s more of a feeling process... Anything in life you have to feel and know it to really understand something, and, for me, being a visual person, I’m not the best when it comes to learning from someone; in comedy, if you have and you can do it, just see what happens.” On his Twitter site, Kristopher refers to himself as “very merry filmmaker, that is smiling because he gets to dream.” He readily admits, “I’m a dreamer”. He is a full time director and he reflects on Steve Jobs’ advice to follow your dreams, even if it takes your whole life, until you find out what you want to do. “I was fortunate to find what I wanted to do at an early age and have been able to pursue that in a healthy way, and I’m grateful for that.” Having been an actor, producer, director, is one more satisfying? Kristopher says, “I’m a Director at heart; that’s where the story elements come in for me ...and I prefer to direct.” He notes iconic filmmakers such as Hitchcock, Mann, Spielberg, Tarantino, as his inspirations. What is it about these individuals that captured him? “They weren’t afraid to share their minds with the world...they were free to open up and expressed themselves as artists, as film-makers... to captivate people and take them on a journey.” Kristopher admires and respects the contribution the journeys they have taken us on over the years, as we all are. There are two very different short films he both wrote and directed, “Runnin’” is a funny film about a man trying to escape an mysterious woman with evil intentions; “The Reunion” is about Tom, who is HIV positive and, after suffering a stroke while on a jog, his last wish is to have his four best friends come together and celebrate their good times without the knowledge of his death. They are two very different genres. How does a writer/director make such a

transition? “I have a story to tell and I want to tell it.” With “Runnin’” he wanted to make people laugh; with “The “Reunion”, he wanted to tell the true story about Tom, and “... if you have the ability to express yourself through the medium of film...it doesn’t really matter if it’s about a widow, a shark, a crocodile, or an airplane... if the story is compassionate, I just want to tell it.” His current project - The “Deliver” presents yet another side of Kristopher - it is one of Human Rights, or lack thereof. “Back in 2004-2005, I thought of a story and it’s an on-going trilogy - the idea just popped into my head... I wanted the movie idea to start with worse case scenario ... a lot of ideas come from the worse case scenarios, so I just took what I saw was happening... that things could be really bad, and it could just take a freefall.” But as with any film, especially a short, one more challenge inevitably comes up BUDGET! Kristopher looks upon it as a creative challenge, “...believe it, or not, it actually helped me. If you have a gazillion dollar budget for a short, we could do whatever we want to, but we’re challenged to be more creative and find other ways of expressing ourselves - not be able to just say I’m going to buy this or that - so it’s been great for me. So when I eventually go back into the studio system, I’ll have a better edge and not see things through only the dollar value. ...we’re here for the creative process, not just the money. It’s been a very beneficial thing for me, not having an unlimited budget.” And with that ‘budget’, you have to make do. In the “Deliverer”, the forces of corporation labor cannot get a tailored wardrobe, so they go out and get what they can and conceal their identity...and still go out and capture people. Kristopher found he, too, could not go out and get his tailored wardrobe - so he used paint ball masks sprayed with silver paint - “you make do with what you can get your hands on easily and cheaply” - it was that way for both the characters in the movie, and for those making the movie. The film has some very creative lighting effects, critical for the effect - “We start during rehearsals and begin to get a

feel for the tone and contrast - all done before hand...” and then there are times, at the last minute, they found putting red gel on a tungsten light in the bathroom for the opening scene got them the effect they needed ingenuity comes in handy on a budget! He did have the advantage of being his own producer on the film - “You have a way to get accomplished what you want to get accomplished, and you can really achieve your vision that way by having a producer credit on a film.” But, not always having the luxury of being your own producer, you don’t always get your own way. “You have to be a professional and not sell out, but remember we’re here for the entire creative process. Even though I’m the Director, it’s not all about me and what I want; it’s about the collaborative effort of all my team and I together, and you get the best possible product put together.” Those budget restraints include the musical composition - it essential for setting the mood for a film, but using an original composition is difficult in getting licensing. Kristopher prefers original music in collaboration with a composer. “The composer has to listen to the vibe, and know what you have in your head. A temp score represents what you are identifying with in a scene... Your composer gets an idea what you want and creates an original track for the mood you want to capture... I always prefer to have original music ...have it tailored for what I created, and I like having that person’s mind being able to create and express their creativity just as I have created it visually.” And he has found that creative, expressive talent in composer Ryan Richko for “The Deliverer.” His Mom is with him, now, in California, and remains a very special part of his life; after all, she was his first costume designer! But there is one thing you may notice, when you look for Kristopher on line; most photographs of him show his eyes peering over the top of a camera - one reason being he always has a camera with him. You will find yourself mesmerized by the intensity in his eyes - they seem to be looking not only at you but ‘into’ you as well. When asked, he chuckled and said, “You caught me...I like to have a camera in the shot...the camera is my passion. This is where my heart is now.” Writing and directing, Kristopher is able to translate for audiences the journey he has created behind those eyes, and that journey will take him into a future that will only make audiences to want more of Kristopher Dolphin - he truly was the best birthday present his Grandmother could have had. See Kristopher and his ‘dreams’ at http://www.imdb. com and on YouTube http://www.youtube.com/ watch?v=L_kiPPDEH4Y

John Sudol When I talk about the Language of the Face, I’m speaking of emotional facial expressiveness, a non-verbal means by which we communicate what we feel and think through specific, emotional facial expressions. Knowledge of this language allows you to communicate, manage, mask, blend, and qualify emotions. It is the language every successful film and TV actor had to learn, mostly through trial and error. Now, understand, I’m not talking about face acting; emotional, facial expressions are the direct result of thought and feeling. This process is based on the work of leading researchers in the field of emotions. Many actors study voice, improv, and movement, but very few study the nature of emotions, what facial muscles are involved in creating specific emotions, and how those emotions are revealed on the actor’s face. Learning this allows actors to create complex human emotion, the basis for every reaction both on camera and on demand, and in a recognizable way. While you might think creating appropriate emotions is something most people do naturally, more often than not they do not. There is a big difference between what you think you’re expressing and what you’re actually revealing on-camera. Most of us understand this language when we see it. Without saying a word, most of us are able to pick up facial cues from others that tell us if they’re upset, frightened, or feeling sad. This is why it looks like good on film, TV actors are doing so little, and yet you know what they feel and think. However, owever, Horeading and speaking it are two

different things. Like any other language, if we give a certain word more emphasis or the wrong inflection, or use the wrong word, it is very difficult to be understood. So often in film and television, we see these beautiful subtle moments where you’ll see an actor making a decision or having a moment of discovery; with a subtle change in the face, we know they have taken in new information. Without any words spoken, we know all this; this is how the Language the Face speaks. When you speak this language clearly, it looks like life. The more skilled you are, the easier it looks. In fact, it looks like you aren’t doing

anything. So, most actors fall into the belief that film acting is about doing nothing, when, in fact, it could not be further from the truth. Failure to understand or master this form of non-verbal communication will lead to a whole array of acting problems. Ask yourself: • Does your face unwittingly show every thought that comes into your mind? • Have you been told that no thoughts are revealed and that your face stays frozen as you try to push your feelings through your eyes? • Have you been told you act with your eyebrows or your face is too busy?

• Are you constantly told to make an emotion bigger or smaller, but fail to make the adjustment? • Have you ever walked out of an audition feeling frustrated because you were unable to translate directions into an emotional reveal or reaction? • Does your headshot fail to capture a specific quality that you possess? If you answered yes to any of these questions, then you may be missing an essential tool when it comes to TV and film acting. The actor who is unable to control or reveal what he or she is thinking and feeling through facial expressions is at a serious ‘oncamera’ disadvantage. Think about it! Almost every audition you go out on will have some type of emotional reveal or reaction; what’s on your face is the first step to booking the job - your headshot. Your essence needs to be read on your face. The fact is, every actor who wants to work consistently in front of the camera has to speak this language. They have to know how to create and manage what their face is saying. The actor who speaks this language has a greater booking advantage over those who do not. But, the Language of the Face is much more than that! It is about the ability to understand and create complex human emotions and reveal them in an intimate, yet recognizable way! In order to do this effectively, you need to understand: • How you personally reveal emotion How you’re wired to express; where you grew up and who brought you up. These all have a hand in creating distortions between what you feel and what you reveal. If you have a distortion between what you feel and what you reveal, you will have a difficult time booking consistently. The science has shown us, when it comes to creating and revealing emotions, including reactions, the playing field is not leveled. There are some actors who were literarily born to do it better. But you CAN level the playing. • Understand the nature of emotions, the impulses and themes of these

emotions. Specific emotions have specific impulses. While priming yourself to experience one emotion, you may be revealing other. Understanding the nature of emotion allows you to understand and interpret directions. It also serves in finding all the emotions and triggers the scene or copy, not just the obvious ones. Without understanding the nature of emotions your choices are limited. • What the emotions or emotions like on your face? There are specific muscles and groups of muscles that are distinct to each emotion. If you know what they are and how to stimulate them, you now have the ability to make the emotional reveal or reaction bigger or smaller, without losing the intensity of the emotion. In the next few articles, I will be talking about the three myths of ‘on-camera acting’ and how you buy into them; they can be devastating to your acting process. I will also talk about the four secrets to nailing the reaction shot, as well as why the face has been left out of the training. John Sudol has been teaching and coaching actors for more than 25 years. In addition to teaching theatrical and commercial classes, as well as offering career counseling and acting/ life coaching, John has pioneered emotional facial expressiveness for the actor and has been teaching “The Language of the Face” and “Nailing the Reaction Shot” for over six years. He is certified at an expert level in facial recognition by the METT Institute. This scientific approach to facial expressiveness has helped John’s students consistently book work. If you would like to learn more about “The Language of the Face,” attend one of my free online or live seminars. To contact me, please go to info@ nailthatreactionshot.com. For more insight on how we express, follow The Language of the Face on www.languageoftheface.blogspot.com.

Eight years ago, Natasha was studying at the prestigious Johnson and Wales University in Miami, FL, pursuing her only dream of becoming a chef. Her sister, Lamese Williams, an agent in L.A., approached Natasha to spend some of her vacation working as an intern for Chemin Bernard, the Casting Director for FOX’s “Fat Albert”. Within a couple weeks,

bonus. She admits timing can’t always be taught, but acknowledges that often casting can take the first 30 seconds to know if an actor is the right fit and hits their mark right out of the gate, always bringing their ‘A’ game. The ability to cast TV and movies shows the diversity of her talents - TV is a much faster pace with weeks or less to work on an episode with some weeks more hectic than others, and the number of guest castings. Movies, on the other hand, have stronger characters and allow Natasha to find that diamond in the rough through hard work and a longer casting process. Her work on “The Client List” has allowed her to cast TV, strong characters, and guest casting proves her ability to master her craft in all those areas. Her career covers such successes as “The House Bunny”, “Obsessed”, “Jumping the Broom”, and “Big Momma’s House

Natasha doesn’t spend all her time on movie sets or in television studios; this incredible woman goes elsewhere looking for new talent, i.e. Comedy Clubs. “New talent comes into LAX every day... Going to comedy shows is great because most of the comedians have great timing and amazing improv skills. They are comfortable on stage and in front of large crowds.” So Natasha is always on the lookout for new talent and, with that in mind, she also looks to Las Vegas, working with Casting Call, and the aspiring talent they offer. “Meeting the talent at Casting Call opened my eyes. I was so impressed with the students’ attitudes, professionalism, love for their craft and eagerness to learn.” With that in mind, she has given workshops where they absorbed knowledge like a sponge, learning from Natasha to their professional benefit. She

of the camera she does show interest in doing voice-overs in an animated series. Being a kid at heart, she still watches cartoons, The Simpsons being her favorite. However, her aspirations also include eventually working with some of Hollywood’s icons... Meryl Streep, Leonardo DeCaprio, and Denzel Washington. She hopes that future includes an in-house casting director for a major studio, producer, or director. The industry should welcome her talent with open arms. For the time being, there is one success that stands out for Natasha - “The Client List”. “The cast and crew are all outstanding individuals. They make coming to work every day a blast. The lead, Jennifer Love Hewitt, was a complete delight to work with. She is sincere and hardworking, and has amazing work ethics.” The same can be said of Natasha. She is soaking up so

FROM CULINARY ARTS TO CASTING - A TWIST OF FATE

Natasha found a new love - Casting! The current assistant quit on Sunday night, and, on the following Monday, she was offered her position as the new Casting Assistant. While she credits her sister for her success, introducing her to friends and colleagues, Natasha had to back up the introductions with a talent to become a success. One thing that impresses you about Natasha is not just the dedication to her craft, but also the dedication to her beautiful 13-year-old daughter. “I want my baby girl to be proud of me!! So, I typically work on projects my baby girl would approve of.” From casting in LA to mentoring at Casting Call in Las Vegas, as a single Mom, how proud her daughter must be of her Mom. She finds it easier to laugh, and more fun to cast comedies; she is the proverbial ‘clown’, and, if she can find the opportunity to laugh and work at the same time, it’s a

3”; her endless ambition and talent have allowed her to grow and flourish in a tough industry. Not an easy task, but one she relishes and thrives on. Natasha has learned to handle herself in the most professional manner and be prepared for whatever comes her way. Maintaining her positive spirit, handling different personalities, be they directors, writers, or producers, she is intent on getting along with everyone, without the ‘friction’ found on some sets. She is smart enough to walk away, let everyone calm down. While some individuals in power handle others on the set by yelling and treating them like children, Natasha has learned to think ahead, to have 100% of the information accurate with no room for error. Her ability to work out problems and issues before they make it to the producer or director even knows there is a problem has earned her the respect of all those who work with her.

offers her insight to making the transition from Vegas to LA. Her advice, “Corner the market you are currently in... Work as an extra on whatever comes to Vegas...build a resume...be prepared to study...don’t be afraid to take that leap...” She lets them know how critical it is to do the research and be completely ready when you get there. “Las Vegas is often over-looked and forgotten” but she has personally brought talent from Casting Call into an audition giving aspiring talent their own ‘break’. Being a mentor to others is part of her nature. The actors in her classes can ask her anything; she prides herself on wanting others to succeed, to learn; mentoring through workshops, panels, and film festivals allows her to help actors and future casting directors land that job - after all, that IS her job! And a job in which she excels.

much from the last six months of being on the show and, of course, working with the legendary Betty White for the season finale will only add to the depth of talent Natasha possess herself. The industry can thank her sister for that first opportunity, but it is Natasha, herself, that provides the path to success. Both her ability and mentoring have brought her talent and the talent of others to the entertainment screen, both big and small. Whether TV or movies, Natasha Ward has made her mark in the field of casting, she is molding the future of young talent in both LA and at Casting Call in Las Vegas. She could have become a great chef, but, as fate would have it, has become an incredible casting director. How lucky the industry is to have her! You can go to IMDb (http://www.imdb. com/name/nm1639317/) see everything she has accomplished and be prepared Having no desire to go to the other side for what the future holds.

Casting Call Entertainment sits down with Lou Fossessca and talks about his time producing “A Rose for the Departed” and his inspiring goals for the future. CCE: What do you like most about your profession? LF: As an actor, the excitement of being able to engage an audience (people) and interesting them to watch me live as a character in a script. As a singer, it is a joy and

work in to making the best films he can. He is even sending it to LA for Sound and FX work. More series episodes have already been written and are waiting to be produced. Currently, I am doing the audition thing and working on some songs, as well as, looking for an LA agent(s). I am also involved with DollHouse Productions in the LA area, that I am happy to have worked with on a fable called “Now to the Future”. We

Lou Fossessca

thrill to sing for the audience and convey the emotions of a particular piece to such a degree that they feel it on a deep level.

have been in talks of doing more work together and we have an article coming out in the Signal Newspaper of Santa Clarita regarding their most recent fables DVD. CCE: How was producing “A Rose for the CCE: What would be your ultimate role as Departed”? an actor? LF: It was interesting. It was my first production and although I was not involved as LF: I am not sure I have one. I just like enmuch as I wanted to be, I learned a lot as tertaining people with good performances a producer, as well as, an actor in the film as an actor or singer. But, an inspiring, upitself. I learned some of the challenges of lifting and overcoming the odds type role making a film from this one. would be one that I would very much be interested in and want to do. CCE: Did it win any awards? LF: Yes, it won the 2011 Las Vegas Film Festival Silver Ace Award. CCE: Do you plan on producing more in the future? LF: Yes, but I plan to be more involved this time. I will most likely start my own production company in LA as soon as I am set up here more. Making movies involves many people in a creative atmosphere. That makes it exciting and fun. CCE: Are you currently working on any new projects right now or in the near future? LF: Yes, I will be having a web series pilot coming out in the near future. It looks very good from the rough cuts that I have seen so far. This has been Producer/Director Keith Mosher’s pet project for some time now since we shot it some months ago at Las Vegas’ Theatre 7. Keith puts a lot of

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Casting Call Entertainment is very excited to be visiting with E.K. Harris from “Think of Me” (Spirit Award Winning film) to

derstand why they are the person they are. I also try to find something in my life that relates to the character’s situation in hopes

E. K. Harris

catch up on his latest projects that I may strike the same emotions that he may have. It’s just and new advancements in life. fun being someone totally differCCE: What has been your favor- ent than myself. I think I struggle more with acting in a role that is ite role so far? so close to myself. Being differEKH: Actually playing in my own ent is always best. film as a psychotic homeless man. I was a murderer and that CCE: What are you currently was just a lot of fun trying to em- working on? body that type of person. EKH: Currently, I am working CCE: What is your approach to on my full-length film “Spare figuring out how to play a char- Change”. It will be the short film times 50. I am also working on acter? my move to California. My dream EKH: Well, I actually enjoy being is waiting for me and I’m going to the character from the moment meet it. I get the script. By this, I mean talking like him, thinking like him CCE: Tell me more about “Spare and dressing like him. I try to un- Change”. EKH: I moved to Las Vegas about three and half years ago and up until that point I had never written a script. Well, if you know anything about me, I am a very curious person. So, if there is something that I want to try, it will basically kill me if I don’t. So, I picked up a pen and just began to write scripts. It started off as stage plays and then to shorts and now I am working on my first full-length feature. In total, I have 6 stage plays, 2 short films and of course, my first fulllength. Among the short films is a film called “Spare Change”. Ironically enough, most of the scripts that I write include in some form, a homeless person. I have not figured out why but I have some kind of infatuation with the homeless, I guess. In this short film,

a homeless guy by the name of Damon has lost everything and is now at a point in his life where he wants to take everything back. So, he invades the home of Marlene and in his mind he is retaliating against those who are selfish and need to be taught to appreciate what they have before it’s gone. I love to incorporate religion in some sense in everything I write. I know your asking “how do you incorporate a religious message into a murder film”? Not sure exactly how I did but all I know is that I did and I hope from the film that we learn that giving should not be a burden. I look forward to writing more and more and improving my “skills.” CCE: So, you’re getting ready to move to LA? Tell me about it. Are you excited or nervous? Does this pose as a better opportunity for you to further your career? EKH: I am so excited about the move and really excited about giving this thing my full attention. However, there are nerves floating around but you know, God is lining up everything perfectly and maybe there are bumps here and there but I am fully prepared. I have no question that this will help my career just by the people I meet, the atmosphere and my will to get the job done. CCE: What would be your number one piece of advice to anyone interested in pursuing acting?

EKH: NIKE- JUST DO IT!! SEAN COMBS - DREAMING IS COOL, BUT SOMETIMES YOU HAVE WAKE UP FROM THAT DREAM AND GO GET IT!! WILL SMITH- THERE IS NO REASON FOR PLAN B BECAUSE PLAN A IS GOING TO WORK Anything you want you can do and I know this because I am a living witness. Hard work pays off. I know this because I am living witness. Keep the faith because one day through persistence that phone will ring and your life will change. Don’t be afraid to try.

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