I love Dolly but she's layin' it on a little thick in this video and you have to wait until the last frame for the picture punch line. :)
I do love Dolly's website though: http://www.dollypartonmusic.net/
Tuesday, June 30, 2009
@PETERFACINELLI, @211ME & @NEWMOON MANIA CONCLUSION!!!
If you don't understand why I am a Twitter addict maybe this link and the YouTube video will help.
http://www.211me.com/thebet/
@PeterFacinelli (from "Nurse Jackie" & the "Twilight" movies) bet his friend Rob (@211ME) that he could get a certain number of Twitter followers by a certain day OR Rob would have to dance to "Single Ladies" on Hollywood Blvd. in a Bikini LOL!!!
Rob designs Apps for the iPhone and one is a Peter Facinelli app. So they basically used Twitter to market each other.
Anyway, the video is funny - Rob kicks ass AND this Beyonce song just WILL NOT DIE!!!!
Here's a BONUS @PeterFacinelli in the nude video clip:
http://www.211me.com/thebet/
@PeterFacinelli (from "Nurse Jackie" & the "Twilight" movies) bet his friend Rob (@211ME) that he could get a certain number of Twitter followers by a certain day OR Rob would have to dance to "Single Ladies" on Hollywood Blvd. in a Bikini LOL!!!
Rob designs Apps for the iPhone and one is a Peter Facinelli app. So they basically used Twitter to market each other.
Anyway, the video is funny - Rob kicks ass AND this Beyonce song just WILL NOT DIE!!!!
Here's a BONUS @PeterFacinelli in the nude video clip:
Robert De Niro - Get's a "Note" from Director
THIS IS GREAT!!! All of you actors out there will ESPECIALLY appreciate this!!!
The Director actually has the BALLS to give De Niro a note: "Generally More Energetic" than gives him a line reading!
Can you friggin' believe THAT???!!!!
The Director actually has the BALLS to give De Niro a note: "Generally More Energetic" than gives him a line reading!
Can you friggin' believe THAT???!!!!
NYRR's First-Time Marathoner Training Schedule
Even though I am not a first-time Marathoner I am going to follow the schedule below.
I don't want to overdo it and not be able to run the NYC Marathon because of an injury. I ran 9 races and volunteered at one event with the New York Road Runners to qualify for the NYC Marathon on 11/2/09.
Since it's so difficult to get a spot I don't want to have to give up this opportunity. This will probably be the last Marathon I run because they are so hard on your body.
After this Marathon I would like to start training for a Triathlon which is not so brutal on your body because it also includes biking and swimming.
I'm not the best swimmer so I will have that challenging aspect to tackle and hopefully sometime in 2010 I will complete my first Triathlon.
In the meantime, I'm scheduled to run the NYC Half Marathon (13.1 miles) on Sunday, August 16th and the NYC Marathon on Sunday, November 2nd. I am looking forward to both of those events and will have my hands full with training until the end of 2009.
Training Schedules
These are sample schedules. Be flexible. Long runs are on Saturdays in the schedule, but may be switched to other days.
First-Time Marathoner
This is a bare minimum schedule (from a 15-mile-per-week base for at least one month to a peak of 35 miles per week).
M T W Th F Sat Sun Total
Base off 3 off 3 off 6 3 15
Week
1 off 3 off 3 off 8 3 17
2 off 4 off 4 off 6 4 18
3 off 3 off 4 off 10 3 20
4 off 5 off 4 off 8 4 21
5 off 4 off 3 off 13 3 23
6 off 4 4 4 off 8 4 24
7 off 4 4 4 off 15 off 27
8 off 4 4 4 off 10 3 25
9 off 3 4 4 off 16 3 30
10 off 5 5 5 off 12 3 30
11 off 4 4 4 off 18 3 33
12 off 5 6 5 3 12 4 35
13 off 4 4 4 off 20 3 35
14 off 5 6 5 off 12 4 32
15 off 4 4 4 off 20 3 35
16 off 4 4 4 3 15 3 33
17 off 4 4 4 off 6 5 23
18 off 4 4 3 off 2 26.2 13+race
I don't want to overdo it and not be able to run the NYC Marathon because of an injury. I ran 9 races and volunteered at one event with the New York Road Runners to qualify for the NYC Marathon on 11/2/09.
Since it's so difficult to get a spot I don't want to have to give up this opportunity. This will probably be the last Marathon I run because they are so hard on your body.
After this Marathon I would like to start training for a Triathlon which is not so brutal on your body because it also includes biking and swimming.
I'm not the best swimmer so I will have that challenging aspect to tackle and hopefully sometime in 2010 I will complete my first Triathlon.
In the meantime, I'm scheduled to run the NYC Half Marathon (13.1 miles) on Sunday, August 16th and the NYC Marathon on Sunday, November 2nd. I am looking forward to both of those events and will have my hands full with training until the end of 2009.
Training Schedules
These are sample schedules. Be flexible. Long runs are on Saturdays in the schedule, but may be switched to other days.
First-Time Marathoner
This is a bare minimum schedule (from a 15-mile-per-week base for at least one month to a peak of 35 miles per week).
M T W Th F Sat Sun Total
Base off 3 off 3 off 6 3 15
Week
1 off 3 off 3 off 8 3 17
2 off 4 off 4 off 6 4 18
3 off 3 off 4 off 10 3 20
4 off 5 off 4 off 8 4 21
5 off 4 off 3 off 13 3 23
6 off 4 4 4 off 8 4 24
7 off 4 4 4 off 15 off 27
8 off 4 4 4 off 10 3 25
9 off 3 4 4 off 16 3 30
10 off 5 5 5 off 12 3 30
11 off 4 4 4 off 18 3 33
12 off 5 6 5 3 12 4 35
13 off 4 4 4 off 20 3 35
14 off 5 6 5 off 12 4 32
15 off 4 4 4 off 20 3 35
16 off 4 4 4 3 15 3 33
17 off 4 4 4 off 6 5 23
18 off 4 4 3 off 2 26.2 13+race
Monday, June 29, 2009
Backstage Readers' Choice New York
Readers' Choice New York
Shared via AddThis
Soon after he moved to New York from Chicago in 1982, actor Fred Tumas found an artistic home: "The acting community is supportive when you find your corner—your home, so to speak. I was very lucky early on. After six months of being here, a friend of mine recommended Terry Schreiber Studio, and I took classes with Terry. He's extremely supportive, and I began to make friends in a way that I had in Chicago. I've known Terry for over 20 years now, and that studio remains a large part of my heart."
Tumas let us know that T. Schreiber Studio was his favorite for scene study classes—among his other picks in our annual Readers' Choice Awards—and he was randomly selected from among hundreds of readers to win a headshot package from Peter Hurley Photography. Tumas' advice to newcomers to New York? "Find your home, a place where you feel comfortable and you can thrive artistically. That has nothing to do with the business aspect, but you should address it as well. There are a lot of places to go to for that. Stay true to what you believe is right for yourself.
"The most important thing to do is keep working," he adds, "whether it's for free, whether you're getting paid $25, or whether it's an Equity contract. It's really important to get yourself in front of strangers—people you don't know—because you really get a sense of who you are as a performer from that. In contrast to just performing for family or friends—that's an environment where you have more leeway. Put yourself in situations like that. Class is great, but outside the classroom is very important."
For your top choices both inside and outside the classroom, take a look at the following pages. We've also included comments from readers and a list of runners-up.
We'll run the results of the Los Angeles edition of our Readers' Choice Awards in next week's issue.
Thanks to Fred Tumas, Peter Hurley, and everyone who participated in the survey. And congratulations to all the winners and runners-up.
—David Sheward
Executive Editor, New York
Favorite Actor: Meryl Streep
It's no surprise that Meryl Streep is the favorite actor (besides themselves) of Back Stage's New York readers. Whether vivifying a strict nun (Doubt) or an elegant yet dictatorial fashion editor (The Devil Wears Prada), Streep totally inhabits her characters, often without saying a thing. "She says a thousand words with just her facial expressions," remarks Hakika DuBose.
Jason Baboryk has been a huge fan of Streep's for five years, since he began studying for a master's degree in theatre at Eastern Michigan University. "I had a misconception about her when I watched her in Music of the Heart," he says. "I thought she was not a very good actress, because the way the character was acting was slightly airheaded. Then I saw her in a few other movies, and I realized that light touch was part of the character. I was really impressed with that. I ended up buying 32 of her DVDs. I admire that she takes on anything and puts her own personality into it and doesn't make it generalized. She finds the truth in herself first and then puts it into the character."
Grace Gasner sees the Oscar winner as a role model: "A mentor of mine told me it's always good to look up to somebody in the industry as a guide to where you want to go in life. Without thinking, I said, 'Meryl Streep.' When I see her in a movie, I don't think, 'I'm watching Meryl Streep.' I think I'm watching Sophie or Miranda. That's a quality I'm trying to harness in myself as an actress. I also love her as a person—how she values her family and tries to live life as normally as she can. She sets a great example."
Runners-Up:
- Kate Winslet
- Sean Penn
- Daniel Day-Lewis
- Philip Seymour Hoffman
- Johnny Depp
—David Sheward
Favorite Actors' Hangout: The Drama Book Shop
Actors love the Drama Book Shop not simply because it's the place to go for a play or new monologue or for the knowledgeable, eager-to-help staff. They can also attend industry panel discussions and book signings or just hang out in a convivial setting. They call it an oasis that exists nowhere else.
"I come to New York every few months and I always stop in at the Drama Book Shop," says Cole Matson. "I wish we had a bookstore like that in Baltimore. There is that sense of collegiality. It feels like that first day of school, in a good way. Everything is brand-new and there's possibility. It makes me want to do another mailing to casting directors and agents."
Joe Cummings likes "the relaxed environment, affording you enough time and opportunity to make an informed purchase you can be happy about." He adds, "I've been frequenting the Drama Book Shop since I moved to New York, and I doubt that will ever change."
Drama Book Shop, 250 W. 40th St., NYC; (212) 944-0595; www.dramabookshop.com.
Runners-Up:
‑ Starbucks, locations throughout New York City; www.starbucks.com.
‑ Barnes & Noble, locations throughout New York City; www.barnesandnoble.com.
- Central Park
‑ Actors' Equity Association Lounge, 165 W. 46th St., 2nd floor, NYC; (212) 869-8530; www.actorsequity.org.
‑ Joe Allen's Restaurant, 326 W. 46th St., NYC; (212) 581-6464; www.joeallenrestaurant.com.
—Simi Horwitz
Favorite Bar: Limerick's, Rodeo Bar and Rudy's (TIE)
It was a three-way flat-footed tie for our readers’ favorite place to unwind and imbibe. Among the things the bars have in common: inexpensive drinks and (sometimes) free food. So as not to play favorites, we’ll do this alphabetically.
The official name of Limerick’s is the Limerick House and, as its name suggests, it’s an Irish bar. Located in the Flatiron district, it became a favorite haunt for Jenny Torgerson and her classmates at New York University. “We always had cast parties there,” she says. “We got to know the bartenders and the owner. It gave us a chance to have a place for everyone to go together, for everyone to know each other or know each other better.”
The Rodeo Bar also offers free food: peanuts, still in the shell. It features live music, and it’s not uncommon for performers such as seven-time Grammy winner Norah Jones to show up and join in with the band. One particular night, she didn’t sing but played guitar.
Rudy’s has been operating since 1933, and according to its website it was one of the first bars in the city to get a liquor license after Prohibition ended that year. Elyse Ault likes that it’s in the heart of Hell’s Kitchen, right next to the theatre district: “If you go see a show with your friends and go to Rudy’s afterward, you’re not going to be surrounded by 6,000 tourists, and you can talk about being an actor and kind of doing the starving-artist thing.” Plus, she says, “You get free hot dogs.”
The Limerick House, 69 W. 23rd St., NYC; (212) 243-8898.
The Rodeo Bar, 375 Third Ave. (at East 27th Street), NYC; (212) 683-6500; www.rodeobar.com.
Rudy’s, 627 Ninth Ave. (near West 44th Street), NYC; (212) 974-9169; www.rudysbarnyc.com.
Runners-Up:
- Beauty Bar, 231 E. 14th St., NYC; (212) 539-1389.
- Broadway Joe Steakhouse, 315 W. 46th St., NYC; (212) 246-6513; www.broadwayjoesteakhouse.com.
- Don’t Tell Mama, 343 W. 46th St.; (212) 757-0788; www.donttellmamanyc.com.
- Jimmy’s #43, 43 E. Seventh St., NYC; (212) 982-3006; www.jimmysno43.com.
—Andrew Salomon
Favorite Commercial Casting Director:
Beth Melsky and Barry Shapiro (TIE)
Beth Melsky and Barry Shapiro have found the winning formula in the commercial casting business: They cater meticulously to the needs of their clients while simultaneously treating every one of their actors with the utmost professionalism and respect.
"You always get a good feeling from Beth," says actor Elliot Joseph. "Most casting directors just get you in and out, but with Beth you have the opportunity to showcase yourself."
Beth Melsky Casting is one of the busiest commercial offices in the country, and its clients include advertisers who can afford to buy the most coveted airtime on television, during the Super Bowl. "My expertise is to understand what the client is really looking for," Melsky says. "It's much easier to pick out a good actor than a bad one." She looks for "strong actors who are able to respond well to direction."
Shapiro has cast more than 7,500 commercials, in addition to teaching commercial workshops and technique classes. "The most important thing to me is a smart actor," he says. "I look for people who can make good acting choices and take direction well."
Favorite Commercial Workshop
Barry Shapiro
"I've been teaching since 1983," says casting director Barry Shapiro, "and that makes me an old-timer, not necessarily a pro."
Students in Shapiro's commercial workshops would beg to differ. Bob Valeiko, who took the six-week on-camera workshop, appreciated its practical approach. "I liked that everyone worked multiple times in every class," he says. "Everyone got to go in front of the camera and get hands-on time…. It's a great combination of learning and having fun."
Kasie Fagan, who was coached by Shapiro privately, says, "He has a great technique of recording you reading a script and playing it back, tweaking it. It helped me see what I was doing wrong, and I've since noticed a big difference."
Shapiro teaches five different workshops—including one for kids ages 8 to 12—but his favorite is Improvising Commercials. "Those classes are really a lot of fun and everybody has a good time," he says. "It's less about technique and more about thinking on your feet." He's also a co-owner of Herman & Lipson Casting, meaning Shapiro often works seven days a week. Teaching began as a second source of income, but his workshops became so popular, he now conducts them all over the country.
Kelly Riley appreciates Shapiro's direct style: "He's very quick and gives you the right notes and feedback. I came away from him with a lot of tips and techniques that I didn't have before. He really knows the business and is truly a reliable source."
‑Barry Shapiro, 630 Ninth Ave., Suite 1410, NYC; (212) 807-7706; lipsoncasting@aol.com. Also won Favorite Commercial Casting Director (page 14).
Runners-Up:
‑Weist-Barron, 34 W. 45th St., 6th floor, NYC; (212) 840-7025; www.weistbarron.com.
‑Jagger Kaye, Times Square Arts Center, 300 W. 43rd St., Room 306, NYC; jaggerkaye@aol.com; www.affordableactingclasses.com.
‑The Network, 312 W. 36th St., NYC; (212) 239-3198; www.thenetworknyc.com.
—Eboni McGriff
Beth Melsky, Beth Melsky Casting, 928 Broadway, Suite 300, NYC 10010.
Barry Shapiro, Herman & Lipson Casting, 630 Ninth Ave., Suite 1410, NYC 10036; lipsoncasting@aol.com. Also won Favorite Commercial Workshop.
Runners-Up:
‑ Liz Lewis, Liz Lewis Casting Partners, 129 W. 20th St., NYC 10011; www.lizlewis.com.
‑ Donald Case, Donald Case Casting, 386 Park Ave. South, Suite 809, NYC 10016.
‑ Ken Lazar Casting, (646) 781-9182, info@kenlazarcasting.com; www.kenlazarcasting.com.
—Melissa Ortiz
Favorite Film-TV Casting Director: Marci Phillips
"I absolutely love actors," says Marci Phillips, executive director of primetime casting for ABC. "My dad was an actor, my husband's an actor, and all my friends are actors. I kind of devote my life to them." Whether in the classroom or the audition room, Phillips says, it's her mission to help actors get to the next level in their careers. And actors recognize her dedication from the moment they meet her.
Melissa Center, who took Phillips' six-week on-camera auditioning class, says it not only helped her technique but also led to occasional work as a reader for Phillips' casting sessions. "She's great about making new relationships with people," Center says, "and she understands how hard it is for actors."
Even though he hasn't been cast by her yet, David Shih believes that Phillips "really wants you to do well. She wants to equip you so that when you actually do come into the office for an audition, you're prepared and you know what she's looking for." Shih adds that there never seems to be a long line or waiting list at Phillips' office, she always apologizes profusely if someone has to wait, and she's always willing to give an actor extra time in order to get the best take.
"I think most actors are cognizant of what they're up against," Phillips says. "When somebody really believes in them and spends time with them and really sees them, instead of just 'No. 53' in the room, I think that gives them a bit of hope that someone is actually looking at them and appreciating what they have to offer. That's the relationship that I have with every actor who comes in."
Marci Phillips, Executive Director of Primetime Casting, ABC, 157 Columbus Ave., 2nd floor, NYC 10023; (212) 456-3631.
Runners-Up:
‑ Gayle Keller, Finnegan/Keller Casting, 176 Grand St., 3rd floor, Room 315, NYC 10013.
‑ Jonathan Strauss, Lynn Kressel Casting, Pier 62, West 23rd Street at the Hudson River, Room 304, NYC 10011.
- Todd Thaler, Todd Thaler Casting, 130 W. 57th St., NYC 10019.
- Victoria Visgilio, ABC, 157 Columbus Ave., 2nd floor, NYC 10023.
—Daniel Lehman
Favorite Rehearsal Studio: Ripley-Grier Studios
Ripley-Grier Studios, founded in 1984 by husband-and-wife team Butch Grier and Patricia Ripley, has three locations in Manhattan with a total of 45 studios. The spaces were designed using feng shui principles and offer such amenities as air conditioning, pianos (in most rooms), electronics, Wi-Fi, dressing rooms, and showers. The 520 Eighth Ave. location also has a café that caters to vegetarians.
Grier says the company's success lies in its relationship with its employees: We "treat them like family, and they in turn treat the customers that way. It's all teamwork." Jon Norman, the operations director, agrees: "It is a mom-and-pop. We have a family-oriented environment."
"It's very spacious and comfortable," says actor Ellen Ginsburg. "You have enough space to do what you need to do." Adds actor-producer R. David Robinson, "When you go out in the hall, you don't feel like you're in an ant farm." "It's nice to have the snack bar and waiting areas," says actor-director Joe Leo.
But Ripley-Grier isn't resting on its laurels. This month the floors in all the studios were refinished and the walls repainted. "We're upgrading everything," Norman says. "We're constantly putting money back into the studios."
Ripley-Grier Studios, 131 W. 72nd St., NYC, (212) 799-5433; 939 Eighth Ave., Suite 307, NYC, (212) 397-1313; and 520 Eighth Ave., 16th floor, NYC, (212) 643-9985; sales@ripleygrier.com; www.ripleygrier.com.
Runners-Up:
‑ Chelsea Studios, 151 W. 26th St., 5th floor, NYC; (212) 924-5877; www.theatreworksusa.org/chelsea.cfm.
‑ Champions Studios, 257 W. 39th St., 14th floor, NYC; (212) 307-7707; championsstudios@gmail.com; www.championsstudios.moonfruit.com.
‑ Shetler Studios, 244 W. 54th St., NYC; (212) 246-6655; sales@shetlerstudios.com; www.shetlerstudios.com.
‑ T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209;
info@tschreiber.org; www.tschreiber.org.
‑ Pearl Studios NYC, 500 Eighth Ave., 4th floor, NYC; (212) 904-1850;
contactus@pearlstudiosnyc.com; www.pearlstudiosnyc.com.
—Brooks Sherman
Favorite Second Hand Clothing Store: Beacon's Closet
Known for its enormous space filled with racks of clean designer clothes and vintage outfits, handbags, hats, and jewelry, Beacon's Closet is a favorite for a cross-section of New Yorkers, notably young artists and aging bohemians. Its two Brooklyn stores—one in Williamsburg, the other in Park Slope—are a treasure trove of potential costumes and props, as well as everyday wear, at a low cost.
"There are beautiful clothes and accessories from every decade, which really helps give actors a sense of an era," says Caitlin Gold. "If you need a cowgirl outfit, you'll find it. You'll also find lots of stuff from the '70s and '80s—torn jeans, T-shirts, every type of shoe." But there's another virtue, she says: Customers can sell to the store clothes they no longer want and receive cash or a certificate they can use to make purchases.
Therese Tucker, who shops there for costumes and "fun clothes," says that unlike other secondhand stores, at Beacon's "everything is clearly organized by type of garment. I also like the fact that I can see what's available online before I go to the store."
Beacon's Closet, 88 N. 11th St., Brooklyn, N.Y.; (718) 486-0816; and 92 Fifth Ave., Brooklyn, N.Y.; (718) 230-1630; www.beaconscloset.com.
Runners-Up:
‑ Salvation Army Thrift Stores, locations throughout New York City; www.salvationarmyusa.org.
‑ Goodwill Industries of Greater New York, 220 E. 23rd St., NYC; (212) 447-7270; www.goodwill.org.
‑ Housing Works, 155 E. 23rd St., NYC; (212) 477-6836; www.housingworks.org.
‑ Buffalo Exchange, 332 E. 11th St., NYC; (212) 260-9340; www.buffaloexchange.com.
‑ Tokio 7, 64 E. Seventh St., NYC; (212) 353-8443.
—Simi Horwitz
Favorite Open-Mike Night:
Don't Tell Mama, Manhattan Monologue Slam, and New York Comedy Club (Tie)
Each of the winning open mikes represents a different avenue of performance: song, monologue, and standup comedy. Every night of the week at Don't Tell Mama's low-pressure open mike, singers of any genre or style can take the stage accompanied by one of the club's talented pianists. "It's very central to Midtown and where a lot of people work, if you're trying to get an audience," says singer Diana LeBlanc. "It's not a huge place, but it's always full. Also, the food is excellent, since they added food in the lounge next to the piano bar."
The Manhattan Monologue Slam offers a supportive atmosphere, but participants in the monthly competition hesitate to call the audience friendly. "It's like American Idol for actors, basically," says actor Steve Leon. "Only having literally 30 seconds, you have to be on your game. Within that time frame, if you fumble, bumble, and get off track, usually the crowd lets you know." Actors sign up on the spot to be judged by celebrities and industry pros such as Sarah Silverman, Jenna Fischer, and Spring Awakening producer Jeffrey Richards.
New York Comedy Club hosts its open mike six nights a week, Sunday through Friday. Amateur standups can practice their routines, get feedback from club management and pros, and network with working comedians. "It's a very friendly place," says comic Ellen Orchid. "And they're very fair, so you don't feel like you won't ever get stage time.""Having been a comedian," says club owner and founder Al Martin, "I remember when I first started that I was treated like crap. People are impatient with you and they don't really have a lot of respect.... And I felt we could create our niche by being nice to aspiring comedians. We try to nurture and develop the new talent."
Don't Tell Mama, 343 W. 46th St., NYC; (212) 757-0788; www.donttellmamanyc.com.
Manhattan Monologue Slam, 92Y Tribeca, 200 Hudson St., NYC; (212) 601-1000; www.mmslam.com.
New York Comedy Club, 241 E. 24th St., NYC; (212) 696-5233; www.newyorkcomedyclub.com.
Runners-Up:
- Penny's Open Mic, Under St. Marks Theater, 94 St. Mark's Place, NYC; www.pennysopenmic.com.
- Nuyorican Poets Café, 236 E. Third St., NYC; (212) 780-9386; www.nuyorican.org.
- The Duplex, 61 Christopher St. (at Seventh Avenue), NYC; (212) 255-5438; www.theduplex.com.
- Apollo Theater, 253 W. 125th St., NYC; (212) 531-5305; www.apollotheater.org.
—Daniel Lehman
Favorite Temp Agency: Atrium Staffing
What Matt Skibiak loves about Atrium Staffing is its ability to get him precisely the kinds of work he wants. "Tell them what you want," he says, "and they can tailor their search just for you."
Founded in 1995, Atrium works with a wide variety of firms, according to its website: "not only blue-chip clients, but...a roster of small and midsized firms." It specializes in finance, information technology, health care, science, and creative industries, and it's "ahead of the curve in diversity staffing," states the website.
Skibiak was originally looking for clerical work, and Atrium was finding him one to two jobs a week. When his interest switched to catering, the agency helped with that too. "Once I told them what I preferred," he says, "they put out the call for those kinds of jobs." He especially likes the company's attitude: "Atrium was always very friendly and professional. And they remember your name!"
Atrium's flagship office remains in Union Square in Manhattan, but it has added an office in Boston and four in New Jersey, and you can submit your résumé through its website.
Atrium Staffing, 71 Fifth Ave., 3rd floor, NYC; (800) 599-8367; www.atriumstaff.com.
Runner-Up:
Kelly Services, 61 Broadway, Suite 2225, NYC; (212) 785-5803; www.kellyservices.com.
—Tom Penketh
Favorite Theatre Casting Director: Telsey + Company
"Bernie Telsey's office doesn't just cast you in particular projects," says actor Adrian Martinez. "They cast actors in terms of their whole careers. They put a whole career investment in you. Once they like you, they're extremely faithful to you as an actor, whether you book a job or not. If they see talent, you're in and they bring you back consistently year after year. It's that kind of faithfulness that makes them truly exceptional. They treat you like a real artist. They just keep bringing you back whether you're in a slump or not."
Jan O'Dell recalls a similar feeling when Telsey + Company cast her in the Women's Expressive Theatre production of Joyce Carol Oates' I Stand Before You Naked: "David Vaccari was the one I auditioned for, and he was always so friendly and made me feel so comfortable. During the run of the play, he brought five or six casting directors from the office. We were thrilled that they came, and we got some great feedback from them on our performances."
Telsey + Company also casts for film and television, but theatre is definitely its strong suit, having cast eight current Broadway shows: 9 to 5: The Musical, Blithe Spirit, Desire Under the Elms, In the Heights, Next to Normal, Reasons to Be Pretty, Rock of Ages, and South Pacific. Among its many new projects is a nationwide search for a wall crawler to star in the upcoming Spider-Man musical.
Telsey + Company, 311 W. 43rd St., 10th floor, NYC 10036.
Runners-Up:
- Alaine Alldaffer, Playwrights Horizons, 416 W. 42nd St., NYC 10036.
‑ Dave Clemmons Casting, 265 W. 30th St., NYC 10001; info@clemmonscasting.com; www.clemmonscasting.com.
-Stephanie Klapper Casting, 39 W. 19th St., 12th floor, NYC 10011.
—David Sheward
Favorite Accompanist: Brad Ross
Listening is a large part of Brad Ross' job as an accompanist. When he plays for auditions, he carefully heeds the singer's instructions—noting, for instance, at what points in the song the singer plans to slow down or accelerate. "And then, while we're in the act of singing and playing, I try to listen to them hard," he says. "I have an ear on them all the time."
Ross has played piano at auditions for many years and feels at ease with a wide range of musical theatre styles, from Jersey Boys to Spring Awakening to Mary Poppins. As a musical theatre composer (The Tales of Custard the Dragon, A Family for Baby Grand), he's also attuned to the "singability" of each number.
At auditions, there's little time for interaction with those he's accompanying, but Ross also works as a vocal coach, helping actors prepare for auditions. It's in this capacity that Gladys Perez sought his services. Often nervous about auditioning, she found that Ross put her fully at ease. "He always made it seem within my reach," she says. "When my confidence was not as high as it needed to be, he would help me get it there."
Ross also prepared and printed out sheet music for Perez, with personalized cuts and notations clearly indicated. "Your 16 bars or 32 bars is perfectly done," she says. "You have no worries that any accompanist would have any problems interpreting it."
Brad Ross, Bradstunes Music, 484 W. 43rd St., #31T, NYC; (212) 268-1093; bradfordwross@aol.com.
—Mark Dundas Wood
Favorite Casting Director Workshop: Actors Connection
Actors know that a sound critique helps them more than a kind word, but according to Mindy Pfeffer and Mischa Gonz-Cirkl, you can get both at an Actors Connection workshop. "They were honest and they were helpful," Pfeffer says. "They would tell you if something was working or not. It was more about the work than the personality."
Gonz-Cirkl likes the range of people who lead the workshops. "They get the busiest and most knowledgeable CDs in New York City to come and meet the talent in a relaxed, intimate environment," she says. "We can ask questions about the industry, get honest answers, show our acting chops using real scenes from television and film, and get candid advice."
Founded in 1991, Actors Connection offers workshops with CDs, agents, and managers, as well as classes on various facets of the business, such as cold readings and monologues. It also offers free seminars on topics like how to produce your own film. In the coming weeks, casting directors and associates from Calleri Casting, MelCap Casting, Telsey + Company, and All My Children will be leading classes.
Gonz-Cirkl says she benefited in particular from Actors Connection's seven-day program in Los Angeles: "I did the L.A. Connection in 2005, and a few months later I was signed with an agent from the program. I moved to L.A. and have representation, a manager, and I've been called in to audition for two of the casting directors I met through the program."
Actors Connection, 630 Ninth Ave., Suite 1410, NYC; (212) 977-6666; www.actorsconnection.com.
Runners-Up:
‑ One on One, 34 W. 27th St., #11, NYC; (212) 691-6000; www.oneononenyc.com.
‑ T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; www.tschreiberstudio.com.
‑ TVI Actor Studios, 165 W. 46th St., #509, NYC; (212) 302-1900; www.tvistudios.com.
- The Network, 312 W. 36th St., NYC; (212) 239-3198; www.thenetworknyc.com.
‑ Screen Actors Guild, 360 Madison Ave., 12th floor, NYC; (212) 944-1030; www.sag.org.
—Andrew Salomon
Favorite Dance Studio: Broadway Dance Center
Now celebrating its 25th anniversary, Broadway Dance Center not only offers classes in many disciplines for everyone from the recreational dancer to the professional; it's also a warm, inviting place for performers to meet. The large lobby is full of dancers from morning till night. You can warm up before a performance, take a class, tack your flier to the bulletin board, or just hang out with friends.
Its current location, just a few doors from the Al Hirschfeld Theatre, is its third. "We're more convenient in this location," says executive director Diana King. "We're also close to the theatres in Times Square. I love the proximity to the theatres. We're also always looking for ways to make our schedule more exciting. We have over 250 classes a week on our drop-in schedule, and we're always adding something new." In recent years, hip-hop has been added to the mix of ballet and jazz classes.
"Whenever I come into New York City, that's where I go," says Maria Noe of Toledo, Ohio, who takes jazz and tap classes at the center. "It's really easy to hop into a class. It's very welcoming and challenging and fun at the same time. It's also encouraging. I'm a singer, so to go into a dance class is often very scary. I got in there and even though I didn't know their warm-up routine right away, I felt comfortable to just join with the group."
Broadway Dance Center, 322 W. 45th St., 3rd floor, NYC; (212) 592-9304; info@bwydance.com; www.bwydance.com.
Runners-Up:
‑ Steps on Broadway, 2121 Broadway, NYC; (212) 874-2410; info@stepsnyc.com; www.stepsnyc.com.
‑ Alvin Ailey Dance Studios, 405 W. 55th St., NYC; (212) 405-9000; info@alvinailey.org; www.alvinailey.org.
- New Dance Group, 305 W. 38th St., NYC; (212) 904-1900; www.ndg.org.
‑ Ripley-Grier Studios, 131 W. 72nd St., NYC; (212) 799-5433; 939 Eighth Ave., Suite 307, NYC; (212) 397-1313; and 520 Eighth Ave., 16th floor, NYC; (212) 643-9985; sales@ripleygrier.com; www.ripleygrier.com.
—David Sheward
Favorite Demo Reel Producer: Reels4Artists
Gerrit Voorhen was tired of being cast as a Nazi. But when he detoured from his acting career six years ago to edit demo reels on his kitchen table, he never expected the business, Reels4Artists, to explode into a full-fledged production company with a permanent staff and clients in the hundreds.
While typecasting—due to his "Dutch look" and mild yet detectable accent, courtesy of his Amsterdam upbringing—may have been the impetus, it was broader frustrations as an actor that turned a sideline into a new career. "I felt like I needed to do something more artistically satisfying, and I really found my niche doing this," Voorhen says. "It's my passion."
For actor Steven Cambria, that passion is evident in the quality of Reels4Artists' work, whether culled from an actor's existing clips or created from scenes shot and edited in-house. "I've done a lot of work in television and film," Cambria says, "and their reels match that level of quality."
Voorhen's background in dance may be what distinguishes his work. In an industry where "cookie-cutter just doesn't sell," Voorhen says, he "edits like a dancer," capturing each actor's strengths through motion, mood changes, and subtle details of the interplay between sight and sound. He also likes to keep the client fully involved in every aspect of the process. "What's most important," he says, "is that each reel is personal."
Reels4Artists, 98 Fourth St., #39, Brooklyn, N.Y.; (917) 566-3046 (cell); (718) 802-1108 (studio); www.reels4artists.com.
Runners-Up:
- Make It Reel, www.makeitreel.net.
‑ Edge Studio, 307 Seventh Ave., #1007, NYC; (888) 321-3343; www.edgestudio.com.
—Anthony Aquilino
Favorite Vocal Coach and Favorite Dialect Coach: Page Clements
A winner in two categories, Page Clements is not only a voice and dialect coach; she's also a founding member of—and sometime performer with—Highwire, a touring company. She finds it personally and professionally rewarding to keep a hand in acting while instructing others.
"Page taught me how to find my real, true voice, which I possessed in
childhood but lost somewhere along the way," says Jonathan Orsini, who voted for Clements as favorite vocal coach. "And her coaching isn't just technical. The voice work has helped me become more emotionally available than I have ever been in my life."
Katherine Wessling, who has received dialect coaching from Clements for many roles, including Chick in a T. Schreiber Studio production of Crimes of the Heart, agrees. Clements also helped her explore the character's background and inner life. "With some dialect coaches, I feel like I'm in a math exam," Wessling says. But Clements "manages to give you some really important details but without making it feel like the SATs."
The phonetic alphabet is only a starting point for learning a dialect, says Clements. "If actors mimic how someone else sounds instead of finding it from within, it tends to put up a wall…. You can't just do the technical. You have to go beyond that or the dialect is just like a costume, or like turning on and off a light switch. It isn't under the actor's skin."
Page Clements, T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; info@tschreiber.org; www.tschreiber.org.
Runners-Up (Vocal Coach):
‑ Lynn Singer, T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; info@tschreiber.org; www.tschreiber.org.
‑ Jennifer Smolos, American Academy of Dramatic Arts, 120 Madison Ave., NYC; (800) 463-8890; admissions-ny@aada.org; www.aada.org.
‑ Eric Michael Gillett, Singers Forum, 49 W. 24th St., 4th floor, NYC; (212) 569-3281; (212) 366-0541 (Singers Forum); (212) 675-2370 (HB Studio); emgillett@aol.com; www.ericmichaelgillett.com.
‑ Andrew M. Byrne, 450 W. 58th St., #2C, NYC; (917) 513-3642; studio@
andrewmbyrne.com; www.andrewmbyrne.com.
Runners-Up (Dialect Coach):
‑ Sam Chwat, 253 W. 16th St., NYC; (212) 242-8435 or (800) SPEAKWELL; info@samchwatspeechcenter.com; www.nyspeech.com.
‑ Jim DeMonic, American Academy of Dramatic Arts, 120 Madison Ave., NYC; (800) 463-8890; admissions-ny@aada.org; www.aada.org.
- Patricia Fletcher, (212) 517-2862; pfletchervoice@aol.com; www.patriciafletcher.com.
- Amy Stoller, (917) 319-7448; amystoller@stollersystem.com; www.stollersystem.com.
—Mark Dundas Wood
Favorite Headshot Photographer: Barry Morgenstein
Barry Morgenstein has been in the photography business for 25 years and is no stranger to our Readers' Choice Awards. He's been named favorite headshot photographer three of the past four years and was a runner-up in 2007. So what's his secret? "I just try to make it a very comfortable, relaxed atmosphere in my studio," he says. "I love being around actors…. I love entertainers; I love creative people."
"It's not that I think he's the best; I know he's the best," says Maureen Walsh. "He has a tremendous way of connecting with people through his lens." She also noticed a remarkable consistency in the quality of Morgenstein's headshots. "You see all his photographs in his studio&hellipand you're like, 'Wow, everyone has a perfect picture.' And the way to get a perfect picture is through someone connecting with you and making you feel relaxed, and that's how Barry is."
Nicole Corris chose Morgenstein because she wanted her photo to really stand out: "I thought, if I'm going to spend the money for good headshots, I'm going to go with one that really pops." She was able to take advantage of one of Morgenstein's Discount Day offers, which included hair and makeup in the cost of the shoot. "I was really impressed with the Discount Day," she says. "I was prepared to spend the money without the discount, but it was kind of a nice thing that he does once in a while…. He was really nice, got me in and out, and I was really happy with the shots."
Barry Morgenstein, 135 W. 26th St., Suite 10C, NYC; (212) 647-1288;
photo@barrymorgenstein.com; www.barrymorgenstein.com.
Runners-Up:
‑ Peter Hurley, Chelsea Arts Building, 134 W. 26th St., Suite 1203, NYC; (212) 627-2210; and Toy Factory Lofts, 1855 Industrial St., #405, L.A.; (323) 302-4485; www.peterhurley.com.
- Chris Macke, (212) 537-5052; www.mackephotography.com.
‑ Rod Goodman, 379 Park Ave. South, 3rd floor, NYC; (323) 929-1654; www.rodgoodmanphoto.com.
‑ Laura Rose, Hoebermann Studio, 281 Sixth Ave., NYC; (917) 686-9259; lerose27@yahoo.com; www.lauraerose.com.
‑ Caroline White, (917) 592-8685; creativecaroline@gmail.com; www.carolinewhitephotography.com.
—Sri Gordon
Favorite Improv Group/Theatre: Upright Citizens Brigade
"We've been working really hard to make UCB a place that's synonymous with improv in New York City," says Anthony King, artistic director of Upright Citizens Brigade Theatre, home to a variety of improv troupes and classes. "We have a huge number of just incredibly talented performers on our stage…. We just have devoted a lot of time over the last couple of years to really institutionalizing our improv program. We very much focus on the game of the scene, on what makes the scene funny, and then focus on playing with that funny idea as the scene moves forward."
The Upright Citizens Brigade company, which tours and performs at the theatre, is the readers' favorite for its quality and consistency. "Their comedic timing is great; they're just very natural," says actor Lori Finkel. Adds K.C. Wright, an actor and student at Carnegie Mellon University, "The touring company of UCB was really good. I never had those cringe moments where you&hellipworry about the performers."
Upright Citizens Brigade, 307 W. 26th St., NYC; (212) 366-9176; www.ucbtheatre.com.
Runners-Up:
‑ People's Improv Theatre, 154 W. 29th St., NYC; (212) 563-7488; www.thepit-nyc.com.
‑ The Second City, 1616 N. Wells St., Chicago; (312) 664-4032; www.secondcity.com.
‑ Chicago City Limits, 318 W. 53rd St., NYC; (212) 888-5233; www.chicagocitylimits.com.
‑ Magnet Theater, 254 W. 29th St., NYC; (212) 244-8824; www.magnettheater.com.
—Sri Gordon
Favorite Litho/Reproduction House: Reproductions
This is Reproductions' second Readers' Choice Awards win in a row as favorite litho/reproduction house. Last year the company's Los Angeles office was voted No. 1 in the West Coast edition of our awards. "We are happy that the readership on both coasts has recognized Reproductions," says Cameron Stewart, the company's president. "We work very hard at both the quality we provide and the reputation that we've earned through years of service."
Actor Emily Bodkin was impressed with Reproductions' professionalism. "I was very well taken care of," she says. "The minute I stepped in, they were ready to help me. When I got my photographs, which looked great, they made sure I was completely satisfied with them and asked if there was anything that I wanted to have retouched. I was really happy with my experience at Reproductions and will always use them."
"A positive reaction to a headshot could very well make the difference in getting a job or not," Stewart explains. "As for their personal experience of going through the process, it can be stressful, so working with a company that's dedicated to walking them through the process and providing them with a good customer-service experience helps."
Eddie Wong has used Reproductions for the past three years. "The service is very friendly," he says. "When I call up and need to have something right away, they're really quick and helpful."
Reproductions, 70 W. 40th St., 3rd floor, NYC; (646) 502-3700; and 3499 Cahuenga Blvd. West, L.A.; (323) 845-9595; www.reproductions.com.
Runners-Up:
‑ Precision Photos, 260 W. 36th St., NYC; (212) 302-2724; www.precisionphotos.com.
‑ Colorworks, 55 W. 39th St., Suite 706, NYC; (212) 382-2825; www.colorworksnyc.com.
‑ ABC Pictures, 2838 N. Ingram Ave., Springfield, MO 65803; (417) 869-3456; www.abcpictures.com.
‑ CityRepo, 939 Eighth Ave., Suite 201, NYC; (212) 247-7575; www.cityrepro.com.
‑ Modernage, 1150 Sixth Ave., NYC; (212) 997-1800; www.modernage.com.
—Mariam Ispahany
Favorite Off-Off-Broadway Company to Act With and Favorite Off-Off-Broadway Company to See
T. Schreiber Studio
Pat Patterson is the ideal person to talk to about T. Schreiber Studio as an Off-Off-Broadway company, because she has performed there as an actor and attended as a playgoer. "In terms of being an actor, you're challenged and you're nurtured," she says. As an audience member, "it's a small space, so you're intimate, but you don't feel you're being cheated out of anything."
Either way, Patterson particularly appreciates the production values: "When you sit in the audience, you're aware that it's the whole experience. The set feeds the actors feeds the lighting design…. The attention to detail is amazing, which helps the actor. I felt I was there; I didn't have to do all that much work to create the environment."
Schreiber has a special arrangement with Actors' Equity Association and does not produce under the Showcase Code. He can cast all his productions from inside his studio (current students and alumni), and each show gets 24 performances and six weeks of rehearsal. In exchange, he doesn't charge admission—though he solicits donations.
His audiences have remained consistent over the past 40 years, Schreiber says, despite the studio's move from the East Village to Chelsea. "We've kind of gotten older together," he says with a laugh. "We get a pretty good smattering from their mid-20s to people in their 60s and 70s." He has noticed, however, that location affects attendance at certain plays: "We would do a Sam Shepard down on East Fourth Street and we were jammed to the walls. We would do a Sam Shepard on West 26th Street and we played to half houses, and it was an excellent production."
T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; www.tschreiberstudio.com. Also won Favorite Scene Study and Cold Reading classes.
Runners-Up:
‑ The Barrow Group, 312 W. 36th St., NYC; (212) 760-2615; www.barrowgroup.org.
- The Flea, 41 White St., NYC; (212) 226-2407; www.theflea.org.
‑ The Michael Chekhov Theater Company, 354 W. 45th St., 2nd floor, NYC; (212) 340-1039; www.chekhovtheatre.org.
‑ 13th Street Repertory Company, 50 W. 13th St., NYC; (212) 675-6677; www.13thstreetrep.org.
‑ LAByrinth Theater Company, 307 W. 38th St., #1605, NYC; (212) 513-1080; www.labtheatre.org.
—Andrew Salomon
Favorite Scene Study: T. Schreiber Studio
Despite having 13 instructors, T. Schreiber Studio has one philosophy: There are many paths to enlightenment. "I don't believe in pinning an actor down to one way of working—like it's Strasberg or else, or Meisner or else," says Terry Schreiber, founder, teacher, and director, who has been assisting New York actors for four decades. "I think there are actors who create from their own reality, which is pretty much Strasberg, and others that work with the creative 'as if,' the given situation. We leave that open."
Schreiber's studio has a strong connection to the Group Theatre and its forebear, the Moscow Art Theatre—in addition to Strasberg and Meisner, the instructors' mentors include Stella Adler and Robert Lewis—but other influences range from Uta Hagen to the Coen brothers.
Jason Baboryk says the studio's eclecticism is just what he needs. In a scene study class taught by Peter Jensen, "I'd be in the middle of a scene, and he'd throw something out there that would just click with what I needed. He wasn't subscribing to just one method."
Marija Stajic Salvetti, who took a cold reading class, praises the nurturing environment. "They make you feel comfortable," she says, "but they also push you."
Though T. Schreiber Studio may be a magpie's nest of approaches, Schreiber is its guiding force. "In 40 years of the studio," he says, "I think we've evolved some things of our own."
T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; www.tschreiberstdio.com. Also won Favorite Off-Off-Broadway Company to act with and to see.
Runners-Up (Scene Study):
- Austin Pendleton, HB Studio, 120 Bank St., NYC; (212) 675-2370; www.hbstudio.org.
- Tom Todoroff, Tom Todoroff Studio, 24 Bond St., NYC; (212) 362-8141; www.tomtodoroff.com.
‑ William Esper, William Esper Studio, 208 W. 37th St., NYC; (212) 904-1350; www.esperstudio.com.
- Larry Singer, Larry Singer Studios, 300 W. 43rd St., #500, NYC; (917) 327-5406; www.thelarrysingerstudios.com.
- Stella Adler Studio of Acting, 31 W. 27th St., 3rd floor, NYC; (212) 689-0087; www.stellaadler.com.
Runners-Up (Cold Reading):
- Karen Kolhaas, www.monologueaudition.com.
‑ Caryn West, Michael Howard Studios, 152 W. 25th St., 10th floor, NYC; (212) 645-1525; carynwest.nowcasting.com.
- Valerie Adami, Weist-Barron, 35 W. 45th St., NYC; (212) 840-7025; www.weistbarron.com.
—Andrew Salomon
Favorite Voiceover Workshop: Edge Studio
The popularity of Edge Studio has everything to do with how seriously it treats the craft of voiceover, according to actor-singer Sara Binensztok. "I found them to be extraordinarily professional," she says. "They were well-organized and offer a state-of-the-art recording studio."
Edge Studio has been coaching and counseling voiceover artists since 1988. Started by voiceover producer David Goldberg, the company—officially Edge Studio's Voice Design Group—has offices in New York, Connecticut, and the Washington, D.C., area and boasts that it offers top instructors in commercials, narration, animation, audio books, documentaries, corporate videos, education, and even foreign-language dubbing. It features small workshops with customized learning plans, according to its website, and teaches performers to "sound competitive on your own, without digital enhancement."
Adds Binensztok, "They give great career advice if you want to get into voiceover." Edge Studio even offers a free event called Talk With a Pro Tuesday by Telephone, in which the first 50 people to dial in get to ask an industry-related question and receive a candid response.
Edge Studio, 307 Seventh Ave., Suite 1007, NYC; (212) 868-3343; edge@edgestudio.com; www.edgestudio.com.
Runners-Up:
‑ Weist-Barron, 35 W. 45th St., NYC; (212) 840-7025; www.weistbarron.com.
‑ Charles Michel, The Winning Voice; (866) WINVOICE; cmichel@thewinningvoice.com; www.thewinningvoice.com.
‑ The Network, 312 W. 36th St., NYC; (212) 239-3198; www.thenetworknyc.com.
‑ Linda Weaver and Nina Pratt, Pratt-Weaver Voice Over Institute; (212) 204-7000; prattweavervoiceoverinstitute@gmail.com; www.prattweavervoiceovers.com.
‑ Lynn Singer, T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; info@tschreiber.org; www.tschreiber.org.
—Tom Penketh
Shared via AddThis
Soon after he moved to New York from Chicago in 1982, actor Fred Tumas found an artistic home: "The acting community is supportive when you find your corner—your home, so to speak. I was very lucky early on. After six months of being here, a friend of mine recommended Terry Schreiber Studio, and I took classes with Terry. He's extremely supportive, and I began to make friends in a way that I had in Chicago. I've known Terry for over 20 years now, and that studio remains a large part of my heart."
Tumas let us know that T. Schreiber Studio was his favorite for scene study classes—among his other picks in our annual Readers' Choice Awards—and he was randomly selected from among hundreds of readers to win a headshot package from Peter Hurley Photography. Tumas' advice to newcomers to New York? "Find your home, a place where you feel comfortable and you can thrive artistically. That has nothing to do with the business aspect, but you should address it as well. There are a lot of places to go to for that. Stay true to what you believe is right for yourself.
"The most important thing to do is keep working," he adds, "whether it's for free, whether you're getting paid $25, or whether it's an Equity contract. It's really important to get yourself in front of strangers—people you don't know—because you really get a sense of who you are as a performer from that. In contrast to just performing for family or friends—that's an environment where you have more leeway. Put yourself in situations like that. Class is great, but outside the classroom is very important."
For your top choices both inside and outside the classroom, take a look at the following pages. We've also included comments from readers and a list of runners-up.
We'll run the results of the Los Angeles edition of our Readers' Choice Awards in next week's issue.
Thanks to Fred Tumas, Peter Hurley, and everyone who participated in the survey. And congratulations to all the winners and runners-up.
—David Sheward
Executive Editor, New York
Favorite Actor: Meryl Streep
It's no surprise that Meryl Streep is the favorite actor (besides themselves) of Back Stage's New York readers. Whether vivifying a strict nun (Doubt) or an elegant yet dictatorial fashion editor (The Devil Wears Prada), Streep totally inhabits her characters, often without saying a thing. "She says a thousand words with just her facial expressions," remarks Hakika DuBose.
Jason Baboryk has been a huge fan of Streep's for five years, since he began studying for a master's degree in theatre at Eastern Michigan University. "I had a misconception about her when I watched her in Music of the Heart," he says. "I thought she was not a very good actress, because the way the character was acting was slightly airheaded. Then I saw her in a few other movies, and I realized that light touch was part of the character. I was really impressed with that. I ended up buying 32 of her DVDs. I admire that she takes on anything and puts her own personality into it and doesn't make it generalized. She finds the truth in herself first and then puts it into the character."
Grace Gasner sees the Oscar winner as a role model: "A mentor of mine told me it's always good to look up to somebody in the industry as a guide to where you want to go in life. Without thinking, I said, 'Meryl Streep.' When I see her in a movie, I don't think, 'I'm watching Meryl Streep.' I think I'm watching Sophie or Miranda. That's a quality I'm trying to harness in myself as an actress. I also love her as a person—how she values her family and tries to live life as normally as she can. She sets a great example."
Runners-Up:
- Kate Winslet
- Sean Penn
- Daniel Day-Lewis
- Philip Seymour Hoffman
- Johnny Depp
—David Sheward
Favorite Actors' Hangout: The Drama Book Shop
Actors love the Drama Book Shop not simply because it's the place to go for a play or new monologue or for the knowledgeable, eager-to-help staff. They can also attend industry panel discussions and book signings or just hang out in a convivial setting. They call it an oasis that exists nowhere else.
"I come to New York every few months and I always stop in at the Drama Book Shop," says Cole Matson. "I wish we had a bookstore like that in Baltimore. There is that sense of collegiality. It feels like that first day of school, in a good way. Everything is brand-new and there's possibility. It makes me want to do another mailing to casting directors and agents."
Joe Cummings likes "the relaxed environment, affording you enough time and opportunity to make an informed purchase you can be happy about." He adds, "I've been frequenting the Drama Book Shop since I moved to New York, and I doubt that will ever change."
Drama Book Shop, 250 W. 40th St., NYC; (212) 944-0595; www.dramabookshop.com.
Runners-Up:
‑ Starbucks, locations throughout New York City; www.starbucks.com.
‑ Barnes & Noble, locations throughout New York City; www.barnesandnoble.com.
- Central Park
‑ Actors' Equity Association Lounge, 165 W. 46th St., 2nd floor, NYC; (212) 869-8530; www.actorsequity.org.
‑ Joe Allen's Restaurant, 326 W. 46th St., NYC; (212) 581-6464; www.joeallenrestaurant.com.
—Simi Horwitz
Favorite Bar: Limerick's, Rodeo Bar and Rudy's (TIE)
It was a three-way flat-footed tie for our readers’ favorite place to unwind and imbibe. Among the things the bars have in common: inexpensive drinks and (sometimes) free food. So as not to play favorites, we’ll do this alphabetically.
The official name of Limerick’s is the Limerick House and, as its name suggests, it’s an Irish bar. Located in the Flatiron district, it became a favorite haunt for Jenny Torgerson and her classmates at New York University. “We always had cast parties there,” she says. “We got to know the bartenders and the owner. It gave us a chance to have a place for everyone to go together, for everyone to know each other or know each other better.”
The Rodeo Bar also offers free food: peanuts, still in the shell. It features live music, and it’s not uncommon for performers such as seven-time Grammy winner Norah Jones to show up and join in with the band. One particular night, she didn’t sing but played guitar.
Rudy’s has been operating since 1933, and according to its website it was one of the first bars in the city to get a liquor license after Prohibition ended that year. Elyse Ault likes that it’s in the heart of Hell’s Kitchen, right next to the theatre district: “If you go see a show with your friends and go to Rudy’s afterward, you’re not going to be surrounded by 6,000 tourists, and you can talk about being an actor and kind of doing the starving-artist thing.” Plus, she says, “You get free hot dogs.”
The Limerick House, 69 W. 23rd St., NYC; (212) 243-8898.
The Rodeo Bar, 375 Third Ave. (at East 27th Street), NYC; (212) 683-6500; www.rodeobar.com.
Rudy’s, 627 Ninth Ave. (near West 44th Street), NYC; (212) 974-9169; www.rudysbarnyc.com.
Runners-Up:
- Beauty Bar, 231 E. 14th St., NYC; (212) 539-1389.
- Broadway Joe Steakhouse, 315 W. 46th St., NYC; (212) 246-6513; www.broadwayjoesteakhouse.com.
- Don’t Tell Mama, 343 W. 46th St.; (212) 757-0788; www.donttellmamanyc.com.
- Jimmy’s #43, 43 E. Seventh St., NYC; (212) 982-3006; www.jimmysno43.com.
—Andrew Salomon
Favorite Commercial Casting Director:
Beth Melsky and Barry Shapiro (TIE)
Beth Melsky and Barry Shapiro have found the winning formula in the commercial casting business: They cater meticulously to the needs of their clients while simultaneously treating every one of their actors with the utmost professionalism and respect.
"You always get a good feeling from Beth," says actor Elliot Joseph. "Most casting directors just get you in and out, but with Beth you have the opportunity to showcase yourself."
Beth Melsky Casting is one of the busiest commercial offices in the country, and its clients include advertisers who can afford to buy the most coveted airtime on television, during the Super Bowl. "My expertise is to understand what the client is really looking for," Melsky says. "It's much easier to pick out a good actor than a bad one." She looks for "strong actors who are able to respond well to direction."
Shapiro has cast more than 7,500 commercials, in addition to teaching commercial workshops and technique classes. "The most important thing to me is a smart actor," he says. "I look for people who can make good acting choices and take direction well."
Favorite Commercial Workshop
Barry Shapiro
"I've been teaching since 1983," says casting director Barry Shapiro, "and that makes me an old-timer, not necessarily a pro."
Students in Shapiro's commercial workshops would beg to differ. Bob Valeiko, who took the six-week on-camera workshop, appreciated its practical approach. "I liked that everyone worked multiple times in every class," he says. "Everyone got to go in front of the camera and get hands-on time…. It's a great combination of learning and having fun."
Kasie Fagan, who was coached by Shapiro privately, says, "He has a great technique of recording you reading a script and playing it back, tweaking it. It helped me see what I was doing wrong, and I've since noticed a big difference."
Shapiro teaches five different workshops—including one for kids ages 8 to 12—but his favorite is Improvising Commercials. "Those classes are really a lot of fun and everybody has a good time," he says. "It's less about technique and more about thinking on your feet." He's also a co-owner of Herman & Lipson Casting, meaning Shapiro often works seven days a week. Teaching began as a second source of income, but his workshops became so popular, he now conducts them all over the country.
Kelly Riley appreciates Shapiro's direct style: "He's very quick and gives you the right notes and feedback. I came away from him with a lot of tips and techniques that I didn't have before. He really knows the business and is truly a reliable source."
‑Barry Shapiro, 630 Ninth Ave., Suite 1410, NYC; (212) 807-7706; lipsoncasting@aol.com. Also won Favorite Commercial Casting Director (page 14).
Runners-Up:
‑Weist-Barron, 34 W. 45th St., 6th floor, NYC; (212) 840-7025; www.weistbarron.com.
‑Jagger Kaye, Times Square Arts Center, 300 W. 43rd St., Room 306, NYC; jaggerkaye@aol.com; www.affordableactingclasses.com.
‑The Network, 312 W. 36th St., NYC; (212) 239-3198; www.thenetworknyc.com.
—Eboni McGriff
Beth Melsky, Beth Melsky Casting, 928 Broadway, Suite 300, NYC 10010.
Barry Shapiro, Herman & Lipson Casting, 630 Ninth Ave., Suite 1410, NYC 10036; lipsoncasting@aol.com. Also won Favorite Commercial Workshop.
Runners-Up:
‑ Liz Lewis, Liz Lewis Casting Partners, 129 W. 20th St., NYC 10011; www.lizlewis.com.
‑ Donald Case, Donald Case Casting, 386 Park Ave. South, Suite 809, NYC 10016.
‑ Ken Lazar Casting, (646) 781-9182, info@kenlazarcasting.com; www.kenlazarcasting.com.
—Melissa Ortiz
Favorite Film-TV Casting Director: Marci Phillips
"I absolutely love actors," says Marci Phillips, executive director of primetime casting for ABC. "My dad was an actor, my husband's an actor, and all my friends are actors. I kind of devote my life to them." Whether in the classroom or the audition room, Phillips says, it's her mission to help actors get to the next level in their careers. And actors recognize her dedication from the moment they meet her.
Melissa Center, who took Phillips' six-week on-camera auditioning class, says it not only helped her technique but also led to occasional work as a reader for Phillips' casting sessions. "She's great about making new relationships with people," Center says, "and she understands how hard it is for actors."
Even though he hasn't been cast by her yet, David Shih believes that Phillips "really wants you to do well. She wants to equip you so that when you actually do come into the office for an audition, you're prepared and you know what she's looking for." Shih adds that there never seems to be a long line or waiting list at Phillips' office, she always apologizes profusely if someone has to wait, and she's always willing to give an actor extra time in order to get the best take.
"I think most actors are cognizant of what they're up against," Phillips says. "When somebody really believes in them and spends time with them and really sees them, instead of just 'No. 53' in the room, I think that gives them a bit of hope that someone is actually looking at them and appreciating what they have to offer. That's the relationship that I have with every actor who comes in."
Marci Phillips, Executive Director of Primetime Casting, ABC, 157 Columbus Ave., 2nd floor, NYC 10023; (212) 456-3631.
Runners-Up:
‑ Gayle Keller, Finnegan/Keller Casting, 176 Grand St., 3rd floor, Room 315, NYC 10013.
‑ Jonathan Strauss, Lynn Kressel Casting, Pier 62, West 23rd Street at the Hudson River, Room 304, NYC 10011.
- Todd Thaler, Todd Thaler Casting, 130 W. 57th St., NYC 10019.
- Victoria Visgilio, ABC, 157 Columbus Ave., 2nd floor, NYC 10023.
—Daniel Lehman
Favorite Rehearsal Studio: Ripley-Grier Studios
Ripley-Grier Studios, founded in 1984 by husband-and-wife team Butch Grier and Patricia Ripley, has three locations in Manhattan with a total of 45 studios. The spaces were designed using feng shui principles and offer such amenities as air conditioning, pianos (in most rooms), electronics, Wi-Fi, dressing rooms, and showers. The 520 Eighth Ave. location also has a café that caters to vegetarians.
Grier says the company's success lies in its relationship with its employees: We "treat them like family, and they in turn treat the customers that way. It's all teamwork." Jon Norman, the operations director, agrees: "It is a mom-and-pop. We have a family-oriented environment."
"It's very spacious and comfortable," says actor Ellen Ginsburg. "You have enough space to do what you need to do." Adds actor-producer R. David Robinson, "When you go out in the hall, you don't feel like you're in an ant farm." "It's nice to have the snack bar and waiting areas," says actor-director Joe Leo.
But Ripley-Grier isn't resting on its laurels. This month the floors in all the studios were refinished and the walls repainted. "We're upgrading everything," Norman says. "We're constantly putting money back into the studios."
Ripley-Grier Studios, 131 W. 72nd St., NYC, (212) 799-5433; 939 Eighth Ave., Suite 307, NYC, (212) 397-1313; and 520 Eighth Ave., 16th floor, NYC, (212) 643-9985; sales@ripleygrier.com; www.ripleygrier.com.
Runners-Up:
‑ Chelsea Studios, 151 W. 26th St., 5th floor, NYC; (212) 924-5877; www.theatreworksusa.org/chelsea.cfm.
‑ Champions Studios, 257 W. 39th St., 14th floor, NYC; (212) 307-7707; championsstudios@gmail.com; www.championsstudios.moonfruit.com.
‑ Shetler Studios, 244 W. 54th St., NYC; (212) 246-6655; sales@shetlerstudios.com; www.shetlerstudios.com.
‑ T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209;
info@tschreiber.org; www.tschreiber.org.
‑ Pearl Studios NYC, 500 Eighth Ave., 4th floor, NYC; (212) 904-1850;
contactus@pearlstudiosnyc.com; www.pearlstudiosnyc.com.
—Brooks Sherman
Favorite Second Hand Clothing Store: Beacon's Closet
Known for its enormous space filled with racks of clean designer clothes and vintage outfits, handbags, hats, and jewelry, Beacon's Closet is a favorite for a cross-section of New Yorkers, notably young artists and aging bohemians. Its two Brooklyn stores—one in Williamsburg, the other in Park Slope—are a treasure trove of potential costumes and props, as well as everyday wear, at a low cost.
"There are beautiful clothes and accessories from every decade, which really helps give actors a sense of an era," says Caitlin Gold. "If you need a cowgirl outfit, you'll find it. You'll also find lots of stuff from the '70s and '80s—torn jeans, T-shirts, every type of shoe." But there's another virtue, she says: Customers can sell to the store clothes they no longer want and receive cash or a certificate they can use to make purchases.
Therese Tucker, who shops there for costumes and "fun clothes," says that unlike other secondhand stores, at Beacon's "everything is clearly organized by type of garment. I also like the fact that I can see what's available online before I go to the store."
Beacon's Closet, 88 N. 11th St., Brooklyn, N.Y.; (718) 486-0816; and 92 Fifth Ave., Brooklyn, N.Y.; (718) 230-1630; www.beaconscloset.com.
Runners-Up:
‑ Salvation Army Thrift Stores, locations throughout New York City; www.salvationarmyusa.org.
‑ Goodwill Industries of Greater New York, 220 E. 23rd St., NYC; (212) 447-7270; www.goodwill.org.
‑ Housing Works, 155 E. 23rd St., NYC; (212) 477-6836; www.housingworks.org.
‑ Buffalo Exchange, 332 E. 11th St., NYC; (212) 260-9340; www.buffaloexchange.com.
‑ Tokio 7, 64 E. Seventh St., NYC; (212) 353-8443.
—Simi Horwitz
Favorite Open-Mike Night:
Don't Tell Mama, Manhattan Monologue Slam, and New York Comedy Club (Tie)
Each of the winning open mikes represents a different avenue of performance: song, monologue, and standup comedy. Every night of the week at Don't Tell Mama's low-pressure open mike, singers of any genre or style can take the stage accompanied by one of the club's talented pianists. "It's very central to Midtown and where a lot of people work, if you're trying to get an audience," says singer Diana LeBlanc. "It's not a huge place, but it's always full. Also, the food is excellent, since they added food in the lounge next to the piano bar."
The Manhattan Monologue Slam offers a supportive atmosphere, but participants in the monthly competition hesitate to call the audience friendly. "It's like American Idol for actors, basically," says actor Steve Leon. "Only having literally 30 seconds, you have to be on your game. Within that time frame, if you fumble, bumble, and get off track, usually the crowd lets you know." Actors sign up on the spot to be judged by celebrities and industry pros such as Sarah Silverman, Jenna Fischer, and Spring Awakening producer Jeffrey Richards.
New York Comedy Club hosts its open mike six nights a week, Sunday through Friday. Amateur standups can practice their routines, get feedback from club management and pros, and network with working comedians. "It's a very friendly place," says comic Ellen Orchid. "And they're very fair, so you don't feel like you won't ever get stage time.""Having been a comedian," says club owner and founder Al Martin, "I remember when I first started that I was treated like crap. People are impatient with you and they don't really have a lot of respect.... And I felt we could create our niche by being nice to aspiring comedians. We try to nurture and develop the new talent."
Don't Tell Mama, 343 W. 46th St., NYC; (212) 757-0788; www.donttellmamanyc.com.
Manhattan Monologue Slam, 92Y Tribeca, 200 Hudson St., NYC; (212) 601-1000; www.mmslam.com.
New York Comedy Club, 241 E. 24th St., NYC; (212) 696-5233; www.newyorkcomedyclub.com.
Runners-Up:
- Penny's Open Mic, Under St. Marks Theater, 94 St. Mark's Place, NYC; www.pennysopenmic.com.
- Nuyorican Poets Café, 236 E. Third St., NYC; (212) 780-9386; www.nuyorican.org.
- The Duplex, 61 Christopher St. (at Seventh Avenue), NYC; (212) 255-5438; www.theduplex.com.
- Apollo Theater, 253 W. 125th St., NYC; (212) 531-5305; www.apollotheater.org.
—Daniel Lehman
Favorite Temp Agency: Atrium Staffing
What Matt Skibiak loves about Atrium Staffing is its ability to get him precisely the kinds of work he wants. "Tell them what you want," he says, "and they can tailor their search just for you."
Founded in 1995, Atrium works with a wide variety of firms, according to its website: "not only blue-chip clients, but...a roster of small and midsized firms." It specializes in finance, information technology, health care, science, and creative industries, and it's "ahead of the curve in diversity staffing," states the website.
Skibiak was originally looking for clerical work, and Atrium was finding him one to two jobs a week. When his interest switched to catering, the agency helped with that too. "Once I told them what I preferred," he says, "they put out the call for those kinds of jobs." He especially likes the company's attitude: "Atrium was always very friendly and professional. And they remember your name!"
Atrium's flagship office remains in Union Square in Manhattan, but it has added an office in Boston and four in New Jersey, and you can submit your résumé through its website.
Atrium Staffing, 71 Fifth Ave., 3rd floor, NYC; (800) 599-8367; www.atriumstaff.com.
Runner-Up:
Kelly Services, 61 Broadway, Suite 2225, NYC; (212) 785-5803; www.kellyservices.com.
—Tom Penketh
Favorite Theatre Casting Director: Telsey + Company
"Bernie Telsey's office doesn't just cast you in particular projects," says actor Adrian Martinez. "They cast actors in terms of their whole careers. They put a whole career investment in you. Once they like you, they're extremely faithful to you as an actor, whether you book a job or not. If they see talent, you're in and they bring you back consistently year after year. It's that kind of faithfulness that makes them truly exceptional. They treat you like a real artist. They just keep bringing you back whether you're in a slump or not."
Jan O'Dell recalls a similar feeling when Telsey + Company cast her in the Women's Expressive Theatre production of Joyce Carol Oates' I Stand Before You Naked: "David Vaccari was the one I auditioned for, and he was always so friendly and made me feel so comfortable. During the run of the play, he brought five or six casting directors from the office. We were thrilled that they came, and we got some great feedback from them on our performances."
Telsey + Company also casts for film and television, but theatre is definitely its strong suit, having cast eight current Broadway shows: 9 to 5: The Musical, Blithe Spirit, Desire Under the Elms, In the Heights, Next to Normal, Reasons to Be Pretty, Rock of Ages, and South Pacific. Among its many new projects is a nationwide search for a wall crawler to star in the upcoming Spider-Man musical.
Telsey + Company, 311 W. 43rd St., 10th floor, NYC 10036.
Runners-Up:
- Alaine Alldaffer, Playwrights Horizons, 416 W. 42nd St., NYC 10036.
‑ Dave Clemmons Casting, 265 W. 30th St., NYC 10001; info@clemmonscasting.com; www.clemmonscasting.com.
-Stephanie Klapper Casting, 39 W. 19th St., 12th floor, NYC 10011.
—David Sheward
Favorite Accompanist: Brad Ross
Listening is a large part of Brad Ross' job as an accompanist. When he plays for auditions, he carefully heeds the singer's instructions—noting, for instance, at what points in the song the singer plans to slow down or accelerate. "And then, while we're in the act of singing and playing, I try to listen to them hard," he says. "I have an ear on them all the time."
Ross has played piano at auditions for many years and feels at ease with a wide range of musical theatre styles, from Jersey Boys to Spring Awakening to Mary Poppins. As a musical theatre composer (The Tales of Custard the Dragon, A Family for Baby Grand), he's also attuned to the "singability" of each number.
At auditions, there's little time for interaction with those he's accompanying, but Ross also works as a vocal coach, helping actors prepare for auditions. It's in this capacity that Gladys Perez sought his services. Often nervous about auditioning, she found that Ross put her fully at ease. "He always made it seem within my reach," she says. "When my confidence was not as high as it needed to be, he would help me get it there."
Ross also prepared and printed out sheet music for Perez, with personalized cuts and notations clearly indicated. "Your 16 bars or 32 bars is perfectly done," she says. "You have no worries that any accompanist would have any problems interpreting it."
Brad Ross, Bradstunes Music, 484 W. 43rd St., #31T, NYC; (212) 268-1093; bradfordwross@aol.com.
—Mark Dundas Wood
Favorite Casting Director Workshop: Actors Connection
Actors know that a sound critique helps them more than a kind word, but according to Mindy Pfeffer and Mischa Gonz-Cirkl, you can get both at an Actors Connection workshop. "They were honest and they were helpful," Pfeffer says. "They would tell you if something was working or not. It was more about the work than the personality."
Gonz-Cirkl likes the range of people who lead the workshops. "They get the busiest and most knowledgeable CDs in New York City to come and meet the talent in a relaxed, intimate environment," she says. "We can ask questions about the industry, get honest answers, show our acting chops using real scenes from television and film, and get candid advice."
Founded in 1991, Actors Connection offers workshops with CDs, agents, and managers, as well as classes on various facets of the business, such as cold readings and monologues. It also offers free seminars on topics like how to produce your own film. In the coming weeks, casting directors and associates from Calleri Casting, MelCap Casting, Telsey + Company, and All My Children will be leading classes.
Gonz-Cirkl says she benefited in particular from Actors Connection's seven-day program in Los Angeles: "I did the L.A. Connection in 2005, and a few months later I was signed with an agent from the program. I moved to L.A. and have representation, a manager, and I've been called in to audition for two of the casting directors I met through the program."
Actors Connection, 630 Ninth Ave., Suite 1410, NYC; (212) 977-6666; www.actorsconnection.com.
Runners-Up:
‑ One on One, 34 W. 27th St., #11, NYC; (212) 691-6000; www.oneononenyc.com.
‑ T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; www.tschreiberstudio.com.
‑ TVI Actor Studios, 165 W. 46th St., #509, NYC; (212) 302-1900; www.tvistudios.com.
- The Network, 312 W. 36th St., NYC; (212) 239-3198; www.thenetworknyc.com.
‑ Screen Actors Guild, 360 Madison Ave., 12th floor, NYC; (212) 944-1030; www.sag.org.
—Andrew Salomon
Favorite Dance Studio: Broadway Dance Center
Now celebrating its 25th anniversary, Broadway Dance Center not only offers classes in many disciplines for everyone from the recreational dancer to the professional; it's also a warm, inviting place for performers to meet. The large lobby is full of dancers from morning till night. You can warm up before a performance, take a class, tack your flier to the bulletin board, or just hang out with friends.
Its current location, just a few doors from the Al Hirschfeld Theatre, is its third. "We're more convenient in this location," says executive director Diana King. "We're also close to the theatres in Times Square. I love the proximity to the theatres. We're also always looking for ways to make our schedule more exciting. We have over 250 classes a week on our drop-in schedule, and we're always adding something new." In recent years, hip-hop has been added to the mix of ballet and jazz classes.
"Whenever I come into New York City, that's where I go," says Maria Noe of Toledo, Ohio, who takes jazz and tap classes at the center. "It's really easy to hop into a class. It's very welcoming and challenging and fun at the same time. It's also encouraging. I'm a singer, so to go into a dance class is often very scary. I got in there and even though I didn't know their warm-up routine right away, I felt comfortable to just join with the group."
Broadway Dance Center, 322 W. 45th St., 3rd floor, NYC; (212) 592-9304; info@bwydance.com; www.bwydance.com.
Runners-Up:
‑ Steps on Broadway, 2121 Broadway, NYC; (212) 874-2410; info@stepsnyc.com; www.stepsnyc.com.
‑ Alvin Ailey Dance Studios, 405 W. 55th St., NYC; (212) 405-9000; info@alvinailey.org; www.alvinailey.org.
- New Dance Group, 305 W. 38th St., NYC; (212) 904-1900; www.ndg.org.
‑ Ripley-Grier Studios, 131 W. 72nd St., NYC; (212) 799-5433; 939 Eighth Ave., Suite 307, NYC; (212) 397-1313; and 520 Eighth Ave., 16th floor, NYC; (212) 643-9985; sales@ripleygrier.com; www.ripleygrier.com.
—David Sheward
Favorite Demo Reel Producer: Reels4Artists
Gerrit Voorhen was tired of being cast as a Nazi. But when he detoured from his acting career six years ago to edit demo reels on his kitchen table, he never expected the business, Reels4Artists, to explode into a full-fledged production company with a permanent staff and clients in the hundreds.
While typecasting—due to his "Dutch look" and mild yet detectable accent, courtesy of his Amsterdam upbringing—may have been the impetus, it was broader frustrations as an actor that turned a sideline into a new career. "I felt like I needed to do something more artistically satisfying, and I really found my niche doing this," Voorhen says. "It's my passion."
For actor Steven Cambria, that passion is evident in the quality of Reels4Artists' work, whether culled from an actor's existing clips or created from scenes shot and edited in-house. "I've done a lot of work in television and film," Cambria says, "and their reels match that level of quality."
Voorhen's background in dance may be what distinguishes his work. In an industry where "cookie-cutter just doesn't sell," Voorhen says, he "edits like a dancer," capturing each actor's strengths through motion, mood changes, and subtle details of the interplay between sight and sound. He also likes to keep the client fully involved in every aspect of the process. "What's most important," he says, "is that each reel is personal."
Reels4Artists, 98 Fourth St., #39, Brooklyn, N.Y.; (917) 566-3046 (cell); (718) 802-1108 (studio); www.reels4artists.com.
Runners-Up:
- Make It Reel, www.makeitreel.net.
‑ Edge Studio, 307 Seventh Ave., #1007, NYC; (888) 321-3343; www.edgestudio.com.
—Anthony Aquilino
Favorite Vocal Coach and Favorite Dialect Coach: Page Clements
A winner in two categories, Page Clements is not only a voice and dialect coach; she's also a founding member of—and sometime performer with—Highwire, a touring company. She finds it personally and professionally rewarding to keep a hand in acting while instructing others.
"Page taught me how to find my real, true voice, which I possessed in
childhood but lost somewhere along the way," says Jonathan Orsini, who voted for Clements as favorite vocal coach. "And her coaching isn't just technical. The voice work has helped me become more emotionally available than I have ever been in my life."
Katherine Wessling, who has received dialect coaching from Clements for many roles, including Chick in a T. Schreiber Studio production of Crimes of the Heart, agrees. Clements also helped her explore the character's background and inner life. "With some dialect coaches, I feel like I'm in a math exam," Wessling says. But Clements "manages to give you some really important details but without making it feel like the SATs."
The phonetic alphabet is only a starting point for learning a dialect, says Clements. "If actors mimic how someone else sounds instead of finding it from within, it tends to put up a wall…. You can't just do the technical. You have to go beyond that or the dialect is just like a costume, or like turning on and off a light switch. It isn't under the actor's skin."
Page Clements, T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; info@tschreiber.org; www.tschreiber.org.
Runners-Up (Vocal Coach):
‑ Lynn Singer, T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; info@tschreiber.org; www.tschreiber.org.
‑ Jennifer Smolos, American Academy of Dramatic Arts, 120 Madison Ave., NYC; (800) 463-8890; admissions-ny@aada.org; www.aada.org.
‑ Eric Michael Gillett, Singers Forum, 49 W. 24th St., 4th floor, NYC; (212) 569-3281; (212) 366-0541 (Singers Forum); (212) 675-2370 (HB Studio); emgillett@aol.com; www.ericmichaelgillett.com.
‑ Andrew M. Byrne, 450 W. 58th St., #2C, NYC; (917) 513-3642; studio@
andrewmbyrne.com; www.andrewmbyrne.com.
Runners-Up (Dialect Coach):
‑ Sam Chwat, 253 W. 16th St., NYC; (212) 242-8435 or (800) SPEAKWELL; info@samchwatspeechcenter.com; www.nyspeech.com.
‑ Jim DeMonic, American Academy of Dramatic Arts, 120 Madison Ave., NYC; (800) 463-8890; admissions-ny@aada.org; www.aada.org.
- Patricia Fletcher, (212) 517-2862; pfletchervoice@aol.com; www.patriciafletcher.com.
- Amy Stoller, (917) 319-7448; amystoller@stollersystem.com; www.stollersystem.com.
—Mark Dundas Wood
Favorite Headshot Photographer: Barry Morgenstein
Barry Morgenstein has been in the photography business for 25 years and is no stranger to our Readers' Choice Awards. He's been named favorite headshot photographer three of the past four years and was a runner-up in 2007. So what's his secret? "I just try to make it a very comfortable, relaxed atmosphere in my studio," he says. "I love being around actors…. I love entertainers; I love creative people."
"It's not that I think he's the best; I know he's the best," says Maureen Walsh. "He has a tremendous way of connecting with people through his lens." She also noticed a remarkable consistency in the quality of Morgenstein's headshots. "You see all his photographs in his studio&hellipand you're like, 'Wow, everyone has a perfect picture.' And the way to get a perfect picture is through someone connecting with you and making you feel relaxed, and that's how Barry is."
Nicole Corris chose Morgenstein because she wanted her photo to really stand out: "I thought, if I'm going to spend the money for good headshots, I'm going to go with one that really pops." She was able to take advantage of one of Morgenstein's Discount Day offers, which included hair and makeup in the cost of the shoot. "I was really impressed with the Discount Day," she says. "I was prepared to spend the money without the discount, but it was kind of a nice thing that he does once in a while…. He was really nice, got me in and out, and I was really happy with the shots."
Barry Morgenstein, 135 W. 26th St., Suite 10C, NYC; (212) 647-1288;
photo@barrymorgenstein.com; www.barrymorgenstein.com.
Runners-Up:
‑ Peter Hurley, Chelsea Arts Building, 134 W. 26th St., Suite 1203, NYC; (212) 627-2210; and Toy Factory Lofts, 1855 Industrial St., #405, L.A.; (323) 302-4485; www.peterhurley.com.
- Chris Macke, (212) 537-5052; www.mackephotography.com.
‑ Rod Goodman, 379 Park Ave. South, 3rd floor, NYC; (323) 929-1654; www.rodgoodmanphoto.com.
‑ Laura Rose, Hoebermann Studio, 281 Sixth Ave., NYC; (917) 686-9259; lerose27@yahoo.com; www.lauraerose.com.
‑ Caroline White, (917) 592-8685; creativecaroline@gmail.com; www.carolinewhitephotography.com.
—Sri Gordon
Favorite Improv Group/Theatre: Upright Citizens Brigade
"We've been working really hard to make UCB a place that's synonymous with improv in New York City," says Anthony King, artistic director of Upright Citizens Brigade Theatre, home to a variety of improv troupes and classes. "We have a huge number of just incredibly talented performers on our stage…. We just have devoted a lot of time over the last couple of years to really institutionalizing our improv program. We very much focus on the game of the scene, on what makes the scene funny, and then focus on playing with that funny idea as the scene moves forward."
The Upright Citizens Brigade company, which tours and performs at the theatre, is the readers' favorite for its quality and consistency. "Their comedic timing is great; they're just very natural," says actor Lori Finkel. Adds K.C. Wright, an actor and student at Carnegie Mellon University, "The touring company of UCB was really good. I never had those cringe moments where you&hellipworry about the performers."
Upright Citizens Brigade, 307 W. 26th St., NYC; (212) 366-9176; www.ucbtheatre.com.
Runners-Up:
‑ People's Improv Theatre, 154 W. 29th St., NYC; (212) 563-7488; www.thepit-nyc.com.
‑ The Second City, 1616 N. Wells St., Chicago; (312) 664-4032; www.secondcity.com.
‑ Chicago City Limits, 318 W. 53rd St., NYC; (212) 888-5233; www.chicagocitylimits.com.
‑ Magnet Theater, 254 W. 29th St., NYC; (212) 244-8824; www.magnettheater.com.
—Sri Gordon
Favorite Litho/Reproduction House: Reproductions
This is Reproductions' second Readers' Choice Awards win in a row as favorite litho/reproduction house. Last year the company's Los Angeles office was voted No. 1 in the West Coast edition of our awards. "We are happy that the readership on both coasts has recognized Reproductions," says Cameron Stewart, the company's president. "We work very hard at both the quality we provide and the reputation that we've earned through years of service."
Actor Emily Bodkin was impressed with Reproductions' professionalism. "I was very well taken care of," she says. "The minute I stepped in, they were ready to help me. When I got my photographs, which looked great, they made sure I was completely satisfied with them and asked if there was anything that I wanted to have retouched. I was really happy with my experience at Reproductions and will always use them."
"A positive reaction to a headshot could very well make the difference in getting a job or not," Stewart explains. "As for their personal experience of going through the process, it can be stressful, so working with a company that's dedicated to walking them through the process and providing them with a good customer-service experience helps."
Eddie Wong has used Reproductions for the past three years. "The service is very friendly," he says. "When I call up and need to have something right away, they're really quick and helpful."
Reproductions, 70 W. 40th St., 3rd floor, NYC; (646) 502-3700; and 3499 Cahuenga Blvd. West, L.A.; (323) 845-9595; www.reproductions.com.
Runners-Up:
‑ Precision Photos, 260 W. 36th St., NYC; (212) 302-2724; www.precisionphotos.com.
‑ Colorworks, 55 W. 39th St., Suite 706, NYC; (212) 382-2825; www.colorworksnyc.com.
‑ ABC Pictures, 2838 N. Ingram Ave., Springfield, MO 65803; (417) 869-3456; www.abcpictures.com.
‑ CityRepo, 939 Eighth Ave., Suite 201, NYC; (212) 247-7575; www.cityrepro.com.
‑ Modernage, 1150 Sixth Ave., NYC; (212) 997-1800; www.modernage.com.
—Mariam Ispahany
Favorite Off-Off-Broadway Company to Act With and Favorite Off-Off-Broadway Company to See
T. Schreiber Studio
Pat Patterson is the ideal person to talk to about T. Schreiber Studio as an Off-Off-Broadway company, because she has performed there as an actor and attended as a playgoer. "In terms of being an actor, you're challenged and you're nurtured," she says. As an audience member, "it's a small space, so you're intimate, but you don't feel you're being cheated out of anything."
Either way, Patterson particularly appreciates the production values: "When you sit in the audience, you're aware that it's the whole experience. The set feeds the actors feeds the lighting design…. The attention to detail is amazing, which helps the actor. I felt I was there; I didn't have to do all that much work to create the environment."
Schreiber has a special arrangement with Actors' Equity Association and does not produce under the Showcase Code. He can cast all his productions from inside his studio (current students and alumni), and each show gets 24 performances and six weeks of rehearsal. In exchange, he doesn't charge admission—though he solicits donations.
His audiences have remained consistent over the past 40 years, Schreiber says, despite the studio's move from the East Village to Chelsea. "We've kind of gotten older together," he says with a laugh. "We get a pretty good smattering from their mid-20s to people in their 60s and 70s." He has noticed, however, that location affects attendance at certain plays: "We would do a Sam Shepard down on East Fourth Street and we were jammed to the walls. We would do a Sam Shepard on West 26th Street and we played to half houses, and it was an excellent production."
T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; www.tschreiberstudio.com. Also won Favorite Scene Study and Cold Reading classes.
Runners-Up:
‑ The Barrow Group, 312 W. 36th St., NYC; (212) 760-2615; www.barrowgroup.org.
- The Flea, 41 White St., NYC; (212) 226-2407; www.theflea.org.
‑ The Michael Chekhov Theater Company, 354 W. 45th St., 2nd floor, NYC; (212) 340-1039; www.chekhovtheatre.org.
‑ 13th Street Repertory Company, 50 W. 13th St., NYC; (212) 675-6677; www.13thstreetrep.org.
‑ LAByrinth Theater Company, 307 W. 38th St., #1605, NYC; (212) 513-1080; www.labtheatre.org.
—Andrew Salomon
Favorite Scene Study: T. Schreiber Studio
Despite having 13 instructors, T. Schreiber Studio has one philosophy: There are many paths to enlightenment. "I don't believe in pinning an actor down to one way of working—like it's Strasberg or else, or Meisner or else," says Terry Schreiber, founder, teacher, and director, who has been assisting New York actors for four decades. "I think there are actors who create from their own reality, which is pretty much Strasberg, and others that work with the creative 'as if,' the given situation. We leave that open."
Schreiber's studio has a strong connection to the Group Theatre and its forebear, the Moscow Art Theatre—in addition to Strasberg and Meisner, the instructors' mentors include Stella Adler and Robert Lewis—but other influences range from Uta Hagen to the Coen brothers.
Jason Baboryk says the studio's eclecticism is just what he needs. In a scene study class taught by Peter Jensen, "I'd be in the middle of a scene, and he'd throw something out there that would just click with what I needed. He wasn't subscribing to just one method."
Marija Stajic Salvetti, who took a cold reading class, praises the nurturing environment. "They make you feel comfortable," she says, "but they also push you."
Though T. Schreiber Studio may be a magpie's nest of approaches, Schreiber is its guiding force. "In 40 years of the studio," he says, "I think we've evolved some things of our own."
T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; www.tschreiberstdio.com. Also won Favorite Off-Off-Broadway Company to act with and to see.
Runners-Up (Scene Study):
- Austin Pendleton, HB Studio, 120 Bank St., NYC; (212) 675-2370; www.hbstudio.org.
- Tom Todoroff, Tom Todoroff Studio, 24 Bond St., NYC; (212) 362-8141; www.tomtodoroff.com.
‑ William Esper, William Esper Studio, 208 W. 37th St., NYC; (212) 904-1350; www.esperstudio.com.
- Larry Singer, Larry Singer Studios, 300 W. 43rd St., #500, NYC; (917) 327-5406; www.thelarrysingerstudios.com.
- Stella Adler Studio of Acting, 31 W. 27th St., 3rd floor, NYC; (212) 689-0087; www.stellaadler.com.
Runners-Up (Cold Reading):
- Karen Kolhaas, www.monologueaudition.com.
‑ Caryn West, Michael Howard Studios, 152 W. 25th St., 10th floor, NYC; (212) 645-1525; carynwest.nowcasting.com.
- Valerie Adami, Weist-Barron, 35 W. 45th St., NYC; (212) 840-7025; www.weistbarron.com.
—Andrew Salomon
Favorite Voiceover Workshop: Edge Studio
The popularity of Edge Studio has everything to do with how seriously it treats the craft of voiceover, according to actor-singer Sara Binensztok. "I found them to be extraordinarily professional," she says. "They were well-organized and offer a state-of-the-art recording studio."
Edge Studio has been coaching and counseling voiceover artists since 1988. Started by voiceover producer David Goldberg, the company—officially Edge Studio's Voice Design Group—has offices in New York, Connecticut, and the Washington, D.C., area and boasts that it offers top instructors in commercials, narration, animation, audio books, documentaries, corporate videos, education, and even foreign-language dubbing. It features small workshops with customized learning plans, according to its website, and teaches performers to "sound competitive on your own, without digital enhancement."
Adds Binensztok, "They give great career advice if you want to get into voiceover." Edge Studio even offers a free event called Talk With a Pro Tuesday by Telephone, in which the first 50 people to dial in get to ask an industry-related question and receive a candid response.
Edge Studio, 307 Seventh Ave., Suite 1007, NYC; (212) 868-3343; edge@edgestudio.com; www.edgestudio.com.
Runners-Up:
‑ Weist-Barron, 35 W. 45th St., NYC; (212) 840-7025; www.weistbarron.com.
‑ Charles Michel, The Winning Voice; (866) WINVOICE; cmichel@thewinningvoice.com; www.thewinningvoice.com.
‑ The Network, 312 W. 36th St., NYC; (212) 239-3198; www.thenetworknyc.com.
‑ Linda Weaver and Nina Pratt, Pratt-Weaver Voice Over Institute; (212) 204-7000; prattweavervoiceoverinstitute@gmail.com; www.prattweavervoiceovers.com.
‑ Lynn Singer, T. Schreiber Studio, 151 W. 26th St., 7th floor, NYC; (212) 741-0209; info@tschreiber.org; www.tschreiber.org.
—Tom Penketh
Advice for Beginning Actors
It's taken me years to figure out a lot of the very accurate information this photographer has shared on his "Info/Advice" page.
In the future, when someone asks me for advice I'm going to forward the link to this article.
If I were to give advice it would be "become a Doctor or a Lawyer!!!" LOL - I kind of wish my parents had said that to me:)
http://www.mackephotography.com/info_advice.html
In the future, when someone asks me for advice I'm going to forward the link to this article.
If I were to give advice it would be "become a Doctor or a Lawyer!!!" LOL - I kind of wish my parents had said that to me:)
http://www.mackephotography.com/info_advice.html
Shmuel Tatz - Body Tuning
I absolutely MUST go see Shmuel Tatz!!! I just want to be able to tell people verbally that my physical therapist is "Shmuel Tatz!"
"Mercy" (2010) - Starring Guillermo Diaz
I did background work on a Pilot for NBC called "Mercy" which has been picked up.
It stars Delroy Lindo and Guillermo Diaz of Showtime's "Weeds."
I found an article where Guillermo Diaz discusses his character at the link below:
http://www.movieweb.com/news/NEFunNINYhT9JL
You're also on the new NBC series Mercy that got picked up, so what can you tell us about that, and your character?
Guillermo Diaz: Well, yeah, it's called Mercy and we all work in a sort of run-down hospital in New Jersey that's called Mercy Hospital. I play a gay nurse named Angel Lopez, which is pretty cool because it's a complete 360 from the character I'm playing now. That's pretty nice. It sort of revolves around the lives of the nurses in the hospital and one of the nurses just got back from Iraq and each of the nurses has their own little storylines. We'll start shooting the series and we'll be on the air in January on NBC. Delroy Lindo is in it and James LeGros and I think it's going to be a really great show. People seem to really like it, so I'm excited about working on that.
It also stars James Tupper who recently had a baby with Anne Heche.
James Tupper has 'Mercy'
17 February 2009 11:32 PM, PST | From Movie Jungle | See recent Movie Jungle news
James Tupper has been cast in NBC's drama pilot "Mercy" from Universal Media Studios. The dramedy focuses on three Mercy Hospital nurses, their friendship and the highs and lows of their work and personal lives. Tupper is in to play Dr. Chris Sands, a new doctor at the hospital who had an affair with one of the nurses at a time when both were stationed in Iraq. Tupper starred on ABC's dramedy "Men in Trees" and was also in the indie film "Me and Orson Wells."
It stars Delroy Lindo and Guillermo Diaz of Showtime's "Weeds."
I found an article where Guillermo Diaz discusses his character at the link below:
http://www.movieweb.com/news/NEFunNINYhT9JL
You're also on the new NBC series Mercy that got picked up, so what can you tell us about that, and your character?
Guillermo Diaz: Well, yeah, it's called Mercy and we all work in a sort of run-down hospital in New Jersey that's called Mercy Hospital. I play a gay nurse named Angel Lopez, which is pretty cool because it's a complete 360 from the character I'm playing now. That's pretty nice. It sort of revolves around the lives of the nurses in the hospital and one of the nurses just got back from Iraq and each of the nurses has their own little storylines. We'll start shooting the series and we'll be on the air in January on NBC. Delroy Lindo is in it and James LeGros and I think it's going to be a really great show. People seem to really like it, so I'm excited about working on that.
It also stars James Tupper who recently had a baby with Anne Heche.
James Tupper has 'Mercy'
17 February 2009 11:32 PM, PST | From Movie Jungle | See recent Movie Jungle news
James Tupper has been cast in NBC's drama pilot "Mercy" from Universal Media Studios. The dramedy focuses on three Mercy Hospital nurses, their friendship and the highs and lows of their work and personal lives. Tupper is in to play Dr. Chris Sands, a new doctor at the hospital who had an affair with one of the nurses at a time when both were stationed in Iraq. Tupper starred on ABC's dramedy "Men in Trees" and was also in the indie film "Me and Orson Wells."
Michael Jackson - "Man In The Mirror" (Live 1988 Grammy Awards)
Michael Jackson performing "Man in the Mirror" live at the 1988 Grammy Awards with a Gospel Choir.
I am tired of all the people talking shit about this guy! Yes, he was imperfect! Yes, he had MAJOR issues which is why he's fucking dead at 50!!! No, I do not condone anything he may or may not have done that was criminal.
HOWEVER, Michael Jackson's talent is UNDENIABLE!!! It's the way he was turned into a "performing seal" that destroyed him! He was damaged as a child and that morphed him into the tragic Icon he became.
People (myself included) LOVE to build up their idols only to destroy them later. However, this time I want to remember Michael Jackson for the good he left behind which will continue to live forever in the music.
I am tired of all the people talking shit about this guy! Yes, he was imperfect! Yes, he had MAJOR issues which is why he's fucking dead at 50!!! No, I do not condone anything he may or may not have done that was criminal.
HOWEVER, Michael Jackson's talent is UNDENIABLE!!! It's the way he was turned into a "performing seal" that destroyed him! He was damaged as a child and that morphed him into the tragic Icon he became.
People (myself included) LOVE to build up their idols only to destroy them later. However, this time I want to remember Michael Jackson for the good he left behind which will continue to live forever in the music.
Man In The Mirror - Jay Brannan
I couldn't sleep last night and ended up on Twitter - no surprise! I came across Jay Brannan's Version of Michael Jackson's "Man In The Mirror" and for the first time actually listened to the lyrics.
Jay plays and sings this song so beautifully I had to share it!!!
Now I can't get Jay's version out of my head;)
Jay plays and sings this song so beautifully I had to share it!!!
Now I can't get Jay's version out of my head;)
Sunday, June 28, 2009
Saturday, June 27, 2009
Friday, June 26, 2009
Thursday, June 25, 2009
A Michael Jackson Story
I have to say that for me, hands down, without a doubt, "Thriller" is the best music video ever made!!!
I grew up a Jehovah's Witness like MJ and his family, and at the beginning of that video he has a disclaimer that the video "in no way endorses the occult."
WOW! Of course I thought that was the coolest thing because while he didn't say he was a Witness - you knew it from that statement.
Of course I love all his songs from the time when he was with the Jackson 5 up through "HiStory." I stood online past midnight at HMV (on 72nd St and Broadway) for the CD and ended up getting my picture taken and published by the NY Post.
My cousin Harold decided to buy as many newspapers as he could and post my pic from the NY Post up all over the Richard Rodgers Theatre were we worked for my Dad. He even put it on the Stage Door and the sides of buses. THAT was embarrassing! Especially when the cast & crew of "How To Succeed" sort of snickered at me for it. (I'm pretty sure that's why Harold did it.)
The Michael Jackson story is so tragic. I got the news on my cell and in my email from a former co-worker at Sony in Culver City. Because the news was so immediate, I don't think anyone has fully processed it. While Michael Jackson's talent was undeniable, his eccentricity was equally as undeniable.
I have always felt that Michael Jackson was a victim who perpetuated the cycle. Still, 50 years old is too young to die. It's all so tragic no matter how you look at it!!!
However, we will always have his music which is an incredible contribution in spite of his personal demons!!
Farrah Fawcett's story is equally as tragic. She also suffered tragically for some time with her cancer. She was not very old either - only 62. My Grandmother will be 90 in December and still feeds my Dad because he is paralyzed and can't do it himself. He's only 64.
Life is so unpredictable and can end at any moment. Guess I should use this wake up call to remind me to get out and live life instead of wasting time on FB, Twitter and MySpace.
This is a great photo of Michael Jackson which I believe was later turned into the "statuesque" cover art for the "HiStory" album.
I grew up a Jehovah's Witness like MJ and his family, and at the beginning of that video he has a disclaimer that the video "in no way endorses the occult."
WOW! Of course I thought that was the coolest thing because while he didn't say he was a Witness - you knew it from that statement.
Of course I love all his songs from the time when he was with the Jackson 5 up through "HiStory." I stood online past midnight at HMV (on 72nd St and Broadway) for the CD and ended up getting my picture taken and published by the NY Post.
My cousin Harold decided to buy as many newspapers as he could and post my pic from the NY Post up all over the Richard Rodgers Theatre were we worked for my Dad. He even put it on the Stage Door and the sides of buses. THAT was embarrassing! Especially when the cast & crew of "How To Succeed" sort of snickered at me for it. (I'm pretty sure that's why Harold did it.)
The Michael Jackson story is so tragic. I got the news on my cell and in my email from a former co-worker at Sony in Culver City. Because the news was so immediate, I don't think anyone has fully processed it. While Michael Jackson's talent was undeniable, his eccentricity was equally as undeniable.
I have always felt that Michael Jackson was a victim who perpetuated the cycle. Still, 50 years old is too young to die. It's all so tragic no matter how you look at it!!!
However, we will always have his music which is an incredible contribution in spite of his personal demons!!
Farrah Fawcett's story is equally as tragic. She also suffered tragically for some time with her cancer. She was not very old either - only 62. My Grandmother will be 90 in December and still feeds my Dad because he is paralyzed and can't do it himself. He's only 64.
Life is so unpredictable and can end at any moment. Guess I should use this wake up call to remind me to get out and live life instead of wasting time on FB, Twitter and MySpace.
This is a great photo of Michael Jackson which I believe was later turned into the "statuesque" cover art for the "HiStory" album.
Shades of Grey
My Dad always used the phrase "shades of grey" when I tried to simplify something or understand a concept by simply putting it into a "black & white" box.
My mother is a Jehovah's Witness and I grew up first, as a Catholic and then, when my mother converted, as a Jehovah's Witness myself. My stepmother and many of my closest friends are Jewish. As a result, I have clearly been exposed to a wide variety of religious philosophies, beliefs and points of view for which I am grateful
After many years in recovery from various addictive and destructive behaviors, I have "come to believe" in my own concept of a Higher Power which is very personal. I no longer feel the need to preach. However, I am aware that many people make assumptions based on one's actions, tastes and interests. I make assumptions as well.
For the record, I am doing my best to be tolerant and respectful of all people from the left to the right politically, geographically and spiritually. I honestly believe that the world would be a much nicer place to exist if mutual respect was shown. Every individual has a right to their own opinions, tastes and lifestyles without animus, conversion tactics from others and especially without violence. I am not naive enough to belief that a perfect world such as that exists.
Negativity, angry words and mutual DISrespect lead to violent actions as was evident on a small scale this past week with the Perez Hilton/Will.i.am incident and has been evident on a much grander scale for many years in the Middle East.
In short, with the exception of violence, I am doing my best to keep it simple and just - "LIVE & LET LIVE." If I say something offensive, please let me know and I will do my best to be more respectful and sensitive in the future. My hope is that I will be shown the same kind of respect and sensitivity in return.
I will get off my soapbox now it that is what it appears I was doing. I felt the need to set the record straight. I am not censoring anything that people write on my page and please do not ask me to remove something that you do not like or agree with that someone else posted. Kindly speak or write to them directly yourself.
Thanks;)
PS - THE ONLY PERSON WHO IS ALWAYS RIGHT IS NANCY GRACE - JUST ASK HER:)
My mother is a Jehovah's Witness and I grew up first, as a Catholic and then, when my mother converted, as a Jehovah's Witness myself. My stepmother and many of my closest friends are Jewish. As a result, I have clearly been exposed to a wide variety of religious philosophies, beliefs and points of view for which I am grateful
After many years in recovery from various addictive and destructive behaviors, I have "come to believe" in my own concept of a Higher Power which is very personal. I no longer feel the need to preach. However, I am aware that many people make assumptions based on one's actions, tastes and interests. I make assumptions as well.
For the record, I am doing my best to be tolerant and respectful of all people from the left to the right politically, geographically and spiritually. I honestly believe that the world would be a much nicer place to exist if mutual respect was shown. Every individual has a right to their own opinions, tastes and lifestyles without animus, conversion tactics from others and especially without violence. I am not naive enough to belief that a perfect world such as that exists.
Negativity, angry words and mutual DISrespect lead to violent actions as was evident on a small scale this past week with the Perez Hilton/Will.i.am incident and has been evident on a much grander scale for many years in the Middle East.
In short, with the exception of violence, I am doing my best to keep it simple and just - "LIVE & LET LIVE." If I say something offensive, please let me know and I will do my best to be more respectful and sensitive in the future. My hope is that I will be shown the same kind of respect and sensitivity in return.
I will get off my soapbox now it that is what it appears I was doing. I felt the need to set the record straight. I am not censoring anything that people write on my page and please do not ask me to remove something that you do not like or agree with that someone else posted. Kindly speak or write to them directly yourself.
Thanks;)
PS - THE ONLY PERSON WHO IS ALWAYS RIGHT IS NANCY GRACE - JUST ASK HER:)
Wednesday, June 24, 2009
Tuesday, June 23, 2009
He who must not be paid attention
LOVE THIS PIECE BY Rich Juzwiak!
All that Perez Hilton shit nauseated my Monday. Forget about his turning assault into a plea for attention -- that's to be expected from someone who comes off like a Garbage Pail Kid translation of Madonna (as if there weren't one already). It's the "faggot" thing that bothers me. For all his complaining about being socked in the face, he shot himself in the foot before that even could happen. This fool, who's given a national platform for no particular reason beyond serendipity, goes and hurdles that word at another person as if it's something to be ashamed of. This, coming from someone who turned Carrie Prejean's worth-ignoring ignorance into would-be crusade for gay rights. This, coming after that crusade resulted in a showcase for his inarticulation and inability to win an argument with even a complete idiot who equated not welcoming girls to the Boy Scouts with not allowing gays to marry. That shit drove me crazy because he seemed oblivious to the obvious points (like something as basic as, hey, our values can change as a society as we learn more, particularly about the nature of homosexuality). I didn't write about it, nor have I written much about him in general (despite the very pronounced feeling of bile flooding into my mouth that he regularly produces), because if you say something disparaging about someone who has the same job as you and who's infinitely more successful (numbers-wise, I mean), you end up looking jealous, or at least of dubious motivation.
But I don't care about that at this point, because I couldn't be less jealous of him especially given the current circumstances. I just kind of want to throw up my hands (or in my hands) and call out this character, this persona, this online half-person for what it is: bad for the Internet, bad for gay people, bad for the world. I can't help but feel like everything would be better off without him. I know that's a harsh and extreme point of view and believe me that I paused before typing that to actually consider him and his contribution to society. I'd go as far as to say I racked my brain and I've still come up with absolutely nothing positive or pro-social that he has brought to the world, at least on a public level (and keep in mind that I'm not following his every move, so I could have missed an act of philanthropy or two). But not even the "entertainment" he provides is to be commended, as it ultimately lowers the very low standards of the Internet. Forget the rich and famous, if you are a human being, Perez Hilton makes you look bad, no MS Paint necessary.
And yesterday, that got me down. It's just like, what's it going to take to break this damaging enchantment people have with him? Does he have to hurt someone? Kill them? Actually ejaculate on them? Like, what? But as the day unfolded, it seemed like the overwhelming majority of people who gave a fuck to say anything about this nonsense were calling him on his bullshit. Certainly this was so at Gawker and ONTD (but that's to be expected) but also on Twitter (where Perez's look-at-me's made their debut this time). Kelly Clarkson, that little pop cherub, spoke out against his shit. And then GLADD issued a demand for an apology that summed up his error as succinctly as accurately as possible. It reads, in part: "These are vulgar antigay slurs that feed a climate of hatred and intolerance toward our community. For someone in our own community to use it to attack another person by saying that it is 'The worst possible thing that thug would ever want to hear,' is incredibly dangerous. It legitimizes use of a slur that is often linked to violence against our community. And it sends a message that it is OK to attempt to dehumanize people by exploiting antigay attitudes."
All this backlash gives me hope. We're doing the right thing. We're making ourselves look good. Way to go, everyone. Take back the Paint!
June 23, 2009 in Dumbness, Gayness | Permalink
All that Perez Hilton shit nauseated my Monday. Forget about his turning assault into a plea for attention -- that's to be expected from someone who comes off like a Garbage Pail Kid translation of Madonna (as if there weren't one already). It's the "faggot" thing that bothers me. For all his complaining about being socked in the face, he shot himself in the foot before that even could happen. This fool, who's given a national platform for no particular reason beyond serendipity, goes and hurdles that word at another person as if it's something to be ashamed of. This, coming from someone who turned Carrie Prejean's worth-ignoring ignorance into would-be crusade for gay rights. This, coming after that crusade resulted in a showcase for his inarticulation and inability to win an argument with even a complete idiot who equated not welcoming girls to the Boy Scouts with not allowing gays to marry. That shit drove me crazy because he seemed oblivious to the obvious points (like something as basic as, hey, our values can change as a society as we learn more, particularly about the nature of homosexuality). I didn't write about it, nor have I written much about him in general (despite the very pronounced feeling of bile flooding into my mouth that he regularly produces), because if you say something disparaging about someone who has the same job as you and who's infinitely more successful (numbers-wise, I mean), you end up looking jealous, or at least of dubious motivation.
But I don't care about that at this point, because I couldn't be less jealous of him especially given the current circumstances. I just kind of want to throw up my hands (or in my hands) and call out this character, this persona, this online half-person for what it is: bad for the Internet, bad for gay people, bad for the world. I can't help but feel like everything would be better off without him. I know that's a harsh and extreme point of view and believe me that I paused before typing that to actually consider him and his contribution to society. I'd go as far as to say I racked my brain and I've still come up with absolutely nothing positive or pro-social that he has brought to the world, at least on a public level (and keep in mind that I'm not following his every move, so I could have missed an act of philanthropy or two). But not even the "entertainment" he provides is to be commended, as it ultimately lowers the very low standards of the Internet. Forget the rich and famous, if you are a human being, Perez Hilton makes you look bad, no MS Paint necessary.
And yesterday, that got me down. It's just like, what's it going to take to break this damaging enchantment people have with him? Does he have to hurt someone? Kill them? Actually ejaculate on them? Like, what? But as the day unfolded, it seemed like the overwhelming majority of people who gave a fuck to say anything about this nonsense were calling him on his bullshit. Certainly this was so at Gawker and ONTD (but that's to be expected) but also on Twitter (where Perez's look-at-me's made their debut this time). Kelly Clarkson, that little pop cherub, spoke out against his shit. And then GLADD issued a demand for an apology that summed up his error as succinctly as accurately as possible. It reads, in part: "These are vulgar antigay slurs that feed a climate of hatred and intolerance toward our community. For someone in our own community to use it to attack another person by saying that it is 'The worst possible thing that thug would ever want to hear,' is incredibly dangerous. It legitimizes use of a slur that is often linked to violence against our community. And it sends a message that it is OK to attempt to dehumanize people by exploiting antigay attitudes."
All this backlash gives me hope. We're doing the right thing. We're making ourselves look good. Way to go, everyone. Take back the Paint!
June 23, 2009 in Dumbness, Gayness | Permalink
Typing Yourself
Typing Yourself
By Peter Elliott (03-10-2004)
Having been a replacement board member for SAG and becoming more active on many committees, I have had the opportunity to meet some well know working actors. Many of them are current or recent series regulars on television. One of the most interesting observations that I have made is also one of the most important steps to marketing yourself as an actor:
These actors are very similar to the characters they are known for!
I’m not taking away from their talent by any stretch of the imagination. But I am trying to make a point that is critical to making it in Hollywood. It is imperative that you are very realistic about your "type", since it will be the main determining factor in what you are called in to audition for until you become a recognizable name.
When I cast, I can tell you that the first hurdle an actor jumps through is when they walk through the door. If they don’t appear to be right for the role, they will have to really blow me away with the reading to make me call them back.
What is Type?
For many actors, the problem is knowing what your type really is. Many of us perceive our own looks and mannerisms differently than the people who meet us. But having a realistic take on how others see us, especially those who cast actors, is critical. It can be a harsh reality for many, but until you tackle it, you won’t be able to effectively market yourself.
When you walk into a room full of strangers, there are certain judgement calls you unconsciously make. Some have to do with the way people dress, but most of it has to do with the way people look, how they move and what type of signals they give off. This is the true essence of typing. It has nothing to do with your ability to play a role. It stems from the caster’s viewpoint of whether you look the part.
I’ve played roles on stage ranging from a 70-year-old man to a young British punk rocker. I even walked around town in the make-up as both characters (yes, I probably do need to get a life) and fooled people in one-on-one conversations. But there is no way I would be cast to play either one on TV or in films.
Finding Your Type
To find your type, you must be willing to let go of your current ideas and be open to accept how others view you based solely on your looks and mannerisms. A good friend can’t really help you there because they know you too well. You need to opinions of strangers and acquaintances.
There are many ways to go about doing this. First, you need to see how much you can decide about people from looking at them. Go to a restaurant, mall, airport or anywhere people hang out and look around. See what impressions you get of people based upon their type. How would you cast them? What judgement calls would you make if you had two minutes to decide?
Now that you know it’s possible, the next step is to make a questionnaire for others. You want to have a broad spectrum of questions that will help others type you. Generally, a majority of multiple choice questions are better than open-ended ones. Do they think you are attractive, gorgeous, plain or a character? Are you blue collar or white collar worker? What occupations do they see you in? Are you warm or aloof, happy or sad, funny or serious, powerful or weak, confident or insecure? The more broad your questionnaire, the better off you will be.
Then ask your friends to come over and help "type" you by using the questionnaire. Make any necessary changes to your questionnaire, then put their papers aside and then head out to a mall with someone and have them ask people to look at you and give their impressions. Don’t speak at all. Most people don’t mind helping if you are polite. Believe me, they will be able to answer these questions without even hearing your voice. After all, you did earlier in the restaurant, mall or airport.
Once you have a collection of questionnaires, it’s now time to tally them up and find out what others think of you. Remember that this isn’t personal. It’s just based upon their first impressions. Relax and be open to what you will learn.
Using Your Type
Now that you have a better idea about your type, look at your marketing materials and see if they reflect it. Do your headshots say the same thing as the people who typed you? Are you marketing to casting directors who cast shows that cast your type? Have you been submitting on roles that are your type? This re-evaluation of your marketing will allow you to target roles and casting people who are more likely to use your type and therefore, more likely to call you in. And after all, isn’t that the point?
By Peter Elliott (03-10-2004)
Having been a replacement board member for SAG and becoming more active on many committees, I have had the opportunity to meet some well know working actors. Many of them are current or recent series regulars on television. One of the most interesting observations that I have made is also one of the most important steps to marketing yourself as an actor:
These actors are very similar to the characters they are known for!
I’m not taking away from their talent by any stretch of the imagination. But I am trying to make a point that is critical to making it in Hollywood. It is imperative that you are very realistic about your "type", since it will be the main determining factor in what you are called in to audition for until you become a recognizable name.
When I cast, I can tell you that the first hurdle an actor jumps through is when they walk through the door. If they don’t appear to be right for the role, they will have to really blow me away with the reading to make me call them back.
What is Type?
For many actors, the problem is knowing what your type really is. Many of us perceive our own looks and mannerisms differently than the people who meet us. But having a realistic take on how others see us, especially those who cast actors, is critical. It can be a harsh reality for many, but until you tackle it, you won’t be able to effectively market yourself.
When you walk into a room full of strangers, there are certain judgement calls you unconsciously make. Some have to do with the way people dress, but most of it has to do with the way people look, how they move and what type of signals they give off. This is the true essence of typing. It has nothing to do with your ability to play a role. It stems from the caster’s viewpoint of whether you look the part.
I’ve played roles on stage ranging from a 70-year-old man to a young British punk rocker. I even walked around town in the make-up as both characters (yes, I probably do need to get a life) and fooled people in one-on-one conversations. But there is no way I would be cast to play either one on TV or in films.
Finding Your Type
To find your type, you must be willing to let go of your current ideas and be open to accept how others view you based solely on your looks and mannerisms. A good friend can’t really help you there because they know you too well. You need to opinions of strangers and acquaintances.
There are many ways to go about doing this. First, you need to see how much you can decide about people from looking at them. Go to a restaurant, mall, airport or anywhere people hang out and look around. See what impressions you get of people based upon their type. How would you cast them? What judgement calls would you make if you had two minutes to decide?
Now that you know it’s possible, the next step is to make a questionnaire for others. You want to have a broad spectrum of questions that will help others type you. Generally, a majority of multiple choice questions are better than open-ended ones. Do they think you are attractive, gorgeous, plain or a character? Are you blue collar or white collar worker? What occupations do they see you in? Are you warm or aloof, happy or sad, funny or serious, powerful or weak, confident or insecure? The more broad your questionnaire, the better off you will be.
Then ask your friends to come over and help "type" you by using the questionnaire. Make any necessary changes to your questionnaire, then put their papers aside and then head out to a mall with someone and have them ask people to look at you and give their impressions. Don’t speak at all. Most people don’t mind helping if you are polite. Believe me, they will be able to answer these questions without even hearing your voice. After all, you did earlier in the restaurant, mall or airport.
Once you have a collection of questionnaires, it’s now time to tally them up and find out what others think of you. Remember that this isn’t personal. It’s just based upon their first impressions. Relax and be open to what you will learn.
Using Your Type
Now that you have a better idea about your type, look at your marketing materials and see if they reflect it. Do your headshots say the same thing as the people who typed you? Are you marketing to casting directors who cast shows that cast your type? Have you been submitting on roles that are your type? This re-evaluation of your marketing will allow you to target roles and casting people who are more likely to use your type and therefore, more likely to call you in. And after all, isn’t that the point?
World stocks fall amid fears of more economic woes
I went to look at my 401K this morning and everything was down. Frustrated, I googled this report from the AP:
Asian stocks tumble after World Bank projects more economic gloom; Europe shares down
* By Jeremiah Marquez, AP Business Writer
* On Tuesday June 23, 2009, 5:16 am EDT
HONG KONG (AP) -- Asian stock markets tumbled Tuesday, knocked by heavy losses on Wall Street after the World Bank warned of a sharper contraction in the world economy. European markets were lower in early trade.
Benchmarks in Tokyo, Hong Kong and elsewhere in Asia sank around 3 percent in a broad-based rout as the bank's gloomy forecast undermined hopes of a quicker end to the worst recession in decades. Crude oil prices and the dollar also declined.
Global markets have risen massively since March, with some like Hong Kong up nearly 60 percent, on signs the recession is leveling out and expectations of a return to growth in the U.S. in the second half of this year.
But the World Bank issued new and much more pessimistic forecasts. It expects the world economy to shrink by 2.9 percent and warned that a drop in investment in developing countries will increase poverty. The bank's previous forecast was for a 1.7 percent contraction.
The news added to growing unease in the market over a spring rally that many investors believe has pushed prices too high, too fast and overestimated the scope of any economic recovery. Wall Street's overnight drop also provided a catalyst.
"The markets have been overbought, and now the correction is beginning," said Peter Lai, investment manager at DBS Vickers in Hong Kong. "Investors are facing the reality again. People fear the liquidity and funds will start flowing out of the markets, so we're seeing profit taking."
Early in Europe, Britain's FTSE 100 fell 0.3 percent, Germany's DAX shed 0.1 percent and France's CAC 40 lost 0.5 percent. Stock futures pointed to modest gains Tuesday on Wall Street. Dow futures rose 13 points, or 0.2 percent, to 8,296 and S&P futures gained 0.6, or 0.1 percent, to 889.20.
In Asia, Japan's Nikkei 225 stock average lost 276.66, or 2.8 percent, to 9,549.61 while Hong Kong's Hang Seng shed 521.19, or 2.9 percent, to 17,538.36.
South Korea's Kospi lost 2.8 percent, Australia's index was off 3.1 percent and Taiwan's benchmark dropped 2.3 percent. Shanghai's main stock measure traded lower by 0.1 percent. India's Sensex lost 1.2 percent.
As expectations of higher economic growth wilted, so did shares of resource companies, which have bloomed in recent weeks. BHP Billiton Ltd., the world's largest mining company, slid 4.1 percent in Australia, and heavyweight oil company PetroChina shed 4.5 percent in Hong Kong.
Whether the markets suffer more declines in the coming days could well hinge on figures due this week on U.S. housing, incomes, gross domestic product and other indicators.
Investors will also pay close attention to the U.S. Federal Reserve's comments on the state of world's largest economy when it concludes a two-day policy meeting on Wednesday. The central bank is expected to leave its key interest rate unchanged at close to zero.
Any selling, though, could be offset by institutional investors with large cash holdings looking to get into the market at a lower prices. Such liquidity has helped drive the recent surge in global markets.
About $508 million of fresh money flowed into equity investment funds in the week ending June 17, according to a survey by EPFR Global, a Boston-based firm that tracks global fund flow data.
So-called emerging market funds accumulated the most money, with Asian funds outside Japan reaping some $693 million, helping make up for outflows in the U.S., Japan and Europe. It marked the 15th straight week that emerging market funds took in new money, EPFR said.
Overnight U.S. traders, also unnerved by the World Bank report, dragged stocks to their largest declines in two months.
The Dow fell 200.72, or 2.4 percent, to 8,339.01, its lowest finish since May 27.
The Standard & Poor's 500 index fell 28.19, or 3.1 percent, to 893.04, also leaving the index with its biggest slide since April 20 and erasing its advance for the year.
Oil prices fell on expectations demand will remain weak. Benchmark crude for August delivery was down 64 cents at $66.87 in late Asian trade.
In currencies, the dollar weakened to 95.06 yen from 95.48 yen. The euro was higher at $1.3879 from $1.3844.
Copyright © 2009 The Associated Press. All rights reserved. The information contained in the AP News report may not be published, broadcast, rewritten, or redistributed without the prior written authority of The Associated Press.
Sunday, June 21, 2009
Neda: YouTube Video Too Distressing to Ignore
As Father's Day draws to a close I am reminded about the seriousness of the civil unrest in Iran.
Neda: YouTube Video Too Distressing to Ignore
Neda: YouTube Video Too Distressing to Ignore
Friday, June 19, 2009
Thursday, June 18, 2009
New York City - June Gloom?
A friend in LA keeps telling me about the "June Gloom" that they are currently experiencing. Today was another nasty, rainy, day in NY so I thought it might be one of these so-called "June Gloom" days. I asked my Grandmother if she ever heard of "June Gloom." She is 89 years old (pushing 90) so I thought for sure she would have.
She didn't. So, I went to Wikipedia to find out exactly what this "June Gloom" is.
Apparently, it is basically condensation above the water on the coast also known as the "marine layer." The "marine layer" turns into "clouds" and the condensation that form the clouds is eventually evaporated by the sun - in other words "burns off."
A lot of people use terms but don't really know exactly what they mean. Now that I know I will feel free to use these terms going forward.
June Gloom
From Wikipedia, the free encyclopedia
June Gloom (also May Gray) is a California term for a weather pattern that results in overcast skies with mild temperatures during the late spring and early summer. The condition is prevalent in many parts of the world where marine stratus or stratocumulus clouds are common, particularly off the western coasts of continents—especially off Peru, Namibia, Western Australia, and California. Such cloud systems are persistent year-round off the coast, yet in certain seasons they blow ashore and create the gloomy "May Gray" effect on land. The June Gloom phenomenon has also been known to occur during the early fall in California.
Early mornings during this period are typically foggy, with an occasional drizzle. The fog turns to low clouds by late morning and early afternoon. Finally, by late afternoon, solar heating is sufficient to evaporate the clouds. Often the overcast will be evaporated ("burned off") quickly inland, but will linger along the immediate coast.
In California, the number of days from May to June that are gloomy vary from year to year. Cooler ocean temperatures, associated with La Niña, usually foretell a more gray period.
June Gloom has been reported by some Californians to bring on symptoms consistent with seasonal affective disorder. It is often cited as a time of depression.
So even though NYC is not technically experiencing June gloom we are apparently experiencing a bit of "April showers bring May flowers" a month late!
Whatever you call it - it sucks!!! And it's very depressing.
She didn't. So, I went to Wikipedia to find out exactly what this "June Gloom" is.
Apparently, it is basically condensation above the water on the coast also known as the "marine layer." The "marine layer" turns into "clouds" and the condensation that form the clouds is eventually evaporated by the sun - in other words "burns off."
A lot of people use terms but don't really know exactly what they mean. Now that I know I will feel free to use these terms going forward.
June Gloom
From Wikipedia, the free encyclopedia
June Gloom (also May Gray) is a California term for a weather pattern that results in overcast skies with mild temperatures during the late spring and early summer. The condition is prevalent in many parts of the world where marine stratus or stratocumulus clouds are common, particularly off the western coasts of continents—especially off Peru, Namibia, Western Australia, and California. Such cloud systems are persistent year-round off the coast, yet in certain seasons they blow ashore and create the gloomy "May Gray" effect on land. The June Gloom phenomenon has also been known to occur during the early fall in California.
Early mornings during this period are typically foggy, with an occasional drizzle. The fog turns to low clouds by late morning and early afternoon. Finally, by late afternoon, solar heating is sufficient to evaporate the clouds. Often the overcast will be evaporated ("burned off") quickly inland, but will linger along the immediate coast.
In California, the number of days from May to June that are gloomy vary from year to year. Cooler ocean temperatures, associated with La Niña, usually foretell a more gray period.
June Gloom has been reported by some Californians to bring on symptoms consistent with seasonal affective disorder. It is often cited as a time of depression.
So even though NYC is not technically experiencing June gloom we are apparently experiencing a bit of "April showers bring May flowers" a month late!
Whatever you call it - it sucks!!! And it's very depressing.
Tuesday, June 16, 2009
Twitter Me
Yesterday I was a twittering fool! How can you not be when you're interacting with hot shot entrepreneurs, cool people in Countries all over the world and of course celebrities like @KirstieAlley interacting back with you???!!!
This is the view from my Tweet Deck:
This is the view from my Tweet Deck:
Sunday, June 14, 2009
@PETERFACINELLI & @NEWMOON MANIA!!!
Today Peter Facinelli from "Nurse Jackie" and "New Moon" really ramped up his plea to "New Moon" fans to help him get to 500,000 Twitter followers to win a bet with his friend Rob Defranco (@211me).
CHECK IT OUT:
(Hint: Read from bottom of Tweets up:)
# We're in the Trending Topics! Rob D., start shaving your backside!about 2 hours ago from web
# Please go to @211me and see what I'm up against. Don't you want to see this guy do a bikini dance?about 3 hours ago from web
# Oh yes... I almost forgot. A team Edward sticker on his rear... Maybe we should make it TEAM CARLISLE~about 3 hours ago from web
# So lets win this bet together.about 3 hours ago from web
# I think I got the better end of the bet. Who wants to see a grown man humiliated in front of 500, 000 people. Yes. I will video for you guysabout 3 hours ago from web
# If he loseshe has to dance down Hollowood Blvd in a bikin singing "All the single ladies", while holding a sign that says "Twitter Me"...about 3 hours ago from web
# If I lose he gets the back of my actors chair from TWILIGHT. Which sucks cause he's not even a Twilight fan!about 3 hours ago from web
# Here's the bet one more time... Rob Defranco bet me I couldn't get 500,000 followers by June 19th. #peterfacinelliabout 3 hours ago from web
His friend Rob clearly got the raw end of the deal. Peter Facinelli should be the one to have to run down Hollywood Blvd. in a bikini singing "All The Single Ladies"!!!
http://www.twilightblog.net/2009/06/fan-made-new-moon-trailer.html
The song "Crazy Moon" by "Winter Moods" in this Fan-Made Trailer really got me hooked:
LYRICS
"Crazy Moon" by Winter Moods
There`s a crazy moon today
Run away, run away
Happy world`s adopted son
Come undone, but it’s alright
Times you feel so alone, sitting here
Blindly in a hall, so small
Turn the page and walk away
Walk away, walk away
Find the strength to carry on
Carry on, you`ll be all right
Try to figure out what’s wrong
Finding somewhere to belong
When all your senses reel
I want you to know
I still believe
I can achieve
What seems so hard and looks so bold
So I can feel
What life can deal
I`ll let the music take me home
There`s a crazy moon today
Run away, run away
What you have is what you`ve done
And what will be would be your ride
Cos I believe that everything
Revolves around the remedy of love
That’s what I believe in
I surrender to the song
And everything will tag along
That’s how I really feel
Saturday, June 13, 2009
TOP 100 HORROR MOVIES OF ALL TIME
I am researching the Horror Movie Genre for a class and need to take a look at the Top Ten Horror movies of all time!
Even though www.IMDB.com is pretty much the source for anything Film related I found another list of TOP 100 HORROR films of all time on http://www.best-horror-movies.com/100-top-horror-movies.html
I will select 10 from this list to study the genre.
Even though www.IMDB.com is pretty much the source for anything Film related I found another list of TOP 100 HORROR films of all time on http://www.best-horror-movies.com/100-top-horror-movies.html
I will select 10 from this list to study the genre.
Top Rated "Horror" Titles
100. Final Destination (2000, Directed by James Wong)
99. Dead Ringers (1988, Directed by David Cronenberg)
98. The Ring (2002, Directed by Gore Verbinski)
97. Frankenstein (1931, Directed by James Whale)
96. Scream (1996, Directed by Wes Craven)
95. Bram Stoker's Dracula (1992, Directed by Francis Ford Coppola)
94. Night of the Creeps (1986, Written and Directed by Fred Dekker)
93. Salem's Lot (1979, Directed by Tobe Hooper)
92. Invasion of the Body Snatchers (70s version)
91. IT (1990, Directed by Tommy Lee Wallace)
90. The Lost Boys (1987, Directed by Joel Schumacher)
89. Dog Soldiers (2002, Written and Directed by Neil Marshall)
88. Return of the Living Dead (1985, Written & Directed by Dan O'Bannon)
87. The Beyond (1981, Directed by Lucio Fulci)
86. Pet Semetary (1989, Directed by Mary Lambert)
85. Nosferatu (1922, Directed by F.W. Murnau)
84. The Wolfman (1941, Directed by George Waggner)
83. The Mummy (Universal) (1932, Directed by Karl Freund)
82. Darkness Falls (2003, Directed by Jonathan Liebesman)
81. Grindhouse (2007, Directed by Quentin Tarantino and Robert Rodriguez)
80. Seven (1995, Directed by David Fincher)
79. Friday the 13th Part 2 (1981, Directed by Steve Miner)
78. Don't Look Now (1973, Directed by Nocolas Roeg)
77. Videodrome (1983, Written and Directed by David Cronenberg)
76. Event Horizon (1997, Directed by Paul Anderson)
75. the Stepford Wives (1975, Directed by Bryan Forbes)
74. Puppet Master (1989, Directed by David Schmoeller)
73. The Birds (1963, Directed by Alfred Hitchcock)
72. Hostel (2005, Directed by Eli Roth)
71. Army of Darkness (1992, Directed by Sam Raimi)
70. Beyond the Mask (2006, Directed by Scott Glosserman)
69. From Beyond (1986, Directed by Stuart Gordon)
68. Poltergeist (1982, Directed by Tobe Hooper)
67. The Quartermass Xperiment (1955, Directed by Val Guest)
66. Re-Animator (1985, Directed by Stuart Gordon)
65. Amityville Horror (1979, Directed by Stuart Rosenberg)
64. Horror of Dracula (1958, Directed by Terrence Fisher)
63. Jacobs' Ladder (1990, Directed by Adrian Lyne)
62. Tenebrae (1982, Written and Directed by Dario Argento)
61. Altered States (1980, Directed by Ken Russell)
60. The invisible Man (1933, Directed by James Whale)
59. Dawn of the Dead 2004 (2004, Directed by Zack Snyder)
58. The Host (2006, Directed by Joon-ho Bong)
57. The Omen (1976, Directed by Richard Donner)
56. The Legend of Hell House (1973, Directed by John Hough)
55. Phantasm (1979, Directed by Don Coscarelli)
54. The Wicker Man (1973, Directed by Robin Hardy)
53. Rosemary's Baby (1968, Directed by Roman Polanski)
52. Saw (2004, Written and Directed by James Wan)
51. Feast (2005, Directed by John Gulager)
50. Halloween 2 (1981, Directed by Rick Rosenthal)
49. Misery (1990, Directed by Rob Reiner)
48. The Mist (2007, Directed by Frank Darabont)
47. A Tale of Two Sisters (2003, Written and Directed by Ji-woon Kim)
46. Village of the Damned (1960, Directed by Wolf Rilla)
45. Day of the Dead (1985, Written and Directed by George A. Romero)
44. Cemetary Man (1994, Directed by Michele Soavil)
43. High Tension (2005, Directed by Alexandre Aja)
42. Bride of Frankenstein (1935, Directed by James Whale)
41. The Curse of Frankenstein (1957, Directed by Terence Fisher)
40. Ginger Snaps (2000, Directed by John Fawcett)
39. The Abominable Dr. Phibes (1971, Directed by Robert Fuest)
38. Hell Raiser (1987, Directed by Clive Barker)
37. The Sixth Sense (1999, Directed by M. Night Shyamalan)
36. The Serpent and the Rainbow (1988, Directed by Wes Craven)
35. The Orphanage (2007, Directed by J.A. Bayona)
34. The Blair Witch Project (1999, Written and Directed by Daniel Myrick and Eduardo Sanchez)
33. Shaun of the Dead (2004, Directed by Edgar Wright)
32. 28 Days Later (2002, Directed by Danny Boyle)
31. Black Christmas (1974, Directed by Bob Clark)
30. Audition (1999, Directed by Takashi Miike)
29. Silence of the Lambs (1991, Directed by Jonathan Demme)
28. The Thing (1982, Directed by John Carpenter)
27. Aliens (1986, Directed by James Cameron)
26. Suspiria (1977, Directed by Dario Argento)
25. Jaws (1975, Directed by Steven Spielberg)
24. Zombi 2 (1980, Directed by Lucio Fulci)
23. Interview with the Vampire (1994, Directed by Neil Jordan)
22. The Eye (2002, Directed by The Pang Brothers)
21. Frailty (2001, Directed by Bill Paxton)
20. Dead Alive (1992, Directed by Peter Jackson)
19. The Howling (1981, Directed by Joe Dante)
18. The Descent (2005, Directed by Neil Marshall)
17. Ju-On (2000, Written and Directed by Takashi Shimizu)
16. Texas Chainsaw Massacre (1974, Directed by Tobe Hooper)
15. May (2002, Written and Directed by Lucky McKee)
14. White Zombie (1932, Directed by Victor Halperin)
13. Carrie (1976, Directed by Brian De Palma)
12. Ringu (1998, Directed by Hideo Nakata)
11. An American Werewolf in London (1981, Written and Directed by John Landis)
10. Evil Dead (1981, Directed by Sam Raimi)
9. Friday the 13th (1980, Directed by Sean S. Cunningham)
8. Psycho (1960, Directed by Alfred Hitchcock)
7. Nightmare on Elm Street (1984, Directed by Wes Craven)
6. The Shining (1980, Directed by Stanley Kubrick)
5. Night of the living Dead (1968, Directed by Dean Lachiusa & George Romero)
4. Halloween (1978, Directed by John Carpenter)
3. Dawn of the Dead (1978, Written and Directed by George A. Romero)
2. Alien (1979, Directed by Ridley Scott)
1. The Exorcist (1973, Directed by William Friedkin)
THIS YOUTUBE VIDEO HELPED REFRESH MY OWN MEMORY WITH IMAGES:
Subscribe to:
Posts (Atom)
Posts
