Originally posted Dec. 5, 2013
I had a revelation a couple of months ago. It wasn’t a big revelation. I had suspected it for some time: Something awful always happens when you act.
By chance, I happened to be working on three jobs at the same time. This is not because I was popular. I had gone several months at the beginning of the year without an audition. This was bad timing. I had to do a night shoot on a movie in Los Angeles, shoot a project in Virginia, then fly back and shoot a pilot. This was all supposed to happen over a seven-day period including travel.
It meant no sleep. Stealing food off of craft service trucks. It meant eight days of panic. I kept saying to myself, “If only I had time!”
Working on the first movie, “Men’s Group,” we had to shoot nine to 10 pages each day to make our schedule. It was relentless. Again, there was no time.
One evening we got into a long scene featuring Tim Bottoms. Tim gave an effortless and powerful performance. Cast and crew congratulated him afterward. The problem was, because of the schedule, we could only shoot the master that day. We had to pick up his close-ups starting at 6:30 a.m. the next day. It seemed like cruel and unusual punishment to force an actor to stay “in the zone” of a difficult scene overnight. Tim shrugged it off. He said, “You gotta do what you gotta do.”
It made me think of all of the times I was upset having to do my close-up first thing after lunch. Or last up at the end of a day. Acting with a dog in “Garfield.” Acting with a C stand and a piece of green tape when certain stars preferred to stay in their trailers. On “Deadwood” they never washed your costumes. On “Heroes” you had no idea what you were doing. On “Glee” you had to dance. Horrible.
The revelation: You never have the right circumstances to do your job. The horrible isn’t the exception. It is the rule.
Crisis management is never part of the acting curriculum. That’s too bad. Rolling with the punches is key to success in this business. It’s not whether you can cry on cue. It’s whether you can cry on cue, in a windstorm, while drinking a fake beer out of a dirty glass.
How do you do that? I’m not really sure. Grab onto the story like it’s the mane of a runaway horse? That helps sometimes. The one thing I do know: It happens to everyone. It’s not just you. Recently, I have tried a mental adjustment that seems to work: Don’t look at calamities as a wall between you and your work. Think of them as little surprises life is giving you to keep it fresh.
The unexpected is like a jacket you buy at a garage sale. It never seems to fit when you first try it on, but somehow, it becomes what we love the most.
Originally published backstage.com Nov. 21, 2013.
Photo Source: Clay Rodery
It is always interesting to talk to actors to see why they pursued this strange career of legally pretending to be other people. Like any neurosis, it often centers on something from childhood.
It could have been a desire to be Dorothy in the “The Wizard of Oz.” Children often imagine it’s fun to do things like dancing with lions or flying in tornados.
It could have been a belief that what actors did in movies was real. When parents explain the facts of life to their children, they should be required to include a brief explanation of green screens.
It could have been fame. To win an Academy Award. I remember being 10 years old, practicing my best-actor speech in the shower. I won that year against Gary Cooper. I began by thanking all of the people who helped me get to this moment. Even as children we are aware that humility takes a lot of practice.
For me, it was all and none of these things.
In truth, my love for acting came from my greatest performance. I was five. I was in first grade in Sunday school. Our teacher asked all of the boys to get up and play David in his pre-Goliath days, back when he was a shepherd, tending his father’s flocks.
Most of the boys did something silly. They pretended they had machine guns and tried to shoot each other, the sheep, and anything else in the vicinity. Not me. I stood up. I held out my hand. I felt a staff in it. From out of nowhere I felt the desert wind. The sun was setting. I saw motion in the brush in front of me. I froze. I was certain it was a wolf. I clutched my staff tighter. I put myself between my sheep and the perceived danger. I moved closer. Slowly. I made a sudden move with my staff. A wolf ran away in fear. I pursued it for a few steps and then stopped. I watched it disappear over the ridge. I didn’t celebrate my victory. I knew he would be back.
The teacher stopped the exercise. She told us to sit down. She mildly scolded us boys for being silly. Then, she turned to me and said, “Except for you, Stephen. I saw you protecting your sheep. I saw the wolf. You were a wonderful King David.”
I was surprised she saw what I saw. I was proud. It was my greatest performance. My most complete. I have been chasing the high of my King David in the Wilderness ever since.
I have fallen short on most occasions. But I haven’t given up. I still look for the return of the wolf. With each audition, be it movie, sitcom, or voiceover, I look for the chance of reaching that moment of complete belief. A chance of once again becoming the unlikely king. A chance to write songs about the wars I have fought and the giants I have slain.
Originally posted November 7, 2013 at backstage.com.
Photo Source: Clay Rodery
I’m not sure who invented comedy, but it is safe to say someone slipped on a banana peel at least 3,000 years ago. The earliest plays we value come from the Greeks. The Greeks loved tragedy. Sophocles, Euripides, and Aeschylus were wrestling with ideas that normally dwell in the realm of religion. What is a man? What is sin? What is redemption?
Aristophanes was sitting on the other side of the aisle saying, “So what? Who wants to get laid?” Comedy was born.
The ancient Greeks were very good at asking questions and coming up with answers. They were so good at it, we call their brief moment in the sun the golden age.
One of the architects of the golden age was the prize pupil of Plato, Aristotle. Aristotle wrote brilliantly on almost every subject, from physics to metaphysics. He wrote about the art of comedy. What makes Aristotle’s observations so important is that they still are true. That’s saying something.
Aristotle combined his vision of drama and comedy with his observations about human nature, which makes them doubly exciting. He said that every emotion experienced by man is on a sliding scale: passion, appetite, anger.
The superior man is in the center of the balance for each emotion. He doesn’t get too angry, yet he isn’t a wimp. He isn’t too lecherous, yet he isn’t a prude. To live in the center of the scale is difficult. Balance is man’s goal.
The man who stands at the center of the scale is the subject of tragedy. Oedipus, Orestes, and Electra are no different from Hamlet, Macbeth, and King Lear. They all are fighting to recover balance while their worlds shift and crumble. They are the subjects of tragedy.
The characters who live on the edge of the scale are the subjects of comedy: the fellow who thirsts for money, and the fellow who won’t spend a dime. The fellow who cries at the drop of a hat, and the fellow who shows no emotion at all. The fellow who lusts—and the cold fish. All funny.
Whether you are writing or doing improvisation, a lot of mileage is to be gained by riding the edge. Find the themes that depict balance in a piece. See if your character is emotionally limited in a certain area. If so, that can be a source of comedy, according to Aristotle.
One of the most brilliant ideas of Aristotle is the notion of something he called “techne.” We derive the word “technique” from this idea. It describes the skills and tools we use to move an audience. There are many facets to this concept. The one that relates to comedy is startling. Aristotle said that when the brain understands that something it has just heard is true, “techne” occurs. A circuit closes. The connection creates a small burst of pleasure.
This underscores one of the Ten Commandments of comedy: If there is no truth—we don’t laugh.
Originally posted October 24, 2013 at backstage.com.
I was watching the British Open on television. It is notable in that it is the only six-hour television show I know that starts at 3 a.m. They don’t care about ratings. They are only competing against the weed whacker infomercial and the guy selling nickels.
I got up at dawn to watch. There is something hypnotic about watching people doing something that is incredibly difficult and incredibly pointless at the same time. I was listening to the analysts discussing play. In my semi–dream state I could swear they were talking about acting.
Their first suggestion was to visualize. It is important to see the shot. To do that, you have to practice. Practice creates confidence. Confidence creates ease. Ease creates beauty.
For an actor, the driving range could be a class, a production, even a reading. The more you feel success in your efforts, the more you will see it in the future.
Later in the round, the golf expert commented on a player who was losing his lead. He said the golfer appeared to be “overthinking.” He said people played better when they remembered golf was still a game.
Actors often forget that to act is to play, even if you are in a tragedy. Only moment-to-moment playing can breathe and come to life. To do that, Stanislavsky named the identical skills the golf analyst said the best players possessed: concentration and relaxation. Those two come together naturally when we play.
One of the players finished his round. It was clear he was proud of his score. He was asked to what he attributed his success? He said, “I didn’t have my best stuff today, but I was thinking well.”
It is natural for actors to embrace the notion that “acting is emotion.” I don’t think it is. Humans are emotional all the time, but to act requires clarity of thought. If you understand who you are in a scene and what the stakes are, your emotions will be appropriate. Clarity of thought will save you even if you don’t have your “best stuff.”
On the 18th hole, a golfer was looking at a putt from all angles. The commentator said the main thing “the folks at home” needed to remember is that “Your putt is your putt. It may be seven feet long. You wish it were one. It’s not. Be happy it’s not 12.”
Things can always be easier in an audition or on the set. Make the best of it. Embrace the challenge. It creates a positive attitude that leads to more success.
As the telecast was coming to a close, the broadcasters were trying to hype the next day’s round. They said it was a crowded leader board. Anyone could win. “Momentum isn’t a string of victories; it is one shot.”
It’s always good to remember that a losing streak ends with a single, successful swing. It gives one hope. That’s why golf is such a fascinating game.
Live at The Classic / One Night Only
8:30 pm, Friday 27 December
Click here for more info!
I will be doing old and NEW stories.
I am planning to do the same show in San Francisco this year at the Sketchfest! So if you can’t make it across the International Date Line this time and are in the Bay area…be watching for further announcements!
Originally posted October 10 , 2013 at backstage.com.
I was asked to be in a SAG Low Budget movie. I think that is what it’s called. SAG-AFTRA has developed so many new subbasements in its contract hierarchy , I wasn’t sure how it defined the official agreement I signed. It could have just as easily been a “SAG Ultra Low Budget” or a “SAG Extremely Ultra Ultra Low Budget” or a “SAG So Incredibly Low Budget God Knows Why There Is Even a Contract” contract. I don’t know. The reason I did the film was not money. The script moved me. The part was very different from anything I usually get to do. That was the reason why I agreed to do it. I think.
As we began to shoot the film, the entire ensemble of wonderful actors had to endure many hardships: dawn call times, no stand-ins, no dressing rooms, no toilets. To be truthful, there were toilets on the premises. We could use them. However, by the end of production, they gave up. Not only did they cease to be functional, but on the final day of shooting, they began to fire human waste at us.
I had to re-examine the question “Why?” We have already established it wasn’t for money or being treated like royalty. It wasn’t for the craft services. By noon the only things left on the snack tables were a jar of peppermints and a bowl of salt from eaten taco-flavored Doritos. It didn’t matter. I was still there grazing. Licking my finger and pressing into the crumbs to get what I could.
One of the actors joked that he hoped the movie would be recognized for awards. He said the script and the roles were so unusual. He wasn’t kidding about the script, just the awards. I knew, in that instant, I wasn’t doing the film for recognition.
There were times during the shooting when I doubted whether the film would ever see the light of day. Not because of the quality of the film but because of the complexity of the film business. The expense of marketing and postproduction is so prohibitive. But that didn’t matter either. I realized I wasn’t doing the film to be seen.
What? Impossible. Now we are beginning to defy the very idea of what acting is.
Why was I doing this project? Why was it important to me? If it wasn’t for money or career or even to be seen—why?
The answer came to me after the last day of the shoot.
It was not to be seen or heard but to speak. It was to stand at the edge of the Grand Canyon and yell into nothing to see if there was an echo. Whether or not there is an echo is unimportant. What is important is the search for something that returns: a sound, a friendship, a memory, an insight. A reason why.
It could be that art and prayer have a lot in common. The act itself creates its own echo, even if we never hear it.