Packed and Ready for L.A.

Moving back to Los Angeles after working in the East for several years. Most of the past few months have been spent wrapping up projects, sorting and getting rid of things, packing up what's left, and saying good-bye to all my actress friends that I've been lunching with once a month. (Good luck, Girls! Come and see me!)

Now I have just four weeks to rework my reels, find a place to stay, catch up with friends in the business in L.A., and get a local agent.

More on all those topics in the coming weeks. Anxious. Excited. Exhausted. But I've got it all together now. (I think.)

Greta Gerwig's Lady Bird is a Must-See

Actresses have been complaining for years about the lack of roles (and meaningful roles) for women, but one really positive thing that has come about as a result is that more actresses are not only opting out of Hollywood and finding great roles in Europe (Kristen Scott Thomas, for one) but many are also starting to produce/write/direct their own films.

One of these is Greta Gerwig, an actress that I just loved in the quirky 2015 film Mistress America, which she starred in and wrote. This year she took a turn as writer/director of Lady Bird, which has set a new record as the most well-reviewed film of all time at the online movie site rottentomatoes.com.

This is a story that will reveal more and more each time you watch it. The performances are wonderful, especially Laurie Metcalf.  Here's the trailer:

Getting Your Clips

Our local actors group had an online discussion recently of ways to gather your clips together for your demo reel, a topic I’ve touched on before and worth repeating as young filmmakers especially frequently seem to have something “better to do” than get clips out to their cast.

If the film or TV project you appeared in is somewhere online, there are online services that can get the clip for you. Actors have used ripit.me or clipgrab.org, which has a program for both Mac and Windows. Expect to pay a small fee however.

If the project is posted to YouTube, you can easily download the whole thing to your desktop by simply replacing the “www.” in the url with “ss” (without the dot). This will redirect you to Savefrom.net, where you can click on "download video in browser" (look on the lower right third of the screen) and select the video quality you prefer. Done in less than a minute and free.

If the film/TV project itself isn’t posted to YouTube, see if you can at least find the trailer, which still gives you something to post on your websites. You can also use software (I use "Grab") to capture stills from the trailer, which are in the public domain since a trailer on YouTube is already public.

The best strategy is getting a clips commitment from the producer upfront, either when you sign the contract or during shooting, and establishing a time frame, as in "you will get HD clips within three months of shooting the film." Follow up after filming with a 'thank you' email reminding him/her of the conversation; say you just want raw footage (no music or effects), and ask when would be a good time to check in on the finished product. Then follow up at that time. If the clips aren’t forthcoming, keep emailing every few weeks until you get them. Persistence is usually successful.

With students, remind them that they can email the clips for free via WeTransfer (or other such sites) and provide the link. Be sure your deadline is before they graduate from film school, and start your time frame with the end of shooting. Don't say "three months from finishing the film."  I made that mistake with one student filmmaker and it's amazing how long it's taken him to "finish."

With student films and other low budget productions you can also do as one Los Angeles actor does: put it in your contract that you get useable HD clips within three (or six, you decide) months of shooting or the filmmaker agrees to pay an additional $400. This strategy reportedly has an amazing effect.

When you get into larger productions your agent may be able to help, although once you start appearing regularly at that level you won't need a reel because everyone will have seen you.

Actors live for that day.

Consider The Magic of Believing

An actor friend sent me an interview clip of comedienne Phyllis Diller recently where she mentions Claude Bristol's 1948 book The Magic of Believing. Miller said the book had completely changed her life by giving a suburban housewife and mother of five the courage and determination to try stand-up comedy, which is no easy road for anyone.

Here is an audio synopsis of the book from YouTube. It's a little "woo-woo" perhaps, like books on Nostrodamus, but I also found it interesting. I grew up hearing my father talk about the "power of positive thinking" and it also reminds me that those who succeed in this business aren't necessarily the ones who are most talented but those with the most desire. As author/screenwriter William Goldman put it, you have to want success more than anything in the world.

Here Bristol seems to be saying that wanting something, and having the confidence and unshakable belief that you will get it, makes it happen. Call it God, call it The Force or whatever, there is something that connects us all that we humans can tap into. Moreover if you can visualize what you want, what success looks like - and the greater detail in your vision the better - the more likely you are to achieve it.

He cautions, however, not to share your vision of success, because to do so opens you up to the naysayers who tell you it won't happen, it won't work, and you're silly to even want such a thing. Stay focused. Keep it in your heart.

As I said, it's a little "woo-woo," but I have also found that in times of crisis, when I am most focused on finding a solution, someone with the answer seems to appear out of nowhere. So maybe there is something to Mr. Bristol's book after all although, as a Catholic, when things work out I always remember to give a heartfelt "Thank God."

Called to Act Against Type

One of the things I’ve been bumping up against in the past year, with great frustration, is being called to audition for a role that seems the polar opposite of the roles I’m usually cast to play (i.e. senator, judge, executive, strong women). Blue-haired granny is the one I see most frequently – small, plump, caring, no strong identity, sometimes comical. It's like when you get older you become a ghost; just the faintest impression of a person.

The only apparent fit for these roles is the age range. I’m not plump. I don’t have gray hair. I'm 5 ft. 8 inches tall. Nothing in my posted head shots or reels gives me any clue as to what the casting director might have been thinking of in asking me to audition.

Blue-haired Granny? Nah.

I’ve discussed this with actor friends and the responses have ranged from the limited vision of American film and TV (if you’re a certain age, you’re a blue-haired granny) to the possibility that I’m “above market” in the southeast, where many of these roles are being offered (although I’ve heard the market there is changing) to the idea that I am a blue-haired granny, but don’t yet see myself that way (!!!!!!).

Another suggested that, while I wasn’t a strong fit for the role being cast, perhaps – because of my strong résumé – the casting director just wants to see me on tape.

I've thought about that, but trying to pretzel myself into something I’m not, and often for a minor role, doesn’t seem like a good long-term strategy. It goes back to advice for young actors that I read some years ago: don’t put yourself in front of casting until you’re sure you’re giving them your best or you’re going to leave them with the impression that you’re a lousy actor. When I try to play a sweet little blue-haired granny, I’m a lousy actor.

Frances Bavier

What I finally concluded is that if casting simply wants to connect with an actor, and to learn more about them and their ability beyond what they see on their reel and clips, then a better strategy perhaps is to toss out the role’s character description and to interpret the lines as you would in your strongest persona. Not Frances Bavier but Anne Bancroft, for example.

It could be that casting isn't yet seeing other possibilities and that you'll be so different you'll stand out and get the role anyway. (Remember, when they were casting The Graduate they originally thought of Ben as a young Robert Redford type, not dark and Jewish Dustin Hoffman.)

So for me, if plump with blue hair really is what they have in mind, I won't get the role but casting may remember me in a better light for next time when the role may play closer to my strengths. That's a better strategy perhaps than just groaning and taking a pass on the audition.

Anne Bancroft

Whatever Happened to Darlene Parks?

I love watching old movies and television shows and every now and then I see an actor or actress that is such a standout I wonder what other roles they did and where their career went.

Actress Darlene Parks

This happened last night as I was watching a two-part episode of the old Barney Miller series titled "Wojo's Girl," with Darlene Parks in the title role. Parks was a willowy blonde who was pretty bordering on gorgeous. She had great comic timing (you can see a touch of Judy Holliday) and her chemistry with Max Gail (who is still acting at 74) was perfect. (Watch her face in Part 2 when Gail asks her why she "started hooking.") Most important, she had a face that had that special something that makes a star; she was not interchangeable, she was memorable.

But Darlene Parks, after this wonderful episode, had just one more role, and then she disappeared. What happened? Did she die tragically? Did she get discouraged and quit? Did she change her name and continue acting as someone else? Did she opt for marriage to some wealthy producer and live the good life, if only for a time?

Searching the Internet, I found I'm not the only one to have asked.

Fate takes odd turns in this business. Some have long careers but never get a single iconic role. Virginia Gregg, a phenomenal voice actress on radio, went on to appear in more than 200 character roles on television (virtually every narrative series from the late 1950s through the early 1970s), but said, "I work steadily, but I have no identity." And she was right. Although people recognize her when they see her in a role, they don't know her name. (But think of her residuals!)

Some actors seem to get one iconic role after another: Humphrey Bogart as Richard Blaine in Casablanca, Charlie Allnutt in The African Queen; Sam Spade in The Maltese Falcon. (I'd add Harry Morgan in To Have and Have Not, but that was really Bacall's picture.)

Other actors get an iconic role - Cleavon Little in Blazing Saddles, for example - but then their career doesn't seem to take off as you would expect. Little had finally landed a role in the 1990-1991 series Baghdad Cafe and had appeared in 12 episodes when he passed away.

Bogart in Doctor X

Whatever fate throws at you, the important thing as an actor is not to quit. Remember that just two years before High Sierra and The Maltese Falcon, and three years before Casablanca, Bogart's big film was The Return of Doctor X. You never know what's just around the corner.

So Darlene Parks, wherever you are, God bless you. I'm sorry you didn't have a bigger career, but you had one role that was wonderful. And when you think about it, that's a kind of immortality.

See Darlene Parks on YouTube here: https://www.youtube.com/watch?v=E1tQ0bA7hL8&t=11s

p.s. When you watch old films and television series, as I often do, and discover an actor you didn't know, whose performance absolutely captivates you, learning they had already passed away can bring a terrible sense of loss. As if some treasure was offered and then snatched away. I felt that when I stumbled onto the brilliant 1980 BBC political satire Yes, Minister (and its 1986 sequel Yes, Prime Minister) only to learn that its two leads, Paul Eddington and Nigel Hawthorne, were already gone.

As such, I was heartbroken to hear from readers last year that Darlene Parks had passed away, but thankfully that has now been corrected (See comments below). According to family members, she is still alive and living in Ohio, having left acting for marriage and family.  Max Gail at the time of this initial post was still acting at 78, most recently as a regular (132 episodes) on the daytime drama General Hospital. Thanks for the correction. It made me smile.  :)

Off the Radar

Packing and preparing to change residences. Much to do. Will resurface in a couple of weeks when I can finally take a deep breath and focus on auditions again.