At last I have a V.O. Reel:
This pulls together clips from my audio dramas, a couple of the video game characters I’ve recorded, a feature film voice-over that was recorded but never used, and that fake commercial I did on someone’s podcast. There are a couple of other things floating out there that I haven’t acquired yet, and at least one hopeful future gig that would add nicely to this, but I think there’s some decent variety and entertainment happening in a minute there.
It’s also on YouTube, since that may be more convenient under some circumstances.
Voice work is known for being a pretty cushy gig at the pro level, and for being REALLY hard to break into the pro level. Nevertheless, I do see gigs popping up on casting notices once in awhile, and have been lacking the means to effectively pitch my abilities. So this is a big step in the right direction.
Now I just need enough of my on-camera work to find its way back to me…
Very proud to announce that I’ve joined the cast of Reclaiming Friendship Park, an independent comedy/drama feature film that will be shooting in and around San Pedro in August. This is going to make August a pretty crowded month on the acting front, as I will also be performing in The Tavern and rehearsing for Romeo & Juliet at Shakespeare-Summerfest Orange County at the same time. Still, it’s a tremendous opportunity for me to play a major role in what has the chance to be a very charming ensemble piece. I will play Dale, an oddball shut-in at an apartment complex where a businessman who wants to trade in the corporate life for the “healing arts”, has just moved in and started disrupting lives.
This will be a major step up from the challenges of Cloudy With a Chance of Sunshine. I was told I could be on for as many as eight of their eighteen shooting days, with some long, complicated scenes involving many characters. We’ll be moving at microbudget pace, no doubt; still, my hope is that I can rise to the occasion and give the filmmakers some good work.
I tend not to say things in advance so as not to jinx myself, but I have another feature audition coming up in a week that I am dearly hoping to land. Just getting into one movie gave me a major boost of confidence; after this, I’m actually starting to dare to think I can do this regularly!
Habitat is here. By which I mean it is now available for download and streaming! Actually, this is only possible at the Earbud website at this exact moment; Earbud’s web designer needs to re-do something with our RSS feed to get us onto iTunes and all the rest. But it is now finished, and public, and FREE. I do hope you listen and spread the word.
I wrote an essay about my love for sci-fi and the development of the idea which you can read at the Earbud blog here.
“I wrote the first draft in a week, intending it to be a short film, but as Tolkein once wrote: “This tale grew in the telling.” I realized we needed time to really take Danna on something resembling the human journey, and even with this version of Habitat realized, I never get tired of writing about Danna and Interface, and their attempts to get through this thing called Life.”
Written/Edited by Nicholas Thurkettle
Danna – Christine Weatherup
Interface – Nicholas Thurkettle
Premiering tomorrow at Earbud Theater:
Artwork by Kevin Necessary
There’s a word I love: “gesamtkunstwerk”, roughly from German, it means “total artwork”, and was used by Wagner to describe opera as an artistic mode that could unify many artistic disciplines within it – composition, performance, design, painting/sculpture, etc. These days, film is our dominant gesamtkunstwerk, but to me what is most exciting it not just gathering multiple artistic modes under one umbrella, but about seeing the chain of inspiration, one piece of art generating another, and so on. It’s thrilling that a thing that springs into being from nothing can have such rapidly-mutating offspring.
Anyway, this wonderful cover piece Kevin did puts me in mind of that. It’s a wonderful image to look at, and it took me a bit to remind myself that it only exists because of a story that I wrote. So his artistry becomes a part of the whole that is Habitat, along with my script and performance, the incredible music (which, while not composed for us, nonetheless suits perfectly), and Christine’s performance, which I am dying to share with you.
Happy to announce that, after many months’ work, my first episode of Earbud Theater, Habitat, is going to launch next Saturday, the 21st! In brief: Earbud Theater is a podcast dedicated to creating new, original audio dramas in the sci-fi/fantasy/horror genre. I adapted Habitat from a screenplay of mine, and we recorded it late last year – with Christine Weatherup and myself playing the two roles and Matt Enlow handling voice direction.
I’ve been slowly but surely editing the piece, adding music and sound effects, and we tested the first cut last week to very positive response. It’s the story of a spaceship crash and a planet of hyper-rational non-corporeal aliens, or maybe it’s a story about a woman in an apartment with a talking stuffed animal. Either way, it will be available this Saturday for FREE on iTunes, the Earbud website, and all major podcatchers. I really hope you listen and enjoy!
There was another significant happening yesterday – I finished and exported the first cut of Habitat, the audio drama I wrote/performed in/am editing for Earbud Theater, and had the chance to share it with a few people.
This project has eaten up many hours from many days over the last month since I took over editing responsibilities, and even before that it was creating an always-fueled restlessness in me to share this story.
I guess the obsession makes sense. There aren’t many projects in my life that have called for so many of my different skills to all push so hard together on something so big. Even on top of the writing and acting, I’ve enjoyed every opportunity I have had to play in the editing process; and I was adding sound effects and music to creative projects as far back in highschool – even if, at the time, it was mostly crudely-improvised idiocy involving AV cables and cassette tapes.
And despite my love for live theater, I need some less-ephemeral calling cards to show the world what I can do. I have fallen in love with the audio drama medium – in the way that everything old is new again, I think podcasting has provided a great venue to rejuvenate this form, and I already have another script ready to record and more ideas in the pipeline to produce after this one is finished and launched. We’re on-track to release in late June/early July, so stay tuned!
This past Sunday was my shooting day on Cloudy With a Chance of Sunshine. It’s done – I’m in a feature film. The next day I went to see Spider-Man 2 and caught myself thinking: “My face is going to be THAT BIG“. For someone who doesn’t get cast on looks, that’s disquieting.
While this is a huge step forward for me, it was also surprisingly, satisfyingly incremental. What I mean is that I have worked on feature sets before either as an executive or crew, and so I am familiar with how the day breaks out and have a general idea of what everyone is doing; so I could tell when we were close to rolling and manage my energy/headspace accordingly. I have done quite a bit of acting over the last few years, and while very little of it was on-camera, there has been just enough between the shorts and webisodes that it wasn’t completely new.
And as stepping up to bigger assignments go, this practically came with training wheels. My role consists of four scenes, all of them in the same location, all of them in the same costume, and in every single one of them, I am sitting on an overturned bucket and conversing with the main character. Two person scenes, no movement – it’s like nearly every possible variable was taken out so I could just focus on not blowing this opportunity.
How did I do? That’s even more difficult to say than normal. I am used to connecting with the audience and sensing feedback immediately. Even an audience’s silence can carry an energy that lets me know where they are in terms of attention and emotion. But in this case, the majority of the crew was behind a big black curtain, watching me on monitor and staying as quiet as possible. It changes everything about my feeling of presence in the scene to not have that element, and I don’t think I have adapted comfortably into that mode yet. My role, however, was primarily comic relief without needing to carry the story, and between takes I did get feedback that people were smiling and laughing back there. Who knows if that’s true, but we did wrap 90 minutes early, and if I wasn’t doing something right I have to imagine they would have stuck around and done some tweaking.
The movie has its Facebook page up and running, and the word is that there should be a cut ready to screen privately for cast and crew come September, after which it heads out into the festival world. Inherent to that game is a certain opaqueness about where and when it is going to pop up first. Trust me, as self-conscious as I am about my big, weird head, when I know something, I will share it.
I try not to surrender too much to anxiety, but I admit I was preoccupied about this heading in. I see my life in the creative space as one where very rarely, someone will take a gamble on you and, without sure knowledge, you have to be willing to take them up on that gamble and believe you can prove worthy of it. I didn’t want to let them down, and they seem happy; more importantly, I have done something I had never done before, and now have a better chance of doing again.
Major great news – I have been offered my first on-camera speaking role in a feature film. Why the caveats? Well, I had a role many years ago in this forgotten little movie made during my days as a development executive. During some reshoots I was pressed into service to play an employee at a bus depot, silently loading bags into a bus cargo hold. “This is great,” I thought, “this is guaranteed to end up in the movie, because if they don’t see how this bag got from point A to point B, the movie will make no sense!”
My scene got cut. But that’s just one of many, many stories about that movie.
Last year I had a role in an independent feature I’ve mentioned here before – Bread and Butter, but it was a voice-only role, and for all I know still might end up cut or replaced. So when it comes to features, I’m not technically totally new to this, but it sure feels like a major first, in that I’ll have a real role with long dialogue scenes and a character name and stuff.
The movie is called “The Story of Ben”, and it’s a romantic comedy to be written/directed by a gentleman named Kevin Resnick. I call him a gentleman because he specifically warned me that my big shooting day might be Mother’s Day and he wanted to make sure I was okay with that. I told him my guess was that my mother would be supportive.
My role is Greenley, the main character’s best friend/co-worker who is perpetually stoned and has terrible advice about women. It won’t be a massive studio-level production, it is an MFA thesis film produced through the New York Film Academy, so very low-budget and distribution isn’t likely – although you have to imagine they will be motivated to get it out there on the festival circuit. Kevin and his producer Rebecca Norris took a short to Cannes last year.
Honestly, I wont even be paid beyond gas money and the meals on-set. And unpaid work is a longtime hobbyhorse of mine, but one of the things most likely to make me okay with it is to have the opportunity be a real professional stepping stone, the chance to do something I haven’t done before. This very easily qualifies.
The film shoots in May and my guess is that they’ll spend most of the rest of 2014 finishing and tweaking. So who knows when it will emerge, or how it will look when it does. But this is major – updating my resume across all the different platforms I use can be tedious, but I’ll be glad to do it this time.
Much Ado had a pretty superb weekend – we crossed that threshhold where the cast seems to collectively settle in and starting finding life and new layers in the performance. Always takes a few shows to do that. We also had a slew of reviews out, mostly very positive – although one observed that I’m “a bit old” for the role of Benedick. (I wonder what he thinks about this gentleman daring to play it.)
Another review, though, singled me out for a full paragraph of rather staggering praise, and I don’t feel quite right about that, either! I do admit it feels good, but in a review like that, you want to see some of that love spread out amongst the cast, since they’re all working hard and we lift each other up.
Still, this is going even better than I had hoped, and I think when we reach closing night, I should be able to put this play to bed for awhile, and maybe put Benedick away for good.
A week later, we have a sort of pre-season gathering for Shakespeare Orange County, which will include costume fittings and a first reading for A Midsummer Night’s Dream. We don’t start official rehearsals until late May, but it will surely whet my appetite so see the familiar faces, meet the new ones, and start playing with my fellow mechanicals.
And today I booked tickets for a visit to Chicago in mid-April. I’m due to turn in drafts on a couple of projects in the next couple of weeks, and I believe I can accomplish that before my plane departs. It would be awfully nice to grant myself that time away from major project deadlines, and let the producers here wrangle my projects while I catch up with friends and take pretty pictures. It’s rare that I see Chicago in the spring.
This past weekend, Much Ado About Nothing opened in strong style – our first preview performance on Thursday was one of the tightest, best received “first” performances I’ve ever been a part of. And the official opening on Saturday was the most fun I’ve had in the two months since I came aboard. The crowd was boisterous and occasionally downright raunchy – in one scene where two of the soldiers appear in vintage 1930′s swimwear, one patron begged them not to leave the stage. It was about a step away from turning into Magic Mike out there.
Which is, honestly, a great audience to have for a Shakespeare comedy. It’s a good idea there’s a bar in the building.
Sunday was consumed with recovering from Saturday night’s post-opening champagne gala, as well as the Oscars. So yesterday was kind of my first day with my life belonging to myself again, with no theatre commitments until Friday. Nonetheless, Shakespeare found its way in.
I started the day with an e-mail from the Texas Shakespeare Festival. The artistic director reached out to inform me that, while they would not be offering me a contract, they had held me over in consideration until the final day of casting, and that it was ultimately a question of ensemble needs and not merit. He expressed hope that I would submit an audition for next season.
Now, who knows if that final day stuff is literally true (I’m confident that this e-mail was cut-and-pasted for a few actors, which is not a criticism at all), but my thoughts are: 1) They didn’t have to send anything, and most companies wouldn’t. 2) Since they held in-person auditions in Chicago, New York, and Memphis, as well as locally in Texas, that I made an impression in such a crowd with a YouTube video is a tremendous compliment. 3) There wouldn’t be any rational motivation to send me such a message if I weren’t good enough (or potentially good enough) on the merits. Actors who aren’t worth their time just take up slots.
That’s a wonderful boost, because while Texas Shakespeare is not Equity, they do offer salary, housing, meals, and travel assistance, which, despite the stipends I’ve occasionally received, would make me feel like an honest-to-Mergatroid Professional Shakespearean Actor. So I think I will audition again next year, just like I will with the other out-of-state festivals I queried.
And before I had a chance to wonder about my open calendar for the summer, I got officially offered a place in Shakespeare Orange County again, which I accepted. This will make my third consecutive summer with the company, and I’ll be playing Peter Quince in A Midsummer Night’s Dream as well as an ensemble role in George M. Cohan’s The Tavern (a non-Shakespeare taking a slot in the company’s newly-expanded season).
SOC’s final show of the season is Romeo & Juliet, and as it stands it appears I won’t be in that show. It’s only a small pity, because no one dies in Midsummer and I had some small hope of continuing my annual tradition of being murdered in an SOC production.
But it does open up a spot in September for me to pursue a production at the Long Beach Playhouse Studio – of Twelfth Night. Always have wanted that one on my resume…