Perspective: Three Years

Provo/Salt Lake City Audition Record, July 2014 - July 2017


CAST
"Damn Yankees" - HCTO musical
"Oklahoma!" - HCT musical
"You May Now Kill the Bride" - Lifetime film
"Mosaic" - HBO miniseries
"Beau Jest" - HCT comedy
"Cabaret" - Utah Rep musical
"Jane Eyre" - HCTO musical
"RC Willey" - local commercial
"The Nerd" - HCT comedy
"To Kill A Mockingbird" - HCT play
"Bundle of Trouble" - HCT play


NOT CAST
"Marriott" - commercial (*called back)
"Les Miserables" - HCTO musical
"Barefoot in the Park" - HCTO comedy
"Over the River and Through the Woods" - HCT play (*called back)
"The Little Mermaid" - HCT musical
UPS - industrial
"Being Charlie" - Rob Reiner film
"Into the Woods" - HCTO musical
"Random Acts" - BYUTV show
"Special Helper" - film
"Magellan" - film
"AARP" - industrial
"Christmas Carol" - HCT musical (*called back)
"Blood and Oil" - ABC tv show
"Saline Soothers" - commercial (*called back)
"Peter and the Starcatcher" - HCT musical
"Robyn Hoodwyn" - web series
"Lucky John" - film
"Everyone Loves You, Sally Carmichael!" - film
"Texas Pete Hot Sauce" - commercial (*called back)
"A Summer To Remember" - film
"Cooking Product" - infomercial
"DEQ" - commercial
"I.T." - industrial
"SLCC" - youtube spot
"Deidre and Laney Rob A Train" - Netflix film (*called back)
"Brigsby Bear" - film
"Sister Act" - HCT musical
"Silent Sky" - PYGmalion play (*called back)
"Glass Menagerie" - Pioneer Theatre play
"LDS Hospital" - commercial
"Snatchers" - film
"Chatbooks" - commercial
"12 Days of Christmas" - film
"Maggie" - film short
"Poo Pourri" - commercial
"Women in Jeopardy" - Pioneer Theatre play
"King Charles III" - Pioneer Theatre play
"Utah Education" - industrial
"My Favorite Mormon" - film (*called back)
"Time Freak" - film
"The Landlord" - film (*called back)
"Plural Sights" - industrial
"Curious Incident of the Dog In the Night-Time" - Pioneer Theatre play (*called back)
"Heart of Robin Hood" - HCT musical
"Click Funnels" - commercial
"Secret Santa" - film
"Youth and Cons" - YouTube series
"Yellowstone" - TV show


Just keep auditioning, folks. Sometimes it's just a numbers game. Chin up, stiff upper lip, onward. 

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Perspective: Three Years

What are you doing August 21, 2017?

If you live in the United States and your answer is anything other than "watching the total solar eclipse," I'm gonna say you need to change your plans.

Here's why this whole thing is so awesome.

First of all, it's a cosmic coincidence that total solar eclipses happen AT ALL. Our sun just happens to be 400 times bigger than the moon, but it also just happens to be 400 times farther away from us. So from our point of view on earth, they appear to be exactly the same size. The moon passes between the sun and the earth, causing a total solar eclipse, fairly often...it's visible from some point on earth about once every 18 months. But the path of totality crossing the United States? That's a little rarer. The last time it happened was in 1979, and it won't happen again until 2024.

So where's it gonna be visible? HERE:

That grey band is where you gotta be to see totality. You'll still get a pretty good show elsewhere (check out this guy's site for more info), but it's less than a day's drive to get to the path of totality from just about any point in the U.S. So I say go for it! Carpe diem, people!

Although...two warnings. Number one, don't look at the eclipse without eye protection. You can suffer serious permanent eye damage from looking directly at the sun, even when it's partially blocked by the moon. You can get special "eclipse glasses" for hella cheap on Amazon, though (pack of ten for $10). Regular sunglasses won't cut it. Number two, hotels and campsites along the path of totality are BOOKED SOLID, and have been for months. Because big space nerds like me plan their entire year around this.

BUT JUST CHECK OUT WHAT WE HAVE TO LOOK FORWARD TO!
Here's what will happen in the path of totality on August 21st, 2017, over the course of about half an hour. (DON'T FORGET TO WEAR ECLIPSE GLASSES!)

First Contact
As the moon starts to move in front of the sun, it will appear to take a little tiny bite out of it. You'll be able to see this with a telescope before you can see it with the naked eye.

Crescent projections may possibly be seen on various surfaces
As more of the sun is covered, it will look like a crescent. If you happen to be near some trees or other vegetation, look on the ground. The spaces between the leaves create a "pinhole camera," projecting images of the solar eclipse on the ground. You can also create this same effect by making your own pinhole projector--just punch a tiny hole in a sheet of paper or cardboard.

Changing light
The light will become noticeably dimmer. You may even notice a strange or eerie "tint" to the light as more of the sun is blocked, and colors will appear washed out.

Strange animal behavior
If you happen to be near wildlife, you may notice some changes in behavior. Animals don't keep calendars of solar eclipses (that we know of), so they interpret the darkening light as oncoming twilight, and may either settle in for the night, or get up and start their nocturnal activities. (Joke's on you, fauna!)

Sharpening shadows
Because of the angle and amount of light, shadows become much sharper. If you look at your own shadow, you may be able to see the shadows of the individual hairs on your arms.

Drop in temperature
Two thirds of the sun's radiation is in the form of heat, so as more of the sun is covered, we get less of that heat. The weather changes will vary depending on where you are, but you can expect an average drop in temperature of about 10 degrees Fahrenheit.

Oncoming umbral shadow
Quick! Look to the west! You'll see the moon's shadow barreling towards you as the eclipse continues. The shadow moves across the landscape at over 1000 mph! (By comparison, planes cruise at around 575 mph, and the speed of sound is about 767 mph.)

Shadow bands
Just before totality, you may be able to see shadow bands rippling across any white-colored surfaces nearby. The tiny sliver of sunlight remaining passes through layers of turbulent air in the earth's atmosphere, producing shadow bands--kind of like the patterns the sunlight makes in water.

Bailey's beads
The moon isn't a perfect sphere...it's got mountains and valleys just like earth. As it passes in front of the sun, a few last shafts of light pass through these valleys, creating bright "beads" of light in a ring around the moon.

Diamond ring
When only one of Bailey's beads remains, the moon will look like a diamond ring in the sky.

Totality! 
THE MOON WILL COMPLETELY BLOCK THE SUNLIGHT! Totality will last about two and a half minutes, depending on where you are. And it will be amazing. Night will fall during the middle of the day, and instead of the sun, there will only be a black disc visible in the sky.
For a few brief seconds at the beginning of totality, you may be able to see the sun's red outer photosphere and chromosphere. If you are lucky, you may even see prominences, red streamers of light created by eruptions on the sun.
You'll be able to see the stars and planets during the day. In the United States, you'll be able to see Venus, Jupiter, and maybe Mars and Mercury.
The light will create a 360-degree sunset.
And for a few brief minutes, you'll get to see the sun's corona...outer wispy layers of ionized gas that are only visible during a total solar eclipse. The translucent shafts of light shining out from all sides of the sun is one of the rarest sights in nature, and can be as bright as a full moon at night. This is the main source of light during an eclipse. If you have a telescope or binoculars, you can look for loops and arcs in the corona that reveal the sun's magnetic fields. The corona is very difficult to photograph, and photographs aren't able to capture the full live experience of viewing.

Then, Bailey's beads will become visible again, the umbral shadow will continue moving west, and everything else will happen in reverse order.

AND WE GET TO WITNESS IT! This is a cosmic MIRACLE. I know the word "miracle" has religious connotations, but I can't think of a good secular equivalent to describe how incredible it is that this happens and that we get to be alive and on earth and in the United States to see it.

So what are you waiting for?! Make your plans! Figure out the closest path of totality and tell your boss you're taking the day off.

Here's your packing list:
- Binoculars and/or telescope
- Eclipse glasses
- A pinhole camera (piece of cardboard with a hole poked in it)
- A large piece of white posterboard or foamcore board to see shadow bands
- A full tank of gas
- A sense of wonder.

See ya in 54 days, solar eclipse.

Learn more about the upcoming solar eclipse here, here, and especially here.

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What are you doing August 21, 2017?

The myth of progress

Listen, children. I've had a revelation. And I want to share it here.

I've been working on being a "professional actress" for a little over two years. In those two years, I've had some incredible opportunities. (This is going to sound very Gilderoy Lockhart-ish of me, so I apologize, but there's a point to this, so stick with me...) I've been on sets with Rob Reiner and Cary Elwes, I've acted opposite Michael Cerveris under the direction of Steven Soderbergh, I've done one local commercial, and I'm currently in rehearsal for my sixth stage production since moving to Utah. Which is all so so so amazing.

But there have been (and continue to be) plenty of "no's" along the way. And there's something particularly painful about "no's" that come after having success. You start to think awful things like, "I've played a lead in a Hale West Valley show, and now I'm ensemble?!" Isn't that awful? It's awful. It doesn't feel good. It isn't good. It's snobby and prideful and self-serving. So then you swing to the opposite and start thinking things like, "Those times I was cast were just a fluke. I'm not actually good. I'll never actually 'make it.' I truly deeply suck." Which also doesn't feel good. Both of those philosophies distract from doing the actual work of acting.

So here's my realization. I've been thinking of acting in this "linear progress" kind of way. Something kind of like this:

(Don't judge my hasty clip art illustration.)

And it makes total sense that I would think that way. There are plenty of forces at work to put this idea in my head. Darwin, for one. This is the subject of a Master's thesis, so I won't go into details, but there's this weird idea that people seemed to take from the theory of evolution, and that is that everyone and everything is working towards becoming more "advanced." And it's all tangled up with fairly recent ideas of imperialism, too...that some societies are more civilized than others, and that they can bring civilization to the primitive peoples of the world.

Not only is Darwin and imperialism at work, but all of the mythos of the American dream centers on the same idea of progress, of slowly rising to the top, out of your own hard work. And this is how most other industries work. You slowly get promoted until you're at the top. If you don't get to the top, well then, you didn't deserve to be there, or you didn't want to be there.

But for acting (or a lot of other industries, actually), I don't think it's quite an accurate way of looking at things. And I don't think it's quite as healthy a way of looking at things, either. There are a few accurate things about it, but I think it's mostly problematic. It allows for both pride ("I'm at the top!") and self-loathing ("I'm at the bottom!"), and it creates a world in which we set people up as "better" than others. It oversimplifies things, and ignores all of the other factors that go into casting. It doesn't leave much room for complexity. It also doesn't actually reflect reality. You don't move steadily up that green arrow. But when we think of acting in this way, we're filled with resentment when we feel we've moved "down." Because "that's not how it's supposed to work! I'm supposed to work hard, get better, keep getting bigger and better roles, and then I'll make it!"

So, maybe it's better to look at progress in acting in a more "cyclical" way. Something like this:

(More clip art action.)

If you think of acting this way, there's less feeling of "I'm not making progress." There's less resentment when you get a smaller role than you think you "deserved" or when you don't get cast. You take the incredible opportunities that come to you without thinking they're owed to you. You can't think of yourself as above someone else on some march of progress to the "top" when they're just across from you, or next to you. And if you keep your own acting goals in the center, then everything you do can be seen as moving towards that somehow.

Fame and fortune and success are strange, often impermanent things. John Travolta was nominated for two Academy Awards. He also made multiple talking baby movies...between Oscar nominations. If you think of acting progress in that linear way, those are steps backwards and jumps forwards...the momentum is exhausting.

Of course, it can also be exhausting to move around the circle above, too. Especially if you spend a lot of time in the "not being cast" portion of it. That's hard. And the only thing you can do is be patient and keep trying. I have a friend who recently moved to New York to pursue acting. She said that when she's talked to people, they all say, "You've got to work steadily at this for ten years. If you can stick with this for ten years, you can make this your full-time job." But most people only give it a year or so. A year isn't long enough. You've got to keep yelling "F*** you, Matt Damon!" until you're where you want to be.

There's also the very real possibility that doing this relentlessly for ten years will take too great a toll on you. It could be that the exhaustion of moving around that circle of progress is greater than the reward. It's a scary thing to realize--that you might need to take a step back, adjust your goals. There are two kinds of dread when it comes to doing that: the dread that you're giving up too easily, or the dread that comes from giving up a dream you've held onto for so long, even if it doesn't fit you any more. What will people think? Who will you be if you don't hold this dream? But you will suffer less if you listen to your own intuition, try not to give a damn about what other people think, and make the choices that will make you happy and whole.

I'm still trying to shift my own paradigm here. But this change in thinking has already helped me find peace, helped me live in the moment, helped me do better work onstage and be a better person offstage. I hope it can do the same for you.

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The myth of progress

"Keep this in your wallet if you are a pansy fan-boy."

Recent discovery: Mark Hamill autographs. They are the best. He is the best. I love these so much.

Additional discovery: There is an entire Twitter account dedicated to Mark Hamill autographs. Because Mark Hamill autographs are the best.

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"Keep this in your wallet if you are a pansy fan-boy."

A Letter to the Upcoming Generation, inspired by a recently completed MFA class called "The Rock Star Poets and Writers"

Dear teenagers of 2016:

If I were truly an authentic, this letter would be handwritten, in a red spiral notebook, Kurt Cobain style. I’d write it in crayon, like Jack White did his receipts when he worked cutting fabric and stapling around the corners of sofas. Or on hotel stationary like I was Bob Dylan and it was 1961 and I was playing shows in Greenwich Village.

But I'm lazy and this is a blog, so typed it is.

In true “Chicken Soup for the Teenage Soul” style, here’s my advice for you upcoming poets and rock stars.

1. Find inspiration everywhere.
Read Shakespeare, and Rimbaud, and Dylan Thomas, and Jack Kerouac. Listen to Iron Maiden, and Pete Seeger, and David Bowie, and Prince. Let all of their words and melodies tumble around inside of you. Let yourself re-tell their stories. Try on their style. Write a poem in the cosmic style of Walt Whitman. Try writing a beat poem and perform it like Allen Ginsberg. Turn on Nirvana, and scribble your thoughts as it plays in the background. It’s like visiting a thrift store…everything has already been used, but you can try things on for size, make alterations, create new combinations. Some things will fit you better than others. But you might discover that something unexpected looks amazing on you. Something that, on the hanger, doesn’t seem to be your “thing.” But it could be that you ROCK those billowy sleeves. Just try things on. Impersonate those who have come before you. You’ll find your own style eventually.
Pete Seeger wrote a song based on verses from Ecclesiastes. Simon and Garfunkel wrote a song based on the poem “Richard Cory” by Edward Arlington Robinson. But you could take more indirect inspiration as well. Lana Del Rey drew inspiration from Walt Whitman’s “I Sing the Body Electric,” and wrote a song playing with some similar themes and images. Paul Westerberg’s song “Crackle and Drag” is inspired by Sylvia Plath’s poem “Edge.” You could “translate” a poem by just adding music, or draw your inspiration from one or two lines.

2. Your poetic voice can support the status quo, question it, or be a part of the human machine that destroys it.
Your words can be Woody Guthrie’s guitar…the “machine that kills fascists.” Don’t feel like you have to stifle your rage. Write about black lives in America. Write about college rape culture. Write about abortion, and Wall Street corruption, and redlining, and the public school system, and the shitty way the United States treats Native Americans. Poetry is not limited to noiseless patient spiders and suicide. Let your anger flow from your spine into your pen. Scratch deep into the paper. Shout about the way things are until they change.
Sisters of Mercy wrote “Dominion/Mother Russia” about the Cold War. Siouxie Soux adapted Abel Meeropol’s “Strange Fruit,” a harsh look at the treatment of black Americans in the South. Plenty of these artists also wrote about love and breakups and the usual pop topics. And that’s fine. But you don’t have to limit yourself to those topics.

3. Don’t let stereotypes destroy your creativity.
You don’t have to be Hemingway, piling up empty bottles. You don’t have to open your heart or legs to violent passion like Rimbaud. You don’t have to make a permanent stop in the woods on a snowy evening like Cobain or Plath or Sexton. Beware the harsh light of fame. Despite the viciousness of the artistic life, fame is far more destructive. You set the terms. Guard the terms of your fame fiercely.
I think Kurt Cobain both wanted and didn’t want fame. I think he wanted to be known and loved, but didn’t want to be the symbol of his generation. (Same with Bob Dylan.) It can be easy to get caught up in those tensions, but you don’t have to. Just follow your voice, even if it leads you away from the spotlight. Your work is more important than your fame.

4. On a practical note, be intentional about stanza length in your work.
Many poets insert line breaks where they “feel” them in the content, where there’s a natural pause. (And by “many poets,” I mean me, specifically. I’ve been writing poetry consistently since 1998, and this is the first time I’ve considered that even in free form poetry, line breaks make a difference.) This has an effect both visually and rhythmically, one that you may not intend. There is something powerful in being consistent in stanza length. At the very least, be intentional. If there is no pattern to stanza length, make sure you have a good reason for it. Is the work supposed to be disjointed and chaotic? Or tidy and clean? Don’t let line breaks distract from the message and meaning of your poem. Stanza length is another tool in your poetry writing kit…it’s like clothing. You’re saying something about yourself, whether you intend to or not. If you ignore your clothing, you’re sending the message that you don’t care. Same with stanza length.

5. Cut the extraneous stuff.
Listen. I know. These are darlings and it’s hard to kill them. This is the lesson that I have to relearn over and over and over again. Maybe you’re used to prose poetry, or maybe you just make pets of pretty, docile words. As an exercise, try this: Write a poem, then let it sit for 24 – 48 hours. Don’t even look at it. Don’t re-read it, don’t leave it out where it can be glanced at. Then go back and cut it by a third. Ask yourself: “If an editor demanded a word count limit that’s less than what I have, what would I keep?” Trim until the poem is tidy. Condense meaning until it’s compact and hard and dense. Say what you need to, and then get out of there.

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A Letter to the Upcoming Generation, inspired by a recently completed MFA class called "The Rock Star Poets and Writers"

All My Salt Lake City Acting Advice in One Big Post

These were originally published as 3 separate entries. But I've shortened and compiled them here, with updated information.

DISCLAIMER: My info is limited to my own experience. There are plenty of other actors out there who will have different advice and different insights. I am not any kind of resident expert--just sharing what I know. So ask around--lots of other folks ARE resident experts.

1. Get good headshots.
This is so so so important. Like, this is what will get you in the door, and help people remember you. Here's what a headshot should be: It should focus on your face, and specifically on your eyes. Choose colors that flatter your skin and hair color, and stay away from black, white, and busy patterns. You should have two main headshots: one "commercial" (smiling, friendly) and one "theatrical" (serious "acting" headshot). If you plan on modeling or submitting for lots of extra work, you can also spend a little extra and get a few "full-body" shots.

2. Remember that there are LOTS of factors that go into casting.
Talent is a part of it, but it's only one small part. Other factors include look, type, voice, availability, compatibility, how much they'd have to pay you, pure instinct, what phase of the moon it is, the will of reptilian overlords, etc. It's impossible to know why casting decisions are made. And remember that success is a numbers game, as much as anything else. For every "yes," there will be at least ten "no's." So just keep auditioning. Sometimes it's pure statistics...the more you audition, the more likely it is that you'll be cast. Keep getting yourself out there, even if it feels like nothing is happening. (And when nothing is, remember the parable of "F you, Matt Damon.") So just give it the best you've got, and don't get too discouraged when you don't get something.

3. Actually, expect to be discouraged.
Sometimes. Not all the time. But discouragement is almost inevitable. So is poverty. Especially when you start out. I think a lot of people start out by thinking that they won't experience discouragement and poverty like every other actor, but you probably will. That's okay. Join the ranks.

4. Keep an audition diary.
It can be as detailed or as simple as you'd like it to be. This serves a couple of purposes. One, it will help you keep track of who you've auditioned for before, and if you've done any followup. Two, it will give you a chance to record thoughts and/or things you've learned. Finally, it actually offers a bit of encouragement to see what you've gotten, compared to what you haven't gotten.

5. Take a class.
Acting is a muscle, and if you're not working for a little while, taking a class is a great way to help you improve your work. It can also give you "networking" opportunities, and help you build your audition repertoire. Sometimes another pair of eyes can see something about your work that you're not seeing, and can give you additional advice. (I highly recommend Ben Hopkin's class "The Three C's of Acting.")

6. ASK for help, guidance, and advice.
When we first made a plan to move to Utah, I sent messages out to everyone I knew who worked in acting in this area. I asked them every question I could think of, and their advice and guidance made my own career here possible. Sometimes we're afraid to ask for help, because we think it will make us look weak, or we're afraid to bother someone. But the reality is that people often respect those who ask for help, and they're often happy to provide their thoughts. It has always been 100% worth it to reach out to others in the field.

7. Remember that your body is your most important tool.
Treat it well. Learn to eat well, sleep well, exercise well.

8. Don't ever forget your CRAFT.
This is the most most most important thing. This is my deepest belief about acting as a career. In the midst of all of these businesslike tasks--"networking," getting headshots, taking classes, updating your resume, tracking your expenses--don't ever lose sight of your work AS AN ACTOR. Don't get into this for the fame or money. Get into this for the art. Take every opportunity to continue to improve and learn and grow. Challenge yourself. Connect with and listen to your fellow actors, on and offstage/screen. Your work as an actor must be about the human experience. If you don't know why you're doing this, that's okay. But try to find out. Think about and create your own philosophy of acting. Learn about techniques and systems, and find tools that work for you. Continually build your tool-box as an actor. Don't forget why you're doing this. Being good-looking, having a good resume, knowing the right people--none of it matters as much as your CRAFT.

9. Get to know others in the industry
I hate the word "networking." It makes me think of schmoozing people at parties, which is exactly the kind of thing I hate. Don't befriend people because you think they'll be helpful in your career. Think of "networking" as sharing what you love with other people who have the same passions. Think not only about how someone can help you create meaningful art, but how you can help them, and what ways you can create awesome things together.

10. Make decisions about your standards
Are you willing to swear onstage? Portray violence? Sexuality? Are you willing to take off some of your clothes? I'm not here to tell you what to be comfortable with. But be thoughtful about what kinds of stories you want to tell, and what you think needs to be done to tell those stories, and how willing you are to do those things. (For some of my personal thoughts on this, check out this past blog entry about Cabaret.)

1. Get with a good agency.
This is the best way to get great auditions. Most major films and television shows DON'T have open auditions--they just don't have time to weed through everyone. So they'll contact the local agencies and run auditions through them.
BEWARE ANY AGENCY THAT ASKS FOR MONEY UP FRONT. Reputable agencies in this area will take a fee from your paycheck anytime they get you work, but they won't require certain classes or headshot sessions or initiation fees. They may recommend or ask that your headshots are of a certain quality, but a professional agency will not force you to use THEIR photographers. Reputable Utah Agencies: McCarty, Talent Management Group (TMG), Elevate, Stars.
To submit to agencies, keep an eye on their websites and look for an open call. You can also stop by with your headshot and resume, but you’ll probably either need an impressive resume, or a strong recommendation from someone inside the agency.

2. Build your IMDB credits.
This is becoming more and more of an important "resume." It's easily accessible to everyone in the industry (they don't have to know your personal website URL to get info about you). You can put your demo reel and your agency contact info on your page. And you can't fake any credits on IMDB. In order to gain control of your IMDB page, you've got to create an IMDB Pro account, which runs $150 per year, or $20 per month. Your IMDB page will be created automatically if you get cast in something that the film creator puts on IMDB, or you can create your own page and add your own credits. You have to submit your acting credits, and they have to be approved.
NOTE: DON'T LIST BACKGROUND/EXTRA WORK ON YOUR IMDB.

3. Create a demo reel
This can be tough if you haven't done much film. BUT, you can use what you have to your advantage. Don't have anything? Then create your own stuff! Find a few scenes or monologues, and film them. There are a handful of folks in the SLC/Provo area who will help you create a demo reel for a small fee, or you can do it yourself on iMovie or a similar program. Just make it look as professional as possible--this is a casting director's big chance to see your work!

4. Do background work!
This is the very very very very best way to learn about film and television if you’re a complete noob. Don’t do this to be discovered. Do this to learn the ropes. It is EXTREMELY RARE for anyone to be "discovered" by doing extra work. I can almost 100% guarantee that it will not happen. But what will happen is that you’ll get to meet and work with awesome industry professionals, and you’ll learn all the jargon of being on set and how everything works.
You can find out about extras calls here:
G&G Casting
Yun Casting
Utah Actor’s NING
Utah Filmmakers and Actors Facebook group

1. Build your audition repertoire. 
Buy a binder and fill it with sheet music of songs you know, and make 16-32 bar cuttings of them. Bring it to auditions, along with copies of your headshot and resume. Have a handful of monologues memorized or handy (30 seconds - 1 minute, both comedic and dramatic.) Practice often. Build variety. Know your strengths and play to them.

2. Get audition coaching.
Starting with my "Oklahoma" audition, I've been going to Audition Advantage in North Salt Lake, and IT'S SO AWESOME. Erin, Jeanne, and Anne are all amazing. They can help you find a song, give you info about the production team and what they'll be looking for, coach you on the acting and singing, help you cut your music, help you pick an outfit, RECORD A REHEARSAL TRACK. I love it. No matter how good you are, it's always helpful to have fresh eyes. When I went there with my audition song for "Oklahoma," I was thinking I don't know what else these ladies can do for me. But Erin helped me break down the song and fill in the gaps, and I don't think I would have been called back without her guidance. It runs about $60/hour, but they'll also pro-rate that if you take less time.

There are lots more companies, but here are the ones that I've worked with, seen shows at, or heard great things about. (If you have strong feelings about the content of plays you're interested in performing in, I'd encourage you to research the shows themselves. Note that generally, Hale Orem and Hale West Valley will always produce "family-friendly shows.")

Instead of taking up a bunch of real estate on this page with lists and links, I created this Google Spreadsheet.

1. How do you format your resume?
Simply. You can see how I've done mine here. Print out a dozen copies, 8x10, and put them in your audition binder, so you don't have to worry about it on your next audition.

2. Should you join Equity (Actor’s Equity Association, Theatre Union) or SAG (Screen Actor’s Guild, film/television union)?
That's up to you. There are pros and cons, and it takes some research, but for most people, the answer is "no." The theatres in Salt Lake are limited in how many Equity contracts they can offer, and if you’re Equity, you HAVE to work under an Equity contract. You don’t have to be a member of SAG to do a SAG project in Utah. Joining a union always includes this dichotomy: You'll get less work, but it will probably be better paid work. I’d say become eligible, so you can put that on your resume and show you’re legit, but wait to actually join.

3. How do you find out about auditions?
Most theaters will post their audition info online. Film and television projects will usually just cast through agencies, but sometimes independent projects will send out casting calls on the Utah Filmmakers and Actor’s Facebook page.

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All My Salt Lake City Acting Advice in One Big Post

Current obsessions

Grad school has begun, and the Hale has added a few matinees of Beau Jest, so suddenly I find myself with fewer hours per week than I'm used to. But that's okay. I'm moving towards that mountain. And there are a few things making that climb awesome. Here are some of the things I've been digging lately:

The X-Files
I already talked a little about my love for the X-Files, but my love has deepened enough that I recently bought a "I Want to Believe" sticker to put on my laptop. There are so many mysteries! Who is Cancer Man? How much does Alex Krycek know? Will Mulder's sister ever be found? I'm only on the beginning of season 4, though, so no spoilers.

Hamilton
People have been telling me about Hamilton for months, and I haven't believed them. A musical about founding father Alexander Hamilton? A RAP/HIP HOP musical about Alexander Hamilton?! There's no way it could work. But it does. It does so much. I finally bought the soundtrack after a long discussion in the greenroom at the Hale, and I've been listening to almost nothing else for the last week. How is it so good!? It's so good.

The Oscars
I love the Oscars deeply. I often hear people criticize the Oscars, saying it's all pageantry. But I really believe it's more than that. Sure, there's an element of pageantry. But I think everyone involved in the Oscars knows that the pageantry is kind of a game. Of course the red carpet isn't real life. At its heart, the Academy Awards are a celebration of film and filmmaking. It's a recognition of the extraordinary work being done in the industry. It's actors and directors and designers coming together to celebrate the beauty of the work they get to do, and the way that it can change lives. That's beautiful to me, and I look forward to watching it every year.
Notably, I don't have cable, and the Oscars are not easy to find live online. I have been invited to "Oscar parties" on multiple occasions, and I always hate them. Because so far, no one I've met loves the Oscars as much as I do, and when I watch the Oscars with other people, they talk and occasionally heckle and are generally disrespectful of the sacred nature of the Oscar viewing experience. So please, take no offense if I decline an invitation to your Oscar party. I love you, but I'm probably going to rent a hotel room on that Sunday night and eat chocolate and watch the Oscars in my underwear, reverently and joyfully.

Beau Jest
This blog has been an endless stream of Beau Jestery for the last few months, but I just can't believe I get to do this for a whole month. With these amazing people! With this amazing script! At this amazing theatre! (With this amazing wig!) Almost every night, there's at least one golden moment onstage, one of those moments when you're bumping up against that column of light, or standing right in it. And it's this gift, and my heart is going to burst with the thank you's I'm carrying.



Grad School
I haven't been a student for 4 years, and it's sort of surreal to try to become one again. In the back of my mind, I feel vaguely like I'm just pretending--I'm not really a grad student. But my Blackboard account would say otherwise. I've done some amazing reading lately (Jo Ann Beard's "The Fourth State of Matter"?! PHENOMENAL), and I'm excited for this degree.







What are you digging nowadays?

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Current obsessions

12 Days of Christmas Stuff

Somehow, while rehearsals were going on and I was recovering from NaNoWriMo, a third of December happened. Christmas is in 13 days. So I'm jumpstarting my holiday spirits with some of my favorite Christmas things. And thought I'd share them here! So in no particular order, here are 12 days of Christmas books, stories, albums, and films.


1. Nativity! (film)
Martin Freeman plays a disgruntled elementary school teacher who is asked to put on this year's Nativity play. But can the magic of Christmas restore Mr. Madden's Scrooge-like disdain of the holidays? This is charming and so very British and I love it. ALSO, most of the script was improvised, Christopher Guest-style.

2. The Family Stone (film)
I adore poignant and quirky films about the beautiful imperfection of family. This is the perfect example of that.


3. Love Actually (film)
Oh the greatness of this British film! I love the ensemble nature of this story (these stories?) and the ultimate message that love actually is all around us. (Warning for those interested in warnings: Rated R for language and nudity.)


4. Family Man (film)
Listen. This is one of my favorite films. Ever. I can't help it. It's so sweet and funny and lovely. It captures the beauty and challenge of marriage and family so well.


5. Angela and the Baby Jesus (children's book)
By Frank McCourt
Jacob read this out loud to his family the first year of our marriage, and I've deliberately made it a tradition for him to do so every year. It's hilarious and lovely.


6. A Green and Red Christmas (album) 
By the Muppets
You can't go wrong with the Muppets. Any Christmas song by Dr. Teeth and the Electric Mayhem is a win in my book.


7. My Troubles (A Work in Progress, by Joseph of N--) (short story)
by Jonathan Goldstein
This short story is the last in a collection called "Ladies and Gentlemen, the Bible!" It's a reimagining of the Christmas story from Joseph's point of view...human, worried, flawed, hard-working Joseph. I know not everyone will enjoy this story; Joseph is so very human in it, and some readers might feel it's sacrilegious to approach this character this way. That's okay. But I find it so meaningful--it makes it easier for me to connect to the people who lived and died in Jerusalem, to see the story in this realistic, humorous light. Joseph is just a guy, doing the best he can. Here's a small excerpt, just to get an idea of the tone of the story: "So it was pretty soon afterward that I started to worry. The angels must have seen Mary from Heaven and knew she was the right one for the job, but they probably didn't get a very good look at me. While they were all lying around on the clouds mooning over Mary, they probably missed her loudmouth boyfriend in the background griping about his stubbed toe. Who was I to be raising an angel baby? What could I teach a baby of any kind? How to hyperventilate when you're outbid for a carpentry job? How to cry in frustration when your roof caves in? What kid is going to want to hang around with me? All I have to teach him is how to worry. That was an area in which I excelled." 


8. Barenaked for the Holidays  (album)
by The Barenaked Ladies
Hands down, favorite holiday album of all time. Equal parts silly and sincere. And there's some Hannukah thrown in there, as well as Christmas!


9. A Christmas Carol (book/movie/play/musical/etc)
The book. Any version of the movie. Any version of the play. Just the story in general.


10. It's A Wonderful Life (film)
I always sort of forget how fantastic this movie really is. And then I re-watch it and am overwhelmed by its humor and heart.


11. A Very Murray Christmas (film)
A short Netflix original! It's mostly musical numbers, with a loose plot surrounding a failed live television special. I think I'm charmed by this mostly because it's sort of a dream--I want to end up in the hotel Carlyle in New York City during a blizzard on Christmas Eve, singing songs with Bill Murray and Paul Shaffer and David Johansen and Jason Schwartzman and Rashida Jones and Maya Rudolph and Phoenix. (Warning: Some language.)


12. The Bible: Luke, Chapter 2 (book excerpt)
Where it all began. Does anyone else always hear the voices of Charlie Brown characters when they read this story?

HAPPY HOLIDAYS!!!

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12 Days of Christmas Stuff

What I've Learned About Acting in Salt Lake City, Part 2: The Theatre Scene

Welcome! This is Part 2 of a 3-part series! Part 1: Getting Serious, Part 2: The Theatre Scene, and Part 3: The Television & Film Scene. 

DISCLAIMER: I'm still fairly new here! My info is limited to my own experience. There are plenty of other actors out there who will have different advice and different insights. I am not any kind of resident expert--just sharing what I know.* So ask around--lots of other folks ARE resident experts. 


Here's the big pro: There are TONS of theaters out here! Mormons love the arts, and there are dozens of community theaters and a hearty handful of professional theaters.

Here's the big con: There may be tons of theaters out here, but everyone who works at them knows each other. It's one big incestuous theatre family. BYU has a huge musical theatre program and a huge acting program, and UVU's theatre department is INCREDIBLE. And the teachers from those programs also direct at several of the theaters. And most of the directors direct at multiple theatres. So it can be kinda tough to "break in" as a new face. (I seriously just got lucky with "Damn Yankees.") Persistence will be necessary.

And here's something that's either a pro or a con, depending on you: There's a BIG emphasis on musicals. There definitely is interesting, push-the-envelope, amazing theatre going on, but it's generally a little smaller, and doesn't always pay quite as well. So get comfy with musical theatre. (And you may be able to sing, and you may be able to dance, but the people at auditions with you have been doing both, with professional teachers, for 15-30 hours per week, for YEARS. So either get hella good, or get hella good at selling whatever you've got.)

So here's what I'd recommend:

1. Build your audition repertoire. Buy a binder and fill it with sheet music of songs you know, and make 16-32 bar cuttings of them. Bring it to auditions. Have a handful of monologues memorized or handy (30 seconds - 1 minute, both comedic and dramatic.) Practice often. Build variety. Know your strengths and play to them.

2. Get audition coaching. Starting with my "Oklahoma" audition, I've been going to Audition Advantage in Bountiful, and IT'S SO AWESOME. Erin, Jean (spelling? Sorry!), and Anne are all amazing. They can help you find a song, give you inside info about the production team and what they'll be looking for, coach you on the acting and singing, help you cut your music, help you pick an outfit, RECORD A REHEARSAL TRACK. I love it. No matter how good you are, it's always helpful to have fresh eyes. When I went there with my audition song for "Oklahoma," I was thinking I don't know what else these ladies can do for me. But Erin helped me break down the song and fill in the gaps, and I don't think I would have been called back without her guidance. It runs about $60/hour, but they'll also pro-rate that if you take less time. More info here.

Three frequently asked questions:

1. How do you format your resume?
For a long time, I approached that question like a graphic designer, and made GORGEOUS resumes. But in the acting world, straight-forward is actually best. Times New Roman, Helvetica, or similarly familiar font, no big graphics or flashy colors. You can see my current resume here. Print out a dozen copies, 8x10, ready to go so you don't have to worry about it on your next audition.

2. Should you join Equity? 
That's up to you. There are pros and cons, and it takes some research, but for most people, the answer is "no." Not unless you are living in New York and acting full-time. Because there just aren't enough Equity theatres in Salt Lake, and if you're Equity, you can't always work at non-Equity theatres. Joining a union always includes this dichotomy: You'll get less work, but it will probably be better paid work.

3. How do you find out about auditions? 
Most theaters will post their audition info online. You can also follow a handful of Facebook Pages to see audition notices (Audition Advantage is a big one, along with Theatre People of Utah Valley.)


Finally, here's a little info on some of the big theaters around here. (There are SO MANY theatres, you guys. I'm just listing the ones I've heard the most about or worked with personally.) Each of them hold regular auditions...the best thing is to keep checking back on their websites (some also have an email list that will notify you of upcoming auditions). If you're OCD like me, you can even make an organized list of these auditions.

Pioneer Theatre
Salt Lake City
Professional LORT venue. They hold auditions in New York and Salt Lake. They rehearse during the day for 2-3 weeks and shows run for about 4 weeks. Paid (equity rates). Audition info here.

Hale Centre Theatre
West Valley (close to Salt Lake)
Hub of musical theatre and comedies! (Think family-style theatre.) Very professional--take good care of their cast and crew. Shows are almost always double-cast. Rehearse for 6-8 weeks in the evenings, shows run 4-8 weeks. Paid ($15 per rehearsal, $25-$65 per show). Audition info here.

Hale Center Theatre Orem
Orem (close to Provo)
The smaller, more intimate cousin of the Hale in West Valley. Same details as above, but pay is a little lower ($15-35 per show). Audition info here (click on the side link that says "Auditions).

Egyptian Theatre
Park City (about 40 minutes east of Salt Lake)
Serves as both a venue for concerts, stand up, recitals, and films, and occasionally produces shows. Rehearsals and run times vary. Occasionally paid. Audition info here.

Grassroots Shakespeare Company
Orem (close to Provo)
Founded and run by a few college-aged enthusiasts, they take an awesome sort of "punk" approach to Shakespeare. Or an "Elizabethean" approach, depending on how you look at it. Just like in Shakespearean times, actors rehearse very little, bring their own costumes and props, and perform in an outdoor space. A few of their past productions include a production of "Titus Andronicus" with a "splatter zone" audience area, and a production of "The Little Mermaid," told through verses of Shakespeare's plays and sonnets. Minimal rehearsal, shows run 3-6 weeks, with occasional exceptions. Also produces 3 plays as part of its touring company. Unpaid. Audition info here.

Salt Lake Acting Company (SLAC)
Salt Lake City
Home of some of Utah's "edgier" theatre. They do everything from musicals to comedies to dramas, as well as develop new plays. They also do a yearly show called "Saturday's Voyeur" (har har), which is an irreverent satire of current events, focusing on local culture. Rehearsals vary. Shows run 4-6 weeks. Often paid, but rates vary, and sometimes unpaid. Audition info here.

Utah Repertory Theatre
Salt Lake City
A tamer cousin of SLAC. They also produce musicals and straight plays. They provide detailed content advisories for their shows, but will still do theatre that wouldn't work at places like the Hales. Rehearsal schedules vary, but generally evenings for about 6 weeks. Shows run 2-3 weeks. Occasionally paid (rates vary, usually not more than a few hundred dollars). Audition info here.

Centerpoint Legacy Theatre
Centerville (about 30 minutes north of Salt Lake City)
Big fancy theatre that does lots of professional shows. Their season usually features similar fare to the Hales (family-oriented musicals and comedies). Rehearses in the evenings for 6-8 weeks, shows run 4-6 weeks. Unpaid. Audition info here.

Scera 
Orem (close to Provo)
This venue is both a movie theatre and a live theatre. They have both an indoor space and an outdoor space. They have a big focus on education, so they do a lot of theatre for young audiences. Generally rehearses in the evenings. Shows run 2-6 weeks. Unpaid. Audition info here.

Utah Shakespeare Festival
Cedar City (about 3 1/2 hours south of Salt Lake City)
Summer-stock theatre, repertory style. Auditions are held in late summer/early fall for the next year's season. Full-time summer work. Paid. Audition info here.

The Grand Theatre
Salt Lake City
Focuses on musicals. Rehearsals run evenings, about 6 weeks. Shows run 3-4 weeks. Paid. Audition info here.

Desert Star Playhouse
Murray (10 minutes south of Salt Lake City)
Dinner theatre that does locally-focused parodies of well-known works (stuff with titles like "Star Wards" and "Murder on the Frontrunner Express"). Open auditions are held seasonally. Shows are usually double-cast and run for about 3 months. Paid. Audition info here.

PYGmalion Theatre Company
Salt Lake City
Theatre focused on women and women's stories! They put a big focus on original works, but also do well-known plays as well. Shows are usually cast for the entire season during one audition process. Paid (around $1000). Audition info here.

The Echo Theatre
Provo
Small community theatre--actors usually assist with costuming, set construction, etc. A great place to work and create collaboratively. Rehearsals run in the evenings, usually about 6 weeks, and shows run 3-6 nights a week for about 2-4 weeks. Also runs short play festivals. Unpaid. Audition info here.

HAPPY AUDITIONING! 

Have anything else you'd like to add? Give us your tips and insider info in the comments!

* Like, seriously. Part of me feels like I don't have any right to be giving others advice. But others helped me on my journey, so I want to pay that forward. 

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What I've Learned About Acting in Salt Lake City, Part 2: The Theatre Scene

What I've Learned About Acting in Salt Lake City, Part 1: Getting Serious

Welcome! This is Part 1 of a 3-part series! Part 1: Getting Serious, Part 2: The Theatre Scene, and Part 3: The Television & Film Scene. 

DISCLAIMER: I'm still fairly new here! My info is limited to my own experience. There are plenty of other actors out there who will have different advice and different insights. I am not any kind of resident expert--just sharing what I know.* So ask around--lots of other folks ARE resident experts. 

Jacob and I have been here in the Salt Lake City area for a little over a year now, and I've been thinking lately about how much I've learned as an actor. Not just when it comes to the actual craft of acting, but how to make it your career. So I thought I'd share with you a few of the things I've learned!

First of all, why move to Salt Lake City, Utah to pursue a career in ACTING? A few reasons:

1. It's pretty here. (Hiking! Mountains! Trees! Nature!)
2. The cost of living is pretty darn affordable. Rent for a 1-bedroom apartment runs in the $400-$800 range, depending on your neighborhood.
3. Lots of films and television shows get made here, because filmmakers get a BIG tax break from the state.
4. It's a great "training ground" if you'd like to move to Chicago, LA, or NYC someday. If you do choose to move to those places, you'll be competing with people who have IMDB credits and regional theaters on their resumes. If you DON'T have those things, SLC is a great place to gain them.
5. Most projects are non-union, so if you're not Equity or SAG, you can still find lots of work.

Do I have you convinced? Okay, here's what I've learned!

Okay, here are a few things that people have told me, or that I've learned on my own, to help you build a career in acting. I'm gonna focus specifically on theatre and screen in separate posts, so here are just some thoughts about acting in general.

1. Make an investment in your career. 
Be wise, and don't pay for things you can't afford. BUT, you should definitely expect to pay some money for good audition outfits, good makeup (for the ladies), and good headshots. Optional expenses include things like a pro membership on IMDB, a personal acting website, business cards and postcards, and lots more. Keep track of your expenses, though! Because if you make any money acting, you can write them off on your taxes.

2. Seriously. Get good headshots. 
This is so so so important. Like, this is what will get you in the door, and help people remember you. Here's what a headshot should be: It should focus on your face, and specifically on your eyes. Choose colors that flatter your skin and hair color, and stay away from black, white, and busy patterns. You should have two main headshots: one "commercial" (smiling, friendly) and one "theatrical" (serious "acting" headshot).

3. Remember that there are LOTS of factors that go into casting. 
Talent is a part of it, but it's only one small part. Other factors include look, type, voice, availability, compatibility, how much they'd have to pay you, pure instinct, what phase of the moon it is, the will of reptilian overlords, etc. It's impossible to know why casting decisions are made. And remember that success is a numbers game, as much as anything else. For every "yes," there will be at least ten "no's." So just keep auditioning. Sometimes it's pure statistics...the more you audition, the more likely it is that you'll be cast. Keep getting yourself out there, even if it feels like nothing is happening. (And when nothing is, remember the parable of "F you, Matt Damon.") So just give it the best you've got, and don't get too discouraged when you don't get something.

4. Actually, expect to be discouraged. 
Sometimes. Not all the time. But discouragement is almost inevitable. So is poverty. Especially when you start out. I think a lot of people start out by thinking that they won't experience discouragement and poverty like every other actor, but you probably will. That's okay. Join the ranks.

5. Keep an audition diary. 
It can be as detailed or as simple as you'd like it to be. This serves a couple of purposes. One, it will help you keep track of who you've auditioned for before, and if you've done any followup. Two, it will give you a chance to record thoughts and/or things you've learned. Finally, it actually offers a bit of encouragement to see what you've gotten, compared to what you haven't gotten. (Example linked here.)

6. Take a class.
Acting is a muscle, and if you're not working for a little while, taking a class is a great way to help you improve your work. It can also give you networking** opportunities, and help you build your audition repertoire. Sometimes another pair of eyes can see something about your work that you're not seeing, and can give you additional advice.

7. ASK for help, guidance, and advice.
When Jacob and I first made a plan to move to Utah, I sent messages out to everyone I knew who worked in acting in this area. I asked them every question I could think of, and their advice and guidance made my own career here possible. Sometimes we're afraid to ask for help, because we think it will make us look weak, or we're afraid to bother someone. But the reality is that people often respect those who ask for help, and they're often happy to provide their thoughts. It has always been 100% worth it to reach out to others in the field.

8. Learn to look your best.
*sigh* As much as I believe that our appearances aren't a measure of our talent or worth, they ARE a factor in casting and working. So ladies, learn to put on makeup that makes you look your best. Learn to put on fake eyelashes and take good care of your hair. Gentleman, learn how to style your hair and shave well. Everyone, learn what colors and lines flatter your shape, and wear clothes that make you look good. We all have insecurities, and that's okay--just don't dwell on them. Learn to play to your strengths.

9. Remember that your body is your most important tool. 
Treat it well. Learn to eat well, sleep well, exercise well. Don't fill your body with things that will harm it, like drugs or alcohol, or excessive sugar.

10. Decide whether you want to pursue paid or non-paid work. 
This is the big, ongoing debate in the world of the arts in general. Here's what I figure. You've worked hard to become a good actor, and you deserve to be paid for your work. But not everyone has the funds to pay you, nor the time/resources to find that funding. So you can decide for yourself on a case-by-case basis, or make a big decision and stick to it. For me, I focus on pursuing paid work. BUT, as I'm trying to build my resume and demo reel and IMDB credits, I'll sometimes take unpaid work if it will provide me with those things, or if it will give me a unique networking opportunity.

11. Don't ever forget your CRAFT. 
This is the most important thing. This is my deepest belief about acting as a career. In the midst of all of these businesslike tasks--"networking," getting headshots, taking classes, updating your resume, tracking your expenses--don't ever lose sight of your work AS AN ACTOR. Don't get into this for the fame. Get into this for the art. Take every opportunity to continue to improve and learn and grow. Challenge yourself. Connect with and listen to your fellow actors, on and offstage/screen. Your work as an actor must be about the human experience. If you don't know why you're doing this, that's okay. But try to find out. Think about and create your own philosophy of acting. Learn about techniques and systems, and find tools that work for you. Continually build your tool-box as an actor. Don't forget why you're doing this.

HAPPY AUDITIONING! 

Have anything else you'd like to add? Give us your tips and insider info in the comments!

* Like, seriously. Part of me feels like I don't have any right to be giving others advice. But others helped me on my journey, so I want to pay that forward. 

** I kind of hate that word "networking." It feels so cold and selfish and business-like. But I don't have a better word for it. Sometimes it's just that you want to take an opportunity to work with an artist you respect and admire. 

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What I've Learned About Acting in Salt Lake City, Part 1: Getting Serious

Currently...

Turbo-update...I ain't got time to finish all the detailed intellectual stuff I've got drafts of. Here's what's going on nowadays...

Current obsessions: 

1. My FitBit. This thing is changing my life. I'm gonna write a whole blog entry about it later, but in the meantime, know that I'm obsessed with it.

2. The song "I'd Rather Dance With You" by Kings of Convenience. This has been my ear worm for the last few days, and it has inspired multiple impromptu living room dance parties. (Other ear worm = "Deep Love.")

3. The podcast "Hello From the Magic Tavern." It is a gem of comedic improv GENIUS. If you have any interest in comedy or improv or stories or world-building, this is your thing. The basic idea is that a guy from Chicago has fallen through a portal behind a local Burger King, and landed in the magical world of Foon. But he brought his podcasting equipment with him, so he does a weekly podcast, along with his co-hosts, Chunt the talking badger (who's technically a shapeshifter), and the wizard Usidore. There are often other guests as well. Each episode is improv'd and it is so brilliant and it makes me want to just do improv with brilliant people. (WARNING: There is occasionally some language, and some suggestive material.)

4. NaNoWriMo. I'm deep into prep, and I have a rough outline for a story, and I'm excited to see where else it takes me as I write it.

NaNoWriMo prep work...outlines and brainstorming notes

5. Rimmel Provocalips lip color. A friend raved about it on Instagram a little while ago, so I went out and got myself two shades: "Make Your Move" and "Heartbreaker" and I'm in love. I don't know how it stays on, but it's magic lipstick voodoo that is NOT messing around. "Make Your Move" is really close to my natural lip color, but just adds a little "oomph" and it stays on ALL DAY. Kissing, eating, PUTTING ON CHAPSTICK. It doesn't end up looking all cakey and dry, either. Love it.

6. Acting. (Always.) I've had some pretty amazing screen opportunities lately, and someday I'll tell you all about them, but in the meantime, I signed all these crazy non-disclosure forms so I can't give more details until things are released or I'll get sued for billions of dollars and stuff. So that's been cool. I also had a callback for "Beau Jest" at the Hale in West Valley, so my fingers are crossed for that one. (I'll find out later this week if I'm cast.)

7. My non-glasses/non-contacted, LASIK-corrected eyes. It's the weirdest thing. I still reach for my glasses when I get up in the morning, before realizing I can see. I had a follow up appointment last Friday, and my vision is currently better than 20/20. I love it so much.

8. My nephew Benjamin. I watch him once a week, to give his mom some time to catch her breath and get stuff done. He's funny and imaginative and articulate. He's 2 1/2 and he loves music, going outside, Daniel Tiger, uncle Jacob, and rocks. (He like...really loves rocks. Whenever we're outside and he sees a pile, he has to go inspect them, usually selecting one to take home. He'll usually ask to hold a rock during his nap. Future geologist? Also, he usually asks me where Jacob is at least once an hour when he's at our house, and he's always a little sad when he learns that Jacob is at work.)

Current Non-Obsessions:

1. Thinking of really funny stand-up and/or Twitter material while I'm driving, and then forgetting it as soon as I have the opportunity to write it down.

Hope life is grand for everyone! Keep on keeping on.

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Currently...

Documentaries Part Two

More documentaries! You can find these documentaries on Netflix, Amazon Prime Instant Video, Vimeo, and YouTube. And all of these can also be found on my new documentary website!

Decoding Neanderthals
Definitely a "laundry documentary," but there was some really interesting info here. The more and more we research early humans, the more clear it is that they were more advanced than we thought. It seems that early man was capable of language much earlier than we originally thought, and created and used much more advanced tools.

Nature: The Gathering Swarms
Nature is weird and awesome. This would be another "laundry documentary," except it really does need to be watched to be fully appreciated. This covers everything from swarms of bees to schools of fish to flocks of birds. Together, animals create a unique intelligence that's greater than the sum of their parts. It makes me think of the human brain...how there are all these connections between individual parts that create a whole.

Everything Or Nothing: The Untold Story of 007
This was a cool documentary because it covered EVERYTHING about James Bond, from the books to the movies...an overview of the whole franchise. Here's something cool--it's really been a family affair. The current producer is the daughter of the man who produced the original films. They talked about the different phases James Bond has gone through and how each film was received, and it's place in film history.

Breastmilk
Totally fascinating. This covered the cultural and medical ideas behind breastfeeding and focused on the journeys of several different women in different situations. One of my favorite mythic/poetic ideas they covered is that in some ways, breasts are phallic. They give this life-sustaining liquid. The woman who made this point said it might be more fun to just say that penises are breastly. :)
WARNING: FEMALE NUDITY (BREASTFEEDING)

Frontline: Secret State of North Korea
North Korea is so crazy, but I think things are slowly moving towards change. I think it's going to be in the next few decades that change will come to North Korea. More and more outside influences are moving into the country (movies, music), and more and more people are openly resisting the regime. Government officials are turning a blind eye to free market business more and more often. The little infrastructure that remained in the country is crumbling, and the current leader doesn't hold the same religious fervor over the people that his father or grandfather did. Time will tell.

E-mail Order Bride
Laundry documentary all the way. This focuses on the international marriage broker business, mostly in bringing together men from the U.S. and women from Russia. It focuses on several different stories and covers the challenges and benefits of a brokered marriage. Here's what I think--I think there are a handful of men who do simply struggle to connect with women, and for them, this could be a helpful service. And there are also men who are jerks--who choose Russian women because they "haven't had feminism over there" and those women "just want to stay home and take care of their men." And there are the rare cases in which creeps who are unhappy with their brokered bride get crazy and murder them. But it seems that nowadays, it's a little safer.

To Be Takei
Oh I love this man. I love love love George Takei. That voice. That sense of social justice. That sense of humor. This documentary was charming and enlightening and made me adore the man even more. It covers his early years in a Japanese internment camp, his choice to remain closeted for much of his life, his relationship with his now-husband Brad, his career path, his Facebook presence, and much more. Awesome.
WARNING: LANGUAGE, SOME DISCUSSION OF SEXUALITY

Reel Injun
AWESOME documentary chronicling the history of how Native Americans have been portrayed in film. One of the very first motion pictures EVER was of a tribal dance--there are many people who believed that a main purpose of film was to capture native peoples before they disappeared (ominous). Native Americans have filled a gamut of archetypal roles since then, and it's only the last few decades that film has been truly representative, instead of just stereotypical.
WARNING: SOME NUDITY

Secrets of the Dead: The Lost Diary of Dr Livingstone
Laundry documentary, but with some decent cheesy reenactments. One of the coolest parts of this documentary was how they deciphered Livingstone's old journals. He didn't have access to plain writing paper, so he recorded his notes on the pages of old books, on newspapers, etc, using ink made from berry juice. Which meant that his words are incredibly difficult to read. They did a whole series of experiments to try to read the diaries--what they came up with was pretty darn awesome.

Jesus Camp
I'm not even sure if I'm ready to talk about this. I found it incredibly upsetting. But to discuss it is to tread a fine line...I can't criticize other religious groups if I'm not willing to let my own be criticized. And that's difficult. But the disregard of science among evangelical Christians makes me furious. I sense so much fear and anger among fundamentalist religious groups, and I don't think it's making the world a better place. I recognize that there are sects of Mormonism--break off groups that are the same way. And I don't like them either. And in some cases, well-intentioned orthodox Mormons can create a culture of fear and anger and fundamentalism, and I don't like that either. It distresses me to realize that a whole generation of the world's children are growing up in a world of fear, and disregard for science. And I don't know what to do about it. Shut churches down? Nope. Because I believe in the First Amendment. Ugh.

Bound By Flesh
Interesting documentary about conjoined twins who grew up at a time when Vaudeville and sideshows and circuses made a fortune in "freaks." This focuses a lot on their story, but also covers the history of the entertainment industry in general. There are some strange complications in the world of conjoined twins...things I hadn't thought about until I saw this documentary.

History Channel: Albert Einstein Documentary 
(I'm having trouble finding the actual title of this documentary, but I found it on youtube here.) 
Here's something crazy. Sooooo while Albert Einstein was brilliant at physics, he was not so brilliant at marriage. But here's how things went down. In 1905, Einstein publishes the general theory of relativity, which totally disregards Newton's explanation of gravity. Newton said that objects pull things towards them--and the larger the object, the stronger the pull. Einstein said that gravity was caused by the mass of an object bending the fabric of space, kind of like if you put a bowling ball on a piece of fabric. But it's an almost unprovable theory. There's no way to test it. So Einstein finally gets the idea to prove it by photographing a solar eclipse. If he's right, the stars around a solar eclipse will appear to shift slightly. So it's four months before THE solar eclipse that will either prove him right or wrong. He and his wife are on the rocks. Finally, he tells her that if she divorces him, he will give her all of the Nobel Prize money. She will take their two sons and move back to Zurich, and their support will all depend on that money. Which is a total gamble, because he doesn't know if he's going to win the Nobel Prize. It all came down to whatever the eclipse reveals. But here's the other snag. Einstein is German. The eclipse is only visible from Russia. And it's 1914. (Google World War I history...)

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Documentaries Part Two