My new movieScope camera acting column features--

Selma Blair, with three very different current films in the mix, including the megahit Hellboy II as well as an upcoming NBC comedy series Kath and Kim, is so disarmingly honest about what she sees as her shortcomings, I found myself encouraging her to give her psyche a break.

Blair says she never thought she would have a camera - film or TV - career because, "I thought I wasn't attractive enough." I assured her in my own, inimitable way, "Really? You are definitely not chopped liver!"

Said she: "I have my moments."

Right. Well, take a look at her photo and I ask you -- what's not gorgeous?

When you read the column, you'll understand why so many good directors and actors love to work with her on such a variety of commercial, independent and television projects.

Kath and Kim is the American version of the hilarious, extremely popular Australian TV series of the same name, based on the dysfunctional relationship between a mother and daughter. Selma portrays Kim, the daughter, whose self-image is inflated to the point of absurdity -- *completely* opposite of the actress herself.

Two gritty, visceral films she recently worked on are examples of her extraordinary range: Lori Petty's The Poker Party and Tom Shankland's WΔZ (pronounced: W Delta Zed) are stories of extremely damaged characters -- Selma says she feels more comfortable portraying flawed characters than "normal" people.

"I usually fall flat," she says about her turn at acting roles of "regular folks."

See what I mean?

Anyway, to pimp the movieScope column, I'll just say that she *does* give herself credit for giving good performances as she works with and learns from great directors and superb actors.

But not much.

CP definition of comedy

After discussing this with so many actors, writers and directors, I've decided comedy is:

Sincerity on steroids.

Casting in LA ...

Was a supreme pleasure and a completely wonderful experience.

I had the time of my life.

Casting director Rick Pagano, who is well respected in Hollywood, and his assistant Russell Boast, could not have worked harder or more dilligently - speaking with agents and managers and actors and others involved with the actors' careers. Noted producer Toni Wells-Roth helped us out with camerawork (wow!).

One observation I must mention: there is an extremely serious problem with agents who don't really do their jobs or do them well, and I'm including folks working with "top" agencies.

Several had *no* idea how to contact their clients (wrong emails, phone numbers), or that their clients were currently working, or in some cases made no effort to send the script or even contact their clients requested by Rick for this project. In some cases they made an appointment for their client and then cancelled it because they did not contact the client.

One very well known actor who is a good friend of my producer (actually our casting director and producer know a lot of great actors) said he was never contacted by his agent. When his agent was contacted (who made an "appointment" for his client to meet with us), the agent had *no* idea his client is currently working on a mini-series at an out-of-LA location. He's coming to Seattle to meet with us soon.

In the case of most actors we auditioned or met with (at a certain level of fame/work, meetings are held in lieu of script readings or auditions - though certain very top professionals still ask to read), they are at the top of their game and crazy about our project.

Some sensational actors dropped by to meet even though they knew they weren't right for this project, but know we have several more slated so wanted to get together with us in person. And believe me, we kept careful notes on everyone we saw.

One well known actor with whom we had a meeting said the industry is now run by "second rate" agents who don't do their jobs, don't know how to do their jobs or can't do them very well - and the people suffering are actors - at all levels.

S/he added that the situation is cyclical -- that their incompetence will only be tolerated for so long before there's a big shakeup, when the system will change again.

In some cases, the agents only want big paying deals for their clients so they can make big fees, regardless of the quality of the work.

There are obviously some agents who take their work seriously and do a good job -- they were spoken of just as positively as the others regarded so negatively.

Enough about that.

The very up side is that the actors with whom we interacted were amazing, terrific and top professionals. They worked so hard on the material to bring their characters to life - screwball comedies are the most work of any genre by all concerned.

Each brought something that only they could bring to their character.

They're making my work of selecting the right person for each role incredibly difficult - which means they did a splendid job. The harder my job, the better the cast.

Some of my choices are going to surprise audiences, and quite honestly a couple people (very well known) came in to speak about doing extremely "against type" characters (unlike anything they've ever played before, unlike the persona they appear to be normally or the characters they've played in the past).

One well known actress from a very popular dramatic TV series did her very first comedic performance in her audition for the lead and absolutely WOW'ed us. She did a brilliant job, looked fantastic, and what's so exciting for me is that she loves the script and the role. Very impressive.

I can't tell you how rewarding it was to hear so many of these top pro's tell me how much they loved the script! Most importantly, I couldn't hear a wasted word in the dialogue. Whew.

A good sign is that everyone who read it felt very strongly about the script - they were either head over heels in love with it, or they absolutely hated it! I think those who didn't like it will feel very differently when they see it up on the screen.

Even our producer was pleasantly surprised when actors who understood the script and characters breathed hilarious life into their scenes.

I enjoyed most audition performances so much - extraordinarily talented, skilled artists did such magnifienent interpretations - that the experience was downright heavenly for me. And I let them know it. I'm not one of those directors who holds back her enthusiasm or appreciation.

After all, these are artists who have shared a part of themselves they'll never get back; they worked hard on their audition scenes and deserve credit and praise where it's due.

It's easy to see why these actors are employed as much as they are. They deserve it. I was proud to be in their company.

Mind you, if anyone shows up unprepared or without doing their homework? I also let them know how I feel. But that was not the case, so I was able to shower actors I met with appreciation and affection.

Our producer, Larry Estes, is a former studio executive and lengendary producer in the field of indie films. He is well known and highly regarded by many working actors who came in to say hello - he now lives in the Pacific Northwest. I was proud to be in his company - I could see the admiration and fondness these artists held for him as they hugged and spoke to him warmly about families, kids, the past, pets, work and life in general.

I was treated to some fantastic stories of show biz past and present by Larry along the way. Another highlight of the trip.

Larry and I met over dinner with our estimable editor Stephen Myers (he just found out the Pixar documentary he edited is nominated for an Emmy!), who has worked with classic comedic filmmakers like Carl Reiner. I showed him my shot sheets along with overhead drawings -- floor plans -- of camera placement, character and camera movement.

After scouring my work, Stephen sent me suggestions for insert shots and editing sounds. The very things that make the difference between work well done and excellence.

Thank you to every actor who came by to meet and perform for The Whole Truth (Gabe, I owe you a little stuffed skunk); decisions will be made soon because cameras roll the third week in September.

Interestingly, we set out to cast three lead roles in LA and came back considering actors to fill 6 roles. We'll be meeting with a few more actors here and in Vancouver, B.C. as well.

Next big step after that: local casting in Seattle for another lead role and several supporting roles with Stephen Salamunavich at Complete Casting, which I know will be just as much fun. Every role is written with a scene to steal included.

We'll also be opening a production office, then bringing production folks in the next few weeks.

Crazy Hollywood agents stories ....

Will have to wait for now - but do I have some very interesting tales to tell when our film is in the can about agents whose first duty appears to be their own bottom line, rather than their clients' best interest -- or any interest in them at all.

Fortunately, not all of them are like that, and I'll also share the 4-1-1 about those agents who seem to genuinely care about their clients and their best interest -- or at least tell the truth.

According to jaded long-timers in the industry, these good people are in the minority. Which is why it will be great to write about them.

Obviously, we're going through the casting process in LA for our four lead characters, and I will say this: at least two agents who *said* they showed our script to their clients -- did not. Which cost us time we would have rather spent having their client actually reading the script - or at least know we were free to send it to the next actress on our starring wish list.

We found out by contacting one of the actress's managers, who told us her client is on a self-imposed vacation to spend time with her family; she's not even reading scripts because she doesn't want to be distracted from her husband and kids.

Good for her - we're all for family time. But it would have been nice if her agents told us that's what she's doing instead of pretending to show her the script and telling us she "passed."

See, with indie films, actors don't get paid as much as they do from studio films, but they generally love indies because while they can still get paid *way* more than 90% of the population, indie roles tend to be more demanding or unusual so they get to show off how genuinely talented and skilled they are.

When actors don't get millions, their agents don't get paid mega-megabucks, either. These agents would rather receive nothing, apparently, than take a 5-figure fee from an indie gig for their client, preferring to wait for that six-figure (or seven) paycheck from their client when they arrange a studio project.

If'when I meet their clients .. I'll be sure to share my experience with them.

On the very plus side, information about the script is getting out now so there's "buzz" and we'll be auditioning some super talent next week in person with our sharp LA casting director. I'm looking forward to meeting some terrific, skilled, impressive actors who are looking forward to practicing their art and craft fearlessly in our project.

Screwball comedies like The Whole Truth are a boat load of work for the leading lady and villain; the leading men also face a lot of challenges to nail the roles. But this hard work pays off with appreciative audiences and folks within the industry because insiders know just how much toil and skill are involved to make it all work.

More on the fantastic talent as soon as our full cast is aboard; that goes for our outstanding crew as well.

Meanwhile, I continue the painfully detailed work of creating shot sheets (every picture taken for the film) and overheads (overhead maps - floor plans - of the sets that show where the camera and talent should be placed and move amidst furniture, props, etc).

In LA, I'll also be meeting with our editor to show him everything I have in mind for the shoot so he can make suggestions for specific shots and "coverage" (additional shots that cover the scene to capture specific things I may need working with him in the editing room). I'm pretty thorough, but always open to opinions from such comedy editing veterans as our editor, who has worked with comedy film folks like Carl Reiner and more.

Incredibly he asked to be our editor at indie rates when he was asked to read the script as a favor to our producer.

That is a very good sign.

Love and forgiveness

A close friend and I were discussing love.

Like what is it really.

I said I believe genuine love is an exercise in terminal forgiveness. If I love someone I'm in a state of perpetual forgiveness.

When two people choose to forgive each other for virtually everything that actually does not matter, that's true love.

I'm not talking about the big things - any verbal or emotional abuse or worse can't be tolerated. Even if there is the urge to hang out with that person in the mistaken name of love - nope, it's buh bye. That's not forgiveness, it's masochism.

I'm talking about the little things. The tiny things that can build. The way she chews her gum - the fact that he chews it at all.

You know what I mean. The little things. That build.

A big complaint is directed at people who "suck" their teeth in an effort to clean them without brushing. At first it may sound ... sweet. But for some reason after he moves in with you it becomes so irritating you buy him electric toothbrushes, floss, sonic-spray and more, but he doesn't stop. So that "minor" issue becomes major, when in the great scheme of things it really does not matter - if your mind and emotions are directed on stuff that actually does matter.

Unless you're forgiving. And in a really recognized way. That is, saying out loud or whispering to yourself, "I forgive her for chewing gum, I'd rather be around the sound than not around her at all."

Same with the bazillion of other things that can drive us nuts if we aren't fundamentally interested in being around that person. As in, obviously, you aren't that into him/her.

But in the end it's not about the other person, it's about us.

Why does his/her particular habit grate on our nerves? What does that reflect within us? About us? And why don't we just tell him or her to cut it out?

Do we love that person enough to forgive the little things, knowing that the big things are handled? The respect, the thoughtfulness, the care, the fun, the tenderness, the kindness, the appreciation, the soft place to fall?

Do we love and respect that other person enough to ask for what we need? Does he or she love and respect us enough to hear just how incredibly frustrating our tooth-sucking can be?

Are our priorities loving and forgiving or are they more involved with trying to discover what is wrong with the other person? The Frasier Crane syndrome.

Another friend and colleague is the father of two terrific teenage girls and a devoted husband to his long-time wife. On Father's Day, I ended a work email with "I hope your female family is spoiling you rotten today!"

He wrote back, "They are making me feel very special and appreciated. But spoiling? That's *my* job."

Now there is a man who's so in love he must spend a lot of time forgiving ...

I enjoy the whole notion of forgiving people I love and care for. I don't expect perfection or want it - maybe I'm afraid if I did, they'd expect the same from me. And I'm far from perfect.

Besides, being upset about something takes far too much energy; energy I'd rather spend feeling good; feeling good helps my creativity and being creative makes me happy.

So I guess what it ultimately has to come down to - since my premise is that it's really about us and how we react to people - is that as long as I can forgive myself for the little stuff, knowing the big stuff like self respect and self esteem are going for me, I stand a good chance of forgiving others for stuff that, in the end, don't matter anyway.

A "stranger" personality

I don't know what there is about me, but for some reason strangers feel free to approach or talk to me.

Fortunately, I know how to speak enough French, German and Sign Language to keep myself out of an international incident, because it doesn't matter what country these people are from, they stop me to ask for directions in their native tongue or signals.

Personally, I consider it a miracle I actually understand what they're saying and can give them the answer.

I do know a lot of normally minor/useless information that comes in handy when someone from Europe (or where ever) asks for directions, the location of a local landmark, the nearest bathroom, my take on Einstein's theories of ether and relativity. Wha'-evah.

They also freely express their opinions for things I've not asked them.

Like today.

I drove my car into a parking spot at my nearby supermarket to do a little grocery shopping. As I pulled myself out of my car, the woman loading her groceries next to me noticed the white swirls on the back of my car.

I washed and *half* waxed the car yesterday - I intend to finish wiping off the white film of wax from the rear of my car this evening.

"Hey!" She called. "Someone didn't finish waxing your car!"

"Hey" I called back. "That someone is me!"

"Then you're fired!" She commanded.

"Fired?" I retorted. "I quit!"

......wait .......

On disappointment..

We all experience disappointment ... sometimes it's a minor thing that passes - nearly without notice, other times it's a razor-like paper cut that never seems to heal.

Because of its very nature, the business of show can create more reasons and occasions to be disappointed. Going to hundreds of auditions to land the few jobs available, for example.

A very smart beautiful woman once told me that the most difficulty she has looking as she does is that she disappoints so many people.

Why?

Because she has a certain type of beauty, people expect her to behave the way she appears. She doesn't do what people expect her to do, so *they* are disappointed she doesn't turn out to be the woman they imagined because of the way she looks.

She also doesn't date much, so needless to say she disappoints a lot of people who would love to go out with her.

Imagine yourself having a gorgeous, somewhat delicate look when the way you actually live your life is very down to earth, enjoying lots of outdoor activities, playing tag football and getting dirty.

For people who only see your appearance and imagine you therefore *must* behave a certain way, the imaginary person and the real personality do not compute. They are disappointed you are not the person they imagined you are.

It's the same with actors who appear to have a certain type of personality on screen, but are nothing like the roles they play in person. Disappointing.

OK, when we hire people for crew and cast a film, I'd love to hire *everyone.* But I know those who aren't selected for this particular project will be disappointed. It doesn't matter that I have a gig in mind for them on another project, because I can't talk about it now.

And here's an apparently well-kept secret, especially from actors: We're hoping-to-goodness you've got the goods. That you can nail the role. No matter how much or how little experience you have, no matter what sort of training you've received. When you walk into the room, we fervently hope YOU are the ONE.

That YOU will make the role your own and suprise us with your talent and skills.

The myth is that we're always looking for reasons to say no.

Wrong.

Why?

We want to button up the project. We want our cast to be in place, ready to go to work. Especially on long days after seeing so many people: we want to go home to spend time with our families. We can't do that if we haven't yet found the exceptional performers to fill the roles.

Another truth: when an actor is passed up for a role, it may feel like a "personal" rejection because acting is something a person does - with themselves, by themselves (even if they're in a scene with a hundred other actors).

But it's not.

In some cases, the best actor is not hired because the chemistry won't work with the rest of the cast.

In other, big budget films, the best - or "right" - actors may not be hired because the studio has ordered specific actors to be used, believing the miscast actors will draw a huge box office. But people don't come to see a film that turns out to look so seriously miscast. Audiences stay away in droves.

A couple things that do negatively influence casting decisions these days: stories of heavy drinking, drugging or being difficult to work with. At one time, these problems would be tolerated. Today, very few actors with this sort of reputation are hired -- *unless* they are drawing hundreds of millions of dollars to the box office, because it's expensive to work with dysfunctional actors.

But what happens in the industry - when that troubled/trouble-making actor has his or her first "lesser" box office success (let's call it what it is, a *bomb*), he or she is immediately shut out because it has become too expensive to hire that person on a number of levels.

I know in some cases people who have put up with the bs of the arrogant, abusive, addicted actor can hardly wait for them to make their first bomb, because that actor will find themselves out of work, refused jobs and have to start over again to prove themselves if they still want a career.

Hopefully those actors will see the light and get treatment or seek the help they need.

If I knew or coached an actor like that I would tell them what people are saying about their addictions, habits or behavior that will cost them jobs now and in the future. Especially if I witness that sort of behavior.

I have, in fact, told some actors who suffer from addictive behavior what will happen if they don't change their ways.

And the actor has either taken the information to heart and sought to solve his/her problems, or have left because they did not want to address self-destructive and addictive behavior at that point. Or don't believe there is a problem - at least that's what they told me.

I'm sure they were disappointed .. perhaps thinking, "What has that got to do with my acting?"

Well, for one thing any addictive behavior blocks feelings; understanding and tapping into the feelings of a character is the currency of acting. Kinda essential. This lesson has been learned the hard way by many of our top performers, who realized that the only way they could continue to grow as artists is to do it clean and sober.

It's worse than disappointing, it's heartachingly painful to see great artists deteriorate as people and as performers because they refuse to address their addictive behavior - and the problem with many 'stars' is that there are plenty of sychophants around them to feed those addictions until the money runs out.

As for my own casting process - working with as many actors as I have over the years, believe me when I say I'd love to cast everyone! Hire all the fantastic crew people I know! Provide jobs for everyone!

But of course that can't happen, and so I have to keep in mind the one boss to serve - the audience. To serve the audience, I need to make the most careful decisions about who works with us in front of and behind the screen; making sure they're right for the role and that the chemistry between everyone clicks.

Nothing hurts worse than to see a promising film that is so obviously miscast.

I often reflect on all the disappointments and victories I've experienced -- which have landed me right where I am. It's not such a bad place to be.

In fact, I wouldn't have it any other way.

At last-

George Carlin can say those seven forbidden words .. on Heaven TV.

May 12, 1937 - June 22, 2008

Pact Mentality

"Hollywood films Juno and Knocked Up blamed as teenagers race to become mothers" read the sensational headline in the British newspaper The Times of London last week.

It seems 17 teen age girls, some younger than 16, the age of consent in Gloucester, Massachusetts, made a pact to become pregnant at the same time so they could "raise their children together." According to CNN reports, there was severe peer pressure among the girls at the school to become pregnant to join .. to belong to the pact.

One father said that his daughter was either scared .. or strong enough .. to refuse when she told her parents about the pressure the girls were putting on her.

The school nurse reported girls being "disappointed" when their pregnancy tests came back negative - more than 150 tests were requested at the school.

I recall a rash of teen pregnancies several years ago, where the reason given by most of the pregnant girls was that they wanted to get pregnant to have someone "love them" for the rest of their lives. Not someone *to* love. But someone to *love them.*

The article says one of the fathers is a homeless 24 year old man, other fathers in their mid-20's. Some are outraged at the men, saying they should at the very least be financially accountable as fathers and at the most put in jail for impregnating the girls under 16. That's statutory rape.

The correspondent, with the regrettable-for-this-story name of James Bone, is only one of many columnists and pundits who claim that recent films "Juno" and "Knocked Up" may have been the inspiration for such a pact.

In Juno, actress Ellen Page stars as a teenager who finds herself pregnant through carelessness and ignorance. She decides to have the baby in order to give it to someone who can care for and nurture the new life properly, with all its attending responsibilities. Her family supports and loves her through her pregnancy; classmates and friends accept her situation.

The Diablo Cody script received an Academy Award last year.

"Knocked Up" is about a slacker who impregnates an otherwise responsible, mature woman with a solid career because both were careless and irresponsible. Unlike in most similar real life situations, he learns to grow up and take responsibility for his behavior.

More, the teen pregnancy of Jamie Lynn Spears, Briteny Spears' younger sister, is said to have influenced many girls, because Spears has been the focus of special interest, and even though her mother has agreed to raise the baby, Jamie Lynn's actions were not seen to have many negative ramifications, other than interrupting her show business career as the star of the sitcom Zoey 101.

Meanwhile, back at Gloucester High School, there was a call for issuing contraceptives to the youngsters without parental consent ... that was nixed because most are Roman Catholics in the fishing village.

The Times of London article says that the school superintendent doesn't blame Hollywood. No, Christopher Farmer believes the real cause is that these young women have no sense of purpose or direction, that they lack self-esteem and affection.

Bingo.

I would have added to Christopher Farmer's list: they lack a sense of belonging.

"Pact" mentality seems to be a popular among many American youngsters today, regardless of its reason.

I see it as trying to gain a sense of belonging, in whatever way they can.

Gangs provide a "pact mentality" with a strong sense of belonging; it's the primary reason kids hook up with them. Belonging then gives kids a purpose - even if that purpose is malevolent. Even if their chances of being maimed or killed are astronomical. They can die feeling they did it for their gang family.

Family is a place where a sense of belonging is supposed to start. Too many kids aren't feeling as if they belong in their own families. Among the million reasons why the don't feel they fit in or belong is not being accepted for who they are by their parents or extended family. Feeling isolated, and in turn feeling bad about themselves, which leads to a lack of self esteem, a lack of purpose or direction as well as a lack of affection. Withholding affection is no way to "punish" a child.

How many kids have "good homes," but behind closed doors are not accepted for who they are, who are told they are supposed to be, essentially, someone else? Denying a kid a sense of self, acceptance and their true identity is a recipe for kids seeking acceptance, love and support somewhere else.

Enter Hollywood.

Sometimes adult intentions when writing for or about kids are good, but because kids don't perceive things the way adults do, the message becomes garbled or misinterpreted.

Writer-director-producer John Singleton created the film Boyz N the Hood, a breakout film that showed the mean, gritty gang culture and how his hero, the protagonist, was able to leave that horrible lifestyle behind, to be a positive influence and have a life contributing to the world.

That's how adults saw the film. Gang bangers saw it as a glamorization of their lives; they experience the hero as "weak" "meek" and wimpy -- adults would experience that young man as having more courage than any gang banger.

Because of this, sadly, after seeing the well-intended film, several fights broke out, shootings occurred and some theaters refused to show the film because of it.

In Juno, I can see girls thinking that getting pregnant is a good way to get special attention and love, and end up with a boyfriend/husband as the teenager did in the film.

Its star, Ellen Page, would do everything to refrain from getting pregnant at her age because she has a purpose - a direction, a career and is getting lots of affirmation for her talent and skills.

Those of us who see it as "just a movie" understand that.

But for vulnerable kids desperate for love, positive attention, direction and purpose, who knows how they perceive so much of what they're exposed to in this media-saturated culture. They seek out answers from media instead of the people from whom they need to get real information. A genuine reality check.

Many, if not most adults, did not understand Napoleon Dynamite. The kids did. And absolutely loved Napoleon and the film. He was a kid who didn't fit in and was seen as a slacker because he had no purpose or direction, but who came through for his friend in what could have been the most humiliating way - and was therefore a real hero to them.

I don't "blame Hollywood" .. but I do feel that media influences people -- especially kids -- in intended and unintended ways when a vulnerable, needy individual is exposed to it.

Intended .. through advertising. Commercials and ads want to affect your behavior and actions -- to buy their products. Many companies enjoy a healthy bottom line because of their advertising.

Unintended through the examples I've already cited.

In the film, The Whole Truth, for which I'm the writer-director-co-producer, I originally included a specific purebred puppy for one of the lead characters because they are *so* unbelievably cute and smart.

I have since replaced that purebred with a rescued mutt puppy from the animal shelter because I knew puppy mills would go crazy for the purebred, wrecking little pups because of their hateful breeding systems, because kids would want them and while puppies may not be babies, they take a heck of a lot of attention, socializing and training to live happily ever after.

Most dogs end up in shelters because they are brought home as puppies, not socialized or trained properly and become pests because they've not had enough attention or proper care.

I remember the nightmare of Dalmatians besieging pet shelters because kids wanted one after seeing 101 Dalmatians. They are a special breed, prone to deafness and other problems, so they need special attention.

No doubt the puppy mill runners carelessly bred them as well, creating more physical and psychological problems. When the puppies turned into work? They were literally dumped at shelters all over the world.

The moral of the story in 101 Dalmatians got lost on little minds; they just saw the cute puppies and wanted one.

Should that film not have been made?

Of course not .. but parents needed to help their kids understand that any puppy is in need of lots of time, care and attention. Especially feeding, watering and picking up their poop. That would have been a great problem-solving exercise for kids to understand whether they were ready to get a dog, because the vast majority of people who bought those puppies couldn't handle them when they grew up.

So they took them to shelters (or worse - released them alongside country roads) that had to euthanize them because there were too many to care for; rescue facilities were already overcrowded.

In short, these films make great family discussions and can lead to some very positive interactions and actions by the kids. If kids want a puppy after seeing our film, at least they've seen how much care they need.

Without these discussions, kids will see what they want to see, hear what they think they hear and take actions that may well not be in their best interests.

Something to consider. Feel free to respond!

Extras! Extras! Read all about it!

Casting is underway for our feature comedy film The Whole Truth, which we're shooting in Seattle, and wow, do we need *extras.*

Especially extras who know their way around a film set.

Or people with a special look. Young, older, any race, any size.

If you're a non-union actor or a responsible person looking for a great filming experience, please send your headshot or a recent photo, along with your contact information and a little background or a resume by June 19 to:

Matt Schmidt
Asst., Colleen Patrick
writer/director/co-producer
THE WHOLE TRUTH
11328 28th Ave NE
Seattle, WA 98125

You'll be asked to do a brief audition.

The shoot should start near the end of August, and go for six weeks; extras will work from just one day up to four or five, depending on your scenes.

Bill Moyers' tears should be shed by us all

OK, it sounds like it's long. But it *feels* short.

It's a 39-minute address to the National Committee for Media Reform by the astute journalist Bill Moyers.

Moyers is brought to tears more than once as he tells his audience how the dominant US media have not only become shills for "nonsense and propaganda" while real information slips by, but how they have also actively excluded information we need.

Namely, the truth. Something we need to have a democracy work - that's the point of the first amendment (Freedom of the Press).

Moyers outlines how, when the few media voices that cried foul when the Bush administration lied and lied and lied, day after day, week after week, month after month and now year after year about Iraq - now Iran, about Katrina, and so many other issues for which thousands of innocent and courageous and patriotic Americans have paid dearly in blood and in money - how those courageous journalists and media who tried to tell the truth were spurned, fired and excluded from essential governement information services.

Honest journalists spurned not just by the dishonest, deceitful adminstration, but by their own colleagues. Many of whom to this day continue to live in denial about their complicancy in those cruel, homicidal and greedy policies.

Nothing is mentioned about the hundreds of thousands of innocent Iraqis slain by US, Iraqi and Al Qeda forces. The hundreds of thousands of innocent Iraqis (and Americans) who are cannon fodder in the midst of an Iraqi civil war.

Why is it other nations know so much more than we do about our own government, military action, and policies that create near venomous dislike toward the us government?

Leading British and Canadian newspapers, upon the re-election of George Bush in 2004 filled half their front page with the headline addressed to American voters: WHAT WERE YOU THINKING?

Unless and until we start insisting on the truth from our journalists and media, chances are we are not going to get it. Listen to Bill Moyers talk about the lies that are finally being admitted to and proved even by the recent nonpartisan National Intelligence Estimate (that the Bush administration engineered an outright propaganda campaign using dominant media to push us into war with Iraq) and the solutions here.

As a journalist who left mainstream media because of my love-hate relationship with them for all the reasons cited by Moyers - namely that its promise is farther away than ever from being realized, resulting in actual harm to our nation - I found myself crying with him.

I do not believe dominant media can find its way to Integrity Avenue from the inside because there are too many main streams leading to deNile.

I found listening to his speech well worth my time.

I believe you'll find it worth yours as well.

What in the world is going on? Check out this GPS

I finally found a television program on international matters that is astute, brilliant, clear, *understandable* and can tell you what is really going on in the world. Especially in nations seen as problematic to Western nations.

It's a CNN show called GPS - Global Public Square.

This is exactly the BS, fear and political ideology-free type of information and discussion Americans, and frankly citizens in every country would love to see if they knew about it.

Newsweek editor Fareed Zakaria hosts. Unlike other news chat show hosts, Zakaria allows his guests to talk. And talk they do. Openly, freely and knowledgeably. All points of view are represented, but everyone is expected to talk facts, not expound on a political agenda or push any particular ideology.

It airs Sunday at 10 a.m. US Pacific Time where I live.

This is a program I hope becomes the template for other information programs. This is a show that does it the way it should be done. There's not the incessant "we're out of time" message, the inveterate interruptions of a guest as she or he gets more than three words out.

An invited expert actually has time to speak and interact with those who are equally as informed but have another point of view - or who may come from a different nation and in fact agree with things said by other panelists.

Zakaria doesn't get in their way as other hosts of "information" programs do; in fact, he stays out of it. It's almost as if he is there to (gasp!) learn from his esteemed guests, who are encouraged by Zakaria to speak the truth rather than push an agenda.

For example, do you know:

*Al Qeda is no longer recruiting members by using fundamentalist Muslim religious zeal? It no longer works, so they're using anti-US feelings instead, since what is seen as the US occupation of Iraq is an effective recruiting tool.
*Al Qeda is falling apart as a disorganized "organization," but remains potent in the minds of the world because 1) Bin Laden is still not captured, and 2) of its ability to recruit new members based on anti-Western emotions.
*Al Qeda male leaders must do what they really don't want to in order to maintain the organization's reputation as a terrorist threat: work with women. It's now difficult to get men to commit suicide on its behalf, so they must bring in women to do that work or it will disappear.
*Negotiating with enemies is the bedrock of national security - no matter what nation in which you live. Which is why Israel and Syria are now talking. The national security of both nations is at risk, their very survival at stake, as long as they keep increasing their need and the power of weapons to kill one another.
*The vast majority of Iranians are *pro-US.* Iran's "president" Ahmadinejad is considered just this side of a joke by the general Iranian population. Iran's true leader is a top Muslim cleric - Ayatollah Ali Khamenei. Remember Iran's official name is The Islamic Republic of Iran.

So when politicians in the US spew flaming talk about dealing or not dealing with the president of Iran, the international community and knowledgeable Americans know he's not the one with whom to deal, because we know the guy with the real power is Ayatollah Ali Khamenei.

These are only a few of the points made by one panel in one segment of GPS.

Zakaria's interview with Henry Kissinger about not only why but "how to negotiate with your enemy" is priceless. Not only on an international basis, but individually as well.

Some GPS interviews are available online - so don't take my word for any of this. I encourage you to check them out for yourself. You'll find a breath of fresh air in a world full of the typical BS, inaccurate, agenda-filled, spun like fine silk US "news," political and information chat shows.

Creative References

Now that the script for our Heart Break Productionz feature comedy The Whole Truth is locked and has scene numbers, we're flying into production action.

We're interviewing some terrific candidates for key crew positions (Director of Photography, Production Designer, local Casting Director, make-up, hair, wardrobe and so on). They've read an earlier incarnation of the script - it's better now - and come with ideas and questions for us as well.

Something that helps the technical/artistic crew members is called a "Creative Reference." I have in the past referred to it as my Film List, but now that I'm working in feature films, I discover the more accurate name is Creative Reference.

This is a list - comprehensive but not exhaustive - of films that have an element that would, IMO, serve our film well. Whether it's blocking (where/how characters move), design (scenery, background, colors, props), camera movement, symbolism or a number of other integral parts of scenes, scenery and style.

The idea is *not* to copy anyone - far from it. It is to recognize effective cinemagraphic techniques that could tell the story best.

So I watched about 40 films that I believed would have something that we (the production team) could use, update, twist or incorporate in a new or unusual way.

This is where knowing about films from the past and film history comes in handy.

From those, I selected nine for my list, writing what I saw in each that could lend effective creative elements - some minor, some major - to our film. Dramas and comedies are considered because, remember, we're looking for technical references as well as story telling techniques.

For example, one of the films I list on my Creative Reference sheet is Rob Reiner's classic, "This Is Spinal Tap."

Now, The Tap is *nothing* like The Whole Truth. Nothing.

The Whole Truth is tightly scripted, The Tap is mostly improv'ed by a cast of brilliant writer/actors. But what I see in The Tap that I believe will work for us? The sincerity of the characters; there's never one false note.

Those characters are simply who they are. None tries to be funny. They only react as their characters would honestly to the bizarre situations in which they find themselves, which are actually fairly realistic for show biz.

So, for our film, I listed: This Is Spinal Tap - the sincerity of the characters. No one tries to be funny, they are simply and honestly themselves. Billy Crystal tells the only joke (you'll have to see the film to find it) in the entire film.

The folks we're interviewing try to watch at least the top few films on my list to understand how I see an aspect of the acting or their technical make-up helping our project.

If the Creative Reference list is properly and well done - the crew folks who read it should immediately see what I see, the way I see it. It's written carefully, conscientiously.

Their job is to help me realize my vision as the director - but directing is a completely collaborative job. It takes a village of crew and cast to help bring that vision to life - what we directors do is, in the end, take credit for the work of The Whole Creative Village. ;-)

Now, by sharing my Creative Reference list, they can come up with notions that only enhance my concept and vision, bringing me ideas and creative choices to make that vision become a living, breathing reality in a way that, hopefully, you will enjoy on a number of levels.

This is a very layered film. You'll have the opportunity to enjoy it on a very simple level - from taking that roller coaster ride of "just" a funny film for a sheer escape from your day-to-day life, to an examination of the darker sub-stories, to many other levels of character analysis, story telling and subject matter.

Which is why casting is crucial. The folks cast in our film must be able to *act,* and well. We're working with some top casting folks in LA (who are amazing) and we'll be working side by side with a well-known Seattle casting director, too.

When all our crew is in place, I'll be listing them here.

Executive Producer Gary Allen Tucci and I have been so fortunate to hook up with, IMO, the best producer in the biz with the passing of Sydney Pollack, Larry Estes. His enthusiasm, vast knowledge and support for The Whole Truth are making certain we maintain our very high standards of quality and priority of doing the best job we possibly can to work on behalf of our real boss.

That's you.

Our audience.

Of dogs and wheels

Gary Allen Tucci, my business partner and executive producer of our Heart Break Productionz' film The Whole Truth and I were pondering some of the needlessly large egos in show biz.

We have what we call the Heart Break Productionz Way of working with people - not having people work "for" us. You gotta be professional and know your stuff - and once you're aboard? The CP/GAT/HBPz Way means respect, appreciation, good manners, consideration, a creative work environment, working hard, taking responsibility and a sense o' humor.

Although the ultimate buck stops with Gary and me, we do not consider ourselves "Big Wheels."

Nor would we ever want to.

Why?

As Gary puts it, "You know what dogs do to wheels, don't you?"

I'd just as soon stay out of that line of fire, thank you.

A great filmmaker, a better man

I learned more about Sydney Pollack at a directing seminar I took several years ago from him at Sundance than I did about the technical aspects of directing.

But learning about Sydney Pollack *is* learning about directing, especially directing actors. Because he had consummate respect for all his collaborators. He had compassion for and worked well with actors others considered "difficult."

His description of helping Barbra Streisand learn to cry on cue without any artificial assistance told me of a person I'd like to emulate. He used understanding, empathy, sensitivity, heart and grace.

Speaking to him socially after? He was the same.

Professional, artistic, humane, insightful, intelligent, soulful, generous, kind and so much more.

After hearing the many stories of idiosyncratic, mean, crazy and dysfunctional film directors, here's someone I could relate to, whose work I appreciate ("The Slender Thread," "They Shoot Horses, Don't They?" "Tootsie," "Out of Africa," "The Way We Were," "Absence of Malice," "The Firm," and several more) and whose approach to his colleagues and actors I love.

That one session - it lasted only 90 minutes - meant so much to me. I hope I thanked him properly when I had the opportunity to shake his hand.

Mr. Pollack was an accomplished American Academy Award-winning producer and director, as well as an accomplished actor. When he died last week (July 1, 1934-May 26, 2008) of pancreatic cancer, I thought, I'm just one of millions affected by Mr. Pollack in ways he probably never realized.

Not just with his work. But by being himself.

Thank you so much for all you've shared with us and done for the industry, filmmakers, actors, audiences and humanity, Mr. Pollack.

Heart Break Productionz supports:

Executive producer (and my biz partner in Heart Break Productionz) Gary Allen Tucci and I agreed: we want Heart Break Productionz to support in word and deed a special, terrific cause that deserves kudos, financial (and other) donations and media exposure.

After some research, we decided on First Place.

First Place is a school for homeless kids in Seattle - but the staff and volunteers provide so much more than readin', writin' and 'rithmetic for youngsters without a permanent home, kids on the run with a parent escaping domestic violence, and kids who are constantly moving for whatever reason.

Donations of money, clothes, books and all sorts of school supplies are always welcome.

Teachers, staff and volunteers work to keep classes limited to 14 - there are often as many as five adults in a classroom at once, which means these kids are getting a new and positive lease on life.

I'll be showing you photos of the school's interior. It's a secure large building whose location is supposed to be confidential, but I've seen the address disclosed in places when it's not supposed to be.

The kids - my assistant Matt and I took a tour just yesterday - are really well behaved, happy and excited about learning; excited about understanding how to deal with life. Before you think they were "told" to behave, the kids didn't even know we were there.

As I told our guide Melissa. The point of good child care is not to protect children against all pain because that's impossible, but to teach kids how to deal with pain in a way that is healthy and positive so they can create rewarding lives and relationships as they grow up and have children of their own.

She emphatically agreed.

There will be much more about First Place here - photos, stories and all sorts of good stuff - as well as on the Heart Break Productionz and The Whole Truth websites soon; we're also mentioning the school in media appearances and any other opportunity we get.

Later I'll be doing some special workshops for the kids regarding writing, acting and making films; Gary is not only a great father of three kids himself and loves kids, but has a number of skills I bet youngsters would love to hear about and see. He's into boats and cars and motorcycles and all sorts of other cool things he'd love to share with the students.

Ultimately -- when our films make a profit -- we will be donating a percentage of our proceeds to the school.

This school is making a phenomenal difference to kids who otherwise would not only be at extreme risk, but unhappy, dysfunctional and lost.

Most importantly, First Place is a private, non-profit establishment, which means it can't be politicized or influenced by government input or school district politics, its budget can't be juggled and the kids don't have to worry about unexpected changes or the physical state of the building eroding.

More, the school is scheduled to expand physically and include a curriculum that will feature pre-school and kindergarten classes in the future.

Hats off to all the staff, teachers and volunteers of First Place who work hard to right the wrongs done to innocent children who now have the chance for a new start.

Times change, so do walls

My transition to a feature film writer-director-producer has changed my coaching practice immensely - I don't have time to coach any longer.

There are precious few people I'm coaching now. They've been working with me a very long time and their schedules still permit me to see them.

Folks coming to my house for many years have enjoyed my Wall of Fame - headshots of dozens of actors with whom I've worked have hung in my hallway.

They've recently been taken down, and the entire hallway's been painted a fine white, which really brightens up the place.

The reason I coached actors for camera work started out as something I was asked to do and I also needed camera-trained actors to appear in my films. I loved watching so many people grow and blossom as people and as performers.

Over the years I've worked with hundreds of people - being coached is a much different experience than being in a class. Much more challenging, harder work and there is the need to be professional, to be a self-starter, to come in prepared and ready to work - or figure out how to create a system of preparation that would if not guarantee success, at least positively work toward it.

I got the idea from Rob Reiner and other directors who started out as acting coaches because it gives us the opportunity to help actors achieve their performing and career goals. It also helps us sharpen our directing chops with every conceivable type of actor at every conceivable level of training, experience and career aspirations.

It takes so much dedication, work and savvy to keep at it, many decide they'd rather not put themselves in the race.

What I discovered that has cost more of them a career than anything: the lack of understanding who they honestly are and what they honestly want, and the lack of a plan. A genuine plan based on reality. I recommend every artist create a business plan, or their chances of becoming professional lessen greatly.

Of course in order to create the business plan they must understant who they are, what they want and what is needed to succeed, one step at a time -- most importantly, on their own terms. If you want to know what makes you stand out - it's the real you. That's what we want. That's what we need.

Not another cardboard cutout of an actor.

You can detect the outstanding performers every time. They have a clear sense of themselves.

So many changes are taking place in my life, my environment is reflecting that process. Streamlining, fluffing and primping, enabling me to do everything I can in the best way possible. It's energizing and comforting.

Since I'm doing it in increments, it's not shocking or weird. It feels just right. Yep. Just right.

A fluffly clothes tip!

Ah, Gentle Reader -

I'm sorry to have neglected you - traveling, working on the Heart Break Productionz' feature comedy film The Whole Truth, life and more has left me with less time to devote to my blog, and just when I have so very much to share with you!

I always want to enlighten or inform or entertain you .. so for now, this tidy tidbit will have to suffice -- and it really works, cross my heart.

To have fluffy clothes come out of the clothes dryer .. especially larger pieces like bed spreads .. toss in about 6 tennis balls. They keep the warm air flowing through cloth more evenly and prevent critical clothes clumping!

I keep 6 tennis balls in the dryer permanently.

So if you love fluffy clothes as much as I do? Seriously, balls are your best bet.

Production update: The Whole Truth

Wow.

The screenplay for our feature project The Whole Truth - is locked. That means it's the script everyone's going to work with to create the production. Key production crew like the Director of Photography, Production Designer, Costumers, Gaffers, etc.

Now, "finishing" a script is a very misleading term. The script isn't finished until the film is released. I'll tweak, squeak, eek, seek, freak, peek, and wreak whatever needs to be done to it until it's the very best story told in the best way by the best characters to tell it before we show it to you.

There was a character in the script who had to be taken out because of the story's structure; our producer recommended I write a script based on that character (who *everyone* loved who read the script) and I've already outlined her story in the first step to writing the screenplay.

What *that* means is that we (Heart Break Productionz) are working on THREE more feature projects after this one, one after the other.

The script is now at the LA casting director's. Cross your fingers for a couple-three household names starring in this little film. For the casting director, I submitted "back stories" of every lead character as well as my directing bio so the actors can be assured I didn't just fall off the turnip truck, or however that saying goes.

The producer loves the script, which is very exciting to me because this is someone for whom I have profound respect and genuinely enjoy working with. He is extremely experienced and knows from what he's doing on all levels of producing and selling films. In fact, he was a buyer for a major studio for several years.

I guess just as importantly, *I* love the script. And it's director-proof. That means even the worst director should not be able to wreck it. Since I'm directing it and am at least a step above "worst," it should look pretty good.

We start interviewing potential key crew this week; that could take a couple weeks because we may pull people from LA.

We've already met with the head of SAG/AFTRA here and will now meet with the head of IATSE -- to be signatories and to let them know who we are, what we're doing.

Because this is an independent film, our production won't be affected if there is a SAG strike.

I found the best composer ever for this project in LA, as I told you, and we've already started working on the sound track, thanks to Skype.

I have the artwork and color palette ready for the production designer, director of photography and costumers who come aboard ... the script supervisor and sound guy from other films I've made who are immenently qualified are already signed up.

I need to draw a couple story boards for the two stunt scenes; I have potential locations scouted and photographed as well as lined up the use of a hot Mercedes by a local dealer to use for free by the lead character.

Hair and make up may also be a little more expensive if we get a hot actress who needs special attention. Any actress over 30 needs 2 hours make up/hair. And that's if the hair is reasonably simple, and all but one of the candidates we're looking at are over 30.

I'm learning how to delegate the work - I'm so used to doing everything myself. But figure if I have a head start on what I'm looking for in tone, texture and impact, it will help incoming experts so they don't have to start from scratch - leaving them to guess what I want.

More, when they come up with ways to improve on my visual ideas (which they will), everyone gets and stays excited.

Now that the script is locked, I'm free to do my directing-producing thing so we can be hyper ready for the shoot; we have minimum 6 weeks prep, we'll have at least a week to rehearse (possibly 2) with the actors before we shoot - and we have 6 weeks to shoot.

Without any major special effects, that should be a reasonable schedule and I should be the only one exhuasted from the production (first to arrive, last to leave, then preparing for the next day).

I'm making lots of notes for shooting ideas.

My personal assistant is aboard now, part-time until May 19, when he goes 3/4 time until the shoot, when he goes full full time -- so I can focus strictly on the work - and have the chance to see some filmmaking friends in Milwaukee, Wisconsin next week when I visit my parents for a whirlwind "vacation."

I still haven't decided on the format - that will have to be determined when the Director of Photography is aboard, but I'm thinking 3 sprocket 35mm.

Yep, this joint is jumping!

I'm happy as a free cow in India.

Namaste.

1,000 US soldiers in Iraq attempt suicide - every month!

The VA reported that a total of 800 soldiers in Iraq attempted suicide last year.

It was a lie.

The truth, much to the ire of the US Senate's Military Affairs Committee, is that 12,000 soldiers pulling duty in Iraq attempted suicide last year.

This from an administration that declares it "supports the troops."

Read the details here.

There is no accurate report on how many soldiers succeed in their suicide attempt.

When is Congress going to do something to stop this administration from the incessant lies, deception and destruction of our economy, military, security and national morality?

Unfortunately, that is only a rhetorical question.

The all powerful Oz!

Ha!

Remember me complaining how all the dogs, cats, birds and other animals used in TV commercials and shows kicked off a barking spree by my three dogs and a strong verbal reaction from my cat? How crazy noises like those squeaky vacuum cleaners and squeegees also set them off?

It's hard to get them settled as they dash everywhere looking for the dogs, cats, birds or vacuums that are only inside the TV set.

I solved the problem!

I keep the TV remote control nearby.

When any of these noises comes on, I immediately grab it.

The dogs' ears perk up as they stand, taking a deep breath, ready to create a racket and find the intruder; the cat winds up to attack the guilty invader.

I quickly command, in a very stern voice: "Quiet!"

Then push the MUTE button.

Of course the animals or noisemakers onscreen or heard in the background are instantly hushed.

My pets look at me, amazed, as if I am the most powerful alpha dog - evah, and lie back down, extremely impressed - ready to bring me my slippers or whatever I ask. Well, if they knew how...

Oh, yeah.

In this wee household, I am, indeed, the all powerful Oz.

"Military media analysts" and viewers duped on Iraq

This is a New York Times story that must be read by anyone who wants to know what the heck is going on when independent media observers reported that the Iraq war was a futile, ignorant, horrible conundrum that the Bush administration dragged the US into, while former military officers of good standing, supposedly experts on what's going on in Iraq, said we were succeeding, it wasn't going as badly as all those negative network nitwits were reporting?

Turns out they were taken on orchestrated tours and fed bogus information by the Bush administration and military Bush sychophants, in what they *believed* to be, in all honesty, what was actually happening - that it wasn't going all that badly, yadda yadda yadda.

Many of those "military media analysts" now feel duped, used and abused by the Bush administration and, like General Colin Powell, that they ended up lying - unintentionally - to the public to persuade us that those lies were the truth.

Read it for yourself. God bless real journalists.

http://seattletimes.nwsource.com/html/nationworld/2004361339_milanalyst20.html

The Whole Truth moves forward!

Our Heart Break Productionz comedy feature film project The Whole Truth is coming along beautifully. More splendid, topnotch professionals have come aboard, and it's so incredibly rewarding.

I can hardly wait to share the full crew list with you, as soon as all the positions are filled.

I continue to refine the script - the shooting script should be ready in two days. i'm extremely pleased with it; I hope the crew and cast are over the moon about it - and that the audience enjoys it even more.

It's going to be hard to let go of the basic writing process since I'm having so much fun with the characters and situations. But the finessing process through the shoot will also be a blast.

We're pushing ahead with prep, which means cameras may roll more than a month earlier than we planned if our cast comes together in time. Woo-hoo!