Colleen's thoughts on writing, directing and coaching, and her unique take on life itself!

Wednesday, February 17, 2010

PNWA Screenwriting Workshop News!

Folks attending my "A Practical Guide for Screenwriting" seminar at the 55th Pacific NW Writers Association Conference July 24 (Sea-Tac Hilton and Conference Center):

Script Fly, my favorite resource for professional scripts, is giving you a generous discount on any scripts you buy from them!

I'll let you know how to get the 25% discount after you've registered; of course shipping is not included, but you can receive most in .pdf (no shipping fee) as well as hard copy form. I prefer hard copy, because I like to hold the script and make notes on pages along the way.

I'm not getting any money from this offer, I just want to let you know about Script Fly and what they have to offer student and professional writers. I believe one of the best ways to learn about writing great screenplays is to read more scripts than books about how to write them!

There are free script outlets online as well, but Script Fly has a great selection of very current and classic screenplays from their original sources you can't find anywhere else, and I've yet to find a transcripted movie "script" that is helpful.

The Script Fly offer runs from now through August 31, 2010.

The workshop focuses mostly on the script writing creative process, helping you decide how best to create the story you want to tell onscreen. Practically.

Here are a few hints to get you started:

1. If you have not written a screenplay, don't sweat the format - too many people get swept up in worrying about whether the terms and pages look "right" rather than concentrating on the story and characters. If you read several great professional screenplays, you'll see similarities and differences.

2. Look around. What is in your environment that tells us *visually* who you are? Notice those things that are apparent and those things that are more subtle. Then, most importantly - what is missing. What is not in your surroundings that tells us something very important about you.

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Monday, February 15, 2010

A Practical Guide for Screenwriting

That's the title of the seminar I'm presenting at the 55th Pacific Northwest Writers Association Conference this summer.

My workshop takes place Saturday, July 24th, 10am, at the Sea-Tac Airport Hilton Hotel and Conference Center. The room number will be made available after you register. Workshops normally run 90 to 120 minutes; I hope it's a full two hours, but won't know until the schedule is released.

I'll be talking about the ins and outs of screenwriting that I've never heard at other screenwriting workshops, most of which are held by folks who are script analysts and writing teachers rather than professional screenwriters who actually write and create scripts. So expect different.

It's down to earth, hands on, from the trenches information I've learned over the years from actually doing the work. These insights should help experienced screenwriters as well as those who wish to be screenwriters.

It's about telling our onscreen stories from the page: how to do it most effectively, how to build successful habits, how to have fun doing what is ordinarily a solitary, stressful endeavor. Myself, while I work harder than anyone I know, find writing enjoyable and exciting - even its most isolating, grating, tedious aspects.

Being a writing coach as well, who has worked with dozens of writers one on one, I plan to fill the room with wall to wall effective writing tools, then show you how to use them IRL (in real life).

Warning: my seminars are not for the humor impaired. The material may be serious, but our time is designed to be enjoyed, so we'll definitely share a laugh. Or two. Or three!

Several literary agents will be on hand for conference participants to meet - be sure to check out the PNW Writers Conference website as their names and material they seek are posted over the next few months; appointments are scheduled with them on a first submitted, first considered basis.

I'll also be autographing my book The 100% Solution Friday evening, July 23, at the Barnes and Noble mini-bookshop at the Conference Center, in case you want to drop by and ask any questions about anything you want me to cover at Saturday morning's workshop. And perhaps even pick up my (autographed!) book!

I'll mention this a couple more times before the conference. Hope to see you there!

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Tuesday, July 21, 2009

The glamorous world of shot-sheeting

"Shot-sheeting" is the process of listing every single shot I see in my head for my next feature film, THE LONELY GOATHERD.

It's excruciatingly tedious, but if I don't do it now - long before the film is shot, I won't be able to pass on how I see the film looking to key crew members, like the director of photography, editor, and any other collaborator who needs to see how I see the film unfolding.

Some scenes are easily shot-sheeted in minutes; others take meticulous, painstaking hours.

Here's what it's like:

The line in the script says simply, "Harry grabs the apple and takes a bite while he sits at his computer."

As the director, you have to ask yourself a lot of questions before you list the shots in this apparently very short, very simple scene.

What is the tone of the scene?

How can I capture it in the first frame?

What is the timing of the scene? Fast? Slow? Somewhere in between?

What sound do I need up front and in the bg (background)?

What follows this scene?

Why does he do this (like, what's his motivation)?

How emotional is he inside and outside and how can I show it with his actions?

How should his hands look (does he work in dirt or on a keyboard)?

His teeth?

His face?

His eyes?

His clothes?

His hair?

His room/environment?

How large a bite should Harry take?

How should he chew the apple (does he have a toothache)?

Knowing all this going in to the effort of shot-sheeting is essential for me.

Some directors wait until the last minute to shot sheet; some don't do it at all. Some prefer to create story boards - pictures of the scene drawn in a panel of frames like a comic strip. I tend not to story board because I feel it keeps the crew too wed to the pictures - which, by their very cartoon strip nature, are designed to be shot separately and edited with fast cuts.

I prefer the freedom shot-sheeting gives me at the shoot itself "on the day," because I can manipulate all the elements of the scene up to the last minute in my computer and then on the set.

I like to multi-layer action scenes, for example. That is, while one thing is going on close up, there are other things going on immediately behind the primary action which must be seen at just the right moment while it plays out. I shot such a scene in THE WHOLE TRUTH.

Typically, the scene would be shot in tiny segments and edited together with fast cuts; my scene has a number of things going on at once without all the cuts.

There is one scene in THE LONELY GOATHERD that I'm storyboarding because so much is going on, and the audience needs to see each moment of it. I need to shoot it one small segment at a time.

Back to shot sheeting the simple script line, "Harry grabs the apple and takes a bite while he sits at his computer."

I know Harry's upset about something at the top of the scene. How do I show that from frame 1?

Here's the shot sheet I develop - sometimes moving just like the character does when I write it down so I can be sure to catch nuances:

1. CU (close-up) gnarly apple that looks too yukky to eat. Harry's hand grabs the apple, whipping it out of frame.

2. ECU (extreme close up), Harry's face, as he whisks the apple to his mouth, viciously ripping a large bite out of the aged fruit.

3. MCU (medium close up), Harry's face, as he reax (re-acts) to the hideous taste of the apple and throws it, disgusted, in the trash - spitting out the apple bite along with it.

4. CU, hideous apple, landing in the trash can.

5. MCU, Harry, upset, folds his arms, legs sticking straight out under his desk as he sees THE PHOTO on his computer.

6. CU, photo of Cute Girl hugging Cute Guy on Harry's computer screen.

7. CU, Harry stares grimly at the photo - the computer light setting his face aglow.

8. ECU, Harry's angry eyes as they shift slowly into a sad eyes. Tears well, and one streams slowly down his cheek.
*end of scene*

When we actually shoot the scene, we may modify the shot sheet because of several elements that would influence the shoot on the day, but since the essentials are there, we know we'll get the "bread and butter" of the scene.

After this simple, primary version of this scene on my shot sheet, I'd review and redo it and finesse at least a couple more times to see if we can intensify it emotionally and visually.

This is only one way to set up shots. There are as many others as there are directors.

I just list what I consider the best way to set up the scene, then work from there. Finesse, finesse, finesse. I try different approaches. Different apples. What if the apple is so crunchy he can't get a bite. What if, what if, what if.

Collaborating with the actor is the next step. How does he see the film? How does he see Harry grabbing and eating the apple?

Actors aren't normally involved with the way the scene is directed shot for shot, but they must trust that you, the director, will find the best way possible to convey the emotional state of the character. The best way to do that for me is to discuss the character's behavior and emotions with the actor so I can visualize what we're both seeing.

For films, acting is all about re-acting. How can I best show him reacting to the turmoil, the angst, the upset that is going on in his life and mind?

I frequently do exactly what I see the character doing in my mind. If she walks across the room, that's what I do in order to make certain the visual portrayal is true to the character and, again, catch all the nuances.

Maybe include a cutaway of his fist curling up tight?

A "cutaway" is a shot of something that we take separately but include in the montage of the scene.

If Harry always talks about how the cuckoo clocks of the world are crazy-makers, we might toss in a shot of a cuckoo clock going off sporadically throughout the scene, ending it with a dozen cuckoo clocks going off at once, each clock filmed separately and stacked one atop the other so it looks - well, crazy!

As soon as I finish shot-sheeting, I review the script to make the changes I created during the shot-sheeting process. Problems I may have found during the shot-sheeting process. Finding little action lapses - where the action isn't quite fully connected is common.

We don't want to shoot too much (especially using 35mm film!), we don't want to shoot too little, but we still want to give ourselves enough good coverage for each scene so we have plenty to choose from in the editing suite.

So that's a shot sheet of just one simple sentence in a script.

Fancy doing this with 100 pages filled with 60 lines on each page? That's what I've been doing for the past several weeks every moment I have "free."

That's just one of the thousand tedious parts of the "glamorous" job of directing that so many people *think* they want to do - until they actually do it. Me, I love every tiny little task, every aspect of the job others might consider boring, too miniscule or detailed.

While working through the shot sheets with my crew collaborators (DP, production designer, sound, editor), I also get to cast and work with actors - my very favorite part of the job.

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Wednesday, June 17, 2009

First TWT EPK interview posted with Elisabeth Rohm!


The first series of backstage interviews (EPK=electronic press kit) for our screwball comedy feature, THE WHOLE TRUTH (TWT), are edited and the first one, featuring leading lady Elisabeth Röhm, is now posted on YouTube. Here it is:

Four more are going up tomorrow - with TWT actors Sean Patrick Flanery, Eric Roberts, Kristina Lilley and the dynamic duo of Rick Overton and John Fugelsang (who interview one another!).

Following that will be more interviews with them well as EPK chats with me, executive producer Gary Allen Tucci and producer Larry Estes.

We're talking about - demystifying - the process, the hard work and the fun that will be engaging and informative for audience members as well as those who are budding filmmakers. I hope you check them out!

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Friday, September 26, 2008

Beginning of shoot day #5

Yesterday's shoot went *very* well. Elisabeth and Sean are at the top of their game, Kristina Lilley kicked butt and Pisay Pao came through like a champ. Little pup TinTin was FABulous.

The crew cannot be praised highly enough. Today Megan Griffiths gets a special shout-out. She's the 1st AD (Assistant Director), who keeps the whole team glued together. She's calm, cool, collected; extremely knowledgeable and professional.

We had a later call yesterday and a call today (start time) at noon, so I'm getting a couple things done today before going in and starting a long day that will go late into the night.

Stephen Myers, our editor in LA, started to receive our dailies (the film already shot and developed - we're shooting 35mm), and says they look fantastic! He should finish editing the first two days of shooting today, and we'll keep progressing daily for the editing from now on.

That means we'll have a rough cut of our film shortly after we finish shooting. I'm taking a week off after the shoot to put my brain back together, then I'll be sitting with Stephen every day as we finish the editing process.

I've already been working with Ragnar Rosinkranz, our composer - he'll be looking at the rough cut as it is built and coming back with more themes and scoring music that we'll finesse along the way and at the end.

Following that is sound perfection and "sweetening." That's where I add all the birds and other ambient sounds that we've been careful to avoid during the filming so I can put them in just the right place.

I'm not posting pictures until the film is finished so you'll want to see it and get a kick out of the "behind the scenes" snapshots that were taken.

Two seniors from the University of Arizona arrived yesterday to begin the process of doing a documentary on the making of THE WHOLE TRUTH. A total of six students will be "covering" us without getting in the way. One of our producers, Larry Estes, teaches a film producing class there - in his "spare time."

They get credit for working on THE WHOLE TRUTH.

Me, too.

writer-director and some sort of producer ... ;-)

Back to work!

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Wednesday, August 13, 2008

Amazing actors tell THE WHOLE TRUTH

I'm thrilled to announce our leading lady - a name synonymous with "screwball comedy" -- not! is Elisabeth Röhm!

This will be her first foray in comedy and trust me - she will not disappoint! We're both excited about her turning in a surprising - if not shocking - performance for fans who know her best from her gripping work in Law and Order and her recent uber-dramatic turn as a concert pianist in Bernard Rose's The Kreutzer Sonata, based on the novella by Leo Tolstoy, celebrated only two months ago at the Edinburgh Film Festival. This woman is *fearless!*

Joining her and Eric Roberts (as you never have and never will see him again) - I told you this is a comedy, right? Once again, this thinking thespian will show you his range is not limited to dramatic roles!

Also hopping aboard our train to Fun and Frolic is the amazing Jim Holmes - who, again, will delight one and all with the splendid timing and layers of persona he conveys for the guy he's playing in THE WHOLE TRUTH. You'll recognize him from that laugh-a-minute hit show, "24."

Yes. This. Is. A. Comedy.

Rick Overton, known as one of the best comedy script writers around (even winning an Emmy for his labor), character actor (he's in three summer movies this year alone), stand up comic (HEALTH WARNING: if you see Rick in person, you may want to bandage your torso. I saw him recently at a Seattle comedy club and believe I cracked at least one rib laughing so hard. He is *merciless* as he keeps the laughs coming!) and consummate mensch is with us as well. If you don't know, a mensch is a person with great character; a true-blue, genuinely good-hearted person. He also appears regularly on the Stephanie Miller Show, writes for the Huffington Post and is Captain Nemo in the new Capital One TV commercials.

See? At least one person famous for working in comedy is with us. That gives us at least a little street cred with comedy purists. Oh! Our editor Stephen Myers has also worked with Carl Reiner and other comedy greats in the biz!

Next week we finish casting locally, location scouting is already underway-Craig Stewart is one of the top location scout/managers in the industry; our production office is going to be set up, our fantastic, enthusiastic Director of Photography Paul Mailman and other key crew are aboard - and in just a little more than a month... the camera rolls!

Once again, the lure to sign up for this little independent film is the script. It gives everyone participating - on and off screen - the opportunity to shine. And, hopefully, to have a great time while we all work our hearts out!

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Wednesday, July 23, 2008

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 House 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.

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Saturday, June 07, 2008

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.

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Sunday, January 13, 2008

The Plan for 2008:

1. Realize
2. Organize
3. Synchronize
4. Economize
5. Energize
6. Actualize

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Monday, December 31, 2007

G'day, the eve of 2008!

Greeting the new year is a very special time for me. The sense of renewal is a great part of my life nearly every morning, but an "official" renewal day shared with most of the world is totally inspirational in this humble home.

An American friend of mine, a published writer, posts at the end of her emails: "There are only two types of pain you can control: the pain of discipline or the pain of regret. Choose."

Um, I'll take column D - discipline.

American poet laureate Maya Angelou says we must always choose courage; that we are left to live with regret when we become timid, afraid to speak up or speak out or take action to protect our souls, believing incorrectly we have something to lose.

When push comes to shove, that is what I have to ask myself: what, in reality, do I have to lose by being honest, standing up for and taking care of myself? Not to the exclusion of someone else's feelings, but to be fair to me.

If someone is not a genuine friend, the loss of that person from my inner circle, someone who does not in the end understand, respect or really care for or about me is not a loss, but the gain of more self-respect and inner strength. The outcome, no matter how uncomfortable the temporary upheaval, is always the appearance of someone new who is a genuine friend - or a turnaround of a relationship that results in greater understanding, closeness, fun and happiness.

I've quit jobs for reasons of maintaining professional integrity - and was fired once for the same reason. I was news director/morning anchor for two radio stations simultaneously - one FM rock, the other AM jazz.

The program manager - who got her job by cruelly sabotaging the previous program manager (pm) - sent me a memo literally telling me not to report on my newscasts the most serious stories of the day. She actually listed the subject matters (environment, "feminist" issues, politics) - I refused. And was fired.

Interestingly, a news staff member read the memo as well, and refused to say he saw it or provide me a copy after I was fired because he was afraid she would fire him from his new job replacing me as well. I'm sure he regrets this decision.

Because guess what? He soon got the boot as well.

It is to laugh - the reason the FM pm told the media I was fired was because my newscasts were "too liberal." This was during the Reagan administration when the Teflon president got away with declaring ketchup a vegetable in kids' school lunches (tomato is a fruit, btw); when media drank his Kool-Aid and media managers didn't want him to be the subject of "fair and balanced" reporting.

I joked with my friends at parties that she must know about my new book, "Commie Dearest." (At the time the best seller, "Mommie Dearest" was out - a tell all [and I mean every detail] book about Joan Crawford by her abused daughter.)

It's an old trick. Try to discredit the person who is well considered, so if she or he discloses what *really* happened, no one will believe you. As it was, I pretty much said nothing because I knew that folks in the industry would find out the truth about her sooner or later. I'm way into karma on these things.

Word on the street was she fired me because she was jealous of the positive attention I received everywhere I went at Public Appearances when we were together and she was basically ignored. At least that is what the station manager said at the new best-ever radio job I landed just three days after she let me go.

I said I thought it was because I was just about the only person at both stations who didn't smoke, drink or do drugs and they were all afraid I would "narc" on them. Nope, I've waiting 20 years to do that.

I'll never forget her counterpart AM pm telling me he wanted to meet with me. He took me for a drive, parked in an open area and lit up a big ol' blunt as he rolled down the window to blow his murky smoke out on that chilly day and then held his "meeting" with me.

I watched him get high as he *thought* he was giving me profound insights about how I could do my job better. I told him I had to get back to the station - it was, after all, right in the middle of my workday. I smelled like his smoke when I returned to work, so avoided standing next to people.

Later that day, I quizzed him on the points he made at our meeting in his car to make sure I understood him, thanking him for his input. Actually, I fabricated statements he did not actually make, because I knew he wouldn't remember what he really said. Sure enough, he agreed with all the stuff I made up. Thanks again. Very insightful. Think Jim in The Office. That was fun.

The scene of the firing was particularly special: I was in bed with a large cast on my leg. I had just broken my ankle bike riding and needed surgery to put it back together. My parents stood outside the door as AM and FM pm's split the sheets with me. They gave me a one-week severence check. My dad and mom regretted being so nice to them. You know, offering them a cuppa tea and all, the way you would any visitor to their daughter's home.

Listeners actually revolted when I got the axe. That was special.

The station's programming ultimately became predictably anemic; the FM program manager, no stranger to sicker living through chemistry herself, moved to other FM pm jobs and became universally detested in the industry where ever she worked.

I have no idea where she is now or what she's doing - and often wonder if she ever found her soul, got clean, and regrets the decisions she made in the name of clawing her way to the middle.
At any road. I'm where I am today, because of or in spite of people like her, and that's just fine with me.

I've been asked to write my autobiography, and think I'll start making notes "next year" (hours away!), and write it in 2009 or 2010.

My major new year's resolution: Keep Active!

I continue to lose weight and become more fit; I'm healthier and stronger now than I have been probably in my entire life. Being physically active is the key for me, along with a terrific nutrition program. I start working out five days a week in the early morning with a boot camp buddy Jan 3 at a nearby gym under the keen supervision of my booty camp coach.

I look forward to it - and all 2008 has to offer!

Enjoy greeting the new year!

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Sunday, November 18, 2007

Actors needed for formal screenplay reading

I'm directing a formal feature film script actor's reading for my new screenplay (written with Chris Koruga), The Herbalist ("You don't need to be Chinese to have a fearless Chinese heart.") in January for investors and industry professionals. Excellent food and refreshments will be served.

I'm looking for:
Chinese/Asian actors - all types, ages, looks, women and men
Caucasian women actors - early 20's, if you can play teen - great!
African American actors - women/men 40+

Executive Producer: Chris Koruga
Writer/director: Colleen Patrick (hey! That' me!)

Colleen Patrick
11328 28th Ave NE, Seattle, WA 98125 attn: The Herbalist

Auditions and performance will take place in a downtown Seattle studio and theatre.
Audition: Saturday, January 12
Rehearsal: Saturday, January 26

Performance: Monday, January 28

This is a *mainstream,* A-level, non-stereotyped characters script. I'm looking for performers with range for this stage performance to match the quality of the screenplay.


Because of the security surrounding this project, all participants will be required to sign a confidentiality/nondisclosure agreement to prevent leaks about its content.

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