Ever ask, “Am I the only one who sees this”?

I drove home from an acting gig this past year, like Carrie walked home from Prom – desperately needing to wash it all off of me. It took me awhile to figure out why. No, I didn’t set anything on fire, and I sincerely enjoyed the work. but the plainest I could tell was that even in the so called “grown-up world”, high school cliques still exist.

Artist’s rendering of Carrie walking home from prom.

 
In every YA book, there’s the kid who doesn’t fit in, but ultimately becomes the hero of the story. I’ve decided that I’m that kid. But then again, I make up stuff for a living.
 
Most of the industry was shut down last year, because many producers couldn’t afford to implement the new COVID safety protocols. The few that could afford it, implemented regular COVID testing, special food handling, hourly sanitizing, extra personnel, zoning, etc. It was tough, but when they got it right, it was impressive. They knew that any missteps could have serious consequences. So when this particular production refused to check any cast or crew member’s COVID test results, I was speechless. They insisted that “HIPAA law states they cannot see anyone’s test results”. In my head, I was like….yeah…no, that’s not how it works. I then asked playfully, “Well…would you like to know if I tested negative?” They looked me straight in the eye and all super-serious-like said: “We assume that responsible people would not show up on set if they tested positive!” Wowza, they just told me that their safety standards were based on…assumption!
 
Only three of us consistently wore face masks. It was about 50/50 for everyone else. The day they added fourteen (untested) extras on set, I had to walk out. No drama, I just laughed at the absurdity of it all, and waited outside until they were ready to roll. The COVID Compliance Officer (CCO) apologized profusely, but I could feel I was becoming a “problem” for them.
 
According to safety protocols, I was due for a re-test along with two other actors. In the clinic, I pointed out that we were about to be administered the wrong COVID test. (Why am I the only one who actually reads stuff before signing it?) One actor agreed with me, while the other remained silent. Our CCO spoke to the nurse to see if she could give us the proper test, and she said yes. The three of us went in for our “swab up the nose” only to find out minutes later, that production did the old bait & switch – they gave us the rapid, cheaper test after all. Oh, and they still didn’t want to know our results. I just laughed and laughed.
 
But I felt alone. Stupid and alone. No one else asked questions. No one else seemed to care. Some of you may be asking, Why didn’t you call the union? Why didn’t you just walk away? The best I can come up with is this: I got a strong sense that this was a defensive bunch who would double down on how right they were, I felt a bit trapped being on location, out of state, and quite frankly, I was stunned. I also know the importance of “playing well with others”, so I never pointed fingers, I never got super serious, and I never pushed the issue. I honestly didn’t know if they were arrogant a-holes or just plain stupid? I did know, however, that I was turning into that hall monitor no one likes.
 
So when I was finally wrapped – cut a day early – I felt like a social leper. I hadn’t discovered their nightly bar visits until four days in, because dummy me was going straight to her room every night to be safe. The one night I did join them for a quick beer, it was only the sound guy and me who wore masks. They memorialized a karaoke night a few nights later in an email. Hmmm…. everyone sharing mics and singing/shouting between swigs of alcohol – Thank you for not inviting me. Seriously, thank you.
 
My drive home was…freeing. I could breathe again. I wasn’t being judged for asking questions or wearing a mask. I was giddy to the fact that I wasn’t in their high school drama anymore, and the mean girls – I felt the most disparagement from the women – were just girls.
 
It is usually that kid who is comfortable in their own skin, that kid who marches to the beat of their own drum, who ends up being the hero. So when you happen to be the “only one” who sees something out of place, relax in knowing that the truth always come out.

Hermione Granger reads a book.

P.S.: The union was called and they took swift action.

How I Did It (My Life Strategy)

Ian and I were enjoying the oceanside pool at a five star hotel in Hawaii, when he sheepishly said to me, “I’m just waiting for someone to tap me on the shoulder and say, ‘Excuse me sir, you don’t belong here’.” (c.1997)

While in Hawaii, I pose like King Kamehameha.

That I’ve been lucky enough to travel all over the country (and beyond) because of my various acting gigs, has not gone unnoticed. But how did I do it? When I was finished with conservatory, I took classes – just for fun – at The Second City, but a few years later, they hired me to tour. Just to keep sharp, I took classes at ImprovOlympic (RIP), which led me to performing with Boom Chicago in Amsterdam – because the producers knew me from the iO stage. While playing with new scripts at Chicago Dramatists’ Theatre, I met a producer/actor who was establishing a live industrial business. I ended up working with him for the next ten years, and made good money as an actor while traveling to many states including Hawaii, and later to Europe.
 
In March of 2020, I once again landed an out of town gig, but my flight was suddenly cancelled. I felt the rug burn my feet as it was pulled out from under me. The silence that replaced auditions over the next several months was deafening. There was nothing for me to do except… surrender. Every business – including show business – got busy figuring out how to work safely amidst a deadly virus. Slowly, auditions – in the form of self-tapes – began to ramp up. Productions were actually happening – virtually, or with masks, or with social distancing, etc. My three day gig that was canceled five months earlier was offered again in August. That three day trip transformed into a seven week job, escaping Los Angeles’ historic heat wave. Even in the middle of a world pandemic, I was traveling because of an acting gig. And that same departure week, I shot a national commercial.
 
So you want to know how I did it? Well…um…I guess by now, you can see that I had no real strategy. There are strategies galore out there; books of “how tos” flood the market, but when we follow someone else’s path, we do NOT get the same results. Authors cite statistics showing how their method is the best, but most methods’ effectiveness decrease the more times we use them. If I had a method to teach (and I don’t), here’s what I’d say: Show up. Explore, try stuff, experiment. In physics, it is said, For every action, there is an equal and opposite reaction. But in life,
For every action, there is…a reaction.
 
Look at the good stuff in your life. Ninety percent of it was unplanned, but it happened because – on some level – you just showed up.

Labor Day

“It is appropriate, therefore, that the nation pays tribute on Labor Day to the creator of so much of the nation’s strength, freedom, and leadership — the American worker.”. ~ U.S. Dept. of Labor
 
 
What a difference a month makes! In August – out of work for four months – I wrote about my frustrations with commercial self-tape auditions. The process had become so demanding and complex, that I questioned whether or not it was worth it. If booked, would I even arrive on a safe set? Factory workers, front line workers, and (soon) many teachers (will) know the critical importance of a COVID-safe working environment. We all want to work, but at what cost? Since then, I’ve had four live commercial auditions – three remote and one in-person. I’m happy to report that two weeks ago, I shot a national commercial. #adsgounion
 
As I’ve witnessed production slowly opening up (and sometimes closing), I’ve pointed out the simple economic fact that only those who can afford it, can produce. The amount of money and time (and time is money) it takes to ensure on-set safety for all cast & crew is notable. My in-person audition had only one actor at a time in the lobby (two at most), there was no sign-in sheet (less contact), hand sanitizer was everywhere, and just one session runner in attendance who was masked & shielded the entire time. Two days before my fitting, I was given a “quick turnaround” PCR COVID-19 test (the most reliable). Currently, there are three test types.
 
The on-set experience required patience. Every crew member wore provided masks and shields at all times unless they were eating. This commercial was shot on location, so breakfast was served in a parking lot, and lunch was served on a lawn area. In L.A. we have the option of outdoor dining 99% of the time – a Hollywood luxury for sure. Personnel Zones were assigned on the call sheet, so only the bare minimum of crew was allowed indoors. Actors had to wear masks & shields until camera rolled. The masks made it difficult to hear voices, so the director used a mic. Every hour or so, the on-set COVID Safety Person stopped work to spray all hi-traffic trailers with an aerosol disinfectant that looked like a mobile fumigation kit. He also made the rounds – like a high school hall monitor – making sure we wore our masks. Trailers kept their doors open (except when I changed my clothes in wardrobe). There were only three actors in the spot, so no more than two were on set. In the afternoon, a union rep happened to pay a visit. I felt very safe.
 
This was a perfect example of how, with detailed research and adherence to protocol, work can begin. If there is the smallest of human error, however, (i.e. one person attends a crowded function the night before) it can quickly go south. National headlines report famous people who’ve contracted the virus, but news about lesser known folks is hidden in the pages of local papers. This is why we must commit to solidarity with our fellow workers by demanding on-set safety, and be willing to walk when we feel unsafe. The possibility of being out of work for a year is a small price to pay when it comes to long term neurological effects or even death.
 
As you celebrate this Labor Day, commit to solidarity with your co-workers. Share information, speak up, and take personal responsibility for strengthening your immune system. Yes, the opportunity for work is what we all want, but in order to keep working we must remember we’re all in this together.

Overworked and Unpaid

Recently, I read the article, Dear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working. While it was written from the perspective of a professional crew person dealing with insane hours, on-set bullying, and impossible expectations, it made me look to see how actors were affected – specifically with commercial auditions. While the author’s complaints were legitimate (thousands have agreed with him), one could say “Well, at least he was getting paid”. Actors don’t get paid for auditions, but it absolutely is work.
 
I’m not here to suggest paid auditions. I knew the deal before embarking on this career, but back in the day, we had higher earning potential. I missed the “golden era” where an actor could buy a house from one commercial. Four years ago, I did two national network commercials – a car company and an insurance company, arguably big money clients – but my combined pay was lower than the national poverty level.
 
Since Quarantine, there are fewer auditions, but commercial casting directors are accepting more and more self-tapes. The ad agencies’ audition demands have moved from the casting offices, to the actor’s home. Not only are we freely giving these ad agencies our talent in the form of auditions (also giving them new script ideas in the process), but now we’ve become unpaid session runners, location scouts, editors, and DPs. And here’s the kicker: ad agencies have yet to sign on to safety protocols recommended by our union. So even after jumping through hoops with self-tapes and editing, we’re not even guaranteed a safe set.
 
Who needs actors? More and more we’re seeing auditions requiring real families, friends or couples who are quarantined together with “no experience necessary”. I used to feel a camaraderie with actors who booked, because I knew they pounded the pavement on the regular, but now we’re seeing non-actors booking spots – not by luck, but merely because they live with a professional actor.
 
“Great occasions do not make heroes or cowards; they simply unveil them to our eyes. Silently and imperceptibly, as we wake or sleep, we grow strong or weak; and at last some crisis shows what we have become.” Brooke Foss Westcott
 
Sure, the current conditions give ad agencies a good excuse. But just like the article mentioned above, the industry is growing comfortable asking us to do more (like re-shoot auditions, record different angles, submit within 24 hours, etc.) Capitalizing on our fears, the industry expects us to ask, “How high?” whenever they tell us to jump. Home schooling will begin soon, but the demanding audition requests will continue, because they assume we have more time and that we we’re desperate and grateful for any crumb of an opportunity to work.
 
Whenever I look back to why I became an actor, I’m reminded of my truth: I’m an artist who mirrors human behavior within the human condition. It has nothing to do with television commercials. I look forward to navigating what is next with grace, and with my dignity in tact.
 
“In every crisis, doubt or confusion, take the higher path – the path of compassion, courage, understanding and love.” Amit Ray 

 

 

Negativity Rules

I recently posed a question on social media: What motivates people to re-post negative news stories regularly? I got several responses that could be summed up as such:

  1. Our nation needs to be informed in order to vote correctly.
  2. In order to prevent becoming numb, it’s important to hold on to outrage.
  3. The reality is that negative news stories are our reality.
  4. We need to make others aware that “negative news stories” are shaping our future.
  5. It’s a way to warn the dimwitted about what’s happening.

I was surprised that…I was surprised to see people referring to only two things: our current administration and racism in America. While everyone answered to the logic of posting negative stories, few responded to the need for posting – the motivation. This reminded me of a phrase I stumbled upon while in high school:

“Don’t ever think you know what’s right for the other person. He might start thinking he knows what is right for you”.

                                     ~ Paul Williams, Das Energi

Moral outrage can produce great change, but when we point fingers at our neighbors for not thinking the “right” way, we lose our minds either trying to control their POV (an impossible task) or gleefully watching for their comeuppence (schadenfreude, anyone?). Ignoring negative news is near impossible, but allowing it to rule our state of mind is insanity. As Einstein once stated:

The most important decision we make is whether we believe we live in a friendly or hostile universe.”

Feeling Sad Today? Maybe not.

I woke up feeling sad the other day,

but didn’t know why.

I just knew that it felt bad.

 

     I thought, “If I can figure out why I’m sad, then I can fix it”. I began a data search in my brain, picking out this and that, mulling over missed opportunities, lost loves, bad behavior, etc. Nothing clicked with what I was actually feeling. Instead, bringing up these memories just made me feel worse. I then woke up to a new thought: The sadness I’m feeling is all based on my thinking, and so I quickly switched gears. “OK, good. All I need to do is change my thinking. Think about something else…” I lay in bed, not wanting to get up until I solved this, so I mentally searched for an activity that would get me out of this “stinkin’ thinkin'”, something that would change my thought pattern. The only ideas I came up with were shallow distractions. Then I woke up again.
OMG – This is about judgment! For years, I had decided that feeling sad was bad for me! My whole life I saw sadness as something to be endured, avoided or fixed. “Hey, what if I didn’t judge it anymore?”, I thought. “What if I didn’t see it as something wrong?” In that moment – literally in that instant – my sadness disappeared, and I smiled.

My experience wasn’t about correcting the sadness, but rather about how I judged it. I laughed as I saw the simplicity in it all. Could it really be that easy? Yes, because I felt it.

(Originally Published January 6, 2020)

2019 – The End of a Decade, 2020 – The Beginning of … ?

As Creatives, we often feel the pressure of having to prove what we’ve accomplished, especially at holiday gatherings. Consider this alternative:

Instead of listing what we’ve done
(or going down that rabbit hole of what we’ve
not done), let’s reflect on what we’ve
experienced.

It is our life experiences, not our accomplishments, that make us who we are. Think about that.
Think about all the cool stuff you experienced last year – in the last decade – that has brought real impact to your life and is responsible for the awesome person you are. Look at your favorite photos. The best ones reflect experiences, not activities.

Grabbing a prize from a cereal box – one that I could play with – made me so happy.

When we look at what we want to achieve in the next decade, we can choose to either be in a state of anticipatory delight or in a state of aggressive control. Our daily routines can either be filled with aliveness or crammed with forced discipline.

Every day, I am delighted to discover new, unplanned opportunities: auditions, table reads, theatre productions, showcases, interviews, etc. Actually booking a job is just the icing on the cake!

Let’s create 2020 Goals that make us giggle at the possibilities, ones that are free of promises to “do better”. When we play with setting career goals – I’m talking full-on play – we always end up having fun.

My Precious.

At a recent audition, I entered a small waiting area, and saw only one other actress. She was standing, facing the wall with her back to the center of the tiny room. She was “getting into the zone”. I grabbed the keys to the ladies room and left. When I returned, she was still facing the wall. Suddenly it occurred to me – she was trying to “toughen her mind”. I could tell by her body language that she was trying to control her fears. In that moment, I realized,

Oh, I don’t have to do that. None of us have to do that!

I exhaled, knowing that I’d already done the work, and that’s all I needed to do. She was called into the room, and through the thin walls I could hear her mess up the first line. On her second try, she still messed it up. They gave her a redirect (I couldn’t hear what), which prompted her to improvise in her own words. It was obvious that she didn’t understand the script.

When we hold on to something too tightly, it’s bound to slip away from us. When we’re more concerned about messing up than being in the moment, we’re bound to…mess it up. Even if we don’t forget a line, we’re liable to forget context, relationship, wants  – all that stuff we spent so much time & money learning – only to end up giving just a “meh” audition.

Audition stress can be boiled down to one thing –
the result of making something too precious.

This usually happens when we’re not getting as many auditions or bookings as we’d like. We’ve put so much weight on it. It’s as if this is our only (or most important) audition, as if this is the only time an office will ever call us in. We don’t even realize we’re doing it, but the heaviness is there. And then if we hear nothing – depression sets in. Making something too precious can drive us mad. We all know what happened to Gollum.

When it was my turn to go in,

I was focused and relaxed at the same time. It was…unusual. We’ve all heard that we are the solution to casting’s problem, but at that moment, I knew it. When I was done, they were speechless. Literally, silence hung in the air as the writer, directer, producer and CD all stared at me, waiting for/ wanting me to continue, but there was no more dialogue. Finally, the director simply said, “Can you do it again?” No re-direct. I felt he just wanted to see if I could replicate was I’d just done. And I did.

#thatfeelingyougetwhenyoustunthemwithyourbrilliance.

Be an Actor in Motion.

Consider the power of being an “Actor in Motion”. There’s more to an actor’s life than just being on set. Really. When we see this, we begin to see our auditions as just… something we do. They are part of the fabric of our “working actor life”. We know that there will be more. Most importantly, we know we have an actor’s life that’s filled with behind the scenes maintenance that is fun to do, like marketing and classes. (And if it’s not fun, it’s only because we’ve already decided it doesn’t matter.)  See movies & shows, read scripts, surround yourself with fellow actors who are doing the work, not just talking about it.

Defy Logic or Die

I had to laugh when, after hours of agonizing over this week’s topic, I realized this weekend celebrates my twentieth anniversary of moving to Los Angeles.
My sister and I drove cross country over Valentine’s Day weekend, 1998. We made incredible time, but managed to stop for important stuff. The most important was visiting the Oklahoma bombing site that had happened just a few years prior. There was this tree.

Survivor Tree 1998.

This tree was the only thing left standing at ground zero. It defied logic, yet made so much sense. When I arrived in L.A., I only had theatre credits and two co-star roles – I had neither connections nor representation. I did, however, acclimate very quickly. The weather, the driving – I never owned a car before – and the possibilities! Unlike Chicago, I could meet dozens of casting directors face to face and no one had a preconceived idea of who I was or who I should be. That first year I booked three network TV shows and a national commercial with no agent. It defied logic.

As the years went on, I embraced my newfound freedom by joining a theatre company, teaching improvisation, directing for the stage, performing stand-up – and partying.  While I had some successes, I focused more on my “failures”. I began to take on the insecurities of my fellow actors. I saw my early success as a fluke that would never happen again. I worried that my hometown friends and family expected more than I could produce. So between crappy day jobs and theatre rehearsals, I commiserated with others over beer. I had at least four theatrical agents over a dozen years with huge gaps in between, while my acting credits grew increasingly stale. I was also living in a tiny studio that had thin walls and no light.
At the top of It’s a Wonderful Life, Clarence asks God, “Is he (George Bailey) in trouble?” God replies, “Worse – he’s discouraged.” That was me, and I felt deserving of nothing. My sister noticed this, and reminded me of my talent for defying logic. So without knowing how I’d pay for it, or what I’d study, I returned to school. Again, I walked through the process with easy, yet laser-like focus. I loved it, and discovered I didn’t have to pay a dime for my Graphic Design degree. My sense of accomplishment returned, my energy came back, and the universe hugged me. I started to book again. Upon graduation, I decided to create my own business, because I was done working crappy day jobs. When I hired a coach to help me, my business began to grow. This time, unfortunately, I took on the insecurities of my then partner and chose not to grow too much. I developed a serious skin condition, and I stopped booking. I spent the next three years putting his needs above mine.As soon as I made the decision to end this long term relationship, the universe welcomed me back with open arms. Where you been, girl? I was happy, hopeful, and younger. My energy was bright and attracted good things. I booked two national commercials and four network TV spots within that first year. I created a living space full of sunlight and peace. Soon I obtained amazing representation in both L.A. and Chicago. I was free from the fear that had been disguised as “good common sense”.

I have always loved living on the edge, not knowing how things will turn out. I love it, because deep in my soul I know everything will always turn out fine. And now I am determined to love my way of living more than others fear it.

Survivor Tree, 2011.

R U Leaving Your Soul in the Seat?

“When someone fears losing your affection, he or she will strive to keep it. Perhaps you have strived to keep someone’s affection, too. Fear of loss is not love.” – Gary Zukav, The Seat of the Soul

So you’ve got all of your tools in place. You’ve explored your Brand (I like to use the term, “Essence”), you’ve got your perfect headshots, your reel is up to date, you’re in class, your resume is growing. Congratulations! But there’s something no quite right. There’s this intangible part of the business that seems to open doors for everyone else, but you haven’t quite got it yet. What is that?

An actor friend of mine spoke about his early career mistakes, and it took him awhile to understand the biggest one. He had the looks, confidence and talent, but every time he left his seat in the waiting area to walk into the audition room, he said he left his soul in that seat. He didn’t know why, but he chose to leave the most authentic part of himself outside the door. Perhaps, he thought, no one wanted to see that? He thought professionalism was the ability to compartmentalize. In his mind, “Leave your sh&t outside the door” also meant “Leave your self outside the door”. He paid the price for hiding his best parts.

When I was in my twenties I knew that it was the time for making mistakes. I loved turning thirty, because I knew I was done making mistakes. Boy, was I in for a big surprise! As my mistakes continued, I mistook that for not being good enough. Thus began my downward spiral of contorting myself into a more “palatable” me. I played small and stayed safe. While my peers’ careers got sidetracked by starting families or dealing with serious life issues, my career got sidetracked by my lack of self worth.

Life immediately changes when we relax into who we are. When we relax into our own skins we no longer need to prove anything. The adolescent cry, “You don’t know me!” morphs into the quiet knowing that it’s perfectly OK if most people don’t get me. The most attractive people we know are those who know there is nothing to prove. And when we can enter the room with our whole self – free of the need to book the job and free of outside approval – doors will open.

BRING YOUR OPINIONS/QUESTIONS ABOUT THIS TOPIC TO MY TUESDAY FACEBOOK LIVE, 12PM PST