Do you love “being an actor” or do you love to act?
When I first became an actor, I often heard this said: “Writers write, directors direct, and actors talk about acting.” I was furious, angry, I hated that statement, and I still do. I found it insulting, and degrading to actors. How dare anyone make that claim! I was dedicated. I didn’t even understand that statement, so let’s talk about it. Is your choice to be an actor ego based? Is your soul called to act? Is it a combination of the two? Where do you stand (or better yet, how are you living your life?) in relation to that statement?
James Monroe High School’s Drama College has been invited to perform as part of the American High School Theatre Festival at the Fringe Festival, in Edinburgh, Scotland, next summer. Monroe High School is the only LAUSD school to be invited, an honor bestowed upon only 20 high schools nationwide each year. This honor reflects both the outstanding efforts of the students and the standout leadership of theatre teacher and director, Jason Hayes.
Beckets War, 52 Films/52 Weeks, 2011
I have had some tough, tough days on set.
For lot’s of different reasons.
But most of the time there are three major reasons why a tricky shoot can become an uphill battle, start to finish.
“The moment you doubt whether you can fly you will cease to be able to do it.”
Most of the time when I feel too paralyzed to take action it’s because I doubt myself.
Throughout the past 50 years, the sequential art medium has struggled to be identified as a legitimate form of literature, despite its rich history of depicting and confronting issues that impact social and political change. Once considered to be a medium targeted only towards children, comic books and their subject matter have matured with the industry’s own evolution, demonstrating to fans and critics alike that the comic book is an outlet for frank discussion of important, and sometimes taboo, topics. While it may be easy to quantify the impact that comic book storylines have had on readers and our society as a whole, the artwork of the medium can sometimes be overlooked, diminishing both the creativity and skill required of the artists, as well as the significance that imagery holds within the storytelling process.
Making a film should be, in my humble opinion at least, as daring and as bold and as seemingly impossible as trying to catch lightning in a bottle. And when done right, the results are just as beautiful as what I would imagine lightning would look like, captured and bottled. But as difficult as that might seem, and I am no physicist...I’m pretty sure catching lightening is actually impossible. What I am really reaching for is the concept of setting your expectations really, really high and to not be afraid of that.
Kristi Tornga is a friend and colleague of mine from CalArts. She is an exceptionally talented artist, and it has been incredible to watch her professional progression. She left LA for the Big Apple in 2010, and realized her dreams by dancing with the Paul Taylor Dance Company this season, including performances at the infamous Lincoln Center. Kristi shares her experience as a modern dancer in NYC with NoHoArtsDistrict.com, providing a behind-the-scenes look at the contemporary dance side of the coin and what’s helped her along the way.
My past three blogs have been about the business of being an actor. I’m going to jump forward here and talk briefly about how we define a successful actor. Better yet, what is success? How do you define it?
NoHo Senior Arts Colony certainly lives up to their name. The staff at Nohoartsdistrict.com can't count the number of events/activities we cover at the NoHo Senior Arts Colony We are especially fond of The Gallery@NoHoSAC for its great exhibits of animation, design, photography and fine art by well established artists who have shown internationally including at the Smithsonian. The gallery is located at 10747 Magnolia Blvd at NoHo Senior Arts Colony and is open to the public 7 days a week from 10 AM to 5 PM. A true treasure in the NoHo arts community and not to be missed.
11:11 A CREATIVE COLLECTIVE (11:11) and RESEDA RENAISSANCE will present an artist panel discussion entitled, “The New Deal: Art in Public” at 5:00 p.m. on May 24, 2014 at the 11:11 ACC Traveling Gallery in Tarzana. Moderated by Patrick Polk, Curator of Latin American and Caribbean Popular Arts at UCLA’s Fowler Museum, the panel will discuss how public art is thriving in the new paradigm of the micro art economy, the unique challenges of preservation and how art in public spaces continues to create powerful and controversial statements, making way for new dialogues to be explored.
Spring Into Action! 5 steps towards that TV job you always wanted
It’s SPRING! I know you may be reading this and thinking spring???? It’s still snowing, or its already summer here, but you know what I’m talking about. Game of Thrones and Mad Men just started their new season! It’s the time of year where things begin a new cycle, many cultures celebrate renewal, and colors emerge from under ground that surprise and delight you. A time to align with the cycle of nature and bloom!
Don’t Call Her Larry - I met Lawrence Lebo, one of the country’s greatest living blues singers according to LA Weekly, on Nextdoor, the new social media site that is just for neighbors (www.nextdoor.com). She responded to a post that the Reseda Neighborhood Council made about local restaurants featuring live music or art shows on the 25th of the month. She introduced herself via e-mail and we agreed to meet for coffee at the Starbucks in between both of our houses a block away (how often does that happen in LA?)
The Nohoartsdistrict.com team has decided to showcase one NoHo artist per month. Artists will be from visual and performing arts. Criteria: Must live or work in NoHo and have been involved in some form of volunteer work within the Noho arts community. Please email email@example.com with why you or your friend should be showcased for the Noho Arts Community Spotlight. You will be featured in the Latest News on the front page of nohoartsdistrict.com which averages 75,000 visitors per month plus a shout out to our 14,000 social media followers.
Very Independent Filmmaking - Things Can and Will Go Wrong
“It is unwise to be too sure of one's own wisdom. It is healthy to be reminded that the strongest might weaken and the wisest might err.”
― Mahatma Gandhi
If you’ve followed my last two blogs, you'll remember I talked about how you are a business, and must have your own business plan. It should be flexible, while holding you accountable, and it should make you feel good about yourself and your progress. I also discussed how there is no one formula, curriculum, certification, or credential to make a successful acting career. I personally believe there are certain required credentials, but still no specific career path.
The Sharon Disney Lund School of Dance at California Institute of the Arts (CalArts) held an inaugural Dance and Wellness Intensive on March 20 and 21 on its campus in Valencia. The intensive was curated by the School of Dance administrators and faculty to provide their students with exposure to performing arts health professionals and wellness experts to compliment and balance the high level of training offered in technique, performance, choreography, and production. When I got the request to teach for the intensive, I was so excited to hear that my alma mater was joining the wellness wave and providing students with access to dancer health resources that I knew I had to cover the event for NoHoArtsDistrict.com.
A year ago, the Reseda Neighborhood Council started making plans with Continental Art Supplies to curate an art show in Continental’s Education Room with Reseda as the theme. The original idea was to put a call out to artists of the Valley, inviting them to submit works about Reseda. Since Reseda hasn’t had much of a reputation for being anything more than a city that people pass through on their way to get to somewhere else, I thought it would be a great idea to create an arts event that sounded trendy, exclusive and ironic. So “Reseda” was it. We went so far as to create a “list” (kind of like Studio 54) so people would wonder and want to get their name on it.
Writing you today from 30,000+ feet in the air. Crazy right? It’s my Atlanta to LA leg after the LA to NYC, NYC to LA, LA to Atlanta before the LA to New Orleans and after the LA to Park City go- round. Good fortune is smiling upon me with diverse projects in a variety of places with wonderful clients. Truly grateful!
I just went to Gallery 800's exhibit " Still Life" which features a collection of works by Evans Webb. What makes this exhibit extremely timely is the fact that Evans lost his fight with cancer on March 2, 2014. Evans Webb, a tireless and dedicated proponent of the Art Directors Guild Local 800, was an extremely talented artist and a man that cared about his fellow union members and a good friend of mine.
Melinda Sullivan is Doing it Right – an exclusive interview for Gotta Dance
Melinda Sullivan is an inspirational performing artist in our community. You’ll recognize her from SYTYCD season 7, with a comeback on season 11 to perform in a duet with fellow tap dancer Aaron Turner. She earned a place on Dance Magazine’s top 25 to watch for 2013, and won Capezio’s prestigious A.C.E. Award in 2012. That winning entry, entitled "Gone,” debuted in expanded form in New York in August 2013. She continues to develop her many talents and interests as a dancer, singer, and actress, which have given her a broad platform for her performance opportunities and artistic enterprises. I am grateful to Melinda who eloquently shares her experiences and latest projects with NoHoArtsDostrict.com.
KC: For our professionals and aspiring professionals out there, what can you share about the experience of working in the different mediums of stage, TV, and film? What’s lending to your success and how has that shaped how you prepare for a versatile career path?
MS: As a dancer, I am lucky to have a strong ballet and jazz foundation coupled with a passion for tap, more of a "niche" dance style. That has allowed me to be versatile while at the same time being unique. Also, dancing takes an incredible amount of mental focus. I'm thankful that I had that focus at an early age. The only way to push through the discipline and sometimes monotony of your technical training is to stay inspired. Look to the masters of your art form to get you to your next level. Read books, watch footage, listen to musical scores written for dance, etc.
Once dancing and performing become your job, you must seek balance between being an athlete, an artist, and a working professional. It can be tricky. Cross train and take care of your body, feed your soul with good art, and meet people in your field who you respect.
Most importantly, if you want to work in both LA and NY as a dancer, you ABSOLUTELY need to start singing and acting ASAP.
KC: You’ve had several roles portraying characters that emulate turn-of-the-century to mid-century styles and settings. Tell us about your influences and what you’re bringing forward from these eras in some of these roles.
MS: Campfire Vaudeville is a song and dance experience that one of my best friends Galen Hooks created. She brought me on as a performer and choreographer, and last year we had a few live appearances around LA coupled with some really incredible video content that Galen executive produced (directed by Charles Oliver). Campfire Vaudeville pulls from a few decades, but definitely turn of the century culture. The project was based on these songs that Galen had written that are influenced by early folk/spirituals, and we thought sand dancing/hoofing would go well with that music. Both art forms are at the root of American jazz music and the original American jazz dance, aka tap dance. You can watch the video here.
Then, by chance, I was referred to director Gilly Barnes for a video project as a part of a series called The Decade Series. It was a centennial film project for Vanity Fair. Gilly asked me to play a woman during the suffrage movement who had been imprisoned for marching to fight for women's voting rights. Gilly had done a lot of research and encouraged me to do the same. I am thankful for directors like Gilly who use dance to tell stories. In this case, the story was based on historical events, which made it even more powerful for me as the artist interpreting Gilly's direction and my choreography. The day of the shoot, the wardrobe department even had a vintage prison outfit that a woman had worn. It was a really incredible project to be a part of and the final edit was very powerful, as Gilly had another actor recite a letter that a marcher had written as well as footage from that time. You can watch the video here.
Shakin' The Blues Away is the second collaboration between myself and director Dante Russo. One of my career goals is to be involved in a movie musical, whether it be in front of the camera or on the creative side. This piece was an ode to MGM musicals, where were the golden age for this genre. I looked at a lot of the footage from that time of the female tap dancers, and I kept coming back to Ann Miller's piece. She was fiery, confident, showy, over-the-top—the epitome of a Hollywood diva. The movement is really specific as well, and was a great challenge for me as a performer and choreographer. I rehearsed for several months on the piece before filming it and had to work mostly on my upper body. Ann's style was very angular, and her body was able to create these incredible pictures. I had to work a lot on clarity of my body lines in front of the mirror, over and over. Also, she was able to change directions on a dime. That was a big part of my rehearsal process as well. And turns! Lots and lots of turns. All that ballet training came to use for the long turn sequence at the end of the piece. That particular shot for the film was shot with a crane, and I think we did it like 26 times in a row. It was quite an athletic piece, but it really inspired me to keep working in that direction with my performance quality. In general, that style of dancing takes a huge amount of core strength, so your legs and arms can go anywhere while you are still over your legs, and the ability to perform BIG, facially and energetically. No one will ever dance like Ann, though. She is truly one of the greatest! You can watch the video here.
KC: This summer your evening length show, Gone: A Sound and Theater Project, debuted at New York's Ailey Citigroup Theater. The reviews for both the choreography and music were fantastic! Will there be a restaging here in Los Angeles? What’s next for that production?
MS: Producing/choreographing/performing/writing Gone was such an incredible learning process. I literally got a taste of EVERYTHING: running my first audition, collaborating with a composer and director, assembling a lighting and sound designer, budgeting, fundraising, the list goes on. The performance in NY was part of the Capezio ACE Award Grant I received in the summer of 2012. Now that I don't have any deadlines, I have been taking my time to review the material and see what I would like to develop and change. I want to present a concert of my work here in Los Angeles in the coming months, and I would like to include excerpts of Gone in the evening. Nikos Syropoulos (composer of Gone) and I are continuing our collaboration and we are very excited about what we have learned from the process as well as what we will create next. You can watch a video rendition here.
KC: Tell us about the Melinda Sullivan Dance Project and what you’re working on now.
MS: The Melinda Sullivan Dance Project was created underneath the umbrella of the Pasadena Arts Council. PAC has a program called "Emerge Projects", which incubates individual projects and emerging organizations, offering them the ability to seek funding through fiscal sponsorship. In order to produce Gone in NYC, I needed to raise $15,000 in addition to the grant money I received in order to cover costs of production, travel, dancers, musicians, sets, etc. Establishing MSDP with PAC allowed me to receive donations through Kickstarter and use their resources, knowledge, and administrative expertise to act as a non-profit.
KC: Tell us about your work with the community and dance advocacy.MS: Teaching has become a big part of my life. I am constantly inspired by the students in my classes. When students are fearless, they can do anything! It is also fun seeing it click for people that as a tap dancer, you are a dancer AND a musician. As a teacher, class is the perfect place to play as a choreographer, and there’s nothing like watching the students bring your movement and rhythms to life. I teach regularly at The Colburn School in downtown Los Angeles, and I tour with New York City Dance Alliance. I've also had the opportunity to travel and work with students from around the world, in places such as Bogota, Colombia, Tapei, Taiwan, and Stockholm, Sweden. Tap dance is an oral tradition. My teachers passed down not steps and music but stories and artistry. I feel that it is my duty, as an artist and a student of such a wonderful cultural art form like tap dance, is to continue to share what I learned with as many people as I can.
Thank you Melinda! Follow her here.
“Experience is the name everyone gives to their mistakes”
You said it Oscar!
On location, Lancaster, CA, Cold, early and miles from anywhere, having the time of my life…
Since there are rather a lot of mistakes to make, and while I feel from time to time that I have made more of them than most humans on this earth, I thought I would continue along the oddly popular theme of my failures, just for a little while longer…
Well…..Well…..Well…..Here we are again! In my last installment I took you on a trip from the beginning of my career until my unleashing in Hollywood. Let’s just get right to it….shall we????