Can I please get some feedback please?

Synopsis for "Actor Games TV"

Concept:

"Actor Games TV" is a groundbreaking reality TV show tailored exclusively for actors. Unlike popular talent shows that cater to a broad range of talents, this show focuses solely on the art of acting, providing a unique platform for untapped talent to shine. The show offers actors a chance to break the barriers to entry in the highly competitive film industry.

Structure:

The show consists of several phases, starting with an online-only selection process where actors showcase their talents and gather points based on audience and judge engagement. As the show progresses, contestants are brought under one roof, fostering a collaborative environment while they compete in various acting challenges across multiple genres like Action, Drama, Romance, and more.

Prizes:

The stakes are high, with weekly awards for outstanding performers and a grand prize that is nothing short of a dream for any actor. The winner receives a million-dollar contract and a lead role in a major studio film, featuring alongside A-list celebrities. The show also promises representation, contracts for future projects, cash prizes, and significant exposure.

Unique Selling Points:

1. Exclusivity for Actors: Filling a gap in the reality TV landscape, "Actor Games TV" focuses entirely on actors, differentiating itself from shows like AGT, BGT, and The Voice.

2. Diverse Opportunities: Whether a beginner or a seasoned actor, a model, singer, dancer, or musician, if one can act, they have a place on this show. This inclusive approach widens the scope of talent.

3. Collaborative Culture: The show emphasizes collaboration over competition, aligning with the quote by Lakeith Stanfield, “This Game is not a competition, the only one you are competing against is YOURSELF!”

4. Comprehensive Platform: The show extends beyond the TV screen, utilizing a dynamic website and social media for registration, training, motivation, and updates. It's an ecosystem that supports actors in all aspects.

5. Global Impact: Aiming to revolutionize the acting landscape, the show promises to be a game-changer, offering anyone, regardless of age or country, the potential to become a movie star.

6. Positive Reinforcement: The show’s philosophy is that there are no losers, only winners. This positive approach is geared towards building confidence and trust, enabling actors to make a meaningful impact.

Overall Impact:

"Actor Games TV" seeks to redefine the path to stardom for actors around the world. It's not just a talent show; it's a movement to empower actors, breaking down barriers and opening doors to a realm of possibilities in the film industry. This show is where dreams become reality, and the next generation of acting superstars is born.

Editor’s Letter

More than any other festival, I think, Cannes engages with its directors and their careers in symbiotic, mutually productive ways. Narratives build over time. Directors might make a film or two and be rejected, and then, perhaps, play in Un Certain Regard before “graduating” to the Competition. Certain directors are perennial favorites, appearing frequently in the official selection so that when a film doesn’t arrive there, but plays Venice or Toronto instead, it’s a whispered-about rejection. A Cannes premiere offers not only prestige but business advantage. It’s the best place to launch a film for international media and introduce it to foreign buyers.

So, it’s significant, then, that three big American auteurs with films in Competition are all repeat visitors with acquisition titles. Paul Schrader first arrived in Cannes in 1976 as the screenwriter of Taxi Driver, which won the Palme d’Or. As a director he had three films there in the ’80s and early ’90s (Mishima, Patty Hearst and The Comfort of Strangers) before the long break leading to his current Oh, Canada. Francis Ford Coppola won the Palme d’Or with The Conversation in 1974, and he’s now back with Megalopolis. David Cronenberg has had six films play in Competition, beginning with Crash, in 1996, which won a jury prize. He’s there this year with The Shrouds, a film that’s been divisive yet sits in the top tier of the Moiree critic’s grid, where our correspondents, Vadim Rizov and Blake Williams, have been posting their scores.

Cronenberg’s and Schrader’s films (and probably the Coppola) are “late works,” notes Rizov in his reviews today. The term isn’t just one that speaks about age and career but about certain formal attitudes and the positioning of the work. Used most notably by Theodor Adorno in an essay about Beethoven’s final works, “late style,” writes Edward Said, signifies “a moment when the artist who is fully in command of his medium nevertheless abandons communication with the established social order of which he is a part and achieves a contradictory, alienated relationship with it. His late works are a form of exile from his milieu.” Or, as the late great David Bordwell, whose memorial was this week wrote in another formulation, “Are the late works of a given filmmaker greater than those what came before? Does age confer wisdom or philosophical resignation or a fear of mortality or some other kind of new understanding that is reflected in artworks in a stylistic or thematic fashion, creating a distinctive late period?” (The two Godard titles also sit at the very top of the Moiree grid — truly late works.)

As a Cannes watcher, it’s exciting to see directors you love enter the Cannes fold. Sean Baker, as good a representative of a true American independent film director as any, first screened in Cannes with his sixth feature, The Florida Project, which was the cover of our 25th anniversary issue, and then screened his following Red Rocket there. But his current film, Anora, is his first in Competition, and it’s one I’m extremely looking forward to seeing. Sean’s had a fascinating career trajectory, which began with a more conventional feature and saw him working in TV before honing the kind of adrenalized social realism he’s become known for. (About that career, check out my first interview with him about his Starlet, which digs into his early days quite a bit.)

This year, excitingly, a number of young American independents have landed in Critics Week and Directors Fortnight, which means, in addition to the laurels they can add to their posters, they are now building relationships with the sales agents and foreign buyers who, they hope, will support future work. Last week in this space I told you to look out for the work of Omnes Films, the L.A.-based production collective we featured in our 25 New Faces list in 2021. They’ve made a rapid ascent since, with two films — Tyler Taormina’s Christmas in Miller’s Point and Carson Lund’s Eephus — in Directors Fortnight, which is kind of extraordinary. In addition to separately interviewing Taormina (and with Leonardo Goi interviewing Lund), I interviewed the two of them together about the collective (I can’t formally call it a company because there’s no LLC), how they operate and how they may decide to leverage their Cannes cred going forward. One way is to double down on their commitment to the feature form. “We’re very preoccupied with making personal arthouse features,” Lund says, “These are not writerly films, and we’re not interested, per se, in graduating to episodic TV comedy.” With the tailwinds of Cannes, and their talent, that focus should serve them well, and I look forward to seeing them in Competition a few films from now.

Elsewhere on the site, Peter Rinaldi has on his Back to One podcast a really refreshing interview with Nell Tiger Free, star of Apple TV+’s Servant as well as The First Omen. As a producer or director you don’t have to be a full-on “actors should be treated like cattle” Hitchcock-type to sometimes feel less connected to the more woo-woo discussions of an actor’s craft. If that’s you, then this interview is a lot of fun as Free describes her no-process process, which comes down to “just saying the words.” And newsletter compatriot Brian Newman has an essential post this week geared less to those making personal arthouse features and more to everyone not on the Cannes trajectory and having to hustle to build an audience and find distribution.

See you next week.

Best,

Scott Macaulay

Did you go to Cannes this year with a film or as an observer to suss out the mechanics of the Festival and the Marché du Film?

Is there anything you can share with us about your experience, that will help members of the Stage32 community navigate Cannes, who may wish to go in future years?

Join us Monday night in Pasadena!

The Art of Active Networking meeting in Pasadena tomorrow Monday, November 13th.

We know getting back to work can be tough, but we're looking forward to meet you tomorrow night!

The Art of Active Networking is a networking event based on giving. We believe that our combined giving power will get us further than we can go by ourselves.

November 13th in Pasadena at Rose City Coffee/Chirp (2302 E Colorado Blvd, Pasadena, CA 91107) from 6:45PM - 9:45PM

Tickets: Here

We also have events in Orange County on November 14th, and Los Angeles on the 15th.

Details can be found through Http://www.theartofactivenetworking.com

Be Well, Be Creative, Be Great, Be Giving!

Mark E. Sackett (415) 602-9500

Http://www.TheArtofActiveNetworking.com

I have been on this platform for a while, but never done an introduction. So here goes:

Screenwriter based in London, UK and Athens, Greece. Some merits include my dramedy screenplay 'Mary and Dionysus' being a Semi Finalist at the Shore Scripts Feature Screenplay Competition 2018. Prior to that, my short horror film 'Flesh' won a Bronze Award at the Spotlight Horror Film Awards 2017, and short fantasy film 'Headz' won a Gold Lion Award at the 2016 London Film Awards. I love writing genre films, have many female lead screenplays available now in neo-noir, thriller and action genres. I'm available for commissioned work, collaborations, re-writes, notes and editing.

I'm really happy to be on this platform and to connect with like-minded, creative and passionate individuals.

Wishing everyone a wonderful Sunday!

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