Acting : The Blood Still Pumps (Thank the gods)... by Greg Anderson

It has been suggested that a followup to my unintentional, but infinitely sincere "love letter to actors" that I posted at the start of this year (https://www.stage32.com/lounge/acting/Actors-Life-Blood-Just-saying) might be in order. I happily agree. In a few days, I will host a social gathering of my currently cast actors and our gifted DP, so this seems the proper time.

So, here we are all these months later. Our New Media Series continues its preparations as the pandemic and Delta variant and financial costs of on-set CoVid safety protocols had on us on hold for a chunk of 2021. We are an independent production, budgeted similar to a decent-sized independent film. We, as all producers should, fully support safe working environments, and in our refusal to cut corners in that regard, we were left looking at costs that would have increased our budget by 30%+ (none of which would have ended up on screen or proportionately increased the quality of the show). So, I put us on a soft hold.

Looking forward, even with the Transformer-sounding Omicron now among us, we anticipate marshaling the necessary additional resources to shoot in the second quarter of 2022.

But what of our actors and casting. When I first wrote, over 11,000 actors had requested consideration for one or more of the 11 posted roles in our first season. It was a number that made no more sense, no matter how long one stared at it. As I write today, that number has grown to 23,000+. All from a single notice on a single casting site. Such is the reason why the British have (and love to use) the word "gobsmacked."

But I am not here to talk about us. With a half dozen roles cast and several more to consider, both large and small, I am here to talk of talent. The seemingly endless pool of remarkable talent that is out there in the acting ranks. So very many skilled, trained, creative professionals, the vast majority of whom toil and prepare without recognition or aknowlodgement. Actors of of every shape and size, every color and background, all cultures and orientations. Most with worthy credits and work. Capable of inhabiting a character in the furtherance of telling a story that just might shed a bit of new light or perspective on the human journey and experience.

I am not talking here about actors who do it for the money. What money? too often. I am talking of actors who pursue a craft that is as much a calling as a vocation because... they simply cannot, not do it. Precious few arenas exist where one encounters that. Civilians do not realize, and thus rarely acknowledge, that acting is difficult, painstaking, precise work. The play and imagination of young children looks easy (and is) because they are still children. They have not yet been fenced by expectations and responsibilities of society, family, and adulthood. Actors must develop the wherewithal to tap back into that past, to transform their imaginations to a childlike state. To... play. Not for themselves — though it is most often a fulfilling endeavor for them — but rather, for their audiences. For their director. For their show.

When I work with the actors cast to this point, developing characters and in early rehearsals conducted online via video conferncing from points all over the globe, I find my breath taken one or more times each session. These actors routinely cast me into audience mode, where I am watching them present (back to me) characters and dialogue that I wrote and causing me to take it in as if for the first time. From the edge of my seat. Captivated by insights to the material that eclipse my own. Nuance. Subtext.. If collaboration is a drug, then you may label me an addict.

A bit of a sidebar (if you will allow) because it remains a rock in my shoe...

In the last month, I have read multiple stories and accounts of actors from a stunningly popular and expensive streaming show (now concluded) wherein they describe how truly shabbily they were treated in regard to senses of sensitive material (principally nudity / sex scenes). I have no naivete here. I have worked in the industry for far more than enough years to know how representative the lack of regard and callous interactions in the articles are. I continue, however, to struggle with why? Yes, I know it is commonplace for the powerful to abuse and debase the less so. But why? Especially here, in the production of humanity-focused subjects by people of purportedly higher prioritizations of their fellow men and women. Such debasement is not in the best interest of the show, nor a positive work environment.

All of our agreements with actors have a detailed, full-page description of how all sensitive material will be handled (I'm not bragging here — just offering an example of how things can be done). The shorthand of it is: When I conceive of a story moment or storyline containing any form of sensitive material, I talk it through with the actor(s) who will ultimately play the material. They have every chance to weigh in about concerns or comfort zone limitations (in fact, they are encouraged to do so). If it doesn't work for them in concept, I move on and find other solutions to the story point(s) and / or theme(s) the material was supporting. If they do say the material seems doable (for them), then I write the screenplay pages of the scene(s).

Then, we talk again; this time working from the pages and how I envision shooting the material. Here too, they can raise concerns, talk of boundaries. We listen to each other (what a concept, I know). And in the end, they make the call about what they feel comfortable doing. If things are good, it stays in. If not, I find other ways. (Despite what many directors, producers, and DPs will tell you, I have yet to encounter the cinematic story moment that can only be conceived of, and / or shot in a single way in order to be successful, including ones where characters take their clothes off.)

Lastly, the material is revisited in preproduction. Just a check-in to make sure everyone is still on the same page. Another weighstation where the actor can, if need be, say, Well, I originally thought I could, but now... If that's the case, we again find new ways to accomplish the same story / thrme goals.

All of that part of our contractual agreements with actors. Because... why wouldn't you? When our actors see the verbiage, they are (to borrow once more), gobsmacked. That should not be the case. Such consideration should be the norm. Actors are not disposable cannon fodder, charged forward on the battlefields knowing multitudes await to replace any who fall or go AWOL. They are artisans. They are professionals. They should be full collaborators.

Not a single viewer is apt to choose to watch our Series directly because of my involvement in it. Nor should they. I know that, and in no way find it injurous. It's the actors, Jake. That's why people will watch. Or not. The faces and embodiments of the characters and story; subtext and theme. Even if one were compelled to take the humanity our of the equation (and no such compulsion should ever present itself), how does it seem the proper business model to treat the delivery medium of story to audience with contempt, disregard, and threatening reminders that, "Everyone is replaceable."?

As I mentioned in the previous post, I love actors. For what they are and what they are not. My Team has reviewed over 23,000 that want(ed) to be a part of telling what remains in my mind, my little story. I have seen the best and most appropriate to the story / characters of that lot. It is stunning. Such talented professionals wanting to suppport and inhabit my notions and visions. It is more humbling than I have words.

One last mention of something brought very clear to this point. There are far, far more talented and able performer-storytellers (aka, actors) than there are stages on which to work or stories to tell. Willing to sacrifice and suffer for worthy projects. Yes, there are arguably more talented writers out there than get produced or published, but the disparity is miniscule compared to actors. And truly visionary, compelling directors withering on the vine even less so.

When you acknowledge the importance of actors in the production scheme and treat them well, despite the numbers in their legions, you are not giving the inmates the keys to the asylum. Rather, you are giving your production the Keys to the Kingdom.

So again, kisses to all who trod the boards, whether on stage, screen or street corner. Andvirtual hugs for the tribulations brought by those who do not have the wisdom or inner workings to value you. The world and the business I have given a career to remains a better place for your eccentric beauty being in it. Now, I must return to pressing <PLAY> again on our audition submissions. I still need gifted co-conspirators for telling my little story...