| Wednesday, October 25, 2000 |
4:47pm - Alas, I didn't get the commercial, but I had a great time at the audition- surrounded by all the Mob guys and the model-esque types auditioning for Virginia Slims next door. Kinda surreal actually. Anyway, Eastwood Talent is sending me on auditions almost every day, the next one tomorrow morning at 10:30 in SoHo.
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| Tuesday, October 3, 2000 |
4:47pm - Get a call from Bruce Kivo of Eastwood Talent asking me to come on over to the office, just down the block from where I work. I go over, meet another casting agent, and Bruce tells me I'd be perfect for a Tarantino-esque film being shot in LA at the end of the month. The audition is in two days at noon. Wish me luck.
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| Tuesday, April 11, 2000 |
8:11pm - Recording voice work for the NYU Radio Drama The Irish Are Coming directed by Brandi-Alisa Bates. I proudly play Bob the Anchorman. Don Pardo's got nothin' on this fella. (Audio copies available upon request.)
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| Thursday, Jan 6, 2000 |
11:46am - Whoah. First entry in the new year. (Shoot me if I hear "millenium" one more time.) Apologies for the real slow updates as of late (the job is taking up much of my creative time) but hang tight- as soon as the moment is right, I'll exercise my option to be back on the stage. Or in front of the camera. Whatever. I'm mixing my metaphors again.
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| Friday, sometime in the Summer of 1999 |
7:12pm - Doing some extra work (not a pun, ha ha) up on 79th Street off Broadway. The film is Table One (film info), starring Stephen Baldwin (love those blue eyes) and Michael Rooker (the other dude in Cliffhanger). I talk a bit with Rooker and exchange a meaningful glance across the room with Baldwin. Most of the time, I'm just sitting pretty at a table behind Rooker, sipping a cocktail and making light conversation with a complete stranger. My compatriot Duncan is with me and he ends up as the camera stand-in for Baldwin. I always told him he was destined to make it big.
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| Thursday, June 10, 1999 |
11:17am - Receive an invitation in the mail for the screening and wrap party of Never Stop Learning, an independant feature film I worked on almost exactly a year ago. (Check out the invitation.) Bait: Free food and open bar. Real perk: I'll get to take home my very own copy of the film on videotape. Oooh, boy. I can't wait!
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| Tuesday, May 11, 1999 |
1:43pm - Arrive in the Green Room of Studio B to tape a TV project for Song, a student of Brooklyn College's TV & Radio Department. The show is a live taping of Clifford Odetts' play, Golden Boy, and will be aired on the cable station BCAT. I'll let y'all know the air date as soon as I'm notified. Copies on videotape are available by request.
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| Sunday, April 4, 1999 |
10:21pm - In rehearsals since early March for The Zen Cycnic, an original one-act by Mark von Sternberg, a BFA student at Brooklyn College. Performances will be April 12-16.
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| Sunday, January 24, 1999 |
10:21pm - Last performance of Behind the Fence. The much-talented Betty Buckley was in the audience and a friend seated next to her says she raved about the performance at curtain's end. That makes my day!
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| Thursday, December 17, 1998 |
8:57pm - Rehearsals for Behind the Fence begin. Brrr, it's cold in the city!
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| Tuesday, December 15, 1998 |
5:12pm - Director and Brooklyn College BFA alum Michael LoPorto asks me to perform in his upcoming one act Behind the Fence at Theater for the New City in the East Village (155 First Avenue at 10th Street). Running dates will be January 7th through the 24th, and tickets are $10 a pop at (212) 254-1109.
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| Saturday, October 24, 1998 |
| 11:34am - Board the PATH train (34th Street and 6th) headed for Jersey City on my way to the filming of The Morning After, a short piece about the consequences of what happened the night before. (Something I'm sure I know nothing about.)
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| 3:47pm - Action!
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| 6:13pm - What a blast I had. Met a great bunch of people. Can't wait to see this one on tape. Might be one I won't show the family though. Final cut promised before April.
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6:39pm - I am paged by director Bill Bartus and asked to play the role of Steve in the upcoming Off-Broadway production of Nightmares at The Producer's Club. Alas, rehearsals conflict with Twelfth Night and I must turn down the role.
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| Friday, October 23, 1998 |
| 11:34am - That pager again. It's director John Bergman calling to let me know that I've got the part of Dillon if I want it. He faxes me the script and directions to the location in Jersey City. Did I mention we start filming tomorrow?
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4:33pm - I'm in the Village auditioning for another NYU film, this one to later be made feature length. The role is for principal charactor, Ty, in Naomi's Bat Mitzvah, which films in January. Grad director Jessica Sharzer directs myself and an actress in side readings and improv for 20 minutes.
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| Thursday, October 22, 1998 |
| 9:17pm - I'm at 200 Waters Street, close enough to the East River that I can smell the fish from the nearby South Street Seaport. I'm here to audition for a part in the 60 Cycle Productions of The Morning After, an NYU short (color, 7 mins).
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9:29pm - The monologue goes very well, and the director, John Bergman, tells me he'll call me tomorrow and let me know if I've got the part.
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| Tuesday, September 22, 1998 |
10:31pm - I admit I do get a cheap thrill when my pager vibrates. This time it's director Jeff Sult from Brooklyn College's MFA directing program. He's putting on an unauthorized version of Twelfth Night at the college and he needs a wise fool to play the part of Feste the Clown. I object to being typified as wise, but tell him I'd love to play the fool. Oh, and can I sing for the role? Yeah... sure. (This should be interesting.) The play goes up in mid-November.
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| Sunday, September 20, 1998 |
| 7:28am - Rise and shine. Surely the earliest I've ever been up on a Sunday (that is, when I had gone to sleep the night before), I'm off to New Jersey to perform in a benefit party with the Asbury Park Repertory Theatre (ART).
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| 10:07am - Meet the other performers at Penn Station, along with ART's new Artistic Director, Rajendra Maharaj.
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| 1:52pm - Perform my first monologue, from John Patrick Shanley's Savage in Limbo, for the crowd of board members and assorted theatre professionals. A little slow getting up to speed, but purring like a kitten by the middle.
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| 2:23pm - A bit more relaxed now, I perform my second monologue, from Assassins by John Weidman. Great round of applause. Seems everybody loves a crazy person.
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| 2:27pm - Grab an ice-cold bottle of Corona.
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| 2:39pm - Grab another.
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3:47pm - On my way back to Brooklyn, with a free ART tee-shirt and other assorted treasures.
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| Tuesday, September 15, 1998 |
6:37pm - Attend a showcase at The Producer's Club (44th Street and something, I think) as a guest of the young and talented musical director, Rajendra Maharaj. Among the ten actors performing in the show is the femme fatale baseball cap-stealing actress Melanie from three weeks ago. While engaging our free drink tickets, she tells me that she didn't get the part either. The reason: they said they were "looking for a different type."
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| Wednesday, August 26, 1998 |
9:31pm - Alas, a phone call informs me that I've been turned down for the part of the first victim in the film, All-American. The Grad director tells me they're "looking for a different type."
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| Monday, August 24, 1998 |
2:13pm - Audition for the Columbia University grad film, All-American. I try out opposite the actress Melanie Warner, whose character seduces college boys and then kills them, saving their baseball caps as mementos. I audition for the part of victim number one. All those years of intense theatrical training. Am I ready to be the hapless kid who gets hit with a ball-peen hammer?
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| Sunday, August 15, 1998 |
7:22pm - Filming ends. It's been a rough two weeks of long days and short nights. I'll miss getting up at 5:30am to be on set at 7:00am. Icing on the cake: the very last shot we filmed is a closeup of yours truly. Cool.
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| Monday, August 3, 1998 |
| 8:18am - Wipe the sleep from eyes and step onto the set of the indie feature Never Stop Learning, in a studio converted to look like a classroom on 1st Avenue and 18th Street.
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| 10:33am - I'm standing in front of a 35mm camera as a crew of 12 buzzes around the actors, doing sound tests, checking focus, light levels, and a hundred other details I never thought of when viewing it all from the other side of that magic lens.
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11:07am - And the filming begins. Someone calls for quiet on the set, I hear "Ready sound ... sound ready ... camera rolling." A guy with a film slate steps in front of me, calls "Roll one, act one, scene three, take one!" and slaps the slate shut. A pause, and the director calls "Action!"
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| Saturday, July 25, 1998 |
10:43pm - Phone rings and its Vadim Epstein, director of the independent feature film Never Stop Learning. It seems he received my headshot, needs an actor immediately and could I meet him Monday morning to pick up the script...? Well, what do you think I said?
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| Monday, July 13, 1998 |
12:10pm - Receive payment in mail for last week's acting work in Danny Aiello III's 18 Shades of Dust (film info). Wow: money for acting. Could be habit-forming. Stay tuned...
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| Thursday, July 9, 1998 |
| 4:10pm - At the casting offices of Metro Talent Group, Inc. (West 37th between 5th and 6th). Kid in the waiting room says they've gotten him a tremendous amount of work.
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4:53pm - I sign a freelance contract with MTG's Ron Balaguer (and not just because he played Queen Melinda in the recent Mortal Kombat movie). He asks me to come back Monday and read for a part in a musical.
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| Wednesday, July 8, 1998 |
| 11:13am - Seventeen minutes early to meeting with the commercial casting agency SEM&M (West 19th between 5th and 6th). Brush shoulders with actor Jerry Orbach coming out of the elevator. I didn't know whether to let him arrest me or dance dirty for me. |
| 11:17am - Commercial überagent Lynn Erikson of SEM&M says I'd be great for character roles. Kind of like a little sesame bun with lots of personality. (Ba-DUM-dum.) |
11:35am - Grab some eggs and bacon at the Hollywood Diner, the fastest service this side of Broadway (6th Avenue and 13th). Orange juice freshly squeezed.
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