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the gig

Posted by on 8:06 pm in blog | 0 comments

i never thought i’d actually have this footage to show, but with some persistent googling and a youtube video capture application…voila! portfolio piece. this was the first on camera gig i booked from an audition. i didn’t know what it was at first, but was psyched when i booked it. turned out to be a web commercial for chevron techron. now trust me, i’m no champion of the oil and gas industry. but i hope i’m also not a hypocrite. i have a gas guzzler. i fill it with chevron techron (safeway club card makes it pretty much always the cheapest gas around these days). and i drive a lot. but also…i’m a VO guy trying to break into on-camera work. i’m not exactly in a position to be picky or turn my nose up at a project because of, well, anything, really. unless it was like, an instructional video for how to change lanes without using a turn signal. fuck, i hate it when people do that. and finally, “a gig’s a gig, right?” that’s my only line, fittingly enough, in the chevron piece. i play a hair-flipping, eyelinered-‘n’-tattooed grunge metal guitarist gigging at a little girl’s suburban backyard birthday party. we were named CRUD, for the shoot, though our name is never mentioned. suffice it to say, we’re not exactly a good fit for the event. one of the things that’s so different between voiceover and on-camera work is time. as someone who has logged a lot of studio time over the years, i’m still amazed at how efficient (in most cases) VO work is. you show up, you get in the booth, you talk into a microphone, you get direction, you talk some more, you’re done. rarely does a typical session go longer than a couple of hours unless you’re doing something like long-form narration. on camera work, on the other hand, takes hours…days sometimes. for this short video, we were on set for a good ten hours, most of which was spent sitting around. it was eye-opening for me. i came away with a huge appreciation for the amount of work and coordination and planning that goes into even the shortest of film projects. and it’s helped inform the other on-camera work i’ve done, if for nothing else in terms of how i prepare myself for a day-long shoot. so without further ado, here it is. a gig’s a gig indeed. check it out...

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gay jesus? scary cow? wtf?

Posted by on 8:19 pm in blog | 0 comments

recently, i had the great pleasure of shooting a short film with director kira trinity, costar michael barrett austin, and a posse of wonderful people associated with san francisco’s scary cow film collective. i wish i could share a photo of myself from the shoot, but that’s going to have to wait until the film is released. it’s called “waiting room” and i play…wait for it…gay jesus. as an actor who happens to be a heterosexual atheist, that’s about as good as it gets. so how did i find myself attached to this incredible project, looking nothing short of fabulous (thank you lindsey and shannon!) on a sunday (!) a few weeks ago? i had answered a casting call posting on sfcasting.com back in december of 2012 looking for someone to play jesus as a flamboyantly gay character. thinking my long hair might at least get me an audition, i submitted via the sfcasting site. the hair did get me an audition, but once i read the sides, i realized that i could really have a lot of fun with this part…and so i told myself “you’re going to get this one.” i went to the audition. i nailed it. or so i thought, anyway. but, as so many of these things go, i didn’t hear back for a while and thought that maybe i hadn’t done as well as i thought i had. or that someone else had done much better. or maybe several people had totally killed it and i had overestimated my performance. you know, all the shit actors think about after the audition is done. head games. but then i got a callback. phew, i thought. and so i prepped the five pages of sides again and went in ready to kill. however, when i arrived, i learned that apparently there had been additional pages of the script sent to the callback actors. pages i never received. oh, but the other jesus sure did. i could hear him—confidently reciting lines i’d never seen before—as i waited for my turn. my confidence was waning with each new line i heard coming through the closed door. and then i was called in. i apologized for not having seen the new script pages (an sfcasting snafu, it turns out), introduced myself to the actors auditioning for the part of elijah (jesus’ foil in the script), and set about being the gayest, jesus-est me i could be. i’d like to think that three things helped me win the part that day: my abilities as an actor. whether that’s true or not, i’ve got to think that way if i have any hope of continuing to do more on camera work and raising my profile as a screen actor. my 14 years of experience as a voice actor. i can’t tell you how many times i’ve walked into a session only to be handed the copy for the first time. i smile, say hello to everyone, and immediately try to figure out what i’m going to do with those new words staring at me from the paper. meanwhile, i’m keenly aware that i’m at an expensive studio with an expensive engineer at the ready, and a roomful of expectant clients waiting for me to not only be brilliant, but efficient. sheer...

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