Update!

It's been a while! I do plan on updating this blog more regularly, but I've been so busy as of late! Since my last post quite a bit has happened:

The play I was in won a Critic's Pick Award from the New York Times... which was an amazing experience to say the least. We had full houses every night, and I got a chance to work with an incredibly talented cast. My role wasn't particularly huge, but I learned a lot. Part of that learning was seeing the show unfold from a script in an audition room to a fully-functioning, critically-acclaimed, theatrical production. Getting to see that journey up close changed my perspective on quite a bit.

Among other things, I also got an opportunity to perform in a 1 Act play with The Actors Studio Director's Unit. The Actors Studio... such a rich history. I remember reading about it as a kid. You step on to that stage and suddenly you remember it's the same stage that Paul Newman, Marilyn Monroe, and James Dean put up work on... incredibly humbling. Equally humbling were the legendary actors that were in the room that evening. Oscar winners Ellen Burstyn and Estelle Parsons were moderating that night, and as a young actor, hearing their feedback was such a gift.

It's interesting what an experience like that does to you as an actor... ever since The Actors Studio I feel like I'd discovered a newfound confidence in my work. I'm no longer afraid at auditions. Standing in front of casting can be terrifying at times, but after getting a chance to work in front of a group like that... I just feel like I have nothing left to prove anymore. I feel looser. More relaxed.

In terms of writing, I've written two new plays. I'm very excited about both, and I've also shored up revisions on a screenplay which should soon be in the beginning stages of production. More to come on that soon!

-Jon

Lesson's in previews

It's been a while!

I was recently cast in a show (which has turned my schedule upside down), but I wanted to get off an update before our opening. We've been in previews all last week, and I'm delighted to say they've been nothing but fantastic. I'm blessed to be a part of such a great cast, and our audiences have been wonderfully engaged and responsive to the work.

Previews are a fun time. You really begin to fine tune things and let let the work you do in rehearsal  sink in and come to life. You also start figuring out how you're going to keep that performance alive and fresh five days a week after that "opening night" energy has worn off. A few things I find helpful:

1. Relax, let go, and listen - there comes a point in a show where I have to let go of the lines, and simply relax, listen to my surroundings, and live in the scene. It requires a lot of trust. Trust that everything (lines, actions, etc) will come to me from the muscle memory I've created in rehearsal.
2. I also find it best not to try and re-create moments. If I find a spontaneous moment that garners a response from the audience I don't try to force it the next night. Forcing things usually never works out. Instead, I focus on the work that got me that moment in the first place, and trust that I'll re-discover it the next night.
3. I like to focus on behavior and actions, not on the lines. Life is behavior. Dialogue is a small subset of behavior. When I focus on lines, it just connects my head to the scene, but when I focus on behavior it'll connect my whole body to the scene.
4. I like to let go of emotions. Emotional responses are great when they happen, but if I anticipate them they usually won't happen for me the next night. Or sometimes they'll happen in different and unexpected places (which can be a great discovery during the run of the show).

That's all for now! If anyone would like to see the show here's the info:

"The Man of the Hour"

playing at the Metropolitan Playhouse (220 E. 4th Street)

Tickets at:

http://www.metropolitanplayhouse.org/manofthehour

Doing the impossible

Anyone who has ever worked a day on film set knows that at some point you'll come across a task that needs doing, but is nearly impossible to execute by conventional standards.  The hallmark of a good producer is finding a way to get it done or "do the impossible" (so to speak).

I saw an excellent illustration of this while performing some holiday shopping:

I was buying a winter jacket at Barney's New York, but they didn't have the correct size.  They *did* have the right size at a store in Boston, MA and offered to ship it.  I told them I was headed out of town for Christmas, and they offered to overnight it and said it would arrive by tomorrow morning (Saturday).  Great.  Done deal.

So I open up my email, and I get the tracking number, and... yep... you guessed it: scheduled delivery was pushed back due to the holidays.  So I called up FedEx and asked if they could upgrade my shipping... they gave me the usual "sorry, there's nothing we can do about it" speech.

So I called up Barney's and asked to speak to the shipping department.  After a few minutes I was transferred to the Operations Manager.  Immediately, I could tell by the tone of his voice that this was a man who knew what he was doing.  I explained the situation.  His response?  "Call you back in five minutes."  Five minutes later I get a phone call:  my package is scheduled for delivery tomorrow morning.  In addition, he's going to follow up with FedEx NY in the AM, and call me back with a delivery timetable.

Now, THAT, folks, is service.  And boy, was it a pleasure to interact with someone who has a passion for getting things done.  I imagine he's developed connections with the FedEx operations line, knew the right person to talk to, and simply knew how to make it work.  That is exactly how a great producer works.

I tip my hat to Barney's NY for helping me cut through some holiday red tape.


Merry Christmas everyone!

Powering through the cold....

Winter has arrived.   For me personally, the sudden change in climate can be demotivating (not to mention the darkening of the skies will leave me a bit depressed).  However, work still needs to be done, and I thought I'd share a few tricks I've found for powering through:

1)  Create a schedule.  I like to plan my day the night before.   I'll write down the things I'd like to do and by what time I'd like to do them by.  When I write a neat,  concise, organized list, I'm much more apt to get things done.  And getting things done makes me feel good :D

2) Drink some hot tea.  Nothing gets me focused on a cold day like a nice, hot mug of green tea.

3) Stay away from distractions.  Social media (yet ironically you're here :D) and internet-surfing are the worst.

4) Sometimes you just need to push yourself.  There are times where I'll literally strap myself in a chair, set a timer, and tell myself to suck it up and start writing.  And I do.  And things get done :D

Stay warm everyone!

Forcing art...

One of the biggest lessons I've learned as an actor/writer is not to force things.  This is in fundamental opposition to the demands placed upon us as artists.  Everyone wants results:  actors will often force specific emotions.   Writers will often force specific plot points/information/language to help carry the story.

The problem with forcing these things is that you stop listening.

• In acting, when you force an emotional result without paying attention to the world around you, the acting seems "over the top" or "inauthentic."  This is because in life humans rarely force emotions.  It's usually just the opposite.  We often try very hard to cover our feelings.
  
• In writing, when you force a scene to carry specific words, information, or plot points, you forget to pay attention to the character's behavior/objectives and the writing don't seem truthful.  In life, people generally don't plan words before they speak them.  "Dialogue" is a reaction to someone's behavior.  A "scene" is a reaction to someone's behavior.  You change one element of that behavior, and the scene/dialogue changes too.  The only way to figure out the new dialogue/scene is to listen to the characters as they play out the changes in your imagination.

Really listening is one of the most difficult things to do, not only as an artist, but in life as well.  It requires focus.  On a daily basis I encounter people who "force things" and don't listen.  On a daily basis I forget to listen and have to remind myself to do so.  Ultimately, though, not listening will manifest itself in substandard work.

Collaboration

Of the many skills an artist needs to master, perhaps the most important is the ability to collaborate.

I've yet to meet an artist who's not passionate about their work.  And I have yet to meet an artist who's unaffected by criticism.  This is not a bad thing.  It's the nature of the work, and it means we care about what we're doing.

Now, if only we were just performing in our bedrooms everything would be fine!  But we're not.  We're out in the world.  And good creative work requires collaboration.  Even artforms that are singular (such as painting and one-man shows) require collaboration (ie the participation of an audience).

I have seen some very talented people (including myself at times) hurt their careers because of their inability to get along.  It's not that they're unlikable.  Quite the opposite - most of them are quite charming.  But they have a hard time separating their creative ego from creative production.

I have found the following very helpful when it comes to collaboration:

• Be kind.  Take the high road  -  Don't lash out.  No matter how much you're in the right.  Personal attacks are poison to collaboration.  There is a right way and a wrong way to point out a mistake.  You can't focus on creativity when your mind is clouded with anger.
  
• Listen - Sometimes it's best to just sit back and listen.  You'll be amazed at what will happen.
  
• Let the best idea win - I watched an interview with Steve Jobs. He was asked how Apple managed to attract talented designers.  His response:  "We have a rule.  The best idea always wins.  There are no egos at Apple.  Talented people won't stick around if they're not being utilized."
  
• Thank people for their work.  Sounds simple, but it makes a big difference.  Being positive brings out the best in people.
  
• Lead by example.  Rather than telling someone to "work harder" or "do better," lead by example and show them how it's done.  Kindness and respect goes a long way towards motivating your team.
  
• Remember that they care.  Keep in mind that the person you're working with is probably just as committed to their art as you are to yours.  Give them the same respect that you would give yourself.
  
  

Creating Great Characters

One of the most important elements of screenwriting (that's oft overlooked) is the creation of truly compelling characters.  An audience needs someone that they can root for.  An audience needs someone that can grab their attention the moment they walk on the screen.

So what makes a great character?  I believe the definition is surprisingly simple when you boil it down.  A great character is someone who behaves with great character.  Sounds obvious, right?  I remember my grandpa telling me about the old spaghetti westerns:  he said, "people like Clint Eastwood because they get to see justice done."  And it's true.  Look at the characters he plays - they all have a strong sense of justice, morality, and idealism.  They're not ruled by fear and fight with valor to achieve their goals.  Who wouldn't root for such a man?

I think it's also important to give the protagonist a few flaws.  They can't be too perfect or they won't seem real, and a fatal flaw gives a character potential for growth and change.  Take "Simba" in The Lion King.  His biggest flaw is his inability to come to terms with his guilt (ie that he's responsible for his father's death).  It's so strong that he runs away from home and refuses to take his rightful place on the throne.  This provides the story with a beautiful arc when he finally returns and faces down his fears.

Now... it's not too difficult to write a good protagonist, but what about a villain?  Poorly written villains are just cruel for no reason and will annoy you throughout the film.  It's much harder to create a villain with depth and complexity.  For a shining example, look no further than "Darth Vader" of Star Wars - one of the most charismatic villains in cinema history.  Yes, he's evil and wicked, and he's committed countless atrocities against the universe.  But he has many strong qualities as well.  He's disciplined, he's focused, he doesn't tolerate failure - he's also gained mastery of a powerful art.  He has a kind side.  He wants his son back.  He wants to restore order to the galaxy, and most importantly, he's not beyond redemption.  All these things add up to that incredibly moving scene in Return of the Jedi where he tosses the Emperor overboard in an attempt to save his son.