True Blood’s Carrie Preston on Broadway, her career and how she got the role of “Arlene”

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Even if you haven’t watched True Blood, you’ve seen Carrie Preston before.

Carrie has the remarkable ability to transform herself – her looks and mannerisms – in each role she does. She’s been in Duplicity and My Best Friends Wedding with Julia Roberts. Doubt, Vicky Christina Barcelona and even an episode of Sex and the City that I totally remem

ber her in. She even played Ben Linus’ (her husband, the great Michael Emerson) mother on an episode of Lost! I could go on but my fingers will get tired from all the typing.

She’s currently filming season 3 of True Blood and she took some time out to talk to me about Broadway, how she prepares for a role and yes, True Blood.

So, you’re from Georgia and you got started doing plays as a kid?
Yeah, I’m one of those, like I like to say I’m a “lifer.”  I’m in it for life.  My brothers also an actor, and we started doing plays in Macon, Georgia community theater when we were pretty young.  My brother, John, his name’s John Preston, he got the first play.  He’s older than me by two years, so I watched him, and I was like, “I want to do what John’s doing.”  And then before we knew it, we were completely ensconced in doing plays growing up.

And then I even started my own street theater company when I was in the 7^th grade with all the neighborhood kids, and I would charge 25 cents.  We would make up skits and sing songs and do it in the front yard.  I mean, that was pretty much… it was very clear that that was what I wanted to do with my life.  I just didn’t know that you could make a living at it.

Was there any one show or one specific moment that you were like, this is it?
I definitely got bitten by the bug, immediately, you know, when I was in the 4^th grade. Just doing the school, the community theater production of some play, it was called, The Lion Who Wouldn’t.  You know how they write those plays for kids and stuff?

The director who was running the community theater, he pulled my mom aside and he said, “Your child’s an actor”, and my mom said, “Oh thank you, she’s having a good time.”  And he said, “No, no, no, no. You’re not hearing me.  Your children are actors.  That’s what they are.”  So he encouraged us at a young age and sort of brought it up to my parents in a way that they had to kind of sit up and listen.  And thankfully my parents were very supportive and never tried to talk us into becoming accountants or anything like that.

Yeah, my mom said that to me more than once.  And I said, mom I can’t even count.
Exactly!  There’s no back up here.  This is it.  This is what we’re doing.

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The stars of ‘Spartacus: Blood and Sand’ spill the beans on their characters, casting, green screen and nudity

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Spartacus: Blood and Sand is a retelling of the classic story of a Roman Gladiator who eventually rises up to lead a massive slave rebellion. But this is not your Dad’s Spartacus. This is much cooler. Much, much cooler. I’ve seen the first 4 episodes and they rock.

In this exclusive interview, Andy Whitfield (Spartacus), Lucy Lawless (Lucretia) and Executive Producer Steven S. DeKnight talked to me

Spartacus: Blood and Sand premieres this Friday, January 22nd on Starz!

Side note: This was a much longer interview but about halfway during the call, I noticed my cat chewing the cord that I use to record the audio. I quickly replaced the cord but missed a lot of great questions. You can thank my cat for that. And if you listen to the audio of the call, you’ll be able to hear her “meowing” in the background. Ah… the pleasures of working at home.

Let’s pick up the action…

[My question was: How do you get mentally prepared for a long shoot like this?]
Andy:  stay present and go, what do I have to achieve today and collaborate with some of the most amazing people I’ve ever worked with.  It’s achievable.  It does take its toll at the end.  Everyone needs a big rest, but even on the last day, everyone was there, the crew were there, and you could just feel how proud and how excited and how exhilarated everyone was.  You almost could feel like they could have two weeks off and start again.

Do you guys both still get nervous before a big scene?
Andy:  Lucy?
Lucy:  If I’m naked, yeah probably (laughter).  I don’t know.  Now that there’s such a relationship of trust between the actors and you’ve got directors that are really just fantastic –
Andy:  Yeah, I think, I mean I think that is true.  I think, you know, from what we have achieved – that gives you a lot of confidence.  But I also am conscious that there is always a necessary amount of fear just to have everything sharp.  You know, it’s that thing, no pressure, no diamond.  And I think you just sort of get used to it and accept that it will always be there.

For example, if I had to audition for something tomorrow, I would be as nervous as I was before.  And I’d spent nine months doing the best training for acting I could possibly ever have.  And I think that’s appropriate.  I think that you just accept that that’s gonna be there.  And just trust it’s gonna go away it’ll go away the second you commit to what is there.

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Independent Producer/Director Zak Forsman’s advice to actors

This post is one of three in a series of posts from the San Diego Film Festival. If you ever get a chance you really should go. Great films, great people and incredible access to filmmakers.

The festival is in — and I would have posted these sooner but I had some major audio issues and transcribing the panels were difficult.

Zak Forsman is a writer, director and producer of independent films. His films are mostly improvised which makes all of the performances look completely real.

Take a couple minutes to read what he said on the panel. It’s a peek on what the other side is thinking… and if you look at it from an actors perspective, it can be excellent advice.

Zak Forsman:
How many filmmakers are in the audience?  Because that’s about all I can share.  I can’t really share the actor’s point of view on this.  But I can tell you some lessons I’ve learned and some of the experiences that I’ve had and what I’m hoping for.

The key thing that I’m looking for with an actor is whether they’re able to internalize direction and actually make a change.

So, we provide them with 2-3 pages of sides.  They’ll come in.  They’re asked to read it however they’ve prepared it, and if that goes well enough and we like them, I’ll give them an adjustment that could be ridiculous.  It could be off the wall.  But I would like to see them chase a different objective using the same words to see if they can truly internalize my direction and be authentic.

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Jersey Boys Travis Cloer: “I left New York to get a job on Broadway”

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Travis Cloer, who plays Frankie Valli in the Las Vegas production of Jersey Boys, didn’t have anyone hand him his career.

No, as a struggling actor in New York, leaving the city was probably the smartest thing he ever did. Because when he came back, he landed on a Broadway stage.

Check out how he did that, the differences between Broadway and Las Vegas and what it’s like playing an icon.

I saw the show Tuesday at 6:30 and I thought it was fantastic.
Yeah, it’s a fun show.

Yeah, you guys are great.  I guess you can call that an early matinee?
Yeah, it’s weird here because everything’s in the evening.  Anything in the afternoon is pretty brutal.

You guys were just on fire and cracking.
Those 2 show days are… you know, everybody is pretty high energy throughout the full day.

How long have you been in the show?
I’ve been involved with Jersey Boys since February of 2007. I was in the Broadway company for about a year and a half, and then they moved me out here last September of 2008.

Did you want to come out here?
It was kind of 50/50.  I enjoyed being in New York and being on Broadway, but the role of Frankie Valli opened up out here and they offered it to me, so I kind of had to take it you know.

How do you keep it fresh?
That’s a good question, man (laughter).  That is a really good question, especially after almost 3 years.  You just really have to – well, a lot of it is what the audience is bringing to you that night.  You know, if it’s a great house and if it’s a great audience of course you always feel as a performer to give it just that little bit extra, instead of – you don’t always want to coast on auto pilot.  But sometimes you know you get tired.  But as far as keeping it fresh, you just, with this show, I find I really enjoy singing the music. And the music itself is fresh to me just about every night on its own.

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Top 10 Dumbest Mistakes Make In Their Careers – Part 2

Here’s part 2 of the the dumbest mistakes thread from Backstage.

This was written by TRUTHTELLER59. He always has some great things to say on the forums board.

1. Do extra work in hopes of getting “discovered.” You won’t!

2. Show up on time. In this business, on time is late and EARLY IS ON TIME!

3. Take classes or hire a photographer based solely on name/”Guru” status. What might be awesome for some might not be for you. You need to audit/meet before making a smart decision.

4. Shake a casting director’s hand when he or she does not offer it first. CDs meet so many people and the last thing they want to catch is a cold.

5. Not reading the contract. Too many actors don’t read their GSAs, SAG Contracts, etc. carefully and start complaining and can’t get out of their contract because they weren’t smart about it.
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Top 10 Dumbest Mistakes Actors Make In Their Careers – Part 1

I found this on the Backstage message board and thought it was really insightful.

Written by Broadway2Hollywood, its well worth a read.

There’s another top 10 list that I’ll reprint tomorrow – both with permission from the original authors.

1. The top dumbest mistake is Being Dumb!
Includes not knowing even the simplest of industry vocabulary.
(upstage, downstage, slate, scale, sides)
If you don’t know something, do research, look it up or ask around until you get a proper answer. Everyone wants to work with intelligent people. Don’t perpetuate the idea that actors are dumb and untrustworthy.

2. Not getting training.
In this reality-show era, many people show up in town and think they can start an acting career just because they (think they) have a really great personality. Most of them don’t think they have to learn how to act.

3. Being Unprepared (or underprepared). — see #1 and #2
Also includes going to auditions without looking at the material, not making any choices, or knowing anything about the project (often including its title or the casting director’s name).

4. Sending out sub-par materials.
Headshots that don’t look like them, or are poorly photographed. Demo reels that are endless and/or look like they were made in a basement by teenagers and shot on a cell phone, and include bad acting.

5. Thinking that getting an agent is the end of the rainbow and that the agent will do all the work.
An agent only gets 10% — they should only reasonably be expected to do 10% of the work.
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Headshot Photographer Lesley Bohm: “I focus on personality and who you are rather than just surface”

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Lesley Bohm has been my go to photographer for a while now. Yes, I’ve cheated on her with other photographers (it wasn’t my fault! An old manager “suggested” I go elsewhere) but I always go back. Why? Simply because she produces headshots that get results. You can check out one of my headshots here.

She was nice enough to take time out of her busy day to talk to me about how she got her start, how she differs from other photographers and more. Check it out!

So, I guess we’ll begin with the obvious question, how did you get started?
I got started way back when I first came to L.A., I went to art school, and I always knew I liked shooting people rather than things.  And so I always liked to reach into the nitty gritty and figure out how people ticked.  And when I was moving from Vancouver, where I grew up, and it was New York or L.A. and I really did like the weather better in L.A., so I moved to L.A.  And I started taking actor’s headshots.

I’m not sure if this is more of question but a statement.  I hate taking headshots.  It’s just uncomfortable for me, and I’ve shot with tons of people since I’ve been out here.  Nothing really clicked for me, and then I found you through a friend, and I finally got my first great headshot.  And you just have this sort of ease about you – this calm.  And it came through you into me, and then into the picture. You just have this calming presence, and I think that makes for a great session.
I agree with you, and I have a little system and it does include, you know, talking with you and finding out who you are and what makes you tick a little bit and what you like and what you don’t like.  That way I can kind of follow the initial issues of headshots where people are nervous and they’re thinking about what they look like and we can actually get into a position where we can talk about other things and your face can get back to its normal position and life will flow and then you get really good expressions and headshots.  That’s kind of my little secret.  Try to put you at ease as best I can.

Eventually you just kind of start having a conversation and then… you don’t forget you’re taking a headshot, but it’s more like you’re just hanging out.
Exactly.  It’s just my way of getting you to come down to my studio and hang out with me (laughter).  It’s basically the energy I want to share is hanging out with a best friend and we’re just having fun and getting some smiles and getting some serious – changing clothes a few time.  It really should not be a big deal, even though it’s the number one thing actors hate to do, even though it’s the number one thing they have to do.

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‘Paranormal Activity’ star Katie Featherston talks about her career

From heatvisionblog.com:

What was your first reaction to being asked to do this film?
I was thrilled. I went in along with a couple hundred other people and auditioned and had so much fun at the audition. And then I had the callback, which is where I met Micah, my co-star, the first time. We got along so well and it was all improvised, and the energy was great. I remember telling my mom, “If I don’t get this role it’s because of some spiritual reason why I shouldn’t,” because I had so much fun that it seemed wrong for me not to get it. I just loved it. So when (writer-director) Oren (Peli) called and said, “Hey, you got the role,” I was beyond thrilled.

What did Oren ask you to do in the audition?
I remember, all these women were going into the room, and they’d walk out and they all looked kind of disgruntled, they were shaking their heads, and I was like, What’s going on in there? I walked in and sat down, and Oren said, “Why do you think your house is haunted?” And I just had to start telling him. There was no, “Hi, I’m Oren, this is the movie,” or “Can I have your headshot?” It was straight into it. It was all improv. And then the film itself, there is no script. Oren had such a good direction that he wanted the movie to go in. He had it all planned out. But the dialogue in the movie is improvised. We were just kind of living in the moment and taking it scene by scene.

Did you have any specific improv training?
I went to Southern Methodist University, where they have an amazing theater department. Improv was incorporated into a lot that we did there, and then I did have a specific improv class for a semester. But other than that, no Groundlings or anything like that.

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Dennis Haskins (Mr. Belding!) talks to us about his career and says, “I’m not done!”

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If you’re like me, Dennis Haskins came into your living room every Saturday morning as the loveable Mr. Belding.

He played the role that made him an icon to kids everywhere for 11 years and he’s not done yet. I talked to him as he was in rainy San Francisco researching a role in the musical, Wicked.

He’s got some great stories, fantastic advice and tells us what he’s up to next.

So, when I told people I was going to interview you, everyone just completely, automatically smiled, and you just –

Isn’t that nice?

Yeah, you just seem to be so loved for your character, Mr. Belding.  You bring back these –

Warm fuzzy feelings (laughter).

Exactly.  You bring back these happy memories from childhood.  That’s gotta be great for you.

Well, you know it’s funny because I was just glad to have a job when I got the job.  I mean, I fought for it.  I went through seven auditions, went to the network and did not get it.  Called the executive producer and said, “How’d I do?”  And he said, “You did great.”  He later told he that’s why he decided to bring me back.  So I broke the cardinal rule.  I won’t go into the details.  Everybody else told me not to call him.  But I called him because I thought I just wanted one more shot at it.  I thought I did pretty good, but I thought I could do a little better.  And eventually I ended up getting the job, so sometimes you just have that feeling that you know? You know you’re on the right track, so that was great.  And then we were cancelled by Disney.  And then a miracle happened, and Brandon Tartikoff decided to buy the rights to four characters, me being one of them, and create Saved By the Bell with Peter Engle because he wanted a show his daughter could watch.  So, we did 20 episodes.  And that was it.  We had another wrap party.  So that’s two wrap parties.  And we did 23 episodes.  And we had another wrap party.  Then they did some episodes and they went to the beach, and I was out.  And then next thing you know, I was back in.  And it was, it never felt like we had a long-running show, and then I looked up after starting in 1988 on Good Morning Miss Bliss on Disney and finishing in 1998 on Saved By the Bell: The New Class having done the show and the character for 11 years.  So, that was a pretty good run.  I mean, it was Saturday morning, but to me and to everybody else, it’s prime time.

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January Jones on life before “Mad Men”, Betty Draper and why you should not listen to Ashton Kutcher

From GQ:

On her career before Mad Men:

‘[With modeling] You’re like an object. They move you around. And I felt like, God, I’m miserable. I hate modeling,” she says. “When I moved back to New York, the agency said I owed them $20,000. So I left the agency and then—very quickly—decided to go to L.A. and try acting. Without any training.”

It did not go well. Jones would go to auditions and just emote, channeling whatever feelings she could muster from her real life—loneliness, anger, heartache—into the character she’d been asked to read. “I felt really vulnerable,” she says. “Like, why do these people deserve to see me have these emotions for five minutes and then tell me that I’m bad at it?”

But eventually, through audition after audition, she learned not just to feel vulnerable but to play it. “January has an athletic intensity to her acting, a very instinctive kind of immediacy,” says Mad Men creator Matt Weiner, who wrote modeling into Betty’s backstory during the show’s first season. “She found a way to make Betty’s lack of self-awareness so believable by bringing in this mix of hardness and childishness, which she saw Betty having—this ability to want something, and go for it in an almost childish way.”

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