While the submissions continue to come in for the next class at the Naval Justice School, this past week took an interesting turn when I was cast as a policeman in an upcoming TV pilot. What was originally one day turned into three days on this production.
I always find these large scale productions interesting for a variety of reasons. Am I learning something new? Did I have a good time? And did I meet interesting people? I would say the answer was yes on all counts.
For me I always look at these “large-scale” productions with two different hats on – as an actor and filmmaker. As an actor I had to learn pretty quickly how this director worked. He gave me direction once and then returned on a couple of occasions to rehearse it without any verbal cues. He would appear, I would do what he directed and then he would leave. It must have been OK because after one rehearsal and two takes it was done. I guess we will see if that moment makes it in the final cut.
As a filmmaker, what I appreciated was the level of detail on the built sets. The desk I was sitting at was complete with period files, notes, etc. Even the wording on the files was specific to the era. As we live in an age where movies and TV shows are constantly screenshot, the last thing you want is something on camera that shouldn’t be there.
But this week it’s back to my own projects. In addition to the handful of actors to cast in the Naval Justice School (NJS) project, I start meetings on First Signal. This will be my fifth class with NJS and it’s great to see so many actors return from previous classes.
After my first meeting this week on First Signal, my plan is to post for actors in regard to a table read. The goal is to have a read sometime in late February or early March. From there I move on to locations and then crew.
And just when I think I’ve heard every excuse in the acting book, today there was a new one. I scheduled an interview with an actor days ago this morning in regard to the next NJS class. I couldn’t believe when I received an email this morning asking to push the interview back because, “I’m just trying to run some errands before the football games today and wasn’t sure if we could push back to 11:30.” Obviously I declined to do so. To every aspiring actor out there read these next words carefully – an actor declined to keep a scheduled interview for a paid gig because of football.
Here in Massachusetts (and New England in general) there is an obsession on football that borders on near hysteria. It’s all well and good that you have your passions, but when they interfere with work you have a problem. When you ask a producer/director to reschedule an interview because of your passion for a sport, I have two words of advice – don’t submit.
Can you even imagine for a minute if the day after I committed to this pilot that I emailed the casting director and said, “I can’t work tomorrow because I need to watch XX” I don’t even want to know the note that would go in my file. But I do know what that casting director would do after crossing my name off all their lists.
Last week I had the opportunity to submit In Mind We Trust as a pilot for a TV or Web series. As some of you know, In Mind We Trust is the sequel to Justice Is Mind. When I wrote the sequel a couple of years ago, I think the idea for a series was always in the back of my mind.
The question I had before I submitted was that the pilot might not make sense unless someone watches Justice Is Mind. The response back was pretty straight forward. “…to have a lot of unanswered questions at the end of a pilot script — it opens up the world any mysteries for the series.” Well if there’s questions they want, they’ll get it with this story!
It’s stories this industry wants and needs. Sure we read how the major studios are just focused on tentpoles (I loved Wonder Woman by the way), but the terrestrial networks and OTT services just continue to expand and need programming to fill their schedules. With Apple, Facebook, Vice and others actively moving to original series orders, the quest for stories continues.
The one piece of advice I was given when living in Los Angeles was to always have more than one project ready to present. I didn’t fully grasp it at the time, but it makes total sense. Some may love sci-fi but have no interest in political thrillers. Others may not want something sports related, but are looking for a drama. Well, the latter fit the bill with In Mind We Trust.
Personally, if I had my druthers, who wouldn’t want to see their concept set up at a Netflix or Amazon. When I see the production values of The Crown and The Man in the High Castle (two of my favorite shows), it’s just amazing where the industry has gone over the last several years. But like anything in this business, it’s about time and in the case of a series—staffing.
Unlike a movie that can be staffed pretty quickly, a series requires an unprecedented amount of personnel. Just take a look at the end credits of a show or their listings on IMDB. These aren’t just one off projects like a movie, these are, if the show succeeds, long-term commitments. But before any of this is even remotely considered, it comes down to the story itself.
When I think of the number of mind-reading, privacy and intelligence agency articles being published on a regular basis, I certainly think In Mind We Trust has as good a chance as any of getting a review. Thankfully, the concept has already gone through some market testing with Justice Is Mind. From a theatrical release to media coverage and VOD, anyone looking at this project can already see it’s more than just words on a page.