Tuesday, March 15, 2005

"ANNIE"

The call comes in from Kent!!! "Annie" is mine! I'm over the moon. So is Kent; I'm not the only talent from the agency to get this gig. A part is even created for one of his actors. It's been a good day.


THANKYOUTHANKYOUTHANKYOU!!!


"The Sensei" will come first, and then two films to follow in consecutive months. Research begins now.

Get the call from Diana, she suggests a book Now That You Know and we talk about how she came to write the script. I begin to wrap my brain around the fact that the woman I am talking to refers to Bruce Lee as "Uncle Bruce". She is meeting with investors. Finding locations. My script is on the way. A woman on a serious journey.

I email PFLAG chapters in LA, NY, San Francisco, Boulder, Denver, and Colorado Springs, Colorado (in the vacinity of the films location), asking for interviews with mothers of men who came out in the 1980s, suffered or were lost to AIDS or violence. I also call some of the people in my life who can offer perspective.

Days later I've read the book, the script, and start getting calls from the Moms and I am AMAZED that so many strangers are actually willing to come forward and talk.

What particularly amazes me is that this book talks about issues I didn't realize the extremity of. Particularly the devastatingly high rate of suicide in gay teens. I was lucky enough to be raised in an environment of relative tolerance and acceptance. We had come farther by the time I realized the people around me were, well, having sex at all, much less were gay or straight or bi. When I was dancing in NYC, I lived for a season in Greenwich Village, and didn't think twice about the couples on the street or in the studio. I ate lunch most days in college with a man who is, perhaps, THE sexiest gay man, vocal performance major in history. There were things, being lucky enough to have been too young in the 1980s, raised in a culture of diversity, I was protected from. Realizations were ahead of me.

Monday, March 14, 2005

CALL BACK!!!

I get the call from Kent that I am going to be seen again. I have now read a couple more of the sides and I'm loving what I read. This character is a flower child single handedly raising a love child. Well, attempting to. They are easily confused for siblings. She had him young, lost her husband too soon, and still wears her tie-dye. I know this person. She is half of my mother's friends. A part of me is this person. I want this.

I walk into waiting and there she is, one of the actresses I often find myself in waiting rooms with, carrying the same sides. She is a force. We've been in a couple of workshops together and this is a lady I really respect. A true professional and a real artist. We're both there for "Annie". Her presence alone raises the bar.

There is going to be a wait on this one. I go in twice. First up, I'm in with the two other ladies going for "Brenda" and "Judith". The scene goes just beautifully and I have a real advantage teaming up with the ladies I've gone in with. Our chemistry is good and timing is on. It felt like an organic exchange.

Back into waiting and Tarik Heitman, Heitman Entertainment, Producer, comes out, all benevolence and enthusiasm, and asks me a couple questions. Most notably if I am willing to dye my hair.

No brainer there.

Back in with Joey, aka Michael O'Laskey, former "Young Rocky" of the Power Rangers, as well as "Colt" from Three Ninjas who is cast as "McClain Evans". There is some friendly banter going on and Joey leans over to whisper in my ear "I'm not like this is real life". We are doing a scene where mother and son are walking down the street later in the plot. At the end of the scene there is some friendly teasing. Joey and I are already basically fooling around with it, so I push him by the shoulder out of the frame. He is definitely amused by that physicalization and we giggle at each other. I'm thanked, given a run-down on who's already attached, Keith David, Louis Mandylor, and I can see the carrot dangling in front of me. I want this.

My colleague, the earlier mentioned actress, and I walk to our cars together. Losing parts to her is never hard, she's so good. But I want this one... did I mention?

Tuesday, March 1, 2005

The Sensei Production Journal - entry 1

The Saga Begins:

PREPRODUCTION:

And for me, Gina Scalzi, actor, that means auditions and callbacks.

I almost didn't make it, actually.

I was with my former agent, Kent, during the preliminary auditions for "THE SENSEI" and I was still in recovery from a major emergency surgery. I found out about the opportunity to be seen a bit late, and frankly was sure I wanted the opportunity, but wasn't sure I was completely on top of my game. I had made a short film a couple of weeks before and was preparing for an audition with another feature, which had attached Chris Atkins. Mark Grove was on production on both, though I wasn't yet aware of that as I made my way into the studio for my original meeting. Script in hand (though I never refer to it in auditions, unless I am truly desperate), black jeans, black t-shirt, denim jacket, and a firm picture of "Annie" in my head. There are many ways "Annie" and I are alike.

Diana's is the first face I see. Warm and beautiful, she is surrounded by a couple people I know, have worked with on other things, and she speaks with a true friendliness that is comforting, and I must say, lacking in most audition scenarios. This is not a person detached. I get the feeling she is truly going to give absolutely everyone who walks through that door a chance.

She asks me if I have any questions but I already have made some pretty strong choices and I am wanting to show my own take on it. I ask to give my read as prepared and then get direction. There is no looking down during the read - no looking at the resume or checking the sign in. No distractions. She thanks me and says, "okay. Now I want to see you do this scene with this backstory -- your son,... he's just recovered from an attempted suicide pack". I ask for a minute and walk behind a curtain hanging from the back wall. I can't help but find myself cussing under my breath,... because unfortunately, I am not innocent of surviving the near suicide of someone I loved. As much as that can help me, there is a line.

A moment later I am back, give the read, asked about availability, and I give my thanks.

Mark is waiting outside the studio and we introduce ourselves to each other. He is a driven guy and is pumped about this project. I am amazed at the amount of time he is willing to give me in conversation. Call Kent to check in, when our chat is through. Then I am off to my other appointments.