Philadelphia 2011:11

A Message from North Region Executive Frank Traynor

The Branch has been busy with educational workshops, a parade and two major studio films shooting at the same time. The Branch welcomes One Shot to Pittsburgh and The Silver Linings Playbook to Philadelphia. These studio projects join a growing list of ultra low, new media, short film and student film projects underway right now all across the Branch. We thank all the producers for choosing SAG contracts. We also thank the film offices in Philadelphia and Pittsburgh for all their help in making these projects possible for all of us.

Branch members teamed with AFTRA and AEA members to show solidarity in the Labor Day Parade. Photo courtesy of Michael Bengal

Sheldon Smith 

Our union unity continued with our Tri-Union Workshop with Sheldon Smith, where members learned how to turn a non-union audition into a potential union job offer.

                                 
From left, Donna McKenna, Frank Reynold and Liz Ortiz-Mackes. SAG Foundation photo.

Tri-Union members also joined together as the SAG Foundation hosted a special Philadelphia Casting Workshop with New York casting agents Liz Ortiz-Mackes and Donna McKenna. The event was produced by the Foundation’s Franz Reynold and hosted by Temple University’s Tomlinson Theatre. Special thanks to Temple’s Patrick E. Gordon and the Temple University Drama Department.

Ask the Expert

Ask the Expert is a new item where Branch members pose questions and we get the answers from the SAG experts. This issue we ask Zino Macaluso, national director/senior counsel, Agency Relations, one of the most common questions we get from new SAG members.

Question: I am a new SAG member. I understand that I should get a SAG-franchised agent; can you tell me why and where I can locate the SAG agents here in the Philadelphia Branch?

Answer: Philadelphia franchised agents can be located online on the SAG website. Members are strongly encouraged to create (free!) SAG accounts online at sag.org to receive the full benefits of membership. It is essential that you stay connected to your Guild. If you have not already done so, please sign up at the SAG website today!

Guild Rules and Regulations [Rule 16(a)] require all members who choose to engage the services of an agent to choose among those that are SAG franchised. Agents who sign onto the SAG franchise voluntarily agree to be bound by the Guild’s negotiated 75 pages of protection that have been in place since 1939. In exchange, they get the honor of representing our members. Any and all aspects of the agent-performer relationship, including, but not limited to, commission questions, termination rights and dispute resolution options are strictly governed by SAG’s Agency Regulations. Attempting to engage an agent that is not on SAG’s list opens the member up to all kinds of potential abuse and professional frustrations. Franchised agents have been vetted, have gone through criminal background checks, and are duly bonded in all of our 22 Branches. With few exceptions, engaging an agent that is not on that list may potentially subject you to disciplinary action from your Union, so please ensure your agent’s status before going into business with him or her. So, as a general rule, stick with what you know and you will go far!    

Working with SAG

by Carmela Hayslett
Potent Media

It was only a year ago when writer and director Christian Jude Grillo premiered his first full-length feature SAG Ultra Low Budget film Booley at a local Philadelphia movie theater. Now he's already finishing his next SAG Ultra Low Budget film, Deer Crossing.

Deer Crossing is a twisted crime drama revolving around retired detective Derrick Stanswood (Christopher Mann) investigating a cold case that happened eight years ago involving a missing woman and child. While Stanswood continually chases loose ends, a maniacal farmer (K.J. Linhein) has kept the mother (Laura Lynn Cottrel) locked up in his shed and has been raising the child to be his own son, involving him in a fearful world that should have remained unknown. The film also stars Grillo's own favorite horror icon Doug Bradley (beloved as Pinhead from the Hellraiser series) and Ernie Hudson (Ghostbusters), whose role as the police captain was originally to be played by Michael Madsen. When Madsen suddenly had to withdraw from production, Grillo had to immediately replace him. Ernie Hudson joined the cast a week later. "You have to be a seven-headed dragon in this business," says Grillo. Through financial difficulties, actors withdrawing from production, and a lack of resources, setbacks were never a reason to hold up production. With Grillo at the helm, everything always moves forward.

Christian Jude Grillo and Christopher Mann.

The terrifying story of Deer Crossing was written in less than two weeks. A large majority of Grillo's actors, including Bradley and Hudson, all agreed the script was the selling point. The actors had to mentally prepare for the scary realism they were to depict in their performances.

“I wasn’t sure I could do the film for a number of reasons, but after a poignant discussion and several rewrites, I signed onto the project. Most importantly, I knew the film would not only challenge but provide growth for me as an actor and for that I am very grateful," said lead actress Laura Lynn Cottrel. "He enjoys pushing the comfort levels of his potential audience and those looking for a warm, fuzzy-feeling probably should look elsewhere," Cottrel added. The film's risky content might even be the reflection of its risky director, who revels in the fact that the film's teaser is collecting more complaints than praise.

Whether Grillo has a $500 budget or a $500,000 budget, he intends to make films for the rest of his life. He cannot be stopped, he cannot be bullied, and most of all he can not be fed. The hunger for realizing his visions onscreen motivates his every move on the unpredictable chess board of independent film making.

"It's new talent like Christian who can help generate work in front of and behind the camera, while also creating opportunities to grow SAG membership in our region," says actor and newly elected SAG Council member in Philadelphia, Christopher Mann. Deer Crossing is scheduled for release early next year.

 
Left, Ernie Hudson. At right, Bobby Rydell. Photo courtesy of Linda Hoffman

Congratulations Branch Members and Branch Signatories

Bobby Rydell received this year’s Raymond and Beverly Sackler Award, presented to honor personal excellence in the use of the human voice. The award is presented by The Voice Foundation, which is the world’s oldest and leading organization dedicated to voice medicine, science and education. Previous recipients were Walter Cronkite, James Earl Jones, Jack Klugman, Helen Hayes, Jessica Tandy, Patti LuPone, Anna Moffo Sarnoff and Tony Randall.  

 
From left, Victoria Dalton, Sandee Clark Bengel,Rick Kulesa,Frank Traynor and Mark Kochanowicz. Photo courtesy of Michael Bengel.

Branch members turned out to support new council members Mark Kochanowicz, Christopher Mann and Brian Anthony Wilson in Mark’s film Oscillating Garrett at Philadelphia’s Project Twenty1 Film Festival.

     
Left, Scott Rosenfelt. Right, After the Denim poster courtesy Linda Guarducci.

Downbeach Film Festival honored producer-director Scott Rosenfelt at this year's Atlantic City Cinefest. Scott produced Home Alone, Teen Wolf, Smoke Signals and Mystic Pizza, among other films. The festival also honored his short film After the Denim.

David Haddad (PaFIA chair), left, and John Rusk (SAG member and assistant director and producer) on the right. Photo courtesy Heather Seok Executive Director PA Film Industry Association.

Branch members came out to hear and support Branch member John Rusk as he wore his producer/director hat and addressed the PA Film Industry Association on film production incentives and the state of film production in Pennsylvania.

 
Tom Atkins photo courtesy Kristin Garbarino

5 Questions for…Tom Atkins

Tom Atkins is a long time Branch actor with a career that spans film and TV. He is a proud Pittsburgh actor and resident. Tom just finished up Judy’s Dead, shot in Pittsburgh and due out next year.

Q: You are so closely identified with Pittsburgh and your characters on stage and on film often reflect the city’s tough exterior with a heart of gold. Would it be fair to say that there is a little bit of Pittsburgh in every character you have played?

TA: Well I was born in Pittsburgh on the Great North Side a long time ago. Tom Murphy, (Whistle in the Dark) an Irish playwright pal of mine, spoke of people of Ireland who went to Manchester and other hard towns of England to work and were always "looking back over their shoulder to home." I think I was always the same. I love Pittsburgh. It's a great town. I traveled out on a destroyer with the Navy for a couple years and, when my hitch was up, I came back to Pittsburgh and got a B.A. from Duquesne University. Then, after eight years in New York and East Haven working on Broadway, off-Broadway, and a bunch of seasons at the Long Wharf and Williamstown and other regional theaters, I headed to L.A. and, after 15 years there, I moved back to my home town area and I'm still living here happily ever after. So, yeah, I guess there's a little bit of Pittsburgh in every character I've played. But especially in The Chief, a one-man play I did here at the Pittsburgh Public Theater for seven years. It's about Art Rooney Sr., the original owner/founder of the Pittsburgh Steelers. Art grew up and lived his whole life on the North Side. I was born on the North Side. My late father, George, played baseball against Art in Fineview, above the North Side. I was born to play that role and I loved doing it for the seven years, and I miss it terribly. It's a better play than Lombardi.

Q: You have played cops in such films as The Detective and Night of the Creeps. Do people ever mistake you for a cop on the street? Your work in cult classics like Creepshow, The Fog and Escape from New York has young filmmakers tripping over themselves to cast you in their films. What films were your favorites when you were kids, who were your movie heroes? Do you have a favorite film from your long resume?

TA: I came out of a Greek gyro joint a couple years ago, near where I live, and three guys in the parking lot came over to me and said, "Are you a cop?" I said, "No, I'm an old actor, but I played a lot of cops." And the one guy said, "Yeah we know, but you do it so good we thought maybe you were a cop before you became an actor. We're retired Pittsburgh police officers." I thought it was a great compliment. I've always had a great admiration for cops, firemen and anybody in the armed services. I'm thankful for their service.

My mom used to take me to movies when I was a kid. I loved fantasy movies. My very favorite from that time was a 1947 movie called Stairway to Heaven or A Matter of Life and Death with David Niven and Kim Hunter. It's a wonderful film, very moving, beautifully done. It's one of Martin Scorcese's favorite films and I was thrilled a couple of summers ago to see his personal print of it up at Rochester at the Kodak Film Center archives. It knocked me out in 1947 and again in 2009. 

My film heroes from long ago...The Durango Kid...Bogart, Tracy...my favorite horror film was The Thing, I think from 1951, with James Arness as The Thing from Another World. I loved that film. Pretty tame by today’s standards. My personal favorite of my own is Night of the Creeps.

Q: You have been part of some classic TV shows including M*A*S*H, Lou Grant, Rhoda, The Rockford Files, Quincy, Baretta, Harry O, The Equalizer and Oz. What is your favorite all-time TV program?

TA: I enjoyed doing all those TV shows and working with Alan Alda and Ed Asner a couple times and getting to know him. Harry O was my first TV series, I played a recurring sergeant (another cop) who wasn't the brightest bulb on the force, but David Jansen was terrific and Henry Darrow played Manny, my lieutenant. We shot in San Diego, a lot on Coronado Island, because David wanted to, and he and Henry and I would often go to a local Mexican restaurant for Margaritas — not so much for the food, but definitely for the Margaritas. But my favorite was The Rockford Files. I think James Garner is one of the finest actors ever. He was a joy to work with. I loved every minute on the set of Rockford working with Jimmy and Joe Santos. And then we got to make a few movies of the week in the early 90s. Jim's the best. I miss him and since I rarely get to L.A. anymore I haven't seen him in a long time. I hope he's well.

Q: What TV program would you most like to guest star on today and what role would you want to play?   

TA: I would love to guest star on C.S.I. (Las Vegas) as an old retired cop, maybe as the father of one of the running characters and have a recurring role...maybe help a little with old-fashioned police work in support of their high-tech stuff. The same on The Mentalist. They're two of my favorites; I try never to miss them. I loved last season’s wrap-up of The Mentalist, where Red John got it in the food court. I also like Boardwalk Empire a lot — I'd be good in that — I have an old-fashioned kind of face and I wear those kinds of clothes well, and I could still kick most of their asses.

Q: How did you feel when you earned your SAG card?

TA: My very first film was The Detective with Frank Sinatra in 1967 (Nice way to start out, huh?). I would love to say I got my SAG card with that job, but I think at the time you could do a couple movies without the card. I was in New York. I did Where's Poppa? and The Owl and the Pussycat. I think it might not have been until 1974, in L.A., when I was cast in Harry O that I got my SAG card. I was thrilled. I belonged to two unions. I'm proud to be a member of all three. I don't know where the hell we'd be without them. I don't care what anyone says, unions are not the problem with this ailing economy and they never have been. 

*Editor’s Desk: Last issue when we launched 5 Questions (Bobby Rydell and Jerry Blavat), we got great reaction. One fan email was from a Branch legend. We asked him if he wanted to contribute to the newsletter and he said yes. Gene Crane is a true Broadcast Pioneer, starting his career in radio, moving into TV and, later, film and series TV (Rocky III, Friends). He is also the proud father of another industry legend, David Crane, who co-created Friends. His fan email to us is below, followed by Crane’s Corner. We included a black-and-white photo supplied to us by Jerry Klein of Broadcast Pioneers because most of us met Gene back in those nostalgic days of black-and-white TV.)

Dear SAG,

Since you’re saluting old stars, permit me to send regards and congratulations to Bobby Rydell and Jerry Blavat. I am (at age 91) thriving on Mexican sunshine in San Miguel de Allende. I have fond memories of working with Jerry in the '60s at Channel 10 (WCAU-TV, then a CBS O&O, now NBC O&O in Philadelphia), and have always had the highest regard and warmest feelings for Bobby. My regards to both, and to all of Philadelphia's talented SAG members.

Gene Crane

Gene Crane. Broadcast Pioneers photo by Jerry Klein

Crane’s Corner

by Gene Crane

There aren't too many of us who can remember starting our careers in radio. I began at WJTN Jamestown in 1941, and then worked at WAGE in Syracuse during my senior year at the university. After the war, my first job in 1946 was at WCAU, Not WCAU-AM/FM, because there was no FM as we know it today. We had a license for FM and duplicated our AM program schedule. But, by law we were obligated to produce two hours each day of original programming. So, once a day an announcer would go up to Studio D with an engineer and play two hours of classical music. Nobody was listening, but there it was! In the mid-50s, FM studios blossomed in great numbers, and today I suspect they outnumber AM program audiences.

 
Barry Brait, left, and Professor Eran Preis of Temple University

Working with Students – My Story 

By Barry Brait   

As a member of SAG, AFTRA and AEA for more than 30 years, I have worked with my Central High School Theatre Group and, also, with my Temple University theatre/film programs. I do this for several reasons:

1. It is a way for me to pay back.
2. I enjoy the mentor-teacher role.
3. I feel I have valuable information to impart and can start out people new to the profession with good acting, directing and audition methods.
4. I meet the upcoming generation of soon-to-be professionals. 

In 2010, 27 SAG Student Film agreements were signed in Philadelphia as a result of a nationally unique program at Temple University’s undergraduate film production class, due to the generosity of Eran Preis, professor of the Undergraduate Senior Film Productions program at Temple University. More than 90 actors are auditioned in one day for as many as 25 film projects from the Temple class. In addition, any film student from any film program and any independent film producer can attend these auditions and tape the actors. 

For more than 10 years, I have also directed the annual Philadelphia Central High School Theatre Society final play.

Again, I find the teaching-mentoring aspect of assisting these students discover their interests and to help improve their skills, to be a wonderful exercise for me. Working the basics keeps me in touch with the need for maintaining my basic skill set. Many of my high school actors continue their interests onto college and even to a professional career. One particular student told me, “During my college courses, you were always in my ear. I found the things you taught me put me ahead of my peers.”

As an actor, I believe the development of new plays and assisting young playwrights to find their unique voice is my responsibility. I was a member of The Brick Playhouse in Philadelphia for more than 15 years. I read more than 100 never-before-read scripts and directed at least 20 one-act and full-length plays during my time spent there.  

To be a professional and to share my skills with the new voices of my profession is my duty. It also happens to be a joy and a pleasure, and a measure of self-service for me. It is professionally smart. Hopefully, I am creating my own future in working with the upcoming generation of theater and film professionals. It will pay off, crossing my fingers.

Barry with Temple Students

On the Road and in the Branch

National Board member Martin Sheen and son Emilio Estevez took their new film The Way to Bucks County, Penn. They were greeted by Branch President John Wooten, Bucks County residents and National Board member Helen McNutt and Council members Sara Jane Blazo and Chris McMullin.  

Left, Martin Sheen and Helen McNutt. Photo by Harvey Jaffee, Board Secretary and Bucks County resident. Right, Sheen and John Wooten.

Olivia Newton-John and husband John Easterling in Avondale, Penn. to receive the Stroud Award of Freshwater Excellence(tm) from the Stroud Water Research Center for their efforts in support of the Amazon rainforest and watershed conservation. Photo by Andrea Monzo, taken at Longwood Gardens.

Last issue in our column Working with SAG, Tim Chambers, SAG signatory and co-owner of Quaker Media, who wrote, produced and directed The Mighty Macs, shared with us how he brought his dream to the screen. The film is the true story of the women’s basketball program at Immaculata College in 1972. The film was shot in the greater Philadelphia area with local actors. In October, the film had its premiere in the Philadelphia area.

 
The Philadelphia Film Festival, sponsored by SAGIndie, celebrated its 20th anniversary. Collaborator, with SAG Branch actor David Morse was screened. The film also stars Martin Donovan, who wrote and directed.

Fans of Jerry

Last issue we caught up with local legend Jerry Blavat in our column 5 Questions. Many long-time fans of “The Geator” reached out to us about growing up dancing with or listening to Jerry. One fan wrote…

Dear SAG,

Thanks so much for your item on Jerry Blavat. I recently attended his book-signing for You Only Rock Once (Running Press). Jerry’s life is a movie waiting to be made. From his friendships with rock and roll royalty to his friendships with Frank, Sammy and Rickles. Jerry signed my copy, but what I really wanted him to write but was too afraid to ask was his recipe for “gravy.” Others may call it spaghetti sauce but in South Philly we all know it is called “gravy.” Could you please ask him if he could share it with us?

Recipe for “Geator Gravy”

Brown some chopped garlic and diced onions in pure olive oil.
Remove garlic and onion, and set aside for the time being.
If you're making meatballs or sausage, brown them in the same oil after the onion and garlic are removed.
Then remove the meat and set aside.
Empty a large can of plum tomatoes into your blender. Swish the can with about 1/4 can of red wine, then pour the wine into the blender.
Add the browned garlic and onions, along with the oil from the pan, some hot red pepper flakes, and fresh basil.
Blend the contents briefly, just enough to combine — you don't want the mixture to be too smooth.
Heat a small amount of olive oil in a saucepan, then add the contents of the blender.
Also add a small piece of carrot, maybe an inch or two. This helps get rid of acid and adds sweetness so you don't need sugar.
(Note: Jerry leaves the carrot whole; his mom used to grate it and leave it in.)
Cook on high till it starts to bubble. Then lower to simmer and cover.
Let simmer at least 90 minutes, checking occasionally. 
Toward the end, remove the carrot (if you left it whole) and add some chopped fresh Italian parsley.
Add your meatballs or sausage, if using, and simmer another half hour or so. The meat will get tenderized and absorb the flavors.
When ready to serve, add grated parmesan and/or locatelli cheese.

An Electronic Casting Conservatory Workshop with Branch members Leah Cevoli and Dan Rush taught members how to market themselves online. Conservatory members joined in live demonstrations on how to prepare your electronic audition and how to submit that audition online. Photo Layout by Conservatory Chair Mike Kraycik.

Examining a Classic at 40

In October of 1971, SAG Branch actor, director, producer, writer, critic and author Peter Bogdanovich released The Last Picture Show. We wanted to celebrate this milestone with the legendary director.

Q: How did you first come across the novel?

PB: In a drugstore I saw a paperback with the catchy title The Last Picture Show. I  Read the back cover and blew it off. Sal Mineo came by a few weeks later and gave me the same book and encouraged me to make it a film. I gave the book to my wife; she read it and liked it. I finally read it, liked it and was not sure how to make it into a film. I decided to stick to the book and make it, for the most part, from cover to cover, following the book. 

Q: Was there an underlying theme or perhaps a particular character arc that originally attracted you to the project?

PB: Growing up in a small town was as far away from my life as possible. I knew nothing about growing up in a small town coming from New York. But I grew up during that period (early '50s) and had some of the same themes in my life. I was able to easily identify with the characters. The dialogue in the book shows up in the movie. The dialogue was very important. The book had terrific, terrific dialogue.

Q: In an era when most feature films were being shot in color, what was your aesthetic reasoning behind shooting the film in black and white?

PB: Several reasons. Orson Wells and I had a discussion and he suggested I do it in black and white. Performances are better in black and white and the period also was captured better in black and white.

Q: Did you initially approach any other actors for the roles that were eventually filled (wonderfully) by Ben Johnson and Timothy Bottoms?

PB: We talked about other actors for the Ben Johnson role, maybe Jimmy Stewart, but we never approached him. Orson Wells suggested I go to Nashville and look for an old country western singer, I did, but no luck. John Ritter brought his father Tex, who was a well-known country singer and film star. Tex was the kind of actor I needed but I looked a bit more. I was looking through a casting book and landed on Ben Johnson’s page. I met Ben Johnson during the filming of John Ford’s Cheyenne Autumn. I thought Ben Johnson would be perfect. He turned it down three times, too much dialogue he told me. I asked John Ford for help. Ford persuaded Ben to do the film. I told him Johnson would win the Oscar and he did. Tim Bottoms and John Ritter were up for the part; years later John became one of my closest friends and we did several pictures together. I often thought I should have put John in Tim’s part.

Q: Do you have any plans in the future to revisit the characters by adapting one of Larry McMurtry's follow up novels? 

PB: We did Texasville in 1990. Jeff Bridges wants to do one more and we have been talking about doing another film but at this point we are just talking but no plans yet.

*Editor’s note: November 17 The Academy of Motion Picture Arts and Sciences will be screening The Last Picture Show in Los Angeles. Peter, along with Cybill Shepherd and Cloris Leachman, will be there. Visit Peter’s Blog, where he discusses classic films from all genres.

 
Peter Bogdanovich

IN MEMORIAM

Seymour "Si" Picker (94), died on October 14, 2011 in Media, Penn. Si was a longtime SAG member and served for many years as Philadelphia’s National Board Member for SAG. Si was beloved by Branch actors, and SAG President Ken Howard read his name in memoriam when SAG members met recently in Los Angeles.

Si is remembered as a nice guy on and off camera. Some of his roles included Ben Franklin in the Philadelphia-based TV series thirtysomething, and film roles in The Family Man, Deconstructing Harry and Home of Angels.

He is survived by his wife Lorraine and children Bennett and Anita. He is also survived by grandchildren Deborah, David, Eden and Evan, and three great-grandchildren. Contributions in his memory may be made to LAMFoundation.org or the Angel Fund, 649 Main St., Wakefield MA 01880.

DUES REMINDER

If you haven’t done so already, please pay your dues today. You must be "paid-up in good standing" to be eligible for SAG Awards voting and "for your consideration" screener offers from the studios. If you are not an active paid-up member in good standing, you will not be able to serve on the Council or committees in the future. You must also be paid to date to register on iActor, the Guild’s online casting program, which is now being used by casting directors nationwide. If you have any questions regarding your dues, please contact the Membership Department at (800) 724-0767, prompt 2, or (212) 944-6243.

PHILADELPHIA BRANCH CONTACT INFORMATION

Frank Traynor, North Region Executive
Screen Actors Guild
1800 JFK Boulevard
Suite 300
Philadelphia, PA 19103
Phone: (215) 760-8535
Fax: (866) 226-6983
frank.traynor@sag.org
Marcia Fishman, Philadelphia Branch Executive Director
marcia.fishman@sag.org