Fw: Accepting a role - your word is your bond

[S. Falconer]

First, the typo in the subject line was bugging me...sorry. :-) And now, please permit me a bit of a rant of the subject...

As a director who has directed all over the country, I have to say this is definitely a Tucson issue. I can tell you, it has definitely killed the joy of the process for me. In no other city I have ever worked, either as an actor, director or stage manager,  have people been so wishy washy, non-committal despite having made a commitment, and behaved like such amateurs. Of course, I have ALSO had the honor to work  with some of the most awesome professionals as well, but it is sadly the jerks that ruin it for all of us!

At my auditions, I always ask for a list of conflicts, classes, vacations ... anything that would mess with rehearsal, then I carefully schedule rehearsals AROUND those conflicts. I do french scenes for the entire play and ONLY call the actors necessary so no one has wasted time. I will schedule rehearsals during the day, at your home, where ever I have the best chance to get actors together. And THEN some thing  comes up, screwing the entire schedule! Or worse, calling me an hour before to say "wups, sorry, I hafta get the kids."

"Doing" a play used to be fun, I used to look forward to rehearsal all day, and casting was a pleasure...lately, it is more about finding the actor who can come to rehearsal, than getting the best person for the part. 

For me, working in community theater (which is what this is) was never about the money. If you are only accepting roles based on the money, then a) you are probably in the wrong city and b) you are probably doing it for the wrong reason.

Me? I am all but done with the unnecessary drama involved with putting a show together in this town, and THAT, my friends, breaks my heart. 

Sara Falconer

Scott Berg <dill...@gmail.com> wrote:

Doug and Rhonda or Rhonda and Doug,

I appreciate your feedback and understand the need, or want, to be paid for your time and talents.  As an actor in Tucson, I have come to accept two things, it's going to be hot and I probably won't get paid.  I personally take exception to the notion that if you don't pay you will only get schlock talent who may or may not show up.  When working on any project whether it be theatre or film or commercials, I know, at the end of the day that I have given everything I can to make the project it's best.  And there are many more like me that do it for the love of the craft and to better themselves as performers.  It is the desire to create something meaningful that gets me past the notion that I have got to make money doing it.  I don't say this to cast aspersions on either one of you, or on your character.  I don't know you and would be out of line if that were my intention.   I have worked with other union members on projects here in Tucson, and have found some of them to be the hardest people to get along with, they are the quickest to complain, the first to point out to everyone time and again that we aren't getting paid, and generally making what could be a great experience for others into a torturous day full of whispered comments and off hand remarks.  Instead of using their knowledge and expertise (that is evidently awarded with the SAG card), to teach and to mentor someone who is a novice, on technique, on etiquette and the finer points of theatre or film making, they plant the seed of something that is nothing short of revolt and tell the new people that it ok to be unprofessional, to be disrespectful and to have nothing but contempt for an honest attempt to create.  Please don't get me wrong, there are many fine and dedicated members of SAG or AEA living and working in Tucson.  There are also many, many fine and dedicated non-union actors living and working in Tucson to whom much more credit should be given than it is.  

But please, before this discussion turns into something that resembles a political debate I want to return to the original subject.  The point being, how the unprofessional actions of individuals, union or not, affect the end result of a project.  The reality of the situation is this...everyone has their own reason for pursuing a career in the arts.  Whether they be driven by the thought of fame and fortune, a desire to create something meaningful and leaving their stamp on the world or just the sheer joy they may get from stepping out on a stage to the applause of family and friends.  The base desire is different in all of us but the end result is the same and that is to be proud of our accomplishments and to achieve our goals.  When you have people who lack the discipline, the courtesy and the respect for others and what they are trying to accomplish, and those people feel that their actions are acceptable, then we all lose.  That was the purpose of my original post.  At the same time, I was looking for perhaps other true professionals, and by professional I don't mean union, professional is a state of mind not a membership, who feel as strongly as I do, to help educate and to motivate those who may not realize that no matter what role they are playing the contribution they make is just as important as the next guys. it is hard to instill a good work ethic in someone, that is their parents job, but to help them understand what is at risk and what the consequences of their unacceptable behavior are, then we might see a change in the mindset of the collective and would not find it necessary to repeat this conversation.  It is a problem, whether people want to admit it or not, but it can't be solved by one person or one post in the forum.  It is too far reaching to be done by one person so I would like it to become a community cause, if you will, to foster the mindset of cooperation, of teamwork and responsibility.

On Monday, October 15, 2012 6:59:41 AM UTC-7, TucsonStage.com wrote:

To the Tucson acting community:

This letter goes out to all actors, whether novice or experienced, in the Tucson area.  As a longtime resident of Tucson, and someone who has been involved in many theatre productions, musicals, commercials, feature films and student films, I am compelled to express my thoughts on an issue that  plagues both theatre and film projects across the city.  It is something that, unfortunately, most directors are aware of and try to plan for.  It affects every individual that works on a project.  The issue I am talking about is commitment, or more accurately, the lack thereof.  I want to preface the rest of my comments by acknowledging those actors who commit themselves to each project wholeheartedly, work diligently to produce their finest work each time and who seriously embrace the craft as an art form and continually strive to better themselves as individuals and performers.  There are many who fall into this category and you should all be proud of the community you have helped create.

At this point I have to assume that if you are in any way involved in either the theatre or film community in town, you have the basic knowledge of how things work.  The steps vary some between the different mediums but the end result is basically the same…a marketable product.  One of the most difficult stages of these endeavors is casting.  The auditions, the call backs, the commitments, the rejections.  The reality of it is, that in any production, not everyone will get equal stage or camera time.  We all know that.  That doesn’t mean that the importance of a lesser role should be diminished in any way.   It seems, however, that for many people, that once you say “Yes, I’ll do it” when offered a supporting role, or god forbid, the part of an extra, that your true response is “Yes, I’ll do it…if I feel like it that day”.

There is nothing more frustrating and infuriating for a director than to have to rethink or rework a scene or a number of scenes the day they are supposed to be shot because people who committed to being there, sometimes as late as the night before, just don’t show up.  Most of the time they don’t even have the courtesy to call.  When that happens, it not only affects the director, it affects every aspect of the production; the other actors, the AD, the DP, the costumer, the makeup artist, the assistants.  It affects people all the way down to the Craft Services workers.  The actors feel it when they have to rework a scene or they get switched into a different character and don’t know the lines, the AD feels it because usually they are the ones that have to get on the phone and call who knows how many people and beg them to come down and help.  The DP has to rethink shots, placement of people during a party scene, on the street, etc.  Costumers and makeup people will much of the time be working on an hourly rate which means less people, less hours, less money.  If these people are on contract with a flat fee, then it becomes unfair to the people who are funding the project because it is money that will be paid out without the work being done.  With Craft Services or catering, less people, less money.  Ultimately, the thing that is affected the most is the quality of the production.  Have you ever seen a party scene where the same 6 girls are in the background of every shot?  You know why that is?  It’s because there were a bunch of no-shows that day and because of those people, the production suffered.  This type of irresponsibility is what causes projects to grind to a halt and go unfinished.  You can’t finish a puzzle when you are missing several pieces.  And so it is with a film or a stage production.  It is the “if I feel like it” attitude that not only affects each individual associated with a project, it can also have a negative, long lasting effect on the reputation of the acting community in general.

Over the past two weekends I worked on 2 different projects.  On each one people who had said yes to doing them didn’t show up.  Most with no communication to anyone.  On one of the projects the girl who didn’t show up was integral to the basis of the script, having knowledge of certain specific, vital and needed practices which would have lent clarification, validation and realism to the project.  Instead, the director/writer was forced to compromise the original intent of the film therefore compromising the final product.

 One argument that people use to justify their behavior of not showing up is “Well, I’m not getting paid, so what does it matter?”  Whether being paid or not should have no bearing on the level of professionalism at which you operate.  Most of the people who make films or do theatre in this town do it for the love of the craft.  Many are using their projects to grow professionally, learning from mistakes made in prior attempts.    Many use their short films as marketing tools, hoping to catch the eye of investors for future, more ambitious endeavors.  Many hope to have their films accepted into film festivals around the country and on the international level.  Is it fair of you to jeopardize someone else’s future because you just didn’t feel like it today?  Admittedly, things do come up that are unavoidable.  Family emergencies, work schedules change, broken limbs, etc.  If that is the case, simply pick up the phone and call the director.  It’s much easier, having advance notice, to cover someone who suddenly can’t make it.  Simply put, not showing up is disrespectful, unprofessional and inexcusable.

Another excuse I have heard from actors is “It’s just a student film…”.  All the more reason to be there and to support that student in any way you can.  As a “professional”, you should care and take interest in anyone who is working towards a future in the same arena you are.  Their grade depends on the final project they turn in.  They are just as serious about the films that they produce as anyone else, maybe more.  Competition is fierce for spots as interns or apprentices at studios and production houses in any major market in the country.  The competition is even harder for paying jobs.  They need their early work to be as good as it can be to give them a chance at the future they dream of.  Do you have the right to affect that by saying “…if I feel like it today.  Besides, it’s just a student film.”  The way I look at it, these students who are trying desperately to cast their films and get people who are serious enough to follow through and give their best performance to them, are the film makers of tomorrow.  Tucson is lucky to have three excellent film programs in town with Pima, U of A and the Art Institute.  Each has its own strengths and weaknesses but each are helping their students be that much more prepared for the future.  Who knows , a student you work with today could be tomorrows George Lucas.  And remember, each of these student films helps each and every one of us, as actors, to hone our skills as well.  With every project we do we learn something whether you realize it or not.

All of these principles, ideals and general courtesy statements I have made are not only relevant to film making but to theatre as well.  It happens all too often that someone will take a role, rehearse for a few weeks and then drop out.  Many excuses I have heard are nothing short of ridiculous.  It makes no difference in what arena it happens, it is still disrespectful, unprofessional and inexcusable.  To think that it doesn’t matter is truly an unforgivably selfish and shamefully common issue in our society today, let’s not let it continue in our arts community.  If you commit, stick with it  and make it your best.

Respectfully, Scott Berg

Doug and Rhonda or Rhonda and Doug,
I appreciate your feedback and understand the need, or want, to be paid for
your time and talents.  As an actor in Tucson, I have come to accept two
things, it's going to be hot and I probably won't get paid.  I personally
take exception to the notion that if you don't pay you will only get
schlock talent who may or may not show up.  When working on any project
whether it be theatre or film or commercials, I know, at the end of the day
that I have given everything I can to make the project it's best.  And
there are many more like me that do it for the love of the craft and to
better themselves as performers.  It is the desire to create something
meaningful that gets me past the notion that I have got to make money doing
it.  I don't say this to cast aspersions on either one of you, or on your
character.  I don't know you and would be out of line if that were my
intention.  I have worked with other union members on projects here in
Tucson, and have found some of them to be the hardest people to get along
with, they are the quickest to complain, the first to point out to everyone
time and again that we aren't getting paid, and generally making what could
be a great experience for others into a torturous day full of whispered
comments and off hand remarks.  Instead of using their knowledge and
expertise (that is evidently awarded with the SAG card), to teach and to
mentor someone who is a novice, on technique, on etiquette and the finer
points of theatre or film making, they plant the seed of something that is
nothing short of revolt and tell the new people that it ok to be
unprofessional, to be disrespectful and to have nothing but contempt for an
honest attempt to create.  Please don't get me wrong, there are many fine
and dedicated members of SAG or AEA living and working in Tucson.  There
are also many, many fine and dedicated non-union actors living and working
in Tucson to whom much more credit should be given than it is. 

But please, before this discussion turns into something that resembles a
political debate I want to return to the original subject.  The point
being, how the unprofessional actions of individuals, union or not, affect
the end result of a project.  The reality of the situation is
this...everyone has their own reason for pursuing a career in the arts.
Whether they be driven by the thought of fame and fortune, a desire to
create something meaningful and leaving their stamp on the world or just
the sheer joy they may get from stepping out on a stage to the applause of
family and friends.  The base desire is different in all of us but the end
result is the same and that is to be proud of our accomplishments and to
achieve our goals.  When you have people who lack the discipline, the
courtesy and the respect for others and what they are trying to accomplish,
and those people feel that their actions are acceptable, then we all lose.
That was the purpose of my original post.  At the same time, I was looking
for perhaps other true professionals, and by professional I don't mean
union, professional is a state of mind not a membership, who feel as
strongly as I do, to help educate and to motivate those who may not realize
that no matter what role they are playing the contribution they make is
just as important as the next guys. it is hard to instill a good work ethic
in someone, that is their parents job, but to help them understand what is
at risk and what the consequences of their unacceptable behavior are, then
we might see a change in the mindset of the collective and would not find
it necessary to repeat this conversation.  It is a problem, whether people
want to admit it or not, but it can't be solved by one person or one post
in the forum.  It is too far reaching to be done by one person so I would
like it to become a community cause, if you will, to foster the mindset of
cooperation, of teamwork and responsibility.

On Monday, October 15, 2012 6:59:41 AM UTC-7, TucsonStage.com wrote:
>
> To the Tucson acting community:
>
> This letter goes out to all actors, whether novice or experienced, in the
> Tucson area.  As a longtime resident of Tucson, and someone who has been
> involved in many theatre productions, musicals, commercials, feature films
> and student films, I am compelled to express my thoughts on an issue that
>  plagues both theatre and film projects across the city.  It is something
> that, unfortunately, most directors are aware of and try to plan for.  It
> affects every individual that works on a project.  The issue I am talking
> about is commitment, or more accurately, the lack thereof.  I want to
> preface the rest of my comments by acknowledging those actors who commit
> themselves to each project wholeheartedly, work diligently to produce their
> finest work each time and who seriously embrace the craft as an art form
> and continually strive to better themselves as individuals and performers. 
> There are many who fall into this category and you should all be proud of
> the community you have helped create.
>
> At this point I have to assume that if you are in any way involved in
> either the theatre or film community in town, you have the basic knowledge
> of how things work.  The steps vary some between the different mediums but
> the end result is basically the same…a marketable product.  One of the most
> difficult stages of these endeavors is casting.  The auditions, the call
> backs, the commitments, the rejections.  The reality of it is, that in any
> production, not everyone will get equal stage or camera time.  We all know
> that.  That doesn’t mean that the importance of a lesser role should be
> diminished in any way.  It seems, however, that for many people, that once
> you say “Yes, I’ll do it” when offered a supporting role, or god forbid,
> the part of an extra, that your true response is “Yes, I’ll do it…if I feel
> like it that day”.
>
> There is nothing more frustrating and infuriating for a director than to
> have to rethink or rework a scene or a number of scenes the day they are
> supposed to be shot because people who committed to being there, sometimes
> as late as the night before, just don’t show up.  Most of the time they
> don’t even have the courtesy to call.  When that happens, it not only
> affects the director, it affects every aspect of the production; the other
> actors, the AD, the DP, the costumer, the makeup artist, the assistants. 
> It affects people all the way down to the Craft Services workers.  The
> actors feel it when they have to rework a scene or they get switched into a
> different character and don’t know the lines, the AD feels it because
> usually they are the ones that have to get on the phone and call who knows
> how many people and beg them to come down and help.  The DP has to rethink
> shots, placement of people during a party scene, on the street, etc. 
> Costumers and makeup people will much of the time be working on an hourly
> rate which means less people, less hours, less money.  If these people are
> on contract with a flat fee, then it becomes unfair to the people who are
> funding the project because it is money that will be paid out without the
> work being done.  With Craft Services or catering, less people, less
> money.  Ultimately, the thing that is affected the most is the quality of
> the production.  Have you ever seen a party scene where the same 6 girls
> are in the background of every shot?  You know why that is?  It’s because
> there were a bunch of no-shows that day and because of those people, the
> production suffered.  This type of irresponsibility is what causes projects
> to grind to a halt and go unfinished.  You can’t finish a puzzle when you
> are missing several pieces.  And so it is with a film or a stage
> production.  It is the “if I feel like it” attitude that not only affects
> each individual associated with a project, it can also have a negative,
> long lasting effect on the reputation of the acting community in general.
>
> Over the past two weekends I worked on 2 different projects.  On each one
> people who had said yes to doing them didn’t show up.  Most with no
> communication to anyone.  On one of the projects the girl who didn’t show
> up was integral to the basis of the script, having knowledge of certain
> specific, vital and needed practices which would have lent clarification,
> validation and realism to the project.  Instead, the director/writer was
> forced to compromise the original intent of the film therefore compromising
> the final product.
>
>  One argument that people use to justify their behavior of not showing up
> is “Well, I’m not getting paid, so what does it matter?”  Whether being
> paid or not should have no bearing on the level of professionalism at which
> you operate.  Most of the people who make films or do theatre in this town
> do it for the love of the craft.  Many are using their projects to grow
> professionally, learning from mistakes made in prior attempts.    Many use
> their short films as marketing tools, hoping to catch the eye of investors
> for future, more ambitious endeavors.  Many hope to have their films
> accepted into film festivals around the country and on the international
> level.  Is it fair of you to jeopardize someone else’s future because you
> just didn’t feel like it today?  Admittedly, things do come up that are
> unavoidable.  Family emergencies, work schedules change, broken limbs,
> etc.  If that is the case, simply pick up the phone and call the director. 
> It’s much easier, having advance notice, to cover someone who suddenly
> can’t make it.  Simply put, not showing up is disrespectful, unprofessional
> and inexcusable.
>
> Another excuse I have heard from actors is “It’s just a student film…”.
>  All the more reason to be there and to support that student in any way you
> can.  As a “professional”, you should care and take interest in anyone who
> is working towards a future in the same arena you are.  Their grade depends
> on the final project they turn in.  They are just as serious about the
> films that they produce as anyone else, maybe more.  Competition is fierce
> for spots as interns or apprentices at studios and production houses in any
> major market in the country.  The competition is even harder for paying
> jobs.  They need their early work to be as good as it can be to give them a
> chance at the future they dream of.  Do you have the right to affect that
> by saying “…if I feel like it today.  Besides, it’s just a student film.” 
> The way I look at it, these students who are trying desperately to cast
> their films and get people who are serious enough to follow through and
> give their best performance to them, are the film makers of tomorrow. 
> Tucson is lucky to have three excellent film programs in town with Pima, U
> of A and the Art Institute.  Each has its own strengths and weaknesses but
> each are helping their students be that much more prepared for the future. 
> Who knows , a student you work with today could be tomorrows George Lucas. 
> And remember, each of these student films helps each and every one of us,
> as actors, to hone our skills as well.  With every project we do we learn
> something whether you realize it or not.
>
> All of these principles, ideals and general courtesy statements I have
> made are not only relevant to film making but to theatre as well.  It
> happens all too often that someone will take a role, rehearse for a few
> weeks and then drop out.  Many excuses I have heard are nothing short of
> ridiculous.  It makes no difference in what arena it happens, it is still
> disrespectful, unprofessional and inexcusable.  To think that it doesn’t
> matter is truly an unforgivably selfish and shamefully common issue in our
> society today, let’s not let it continue in our arts community.  If you
> commit, stick with it  and make it your best.
>
> Respectfully, Scott Berg
>

[Jeanmarie Simpson]

Sara - I feel your pain (about everything, including the typo). Thank you for adding your voice.

jm

[Scott Berg]

Hi Sara, I have to defer the typo in the title to someone else.  Not my doing even though it looks like it is.  LOL  As far as the issue being discussed, I'm sorry for the experiences you've had in Tucson.  You understand the frustration and the headache and ultimately the effect that the actions of the undisciplined or perhaps uncaring would be a better choice of words, have on every other person involved in a production.  I know my original post dealt primarily with film, it does not change when it happens in a stage play.  That is why I felt compelled to put down in words how I felt and how many other people feel when it comes to the unprofessional actions of people in our community in Tucson.  I agree, there are many, many people who are dedicated and focused, who have amazing talent and who would be there no matter what, but the element that seems to be running rampant in this community is what needs to be addressed.  Thank you again for your input.  Any ideas you may have that would further our attempts at reaching more of the acting community than the few that see this forum would be appreciated.  I can almost guarantee that the ones who need to see these posts the most are the ones that this forum won't reach.