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
To the Tucson acting community:
This letter goes out to all actors, ... If you commit, stick with it and make it your best.
Respectfully, Scott Berg