Hmm.  Last night's premiere airing of "Attack of the Sabretooth".  Despite all the technical talk of making sure the lighting of the fur was accurate, etc -- in the end it looked as if we were being chased by Chester the Cheetah the entire time.  Granted, the cat didn't look as horrible as our predecessor, "Sabretooth" -- but when you've got the word "Sabretooth" in the movie -- the Sabretooth's the star and you better make sure it looks real.  Otherwise, why bother?  And then the computer generated effect of the building's tooth falling at the end -- yikes.  I so wanted to call the producer and ask if the image was fully rendered or did we simply just run out of money? 

But hey, cash in the pocket for the family, good memories with the cast off the set for 4 weeks in Fiji and footage to goof on for druken nights.  It just sucks knowing all that time and money flying us in, putting us up in hotels, etc -- gets simply chalked up as simply forever being a hokey TV movie.  What a shame.  But as Viggo Mortensen once said, "A film is like a painting and you are the color Blue.  All you can do is provide the best hue of Blue."  That's probably why I do talk about "BLT" so often, even years since I've shot it, because it's so rare you get to be in something that just clicks.  But you just gotta keep movin' on -- which brings me to:       

Dat's a Wrap

...on "The Gene Generation".  (That's my hand).

Here's a trippy story. 

Some may recall that when I first landed this project six weeks ago, I was in the middle of picking out Granite Slabs for my new house.  I had my mom, wife and baby in tow when the whirlwind of phone calls began. 

And since the Granite Store was located in a part of LA I'd never been to before, I didn't know how to get to the various locations for the fitting and makeup tests from there. So I sat a good 20 minutes leaning against the Granite Store's pillars jotting down dictated Mapquest directions from the production assistant.

Flash forward six weeks. 

On the last day of shooting the film, we moved to a new location and shot at this electronics store.  Driving to the location, the directions seemed strangely familiar the entire time.  

When I arrived at the location, I looked across the street and lo and behold -- what did I see?

Like I said before.  Trippy.  Full circle.  A "You gotta be kidding me" moment.  I'm still trying to sort out the cosmic relevance of it all. 

Overall, this film was extremely challenging and gratifying at the same time.  I'd say for the past 3 years up until "Hatchet", I've been pretty much going on auto-pilot with a good portion of  the roles I've booked.  Just because it was always the same stuff: Either the: "Technically proficient but awkward around women" guy (*cough* "Attack of the Sabretooth" *cough*) or the: "Quirky, funny but awkward around women" guy or simply just the: "Awkward around women" guy.  

But this role definitely did not let me get away with that.  When I saw some of the dailies put together with the special effects, along with my costume/hair extentions, etc, I caught myself several times thinking, "Whoa.  Is that me?" 

And now the fingers are crossed that it all comes together unlike "Attack", because a good portion if the film does depend on how the futuristic green screen effects are pulled off -- which will then lead to a good distributor getting behind the project so that it will hopefully see the light of day in a theatre.

"Attack of the Sabretooth"

... is now the title of the TV movie I shot in Fiji way back in November/December.  Changed originally from "Night of the Sabretooth", it'll premiere this Saturday, July 9th on the Sci-Fi Channel at 9pm/8pm Central.

I suppose Universal & The Sci-Fi Channel came to their senses and realized that since NONE of the movie took place at night, the former title would be as ridiculous as, well... Sabretooth Tigers chasing around college kids on a Fraternity/Sorority scavenger hunt.

I've linked some of the entries I wrote while shooting this thing for those interested.  It should be a pretty cool utilization of the journal because this is really the first time I've got full documentation of the Beginning, Middle and End of a project to accompany the airing.  (Booking the Project, Fiji Update 1, Update 2, Update 3, Update 4, Update 5, Update 6, Update 7,  Meet the Cast, The Production Side, A Bloody Me, Fiji Photos I, Fiji Photos II). 

Specifically, read 1) The Fiji Photos I entry about the First Landing Resort-- where I mention how a seaplane is supposed to be computer generated behind the cast's arrival on the beach.  And then 2) The Production Side -- where I described the Sabretooth Special Effects process -- then we can compare if it all looks real or not in the end.   

Now, I have no idea how this thing turned out.  All I know is that it's going to be a video "yearbook" of sorts for me revisiting the locations and people I got to spend an awesome month in Fiji soaking up the islands, food and culture.  But I think in reading the entries and then viewing the show will illustrate just how much manpower and work goes behind even a project that on face value might simply be dismissed as a "crappy movie".  (That's me in the bottom, mid-left part of the photo in the green shirt). Of course it would be much cooler if it were Russell Crowe's journal of him making "Cinderella Man" or something but hey -- this is all I gots.

Although suffice it to say, I think it's safe to say that "Attack of the Sabretooth" will probably be best enjoyed while being a little buzzed. 

The Journey

Someone just sent me this link to Wall Street Journal Artist, Randy Glass -- Check out the names I'm surrounded by! 

I think I'm familiar with all of them except maybe "Lars Kaalund" and... "Parry Shen" -- if I were being totally objective.

Today is exactly 10 years to the day that I made the trek out to Los Angeles to become an actor after graduating college.  I started off my first day after turning 22, with $5,000 in my pocket and one suitcase in a town where I basically knew no one.  And as I stepped off the plane, I nervously wondered what lied ahead for myself.  I looked down at my backup plan: The return ticket back to NYC -- I had given myself a whole 2 weeks to "make it".  

Once the 2 weeks blew by, I pushed my airline ticket back another 2 weeks.  Then back a month.  Then another month.  In the meanwhile, I had joined the hereandnow theatre company -- where I made my core group of friends that I still have today.  But I still had no steady day job and my money was quickly being depleted with car rentals.

And just as I was about to punch-in my ticket back home, I found a job being a Boy's Dorm Assistant at a boarding high school (my future-wife took care of the Girl's dorm).  There I received free Room and Board, benefits and a salary.  In the daytime I would do all my actor-ly duties: acting classes, agent hunt, auditions, networking.  And after 3pm, be a big brother to the dorm students and take them on outings during the weekend.  Even though the campus was a 1 1/2 hour drive each way into LA for auditions, that job allowed me to save the "screw you" money I needed to get my career and life started. 

Flash forward a decade later: A wife, A daughter, A home, A career... A Xanga site.  And an un-used airline ticket back to NYC. 

Such a benchmark might make some people reflect upon their journey -- but looking at all my stuff packed up in boxes; about to move into the new house, all I can think about is: How'd I accumulate so much stuff after arriving here with just one suitcase??!      

Wonder what lies ahead, come June 27, 2015?

Lead VS. Supporting Role 

This role as "Jackie" on "The Gene Generation" has allowed me to stretch out from what I'm usually cast for -- mostly being classified under the "quirky sidekick/best friend" archetype.   

I forgot how challenging it is to play a lead role (I've only played supporting roles since "BLT").  Because as the lead, you have to basically carry the entire film and make sure that all of your scenes are pulled together in some sort of cohesive arc. 

Here's one example: In this film, I have many scenes in which I argue with my sister (Bai Ling).  And I always remembered a quote from Paul Newman when he was on "Inside the Actor's Studio", which was, "It's tough to make a point if you're always crying or yelling or pausing.  You need levels and must be selective about them.  It's hard to make someone laugh if you're always laughing." 

So once I read the script, my first priority was to make sure each argument scene was a little bit different while following along with the overall storyline -- ex: one scene being more of a flippant argument with a sibling and another a really heated one -- to give them different levels and separate them.  Because it's a very easy trap when you shoot these scenes (which can be weeks apart from each other) that you just start yelling the same way in all of them.  And when it's all edited together -- it winds up just looking and sounding like a bunch of noise.

You ever notice, especially on Soap Operas, when an actress is crying?  And initially, you'll buy into the sympathy for her character.  But when she continues to cry and then some more and then some more after that -- that sympathy quickly turns into annoyance and you roll your eyes thinking, "Omg, we get it -- enough already!"  And the audience stops rooting for the actress.  So making sure all the scenes constantly serve the larger picture is one of the big responsibilities of a lead role that the supporting characters really don't have to deal with as much.  

Supporting characters are sporadically peppered along the lead character's journey and provides the color and life with a short quip or a few great scenes.  That's why Michael Caine has always stated that he'd rather be "second banana" -- because: 1) You don't have the weight of the entire film on your shoulders and 2) As a supporting actor, you work half as many days as the lead, do your thing and usually wind up stealing the show -- and he's right.  Just think of Ken Leung (the Karaoke Salesman) in "Keeping the Faith".  His 2 minute scene is the most memorable part of the 2 hour film.  (Incidentally, Ken's also been recently tapped to play the lead of a film called "The Shanghai Kid" -- a very good script.) 

Now, even though I'm SAYING that I'm trying to make the scenes different -- who knows if I'm really achieving it?  In the end, it may all come out sounding the same.  But know that I was conscious of it and regardless, am grateful I was given the opportunity to give a concerted attempt at it -- because I'm not the usual "go-to" leading man. 

And I have to admit, when I read the supporting character's dialogue in the "TGG" script, it was a pretty cool feeling when I realized, "Hey, I've got a side-kick in this -- I'd usually be playing this guy!"        

Owwwie!

Tomorrow will be Week 3 on "The Gene Generation" and I'm getting to do a lot of suff I normally don't get to do on film.

If I were to make a "BLT" analogy, I'd say my character, "Jackie" in "TGG" is more "Virgil" than "Ben" -- in that he's very extroverted and impulsive.  So it's nice that I get to show a fun and explosive side more so than I've been able to do in the past. 

I also have a few action sequences (ie: diving for guns, busting through doors) that will be very nice money shots for the demo reel.  But in obtaining these, there is a price to pay.  In blood.

The first photo is of a scar on my neck line (hopefully not permanent).  In one of the takes when Bai Ling grabbed me, her metal ring literally raked a huge slash from my collar bone down.  And then in the take after that, her ring slashed me in the same exact spot, ensuring that no flesh was to be left in that area.

My hands all have cuts and nicks from fighting or struggling in a close-quartered room filled with a various circuited machinery.  And since we have to maintain continuity - you can't have a bandaged or scarred "Jackie" in one scene and then not in another.  So the set medic sprays on this "liquid bandage" on the wound (basically glue) and the mark gets covered up with makeup.     

Then I got this huge bruise on my hip while falling backwards into a metal cart.  The funny part is that whilst falling backwards, I thought to myself, "Whew, I cleared that metal cart!"... and then SMACK! -- Right into the damn cart.   

I over-extended my left shoulder in doing a weird-angled throwing motion.  And then I over-extended my right shoulder by repeating the motion to the set medic to describe how I over-extended my left shoulder.  And then the 15 takes of diving across the floor for a gun didn't help on the shoulders.  But from what the crew told me -- it all looks pretty damn cool.  

"Bones Break, Chicks dig scars, Pain is temporary ...Glory is forever." 

I wouldn't mind obtaining any of those things in that quote... except for the first one. 

Film Updates

Because of all the other projects ("Poseidon Adventure" and "The Gene Generation") coming in so quickly after "Hatchet", I never got a chance to do a comprehensive entry on the "Hatchet" shoot.

In a nutshell, I really got the chance to play around with a very wacky character that I've never seen done on screen before.  As you might be able to tell from my costume (it's missing the Top Hat), I play a very Ringmaster-y/flamboyant character that runs a "Haunted" Swamp Boat Tour on the Bayou.  And from the makeup job below you can see that I do get into a little run-in with someone at one point in the movie. 

Here's some very kind words written by the director, Adam Green, excerpted from the online "Hatchet" journals:

Posted: 5.22.2005
ADAM GREEN  Writer/Director

It's hard to give praise to just a few when ALL are doing such an amazing job, however, before I went in to work tonight I wanted to share a few words about Richard Riehle (MR. PERMATTEO) and Parry Shen (SHAWN). If you look up "professional" in the dictionary, somewhere in the definition there should be pictures of both of these men.

Tonight is my last night working with Parry Shen, and I am bummed. Every time we picture wrap an actor it's like graduation. You're celebrating the accomplishment but at the same time, having to say goodbye. Parry Shen had a very difficult job because he was playing my favorite character in the movie.  And as any actor can tell you, sometimes you have impossible expectations to live up to in a case where the Director is also the Writer.  But Parry exceeded my expectations and brought the character of SHAWN to a whole new level. His choices were always wisely made and he always did his homework the night before. Everyone in the cast complimented him on his achievements in this movie by dubbing him a 'Richard Riehle Junior'. Always smiling, always prepared, always professional...and always SO amazingly good, this is a guy who not only worked the entire night in the freezing rain, but went home to a newborn daughter in his limited time off. I am devastated to see him wrap out tonight.

Very cool, huh?  Although to be perfectly honest, one of the major reasons I was so particularly "on" with my homework was because I wanted to find opportunities in the script where I could slowly shed parts of my ridiculous costume. 

I found organic moments in the script where I'd deliberately establish to lose the Top Hat... then cape... then vest... a moment to roll up the  sleeves and hide the puffy/pirate cuffs -- all during times that made sense.  And since we didn't always shoot in chronological order, I had to keep track of where and when I had certain parts of my costume intact and not in order to maintain continuity.  Because making those kinds of choices/changes are fine, just as long as you don't mess things up for others -- like the editor.

All in all, I think the film is very faithful in the vein of the "Friday the 13th"/"Halloween"/"Texas Chainsaw Massacre" flicks.  But the question will be: Is there still a market for an updated, new franchise "slasher-flick"character or has the horror genre moved onto the "zombie/supernatural" themed films like "Shaun of the Dead", "28 Days Later" and "Amityville Horror"?  With how innovative all the death scenes look and obtained with such a super-low budget, I think it has a really good chance to be a break-away sleeper.

Now here's a sneak peek of my current role in "The Gene Generation" as Jackie -- the lovable, slacker/gambling/petty thief, little brother of Bai Ling set in a "Blade Runner"-esque/alternative future. 

So in a matter of 1 and a half  weeks, I went -- 

from this:               to this:                  to this:  Basically from Orange Pirate Shirt to leather pants and buckles.  Notice how the clothes affected my body's posture automatically.  Not to say this is what you should do at auditions but wearing something similiar in terms of a certain cut or material feel helps.  This is what Jennifer Garner must go through for "Alias". 

More updates on the shoot and the cast to come on this one  -- but here's a cool tidbit: Ms. Faye Dunaway is in it!  My first film with an Academy Award® Winner!  And get this... the director's name is: Pearry.  Can you say: Major head-turning confusion on the set? 

TOP GUN "2"

Seguing from the "Top Gun" reference in my last entry, take a look at this promotional photo still for the upcoming Spielberg flick, "War of the Worlds".

Anybody notice the significance of the 2 actors in the same photo (sans Dakota Fanning)?

Time's up.

It's MERLIN and MAVERICK!!  This is what Tim Robbins' and Tom Cruise's characters might've looked like if they were still in the Navy!  Still each other's Pilot and Rear for the past 20 years.  Tragically brought together after Goose (Anthony Edwards) was caught in the Jet-Wash that claimed his life.  Sigh.   Meanwhile, Goose went on to become an ER Doctor in the after-life and wound up dying yet again.

Maverick: "I'm bringing him in closer."

Sorry for the geek-out but any "Top Gun" fan has got to appreciate that. 

And on an un-related issue, I've just been informed that there's someone posing as me on Friendster.  Where their "About Me" profile is cut and pasted directly from my main site along with some other incorrect info -- so beware!  How does that saying go again, "The best form of flattery is... impersonation?"     

Cocky S.O.B.

It'll be interesting to see how the "Poseidon Adventure" turns out.  Because out of any role I've ever done -- this was the one that consumed me with the most fear.  And in hind-sight I think it was a combination of the dialogue and a bit of cockiness.

Everything started out great.  I was prepared.  Knew all of my Military jargon lines filled with stuff like: "U.S. Fifth Fleet Operations", "British Intelligence Branch" and "AWACS Radar Sweep". 

Then the actor opposite me started flubbing his military lines -- a lot.  While off camera, I fed him my lines perfectly.  And because I was having no problems with my lines, I have to admit I thought to myself, "Yes!  I am the man!"... until the cameras turned onto me for my closeups:

Holy Cow.  That was the war zone in my head during the entire 2 days of shooting -- with a crew of about 60 looking on.  I had to resort to pulling all the tricks in the book like the number visualization thing.   The way I was totally on my game for all of those Alltel dialogue changes?  Well, it was the total opposite for this gig.   

Eventually we got the entire thing but only through bits and pieces -- I feel bad for whoever's got to edit this thing.  So when the performance airs and it looks wooden or stilted, you'll know why. 

I'm sure if you asked any eyewitnesses on the set, they'd probably say it wasn't as bad as what I just described but anything less than 100% is unacceptable and unprofessional in my book.  

As I said before, in hindsight I really think it was a combo of the military dialogue that had to be so precise and rapid-fire.  There was no room for error or improvisation because the word "AWACS" is very different than the word, "AJAX".  That combined with making the rookie mistake of self-critiquing during the work...  just as Maverick in "Top Gun" is never, ever supposed to leave his wingman... in Acting: "You're never, ever supposed to think you're kicking butt in the middle of a scene".            

Calm Before the Storm

So last Friday I had just come off from shooting "Hatchet" and speaking at OSU.  I figured I'd have a nice few weeks to relax before my teaching gig at SUNY Buffalo.  And just as I packed the family into the car to pick out our Granite Slabs for the new home's kitchen --  the first ring of 50 phone calls began on my cell phone.

The first was from one of my agents to inform me that I was offered a role as a naval officer for NBC/Hallmark's "Poseidon Adventure" (with ironically, C.Thomas Howell in it - regular readers will get this reference).  And I was told it worked on May 31st and June 1st.  The casting people saw my demo reel and made an offer from just watching it.  "Cool", I thought.  "Laying down the groundwork of a good demo reel paid off". 

Then I received another call from another agent at the agency.  And he informed me of another offer to play the lead role in a Sci-Fi film with Bai Ling called, "The Gene Generation".  This was a project I'd auditioned for like 2 months ago and was now being called in to replace the actor they hired -- for whatever reasons they had.  "Cool", I thought.  "Laying down the groundwork of a good audition paid off".  However, this would shoot starting June 3rd and shoot for 5 weeks -- which would cut into my teaching engagement at SUNY Buffalo.  A class that just had 16 grad students pay their tuition for the class.  Yikes.

And since it was the last day before the Memorial Day weekend, everything had to be done ASAP. 

So the entire day was filled with back and forth calls calls to and from: 1) Both production's Wardrobe Departments to get my costume measurements. 2) Both production office's for call times/rehearsal info.  3) SUNY Buffalo to see if I could get out of the teaching commitment.  4) My commercial agent for an Visa Card auditon on May 31st (Shyeah, right.  Like I'm going to be able to make that one!) .  Then going in for a wardrobe fitting and then getting a plaster mold of my head done -- Mind You... all the while with my Mom, Wife and Daughter in tow to pick out Granite Slabs. 

I only accepted "The Gene Generation" after getting the okay from SUNY Buffalo.  They were very understanding and cool about it.  And it was them who basically reminded me by saying, "You're an actor, you have to take this.  This is what you do.  What?  Are you going to turn this down to teach at SUNY Buffalo?" 

And the thing was... I was totally ready to.  Because heck, it would've been a heckuva a lot more of a slower pace than what this business will sometimes throw at you.

So what does this all translate to?  I've got a crap load of lines to learn.  Stat. 

The OSU Posse

I'm back from the Oregon State University gig and had a great time.  When I first went to check out the room it was in the strangest configuration --- like a long lower case "l" with me speaking and doing the workshop at one extreme end of it. 

But with a few adjustments of about 15 dinner tables, I wound up arranging the workshop portion in the center of the room -- like a theater in the round so all could see.  

Here was a nice write up on the evening from the organization's President and their photographer(s) were extremely detailed in documenting the event -- I think if you printed out all the pictures, it would make a pretty darn accurate flip book of the entire event from beginning to end (my intro, the "BLT" documentary, workshop, speech and autograph/photo session).  Thanks for having me OSU and bookending the 04'-05' tour!

Also, here are the exact theatres for "Saving Face" this weekend in NY and LA and June 3rd in SF and Boston:

NEW YORK:  opens the weekend of MAY 27 at the ANGELIKA
(in Soho) and the AMC 25 (on 42nd Street)

LOS ANGELES:  opens the weekend of MAY 27 at the SUNSET LAEMMLE 5, 
the WESTSIDE PAVILION, PLAYHOUSE (Pasadena), TOWN
CENTER (Encino), and the SOUTH COAST VILLAGE (Costa Mesa)

SF BAY AREA: opens the weekend of JUNE 3 at the
Landmark EMBARCADERO,  the UA STONESTOWN Twin, the Landmark SHATTUCK (Berkeley), PALO ALTO  SQUARE, CENTURY 5 (Pleasant Hill), SANTANA ROW (San Jose) and MARIN/ SAUSALITO.

BOSTON: opens the weekend of JUNE 3 at the Kendall Square cinemas.  (tentative)