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ORDER DIRECT FROM THE PUBLISHER TO GET YOUR DISCOUNT. WHO IS SHE? An Interview with our Cover Girl, Rebecaa Grant. Scroll on down to find out!
MORE - ORDER DIRECT FROM THE PUBLISHER TO GET YOUR DISCOUNT. Sales Video WHO IS SHE? An Interview with our Cover Girl, Rebecaa Grant: Where were you born? I was born in Nottingham (Robin Hood Country) at The City Hospital Where do you live? I live in Hendon in London. Nice London two double bedroom appartment Tell us a bit about your family? I married Ivan Pierson in 2009. He is in business; print and advertising but also plays flamenco guitar. It was the music that brought us together as I had background training in Flamenco. I have two older sisters. Rachel Grant is also an actress and featured as a bond girl in Die Another Day. She is also is a martial artist and is currently helping deprived kids in the slums in the Philippines. My other sister, Angela, is a ballet teacher and owns and runs a successful ballet school in West London with over 200 pupils. Previously, she was a model and appeared in the likes of Vogue. We were brought up music, acting and dance by our filipino mother (Isabel Grant) who, due to the amount of shows we were involved with, was a costume maker. She currently runs The Padua Charitable Fund along with my sister Rachel, building houses in place of slums in The Philippines. Our father (Michael Grant, Baron de Longueuil) was a doctor and has currently retired to fulfill his ambition of being an artist. He is related to royalty through his grandmother, the Lady Ernestine Maude Bowes Lyon. She was first cousin to Elizabeth Bowes Lyon, the Queen Mother. How long have you been acting? Professionally I began acting when I was 19. Previously, I had acting in couple of short films, acting festivals and local plays in Nottingham. How did you get started? I began my career at 16 as a dancer but wanted to act as well (I had trained locally in Nottingham at The Morrison School of Dance from the age of 4). As my dance career progressed I got a role as one of the principal dancers in Andrew Llyod Webbers 'Bombay Dreams; in London's Westend. I then auditioned for a speaking role in the show and got the part too. This opened more doors to other acting roles for TV, Film and Theatre. Where did you train? I really wanted to try for the likes of Rada or Lamda but found myself going straight into work at The age of 18. Mainly dance for major London operas such as Aida and Carmen where I was a flamenco dancer (my main passion in dance). I remember going to the local drama school in Nottingham 'Miss Mawson School of Speech and Drama' mainly for elecution lessons at the age of 6 (as I had a lisp!) This developed into study, exams and festivals for poetry, Shakespeare, character study, mime and prose. I began learning and reciting Shakespeare from the age of 10. I just loved it. What was the best part of your training, something you continue to use in your work? I was struggling with my craft during the run of Bombay Dreams as I wanted to keep training and expand my acting experience. A cast member suggested Meisner classes that were running at The Actor's Centre. I signed up and have used the technique ever since. It helped to be in 'present time' and 'in the moment' therefore accessing the truth from pure observation after having obtained all the facts of a character. It also aided me to 'Get me out of my head'. What's the worst thing to ever happen to you in an audition? My agent sent me to a commercial audition where I had to be a croupier and be able shuffle a deck of cards. I had told my agent I could do one disappearing card trick. So as it goes I was up all night trying to learn how to professioanlly shuffle a deck of cards. On the day the whole pack just flew out of my hands twice over and there I was picking the cards one by one in front of a panel of judges saying ' no I can do it... one sec' . It was a comedy moment and rather embarrassing. What was the best thing to ever happen to you in an audition, apart from getting the job? I would have to say it must be for my series regular in BBC's 'Holby City'. I was in a play at the time so wasn't available for the first round of auditions. I was absolutely gutted! Then I got a call to join the round of recalls and audition then. I read in front of casting director Liz Stoll who wanted me to wait and read again in front of the executive producers: Tony Mchale and Diana Kyle. Next thing I knew Tony Mchale was on his way up to Northampton to watch me play 'Jean' in J.B Priestly's 'The Glass Cage'. I was so nervous! As obviously I wanted the job but didn't want to get my hopes high. Thankfully, I got a call from my agent the next day saying saying that I had got the job. My first major prime time tv role. I was so grateful! Who's is your favorite director, and why? It is hard to pin down just one director. I have encountered plenty of good directors in auditions who really get to the core of the character. I found this with Michael Wiese for my audition for the film 'Bali Brothers' where he put the other actor (whom I hadn't seen or met) in another room and started the audition piece with us having met for the first time. It was incredible! I really enjoyed working with Roberto Del Maestro on Holby City. He was a very vibrant, eccentric and creative character and his positive spirit alwasy brought out the best in me and the rest of the cast and crew. I am currecntly working with Hamish Glen on a theatre piece called 'Too Much Pressure' a brilliant director who I believe will be going places. Do you prefer performing for stage or film? There are different values for both. I believe they compliment each other. I love the theatre, and when I have acted for theatre my tv and film acting improves. I always seem to have film work after treading the boards. Stage helps with seeing the arch of a character, dealing and projecting the message to a live audience which helps with work for film: portraying pockets of truth in life, pivotol thoughts and decisions which in turn adds more value to your work on the stage . I enjoy both equally as much. What are you working on next? 'Too much Pressure' at The Belgarde Theatre in Coventry directed by Hamis Glen and written by Alan Polluck. What is your favorite movie? Always, always the God Father Trilogy. I just cannot get enough of Coppola's work and of course Pacino. Other favourites are' Little Miss Sunshine', 'The Man on the Moon' and Luke Bessons's 'Leon' |
"...even old pro's will find this valuable."
"A classic in the making,
please read it before you
launch your next film-project and
enjoy the success it surely will bring." "Don't make a movie without reading this book. You'll be happy you did and so will your actors."Paul Martin, Director, and Member: DGA MORE LINKS to the BOOK PRESS and PUBLICITY! PODCAST Hester interviewed by Carl King "Duck in a Lightbulb" and author of "I enthusiastically add my voice to the chorus of industry professionals who have already proclaimed Hester Schell's "Casting Revealed: A Guide for Film Directors" to be a must-read." "This tool for our industry is a gift to anyone who spends Penny One on a production." "This is a must read for anyone in the industry whether they are involved in the casting process or not." "Hester has written an invaluable book on the casting process ... plus she gives you the tools you need to run a proper casting session and tips on how to make the actors feel safe." "... you will improve your auditions using her vital information." Don Schwartz is an actor/writer who writes for Cinesource in San Francisco. "...casting is a nebulous, confusing process... yet thanks to Hester Schell, writers and directors now have an arsenal easy-to-use tools they can use to plan their casting sessions and--more importantly--communicate to actors exactly what they're looking for. Finding the right performers to bring your characters to life is no easy task... but thanks to 'Casting Revealed,' it just got a bit easier." Casting Revealed is a much needed book ...and should be read by all members in filmmaking, from producers to the actors themselves. It gives good insight, and is fairly short and easy to read. Overall, a great book and a must read." "Finally! A comprehensible, easy to follow, succinct and knowledgeable book on the casting process. This is a must read for anyone in the industry whether they are involved in the casting process or not." Kari Wishingrad, actress/producer "There is can never be too much good information about the casting process! Read and learn!" "Buy this book! Your meticulous interwoven match-ups, brilliant roller-coaster dolly shots and pricey aerial long shots will not save your poorly cast film. Casting is the belly of the beast ... or the armor that protects it. The decisions you are about to make will decide the fate of your film and quite possibly your physical well being for the next months and years. For years, my friend, filmmaker, director, producer and casting director, Hester Schell, has shared her knowledge and expertise with clients, directors, friends, students and colleagues. At long last she has put her words on paper. I am so pleased to hold this book." "I wish there was a book like this out there when I directed my first feature. Of course I had the next best thing. I had Hester. My advice to directors is this: When you cast your film or a play, think in terms of a camping trip. Would you want to go camping for an extended amount of time with this person? Attitude and personality will always win out over talent and looks." Robert Pickett, writer/director "Hester Schell has put together an excellent resource for directors, producers and new actors. The information contained in this book is smart, clear and concise; it steers the reader from some common pitfalls one might encounter when choosing and working with actors -- be it union or non-union. Everything from the casting breakdown, "attracting the talent" to the audition, dealing with unions and contracts are all well covered here. It's a quick read (and flip-through) and a must-have for anyone embarking on a new film or video. Bravo!" "When constructing a project as huge and difficult as a feature film, you need to have your tool belt filled with the equipment that will ensure your project has the greatest chance of success, and the knowledge of the casting process is a tool no director can live without. Hester Schell's book will help you turn your gibberish into positive and confident communication, and get you started on the right path to a successful and enjoyable casting experience. Don't make a movie without reading this book. You'll be happy you did and so will your actors." "If you're interested in directing narrative-films that are artistically and financially successful, you need to cast your actors well. In this gem of a book, Hester Schell does a great service in explaining how to do just that, in clear, simple and often very entertaining terms. Filmmakers and actors alike will benefit immensely from Ms.Schell's vast knowledge, experience and wisdom that she generously shares with her readers here. A classic in the making, please read it before you launch your next film-project and enjoy the success it surely will bring.
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WATCH A To learn more about Hester- STUDY WITH HESTER AN INTERVIEW WITH "Great acting is transformative," Hester Schell writes, "it is the action, guts, and backbone of your story. When you have the right actor in |
C. 2010 - 2011
