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CREW OPPORTUNITY-Yea, It's a Theatre site, but we all know if you can do film crew, you can do theatre crew. Good luck. BackstageJobs.com æ Formerly the Theatre Design & Technical Jobs Page, http://backstagejobs.com lists jobs from across the U.S. and around the world. It has posted listings from England, France, Denmark, Australia, Canada and the Philippines, just to name a few; and it is run out of Chicago as a service to the live entertainment community. The site, which is free to use, also includes the Chicago Contact Sheet, designed to be an online resource for those looking to hire freelance theatre and entertainment designers, directors and technicians.

INTERVIEW: Karl Heinz Teuber
by Dolores Moloney

AMADEUS, screening this Friday at the Bridge, on Geary, 8pm April 5, 2002.

DIRECTORS'S CUT RE-RELEASE!

The Second Time Around AMADEUS: Directors Cut . . . A Local Connection In 1983, when Karl-Heinz Teuber was approached by a colleague to go to Prague and work as the Hair & Make-up Assistant on Milos Foreman's new film, AMADEUS, he jumped at the chance to travel, and at the same time, expand his already considerable experience as a hair-stylist. Before coming to San Francisco to manage the SF Vidal Sassoon Salon, Karl had been manager of three very successful Sassoon Salons in Germany and one in London. This was the perfect time for a new adventure and a new professional challenge. Little did he know that his six months of working with Milos Foreman, including playing a surprise bit part in the film, would launch Karl on a professional acting career that has spanned 18 years and is still flourishing today. In honor of the re-release of AMADEUS, and the April 5th premiere of AMADEUS: Directors Cut at the Bridge Theater in San Francisco, we sat down with Karl to chat about his life-changing experience in Prague, his 18 years of acting, and his plans for the future.

BACN: Prior to being in Amadeus, had you ever done any acting?

KARL: No‰ none. I was only focused on my career as a hair-stylist, which I still love.

BACN: So, how did your being in the film come about?

KARL: There was this little scene where Mozart goes to the wig shop to buy some wigs. Milos Forman (AMADEUS, director) was having trouble setting up the scene because it hadn't been completely written, and only Mozart had lines. One day, he just asked me if I would be in the scene as the wig salesman - I said, yes. He asked me if I thought I could do it. I told him not to worry, everything will be fine. Suddenly, I was an actor going to the costume department for fittings, being driven to the set, having my own dressing room. On the day of shoot, right before filming, Milos just told me to "say something." So I did. Of course, I knew nothing about "improvisation" at that time. I just said what came naturally with what I was doing. I was in "heaven" the whole afternoon ‰ such joy, such pleasure, and a NEW CREATIVITY that I had never experienced before.

BACN: How did the scene turn out?

KARL: Milos hardly said anything during the entire shoot, and he just let me carry on. Every take was different. I heard lots of giggles behind the camera, so I thought whatever I was doing was probably right. Later, I heard that Milos likes to cast people who are exactly right for a part, and he feels that sometimes non-actors can give him more naturalism for the role than actors. Two days following the shoot, after watching the dailies, he called me into his office and told me I did a great job and he was very happy with my work. I was quite relieved.

BACN: And we all know how the movie turned out . . . .

KARL: That's right, in 1985 Amadeus won 8 Oscars, including one for Hair & Makeup. As you can imagine, I was thrilled!

BACN: Since your Amadeus experience, and living in San Francisco, what kinds of films have you worked on and how many?

KARL: As soon as I returned to San Francisco, I enrolled in acting classes. I had to start from the ground up. I didn't know anything about the business , auditions, agents, headshots, etc. We had nothing like BACN around then to help us. It was very slow starting. But now, 18 years later, I have a 3 page resume of over 100 performances in film, television, CD Rom and voiceover.

BACN: Tell us some of the highlights.

KARL: Let's see... doing my first Hollywood movie with German director, Rosa von Praunheim - it was shown in 80 film festivals around the world, doing the Voice of Adolf Hitler in Jay Rosenblatt's, HUMAN REMAINS, this movie won 26 awards, including first prize of the Jury at Sundance, a CD Rom project by Broderband, playing a German weapons dealer at the turn of the century, in THE LAST EXPRESS these are just a few of the highlights.

BACN: What is your worst acting experience?

KARL: Well, it's not just one experience ‰ it's working with unprofessional people who don't seem to have "Respect for Acting" and don't keep the promise to pay for the actor's performance with a tape copy of the film ‰ working with people who are disorganized and take on projects that are way too complicated for their experience, and then never complete it , this happens over and over again, and it's very disturbing to the actor who loves practicing the art of acting.

BACN: What is your best experience?

KARL: Probably just the nice people I've met in the acting community who have become my close friends, and ‰ working with professional people who keep their word and actually give me a copy of my performance. Then it's very rewarding.

BACN: What would you most like to see changed about the SF film industry in Northern California?

KARL: I'd like to see the Union, the government and SF mayor, do something financially to make this city and the Bay Area an attractive place for movie-making, like Canada ... so many more actors would be able to find work here. I have this idea for a TV series - something like, "The Weekly International SF Show," using local writers and actors of all kinds of nationalities - each week would be a different country, a comedy or drama or whatever ‰ showing the whole wide world how all the many races and cultures live together in harmony in the Bay Area.

BACN: Karl, that sounds very nice! In closing, please tell me a bit about what the future holds for you.

KARL: It's simple. I want to do many, many more movies and continue to learn and grow in the beautiful, creative work of acting.

 

FRUIT OF THE VINE: Production Update
by Kent Heckenlively

Making a film dealing with spiritual values is infinitely easier when spirits aren't chasing off your crew. "We were filming an exterior night scene," explained "Fruit of the Vine" writer/director Kent Heckenlively, "when our cook came racing out to the set to say that when she was alone in the kitchen the dishes in the cupboard started rattling. She claimed the place was haunted and left without even picking up her check!" This put producer Sherlyn Todd in the position of feeding nearly thirty people with barely an hour's warning. It was a good thing she used to such challenges on a daily basis.
Perhaps a supernatural visitation was appropriate, considering the movie's theme of love and friendship which survive even death. The film tells the story of Clark Gentry, a man in his early thirties, who gathers his high school buddies together for a weekend at an estate in the Napa Valley to celebrate the first full harvest of his family's vineyard. Mr. and Mrs.Gentry acted as surrogate parents for the group of friends and this provides the metaphorical underpinning for "Fruit of the Vine."
With an ensemble cast of six men and three women, writer/director. Heckenlively wanted the most professional actors he could find to bring to life this story of long-time friends. The cast included, Tom Kearney, Maura Knowles, Tim Glenn, Marcia Pizzo, Wendell Willat, Jeffrey Dean, Yumi Sumida, Calum Grant and Frank Potter. "The quality of actors in the Bay Area is astounding," enthused Heckenlively, "Our crew which was mostly from Los Angeles was thoroughly impressed. They kept asking me who did such wonderful casting. I was happy to say, 'my producer and I did.'"
The shoot took place over sixteen days at a vineyard estate in the Napa Valley. In addition to ghosts, bad plumbing and poison oak, a three hundred acre fire a mile away forced the evacuation of the set one day. "When I saw flames shooting above a near-by ridge as a power-pole exploded," remembered Heckenlively with a shiver, "I knew it was time to get out of there." But all of the problems seemed to bond the crew and cast even closer. The rallying cry for the production as supplied by a Tom Kearney and Jeffrey Dean became "Let's get her done!" And they did. Heckenlively credits the success of the shoot to an amazing cast and crew especially his producer Sherlyn Todd. "The job of a director is to work with the actors and harness their creativity into building a believable celluloid world that an audience will pay $7.50 for the privilege of entering," said Heckenlively remembering the long days and nights of shooting. "The job of a producer is to protect the director from all the problems and crises which inevitably erupt during the course of a shoot. In many ways it's a more difficult job than directing. I couldn't have had a better partner than Sherlyn," Heckenlively added. Heckenlively and Todd will be spending the next few months in post-production of their movie. "If this film is successful, it will be mainly due to the great actors this area produces, something which I think Hollywood overlooks to its detriment." Heckenlively hopes that this film and others will contribute to the flourishing of local movie-making. "We've got it all here," said Heckenlively. "Great natural beauty, a well-informed and educated populace, incredible cultural opportunities and actors who absolutely kick ass!"

DECEMBER 98:
BACN Supports Union Merger­p;
Union organizers are calling it the "most important union election... EVER!" For decades they've been talking about it. Finally, it looks like it is going to happen. The members of the American Federation of Radio and Television Artists (AFTRA) and Screen Actors Guild (SAG) will be sent a referendum ballot on November 20 to vote on merging the two unions. Sixty percent of each union must return a "yes" vote for the merge to happen.
Why is this a good idea? It depends on which side of production you are on. For the most part, producers have every reason why they are pushing, and have successfully pushed for decades, for a "no" vote. With production budgets for legitimate film and television what they are, there are no more excuses for undercutting, underpaying and forcing talent to sign away residual payments if they want to work. A unified union means more bargaining power for fair session fees, fair residuals on repeat broadcast, video sales and decent health and pension benefits. A merger of AFTRA and SAG will result in stronger contracts and eliminate duplicate administrative costs. Although the union health plans will not be merging, already SAG and AFTRA are heading towards coordinating health plans to strengthen the benefits packages. Because technology changes how we do what we do and where it winds up: CD or TV, a video box or the big screen, we deserve decent wages. Producers need to recognize that what we do has value. Bay Area Casting News urges all AFTRA and SAG members to vote "yes," creating a new SAG/AFTRA.

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NOVEMBER 98:

Women and Minorities Getting
Fewer Jobs in Entertainment­p;

The Directors Guild of America reported this summer that fewer jobs are going to women and minority directors in the entertainment industry, even though the overall volume of work within this industry expanded. Growth is measured in the number of days worked. Even with a level of expansion, women and minority directors worked on average 900 fewer days in 1997 than they did in 1996. The number of days worked fell from 4,233 days in 1996 to 3,411 days in 1997.
The industry enjoyed 17 percent growth last year. This year the growth is expected to hit 12 percent. The Directors Guild is taking steps to turn this around with seminars and workshops, so women and minority directors can meet the power players who offer the contracts.
So, what does this mean to us as the industry favors white males? It could mean many things. Or, it could mean nothing at all. It could mean that those with the power to hand out contracts hire in their own image. It could mean that women and minorities aren't playing the schmoozing games the rest of Hollywood enjoys. It could mean that the social, political, environmental and human issues of concern to women and minorities continue to be ignored by mainstream television and feature film producers. It could mean fewer acting jobs for women and minorities and that the roles women and minorities are offered continue to be steeped in stereotype. You decide. Take action where you can. Make a difference. Who knows? Maybe your idea for a television series is visionary, profound and a hell-of-a-lot better than most of the crap that is currently out there. Good luck and keep up your courage.

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WOULDN'T YOU LIKE TO KNOW WHAT THE DIRECTOR IS
THINKING WHEN YOU ARE AUDITIONING?
By Tom Marcoux


I recently cast my current motion picture LIVING. Previously, I conducted auditions in Los Angeles for my science fiction feature film IMPULSE, and my motion picture BOAT REAMS was taken to the Cannes Film Festival. During our LA audition sessions, many actors were surprised by the respect shown to them by my production team. The actors had appointments, and we kept to the schedule of the auditions. As a fellow actor, I want to support other actors in making dreams come true. I have been on both sides of the audition table. Here are some helpful strategies:

STRATEGY #1:
BE PREPARED TO IMPROVISE
I look for what the actor brings to the film. The actors read the lines and then we run the scene. I advise, "Don't worry about the lines. Let's just make 'the action' of the scene clear." Be ready for improvising as it is part of many motion picture auditions.

STRATEGY #2:
YOU'RE "ON" FROM THE MOMENT YOU WALK THROUGH THE DOOR
I talk with my receptionist. She provides me with helpful insights about how certain actors treated others. She mentioned how one actor created rapport with other actors. She reported that another actor treated her as "lowly help." Because my colleagues and I were concerned about the atmosphere on the set, we necessarily crossed that actor off the list.

STRATEGY #3:
SEIZE ATTENTION BY SUBMITTING A
POWERFUL HEADSHOT
For TIMEPULSE, five people sorted through 823 submissions. As the director, I followed their recommendations and reviewed only 30 headshots. From these, I interviewed 12 people. This means your photo needs to be attention grabbing: 1) Look straight at the camera (my photo-sorters, often suggested to me, "Look at those eyes.") 2) Have the photographer reflect light in your eyes to make them sparkle. 3) Ask for a darker background than your skin tone. It's better when you face pops up from the photo. 4) Include a second photo that shows you smiling - if appropriate. Many directors want a happy set, and it helps to reveal yourself as a three-dimensional person - not just a "brooding type." 5) When sending demo tapes, include your phone number on the tape and the box. Make it easy for casting personnel to contact you.

STRATEGY #4:
FOLLOW DIRECTIONS AND ASK FOR
CLARIFICATIONS WHEN NECESSARY
My films often involve action scenes. One actor, obviously very eager, kept kicking and stepping forward, endangering her scene partner. I had directed her to stay at the far side of the room, but she placed her partner at risk. We immediately crossed her off the list.

STRATEGY #5: CREATE RAPPORT
My colleagues and I were impressed with an actor's monologue. She created powerful feelings. Unfortunately, she was abrupt with us before she began, and this created a strange energy in the room. We felt that she might be "difficult," and we crossed her off the list. If she had taken a moment to create rapport with us first, we would have seen her in a different light.

STRATEGY #6: DO YOUR HOMEWORK
Recently, I applied to act in another film. When I heard about the opportunity, I immediately reviewed the director's previous motion picture. I phoned bookstores to locate the novel from which her new screenplay was written. Look for ways to demonstrate that you care about your craft, the material, and the director's unique approach.

STRATEGY #7: MEET DECISION-MAKERS
OUTSIDE OF THE AUDITION ROOM
Our industry is based on relationships. Three years after I had met the California Motion Picture Commissioner, he helped me secure the San Luis Obispo Airport and a plane for BOATDREAMS. We never know when seeds we've planted will blossom. When meeting a celebrity or top industry professional, buy her book. When I talked with a director at a recent screening of his new feature film, I commented, "During the scene in the bank, you really created the tension. I was ready to shout at the character, 'Don't ruin your life!'" I could see that the director appreciated my comment because it was specific. Remember the way to give a sincere compliment: 1) Say "I appreciate how you..." and 2) Ask "how did you do that?" or "how did you learn to do that?" Then, listen attentively and ask follow-up questions.

As we see over and over again in our industry, to win the roles we desire, we need to be both proficient at our craft of acting and at the art of self-presentation. The best to you as you make your dreams come true.
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Tom Marcoux...is a motion picture director, actor, screenwriter, national speaker-author, time management expert, sales coach, and personal success coach. A winner of a special award at the Emmy Awards, Tom produced, directed and acted in a motion picture that went to the Cannes Film Festival.
Visit him at http://www.businessacademy.com to learn more about his motion pictures.

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OCTOBER 98:

LOCATION LOCATION LOCATION,
VANCOUVER, B.C. CANADA: HOLLYWOOD OF THE NORTH-
by Hester Schell


While on vacation this summer we traveled through Canada and the beautiful city of Vancouver, where I visited the British Columbia Film Commission. Many of us in the industry have heard how much work there is up there. Just how much was quite a shock. Vancouver has earned the name "Hollywood of the North." The B.C. Film Commission hotline was so overwhelming with project postings that I lost count of the number of television shows and feature films in production. According to their statistics, the film and television industry in 1997 spent over $630 million (Canadian) , which generated a net economic impact of $1.76 billion.
That's "B," ladies and gentlemen, for billion. There were 169 total productions in 1997, 102 total productions in 1996, and 95 total productions in 1995. The government has started subsidizing film production training programs at the colleges to encourage more young people to go into production. Right now, the Commission informs American producers to bring key crew personnel with them, as they can't guarantee producers will be able find a full crew when a production comes in from Los Angeles. Most of the skilled labor is taken. The governement, the Commission and the colleges are taking necessary steps now to ensure the economic future of this booming industry.
So, what is Vancouver doing that San Francisco isn't? Nothing. It all comes down to simple economics. The exchange rate on the dollar while we were up there was 50%, meaning for every dollar American, we get a dollar and a half Canadian. Made for a great vacation, by the way. It also makes for a huge cut in production expenses. Start adding up the hotels, truck rentals, and meals and everything else that costs that much more in cities, say, like San Francisco.
Now, before you actors out there get dreamy-eyed about auditioning in Vancouver, keep in mind there are international labor laws that prevent you from securing jobs meant for Canadians. If you are a union actor and are cast in the states for a Canadian production, they will take care of the necessary work papers, etc. You can't just go up there and start auditioning, unless of course you are Canadian. Non-union actors will have to check out the regulations and paperwork for foreign worker status.
It's is a very friendly place. If you are interested in working production, my advice is go through the production companies in Los Angeles that are in production and on location up there. Try to get hired and let them take care of the paper work. Actors, you'll have to be cast in the states, or you could emmigrate, give up your citizenship here and become Canadian.
Here is a list of contact information so you can check it out. Let us know what you find out. Maybe the loopholes allow a six month temporary work visa which would allow you to work. The downside is that you'll be paid in Canadian, which isn't worth as much on the dollar. Reelwest.com lists the B.C. casting directors as well as everything found on the B.C. phone hotline, which is great. Good luck. It's a happening place. Surrounded by gorgeous scenery. They even have a cute suspension bridge, a big bay and a city park with spawning salmon. Oh, and good coffee.

Union of B.C. Performers: (604) 689-0727
Canadian Immigration: : (604) 666-7724
B.C. Film Commission Hotline: (604) 660-3569
B.C. Film Commission Website:
http://www.bcfilmcommission.com
Auditions and Casting Directors:
http://www.reelwest.com
Vancouver Film Festival:
http://viff.org/viff