So WisCon was probably a mistake, healthwise. I was beat even before my reading Friday night, and compromised my immune system so quickly and thoroughly that I caught a bug probably from the first hands I licked shook upon my arrival that afternoon. Saturday I was exhausted, even with naps and caffeine. By Sunday night, I got the tickle in my throat and couldn't leave the hotel room, was barely able to sit up and take advantage of the HBO*. And I'd finally almost gathered up the courage to introduce myself to Ted Chiang, too.
The Clarion 2006 partial reunion. Photo courtesy of Vince, who has a larger version
(and his own blog about WisCon) here
Somehow managed to avoid the stomach bug/food poisoning that hit 50+ members of the convention, but I'm presently in day six of what l hope isn't more than a seven-day cold, worst that I can remember. My body's usually pretty stubborn--these last few bad-health-years notwithstanding--so it's a pretty big deal when I say this thing wiped me out. (and thus, we didn't think it possible but Alex gets further behind in his work and emails!)
Alex does his, um, reading? as JoSelle looks on in horror.
But! I'm glad I went. Yes, WisCon is kinda big for my taste. The few cons I've been to have been small and local, and I actually never got to run into a few people I wanted to see (not for lack of trying). But it was great fun, with a great mix of old friends, new friends, potential friends. Clarion buds Vince, Will, and Brad were there. First time I think I've seen anybody from that group in almost two years now. And quite a few people I've met online, but never in person.
Is Will testing the camera? Or is the camera testing Will?
It was also a good fit for Jen. Though she doesn't read as much SF, she's into the sociology stuff, and I think she even went to more panels than I did, since concentration is the first to go when my brain bucks are spent these days. We just might make a regular thing of this, maybe take a week off, visit friends in Chicago afterwards or some such thing.
This made me sad.
The midnight reading seemed to go well. Not the best judge, I was so overcaffeinated and overextended. Excellent crowd, and a great group of co-readers. You hope for fine stories at these things, but here we had excellent, interesting performances as well (I knew Will and I had acting backgrounds, but what luck that JoSelle and Ben had such presence as well). And the audience responded so well! I have some video of it, too. Not sure what I'll do with it. At the very least, it'll be some bonus content for newsletter readers or something, at least until I sell the piece I read.
And I don't think I made a fool of myself too often throughout the rest of the con, though I don't think I've ever felt so self-conscious as I debated with each interaction: do I bring up the brain injury and risk looking like a sympathy whore or do I let this person walk away assuming I'm just a flaky dumbass? Tried both. Felt like a tool either way.
Gonna sign me up for next year and see what WisCon's like coherent. And it'd be nice to actually go to more panels, readings, and parties than I reluctantly miss out on.
*Watched Recount. Brilliant performances, except for the cringeworthy Gore and Bush impersonators. Overall, allowed me to relive that unique visceral disheartenment of 2000. So... thanks, HBO!
While I usually rely on my personality for birth control, I wrote/co-wrote three public service announcements (PSAs) last year for the Adolescent Pregnancy Prevention Coalition of North Carolina (APPCNC), directed by Steve Milligan (SM), who I've worked with enough that we're never sure whether it's a business lunch until we're leaving the restaurant (UWLTR). Two of the PSAs have been completed. A third (my favorite, actually) might happen, might not.
I believe the finished two PSAs are currently showing before films in a few NC Triangle-area movie theaters, and will be airing on assorted television stations across the state by the end of the month. If I understand correctly (I get this all third-hand), APPCNC has also licensed/sold the PSAs to other organizations, so you might see them pop up outside of North Carolina as well.
"Timing is Everything."
This first one is aimed at the younger folk:
"Unconditional"
This second one is aimed at parents (while I do often cringe at the manipulativeness of heartstring-type ads, I probably only would've had an ethical issue with the job if this was aimed at kids/teens):
Yes, that's me. And how's this for apt casting: while technically I could have been Lea's father, I would've been 14 or so when she was born.
Third one's also aimed at parents, but it errs on the fun side like "Timing." Here's hoping we get to see it.
Nathalie Mallet's The Princes of the Golden Cage (audio by Alex) September 8, 2007
Last month I narrated the first three chapters of Nathalie Mallet's premiere novel The Princes of the Golden Cage for Night Shade Books. MP3 downloads available now on Mallet's blog.
A very fun performance piece, and I look forward to reading the rest of her novel (to myself).
Aha! Now I remember why I was so excited about this action-short, filmed mostly in Providence, RI in 2005. I co-wrote Intermission (working title; like six movies have come out since then with the same name) with my friend, director/cinematographer Steve Milligan. He shot it with one of those unusual camera formats where it's taken two years to get the footage off of the tape without paying a fortune.
Editing this thing's gonna be a nightmare, particularly the ADR work. But after my first look at the footage, I'm thinking we can turn this into something fun.
So I'm appearing for the second time on Super 16: the music video of Sonny Byrd's "Jackal Pack." I'm the hatted man with a clipboard in a shot which is repeated at various lengths because the camera liked to eat takes (and director Clare Sackler actually uses that "ruined" footage to a cool effect, too).
So I'm back to my huckstering ways. This month at Telltale we've got:
The Star by H G Wells, wherein old HG scares the crap out of Victorian London with a science fiction tale that inspires the films Armageddon and Deep Impact 101 years later. And...
The Book of Philippians from the King James Bible, wherin Paul writes from prison that there's still a lot to be happy about.
The Carrboro Film Festival is tomorrow, featuring short films with some tie to Orange County, NC. I'll be there at least for Series Two (3:45PM), which includes a screening of "All's Fair in Love and Police Actions." I'll probably stick around for Series Three (5:20PM) which includes a screening of "Balloon Animals," but I've got people in town. See appearances for a bit more details.
The folks at Mozilla finally posted our commercial for the Firefox web browser: Trade Up.
Directed by Drew Buchanan. Shot by Steve Milligan (who talks about the project here). Creative Commons music by Remi. Written by Alex Wilson. Actors: Megan Randall, Justin Meckes, and Alex.
I'm pretty pleased with the way it turned out, which says a lot because I wrote it as a joke and initially thought it was too offensive to shoot. And a part of me is still looking forward to finding someone else who is offended by it, just so I can hear Steve say: "That's okay. So is the writer."
Otherwise Pandemonium Screening at Duke April 28, 2006
Extremely short notice, but I recently got word that a cut of a Otherwise Pandemonium, based on a Nick Hornby short story, will be screened on Duke's campus in Durham around 5:30 today. I may not know where exactly until I actually get there, but I'm posting this more to brag than to encourage anyone else to come. (more after the jump.)
So Carrboro writer and actor Jeremy Pinkham wrote a short film about a guy driving sag for his wife's first century (100 mile) bike ride. I had the honor of helping him rewrite it/polish it up, and then playing the main part. We shot it at the end of November under the direction of Steve Milligan. Word on the street is that I'm the editor.
As an actor, I worked with Jeremy on Balloon Animals, which Jeremy performed in and helped write, and which Steve Milligan shot.
As a writer, I worked with Steve on the script for Intermission, for which Steve ended up casting Jeremy in a small part.
We filmmakers are a nepotistic bunch, ain't we?
Stills courtesy of Steve. More (and larger) stills at Steve's site.
So earlier this year I came across Ross's blog, Ross being Ross White of Dirty South Improv here in the Chapel Hill-Carrboro, NC area, and a few months ago he mentioned how Carrboro's Carr Mill Mall, not a five minute walk from me, just might be the new destination of DSI. So I thought I should get in touch with these guys. What I actually did was the next best thing: I read his blog every once in a while.
Sometimes credited as "Alexander Wilson"
Height: 5'10"
Weight: 165
Hair: Brown
Eyes: Blue
Build: Medium/Athletic
Complexion: Light Tan/Fair
Age: 29
Member of Alpha Psi Omega Theatre Honorary
Bachelor of Arts Ashland University
Class of 1999, Minor in Theatre
Reel (Tentative)
Quicktime file require Quicktime 6 or later, available as a free download here. iPod Video (.m4v) now available, playable on iPods released after October 2005. Right-click (or CONTROL-click) on filename to download.
*North American Premiere of the original Richard Taylor version
Other Experience
Founder of and reader for the audiobook projects Spoken Alexandria and Telltale Weekly, featured in The New York Times, Public Radio, Locus, Boing Boing, and elsewhere.
S.O.S. Acting Troop: ("Students Offering Solutions") affiliated with Teen Institute and community D.A.R.E. program. 1993-1995
Drop of a Hat Players: Broadway review group at Ashland University. 1995-1999
Hope Drama Team: Performance group for Christian fellowship. 1995-1996
Additional music credits:
Revere High School Choir
Revere Singers
Bath United Church of Christ Choir
Ashland University Choir
Drop of a Hat Players (musical review group)
Imani Gospel Choir
Numerous band and solo performances
Composer/lyricist of original songs in The Wedding of Michael and Lisa Marie, A Christmas Carol, Sure as Sherlock, and Cruising For Murder.
Related Academics at Ashland University
Courses taken (professor):
Acting I (Richard C. Goodwin)
Acting II (Goodwin)
Acting III (Dr. Paula Thompson)
Directing I (Goodwin)
Dramatic Theory and Criticism (James G. Reynolds)
Major Writers Seminar: Shakespeare (Dr. Debrah Fleming)
The Modern Drama (Reynolds)
Playwriting (Reynolds)
Stagecraft (Ken Martin)
Stage Lighting (Martin)
Stage Movement and Dance (Hellie Shussler)
Theatre History (Thompson)
Topics in Theatre: Musical Theatre (Thompson)
Voice (John Sikora)
Voice and Articulation (Goodwin)
Voice Class (Andrew Rosenfeld)
Additional information:
Cowriter of two original productions performed at A.U. Theatre
Composer/lyricist of six original musical pieces performed by A.U. Theatre
Casting director for independent film, "Neon Sushi."
Last weekend we shot a short film by Justin Meckes. I played a real estate agent who rubbed a clown the wrong way. Twice. Justin and I have been talking about different incarnations of this project for over a year, and I'm happy for both of us that it finally happened. Three-day shoot which will probably result in a five-to-ten-minute short.
Holy-crap-does-he-know-what-he's-doing DP Steve Milligan (who lives practically next door to me in Carrboro) posted these and more stills from the shoot last night. Between these and the dailies I saw Saturday, I'm pretty proud of what we managed to accomplish in such a short time.
International Dialects of English Archive April 7, 2005
We closed Eugene O'Neill's A Moon for the Misbegotten at Deep Dish Theater in Chapel Hill, NC last month. This was the first time I've ever had to do a serious Irish accent, beyond a stereotypical impersonation or two (which often sounds more Scottish than it does Irish; I have a habit of rolling my Rs).
One of the resources that vocal coach Jeffrey Blair Cornell introduced to us to help with problems like mine was IDEA: The International Dialects of English Archive at the University of Kansas. It features dozens of MP3 recordings of scripted and unscripted speeches by native speakers in various accents from around the world.
A great resource, and a wonderful solution to a problem specific to actors. Now that I'm done with the play, maybe I'll start working on my Australian accent.
Twice in the Rain, Two Rejections, 200th Sub, New Play, etc. March 17, 2005
Lotsa stuff to cover. When I'm not writing entries, that means I'm busy or stuck under a heavy object. But this entry's got it all--theatre, film, writing, and more! Let's start with the writing:
Rejections #113 from Raven Electrick (sub #197) and #114 from Writers of the Future (Sub #187), came in, both for fiction works.
The Writers of the Future entry was my second quarterfinalist story, which, according to Terry Bramlett when I asked her last year, puts it in the top 2% of subs [later heard it as top 15%]. Not what I was aiming for, but I shouldn't complain.
I think this was my fifth or sixth entry to WotF. I've tended to enter once every four or five quarters since I started subbing in '98, even during my multiyear submission hiatus after my dad died. I'm going to try to enter every quarter this year, since I'm targeting it as my next writing-career milestone.
A play by Eugene O'Neill, directed by Tony Lea. In its final weekend at Deep Dish Theater in Chapel Hill. If the last few shows ain't sold out, they will be soon.
(Left to Right: Jeff, John, Helen, Alex, Tom, Ramona)
Sorry to see it come to an end, but I'll be glad to have my evenings and weekends back.
(Selected republication of old entries from the pre-Movable Type journal...)
Erik Rankins, who wrote the screenplay for The Third Cord, emailed me last week and said (a) Jack Lucido and Erik should finish editing the rough cut in the next few weeks, and (b) he wanted me for his team on the 48 Hour Film Project, which is going to happen in Greensboro, NC for the first time this August. I agreed to do it and I just heard from Stephen van Vuuren of Seven Smiling Sharks, who I think is heading up the team. I haven't met Stephen yet, and I don't know who else from The Third Cord will be involved, but meeting and working with new independent filmmakers in the area is rarely a bad thing.
Basically, the 48 Hour Film Project is a city-based annual competition (I think previously the nearest one was in D.C.) where filmmaking teams are given a genre and some details (a line of dialogue, a prop, etc.) and must put together a completed, edited film in 48 hours. Should make for a fun weekend. It would be funny if, of the films I've worked on so far, this one is the first to be actually completed so I can use it in a reel.
More info of that at www.48hourfilm.com.
(Selected republication of old entries from the pre-Movable Type journal...)
Hedda Gabler finished its four weekend run on November 22. Reviews were mixed but overall very positive. Great group of people to work with. Learned a lot from them and I'll miss working with them. And I'm now just three degrees from Kevin Bacon. I worked with Mark Jeffrey Miller in Hedda. Mark worked with Laura Dern in October Sky and Laura Dern worked with Kevin Bacon in Novacaine. It's the little things that give me the most pleasure.
I try not to do this too often, but someone in the photographs asked to have them removed, and a few years back the director asked me not to talk about the making of the film publicly like I did. So... kinda defeats the point of the entry. Moot point, since--five years on--it's unlikely the film's going to be finished. But that's show biz.
Even Longerwinded Thoughts on Hedda Gabler November 6, 2003
(Selected republication of old entries from the pre-Movable Type journal...)
I read Ibsen's A Doll's House and Ghosts around my college years. The former for a class, the latter because I enjoyed the former. When I've mentioned to friends and family that I'm doing Hedda Gabler, I've found that quite a few of them confuse it with A Doll's House and my character (Hedda's husband) with Torvald (Nora's husband in A Doll's House).
I don't think it's that odd of a confusion. Both plays are about a woman who feels trapped and whose husband underestimates her. But the focus is clearly different. Between the time I got the part and the time I picked up the performance script, I read a short blurb online that said audiences were initially disappointed with Hedda Gabler because they were hoping for the feminist and social commentary of A Doll's House and Ghosts but instead received a play about a more personal struggle with Hedda.
Longwinded Thoughts on Deep Dish Theater November 5, 2003
(Selected republication of old entries from the pre-Movable Type journal...)
I auditioned for Deep Dish this summer before their season was finalized. It was my second (of two) theatre auditions. They called me back in late September to read for George in Hedda Gabler. I was just beginning to understand that the film I was working on wasn't going to get made. The leading lady couldn't work with the director, so the director cut off all contact. After that and "Fork in the Road," which might never get out of post-production, the idea of going back to theatre--where there was a much better chance of seeing a project through to the end--was very appealing.
I read with Dorothy Brown and Mark Miller, two veteran actors in the area who just blew me away. I felt more than a little outclassed. I wasn't surprised to find out that both of them were cast. I was surprised to learn that I was cast in the same show as them.
But I tell friends around town about the theatre and they haven't heard of it. I tell them about the mall the theatre is in and they don't know about that either.
Yes, the theatre is in a mall that nobody knows about. And those who frequent or even work in the mall don't seem to know about the theatre. You have to go through an antique shop with which it sort of shares a mall lot. The store is in the front (with a mallview) of the long rectangular lot and the theatre is in the back, which otherwise might be used for storage. I guess it's kind of like dividing a swimming pool in half and saying, "I get the top half; you can only swim in the bottom half." But it apparently works out well and the store owners and operators seem really nice about it.
Fork in the Road: Photos from the Set August 6, 2003
Entry Deleted.
I try not to do this too often, but someone in the photographs asked to have them removed, and a few years back the director asked me not to talk about the making of the film publicly like I did. So... kinda defeats the point of the entry. Moot point, since--five years on--it's unlikely the film's going to be finished. But that's show biz.
Acting Again (My First Film Role pt 5 of 5) June 7, 2003
(Selected republication of old entries from the pre-Movable Type journal...)
About a week later, I received a call from Brian Elkins, producer of "Fork in the Road." He said they really liked my audition and wanted me to play a big part in the film. They unfortunately were shooting three weekends and I had major conflicts with two of them. I asked them if I could take a smaller part or if they could reschedule one of the weekend shoots--if they could, I'd reschedule my other commitment so we'd all be compromising only a little bit. They said they'd get back to me and a few weeks went by without my hearing from them. I figured it was another fiasco like the one I just went through with the romantic comedy, only this time I didn't have any contact info to bug them about it.
Meanwhile I talked to some actor friends (among them Maria Swinehart who thought I should be auditioning all along), and their overwhelming response was: if you get a chance to do something like this graduate program, you do it. Certainly if I was an actor, this would be a great opportunity. It's something I'm considering in the back of my head. We probably wouldn't be able to afford it for us both to be in school at the same time, and after Jen gets her Masters next year we might need to move again right away. But it's nice to have options. I've got plenty of time to think about it.
Brian finally called again. He had sent me a script over email and someone had typed the address wrong--so they were wondering why they hadn't heard from me. They now wanted me to play a much smaller part, but neither of us would have to reschedule anything.
In my mind, the smaller part was better. I didn't know if I'd like working on film as compared to stage. I love watching film, so it made sense, but I knew there were technical acting skills required for film--remembering what your hand position was for the last shot, etc. It's a whole new world.
During the rehearsal last week, one of the other actors, who is an undergraduate at the same university associated with Playmakers, said the graduate school program was mostly male which blows my big fish theory out of the water, so to speak. I'm not ready to head to New York or Los Angeles, but it's reassuring none-the-less.
Acting Again (My First Film Role pt 4 of 5) June 6, 2003
(Selected republication of old entries from the pre-Movable Type journal...)
There was an audition for a short independent film almost right next to where the Playmakers audition would be. It was to be held an hour or two beforehand, so I went to that first, reading from the script. It seemed to go well. It loosened me up and the people behind the camera seemed all right. The piece was called "Fork in the Road" and it looked like a horror movie where a couple of potheads get bumped off one by one. Hard to tell from reading the sides, but that was my first impression.
Then I went outside and paced and continued to work on memorization. I figured I can wing a lot of the technique as long as I make some pretty good decisions beforehand and knew the piece as best I could. Not a professional thing to do, I know, but I was down to the wire there.
Acting Again (My First Film Role pt 3 of 5) June 5, 2003
(Selected republication of old entries from the pre-Movable Type journal...)
First, the headshot. The audition announcement asked that a headshot and resume be mailed by the end of the week for an appointment. I did not yet have a headshot, as I thought I had another month before I'd need one. I called around, and Sears Portraits was the only photo place that could give me something the same day. The photographer said he could give me a mediocre computer print that day, and he could put the pictures on disk so I could print out an 8x10 myself if I wanted. And he would give me a copyright release (so I could reproduce the image as often as I needed). The guy I talked to said he had a lot of experience in actor headshots. I figured it would at least be cheap (it was) and the Sears headshot would serve me well for half a year anyway until I had the time and inkling to get a real headshot done by someone who knew what s/he was doing. That might mean a drive to New York City, or it might mean a few weeks of research visiting local photographers. I just didn't know. This was a new business for me.
I set up an appointment with Sears and started regretting it almost as soon as I entered the studio.
"Tilt your head to the side and put your finger on your chin. There, that's a real dramatic pose."
"I don't want a dramatic pose; I want an actor headshot."
"But don't you think that looks dramatic?"
It was clear the photographer knew even less about headshots than I did, and that said a great deal. I was wearing a dark tee shirt and he kept switching my background to black--even after I said I didn't want a black background. "But it really pulls focus to your face," he kept saying.
So a few of the shots didn't look too bad--though not even close to what a headshot should look like. The best shot of the bunch unfortunately had a black background, but I figured what I looked like mattered more than the background. So I asked for an 8x10 printout of that shot, and planned to order an 8x10 good print from the lab. That's when the real trouble started. I hope I can remember all this right, because I'm sure it'll be funny to people other than me.
He said he couldn't print out an 8x10, but he could print out a 5x7. I asked him why he told me on the phone he could print out an 8x10. He said he could print it out on 8x10 paper, but it would be a 5x7 and I could blow it up to 8x10. After thinking about it--a little incredulous, a little helpless--I said sure, go ahead. I thought maybe I could scan it, blow it up just a little (going from 300dpi to 200dpi or something) to make it closer to an 8x10 with a sizeable white border.
Then I discovered that he couldn't print out just the image. He began cycling through balloon cutouts and picture frame/flower cutouts which have my headshot inserted into them, and, best of all, each one of these "scenes" covered up part of the image when printed. He said a few of them don't obstruct the image that much and that I could crop around it and then blow it up. I said I was already going to blow up a 5x7 to an 8x10 and he wanted me to make the original even smaller and blow it up even more? The photographer was completely unable to make a printout without using one of these "fun" scenes.
And then (yes, I'm not done), I started looking at the computer screen. These weren't even 5x7s. They were more like 3x5s. I felt so defeated. I said just give me the images on disk and I'll print them myself. He said all right. I asked him how big the image files were, because he was going to give me all of the files, even the proofs. He said he wasn't sure, but they all fit on a floppy disk.
Acting Again (My First Film Role pt 2 of 5) June 4, 2003
(Selected republication of old entries from the pre-Movable Type journal...)
2.
I guess I started to miss the stage sometime last year, but the real kick in the pants I needed probably came when I got sick this past February. I work out of my apartment so I'm already somewhat cut off from the rest of the world. I have friends I spend time with, and I have a wife who I get to live with as the tradition goes. And I'm introverted which means I like and even crave the alone time. But contagious and quarantined, I don't think I've ever been so stir crazy. And what drove me to look for acting work now, after all this time, is the community that I've known and loved within a theatre group.
I started monitoring and signing up for a bunch of local theatre and filmmaking lists, to see what the options were and when auditions would be held. I was (and still am) a little concerned about doing film. First because I don't know the technical skills exclusive to film acting and I don't know how my stage training will translate to the camera. But I guess my biggest concern with film is that I don't have the "look" that people seem to like in film. That is: I'm not an exceptionally beautiful person. This isn't a self esteem issue. Rightly or wrongly, I actually think I'm a good looking guy. I'm just not Hollywood material, as so few of us are.
The first real promising lead I found was in March, regarding a romantic comedy independent feature-length film to be shot in Raleigh this summer. They were searching for a lead and they wanted people excited about the project, so they said they would send the script so potentials could read it and decide before auditioning. I sent some photos (didn't have headshots yet) to the filmmakers and immediately heard back that they wanted to send me a script and give me an audition. So they saw my face and didn't run. Maybe I could do film...
Acting Again (My First Film Role pt 1 of 5) June 3, 2003
(Selected republication of old entries from the pre-Movable Type journal...)
I'm acting again. It's been three and a half years since I took a role, much longer since I auditioned. I guess I auditioned once in Lakewood about two years ago for an indie film down the street from our apartment, but the script was so bad and I didn't even have a headshot with me... so for all intents and purposes, April 26 of this year brought me my first auditions in almost four years.
I performed as an undergraduate first because it was fun, and then because it paid well. I was an English major, but declared a theatre minor to become eligible for scholarship money, which grew with every show I did (and even more with shows I decided not to do; when I decided to only do one show during one of my last semesters before graduating, I was offered--for a five week commitment--the equivalent of $500 per week in addition to the money I was already getting from the department, well over the supposed maximum for a theatre minor). The opportunities were great, but so was the timesuck, and I still regret putting so many hours on the stage and not enough in the writing, even though the writing never would have helped me afford to graduate the way acting did.
Never thought I'd ever want to pursue acting as a career. I joked with my fellow actors that I'd be waiting tables right alongside them, but I'd make it clear that I was a starving writer, not a starving actor--and there is a difference. But every once in a while, I did wonder if a door
beyond college tuition was being opened for me there. A local newspaper called me a "physical comedy virtuoso" in a review. Audience members liked me a lot and told me so. I got to work with kids (which I enjoy) and do some wonderful shows, including a North American Premiere, some wonderful Sondheim, and a Shakespeare comedy directed like it was a sex farce (which was tons of fun).
Alex Wilson writes fiction and comics in Carrboro, NC. His work has appeared/will appear in Asimov's Science Fiction, The Rambler, LCRW, Weird Tales, The Florida Review, Futurismic, ChiZine, Pif, and Dragon. Locus Magazine has called him a "promising new writer," and Publishers Weeklyalso has nice things to say.
The Carrboro Film Festival is tomorrow, featuring short films with some tie to Orange County, NC. I'll be there at least for Series Two (3:45PM), which includes a screening of "All's Fair in Love and Police Actions." I'll probably stick around for Series Three (5:20PM) which includes a screening of "Balloon Animals," but I've got people in town. See appearances for a bit more details.
Lotsa stuff to cover. When I'm not writing entries, that means I'm busy or stuck under a heavy object. But this entry's got it all--theatre, film, writing, and more! Let's start with the writing:
Hedda Gabler finished its four weekend run on November 22. Reviews were mixed but overall very positive. Great group of people to work with. Learned a lot from them and I'll miss working with them. And I'm now just three degrees from Kevin Bacon. I worked with Mark Jeffrey Miller in Hedda. Mark worked with Laura Dern in October Sky and Laura Dern worked with Kevin Bacon in Novacaine. It's the little things that give me the most pleasure.
