NYCastings – DirectSubmit

LONELINESS – A stranded man talks to inanimate objects in this comedic monologue for male actors. 2-3 Min.

EXT: A DESERTED ISLAND

Logan is stranded and has been alone on the island for quite some time. He has taken to talking to inanimate objects.

LOGAN

If only I’d brought a book with me into the life raft. Or if life rafts just came equipped with books. Not that I’m blaming you, Raft, you did an excellent job of getting me to this island. But it would have been nice to have some reading material. It would have been like having a dialogue with someone, instead of just an endless soliloquy.

You’re a great listener, though, Raft. You too, Rocky. I worry I might be getting on your nerves sometimes. You can’t live with someone for 584 days and not bother them occasionally, right? Like, Raft, you do leak a little bit. Not a lot! I don’t mind it most of the time. Truly, I don’t. Although it does keep me from trying to leave.

And you, Rocky. What can I even say? You’re the most selfless friend I have here. Letting me use you in the fire pit was nice enough, but not complaining that there are 584 scratches all over you? That’s true friendship. I tried at first to keep the time with Sandy, but you get ten tally marks in her and she lets the tide smooth them all away. Yeah, we’re not friends, Sandy. I know you’re listening.

At least you kind of carry the conversation, Tide. Or maybe you’re asking me to shut up. All I ever hear from you is “Shh shhh shhh” back and forth all day and night. It’s almost like music sometimes.

Actually, you’re right, Raft. With the two of you and Palms back there as my shelter and support, I don’t need a book. It’s impossible to be lonely with friends like you.

“Did I Hear Someone Say the Magic Words” from the film “The Devil You Know.” – The Devil refuses to buy a soul in this comedic monologue for male actors. 2-3 Min.

INT: AN OFFICE.

The Devil, having been summoned, appears next to Scott. There’s blood on the floor and Scott is at the desk with his head in his hands.

DEVIL

Did I hear someone say the magic words? “I’d sell my soul for…?” Hello, Scotty. Ooh, what a mess you’ve made! Looks like something I can help you with, my friend. I have the best bargains in the business just waiting for the right soul to drive ’em home. The Devil always honors his agreements.

(Looks around and sees the blood.)

Well, the blood all over the floor certainly makes the situation clear. You don’t want to cut a “make me rich” deal so much as you want a “make this go away” plea bargain, am I right?

(The man nods.)

So what happened here to cause such a mess, Scotty? Your lady love giving you trouble? Your mother nag you one too many times? Just kidding, I know it was your business partner. So, let me help you out. Let’s draw up some paperwork.

(A scroll appears in his hand.)

Just prick your finger, sign away your soul right here on the dotted line, and I’ll start…hold up. Wait a minute.

(He peers at the paperwork, then goes pale.)

Whoa, okay, hold on. Let’s not be hasty here. I mean, I want to help you out, I really do, but your soul is kind of…worthless. I mean, the way you treated your clients and partner is one thing-we can work with that. But you also…let’s see, “vandalized a church,” “lit a squirrel on fire,” and “never replaced the toilet paper once.”

(Stares at Scott in total astonishment.)

Not once? Do you know how easy that is to do? And when you don’t, how much of an inconvenience it is for the next person to use the bathroom?

I hate to say it, Scotty, but this is one…terrible soul. Frankly, there’s not much good to be had in there. To be honest with you, I don’t really think it’s worth my time to make all of this “go away.” You’ll probably figure it out on your own anyway. No worries. A little bleach, a little scrub-scrub-scrub, and you’ll be fine.

(Backs away apologetically.)

Tell you what. You work on this whole soul thing for a little while, maybe rescue a kitten from a tree and try not to drown it. Get your credit score up a little-have fun cleaning up this blood by the way!-and we’ll talk again in two, three years tops. Good luck!

(Disappears.)

“Scientists Predict that…” from the film “FUTURE” – Monologue for older male actors, this monologue reflects on the future of a man who’s been diagnosed with cancer.  2-3 Min.

VICTOR

Scientists predict that the stars will be in unrecognizable constellations 100,000 years from now due to changes in the celestial sphere. People probably won’t notice; they’ll all be extinct from a super-volcano eruption that will occur around the same time.

By the year 2100 80% of the rain forests will be gone due to deforestation and also there will likely be a manned mission to Saturn.

By 2050 the average fish’s body size will be a quarter of what it is today and we’ll have widespread automobiles that can drive and park themselves.

By 2030 rhinos will be extinct, the Titanic will be done decomposing at the bottom of the ocean, and someone will have perfected human androids with functioning artificial intelligence.

By 2025 bioterrorism will be at a peak and we’ll be using 3D printers to create human organs for transplants and surgeries.

By 2020 there will be 30,000 drones over American soil and everyone will be eating genetically-altered super bananas.

By 2016 the cancer will have spread throughout my body and I’ll die doped up and coughing.

In six months I’ll tell you that I think the treatment’s working and the fatigue isn’t that bad, but I’ll be lying and you’ll know that.

Next month I’ll vow to fight this thing and go with you to the clinic. I’ll feel the sweat on your palm when they tell me it’s inoperable.

A week from now I’ll tell you what I already know.

I don’t know what I’ll do tonight. I think I’ll stay in. I hope I find you reading in bed, and that you’ll push your glasses up into your hair and smile at me. I’m going to hold your hand, and go outside, and look up at the stars.

FRUSTRATED FATHER – A middle-aged male actor gives this dramatic monologue to his ungrateful children. 1-2 minute.

INT: CRAIG’S HOUSE.

Craig is a frustrated, overworked man. At the dinner table his children are complaining about not wanting to do their homework.

CRAIG

When I was your age, my mom used to tell me, “You can do anything.” She believed it, too. That I could be a firefighter or the president or anything. She believed that people just find love and hard work pays off and luck will find you and you’ll get your big break and everyone can eventually make it to the top.

That is wishful thinking, kiddos. You won’t get to be something just because you think you deserve it. Coming out of college, I believed that people would come ask me to write for them. That I wouldn’t have to put days into writing an article, pitch it to them, and then have them reject it. That’s a real thing that happens. No one is going to push you to succeed because no one else really cares about you that much.

If you don’t do your homework, get good grades, and keep pushing yourselves, you won’t just get to be a doctor or a lawyer or even a checkout clerk. You’ll just be a sad, unemployed loser or worse. You might end up some overworked slob who comes home to his ungrateful children every night who complain about how they’re being forced to learn things and become smarter, more empowered people. You can’t just “be” anything you want to be. You have to do the work.

BABYSITTER – A boy has a playful conversation with his babysitter. Younger boys can use this monologue as an audition piece. 1 Min.

INT: A MESSY HOUSEHOLD.

Adrian, age four, is being babysat by his teenage neighbor.

ADRIAN

I’m the king! King Boomhammer! You can’t be the queen because the queen is gone. She got took with the dragon and the dragon went to its cave and now we have to get her but she died.

You can be the son who’s in high school. And I’ll be the son who’s in college. And I’m the king. King Boomhammer! Boom! Boom! Boom!

Okay, I get the sword and you can have the axe.

(Hands her the axe, but she accepts it a bit too readily for his taste
and he warily takes it back.)

No, I get the axe. You can have the stethoscope. And you have to stand on the couch and get all the way to the kitchen without touching the floor because if you touch it then it’ll burn your feet and your legs and your whole body and then you’ll die.

Mom says I can stand on the couch as long as I take my shoes off, so you have to take your shoes off too, because I’m the king and you have to do what I say, okay?

GHOST – A nervous woman tries to explain an encounter. 3-4 min.

INT: ATTIC ROOM. NIGHT.

KARA

I don’t believe in ghosts, but last night one visited me, hovering just about my bed. It was a sparrow. The ghost, I mean. I thought it was a picture on the wall at first, since all of Mum’s old paintings are up here in the attic with me. But it was glowing just faintly, and then it moved along the air and hovered right over me without moving its wings. I could see straight through it.

I thought if anything ever visited me from the Great Beyond, it’d be…I dunno, human, wouldn’t it? I always thought you and Mum might give me a sign. Not by being ghosts, I mentioned that I don’t believe in them, but something else. Just a sign that you’re all right. It might stop me from dreaming about you near every night.

Sometimes they’re horrible nightmares with you both pounding on the insides of your coffins and I can feel it vibrate through the ground and it startles me awake. But sometimes it’s nice dreams where we’re driving together or we’re on holiday or something and those are worse because I wake up happy and then I remember.

You’d think the eerie glowing ghost of a sparrow would mean something, but I admit I can’t suss it out. At first I thought you were sending me a message, but I’m not one to overreach. This sparrow barely noticed me. He just kept pecking at my bed sheets and flying around however it suited him.

Then I thought he might be a metaphor for something, like the rebirth of spring. ‘Course I realized after a mo’ that that’s robins, so I was back to square one. Not a message, not a symbol, and not remotely frightening. He just flew about, regular as any old bird in the street, and then disappeared once the sun game up.

He may be back tonight. I wish I knew if it meant something. I like to think that if there’s a bird afterlife, there’s something out there for you and Mum. Please let me know if you sent him, and if he’s meant to comfort me or warn me. It’s been so quiet on your end for so long and it gets so lonely here in this empty house night after night after night.

Advice Monologue – A new father drives around town to soothe his infant son. 4-6 minute monologue, good for men.

INT: A CAR

GARY is driving BEN, his infant son, around the neighborhood, trying to get him to go to sleep.

GARY

Shhh shhh shh, kid, take a nap already.

(In a sing-song voice)

Go to sleep, go to sleep, please oh god, kid, go to sleep.

(Looking blearily out the window as he goes)

There’s uh the Johnsons’ store. Belongs to Tim now, who is an enormous tool, by the way. He once pantsed me in gym class, in high school. I swear he never grew up.

Don’t tell your mother I said ‘tool.’

Also, go to sleep, please. Ugh.

Everything looks like a bed. Especially the snow. Look at that pristine bank right there—it’s practically a pillow-top. You’re not going to remember snow, Ben, because as soon as I put in for that transfer we’re moving someplace temperate. Like Seattle. They’ve never even heard of snow there. If I have one piece of advice to you, it’s never mess around with snow. My dad, your grandpa-geez—lived here his whole life. He could make a car skate on ice like it was the effing Olympics. Don’t tell your mom I said ‘effing,’ either, okay?

(Checks over his shoulder. The baby has stopped crying)

Aw, you like hearing about your grandpa? Or maybe you like moving and keeping warm. That makes you like me, I guess. If I have one piece of advice, it’s always be moving. Don’t be one of those people who live in a small town their whole lives. You know, I’m not even going to let you. I’m going to raise you in Seattle. Or L.A. even, if your mother will let me, which she will not.

(Wistfully)

She’s the only reason I came back here, Benny Boy. I was going to be one of the ones who got away, who got out. I’ve been to England, did you know that? Well, you will. Went to college and everything and just…came back here. I don’t even know why.

Except that your mom loves this town. We’re coming up on the place we met; it’s right around this corner here. No worries if you can’t see it yet. It’s a tree. Just a tree. But it’s a big one—one of those kinds with low-slung, mossy branches you sit and read in when you’re a kid because you think it looks cool but it’s actually the worst kind of uncomfortable. You’ll understand someday. I hope. I’m sure they have trees in Seattle.

(Looks perturbed at the thought that there might not be trees there)

Well, anyway, if I have one piece of advice to you, it’s that you should always talk to pretty girls reading in trees. They’re romantic, effervescent things. They don’t need to travel to live exciting lives in different countries. And if they’re nice girls who read, they’ll share their string cheese with you and offer you a branch.

(The car idles for a long moment before the baby begins to make noises and then he puts the car into gear and keeps driving. After a moment, with some consternation)

Well, it’s not like we won’t visit. Your grandma will kill me if we don’t. And you should see this place in the summer—thunder and lightning storms like you wouldn’t believe. And fireflies at night on the back porch…I’m not sure they have fireflies on the West Coast. If they don’t it’d be a damn shame.

Don’t tell your mother I said—

(Looks back and realizes the baby is asleep)

Hey, good work, kiddo. If I have one piece of advice, it’s always get sleep while you can. And let me have some too. And brush your teeth and learn to floss better than I do and wear sunscreen and watch for ticks in grassy fields and make friendships that last a lifetime and always have Sunday brunch with your mother if you can.

(Sighs)

This is why you can’t grow up in a small town. Either you never leave or you always find yourself coming back.

BREAK UP – A young woman attempts a conversation with her ex-boyfriend’s mother over the phone in this dramatic monologue. Good for younger women. 2-3 Min.

INT: A BEDROOM

ADRIENNE is pacing around her bedroom, talking on her cell phone to MARTHA, her ex-boyfriend’s mother. Throughout the conversation she tends to speak more than she listens, and often talks over Martha. She fidgets and picks up objects a lot as she talks.

ADRIENNE

(Answers the phone after taking a deep breath. Putting on a cheery voice)

Martha, hi! How’s it—yeah, no, same, I’m doing okay. Y’know, I saw you called last week but I was actually backpacking in the—hm? No, no it was just me. I’m just, you know, trying to spend some alone time and try to reconnect to…yeah, exactly.

Yeah, no, everything’s great! I’m getting, like, perspective, I guess? It’s kind of hard but so important to—hm? Mmhm. Mmhm. No, exactly. Well, and of course I miss you guys, but I just need to separate myself from him completely. You know how it is, just a little hard in the beginning. That’s so great of you to say, thank you.

I don’t know? Soon, I hope. Okay, yeah, that would be fun. Look, I… I’m sorry I haven’t seen you and Paul in so… yeah, well, you know how it is, but maybe in a week or two I’ll be up to—sorry? No, no, I totally understand! No, I want you to be able to too! I just…well, you’re like my second mom, so…yeah I appreciate it. Oh, wait, Martha? Hello? Hellooo? Hi! Yeah, you’re breaking up. I think it’s me, I’m in a tunnel. You know I should really…yeah. Mhm. Of course. I’ll really try to make it. Absolutely. Okay. Okay. I…love you too. Bye, Martha.

(Hangs up and sets the phone carefully on the bed, then lets the smile drop and weeps openly into her hands)

Cat Monologue – A housecat’s inner thoughts. 2-3 minute comedic monologue, good kids.

INT: A PATCH OF SUN ON THE ARMREST OF A COMFY COUCH

MILO THE CAT is lounging in the sunshine, taking a very contented nap. His owner walks in and he raises his head sleepily.

MILO

Don’t look at me like that. I can always tell when you humans are having a bad day. Like it’s my fault for sleeping. Do I give you a hard time for only sleeping eight hours? Or for sleeping when you should be feeding me? No. So leave me alone.

(The owner walks over and pets Milo)

Well, I guess if you’re going to pet me…

(Nuzzles the hand of the owner, who then pets him near the tail. His whole backside automatically lifts)

Noooooo—not the butt! Curse you, human, I was in such a comfortable pos—ooh, that does feel nice, though. All right, that’s good. Getting bored now. Okay. Okay. Okay, that’s enough.

(Bites the hand and then slinks off)

Man, it’s like you don’t know what you’re doing. Petting is not about you, sir, you hairless pink popsicle. Now bring me food! Hey! Food, I tell you! Not that dry garbage, bring me something wet that makes the whole house smell like tuna!

(Follows his master toward the kitchen, baffled when he doesn’t get his way)

I cannot fathom the inane stupidity of humanity. It’s like they don’t understand basic commands. Did I say to go get ice cream to stuff in your fat face? No. It’s like when I meow and you meow back at me—I’m trying to speak to you in a language you understand, not get you to try and repeat it! I’ve seen your kind do the same nonsense babbling repetition with babies. Maybe you don’t understand how communication works. If you did, maybe you’d get that I want to be petted on the head but not picked up or touched on the belly. It’s not like it’s that hard to remember.

Morons. I’m surrounded by morons. Sometimes it’s almost like you think you’re in charge or something.

SOCIAL MEDIA Monologue – A woman offends her coworker in this comedic monologue that rants about the use of social media websites. 2-3 minuteFemalesFemale

INT: AN OFFICE

Greta has been cornered by a coworker who is angry about being removed from Greta’s social media profile.

GRETA

Look, I’m sorry, Louisa, it wasn’t personal or anything. I’ve just started unfriending people who aren’t strictly relevant to my social life. Yikes, that sounded wrong and I can see the angry Tweet forming in your brain, but come on, hear me out.

You and I are friends…in a professional context. I like chatting with you here at the water cooler or at potlucks. I mean, I like being on your team when we do company bowling, because you’re an awesome bowler.

(Louisa does not look appeased.)

Okay, I can see I’m doing a bad job at this. It’s just…you don’t really want to see my Facebook updates about going to nightclubs in the city and I’m tired of reading about marriage and pregnancies and nightly family Boggle sessions and life-changing trips to Europe.

Ugh, not, not like your trip to Europe. Barcelona looked absolutely magical. I meant it general. It’s like…

(Deep sigh.)

Do you ever feel like everyone’s living a better life than you? Or at least acting like it? From what I can tell, two-thirds of my friends have the most adventurous, fulfilling careers that anyone could ever have. And the rest of them have perfect children and ideal spouses. There’s some overlap in there too, which is really unbearable. Or, I don’t know, maybe they’re all faking it. I guess I am too. I’m not posting about sitting under these fluorescent lights fifty hours a week. Or going home to a cat now that James left for good. Or dressing a body pillow in his old clothes and sleeping with it.

(Stares at the ground, Louisa completely forgotten.)

So anyway, that’s why I unfriended you. I just didn’t want to get too personal with my coworkers.

Walter Ben Hare’s play “The Wishing Man” features a song perfect for male musical auditions.

INT: A ROOM IN FATHER FRITZ’S HOUSE

The Wishing Man sings and dances to the tune of “The Wearing of the Green.”

WISHING MAN

I’m the friend of all the children,

And I’ll help you if I can,

Just tell me what your wishes are,

For I’m the Wishing Man.

I have wishbones on my fingers,

I have myst’ry in my eyes,

My clothes are trimmed with horseshoes,

And they’re stained with magic dyes.

My pocket’s full of rabbits’ feet,

And clover leaves and charms,

For luck I’ve got a big black cat

All tattooed on my arms,

I’m a friend of all the children,

And I’ll help you if I can,

So tell me what your wishes are-

For I’m the Wishing Man.

I come from a distant country

Away up near the pole,

But the things that I am telling you,

You mustn’t tell a soul.

I know every witch and goblin,

And if you would believe!

I have fortunes in my pocket-book,

And wonders up my sleeve.

When any little boy or girl

Says, “Wishing Man, appear!”

I jump right up from underneath,

And here I am, my dear!

I’m a friend of all the children,

And I’ll help you if I can,

So tell me what your wishes are-

For I’m the Wishing Man.

DATE

EXT: OUTSIDE OF DEREK’S HOUSE.

Beth, a girl of about thirteen, is standing on the steps, trying to summon the courage to ring the doorbell.

BETH

(To herself)

You can do this. He likes you. He told you so. Use your words, Beth.

(She takes a deep breath and rings the doorbell. After a moment, Derek, a boy
her age, answers the door. Before he can say a word, she freezes like a deer in
the headlights and speaks very rapidly without taking a breath)

I know you asked me out next Friday and I still really want to go but you didn’t say where you were going to take me-not that you need to because I really like surprises!-but I thought you should know that I’m allergic to dairy and wheat and I also probably shouldn’t have peanut butter even though it only made me breathe weird for like a day, my mom is really psycho about it but I don’t want to be difficult or anything and I think whatever you pick will be great but I’d also just like to know where it will be so I can find out if I can bike there or if my mom should drive me because she said she would if it was over the highway because I’m not allowed to bike over the highway and oh my god I’m being weird I’m so sorry never mind see you at school okay thanks sorry bye.

(Bolts. Gets to the other end of the stage and presses her hands
to the side of her head, completely mortified.)

Oh my god I can’t believe how stupid that sounded. Shut up shut up shut up, Beth, you are such a moron. Beth, why are you like this? Ugghhhhhhhhhhhhhh. Okay. Okay, you’re so stupid.

(Grabs a notebook from her purse, scribbles something on it, rips it out,
and folds it up. Walks back to the house a little more calmly, and rings
the bell. When Derek answers, she forces herself to speak more slowly.)

Hi. Sorry, you know, about that. I just…um…wanted to make sure we were…you know…on the same page. About Friday.

(What feels like an unbearably long pause. She speaks a little faster.)

Anyway, I know I should have just texted you those questions and I totally understand if you don’t like me anymore but just…just don’t say anything right now, just take this-

(Hands him the paper)

And just mark yes or no and give it back to me in homeroom and I’ll just see you then, okay? Thanks. Sorry. Bye.

Script

DOCTOR

INT: DOCTOR’S OFFICE

Daniel berates a doctor while sitting on the examining table.

DANIEL

Look, I been tellin’ my wife now for three weeks, I ain’t sick. I been workin’ with them there cars in the shop all day and you can’t do that when you’re sick ‘cuz they’ll send you home. This is just needin’ to piss all the time and sometimes there’s blood in it, that’s all. So what? You gonna tell me I gotta stop drinkin’ beer? Hell, if I could stop smokin’ cold turkey after my brother Rodney died of them there cigarettes, I can stop drinkin’ beer.

I tell you what this is really about. This is about Obama. He wants to get everyone runnin’ to the doc every time they get a cold comin’ on. Get ’em payin’ out. Get ’em on a government list. Well, that’s not how we do it here. We don’t just throw good money after bad, like my pa always said. My pa once sliced his leg open on a combine, right to the bone, and you know what he done? Patched it up with some cobwebs and sealed ‘er on up with some wet chaw. ‘Course, he died ’bout a week later, but you cain’t say he was weak about it.

I don’t need nothin’ for the pain. I’ll stop drinkin’ beer, Doc, and that’ll be that. Sheesh. When I think about the world now, Lordy, I feel sorry for it.

Did you know that actress Leisha Hailey had an influence on what her character, Alice Pieszecki, would be doing for a living in The L Word: Generation Q?

Best known for her role in SHOWTIME’s The L Word, Leisha Hailey has been in show business since she was a teen. Navigating back and forth between music and acting made her a well rounded entertainer.

Leisha Hailey in The L Word: Generation Q

But just like her character in the show, Leisha sure has had some drama in her real life. [pretend you hear that intense music dun dun Dunnnnn]!

[cough] What about that thruple Alice had with Nat and Gigi?

Let’s get some comments going about why Leisha’s fans just love her sooooo much as we get a glimpse into her life – and see what her advice is for people looking to join the biz!

You’re an accomplished actress and known as playing the mouthy Alice Pieszecki in Showtime’s The L Word and The L Word: Generation Q. Tell us about your audition, originally for the part of Shane, for The L Word.

I was at a small gathering at a friend’s house and someone told me I should try to get an audition for this new lesbian pilot she had heard about. At that time in my life I was only pursuing my music career and it was a real struggle at that point so I thought why not. I called my band’s manager at the time and had her look into it. She ended up getting me an audition with the castings assistant for the role of Shane. Shane read like a badass and a player so I wore all black with a leather jacket and my big idea was to carry a comb in my back pocket in honor of [Happy Days] Fonzie.

In 1991, you formed the pop duo The Murmurs (later changed to Gush) with classmate Heather Grody. You were having fun touring, including playing at Sarah McLachlan’s Lilith Fair. But then Gush disbanded when you were cast in The L Word. How did you make the decision to leave the group? Did you struggle with the decision? Did Heather know you were going on the audition and that the band would be over if you got the part?

We both went on the audition separately so it was clear that if either one got a part something would shift. I honestly never expected this “pilot” to change my life the way it did so the plan was never to leave the band. We were going to possibly keep it going. When all was said and done Heather wanted to pursue her own music career and I focused on what was ahead. We had our band for so long it was a natural progression.

You’ve always been drawn to music. Why is that?

I was a musical theater geek. I started when I was in fifth grade. Local community plays and musicals, the high school productions when they needed kids. I always took drama class, singing lessons, etc. To this day I think Oliver Twist was my peak, LOL.

You play bass guitar, keyboard and do vocals. What other instruments would you like to learn?

Drums. I took lessons for a while when I was young and gave up. I still regret that.

You knew you were gay from a young age. How did you survive growing up in the 70s & 80s during this time when there wasn’t much representation on TV and film?

I give all the credit to my incredible parents. They supported and nurtured every little thing that was different about me. They always taught me that my differences were my greatnesses. It helped guide me through some difficult times and it’s something I’ll never forget.

You grew up in Nebraska. After begging your parents for years to move to NYC, you got your wish around the age of 17 to attend the American Academy of Dramatic Arts. How’d you get into that school? Did you graduate from the American Academy of Dramatic Arts? Why’d you choose NY instead of LA? Where’d you live while at school? Did you get a non-entertainment job? How’d you earn money?

I really wanted to end up on Broadway and I was obsessed with New York City even though I had never been. It just called me. I wanted to really study acting and didn’t want the University pipeline. I wanted to only study the craft. I read about the school in a counselor’s pamphlet. I taped an audition and got a letter that I had to go to NY to audition in person for the school. I went with my mom and sister and ended up getting in. My parents knew this was the life I needed and off I went at 17 and studied there until I graduated. For the first year I lived in a girls’ dorm on the Upper East Side where all the dancers from Juilliard lived. I had tons of jobs through the years. I worked retail, a coat check girl and a bakery at 4am, etc. Luckily it was during a time where you could be a broke artist and still live in Manhattan.

To you, what’s the difference between acting and doing music?

This is something I’ve always struggled to answer. Music, at least the bands I’ve been in, have always had an organic beginning. The idea of starting with nothing and ending up with a sound and a show that you tour with has always inspired me. Acting feels more freeing to me in a sense. The words are already there. You get to take them and create a life around them. There is a vulnerability to it that I love. It always feels like you’re on the edge. I’m the girl who wishes I could do a million takes of the same scene because I want to try it so many different ways. I’m obsessed with what can happen when actors get together. The ideas are infinite.

Rose Rollins and Leisha Hailey in The L Word

Do you think The L Word: Generation Q has less of an impact than The L Word did since in today’s world, people are introduced to LGBTQ+ from birth?

The only big difference is that you can’t be “the first” at something twice. When we came out the first time, a show like that didn’t exist so it had a huge impact. I still think Gen Q means a lot to a lot of people so I can’t say.

Did you have any say in the development of your character, Alice Pieszecki?

I have a deep respect for writers. They shape and mold the trajectory of character’s lives. On the flip side we know these characters intimately. I really believe it’s the collaboration of the two that creates magic. I know if something bumps for me I can go to the writers and work through it. The talk show was my idea. We had a lot of time to think about where our characters would be over the last ten years.

If you were a FAN of The L Word Generation Q instead of an actress in the show, what would you want to see for your character of Alice?

In the end I want Alice to be happy in her personal life. Work is second hand for her. Relationships are much more of struggle. I just want her to be happy, how could I not?

Jennifer Beals, Leisha Hailey, Katherine Moennig

What’s in store for your future with music?

I’ve closed that chapter in my life. I’ve had the most incredible adventures with the bands I’ve been in. I’m excited to try some other things on.

What advice do you have for people who want to break into the entertainment field?

Be your authentic self. Bring that into every room. What you might think are your flaws are probably the traits people are drawn to and want to cast.

You can follow Leisha Hailey on Instagram and Twitter.

“The Chart” – Who remembers this?

A small portion of The Chart, covering some of the relationships established throughout the series. Pink circles denote primary characters, purple circles denote supporting and minor characters, and grey circles denote characters who are only alluded to and never depicted.

When we talk about the greatest movie scenes of all time, sometimes it’s easy to forget all the work that goes into them – and all the takes.

That is, what you see on the screen, that couple of hours that’s burned into our memories, all those beautiful, epic, heart-rending and iconic moments we all remember down to the nanosecond? Yeah, they are often the result of hours and hours of different takes, various inflections, emphases, rewrites – and even changing up the lines on the fly.

Best of all, a lot of times what we finally see on the screen, the very best take that the director, editor and often even the actor agree is The One turns out to have been improvised. 

One of the hardest things for newer actors to learn is how to stay in the moment, to stay engaged with the other characters you’re interacting with even long after you think the scene is blown. It’s easy to say, “Don’t stop until they yell ‘cut,’” but the truth is it’s a really tough habit to get into. It’s super easy to let yourself relax or slouch, or break character when you THINK the scene is over, but you just never know what the director sees on the other side of the camera!

Here’s a few examples to motivate you for the next time you’re on a shoot, and to remind you that what actually makes it into the film, television show or commercial may not always be the way your sides were originally written.

1. Kicking It With My Homies

In Lord of the Rings: The Two Towers, when Aragorn (Viggo Mortensen) comes across the smoking remains of a number of people who died in a battle while he is trying to track down his hobbit friends, he kicks a helmet and lets out a roar of grief and frustration. Mortensen then drops to his knees and hangs his head in grief in what seems like an overwhelming emotional moment at the prospect that his friends might be dead. 

Turns out however, that after several takes of Mortensen kicking a heavy steel helmet, that last one proved to be too much: Mortensen broke two of his toes, which helped motivate his reaction, you might say. 

That didn’t stop him from playing out the scene however. Director Peter Jackson recalled, “I thought, ‘Wow, Aragorn is just in total grief at what’s happened to Merry and Pippen, this is really cool!’” 

2. A Real Barn-Burner

In Saving Private Ryan, what stands out as most memorable for a lot of people is the brutal, confused mayhem of the scenes of the landing at the beach at Normandy. Director Steven Spielberg has been rightly praised for his solid attempt at conveying the real horror and madness of war. 

But as the titular character, a stand-out moment in Matt Damon’s tiny bit of screen time is a story he tells Tom Hanks’ character about a hilariously ridiculous accident that took place in the family’s barn. Damon cracks himself up throughout the telling, and for good reason: it’s hilarious, for one, plus he was making up large chunks of it on the spot. 

It’s a charming, truly funny story, and a genuine moment for the two men to get to know one another, but Damon takes the improv to the next level by tying it back to the reality of the story, remembering that that was the last time his character had been together with his entire family, particularly all of his now-deceased brothers.

3. Do You Kiss Your Mother With That Mouth?

The 40-Year-Old Virgin propelled Steve Carell’s career into the stratosphere, in large part thanks to his impeccable comic timing, not to mention writer/director Judd Apatow’s hilarious screenplay and direction, as well as a stellar supporting cast including Paul Rudd, Seth Rogan, Catherine Keener and Romany Malco.  

However, one particularly memorable scene was largely unscripted, and has become iconic in its own right: the chest-waxing scene in which Carell’s actual chest hair is waxed. Keep in mind, Carell has never experienced a waxing before, so his reaction is straight from his hairy, hairy gut! 

Watch this behind the scenes footage of the actors and Apatow trying not to break on set that day as Carell is tortured via waxing, and cuts loose with epic strings of insanely inventive curses directed at the poor aesthetician/actor who was waxing him – and probably at himself as well. 

Because bonus bit of hilarity: the whole thing was Carell’s idea. 

4. Time to Die

One of the most memorable scenes in 1982’s Ridley Scott-helmed Blade Runner, and quite possibly one of the most quoted lines from any sci-fi film in movie history, was largely improvised. When replicant Roy Batty, played by the late, great Rutger Hauer realizes his short, intense life is winding down, he waxes philosophical on a rainy Los Angeles rooftop with replicant hunter Harrison Ford’s Rick Deckard. 

While the script adapted from legendary sci-fi author Philip K. Dick’s short story of the same name had been through numerous tweaks and alterations, Hauer really brought home the tragedy and truth of his character’s pre-planned, pre-manufactured death with his “tears in the rain” monologue. Film critic Mark Rowlands described it as “perhaps the most moving death soliloquy in cinematic history,” high praise indeed for a largely improvised speech in a film relegated to one of Hollywood’s “genre ghettos,” science fiction. 

5. The Most Annoying Road Trip

Finally, while Hauer’s Blade Runner moment was amazing, comedy seems to be the more fertile ground for movie improv, and Jim Carrey is one of the masters of the genre. In 1994’s Dumb and Dumber, Carrey’s Lloyd and Jeff Daniels’ Harry share an epic and hilarious road trip, encountering a slew of odd characters, including a hit man who has been sent to kill them (Mike Starr.) 

Naturally they give him a ride, but before he gets a chance to off the pair, they drive him to the edge of sanity with sing-alongs and other stupid road trip games. But one of the most iconic improvised moments in movie history came when Carrey asked Starr, “Do you want to hear the most annoying sound in the world?”

As Carrey proceeds to let out a weird and piercing high-pitched whine, you can see co-star Jeff Daniels briefly breaking, as he wasn’t expecting that at all – because it wasn’t in the script. Starr, the target of the noise is amazingly stoic however, and somehow rides it out – although his lines right after to shut Carrey up were also improvised!

As awards season heats up and the Oscar nominations are grabbing entertainment headlines, one actor’s heartfelt, tortured performance in particular is the subject of much water cooler talk: of course that is Joaquin Phoenix for his brilliant turn as Arthur Fleck, aka Joker. (Spoilers ahead, but if you’re an actor and you haven’t seen Joker yet, turn off your computer – after bookmarking this page of course – and get to the damn theater. Now!)

The Todd Phillips-helmed DC Comics film elucidating the back story of the legendary super villain and long-time nemesis to Batman blew up opening weekend predictions to become the highest-grossing October release ever at $96 million. To date the film has continued to exceed expectations, reeling in $334 million domestically and over $1 billion worldwide, and is up for 11 Oscars including Best Actor, Best Picture and Best Director.

Even before the film came out, there was plenty of talk about Joker due to the tough issues it addresses. The movie is set in a Gotham (one that is essentially New York City in late 1970s or early 1980s, during the garbage strike period of general filth and lawlessness) that is a dismal place where basic social services get ruthlessly cut and rich assholes run things with impunity while the little people struggle just to survive. Wait a minute, that sounds familiar….

Anyway, Phillips of course provided the palette for Phoenix to paint Fleck, with his innovative, patient direction, almost leisurely in the way he allows the camera to run and observe what we can see roiling beneath the surface in Phoenix, even in quiet moments. Not lost as well is the deft use of the comedy chops Phillips honed on The Hangover series as well as films like Old School, humor that provides contour and color to this darkest of tales about mental collapse.

But let’s face it: it was Phoenix’s tour-de-force performance that really has people talking.

So while the story Phoenix and Phillips are telling here comes along at a perfect time, and while Phillips’ restrained direction of one of the least violent superhero movies in history nonetheless captivates audiences, it’s really Phoenix’s take on Arthur Fleck, the mentally ill, schlubby everyman who transforms himself into one of the greatest villains the world has ever known that makes this film a masterpiece. Here are a few of Phoenix’s key scenes.

1. First Scene With His Psychiatrist

Phoenix and Phillips come out swinging just after the title and the opening scenes of Arthur Fleck working as a sign-twirler/clown with his first interaction with his psychiatrist. Fleck’s laugh, a joyless, involuntary reaction to emotional stress, something akin to Tourette’s syndrome, is first depicted here. We see Phoenix convey his immense frustration at not being able to control the laughter, as well as the emotional pain and sorrow he is reckoning with that drives it. His choking, sobbing, laughter sounds almost like crying at certain points, and Phoenix manages to convey all of that without saying a word. Then, once he finally gets it all under control for a moment, Phoenix takes his sweet time and revels in the stillness in the wake of episode before delivering his gut-punch of a line: “Is it just me, or is it getting crazier out there?” While the entire scene in less-skilled hands could have come off any number of other, shallower ways, the brooding, grim feel of this man’s despair, this gloomy office, and this broken version of Gotham essentially on the brink of social collapse all come through in those simple words.

2. The Bathroom Dance

After Arthur Fleck stands up to the Wall Street douche-bros on the subway and kills them, he flies into full panic mode. He hasn’t fully transformed into his alter ego Joker just yet, but this is a pivotal moment in that metamorphosis. Fleck dashes full speed up the subway stairs and into a public restroom, slamming the door behind him. Here we see Phoenix the actor come to the fore with all his skills and talent, as a panting, terrified Fleck catches his breath, then slowly, languorously turns and shifts into a slow, eerily beautiful dance. Even more impressive, director Phillips has said that the dance came out of an improvisation by Phoenix on the day of the shoot and that originally he was going to process the violence he had just committed through talking to himself in the mirror. They tossed that idea in favor of the dance, and with elements reminiscent of Tai Chi, commedia dell’arte, vaudeville, and even a mocking sort of burlesque thrown in from time to time, this odd, disturbing, yet arresting and somehow gorgeous dance, all taking place in a filthy public restroom, is comforting for Fleck. It calms him. And Phoenix’s shift from the beat where he is in panic into the nearly soothing dance is also somehow a step in his shift from Fleck to Joker. We might also think of this dance as another coping mechanism in Fleck’s fraying arsenal of mental health tools: we see Phoenix calm himself as Fleck and push aside his fear over what he’s done in this dance. The entire sequence is worth of multiple re-watching for actors just to take the in mastery of shifting between two entirely disparate emotional beats, not to mention thinking about what can emerge from taking improvisational chances. 

3. The Refrigerator Moment

Also worthy of mention is the scene where Fleck, having just confronted (and been punched by) Thomas Wayne, his maybe father, and hearing repeated messages from the detectives who are homing in on him as a suspect in the subway murder, has hit perhaps the lowest of low points. We hear the increasingly irritated detective on the phone message mention that they were looking for him at his apartment that day, and, feeling the walls closing in, Fleck absently opens the refrigerator. Then, in a wholly unexpected moment for both Phillips and the crew, Phoenix begins shoving things out of the refrigerator, eventually making enough space that he crawls inside, closing the door behind him. Phillips, as he does throughout the film, allows the camera to linger for a good 10 or 15 seconds on the closed fridge, signaling that Fleck plans to remain inside for a while. Again, one random thought and improvisation coming from the actor turns this into an unforgettably weird, poignant and still wholly honest moment, further illustrating the character and furthering the story.

4. Comedy Club Performance

Another powerful moment showing off Phoenix’s acting chops is Fleck’s comedy club performance. Here we again see the torment that this affliction of laughter is putting him through. Phoenix makes it crystal clear that this is not funny; it’s torture for him. Even though his laughs are genuine, we can still see that his intent underneath is that he’s fighting against it with everything he’s got – and losing. It’s heartbreaking, of course, but what’s great about it for actors is seeing how fighting against something is so much more interesting to watch than going in one direction emotionally. That is, ti’s the character who is trying not to cry that looks genuinely tearful, or the one who is drunk but tries to act sober that is compelling. Also bound up in this comedy club scene is Fleck’s tragic desire to be a performer, despite his difficulties. He is still out there trying his damnedest even at the cost of ridicule and this utter torture he’s putting himself through due to the stress of it. This is a weird place for actors to take a lesson in perseverance, I guess, considering what Fleck turns into and his murderous, psychopathic nature, but nevertheless. If Arthur Fleck can get up there and fight through the adversity he faces, damn it, my problems and the things holding me back as an actor seem pretty tiny in comparison. 

Overall, it must be said that this was a tour-de-force performance for Phoenix all around, and anyone serious about acting should take the time to study Joker as if it were an extended acting class. Phoenix is up for and deserves Best Actor, but my prediction is that the subject matter, and the media firestorm over what they erroneously thought the movie was about will cause the Academy to chicken out once again and play it safe – which is the opposite of what Joaquin Phoenix and Todd Phillips have done in creating this magnificent work of art. 

https://m.youtube.com/watch?v=Kyue-V7KDUs

Actor Katee Sackhoff wasn’t prepared for the fallout she received from fans of the original Battlestar Galactica TV series (1978) in which her character, Starbuck, was male and played by Dirk Benedict.

As actors, we need to have a tough skin. Not just to protect us from negative feedback, but also to keep us moving in a forward direction. Ever hear of the word “rejection”?

People can be uncontrollably cruel; they can make you cry, make you want to give up, make you become brutal. You need to shrug it off and do your JOB.

Katee Sackhoff’s reaction to the counteraction was to get into her character’s headspace and give the best performance she possibly could. Katee proved that Starbuck was just as strong and lovable as the original character, yet at the same time, Katee added several emotional layers which made Kara ‘Starbuck’ Thrace a completely different character.

Battlestar Galactica was the catalyst that put Katee Sackhoff on the acting train and she never got off. She went on to do some of film and TV’s finest productions such as 24 with Kiefer Sutherland, The Big Bang Theory, Longmire, Star Wars: The Clone Wars, Robot Chicken and… need I go on?

Let’s learn from Katee Sackhoff!

You’ve been in show business for 20 years. What changes have you seen in the industry?

It might be easier to ask “what hasn’t changed in the industry?” because it seems like everything has. When I first started acting there were no cell phones, no internet, no 100 million dollar movies. None of that. But there were also very few female writers, directors, and producers. Not as many opportunities for actors, and CGI was just becoming more mainstream. All of which have helped to mold the industry we find ourselves in now. There is an overabundance of opportunity in production, some of the highest grossing, most awarded TV shows today are created by women, and we have entire movies that are made using technologies that were just pipe dreams when I started. Its truly amazing to witness. We are in the golden age of television and I couldn’t be more excited about the future of the industry and the new technologies people are dreaming up daily.

You gained a lot of notoriety on Battlestar Galactica as the tough, yet vulnerable character Kara “Starbuck” Thrace. How has that role impacted your life?

Battlestar Galactica was a dream come true. I had been acting for about five years in Los Angeles, had been in three canceled TV shows, and was being typecast as the angsty teenager. It changed the trajectory of my career and the roles I would be associated with and gave me an extended family that means the world to me. Starbuck and roles like her were always my dream, but when you first move to LA, as I did in 1998, you can’t be picky and I took most of the jobs that came my way if I thought they could propel my career in a forward direction and didn’t compromise my moral integrity. So Battlestar was exactly what I needed to turn the tide.

Katee Sackhoff in Bionic Woman, 2007.

You recently started your own YouTube channel. Who came up with the idea? What was involved in starting the channel and what’s involved in keeping it up?

The idea for the YouTube channel and its content was largely the brainchild of myself and my producing partner Robin Gadsby. I knew I wanted to create a channel but wanted to make sure it was informational, fun to watch, and was helping people along the way. That’s where Blood, Sweat, & Coffee came from. So many people have associated me with strong capable characters throughout the years and they wanted to know what motivates me. What kinds of things I’m interested in pursuing that continue to help me grow as an individual. We only get one life and the channel is all about living it to the fullest in a healthy, whole, realistic way.

Robin is my executive producer, and there isn’t much that he doesn’t do on the channel. He helps come up with content ideas, he handles the organizing and scheduling of shoots, and he’s also usually the camera guy, sound guy, editor guy, and occasional on screen talent guy. He pretty much does everything that holds the show together.

Peter Macaluso is also a great editor that we work with who helped shape Season 1 and has stepped in as a videographer for us from time to time. That’s it. We do it all and have really high expectations for the future of the channel but also for Robin and I as a producing team.

What were some of the things you had to overcome in order to be a full-time working actor?

I was very lucky when I moved to Los Angeles to have the help of my parents. The deal was that I had to stay in community college and they would support me while in LA. That was such a lifesaver because I never had to have a day job outside of school. I could really focus on acting and my auditions. Within a year I had booked my own series and had to leave school due to my work schedule. I was in the right place at the right time….and was really prepared when the opportunity came. Never let anyone outwork you. That has been a huge part of my work ethic and has contributed largely to my success.

Being in show business is grueling. Is it difficult to maintain relationships?

While this business can be grueling, it has never cost me a relationship that was worth having. Everyone in my life is aware of how much joy I get from being creative and they have never once asked me to choose because they know my work is so important to me. That being said I fully believe that what we do is not who we are. The joy I get from my work pales in comparison to the relationships I have in my life that I value and hold so incredibly dear. That acknowledgment came later in my life and I have started prioritizing better.

Katee Sackhoff in Longmire.

You’ve had long running characters, guest / one-episode characters and recurring roles. How do you build a believable character in one episode vs. a long running character?

No matter how significant the role to the project the process is exactly the same. I focus on what my character wants. I find that if I can determine who, what, and why, it’s very easy to create a character that people can identify with.

You have your own production company called Fly Free Productions. How’d you come up with the name? When did you start the company? Do you have partners in the company? You also have the organization Fly Free Charity with your mom. Tell us more.

Fly Free Productions is the name I came up with when I first incorporated myself. It just sorta stuck. My mom always told me “I was the wings on her butterfly”. Meaning quite literally that she couldn’t live without me. That’s how Fly Free came up. The Fly Free Charity organization’s work was just a natural progression of that and for the most part it’s Fly Free’s only purpose now. I decided a long time ago that giving back would be an important part of my business. I have been so fortunate in my life and I’m constantly asking myself, “Have I done enough for others?” It’s a huge motivator to me. All the money raised through the sale of my memorabilia and autographs goes to charity. My mom runs the site on her days off so we can keep the cost as close to zero as possible.

You’re optioned for a series called Rain, which you wrote and are Executive Producing. What exactly does “optioned” mean?

Rain is a series I created years ago that is in a holding pattern for the time being. I haven’t put it to bed, but with all of the other opportunities and ideas that I have in the works, it’s just not today’s project.

You have visible tattoos. How does that affect jobs for characters that don’t have tattoos?

I’ve had tattoos for so long that I can’t remember when I didn’t have to go to work and have them covered for a character. That being said I’ve never lost a role for having tattoos, that I know of anyway 😉 They’re covered with clothes if they can, or makeup if they can’t.

Did you ever ask a Casting Director a question that you could have found out on your own?

Oh I’m sure I have. I ask as many questions as I can that are pertinent to my understanding of what they want from me in the room. I truly believe there are no stupid questions. What we do as actors in the room while we audition is completely ridiculous and in only the smallest way as real as it will be on set. I believe it is the casting director’s job to make sure we have the information we need ahead of time and then it is up to you to be prepared. Part of that preparedness is asking them if there is anything specific they want me to know before I read.

Katee Sackhoff Exclusive Picture to NYCastings.

What shortcomings, if any, do you have as an actor? How did these shortcomings help with any of your characters?

I wear my heart on my sleeve. My face cannot hide what I am feeling. Those are characteristics that I have given to my characters over the years and I believe are probably two of the things I’m most known for in my performances. But I’ve worked hard to develop subtlety in my work over the years and really dive into multilayered characters…I’m still not subtle in real life which sometimes gets me in trouble 😉 but hey, you know what you get with me.

How did you deal with the backlash from the diehard Battlestar Galactic fans who couldn’t see Starbuck as a female? Did anyone warn you this might happen?

Nothing can prepare you for the backlash of a fan who feels like you’ve destroyed something they love. That’s how a lot of people felt. I can understand that. What I couldn’t understand, and still don’t, is how people are so incredibly cruel to each other over the internet. Inflicting pain on others by spewing one’s own anger and hatred toward people in a hidden forum is horrible. Nor do I understand how people use the constitution to justify and protect their right to spread hate. The internet has made this far worse. It’s sadly gross to me. I didn’t get a warning, but I don’t think anyone saw it coming. No one expects to get boo’d at Comic-Con. The only thing I could do to deal with it was to focus on the work of creating my character, and that seems to have done the trick.

Soon after filming Battlestar Galactica, you were diagnosed with thyroid cancer. Tell us what went through your mind before you knew the diagnosis and after you found out?

At the end of filming Battlestar Galactica I was very tired. This was largely contributed to the long hours we were working in order to complete the show so I didn’t think much of it. I went to my gynecologist for my regular yearly checkup around this time and while feeling my lymph nodes in my neck she felt the lump in my thyroid. (Not to give too much of a thyroid lesson but the thyroid looks like a butterfly and the body of the thyroid is called the isthmus. That is where my lump was and you can feel that part of your thyroid through your neck right below where a man’s Adam’s apple would be.) I did a ton of research, as did my fiance at the time. He was a huge support for me because I was so scared at times that I would check out and forget things that were mentioned during my doctor’s appointments. I learned we must be our own advocates when it comes to our health. We are really just a number to our healthcare system and one of many patients, so it’s important to ask questions and seek as many opinions as you need when making big decisions in regards to your health. I also learned to stay out of medical chat rooms! Happy people do not go into chat rooms to talk about how great they feel. They are out living their lives. The chat rooms were filled with angry people who were not satisfied with how they felt. They blamed every single ailment they had on the fact that they no longer had a thyroid! Had I listened to those people I would have believed that I’d be a miserable, overweight, sad person, with no sex drive, terrible cosmetic side effects, and couldn’t maintain a job or relationships. I learned we are all individuals and nobody knows what your experience is going to be like but you. You have the power to either go after your health with positivity or negativity. The choice is yours. My physical recovery was easy after my surgery. I went back to work within a week to prove to potential employers that I was healthy enough to be there. In hindsight I wish I had taken more time off because emotionally I was very much in turmoil. My hormones hadn’t adjusted yet to my now current baseline and I was emotionally drained from the entire experience. During that recovery I had shot a pilot for CBS that didn’t get picked up and then I went straight into my season of 24 which was a godsend. I was so blessed to be able to work close to home and to my support system during my recovery.

Katee Sackhoff and Tricia Helfer. Photo by Dennys Ilic .

You participate in a bunch of charities and even co-founded a charity with fellow Battlestar Galactica actress Tricia Helfer called Acting Outlaws. What prompted you to start serving charities?

Tricia Helfer and I started The Acting Outlaws 10 years ago now. It was our way of marrying our love of motorcycles and our desire to give back and be philanthropic. My parents raised me to believe that if we were blessed enough to have a life that is filled with love, health, a roof over our heads, and full bellies then we needed to find the time to give to those less fortunate. I’ve been incredibly blessed in my life and am always looking for ways to give my time and to help raise money for causes. Tricia and I do the Tulip Ride every year if people would like to donate money to help animals at the Seattle Humane Society and of course all proceeds from my website go to various charities that we select at the end of the year.

You recently served customers coffee at Mt. Hood Roasters Coffee Company in Rhododendron, OR while visiting your parents in Portland. Is Mt. Hood Roasters a place you frequent when you’re visiting home? Why did you decide to host your upcoming YouTube video there? Did serving coffee bring you back to the days when you were a waitress before you had your big acting break?

My home away from home when I’m in Oregon is Mt. Hood. I grew up on those mountains and have so many fond memories. One of the ideas we had for this next season of the YouTube channel was to learn how to make the perfect cup of coffee. From start to finish. Coffee is the fuel of my life and I realized it was kind of a shame that I don’t really know much about making it other than the drip kind. Mt. Hood roasters roasts their own coffee and makes one of the best lattes around so it was a no brainer to reach out and see if they would come on board and teach me how to roast beans and also learn to make the drinks at their store. It’s going to be a great episode so make sure to go to my You Tube channel, subscribe, and turn on notifications so you’ll know when the season starts. There’s my plug, haha.

How has yoga helped you with your high school knee injury?

I actually don’t do much yoga anymore, but I should because it lengthens your muscles and helps keep those small stabilizing muscles strong that none of us really target enough.

What advice do you have for actors just starting out?

Trust your instincts, both on camera and when you’re navigating the business. So many times as actors we try to complicate scenes or dialogue in an effort to show our range. It’s a huge mistake and a trap that so many fall into. Most of the time your first reaction to a scene is right. Those are your human instincts telling you how it makes you feel. Trust that. Don’t overcomplicate the human condition. In the end we are all driven by the same things. Just ask Who, What, and Why. Trust yourself and the rest will fall into place.

Follow Katee Sackhoff on Twitter and YouTube.

Katee Sackhoff. Photo by Dennys Ilic.

KATEE SACKHOFF’S BIOGRAPHY:

Kathryn Ann “Katee” Sackhoff (born April 8, 1980) is an American actress known for playing Lieutenant Kara “Starbuck” Thrace on the Sci Fi Channel’s television program Battlestar Galactica (2004-2009). She was nominated for four Saturn Awards for her work on Battlestar Galactica and won the award for Best Supporting Actress on Television in 2005.

Sackhoff has also starred in the short-lived TV series The Fearing Mind (2000-2001) and The Education of Max Bickford (2001-2002); had recurring roles in the TV series Bionic Woman (2007), Nip/Tuck (2009), CSI: Crime Scene Investigation (2010-2011), and Star Wars: The Clone Wars (2012-2013); and had a lead role in the eighth season of 24 as Dana Walsh (2010). She voices several characters including Bitch Pudding on Adult Swim’s stop motion animated series Robot Chicken. Between 2012 and 2017, she starred in the A&E and Netflix series Longmire as Deputy Sheriff Victoria “Vic” Moretti before recurring on The Flash as Amunet.

She had lead roles in the films Halloween: Resurrection (2002); White Noise: The Light (2007); Batman: Year One (2011); The Haunting in Connecticut 2: Ghosts of Georgia, Sexy Evil Genius, Riddick, Oculus (2013) and Don’t Knock Twice (2016).

Sackhoff was born in Portland, Oregon, and grew up in St. Helens, Oregon. Her mother, Mary, worked as an English-as-second-language (ESL) program coordinator, and her father, Dennis, is a land developer. Her brother, Erick, is co-owner of a vehicle modification shop near Portland. She graduated from Sunset High School in Beaverton in 1998. She began swimming at an early age and by high school, was planning to pursue a career in the sport until her right knee was injured. This led her to begin practicing yoga-which she continues today-and to pursue an interest in acting.

Her first acting role was in the Lifetime movie Fifteen and Pregnant in which she played a teenager with a baby. The movie starred Kirsten Dunst and motivated her to move to Hollywood and pursue a career in acting after graduating high school. Sackhoff’s first recurring role was Annie in MTV’s Undressed, next gaining a supporting role as Nell Bickford in The Education of Max Bickford. Sackhoff made her motion picture debut in My First Mister, and next appeared in film as Jenna “Jen” Danzig in Halloween: Resurrection.

Katee Sackhoff in The Flash.

In August 2012, Sackhoff became the co-host of the Schmoes Know Movies podcast on the Toad Hop Network. One of her first shows was with guest Sean Astin.

Sackhoff announced in April 2015 a new TV-series project, Rain, which she wrote and is executive-producing through her Fly Free Productions. She also had a role in the video game Call of Duty: Black Ops III, performing voice over and motion capture as Sarah Hall. She portrayed Pink Ranger Kimberly in Power/Rangers, a short depicting a dystopian future in the Power Rangers universe.

In 2017, Sackhoff joined The CW series The Flash in the recurring role of villainess Amunet (Blacksmith), for which she is billed as a special guest star.

Netflix V Wars Actress Laura Vandervoort says, “‘Fake it ’til you make it’ really is a bible in this business.”

As an actor for over two decades, Laura Vandervoort has been through the hoops. Starting in show business as a teenager and continuing to make a full-time living from acting, Laura still hustles like the rest of us. It’s the mindset that even if we’ve ‘made it’, we still haven’t ‘made it’.

You know why that’s key? Because if you get too comfortable – if you let your ego get the best of you – you may miss out on great opportunities.

Hence, Laura Vandervoort continues to work on a daily basis with the attitude that she hasn’t made it yet. Even though now she started her own production company, Lava Works Entertainment, it’s as if Laura is still learning the ropes. It’s refreshing to see that someone who earns her own keep from acting considers herself to be on the same playing field as actors at any point in their career.

Let’s find out the inside scoop on Laura Vandervoort and what advice she has to offer us!

Laura Vandervoort in Netflix’s V Wars.

You currently play Mila Dubov in Netflix’s V Wars which is about a doctor who is pitted against his best friend when an ancient disease turns people into vampires. The series is based off of the comics by Jonathan Maberry and Alan Robinson. Did you read the comics? Tell us about your character.

I hadn’t read the comics, however when I was cast, Jonathan was kind enough to reach out to me over Twitter and send me some pages on Mila’s background. I was given the book during production. The 10 episode series on Netflix is based on Jonathan Maberry’s best-selling books about a genetic mutated outbreak, that leads to the first vampire vs. human war. Starring Ian Somerhalder and Adrian Holmes as Dr. Luther Swann and Michael Fayne, produced by High Park Entertainment with IDW Entertainment. This is an origin story, unlike other vampire-themed series. A new species coming into existence. V Wars has a lot of relevance within today’s society. The series deals with borders, disease, fear, politics, power and war, all of which are so relevant within the news and our lives today. This series covers those heavy hitting topics in a smart and entertaining way.

I can tell you that my character ‘Mila’ is not thrilled about becoming a vampire. Mila Dubov is turned against her will by her sister into a ‘blood’ or a vampire. As a quiet introverted woman, becoming a vampire (the nature of a vampire) goes against everything Mila believes in. Mila doesn’t have an aggressive bone in her body. She can’t allow herself to succumb to her new urges, however in doing so risks her life trying to do the right thing, becoming isolated and plotting revenge. Mila staves off her thirst for fresh blood and aggression by feeding from blood bags stolen from labs. She fights against her new nature as her anger for her sister builds. Mila becomes an anti-blood vigilante in the war uprising. A Robin Hood / slayer in a sense, for the human kind. Mila certainly doesn’t shy away from fighting for what she feels is right. I did do the fight sequences (similar to Bitten) whenever our stunt coordinator felt comfortable with it (which was all of my stunts for season 1 of V Wars haha.)

Did you audition for V Wars? Did you know what the show was about or was it all secretive? Did you have chemistry tests?

I actually did a self tape for another character. However, months later I was offered the role of Mila Dubov. I didn’t have any chemistry reads nor did I truly know what the audition was for originally. Once I was given a bit more information on my character arc and the actors already involved it seemed like a great project to be a part of. I always look for roles that have a duality to them. What Mila struggles with was very enticing to me.

When you were a kid, you were involved in sports such as martial arts and playing on several school sports teams such as soccer, karate (second-degree black belt), basketball, tennis, gymnastics and baseball. What did you learn from sports that helps you with your profession today?

I was always competitive as a child, but also rather quiet and introverted. Being an athlete was a healthy way for me to handle that, by being a part of a team, a dojo. Martial arts was a great tool in general as a young woman. It taught me focus, work ethic and determination. Obviously, the actual physical skill of martial arts came in handy as an actor later in life, allowing me to do the majority of my fight scenes and making me a more valuable asset on set as an actor. Since I was shy and introverted as a child, excelling in different sports and achieving my second degree black belt at the age of 19 gave me that self esteem I needed. All of these qualities allowed me to feel more comfortable on set. Patience, focus, determination (when you don’t book a job but choose to continue moving forward anyways.) As a child actor, I had to grow up quickly on set. I took the work very seriously like I had in school and in sports. Being well behaved, off book and professional (like the adults) was very important to me (Did I mention I was competitive haha.) As a child (and even right up until today) I often retreated inwards during social events because I merely didn’t feel comfortable. As a kid, I didn’t have a lot of friends nor felt the need to. My imagination and a quiet space was all I felt I needed. I would throw myself into school work, memorizing lines and sports as a way to feel accomplished. So long story short, yes having other activities as a child outside of acting took the pressure off ‘booking the next job’ and distracted me, but those same sports gave me the tools I needed to succeed.

You have a company called Lava Works Entertainment and recently developed and executive produced a film called Age of Dysphoria.

After nearly 22 years in this business I wanted to experience the other side of the camera. I wanted to tell stories that I believe in and control the content. My production company and I developed and executive produced ‘Age Of Dysphoria’ alongside the incredible Jessica Petelle, whom also directed it with precision. Produced by Brad Turner, FilmCoop and written by Zoe Robyn. Shot in Toronto with an all Canadian crew and cast, starring Canadian icon Gordon Pinsent. We are so proud of the film and currently submitting to festivals. Despite the sci-fi genre being so kind to me, I also seek to expand as an actor outside of the genre and behind the camera, which I have slowly been doing over the years.

The concept for ‘Age Of Dysphoria’ came from my desire to be seen in a different light, both physically and emotionally. After working with Jessica Petelle twice on previous projects, I knew she was as hungry as I was to take the next step. I pitched Jessica my concept and asked if she would be willing to produce and direct the film. Thank God she said yes! I couldn’t have done this without her, her skills and her knowledge. I had been wanting to work with my mentor, Gordon Pinsent since I was a kid. That opportunity just didn’t seem to be coming my way and I was tired of waiting on the universe to make it so. The story behind ‘Age Of Dysphoria’ was selfishly written as a way to finally fulfill that dream. Sometimes you really just have to take it into your own hands. Adjust the focus on how audiences and the industry view you. I continue to try to do so.

How did you come up with the name Lava Works Entertainment?

It is a fairly straightforward answer honestly. LAVA stands for the first two initials in my first name and the first two initials in my last name. I believe my Dad came up with the name. I liked the imagery of Lava and how it slowly works its way through, leaving a lasting impression as it continues to move forward.

What made you want to start a company? Are you 100% owner or do you have partners?

I wanted to be incorporated for working purposes/tax planning. I also knew I’d want to eventually begin producing and possibly one day try my hand at directing. I am president of Lava Works Entertainment and 100% owner. We have two other projects currently in the development stage. A comedy feature with ‘Piller/Segan productions,’ as well as a horror/thriller feature with ‘No Equal Entertainment.’ Both of these concepts were stories I came up with and felt that there was something worth exploring within the concepts.

What is your job as a developer and EP?

In terms of my film ‘Age of Dysphoria’ and the other two I have in development, I came up with the concept and general plot. My job was to find the right writer who shared my vision. In addition, finding the right producing partner(s) and director to come on board. Once the script has been written and we get financing (the financing and paperwork is not my strong point, so my producing partner often does this) I’m involved in watching the auditions and selecting the cast alongside the other producers and director. For ‘Age Of Dysphoria’ I connected my producing partners Jessica Petelle, FilmCoop and Brad Turner with a studio and crew I had a connection with. A lot of favours were called in. I realised having been an easy going actor to work with on set and in this industry for 22 years in Toronto finally paid off. A low budget film can certainly deter people away, however all crew were willing to help us out, locations came easy to us. Our first choices for cast all said yes! Everyone involved on the producing/director side had worked in this business for years and our joint contacts truly came in handy. Overall, I would say my portion of both developing and producing is on the artistic and story telling side, as well as connecting people to create cast and crew.

What goes into submitting your work to film festivals? Do you have to pay a fee to the festivals for a submission? If it gets accepted, what happens next? Walk us through the process you went through.

I am not the one who has handled this process in the past. As I’ve mentioned, the paperwork side of producing isn’t exactly my lane. In regards to my film ‘Age of Dysphoria,’ Jessica Petelle our powerhouse of an executive producer and director spearheaded the festival submission process. There are so many festivals and each has a submission fee. Each festival has a deadline for submissions for different categories just as they have a date you will hear their response by. Most festivals receive hundreds, if not thousands, of submissions and chances are slim. Rejection doesn’t necessarily mean your film isn’t incredible or poor quality. There are several reasons films do not get accepted into certain festivals. The entire process can be rather overwhelming and frustrating. I do believe (like in most things in life) politics also come into play during the selection process.

Some films may wish to hire a festival publicist to help guide them along the way. Overall, the expenses don’t end when post production finishes and your film is locked. For our film, we chose to do an IndieGoGo campaign to help raise the remaining funds needed for post production, festival submissions, money aside for travel should we be accepted into a festival, building a website etc.

Actors are always hustling for the next job. Do you find at this point in your career you’re still hustling? Do you have a fear that this could all one day just end and you’ll be struggling to make a living?

ALWAYS! We hustle everyday to get that next job. You get it. It’s over…and you start the hustle again. I’ve been doing that since I was thirteen years old. Honestly, I’m tired haha. I have moments every single year where I want to walk away from the industry, where the amount of rejection we receive daily finally gets to you. There is no guarantee in this business. Things change quickly. What works one day for you may not work the very next. We have to constantly adapt to times of failure post periods of success. Even when you finally think you have found that job that will change everything…it probably won’t. That’s the truth. Nothing is a sure thing. Even after 22 years, I am always fearful the producers will realize I have no idea what I am doing and I’ve been faking every step of my career, floundering around just hoping to make the right steps. Every actor I have spoken to feels the exact same way. That old saying ‘fake it ’til you make it’ really is a bible in this business, however perhaps it’s more ‘fake it ’til you make it…but if you don’t, try to be truly happy as a working actor and just keep faking it.’ I suppose it keeps us on our toes and driven to keep going, keep pursuing new opportunities and challenges.

Do you currently have an exercise routine? How do you stay fit? Is it important for actors to have an exercise, food and health routine?

I don’t necessarily have a routine but I do stay active. I enjoy working out as a way to relieve stress and stop my mind from running. I used to work out religiously, however as I’ve gotten older I prefer to only do the things that bring me joy. Pilates has been a go to as well as hiking with friends. Occasionally I will box or take a spin class, however I also now know to listen to what my body is needing especially if that is rest.

In a way…I suppose it is important for actors to stay somewhat fit merely in terms of health. This lifestyle can include insanely long hours on set, a lot of travel and you do not always have the healthiest options available to you. Feeling at your best leading into a production can get you through those longer hours. Your endurance can come into play during those late night shoots. Yes, of course the physical look of an actor always seems to come into play (especially for women) during the casting process. So depending on the ‘types’ of characters you audition for or are playing you may choose to adjust your appearance at times. However, overall I think merely feeling at your own personal best (and not what the industry tells you is standard and ‘should’ be your best) physically and mentally is what counts. Mentally, working out gives me the mental clarity I need to make decisions and process my day.

What advice do you have for actors of all ages who are just starting out in the business?

Be in it for the right reasons. Be ready for the long haul. Be patient and be kind to yourself. Not every decision made is a personal one against you or who you are. Many factors direct decision making in the casting process. Many factors direct changes on set. Don’t get in your head. Try to enjoy the process, both the ups and the downs and always try to find the lesson the universe is teaching you in the ‘down’ times. Don’t alter who you are at the core just to be a part of something ‘popular’ that you are uncomfortable with. Don’t put yourself in bad environments or situations. Stay focused.

LAURA VANDERVOORT BIO:

Laura Vandervoort is a versatile actress who not only crosses over genres, but also changes from character to character flawlessly embracing the essence of every role she plays. Best known for her roles on the television shows “Smallville” and “V,” she has built an international fan base of men and women of all ages. Laura has been consistently working as an actress since she was thirteen years old. After spearheading two PETA campaigns, Laura took on the role of Ambassador for World Vision Canada.

Born in Toronto, Canada, Laura Dianne Vandervoort contracted meningitis after only six weeks of life and was hospitalized. She fought through the illness as an infant and has never stopped fighting for what she believes since. A tomboy for years to come in her childhood, Laura was drawn to athletics, studying martial arts and karate (achieving second-degree black belt) and playing on several school sports teams.

Growing up, Laura admired the work of Meryl Streep, the class Grace Kelly held, the off-the-wall twist of Tim Burton, the ever-so-compelling Canadian icon Gordon Pinsent. She first began her career in background work on Canadian commercials and TV shows such as “Road to Avonlea” and “Harriet the Spy.” Laura landed her first speaking role at the age of thirteen for the children’s series “Goosebumps” and then “Are You Afraid of the Dark?” She went on to take acting classes and book other TV guest star roles, such as Disney movies of the week “Mom’s Got A Date With A Vampire” and “Alley Cats Strike.” At nineteen, while attending York University under the concentration of Psychology and English, Laura landed the lead role of “Sadie Harrison” on the CTV TV series “Instant Star,” a popular series that ran for four seasons.

In 2006, Laura shot her first feature film “The Lookout” starring Jeff Daniels, Joseph Gordon-Levitt, Mathew Goode and Isla Fisher. Several TV appearances afterwards, which included “CSI: Crime Scene Investigation,” led Laura into the hands of The CW network. Landing the coveted role of “Supergirl” AKA “Kara” on the hit The CW series “Smallville,” Laura became the main focus of the 7th season of the popular sci-fi drama. Following “Smallville,” Laura booked the sequel to the Jessica Alba/Paul Walker feature film “Into The Blue” titled “Into the Blue 2: The Reef.”

Following “The Reef,” the in-demand actress went directly into filming several acclaimed indies. Laura then booked a lead role in a miniseries that was the SyFy channel’s re-launch of Philip José Farmer’s “Riverworld.” While shooting “Riverworld,” Laura also booked a series regular spot for ABC’s sci-fi series “V” among Elizabeth Mitchell (“Lost”) and Scott Wolf (“Party of Five”).

After “V,” she booked five feature films back-to-back: the psychological thriller, “The Entitled” starring Ray Liotta, followed by McG’s romantic comedy, “This Means War” starring Reese Witherspoon and Chris Pine, the lead in “Desperately Seeking Santa” with Nick Zano, “Broken Trust,” a leading role psychological thriller for the Lifetime network where she plays a lawyer, and a car sales associate and confidant for Wahlberg in the comedy “Ted” directed by Seth Macfarlane, starring Mark Wahlberg and Mila Kunis.

Laura has since continued on her superhero path voicing “Mary Jane” in the new Spiderman video game, which would be her second voiceover gig after doing three episodes of “Family Guy.” Recently, Laura narrated a short film titled “The Hundred Year Old Whale”, educating audiences on the species. Laura has guest starred on several series including “Haven,” “CSI-NY,” ‘Private Eyes’ and “White Collar” amongst many many others. Both feature film and indie film, she is inspired to work on roles that challenge her.

Laura was the lead of the sci fi-action series “Bitten” for Syfy and Space. The series ran for three hugely successful seasons. “Bitten” is based on the New York Times Best selling series of novels by Kelley Armstrong. Laura plays “Elena Michaels” the only female werewolf in existence. With high praise critically and a large fan following the series gained strength and praise for both performance and cinematography. During this time, Laura graced the cover of Maxim Magazine and was ranked one of Maxim’s Hot 100.

Additionally, Laura appeared as a recurring villain on CBS’ “Supergirl.” The comic book franchise has welcomed her back after her title role of the character on “Smallville” as Indigo.

Laura went on to join the “Saw” franchise as their lead actor in the new installment “JIGSAW.” “Jigsaw” was NUMBER ONE in theaters during its release. Laura played Anna, a woman trapped not only in the horrific games, but also tortured by what she had done to her family.

Soon after, Laura helped produce and starred in a short film titled ‘Unspeakable’ for the American Film Institute, for which has received many nominations and wins from festivals. Recently Laura won Best Actress for her work in ‘Unspeakable’ at the Queen Palm Film Festival. Laura went on to her next series as ‘Tessa Pryor’ in Season 2 of AT&T Audience Network series “Ice”. Tessa is a real firebrand high-end attorney. Starring Jeremy Sisto and Ray Winstone, the show films both in Vancouver and South Africa.

Following her return from South Africa, Laura signed on as not only lead actress but Consulting Producer for the feature film ‘Rabid.’ Based on the original 1970’s film By David Cronenberg, the remake was directed by sisters Jen and Sylv Soska depicting the horrors of transhumanism. A day after ‘Rabid’ wrapped, Laura took on a new role and new series for Netflix airing 2019 titled ‘V Wars’ starring Ian Somerhalder. Laura plays Mila Dubov.

Her newest project is none other than her passion project, ‘Age Of Dysphoria.’ Laura developed, executive produced and starred in this short film alongside Canadian legend, Mr. Gordon Pinsent. The film was directed by Jessica Petelle, who is also an executive producer.

Visit Laura Vandervoort on Instagram and Twitter.