Wednesday, February 29, 2012

UNCLE VANYA Reading On March 9th

I received the details for the March 9th reading of UNCLE VANYA.

The play portrays the visit of an elderly Professor and his glamorous, much younger second wife, Elena, to the rural estate that supports their urban lifestyle. Two friends, Vanya, brother of the Professor's late first wife, who has long managed the estate, and Astrov, the local Doctor, both fall under Elena's spell, while bemoaning the ennui of their provincial existence. Sonya, the Professor's daughter by his first wife, who has worked with Vanya to keep the estate going, meanwhile suffers from the awareness of her own lack of beauty and from her unrequited feelings for Dr. Astrov. Matters are brought to a crisis when the Professor announces his intention to sell the estate, Vanya and Sonya's home and raison d'être, with a view to investing the proceeds to achieve a higher income for himself and his wife.

We will be reading a translation of the play by Paul Schmidt and in the reading, I will be reading the role of the Professor, Aleksandr Vladimirovich Serebryakov, who has lived for years in the city on the earnings of his late first wife's rural estate, managed for him by Vanya and Sonya. I will also be reading the small role of a ‘’Hired Worker’’. Jordan Kaplan, my PICASSO AT THE LAPIN AGILE colleague, will be reading the role of Astrov.

The reading will be held at the home of actress Pattie Lynn.

This should be fun.


The SIMPLE MINDED shoot on Monday and Tuesday went extremely well. A very smooth and well organized shoot by writer / director Phil Newsom and director of photography Paul Nameck. Both Phil and Paul, as well as actress Kristi McCarson were all a delight to work with.

I am happy to say that we accomplished everything we needed to accomplish, which was quite a bit, over the two days.

The first day consisted of the shooting of all of the action sequences in the film, and there were quite a few, which meant a lot of set ups. We started at 10:30AM and worked until 6:30PM, so it wasn’t too terribly a long day. Nothing was rushed, with Phil and Paul working succinctly to get the footage they needed. It was impressive to watch them in action.

Day Two consisted of the dialogue scene, but since it was a single location, the only issue was lighting the scene, but if you’ve ever worked on a film before, lighting is key and Paul, quite the pro, worked early in the morning to set up the lights so everything would run smoothly. When the cameras starting rolling, everything moved swiftly, with Kristi and I giving Phil and Paul lots of options in the editing room. The camera started rolling at around 11:30AM and we worked until 5:00PM, so again, it wasn’t a very long day, but we got everything we needed.

The set was very relaxed and fun, with everyone cracking jokes, keeping it light, which is always the best.

The role of Bob gave me a chance to play around, which any actor loves. When you see the film, you’ll know what I mean. I appreciate the challenges the role provided me as an actor and look forward to seeing the final product, which should be available for viewing in March.

Thanks to Phil, Paul and Kristi for a great shoot. We must do it again sometime!

Thursday, February 23, 2012

Actors Equity Endorses SAG-AFTRA Merger

Actors Equity Endorses SAG-AFTRA Merger

by Jonathan Handel

The vote adds fuel to the movement toward a combination of the two actor unions

The national Council of Actors Equity voted unanimously Tuesday night to endorse the planned merger of SAG and AFTRA. The vote by the nearly century-old union, which represents performers in live stage productions, adds fuel to the movement toward a combined SAG-AFTRA.

The Equity motion was a single sentence: “AEA strongly supports SAG and AFTRA in their proposal to merge their Unions.”

In response, SAG president Ken Howard thanked Equity president Nick Wyman and the Council, and said “We're honored by their action today and by the support of Equity members, who are very often members of SAG and AFTRA as well.” He added, “There¹s a real spirit of unity in our ranks, and it can only serve to make us all stronger.”

Noting that Wyman is a member of all three actors’ unions, AFTRA president Roberta Reardon offered her thanks, and said “Today's resolution of support from our sisters and brothers on the Actors' Equity Council shows the strong solidarity we enjoy across our entertainment and media industries.”

Ballots are set to be mailed to SAG and AFTRA members on Monday. AFTRA has supported merger in the past, and SAG members have voted overwhelmingly for pro-merger candidates in the past several years.

Opponents, however, are threatening to file a lawsuit in an attempt to stop the merger vote, citing concerns about whether a merger would weaken SAG and uncertainties about the combined union's heath and pension plans. Merger supporters say that combining the unions is the only was to counter the power of entertainment conglomerates and represents the best route towards broadening pension and health eligibility and strengthening benefits.

Movie Vine Review of THE MISOGYNIST

Short Film Review: The Misogynist

Written by Robert Carey Wilson.

Published on February 23, 2012

Harlan (Pascal Yen-Pfister) is a photographer with the photographer’s equivalent of ”writer’s block”.

He lacks inspiration in his work as of late. He needs something fresh and vital to shoot, so he decides to get personal and begins taking pictures of his wife (Rhea Sandstrom) in poses that are very personal. These are poses that may perhaps show a vulnerable side to her. Perhaps he’s striving to capture her essence, to see her as he has never seen her before? To understand her better? Perhaps it will inspire Harlan to take his work to a new level?

These are questions that I wished writer / director Chai Dingari addressed in his new 13 minute short film The Misogynist, a competently made film visually, but a confusing piece on the page that doesn’t quite know what it wants to be.

On one hand, Dingari’s film wants to be an exploration of the artist and what makes the artist tick, which would have been interesting, but as the film stands now, we never see enough of the artists’ struggles…internal or external. We get brief glimpses of Harlan’s struggle in two scenes with his agent W.D. Frost (Timothy J. Cox), but the scenes are too brief to ignite interest in Harlan or his plight.

Instead, the film takes a turn to psychological thriller when Harlan’s wife discovers that she is the focus of Harlan’s work and when she protests, Harlan kills her. One can only assume that he commits this act because of his struggles and attempts to find that perfect thing to shoot are unsuccessful, so he has lost grip with reality, but we never see Harlan’s descent into madness. In the end, the whole affair proved to be more than a little confusing.

I don’t fault Mr. Dingari for his efforts here, as he is not an untalented filmmaker. There are a number of striking visual flourishes in his film, but I will say that on this effort, he proved to be a filmmaker who simply tried to inject too much into a 13 minute film. If I fault Mr. Dingari on anything, it would be on the title of the film, which I found a little baffling. To me, the title didn’t match the action that was taking place in the film.

As for the performances, Rhea Sandstrom seemed lost in her role as Harlan’s wife. She and Pascal Yen-Pfister as Harlan, lacked chemistry in their scenes as husband and wife. By himself, Mr. Yen-Pfister was an appropriately brooding presence, but the script doesn’t give him enough to do to explore his inner struggles as an artist further. Timothy J. Cox brought a nice, cynical touch to his very brief role as the agent Frost, but the script has him coming off more ”father confessor” than agent.

The Misogynist is available for viewing here

For additional information on the film, please visit the film’s IMDB page here

Tuesday, February 21, 2012

Great Stephen Tobolowsky Quote About Character Actors

Here is a great quote from character actor Stephen Tobolowsky (GROUNDHOG DAY, MISSISSIPPI BURNING, BASIC INSTINCT)

The very best character actors are made of equal parts discipline and madness, and the fact that our faces are more familiar than our names is not our curse, but our blessing. The character actor's goal, after all, is not to earn the adulation of the public; it is to give lives to a hundred nameless spirits who make us laugh or cry, who are both familiar and new, who show us that their journey is our journey, and who, like everyone in the audience, never get to kiss Renée Zellweger.


Jordan Kaplan (Einstein in APAC’s PICASSO AT THE LAPIN AGILE) has turned me onto a reading group that he is involved with that does informal readings of plays by Anton Chekov. I decided to get in touch with the organizer of the readings, Patricia Lynn, and she hopes to get me involved in the next reading, coming up on March 9th, of UNCLE VANYA.

Casting of the reading should be finalized by the end of this week.


This weekend, I memorized my lines for SIMPLE MINDED and have been drilling them ever since.

I’ve been playing around with numerous interpretations of the lines, as there are hundreds of ways to play Bob...a guy with more than a few quirks. Again, not giving anything away. I want it to be a surprise : )

It’s fun to play around like that. You never know, you may find something that you can use when the camera starts rolling.


The Misogynist


February 20, 2012

By Paul Pritchard

•Directed By: Chai Dingari
•Written By: Chai Dingari
•Country: USA
•Released: 2011
•Running Time: 12 minutes
•Drama, Films Online, Reviews

The Misogynist isn’t really a film that fits its title. It is much more a film about frustrated ambition which is no bad thing in itself but does mean that the end result is a drama I didn’t expect.

The film centres on Harlan (Pascal Yen-Pfister), a photographer who has run out of inspiration. Tired of repeatedly re-shooting the same projects, he has hit the visual equivalent of writers block. That is, until he starts to use his wife (Rhea Sandstrom) as his muse.

The results are both personal and inspired and leave his agent, Frost (Timothy J. Cox) more than a little concerned about Harlan’s state of mind. Frost tries to steer him back towards more mainstream work and, at this point, things start to take a turn for the dark.

What writer/director, Chai Dingari delivers is a stolid story competently executed. There is nothing that I can find fault with but nor can I say the film gripped me as much as I had hoped. I think that the reason for this is primarily due to the film’s length.

This is a short film in which the central character’s obsessive perfectionism begins to destroy his relationship, and his sanity, but we don’t spend enough time with Harlan to really appreciate this. As such, this could have been a much stronger film if it had been a little bit longer.

That said, the film’s ending is very good indeed.

Friday, February 17, 2012

William Inge's PICNIC

PICNIC by William Inge, won the Pulitzer Prize for drama in 1953 and was made into an Academy Award nominated film in 1955, starring William Holden, Kim Novak, Rosalind Russell and Arthur O’Connell.

O’Connell, a character actor that I have highlighted here in the past, reprises his stage role of Howard Bevans in the film (he earned a Best Supporting Actor Oscar nomination for his performance). Howard, a character that I have always wanted to play since first reading the play in college, is a man best described as ‘’set in his ways’’. In the play and film, Howard is boyfriend of aging schoolteacher Rosemary, played to perfection in the film by Rosalind Russell.

The scene below takes place after the picnic, which has not gone very well. Distraught that she is not as young as she’d like to be, Rosemary has a breakdown and ends up begging Howard to marry her and Howard is faced with a tough decision.

I’ve always enjoyed the work of William Inge, who also penned BUS STOP, DARK AT THE TOP OF THE STAIRS, COME BACK, LITTLE SHEBA, A LOSS OF ROSES, plus countless one act plays. Inge’s plays depicted the sorrow and the emptiness in the lives of people living in small town Midwestern America. His longtime friend and mentor, Tennessee Williams, was envious of his success.


The GREG'S GUARDIAN ANGEL readthrough, scheduled for next Sunday, February 26th has been postponed.

Director Dan Kowalski hopes to re-schedule the reading for the 2nd week in March.


Director Ridley Scott discusses the YOUR FILM FESTIVAL. This is where SIMPLE MINDED will be submitted upon completion.

Thursday, February 16, 2012

Phil Newsom Project – Titled SIMPLE MINDED

Just received an email from writer / director Phil Newsom of the film project SIMPLE MINDED, that will be shooting on Monday, February 27th and Tuesday, February 28th.

I am delighted that my co-star in the project will be actress Kristi McCarson, who is a colleague of Phil’s. Both are involved with the ArtEffects Theatre Company.

Also, on hand for the project will be Paul Nameck, who will serve the all-important role of Director of Photography.

Phil informed us that both shooting days are going to be long days, which I expected.

Day One will consist of 30 different action shots, so while there is no dialogue in these scenes, doing 30 different shots will take a lot of time.

Day Two will also be long, as that will be the dialogue scenes between Kristi and I and this is pretty dialogue heavy film for both us, so I expect that to take some time.

Upon completion, this project will be submitted to the "Your Film Festival" which is being sponsored by Rigley (I think Phil meant Ridley) Scott's company as well as You-Tube. Here is the deal - all submission are due by March 31, then Mr. Scott's company picks the top 50 films from around the globe. Those 50 will be on the "Your Film Festival Channel" and then voted on by the public. Top 10 films go to Venice Film Festival then the top film gets to make a future film out of there idea with Mr. Scott's company. Not bad.

Phil’s goal is to just tell an interesting story in the best way possible. As such, he and Paul will be spending a lot of time working on different shots and coming up with creative ways to tell the story.

I’m thrilled to be a part of this project.

Now…time to memorize.

Wednesday, February 15, 2012

Final Version of THE MISOGYNIST

Here is the final version of THE MISOGYNIST from writer / director Chai Dingari of Filmador Studios.

It’s about Harlan, who is a photographer with 'writer's block'. Tired of shooting the same projects over and over again, he is inspired when he starts using his wife as his muse, but his obsessive perfectionism begins to destroy their relationship and his sanity. I pop up in two brief scenes as Harlan's agent Frost.


Tuesday, February 14, 2012

Last Nights' Reading

Last nights' reading went very well. Thank you to Alex Pappas for allowing me to participate.

I enjoyed the play very much. It opened my eyes to a part of history that I was unaware of...the events that led to the creation of the Star Spangled Banner. In grade school, we’re given a very fantastical and quick version of the story...a lot like the story of how George Washington chopped down the cherry tree...but if you read up on it, there's more to the story and it's pretty compelling.

The role I read, Dr. William Beanes, who served as a physician to Francis Scott Key and his family, is really for a man in his 60’s, but if Alex moves forward with the script into a future production and sees me playing someone else, than I’d be all for it.

Monday, February 13, 2012

Interview With Timothy J. Cox

Interview With Timothy J. Cox

Movie Interview

Interview With Timothy J. Cox

Written by Robert Carey Wilson

Published on February 13, 2012

It’s quite difficult to categorize Timothy J. Cox, except to say that he is a “scene stealer.” In roles large and small, clean shaven, mustached and / or bearded, the 35 year old character actor, with his stocky physique, twinkling eyes and kindly demeanor can play just about anything and has illustrated his diversity of talent in a wide variety of roles, whether on stage in the works of Shakespeare or in numerous critically acclaimed films roles, like as a mysterious shrink in the thriller The Watchers (Two Man Crew Productions), an endearing father in Yeah, Love (Find Emma Productions), a loopy principal in Gunderson’s (Dial Tone Pictures) and as a misanthropic literature professor in Socks and Cakes (Kimistra Films). Most recently, he proved that he’s full of surprises with his performance as a quiet, but very mysterious stalker in Terry Kendall and Orange Green (Meg Skaff Films).

He has been called ‘’the Johnny Depp of indie cinema’’, by film critic Matthew Saliba of Rogue Cinema, ‘’for his ability to play almost every conceivable role a scriptwriter can come up with’’.

These are flattering words for a guy who simply wants a career as a ‘’good supporting actor’’.

I’d say he’s on his way to fulfilling that goal.

I had a chance to sit and chat with Tim about his work and his current projects, including upcoming film appearances as both God and the Devil.

Robert: Thanks so much for participating.

Cox: My pleasure. Thank you for having me.

Robert: How did your journey as an actor begin?

Cox: Well, when I was a kid, I was always a bit of show off, clowning around to make people laugh…doing bad impressions of Brando…but I never looked into getting on a stage or anything like that at that young age. I never had those aspirations to be an actor or an entertainer. I just liked goofing around. What I really wanted to be was an athlete…the next Joe Montana or Larry Bird. The only problem was that I was short, kind of awkward looking and that I had absolutely no athletic ability whatsoever, so I stuck to showing off and goofing around. The attention was nice, especially from the girls. One day, while at school…right before high school…there were auditions for the school play. I auditioned just to get out of class, got cast in the lead role and the rest is history.

Robert: What do you remember from that first acting experience?

Cox: I really didn’t think about ‘’acting’’ in that deep, serious way that first time on stage. All I really wanted to do at that time was get laughs. Again, the attention was nice. My love and respect for the ‘’acting’’ part came when I started studying. Around the time I started studying, I also saw a number of great performances that inspired me. Something clicked and I started to take it very seriously.

Robert: You’ve always been a film nut of sorts. On your blog, you’re always posting scenes from movies and performances that you love.

Cox: Oh, big time. Movies have and continue to influence and inspire my work and in many ways, my life. When I was a teenager in Delaware, I used to go to the video store, rent a stack of movies and spend my weekends in my parents’ basement watching master classes in acting from Humphrey Bogart, James Cagney,Jack Lemmon, Katharine Hepburn, Spencer Tracy, Jason Robards, Gene Hackman, Albert Finney and many more. I had quite the social life back then.

Robert: Nothing wrong with that from where I’m sitting, especially with a list of artists like that.

Cox: I was swept away by those actors and by acting in general. I learned so much from watching those different actors. They became teachers. I wish I could put them on my resume in the training section.

Robert: What performances have inspired you?

Cox: How much space do you have? Seriously, I could write a novel on this subject. So many performances, but the two that really stick out are Donald Sutherland in Ordinary People and Jack Lemmon in Days of Wine and Roses. Lemmon became the strongest influence on me as an actor. I clicked with him and with his characters, who seemed so familiar up there on the screen. I wanted to do what he did, make the connections that he made.

Robert: You met Jack Lemmon, correct?

Cox: I did. It was and is the biggest thrill that I have ever enjoyed in my life. It was a year or so before he passed away. I saw him in a restaurant here in New York and after being prodded by a friend, decided to make the plunge and approached his table, told him what an inspiration he was to me. He was very kind and generous; even gave me a hug. Like I said, big thrill.

Robert: That’s great. Did you always know that you were going to be a supporting actor?

Cox: Oh yes. I knew very early on that if I was going to do this as a career and have any type of success that it was going to be as a supporting actor. It’s where I fit.

Robert: Is it important for an actor to know where they fit?

Cox: Absolutely. To me, it saves you a lot of heartache. Plus, I happen to love supporting roles.

Robert: What is it about supporting roles that appeal to you?

Cox: To me, the supporting roles are more interesting to play. They’re richer, more memorable, to me, at least. I’m not an actor who dreams of playing Hamlet, but you give me roles like Polonius or the Gravedigger and I’m in heaven. With supporting roles, you come on, do your thing and then get out of there. I love that.

Robert: In many of the films you’ve appeared in, the supporting roles you have played have turned out to be the most memorable performances in the film. The Watchers and Gunderson’s are great examples. The characters are unique, different and thoroughly watchable.

Cox: Thank you. With The Watchers and Gunderson’s, they were two great small roles in two great projects, where everything just clicked.

Robert: Richard Propes of The Independent Critic, a huge fan of your work, said this of your turn as Principal Cox in Gunderson’s, ”Cox manages to take relatively little screen time and make you sit there wanting more”. I’d say that is an accurrate description of a lot of your supporting performances.

Cox: I think that’s what makes a good supporting performance. You come in, score your points and then you’re out.

Robert: Your recent supporting work as the interestingly named Orange Green in the quirky comedy Terry Kendall and Orange Green proved that you are full of surprises as an actor. It’s different than anything you’ve ever done.

Cox: It’s a great part in a fun movie and I loved that it was something different.

Robert: Not to give too much away about the film or the character, but you play a man who stalks this young woman at her job.

Cox: Correct.

Robert: And he’s a bit of a creeper.

Cox: Yes, he is.

Robert: But he was not a scary guy. I didn’t consider him a threat at all, but then he surprises you.

Cox: Those are the best characters to play. The audience has one perception of the character and then ‘’Boom’’ a surprise happens and it shocks the heck out of them.

Robert: And this was a comedy?

Cox: Sure was. I hesitate to refer to the film as quirky, but it’s a pretty accurate way to describe the film.

Robert: Peter Sanderson, in his review of the film on Cinemaroll, really hit the nail on the head with this line ‘’ If (Meg) Skaff had gone with some hulking Sid Haig-type , yes you’d be intimidated and scared as hell, but the film would have an overall different tone. Cox’s stalker isn’t intimidating or even scary, but man is he creepy, but even more surprising is that he’s even a little charming’’. How do you manage to make a character like this charming? Did you do any research on stalkers?

Cox: I thought a little about Ted Bundy when I approached this character. Bundy used charm to lure his victims. I also trusted Meg and the material she laid out for the cast, which was great.

Robert: What lessons have you learned and try to keep in the back of your mind when you are working?

Cox: That acting…no matter how long you’ve been doing it…requires a lot of discipline and commitment…and that you never, ever stop learning. Every rehearsal, performance or take in a film, good or bad, is important and educational. You never stop being a student in this work. To me, all actors are and should be works in progress. Also, keep it fun. I’ve always approached it like a kid at recess time. That’s what works for me. I believe…take the work seriously, but don’t take yourself so seriously in the work.

Robert: What’s next for you?

Cox: I just finished work on Meg Skaff’s next film, called Linda LeThorn and the Music Box. Details on that project are available on Meg’s site, which is I am in pre-production on two comedy projects with All Things Random, one titled Greg’s Guardian Angel, which is about an ordinary Joe who’s guardian angel tries to lead him on the path to success, but also proves to be a bit of a nuisance and Marty and Doug’s New Religion Part II, which continues the exploits of two guys who started their own religion to avoid paying taxes and to meet women.

Robert: Sounds like fun.

Cox: They will be. I’ve worked with Greg Vorob, Dan Conrad and Dan Kowalski of All Things Random on a number of projects, so the chance to work with them again on these two projects should be a real treat.

Robert: You’re playing both God and the Devil in Marty and Doug’s New Religion, Part II?

Cox: Correct. I’m not going to lie, I’m thrilled to death about it.

Robert: As you should be. Thank you so much for chatting with me today.

Cox: Thank you. It’s been fun.

You can find Timothy J. Cox online at: | |

Informal Reading Tonight

Tonight, I will be participating in an informal reading of a new play written by actor Alex Pappas (MEASURE FOR MEASURE, 12TH NIGHT OF THE LIVING DEAD and PICASSO AT THE LAPIN AGILE).

The working title for the play is Frank ‘n’ Beanes and it’s about Francis Scott Key and the writing of the national anthem, which is having its bicentennial in 2014. I will be reading Beanes.

ASSISTANCE At Playwright’s Horizons – Highly Recommended!

Last evening, Jamie and I were treated to complimentary tickets to the Playwrights Horizons’ fantastic production of ASSISTANCE by Leslye Headland. Katie Carter, who is serving as an assistant director for the production was nice enough to snag some comp tickets for Jamie and I. Thank God she did, because this show is outstanding in every way. It’s funny, sad, angry, uplifting. We’ve all worked for the boss from hell, so this is the kind of play that everyone would relate to.

Directed by Trip Cullman, the satire centers on young assistants whose lives are an endless series of humiliations at the hands of their hellacious boss, a powerful uber-magnate. In rare moments of calm when the phone calls stop rolling, Nick and Nora and their traumatized co-workers question whether their work will lead to success, or just more work.

If you get a chance, get this one out. It’s well worth it.

For information on the production, please visit

Friday, February 10, 2012

Phil Newsom Project

Phil just forwarded me a rough copy of the script for the project coming up later this month and it’s fascinating.

I won’t give anything away, but I will say that the project, from an acting standpoint, will be quite different from anything that I have ever done before and that’s very exciting.

Thursday, February 09, 2012

Film Shoot On February 27th and 28th

Phil Newsom, one of the producers of AVENUE OF THE AMERICAS, has offered me a role in a film that he is working on. Phil is good people, so I immediately agreed to participate in the project that shoots on Monday, February 27th and Tuesday, February 28th.

Stay tuned for details on the project.

Wednesday, February 08, 2012

Abingdon Theatre Company’s The Denial Plays – Benefit Challenge Series

Last evening, I and my BEYOND A REASONABLE DOUBT colleague Lisa Peart, attended a benefit reading series presented by the Abingdon Theatre Company, called ‘’The Denial Plays’’, to support writer / director Bara Swain, whose latest work RESPONSIBLE, was presented as part of the series. Bara also serves as the Playwriting Outreach Coordinator for the company, so she and Kim T. Sharp, Associate Artistic Director / Literary Manager organized the event, which was completely sold out. It’s always nice to see Bara, who is a force of nature. I also had a chance to see and re-connect with my AVENUE OF THE AMERICAS colleague Chris Davis, who appeared in VALENTINE’S DAY 2013 by Kate Doyle, along with the talented Nicole Marie Stultz, who appeared, to great acclaim, in HOUSEKEEPING at the NY NUTS 6 Festival a few months back.

Six new works were presented, all very good works, which gave me quite the itch to want to work with the Abingdon Theatre Company, a company dedicated to developing and producing New American Theatre. I had seen two of their productions when I first moved to New York 11 years ago, but I was never able to get my foot in the door. Hopefully, I’ll have a chance to work with them in the future.

For information on the Abingdon Theatre Company, please visit

Tuesday, February 07, 2012

BEN GAZZARA (1930–2012)

I am saddened to learn that Ben Gazzara, a great actor who appeared in MANY films, including the great THE KILLING OF A CHINESE BOOKIE from writer / director John Cassevettes and originated the role of Brick in the 1955 production of CAT ON A HOT TIN ROOF, had passed away on February 3rd.

With his passing, it ends an era of great performance on stage, film and television.

He will be missed.


Director Dan Kowalski is in the process of organizing a Sunday, February 26th read through of GREG’S GUARDIAN ANGEL with the entire cast.

My one shooting day has already been scheduled and that is Sunday, May 6th.

Monday, February 06, 2012


As expected, the LINDA LETHORN shoot of two brief additional with my character Purple Green went very well.

As always, writer / director Meg Skaff knows exactly what she wants and she goes and gets it quick. I was in and out in 90 minutes. I’ve said it before and I’ll say it again…I love being a supporting actor!

My scenes with the two mastiffs went very well. Admittedly, I was a little worried, as I am not what you would call an animal person. Both dogs were very friendly and great to work with.

Great news…Meg has a bulk of the film edited already, so expect to hear news of the films’ completion and release very soon.

Friday, February 03, 2012


Tomorrow should be fun. It's always nice to work with writer / director Meg Skaff.

As previously mentioned, my scenes will be brief, although I do get to work with two mastiffs (rather large dogs) so that should be interesting.

Thursday, February 02, 2012