Digieffects Aged Film Serial Irani
As some of you may know, I like to try recreating effects on my own, like my old RGB Twitch plugin. So since I don't have Digieffects Damage, I said, hey why don't I just make it myself. Please leave a LIKE n FAV for this free download! If you have any questions at all, feel free to leave a comment or talk to me on Facebook! Download: To Install, look for your presets folder and create a new folder called 'Custom Presets' then drag it in there Homemade RGB Twitch Plugin: Homemade Syncronizer Plugin.
Overview Date of Birth 13 February 1973 Birth Name Gregory Spence Ainsworth Nicknames Greg Electric Cowboy Gee Aye! G-Money Ash 'The Surgeon' Greggers Bernsie The Biff Ping Ping Greg Coop Box Devil Coxy Tarzan Greg DiLeo CBJamocha Yellow Gtd Rea DOW chicka dow dow The Shocker Robotfan987 Chunky The Gracken Grack Idra Greganious Gregarious J. Flowers Spielberg Garg Dreg the hammer Hammer Frooch Greg Garbo Goose Graffin Graff Graffinius Miles Grant Greggles Grunny G Money Zia Hats Batman Robogrip Johnny boy Deady Terror Technologies Zombie Greg Terror Tech Blood Crew Buffalo Zombies for Charity G.
'Da Undadawg' Greg Special K David O. Selznick The Goo Greg The Greek Hank Superman Super Greg Crash Bird Bougie Greggoh The Bull gerG Mo LG El Plaga Reaper Donnybrook Greg McDeath Turkish Moon-man Moonie Big Country Murph Greg The Great White Shark Frankenstein The Tree The Naked Critic Santana Posty Greggy G-Rap Kaseed the Mexijew Gerg Sham Ziggy Greg Gordon Sobie Skully Skullman Sprolayzzz Mandingo Stan Papa Stech The Ranger Strasburg Gredge G Sparky GT Greg G-Dog The Hammer Flex G G Rev Lil Diesel Pebble G.B. Young Del G.T.G. Poli Tricky Tinyherc G DeLoosh Monkee Sugar Turkey Urich GVDV Gwas ranxx G Long Boo Grego Mr. Ghoulie Greg ConGotti Chili Tiddy Height 6'.
Biography Greg C. Adams is a musician, archivist, and researcher studying the multicultural and early history of the banjo (ca 1620-1870). He holds a BA in Music History from Youngstown State University (2001) and a Masters of Library Science from the University of Maryland, College Park (2004). Currently, Greg is working on another Masters degree at the University of Maryland, this time in ethnomusicology. His banjo roots research includes fieldwork in West Africa (2006, 2008), developing a formal work plan as Project Director for the Banjo Sightings Database Project through an NEH Digital Humanities Start-Up Grant (2009), and the general study of early American blackface minstrelsy and early banjo performance practice. Spouse 'Cecilia' (15 August 1981 - present); 1 child 'Wendy Knight' (4 July 1988 -?) (divorced) 'Lynda Keane' (October 1969 - present) 'Crystal McCrary Anthony' (? -?) (divorced); 2 children 'Lynda Costanzo' (31 January 1981 -?); 1 child 'Annie Potts' (21 June 1978 - 1980) (divorced) 'Abigail Cole' (22 October 2016 - present) 'Donna' (?
- 9 November 2016) (his death); 3 children 'Deborah Barker' (28 July 2010 - present); 3 children 'Natalie Solis ' (21 May 2005 - present) 'Astrid Anderson' (1983 -?); 2 children 'Tamara Pratt' (1 April 2002 - 14 January 2014) (divorced) 'Dondria Chun Bennett' (10 July 1993 - 10 January 2000) (divorced); 1 child 'Ruotula-Behrendt, Amiira' (? - present); 2 children 'Kim Evey' (12 June 2004 - present) 'Paige Davis ' (1 May 1994 - 25 October 2001) (divorced) 'Nicole Lunders' (17 October 2007 - present) 'Lynn Blache' (? -?); 6 children '?' - present); 2 children 'Danielle Nicholas' (9 March 1996 - present); 3 children 'Lisa Myers' (30 March 2003 - present) 'Lisa Rollins' (? -?) 'Gina Briganti' (2005 - present); 3 children 'Michele' (1991 - 2005) (divorced) 'Katie Smith' (7 August 2004 - present) 'Joanne Heath' (10 November 1999 - present); 4 children 'Vera Versanyi' (2005 - present); 1 child 'Erika' (? - present); 2 children 'Amanda Collins ' (2001 - present); 3 children 'Helen Cox' (25 September 1981 - present); 3 children 'Casey Coker Cunningham' (?
-?) 'Susanne Daniels' (15 September 1991 - present); 4 children 'Dvora Inwood' (? Trade Mark Dimples Athletic Physique Often has characters who appear in the middle of films that take the plot into totally new or unexpected directions Likes to use fades and dissolves for scene transitions Frequently casts Josh McClenney Likes to feature writing, subtitles, or inanimate objects (i.e. Sheep-tracker in The Bench, bible passages alluding to The Four Horsemen in Better the Devil You Know) to explain character backstories. Likes to let a film develop organically. Film topics include dream states, alternate realities, imagination/creativity invading onto reality, causes and effects of technology/media. Doing the voice of a young boy or men with a boyish voice Dark subject matter Main characters are often tormented by past experiences to the point they either are driven to violence or self destruction Ensemble casts in his films.
Shots of shattering glass, or mirrors, or both in the same scene. Dream or Hallucination sequences either preceded or followed by shattering glass. On the studio lot- wears a tie in homage to Alfred Hitchcock and Sam Raimi. Cryptozoology Werewolves and transformation Right leg below the knee amputee, you would never know it, if I am wearing long pants! His unusual fascination for nature Wearing furry dice whilst wrestling Towering height Frequently casts Victor Wooten.
Frequently uses the names Dirk and Ted in his movies. Characters in his films often have very bizarre names. Examples include Jambly Tanner, Shmimby, and Kip Feldermouse from 'Fake Henrik Zetterberg' (2011). Borrows, co-opts, and hi-jacks his favorite lines from movies and TV and repurposes them in his scripts, often invisibly. Often has characters wearing NHL jerseys.
His deep, yet menacing voice Never wears shoes Towering height Lanky build Versatility Often plays characters of intelligence and bearing, such as doctors, lawyers and teachers Has many different appearances Keening tenor vocals Unusual editing and high contrast cinematography. Production style and no- and low-budget projects. Zebra-striped trunks 'Buzz-Cut' hair style Glasses Lithuanian Slam-Dunking Skeleton Skullman brand Lithuanian Slam Dunking Skeleton Lithuania Tie Dye Peter North body double Tattoo of a broken Fender guitar on his left arm Wrestling finishing move 'Figure Four Leglock' Trademark Move: Leg/Ankle Suplex/European Figure Four Leglock Finisher: Backwards Suplex/Headlock Suplex Trademark Move: Knife-edged Chops Trademark Move: Bionic Elbowe (Elbow Smash) Trademark Move: Hammer (Elbow Drop) 'BEARS!' 'BUT BEARDMAN!' Playing roles a lot younger than his actual age Humble Giant Music. Quotes It's such a burning question when you're adopted,' he said. 'You never know what's out there.
I was expecting to knock on the door and this big fat old woman would open it, would be my birth mother, and she would open her arms. I thought it was a second chance to find family.
Acting is reacting, Action is reaction. on his original expectations of the acting world You can't fathom how big it is until you're actually in it, especially if you're from as far away as Rhode Island where I grew up. You're under the impression that everything you see in theaters and everything you see on TV is all there is, so you think you can just audition for whatever you want all the time. Then you get here and it's so well-layered and it's nonlinear. The first job I had out here was a play; I got it like three days after I got here. There were some older people in the play, so just for fun I looked them up on IMDb and these people have been in the industry for like thirty years with a couple hundred credits to their name, like these big network shows and movies and stuff like that, and here they are working the same job as I am and I just got here three days ago.
That was a big wake up call. It's crazy how it can happen like that and its unlike any other job in that sense.
on playing Peter Pan in college The play is actually very dark, so it's watered down a lot for Disney and such. We really tried to surface the deeper messages in the play which explains why somebody who looks like me was playing Peter Pan.
It was just a very different aesthetic and a different vibe than other Peter Pans you've seen. It was great though; I had such a good time with it on doing sex scenes It's unpleasant because its very hot, there's everyone in there, and the light's on you. You usually have to contort yourself into a position that looks good on camera but in reality is wildly uncomfortable. If anything, it's maybe fun to kiss a stranger you have a crush on or something, but generally you don't know the person and it's just weird. It's not really a pleasurable situation, typically. on the key to success I think that everyone can find success by their own route or by being themselves.
I don't think you have to put on a facade or do things out of obligation necessarily that make you uncomfortable. So I think not giving up, but also living on your own terms and doing things that make you happy is very important and it helps you to persevere if you're content with yourself. on his documentary Koran by Heart (2011) : For me, it all comes down to education. If we were making a film about evangelical Christians memorizing the Bible, and that's all they did, we'd be troubled by that.
With regard to Islam, we have a problem with that narrow approach, which can lead to extremism and, in the worst cases, to terrorism. As long as they're getting a broad education, their religion is their own business.' Moving Mars Our lives do not matter, but by God we should act as if they do. The key from my point of view is pace. Comedy is quick. You try to keep the energy, pace and tempo up as much as you can.
The actors have to bring that to the set; I have to guide it as a director and then in the editing room you make it happen more. (on filming comedies) I feel that films reminds us that we are human I love telling stories. Creating a character, a world, a whole universe out of nothing. That part I can't get enough of.
I think about myself and storytelling the way Bill Clinton described himself and the Presidency, and I'm paraphrasing here: 'There are guy who have done it better, but there's no one who's enjoyed it more'. I give away books when I work with new people.
Great icebreakers! Also love to encourage my favorite authors: Terry Southern, Mary W.
Shelley, Peter Straub, Hunter S. Thompson, Chuck Palahniuk, Clive Barker, John C. Lilly, Stephen King, Robert Anton Wilson, Phillip K. Dick, and Madeleine L'Engle to name a few. In the province of the mind, there are no limits!
Lilly said that. Lilly is one of my top 5 authors and he is an under appreciated scientist in these modern Newtonian times. If it weren't for the guidance of Grant Morrison, writer of Batman and The Invisibles for DC Comics, I wouldn't have taken the leap of faith and started writing and submitting my original ideas in 2006.
My favorite Stephen King book is difficult to pick. It would have to be The Talisman, followed closely in second place by 'Salem's Lot. The Talisman is a modern day fusion of The Odyssey and Lord of the Rings, co-written by Peter Straub.
The last 100 pages of 'Salem's Lot- you just burn through them! I hope to make vampires, werewolves, and the children of the night relevant again- just like Mr. King did in the '70's and '80's- and erase the idea of glittering vampire/werewolf romance! That accident cost me an arm and a leg, I got out for half price!
I would argue with you but I might not have a leg to stand on. There is a life before and after the voyage, there is a life before and after Thailand. It's funny, I've stayed home and raised my kids for large portions of their life. And I've made cupcakes and volunteered for the tea at Montessori. And yet I play monsters.
(talking about Colleen on 'Survivor') 'This is the game. You bring this little kitty along. You have your little kitten. And you pet your kitten and you enjoy this kitten and the kitten sleeps with you every night and then, uh, you're hungry, man, and you look right in the kitten's eye and you snap its neck. It's nothing personal. You're hungry.
The kitten has to give its life for the next level.' Yogi Bear came pretty quickly to me. But Bugs Bunny is much harder.
To get Bugs right took me a year. GB, on his vocal characterizations I'm a simple man that sits in a simple room at a simple table who draws his pictures and hopes for the best. You don't get, what you don't pay for. What they don't know, won't hurt me. If I could sit down and have dinner with any 3 people in history, it would be Jesus Christ, Martin Luther King, Jr., and Malcolm X.
To whom much is given, much is required. All men want, but only one man will. Some people succeed because they are destined to; others succeed because they are determined to, me.I'm both. On January 29th 2000, I became the BBC's 13th Director-General and the first who had been to neither a public school nor Oxbridge. I was also the first in peacetime who had never worked for the BBC. But by the end of my first week I woke up deeply depressed. I couldn't believe how bereaucratic the whole place was.
The worst point had been getting into my car one evening and finding a pile of papers more than a foot high on the back seat. This was my reading for tomorrow.
British television used to be known as the best in the world, but in the last decade, HBO has helped America quietly steal our crown. (Speaking in 2009) If British broadcasters want to recapture some of the lustre lost in recent years, and in particular the BBC because they're not funded by advertising, they must be willing to take more risks. Maybe it's time they stopped the scattergun approach to programming and put more money into bigger projects. And in the process, maybe it's time they gave more power to the creatives, to the producers, to the directors, to the writers. (Speaking in 2009) I think the BBC is hideously white. The figures we have at the moment suggest that quite a lot of people from different ethnic backgrounds that we do attract to the BBC leave. Maybe they don't feel at home, maybe they don't feel welcome.
Our biggest problem is at management level. I had a management Christmas lunch and as I looked around I thought, 'We've got a real problem here'. There were 80-odd people there and only one person who wasn't white. Nice driveway! Writing is like shaving.
If you don't do it every day, then you're a bum! I knew I had found something interesting to film. Everything was there. You had these eccentric guys, competing in an extreme sport on the fringes of social acceptability. I was friends with them.
I was one of them. I had just suffered a severe neck injury and couldn't train. So I brought my video camera into class and just let it roll.
I grew up watching Star Wars, Jaws, Raiders of the Lost Ark, E.T., etc. Every year, it seemed like another classic movie came out, movies I still watch regularly to this day. When I got lucky with Dean, I ended up with 16 years with one of the truly great performers of all time. He was the greatest performer I'd ever been around, bar none. I did honest television. Real, live, honest television. That's what I did best.
I don't know if I share this with all actors, but acting is hard for me. It's hard for me to have perspective about what I'm doing. I go beyond being self-critical. When we did the pilot for Ally McBeal, I was convinced I was horrible. There are several books out on punk history, but I haven't read any of them.
Punk rock really came out of New York as a philosophy before the groups were ever recorded. I had a kind-of intellectual interest in the idea of creating a new scene that could be a grassroots thing. The REM and Nirvana successes don't mean much to me except as a potential distraction for bands who want to cash in on the trend. Don't try to sound like someone else. REM and Nirvana don't sound like anyone else.
There's not much music I'll listen to if it doesn't have pretty heavy swing. Rhythm is so important. Punk rock would have more power and feeling if it had swing.
on Christianity The Virgin Mary. We have a whole religion based on a woman who really stuck to her story. It's hard to distinguish when I was actually struggling from when I only felt like I was struggling - which was pretty much always. I've always had real trouble knowing what my actual desires and goals are. I've just been dragged along by fate.
Little did I know that earning a living at stand-up is the hardest thing you can do. But once I started doing it, I just loved it, and I realized that I was actually kinda good at it, and then that was it. There are no black people in Iraq, so how will they know who to shoot?
If you spend five minutes with me or watch me try to balance my checkbook, you can only imagine the disaster I would make of anyone's legal issues. Some people are just really goofy kind of guitar acts, and they go out and do these colleges and start making a fortune pretty early on.
And other people - I know guys who are great comics, who've done the Letterman show many times, who still barely pay their bills. Why do we need another station where everyone has a gun? We already have BET. The reality is I'm not a 'get knocked down and come back harder' kind of guy. The reality is I'm not this person with this driving 'get it done' attitude.
The things that make me laugh are considered smart or whatever, I guess. But stuff that's self-consciously intelligent or self-consciously hip or cool, that doesn't do it for me either. You just try to be funny.
The hardest part, for real, is probably when you just don't feel like going on stage and being funny. If you're going to get out of bed today. Give it everything you've got.
I believe in team, unity, and loyalty. We are here to inspire each other to be our best. Part of the human experience is the search for truth. We should do our best to evolve and give others a chance to evolve as well. I listed some of my childhood accomplishments incase someday some kid came across my page and found that even if you didn't win the tournaments as a kid or play 1st string, you could grow up when you leave school and build yourself into the man you want to be. Either everyone wanted me or everyone wanted to get rid of me. Stay in the saddle and shoot straight.
I love Twitter. Twitter for me is twofold. I can use it to get out important information about charity stuff and where I'm going to be, and I can get feedback from the audience which I love. My limitations are - I'm not Meryl Streep. I'm not playing anything in a foreign language, or anything too far from who I am. I love the iPhone - I'm a huge Mac and Apple fan.
I have always been business minded, always been sorta an entrepreneurial guy; I played a character on 'Felicity' that was modeled after me, actually. I met my wife, I had no money, I had nothing, and I started my family without really, my career was nowhere, but I had these other businesses, I had these things I was doing to be able to afford a small home. With Yowza there are no games, you don't have to check in or become the mayor or go back home and redeem anything online - you will always press one button, show the coupon at the register and save money. It's as simple as that.
I was, throughout school, in the theater program. Through elementary school, junior high, high school, and then J.J. Abrams, my closest friend in the world, we were living together. He was writing, and I was trying writing; I wasn't getting paid for it like he was, but I always had the acting bug. I opened up a frozen-yogurt business out of college.
I didn't finish college; I went halfway, and then I worked for Joel Silver, the producer, as a driver for a year. Might be the worst thing to contain the letters 'u' and 'n' since 'untreated rabies'. I'm going straight to the second wife and not even having a first wife.that's right, straight to trophy!
Why do I need some first wife walking around with half my fortune? Why does she get $1400?! about leaving his corporate job for comedy Why make $200 a day, when I can be a comedian and make that in a week?
You ever been on date where after a couple of hours, you find it nearly impossible not to say 'Somebody kill me!' I'm dating this one girl, she loves Picasso and Mexican food. Talk about artsy-fartsy. Chicks dig me 'cause I'm a eunuch. I mean I'm unique.
The question is not - can you afford to gamble, the question is - can you afford not to gamble. Coldplay are my favourite band and have been since I was about 12. Just about every good acting teacher - the great Stella Adler is one that comes foremost to mind - will tell you that actors worth their salt can't be isolated from the real world. They need to be aware and use that in their performances. I've come to realize that firsthand. As a writer and former journalist, I've always thought that I was 'going to acting school,' as it were, when I was covering a story or talking to people from every walk of life. Take the business and your job seriously, but not yourself.
Have fun, and make life as enjoyable as possible for everyone around you on the set, from cast to crew to producer to caterer. We need each other. I've found when you love what you do that even adversity is a form of success. You're still in the game! I love acting, so even when I face so-called rejection, I'm on the team and know I'll get my swings the next time up. Conversely, when you're not doing what you like, every little problem is an irritant, and so-called 'success' really doesn't mean all that much because you're on the wrong team in the wrong game. I had a huge break early in my acting career, when I was 23 or 24, acting opposite Michael Douglas in a movie produced by Steve McQueen, stopped to raise a family, and in between, turned to writing to make a living and interviewed every big star and covered every Hollywood event I could think of.
It made me realize that maybe I hadn't been as ready as I thought I was for fame and and things happen for a reason. Now that I'm back, my focus is on being the best person I can be, having fun and working hard at my craft. If it's meant to be, it'll happen.
If not, I've had a great life, better than most people in this world can ever dream of. I've won, I've been blessed, no matter what. When I stopped acting for a while to raise a family, I worked as a writer, interviewing and being around some of the biggest stars in the business.
I learned that fame is like a distant, unknown island that lures us. When some reach it, they're prepared and survive. Others - too many - aren't and shouldn't have gone near the water in the first place. Acting is not a competition to see who can get the most attention. It's a team sport.
Like everybody else, I've had moments in my life like the guy on the operating table who hears his doctor go, 'Oops.' But then there's the payback: I get to play the doctor. Acting is like running away with the circus but getting to go home on weekends. Actors are nobodies trying to be somebodies by borrowing somebody's personality without anybody noticing. Doing an audition scene with some actresses is like trying to share a potato chip with a shark. Forgetting things doesn't make me feel old. It's forgetting that I'm forgetting.
These days, I'm offered many 'small but important' roles. I think people should know I'm ready for 'large but unimportant' parts. You can learn a lot about acting from cats and dogs. Cats are method, dogs are in the moment. A friend asked who the older lady playing my prospective mother-in-law in 'Adam at 6 A.M.,' saying he 'd seen her in a lot of stuff. I replied that not long before this lady, Louise Latham, was in Alfred Hitchcock's 'Marnie,' with Tippi Hedren and Sean Connery, as Ms. Hedren's disturbed mother.
I told my friend that I met Ms. Hedren and her daughter, Melanie Griffith, in Hollywood less than a year later - tearing their tickets at the Hollywood Pacific on Hollywood Boulevard, where I worked as an usher 'between engagements.' Around the same time, I was asked to fill in for Michael Douglas on a Hollywood talk show because he was away in Europe. I went and the host introduced me as Michael's co-star. Hollywood is that kind of place. The line between being nobody and a 'somebody' is razor thin. James Stewart was my favorite actor before I talked to him and my favorite actor after I talked to him.
The same on-screen as off: polite, humble, tough, clear, as morally upright as a steel rod. They say in Hollywood it's not what you know, but who you know.
I learned it's also who you know with a lot of luck mixed in. When I acted as host of an 'An Evening with Billy Wilder and I.A.L. Diamond' on the 25th anniversary of 'Some Like It Hot,' Jack Lemmon told me he did not know Wilder well at that point, but happened to be dining at Chasen's restaurant one Sunday at the same time as the great director when Wilder spotted him, dropped by his table on the way out and asked: 'Going to do this story where you'd dress up in drag after seeing the St. Valentine's Day Massacre want to do it?'
Recalled Lemmon: 'In that one sentence, I had the whole story. I never took a role without seeing the script first, but I did then.'
It's amazing how serendipitous decision-making in Hollywood can be, as fascinating as anything on the screen. Sometimes an actor's life seems like some absurdist work written by Beckett titled, 'Waiting for Weinstein,' the fame god. It bugs me when people get up after a film and don't stay for the credits, especially the names of the people behind the scenes. I just think it's rude and reflects a great deal of ignorance, really, especially about films in general. How do they think the thing got up there on the screen, anyway?
Couldn't happen without everybody from the set decorator to the caterer pitching in. And what if those people were their kids who'd pour their hearts and souls out, and somebody got up and walked away. Just bothers me. My writing really affected my growth as an actor and understanding and accepting the creative process.
One of the most important ways was learning it was all right and actually quite normal for performers to have 'artistic differences.' I always, naively, thought that stars were one big happy family, that they all got along.
I began to fully grasp this concept when I profiled the great American dancer-choreographer Agnes de Mille, whose work had included the original 'Oklahoma!,' 'Carousel' and 'Brigadoon.' I was absolutely floored when she criticized Gene Kelly as just being what she called an 'acrobat.' She hated his dancing. I thought, well, if the great ones have their detractors on that level, other people who are equally renowned who just don't like them, and keep on plowing ahead anyway, so can I.
It's part of the deal. There's no such thing as bad luck, only inadequate planning.
Multiply that times one hundred in acting. My attitude about acting echoes Confucius: If you choose a job you love, you'll never have to work a day in your life. Acting is the most private and personal kind of catharsis, turned inside out. Because of my parallel career as a writer and Hollywood biographer, I've had a chance to talk to dozens of successful actors, lots and lots of stars, from Cary Grant, James Stewart and Gregory Peck right on to Jim Carrey and John Goodman, and scores in between. Plus screenwriters, playwrights, producers, directors, cinematographers, set designers. Network presidents.
Cartoonists, dancers, singers. Oscar, Tony, Grammy, Pulitzer winners. Once, on a press assignment, I found myself seated on a plane next to the president of the Golden Globes for three hours.
Each and every time it was a private one-on-one acting class for me. I picked each of their minds about every aspect of show business and how acting and actors fit into the scheme of things, what made for success and caused failure, what they loved, hated, everything I could think of.
And I didn't have to pay a dime of tuition. I learned a lot about staying true to yourself and the quality of your work from the great Oscar-winning Warner Brothers and MGM cartoonist Chuck Jones, who created the likes of the Road Runner and Wile E. Coyote, had a hand in the development of Bugs Bunny, and went on to produce some great quality stuff for kids. I spent time with him for a profile I was writing, and he told me he could have gotten rich if he had accepted an offer to do cheap, mass-produced cartoons on Saturday-morning network TV. He had a terrific offer. But he said, 'I couldn't afford to be rich it would have undone everything I worked for in my lifetime.' His inspiration was Robert Louis Stevenson, who turned down an offer to write a weekly column while he was traveling to Samoa and said the same thing.
Stevenson thought it would cheapen him. Made me think that an artist is held accountable for everything he does, and that it only takes one slip, one expeditious thing, for money or for whatever reason, to undo everything you've worked for. You've got to stay true to your beliefs even when the cost is high. An actor can and should prepare wherever he is, I don't care if he's on Guam, every hour of every day.
Do something constructive, point forward, urge yourself on. Nothing's a waste. Geography has nothing to do with honing talent or preparing or fostering a dream. I had two of the greatest early-career experiences a young actor could possibly have. I auditioned for the great John Houseman when he was assembling his first drama class at The Juilliard School, and at the same time I had as my college acting teacher my first acting instructor of any kind, in fact a lady by the name of Robin Humphrey, who was in the very first New York Actors Studio class. She was right there with Marlon Brando in this small, hand-picked group of enormously gifted people.
Imagine that. The takeaway from both Houseman and Robin was that as an actor I needed to be completely prepared and professional. I'm still drawing on every speck of what I learned from both of them. Houseman, for instance, at one point had me sing 'Happy Birthday' in three wildly diverse contexts, one to my imaginary mother as she lie dying in a hospital bed sadly and ironically, very close to what happened with my own mother in real life. In the latter instance, I remember being in the hospital and thinking and feeling pretty guilty that my mind was even touching on such things, frankly now I get it! But the fact is, that's what acting is all about, drawing from our lives.
My educated guess is that Houseman set me on that path knowingly, realizing at some point it would register. I owe him and Robin a lot. I'm half-Catholic and half-Jewish. When I go to Confession, I take my agent. Great acting, on stage or on screen, is the ability to recognize when somebody else screws up and, staying well within character, unscrewing it. Hollywood can be explained by that terrific line from the end of John Ford's 1962 Western, 'The Man Who Shot Liberty Valance' 'when the legend becomes fact, print the legend.' It's nigh-on impossible in Hollywood to know where reality stops and showmanship and exaggeration begin, but if people buy into the illusion, that becomes the reality.
Some of those famous souls in Hollywood Forever Cemetery must be spinning in their graves like air coolers. After meeting, spending time with and profiling stars like Cary Grant, Jimmy Stewart, Gregory Peck, Jack Lemmon and Rod Steiger, right on through present-day people like Jim Carrey and John Goodman, plus directors ranging from Frank Capra, Billy Wilder and Robert Wise right up to Spike Lee, it really hits home that so much that's written about them is exaggerated and outright fabricated. I talked to Cary Grant coincidentally not long after an unflattering book came out about him, and he was just furious, saying, How they hell can they say Cary Grant thought this and that as he did this and that? How the hell do they know what's going on in my head? And he was right. The book was founded on supposition, what they assumed he was thinking. When I first profiled Jim Carrey his film career was just getting started, and he made it a point to tell me how the press release about him covered up his real family background, that they were poor and had to live in really tough conditions, unlike what the release stated.
He was embarrassed. When I talked to him the next time, when he was doing the TV series In Living Color, when he was really coming into his own and had more power, he just said what was on his mind, no baloney, no screwing around. He really eliminated the middle man. Rod Steiger wanted to set the record straight about filming that famous backseat scene with Marlon Brando in On the Waterfront, more or less saying, this is what's been written and said and talked about and analyzed, but this is what really happened, man, I was there, that was me, I did it and I know. The list is endless when you talk to these people. Then you drop into a bookstore and pick up a so-called Hollywood biography or history, and this stuff is unbelievably derivative, just regurgitating rumor after rumor and myth after myth, generations removed from the fact. It's sad because then film students and movie aficionados as well as the general public buy into it and unwittingly promulgate the lies with their wallets.
The real shame is that the truth is not only more educational, but a whale of a lot more interesting. I know it's fashionable to say you live and die for acting.
You hear young actors try to impress by saying they can't live without acting they've read that in fan magazines, hear it on TV and in the social media, and regurgitate it. Acting is a business, a job, a profession. You know what's a matter of life and death? Living and dying.
You want culture shock? You want the ultimate abrupt, roll-the-ball-off-the-table experience of going from the quiet and solitude of the quintessentially bucolic come-as-you-are, so-called second America to the pulsating, undulating, horn-honking gut of the real Hollywood, the world epicenter of painted-over pimples, heavy mascara and yeah-baby machine gun self-promotion? Interview 'New York Times' (USA), 15 November 2012, pg. E1, by: JACOB BERNSTEIN, 'A Murder in the Family' 'Babylon 5 Magazine' (UK), January 1999, Vol. 38-39, by: Joe Nazzaro, 'The Criswell Factor' 'Anime Insider' (USA), October 2005, Iss. 55, by: Robert Bricken, 'Hearing Voices: Voice Actors Greg Ayres and Kira Vincent-Davis Talk 'Loki' 'Los Angeles Times Magazine' (USA), 21 July 2002, pg. 9, by: Ginny Chien, 'Puppet Confidential' 'Village Voice' (USA), 2010, by: Stacy Gueraseva, 'New York Comics Go Laughing Into the Heart of Darkness' 'The Telegraph' (UK), 13 August 2009, by: Veronica Lee, 'Greg Behrendt: why Sex and the City needed me' 'Sports Illustrated' (USA), 5 July 2010, Vol.
58-66, by: Lars Anderson, 'Motor Mouths' 'The Sporting News' (USA), 12 October 2009, Vol. 70, by: Reid Spencer, 'Off the Track.with Greg Biffle' 'Pioneer Press' (USA), 26 June 2014, by: Chris Hewitt, '9 questions with Greg Bro' 'Fangoria' (USA), June 1996, Iss. 38-42,+69, by: Rodney A. Labbe, 'Thinking Big' 'Sirius Satellite Radio Station' (USA), 23 June 2006, by: Eminem's Shade 45, 'All Out Show' 'Starry Constellation Magazine' (USA), March 2008, by: Jamie Steinberg, 'Greg Davis, Jr.: Comedy Off the Cuff' 'NME' (UK), 19 December 1998, pg.
89, 'Christmas with the stars: Greg Dulli, Afghan Whigs' 'Pop & Rock' (Greece), December 1998, Iss. 78-81, by: Leonidas Arvanitis, 'Goin' Back To New Orleans' 'NME' (UK), 24 February 1996, pg. 20-21+61, by: John Robinson, 'Ohio State of Consciousness' 'The Independent Newspaper' (UK), 6 November 2006, Iss. 18, by: Elisa Bray, 'The 5-Minute Interview: 'I was surprised I was fired as director general of the BBC' 'TV Zone' (UK), October 1995, Iss. 15-17, by: David Bassom, 'Tek Warrior' 'Starlog' (USA), April 1995, Iss. 213, by: Peter Bloch-Hansen, 'TeleHero' 'Teen Beat' (USA), September 1979, pg.
86-88, 'Everything You Always Wanted to Know About Greg Evigan. But Were Afraid to Ask' 'Star News' (USA), 30 August 2010, Vol. 1B, 5B, by: Amy Hotz, 'Local writer makes Poe's idea his own' 'Family Circle' (USA), March 2008, Vol.
208, by: Patty A. Martinez, 'My Family Life: Greg Grunberg' 'Xpose' (USA), November 2007, Iss. 72-74+76-78, by: Steven Eramo, 'Making Of A Hero' 'Artvoice Magazine' (USA), 23 October 2014, by: Greg Mach, 'If the Zombie Apocalypse actually happened' 'Niagara Gazette Newspaper' (USA), 18 August 2014, by: Timothy Chipp, 'Terror Technologies helps people 'play dead so others may live' 'iHorror Magazine' (USA), 30 July 2014, by: Carly Knaszak, 'Zombies for Charity!' Article 'The Wrap' (USA), 9 May 2013, by: Jeff Sneider, 'Shocking Cleveland Discovery Gets Hollywood Buzzing About 'Stockholm, Pennsylvania' 'New York Times' (USA), 15 November 2012, pg. E1, by: JACOB BERNSTEIN, 'A Murder in the Family' 'People Magazine' (USA), 29 October 2012, Vol. 3, by: SHARON COTLIAR, 'Hamptons Murder Revisited: 'We Had to Face Our Fears' 'Variety' (USA), 22 October 2012, pg.
1, by: DAVE MCNARY, 'Ammon org gifts Lincoln Center' 'New York Magazine' (USA), 14 July 2003, Iss. Cover Story, pg. 4, by: Robert Kolker, 'The War For Ted Ammons Children' 'Vanity Fair' (USA), January 2002, Iss. 5, by: Michael Shnayerson, 'Murder in East Hampton' 'People Magazine' (USA), 19 November 2001, Vol. 3, by: Pam Lambert, 'Death at the Top' 'TV Guide' (USA), 12 January 2009, Vol.
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64, by: Michael Logan, 'It's Time to Wake-Up' 'Woman's World' (USA), 13 September 2005, Vol. 20, by: Greg Behrendt, 'Ask America's Ultimate Experts' 'Seattle Times' (USA), 27 February 2004, by: Carol Smith, 'Filmmaker examines fear of death' 'Highlights For Children' (USA), 1 November 1993, by: SELF, 'HOW TO DO VOICES' 'Contra Costa Times' (USA), 5 March 2008, by: Janice Rhoshalle Littlejohn, 'TV Producer Successfully Juggles Three Series' 'Quick & Simple' (USA), 14 November 2006, Vol. 39, by: Greg Biffle, 'Home Cooking: Get Revved Up' 'USA Weekend' (USA), 21 October 2005, pg. 6-7, by: Dennis McCafferty, 'My Other Car Is.' 'ESPN The Magazine' (USA), 26 September 2005, Vol. 32, by: Greg Biffle, '9 Things You Should Know About.Roush Racing' 'The Sydney Morning Herald' (Australia), 12 May 1998 'Palisadian Post' (USA), 26 August 2010, by: Libby Motika, 'Actor Greg Bryan Engages His Passion on Stage, Screen' 'People' (USA), 25 August 1997, pg. 44, by: Samantha Miller, 'Picks & Pans - Bytes - 'Hunting for Has-Beens' 'Wired' (USA), August 1997, pg.
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143, 'That Obscure Object of TV' 'Newsweek' (USA), 18 May 1997, pg. 10, 'Fame Game' 'Internet Underground' (USA), January 1997, Vol. 52, by: Greg Bulmash, 'Looking for Mr. Baio' 'The Outlook' (USA), 26 September 2012, Vol. 15, by: Brett Bodner, 'Conquering Dreams Through the Civil War' 'San Jose Mercury News' (USA), 14 August 2008, by: Shay Quillen, 'Smash Mouth's Camp Goes It Alone' 'Los Angeles Times' (USA), September 2010, by: Richard Verrier, 'Independent filmmakers feel the squeeze of piracy' 'LifeTimes' (USA), September 2004, by: Carolyn Banks, 'Resurrection is success story' '002 Magazine' (USA), September 2004, by: Jennifer Varadi, 'The J.R.