Five Question Interview With Actor PETER JAMES SMITH

Peter James Smith is a terrific actor whose work I have enjoyed for many years. He's done stints on all the shows you love-- CSI, 24, Friends, and as as a regular for seven years on The West Wing. Five question interviews are great because we get to skip there 'where did you grow up' talk and get right to the heart of the work, the acting. It's a topic that Peter knows plenty about.

You have this habit of turning up in nearly every TV show I watch. I think I mentioned to you that I was casually watching 'Friends' a few weeks back, and there you were! I am always interested to know what it's like, as an actor, to work for one or two episodes on such iconic shows as 'Friends', 'E.R.', '24', etc. How is the experience? Is it daunting to step into --- and is it sad when the job is over?

Every experience is different. On Friends, the thing I remember most from being on the set was how friendly Jennifer Anniston was. From E.R., I remember how efficient the whole process was. From 24, I remember staying up all night long and watching them film a car crash. That was cool.

These experiences aren't necessarily daunting--I think it depends a lot on the friendliness of the cast, crew and director of the show/episode. I have had some wonderful welcoming experiences and experiences where I felt less than welcome.

I do tend to go into a little depression after the end of any job I have--whether it's an on camera job or an on stage job.

I also remember little lessons I learn on each job and audition to help me on future jobs and auditions. Out of the jobs mentioned above, I think the lesson I use the most is the one I learned on the Friends audition. The lesson I learned there was that one's personality is at least equally as important as one's acting ability. If I can show a bit of my personality... my wit, my friendliness, my banter, my willingness to work with changes... I think it makes the people in the room want to work with me. They not only want someone that can do the job, but someone they would enjoy working with.

How do you like your relationship with the Director to be -- what is the ideal? Do you like to be left alone, or do you like lots of access to the director?

I'd love access to the director. However, I find--especially in television--there is so little time to get an amazing number of elements to come together, that the director may find the technical elements a lot more attention-consuming than the acting. So, most of the time I feel my job is to come in with my choices made. If the director wants any adjustments, it seems best if I'm able to do them quickly and smoothly.

There have been times where I do feel that the director takes the time to talk to me about what I'm doing --and I love when that happens-- but it feels like an exception rather than a rule.

I'd like to mention theater here. I think one of the things that a theater director told me that I think is brilliant is the director's job is to guide the actor into what the director wants the actor to do, but to do it in such a way that the actor thinks it was the actor's idea the whole time.

How is preparing for a stage role different to comparing for a screen role?

I think, again, because of the fast turn around in television--one's best tool is oneself. Be as natural and reactive as you would be in that actual situation.

Whereas, in theater, I feel one has time to build a different person entirely.

Why do you love acting?

Thanks for this question. It's been a while since I thought of it. I believe that acting, at it's highest, can put an audience into a character's shoes. In that way, a type of person that an audience member might not know much about, or perhaps even fear or dislike in some way--the audience could get to know this person and become more understanding of this type of person and, as a result, there is a little less ignorance and a little less prejudice in the world.

There are so many ups and downs when working in this industry. Especially for actors; one minute you have a heap of offers and projects, the next you're unemployed and nothing is coming your way. How do you deal with that? Has it gotten easier over the years?

It's funny. I don't think of how I deal with it. I just live my life in the every day and take what life does bring me--whether it's a heap of offers or a free day to go walking on the beach. It hasn't gotten easier. There is a certain level of acceptance... but there are also moments of panic when thinking about money or about making enough as a union actor to qualify for health benefits.

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TRACY CLIFTON - Actor Interview

TRACY CLIFTON is an actress. A very good one who has done a lot of great work, but you probably don't know her. Tracy is like most of the actors in the industry-- doing the best she can each day to find her way in a challenging, unpredictable, and highly competitive industry.

I'm interviewing Tracy because a) I think she's wonderful and I want you all to know about her, and b) Because she represents the bigger, silent majority of actors, who are doing the best they can each day to have a great career and find work that inspires them.

There are a billion actresses out there, and they all want the same roles as you. How do you stay sane?

I was taught this very simple concept by my favorite acting professor in college: Go into every audition thinking, "Here's what I have to give. Can you use it?" And that's how I go into every.single.audition. I have a gift - the gift of being me, in all my spazziness, my enthusiasm, my eyes that change color depending on my mood, my knife fighting skills, my dark sense of humor. Can they use any, or all of it, for the role I'm auditioning for? If the answer is Yes, then great! That's wonderful! We're both blessed by me being hired. If the answer is No, we can't use what you have to give right now, then I don't need to be there, and I don't want to be some place where I'm not needed.

This keeps me sane every day of the week - and keeps me from ever taking it too personally (or getting caught up in the ridiculousness that is being an actress.)

As an upcoming actor - you want roles, but I'm sure you also want to do good, interesting work. So, how important is a good script to you?

A good script and a good actor create a great partnership (American History X, LA Confidential, Children of Men, 40 Year Old Virgin, etc.) but you can still have a bad script with good actors (X-Men 3, Speed, Bad Boys 1 and 2, and most slasher flicks); but it's hard to pull off anything with bad acting. So when looking at a script, I drop the judgment. I'm never going to blame a bad performance of mine on a script because a good actor should sell, and make believable, a bad script any day of the week. Do all actors want the chance to act in movies like The Godfather, Good Will Hunting, The Insider, American Beauty, Pulp Fiction, American History X, etc? Yes. But let's remember this: Star Wars didn't have the best script. But the actors sold it and never turned up their noses, or dialed it in because it wasn't good writing. They found ways to make it work through their performances. And because of that, it's freakin' awesome. So I would say - while it's a nice perk to have a good script, I don't turn down bad scripts. Those are the challenges (and I don't back down from challenges.)

Do you think there are as many interesting roles out there for women compared to men?

I don't, honestly, but instead of complaining about it (which I've probably done on your blog, Kid) I want to change the industry. Not necessarily with a "Mrs. Smith goes to Hollywood" kind of idealism, but with an attitude of: women are just as complex as men. And their stories deserve to be told. Women don't have to be defined by their relationships the way they are portrayed in films (she's the Daughter! Sister! Mother! Bride! Whore! Virgin!) but can be the heroes of their own journeys, being fallible and human while still being fascinating to watch. I would also like to see the industry move away from its fascination with torture-porn and punishing women for wearing tank tops in dark forests, but that's another interview altogether, I think. :)

I would also say that the industry is getting better about this every day - from strong female roles created by Hilary Swank, Ellen Page, Christina Hendricks, Maggie Q, et al, to more thoughtful high school comedies/dramadies that take a girl's point of view into account, such as "Juno," "Easy A" with Emma Stone, or even "Jennifer's Body" with Megan Fox.

What one quality makes you awesome as an actress?

I like to think it's a quality that makes me an awesome person too - I'm a very good listener. I don't just wait for my co-actors to finish speaking while thinking, "Okay, my line's next! My line is next!" but really try to focus on listening to what is being communicated. I like to think this keeps my own performance on its toes because I'll never know what line will really affect me each time, so nothing is fake or forced (As David Mamet said: invent nothing, deny nothing.) Also, I like to think I have some kick ass comedic timing.

Okay, I'm done giving myself compliments. Two is enough.

Everyone wants a 'successful' career --- but what does success mean to you?

Success means doing what I love, and earning enough money at it to not be scared when I have to pay my bills each month. I'm serious, though - I don't need to be a millionaire, I don't need everyone to know my name. I just want to get up every morning and go to work, feeling useful, creative, and as if I'm putting the gifts I've been given to good use. Who could ask for anything more?

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Five Question Film School With Writer/Director Scott Prendergast.

Rather than ask questions about where he grew up and what his pets were called, I decided to get straight down to business with first time Writer/Director Scott Prendergast, whose debut feature 'Kabluey' (starring himself, and Friends star Lisa Kudrow) is now available on DVD.


1. What is the one dumb, stupid, silly, idiotic mistake that you made when making Kabluey?

I wish i had gotten to know - and hired - a Director of Photography long before we began pre-production. I did not know any DPs and I had never worked on film as all my shorts were on video. I wish I had had an ally who knew all the technical ins and outs. I wish I had worked with someone incredibly talented. I wish that I had a DP who I had worked with for years who I knew very well, and trusted.

2. How do you direct yourself? How do you know when you've got it right?

I've only ever made short films where I was the writer/director/actor. So I kinda knew what I wanted and just hoped that I was getting it right. Because I had written the material I had a pretty firm grasp on what I wanted to do. And every now and then I would turn to my producer Sarah Feinberg and I would ask her "Am I doing this OK? Am I awful? Was that good?" I think you can just feel it when it's going right. It's better to FEEL good about it than to obsess over "does it LOOK right?" I think that's a good rule of thumb for directing yourself and for acting.

3. How did Lisa Kudrow get involved?

We sent her the script - she read it - and she called me and said yes. It was kind of a crazy miracle. I really respect her for being so adventurous and doing this tiny movie. She was perfect in the film and wonderful on set. It all just fell into place very quickly. Which I guess is kind of rare and weird. But I am very very happy we were so lucky.

4. What is the one part of the film that makes you think "wow, I really nailed that!"

Lisa walking down the road crying. I had worked on that a lot - thought about it forever - planned it out a million times. And lisa just walked on and nailed it. I love that scene. She's so good. Also I'm very happy with the look of the suit and the physical comedy with the suit out on the side of the road.

5. What's the hardest thing about directing a feature?

Everything is hard. But the hardest thing? Hmmm... just getting the money probably. Finding people who will give you their money and not demand that you turn over all creative control. Getting a movie made at all is a miracle.

Check out the trailer!

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Interview With Actor, Writer & Comedian David Schneider.

If you live in the UK, chances are you recognize the face of David Schneider. If something funny is on the TV, it's likely that he's involved in it. The impressive thing about him is that he's also been sneaking onto the big screen and working with some of the best directors in the business such as Woody Allen and Danny Boyle.

As well as acting, David has also written numerous projects such as the feature film 'All The Queen's Men' and the BBC children's series 'Uncle Max.' I caught up with him this week to discuss how he first got started in the industry, how he deals with writers block -- and we took a closer look at some of his best work, as well as some of the stranger moments - for example, how Ikea flat-packing almost ruined a handshake with Woody Allen.

If you are a writer, an actor, or love comedy - this is essential reading.


How did you start out in the industry, you started doing stand up is that right?

Well my actual first job was as an actor at the National Theatre. I had done a bit of comedy at University, not so much stand up as sort of characters and sort of falling over really, visual comedy. But I did acting as well, and it was a very specific circumstance where they were doing a play at the National and needed a Yiddish speaking cabaret performer under eighty, and I was basically the only one in the country who fitted that bill.

So initially I was an actor and then I did stand up and because of the people I knew from University like Armando Iannucci. That's how I got more into comedy.

Was comedy always the thing you were interested in, or was it acting..

Yeah, well - comedy was always a thing I had a particular gift for, but I enjoy acting as well. But I suppose I've got a face for comedy shall we say.

Who are your biggest influences would you say, comedically?

The towering person who has influenced me is Woody Allen. He's the person who I love the most and have admired the most. And I actually got to work with him..

I was going to ask you about that. How was it? Did you get to talk to him much?

Well he's not a talkative chap.

I did get very excited about meeting people and saying "he doesn't even say hello to you," and "he just gets on with the job," but um-- I was really excited, and I shook his hand, which I shouldn't have done because I'd been doing Ikea flat-packing the day before and I had a blister on my hand. So I feel there was a bit of extra suction as our hands separated, which, knowing him, he'd be over-neurotic about.

But professionally it was marvellous. He gave me a bit of direction during the scene that I thought 'yeah, you know so much more than me'. And it's great, y'know, when you've been knocking around the business for a while to work with someone who clearly is in a Premier League to your League One.

I think as well, you may have been in the last film he'll act in. Because since 'Scoop,' I think, there's been no sign of him acting.

Yeah, no that's right. I mean he might have another go but I think 'Scoop' wasn't the greatest of successes, but I don't take that personally. But yeah, I hadn't thought about that.


You've written a lot as well, which I think a lot of people may not know about you. Do you see yourself as much as a writer as an actor?

Yeah I sort of do both and there's times when I'm doing more writing and times when I'm doing more acting. And the trick for me is to combine the two, I also direct as well. And y'know, it's not easy, and sometimes I think I should focus on one but I do enjoy doing both and get different things out of doing both, so um, I think - I don't know how I would advise younger people, but I think it's important to focus sometimes.

How is it when you've written something, like 'All The Queens Men' - how is it when it goes off and someone else directs that?

It's hard to let go of things but you have to learn to let that happen. I think part of, well -- my goal is to be like a Woody Allen who has total control and can direct his own thing. But then, what's great if you get someone who's good is they can add to your work and then there's things that you can't see that they can. And I think some of the flaws in some people who become so successful is that they don't listen to anyone else. They write and perform and sometimes direct their own stuff- is they don't, you know they don't have anyone to say "actually you shouldn't do that."

So that's the advantage of working with other people. It is great to work with other people if they're any good, but the truth of the business is sometimes you have to hand your work over to other people who have a different vision from you, shall we say, and that can be hard.

I remember when I was in a play that I'd written at the Hampstead theatre a few years ago - I was acting opposite someone who I felt wasn't delivering my lines quite right. And having that battle in my head, going 'I've got to concentrate on the acting', rather than suffering each time he delivered that joke slightly wrong.

That's more of a thing in comedy I'd imagine, right? Because comedy can be such a specific thing, in the way you write a line.

Yes, yes. It's more obvious in comedy, if a line is meant to get a laugh and it doesn't, it's more of a binary thing isn't it where you can actually sort of, one, zero, did it get a laugh or didn't it.

But I think in serious work, in drama, you can still think 'ah, that's drawn out.' So, certainly it's clearly in comedy but I think it applies to all genres.

It's really great to see when you get to work with a really great actor. Like, recently I was watching the scene in 'I'm Alan Partridge' at the dinner table, when Alan is trying to get a second series.

Yes.

And that was such a perfect scene, so funny. When you're working with someone like Steve Coogan and with such great material, it must be a lot easier for you I'd imagine.

I was so spoilt in the 90's because I worked with such brilliant people, such inventive people, and people who just knew comedy so well. So it was a joy - a joy to go to work and know that you might nearly lose control of your bladder or in two cases actually lose control of your bladder just through rehearsals.

Steve's a very generous performer. If the laugh is to be yours, he'll allow it. And he'll improvise something that is so true to the character, and that's just very exciting at the time. So I feel, y'know, those were great because I was with such talented people, you can be spoilt.

Looking at 'Uncle Max' that you did with the BBC - how did that come about?

Umm, well I wanted to do, before I was too old and falling to pieces too much, a visual cartoon, a human cartoon - and I wanted to do stuff for kids.

It happened quite quickly in fact, thankfully - because, y'know, I am getting older. So, yeah-- it's been great and I'm proud of what we did there and the kids seemed to like it.


Is this something you had more creative control over having written it and performed in it as well, or was there a director who....

There was a director, and I was very lucky in the directors that I had, in that they were very very competent creatively and technically. But also that they were infinitely patient with my control-freakery.

I mean I do feel that, y'know, visual comedy is a very specific skill in how it should look. I mean the thing that makes me tear my hair out on television is stuff like 'Britain's Got Talent,' which I confess I do like. When they shoot a dance act and they keep cutting to different angles and cutting close, but really they should just stick it on a wide shot and let it happen.

I would nag my director's sometimes to , um-- if I felt..

To keep it simple.

Yeah but you know, I was very lucky that I had two different directors but both of them were very talented and nice as well, so it was good.

Is Chaplin an influence for you? I thought 'Uncle Max' had a Chaplin quality to it.

Yeah. Well I love Chaplin but above all I love Laurel and Hardy. Chaplin had an innocence, and so do Laurel and Hardy but um, it was Laurel and Hardy I really tuned it to as a kid. I like to think 'Uncle Max' is a cross between Laurel and Hardy and a cartoon. Well, that's what I aim for I mean obviously we have such limited finances and I would never ever compare myself to them.

I love the timing. There are bits of Uncle Max where I think, like that timing before the shoe falls on his head at the end is just like a Laurel and Hardy bit. And Buster Keaton, I do like Buster Keaton.

What is the writing process like for you.. does it come easily or do you struggle with it?

Err, yesterday being the first day back at school, it was a nightmare. But if you'd asked me this any other day of the year I would say no no it's alright, I don't really have writers block. But having just suffered the January 4th moment, it doesn't always come easily.

But you've got to be excited about what you're writing. Sometimes you take commissions. I've been quite lucky that I haven't had to take commissions, I can generate my own work and then that's always something where I'm going oh that'd be great, oh I love this character, I love that idea. And as long as you're doing that, things tend to flow. If you're not enjoying your idea, that's where you tend to get stuck.

But no doubt writers block happens and there are times when you have to leave the desk. I know how to trick my writers block now. I just say "yeah, I'm just going to have a shower.." and normally the block relaxes then and then, in the shower I have an idea, and think oh that's funny.

Or during the night, which is tricky.

It's always frustrating isn't it. You get an idea and 3am and you know you have to get up and write it.

Yeah yeah, and you write it down and sixty percent of the ideas are awful, but that's just part of the territory I think.

So can you tell us a bit about what you're working on now?

Well I'm finishing a draft of a film I've wanted to write for ten, fifteen years and I've always been too busy, so I said "I've got to write this film." I don't want to give too much away but it's kind of Woody Allen meets Charlie Kaufman.

It's sort of early Woody Allen and romantic, but y'know, Charlie Kaufman so it's really quirky and plays with concepts of time and stuff. It's either genius or mid-life wank. And I really don't know which one it is.

Have you shown it to anyone yet?

I'm about to print out a copy and show it to my girlfriend, she'll certainly tell me if it's mid-life wank.

Risky.

I know yeah. She'll show me by packing her bag and going. I'm not sure, it's not going to be just alright. It's either going to be awful or brilliant.

Well, let's hope.. When you finish a screenplay what do you do with it then? I guess you've built up contacts through the years.

Well my agent helps me. And I've just got an LA agent now and she will hopefully take the script to people out there. With TV I know lots of people, y'know, yeah you do built up contacts through the work over the years. Getting an agent, a good agent is the main thing.

Can I ask - would you rather direct the film yourself on a small budget or get the giant paycheck and let someone in Hollywood have a go?

Oh my god [laugh], have you been in my head for the last six months just listening to what's going on? Yeah, that's a very difficult question.

I'm realizing that I'm not someone who can go round and hack people for money and schmooze. So I'd love to make it myself I will probably have to accept that's not going to happen. But yeah, we'll see. If it is genius, then I might be able to get some money behind me.

But you meet people who are directing their own films and they put three or four years of intense meetings and schmoozing to get the finance together. I don't know if I could do that.

Okay, well - finishing up really. With acting, there's so many, thousands of actors. When I'm making a short film even, and I put out an ad, I get hundreds of applications from actors - they really struggle to stand out, to y'know, show people what they can do. Do you have any advice for them?

I mean it is very hard. I mean, you've got to have self-belief. And you do have to take risks. If you find yourself going 'oh that person would never see me' don't- don't eliminate yourself from the casting process. let them eliminate you. Send that email that doesn't get replied to.

I think part of the battle for any creative person is um, not to reject themselves.

Oh, definitely.

'Oh there's no way that Director would ever see me.' So just go for it.

Not let your inner-critic put you down.

Exactly, I would certainly say that.

28 Days Later, I thought that was quite interesting. A different role for you as well.

Yeah, yeah I think; I was really pleased to get that because it was, y'know, about as serious as you can get. And because it was such an intense role I sort of feel it met, it almost came around the other dark side of the comedy moon. It was almost comedic. When you're that extreme, y'know -- one of my strengths is I'll always make a fool of myself very easily comedically. Y'know, for a good cause, not being a twat. And I think that's what you have to do as an actor. You have to be totally open.

I'm waffling now, but I was very chuffed that he gave me that chance and it was very interesting to do it, and see that I could do it. I mean, he's a great director (Danny Boyle), even though he's fighting all these monkeys and trying to film them, it was crazy. I was in good hands there.

What other aspirations do you have for your career now? What do you want to achieve?

Yeah I mean, it's always been my goal to be Woody Allen. Whether I'll achieve that I really don't know. I've always wanted to be in my own sitcom, and make a wonderful film.

So y'know, I'm working away at getting closer to that. But the thing is, that's part of me - doing different things. I do like chopping and changing, I get bored very quickly. So as long as I'm stimulated and keep working then I'm happy really.

One last thing - what's your favourite film?

Uhhhh, I guess the one I quote the most is 'Annie Hall', I guess. There's others. 'Brazil,' 'Crimes and Misdemeanours' I really like. 'Downfall' - that's hilarious, really should have had a laughing track. So yeah, there's some I really like. And 'Eternal Sunshine Of The Spotless Mind.'

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Why Struggling Actors Should Produce Their Own Work

If I hear one more actor say "there's just nothing out there at the moment" or "I don't have anything for my showreel" I am going to scream.

When you're starting out in the industry it's hard, I get it. But the industry doesn't owe you anything. And that can really frustrate me about young actors; they feel like they are owed acting roles, owed great showreels, owed everything. But the industry owes you nothing. And the thing most of you don't realise is that there are thousands of actors out there working harder than you. You need to catch up.

Acting, like Producing and Directing, is creating. Something didn't exist and now it does. If you do a short film TODAY, then you have put something out there into the world. It is a part of your legacy. Now it may suck, so you may not want to make it. But what's better, a film that sucks or a film that doesn't exist? To begin with, just by making something that sucks, you wipe out 50% of the competition, because the other half is sitting in offices and supermarkets saying "I want to be an actor".

Most actors get a bit scared when they get DVD's of their performances. It's usually "oh God, I wasn't as good as I thought". But imagine if before doing that film; you had made five of your own shorts and acted in them-- chances are your performance in the DVD you just received might be a bit better.

There is no need for an actor to wait for roles, CREATE the roles. If you want to play a nurse, make a film about a nurse. You want to be an astronaut, be an astronaut. You want to play a whore, play a whore. "But I have no money!" you say. Okay, well - how about you and two other struggling actors make a short film set in one location. 'An Astronaut misses his last day of training due to being caught with a whore by his girlfriend - who uses her nursing skills to help the whore who's struck down by a fever.' - there you go. Grab a camera, shoot it. You have a film.
Make a mockumentary about an out of work actor who has a fear of leaving his house. Make a film about a man who keeps watch over his garden as he's convinced the pigeons are Nazi's. Film a bunch of your acting friends talking about their fears and hopes and put it on YouTube, it's footage of YOU.

If you have showreel footage, you immediately overtake 80% of the actors currently doing the short film circuit.

Back to creating. Maybe you're scared by the term 'Producing'. A producer takes nothing and turns it into a product. He finds a story and finds the people needed to make it end up on the screen. You can do that. You can do it by borrowing your Aunt's camera, getting a friend to press record whilst you perform.
"But it doesn't look professional," you say. Casting Directors don't care. Whether it was Patrick Fugit in Almost Famous or Katie Holmes in Dawson's Creek; the industry is full of cases where some struggling nobody who lived in a farm in nowhere managed to win a role by showing Producers/Casting Directors who they are. Tom Hanks on 35mm is Tom Hanks. Tom Hanks on your Aunt's camera is still Tom Hanks. I was watching a behind the scenes video of 'Vanilla Sky' yesterday; it was just Cameron Crowe and the crew messing around-- but every time Tom Cruise and Penelope Cruz are on screen; they steal the show. Why? Because they have that thing. In their eyes, in their movement, in who they are -- they are great personalities, great actors. It shines through. YOU WILL SHINE THROUGH if you create video content of yourself, being yourself, and showing the world your talents.

There is no need to be distraught if you are not getting roles, or if Directors everywhere are ignoring you or saying "I may be casting next month," who cares; a lot of their films will be terrible anyway.

Go watch 'Ellie Parker' - it's Naomi Watts in a horribly rough and cheaply shot feature film; but what she does in the film is show off every aspect of her acting skills. She proves to the world how great she is. You can do exactly that.


Some of the best short films I have seen have been terribly shot. But if you can act, you should show people. You want to know what is worse? Terrible acting with beautiful photography.
It will ruin you. If a casting director sees you on TV or in your showreel or, even worse, in the cinema and your performance is wooden and stagey - then you're screwed. So go pick up a camera; this is the most freedom you'll ever have as an actor. Go create, go and become the very characters you want to play. The ball is in your court - and you need to smash it right into the Casting Directors face so he can't miss you.

"I am getting my reel together soon" should not be a sentence you ever utter.

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