August 12, 2025 • 41 mins
This podcast episode features a conversation with actress and director Blanche Baker, who discusses her career, her notable roles, and her passion for making films that address social issues.Show Notes:
- Early Career and the Impact of Holocaust
- Blanche Baker's debut role was in the Emmy-winning miniseries Holocaust.
- This role was deeply personal for her because her father, Jack Garfine, was a Holocaust survivor.
- Before filming, she retraced her father’s journey through the concentration camps, including visiting Bergen-belsen, where he was liberated at age 14.
- She also shares a story about a taxi driver in Vienna making a joke about the Auschwitz ovens, which made her experience "horrifying at times".
- Her father supported her doing the film, believing people would relate to the story better than "just facts and numbers".
- She also recounts how her father would laugh at most films about the Holocaust, saying that in the camps people were singing and dancing, and those who felt sorry for themselves were the ones who died. This was his way of saying you have to "find the joy in life despite the horrors" to survive.
- Blanche Baker's debut role was in the Emmy-winning miniseries Holocaust.
- Acting Technique and Education
- Baker believes that an academic background gives actors roots in a tough business with many ups and downs.
- She recommends the books Respect for Acting by Uta Hagen and Intent to Live by Larry Moss for her students.
- She has also taken Stanislavsky’s work and translated it for film to help students achieve the naturalistic performances seen on screen today.
- She notes that the basic acting technique is the same across mediums like film, television, and theater, but it must be modified for each, with film bringing the "audience... right up into your face".
- Baker believes that an academic background gives actors roots in a tough business with many ups and downs.
- Sixteen Candles and On-Set Stories
- Baker recalls that John Hughes wrote Sixteen Candles in just two weeks and let the cast improvise.
- None of them expected the film to become a cult classic that still resonates with young people today.
- She recounts a story about Anthony Michael Hall hanging from a coat hook in her hotel room and other pranks on set, describing the experience as "like being at camp".
- She also shares a story about trashing a hotel room while shooting a film in Israel when she was younger and how it taught her that pursuing acting as an art is what makes you happy, not acting out.
- Baker recalls that John Hughes wrote Sixteen Candles in just two weeks and let the cast improvise.
- Moving Behind the Camera
- Blanche Baker is passionate about making films that make people think about social issues.
- Her short films, like Street Right, deal with freedom of speech by contrasting negative advertising with positive graffiti.
- Her other short film, Make America Safe, uses humor and a "backwards" world to highlight the issue of gun violence and school shooter drills. She mentions that she believes there need to be stricter gun laws.
- She is currently working on a film called Girl in a Glass Box, which explores psychological manipulation and shines a light on gaslighting and abuse
- Blanche Baker is passionate about making films that make people think about social issues.
- https://en.wikipedia.org/wiki/Respect_for_Acting
- https://en.wikipedia.org/wiki/Konstantin_Stanislavski
- https://www.nyfa.edu
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Hi, how are you today?
Speaker 2 (00:04):
Great? Thank you, Damien.
Speaker 1 (00:06):
Good good, Glad to know you're doing well and you're
feeling great. That's good, that's good. I've been watching your
work for quite a number of years now, before I
even your name or anything like that, I've been watching
your work. So I must say it's a pleasure having
you on the podcast.
Speaker 2 (00:23):
Well, thank you, happy to be here, brilliant.
Speaker 1 (00:26):
And you began your career with a powerful debut in
the Emmy Award winning mini series Holocaust. How did that
experience shape your path as an actress so early on?
Speaker 2 (00:37):
Well, in many ways, because it was personal as well
as professional in that my dad was a Holocaust survivor.
So before shooting Holocaust, I decided to explore my personal
connection to the material. And my father, Jack Garfind was
(01:01):
born in Bardiov, Czechoslovakia, so I went there and then
I went to Poland and retraced his journey through the
concentration camps. He was liberated from bergen Belsen at age fourteen.
And anyway, in an odd twist, also after visiting bergen Belsen,
(01:22):
I stumbled on Jerzigratowski's Mountain project, and you know his
revolutionary approach to theater influenced a generation of the avant garde,
and I've been incorporating his insights into my work and
my teaching ever since. So that was one aspect where
it influenced me professionally as well as personally. But then
(01:45):
straight from there I went to Vienna to shoot Holocaust
and it was an amazing experience to work with actors
like Meryl Street, and on a personal note, it was
also horrifying at times. I got in a taxi to
go to one of the locations one day and the
(02:10):
taxi driver made a joke about, you know, the cremation
the ovens at Auschwitz. So you know, it was very
mixed experience. But as an actor, it was truly amazing
to straight out of the gate be able to work
with those people and on such interesting material.
Speaker 1 (02:33):
Well a piece to work on. And I'm sorry to
hear about your father's involvement in the Holocaust and in
being a survivor and everything like that. Did you ever
speak to him at all about the role that you
would take in.
Speaker 2 (02:45):
Yeah? Absolutely, And you know what was interesting about the
film is that it was truly, if you look at it,
a bit of a soap opera, but it was groundbreaking
in its time, and it changed the political situation in
Europe and i particularly in Germany. And I think that
(03:06):
he understood that. So, even though he knew the harsh
reality of it, he thought that people would relate to
it better than they might to just facts and numbers.
And I think that that was true in the end.
So he was supportive of my doing it, even though
(03:28):
obviously it was very dicey to talk about it with him.
And you know, I grew up with him telling me
stories that that terrified me. But then I guess the
idea would be that it changed the situation in the
world somewhat and made people aware of the situation.
Speaker 1 (03:52):
And did he watch the show as holl He did,
he did, and what did he think of it?
Speaker 2 (03:58):
I think he believed that it was you know it.
He most of the time when he watched any of
the films about the Holocaust, he would just laugh and
say no, no, no. And he always made fun of
the fact that, you know, in the in the in
the camps, everyone was always so sad and down. He said,
you know, the truth of it was that they were singing,
(04:20):
they were dancing, they were doing all sorts of things.
And he always says that, you know, those who felt
sorry for themselves are the ones who died.
Speaker 1 (04:30):
Oh oh, that's interesting. The ones who felt sorry for
themselves were the ones that died. How did he come
to that conclusion, Sorr?
Speaker 2 (04:39):
I you know that was that was his experience that
you just you moved forward all the time, you know,
turned towards you know, internal things, and you've tried to
find the joy in life despite the horrors. And that's
how he kept going, That's how he survived.
Speaker 1 (04:59):
And you studied that Wesley College before moving into acting.
How did your academic background influence your creative work?
Speaker 2 (05:09):
Well, you know, I always say it to my to
my students that you know, it grounds you. It's a
very tough business with huge ups and downs. And you know,
if you know the history of acting and film, it
gives you roots so you're not so easily toppled. And
(05:31):
I have to say, for many years I maybe didn't
appreciate the education I'd been given and didn't tap into
the self reliance that it affords one. But really, if
you have learned technique, you can work on your acting
for your own betterment. Be the judge of how you're doing,
and they these things help you to keep on an
(05:52):
even keel in this business that, as I said, has
a lot of ups and downs. And then I think
as actors you really have to do things other than
just acting acting acting. You need to you know, explore
the world and having a well rounded education and learning
about other things. It brings you more that you can
(06:12):
then bring to your work.
Speaker 1 (06:16):
Certainly, certainly, and you mentioned the technical side of things.
That are any books you could recommend for anyone listening
or any teaching Oh?
Speaker 2 (06:24):
Well, you know, I studied with Uda Hogen, so I
still I make my students read Respect for Acting and
I love Larry Moss Intend to Live. I think that
that's very good for young people. But I my mission
has been I've taken Stanislovsky's work and translated many of
the exercises for film, and it's been very rewarding because
(06:47):
it gives the students the type of performances that you
see on film today that are so natural you don't know,
you know, are they acting or they just cast because
they are the character, you know, very realistic. And that's
been very rewarding for me.
Speaker 1 (07:05):
I could imagine, and many people still recognize you from
Sixteen Candles, the brilliant, brilliant film looking back, how do
you feel about the legacy of that role?
Speaker 2 (07:16):
Uh, you know, you never know at the divide when
you're in some the g is really The first big
movie I did was called The Seduction of Joe Tynan
with Meryl Streep Ellen all the barber I thought that
was so brilliant, no one has ever heard of it, right,
And then John Hughes wrote sixteen Candles in two weeks. Right,
(07:38):
He let us all improvise. We had no idea that
that would become like this cult classic. And kids still
watch it today when they turn sixteen, and I keep
talking about my teaching. I teach at the New York
Film Academy, and they're they're so excited when I'm their teacher.
They always, you know, cite this film. So, I mean
it just had, you know, some kind of lasting effect.
(08:03):
I guess he really tapped into something that young people
can relate to. And even though some of the film
when you look at it now, is dated, it still
resonates with people. And I'm very proud to have been
in it. Whors but I first did it, none of
us were too certain you know, okay, how this would unfold.
Speaker 1 (08:25):
That's amazing. What do you think the students are so
excited about when they know they're going to be working
in year?
Speaker 2 (08:32):
I guess because you're working with someone who it's not
just academic. You know that they've had on set experience,
and I think it's really cool if you've been involved
in something that's maybe a masterpiece like Holocaust or so
successful like sixteen Candles, it gives them maybe you know,
(08:54):
she can do it, we can do it, and there's
probably some insight here that we can gain from someone
who's been there and done that.
Speaker 1 (09:03):
And you've also worked with legends like Robert de Val,
Arnold Schwarzenegger, and Kevin Bacon. What have been some of
your most memorable moments on set?
Speaker 2 (09:14):
All? Right? Well, you know Arnold Schwarzenegger. He traveled at
the time with a gym like he had a full
trailer and a trainer with him. So that was interesting
and he was lovely. I guess I was surprised that
the main thing I got from him was with business lessons.
(09:34):
He was really a business He was talking to me
about investing all the time, a very good sport about
letting me throw a cake in his face. So that
was fun. Yeah, And then I'm so surprised that The
Handmaid's Tale, there's another one. That was a brilliant movie
directed by Volkerschlandor, and I mean I got to be
(09:57):
with Faye Dunaway and Robert Duval and like nothing right.
But then the series becomes, you know, a big hit,
and that script, by the way, was written by Harold Pinter.
So oh, as an actress, that was such a treat
to be, you know, on that film, and everybody was
wonderful and pulled together. And that world that Margaret Atwood
(10:19):
created I knew back then that was extraordinary and I'm
actually glad that people got to experience it then in
the series because as an actor, you you know, you
sort of enter the world that the writer has created.
And boy, that was that was stunning which she was
able to put down on paper. And what was the
(10:39):
other one that you mentioned? I'm sorry you said.
Speaker 1 (10:43):
Some of the most memorable moments you've had with these activities.
Speaker 2 (10:46):
Yeah. Oh, so Kevin Bacon and I you know, we
knew each other when we were kids. We did a
play together called Poor Little Lambs about the Yale whiff
and poofs and so we had been in touch for
for you know, many years, and then I thought that
that was a beautiful film, taking chance, and I actually
(11:09):
had gone to elementary school with Brad Cravoy, one of
the producers on it. And so once again, you know,
I think for an artist to be involved in something
so much bigger than yourself that has an effect on people,
that means something that's that's the most rewarding. So that
(11:32):
that was a great experience as well. I don't know
as far as you know stories in terms of these
in the terms of these films, I think, for for
V sixteen Candles, when I walked into my hotel room
one day and Anthony Michael Hall was hanging from the
(11:56):
coat hook on the back of my so I walked in.
I don't think I've ever screamed so loud in my life,
but that one had more pranks and things, I mean,
so silly, like they short cheated my bed one night.
It was like being at camp. So I think as
I got older, people weren't quite as out there as
(12:17):
they were when we were making films when we were younger.
And then of course I behaved badly, as I said
at times I really didn't appreciate the education I'd been given.
I was doing a film with Jeff East, who had
played Superman, and I don't know. We were in Israel
(12:38):
shooting Mary and Joseph, a love story, and we trashed
a hotel room. I'm like, why. I felt so guilty. Afterwards,
I went and I left the maid hundreds of dollars
to clean it up. I was like, why would I
do that? You know, it doesn't make you happy. It's
just acting out. But maybe when you're young, you just,
you know, try kind of things. But anyway, you're so
(13:03):
fortunate to be able to do something that you're passionate about.
You know it would be better if one could appreciate
it right from the beginning. I think when we're young,
there are some stories. You know, we think it's going
to make us happy to write in Lemo's and Trasha
hotel room, but it actually doesn't. What makes you happy
(13:23):
is pursuing this as an art and you know, doing
your best and trying to be involved in projects that
make a difference.
Speaker 1 (13:31):
Certainly, certainly so. And you performed in such a range
of mediums from film, television and theater. But how do
you approach your technique when moving between them.
Speaker 2 (13:43):
I think it's basically the same. Maybe there's some you know,
you modify slightly for the medium, like you know, if
it's on films opposed to in theater. So in the theater,
the audience is out there right, but for film, it's
like that audience has just jumped right up into your face.
(14:05):
But the basic technique, and I really, you know, emphasize
this with my students. It always has to be as
if it happened to me, you know, so you just
take it over as best you can.
Speaker 1 (14:21):
So if you feel that, you know, they're quite similar
in that way. How does my theater to feed your
creativity compared to film?
Speaker 2 (14:30):
Well, you know, when I was young, I don't you know.
I mainly I teach full time at the New York
Film Academy. I haven't done theater since I had kids.
I did. I was the original and Steel Magnolias of Show,
but I had young kids at the time. I have four,
four children. They're all grown. I only have one at
(14:51):
home who's just in college, so he's like home for
the summer. But they were young and it was very
difficult to stay up late and then also have to
get up and get them to school and out the door.
That was the change for me. I was thrilled to
be able to do Steel Magnolia's you know, Robert Harlan,
(15:12):
the writer was fantastic and I certainly enjoyed. Also then
seeing Julia Roberts do the movie. It didn't have the
normal pain that it might for actors watching somebody else
do your role that you created, because really I had
three kids under the age of nine at the time.
(15:33):
I could barely get to the mailbox, let alone and
not it, and certainly theater was extraordinarily difficult.
Speaker 1 (15:42):
And you've written and directed award winning short films Streak
Right and Make America Safe? What inspired you to move
behind the camera and direct?
Speaker 2 (15:52):
So, yes, I am now sort of I have to say,
passionate about making films, and it's been a new adventure,
and it is thanks to the New York Film Academy
because I realized I was writing and directing every day
with my students, because we create original projects for them
(16:14):
and then we go on location and shoot with them.
So the main thing is that what I'm passionate about
is making films that make people think about social issues.
So the ones that I've tapped on have been freedom
of speech, sexism, gun control, and I always like having
(16:38):
something interwoven into a story that's relevant to what's going
on in the world today and makes people think about
the social issues. So I did those short films, and
now I'm writing and directing a film called Girl in
a Glass Box that's based on a book by raf Lindia,
(17:00):
And so we co wrote the script and we're in
the process of raising the funds. Hopefully this fall or
the beginning of next year we will have it all together.
And that story was interesting for me because it explores
psychological manipulation. So it's it's like the film it's about gaslighting,
(17:27):
which that term was made famous by that nineteen forties
film I don't know if you ever saw it, Gaslight,
But an abuser instills doubt in a victim, making them
feel confused and unstable and irrational. And in this story,
these you know, her friends and the professionals, everyone is
blind to the control that the manipulator exert's so I'm
(17:51):
hoping we're shining a light on that kind of trauma
inflicted by someone seeking to control someone else, and then
maybe we can understand warning signs of abuse. But once again,
you know, it has this other aspect to it. It's
not just hopefully not just putting garbage out there, trying
(18:12):
to make things that make people think, and you know,
in this case, shine a light on something.
Speaker 1 (18:19):
And you've mentioned that successful stories all have heart. So
how do you define that quality and why is it
so important to you?
Speaker 2 (18:28):
Huh? Okay, because if you can, if you can do
something about an issue, I think you should. And I
think that artists are in a unique position to do
good because people are, as I started off by saying
(18:49):
about the Holocaust, they're influenced by a story of something
more than just hard fact about something. And if you
see something and you relate to it, it can change
you and it can make you think about things differently.
(19:11):
And those are the types of movies that I also
enjoy seeing. It's like a different perspective, so I guess.
And maybe it's also because I'm older now and I'm
more aware of, you know, fluff being put out there,
(19:32):
which it's okay, you we all want to be entertained
in the dark for two hours. But if you can
communicate an aspect of human nature, I think that it
makes it very fulfilling.
Speaker 1 (19:48):
And as both a rights end director, how do you
balance your vision on the page with what you've brought
to the screen, So it changes.
Speaker 2 (19:57):
It's a collaborative work and you have to incorporate what
others bring to it. But that also makes it exciting,
so it changes. I think you have to be very
flexible and you have to have a plan, because everything
goes to hell the moment you start filming, right. But
(20:20):
if you didn't have a plan, if you had no structure,
like you would have nothing. But by having this sort
of plan, your shot list, your story, your script, right
then you start and it's this incredible creative experience and
it changes dramatically as it and then it changes again
in the edit. So I think it's actually more about
(20:43):
giving up control and letting it evolve on its own,
and that I think I learned that in doing all
these student projects, because the students they want to have
their voices heard. It's like independent films, right, Those filmmakers
want to have their vision realized on screen.
Speaker 1 (21:05):
So how do you see the film, for example, Street
Right connecting with today's audiences socially and cultural conversations.
Speaker 2 (21:15):
Well, particularly about it's centered on graffiti, but that that
central idea that people can pay to have these horrible
ads up, you know, be beach body ready and certainly
against women, you know, things about their bodies, stereotypes like
(21:36):
that's fine, right, but then graffiti that artists have put
up that often has you know, social issue behind it,
Like I cited Yazdi work talking about the plight of
those yah ZD women that of course, no, that's ill,
you can't do that, right, So it was to point
out freedom of speech in that way, and then we
(21:59):
tried to in the film. I also tried to talk about,
you know, journalists being silenced and I think, you know,
it's it's an issue today where there's a difference between gee,
you can just say anything you think. Yeah, that's not
freedom to speak because that can be really hurtful. But
(22:22):
the idea of being able to express oneself and a
viewpoint I think is very different than spewing hatred or something.
And it's it's important to have that delineation about you know, what,
what is a First Amendment right and what do.
Speaker 1 (22:43):
You hope viewers will still be thinking about days or
weeks off to see in the film.
Speaker 2 (22:50):
Huh, I hope that they see that art can in
some way change the world, you know, and to try
not to be so judgmental without knowing different sides of things,
because it shows you a different way of looking at
(23:14):
this issue. That and make people aware, like maybe the
next time they see and add on the subway that is,
you know, get something injected into your boobs or your
lips or whatever that might make them think, gee, but
(23:35):
I'm seeing them whitewash a building that had some beautiful
graffiti on it. And I'm not talking about the graffiti
that like just has like you know, slang, you know,
curse words on it, but that has a message for
people that is positive as opposed to something that is
paid for by advertising that is not positive.
Speaker 1 (23:56):
Okay, and tell us a bit about make America safe.
Speaker 2 (24:00):
Okay, So you know I've had my it. What a
time for young people. My kids had to do these drills,
you know, and you know that there's an active shooter
and go hide in closets. In my day, it was
you know, duck and cover under the desk.
Speaker 1 (24:18):
Right.
Speaker 2 (24:19):
Uh, this is this is a horrifying reality that these
kids have to deal with. And so what we did
in that is I just made it backwards. I just
flipped it. And you know, in in this crazy world,
you have to carry a gun and the students are
(24:41):
protesting because they don't want guns in their school and
to and you're not allowed on a plane unless you're armed.
Things like that to make people laugh. But at the
same time that you're laughing, hopefully UH start to become
more aware of the problem of gun violence in this
(25:02):
country and what we have exposed our children to. And
I do think there need to be stricter gun laws
and that was the idea behind it.
Speaker 1 (25:15):
Okay, very interesting. Sorry to hear about your children have
to do those drills. It feels very different to me
because it's not something I'm aware of in London. England.
Speaker 2 (25:26):
Oh, you don't do that in England. There's no like
practicing in case a shooter comes into the schools.
Speaker 1 (25:32):
No, none at all, none whatsoever. I think that's probably
something to do with our gun laws being very different.
It wouldn't be something we would think about doing. But
sadly you know that might change in the future. But
that's a different topic.
Speaker 2 (25:53):
But interesting.
Speaker 1 (25:56):
What visual or stylistic choice is important you're in capturing
the tone of make America safe.
Speaker 2 (26:07):
I wanted it to be you know, it's it's set today,
it's set for twenty twenty five. But so I wanted
it to seem like it was so absurd and futuristic,
yet it is today, do you know what I mean? So,
and it's all done. They so at at the New
(26:27):
York Film Academy. It's a combination of professional actors with
our musical theater students and acting film students. But they
also hire professional set designers for us, and they give
us money to get locations. So hopefully it looked I
(26:50):
mean at one awards, as did the other from lots
of awards. It's at beautiful quality, uh film, And I
think the look is is slick and polished and that
that helps the story.
Speaker 1 (27:03):
I'm glad to hear it looking polish, looks very polished. Okay,
that's good to know.
Speaker 2 (27:07):
Yeah, but that's but I think that that helps it
seem you know, you have to well okay, anyway, I
hope you get a chance to look at it also. Senually,
I know short films it's hard because they don't they
play mainly festivals and things, so.
Speaker 1 (27:23):
So you not differences in the white different generations view
of the film.
Speaker 2 (27:29):
That's interesting. There were a lot of people at the
film festivals, you know, that ask questions afterwards and give,
you know, make make comments and things. And I think
that the comments from people my my age and older,
(27:50):
what they were that they were so impressed that I
could take such a a tough subject and pull it
off without it being in any way a preachy or offensive.
They thought that that was that that seemed to be
repeated in the commentary, and young people felt that it's true.
(28:11):
Some of the lyrics are such that we're really tired
of people just saying, you know, oh, we're so sorry
for your pain and loss. We want the world to change.
Speaker 1 (28:23):
How did your work as an actress influence the way
you direct, for example, the way you direct actors?
Speaker 2 (28:30):
Hmm. I think all directors should take some acting classes,
because I don't. I try not to give people results.
I think that's really hard on actors, particularly young ones.
I think the more seasoned and great actors, it doesn't matter,
but you know, to tell oh, you know, be angry,
(28:53):
oh crime more. I think that's very challenging. And I
think if you can help them to find things in
the themselves, to relate to it. Hey, you know, try
this as if you're, you know, talking to your mother
you've just had a fight with her. Hey, try that,
you know, giving them suggestions. You know, it's sort of
how they they work with kids on sets. They they
(29:15):
always tell them stories. Is stories like the most powerful
lure to the subconscious, right, So you get people to
create the story for themselves, and then it seems that
that intuitive performance arises, you know, instead of something that's forced.
Speaker 1 (29:34):
So do you like to direct? And what I mean
by that is do you like to rehearse before shooting?
And what's your preferred style structured blooking or looser improvisation.
Speaker 2 (29:44):
I don't, And they give me such a trouble at
KNIFA because even before their final films, I hate to
rehearse because that's not the reality of it, you know,
out in the real world. In a big film, right,
maybe the stars have a read through, but there's no rehearsal. Right,
that's a play that's not film. But you know, to
(30:05):
keep it to make sure everything goes smoothly. Knifel likes
you to rehearse, but I that is not my preference.
I think the actors do the work on their own,
their cast very well. And then it's that spontaneity of
what unfolds on set. It's part of what we were
talking about earlier, that it's this collaborative effort and the
(30:26):
creativity happens on set. So I don't really want people
stuck in what they rehearsed with a friend or in
their bedroom or whatever, you know. I want them to
see what arises in the moment and really play off
one another. But of course, yes, we have a shot list,
and you know, I like to go through the script
and figure out, especially if I'm the writer, I know
(30:48):
what you know, what every character wants, what's in their way,
what the relationship is, all of that. But then the
idea is you kind of let it all go right
and you just see what happens. You've done the work,
and then wow, just give it up and see what
I'm sold, and then you have what's exciting. You know,
we have some true creative moments.
Speaker 1 (31:10):
I completely agree. I once worked with an actress who
really wanted rehearsals. She was like adamant that rehearsals. In
one meeting, she even said the director doesn't believe in rehearsals,
And I didn't really get it into it with her,
but I just thought maybe she has a bit of
a lack of understanding of the general practice across the medium.
(31:31):
But I certainly agree with you.
Speaker 2 (31:33):
Yeah much, sorry, go ahead. I think that can be
a problem because, yeah, as you said, spontaneity gone, gone.
Speaker 1 (31:44):
Gone gone. And when you're working with an actor, what's
your process for giving notes like do you focus on
emotional beats, physical adjustments or both?
Speaker 2 (31:56):
I think, you know, for actors, sometimes it depends on
the actor, right. Sometimes they can work backwards from the
physical you give a physical adjustment, and other times, as
I said, it's more like to find some story from
their life that is relevant for them. And I've worked
with great directors and terrible directors, but you know, I
(32:20):
did this play at the Yale Repertory Theater that was
directed by Andre Veida, very famous Polish film director Marbleman
Canal and when he worked with me on that, uh,
he did that and that has really stuck with me.
Like there was a scene where I had to really
(32:42):
bully my sister in the bedroom at night, you know,
and he smoked a cigar and he said he's he
handed me a cigar and he said, well do it
smoking a cigar, and then he said, well do it,
and he handed me something like you've got a whip
in your hand, like he was doing all of these things,
and then he said, well, have you ever you know,
(33:03):
bullied your brother? Have you ever been in this? So
it was it was coming at it both ways, and
I think sometimes that combination is the most effective. And
when you get to work with a great director, those
things will will stick with you.
Speaker 1 (33:18):
I see. And one of the things I wanted to
speak to you about Bione came across the film last night.
So so bare of me because I haven't seen it,
but I was intrigued by it. I did watch the
first five minutes before I had to dash. But what
was the inspiration you know? Behind bum rap?
Speaker 2 (33:37):
Oh my gosh, can I even remember? Well? You know,
I really I'd like to work with independent filmmakers, and
I was. I liked what Craig What anyway, a lovely actor.
I don't think that was a very successful film, but
(33:59):
I'm always happy to help independent filmmakers try to realize
their vision. And actually I'm doing something this summer. The
wonderful writer director Alyssa al daz is doing a film
called camp Oleander and Scott a'rony, who he produced Christian
Stewart's The Chronology of Water recently anyway, he's producing we're
(34:24):
doing a section of it, hoping to then raise the
money for the for the full film. But projects, projects
like that really engage me once again, because maybe you're
part of creating something, You're part of the process right
from the beginning, and your input is valued. And sometimes
(34:45):
they're great, you know, sometimes they're amazing. Sometimes you know,
it's not successful in terms of, you know, however many
dollars they make or this or that, but usually those
are those are rewarding experiences. And not to repeat myself
too often, but because it's fulfilling, because of the collaborative
aspect and the people are trying to, you know, communicate
(35:10):
something about human nature, and so it's it's very good
to be involved in those types of things.
Speaker 1 (35:15):
And why do you believe the director felt that was
a story that needed to be told.
Speaker 2 (35:20):
I guess it was his personal story. I can't really remember.
This was many, many years ago, but I believe it
was his. He was a young guy. His personal his
personal story. Okay, I love yep, yep, that's honestly. Sometimes
I can't really remember it didn't really happen or was
(35:46):
that a movie? And how? And you know a lot
of times actors will do things too, when they personally
know someone somebody approaches them. You know, it just has
a different a different feel to it. But you know,
sometimes it's it's not successful, and sometimes it's very successful,
and sometimes very small project small ideas then develop into
(36:10):
you know, amazing things. But I think it's important to
you know, to put yourself out there, to do different things,
to work, to meet people, and not somebody concerned with
the result. Always this going to be a success, Always
this going to be a fit.
Speaker 1 (36:24):
No, you know, this will try your yes, And sorry,
I'm not a bit more well prepared for to discuss
that film and just briefly came across it and thought,
oh my gosh, I like what I've seen for the
first five minutes and well, I.
Speaker 2 (36:40):
Can't remember, so it's good. We're not going to discuss it.
That's okay, good good.
Speaker 1 (36:47):
But you reinvented yourself thout your career. You've been an actor,
you are an actor, teacher, writer, director. What has been
the key to successfully navigating these transitions.
Speaker 2 (36:59):
Well, I always tell my students you really have to
be flexible, you know, and whatever you do, just see
where it leads, you know. And nothing's ever handed to
you on a silver platter, right. So, and things change
as you you know, I was home with my kids
for a while. I was a sculptor for many years
(37:21):
because I grew up in Italy and I was so
fortunate I got to study with Bruno Lukesy and I
did figurative sculpture. I guess my proudest achievement is I
did a bust of the Dalai Lama which is in
the entryway at Tibet House in New York City. I
also did a Mother Teresa that's at the Carring Institute
(37:42):
in Washington, d C. But when I was as I said,
I couldn't get to auditions. So when I was home
with my kids, I was sculpting and that was so
that was so interesting. But you know, once again I
had to stop. I can't see well enough to do
all those details that I did when I was young.
And now, you know, you have to acknowledge that with
(38:05):
all this three D printing, there's not such demand for
figurative art and things like that because a machine can
do it. So you know, you move on, you find
but you don't that that's just a part of your experience.
You don't say, oh, that was terrible, that was well,
what's going to lead to? How do I use that?
(38:25):
You know going forward? Wow, that was you know, part
of one's growth as an artist as a human being, right,
And I just I never I never give up. Maybe
maybe it's a little bit of my dad full circle here,
no self pity ever, you know, And I just feel
(38:49):
that as long as you're you have good intentions in
what you're doing. You're trying to create things, you're trying
to put others first, you're trying to be a decent
human being. Usually what unfolds is positive. You know. It's
that old what you put out out there comes back
towards you. And you know, teaching is so rewarding. It's
(39:10):
a wonderful thing to do later in life. And I
think there have been studies about this. When you are
you know, with young people and surrounded by you know, interaction,
that's you know, social, artistic whatever. It keeps you young
at heart, it keeps your mind alive, it's it's very
(39:31):
good for you. So I think what you need at
different times in your life. Oh you've got kids, Oh
you're old. Oh you're just starting out. You know, as
long as you go with that, you know, you don't
have some fixed idea of this is who I am
and this is what I want and this is what
I'm going to do. You know, I think being open
to what life affords one and now are back to
(39:51):
my dad too, you know, an appreciation and appreciation of life,
no matter what the circumstances.
Speaker 1 (39:58):
And one last question, when you think about your journey,
the roles you've played, the stories you've told, and the
students you've mentored, what do you feel has been your
truest purpose as an artist?
Speaker 2 (40:16):
Wow, that's tough. Two help people see things in different ways,
to be open to other individuals and their ideas. And
(40:38):
I think that open mindedness, because art without open mindedness
is nothing more than cliche. So the true groundbreaking work
in film and theater comes from this willingness to explore
ourselves and our society, and that could not be possible
(41:02):
without diversity.
Speaker 1 (41:04):
Amazing, brilliant, Thanks so much for coming on. I've really
really appreciated speaking to you and learning about your journey.
Your work and definitely you're directing too, and I hope
to speak to you soon.
Speaker 2 (41:15):
Wow. Thanks Damien, it was a pleasure
Speaker 1 (41:18):
Than if you get hold on a second, Okay, it's
gonna
Hi, how are you today?
Speaker 2 (00:04):
Great? Thank you, Damien.
Speaker 1 (00:06):
Good good, Glad to know you're doing well and you're
feeling great. That's good, that's good. I've been watching your
work for quite a number of years now, before I
even your name or anything like that, I've been watching
your work. So I must say it's a pleasure having
you on the podcast.
Speaker 2 (00:23):
Well, thank you, happy to be here, brilliant.
Speaker 1 (00:26):
And you began your career with a powerful debut in
the Emmy Award winning mini series Holocaust. How did that
experience shape your path as an actress so early on?
Speaker 2 (00:37):
Well, in many ways, because it was personal as well
as professional in that my dad was a Holocaust survivor.
So before shooting Holocaust, I decided to explore my personal
connection to the material. And my father, Jack Garfind was
(01:01):
born in Bardiov, Czechoslovakia, so I went there and then
I went to Poland and retraced his journey through the
concentration camps. He was liberated from bergen Belsen at age fourteen.
And anyway, in an odd twist, also after visiting bergen Belsen,
(01:22):
I stumbled on Jerzigratowski's Mountain project, and you know his
revolutionary approach to theater influenced a generation of the avant garde,
and I've been incorporating his insights into my work and
my teaching ever since. So that was one aspect where
it influenced me professionally as well as personally. But then
(01:45):
straight from there I went to Vienna to shoot Holocaust
and it was an amazing experience to work with actors
like Meryl Street, and on a personal note, it was
also horrifying at times. I got in a taxi to
go to one of the locations one day and the
(02:10):
taxi driver made a joke about, you know, the cremation
the ovens at Auschwitz. So you know, it was very
mixed experience. But as an actor, it was truly amazing
to straight out of the gate be able to work
with those people and on such interesting material.
Speaker 1 (02:33):
Well a piece to work on. And I'm sorry to
hear about your father's involvement in the Holocaust and in
being a survivor and everything like that. Did you ever
speak to him at all about the role that you
would take in.
Speaker 2 (02:45):
Yeah? Absolutely, And you know what was interesting about the
film is that it was truly, if you look at it,
a bit of a soap opera, but it was groundbreaking
in its time, and it changed the political situation in
Europe and i particularly in Germany. And I think that
(03:06):
he understood that. So, even though he knew the harsh
reality of it, he thought that people would relate to
it better than they might to just facts and numbers.
And I think that that was true in the end.
So he was supportive of my doing it, even though
(03:28):
obviously it was very dicey to talk about it with him.
And you know, I grew up with him telling me
stories that that terrified me. But then I guess the
idea would be that it changed the situation in the
world somewhat and made people aware of the situation.
Speaker 1 (03:52):
And did he watch the show as holl He did,
he did, and what did he think of it?
Speaker 2 (03:58):
I think he believed that it was you know it.
He most of the time when he watched any of
the films about the Holocaust, he would just laugh and
say no, no, no. And he always made fun of
the fact that, you know, in the in the in
the camps, everyone was always so sad and down. He said,
you know, the truth of it was that they were singing,
(04:20):
they were dancing, they were doing all sorts of things.
And he always says that, you know, those who felt
sorry for themselves are the ones who died.
Speaker 1 (04:30):
Oh oh, that's interesting. The ones who felt sorry for
themselves were the ones that died. How did he come
to that conclusion, Sorr?
Speaker 2 (04:39):
I you know that was that was his experience that
you just you moved forward all the time, you know,
turned towards you know, internal things, and you've tried to
find the joy in life despite the horrors. And that's
how he kept going, That's how he survived.
Speaker 1 (04:59):
And you studied that Wesley College before moving into acting.
How did your academic background influence your creative work?
Speaker 2 (05:09):
Well, you know, I always say it to my to
my students that you know, it grounds you. It's a
very tough business with huge ups and downs. And you know,
if you know the history of acting and film, it
gives you roots so you're not so easily toppled. And
(05:31):
I have to say, for many years I maybe didn't
appreciate the education I'd been given and didn't tap into
the self reliance that it affords one. But really, if
you have learned technique, you can work on your acting
for your own betterment. Be the judge of how you're doing,
and they these things help you to keep on an
(05:52):
even keel in this business that, as I said, has
a lot of ups and downs. And then I think
as actors you really have to do things other than
just acting acting acting. You need to you know, explore
the world and having a well rounded education and learning
about other things. It brings you more that you can
(06:12):
then bring to your work.
Speaker 1 (06:16):
Certainly, certainly, and you mentioned the technical side of things.
That are any books you could recommend for anyone listening
or any teaching Oh?
Speaker 2 (06:24):
Well, you know, I studied with Uda Hogen, so I
still I make my students read Respect for Acting and
I love Larry Moss Intend to Live. I think that
that's very good for young people. But I my mission
has been I've taken Stanislovsky's work and translated many of
the exercises for film, and it's been very rewarding because
(06:47):
it gives the students the type of performances that you
see on film today that are so natural you don't know,
you know, are they acting or they just cast because
they are the character, you know, very realistic. And that's
been very rewarding for me.
Speaker 1 (07:05):
I could imagine, and many people still recognize you from
Sixteen Candles, the brilliant, brilliant film looking back, how do
you feel about the legacy of that role?
Speaker 2 (07:16):
Uh, you know, you never know at the divide when
you're in some the g is really The first big
movie I did was called The Seduction of Joe Tynan
with Meryl Streep Ellen all the barber I thought that
was so brilliant, no one has ever heard of it, right,
And then John Hughes wrote sixteen Candles in two weeks. Right,
(07:38):
He let us all improvise. We had no idea that
that would become like this cult classic. And kids still
watch it today when they turn sixteen, and I keep
talking about my teaching. I teach at the New York
Film Academy, and they're they're so excited when I'm their teacher.
They always, you know, cite this film. So, I mean
it just had, you know, some kind of lasting effect.
(08:03):
I guess he really tapped into something that young people
can relate to. And even though some of the film
when you look at it now, is dated, it still
resonates with people. And I'm very proud to have been
in it. Whors but I first did it, none of
us were too certain you know, okay, how this would unfold.
Speaker 1 (08:25):
That's amazing. What do you think the students are so
excited about when they know they're going to be working
in year?
Speaker 2 (08:32):
I guess because you're working with someone who it's not
just academic. You know that they've had on set experience,
and I think it's really cool if you've been involved
in something that's maybe a masterpiece like Holocaust or so
successful like sixteen Candles, it gives them maybe you know,
(08:54):
she can do it, we can do it, and there's
probably some insight here that we can gain from someone
who's been there and done that.
Speaker 1 (09:03):
And you've also worked with legends like Robert de Val,
Arnold Schwarzenegger, and Kevin Bacon. What have been some of
your most memorable moments on set?
Speaker 2 (09:14):
All? Right? Well, you know Arnold Schwarzenegger. He traveled at
the time with a gym like he had a full
trailer and a trainer with him. So that was interesting
and he was lovely. I guess I was surprised that
the main thing I got from him was with business lessons.
(09:34):
He was really a business He was talking to me
about investing all the time, a very good sport about
letting me throw a cake in his face. So that
was fun. Yeah, And then I'm so surprised that The
Handmaid's Tale, there's another one. That was a brilliant movie
directed by Volkerschlandor, and I mean I got to be
(09:57):
with Faye Dunaway and Robert Duval and like nothing right.
But then the series becomes, you know, a big hit,
and that script, by the way, was written by Harold Pinter.
So oh, as an actress, that was such a treat
to be, you know, on that film, and everybody was
wonderful and pulled together. And that world that Margaret Atwood
(10:19):
created I knew back then that was extraordinary and I'm
actually glad that people got to experience it then in
the series because as an actor, you you know, you
sort of enter the world that the writer has created.
And boy, that was that was stunning which she was
able to put down on paper. And what was the
(10:39):
other one that you mentioned? I'm sorry you said.
Speaker 1 (10:43):
Some of the most memorable moments you've had with these activities.
Speaker 2 (10:46):
Yeah. Oh, so Kevin Bacon and I you know, we
knew each other when we were kids. We did a
play together called Poor Little Lambs about the Yale whiff
and poofs and so we had been in touch for
for you know, many years, and then I thought that
that was a beautiful film, taking chance, and I actually
(11:09):
had gone to elementary school with Brad Cravoy, one of
the producers on it. And so once again, you know,
I think for an artist to be involved in something
so much bigger than yourself that has an effect on people,
that means something that's that's the most rewarding. So that
(11:32):
that was a great experience as well. I don't know
as far as you know stories in terms of these
in the terms of these films, I think, for for
V sixteen Candles, when I walked into my hotel room
one day and Anthony Michael Hall was hanging from the
(11:56):
coat hook on the back of my so I walked in.
I don't think I've ever screamed so loud in my life,
but that one had more pranks and things, I mean,
so silly, like they short cheated my bed one night.
It was like being at camp. So I think as
I got older, people weren't quite as out there as
(12:17):
they were when we were making films when we were younger.
And then of course I behaved badly, as I said
at times I really didn't appreciate the education I'd been given.
I was doing a film with Jeff East, who had
played Superman, and I don't know. We were in Israel
(12:38):
shooting Mary and Joseph, a love story, and we trashed
a hotel room. I'm like, why. I felt so guilty. Afterwards,
I went and I left the maid hundreds of dollars
to clean it up. I was like, why would I
do that? You know, it doesn't make you happy. It's
just acting out. But maybe when you're young, you just,
you know, try kind of things. But anyway, you're so
(13:03):
fortunate to be able to do something that you're passionate about.
You know it would be better if one could appreciate
it right from the beginning. I think when we're young,
there are some stories. You know, we think it's going
to make us happy to write in Lemo's and Trasha
hotel room, but it actually doesn't. What makes you happy
(13:23):
is pursuing this as an art and you know, doing
your best and trying to be involved in projects that
make a difference.
Speaker 1 (13:31):
Certainly, certainly so. And you performed in such a range
of mediums from film, television and theater. But how do
you approach your technique when moving between them.
Speaker 2 (13:43):
I think it's basically the same. Maybe there's some you know,
you modify slightly for the medium, like you know, if
it's on films opposed to in theater. So in the theater,
the audience is out there right, but for film, it's
like that audience has just jumped right up into your face.
(14:05):
But the basic technique, and I really, you know, emphasize
this with my students. It always has to be as
if it happened to me, you know, so you just
take it over as best you can.
Speaker 1 (14:21):
So if you feel that, you know, they're quite similar
in that way. How does my theater to feed your
creativity compared to film?
Speaker 2 (14:30):
Well, you know, when I was young, I don't you know.
I mainly I teach full time at the New York
Film Academy. I haven't done theater since I had kids.
I did. I was the original and Steel Magnolias of Show,
but I had young kids at the time. I have four,
four children. They're all grown. I only have one at
(14:51):
home who's just in college, so he's like home for
the summer. But they were young and it was very
difficult to stay up late and then also have to
get up and get them to school and out the door.
That was the change for me. I was thrilled to
be able to do Steel Magnolia's you know, Robert Harlan,
(15:12):
the writer was fantastic and I certainly enjoyed. Also then
seeing Julia Roberts do the movie. It didn't have the
normal pain that it might for actors watching somebody else
do your role that you created, because really I had
three kids under the age of nine at the time.
(15:33):
I could barely get to the mailbox, let alone and
not it, and certainly theater was extraordinarily difficult.
Speaker 1 (15:42):
And you've written and directed award winning short films Streak
Right and Make America Safe? What inspired you to move
behind the camera and direct?
Speaker 2 (15:52):
So, yes, I am now sort of I have to say,
passionate about making films, and it's been a new adventure,
and it is thanks to the New York Film Academy
because I realized I was writing and directing every day
with my students, because we create original projects for them
(16:14):
and then we go on location and shoot with them.
So the main thing is that what I'm passionate about
is making films that make people think about social issues.
So the ones that I've tapped on have been freedom
of speech, sexism, gun control, and I always like having
(16:38):
something interwoven into a story that's relevant to what's going
on in the world today and makes people think about
the social issues. So I did those short films, and
now I'm writing and directing a film called Girl in
a Glass Box that's based on a book by raf Lindia,
(17:00):
And so we co wrote the script and we're in
the process of raising the funds. Hopefully this fall or
the beginning of next year we will have it all together.
And that story was interesting for me because it explores
psychological manipulation. So it's it's like the film it's about gaslighting,
(17:27):
which that term was made famous by that nineteen forties
film I don't know if you ever saw it, Gaslight,
But an abuser instills doubt in a victim, making them
feel confused and unstable and irrational. And in this story,
these you know, her friends and the professionals, everyone is
blind to the control that the manipulator exert's so I'm
(17:51):
hoping we're shining a light on that kind of trauma
inflicted by someone seeking to control someone else, and then
maybe we can understand warning signs of abuse. But once again,
you know, it has this other aspect to it. It's
not just hopefully not just putting garbage out there, trying
(18:12):
to make things that make people think, and you know,
in this case, shine a light on something.
Speaker 1 (18:19):
And you've mentioned that successful stories all have heart. So
how do you define that quality and why is it
so important to you?
Speaker 2 (18:28):
Huh? Okay, because if you can, if you can do
something about an issue, I think you should. And I
think that artists are in a unique position to do
good because people are, as I started off by saying
(18:49):
about the Holocaust, they're influenced by a story of something
more than just hard fact about something. And if you
see something and you relate to it, it can change
you and it can make you think about things differently.
(19:11):
And those are the types of movies that I also
enjoy seeing. It's like a different perspective, so I guess.
And maybe it's also because I'm older now and I'm
more aware of, you know, fluff being put out there,
(19:32):
which it's okay, you we all want to be entertained
in the dark for two hours. But if you can
communicate an aspect of human nature, I think that it
makes it very fulfilling.
Speaker 1 (19:48):
And as both a rights end director, how do you
balance your vision on the page with what you've brought
to the screen, So it changes.
Speaker 2 (19:57):
It's a collaborative work and you have to incorporate what
others bring to it. But that also makes it exciting,
so it changes. I think you have to be very
flexible and you have to have a plan, because everything
goes to hell the moment you start filming, right. But
(20:20):
if you didn't have a plan, if you had no structure,
like you would have nothing. But by having this sort
of plan, your shot list, your story, your script, right
then you start and it's this incredible creative experience and
it changes dramatically as it and then it changes again
in the edit. So I think it's actually more about
(20:43):
giving up control and letting it evolve on its own,
and that I think I learned that in doing all
these student projects, because the students they want to have
their voices heard. It's like independent films, right, Those filmmakers
want to have their vision realized on screen.
Speaker 1 (21:05):
So how do you see the film, for example, Street
Right connecting with today's audiences socially and cultural conversations.
Speaker 2 (21:15):
Well, particularly about it's centered on graffiti, but that that
central idea that people can pay to have these horrible
ads up, you know, be beach body ready and certainly
against women, you know, things about their bodies, stereotypes like
(21:36):
that's fine, right, but then graffiti that artists have put
up that often has you know, social issue behind it,
Like I cited Yazdi work talking about the plight of
those yah ZD women that of course, no, that's ill,
you can't do that, right, So it was to point
out freedom of speech in that way, and then we
(21:59):
tried to in the film. I also tried to talk about,
you know, journalists being silenced and I think, you know,
it's it's an issue today where there's a difference between gee,
you can just say anything you think. Yeah, that's not
freedom to speak because that can be really hurtful. But
(22:22):
the idea of being able to express oneself and a
viewpoint I think is very different than spewing hatred or something.
And it's it's important to have that delineation about you know, what,
what is a First Amendment right and what do.
Speaker 1 (22:43):
You hope viewers will still be thinking about days or
weeks off to see in the film.
Speaker 2 (22:50):
Huh, I hope that they see that art can in
some way change the world, you know, and to try
not to be so judgmental without knowing different sides of things,
because it shows you a different way of looking at
(23:14):
this issue. That and make people aware, like maybe the
next time they see and add on the subway that is,
you know, get something injected into your boobs or your
lips or whatever that might make them think, gee, but
(23:35):
I'm seeing them whitewash a building that had some beautiful
graffiti on it. And I'm not talking about the graffiti
that like just has like you know, slang, you know,
curse words on it, but that has a message for
people that is positive as opposed to something that is
paid for by advertising that is not positive.
Speaker 1 (23:56):
Okay, and tell us a bit about make America safe.
Speaker 2 (24:00):
Okay, So you know I've had my it. What a
time for young people. My kids had to do these drills,
you know, and you know that there's an active shooter
and go hide in closets. In my day, it was
you know, duck and cover under the desk.
Speaker 1 (24:18):
Right.
Speaker 2 (24:19):
Uh, this is this is a horrifying reality that these
kids have to deal with. And so what we did
in that is I just made it backwards. I just
flipped it. And you know, in in this crazy world,
you have to carry a gun and the students are
(24:41):
protesting because they don't want guns in their school and
to and you're not allowed on a plane unless you're armed.
Things like that to make people laugh. But at the
same time that you're laughing, hopefully UH start to become
more aware of the problem of gun violence in this
(25:02):
country and what we have exposed our children to. And
I do think there need to be stricter gun laws
and that was the idea behind it.
Speaker 1 (25:15):
Okay, very interesting. Sorry to hear about your children have
to do those drills. It feels very different to me
because it's not something I'm aware of in London. England.
Speaker 2 (25:26):
Oh, you don't do that in England. There's no like
practicing in case a shooter comes into the schools.
Speaker 1 (25:32):
No, none at all, none whatsoever. I think that's probably
something to do with our gun laws being very different.
It wouldn't be something we would think about doing. But
sadly you know that might change in the future. But
that's a different topic.
Speaker 2 (25:53):
But interesting.
Speaker 1 (25:56):
What visual or stylistic choice is important you're in capturing
the tone of make America safe.
Speaker 2 (26:07):
I wanted it to be you know, it's it's set today,
it's set for twenty twenty five. But so I wanted
it to seem like it was so absurd and futuristic,
yet it is today, do you know what I mean? So,
and it's all done. They so at at the New
(26:27):
York Film Academy. It's a combination of professional actors with
our musical theater students and acting film students. But they
also hire professional set designers for us, and they give
us money to get locations. So hopefully it looked I
(26:50):
mean at one awards, as did the other from lots
of awards. It's at beautiful quality, uh film, And I
think the look is is slick and polished and that
that helps the story.
Speaker 1 (27:03):
I'm glad to hear it looking polish, looks very polished. Okay,
that's good to know.
Speaker 2 (27:07):
Yeah, but that's but I think that that helps it
seem you know, you have to well okay, anyway, I
hope you get a chance to look at it also. Senually,
I know short films it's hard because they don't they
play mainly festivals and things, so.
Speaker 1 (27:23):
So you not differences in the white different generations view
of the film.
Speaker 2 (27:29):
That's interesting. There were a lot of people at the
film festivals, you know, that ask questions afterwards and give,
you know, make make comments and things. And I think
that the comments from people my my age and older,
(27:50):
what they were that they were so impressed that I
could take such a a tough subject and pull it
off without it being in any way a preachy or offensive.
They thought that that was that that seemed to be
repeated in the commentary, and young people felt that it's true.
(28:11):
Some of the lyrics are such that we're really tired
of people just saying, you know, oh, we're so sorry
for your pain and loss. We want the world to change.
Speaker 1 (28:23):
How did your work as an actress influence the way
you direct, for example, the way you direct actors?
Speaker 2 (28:30):
Hmm. I think all directors should take some acting classes,
because I don't. I try not to give people results.
I think that's really hard on actors, particularly young ones.
I think the more seasoned and great actors, it doesn't matter,
but you know, to tell oh, you know, be angry,
(28:53):
oh crime more. I think that's very challenging. And I
think if you can help them to find things in
the themselves, to relate to it. Hey, you know, try
this as if you're, you know, talking to your mother
you've just had a fight with her. Hey, try that,
you know, giving them suggestions. You know, it's sort of
how they they work with kids on sets. They they
(29:15):
always tell them stories. Is stories like the most powerful
lure to the subconscious, right, So you get people to
create the story for themselves, and then it seems that
that intuitive performance arises, you know, instead of something that's forced.
Speaker 1 (29:34):
So do you like to direct? And what I mean
by that is do you like to rehearse before shooting?
And what's your preferred style structured blooking or looser improvisation.
Speaker 2 (29:44):
I don't, And they give me such a trouble at
KNIFA because even before their final films, I hate to
rehearse because that's not the reality of it, you know,
out in the real world. In a big film, right,
maybe the stars have a read through, but there's no rehearsal. Right,
that's a play that's not film. But you know, to
(30:05):
keep it to make sure everything goes smoothly. Knifel likes
you to rehearse, but I that is not my preference.
I think the actors do the work on their own,
their cast very well. And then it's that spontaneity of
what unfolds on set. It's part of what we were
talking about earlier, that it's this collaborative effort and the
(30:26):
creativity happens on set. So I don't really want people
stuck in what they rehearsed with a friend or in
their bedroom or whatever, you know. I want them to
see what arises in the moment and really play off
one another. But of course, yes, we have a shot list,
and you know, I like to go through the script
and figure out, especially if I'm the writer, I know
(30:48):
what you know, what every character wants, what's in their way,
what the relationship is, all of that. But then the
idea is you kind of let it all go right
and you just see what happens. You've done the work,
and then wow, just give it up and see what
I'm sold, and then you have what's exciting. You know,
we have some true creative moments.
Speaker 1 (31:10):
I completely agree. I once worked with an actress who
really wanted rehearsals. She was like adamant that rehearsals. In
one meeting, she even said the director doesn't believe in rehearsals,
And I didn't really get it into it with her,
but I just thought maybe she has a bit of
a lack of understanding of the general practice across the medium.
(31:31):
But I certainly agree with you.
Speaker 2 (31:33):
Yeah much, sorry, go ahead. I think that can be
a problem because, yeah, as you said, spontaneity gone, gone.
Speaker 1 (31:44):
Gone gone. And when you're working with an actor, what's
your process for giving notes like do you focus on
emotional beats, physical adjustments or both?
Speaker 2 (31:56):
I think, you know, for actors, sometimes it depends on
the actor, right. Sometimes they can work backwards from the
physical you give a physical adjustment, and other times, as
I said, it's more like to find some story from
their life that is relevant for them. And I've worked
with great directors and terrible directors, but you know, I
(32:20):
did this play at the Yale Repertory Theater that was
directed by Andre Veida, very famous Polish film director Marbleman
Canal and when he worked with me on that, uh,
he did that and that has really stuck with me.
Like there was a scene where I had to really
(32:42):
bully my sister in the bedroom at night, you know,
and he smoked a cigar and he said he's he
handed me a cigar and he said, well do it
smoking a cigar, and then he said, well do it,
and he handed me something like you've got a whip
in your hand, like he was doing all of these things,
and then he said, well, have you ever you know,
(33:03):
bullied your brother? Have you ever been in this? So
it was it was coming at it both ways, and
I think sometimes that combination is the most effective. And
when you get to work with a great director, those
things will will stick with you.
Speaker 1 (33:18):
I see. And one of the things I wanted to
speak to you about Bione came across the film last night.
So so bare of me because I haven't seen it,
but I was intrigued by it. I did watch the
first five minutes before I had to dash. But what
was the inspiration you know? Behind bum rap?
Speaker 2 (33:37):
Oh my gosh, can I even remember? Well? You know,
I really I'd like to work with independent filmmakers, and
I was. I liked what Craig What anyway, a lovely actor.
I don't think that was a very successful film, but
(33:59):
I'm always happy to help independent filmmakers try to realize
their vision. And actually I'm doing something this summer. The
wonderful writer director Alyssa al daz is doing a film
called camp Oleander and Scott a'rony, who he produced Christian
Stewart's The Chronology of Water recently anyway, he's producing we're
(34:24):
doing a section of it, hoping to then raise the
money for the for the full film. But projects, projects
like that really engage me once again, because maybe you're
part of creating something, You're part of the process right
from the beginning, and your input is valued. And sometimes
(34:45):
they're great, you know, sometimes they're amazing. Sometimes you know,
it's not successful in terms of, you know, however many
dollars they make or this or that, but usually those
are those are rewarding experiences. And not to repeat myself
too often, but because it's fulfilling, because of the collaborative
aspect and the people are trying to, you know, communicate
(35:10):
something about human nature, and so it's it's very good
to be involved in those types of things.
Speaker 1 (35:15):
And why do you believe the director felt that was
a story that needed to be told.
Speaker 2 (35:20):
I guess it was his personal story. I can't really remember.
This was many, many years ago, but I believe it
was his. He was a young guy. His personal his
personal story. Okay, I love yep, yep, that's honestly. Sometimes
I can't really remember it didn't really happen or was
(35:46):
that a movie? And how? And you know a lot
of times actors will do things too, when they personally
know someone somebody approaches them. You know, it just has
a different a different feel to it. But you know,
sometimes it's it's not successful, and sometimes it's very successful,
and sometimes very small project small ideas then develop into
(36:10):
you know, amazing things. But I think it's important to
you know, to put yourself out there, to do different things,
to work, to meet people, and not somebody concerned with
the result. Always this going to be a success, Always
this going to be a fit.
Speaker 1 (36:24):
No, you know, this will try your yes, And sorry,
I'm not a bit more well prepared for to discuss
that film and just briefly came across it and thought,
oh my gosh, I like what I've seen for the
first five minutes and well, I.
Speaker 2 (36:40):
Can't remember, so it's good. We're not going to discuss it.
That's okay, good good.
Speaker 1 (36:47):
But you reinvented yourself thout your career. You've been an actor,
you are an actor, teacher, writer, director. What has been
the key to successfully navigating these transitions.
Speaker 2 (36:59):
Well, I always tell my students you really have to
be flexible, you know, and whatever you do, just see
where it leads, you know. And nothing's ever handed to
you on a silver platter, right. So, and things change
as you you know, I was home with my kids
for a while. I was a sculptor for many years
(37:21):
because I grew up in Italy and I was so
fortunate I got to study with Bruno Lukesy and I
did figurative sculpture. I guess my proudest achievement is I
did a bust of the Dalai Lama which is in
the entryway at Tibet House in New York City. I
also did a Mother Teresa that's at the Carring Institute
(37:42):
in Washington, d C. But when I was as I said,
I couldn't get to auditions. So when I was home
with my kids, I was sculpting and that was so
that was so interesting. But you know, once again I
had to stop. I can't see well enough to do
all those details that I did when I was young.
And now, you know, you have to acknowledge that with
(38:05):
all this three D printing, there's not such demand for
figurative art and things like that because a machine can
do it. So you know, you move on, you find
but you don't that that's just a part of your experience.
You don't say, oh, that was terrible, that was well,
what's going to lead to? How do I use that?
(38:25):
You know going forward? Wow, that was you know, part
of one's growth as an artist as a human being, right,
And I just I never I never give up. Maybe
maybe it's a little bit of my dad full circle here,
no self pity ever, you know, And I just feel
(38:49):
that as long as you're you have good intentions in
what you're doing. You're trying to create things, you're trying
to put others first, you're trying to be a decent
human being. Usually what unfolds is positive. You know. It's
that old what you put out out there comes back
towards you. And you know, teaching is so rewarding. It's
(39:10):
a wonderful thing to do later in life. And I
think there have been studies about this. When you are
you know, with young people and surrounded by you know, interaction,
that's you know, social, artistic whatever. It keeps you young
at heart, it keeps your mind alive, it's it's very
(39:31):
good for you. So I think what you need at
different times in your life. Oh you've got kids, Oh
you're old. Oh you're just starting out. You know, as
long as you go with that, you know, you don't
have some fixed idea of this is who I am
and this is what I want and this is what
I'm going to do. You know, I think being open
to what life affords one and now are back to
(39:51):
my dad too, you know, an appreciation and appreciation of life,
no matter what the circumstances.
Speaker 1 (39:58):
And one last question, when you think about your journey,
the roles you've played, the stories you've told, and the
students you've mentored, what do you feel has been your
truest purpose as an artist?
Speaker 2 (40:16):
Wow, that's tough. Two help people see things in different ways,
to be open to other individuals and their ideas. And
(40:38):
I think that open mindedness, because art without open mindedness
is nothing more than cliche. So the true groundbreaking work
in film and theater comes from this willingness to explore
ourselves and our society, and that could not be possible
(41:02):
without diversity.
Speaker 1 (41:04):
Amazing, brilliant, Thanks so much for coming on. I've really
really appreciated speaking to you and learning about your journey.
Your work and definitely you're directing too, and I hope
to speak to you soon.
Speaker 2 (41:15):
Wow. Thanks Damien, it was a pleasure
Speaker 1 (41:18):
Than if you get hold on a second, Okay, it's
gonna
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