I had an audition at T. Schreiber Studio today. I’ve wanted to take classes there for a while now.

It went very well. Mr. Schreiber informed me that he wants me to be in his personal class. So I’m very excited about this oppurtunity. I will start there on March 8th.

This great news came after several days of bad luck. On Monday, I got some news about a friend that was upsetting. Then yesterday, I got a too-short haircut and I severely pulled my lower back at the gym.

I am convinced that whatever country barbers learn their craft at uses some system other than the English or Metric system. And they suck at converting our human numbers into their system, because somehow my request for “About 1 and half inches off” translated to “No less than 3 inches off, please!”

Oh well, the great thing about hair is it grows back.

It’s still a ways off, but FILM SCHOOL CONFIDENTIAL has been selected to show at the Asheville Film Festival in November.

I have put up the text from the New York Times article about the private investigation firm I work for. I am quoted in it. Click here to read it.

Found some articles about Film School Confidential.

Film Threat is a well-known magazine gives a pretty fair review of the movie by Dan Fienberg. I was pleased to read that he said of the cast, “Underdahl has … assembled a strong cast of unknown actors who deliver natural performances that genuinely work.” The whole review isn’t all raves, but I think the critism is fair. Check it out.

Icom Magazine did an article about the film that includes interviews with the cast and focuses on the fact that our director Doug Underdahl created a small miracle with such a tight budget.

“It was my first film,” says Stephen Heskett, who plays Greg. “A lot of the technical side of the film was new to me, but the rehearsal period wasn’t. It was really helpful to be so in tune with the material before the shoot, and I liked the fact that the first take was pretty much all or nothing.” The director admits that he did shoot second or third takes occasionally, but that one take was the rule, and in any case, the first take was almost always the best.

A while back I did the fight choreography for Richard III. On this page you can see some pictures from this choreography.

It also lists me as the understudy for the Duke Clarence. About two weeks before the performance date, I was rehearsing the fights with the actors, and the director asked me to do this role. Luckily, I had studied Clarence’s key speech (”O, I have pass’d a miserable night…”) at AMDA. So I was able to jump into the role with one rehearsal (which was not with the actors, by the way). It was a little harrowing, but the actors did a good job of working around me. In particular, I remember doing the scene with the murderers and having no clue what their blocking was. At one point, I stood up and crossed, which was evidently not correct because one of the actors gently (but in a threatening manner, very much in character) grabbed my arm and led me back to the seat.

Another site which reviews another play I did choreography for gives me the glowing compliment of “There is good fight choreography by Stephen Heskett”.

I was doing some surfing and found a few links that I thought I would share. Most of these I didn’t even know where out there.

Here’s something from one of the distributors working with us on Film School Confidential: Passion River