i just finished a report for the Missouri Film Alliance of Springfield outlining the differences between Missouri’s film incentives versus Louisiana and New Mexico. it’s a dry read, but if you’re into film finance and runaway production it’s a page turner. :)

http://www.ncoleman.com/files/
FilmProductionIncentives2005.htm

basically, MFAS would like to see Missouri adopt some new incentives that compete (first and foremost) with other countries (Prague, Hungary, Canada, etc.) and with other states. many of the actor’s unions have been warning of runaway production for years (SAG, AFTRA) and it’s finally gotten some major press, resulting in California changing some laws on production and New York reworking legislation related to production. we think Missouri would benefit from similar changes, and this is just a first step towards that.

i changed the website because NY is so GLOOMY right now. the gates installation was only temporary, so the city is back to the dark monotones of winter. i needed to update the info on the splash page anyhow, so i figured, why not some color?

there is now a video demo online! i’m an adult contemporary actor, so don’t be surprised to hear some adult contemporary language within. this isn’t the final cut of my demo (my agent in St. Louis has to look at it first) but it’s at least something…now you know what i look like while my mouth is moving.

Matt Morillo of KADM productions has a new script, so i’ll be doing a reading of that soon…very informal…the kind of thing you do in a living room with good wine and a cheese plate#–or with pork rinds and soda, depending on the script. otherwise, studying the ASR script and working on monologues and whatnot.

if you haven’t seen the open air art installation "The Gates", and you are in NY, i really recommend that you go. why? because Central Park in winter is usually so…gloomy. and barren. and bereft of joy. and it’s so interesting to see how a whole bunch of saffron (orange) pieces of cloth can suddenly transform the park into a place of happiness and color#–even in the bleakness of midwinter. suddenly, parts of the park that you’ve enjoyed for years become new to you again, and memories resurface from the first time you experienced the park.

many people will scoff at the simplicity of the installation: "what does it mean, what does it stand for." i don’t really know that it means anything. i think, like so many lines in a haiku, it just is. and for some people, this will be meaningful and worthwhile#– and for others, it’s just a bunch of orange fabric. for me, it’s the faces of New Yorkers, thousands of them, suddenly in the Park in winter, suddenly smiling, suddenly something better than the doldrums of cold and fogging breath.

EPA auditions…Equity Pricipal Auditions. these are auditions that a producer is required to hold under their Theatre Union (Equity) contract. what does this mean? well, in general it means that for every union show going up, regardless if it’s already been cast, the producer must hold additional auditions for union members. this guarantees that union actors will get a chance to audition and be seen by producers even if there are no roles available#–it’s sort of a handout to union members.

in reality, these auditions draw hundreds of unemployed actors hoping for a miracle. sometimes, it works out and you get cast from an EPA#–i have friends who have gotten work this way. but for the most part, an EPA is a chance to work on your auditioning skills and keep busy, and to meet a casting director or producer who you haven’t seen before.

actors do not act, they audition. seriously. the average actor probably spends more time searching for and performing auditions than they do actually performing. the hard part is getting in the door.

i’m in NY auditioning#–i’ve got some time before shooting starts on "America’s 2nd" and i thought it prudent to see what i can find in the meantime. i originally thought i’d be in LA right about now, but it seems this year has shown the largest influx of actors for pilot season ever in LA history. i’m not really sure who tracks these statistics, but i read so in the trade magazines. i figured instead it might behoove me to seek out some indy film auditions and go from there.

The Suburban Seven is finished but for two songs, we’re having trouble getting the rights to the Andrew Bird music and we’re loathe to give up on it. we love the way it fits into the film and will fight for it as long as possible. other than that though, it’s pretty much finito. there are a few film professors and close friends who have to give us their feedback, but after that, she’s done. it feels a little strange to be working on something other than editing#–like returning to the Light after a trip to Hades.