Tuesday, April 28, 2009

J David Moeller's "The Moellerizer"

J David Moeller in "Detour Home"

"Detour Home"

a Columbia college

Practicum Film

Each year, Columbia College –the largest arts and communications school in the country and one of the finest- picks 5 of its top undergraduate film students to write, produce and direct a short film, a highly prestigious honor. These films then go on to film festivals around the world, even into competition for coveted Student Academy Awards (The Oscars!), as one of last years films has done.

I submitted my picture and resume for consideration as an actor and was brought in to audition for director Justin Stowell's “Detour Home” –screenplay by Charice N. Long.

The first audition was comfortably relaxed and pleasant. Many actors hate to audition; but, personally, I don’t mind at all. It gives me a chance to create a new character, meet new people in the business; and, ultimately, make an investment in being hired in the future.

Often we actors don’t get the parts we audition for. But, by auditioning, we’re imprinted in the minds of the casting directors and other professionals and just might come to mind for future projects they’ll be working on.


Once the audition was finished I wished all there good luck on the project, said I’d love to do the part and went away prepared to play “Hurry up and Wait!” –the bane of all auditioners.


Will I get a call-back? What did I do right? Wrong? Did I over/under play it? All these thoughts run through the mind, including -in some- the firm belief "I'll never work again". Fortunately, we do.


We’re admonished: Do the audition and forget about it. Yeah. Like we're going to forget.


I love the processes that go on. Hate them too, but from each audition I learn something.


Then, I got called back to read with another actor in the scene.


Amy J. Carle, a highly talented Chicago actress, was my scene partner.


We both were cast. Amy playing a woman on her way home from work who picks up a stranded motorist (played by another fine Chicago actress, Rebekah Ward-Hays).


Along the way they stop at a service station (mine) and I intuitively feel Amy's character needs support and try to provide it, subtly. It’s a short, but beautiful scene on many levels from an actor’s perspective.


My character went through three total changes, script wise. The finale re-write was “dead on” in my mind, and further indication of the level of talent behind-the-scenes on this production.


My part was shot the second night of a three night shoot.


When I arrived on the set at my 2am call time, it was evident the production team was tired…but I have never seen a more professionally oriented cast and crew on any shoot.


The enthusiasm, teamwork, energy and craft made for an electrically charged atmosphere any actor would be comfortable working in. I felt right at home.


Watch for “Detour Home” at a film festival near you…and at the Student Academy Awards!


And remember Justin Stowell’s name. He’s going to be a biggie. His ease of direction and comfort working with his actors is inspiring. He knows how to communicate his ideas and does so with facility.


His crew was dedicated and in total control of their areas of expertise. The atmosphere on the set was relaxed and friendly, everyone was focused on creating a work of craft and art. "Detour Home" will do well for all involved.













Amy J. Carle (L) as Diane, J David and Dir. Justin Stowell discuss script and action for the upcoming scene.
2 Photos: Amanda Bose w/permission of James Babiarz, Producer






"I've met a few (Doctors) in my day" J David, as Roscoe, tells Diane.

Director Justin Stowell (L) and J David Moeller

Me n Justin Stowell dir Detour Home

Kit does the coif!

Me and Kit Detour Home

SDC11443

That’s a wrap!

Saturday, April 18, 2009

"Betty Anne Waters" -Hair Today, Gone Tomorrow!

J David Moeller
"I lost 22 inches and was never hungry!"






A character actor goes through personality changes faster than the infamous "Sybil" ever did, in relation to his career. A lead actor can make an entire career out of playing "himself" but the character actor rarely gets to "be at home" in his own skin from one role to the next.

The sacrifices made can be quite extreem ranging from gaining and losing extraordinary amounts of weight, ala Robert DiNiro in "Raging Bull", to this writer's shedding of 22 inches of lovingly grown and maintained hair.


It wasn't the first time for a haircut for a role. That came in 1978 for the role of Ebenezer Scrooge in "A Christmas Carol".

Then, in 2008, Johnny Depp came through Chicago filming "Public Enemies". I audtioned for the role of the prison warden in a scene where Depp, playing John Dillinger, grabs and threatens him in an attempt to break out.


I was offered the role, contingent on my cutting my hair, now falling to the small of my back after 15 years growth. I was under contract to WildClaw Theatre to keep my hair and beard intact for the role I was playing in "The Great God Pan" where I played a hundred year old blind man being interrogated by a Nazi intelligence operative...and had to turn down the coveted role.

Now, two years later, Hillary Swank comes to the Midwest with her production of "Betty Anne Waters", the story of a young woman who enters law school later in life to get her degree and fight to get her brother released from prison for allegedly murdering a neighbor -a true story.

Again I was offered the role -as "Grandpa". I would be working in a flashback to when she was eight years old. As before, the producers wanted the hair cut. This time I was under no obligation to keep the length, and accepted the part.

However, I did feel that 15 years was worth something in terms of compensation and my agent -Gray Talent Group- successfully negotiated an equally amenable fee for the trimming.

The film was being shot in Ann Arbor, Michigan; and, at the end of February, I took the train to the set to get the haircut by their hairstylist. They needed me in town for a photo shoot for pictures to display around my casket in a funeral scene. The rest of my work takes place mid-May.

I traveled 500 miles round trip to get that haircut and got paid quite handsomely for it.


It doesn't take long to reverse Mother Nature

Thursday, December 25, 2008

DREAMS IN THE WITCH HOUSE -Biological Effects

By J David Moeller


Fraser Coffeen created the "biological effects" -the blood splatter, squirts, oozes and gushings- for the show. He's been involved with such work for quite a while, having had his guts removed, been beaten with chains, shot, etc., all on stage in front of witnesses.

Ron Kuzava (as Brown Jenkins) does his
part in spreading the gore around the stage
.

Dani McKenzie pre-loads a device to deliver some blood.


Fraser Coffeen mixes some of his super secret home recipe
that'll soon be coating somebody after a beheading, slashing,
disembowelment, pummelling or gnashing.

Monday, December 15, 2008

DREAMS IN THE WITCH HOUSE -The 2 Kesiah Masons

By J David Moeller

Carolyn Klein is Kesiah Mason, the witch. So is Michaela Petro, only Michaela is the understudy. Carolyn is in rehearsals for the Scottish play opening January 2 at Chicago Shakespeare. She must be in rehearsals the final two Sundays of our run, thus giving over the role to Michaela, an equally accomplished actress I appeared with in "The Great God Pan" earlier this year. Carolyn and I were in "Scenes From the Big Picture" just prior to "Dreams..."

"Dreams in the Witch House" closes December 21, 2008.

Carolyn Klein - Witch makeup by Aly Greaves -


Michaela Petro


Wednesday, November 26, 2008

DREAMS IN THE WITCH HOUSE -Learning the Lines


Probably the easiest dialogue to memorize was evidenced in Mel Brook's "Silent Movie" when he, ingeniously, got "Bip" -the masterwork clown character of world renowned mime Marcel Marceau- to say aloud- the solitary word in the film, "No".

Everyone else has to study. And that means hours of late nights, and coffee, and tugging at hair, and groaning, and thumping the temples, and pacing and repetition of the words the playwright's provided until they become as if casual conversation between the cast members.

Wednesday, November 5, 2008

DREAMS IN THE WITCH HOUSE -Fights

by J David Moeller

Chicago; -There are some action filled moments in the show that need careful choreography. Murders, stabbings, gorings, and the such (it is a horror show after all) and Scott Cummins is in charge of maintaining the actors' life and limbs, if not those of the characters they are portraying.

Cummins is currently appearing as Mortimer in the Chicago Shakespeare Theatre's "Edward II" through November 9 and is the acclaimed director of Seanachai Theatre's recent "Scenes From the Big Picture".



Scott Cummins (L), fight choreographer for "Dreams...", discusses a
sequence with playwright/director Charley Sherman.


Chris Hainsworth (L) is about to deliver a blow to Sean Bolger.



It's Scott Cummins' job to make sure the blow never connects but looks like it does.


Sunday, November 2, 2008

"DREAMS IN THE WITCH HOUSE" ---Rehearsal cast shots

By J David Moeller


Chicago; -The rehearsal process for an original script/play is long and gruelingly intense as both the playwright and cast are seeing the work "enlivened" for the first time. Changes are made and concentration is crucial to glean the exact context and structure of each morsel of dialogue.

It's an exciting process, as the actors are creating their individual roles (in this show, most actors portray more than one character) and breathing life into them is a muchly rewarding experience.

Herewith are some of the actors in "Dreams..." actively engaged in their craft. Some, perhaps, more actively than others.


{click pictures to view original size}

Ron Kuzava takes a nap waiting for his cue.

Director/Playwright Charley Sherman (L) doing the directing of
Brian Amidei and Thomas Whittington

Casey Cunningham plays Lillith, who is on stage most of the play.

Brian A. and Kate Brown

A possible re-write in the new script for Thomas.

Thomas Whittington plays Walter Gilman -one of the central characters.

Chris Hainsworth (R) is threatened by Sean Bolger.

Ryan Patrick Dolan confronts Brian A.


Casey C. has a few Dreams of her own going "in the Witch House"


Opening November 16 at Chicago's Atheneaum Theater and running through December 21.