DIARY OF A 'failed' ACTOR. Ep.14# Diversity.

One of our followers, Haruka Kuroda, asked us to examine the subject of Diversity, to discover whether the U.S. or the UK were leading the way in breaking down walls and pushing forward in rendering articles such as this irrelevant. Haruka herself is a Japanese actress, presenter, fight and movement choreographer, and children's theatre devisor living in London, so is experiencing first hand what is or isn't being done to correct the imbalance in the UK.

Whilst in communication via Tweet with Haruka on pursuing this topic, we were joined on the thread by someone who pointed out that even positive discrimination is discrimination. Very true! I long for the day when these discussions and debates on Diversity, are a thing of the past. But, it is currently in everyone's thoughts. Erica Whyman, an Associate Director at the RSC recently chaired a debate at The Swan titled, MALE, PALE AND STALE, and this from a company who was one of the first to champion Diversity on it's stages. The Washington Post, and The Stage ran articles, and Equity is currently pushing the Diversity argument to the fore with meetings across Britain, and at the House of Commons.

One of our greatest imports to the U.S., actor, writer, director, Kwame Kwei-Armah is currently Artistic Director of Centre Stage in Baltimore, a theatre whose programme of predominantly black works he inherited from his predecessor, Irene Lewis, finds himself under pressure for everything being, 'black, black, black.....'. Kwame in a recent online article commented that the programme hasn't changed since he took over from Irene in 2011, and that Irene Lewis's programming, herself being white, was at the time considered philanthropy, but on taking over, with Kwame being black, it is now considered an agenda.

The year Kwame took over the building, he inherited the pre-programmed Bruce Norris racially charged piece, CLYBORNE PARK based on Lorraine Hansbury's, A RAISIN' IN THE SUN. Kwame recognised Norris's work as in fact being racist in content, but was denied the choice of programming it out, so he wrote his own play, BENEATHA'S PLACE as an answering piece to run in conjunction with, CLYBORNE PARK. This caught the eye of PBS who created a documentary following the creation and development of this charged season. The outcome of all of this is that Kwame Kwei-Armah's tenure at Central Stage has been unanimously extended to 2018.

The fact that he is here at all, follows the lack of credible postings for black directors in the UK. Kwame had his eye on the National, but recognised that at least a decade would have to pass before that could become a reality. I was shocked when at Theatre 503 we won the Olivier for Best Play with, MOUNTAIN TOP by Katori Hall, thereby creating Katori the first black female writer to ever win an Olivier. But, I was even more alarmed to learn that when director Paulette Randall staged, FENCES in the West End in 2013 that she was the first black director to bring a production to the West End. How can that be? As a footnote, there are now encouraging noises that, Kwame Kwei-Armah is being considered as a potential candidate as future Artistic Director for the Royal National Theatre.

Then, there's Hollywood and of course British TV and Film. Where to begin?

Well, a very good place to start is with British actress, playwright, screenwriter and producer, Yvonne Wandera, who from her training at RADA to entering the profession in the UK realised that the odds were stacked against her, it therefore made sense to her to move to the U.S. in pursuit of the work and roles she wanted. But, how far ahead of the UK is the U.S. in bursting the Diversity bubble? This is what we discuss in Episode 14. of, DIARY OF A 'failed' ACTOR, and I am extremely grateful to have had Yvonne alongside me to tackle the subject.

John Pirkis

DIARY OF 'failed' ACTOR.

Directed by Cécile DELEPIÈRE

DOLLKILLERFILMS©May2015

WASHINGTON POST ARTICLE BY Alyssa Rosenberg

http://www.washingtonpost.com/news/act-four/wp/2015/05/14/how-hollywood-stays-white-and-male/

THE STAGE ARTICLE by Matthew Hemley

https://www.thestage.co.uk/news/2015/paulette-randall-diversity-dirty-word/

Haruka KURODA

http://www.harukakuroda.com/

http://www.imdb.com/name/nm1527951/

https://twitter.com/kurodaharuka

https://www.youtube.com/user/harukakurodaTV

Yvonne WANDERA

http://www.yvonnewandera.com/

http://www.imdb.com/name/nm3342069/

https://twitter.com/yvonnewandera

https://instagram.com/miss_wand/

https://www.facebook.com/YWandera

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DIARY OF A 'failed' ACTOR. Ep#13. Bullying.

A bully, like a thief, has little care and no understanding of the deep sense of loss, helplessness, personal intrusion and hurt felt by their victims. However, a house burglary drifts toward frustration and annoyance before eventually life regains its daily routine once more, whereas the trauma experienced by a victim of bullying can be carried for a lifetime by some; the damage caused being far reaching and ever present.

Statistics on bullying related suicides amongst the young are shocking: 4,400 deaths per year globally by victims of bullying, 160,000 children stay home every day because of fear of bullying, and a study in Britain found that half of suicides among young people are related to bullying.

One would have thought and hoped that once you had grown out of short pants, and were away from the playground that your encounters with bullies would be remnants of your childhood, but sadly this is not always the case. You may, as I did, face them at drama school, and sometimes, later on, within a theatre company or on a film or tv set.

As an adult, one's experiences of being bullied will more likely be verbal rather than physical. Words can be even more damaging and hurtful as an adult. Adult bullies who use this type of tactic may start rumours about you, or use sarcastic or demeaning language to dominate or humiliate you. This subtle type of bullying also has the advantage - to the bully - of being difficult to document; there are no bruises or cut lips. However, the emotional and psychological impacts of verbal bullying can be far more insidiously disfiguring, and can result in a dramatic effect in curbing your creative process, and even depression.

In addition there can be secondary adult bullies: These are individuals who do not initiate the bullying, but join in so that they do not actually become a victim themselves. Secondary bullies may feel bad about what they are doing, but are more concerned about protecting themselves.

This is what I encountered as a young drama student, and on a few occasions in some theatre companies. It has played subconsciously on my confidence and abilities for almost three decades, before I finally took responsibility for their actions and my reactions, ceased playing 'the victim' and reclaimed my power.

Last year, I was invited by a friend of mine in LA, Craig Bobby Young, who had suffered as a youngster at the hands of bullies to participate in the global BOO2Bullying campaign, set up to support young victims of bullying, and to shame bullies into ceasing their pernicious practices, and not carry them forward into their later lives.

It was after reading an article in THE STAGE journal in the UK on bullying in the acting world by multi-award winning director, Phil Willmott, and meeting up with him on his last visit to New York that brought me to explore the subject further in this week's episode.

It is not acceptable at any point in someone's life that they be subjected to bullying, and there is no place for it in the drama school classroom, the rehearsal room, on stage or before the cameras. It must be nipped in the bud and stamped out immediately. Nobody has the right to treat others in such a fashion, no matter who they think they are or what position of power they hold. In such circumstances, you hold the power, and must wield it.

Say, "No!" to bullying.

John Pirkis

DIARY OF A 'failed' ACTOR.

Directed by Cécile DELEPIÈRE

DOLLKILLERFILMS©May

boo2bullying

www.boo2bullying.org

https://www.youtube.com/watch?v=Mw_L-_slrd4

DIARY OF A 'failed' ACTOR. Ep#12. Mind Set For Success.

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DIARY OF A 'failed' ACTOR. Ep#12. Mind Set For Success.

'Nature abhors a vacuum!' Although at moments when life is simply too hectic, we may think to ourselves, "What I would give to have absolutely nothing happening in my life right now!", the truth is that anything happening in our life right now is better than nothing. For, it is during these times of quietude that we turn in on ourselves and start to chew away at our confidence, and disturb our equanimity, shaking down our positive thoughts and feelings, and allowing negativity to creep in and undermine us. Undoing in an instant the seemingly solid foundations we had so diligently been building over time.

The acclaimed mathematician and scientist, Albert Einstein, observed through his studies of quantum physics and Relativity, how deeply rooted are the connection between man's mind and the Universe. How one is able through mindful and concentrated activity of the brain's synapses to tilt the world to one's advantage, and if we would but put our trust in the vast, and by many, unchartered mass of our brains, how easily and readily we would regularly have total control of our lives through our minds, and consistently make the seemingly impossible, possible. Often are Einstein's writings on these observations quoted piecemeal as postings on Facebook profiles, giving us glimpses of what we are missing out on.

To many, the idea that focus creates reality, and reality reveals your focus, so that by merely concentrating mindfully on what you desire you can manifest it, seems incredulous, and a load of hokum dreamed up by a bunch of airy fairy, touchy-feely hippies intent on the belief that it therefore circumnavigates hard graft through blood, sweat and tears. Whereas, it is a science, known as neuroscience, with many papers written up following a vast number of clinically controlled tests conducted the world over. It does not supplant the hard work and dedication necessary to forge a successful career as an actor, but runs in conjunction, and compliments and strengthens all your endeavours.

I studied aspects of it for over a year before being allowed to practice as a life coach, but I truly recognised and harnessed its potential through my three years study and practice with my 'wise man' and 'Master of my Bushido', Darren Eden, who incorporates it in his teachings at his, Academy of Greatness. That I am pursuing and succeeding in what I love, and now living in New York, is through the thoughtful teachings that Darren has dedicated his life to imparting, and thereby assisting others to create whatever they choose against the harshest odds. The link to his academy is listed below.

In this episode, we are looking at the importance of maintaining positive thought processes and eliminating the negative. This is an ongoing daily practice, like everything in an actor's pursuit of greatness. The only obstacles set before us to trip us up in realising our dreams are those manifested by ourselves through our delinquent thoughts and imagination, so here in this episode we touch on a few tools at our disposal to knock these unwanted thoughts on the head.

To maintain a healthy outlook, and book those jobs, it is essential to have a full and rounded life, to have more going on in our lives than just chasing auditions or worse, sitting at home, twiddling our thumbs and waiting for the phone to ring. Success in our field is a reaction to the actions we take daily to achieve our goals and remain uplifted on the journey. Everything in life requires tempering and balance.

John Pirkis

DIARY OF A 'failed' ACTOR.

Directed by Cécile DELEPIÈRE

DOLLKILLERFILMS©May 2015

ACADEMY OF GREATNESS- Darren EDEN

www.academyofgreatness.co.uk.

CARYN'S SPACE FOR ACTORS- CARYN WEST
http://www.theauditioncoach.com/

DIARY OF A 'failed' ACTOR. Ep#11. British Actors vs. American Actors.

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DIARY OF A 'failed' ACTOR. Ep.11. British Actors vs. American Actors.

I am very grateful to my friend, Sabra Williams for requesting that I look into what it is about British acting talent that is causing British actors to be in such high demand in Hollywood, whilst understandably creating not a little irritation and concern amongst the American acting community.

American actors are being very vociferous of late with regards British actors coming over to Hollywood and taking their jobs, but that is far from accurate. The fact is British and Irish actors, and Australian are booking the jobs back home before coming over to the United States to do the work.

Yes, there are undeniably droves of British actors migrating annually to Los Angeles in search of the Hollywood Dream, but for them without the support and back up that the fortunate few back home have, their struggle for recognition is as tough and challenging as for the U.S. talent.

With even closer scrutiny you then discover that the 5 top tier Talent agents and the 5 Theatrical agents in the next tier down in both the U.S. and the UK between them represent all of the world's leading acting talent, and a large chunk of its emerging talent. The job offers therefore are going out long before anyone else gets to hear of them regardless of who you are or where in the world you are residing.

"Foul!", I hear you cry. "Insider trading!". I say, " Welcome to the real world!". Now, that's Hollywood.

That said, still Americans can't understand why so many American roles are going to British actors, and the answer appears to be a very simple one, and one that could be easily remedied. Don't get mad! Get even! Raise your game to meet the demand.

In an excellent article published in the ENTERTAINMENT magazine earlier this year written by an American journalist, the findings transcribed make for very interesting reading indeed. The bottom line would appear to come down to the differences in our training, which I go into in greater detail in the Vlog.

There was a time when the training philosophies of each respective Country were very different; British drama schools focusing on the Classical style, and American training on the Method style. In the 21st Century, actors training in the UK and the U.S. now adopts both philosophies. But, it is the intensity and duration, and level of training that is the marked difference. Most British students are prepared to go the distance evidently, undertaking two year and three years' training, whilst American students largely want 'sounbites' of training or forego training altogether and get straight into the business, as stated recently by the C.E.O. of The Maggie Flanigan Studio here in New York. Though, I also believe that mindset to be prevalent amongst wannabe actors in the UK and elsewhere.

In the ENTERTAINMENT article, I quote; James Lipton who hosts INSIDE THE ACTORS STUDIO thinks it's geographical. While American actors generally have to chose between going to New York to work in theatre or settling in Los Angeles to find fame in television and the movies, the British acting community have all three mostly centrally located around London. "The English have the advantage of being able to go back and forth, from DOWNTON ABBEY to a West End production."

Also in ENTERTAINMENT, Avy Kaufman who cast, David Oyelowo in LINCOLN, and discovered, Andrew Garfield for Robert Redford's, LIONS FOR LAMBS says this: "It's not that all these actors are better than the American actors, but I think we're just opening up to more...and we're all excited to find something new and different," she says. "LINCOLN was a very American story, but I just felt like I should say, 'This guy's the best for this.' It doesn't matter that he's not American. He's got the accent down. May the best man win."

So, it's not who you are or where you are from that counts at the end of the day, it's what you bring to the table in skill-sets that matters. Surely that is the same in any profession the world over.

John Pirkis

DIARY OF A 'failed' ACTOR

Directed by Cécile DELEPIÈRE

DOLLKILLERFILMS@ April2015

DIARY OF A 'failed' ACTOR-Ep#10-Moving To London.

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DIARY OF A 'failed' ACTOR- Ep#10- Moving To London.

Right now, without a single shred of doubt, London is where it is all happening. If actors are contemplating a move to LA or New York, my advice would be, DON'T! Stay where you are! Remember what, Kathy Bates said with regards booking your flight to the U.S.A., "Wait till you're invited!"

If you are considering a drama school, London possesses the best in the world, with a formidable roll-call of alumni who are now Hollywood Greats or heading in that direction.

If you are seeking to build your portfolio and carve out a career, then London is not only the driving force and source of world class theatre, but the central hub of award winning television, both homegrown and from across the Pond, and Hollywood is beating a path to the film studios on London's outskirts to create their latest blockbusters, not to mention the amazing British movies that are attracting numerous awards' nominations and wins.

But, if you are not British, how welcoming is the UK to talent crossing over from the Atlantic or elsewhere in the world? That is what we'll be looking at in this week's Vlog.

John PIRKIS

DIARY OF A 'failed' ACTOR.

Directed by Cecile DELEPIERE

DOLLKILLERFILMS©April2015

For you UK VISA
https://www.gov.uk/

TEA and SYMPATHY

http://www.teaandsympathy.com/

DIARY OF A 'failed' ACTOR-By John PIRKIS Ep#9- Moving To New York.

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DIARY OF A 'failed' ACTOR-By John PIRKIS Ep#9- Moving To New York.

Actors flock to LA because they want to get a bite of the TV cherry, and hope to get spotted and given a break in a studio feature. The bucks are bigger in TV, and allegedly so are the opportunities in LA. But, actually there is more TV drama in production in New York, a thriving independent feature film scene, and NYC has the added bonus of Broadway theatre, and excellent Off Broadway and Off Off Broadway theatre to boot.There are however fewer commercial castings, and no VO auditions for Mo-Cap or computer games.

One thing that is the same as LA is that getting in front of a manager or agent with any clout is as nigh on impossible in New York as it is in LA if you are without reciprocal representation back home.

NYC is vastly more expensive than LA, but the plus side is that a car is totally unnecessary in the Big Apple, as the city possesses a very efficient Subway and bus system.

There are equal pros and cons to weigh up, but the deciding factor, if you are set on making a move Stateside, as to whether it Is New York or Los Angeles you unpack your bags in is which city do you feel most at home in, and which areas of the profession are you most passionate about and wishing to focus on.

As with LA, you can make it work in New York if you are prepared to put in the hours. Patience and hard graft are the essential ingredients required to secure the work and career you seek wherever you are.

John PIRKIS

DIARY OF A 'failed' ACTOR

Directed by Cecile DELEPIERE

DOLLKILLERFILMS©April 2015

BRITS IN NY

https://www.facebook.com/groups/britsloveny/

GYPSY HOUSING

https://www.facebook.com/groups/gypsyhousing/

ST GEORGE SOCIETY NY

https://www.facebook.com/StGeorgesSocietyofNewYork/info

BRITISH EQUITY

https://www.equity.org.uk/home/

NY ID CARD

http://www1.nyc.gov/site/idnyc/index.page

59E59 Theater

http://www.59e59.org/

DIARY OF A 'failed' ACTOR - By John PIRKIS- Ep#8 - Moving To Los Angeles.

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DIARY OF A 'failed' ACTOR - By John PIRKIS- Ep#8 - Moving To Los Angeles.

This episode is the one I have received the most requests for. I won't deny, that it has been incredibly difficult for me to find the balance in its content. The advice offered by the A-List industry professionals is harsh and uncompromising, but frank and honest.

At first, their words may be perceived as being extremely negative and dispiriting. They are not! Their purpose is to bring perspective and reality to those seeking to raise the stakes of their ambitions by transplanting themselves into the heart of Hollywood. These individuals' insights are well intended, to ensure that actors taking this massive risk and commitment, do so with the full understanding of what the lay of the land is in LA. It is very different from anywhere else in the world. The demands and expectations placed upon actors entering Hollywood are immense. Forewarned is forearmed.

So, if you are being honest with yourself, and remain undaunted by their sentiments, and it is Hollywood or nothing for you, then it really is important that you pay heed to the tips and advice I offer up on the essential practicalities you must employ to guarantee that you are not caught unawares in the process of setting yourself up in Los Angeles, and making it your home.

As a result, this is the longest episode to date; almost double the earlier episodes, weighing in at nearly 17mins in length. I did not wish for this one to be split into two episodes, even with so much information to impart. For if you saw one episode and missed the other, you would only receive half the picture, and that could be misleading and detrimental to its cause.

What this episode proffers up is tough love. You may not wish to hear it, but it is essential that you do. This profession is not for the faint hearted. It requires, stamina, determination and dedication, commitment, hard graft, bloody mindedness, and limitless patience.

The professional actor's course is similar to running twenty-five consecutive marathons, and just as you have completed the twenty-fifth, you discover there are another twenty five to be run immediately after. But, if you are in the race because you love it with all your heart and it's all you've ever wanted or can imagine doing, then you can push through the wall of pain, dig into your reserves, confront the challenges before you, and with renewed vigour surge forward. You have to be in it to win it! But you must believe to receive, regardless of the obstacles placed before you.

John PIRKIS.
DIARY OF A 'failed' ACTOR

Directed by Cécile Delepière

BRITS IN LA

https://www.facebook.com/britsinla?fref=ts&ref=br_tf

EQUITY

https://www.facebook.com/EquityUKwestcoast

TIPS FROM RACHEL RATH to help you with your move to LA:

http://www.rachelrath.com/

http://www.rachelrath.com/ebook/index.htm

DIARY OF A 'failed'ACTOR Ep#7- Part 1- ABOUT UNIONS: BRITISH EQUITY.

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Ep#7. Part 1. ABOUT UNIONS: BRITISH EQUITY.

For BATTERSEA ARTS CENTER Donations:

https://www.nationalfundingscheme.org/BAC012#.VRN8-IVeM4A

There is yet again too much information to contain in this episode on joining the Union, as I cover both Equity, the British actors' Union, and, SAG-AFTRA and AEA, the two U.S. Unions serving Screen & Radio actors, and Stage actors respectively across the United States.

When I graduated from the Bristol Old Vic Theatre School in 1982, you had to join British Equity, as it was then known, in order to take any professional acting job; be it theatre, film, tv or radio.The only way to do that was to be engaged by a theatre company on an Equity contract for a set number of consecutive weeks. Each repertory/regional theatre had two Equity cards at each season to issue to newcomers. Competition was fierce; your Equity card therefore, hard won.

Then during Maggie Thatcher's second term in office as Prime Minister, she outlawed all Unions, and from then on there were no longer requirements for actors to be Equity card carriers to work in any of the mediums in the UK.

I remain immensely proud of my Equity Union card, and hugely grateful for everything that Equity do to support and protect myself and my fellow members during both the times when we are engaged in work, and those times when we are seeking work.

Equity continues to do so much more for actors and entertainers in their membership across the UK and internationally, than you could ever imagine. I encourage every British professional actor to join Equity, wherever in the world they live and work. The union is only as strong as its membership, and by supporting your Union, you enable your Union to support you, your fellow actors, and those actors in our community not as fortunate as us or who are no longer able to support themselves.

In this episode, we look at how Equity achieves this, to what lengths they go to provide that support, and also how they ensure that all 'lost' revenues owed you are collected and issued to you or your representation. Equity remains as vital now as it did when I first stepped out onto the stage as a professional actor over 30 years ago.

Joining is incredibly simple and incredibly inexpensive. To do so or to rejoin, click on the link below.

Also, at the start of this episode, I make an appeal for donations to help the Battersea Arts Centre (BAC), in London to rebuild after a devastating blaze tore through the building two weeks ago. Recently named by The Guardian newspaper as 'The Nation's Theatre, it is without a doubt London's most committed, innovative and exciting Arts Centre. When we first set up Theatre 503, the then Artistic Director, Tom Morris was hugely supportive of us with his team, and that relationship continues with David Jubb at the helm, and Theatre 503's current Artistic Director, Paul Robinson.

There is a BAC donation link below. If your are able to give something, your support is hugely appreciated, so as the BAC can resume their incredible work.

Thank you!

John PIRKIS
DIARY OF A 'failed' ACTOR.

Directed by Cécile DELEPIÈRE

Equity:

http://www.equity.org.uk/home/

DIARY OF A 'failed' ACTOR-Ep#6-Part II- Branding&Marketing.

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We continue our segment on Branding & Marketing, by taking a look at the demand being put on actors to have an active presence on social media, and the necessity to keep adapting to and adopting the many different mediums on the internet to maintain one's marketability, and satisfy your followers.

The pressures put upon actors to maintain a high profile by their representation and fan-base can be daunting, but it is hugely important not to become a slave to these demands nor to lose the essential essence of who you are.

There are so many outlets requiring your input and attention. Not just the standard casting services and directories, nor simply IMDB, Facebook and Twitter, but Instagram, LinkedIn, Vine, and more recently, Spin My Planet. Nearly every month there is a new platform hustling for your attention.

Keep it simple to begin with and focus on the platforms you are most familiar with, then venture out from there.

As this episode depicts, you must be ready for the expectations and rigours that come with the public exposure that keeps mounting once success has come a knocking at your door. You must learn to keep it at arms length and embrace it at the same time without losing sight of who you are.

John PIRKIS
Diary Of A 'failed' Actor.

Directed By Cécile DELEPIÈRE

DOLLKILLERFILMS

DIARY OF A 'failed' ACTOR- By John Pirkis- EP #6-PART 1- BRANDING&MARKETING

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EP #6-PART 1- BRANDING& MARKETING

For me personally, Branding & Marketing is the side of my chosen career as an actor that I have always had great difficulty accepting. But, love it or hate it, you HAVE to embrace it! The marketplace is overwhelmed with a population explosion of actors stepping out to gain recognition and acknowledgement from the industry and the world, and if you want to step out from the crowd and be noticed, you have to exploit everything that is available to you to do so.

I have, throughout my 30+ years in the profession, regularly re-invented myself and refreshed my image, to keep up with the changing times. Not always successfully, and not always for the right reasons. Whether this has been changing my name (6 times now!), or my representation. At times I was led in my actions by uncertainty, self doubt, lack of momentum in my career, lack of experience, and by that most destructive and unnecessary of emotions, fear. I had no one to guide me and advise me, so often I was searching blindly in the dark for 'solutions and remedies', and my choices were not always the best.

This all changed for me, firstly when I met the fabulous, Rachel Moss of, Rachel Moss Style Coach in London, and the brilliantly inspirational Entertainment Coach, Paul Duddridge in Hollywood. Both of them re-imagined me in their own ways, and my career took a sharp turn upwards, which sees me now establishing myself in New York. Both Rachel Moss, Style Coach (Now living in Munich), and Paul Duddridge, Entertainment Coach,(Still based in Hollywood), work internationally, and their links to reach them are included below.

In Part II of Branding & Marketing, I will be looking at the all important exploitation of the Social Network and the Internet.

John PIRKIS
Diary Of A 'failed' Actor

Directed by Cecile DELEPIERE