INPATIENT AUDITION "NORA"
ACTING REEL TEASER
BOOKED! August 2017 PLAYING
"MARISHKA"
Russian Assassin "Marishka" in Vector III: The Retribution
BOOKED! JULY 2017 PLAYING
"Genevieve"
Pompous Art Critic "Genevieve" in Madame De Void
This character needed to be absorbed and put on tape in less than four hours for the audition. Luck booked this role. However, I now look forward to the reward of being able to actually create a more fleshed out human being, performance ready, to tell this surreal story when it comes time to shoot next month. Ecstatic to be getting back to the heart of my art life. Nothing shy of a gift...
"EMMA" AUDITION BOOKED November 2017
HOST "ME" APRIL 2017
PLAY is important. Get At it!
Because some mornings you must wake and cast "bed-head" in the starring role! Bringing back velour granny zip-up robes, yo. For those of you who don't know me: eh, I was prepping a character, I swear... For those of you who do know me: No animals were hurt and minimal stimulants were injected, this time... Okay, fine, I was prepping a character.
Live once. You won't likely die twice. xb
ARTSY SNEAK PEAK: Work IN PROGRESS
Documentary Film "8525delC"
A documentary film exposing what it is truly like for young women with genetic mutations that land them in a high risk cancer pool,
while navigating the conventional medical system in the USA during treatment for cancer and the litany of side effects that parallel.
while navigating the conventional medical system in the USA during treatment for cancer and the litany of side effects that parallel.
ARTSY SNEAK PEAK x2: WORK IN PROGRESS
Screenplay "Bread and Butter"
A feature film length drama contrasting the life of an affluent couple whose relationship is on the brink of collapse being unable to conceive of a child, against that of a single mother on welfare struggling to properly raise her socially in-ept seven year old daughter while working the darkly lit Philadelphia streets to feed her drug and alcohol habit.
ARTSY SNEAK PEAK x3
BLUECAT SCREENPLAY CRITIQUE
~BlueCat screenplay coverage of a feature film length dram-edy written by Brenda Logan titled "TRUE TO THE GAME."
“I think it’s hard not to take notice of a script that includes dialogue as priceless as, “Fuck yourself with a frozen pipe you toothless sock-head!” The vivid writing style is apparent right from the beginning painting a picture for the reader that conveys tone, setting, and a sense of character. It is always very specific, such as on page 3: “Tricky trails traipse off into the wide wooded unknown. An abandoned baseball diamond devours the horizon deep in the distance.” It is beautifully written, the prose flows on the page, and any director reading this script would have a sense of the screenwriter’s intention and style.
The story begins fast and strong, with Myron beating up Peyton and hollering, “You been sleeping with that %$*@! guy again?” on page 2. It catches the attention right away. What makes all these horrible beatings and rapes somewhat bearable is a technique used by films as diverse as A CLOCKWORK ORANGE, THE BUTCHER BOY and ANGELA’S ASHES. We are watching a nightmare unfold, but the voice-over is cheerful, ironic and funny. It’s a distancing device that allows the viewer a sense of counterpoint, and even a few laughs, in order to be able to continue watching. The wry voice-over keeps this script from falling into brutish sensationalism.
What also helps is that Peyton is an appealing character, as charismatic as the heroes of the films I referenced in my previous paragraph. She starts to come into her own as a character, more than a victim, when she becomes a prostitute and forms a bond with Malcolm and Chuck. Even though what she is doing is deplorable, her pluck and moxie while doing it keeps us going. When she uses her comb to scare off a potential attacker (making him think it is the click of a pistol) we admire her ingenuity in this strange and savage landscape of seedy hotel rooms and miles of Americana highway. Also, a true, hard-won pathos is achieved when Malcolm tries bringing her to the hospital and they are denied, and the birth scene is appropriately touching.
The character descriptions are incredibly helpful, using a device of naming them almost as if they are caricatures. It helps the reader keep track, since Peyton meets so many characters—probably two dozens or more! Lenny Lisp, Jolly George and Gary Guido form pictures in the reader’s mind. It would have been incredibly distracting to either assign the characters more “normal” names and have us struggle to keep track, or include long descriptions for each one.”
“I think it’s hard not to take notice of a script that includes dialogue as priceless as, “Fuck yourself with a frozen pipe you toothless sock-head!” The vivid writing style is apparent right from the beginning painting a picture for the reader that conveys tone, setting, and a sense of character. It is always very specific, such as on page 3: “Tricky trails traipse off into the wide wooded unknown. An abandoned baseball diamond devours the horizon deep in the distance.” It is beautifully written, the prose flows on the page, and any director reading this script would have a sense of the screenwriter’s intention and style.
The story begins fast and strong, with Myron beating up Peyton and hollering, “You been sleeping with that %$*@! guy again?” on page 2. It catches the attention right away. What makes all these horrible beatings and rapes somewhat bearable is a technique used by films as diverse as A CLOCKWORK ORANGE, THE BUTCHER BOY and ANGELA’S ASHES. We are watching a nightmare unfold, but the voice-over is cheerful, ironic and funny. It’s a distancing device that allows the viewer a sense of counterpoint, and even a few laughs, in order to be able to continue watching. The wry voice-over keeps this script from falling into brutish sensationalism.
What also helps is that Peyton is an appealing character, as charismatic as the heroes of the films I referenced in my previous paragraph. She starts to come into her own as a character, more than a victim, when she becomes a prostitute and forms a bond with Malcolm and Chuck. Even though what she is doing is deplorable, her pluck and moxie while doing it keeps us going. When she uses her comb to scare off a potential attacker (making him think it is the click of a pistol) we admire her ingenuity in this strange and savage landscape of seedy hotel rooms and miles of Americana highway. Also, a true, hard-won pathos is achieved when Malcolm tries bringing her to the hospital and they are denied, and the birth scene is appropriately touching.
The character descriptions are incredibly helpful, using a device of naming them almost as if they are caricatures. It helps the reader keep track, since Peyton meets so many characters—probably two dozens or more! Lenny Lisp, Jolly George and Gary Guido form pictures in the reader’s mind. It would have been incredibly distracting to either assign the characters more “normal” names and have us struggle to keep track, or include long descriptions for each one.”
Art by Brenda Logan for BLUV BRAND ©2010-2015 All Rights Reserved