Film & TV – Page 14 – Fifteen Minutes With…

Interviews from the world of film and television!

Meissa Hampton – Virtuoso

By: Michael D. McClellan | Meissa Hampton is one busy lady. A product of the prestigious Stella Adler Studio of Acting, Hampton is equal parts brains and beauty, with a healthy dose of social conscience thrown in for good measure, but such a description only scratches the surface of this high-octane virtuoso. Hampton is a fearless and relentless force of creative energy, out of which pours a mix of edgy poetry, smart film direction and inspired acting performances. Heady stuff for sure – and a full plate for most. And if that weren’t enough, Hampton is also an accomplished model, with gigs ranging from Ralph Lauren to Tory Burch to L’Oreal, not to mention hosting turns on QVC and ShopNBC. All of which begs the question: When does Meissa Hampton find time to sleep?

“I don’t think I sleep much at all these days,” she says, laughing. “And sometimes I wonder if it’s not a flaw – some might describe it as perfectionism and choose to look at it that way, but I hope it isn’t the case. Perfectionism can go to extremes and come with some negative connotations. I think that my energy and passion comes from a genuine interest in the arts.”

Hampton’s drive – and her creative streak– began at an early age, and included an assortment of outlets. She was drawn to athletics, immersing herself in individual sports ranging from swimming to skiing to fencing, not to mention team sports like basketball and softball. She biked. She hiked. She rock climbed. And, of course, she found the relentless gravitational pull to the performing arts impossible to ignore.

“I was very active, with a lot of interests,” Hampton concedes. “I was in a pre-Olympic camp for competitive swimming. I had a brief adolescent ambition to swim in the Summer Olympics and downhill ski in the winter ones. I keep it on my to-do list. I started playing piano when I was six years old. I also started dance at around the same time. I think being well-rounded in the arts and movement has really helped me as an actor. When it comes to creating a character, I think it’s essential to have rounded life experience to draw upon.”

With more than thirty independent film credits on her résumé, the creative foundation laid during Hampton’s youth has served her well. She is an award-winning actress, bringing home top honors at Indie Fest 2011 among others, and her nuanced turn as Isabel in the Brian Ackley film Uptown helped to stamp her as a darling of indie cinema.

Meissa Hampton – Uptown

As I sit down with Meissa Hampton, I can’t help but ponder the significance that awards play in the careers of professional actors, and the doors that open as a result of being recognized for their work in front of a camera. Christoph Waltz, winner of a Best Supporting Actor Oscar for his performance as an insidious, multilingual Nazi in Inglourious Basterds, promptly signed with Sony – for big dollars – cashing in to play the villain in the critically panned The Green Hornet. Even established A-List actors like Matthew McConaughey can expect to see more doors open following his Oscar-winning turn in Dallas Buyers Club. Does Hampton see the same things happening from her vantage point inside the indie world?

“Absolutely,” she says quickly. “Actors are in a perpetual state of searching for the next role, or trying to land the next project, or hoping to convince a director that they can bring a character to life. We endure a tremendous amount of rejection, and there is so much uncertainty regarding our work schedule, so anything that can help open a door or gain an edge certainly helps. And it is gratifying to be recognized for your work. It’s not why I’m an actor and it’s not my motivation – I don’t step onto a set with the goal of winning an award – but it provides a measure of validation for what I’ve put into a performance.

“I’m a movie fan like everyone else. I get very excited when award season comes around, because I love all of the buzz that is created at that time of year. The Golden Globes and The Oscars are the big two shows, of course, but as a member of the Screen Actors Guild I have a voice in the outcome of the SAG Awards. It’s a fun time. They solicit your vote and invite you to so many advance screenings. And then you start receiving DVDs to screen, free tickets to movies, things like that. So for me, Christmas starts in September.”

Meissa Hampton – On the set of ‘Pause’

While Hampton’s main gig today is acting, her first real passion was poetry. A collection of her poems, titled One Pair of Shoes, was published in 2009. Her poetry has been awarded by the American Academy of Poetry.

“I wrote a lot when I was younger,” she says, “I was totally into poetry during my first two years of college, writing up to four and five poems a day. I was super prolific. It was very much a spiritual process for me, and also a cleansing experience in many ways. It allowed me to explore who I was as a person. But at some point during my junior year I realized that I really couldn’t make a living writing poems – it was the wrong century for that [laughs].

“I wrote a lot of poetry when I was younger. I was totally into poetry during my first two years of college, writing up to four and five poems a day. I was super prolific. It was very much a spiritual process for me, and also a cleansing experience in many ways. It allowed me to explore who I was as a person. But at some point during my junior year I realized that I really couldn’t make a living writing poems – it was the wrong century for that [laughs].” – Meissa Hampton

“I look back fondly on that period of time in my life. Poetry provided me with an outlet to purge myself of thoughts and concerns, especially those on a social level. Consumption is a good example. It takes a look at the world of consumer culture, which I think remains deeply problematic and leads to a host of environmental issues – and is something that remains a significant problem today. The poem also flips it around and looks at how these issues impact the individual, and how it can lead to things like anxiety, inadequacy and depression. Consumption is one of my favorite poems. I suppose you could call it a personal form of angry ranting.”

Reading One Pair of Shoes, Hampton’s ability to confront a broad range of topics head-on is clearly evident. Her poems are organic, alive, part of an atmosphere we all live within but seldom take the time to discuss and dissect. Was such sprawling subject matter, from the consumer culture of Consumption to the love anguish of 555-3005, a part of the plan?

“Most poetry books have a thematic thread, but that wasn’t entirely the case with this collection,” Hampton says. “When I put the poems together, the only thing they had in common was that they were some of my favorites, then I collated them to create a thematic movement. It was an important process for me to go through, because I hadn’t written much poetry in recent years. I wanted to remember my roots, and recognize how essential it has been to my development as an artist and a human being. It was important that I didn’t let that body of work just drift into my past.”

The transition from poetry to film was seamless for the versatile Hampton, in part because of her willingness to take chances. She was a self-supported teen and hopeful, but struggling young artist before she scraped together the funds to study at Brooklyn College where she received a Ford Scholarship and graduated with honors, before moving on to Stella Adler. The Education of Meissa Hampton didn’t stop there, however; inquisitive by nature, she insisted on learning as much about the technical side of the business as its creative side. It was a follow-your-gut strategy that clearly played to her strengths.

Hampton: “I initially got into acting as a film student. I wanted to understand theatre’s contribution to film, and to better understand how to work with actors. It’s only when I started studying it that I found that I had a knack for acting, and I fell in love with it.

“I initially got into acting as a film student. I wanted to understand theatre’s contribution to film, and to better understand how to work with actors. It’s only when I started studying it that I found that I had a knack for acting, and I fell in love with it.” – Meissa Hampton

“But I also learned that film school is very expensive [laughs]. It takes a lot of money to make the film just to get into film school, let alone pay for film school. Acting was more immediately accessible, and it allowed me to gain valuable experience as a filmmaker. Every time I was on a set I did my very best to understand everyone’s role and their contributions. If there was an opportunity to help someone – working with sound or light, for example – then I would jump in and learn more about that person’s contribution to the process.”

That macro-level perspective would set the stage for Hampton’s most ambitious project to date: A Social Cure, a documentary film about the HIV/AIDS crisis and how influencers and everyday citizens can use new networking technologies to encourage positive social change. The film is focused in South Africa, home to the largest HIV epidemic in the world. In researching this project I learn that an estimated 17% of the South African adult population is living with HIV, with the disease disproportionately targeting underprivileged and minority communities. In South Africa, as little as 11% of the population own home computers, but cell phones have an astounding rate of penetration, with the number of SIM cards in circulation actually exceeding the country’s total population. This puts connective technology in everyone’s hands, and Hampton feels that this can be a frontline tool in the battle against HIV.

“It’s a great project and I feel really lucky to be able to do it,” Hampton says proudly. “I started my production company, OPoS (One Pair of Shoes), with the intention of focusing on meaningful projects. There are so many issues that I would love to be able to tackle in my lifetime, but the reality is that I’ll probably only get the chance to deal with a few of them. I felt that HIV/AIDS was starting to lose focus at the most crucial point in its history, because we are so close to a future free of this terrible disease. We’re really starting to harness the capability of ARVs (Antiretroviral medications), which not only helps facilitate long, healthy lives in people who suffer from HIV/AIDS, but also reduces the likelihood of transmission of the disease. The goal is to normalize the illness, much like diabetes, getting to the point where, if you take your medication daily, you can live a normal life.

“Part of accomplishing this is eliminating the stigma surrounding HIV in all cultures. The stigma prevents us from getting tested, because we don’t want to be the one with HIV. We don’t want to be the one who’s perceived as being immoral, or dirty, or whatever the case might be. And this is where media comes into play. It has an extraordinary way of changing our minds about issues. There is a connection that occurs between the audience and the individuals onscreen, and it creates heroes. We see the person on the screen differently than if we’d passed them on the street.”

As Hampton speaks, I’m drawn to the passion in her voice. She expresses the need to make medication available to those who can’t afford it, and she is convinced that this film, coupled with the use of existing technology, can become a medium for change.

“HIV/AIDS remains the one of the world’s worst pandemics,” Hampton says. “And Africa remains the epicenter of the disease, where as many as one in five people – twenty percent – are infected with HIV. And if you go into some of the low-income communities, it’s as many as half of the population. That’s an extraordinary amount of people living with HIV. Continent-wide, that translates into an estimated 23 million people who are currently HIV-positive.”

“HIV/AIDS remains the one of the world’s worst pandemics. And Africa remains the epicenter of the disease, where as many as one in five people – twenty percent – are infected with HIV. And if you go into some of the low-income communities, it’s as many as half of the population. That’s an extraordinary amount of people living with HIV. Continent-wide, that translates into an estimated 23 million people who are currently HIV-positive.” – Meissa Hampton

Was tackling such weighty – and oftentimes grim – subject matter difficult to keep in the proper perspective?

“When I set out to make this film, I wanted to make sure that it had an uplifting message and that it didn’t wallow in despair. A lot of documentaries have a way of making you feel horrible, because you see these great tragedies but not a lot of hope. You finish watching, and you’re just wrenched inside. I wanted this film to be different. I wanted to look at a community that has this incredible problem and focus on their resilience.

“During my time in South Africa, I discovered a cultural and social response to the epidemic that I believe can serve as an example to the rest of the world. I was privileged to get to connect with some of the most heroic and buoyant people I’ve ever known. They were courageous and generous enough to share their most personal and optimistic stories of living with HIV, stories that normalize and humanize the HIV pandemic.”

Hampton’s ability to shift gears is one of the qualities that makes her so unique. From poetry to independent film to socially-minded documentaries, Hampton is constantly challenging herself and pushing the boundaries of what it means to be both artist and advocate. Her poetic side was featured in VH1’s Lyrically Speaking, where she dazzled with a staccato recitation of The Clash’s “Should I Stay or Should I Go“. Hampton’s interpretation of the lyrics by the late Joe Strummer showcases her talent as a poet and an actress.

“I’m drawn to projects that challenge the imagination,” she says. “Especially when the project involves film in some way, because that’s where all facets of the arts come together – literature and theatre are film’s foundations for example. And what is film without a soundtrack? You also have makeup, wardrobe, and special effects, there’s even a sort of dance/choreography – movement is essential. In film, all of these elements convene. And sometimes you get to add poetry into the mix, which was the case with Lyrically Speaking.”

Hampton has also hosted Architectural Digest’s Home Design Show. She’s spent time on the MIT campus as a visiting artist. And if that were enough, she’s also heavily invested in New York Women in Film and Television. NYWIFT supports women calling the shots in film, television and digital media, and seeks to energize the careers of women in entertainment by illuminating their achievements, providing training and professional development, and advocating for equity. Hampton is a passionate champion for the organization, and for the advancement of women in the arts as a whole.

“It is an exciting time, isn’t it?” she asks, smiling. “When you think about it, women are reaching new heights every day. We are assuming powerful positions in business and finance, for example, as well as helping to shape politics and society in general. It hasn’t been easy. Women are not a minority as far as population, but ironically face challenges as a minority class and it has taken a lot of hard work and sacrifice for us to progress. As a girl, I remember thinking I could be anything I wanted to be. Looking back now, I realize how much progress has been made since then, and how much farther we still need to go.

“When I became a professional actor, I quickly learned that women remain a significant minority in filmmaking. But there have been strides. In front of the camera, we’re a majority – most actors are female, but the lead parts are still predominantly male. But even that’s slowly changing – and it makes you wonder what took so long, because women are interesting, damn it [laughs]! We’re messy and complicated, and we make fantastic, intriguing lead characters.

“When I became a professional actor, I quickly learned that women remain a significant minority in filmmaking. But there have been strides. In front of the camera, we’re a majority – most actors are female, but the lead parts are still predominantly male. But even that’s slowly changing – and it makes you wonder what took so long, because women are interesting, damn it [laughs]! We’re messy and complicated, and we make fantastic, intriguing lead characters.” – Meissa Hampton

“Behind the camera, the percentage of female directors is ridiculously low – I continue to look for women filmmakers to work with, but they are very hard to find. It doesn’t stop there. Granted, there are a lot of crew positions that might be more attractive to men, things that involve a lot of lifting, or maybe a lot of work with electronics. Gender composition is still common from set to set, as you might imagine – you’ve got your women working in wardrobe and makeup, and everything else seems to lean toward the males. Hopefully that will start to change. Being an active member in NYWIFT gives me a platform to advance women’s causes in filmmaking.”

Meissa Hampton

Which brings us back to Hampton’s other contribution to women in filmmaking – her production company, OPoS Productions. How did she arrive on the name ‘One Pair of Shoes’?

“It’s actually the name of a poem I wrote many years ago,” Hampton says. “The name implies making do with what one’s got and marching on. Independent film is very much that way, that’s just the nature of it. The inspiration behind OPoS is a focus on making films that make a difference.”

One project currently is the works at OPoS is her screenplay, Amnesty, Texas. Very much like The Social Cure, Amnesty takes a hard look at a controversial issue and faces it head-on.

“It’s an issue that’s very personal and very close to my own heart,” Hampton says cautiously. “I’m really hesitant with how much I want to talk about it. It’s semi-autobiographical, in that I’ve had personal experience with gun violence, loss, and being faced with examining the death penalty as a workable form of justice for the victim’s family. There are also questions as to whether it provides any true solace, and whether it benefits us as individuals or as a society. And then there are questions about how it fits into the process of grief and recovery. Amnesty is close to my heart, and I’m really working hard to perfect the story. I want to be unbiased and understand all the points of view on this issue, and fully explore whether capital punishment is working for us as a society.”

Hampton balances the heavy lifting of projects like A Social Cure and Amnesty with her successful modeling career, and it’s easy to see why: She is a strikingly beautiful woman with hypnotic eyes that grab your attention and refuse to let go. Whether it’s posing for Ralph Lauren, Tahari or Tory Burch, Hampton knows how to captivate – but that doesn’t necessarily mean that modeling is her favorite gig.

“I came across modeling entirely by accident,” she says. “I was just starting out as an actor, and it didn’t take me long to learn that the head shot is your calling card. There’s a vanity aspect to it that I don’t care for, but it’s a necessary evil and part of the business, so I can spend half the day looking at photos of myself, trying to decide which shot is best or which shot is the prettiest, or whatever the case might be. It’s just part of what we do.

“The truth is, it’s very difficult for me to get comfortable in front of a still camera and do any kind of posing. Put me in front of a movie camera and I’m at home – that’s my world, and I’m completely at ease. But when you put me in front of a still camera I lock up. I’ve never thought I was very good at modeling, but a girl has to pay her bills.”

Meissa Hampton – Model

One look at Meissa Hampton and it’s hard to reconcile this self-doubt with the photos in her dossier. The camera clearly loves her. Her appeal lies in her having a natural, wholesome quality that seems as autonomic as breathing.

“Modeling is much harder than it looks, I will tell you that. People take it for granted, and think that you just sit around having people do your hair and makeup or whatever. It’s work. And then there’s the world of fashion modeling – when it comes to the runway, you have to learn how to walk in an entirely different way. The only thing harder than having to learn something from scratch is having to re-learn something you’ve done your whole life. I never felt I was very good at it, but I love fashion. It’s definitely an expressive art and something that most everyone enjoys.”

Whether she’s posing in front of a camera, walking the runway or acting out a scene, Hampton’s eyes are impossible to ignore. Does she fully grasp their magnetism?

“If you ask me how often I hear that, the answer is not enough,” she says laughing. “Thank you. I think the eyes are so essential and very much where the truth comes out, and the essence of acting is telling the truth in a story that isn’t your own. There is so much in acting that is all about dialog, and being able to be truthful in the way you use your voice, but I think the truth is in the tiny moments between the words. You find it in the slightest expression, and the eyes play a huge part in that.”

With those 30+ film credits under her belt, I can’t help but wonder about the process of auditioning for a role, and whether or not it’s as nerve-wracking as I’ve been led to believe.

“It’s awful,” Hampton says quickly. “I give the worst auditions that you’ve ever seen. Most people don’t realize this, but the audition is totally different than the actual performance. You’re typically not working with the actor, or with wardrobe and makeup, so you don’t completely become that character in the way you will on set. Some people are very good at it, and can sit in a room across a table from a complete stranger and put themselves into the character’s shoes. For me it all comes together when I’m on set and in the character’s skin – her clothes, her home, her hair, holding her favorite mug…”

And with all of those auditions, rejection is certainly a natural byproduct of laying it on the line in the spirit of landing a job. Sylvester Stallone tasted rejection on a daily basis, and was nearly destitute when his big break came in the form of his screenplay, Rocky. William Shatner ended up homeless after he was beamed off of Star Trek, living out of the back of his pickup, under a camper shell. Bottom line, acting is a tough business. What does Hampton think of rejection? How does she handle it?

“As actors, we all know it’s part of what we do,” she says. “It’s part of the trade, and we have to develop a thick skin. The old adage is so true, in that you have to do a hundred auditions just to land one part. The only thing that helps with rejection is rejection. It’s the only way you’re going to get used to it.

“Acting is a difficult profession. You could hit on three auditions in a row, and then go three years without landing anything at all. There’s not an actor I know that hasn’t been through this process. Actors tend to be fragile in so many ways, because most of us tend to be sensitive people, but at the same time, some of the strongest and most confident people tend to be actors. We are truly complex, and we are paradoxes in a lot of ways, with deep insecurities counterbalanced with those extraordinarily high levels of confidence.”

“Acting is a difficult profession. You could hit on three auditions in a row, and then go three years without landing anything at all. There’s not an actor I know that hasn’t been through this process. Actors tend to be fragile in so many ways, because most of us tend to be sensitive people, but at the same time, some of the strongest and most confident people tend to be actors. We are truly complex, and we are paradoxes in a lot of ways, with deep insecurities counterbalanced with those extraordinarily high levels of confidence.” – Meissa Hampton

Landing the part, of course, makes it all worthwhile, and Hampton has clearly had her share of success. Which begs the question: Does she ever go back and watch something that she’s acted in?

“Yes and no,” she says quickly. “The truth is, I hate to watch myself onscreen. I have a rule that I always watch once, usually at the premiere, and I look to see if I communicated what I intended to communicate, and if my vision for the character was realized, and then I walk away from that character.”

What’s next for Meissa Hampton?

“With so much of my attention focused on A Social Cure, I feel like it’s time to refocus on acting. I’m looking at several new projects – I’ve been asked to write a script, and I have another that’s currently in development and close to moving into pre-production. I’ll be spending more time in Boston as a visiting artist at MIT. There’s always the possibility for more modeling. And in the midst of it all I started writing a narrative book that I hope to finish in the next couple of months. So I have a number of things on the plate – it’s a busy time right now, to say the least.”

A whirlwind of activity for the rest of us, but for a talented, driven virtuoso like Meissa Hampton, it’s just another day at the office.

Meissa Hampton

Editor’s Note: Can’t get enough of Meissa Hampton? Neither can we – check out the links below!

Official Web Site: MHAMPTON.com

OPoS Production Company Site: www.onepairofshoes.com

One Pair of Shoes – A collection of poetry by Meissa Hampton: http://www.amazon.com/One-Pair-Shoes-M-Hampton/dp/0578016222/ref=sr_1_1?s=books&ie=UTF8&qid=1396905064&sr=1-1&keywords=one+pair+of+shoes%2C+M.Hampton

Film & TV

Bryan Demore – Emerging Artist

By: Michael D. McClellan | Don’t sleep on Bryan Demore. Let’s get that out there straight away. Introspective, articulate, nuanced, this handsome York University theatre graduate has dramatic range and acting chops to burn, going full throttle one moment and displaying a deft touch the next, his performances loaded with the stuff that draws in an audience and holds it hostage, daring it move. Canadians are known for their equanimity, but the stereotype only applies to Bryan Demore if the scene calls for it. Put him on stage or in front of a camera and this cat flat-out brings it, wielding a go-for-broke edge to his acting that keeps you wanting more.

Okay, wait…

Pump the brakes.

That’s high praise bordering on hyperbole – and yet you’ve never heard of him. I get that. But here’s the deal; how many of you reading this piece know an extraordinarily gifted artist or musician who just needs one break to go from emerging artist to household name? Happens all the time – you need look no further than American Idol for proof. Just as Jennifer Hudson. Or Carrie Underwood.

What –still scratching your head?

Fair enough. Let’s back this train up, and, in the immortal words of Ayn Rand, ask the most fundamental question:

Who, exactly, is Bryan Demore?

Demore is a West Coast guy with a Canadian twist. Born in Coquitlam, BC, two hours north of Seattle, Demore fell in love with acting at age four, watching Harrison Ford outrun boulders and outsmart Nazis in Raiders of the Lost Ark. He jokes that he wanted to be an archaeologist when he sat down to watch the movie, and then afterwards realized that he wanted to be Indiana Jones instead.

Harrison Ford as Indiana Jones – Bryan Demore’s first acting inspiration

“One of my first memories,” Demore says in his distinctly Canadian accent, “is that my parents didn’t have a lot of money, so they created a movie theatre in our house, with a blanket over the TV. They revealed Raiders to me very dramatically, and I was immediately hooked. It transported me – it was the ultimate adventure, the place I would want to be if I could be dropped into world that wasn’t of this world. It was make believe entertainment, but it was also very influential in terms of shaping my interest in acting.”

Dream deep, as they say, for every dream precedes a goal. And having the right support system in place to feed, care and nurture those dreams makes all the difference in the world. In Demore’s case, his childhood was the perfect creative storm, igniting and fostering both his imagination and his career goals in the process.

“My father was a guitar player,” he says, “which meant that I grew up in a creative environment be default. He played in the States and in Canada, so I got interested in the arts through my dad. I was obsessed with movies for as far back as I can remember. I’ve always had an innate desire to act, and my parents were great – they started taking me to auditions when I was super young. I started developing my own projects at sixteen, and now I’m twenty-eight and doing what I love.”

“My father was a guitar player, which meant that I grew up in a creative environment be default. He played in the States and in Canada, so I got interested in the arts through my dad. I was obsessed with movies for as far back as I can remember. I’ve always had an innate desire to act, and my parents were great – they started taking me to auditions when I was super young. I started developing my own projects at sixteen, and now I’m twenty-eight and doing what I love.” – Bryan Demore

Inspiration comes in many forms. Acting as a visual medium provides aspiring actors a deep reservoir of creative stimuli – there are literally tens of thousands of movies available at the touch of a button. Who were some of the actors that provided inspiration for Demore at a young age?

“Harrison Ford, obviously. Then there came a point that I started to obsess over The Godfather movies, as well as anything that Robert De Niro and Al Pacino played in. Their movies are the templates for a lot of young actors, especially males. And when I actually started studying acting, I fell in love with the work of Phillip Seymour Hoffman – he’s been a huge inspiration for me in terms of his choices. We don’t look the same or go after the same parts, but his ability to dig into specificity impresses me. And he listens really well. A lot of actors just like to talk and let themselves be heard, but he’s an incredible talent in terms of the things he can do without the need of a monologue.”

Philip Seymour Hoffman

Our Skype video session settles in on another source of Demore’s inspiration – fellow Canadian and creative icon Robert Lepage. A playwright, actor and director, LePage is the founder of a multidisciplinary production company called Ex Machina.

“I saw his show The Anderson Project when I was nineteen,” Demore says, “which really helped me in terms of developing my own work. It’s a solo play inspired by the life and works of Hans Christian Anderson – it’s a modern fairy tale, confronting the themes of modernism and romanticism. A great show. He’s a giant in the field, and his work is known internationally. I respect LePage immensely.

“I saw his show The Anderson Project when I was nineteen, which really helped me in terms of developing my own work. It’s a solo play inspired by the life and works of Hans Christian Anderson – it’s a modern fairy tale, confronting the themes of modernism and romanticism. A great show. He’s a giant in the field, and his work is known internationally. I respect LePage immensely.” – Bryan Demore

“The past couple of years I’ve been getting into John Cassavetes filmography. His work in terms of bucking the normal trend, and in the development of independent film at all costs, even if it meant doing it illegally – remortgaging his house several times, for example [laughs] – and what he was able to get on screen is just incredible. So, he’s an inspiration in terms of his creative genius and also in terms of getting it done at all costs. And I also draw a lot of inspiration from the visual arts world; I’m always amazed at how artists are able to take something that we look at one way, and then somehow flip it on its head.”

Demore is a graduate of the prestigious theatre school at York University. Located in Toronto, York has an international reputation for turning out diverse and talented graduates in the fields of dance, design, digital media, film, music and theatre. Mark Irwin, cinematographer for such Hollywood hits as Me, Myself & Irene, Scream, and There’s Something About Mary, and Rachel McAdams, the award-winning actress known for her roles in Mean Girls and Wedding Crashers, are prime examples. For Demore, his experience at York was alternately rich and conflicting.

Bryan Demore

“The head of the voice department at York is David Smukler,” Demore says. “He runs a voice workshop out of the University of British Columbia in Vancouver called The Voice Intensive, which is basically a team of all the best voice teachers in Canada and the States. It’s a four week program, and they normally don’t take on people as young as eighteen, which I was at the time. But he really liked my cover letter and decided to take a chance on me. It was an incredible opportunity. At some point David asked me about my post-secondary education, and he was the person who recommended that I consider York. So I applied, was accepted, and decided to take a chance an move away to Toronto for theatre school.

“It was an interesting experience. The theatre program had a lot of money at the time, most of that coming through private donations, but this was before the recession hit. And there were a lot of extra bells and whistles in terms of directors that they could pull in, which appealed to me. Unfortunately they’ve been hit a bit financially, and I saw some of that while I was there. It’s not the department’s fault, it’s just a matter of having some valuable funding cut out from under them.

“But my experience at York was really, really good. I have an incredible network in terms of friends and colleagues. I’m in Toronto right now working on a show with a director that I’ve always wanted to work with, which wouldn’t have been possible without deciding to go to York. But no situation is ever perfect, and I’ve never been a fan of the gigantic machine that some of these types of universities can be. You see the political side of things come out more, and with so many students you become a bit of a cog in a machine. But in terms of the theatre department itself, I had a really, really positive experience. The directors that they were able to pull in, and the mentorship within the graduate program were definitely valuable resources and great for me.”

Not content to stop there, Demore decided to augment his education with travel abroad, with stops in Central America, London, and Paris. So how, exactly, did this phase help him to grow as an actor?

“I just watched an interview with Emma Thompson, and she was talking about taking time to get away, and how it is completely integral to any artist, because it gives you a new fire, and it reinvigorates through life rather than work. I agree with her completely, because acting is about looking at the world through someone else’s point of view. You might have to play Joseph Stalin, and while you may not agree with that point of view, you’re looking at life through a different lens. And I think when you travel, it forces you to see life through different lenses to a certain degree. You visit Nicaragua or Costa Rica, and you see people who are severely poor, but they have a different view on life because that is their life.”

Today, Demore is putting the finishing touches of a project, Cassavetes-style. The independent film is titled Just Living. It centers on addiction and recovery, and is based on the poetry of fellow Canadian Patrick Lane.

Demore: “I started reading Patrick Lane’s stuff at York, and at the time I don’t think I was able to fully conceptualize it. But I knew that there were a lot of similarities between us, in that he grew up in a mill town in Northern British Columbia, which is where my family is from. Just the way he wrote, I realized that his story was very similar to my family’s story structure. It was something I could relate to innately. To steal a line from Truman Capote, when describing his affinity toward Perry Smith, one of the killers from his book In Cold Blood: ‘Then one day, he walked out the back door, and I walked out the front.’ That fits in this situation. I think that I understand the structure that Patrick Lane writes within, and I get the metaphorical narrative, so I was attracted to that when I started putting this project together.”

Like all good projects, Demore knew that he would have to pitch Just Living to the decorated poet. And that would prove to be just the beginning.

Bryan Demore in Just Living

“When I talked to him we connected immediately,” Demore says. “I think he saw a young artist who wanted to develop his own work, and he was very gracious to allow us to use his poetry for the project. It was a very difficult process from that point forward, because this is an independent film and I had to rely on my own funding, as well as my co-partner’s funding, and we learned a lot of life lessons along the way. It was an experience to be sure, but all that really matters is what you have on film, and what we have on film is really, really good. We’re in post-production now, and prepping the film for submission to festivals.”

All of which begs the question: Does Demore have a preference when it comes to his acting? Is he a film guy? Or does he perhaps find himself gravitating more to the stage?

“I don’t really have a preference,” he says thoughtfully. “I find that they share a lot of similarities, but there are some complete differences between the two. With theatre you’re having to carry your character’s arc every night. In film, your character’s arc is being cut up – maybe you’re shooting the last scene on the first day, because it’s at this certain location and they can only get that location at that specific time. So you don’t ever really get that full arc with film. There are only a handful of directors who are so specific that they want the movie shot chronologically, but it’s very rare. From an actor’s point of view, those are the biggest differences.

“As an actor, I feel that theatre training can only help when it comes to film. You need a lot of endurance to be a theatre actor, and in film that endurance helps with the long days that come with shooting on location. And there are some movies that have a ton of dialog, like something that Aaron Sorkin might produce. Theatre acting gives you the endurance chops that translates to film, I think. If you can carry a three hour version of King Lear or Macbeth then I’d say you’re going to be okay when it comes to film.”

“As an actor, I feel that theatre training can only help when it comes to film. You need a lot of endurance to be a theatre actor, and in film that endurance helps with the long days that come with shooting on location. And there are some movies that have a ton of dialog, like something that Aaron Sorkin might produce. Theatre acting gives you the endurance chops that translates to film, I think. If you can carry a three hour version of King Lear or Macbeth then I’d say you’re going to be okay when it comes to film.” – Bryan Demore

Disco Pigs is a play written by Enda Walsh in 1996, and revolves around the intense relationship of two teenage protagonists, Darren and Sinéad, nicknamed “Pig” and “Runt”. Pig and Runt were born at the same hospital at nearly the same time and grow up right next door to each other. This brings about a very close relationship between the two that borders on telepathic. They live in their own world and barely communicate with the world around them. However, up until their seventeenth year, their relationship remains one of friendship, albeit a very unhealthy one. It was a fascinating, intense production, performed on stage at Oz Studios in Toronto, and starred Demore as Pig opposite Claire Burns’ Runt.

“It was a play I was originally going to produce in Vancouver,” Demore says. “I was looking for a project that was going to be feasible financially, and with this project I knew it was going to be a two-person show – just me and another actress. So that appealed to me. The script itself is almost twenty years old. I’ve read quite a few plays, and there aren’t many plays out there that create this type of world. It’s not really naturalism, and it’s not your traditional, well-made play. The dialect is based on a thick, Cork accent, because the play is set in Ireland.”

For anyone who knows anything about Disco Pigs, there were other significant challenges as well.

Bryan Demore in Disco Pigs

“Edna Walsh talks about wanting to create scripts that are nearly impossible for stage actors to do. There’s an incredible athleticism built into this play. It’s just unbelievably demanding from a physical standpoint. With this play you have to bring it every night, you can’t take time off and jump back in. Some plays allow you to settle into a rhythm, and by opening night there’s a certain degree of smooth sailing. But not this show. Every night you’re a bit fearful because you’re not quite sure how it’s going to work out. My partner and I have it down and we work well together, but there’s always this possibility that something could go wrong because of the physical demands placed on us.”

The danger aside, what were the other aspects of this play that attracted Demore?

“It was written in the mid-nineties in Ireland, when there was a lot of disillusionment on the part of young people in terms of having limited opportunities. And I think that’s transferable. I think we’re lucky up here in Canada, there is poverty in certain pockets, but for the most part we have an established economy. But I think this play is relatable in some places – marginalized areas of Toronto come to mind – where kids are maligned and have nothing to do, and where they have to create an insular world where they can develop their own fantasy. And that’s what this show is about. The characters develop a fantasy world that is better than their reality.”

Reviews for the play were overwhelmingly positive, and everyone I’ve spoken with raves about Demore’s performance – no surprise there, given the intensity that this Canadian up-and-comer brings to the stage on a nightly basis. The consistent theme? The edgy, desperately violent nature of Demore’s onstage Pig persona.

“There are a lot of fight scenes,” Demore says. “Again, it’s a two-person play, so I’m fighting someone that’s not there. The decision was made to go super-physical, and to be as realistic as possible. So in prepping for the scene I actually staged a fight with a fake person, and I walked through it step-by-step. It was very choreographed; I would hit my pretend opponent in the jaw, and then grab him by the hair, and so on. The key was capturing the specifics of the fight and then wrapping the rhythm around it so that it could come across believable. It was quite a challenge.”

So, what’s next for Bryan Demore?

Bryan Demore

“I’ve just signed on with a really good agency out of Vancouver, so I’m looking to work out of Vancouver for a bit. This spring we’ll be shopping Just Living to festivals, and I’m really looking forward to that. And me and my partner are about to start work on another short film, which is another step toward the goal of getting feature funding for a film – you need to have several short films under your belt as a sort of business card in that respect, if you will.”

Clearly, Bryan Demore is an emerging artist with plenty on his radar – and now, deservedly so, Demore is officially on your radar as well.

It’s only a matter of time before he’s on everyone else’s, too.

Film & TV

Wayne Federman – Last Laugh

By: Michael D. McClellan | Comedians are, above all else, outside the box thinkers, that special breed of entertainer who loves nothing more than studying people and situations and then unlocking the humor inside. They rise up from all walks of life, some of them high school dropouts, others sporting PhDs, all of them pushed by the same invisible force to connect with an audience and get it to laugh. And to say that comedy isn’t rocket science is to offend those who do it best, because, to them, the art of the joke is every bit as hard to pull off as landing a rover on Mars. Or as daunting as pursuing a career in quantum physics. Yes, they know what it takes to hit that comedic G-spot – and trust them when they say it ain’t easy. Just ask comic Lewis Black, who argues that all comedians would “sell our souls, those of us who have one, to find a magic formula that creates the greatest joke ever told.”

Wayne Federman – Live on stage

So, much like the metaphorical road to hell, the road to comedic success is paved with the failed dreams of countless aspiring stand-up wannabes, some of them actually funny enough to make a career out of telling jokes. What separates the pro from the rest of us isn’t necessarily talent, although that helps, but rather a special blend of perseverance, humility, determination and – perhaps most importantly – amnesia. Why? Because you can’t make it in the joke biz if you can’t handle rejection and criticism, both in supersized amounts. The pro compartmentalizes these things. The pro deals. The pro picks himself up, dusts himself off and chases the next laugh. All by forgetting. It’s what he does. It’s what makes the difference.

Enter Wayne Federman. He of Federman and Out. (More on that later.) He of a successful career as a stand-up comic, actor, musician, and best-selling sports author. He of lead-monologue-writer-for-Jimmy-Fallon fame. Federman has forged the consummate pro’s career by sticking to the game plan and never caving in, never letting up, and never doubting himself.

It’s what he does. It’s what has made the difference.

“I was always a funny kid and acted in school plays,” Federman says. ‘But when I learned that stand-up was an actual career – making people laugh and getting paid for it – that sounded like the most incredible job, and life, imaginable.”

Wayne Federman with Sarah Silverman at the annual Wayne Federman International Film Festival

Federman’s story begins at NYU’s acclaimed drama school, where his comedic mission was two-pronged: To embark on a career in stand up, and to make himself into the strongest actor possible. The self-professed comedy nerd had plenty of inspiration to draw from, but was there one entertainer that he looked up to more than any other?

“Not really,” Federman says, “I’d have to say that I drew from an amalgam of people. For modern stand up technique, it was probably Carlin, Seinfeld, and Shandling. But some influences reach back even further, with comedians like Jack Benny and Milton Berle. Victor Borge as well. Oh, and Telly Savalas. So no, it wasn’t just one guy. ”

“I’d have to say that I drew from an amalgam of people. For modern stand up technique, it was probably Carlin, Seinfeld, and Shandling. But some influences reach back even further, with comedians like Jack Benny and Milton Berle. Victor Borge as well.” – Wayne Federman

Federman entered NYU’s Tisch School of the Arts in 1977, at the age of 18, armed with little more than a dream. It was a far cry from a childhood spent close to south Florida’s pristine beaches.

“My very first day in New York City was the day that I moved into my cinder block room at NYU’s Weinstein dormitory,” Federman says. “I didn’t have much money so I would do this thing that I’m not too proud of called second acting. That’s where I’d just sneak into the second act of a Broadway play. At intermission everyone would go outside to smoke or just get some air, and you could filter back in with the crowd and usually find an empty seat. The ushers didn’t re-check tickets. That’s what us broke young college kids would do. And that’s how I got to see the end of several Broadway shows.”

Federman’s arrival in New York coincided with a tsunami of comedic energy in the city. It was also a place artistically alive in other ways as well. And for Federman, all of this creativity, coupled with real world rejection, provided the perfect complement to his formal education at NYU.

“There was a very big music scene going on at the time,” Federman recalls. “The disco epicenter was, of course, Studio 54, which had just opened, and there was also this insane punk rock infestation downtown. I went to CBGB’s two times – I recall seeing the Ramones and The Dead Boys there. But my primary memory of New York City and why I was so thrilled to be there – other than being able to study with those legendary acting teachers from the Group Theatre – was the fact that two or three of the most famous comedy clubs in the country were right there in New York.

Wayne Federman – Running fantasy baseball draft in “Knocked Up”

“I got to go and see stand-up at those clubs. That’s where I wanted to be. So after college I started auditioning. It was extremely hard to break in because stand-up comedy was exploding in the early 1980’s. And it took me several years just to become a regular at a club like that. A ‘regular’ meant that I might get to go on at the end of the night if people wanted to see some more comedy. It was awfully difficult just to be able work for free in a showcase comedy club in New York at that time.”

Persistence is a comic’s calling card, and a young Federman had that in spades. He kept working, and eventually began headlining those comedy clubs. He moved to LA in 1988 and was soon touring, performing on The Tonight Show, and taping his own comedy specials.

Federman’s comedic talents translated seamlessly to television, where he found himself part of two critically acclaimed series – The Larry Sanders Show, known for its genius satire, and Curb Your Enthusiasm, equally well known for its genius improv.

“Those are my two favorite acting jobs in my career. Being involved in The Larry Sanders Show was, needless to say, a huge thrill. But also getting to play Larry’s brother, Stan Sanders. That show was so influential and still casts a shadow over modern sit-coms like Curb, The Office, and 30 Rock. So I was felt lucky to be a part of that thing.

“Being involved in The Larry Sanders Show was, needless to say, a huge thrill. That show was so influential and still casts a shadow over modern sit-coms like Curb, The Office, and 30 Rock.” – Wayne Federman

“I loved Curb Your Enthusiasm because I wrote every line I said. Every word was improvised. Larry David was incredible with the latitude he allowed me. He just laid out the basic scenario. Larry said, ‘You’re going to walk in, look at the living room, and then we’ll head to the backyard where I’ll show you a black wire, and you have to say that you’re going to help get that wire down, but you also would love to meet Julia Louis-Dreyfus.’ That was it. No script.

“The next time I appeared on Curb, I had to awkwardly hug Larry which caused my glasses to shatter. So I ask him to pay for new glasses. I knew I would have to come up with a plausible reason as to why he should have to pay. So I went up to Larry before the scene and said, ‘You know, I’m thinking of approaching the situation like…‘, and Larry stopped me immediately. He said, ‘Don’t say a word, I don’t want to hear a word of what you’re thinking about doing until we’re actually taping.’ And that’s the best way to improv.

Which begs the question: When it comes to comedy and acting, does he prefer one over the other?

Wayne Federman on stage

“I like them both for different reasons,” Federman says. “Creatively, there’s really nothing close to stand up. It’s immensely satisfying and terrifying. You get to do it all. But, for my ego, I love being in the movies. And here’s three reasons for that: I’m a huge movie buff from way back, films are my favorite form of entertainment, and I’m empty inside.

“As you know, I’ve been in a number of movies. Ok, I guess I’ll name a few. I was in 40-Year-Old Virgin, Knocked Up, Step Brothers, Legally Blonde, Charlie’s Angels Full Throttle… any of these ring a bell? If not, it’s because I’m always in just one scene – and then I’m gone. It’s what I call the ‘Federman and Out’. But I’m still thrilled to be there. To use a sports analogy, you see athletes who say it was a privilege to play with or against great players – like a Steve Carlton or Bill Russell or John Elway. That’s how I feel. I feel very lucky to be in movies at all.”

“I was in 40-Year-Old Virgin, Knocked Up, Step Brothers, Legally Blonde, Charlie’s Angels Full Throttle… any of these ring a bell? If not, it’s because I’m always in just one scene – and then I’m gone. It’s what I call the ‘Federman and Out’.” – Wayne Federman

While luck might play a part, it’s Federman’s unwavering commitment to his craft that has made the difference. He has forged this rich tapestry of a career by pressing forward putting himself into position to snag an acting part or land a stand up gig.

“Sometimes I get work from my reputation,” Federman says. “But for the most part, I just audition like everyone else. I just go in and try to get the role, and most of the time I fail. Very often I hear, ‘Wayne, we know who you are and we’re familiar with your work, but we’re not at all interested in hiring you. In fact we’re going to hire this dude right over here.’ That has happened quite a bit – even to someone like me, Wayne Federman.”

And does the rejection wear him down?

Wayne Federman on stage

“You know, it’s easy to get embittered. I see it all the time with other actors and comics and it’s not attractive. I have the mindset that I’m grateful for anything that comes my way. So I’m grateful for having the chance just to audition; and if I get rejected, I just take it. And move on. Because there are lots of people who would kill to have have the chance to be in that room. So I just stay humble and grateful, and I believe that has kept me in very good spirits. Plus I’m a longtime heroin addict.”

Five years ago Federman reconnected with a young comedian he met back in the mid-1990’s: Jimmy Fallon. Federman began touring with Fallon, who was about to launch his Late Night with Jimmy Fallon, and it wasn’t long before Fallon recognized the writing potential in his friend. It was then that he asked Federman to be the head monologue writer for his new show.

“Actually, when the tour started, Jimmy was my opening act,” Federman recalls, “He loved my stand-up and thought I’d make a good writer and he asked me to come aboard. I told him I’d try it for a year and see how it goes, because topical jokes are not my strength. I do more observational and musical material. But I’m so glad that I said yes because helping launch that show was a career highlight. Maybe I should write a book about it. Plus Jimmy and I still tour together. Of course, now I’m the opening act.”

“Actually, when the tour started, Jimmy Fallon was my opening act. We still tour together. Of course, now I’m the opening act.” – Wayne Federman

So, what was it like working with Fallon? And who is funnier?

“Ok, it’s not about who’s funnier,” Federman says, laughing. “Jimmy’s way more talented than I will ever be. It’s not even close, and I think I’m a pretty talented guy. I can do stand up, act, write, play multiple musical instruments, and answer these interview questions. But Jimmy, to use an archer analogy, has a ridiculous number of arrows in his quiver. He can do character voices, sing, do dozens of spot-on impressions, tell jokes, dance, play guitar, rap, the guy do almost anything – effortlessly. It’s impressive. And he’s also blessed with an extremely engaging personality plus a heightened sense of what’s right for him. I feel that’s one of his skills that often gets overlooked. The kid has great instincts.”

Wayne Federman – Head monologue writer for Late Night with Jimmy Fallon, Year 1

Federman rolls with the punches as well as anyone in showbiz, which has played a huge role in a career that has thrived for more than thirty years. But, like a comedic onion, there are many layers to Wayne Federman. He plays the piano, the ukulele, drums, and guitar. He has that acting degree from NYU’s prestigious Tisch School for the Arts. He’s done animation. He’s acted in commercials for companies such as Wendy’s, Ford, Samsung, Hertz, and Del Monte. He’s appeared in documentaries. He’s a frequent guest on comedy podcasts.

And, in a twist, this funny guy also happens to be something of an historian and a sports enthusiast, which led him to write the book Maravich in 2006. The book immediately landed on the sports best-seller list, received critical acclaim, and is considered the definitive source for all things related to basketball legend ‘Pistol’ Pete Maravich.

“It’s interesting,” Federman says. “I was not a huge Pete Maravich fan growing up. I knew about him, but Dr. J (Julius Erving) was more the story at the time. But then, in 1987, Pete released a series of four basketball instructional videos. So I bought them and was absolutely fascinated by them. They were riveting. Those VHS tapes really got me interested in him.

“So I started studying his career. And of course he dies soon after that and that caught my attention because he was just forty years old. And the more I learned about him the more fascinated I became. Everyone knew he was this legendary college scorer and showman but I learned he had this under-rated NBA career as well. Did you know Pete Maravich is the last person to lead both the NCAA and NBA in scoring?

“Pete’s life, I thought, was very Shakespearean. Here’s a guy who basically gave up his whole childhood to master basketball skills on a mind-blowing level. And then, when he finally reaches the pinnacle of his profession – he finds he doesn’t enjoy the NBA much at all. In fact, playing basketball became torture for Pete. The very thing he’d dedicated his life to now haunted him.

Wayne Federman reading all about Pete Maravich

“Marshall Terrill had started writing the book, contacted me because I’d amassed a pretty large library of Pete Maravich game tapes. And because I’m a naturally great researcher, I knew some stuff about Pete that might help contribute something to the book. Marshall asked me to join the project so I gave him one condition: I wanted the Maravich family involved.

“There had already been a number of Maravich biographies but we were determined to have this book stand alone. So we met with Pete’s widow Jackie and their two sons, Jason and Joshua, and pitched the idea. Incredibly she liked us and gave the project her blessing and complete cooperation.

“Yeah, one minute it’s just an idea and the next minute I’m inside Pete Maravich’s house, looking at his personal diaries and scrapbooks. Jackie was so incredibly wonderful – I will always be in her debt. To allow us to write that story, it was both an honor and a tremendous responsibility. That’s why it took almost five years to finish. Marshall and I wanted to tell the complete story. And it’s not all flattering. But it remains a very detailed and accurate account of a singular American athlete. We were so proud when the New York Times called it the essential Maravich biography.”

Flash-forward to the present. Federman the movie buff is still working, still grinding, and still doing it all like the consummate pro. He’s also in the planning stages for the Third Annual Wayne Federman International Film Festival.

“Very excited about that,” Federman says quickly. “It’s a film festival here in Los Angeles of classic films. I select five comedians and then they each select a film that they love or were inspired by. I interview each of them before we screen their selection and then afterwards we do a Q&A with the audience. It’s a great time – if you can get a ticket.

“The Wayne Federman Internation Film Festival is a film festival of classic films. It’s a great time – if you can get a ticket.” – Wayne Federman

“In the past, Sarah Silverman picked Crimes and Misdemeanors. Garry Shandling screened The King of Comedy. Bill Burr selected The Dirty Dozen. Aziz Ansari choose Back To The Future. It combines two of my passions: movies and stand-up comedy.”

The 2nd Annual Wayne Federman International Film Festival

What’s next for Wayne Federman?

“Well, next year’s film festival,” he says, laughing. “Sasha Baron Cohen is interested in being involved – so I’m excited about that. He’s a hugely talented guy and there’s a Monty Python film that he just loves, so hopefully it will work out and his schedule will allow him to participate. If not, he’s a jerk.

“I also write the Independent Spirit Awards which is broadcast on IFC. They present awards to the top independent films the night before the Academy Awards.

“And I’m working on a multi-CD career compilation project. We’re going to go back into the Federman archives and pull recordings of my stand-up material over the past thirty years. So you can see my progression as a comedian, from my early days at the Comic Strip to the Tonight Show, Comedy Central, and concerts. I have no idea who would buy something like that. Certainly no one in my family.”

Exciting stuff, and a fitting capstone to the first thirty years of a truly extraordinary comedic career. And, perhaps, Federman’s way of getting the last laugh on a profession littered with failed dreams of all those would-be comics.

The quintessential Federman and Out.