Twitter
Facebook

 

 

Subscribe to our mailing list

* indicates required

    

"Call Me Adam" chats with...

 

 

Entries in Acting (9)

Tuesday
Oct312017

Call Answered: Bryan Powers: "Time is the Longest Distance"

Bryan PowersLast week I went to NewFest, NYC's premiere GLBT film festival, because I wanted to see Sam Greisman's film Dinner with Jeffrey. What I discovered during the "Boy Shorts" viewing were some other remarkable movies such as Time is the Longest Distance, a film about an estranged son’s journey to reconnect with his Alzheimer’s-stricken father, and the teenage boy he meets along the way.

As someone who's gay and lost a grandparent to dementia, I connected to this film on many levels. Bryan Powers wrote & directed a powerful short that rightfully so is getting rave reviews at film festivals around the world. Time is the Longest Distance was accepted into over 20 film festivals and so far has won "Best LGBT Film" in the Toronto Independent Film Festival" and "Best Student Film" in the West Virginia FILMmakers Festival.

Time is the Longest Distance will next be screened at the following festivals:

Kansas International Film Festival (All In The Family Shorts) on November 5 at 2:45pm

Yonkers Film Festival (Westchester Shorts 1) on November 8 at 6:30pm

Rome International Film Festival on November 10 at 4:30pm

Monarch Film Festival (Student Block) on December 2 at 2:15pm

For more on Time is the Longest Distance visit https://powersproductions.wordpress.com and follow the film on Facebook!

1. Who or what inspired you to become a filmmaker? My father managed movie theatres when I was growing up and I spent countless hours watching, and re-watching, whatever he was screening. The cinema was my babysitter and the movies my playmates. Dad was also a journalist and progressed from theatre management to film critic. We attended many films together and I would accompany him back to the newspaper where he’d type up his reviews. Discussing, and sometimes arguing over, films with my dad gave me an appreciation for movies as not just a form of entertainment, but as a form of art.

I originally pursued acting, but had to pay the bills and ended up in retail sales, which led to an unexpected career in retail visual merchandising. However, my love of cinema never diminished and I was always watching whatever I could and constantly reading about film and filmmakers. It was my long-delayed discovery of the films of Francois Truffaut, specifically The 400 Blows, that led to me returning to school to pursue my BA in Film. Something about the humanistic approach of Truffaut’s storytelling really inspired me. Additionally, Truffaut's own story, of growing up with a love of film, becoming a critic, and then choosing to make films also influenced my decision. Although I initially thought I would just pursue editing, which I still consider my favorite part of fimmaking, completing a thesis film that I had written and directed was required for my MFA studies at City College of New York. It was a big challenge, despite having made some previous, smaller shorts, but I am so happy I was forced out of my comfort zone or a dark editing room and forced to be the one making all the decisions — from conception to production, to post-production. It resulted in my film, Time is the Longest Distance and I am now anxious to tackle new projects as a writer/director/editor.

Claudia Murdoch, Bryan Powers, and Andreas Damm NewFest NYC 2017, Photo Credit: Emilio Seri2. I just saw your latest short film, Time is the Longest Distance at NYC's NewFest. It was so powerful and beautiful. The film is based upon your own relationship with your father. When did you initially have the idea to make this film? How long did it take  you from idea to completion? Thank you for the compliments. I am so pleased you were moved by the film. The script’s inception arose from applying to grad schools and trying to come up with ideas for what would make a good thesis film. Many grad schools want to know from the start that you have a viable concept for what might become your thesis. As with most films I’ve made, the script started with images. While some of these where too complex and didn’t end up in the final film, they mostly concerned the passage of time, the change of seasons, and the transient nature of life. From there, I took narrative elements from my own life to develop characters and potential situations where those characters would be in conflict, or would somehow influence one another.

Originally, the character of "Xander," the teenager who finds himself pulled into the story of a stranger trying to reconnect with his Alzheimer’s-suffering father, had a story line of his own. He had his own issues with his father and the chance encounter with "Jack" in the film also worked to help him though his issues. But it’s a short. I had to focus the story and narrow it down a bit.

As part of my MFA studies, the first draft of the film was completed in December of 2014 and then workshopped for months. After casting and pre-production work, we shot on location in the Bronx in the fall of 2015 and the final version of the film for City College was finished by May of 2016. After that, we spent additional post-production time on color correction and an original score, both of which were done pro-bono so I had to wait until those artists had the time to make their contributions. Our first festival screening of the final version of the film took place in April of this year.

3. How did you partner with Cup of Joe Film for this release? What did they get about your film that perhaps another film company did not? I placed an ad, seeking a producer on Mandy.com, a job listing site for film professionals. I had very limited funds to offer, but hoped to find someone that was looking for experience and believed in the script — connected to it deeply enough to dedicate long hours on the project without any expectation of real financial reward. Surprisingly, I had a good amount of applicants. A couple meetings with a couple of them were rescheduled, for whatever reason, and Claudia Murdoch was the first producer I was able to meet. She was also the last. We had an immediate connection — Claudia having switched careers around the same age as myself, and having a personal connection to the storyline of caring for a loved one with dementia. She was also very organized and outgoing. I’m organized, but am more reserved. I needed Claudia’s fearlessness to make the connections, to find the locations, to deal with all the "wheeling and dealing," for lack of a better phrase, that gave me such anxiety. I must say, finding and choosing Claudia was the best thing that happened to the film. I’m confident that it wouldn’t have had the success it’s had without Claudia and Cup of Joe’s unending dedication.

Time is the Longest Distance4. What was the hardest part of the film for you to write? The encounter between "Adam" and his father was tricky. I didn’t want it to be too predictable or too melodramatic, but I also needed it to pack an emotional punch. Getting the dialogue right and dramatizing the moment visually — the awkwardness of "Adam" in trying to get-up his courage and his dad "Jack’s" business with the radio, turning up the volume, which leads to "Adam" taking action. That whole scene was difficult to edit as well — finding the right rhythm and knowing when to to cut to the reaction shots of each character when the encounter goes south.

5. What did you learn about yourself from making this film that you didn't know going through these events? If you mean what I learned making a film based on aspects of events from my own life, I’m not sure. That’s not something I think I’ve really considered. I guess I’ve learned that I need to try to take advantage of time in my own life. It’s cliche, but there really is no time like the present. And the present is all we have. I may say that I’ve learned this, but I can’t say I’ve fully embraced it or put it into action. I’m still great at procrastination. I’m trying to improve. I’m trying. Maybe tomorrow I’ll improve.

6. Time is the Longest Distance has been accepted into over 20 film festivals. It has won "Best LGBT Film" in the Toronto Independent Film Festival" and "Best Student Film" in the West Virginia FILMmakers Festival. What is it like to have your film not only accepted into these festivals, but then to win these awards? Do you need these accolades to know you made a good film? Did I make a good film? Just kidding...but not totally. I, like most artists, I think, tend to focus on what could be better. I still see all the imperfections in the film — most that are probably not even noticed by the average viewer, especially if the narrative works and they are drawn into the story of the film. Is there such a thing as a confident artist? Aren’t we all plagued by insecurities? Or is that just me? I imagine Tarantino doesn’t doubt his own brilliance. But all joking aside, I was happy to get the film into one festival — being accepted into so many and winning awards? That has been amazing. I was confident in the story I was telling and in most aspects of how we told it, but I could never have imagined that the film would have been embraced and praised by so many others.

7. What has been the most heartbreaking story you've heard from viewers after a screening? What has been a comment that just made your whole face light up and you still think about today? It’s been very touching to hear so many stories from viewers who themselves have been touched by Alzheimer’s and who tell me how much the portrayal of the father in the film rang true to them. After the film’s second screening at NewFest, I had a lovely gentleman come up to me and tell me how he loved how the film demonstrates some of the family’s resistance, conscious or not, to letting the father live in his own reality and how the film’s resolution comes from a moment when the family does allow the dad, without interruption, to live out what is real to him.

If I can share his story of his own mother who had Alzheimer’s, he told me he eventually came to the realization that it wasn’t productive, it didn’t help his mother or provide her any comfort, if he constantly tried to correct her. He realized she was much happier when he participated in her misconceptions, her perception of reality. One day (and I may not have the story exactly right) she asked him, "Who’s your mother?" He replied enthusiastically, "Who would you like to be my mother?" She responded, "Well, I’d like to be your mother." That broke and warmed my heart at the same time. I was so happy he took the time to find me and share his experience with me after the film.

"Time is the Longest Distance"8. As someone who lost a grandparent to dementia, watching your film, Time is the Longest Distance, brought up so many memories of my grandmother, especially when her memory was going. What was the toughest part for you, watching your dad's memory decline? Being that my dad was an avid reader and writer, it was hard to see him lose those abilities. With the loss of his short term memory, he could no longer hold the thoughts of what he has just read and couldn’t make it past a paragraph or two. The same was true of films, which he loved. He began to like simpler films, where the moments of each scene as they happen could provide him some joy, but where he didn’t have to comprehend the film as a whole. As far as his writing, I have a journal of his, written over several months. I’ve never been able to read the whole thing; it’s too heartbreaking. In addition to the frustration expressed in his writing, in not being able to put his thoughts into words, you can see the frustration in his actual penmanship; the writing becomes larger and more erratic. It’s tough to see that — a physical document and demonstration of his thoughts and emotions.

9. What is the fondest memory you have of your dad? I have so many. I get my height from my dad, but he was a bit stockier through most of his life, until the final years. He gave great hugs. I miss his hugs. Towards the end, despite him losing so much of what made him who he was, despite me never being sure if he recognized me or other members of my family, his love for my mom only grew stronger. That never went away. He never forgot his Betty and seeing her always brought him the most joy. She may have grown irritated at times by his constant declarations of love for her, but it was beautiful. They met in high school and were together for 60 years. I tried to show that love between the parents in my film.

10. After this round of festival screenings is over, what are the next steps for this film? Do you want to expand it to full feature? Or do you feel it's meant to be a short and you will focus on new projects? There’s definitely a feature in there. As I mentioned, I have a whole story for "Xander" and would love to explore his story before and after it intersects with "Adam’s." If I could find the time, and the financing, to expand it into a feature, I would love to take on that challenge. I’ve written two new shorts over the last few months, one that deals with the generational differences between the men who survived the AIDS crisis and the current generation of gay men who no longer see AIDS as a real threat. I would love to get that film into production. Traveling to several LGBTQ film festivals with Time is the Longest Distance, I’ve become aware of how a large percentage of the festivals’ audiences are men of a certain age. I think they long to see their stories on screen. And I think they deserve to be represented.

Bryan Powers at NewFest NYC 2017, Photo Credit: Emilio SeriMore on Bryan:

Bryan’s informal film education started early, as the son of a cinema manager and film critic. In 2016 Bryan obtained his MFA in film from the City College of New York. Previously, Bryan graduated Summa Cum Laude with a BA in Film from Hunter College where he received a scholarship from BAFTA (British Academy of Film and Television Arts) and was nominated for Marshall and Fulbright Scholarships. In addition to being the editor on many projects, Bryan has also written & directed several shorts and has worked as an Assistant Director, Sound Recordist, Boom Operator, and Sound Editor on numerous others. Bryan’s past jobs in post-production include positions at DCTV and Tribeca Film Institute.

Friday
Jul242015

Call Answered: Beth Newbery: Actress, Playwright, Director, Founder of infusionarts

Beth Newbery, Photo Credit: Ronnie WrightThen there are times when your friends refer someone to you. So when Jennafer Newberry suggested I interview Beth Newbery, I said, yes, let's do this! Beth and I talk about acting, her latest play Undone, creating her own company, infusionarts, the difference between acting here in the states and over in the UK, and so much more!

For more on Beth be sure to visit http://bethnewbery.com and follow her on Twitter!

1. Who or what inspired you to be a performer/writer? I met Sidney Poitier right after I left drama school. I kept going back into the acting scene but one day realized that all I wanted to do was perform. Then writing followed when I wanted to do something that had a real personal meaning. I love theatre and films that are also a message for society.

2. Your latest play, Undone, has gotten quite a lot of attention, with the hopes of it being made into a feature film. What made you want to write a play about a former sex slave rebuilding her life? I like stories that are about a social issue or ones that make you think. Even if an audience only discusses it for a while then I have played a part in creating and spreading awareness. Woman who have suffered any type of sexual abuse, particularly for a long time can be seen as "okay" once they get married, have children or simply get a job and move on, but it's all too often a small fraction of what is really happening. So often a deeper level of despair, uncertainty, and insecurity stays in the mind. This is what I wanted to explore and have the actor portray.

Beth Newbery in "Undone"3. When you found out there was talk of Undone being made into a film, what went through your head? How do you feel this story will play out on film as opposed to on stage? First of all I had a two-hour discussion with the playwright about it, thinking about the characters and those who had been involved in this girl's life. I thought about the opportunity to have such a story get seen by many more people using the media of film. It will be different in the film because you can create the external world and show the story of how she got to where she was and the aim will be to have some understanding of her love for her captor. My first reactions was, great, lets do this and was thrilled to have it suggested as a feature rather then a short film.

4. You have acted in both theatre and film. Is your approach to preparing for each medium the same or different? What do like about acting best in theatre and in film? I don’t think it is that different for me in my preparing but for theatre I do get more nervous! I always ask myself about the character and how I have a connection. No matter how different your character, you have to find some understanding of each character you play. I love the thrill of acting in theatre because of the reactions and perceptions are engaged in the moment whilst being watched. In film you are stopping and starting but there is an edge to it with your audience being able to look right in your eyes, and can give away the slightest fear or lack of being’ when portraying your thoughts as a character. This is always something that I am aware of.

5. In addition to acting, you founded your own company called infusionarts, which runs educational, social and community projects in Great Britain and Africa. infusionarts uses the arts to engage and enhance relationships and social issues awareness. How did you start infustionarts?? What do you get from this venture? I started infusionarts after attending the TED conference in Africa along with many others including singer Bono, Bill Ford, and the wonderful Jane Goodall. I had completed a documentary called My Journey’ based on the culture of the Maasai people with amazing footage of weddings, and other ceremonies studying the performative elements. I used it to achieve my Masters degree. I loved exploring theatre whilst there and noticed how quickly the children would engage in theatre based games and workshops so I decided to begin a company that would develop this connection within communities and use the arts to highlight many social issues. It really had grown for my love of Africa and the wonderful playwrights such as Wole Soyinka, Gibson Kente, and Athol Fugard. We fund children as often as possible to attend school for a year with a percentage of any profit made on each project.

Beth Newbery in "Tom Jones"6. You acted in both the UK and US. What differences do you notice between the two? What are some similarities? I think many great actors are both sides of the world and we cannot compare in terms of good and bad, better or worse. But I have read there are two major schools of thought when it comes to acting. And I agree with the different approaches such as: the classical; best known by such people as Laurence Olivier and the Method which began a new art form in America with James Dean and Marlon Brando, who brought it to the film. The classical can be seen as more of an external approach, and then you have the Constantin Stanislavski's approach, naturalistic, more inside out. In the UK we have stressed the training in voice and posture and the physical attributes, whereas in America training is deep rooted in the actors emotions. I think the culture of acting in the UK is much more rooted in traditional styles of training. The similarities: well, with many new ways of using the methods in training I think actors are beginning to grow and realize the need of both speech and physical training but the most important, which is what I begin within my coaching is being comfortable with yourself. Then you can expand and express with more ease and faith with stronger risks. Yes, I coach actors and can be reached at beth@bethnewbery.com or contact www.infusionarts.org.

7. What is the best advice you've ever received? Forget you and your baggage. You have to be comfortable and centered for who you are to be an insightful and engaging actor.

Beth Newbery in Africa8. What have you learned about yourself from being an actress/writer/business creator? I have to say that it’s only in the last couple of years that I truly have understood who I am. I mean the power, the ability and the sense of loving who I am is now within me. It’s through doing all these things and meeting wonderful people that I have grown. Many of my stories and creations are from what I have previously experienced but now I can use this life to enhance and be a part of many people’s lives. I have learned that all is possible. Being creative is who I am and I would rather never know where my next check is coming from then do a nine to five job!

9. If you could have any super power, which one would you choose? To remove the fear, greed, and anger within individuals so that poor decisions can be removed and more done to help the planet and it’s people.

10. If you could create your own signature drink, what would you call it and what ingredients would you put in it? "Get over yourself" would be the title of my drink, with good vodka, grapefruit, splash of sec, and flavored gin. Get over yourself is a statement I use when I think of a person who is so over the top, or simply annoying!

Beth NewberyMore on Beth:

Born in Devon, England, Beth grew up on a farm until the age of twelve. Since leaving school Beth has travelled extensively. After trying a number of various career paths, Beth followed her passion for acting. She trained for three years at an Acting School with Patron Peter Brook and worked hard to get an Equity card once she had left. Beth has worked in theatre, TV and film and has enjoyed gaining plenty of insight behind the scenes, especially in producing and directing.

Beth backpacked through Tanzania, which included living in the bush with the Maasai people. Her research here was used to gain her Masters degree after completing a documentary on her journey. Not content with that, Beth has also shark dived to get up close to the great whites in South Africa, and climbed Mt. Kilimanjaro.

Always one for a challenge, Beth set up Infusionarts to take drama to small communities in Africa, and now explores ways to develop theatre focusing on social issues. Beth has worked as a coach and director with many successful productions including her own play I Wait Till Dusk.

Sunday
Apr202014

Call Answered: Facetime interview with the cast of Gay Camp

Call Me Adam with the cast of Gay Camp, Photo Credit: Paul C. Focazio"Call Me Adam" went downtown to NYC's legendary Duplex Cabaret Theatre to chat with the cast of Gay Camp, the hilarious hit Fringe Show about two "confused" campers who are sent away to be "cured" at Camp Acceptance.

Gay Camp runs through April 25 at The Duplex (61 Christopher Street at 7th Avenue), before it heads on its summer tour to Provincetown and Fire Island! Click here for tickets!

For more on Gay Camp be sure to visit http://www.gaycamptheplay.com follow the show on Facebook, Twitter, and Instagram!

Call Me Adam's Interview with the cast of Gay Camp:

Thursday
Feb072013

David Dean Bottrell: "David Dean Bottrell is Working: One Man's Search for Employment and the Meaning of Life!" Interview

I first interviewed David Dean Bottrell last year when he was starring in his one-man show David Dean Bottrell makes love. Now, David is back with a brand-new show David Dean Bottrell Is Working: One Man's Search for Employment and The Meaning of Life. Combining his prodigious body of work as an actor, writer and director, David has created an evening of outrageous, sometimes heart-breaking and always side-splitting true stories that provide a rare look into an entertainers quest for a middle class life in Hollywood. David Dean Bottrell is Working is directed by Jim Fall and produced by Lee Costello.

David Dean Bottrell Is Working: One Man's Search for Employment and The Meaning of Life plays at the Acme Comedy Theater in Los Angeles, CA (135 N la Brea Ave) on February 20 and 27 and March 6 and 13. Click here for tickets!

1. Last time we spoke, you were performing your one-man show David Dean Bottrell makes love. What did you enjoy most about the run? Is this a show you would perform again? That show changed my life. I’d never done anything like it. I was initially terrified by the idea of standing out there all by myself for 70 minutes. But then it began to feel like this totally natural thing to do. Love is such a universal constant in people’s lives. That show had something for everybody. I was so lucky to have gotten the press and the audiences that I got. We extended four times. I’m definitely hoping to bring it back again under the right circumstances.

David Dean Bottrell in "David Dean Bottrell is Working", Photo Credit: John Flynn2. Now you are gearing up for your brand-new show David Dean Bottrell is Working: One Man's Search for Employment and the Meaning of Life! How did come up with the title and concept for this show? After the last show, so many people kept asking what’s next? I used to write a pretty popular blog about being middle-class in Hollywood. I began to wonder if there was a show in there somewhere. The script has morphed quite a bit as I’ve been writing it so that it’s not completely about show business anymore. It’s reminded me of the big questions we all ask ourselves like "Is this what I really want to be doing with my life?" or "Does this have any meaning?" My career has had a lot of bumps in it and I’ve met some crazy people. One night I sat down and wrote the first story and it just sort of took off from there.

3. What excites you about performing at the Acme Comedy Theater? It’s a beautiful space. One of the nicest I’ve ever worked in. We’ve definitely upped the game this time out. I also love that it has such a great history of really funny people performing on that stage. I feel excited every time I’m in there.

4. Without giving too much of the show away, what has been the hardest part about in your search for employment? How have you gotten through these hard times? Show business ain’t for sissies. It’s really tough to open yourself up to all that inevitable rejection. The whole experience is so ironic. In order to survive you have to have a skin like a rhinoceros, but in order to be any good you have to be open and vulnerable. It can drive you bat-shit-crazy. You have to really love it to sustain a career.

5. What job have you taken to makes ends meet? When I was first starting out I did a ton of jobs. I was a waiter, a bartender, a telemarketer. I cleaned apartments. I worked in a real estate office. I was a bike messenger. I sold marijuana for a while. You name it.

David Dean Bottrell in "David Dean Bottrell is Working", Photo Credit: John Flynn6. During our last interview we talked about who inspired you to become a writer/performer. Who's work do you admire now that makes you want to keep doing what you do? My current heroes are Louis C.K. and Tina Fey. They literally "wrote" their way into their current careers. I admire anybody who can employ themselves instead of waiting for somebody to do it for them.

7. In one of your earlier stage shows, Streep Tease, a long-running homage to Meryl Streep, you hysterically performed the entire plot of Out of Africa in six minutes flat. How did you decide to do this show? Did Meryl ever come see this show? Have you ever found out what she thought of it? When I was asked to do it, I knew I wanted to do "Out of Africa," because I remembered loving it. Then when I rented it again, I realized it’s almost 3 hours long! That’s when I had the idea of trying to do the whole story of the film in 6 minutes. Ms. Streep never came to see the show, but her agents at CAA did. She was asked about it in an interview and was very gracious. She said she didn’t want to see it because she had no interest in seeing any show that was all about her. I thought that was a very classy answer and from what little I know about her, it sounded truthful.

8. How would you want someone to pay homage to you? By buying a ticket to this show! Which opens February 20th!

9. What advice would you give someone who was looking to make it in Hollywood? Learn to love the whole package. All of it. Including the part where you look for work, because you will spend much of your career doing exactly that.

10. If you could have any super power, which one would you choose? Funny you should ask that because one of the stories in my new show is about my childhood obsession with super heroes! I can tell you that 20 years of sitting in L.A. traffic has made long for the power of flight! I’m still hoping that one morning I’ll wake up and be able to take flight.

Friday
Jan252013

Matt Walton: The Fig Leaves Are Falling Interview

Best known for playing "Elijah Clarke" on One Life To Live, Matt Walton has enjoyed success as an actor in television, film, and theatre. His other television credits include The Guiding Light, All My Children, Law & Order: Criminal Intent, Law & Order: SVURoyal Pains, Rescue Me, Cashmere Mafia, and many others. On film, Matt has been seen in Burn After ReadingFavorite Son, Holier Than Thou, Montclair, Flannel Pajamas, and 200 American.

On stage, Matt has delighted audiences in Hair, The Tailor Made Man, The Sweepers, We're All Dead, Rush's Dream, Gorilla Man, The Framer, and leading roles in the revivals of BeirutBoy’s Life, and A Few Good Men.

Now Matt is starring in Unsung Musical Co's production of The Fig Leaves Are Falling at the Connelly Theatre in NYC through January 26. The Fig Leaves Are Falling is a swinging ‘60s satire of suburban life, love and infidelity. Variety show meets vaudeville in this lively entertainment following Harry Stone, his devoted wife and the sizzling secretary who turns their marriage upside down! Click here for tickets!

For more on Matt be sure to follow him on Twitter!

1. Who or what inspired you to become a performer? My mother noticed my penchant for it at a very young age, and got me into community theater. Playing make-believe came easy for me, unlike say, basketball, so I stuck with it. Growing up near NY was key, since I was exposed to the theater as something culturally relevant. Seeing Nicholas Nickleby on PBS when I was very young was probably the tipping point.

2. Who haven't you worked with that you would like to? In the theater Michael Mayer, on TV Vince Gilligan and on film Tom Hooper. To name just 3 of the 30,000.

Morgan Rose, Matt Walton, Karen Hyland in "The Fig Leaves Are Falling." Photo Credit: Dixie SheridanJonathan Rayson and Matt Walton in "The Fig Leaves Are Falling", Photo Credit: Dixie Sheridan3. What attracted you to The Fig Leaves Are Falling? Alan Sherman and Ben's pitch to play a swingin' 60's Variety Show host--perfect way to dip my toes back in the musical theater waters.

4. What do hope audiences come away with after seeing the show? Anything but the flu. Seriously though, how far we've come socially in half a century, and how little we've changed at the same time.

5. What do you identify most with about your character? Mixing his show business life with his personal one.

6. What excites you most about working with Unsung Musicals Co? So few have a preconceived notion of a certain classic production or celebrity character portrayal that it's like creating an original role, in a brand new show.

7. For three years you were on One Life To Live as "Elijah Clarke." Looking back, what did you enjoy most about being on the show and what do you miss? What message would you like to give to your fans? Enjoyed most: the steady paycheck and having to justify those crazy scenarios as an actor. Enjoyed least: the fact that being on American soaps can get you leads in regional theater, while being on an Australian soap can get you a three-picture Hollywood superhero film deal.

Message to fans: I'll be back!!!

8. You have been the voice of several video game characters. What do you like about this kind of work? The video games are exhausting and not all that fun after the sixth hour of inventing the noise a human would make while getting impaled by a sword-wielding robot-dragon monster. But other voice work is so rewarding since they pay me to talk, which I gladly do for free.

Matt Walton in the film "200 Americans"9. What have you learned about yourself from being a performer? That I still have much to learn about the complexities of the human condition. And that I should have pursued a career as a cable news anchor, since that's where all the acting jobs seem to be. 

10. What's the best advice you've ever received? "No. Try not. Do... or do not. There is no try." - "Yoda" The Empire Strikes Back

BONUS QUESTIONS:

11. Favorite way to spend your day off? Splashing in a pool with my wife and kids.

12. Favorite way to stay in shape? Splashing in a pool with my wife and kids.

13. Boxers or Briefs? Boxer Briefs.

14. If you could have any super power, which one would you choose? Time Travel.