A few weekends ago I had my first opportunity to be on set for the short film that I alluded to many months ago.  It was an amazing but exhausting experience.  And if it was that way for me, I can only imagine how it was for everyone else!

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I saw a final cut of THE GATEWAY MEAT, filmed in Massachusetts. I appear in the film, I get brutally murdered and got to write my own death scene. Unfortunately my face is bound up with duct tape and we shot for 8 or 10 hours and I couldn't see and was covered in cold fake blood all day. The DVD will be out soon. The film is AMAZING- oh my god- so gory! I was only in a small part and did not see the script so knew nothing about the plot of the film or anything about it except my scenes.

Also out soon on DVD:

Countess Bathoria's Graveyard Picture Show, which debuted at the Fantasia Film Fest, and which I co-wrote.

I am writing for The Independent Magazine website and will be interviewing Jeremy Kasten, director of the upcoming remake of The Wizard of Gore.

I have an interview in the next Girls and Corpses magazine with Erik Ruhling, author of Infernal Device, an illustrated book of torture devices.

Although I put it aside months and months ago it looks like my script A Fistful of Anger may be optioned.

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I don't know what it takes to get recognized, respected & noticed on this website by the people in charge?

I can't get an email back from them about how to become a "Selected blog".

Or, How to become Acknowledged as a legitimate blogger on this site?

I am like a Ghost in the Machine... A phantom dream... I can't get no damn RESPECT!

They won't put me as a Selected blog.... Or put me on the front page of Past blogs... Or even acknowledge my existence by returning my emails... But they do it for so many others....

But........... NOT FOR ME!.... WHY?

Did I do something wrong???

Did I kick their little doggy??

Did I strangle their Pet Kitty??

This is starting to remind me of my Good ole days in Hollywood when nice Show Biz Celebrities like: Gene Simmons, Lemmy Kilmeister, Jane Seymour, Kirstey Alley, all Hated me & yet I don't recall ever doing anything to them to get such a Violent reaction.

But yet, Sean Lennon enjoyed my company... Angela Bowie thought I was a darling... Ronnie James Dio Protected me... Burt Reynolds told me I did a really great job & my Only True Hollywood Friend "Bruce Campbell" Loved me!... What did these people see in me that so many others couldn't???

Am I to be forever Misunderstood & maligned?

From Coast to coast to Sea to Shining sea...

From Hollywood to Beanywood...

Peons to Stars vacillate between their love & hatred of my personality...

CAN I EVER GET A DAMN BREAK?

I have gotten off the track again...... Back to my point:

I have written 20 blogs here which have included various info on:

Productions in the New England area... With such varied content as: Real Television commercials... Presidential candidate web promos... Motor-cross X game stunt show coverage... Documentary shooting for ER Doctors... Rock & Roll live concert events... Quasi-Religious Short films... I've spoken on such Hot topics as: Show Biz deals, heartbreaks & Busted dreams from the very Beast Herself... "Hollywood".....

But still it seems I do not seem to RATE HERE... Why?

If a guy that spent 12 long years slugging it out in the trenches of Hollywood California...The very CessPit that is Show biz Hell itself... can't get acknowledgment here.... Then what does it take?

I have attempted to broach such topics as Human kindness... Hard work... Creativity... Dedication... Respect for others... Being a Team player... The ethics of doing REAL PAYING gigs....

BUT STILL..... NOTHING... NADA-- ZIP.......

What does a guy gotta do to get recognition here by the POWERS THAT BE?

Am I like some Bastard Step child?... The Black sheep of the family?... The drunken Uncle that says dirty, awkward & embarrassing things at the dinner table in front of mixed company?

I am ever so Confused... Is this Professional Jealousy?... Pettiness? Or just plain Childishness???

What can a poor boy do, But sing for a Rock & Roll band?

Anybody have any clues out there for me?

Anybody wanna give me any pointers on the Human Condition that I don't seem to have a clue about?

Am I just so far gone from banging my head against the brick wall of life that I have lost all of my sense?

I attempt to truly be Enlightening... Humorous... Insightful... Educational... About Hollywood... Life... New England Productions & REAL show Biz Examples....

Is this not what this site is supposed to be about????

I just don't know anymore......

IS IT ME?

So I propose this:

If any of you fine folks of Boston want to see me gone....

To VOTE ME OFF OF THIS BEANYWOOD SITE...

Then please POST YOUR VOTES!

I am SERIOUS!

IF THERE ARE 10 VOTES POSTED THAT WANT ME TO DISAPPEAR....

THEN I WILL GLADLY GO...

I don't want to be were I am not Invited.... Wanted... Or appreciated....

PLEASE.... POST YOUR VOTES...

SHOULD CRAIG AMABELLO STAY BLOGGING ON THIS SITE?

OR DO YOU WANT ME TO GO?

The choice is now left to THE PEOPLE OF BOSTON.

We live in a Democracy.... (Albeit, a very crooked, Corrupt & at times, Insanely Inept bureaucracy, that borders at times on being a Fascist, Dictatorial, Totalitarian Nazi Regime).... So lets see if THE PEOPLE WILL TRULEY SPEAK UP....

CAST YOUR VOTES TODAY... DO NOT DELAY.... TIME IS OF THE ESSENCE....

If 10 of you want me to go... I will go, with my tail between my legs, running back to the Hills, (The Hollywood hills that is)... A place were I seem to fit in much better than here in New England... The place of my Childhood.

IT IS ALL IN YOUR HANDS NOW FINE FOLKS OF NEW ENGLAND.

Oh ya..... Thanks to the few people that have answered my ads... Said nice things about me... & seemed to understand my Eclectic style.... I truly do appreciate your understanding & good will.

And if any of you actors & Actresses out there want to contact me about comedy Sketches I am in pre-production on for really insane, cutting edge & funny Web shows... Please contact me: laconnection101@aol.com.

I am also looking to hitch up with a few cool, dark humored writers to help me put my ideas to scripts for full length feature films & Shorts, please let me know.

Keep believing in yourselves... Don't kick a dog when he's down... & have fun creating cool, entertaining, & Profitable stuff for the Bewildered Masses....

I know I sure am.

Signed,
Your truly Demented Reporter & X-Hollywood Reject,
Craig Amabello

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While I certainly don't consider myself an expert filmmaker, I've worked on enough films, and exchanged enough horror stories, to feel comfortable giving advice to other independent filmmakers. For this reason, I've decided to write a series of articles about independent film production, with the hope that they'll benefit others in the Beanywood community. Needless to say, these articles will reflect my own experience, so if something here doesn't seem right to you, go with your gut.

I decided to start with the subject of casting because I was inspired by Kevin Cirone's informative article, Rules of Engagement for the Acting World. I thought that having two articles about casting, one by an actor and one by a filmmaker, could be a good way for each group to learn more about the concerns the other has as they go through the casting process together.

I look forward to reading any comments from the Beanywood community. Moreover, if readers have any feedback regarding these articles, please feel free to contact me at any time.

INDEPENDENT FILM-MAKING
Pre-Production: Casting

    Contents:

• Audition Space
• Actor Search/Casting Call
• Scheduling Auditions
• Preparing for Auditions
• During the Audition
• Decision Time

Audition Space:

Let's assume, for the purposes of this article, that you're not using a casting agency. If you could afford one, you wouldn't be running around trying to find an audition space yourself.

Choosing a location for your auditions is more important than you may think. Why? Well, let's break it down:

First, let's think about the proximity of your audition space to the pool of actors you'll be targeting for auditions. Choosing a location in or near the city can make a huge difference for the following reasons:

1. When you're in the city, actors can reach you by car, by public transportation, or by foot. When you're in a suburb, or even further away, actors have to drive out to your location. This can make it more difficult for students and city residents to get to you.
2. The closer you are to the city, the higher the population is. This means you'll be able to find more actors who are close to your audition space. Some actors will drive for hours to get to an audition, but others have to contend with work, school, and family schedules, which means they can't necessarily afford to take half a day off for an audition.
3. People are much more comfortable driving to a place they know. Especially for young women, auditioning in the city -- at a theatre, for instance -- is a much safer prospect than driving out to a secluded area they've never been before.

Second, let's think about the type of location you'll want to use. Here are some things to consider:

1. Don't ever, ever hold auditions in a hotel room. I don't care if your parents own the hotel. It's creepy and inappropriate. While we're on the subject, don't hold auditions at your home, either.
2. You'll want to find a place that has a separate audition space and waiting area. This may seem pretty obvious, but you'd be surprised how many times novice filmmakers find themselves with a bunch of actors with nowhere to sit, cluttering up a hallway. Not only is this poor planning, it's disrespectful to the actors. Can you imagine wanting to work for someone who couldn't think far enough ahead to bring chairs?
3. If possible, try to find a location that has even a loose affiliation with the arts -- a small auditorium; a theatre; an acting school; a dance studio. You'll probably find your actors more relaxed in this type of environment than they would be at a law office or some other unrelated business.

Third, let's think about the actual room where you'll be conducting your auditions:

1. Make sure the room isn't too cramped. You'll want some distance between yourself and the actors who are reading for you. This way you won't be focused just on their faces; you'll get a better feel for their body language and their overall skill and comfort as actors.
2. You'll no doubt want to take notes during the auditioning process, so make sure to have a table or desk in the room.
3. Test out the sound in your audition space. If the actors in the waiting room can hear the auditions taking place, they'll be preoccupied with the thought of other actors listening in on their auditions, so they won't be at their best when they read for you.

Actor Search/Casting Call:

There are two reliable ways to find actors: first, you can go out and search for them, and second, you can ask them to come to you. My suggestion is to use both of these approaches.

Let's first tackle the prospect of actively searching for actors. Unless you want to roam the streets aimlessly, asking strangers if they can act, you've probably got three options:

1. Go to local screenings and performances to scout talent.
2. Get recommendations from other filmmakers and industry professionals.
3. Search online databases for local actors: when it comes to this option, my suggestion is to start right here on this site with the Beanywood Advanced People Search. As opposed to a lot of other online databases, Beanywood lets you do what casting agencies do -- a detailed search for a specific age, height, weight, hair color, etc. Always take advantage of the tools you've been given.

Now let's tackle the prospect of getting actors to come to you. How do you do this? By sending out a casting call. When you sit down to write it, make sure to include the following information:

1. The name of your production company
2. The type of project you're shooting (feature/short; drama/comedy/horror)
3. The shooting format (35 mm/16 mm/HD/DV): the more specific you are, the more organized you appear. Simply being organized and efficient can go a long way toward winning people over. Moreover, if you happen to be shooting on film, you'll certainly want to advertise this fact. Most actors will go to great lengths for the the opportunity to be in a film, as opposed to "just another DV movie."
4. Who are you looking for? (gender; age group; specific appearance; accents and other special skills): when it comes to things such as age and ethnic appearance, make sure to ask yourself if these factors are actually relevant to the character. If they're not relevant, then exclude this information from your casting call. Otherwise, you'll just be limiting your pool of actors for no good reason.
5. Is this a union or non-union shoot? If you don't include this information, you'll probably get about fifty e-mails asking this very question. Save yourself the headache.
6. Is this a paying job? If it's not, then just say so. Tricking people doesn't win you any points.
7. When will the film be shooting? Even if you don't have your production dates set in stone, it's good to include a ballpark time frame. Believe me, it's disheartening to discover a fantastic actor, only to find out afterward that he/she will be away for the month you'll be shooting.
8. Where will the film be shooting? If you're not shooting in the area, and there will be travel involved, you should be up front about that.
9. Is there any nudity required? If so, always tell the actors in advance, either in your casting call or when you contact them to schedule their auditions. Note: in my opinion, it's inappropriate to ask any actor to do a nude scene if he/she is working for no pay.
10. Your contact information: I'd include an e-mail address (where the actors can send their head shots and résumés) but not a phone number. If you include a phone number, you could easily end up with a hundred voicemail messages from people you're not even interested in auditioning.

Next, let's think about the format of your casting call. While there isn't any sort of industry standard for a casting call, you should always remember a few things:

1. Write professionally, and use proper English (assuming you're targeting an English-speaking audience): I don't care if you're bad with grammar and spelling. Have someone else look it over, and use the spellcheck function in your word processor. If you write like an amateur, you won't be taken seriously, and you shouldn't be.
2. Write in 3rd person. "7 Fluid Oz. Productions LLP is seeking actors for its upcoming film" is simply more professional than "I'm looking for actors for my film."
3. Don't embellish. This won't help you. I don't care if you think this is "the best script ever." You don't put that in a casting call. I don't care if you're absolutely sure that the film is going to get "tons of exposure." Have you actually signed a distribution agreement? Have you already been invited to screen your film at prestigious festivals? No, I didn't think so. So please, don't waste anyone's time with outrageous statements. If you've had success with your previous films, then go ahead and put that information in the casting call. If your films have won awards or been released on DVD, then that says something about your work.

Here's an example of a professionally written casting call:

Unnamed Productions is seeking actors for its upcoming feature-length dramatic thriller. The film will be shot on 16 mm, in the Boston area, over a period of 3 weeks in either June or July.

Needed: Males (18-50); Females (18-40) -- martial arts training preferred, but not required.

This is a non-union shoot with some up front pay for leads, but mostly deferred.

If interested, please send your head shot and résumé to cast@unnamedprodco.com.

Unnamed Productions' previous work has been released on DVD and screened at six film festivals, including the Newport International and the Tribeca Underground. For more information about Unnamed Productions, please visit www.unnamedprodco.com.

So, it's time to send out your casting call. But where? Well, here's a list of sites that I've had a lot of success with (most of which you'll also find in Kevin Cirone's Beanywood article, Rules of Engagement):

1. beanywood.com: in addition to the Advanced People Search, Beanywood's Forum has a "Jobs/Gigs" section where you can post cast and crew calls.
2. boston.craigslist.org: there's a "tv/film/video" category for paid jobs and a "talent" category for no/low/deferred pay gigs. Posting in the "tv/film/video" category costs money, so unless you have a significant budget, I'd skip this one. You'll get plenty of responses from the "talent" category.
3. nefilm.com: good exposure, but it's worth noting that casting calls can take up to a week to get posted on the site.
4. netheater411.com: mostly for theatre actors (as the site's name would suggest) but still a valuable place to advertise.

Scheduling Auditions:

It's time to think about scheduling your auditions. Here are some things to consider as you get ready to set a date and contact the actors you've targeted:

First, you'll need to choose a day and time:

1. If possible, hold auditions over the course of at least two days. This will give actors with scheduling conflicts a better chance of attending your auditions. Also, this will give you the opportunity to consider your own work during the first day of auditions, and then alter your technique, if you feel it's necessary.
2. In my experience, Friday/Saturday or Saturday/Sunday auditions tend to work the best. Not only do most people have the day off from work and school on weekends, it's often a little easier to find an audition space then. Now, you may ask yourself, "Don't people like to go out and relax on the weekends?" Well, that's true. In most cases, though, an actor will skip out on an afternoon with friends in order to audition for a film -- and if they'd rather go to a bar than an audition, they're probably not the kind of people you want on your set.
3. Don't schedule your auditions on a holiday or a holiday weekend (this also applies to spring break). Not only do people go away for certain holidays, it's a little presumptuous to ask someone to skip Easter Mass or a Passover Seder to come audition for your movie.
4. If you hold auditions on a weekday, don't start until the afternoon (most people work for a living).

Second, you'll need to schedule times for your actors. Simply telling them that auditions are between ten and five is a bad idea. While actors are rarely treated as such, they are, in fact, human beings. Being forced to sit around indefinitely is frustrating and exhausting. On top of that, people do better work when they feel respected. Showing regard for the actors' time is an important first step in building a solid working relationship.

So, here are some things to consider when building your schedule:

1. Call your actors. Don't e-mail them. Why? First, talking to someone can give you a better feel for his/her demeanor than exchanging e-mails. Casting means more than simply finding good actors. It means choosing actors with whom you'll work well. Second, most actors will have questions for you -- questions about the production; questions about your experience; questions about the characters in the screenplay. It's easier to answer these over the phone than it is to answer them by e-mail, especially if your answers bring more questions.
2. Make sure that any actor under the age of 18 is accompanied by a parent or legal guardian. As a matter of fact, you should speak to the parent before you even schedule his/her child for an audition. The last thing you need is an angry parent making your life miserable.
3. Try to schedule specific times. In my experience, four actors per hour is a good pace. Each director works differently, but I find that fifteen minutes gives you ample time to see what an actor can do.
4. Send your actors directions to the audition space. This makes their lives easier; it shows them you value their time, and it reduces the chance of people showing up late, which can throw off your schedule.
5. Send your actors sides from the script. Not having to go in for a cold read helps an actor's audition tremendously. Despite this fact, sending out pages scares a lot of directors, and for the life of me, I can't figure out why. If you're that terrified about someone stealing your material, just register your script through either the Writers Guild of America or the U.S. Copyright Office.
6. Many actors will ask if they should prepare a monologue. It's entirely up to you, of course, but I've never found this particularly helpful. Chances are, the actor is going to show up with a monologue that plays to his/her strengths. What's important, though, is how capable the actor is of tackling the material in your script. Assuming you're sending the actor pages from your script ahead of time, a prepared monologue shouldn't be necessary.
7. If the actor is under the age of 18, make sure you send the script to the parent. This way the parent can look through the script for adult material before hading it off to his/her child. If there is adult material, try to find a way for the child to audition that will satisfy any concerns the parent may have. For instance, if there's adult material in the script, but none of it is in a scene with the child, you can make sure that the child only sees pages from his/her scene. Moreover, you can make sure the child is never on set while the more adult scenes are being filmed.
8. Give the actors a cell number they can call if they're running late or have to cancel their audition. This will make your life a lot easier.
9. If it's going to be a long day, make sure to schedule time for lunch and/or dinner. This may sound obvious, but in the excitement of scheduling actors, you might be surprised how easy this is to forget.

Third, many directors like to hold callbacks so they can have a second look at their best prospects. While this isn't always necessary, it can certainly be a lot of help. Once you've picked your cast, you're stuck with them. It's best to be sure you've made the right choices.

Preparing for Auditions:

All phases of film-making require plenty of preparation, and audition day is no exception. So, what do you need to do?

1. Print out extra copies of your script. Obviously you'll need scripts for yourself and everyone working with you during the audition process, but it's always good to have extras. As a matter of fact, you might want to have a few copies sitting in the waiting area, in case an actor has trouble printing out a copy before leaving for the audition. It's also a good idea to keep extra copies in the audition room because actors can unintentionally leave with one of your copies.
2. Have scripts available with highlighted dialogue cues. This will make the actors' lives easier. Now, many directors don't like to do anything that feels like "babying" an actor. There's a big difference, though, between babying someone and simply making his/her job easier. The cast's job is hard enough, and the goal is to get the best performance out of them you possibly can. Anything you can do to facilitate this is worth your consideration. Besides, if you want to see what an actor can do under pressure, you can always have them read a few pages cold, and also improvise a little during the audition.
3. Print up an audition form for the actors to fill out while they're waiting to read for you. Audition forms are a fantastic way to collect information without having to waste valuable audition time. Here's a list of information worth collecting on the form:
   • Name
   • Mailing address
   • Home phone number
   • Cell phone number
   • E-Mail address
   • Emergency contact information
   • Food/fabric/other allergies (this could affect craft services, wardrobe, etc.)
   • Availability during the expected shoot dates/rehearsal times/callback dates
   • Is he/she under 18? If so, is a parent/guardian here? (If not, don't let the actor audition.)
   • Is there any material in the script that makes him/her uncomfortable?
   • Any other questions/concerns?
4. Bring water and cups for the actors. Actors' throats can dry out while they're auditioning (especially if they're nervous). Having water for them is practical, and it once again shows that you're attentive to the needs of people working for you.
5. Print up signs to hang in noticeable areas so the actors know they're in the right place. Don't make your actors wander around the building, wondering if they're lost.
6. Have a video camera available so you can tape the auditions. Not only is it helpful to review the auditions when making your decisions, it's important to see how actors look and come across on camera. It's often very different from how they appear in person.
7. Establish your casting team. While the director almost always has the final say when it comes to casting (at least on an independent film) it's important to have a team with you during the auditioning process. You'll want other people (usually the producers and/or a casting director) there to help you evaluate the actors' performances. Sometimes they'll pick up on things you don't notice. In addition, you'll want someone there (a casting director/assistant, most likely) to read with the actors so you don't have to do it. Having someone with previous performance experience can be a big help.
8. Try to have both men and women on the casting team. Ask any actress, and I bet she'll have a story about showing up for an audition, only to find a couple of sleazy guys leering at her during the whole audition. Having a woman present can certainly help put her mind at ease.
9. Define your team's roles ahead of time. In some cases, only the director will work with the actors, while the other members of the team will observe. Some directors, on the other hand, like the producers and casting director to be actively involved. Whatever you decide, make sure everyone is on the same page before your first actor comes in to read.

During the Audition:

It's audition time, so what should you keep in mind as actors are reading for you?

It's important to know how actors respond to different kinds of pressures. For this reason, I suggest including the following elements during the audition:

1. Begin with the material you sent them. Your actors are most likely going to be nervous going into the audition, so why not try to make them comfortable? Give them a chance to work with material they already know so you can see what they're capable of when they have the opportunity to prepare for a role.
2. Throw in a quick scene the actors have never read so you can see how they respond to a cold read. While casting a film based on cold reads can be dangerous, there's definitely merit in the cold read. Chances are, you're going to end up changing dialogue and altering some of your scenes during the shoot. A cold read will help you see how quickly actors can absorb new material.
3. Try some improv. This is a great way to see if an actor can think on his/her feet. Moreover, watching the actor improvise gives you the opportunity to see how the actor has interpreted his/her character from the script. This can be useful both in casting and in determining how an audience may interpret the character based on the current draft of the script.

Whether the actors are good or bad, make sure to give them direction so you can see how they respond. Sometimes an actor will butcher an initial reading, but then improve greatly with direction. On the other hand, an actor can at first appear very good, but with a little direction, it becomes obvious that he/she has no range at all.

Taking notes about the actors can be helpful, but don't spend too much time looking down at your notebook. You may miss some of the subtleties of an actor's performance. On top of that, an actor's performance may be pleasing to the ear, but that doesn't mean the physical performance is any good.

Decision Time:

There's no way for me to tell you who to cast (and why would you want me to?) but I do think you should keep a couple of things in mind as you make your final decisions:

1. Sometimes it's obvious who you're going to cast in a given role, but if it's not, don't necessarily cast the actor who came the closest to your vision of the character. If you're having a hard time deciding between two actors, you might want to cast the actor who responded to direction better, even if he/she didn't nail the audition. You and the actors will have plenty of time to rehearse both off and on set, so your actors don't have to be perfect during the audition. What they need to be is capable and able to take direction.
2. Personality is extremely important. When you're shooting an independent film, you don't have the time, energy, or resources to deal with a cast or crew member who's going to be egocentric or otherwise problematic. On an indie film, it's important to surround yourself with team players who won't desert you when the going gets tough, and who won't monopolize your time with trivial matters. After all, you're all there to work hard and make the best film you possibly can make.

I hope this article was helpful. Once again, I look forward to your comments.

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The 13th annual Northampton Independent Film Festival (NIFF) is pleased to announce its new Festival dates for 2007.

NOVEMBER 2,3,4 and 9,10 are on the schedule for this nationally recognized event.

The event is held in the heart of ecclectic downtown Northampton. At night, the streets are alive with restaurant-goers, music lovers, late shoppers and people with their dancing shoes on. Concert buses can be seen along side streets with fans and curious passers by on tiptoes trying to peek in. And there is live entertainment every night in dozens of restaurants, bars and clubs. Some come for the films and stay a weekend for the experience.

November is the perfect time for us.” comments Festival Director Jeffrey Dreisbach. Especially with the cozy passholder, filmmaker and ClubNIFF member accomodation complete with food drinks and wifi.

"Our theme this year is, The Future We Will Create” As we look ahead to the future, it is clear that we have amazing opportunities for showing our community just how film can affect our lives.

The theme is taken from the featured film of the same name "The Future That We Will Create" This film documents the progressive TED conference. Hailed "the hottest gathering in the world" by Wired magazine, TED (Technology Entertainment Design) is an annual event where an eclectic group of brilliant minds exchange bold ideas for the future. Actress Daphne Zuniga is your host on this all-access tour of the conference. Guests include former Vice President Al Gore musicianPeter Gabriel, environmentalist Marjora Carter, as well as comedians, authors and innovators from around the world, all discussing the future of the world.

About the Northampton Independent Film Festival

The Northampton Independent Film Festival (NIFF) is committed to establishing a northeast center for the exploration, examination, and celebration of independent filmmaking. NIFF showcases the works of filmmakers whose films demonstrate quality, innovation, and independence in both form and content.

Check out their site for pass and schedule info at www.niff.org

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Hello Everyone, this is your X-Hollywood reject & truly Demented reporter, Craig Amabello, reporting in from the front lines of New England productions.

DISCLAIMER: Once again, I truly do not mean ALL of you people out here in New England are bad, I know THERE MUST be many fine, talented, creative, hardworking individuals out here.... I just keep running into the truly deranged, egomaniacs with such astounding arrogance that it would even put Gene Simmons from Kiss to shame!

Why, I ask myself am I always running into Braggarts, Simpletons, Fools, Losers, & such untalented Hacks that act like they just came off a feature film working for Martin Scorsese, & taught HIM all that he knows????

I am constantly being treated like absolute shit from people in the New England production community.

Are people like dogs? Am I giving off some kind of SCENT that people can pick up on & I am just totally unaware of?

I swear, every time I am booked for any kind of shoot to work in any capacity on, I am always the LOW MAN on the Totem Pole & yet, I smile, take it like a man, & still put out a good attitude.

I show them a willingness to work, to help others to do WHATEVER it may be to MOVE the production forward. I exude a form of HUMBLENESS that is not FAKE, it is quite real, & yet people INSTINCTIVELY SEEM TO PICK UP ON THIS & START KICKING ME LIKE A DAMN MANGY DOG THAT JUST PEED ON THEIR FAVORITE RUG!

WHAT GIVES?.... What the Hell am I doing wrong? It is truly very Frustrating.

As a child I used to Argue Vehemently with a dear friend of mine (who eventually Blew his Brains out all over the carpet), that "KINDNESS IS A STRENGTH.... A very Powerful form of Strength & Confidence, Caring & Humanity to your fellow earth Beings". He would always say that I was a fool & that I was wrong & that "Kindness was a weakness & will always be perceived as such, by anybody on this planet!".... I am exasperated to think that after all these years, after all my efforts to Exude an Honest, sincere, form of Kindness to Human beings that Danny was right!

PEOPLE ON THIS PLANET SEEM TO ONLY UNDERSTAND STRENGTH.... ARROGANCE... VILE CREATURES THAT BULLY PEOPLE WITH THEIR RUDENESS & DERANGED CHARM.

"KINDNESS APPEARS TO BE A WEAKNESS TO ALL THAT I HAVE ENCOUNTERED"

So where the Hell does that leave a guy like me???

Do I have to become a complete Scum-bag? A complete Rude Pig of a human to get what I want?

How do I get people to take me seriously, without Punching them in the face after they treat me with absolute disrespect?

I truly do not seem to know any more... It disheartens me to be at such a cross roads after so many years of failure with not only LIFE ITSELF... But with the way other Humans beings treat me.

Why am I rambling on about all of this anyways? I just finished a gig the other night where I was working with 2 College grads from a very Expensive & Important Theatre Arts school... These two Clowns, (& that is being really Cruel to Clowns) were completely Rude, arrogant, self absorbed, LAZY, Self Pretentious, WANNA-BE ARTISTS that had no freakin respect for ANYONE or ANYTHING except themselves!

These two "Well Schooled" Morons were so lazy, arrogant & Inept that it took 3 & 1 HALF HOURS TO PUT UP TWO LIGHTS & SET UP A JIB!

Let me repeat that again.... Just so you can really UNDERSTAND & it can Truly SINK IN....

It took 2 guys 3 & 1/2 hours to set up TWO LIGHTS & a JIB!

Is it me, or is that about 3 hours to freakin long?

Let me explain:
I met these two guys on the set, the Director introduced us ( It went something like this.... Craig, this
is my DP, my director of Photography Matt & his cinematographer Joey. This is Craig... he has been
helping me out... THEY were given TITLES & I was given just my NAME & that I HELPED OUT).

Now I know it sounds like I'm Nit Picking, but why is it that every time I'm on a shoot & everyone starts
bandying about Titles, these people usual end up being untalented hacks & rude Idiots that just
cling to their freakin Titles & Demented dream of Hollywood Delusions!

Wherever I go... I'm just Craig Amabello... NO TITLES.... NO BULL.... Just Hi, I'm here to work, help
out in anyway I can, do a good job, get paid & go home...... Is that so bad? Is that so weird?

Do I need to introduce myself As the Grand Wizard of Reality & the Ruler of all Mankind from the
past, present & future?... Is this how one goes about getting respect here on planet earth?

Using big Convoluted 10 cent words & titles that more than naught end up being gibberish for the
foolish to gnaw on like an old bone is to a junkyard dog?

I hate titles... And I truly feel that many people that have NEVER BEEN to HOLLYWOOD.... Or
WORKED in HOLLYWOOD.... CLING TO THESE STUPID TITLES FOR DEAR LIFE... Because they
feel it will Validate them to the uninformed masses.

TITLES ARE BULLSHIT!...... There is truly no need for titles out here.... Yes in Hollywood, where there
are Unions & Guilds & all that powerful stuff, Unfortunately you need titles to play the game... But for
Christ sake people.... WE ARE NOT IN FREAKIN HOLLYWOOD...... Can't we just Mellow the hell out
& be a WEE Bit Normal? Have some damn fun? Create some cool stuff? Without the need to prop
ourselves up with INSANE Bullshit Pretentious Titles that are pretty much just empty words
anyways?......

Arghhhhhhhhhhhhhhh..... I get so damn frustrated playing these silly, foolish childish games Over &
Over & Over.... But I NEVER... IN A MILLION YEARS EXPECTED TO PLAY THESE KINDS OF
GAMES OUT HERE, IN NEW ENGLAND WITH SUPPOSEDLY, NICE, Homespun, easy going
Country Folks!

Anyways, my story continues...........

Right from the beginning after meeting these TWO IMPORTANT, WELL SCHOOLED, HOLLYWOOD
types, I said, "Hey what can I do? What do you guys need? What lights are you going to be putting
up? Do you want me to get them? etc, etc, etc..... I was bending over backwards to help out... (Like I
always do on every shoot that I am on), To show these two guys that I was there to HELP the
production run smoothly. To not give attitude, to not disturb the Power flow... (If they were in charge I
thought, So be it. I will make it work & still be polite & courteous to all involved in this production. I am
here to do a professional job & be paid.... I might as well attempt to make it a pleasant experience as
I always do).

I pretty much got NO-RESPONSE.... A couple Mumbled, "I'm Thinking", " lets see", "give me a
minute" etc., type answers, but they both just seemed to be floundering.... DOING NOTHING!

(I must explain here that When these two jokers first showed up on the set the first thing these 2
losers did was to RUN to get PIZZA & left me & the director to carry up almost all of the equipment up
3 flights of stairs into the studio where we were shooting at).

To me this act alone spoke VOLUMES about their Integrity, work ethic, & Presumptuousness!

But even after this, I still bit my tongue & tried to work with these guys.... To help them in anyway
possible to get this shoot going & off the ground instead of laying there like a dead fish for almost 4
hours of senseless waiting!

(I must also explain that the director seems to be a very nice, kindly, quiet man who has never
directed before, he is BRAND NEW to all of this production stuff. So he seemed very much lost as to
how to get the whole show on the road & Unbelievably left it in the hands of these two simpletons
that seemed to Revel in their New Found Power!).

So..... My long winded story continues.........

After doing everything in my power to help out, get the lights out, bring them to the set, get the
scrims, stands, extension cords, etc... IE: I DID ALL OF THE PHYSICAL GRUNT WORK.... THEY
STILL DID NOTHING BUT STAND AROUND & USE CUTE SHOW BIZ WORDS ON EACH OTHER.

I was utterly amazed & appalled by these College Grads behavior.... (Unfortunately I must admit that I
am a lier.... I have seen this type of behavior & attitudes on Sets many, many times before, from coast
to coast & It is just Sickening, aggravating & nauseating to me at this point in my life)

Then the other genius starts acting like he is now the Art director/ Set director etc & wished we had
real live sticks, twigs & rocks on the set to make it more realistic.... So the next thing I know I am out in
the park at dark with the director picking up leaves & junk while the 2 college art boys must have
been laughing their asses off at their ability to act all special & important & DO ABSOLUTELY
NOTHING & how truly easy it was to get flunkeys to do their bidding!!!!!!!!!!

But believe it or not.... I still maintained my cool... I still was not about to sabotage this nice mans
shoot because two rude arrogant, lazy, shiftless punks had somehow managed to TAKE OVER THE
ENTIRE PRODUCTION...... There was Talent on hand... I did not want to poison them with a bad
attitude..... Why should I hurt them? Get everyone upset? So I just shut my mouth & kept being the
LAP DOG to these TWO jokers.......

HOURS HAD FLOWN BY & NOTHING WAS DONE.... ABSOLUTELY NOTHING.......

(The only work that was done up to this point was clearly only the physical work that was done by
the Director & myself)...... Otherwise those two jokers stayed locked up on the set doing God Knows
what & kept at least 8 people waiting).

The director then asked me if I could go down & get a 25 lb. sandbag that the DP was in need of... I
almost said, "let the chubby lil bastard go get it himself"... But no... I put my tongue in my mouth... my
tail between my legs & quietly stewed as a struggled to bring this sandbag up 3 flights of stairs......

When I arrived onto the set & dropped the sandbag, the DP said to me, "Can you bring that over
here?" ... I just walked away & said that I was tired. He then very quickly & curtly stated.... "NO?...
Well thank you very much for your cooperation". It was as if, he was almost in some form of state of
shock that the PEON didn't jump to do his bidding... Very bizarre dweeb this guy was.

(Also, as a side note I found out later that this punk is a Christian Youth Minister... Can you Freakin
Believe that? This crappy attitude & bullshit behavior all coming form some Pretend Christian/
Religious Scum-bag teaching HIS ETHICS to young children? And you wonder what the hell is
wrong with this country at times?)

Anyways....... After this Punk had the audacity to give me lip after I had done nothing but be helpful,
polite & kind to him for the last several hours.... I wanted to FLOOR HIM!

Strangle the lil bastard right then & there..... ruin the shoot...... All because this arrogant, lazy little
puke was for some reason or another under the MisInformed impression that I was HIS LITTLE PA... (
Or should I say, Peon).

Well I don't wanna bore you folks any more with the details, but the shoot finally got under way
almost 4 hours later.... I had done most of the Physical work myself & those two guys where
constantly being deferred to as the Director of Photography & cinematographer etc., while I just stood
around looking & feeling useless & dumb!

And do you know what the first words out of his mouth were once the whole cast, friends & family had finally assembled onto the set?........ "Welcome to Hollywood"..... I wanted to Kick his teeth in.... Last I recall, we were in Freakin Lawrence Mass!

My whole point is this.........

AM I THE ONLY ONE THAT THIS KIND OF CRAP HAPPENS TO OUT HERE WORKING ON NEW
ENGLAND PRODUCTIONS???

Have any of you people out there ever had a situation like this happen to you? If so, could you
please share it with us....

I know that I can not be the only person out here that crap like this constantly & consistently happens
to.....

I would love to hear others stories of nightmare shoots gone to hell....

Not because I want the negativity... But because maybe, others can learn from this very disturbing &
dysfunctional behavior & know that it should not be tolerated any where on ANYONES SHOOT!

I would truly love to know what you other production people out here think of my little tale of
disturbing, lazy, attitudes by College Art school Majors....

Thanx's & I hope all of your shoots out here in New England are fun, productive & Profitable & not
anything like the NIghtmare shoots from Hell that I seem to be working on.

Your X-Hollywood Reject

Craig Amabello

( & yes, the Irony is not lost on me that I DO USE TITLES!... But for all the right reasons)

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