INTERVIEW WITH ACTOR RUSSELL TODD

Today I have the immense pleasure of welcoming a very special guest, actor Russell Todd, to CINEMATIC REVELATIONS for an interview. Russell has acted in many motion pictures over the years such as HE KNOWS YOU’RE ALONE, FRIDAY THE 13TH PART TWO, WHERE THE BOYS ARE [my review of the film can be found here] CHOPPING MALL, and BORDER SHOOTOUT, to name a few examples. In this interview Russell will be discussing his part in WHERE THE BOYS ARE, acting, television, modeling, and his role in the Russell Todd Agency (RTA).

Welcome to CINEMATIC REVELATIONS Russell!

Athan: When did you first realize that you wanted to be an actor?

Russell:  I can recall as a boy of 7 years getting a director’s chair with my name on it and pretending I was an actor on a set waiting to work. I thought maybe one day it would come true if I kept thinking about it. I also wanted to be a film director but followed the acting bug instead.

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Athan: You studied acting at The Actors Studio with Lee Strasberg in New York City where actors such as James Dean, Jane Fonda, Paul Newman, Ellen Burstyn, Al Pacino, Marilyn Monroe, and Eli Wallach, to name several performers, have also been students. What was it like to have studied with Mr Strasberg?

Russell: I actually studied with Lee Strasberg himself in a group class environment. It was very exciting to be so young and working and learning with Lee but also very intimidating. He was very serious and would let you know if you weren’t up to his expectations in a scene. I don’t recall who the other actors were in the class but I would bet one or more of them became well known.

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Athan: Your performance in WHERE THE BOYS ARE as the passionate, dynamic Scott Nash, who captures the heart of Lisa Hartman’s Jennie Cooper, was excellent. How did you become involved in this production?

Russell: Funny Hollywood story. I would get my hair cut by a man named Jerry Esposito and Jerry would hang the 8X10 photos of his clients that were actors by the mirror. The producer of that movie, Allan Carr, got his hair cut there as well and noticed my photo. He was about to cast WTBA 84. He told Jerry “That’s going to be my next star!” I was called in for a few auditions opposite Lisa Hartman and got the part. Soon I was off to Ft. Lauderdale where we shot the film. You never know what may happen in your career based on location and timing and this was a perfect example of things lining up perfectly.

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Athan: Your pairing with Lisa Hartman in WHERE THE BOYS ARE was one of the movie’s brightest spots, a romance with a subtle chemistry that was keenly felt. Daniel McDonald’s part as your romantic rival also contributed to making this the film’s best love story. What was it like working with both Lisa Hartman, and Daniel McDonald in this onscreen love triangle?

Russell: I loved working with both of them. They were very down to earth, humorous and silly. We laughed a great deal which makes shooting any project very enjoyable and memorable.  We all had a nice, close bond on and off the set. Lisa and I would often head to the gym and workout together when we were not on set. I stayed in touch with Lisa for awhile and unfortunately Dan passed away from brain cancer.  

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Athan: What did you find most exciting about the experience of making WHERE THE BOYS ARE?

Russell: As a young boy and in my teenage years I often visited Ft. Lauderdale because my grandparents lived there. The idea of going there as an adult to shoot a movie was amazing and so fulfilling.  Being there, filled with memories, was the best part.  

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming WHERE THE BOYS ARE?

Russell: My favorite scene, and most demanding, was the concert I give where I sing “Jennie” to Lisa’s character. We had worked on that song for quite awhile. To perform in front of all of those people was a hoot. I was lucky enough to have my parents in the audience as well. I thoroughly enjoyed the technical aspects of putting that concert scene together as well as the performing of the song multiple times for various angles. I will always cherish that moment.

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Athan: Have you kept in contact with any cast members and crew from WHERE THE BOYS ARE?

Russell: Lisa and I stayed in touch for a bit, but other than her, no. Everyone goes on their own way to new projects or life experiences and it’s common to just move on after a short working experience together.

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Athan: WHERE THE BOYS ARE was directed by Hy Averback, notable for also helming other comedy films such as THE GREAT BANK ROBBERY, WHERE WERE YOU WHEN THE LIGHTS WENT OUT? and SUPPOSE THEY GAVE A WAR AND NOBODY CAME. What was it like being directed by Mr Averback in WHERE THE BOYS ARE?

Russell: He was a very kind and humble guy. I thought it odd a man with his credits was going to direct a silly beach comedy with a young cast. Strange casting to me but he was very good and made the actors feel very comfortable.

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Athan: Apart from cinema, you have appeared in many prime-time television shows. You also notably starred in television daytime serial Another World for three years in the role of Jamie Frame. What for you were the main differences between acting in feature films, and on television?

Russell: TV acting can be broader than film because of the obvious reason when you are on the big screen your facial expressions are gigantic and you need to bring it in more or you look ridiculous. You can do a great deal with very little expression or movement on the big screen. Regarding the script, when shooting a film you do a few pages per day where on a soap opera we did an entire script and episode each day. The memorizing was endless. The soap was also a 3 camera setup always where film is usually an “A” and “B” camera.

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Athan: You modeled for several years with the Zoli Agency before acting. In which manner did you find that modeling was of assistance with onscreen acting?

Russell:  Modeling gives you a great awareness of your body. Being photographed for many years gave me confidence and a feeling of comfort with being observed and performing. Even though there is no actual dialogue during a modeling shoot you are still running motivations and story inside your head to fit the clothing and the particulars of the shoot. If you have nothing running through your head as you are being photographed then the look will be blank and useless. Keep a dialogue running and it keeps you alive to the camera.

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Athan: You have been involved for many years behind the scenes in the Russell Todd Agency, which represents Steadicam, and Camera Operators in the United States, and internationally. What is it that you find most exciting about this?

Russell: I love what I do, representing steadicam and camera operators around the world.  I found this niche by accident and have loved the business over the 21 years of my company. Every day and every deal is different and I have loved negotiating for my clients and getting improved rates and conditions for them. Going to the movie theatre and watching the trailers I often see three or four films that I placed my clients on and that's very rewarding. Same goes with the TV. So many series have hired my clients and it always makes me smile to see their credit pass by. I think once having an agent myself makes me a better agent, understanding the needs of my clients and the relationship between us.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Russell:  No acting projects are planned. I left acting about 23 years ago to do what I am doing now.  Having said that, if I were offered an acting job and found it interesting and challenging, I would definitely entertain the idea. Never say never!

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Thank you so much today for your time Russell, and for the insight you have provided into the art of acting, WHERE THE BOYS ARE, cinema, modeling, television, and your role in the Russell Todd Agency. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

Thanks so much Athan! Happy holidays and happy New Year! Stay well!

Best,

Russell

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Russell Todd links

+Russell Todd IMDb Actor Page

+WHERE THE BOYS ARE movie IMDb page

+Russell Todd Agency website

INTERVIEW WITH ACTOR ROBERT F. LYONS

I have the immense pleasure today of welcoming a very special guest, actor Robert F. Lyons, to CINEMATIC REVELATIONS for an interview. Robert has acted in many motion pictures over the years, including PENDULUM, GETTING STRAIGHT [My review of the film can be found here] THE TODD KILLINGS, DEATH WISH II, AVENGING ANGEL, 10 TO MIDNIGHT, MURPHY’S LAW, THE OMEGA CODE, and DEADLY EXCHANGE, to name a few examples. In this interview Robert will be discussing his part in GETTING STRAIGHT, acting, The Actors Studio, Stella Adler Studio of Acting, television, and his role as acting coach.

 

Welcome to CINEMATIC REVELATIONS Robert!

Athan: When did you first realize that you wanted to be an actor?

 

Robert: Great question for me, I never thought about it at all. I just sort of knew that that was what I wanted to do & be as a teen and stated it and my parents supported my decision - so after high school I went to NYC - so, it was more of me just knowing what I was going to do - I did not like school and any 9 to 5 did not grab my interest - acting was it.

 

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Athan: You are a Life Member of the Actors Studio, where many exceptional actors have studied over the years, and also studied at the Stella Adler Studio of Acting. What was it like working there with acting teachers such as Lee Strasberg and Stella Adler?

 

Robert: It had been a goal to be a member of the Studio - like wow - Dean & Brando had been there and so many other great actors - I finally auditioned and Lee accepted me - I saw a lot of wonderful teaching by the moderators mostly at the Studio. That was different with Stella, she was an amazing teacher, a person so dynamic so demanding and very clear on her statements to me on my acting - I had already been doing stage, TV & Movies when I studied with Stella so what she had to say was at the top of my learning and it made great sense - a lift up. See, I had always studied acting even after working a lot - Milton Kaselas was also a wonderful teacher - I loved working out and taking on bigger and or challenging parts, stretch my acting, my knowledge and go into areas demanding a bigger part of myself so as to grow some more.

 

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Athan: Your performance in GETTING STRAIGHT as the charismatic, psychologically complex Nick, who gave Elliot Gould’s Harry Bailey more than a few problems, was wonderful. How did you become involved in this production?

 

Robert: Richard Rush's secretary saw my performance in the film: Pendulum and loved my work and helped promote me to Rush and often - I got to audition & on the 2nd audition it was with Elliott Gould & we worked well together and did a dynamic scene in his office. Later I got a call to come to Oregon and was given the role of Nick.

 

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Athan: What did you find most exciting about the experience of making GETTING STRAIGHT?

 

Robert: It was my 2nd feature film, I was thrilled, realizing somewhat that I'm living my dream and fulfilling some acting goals - working with other actors - getting a deeper understanding of acting with myself and how to use myself more - that's the shorter answer.

 

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming GETTING STRAIGHT?

 

Robert: There's a long scene later in the film 4 minutes plus long - I found how to do something, you know, make something work, acting wise that was very hard for me to do as an actor in this scene. I put demands on myself for that scene.

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Athan: Have you kept in contact with any cast members and crew from GETTING STRAIGHT?

 

Robert: No, not really. I run into one or two once in a while - but that's what it is like in most films. You get to make friends and go on - it is very exciting to meet new people and get to know one another very fast and get along and do work together of this type - exciting when it works out.

 

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Athan: GETTING STRAIGHT was directed by Richard Rush, who also directed many other movies such as PSYCO-OUT, FREEBIE AND THE BEAN, THE STUNT MAN, and COLOR OF NIGHT. What was it like being directed by Mr Rush in GETTING STRAIGHT?

Robert: Richard said something to me on my first scene, during our rehearsal and it gave me an idea that put a main character color there for me - I was grateful - he knew how to talk to actors as I saw it.

 

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Athan: Apart from cinema, you have appeared in many television shows and telemovies. What for you are the main differences between acting in feature films, and acting on television?

Robert: Less time to do any research so you have to be faster on the study part if it is needed - but you bring to the role what you can in the time you have to create it - there is no difference you hope, in your quality - I strive to have my personal standard always present - I don't like to walk through a part or think what I'm doing, is not good or important to the scene, play, etc. no matter if is stage, TV or film. After all, it is your work - I learned that one is doing a film and you have to get it right after a while you know yourself better too and what you are capable of creating and pulling it off well - like anything in life, the better you understand it the higher the quality should be, I think, anyway.

 

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Athan: You made your film debut in 1969 in PENDULUM, with GETTING STRAIGHT being your second movie. Your last released movie thus far has been DEADLY EXCHANGE in 2017. What for you are the most striking differences between filmmaking in the early 1970s, and today?

 

Robert: For me it is mostly the writing - you have cameras, crew, actors, directors, etc. those things have to be there to make film - the attitude and quality of all combined makes the project as a whole, work or it is a lousy piece of work.

 

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Athan: You have been an acting coach for many years in Los Angeles. What is it about coaching students in acting that gives you the most satisfaction?

Robert: Seeing a person grow with their chosen art form.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

 

Robert: Not presently on the acting front - one that hasn't been released yet but I'll hold the title until I get the news on it. I will be doing more acting that is for sure. Writing too, I sold a screenplay some years back & have written others & 2 are ready to film - now to find the right production people to get it into production.

 

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Thank you so much today for your time Robert, and for the insight you have provided into the art of acting, The Actors Studio, The Stella Adler Studio, GETTING STRAIGHT, television, cinema, and your role as an acting coach. It has been a joy to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

 

Robert: Thank you and all the best to you.

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Robert F. Lyons links

+Robert F. Lyons IMDb Actor Page

+GETTING STRAIGHT IMDb Page

+Robert F. Lyons Official Website

INTERVIEW WITH ACTOR JOHN ORCSIK

Today I have the lovely pleasure of welcoming a very special guest, actor John Orcsik, to CINEMATIC REVELATIONS for an interview. John has acted in many motion pictures over the years, making his film debut in the NUMBER 96 movie [my review of the film can be found here] PETERSEN, THE MAN FROM HONG KONG, THE EDGE OF POWER, KOKODA CRESCENT, and, most recently in THE BBQ, to name a few films. In this interview John will be discussing his part in the NUMBER 96 movie, acting, television, and his role as founder and director of The Australian Film & Television Academy (TAFTA).

Welcome to CINEMATIC REVELATIONS John!

Athan: When did you first realize that you wanted to be an actor?

John: When I was about 6 or 7 years old.

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Athan: Where did you study acting?

John: I didn’t. I began with an amateur theatre company in Perth, Western Australia and went to workshops and classes there. I read everything I could and tried to invoke “The Method”, but it really didn’t work for me. 

It actually didn’t make logical sense even though I’d read Stanislavski’s books several times.

I auditioned for NIDA in the mid 60’s and was accepted and even offered a scholarship but sadly my father got very sick and then died. And the course then was only two years full time.

During my father’s lengthy illness I was offered a role in a Shakespeare play at the then Playhouse Theatre. It was fully professional and the equivalent would be, say The Melbourne Theatre Company or the Sydney Theatre Company. So I began to work with professionals, some of whom were imported from England. My training therefore was on the job for about two years.

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Athan: Your performance in the NUMBER 96 movie as businessman Simon Carr was a finely-drawn, perceptive portrait of a man confused about his sexuality, making Simon Carr a fascinating figure. You appeared in the first year of the serial, but left thereafter. How did it feel to be asked to star in the movie version of the program?

John: I didn’t want to do it. The offer came while I was shooting Petersen in Melbourne and when I read the script I thought that they “tinkered” with the character of Simon Carr. I foolishly thought that I had some kind of ownership on the character and wasn’t prepared to play it as written. That was pretty naïve of me.

And stupid. But I eventually agreed and have not regretted it one iota.

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Athan: What did you find most exciting about the experience of making the NUMBER 96 movie?

John: Working at a pace I’d never worked before. The cast and Producers and Writers had all become my friends and it never seemed like “work”. I was to experience that again some years later when I joined the cast of Cop Shop. The camaraderie was incredible. I have many wonderful and fun stories during the show.

And even though I wasn’t a regular cast member of Number 96 it felt like I was.

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Athan: For you, what was the most demanding, but emotionally satisfying segment of filming NUMBER 96 the movie?

John: Probably the infamous kiss. I’d never kissed a man before. Not like that.

Joe and I decided we wouldn’t talk about it. Not discuss it. I didn’t talk to anybody about it and come the day every Tom, Dick and Harry came on the set. It’s ridiculous to think now how much pressure that scene was beginning to place on myself and Joe. Then we just did it. The sky didn’t fall in. The earth didn’t tremble. I remember the Director called ,”CUT” and I just turned to Joe and said something like, “You should shave more closely,” which brought laughter and a round of applause from crew and the onlookers. And then sadly it was all over and I was looking to my next job.

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Athan: In the NUMBER 96 movie there was an excellent confrontation scene between Simon Carr and Maggie Cameron, who was lamenting her loneliness, and lashed out in a drunken rage at Simon, Vera, and Don. How for you was it filming these emotionally heated scenes?

John: Bettina and I had become good friends as had Elaine and I and Joe.

During the series Bettina (Maggie) and I would often travel to Channel Ten together and we’d rehearse along the way and these scenes were a lot of fun.

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Athan: Have you kept in contact with any cast members and crew from NUMBER 96?

John: Not really. Sadly most have passed away. Elaine, Bettina, Johnny Lockwood, and Joe married and moved to Indonesia where he still is. I think. Of course I worked with Joanna Lockwood for many years after in Cop Shop.

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Athan: NUMBER 96 the movie was directed by Peter Benardos, who also directed the television version of NUMBER 96. What was it like being directed by Mr Benardos in the NUMBER 96 movie?

John: Peter was the perfect director for a fast turn-around series and when it came to the movie he was the perfect choice. No nonsense. No in-depth soul searching about where to go with a scene - Just do it. A principle that has stayed with me since. 

I loved working with him and Producer Bob Huber who became a very close friend.

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Athan: Apart from motion pictures, you have appeared in many television shows and telemovies over the years. What for you are the main differences between acting in feature films, and acting on television?

John: Pace. The speed at which things are done. In films you probably shot three to four minutes of screen time on average but in a TV Series like Number 96 or Cop Shop you probably shoot 13 to 18 minutes of screen time in a day. The attention to small details is the key in a film. On all levels not just performance.

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Athan: You have been an acting coach for many years, being the founder, and director of The Australian Film & Television Academy (TAFTA), which began in 1994 on the Gold Coast, Australia, and has grown to Melbourne, Sydney, and Adelaide. What is it about coaching students in acting that gives you the most satisfaction?

John: Watching them grow, develop and become aware of their talents. Also their ultimate success and we have had many. 

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Athan: Do you have any upcoming projects of which you would like to tell readers?

John: I am waiting on COVID to die down somewhat and I have two exciting new Australian plays that I am going to Act in and Direct. They are called REAL and Sharaf written by Michael Griffiths.

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Thank you so much today for your time John, and for the understanding you have provided into the art of acting, the NUMBER 96 movie, television, cinema, and your role as an acting coach. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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John Orcsik links

+John Orcsik IMDb Actor Page

+NUMBER 96 movie IMDb page

+John Orcsik Official TAFTA Website

INTERVIEW WITH ACTOR MITCHELL LICHTENSTEIN

I have the great pleasure of welcoming a very special guest, actor Mitchell Lichtenstein, to CINEMATIC REVELATIONS for an interview. Mitchell has acted in various motion pictures over the years, most notably in feature films such as THE LORDS OF DISCIPLINE, CRACKERS, THE WEDDING BANQUET, STREAMERS [my review of the film can be found here] and FLAWLESS, to name a few examples. Mitchell today will be discussing his role in STREAMERS, acting, and his role as film director.

Welcome to CINEMATIC REVELATIONS Mitchell!

Athan: When did you first realize that you wanted to be an actor?

Mitchell: In college. I had intended to major in “creative writing”, but took an acting class my first year with a great teacher – Larry O’Dwyer – and wound up never taking a single writing class.

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Athan: Where did you study acting?

Mitchell: First at that college – Bennington College in Vermont, than at the Yale School of Drama. And later on I studied with various teachers including Mira Rostova, who, infamously, had been Montgomery Clift’s acting coach, Marilyn Fried (who had taught Diane Keaton) and Milton Katselas.

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Athan: Your performance as Richie in STREAMERS was an excellent, nuanced portrait of a person who was, by and large discriminated against by the other characters, but always responded with understanding, and a lack of malice. How did you become involved in this project?

Mitchell: Through the customary route: auditioning. Altman later told me that he hired me for the role because I could blush on cue.

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Athan: The final sequences when Michael Wright, as Carlyle, lost his balance and embarked on a deadly rampage were shattering to witness in STREAMERS. From your point of view, how did you find filming these difficult, emotionally charged scenes?

Mitchell: The scenes leading up to – spoiler alert! – Billy’s murder were genuinely difficult emotionally for me and, I believe, for the other actors as well. More so than in other films because we were such a small, close group, and because we shot in sequence, so we lived the story in a way an actor really can’t in a normal film shoot. Shooting in sequence was financially possible for Altman because we were working in a single location (set).

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Athan: What did you most enjoy about the experience of making STREAMERS?

Mitchell: Robert Altman. All actors loved working with him. He had a genuine love for actors, for their work, their invention, their quirks – he appreciated and encouraged it all. Because of that, and because we trust his eye, actors are never more free than when working with Altman.

Also, I made some life-long friends on that shoot.

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Athan: What for you was the most demanding, but emotionally satisfying segment of making STREAMERS?

Mitchell: I’d say, my scenes with Michael Wright. Both because of the emotional complexity of David Rabe’s writing, and the genius of Michael’s performance.

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Athan: STREAMERS was shot in a limited, realistic set that intensified the action for viewers watching the movie. How did you feel about working in such a restricted film set without outdoor locations?

Mitchell: Just as the single location intensified the action for viewers, it intensified the action for us, too, so it helped us to feel the reality of what our characters were going through. It helped us to focus, too. No pauses in filming while moving from location to location, no distractions.

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Athan: Have you kept in contact with any cast members and crew from STREAMERS?

Mitchell: For years, I kept in contact with many, but some are gone now. David Alan Grier and I were in the same class at Yale, so I was already friendly with him. And Albert Macklin (who played Martin) and I became good friends.

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Athan: STREAMERS was directed by the renowned Robert Altman, and was one of his best-ever movies. What was the experience of being directed in the film by Mr Altman?

Mitchell: I touched on this a few questions back. I’ll just reemphasize that you’d be hard-pressed to find an actor who didn’t love working with Altman because of his love and support of actors, his artistic sense, and the relaxed yet focused tone of his set.

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Athan: STREAMERS was set during the Vietnam War in the late 1960s. Did acting in the movie prompt you to research this turbulent era in the United States?

Mitchell: I didn’t do any special research on the war, because Richie (and the other young characters) are pretty clueless about it themselves. I already knew a lot more about the war than Richie did, having grown up in that period. I marched on Washington against the war, and just missed the draft by a couple of years.

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Athan: You have directed three motion pictures so far, being TEETH (2007), HAPPY TEARS (2009), and ANGELICA (2015). What for you are the most satisfying aspects of directing a full-length movie?

Mitchell: Creating a world is what’s satisfying to me. So choosing and collaborating with all of the artists who help to do that is what makes movie making a satisfying and (mostly) joyful experience. Sometimes it’s border line surreal to watch actors I’ve long admired embodying characters I’ve invented (or adapted) and saying lines I’ve written: Parker Posey, Rip Torn, Demi Moore, Janet McTeer among them.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Mitchell: I’m writing a screenplay. And I’ve written a play, so if there is ever a post-Covid 19 when theater becomes possible again, I look forward – for the first time -- to creating a world on stage.

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Thank you so much today for your time Mitchell, and for the insight you have provided into the art of acting, STREAMERS, and film directing. It has been lovely to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

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Mitchell Lichtenstein links

+Mitchell Lichtenstein website

+Mitchell Lichtenstein IMDb Actor Page

+STREAMERS IMDb page

INTERVIEW WITH ACTOR DOUG MCKEON

Today I have the happy pleasure of welcoming a very special guest, actor Doug McKeon, to CINEMATIC REVELATIONS for an interview. Doug has acted on television and in various motion pictures over the years since childhood, most notably in feature films ON GOLDEN POND, NIGHT CROSSING, COME AWAY HOME, MISCHIEF [my review of the film can be found here] and UNCLE JO SHANNON, to name a few examples. Doug today will be discussing his role in MISCHIEF, acting, and his role as film director.

Welcome to CINEMATIC REVELATIONS Doug!

Athan: When did you first realize that you wanted to be an actor?

Doug: Athan, thank you for inviting me here. I first realized I wanted to be an actor after my stint on a soap opera called The Edge of Night. I played the role of Timmy Faraday over a three year span from the age of eight to eleven. The soap opera was a great experience for me, and I started to care more about the craft.

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Athan: Where did you study acting?

Doug: I never formally took any acting classes. Again, I credit The Edge of Night for challenging me as a young actor. My character, Timmy, was uniquely written at the time: His mother was mentally ill. After the parents got a divorce, she killed her husband and is sent to an insane asylum. Timmy is then adopted by friends of the family.

This narrative solicited many emotional scenes for my character, and it forced me to hone my ability as a thespian. The soap opera was an acting class in and of itself for me. I took much of what I learned at the time and applied it to other roles moving forward.

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Athan: You have been acting since childhood, making your debut on classic daytime suspense soap opera The Edge of Night. How did you balance acting and your school studies?

Doug: I was very fortunate to have the support of my school and faculty members. They understood my circumstance as a young actor was unique. I lived in New Jersey, but often worked in New York City. In the case of doing the Edge of Night, my teachers would provide me the homework assignments ahead of time and I would turn in the work a day later. However, if I had to leave school for an extended period of time (i.e. a month or two) in order to perform in a film, I would have a tutor with me and complete the lesson plans from my teachers during that time.

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Athan: Your performance as Jonathan in MISCHIEF was naturalistic and exuberant, a thoroughly convincing portrayal of a sympathetic teenager. How did you become involved in this project?

Doug: Even though I lived in New Jersey, I would occasionally fly out to California for a series of auditions. The same week I auditioned for Mischief I also auditioned for the film Mask (starring Cher). Actor Eric Stoltz and I landed up being considered for both movies. In the end, he was cast in Mask and Iwas cast in Mischief.

I remember actor Chris Nash was already cast in the role of Gene. I also knew the director, Mel Damski, from a short-lived television series I did called Big Shamus, Little Shamus with actor Brian Dennehy. Mel had directed our pilot episode. Both he and Chris were at my audition for the role of Jonathan. I flew back to New Jersey and was offered the job a week later.

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Athan: I was struck by the chemistry between Jonathan and Gene, and the sibling-like respect shared between Jonathan and Bunny in MISCHIEF. It felt as if I was watching real interactions in the film, and this was especially palpable during the final scenes with Jonathan, Gene and Bunny. What was the experience of working with Chris Nash and Catherine Mary Stewart?

Doug: Mischief was the most fun I’ve had making a movie. All the people involved, both cast and crew, were great to be around, and it felt like “one big family”. The camaraderie that all the actors shared during that time, in front of and behind the camera, was special. When we weren’t working, we enjoyed going to the movies together, shopping, dining, etc. The fact that I’m still close friends with Chris and Catherine is a testament to the bond we have after all these years.

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Athan: What did you most enjoy about the experience of making MISCHIEF?

Doug: I turned 18 years of age towards the end of the production. Even though I was an emancipated minor before officially becoming an “adult”, it was still a unique time in my career and personal life. I appreciated being on my own for the first time while making a film.

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Athan: What for you were the most demanding, but emotionally satisfying moments of filming MISCHIEF?

Doug: There isn’t one particular scene that stands out for me. I spent most of my scenes working with Chris, and I’m glad audiences can see how our characters grow throughout the story.

I think one of the most demanding aspects of making ANY film are the odd hours actors sometimes work. When filming “night scenes” we often are working until 4 A.M. I remember how cold it was outside when we were shooting the “chicken” scene between Gene (Chis Nash) and Kenny (D.W. Brown). Mischief had it’s fair share of night scenes and it required us to work long hours.

However, for me, the most satisfying thing about Mischief is how it still resonates with audiences even today. When you’re making a comedy you never know how well it’s going to be received (i.e. Is the audience laughing at this moment, or in this scene, etc.) and I’m glad people still enjoy watching the movie.

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Athan: Shooting MISCHIEF in a recreation of 1950s Nelsonville, Ohio must have been a memorable experience. For me as a viewer, apart from the acting, locales, production design, costuming, and soundtrack added just the right touch without feeling overpowering. How did it feel going back in time with the filming of MISCHIEF?

Doug: I love recreating the 1950’s. For me, it feels like “Innocence” personified. I grew up watching and enjoying the TV show Happy Days. To be able to dress in those clothes, listen to 50’s music, drive the old classic cars… it was a special time in our culture, and it’s fun as an actor to get a little lost in it.

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Athan: Have you kept in contact with any cast members and crew from MISCHIEF?

Doug: Yes. While we were all close shortly after making the film, I’ve stayed in touch with Chris Nash and Catherine Mary Stewart to this day. I understand Jamie Gertz and her husband are owners of the Atlanta Hawks basketball team and I couldn’t be happier for her. However, it was heartbreaking for me when I learned Kelly Preston had passed away. She was a beautiful person and actress. Unfortunately, I didn’t see Kelly very often over the years as she led a more private life, but it was nonetheless shocking for me when I heard the news.

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Athan: Noel Black did a wonderful job writing the screenplay for the film. Did you have the opportunity of meeting Mr Black, the screenwriter for MISCHIEF?

Doug: Yes, I met Noel during the filming of Mischief. He was wonderful, as were all the producers, John Davis, Jere Henshaw, Michael Nolan and Sam Manners. The group, along with director Mel Damski, made the making of the film so enjoyable for all of us.

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Athan: You mention on your website that your favourite movies are THE GODFATHER Part 1 and 2, something with which I definitely agree. Why do you love THE GODFATHER movies?

Doug: For me, the films that were produced in the 1970’s were incredible, and they “spoke” to me. They were visually interesting, entertaining, with great actors and directors attached to them. I was too young to see The Godfather in the movie theater, but my older sister snuck me in to see The Godfather II (it was a different time back then going to the movies). I can’t say I understood everything going on in the movie at the time, but I was hooked. Of course, years later, I re-visited watching both movies (over and over again), and I think they’re both classics.

Mario Puzo’s characters, Coppola’s direction, the incredible cast of quality actors, the cinematography, the ICONIC music (theme)…The Godfather and it’s narrative reflects a microcosm of Americana, warts and all. How audiences can root for the Corleone Family, a group firmly ensconced in organized crime, and side with their love of family, honor and duty is quite a feat.

Yes, if you close enough, there are flaws (i.e. James Caan beating up actor Gianni Russo throwing “phantom” punches), but the overall achievement is impressive, and it stands the test of time.

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Athan: Being a foodie, I was interested in seeing that you enjoy Italian food, especially veal parmigiana and lasagne. What is it about these delectable meals that give you great gourmet satisfaction?

Doug: Although I’m not Italian myself, my mother always made wonderful Italian meals growing up. In my house, every Sunday is “Italian Dinner”, and it’s a great way to always have the family gathered around to eat and catch up on things.

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Athan: You have directed two motion pictures so far, being THE BOYS OF SUNSET RIDGE (2001) and COME AWAY HOME (2005) in which you also acted. What led you to begin directing movies?

Doug: As a young actor I absorbed the filmmaking process. I understood the importance of storytelling in the hands of a talented director. The challenge of taking something from the written page and bring it “to life”, to communicate those things “visually”, working closely with the other artists (i.e. actors, cinematographers, etc.). I attended the University of Southern California as an English major with an emphasis on Creative Writing. I felt that if I was going to be a director, I needed to concentrate on writing first, and it has served me well.

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Athan: Do you have any upcoming projects of which you would like to tell readers?

Doug: I wrote a screenplay, Silent Knights, about an All-Deaf college football team. It’s inspired by true events, largely based on Gallaudet University, the ONLY college deaf school that plays football in the NCAA. Academy Award winner Marlee Matlin is attached to star in the film. I have several other projects I’ve written that I hope to direct in the near future.

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Thank you so much today for your time Doug, and for the knowledge you have provided into acting, MISCHIEF, film directing and of course, delicious food. It has been a delight to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

Doug. My pleasure. Thank you for having me.

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Doug McKeon links

+Doug McKeon website

+DougMcKeon IMDb Actor Page

+MISCHIEF IMDb page

+Doug McKeon Twitter page

+Doug McKeon Facebook Fan page