Flynn and Miranda: Your Right to Remain Silent

 #Flashback (S8)

Exploring Flynn and Miranda with Joe Wallenstein, Producer and Storyteller

 

Overview

Excerpt: Today we meet Joe Wallenstein who has produced numerous television movies, pilots, and mini-series. Throughout his more than 40 yrs in the industry, he's worked an assistant director, associate producer, and producer. He is a Director member of the Directors Guild of America as well as a member of the Writers Guild of America West. The author has a track record in storytelling, having produced two highly-successful TV series, Knots Landing and 7th Heaven. He has also written two previous books about film production and safety in professional filming: Practical Film Making: A Handbook for the Real World and Nothing Dies for Film. He'll be joining us to discuss his book "Flynn and Miranda: Your Right to Remain Silent", published by Trine Day. The book is a fictional account of a true story. The release date coincides with the 58th anniversary of Ernesto Miranda's arrest in 1963 for kidnapping and rape. The criminal case, Miranda v. Arizona (1966), would make his name a household word. Credit: UFVA.org; joewallenstein.com.

Kiss My Boots by Jennifer Learmont

 

Credit: Jennifer Learmont

Jennifer, Welcome to Authors by Sasha. Kiss My Boots is a memoir described as provocative & steamy reflecting your adventures in the 80's and 90's in Hollywood. What made you decide it was the right time to pen a memoir? 

​I wasn't sure what the right time was to write this memoir, but it started out with my ex-husband writing his own.  I am in a couple of his chapters which didn't shine a great light on me;  it didn't explain where I came from, or where I ended up or why his story unfolded the way it did. He contacted me in 2017 and I worked with him for a couple of years, doing some research.  Then I thought I should write my story from a girl’s point of view.

I was tired of hiding my past;  people would ask me questions and my answers just provoked more questions, so I decided to just put it all out there.  It started out as a journal for my family, but it just took its own journey into a book.  I thought, “take me or leave me but here is the story.”

What was your backstory prior to embarking upon a three month journey to the United States that resulted in a twenty year tenure in the country? 

​My back story was from a very dysfunctional childhood, which I thought was a good segue into why I did what I did, and the choices that I made.  I couldn't wait to go to the USA;  I loved everything about it - the music, the entertainment industry, Tinseltown.  It was very intriguing to me as a young girl;  it was where all my heroes were from.

Adhering to no rules comes with risk. What were you trying to accomplish by abolishing all constraints which could affect your growth and success at a young age?   

Really, I didn't even think of what “no rules” or “no limits” were.  It wasn't a plan;  it was just the way I was, my makeup.  I was a free spirit and I had no plans.  I have to say that time of my life was a time that I lived purely in the moment, not thinking of consequences at all but just living.  It was so exciting;  it was pure freedom.  I’m really glad I got to that; it’s rare. 

What is the greatest risk you’ve taken in life that has paid off?

All the risks that I have taken, whether it be with criminals or being a Domme, paid off because I have an incredible story to tell.  The adventures that I lived in were unique.  I have amazing friends to this day from that life whether it be ex-clients, girls I've worked with or just all the colorful characters I met along the way.  I've always lived life to the fullest and wanted to experience everything, so to me that life paid off in that way. 

Jennifer, what was the younger version of yourself seeking from life and how have your life experiences evolved for what you’re seeking today?

I had a childhood of neglect, no security, going to so many schools, never staying in one place for very long, always being a new kid at school.  I think I was seeking to belong and maybe that's why I experienced everything that was thrown at me, to fit in. Don’t get me wrong;  I was wild and had so much fun seeking all this.

​I have learnt a lot.  Today I'm seeking the opposite: pure health and peace of mind.  I'm also very careful of who I choose to spend time with, but I think I'm still seeking security in some sort of way. 

Having lived the sex, drugs and rock n’ roll lifestyle, what surprised you the most about the celebrity lifestyle?   

Well, as the old cliché goes, celebrities are no different than everybody else;  they still have the same insecurities.  Still, it did surprise me, the sheer decadence and wealth of some of these people, especially with me coming from a poor background. 

What is the greatest misconception about Hollywood?

Well, everybody goes to Hollywood thinking it's this amazing place where your dreams may come true, but in reality it's very dangerous.  It's very dark and it's very sad.  Everybody has stars in their eyes but it's also very hard to avoid substance abuse, especially if it's not going so well.  It's a bad place to just go to without knowing anyone because you’re basically a sitting duck. Having said that, I had some of the best times of my life, saw and heard some of the best music and met some of the best people.  Hollywood's a funny place; it's bright and dark, comic and tragic.  Everywhere has that but in Hollywood it's magnified millions of times.

Credit: Kiss My Boots

Among your adventures referenced in your memoir Kiss My Boots, you’ve also worked as a dominatrix for fourteen years. How were you introduced to the exciting and exotic world of dominatrix prior to becoming a professional in the field?

How I became a Domme was simply that I had met a girl at the gym that thought I was perfect for a Domme:  I was beautiful with a strong personality.  I also needed a job.  I built up the courage to go in and have an interview, and the rest is history. 

Dominatrix represents a woman who physically and / or psychologically dominates her partner in sadomasochistic encounters. It's considered a healthy channel of sexual exploration.   What appealed to you about this lifestyle?  

So to be clear, being a professional Domme does not involve physical sex;  it’s all mind play.  To be a good Domme you have to have tons of empathy and compassion, even be a therapist to these men.  A lot of professional Dommes don’t live the lifestyle out of work.

I feel the job as a Domme filled a very important need for these people.  Where would they go and what would they do without it??  It’s a serious need for many.

What appealed to me with this job was that I met some of the most amazing people, and I was attracted to how bizarre it all was.  I liked seeing the grey side of life and the parts of people that nobody sees;  to me that's very interesting, and that's exactly what you see in this job.  These clients confided in us so deeply, I'm sure they told us things that nobody else on the planet knew about them. Believe me, there was a lot of humor in this job, too;  it could be incredibly funny.

I have definitely learned that you can't judge a book by its cover, some of the most powerful men have some of the darkest fetishes. I did learn that most of these fetishes and needs came from early childhood. I learned to practice the art of non-judgement;  everyone is just trying to get along in this world and some needs of this kind help them.  I've always had a big heart and a lot of compassion, and I became stronger with this job;  I really appreciate it. 

There are many channels present for one to connect with their higher source. How were you introduced to the Interdenominational Church and its activities which also included a gospel choir? 

I was doing a lot of cocaine and one of my clients who was a reformed drunk suggested I come with him to this church called The Sanctuary.  It was right up my alley; there were celebrities, there were rock stars, and there was amazing music.  Everyone was really healthy, and when I heard the gospel choir that was it for me!  Of course, I didn't get involved in the choir right away because I had to pay my dues and attend for a while. Music was in my blood;  all my family were musicians, so I really felt that I  belonged there.​

All the people that went there were musicians, artists or actors;  so many celebrities there.

I couldn't believe how healthy everyone was and when I found out they were into power yoga, they showed me a new way of living which was life-changing.

Labeled as a self-proclaimed fearless child, did you ever encounter fear while living the highs and lows of the American lifestyle? 

Yes, I did encounter fear, but I think I processed it differently than most people.  I was resilient and strong, so I just brushed myself off and kept going.  I never ever felt like I was a victim.  I still have the fearless child in me but I'm a lot more responsible now.  It's different when you're living a healthy clean life;  you make good choices and choose your friends very carefully.

Everyone perceives fear to be different. In your opinion, what is the opposite of fear?

The opposite of fear is living a life without crazy experiences, as the old saying goes;  your life begins at the end of your comfort zone, and that includes fear. 

The memoir Kiss My Boots also presents a survival story. Keeping secrets can be considered a survival skill. Secrets can also be dangerous. What impact did living a secretive life have on your health, heart and sanity? 

Keeping my life secret, I thought, was for survival but it was very damaging.  I felt no one ever really knew me, and how could they?  They definitely didn't understand me because my whole life was a façade.  It was not real and it was a lie, what I told my family and friends was a made-up story.  I wasn't sure what they would think of me.

Every person responds differently when existing outside of their comfort zone. Did you ever encounter homesickness when away from Australia?

I didn't get homesick for Australia so much, but I missed my family a lot.  Once in a while I'd wake up in a panic, wondering “what am I still doing in the US,” but it just kept me hooked and I couldn't seem to leave. 

The book Kiss My Boots has been nominated for Indie Book Awards (Non-Fiction), NSW Premier's Literary Awards (Non-Fiction & New Writing) and Queensland Literary Awards (Non-Fiction).  How would you describe your writing experience from the point of conceptualizing the book to launching it in the market?

My writing experience so far has been mainly cathartic, purging deep things inside me that I have kept bottled up for so long.  Offloading those experiences and putting them on paper make me feel light and free. I had never written anything before or even trained in the art of writing, but I just knew I had to get this down on paper.  I think I did a good job.

What part of the writing process did you enjoy the most when penning Kiss My Boots?

It isn't easy launching your book onto the market.  The whole process takes years with a lot of rejection.  In the end I put it down on paper and no more have to lie.

Were there any parts of the book that were challenging to write?  

I enjoyed the way the words just flowed out of me.  I don't even know where it came from;  it just came out. The pure freedom of it all! I laughed and I cried writing this book;  it was fun and it was a great experience. 

Can you kindly share two writing tips that can benefit new and seasoned writers? 

I think the best tip is to really put out the nitty gritty and don’t hold back.  I think people like the messy side of life.  Be humble and honest, no matter how hard it is to expose yourself, especially if it's a memoir. 

While growing up, what type of literature did you enjoy reading?  

I have to say I didn't get a chance to read a lot because of my unstable upbringing and going to so many different schools.  I did enjoy English and I was into reading a lot of the old classics, which I loved. 

Is there a book that you enjoy reading which you wished you had written?

Catcher in the Rye. 

Jennifer, as a proud Australian, how is the American social culture different from the Australian lifestyle?  

I never thought that Australia and the USA were that much different.  I don't think I ever had a huge culture shock except for the fact that everything's tenfold in America;  it's like Australia in the future.  It's a lot easier in Australia;  the quality of life is a lot better.  

Are there any new hobbies, or endeavors you’ve embarked upon since your return to Australia?

My hobbies now are still yoga.  I'm a marriage celebrant.  I love reading, being really healthy, friends, food, gym, writing and music. 

What exciting new projects are you working on that audiences should keep an eye on?

I'm just about to start a second edition which will start in Hollywood and do a deep dive into all these characters, and especially the Domme world.  

Please share with readers how they can support your work. 

Please follow me on Instagram at jennifer_learmont and also at Shawline Publishing, Amazon, Barnes & Noble, and Goodreads.

Author Joe Wallenstein Explores the Arts & "Flynn and Miranda"

 

Credit: Joe Wallenstein

Welcome to Authors by Sasha! Joe, you're a celebrated producer, director, writer and author in Hollywood. What was your childhood like in Brooklyn, NY?

​

I had a wonderful childhood. I am very glad I grew up in Brooklyn when I did. Other notable people from my neighborhood include Woody Allen, Larry King, Marisa Tomei and the parents of Ruth Bader Ginsburg (The notorious RBG).

I did all the things a Brooklyn kid did. Stick ball, punch ball, stoop ball, roller skate hockey and street football (Go down three sewers and cut right). I stayed out all night, was never bothered by anyone and had lots of friends. On the other hand, my neighborhood was home to many members of the Mafia. One man five doors down had a fourth of the NYPD on his payroll. He was a bookmaker named Harry Gross. When he got arrested it was a big deal and a major embarrassment to the police department. The case was known as “The Gross Scandal.”

When I was twelve my best friend’s father was in business with Albert Anastasia, the Lord High Executioner, The Mad Hatter and the head of Murder Incorporated. My friend’s dad was shot and killed three days after Anastasia was gunned down in the Park Sheraton Hotel in Manhattan. My neighborhood had an active fighting gang, one of twelve Brooklyn gangs and was featured in the Sylvester Stallone movie, “Lords of Flatbush.”

​

Are there any early influences which played an integral part in leading you to attend NYU's Film and TV Production program?

My life was shaped early on by my mother. When I was eight, I stole a pack of baseball cards from the neighborhood candy store. When my mother found out she said to me: “Joe, I will give you the dollar but you must go back and pay for the cards and apologize. I said: 'You are afraid I will get arrested by the police?’ She said” NO. THE REASON YOU DON’T STEAL IS, …BECAUSE THAT’S NOT WHO YOU ARE.”

Her definition of me has stayed with me my whole life. Who did I want to be? Was I honest or dishonest? Was I mean or compassionate? Was I loyal or disloyal? In other words, every day of your entire life you have to decide who you want to be. I wanted to be honest, trustworthy, hard-working, compassionate, professional and loyal. Those qualities have defined both me and my career. In a fifty-year career I have never had my integrity questioned, not once. My reputation is: “Joe is honest, a professional and …he really cares.” I am very proud of that description.

​

You worked as a Freelance Production Assistant early on in your career. What did this role entail?

A lot of grunt work. I have run for more coffee than the iconic Juan Valdez. You round up actors and drive them or accompany them to the work site. You distribute “sides” or daily pages to be shot of the script. Run for food for the director and actors. Draw up the paperwork for the First Assistant Director. i.e. call sheets and daily production reports. You run the film to the lab for development (old construct, today everything is digital).

In general, you are an all-around problem solver so that all the energy stays focused on the day's filming. Anything that protects the set (time is money). Run for the wardrobe the actor forgot to bring. Buy something the prop department neglected to pick up on their way in and on and on.

Stage background action. Should not refer to them as “extras.” That is a demeaning term and does not do justice to how creative they can be and how much value they bring to a production.

​

What guidance do you have for novice professionals who want to pursue a career in Film and TV Production?

MARRY RICH. Only kidding.

Many years ago, a Producer named Joe Manduke said to me: “Joe, in order to succeed in this business, you must want it more than life itself.” At the time, that sounded like self-serving hyperbole. But time and experience has cast that line in a different light. You must be prepared to disrupt relationships, miss family dinners, work around the clock and leave town on very short notice.

In my career, I have been punched, stabbed, needed eye surgery because of how velocity freezing wind and stood on broken bricks for twelve hours enduring extreme pain. And always saying to myself: “What? And give up showbiz?

​

What variables should they consider when choosing such opportunities in Hollywood, or any other entertainment industry?

A very good question. Can you afford, financially or emotionally, to be out of work often and for unknowable lengths of time. Are you thin-skinned or thick-skinned? Can you handle, sometimes heavy-handed, rejection, criticism or mean-spiritedness? The entertainment business is a subjective business. Somebody is always judging somebody. Pity the poor actor or actress who goes to audition after audition and doesn’t get the gig. Pity the episodic director who is a genius on one show and a bum on the next.

How will you keep your internal balance?

Someone once told me, “In order to succeed in the film business you must have an irrational belief in yourself.” That may seem like an odd way to say something but what it means is, you must have the intestinal fortitude to soldier on when events seem not to favor you.

​

Joe, oftentimes actors and actresses credit their producers for imparting wisdom that helps them refine their craft. What have actors and actresses taught you when it comes to directing talents?

A REALLY good question.

When I started, because I was nothing more than an errand-running grunt, I thought of actors and actresses as spoiled, egotistical babies who were self-absorbed and unprofessional. But when I became a first assistant director and was close to the director and at the heart of the set, I came to see actors in a completely different light. They were vulnerable, insecure and trusting. Putting your image and talent out in front of the world is a very scary trust-dependent construct. They were dependent on the vision of the director, the talent of the cinematographer, the interactivity of other actors and ultimately, dependent on the taste, talent and good judgment of the editor and director.

I learned that quickly and intellectually through on set observation. But I learned it viscerally when I directed “Knots Landing.” I was directing a love scene with Constance McCashin. Just before the camera rolled, as Connie turned her head, a few strands of hair shifted so that they covered part of her face. I called “Cut” and instructed the hair stylist to move the intruding hairs back off Connie’ face, we did the scene in a couple of takes and moved on.

Constance came up to me and said: “I just wanted to thank you. I really appreciate that you looked out for me.” It was then that I truly understood just how vulnerable actors feel and how subject they are to the whims, insensitivity or just plain bad judgement of others.

​

What writing tips do you have for writers who aspire to work in the Film & TV industry?

Develop thick skin. Don’t let others define you. Just keep soldering on. Understand your characters. Who are they? What do they want? What price are they willing to pay to achieve their goals? And whatever you do, …never give up.

​Only perseverance is omnipotent.

Credit: Flynn and Miranda

“Flynn and Miranda: Your Right to Remain Silent" authored by you and released by Trine Day Publishing brings the story of Ernesto Miranda to light. The March 13, 2021 release date coincided with the 58th anniversary of Ernesto Miranda’s arrest in 1963 for kidnapping and rape. The criminal case, Miranda v. Arizona (1966), would eventually become ingrained in our national fabric. What motivated you to explore this segment of history that is referenced often in our social, entertainment and legal culture?

​

FLYNN and MIRANDA, is not about guilt or innocence.

It is about fundamental American commitment to FAIRNESS.

Joe, you host decades worth of writing experience with developing shows and humanizing characters. Did you approach writing "Flynn and Miranda" any differently when addressing your research and delivery of the story?

​

I have always said, “If I can identify with or root for the lead character, I will follow him or her anywhere.” If you look at the “Sopranos,” you followed Tony Soprano’s story, not because he was a good guy, quite the opposite, But his life on every other level besides criminality was viscerally identifiable. His kids gave him a hard time. He got pulled over for speeding. He was us, except for that “murder’ thing.

For me, all film or television is character driven. John Flynn fascinated me. Not because he was a gifted lawyer. Rather, because he was so flawed and still able to rise to greatness.

​

Are there any aspects of the story that were omitted because it detracted the message you desired to share with audiences?

I deliberately stayed away from Flynn’s five marriages. That was not what the story I wanted to tell was about. I wanted to respect and honor everyone’s privacy and the privacy of his children.

As the Director of Physical Production at the School of Cinematic Arts, you're also a part-time lecturer. How have your speaking and teaching topics evolved in recent years?  What are the tri-annual safety seminars about because they are highly sought after in cinematic arts education?

​

Under my tutelage at USC, we have made thirty thousand projects without a single injury. We have set the gold standard for safety in student filmmaking. The trick in teaching safety is that “safety” is not about what you cannot do. It is about how you achieve your vision safely. Most student filmmakers see the world through their prism. The world, the real world, looks back at the student filmmaker.

​

How can I better explain this?

A film student stages a mugging at gunpoint in an alley near school. He/She has a crew of twenty, several lights, a camera on a dolly and ten yards of dolly track.

To filmmakers that is undeniably a film set.

However, to the little old lady or man just wandering by, it is a crime in progress. They only see the gun. They call the police. The police hear “gun” and they come running.

The worst thing anyone can do in that scenario is turn towards the police and try to explain that the gun is not real.

We instruct students and cast in that situation to: ALWAYS JUST DROP THE WEAPON.”

What is the best life guidance you've received and from whom?

Famous actor Walter Matheau once said to me: “Money is the only freedom.”

What he meant was, if you only care about money, someone else will always be pulling the strings of your life.

What are some hobbies that you enjoy when you're not producing and directing?

​

For reasons that only a good psychiatrist could articulate, I am an avid train watcher.

Yes, live train fanning is a real thing. I also love to travel when I can.

Please share with audiences how they can support your work.

​

I will avoid the obvious answer of, “buy the book.” I would like to develop a following. I hope your listeners will remember my name and look for other books by me in the future. I have several other books in development that will be published in the coming years. ​Visit JoeWallenstein.com to learn more.

Flynn and Miranda: Your Right to Remain Silent

 Author Spotlight

Credit: Joe Wallenstein, Producer & Storyteller

Today we get to meet Joe Wallenstein who has produced numerous television movies, pilots, and mini-series. Throughout his more than 40 yrs in the industry, he's worked an assistant director, associate producer, and producer. He is a Director member of the Directors Guild of America as well as a member of the Writers Guild of America West. The author has a track record in storytelling, having produced two highly-successful TV series, Knots Landing and 7th Heaven. He has also written two previous books about film production and safety in professional filming: Practical Film Making: A Handbook for the Real World and Nothing Dies for Film. He'll be joining us to discuss his book "Flynn and Miranda: Your Right to Remain Silent", published by Trine Day. The book is a fictional account of a true story. The release date coincides with the 58th anniversary of Ernesto Miranda's arrest in 1963 for kidnapping and rape. The criminal case, Miranda v. Arizona (1966), would make his name a household word. Credit: UFVA.org; joewallenstein.com.

Meet Megan Davis, Hollywood Actress and Producer

Credit: Actress Megan Davis

Megan, Welcome! Your history traces back to acting from the early age of three years old working on commercials. How were you introduced to such opportunities at a young age? What was the experience like for yourself and your family?

I always wanted to act. I was obsessed with the character of Cosette in Les Miserables and used to clean our own kitchen floors by hand while I sang Castle on a Cloud. My uncle was directing TV commercials at the time and asked if I wanted to be in one, which, of course, I did! And then one led to two...

As an actress and producer, you've studied at the BFA Acting/Musical Theater program at The University of Arizona. Did you host any preconceptions of what you would learn in this program to fulfill your academic and professional goals? What did you learn about self-development from completing this rewarding program? Is there anything you could have done differently?

Not really. To be completely honest, I only went to school instead of going straight to LA because I felt like it was super clear that I could get out of rehab earlier if I stayed in Tucson. And then I just completely fell in love with the BFA program and the professors and the other students and now, of course, I am so grateful that it happened that way because what an exceptional school to have been trained at. The producing kind of happened by accident. Scott Stuber, who is now the head of film at Netflix, was a University of Arizona graduate and I asked if I could intern with him over the summer of my senior year to learn the other side of film-making. He was awesome. In terms of self-development, I would say I have learned more about that here in LA, because when I was in school, there was still a projected course of action to follow which makes everything so much easier. Once there is no piece of paper telling you what to do next, then you really learn a lot about yourself. And he was kind enough to not only let me, but to teach me so much. There are always things you can do differently or "better" in hindsight, but I wouldn't change a thing.

You've also studied at Second City, an improvisational comedy enterprise based out of Chicago, with training programs and live theaters in Toronto and Los Angeles.

What are a few prerequisites (qualities or skill sets) that can benefit actors in performing improvisational comedy?

Was there any aspect of this craft that you found challenging yet mastered over time?

What professional advice can you offer to candidates seeking an opportunity to study at Second City?

What was your greatest achievement during your time invested at Second City?

Is there any comedian you admire? 

The best thing you can take in with you when studying comedy is to completely lose the word "no" from your mental vocabulary. Sometimes the things that feel the most ludicrous in the moment work the best, and you will never know if you close yourself off. Also, comedy is a group sport, especially improv, so you want to keep an attitude of always being open so you can build with the other person. There is hopefully a true place of communion you can get to in comedy in the same way you can get to in drama. Well, I found it very challenging at first. In fact, the reason that I went in the first place was because comedy scared the shit out of me and I thought well I better throw myself into the hardest and best comedy I know of then and get over it. And then I found out I was actually really good at it. Improv isn't really my jam in the sense that I don't enjoy it as much as scripted comedy but improv is so important to all aspects of acting. So many shows and plays I have done - the best moments came out of improv, and therefore out of all of the artists on set behind the camera and in front of the camera having that attitude of not shutting off to their preconceived notions - of being open to let the muse come to them. I love Kate McKinnon. I could just watch her all day. Her timing is impeccable. 

Megan, as a professional actress, you stress the importance of physical dexterity and athleticism in your craft.

As an equestrian that can also sing, play the piano and dance, are there any new physical challenges that you're entertaining?

How can novice actors develop different forms of dexterity to grant them a competitive advantage in their acting roles?

Have you played a body double for another actor due to your wide range of athleticism and range?

Are there any action roles that you've opted to perform yourself instead of delegating it to a body double?

Hmm, I think for me it is more just about overall wellness and keeping up with your training in every area. Just like I think actors should always be in class (I'm actually answering these while my Shakespeare class is on break) I also think you should always be training your body. Your body is obviously a huge part of your craft and I think it should always be in a state of readiness to transform or of feeling at your best, whatever that means for you individually. Also, I do think that the more you can learn, the more you can experience, the more you have to work from. I am a bit of a thrill seeker so I enjoy sky-diving and bungee jumping and cliff jumping. I enjoy training in hand to hand combat and broadsword and rapier/dagger. I think your body is such a huge part of acting that any movement you can study is wonderful. Any art form you can study that contributes to the mind and body being as in sync as possible. I have not but I have had multiple people play my body double. I would almost always prefer to do it myself, but sometimes the production just isn't comfortable allowing you to do the stunts.

Your work references Katharine Hepburn as a form of inspiration. What was it about Ms. Hepburn that influenced you in how you approach and represent the art of acting?

I don't know that my admiration for her is even just about her acting, but really who she is as a person. She is unapologetically herself. She is just such an inspiring human being. She always found a way to make it happen even when people were telling her no. I fell in love with her when I saw this movie Love Affair, which was essentially a re-make of An Affair to Remember. I think that was the first role I ever saw her in. And I remember thinking she was so strong and so vulnerable somehow at the same time.

Among a few entertainment genres, your work also includes drama and comedy. Did you find one genre more difficult to connect with than the other? Are there any common threads among those two styles of storytelling that audiences overlook?

Oh, I think they are so similar. Underneath both of them is the most important thing in storytelling - truth. Comedy is funny because it's grounded in truth. Drama is compelling because it's rooted in truth. They are just different ways of approaching the truth - they appeal to our different senses and defense mechanisms as human beings. I don't think I find one harder than the other - there are definitely huge traps in both - but both are so incredible.

Credit: IMDB

Some of your works include the American Horror Story, Bones, 2 Broke Girls and For Nothing. What have you learned about receiving direction from Directors and improvising at your discretion?

Well, this is a tricky question. I always believe in being open to improv. But there are times when it wouldn't be appropriate for the character or the moment. But I think in all of those projects you listed that we were all very open to collaboration and improv. In Bones, the director and I decided to do something in that scene and not tell David Boreanez that we were going to do it so that they could just catch his reaction when the cameras were rolling. In American Horror Story, Sarah Paulson asked if we could just play in the scene at one part, which, of course, I loved. To get to work with excellent actors and get to play in the moment with them, that's it. That's the best. 

You've also produced projects such as American Street Kid (2018) and Famous (2019). What was your experience working on American Street Kid which focuses on the youth homelessness epidemic? Were there any new professional epiphanies acquired behind the scenes while working on this project?

Obviously this was incredibly rewarding and challenging. I felt so very grateful to get to be a small part of telling that story. Those kids are so courageous and so strong. And it is an issue that we don't talk about, in my opinion, enough in this country. There is no reason that we have children living on the street. And one of the things that I think the director did so beautifully was address the common misconceptions that people have about why these children ended up living on the street.   

Credit: Famous

Famous was a story that challenged the protagonist to learn the price of fame.

From your personal experiences, how do you define fame? Do you believe fame comes at a price?

...ooo fame is hard to define. There's different levels, there are different ways in which someone can be famous or renowned. That specific project was loosely based on the stories of Corey Feldman and Corey Haim and River Phoenix. And it wasn't just about fame, it was also about children being taken advantage of by the mechanism of fame all those that stood to benefit from their fame. And I think we have seen so many examples of that in every part of life, sadly. I think of course it comes with a price, and in a weird way, I think we are seeing a piece of that from the phenomenon that is social media and the way it has affected and continues to affect people. We are all starting to see how detrimental it can be to live publicly and to have anyone be able to comment anything they want on anything you do or say. It's a dangerous place mentally. And I am hopeful it will lead to a wider conversation about self-worth.      

Megan, you were also nominated for the Best Actress Award by the Los Angeles Independent Film Festival for portraying the prescription-pill addict in Adverse Effects. How did you prepare to play the role of Samantha?

Well, in this specific circumstance I have had a lot of experience with addiction and how devastating it can be. I was really lucky to have Spencer as a director on this and to have Aaron on set with me, because they both allowed me to go through being crazy and being broken and all of the things I went through with her while we were filming. 

How do you know you're satisfied with your performance?  Is there a certain validation you receive from the outside world, or is there an inner knowing you've done justice to the role you're trusted to honor?

Oh man, I am never satisfied with my performance. I always think that there is more that can be found, more that can be explored, more that can be done, I think outside validation is always great and anyone who says it isn't is totally lying, but I think most artists really crave that internal feeling when they hit that sweet spot of the truth and know it, even if only for 30 seconds. I could ride that high the rest of my life. I think something that I always love is when someone tells me that they saw themselves in the role, because it then feels like you've at least touched the truth. When Corey Feldman first saw Famous he said that I was exactly like an ex-girlfriend of his at that time, which I loved because it meant that someone who lived that story recognized the work I had done as true to the story. I liked that.

Your latest project is The Christmas Family Reunion projected for a 2021 holiday release. What was the experience like working with the cast and what can audiences expect from this project? 

This was a weird one because it was my first time working with all of the new COVID protocols. So there were a lot of things that had to be done or not done in order to ensure that everyone was safe. I think the most notable to me was that it meant less time hanging out together before and between filming - which I love that time because, for me, it helps me to experience a certain level of comfortability. But Jake Helgren is an excellent director and he is so fun so he really helped us through all of that and still created a fun and safe environment. This is the second film I have done with Ninth House and both Jake Helgren and Autumn Federici are incredible and I felt very safe throughout the whole process. And with all of their projects, I think the audience can expect an excellent holiday film. I honestly felt so lucky to be working with them after they had just done "Dashing in December" - an important holiday film that told the story of two men falling in love in such a beautiful way. I found myself thinking while I was watching it, "Why haven't I seen this story before?" And so to be working with a company and with artists that are on the forefront of telling new stories -  that is such an honor. 

Are there any shows that you love watching in reruns or those that are in active production?

I am so ridiculous about this, I watch so many shows and movies over and over and over again. I've probably seen Friends all the way through maybe 20 times. I've watched the series Playing Shakespeare at least 5 times. Once something inspires you, I think you crave that feeling over and over. But, I have to remind myself to stop looking for feelings I have felt before and allow myself to experience new things that might have similar or even greater results.   

Is there a book that you're reading at the moment? Is there a book that you recommend to audiences?

As I look at the ground next to my bed, there are four books I am reading now, which is weird because I normally only read one at a time. I am re-reading Glennon Doyle's "Untamed" which my friend Brooke recommended and it is so excellent. My mom and I are both reading it and then talking about it together. So much respect for Gelnnon Doyle. I am also super into self development and spiritual books. Just speaking to my own profession, I think you have to always be growing and learning and working on yourself and the more you grow and learn as a person the more you learn and grow in terms of your characters. And, who doesn't want to be better every day? I am also reading The Sociopath Next Door and A Visit From the Goon Squad and The Worthy Project. I am super into audio books too. I love to drive around at night - when everything is quiet and still in LA - and put on a good audio book and gaze at the lights.   

Megan, please share how audiences can support your work.

Well, it would be great if they want to watch it and like it! You can go to IMDB and find anything I have worked on.  Also find me on Instagram @meggydavis and I will usually post about projects. 

Credit: Megan Davis, Actress and Producer

Meet Dario Lake, Writer and Actor

Credit: Actor, Writer & Director Dario Lake

Dario, Welcome. I understand you're an accomplished artist with a portfolio of work that encompasses acting, editing and directorial projects. From your list of acting roles, is there a role that you've played which truly resonates with your personality and values? How do you go about choosing your roles?

No I haven't as yet but that's going to change in the near future. I choose my roles by making sure they express my values and overall focus I want to portray as an actor.

What is the inspiration for pursuing an artistic craft that always keeps individuals on their toes? Are there any aspects of self-development that helped you nurture your professional skill sets while remaining relevant with the times? 

Always pushing yourself to go far and beyond in areas where others typically don't. Self development never stops. It's an ongoing lifestyle. If you decide one day that you fully made it and don't need to learn anymore, that's when you won't be relevant anymore. 

What is the best piece of professional guidance you've received that has contributed greatly to your emotional, mental, physical and material growth? 

Being confident in believing in myself and my thoughts. It's not about being perfect but becoming the best version of me.

In your opinion, what is the biggest misconception about working in the entertainment industry? What advice do you have for new talents wanting to contribute their work in a market space that is saturated with common themes, common looks and sometimes common mindset? From a director's perspective, how do you define an original talent? 

For me I feel the biggest misconception is thinking it's all glamorous. People tend to only see the final end result and not the entire process. My advice would be stay true to yourself, your talent and who you are as a creative. Everyone is some aspect of uniqueness about them it's just a matter of fully tapping into it. 

Having directed Delusional (a horror movie), how are you able to effectively communicate your vision to actors bringing a story to life? Are there any genres that are easier to direct than others?

Being a visual story teller my thoughts and ideas come so easily to express to actors my vision. I feel if you understand how to produce drama, you have the ability to effectively do any genre.

Credit: Addiction

You've also worked as a sound editor for the movie Addiction. What are the responsibilities of a sound editor? How can individuals interested in such roles, seek out opportunities in the local markets? Are there any prerequisite skills, or characteristics, that can enhance one's ability to succeed in such role?

A sound editor is someone who's responsible and prepares the audio enchantment of a visual story. Anyone interested in a such role has to have a creative mind to hear elements and layers of sound. It's all about practice, practice, and more practice. 

Dario, when writing scripts, do you adhere to any rituals that help you focus while feeding your imagination? How do you know you're satisfied with the final script that you've authored? What do you do when there's writer's block? 

No I don't adhere to any rituals I put my mind in the best possible position to flow without having any distractions. I know I'm satisfied when I can see the written story play out as a visual edited flowing story. 

If you had to choose - Are you a writer that acts, or an actor that writes? 

Definitely a writer that acts.

Thus far what is the greatest achievement within your professional career? Are there certain personalities that you'd love to act and/or direct in the future?

Having one of the biggest media outlets buy something I produced. Also from working with and being able to learn from the best professional and influential people in the industry. 

Credit: You're the Worst

What insights about comedy and drama did you acquire when working on the TV series You're the Worst? 

I've learned that there are many layers of comedy and drama. It all depends on how far you want to push the envelope. 

As a producer and director, what are the tell tale signs that a project will be a success, or whether it will demand more cooperation than anticipated? How do you offset your risks when you suspect the project will demand more of you than you're willing to take on?

There's a certain energy that flows when your heart is truly into something. You could feel it vibrating, it's alive so that I know. I offset my risks by making sure everyone involved is on the same page and giving it their all like myself. 

Acting is an escape itself from reality. What do you do for fun when you're not working? How do you escape from the daily stressors and unpredictability of the world?

When I'm not working I like to work out, do some self development, research and learn to improve myself. 

Please share how audiences can learn more about your work.

Explore Dario Lake's work & agent contact available here.