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Casting the Comey Affair

Estimated Reading Time : 6 minutes 38 seconds

Due to a very, very serious, dare I say, life-threatening illness (a chest cold!), I have not been able to keep my not-so-adoring public up to date on my feelings regarding the goings on in Washington, Hollywood and the world these past few weeks. I was unable to cover the Comey hearing, the British election and now missed the Sessions hearing. Due to a truly heroic effort on my part, I was able to read a bit about all of those proceedings in my weakened state, and even saw some clips on the television. Of course, any insights I may have been able to provide are long past their used by date, once again proving I am a day late and many dollars short. 

That said, I am not completely without some relevant thoughts. For instance, the thing that instantly occurred to me as I watched the coverage of Comey's testimony was, "who is going to play him in the movie?". I promise you there are some Hollywood suits who are plotting a film or miniseries about all of these made-for-tv political events. So I put on my sleazy producer hat and started thinking right along with them. I came up with multiple casts for the film I have titled "The Comey Affair". 

Some are Oscar bait, some are box office beasts, some are desperate wannabes and some are quick money grabs, but all of them are being contemplated by some fat cat in an office here in Hollywood…I promise you that. So sit back, relax, and enjoy inhabiting the mind of a Hollywood power broker!!

Here are the films.

STAR EDITION : THE A-LIST

Directed by Steven Spielberg, and typical of his films, his "The Comey Affair" will have lots of flag waving and swelling music. The establishment media will lap it up and heap praise upon it no end, but in reality the movie will be as awful as Bridge of Spies or Lincoln…which is really, really, really awful. 

James Comey - Tom Hanks : Of course Tom Hanks plays Comey. Hanks is incapable of playing any other character but a condescendingly noble and morally and ethically impeccable man with a heart of gold, and so it is with his rendition of James Comey. Think Sully, Captain Philips and Bridge of Spies guy crossed with his Saving Private Ryan character. 

Donald Trump - Jack Nicholson : This is both Nicholson's comeback and swan song. A surefire nomination for Best Supporting Actor will follow Jack's peculiar and erratic performance. Nicholson's work as Trump will be sub-par, like much of his work over the last thirty years, but he'll be rewarded anyway because Hollywood likes their icons to go out on top. Jack's Trump will be a combination of his Whitey Bulger-esque character in The Departed and Nicholson himself.

Mike Pence - George Clooney : Clooney will co-produce along with Hanks and Spielberg, so he'll play Pence in order to boost box office. He will do his usual lackluster, smirky work but will be taken seriously for some mysterious reason. The media will fawn all over George as he recounts one of the myriad of impotent pranks he pulls on his adoring co-stars. Oh, George, you cad.

Jeff Sessions - Kevin Spacey : Spacey will do little more than reprise his House of Cards character Frank Underwood as Sessions with some Keyser Soze mixed in. Spacey will no doubt try and talk Spielberg into letting Sessions have a scene where he sings, hopefully he will be thwarted. Bottom line is that Spacey will chew scenery and try and upstage his esteemed colleagues…hell…maybe it'll work. 

Melania Trump - Julia Roberts : Roberts, like Nicholson, is using this role as a comeback of sorts. She wants to get back into the Oscar discussion, so she tarts herself up and turns Erin Brockovich into an aging Eastern European model. Her accent will be atrocious, but her push up bra will earn a Best Supporting nomination. Robert's work with Clooney on the media tour blitz will be vital in attracting the insufferably vacuous Clinton Cult Feminist audience. GIRL POWER!!

Ivanka Trump - Margot Robbie : Margot Robbie will struggle with the accent as well, namely losing her Austrailian one, but, as usual, she will no doubt do stellar, and under appreciated work as Ivanka. Robbie is a solid actress, and she will tell a story with her Ivanka that will be both appealing and unsettling. 

Jared Kushner - Leo DiCaprio : Leo will make Jared into a quiet, reserved, nearly mute young man in public, but a crazed and maniacal wild man in private. Think of Leo's Jared as a cross between his Jordan Belfort character in Wolf of Wall Street, his Howard Hughes from The Aviator and Frank Abignale from Catch Me If You Can.

 

OSCAR EDITION

Directed by Paul Thomas Anderson. Anderson brings an artists eye to the proceedings, making his "The Comey Affair" a mix of There Will Be Blood, The Master and Magnolia. A taut and tense story brought to life by a stellar and sublime cast.

James Comey - Daniel Day Lewis : Lewis, a master, is tall, which is needed to play Comey, who is a towering 6-8. He also brings the skill and versatility to give the goody two shoes Comey some much needed inner life and turmoil. Lewis' Comey will be a cross between his Bill The Butcher in Gangs of New York, his Abraham Lincoln in the aptly titled Lincoln, and his Daniel Plainview in There Will Be Blood, and will be much more interesting than Comey himself.

Donald Trump - Brendan Gleeson : Gleeson is an often over-looked great actor. His subtle work and physical pseudo resemblance to Trump will make his performance as the President Oscar worthy. Gleeson's artistic furnace burns hot, and when put into the container of Donald Trump, will be down right combustible. 

Mike Pence - Gary Oldman : Oldman, like Gleeson, is an under-appreciated genius, and his Pence will have the exterior of his George Smiley from Tinker, Tailor, Solider, Spy, and the toxic inner life of Oldman's electric Sid Vicious. Oldman's Pence will be a ferocious wolf in delicate sheep's clothing.

Jeff Sessions - Chris Cooper : Cooper never fails to flesh out his character in the most insightful of ways, and his Sessions will no doubt be reminiscent of his closeted American Beauty character. Defiance and vindictiveness wrapped in the sing-song charm of the Old South.

Melania Trump - Cate Blanchett :  Blanchett's Melania is the beauty and the brains behind The Donald. Always at least three steps ahead of everyone else, Blanchett's Melania is playing chess, while Donald plays checkers. She let's everyone think she is a prop, but the reality is that she is the only one who knows how to manage the man-child that is her husband. 

Ivanka Trump - Jennifer Lawrence : Lawrence dazzles as Trump's darling daughter, bringing her to life with a mixture of her Rosalyn Rosenfeld from American Hustle and Joy Mangano from the accurately titled Joy. The dynamics between Ivanka and Melania in this film are both toxic and combustible. 

Jared Kushner - Ryan Gosling : Gosling's Kushner is an amalgam of his Dan Dunne from Half Nelson, Dean from Blue Valentine and Jared Vennet from The Big Short, and gives Jared a depth that he undoubtedly lacks. Struggling to keep up with Ivanka, Gosling's Jared bites off more than he can chew, and gets in way over his head with the Russians.

 

STANDARD STUDIO VERSION

 

Directed by Some Studio Hack, this film will get lots and lots of hype, but will be terribly uneven because it is little more than a reenactment of events rather than an artistic pursuit. It will make a ton of money though, and God knows that is all that matters. It will run almost continuously on HBO once it is out of the theaters.

James Comey - Ben Affleck : Affleck has dark hair…so he's perfect as Comey! Or so the thinking goes with the Einsteins running Hollywood. Affleck's Comey is, not surprisingly, a bit wooden, a bit dull and a bit one dimensional….not unlike the actor himself! I'm kidding, I like Ben Affleck, but his work as Comey is less like his Batman, which I enjoy, and more like his Nick Dunne from Gone Girl, which I do not enjoy. 

 

 

Donald Trump - Matthew McConnaghey : McConnaghey sinks his teeth into The Donald and conjures up an over-the-top, make-up ridden performance that he thinks is wonderful, yet rings as hollow as his work in those atrocious Buick commercials. McConnaghey's real value will be in drumming up business for the film on the media tour, something at which he is very good. Alright, alright, alright!

Mike Pence - Liev Schrieber : Schrieber's Pence is just as quiet as the real man, but considerably more menacing. I would enjoy an entire film devoted to Schrieber's portrayal of Pence, but sadly, he is a bit player in this Hollywood monstrosity. 

Jeff Sessions - Scott Glenn : Glenn gives Sessions a complicated humanity, which is a sign of his great skill as an actor, but completely at odds with reality. Underused in the film, Glenn's talents are squandered in favor of more generic characterizations.

Melania Trump - Nicole Kidman : Kidman goes all in and gives an Oscar worthy performance as Trump's conflicted trophy wife. Sadly, Kidman's great work is overshadowed by a shallow script and her co-star McConnaghey's Trumpian histrionics. Much like her marriage to Tom Cruise, Kidman deserves a much better fate.

Ivanka Trump - Brie Larson : Larson is out of place as Ivanka, and struggles to find any sense and rhythm with her performance, sort of like her work in Kong : Skull Island. But thankfully Larson is still able to let Casey Affleck know she disapproved of his winning an Oscar…a show of true courage…so there's that.

Jared Kushner - Emile Hirsch : Hirsch is an inconsistent actor, but he conjures up his best work as Kushner, combining his Christopher McCandless from Into The Wild and Johnny Truelove from Alpha Dog to create a luminous portrait of the enigmatic son-in-law.

 

BAD IDEA/STAR VERSION THAT MOST DEFINITELY MIGHT GET MADE

Directed by some low level guy desperate for a shot at the big time, but he…and it is always a HE…is hired for the sole purpose of being Tom Cruise's lackey. The film spends more than 100 times its budget on marketing…and the film reflects that. 

James Comey - Tom Cruise : Cruise is more than a foot shorter than Comey, but even when the sign says you must be this tall to ride, Cruise never lets that stop him (Jack Reacher). Cruise turns Comey into someone who runs a lot, he is either being chased, or chases after things a great deal, for no apparent reason, but Cruise likes to run in his movies so he demands it happen. More Border Collie than FBI director, Cruise's Comey is a cross between Brian Flanagan from Cocktail and Daniel Kaffee from A Few Good Men. As short as Cruise is, he seems even smaller playing Comey.

Donald Trump - Nic Cage : Cage envisions his Trump as his chance for a big comeback and goes all in. Covered in make-up, he gives a distractingly horrible performance, sort of a cross between…well…actually just like everything else he's ever done. Over-the-top and bombastic, with all the subtlety of an Elvis impersonator, Cage does the nearly impossible when he sinks even lower in the eyes of critics.

Mike Pence - Emilio Estevez : Estevez gives a nuanced, thoughtful and remarkably poignant performance as Mike Pence, and absolutely no one notices because he's Emilio Estevez and Tom Cruise and Nic Cage are on set. 

Jeff Sessions - Nathan Lane : Lane plays Sessions as almost identical to his character in The Birdcage, which delights liberals everywhere, and infuriates Trump and Sessions.  

Melania Trump - Emily Ratajkowski : Radakoski is much too young to play Melania, but no one cares because she does numerous nude scenes and everyone forgets about how awful this film is for a few, brief, glorious moments. 

Ivanka Trump - Emma Watson : Watson's Ivanka is Hermione without the wand...which is a pretty accurate portrayal of Trump's most favored off-spring.

Jared Kushner - Taylor Lautner : Lautner's Kushner takes his shirt off in nearly every scene, even the ones in the Oval Office. There is usually no rhyme or reason why he does it, he just does it, and it seems completely appropriate. Lautner, just like Kushner himself, is not allowed to speak in the film, only take his shirt off and do pull-ups. 

 

 

WILD CARDS

And now…some out of the box choices that could be very interesting if they were given the chance. Along with some interesting directors like Steve McQueen, Gus Van Sant, David Fincher or Darren Aronofsky, these make for some intriguing combinations. 
 

 

James Comey - Colin Firth : Firth doesn't look like Comey, but he is a master craftsmen as an actor, and he could flesh out the lanky G-man's  more conflicted and complex inner life as well as any actor out there.

Donald Trump - Sean Penn : Penn would have to wear a lot of make-up, but he could be phenomenal in the role. Penn's commitment and volatile energy would be mesmerizing to see as Trump. Especially opposite Daniel Day Lewis' Comey.

Donald Trump - Al Pacino : Pacino could capture the essence of Trump perfectly, the braggadocio, the bluster, the hollowness. Pacino at his best could even make Trump a sympathetic character, which would be a Herculean task, but a fascinating one to watch.

Melania Trump - Angelina Jolie : Angelina would be a brilliant choice, a powerful, beautiful and wise woman stuck being a trophy wife to a buffoon who is the most powerful man in the world. This role could spark Jolie's artistic renaissance.

Melania Trump - Amy Adams : Adams is able to portray an existential sadness and melancholy that is so captivating it mesmerizes, and Melania may be one of the saddest and most melancholy women walking the planet. A daring casting choice, but one that I think would pay off "Big League".

Mike Pence - Kenneth Branagh : Branagh could play Pence's false humility and stifled arrogance to perfection. Pence isn't so much King Henry V, but someone who thinks of themselves as Henry V.

Jeff Sessions - Mark Rylance : Rylance has a soft energy to him, but it conceals the fire breathing lion in his belly, which is just like Sessions, the southern gentlemen, who would eat his own young in order to gain power.

Ivanka Trump - Saoirse Ronan : Ronan is as good as it gets as an actress, and her Ivanka would no doubt be an intriguing and layered performance that would reveal more about Trump's iconic daughter than even Ivanka is aware.

Jared Kushner - Joaquin Phoenix : Phoenix would instantly make Jared a very complicated, troubled and captivating character to behold. Phoenix would make the Prince of Trumpdom one part Freddie Quell from The Master, and two parts Commodus from Gladiator. A daring, and original piece of casting that would elevate any film bold enough to undertake it.

DISASTERS IN WAITING

Here are some really bad ideas for casting this film, that are most certainly being considered by the morons running Hollywood. 

James Comey - Colin Farrell : The studio wants a star and no one else will sign on, so they go with Farrell because, just like Comey he has dark hair!! I like Colin Farrell, but this is a catastrophe waiting to happen. 

James Comey - Brad Garrett : Garrett is very tall, maybe even taller than Comey himself, so you know some studio dope thinks he is the "right fit" to play the part. Of course, Garrett is also the opposite of Comey in every single way and completely ill-prepared for the acting challenge portraying him would bring. That said, it would be wonderfully unintentionally funny.

Donald Trump - John Travolta : Travolta would think this is his ticket back to the big time so he would ham it up to the extreme, just like he did on the People v. OJ Simpson as Robert Shapiro. This would be just another opportunity for Travolta to embarrass himself…and I am sure he would take it.

Donald Trump - John Goodman : Goodman is adored by Hollywood for some weird reason, so he'll get a shot to audition for the role. And even if he's terrible, which he will be, they still might give him the gig because, hey…he's John Goodman!

Jeff Sessions - James Spader : Spader would bring his usual smugness to the role and little else, but damn, he is really good at smugness!!

Melania Trump - Sofia Vergara : Vergara has an accent and wears skimpy clothes, so she'd be perfect as Melania, or so the thinking goes. But the fact that she has a Latina accent and looks as Eastern European as Oprah Winfrey will not stop Hollywood from casting her.

Ivanka Trump - Juliana Hough : Finally, a role that will propel Hough to the stardom that Hollywood has been trying to create for her for years. The only problem is that Hough can't act and certainly couldn't bring Ivanka to life with any believability. 

Jared Kushner - Toby Maguire : Maguire's doe-eyed Kushner would be so underwhelming it might actually make the real Jared Kushner look vibrant and virile. 

BAD MADE-FOR-TV

And in conclusion…the cast of the made-for-TV version of The Comey Affair. This would most likely end up collecting dust on the Hallmark Channel.

James Comey - Josh Duhamel : Duhamel is tall…JUST LIKE COMEY!!! So he gets the part regardless of the fact that he is one of the most insipid actors walking the planet. 

Donald Trump - John Heard : Heard's work as Trump would make his dreadful performances in the Home Alone series look like Sir Laurence Olivier at his peak. To his credit, he has the physique for it. 

Mike Pence - William Peterson : Peterson has gray hair, so does Mike Pence! I actually am not sure if Peterson acts anymore as he is probably relaxing in his solid gold house and driving his rocket car…but if he wants the Pence part, it's his!

 

Jeff Sessions - Jim J. Bullock : Bullock has a southern accent…YOU'RE HIRED!!!

Melania Trump - Marg Helgenberger : Along with Peterson, this would be a nice reunion of the CSI gang, which might attract the older audience this tv version desires. 

Ivanka Trump - Kaley Cuoco : She stars on the number one sitcom in America!! Sign her up!!

Jared Kushner - Jim Parsons : Parson's Jared would actually be interesting to watch…of course it would be terribly written and shot so any worthwhile work he could muster would be drowned in a tidal wave of poop. 

Thus concludes my casting session for The Comey Affairbest case scenario...coming to a theatre near you Christmas Day 2017!!!! Or, worst case scenario, airing on the Hallmark channel Thanksgiving night!! 

Keep your feet on the ground and keep reaching for the stars America!! We'll see you at the movies!!

©2017

Al Pacino : Top 5 Performances

 

On Tuesday of this past week (the 25th of April), the great Al Pacino celebrated his 77th birthday. Happy belated birthday, Al.

A reader, the Minnesota Kid, sent me a story about Pacino that showed him galavanting on a beach somewhere on his birthday with a bikini clad vixen forty years his junior. Apparently Pacino has fully embraced the lecherous old man stage of his life…good for him. 

Since I missed Pacino's actual birthday, I thought I'd share with you, my gentle readers, my opinion on his five best performances of his career. Pacino is one of the all-time greats. His run of success in the 1970's was staggering from an actor's point of view. I greatly admire Pacino, he is an old-school, Actors Studio kind of actor. His commitment to craft and his dedication to his life's calling knows no bounds. I recommend any aspiring actors to watch Pacino at his best and notice what he does with his hands in particular. Pacino is great at telling a story and creating a character with his hands. 

Sadly, Pacino has become a bit of a punch line in the latter part of his career with some derivative work that borders on self parody, but that shouldn't over shadow the stellar work he churned out in his wondrous earlier years. 

So sit back, relax, and enjoy my list of Pacino's best performances!!

5. GLENGARRY GLEN ROSS

Pacino had a hell of a year in 1992, winning his first and only Best Actor Oscar for his work in Scent of a Woman, and being nominated for a Best Supporting Actor Oscar in Glengarry Glen Ross. Pacino's work in Scent of a Woman is much too showy for my liking. The whiff of performance hangs in the air during even scene he chews his way through. In contrast, Pacino's work as salesman extraordinaire Ricky Roma in Glengarry Glen Ross is a subtle masterpiece. Pacino wraps Roma in the blustery confidence of the hustling salesman, you can smell the cologne that encases him. Pacino alters his center of gravity with Roma, making him a somewhat top-heavy, chest-out type of character, who, like a predator, is always scanning the horizon for the weakest animal to separate from the herd. Pacino did not win an Oscar for his work as Ricky Roma, but he really should have

 

4. SERPICO

In 1972, '73, '74 and '75, Al Pacino was at the height of his creative powers. His work as truth-telling cop Frank Serpico in the 1973, Sidney Lumet directed film Serpico, is a testament to the creative roll Pacino was on back then. Serpico is a complicated character with a sense of honor, duty and loyalty, but he must grapple with whom or what he is loyal…is it to his fellow cops, or to the truth? Serpico chooses the truth, and it nearly costs him everything. Pacino once again uses his body to convey the heavy weight that bears down on Frank Serpico. As the film rolls on Serpico becomes more and more compressed in a permanent slouch, the cross of Truth he is bearing weighing down on him. Pacino was nominated, but did not win, the Best Actor Oscar for Serpico, but he was certainly worthy of that award

 

3. DOG DAY AFTERNOON

1975's Dog Day Afternoon paired Paicno with director Sidney Lumet once again to spectacular results. Pacino plays Sonny, a "gay" man who attempts to rob a bank in Brooklyn in the early 70's. Pacino's Sonny is as complex and complicated a character imaginable. Watching the pressure of the situation bear down on Sonny is a remarkable character study. Once again, Pacino uses his physicality to bring Sonny to life, he puts his center of gravity lower on his body, in his pelvic region, and lets that lead the way. Pacino's Sonny is desperate for validation, love and escape. He feeds off of the acceptance of others, whether they be his hostages in the bank or the crowd that gathers outside to egg him on. Watching Sonny chant "Attica, Attica, Attica!!" to the assembled crowd is one of the great iconic moments in cinema history.  (clip)

 

2. DONNIE BRASCO

1997's Donnie Brasco is one of Pacino's most underrated performances. Pacino is nothing short of brilliant as the down on his luck gangster Lefty Ruggiero. Pacino imbues Lefty with palpable desperation that seeps out of his every pore. This is, in many ways, Pacino's most profound and intimate performance of his remarkable career. Scandalously, Pacino was not nominated for an Oscar for his staggering display of genius in Donnie Brasco

 

1. THE GODFATHER I & II

It is impossible to overstate the masterpiece that is Al Pacino's work in the first two Godfather movies. Michael Corleone is one of the all-time, iconic film characters in cinematic history. That doesn't happen without the masterful work of Al Pacino. Pacino's transformation from the "good" son to the stone cold killer to the Don himself, is staggering. Pacino gives Michael a vivid and pulsating inner life that he occasionally let's pop out into the world, in explosive moments of rage at his wife Kay or his brother Tom. But even more chilling is when Michael focuses all of that power and force into a calm, collected glare. Pacino's brilliance is in making Michael Corleone a container for all of our darker ambitions while never making him into an obvious monster. Pacino's work as Michael Corleone isn't just his greatest performance, it is one of the greatest performances of all time

 

Happy belated birthday, Al!! I tip my cap to you for your lifetime of transcendent work!! Keep on frolicking until you can frolic no more!!

©2017

Man of Steel: Extremely Loud and Incredibly Monotonous

Superman is a great American myth and archetype.  It is ripe for a quality re-telling of the story, just as Christopher Nolan re-told the Batman myth with his iconic Dark Knight films.  I was hoping Man of Steel, directed by Zack Snyder and written by David Goyer, was going to be to Superman as Dark Knight was to Batman.  Alas, 'twas not to be. 

Let me say, the collection of actors in this film is a pretty impressive list. Russell Crowe, Amy Adams, Kevin Costner, Michael Shannon, Diane Lane and Laurence Fishburne have 11 acting Oscar nominations between them.  The failure of the film is not the fault of these actors.

Henry Cavill plays Superman and is perfectly cast.  He is impossibly handsome and is as ripped as you'd expect a Superman to be.  I first saw Cavill on the Showtime TV show The Tudors.  He is a fine actor with a subtle charm and dynamic presence, so I hope he doesn't get tainted by the stink of Man of Steel.  He has the makings of a movie star, but this is a bad film to kick off his climb to the top.  Henry Cavill is not the problem with Man of Steel.

As for the film itself, I won't go into the painful details, so no need for a spoiler alert, the only spoiler alert would be that the film is a steaming pile of excrement atop a flaming pile of even more excrement.  The main quality of the film is that it is relentlessly LOUD, for no other reason that I can gather except to make sure you don't fall asleep from it's suffocating monotony.  The story is at best incoherent and at its worst schizophrenic.

My best guess as to why the film is so awful, is that the director Zack Snyder wanted to make one film, the studio wanted to make another film and the producer wanted to make a yet another film.  I can only hope that none of them wanted to make THIS film.

In conclusion, this film is a wasted opportunity.  A great collection of acting talent along with an iconic character and storyline were not enough to make Man of Steel even remotely entertaining or interesting.  Superman Returns was an even more horrible Superman film from 2006, followed seven years later by the atrocious Man of Steel, so if history is any guide we won't have to wait very long for another horrendous Superman film.

The bottom line is that Man of Steel is more like Man of Steal…Audiences Money.

If you at the studios have any interest in making another Superman film, I ask that you please contact me.  I have a lot of ideas which may or may not be any good, but lucky for me lack of good ideas has never stopped you from making a Superman film before.  You have my number and my rates are reasonable....for now. 

©2013

On Grief and Acting: Revelations From Hamlet in the April of My Discontent

Actors are often called upon to portray grief, but what should the actor do when they are actually grieving and being called upon to act?  Anyone who has suffered through the death of a loved one knows that it is a devastating and disorienting experience.  It can be even more difficult for the actor who must be able to access their emotions in order to do their job.  So let's take a look at how the actor can try and work through, or at least survive, their grief.

Grieving is an entirely individual experience, no two people go through it in exactly the same way.  That being said, there is one statement that rings true for all people who grieve...'you will never be the same' or, said another way, 'you will never come out of it the way you went in'.  As much as we'd like to return to normal, we won't.  We may return to "a" normal, but it will be a new normal.  The world will never be quite the same as it was before death came knocking because you won't be the same.

Life has an energy to it, it vibrates at a certain frequency.  We are totally unaware of this in our everyday lives.  We wake up, have breakfast, go to work, talk to people, go through our day and don't think twice about any of it because we are in the flow of life.  When someone we love dies, that all changes.  We are knocked out of kilter with the universe.  The world seems a foreign and sometimes foreboding place.​  We see people going through their day to day existence and want to shake them, to wake them up from their obliviousness.  Don't they know the world has ended?  Life goes on around us, yet it has stopped for us.  This life swirling around us only accentuates the lifelessness of our deceased loved one.  

A good example of this is Hamlet.  Everyone thinks Hamlet is insane, he acts so bizarrely and is so out of the flow of the everyday existence of those around him.  Hamlet is not crazy.  He is grieving.  Grieving can look crazy to those not doing it, but it seems perfectly rational and normal to those in it's grips.  For instance, if you are grieving, you may be riding the subway and thinking about your dead loved one and crying for your loss, and then a moment later laughing when you recall a joyous or funny moment together with them when they were alive.  Your erratic emotions and actions will most assuredly make your fellow train riders think your insane, but your not, you are grieving.  

Grief dramatically alters your perspective on your surroundings and life and sets you adrift away from the current of normalcy.  Hamlet cannot shake his grief for his dead father, the king, and is angry at the ease with which others have shaken theirs, namely his mother.  He ponders suicide to end his life, "to be or not to be", but ends up contemplating the deeper meaning of death and the afterlife, "Ay, there's the rub, for in that sleep of death what dreams may come", a common topic that continually haunts the grieving.  When he sits poised ready to murder his praying uncle who has murdered Hamlet's father the king, Hamlet hesitates because he thinks of his uncle's eternal soul and that it would go to heaven due to his being killed during prayer.  Hamlet's insight into the afterlife overrides his thirst for noble vengeance.  This seems crazy to 'normal' people, but quite rational to those in the throes of grief.  Hamlet is in tune with death, the afterlife and grieving, but out of tune with the rationality and normalcy of the rest of the world.  So it is for those in grief.

The stages of grief that I have observed are this:  first, we think about and mourn the physical pain and suffering that our loved one has gone through in their death.​  Our grief is a form of empathy, we imagine what our loved one was thinking and feeling when death came, and we hope they weren't afraid or that they didn't suffer. 

After that, the second stage of grief I've observed comes upon us.  This is where we mourn for ourselves, for what we have lost.  In short, during the first stage we are thinking about them and during the second stage we are thinking about us without them.  In this second stage we focus on the empty hole in our lives where the loved one used to reside.  We mourn the time we won't have with them, the conversations lost, the dreams never realized.  I have found that this stage can take many forms, such as regret over things not said or of things said, or it can take a form of denial, where the survivor fully expects the deceased to knock upon their door in the form of a visitation.  In this stage, the deceased still seems somehow alive, even if only in the thoughts, dreams, memories and feelings of the person who mourns.  In this stage some people can have an overwhelming need to talk about their feelings and experiences with others, while other people may go inward and be incapable of talking about their pain.  There is no right or wrong way to go through this stage, only the way that is comfortable for the aggrieved.  This stage has no set time table, it can go on for weeks, months, years or in some circumstances, even a lifetime.

The third stage is the most frustrating, for it is where we mourn the loss of our mourning.  This sneaks up on us.  We realize we are no longer grieving and we yearn for the grief to return.  The grief had in some ways taken the place of the lost loved one.  We felt closer to them in our grief, but when the grief fades, we feel the loved one fading as well.  In many ways, this is the most painful of the stages of grief because it is where we must decide to actually let the loved one go and move back into the world.  It is the last goodbye.  It isn't a 'pull yourself up by your bootstraps' and move on type of thing, but rather, it is an admission that life does indeed go on, as well as our submission to it.  It is also the most important stage of grief because it acknowledges life.  Death is a part of life.  We cannot deny it and we cannot ignore it.  Even though our culture certainly bends over backwards to do so.  We must acknowledge it and respect it.  

This brings me back to the actor.  Actors are often taught, or asked to use their personal history in order to tap into emotion.  People have all sorts of opinions on this approach to acting.  I say the same thing I always say, use what works for you.  But I have one caveat to that.  While the death of a loved one will bring forth tidal waves of emotions, from anger to sadness and everything in between, my advice to any actor getting back into the swing of things after grieving is this:  never, ever use the death of a loved one to fuel your performance.  Don't substitute your dead loved one for your scene partner in a death scene.  Don't substitute your dead loved one to invigorate a scene where you get to say all the things you wish you said to them.  Don't do it.  It is disrespectful to the dead, their memory and to your experience and you'll end up regretting it.  It cheapens them and the experience you went through.  The emotions are within you, you have them, you've experienced them, you are alive with them, you are a cauldron of emotion and you don't have to envision the dead or replay a bedside farewell to call up those emotions.  That memory should be sacred to you and you should treat it with the reverence it deserves.  Instead, use your imagination to call up those emotions.  If you must use this substitution technique then use your imagination and substitute someone who is still living.  I only say this because, as much as you may love acting and have dedicated your life to it, you will regret exploiting precious memories of a dead loved one for a scene in a movie, play or tv show.  It is cheap, and it will deaden those emotions and those memories that are so precious to you and you will never be able to get them back.

​​There are countless schools of thought and theories of acting.  As an acting coach, I don't try and impose my approach onto a client.  Instead, I adapt to the client's method in order to facilitate their best performance.  With that said, I would always try and avoid using such a deeply personal experience as grief to elicit an emotional reaction in a scene.  I know that there are many who would disagree with me, but I think the emotions can be called upon without the exploitation of the sacred experience of the actor, simply by using other techniques, such as the use of breath or the actor's imagination rather than their direct experience.

I have seen grief affect different actors in different ways.  I have seen actors walk away from acting because it just seems foolish to play pretend after going through a terrible loss.  I've seen actors ​find direction and focus and rededicate themselves to the craft after losing a loved one.  I've seen actors take years off from acting to try and regain their balance, and I've seen actors dive into working non-stop for years on end without a moment's break.  We all do what we can to get through it, or in some cases, to avoid it.  The truth is you can only delay grief for so long.  It always comes, and often times, the longer we delay it, the harder it hits us.

​In our everyday lives we yearn for deeper meaning, to connect to something beyond ourselves and our mundane lives.  But when grief hits us, we ache for the mundane.  We wish for nothing more than to talk about nonsense, to watch junk tv, to zone out and disconnect from the powerful river of emotion and meaning surging through us.  We desperately want to think of something else, to run from the beast devouring us, but we can't.  The beast is hungry and relentless.  Those of us who have grieved know this.  Those of you who haven't will find out soon enough, for the beast never sleeps.  My only advice to those new to grief is this:  know that life goes on, even when we don't want it to.  Also know that you aren't crazy, but the world is.  And, finally, go and read Hamlet.  You will feel less alone.

©2013