Casting site: StarNow have sent me a call they think I might be interested in.
(Just hope the wig fits)...

I recently watched the 1997 British comedy: 'The Full Monty' on television again, and I must say I have always found it a remarkably poignant and touching film. Essentially it is the story of how a handful of unemployed, skint steelworkers in Sheffield, England, come up with a novel idea of to make a few quid, they decide to be male strippers for a one off show; but for me the film also touches something much deeper about the human condition.
​I think men still form a sense of who, and what they are from their occupation. Losing his job obviously creates financial worries and stress for a man; but as this film highlights, it also means something more profound. It is as though what it means to be a man has been taken from the characters, it is almost as if their very Humanity has been erased.
The scene where Gerald is almost in tears after the lads have ruined his first interview in months, confessing he has been unable to tell his Wife of his predicament; and especially the scene when Dave tells his Wife he can't go through with the show because: "who wants to see this dance?" And she lovingly replies: "Me Dave... I do", I personally find heart-rending.
One of British film-making's real gems, The Full Monty finds a perfect balance of comedy and tragedy to deliver a beautiful, and very important story.

(You can leave your hat on)...

I recently watched a very interesting video by the renowned acting coach, Steven Ditmyer on how to deliver monologues using the Meisner Technique. Sanford Meisner believed very much in the relationships between Actors in a scene and taught his Students to get out of their own heads by focusing on their scene partner. I really like the technique which is intensely visceral and alive; however, it gets interesting when there is no 'other'. When the Actor or Actress must deliver a monologue...
The first time I struggled with Meisner theory was when I was doing a screen acting workshop. We did an exercise where another Actor read the other character's lines as if they were a studio Intern, and I had to stay in character delivering my lines to the top of a camera tripod. The 'Intern' was told to blank read without any emotional input, but I still had to act. I really enjoy doing monologues and find that using imagination to change the target character and given circumstances for a particular piece can profoundly change its delivery. In Steven's video he suggested having a clear visualization of whom, or what, you are dilvering the words to; and with particular reference to the tripod exercise, I remember another teacher of Meisner who advised me to "keep acting until that tripod responds to you"! However there are some pieces for which I think the Actor must source everything within themselves. I find some of my favourite monologues in Science Fiction movies and particularly like the final piece from 'The Incredible Shrinking Man' (1957). Those who have seen the film will know that by the end the title character is now miniscule, and thought by his family to be dead, so who exactly are the voiced-over words being delivered to? Who would ever hear these words? He makes reference to God, for whom "there is no zero", but speaks about Him in the third person. Nevertheless, the words are incredibly poignant, and a great challenge for an Actor inasmuch as they come from the depths of the character's soul, but involve no other character. I have to be honest and say that I do not visualize an 'other' when I perform this monologue, but always feel very stirred within myself. For me it seems, I can find an 'other' within myself, and that can be very useful when talking to tripods...

I cannot believe they are closing the beauty parlours again.
NOW WHAT AM I GOING TO DO!!!
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#theydontmakethemlikethatanymore #alwayschasingmagic

A film I appeared in is currently being shown at the Venice Film Festival, and I received this message from the Lead Actor...
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'​Clark, you bring so much depth to the film and you look great on the big screen out here! Sending all our best to you!'
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​I must say, it is always a great honour and a humbling experience when a fellow professional extends you that kind of respect. And that respect is absolutely mutual.
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​Thank You, Anthony...

Today I learned the sad news that I had expected for some time. At the grand old age of 104, one of the last great icons from the Golden Age of Hollywood has left us for that great awards ceremony in the sky. The Great Olivia de Havilland is dead.
Born in Tokyo in 1916, the arts were in her blood, her Mother being a RADA trained stage Actress; and a younger Sister, Joan Fontaine, also becoming a famous Actress, and with whom she was said to have had a long-standing rivalry; (although I personally felt the media overplayed it). Her paternal cousin, Sir Geoffrey de Havilland, was the founder of the legendary de Havilland aircraft company.
Olivia de Havilland's remarkable career would span some five decades, and in addition to being a wonderful Actress, she became a champion of performers' rights when she challenged the studio system which was prevalent in Hollywood at that time. Backed by the Screen Actors Guild she took her employers, Warner Brothers, to court and won what became a landmark labour ruling in 1944, known to this day as the 'De Havilland Law'.
I think I fell in love with her when I was eight years old, watching her on the old black and white telly opposite the great Errol Flynn, with whom she co-starred eight times. And of course, there was 'Gone With The Wind', for me still the greatest movie ever made, which garnered her one of the five Oscar nominations of her career. She would win two.
I guess when you are one hundred and four years old, you are entitled to cash your chips; but I cannot help but feel a deep sadness at her passing. It is as if a little part of my childhood has gone. They really don't make films like that any more; and we may never see her like again.
When her character, Melanie Wilkes, dies in Gone With The Wind, Rhett Butler speaks a line which somehow seems appropriate today...

"Well, God rest her. She was the only completely kind person I ever knew. A great Lady. A very great Lady."

A Great Lady, indeed.
Goodbye Madam, and Thank You...

Olivia Mary de Havilland, (1916-2020).
Requiescat In Pace...

I was extremely honoured to have been cast in 'Adam' and privileged to have worked with such a dedicated and professional cast and crew.
May I take this opportunity to wish everyone involved with this film success at the forthcoming Venice Film Festival...
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In bocca al lupo!

Since venturing into the world of acting, some of my happiest times in training were at Royal Central, where I studied courses ranging from acting technique, Shakespeare, singing and text. I look forward very much to learning at this wonderful Conservatoire again before too long.
In this picture, taken a few years ago, I am standing beside a bust in the foyer of the most famous Student ever to attend the school... Sir Laurence Olivier.
Follow my blog for announcements about my current and forthcoming projects...
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My Friend and Screen Acting Tutor, Ruggero Dalla Santa gives his thoughts here on one of the most powerful cinematic scenes ever.
I thought Joaquin Phoenix was immense in Gladiator, and Ruggero has picked exactly the scene that I would have done. The first time I saw it, my heart broke for Commodus, who only wanted his Father to love him, and to feel himself worthy of that love. I have said many times that great Actors can tell me what their character is thinking and feeling with very little physical action, and Phoenix does all that here. With the slightest of facial movement, you see his character in a moment of terrible personal torture. The only issue I would question Ruggero on is the incidental music, which I think can be very powerful on screen, and was here.
That final line of dialogue: "I would butcher the whole World, if you would only love me", is truly heartbreaking.
I think it was Stanislavski who said: "if you are playing a bad character, try to find a little good in him", (and vice versa). And in a strange way, this is a great example of that; as we watch this heartbroken child turn into a monster later in the film.
If like me, your first love is acting for camera, I can highly recommend following Ruggero's channels...