Part One: Topics: Where are the "MANY" Deaf professional actors? The Art Department and the Theatre Department at Gallaudet University; The Screen Actor's Guild's policy about casting; The Theatre Department's background in Films and TV, and Acting training classes for Deaf Actors
(Typo: S*G*A Correction: S*A*G)
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I go out every day into the mainstream world where there is a hearing majority and where I do my networking and get support from experienced filmmakers in the filmmaking world. My passion for and my contribution to filmmaking constantly inspires my ability to persist in the determination to become a director/director of photography even though there are some people with ignorant attitudes who try to stop me, the up and coming filmmaker, from getting there. I do not sit and cry when they do not offer a position to me. I stand up and make offers of my own to them--something that will have a payoff later and will be remembered and appreciated. Sometimes I walk in a straight line, sometimes curved lines. There are also bumpy roads out there, and dead ends, too. But it is my responsibility to create the new doors for Hollywood and independent films, standing by the proof of film work.
"There always been a debate about "What is black? Who is black? Who is Blacker then Black?" I don't want to get into that; but what I will say is that in America, if you have one drop of black blood, you're considered African-American." Spike Lee (That's my story and I 'm Sticking to it)
Being big D is very important to some Deaf filmmakers like me. Sometimes people need to be patient and be able to maintain tolerance in holding onto one's convictions when it comes to making films and being big-D Deaf. It is a very competitive world. Only a few percent of aspiring filmmakers make it into the film world. It's not an easy job. The Hollywood and independent film world, including the heads of departments, are only interested in your potential. Your potential and persistence in Hollywood and the independent film world are the key to breaking through the glass ceiling. It's all about TIME and MONEY. As Deaf filmmakers, it's important for us to know how to play their game of chess in order to GET INTO Hollywood or succeed with a major independent film. The ways we fight back include: GETTING IN, showing our potential, and being persistent. If you can do that, I promise you that they will remember you and hire you again, again, and again. The more Deaf filmmakers get in, the more heads of department will notice and want them. Deaf filmmakers will then rise in the ranks and become heads of the departments themselves, so that they will hire and create the future ranks of Deaf filmmakers and Deaf actors.
Some Deaf people think that it's against the rules for casting directors to cast anyone that may not match a character's skin pigmentation, language background or appearance. The Screen Actor's Guild ENCOURAGES film production companies to cast actors who are close enough to the roles, in support of diversity in the acting profession. Still today, white actors do perform some of the black roles, for example, in the movie Tropic Thunder. But you should understand that the SAG does not require film producers to abide by any rules along those lines.
"Never let your persistence and passion turn into stubbornness and ignorance." Anthony J. D'Angelo
I do not want to have to point out these issues, but unfortunately, a few of the digital video and film professors in the Department of Art, TV, Photography, and Digital Media at Gallaudet did not know what was going on with the Matt Hamill audition and they were disappointed to discover that the Department of Theatre Arts chose to cancel the audition without discussing it with them.
"There always been a debate about "What is black? Who is black? Who is Blacker then Black?" I don't want to get into that; but what I will say is that in America, if you have one drop of black blood, you're considered African-American." Spike Lee (That's my story and I 'm Sticking to it)
Being big D is very important to some Deaf filmmakers like me. Sometimes people need to be patient and be able to maintain tolerance in holding onto one's convictions when it comes to making films and being big-D Deaf. It is a very competitive world. Only a few percent of aspiring filmmakers make it into the film world. It's not an easy job. The Hollywood and independent film world, including the heads of departments, are only interested in your potential. Your potential and persistence in Hollywood and the independent film world are the key to breaking through the glass ceiling. It's all about TIME and MONEY. As Deaf filmmakers, it's important for us to know how to play their game of chess in order to GET INTO Hollywood or succeed with a major independent film. The ways we fight back include: GETTING IN, showing our potential, and being persistent. If you can do that, I promise you that they will remember you and hire you again, again, and again. The more Deaf filmmakers get in, the more heads of department will notice and want them. Deaf filmmakers will then rise in the ranks and become heads of the departments themselves, so that they will hire and create the future ranks of Deaf filmmakers and Deaf actors.
Some Deaf people think that it's against the rules for casting directors to cast anyone that may not match a character's skin pigmentation, language background or appearance. The Screen Actor's Guild ENCOURAGES film production companies to cast actors who are close enough to the roles, in support of diversity in the acting profession. Still today, white actors do perform some of the black roles, for example, in the movie Tropic Thunder. But you should understand that the SAG does not require film producers to abide by any rules along those lines.
"Never let your persistence and passion turn into stubbornness and ignorance." Anthony J. D'Angelo
I do not want to have to point out these issues, but unfortunately, a few of the digital video and film professors in the Department of Art, TV, Photography, and Digital Media at Gallaudet did not know what was going on with the Matt Hamill audition and they were disappointed to discover that the Department of Theatre Arts chose to cancel the audition without discussing it with them.
I know some of the faculty and staff members in the Department of Theatre Arts at Gallaudet. I learned a lot about theatre from them. They were great supporters. I hate to say it, but they do lack knowledge as it pertains to acting in video and film and understanding how the system works in Hollywood and in the independent film industry.
In response to Monique Holt, Ethan Sinnott, Angela V. Farrand and Gerard Williams:
"It is important to get Deaf actors to create their own work for themselves and starring themselves. For those projects developed by others, it is important to educate the creative team and casting directors that Deaf characters that use ASL should go to Deaf actors/actresses who have the talent to do it." Monique Holt
"My view on this is that for every Deaf role taken by a hearing actor is one less opportunity for a Deaf actor in a field where Deaf people are vastly underrepresented. " Ethan Sinnott
"At a broader level this is cultural sabotage. There are many skilled Deaf actors in the community today who would love the opportunity to play a role suited to their cultural background." Gerard Williams
I feel for Deaf actors who become disappointed when they do not get the leading role of a Deaf character. I support the idea that all Deaf roles should go to Deaf actors. In all my productions, I will put all my efforts toward casting Deaf actors for the Deaf roles. As a director, I would face some issues that would prevent me from completing the movie if I were forced to follow an ironclad rule that could never be broken. Now, here is the challenge that I keep facing from time from time. I've seen some people say that there are PLENTY OF DEAF DIRECTORS, and DEAF ACTORS out there. I do not agree that there are, and there is evidence to show that there are not a lot of actors and directors who have heavy hands-on experience in the film industry. How could these filmmakers not notice the real state of affairs? So I bring the question to the table now. Can we solve this?
Are you, the educators of the acting world, able to recognize that there is very limited training available for Deaf actors to gain an understanding of how television and film productions function and learn film jargon and how those types of directors communicate with actors?
I constantly meet actors who bring their stage performance skills to the small screen. This is a BIG NO! I learned my lesson the hard way after I transferred from Gallaudet University to the School of Visual Arts. There is a lack of access for students to information about the system of filmmaking and acting on the small screen. I had to throw out a lot previous ideas from my studies at Gallaudet and then re-learn issues relating to the tools and techniques of filmmaking from where I study now, at the School of Visual Arts, which has a program which is taught by professors who have heavy hands-on experience with Hollywood and with independent films.
Every time I make an announcement for an audition I only get about three replies from Deaf actors, while I get about 40 replies from hearing actors. Please tell me why the heck this happens all the time if there are plenty of Deaf actors with the proper training and background out there?
What's ironic is that some professional Deaf actors are too busy sulking and pouting about how Hollywood or major independent films didn't hire them to play leading roles, while there are Deaf filmmakers who have acting roles available for these Deaf actors. They end up snubbing us because we are still climbing the ladder, and and are not in the land of Hollywood--not yet, that is--where there is room for deserving Deaf filmmakers.
Why don't we Deaf filmmakers and professional Deaf actors work together and make movies that prove to the world that we are talented artists with with our own areas of expertise, instead of wasting time begging Hollywood to give roles to Deaf actors?
"Spike is someone who is not waiting for Hollywood to provide him with the script or the opportunity. He goes out to make it happen, on his own terms, in his own way, and if that way succeeds-great, and if it doesn't-too bad. Spike will just run off to the next project." By Ossie Davis
Spike Lee, who is a Black director, chose not to accept the attitude of learned helplessness by continuing to struggle with Hollywood and begging Hollywood to give him a chance. Spike Lee chose to set up his own production company and he made movies. He's earned over a million dollars for a movie production after he worked very hard to build his reputation as a respected Black filmmaker in the world of the money-machine studios (which is what Hollywood is). One of the studios provided less funding than what he had budgeted, so he went to his Black friends and raised extra money to meet his budget. The studios were embarrassed and then knew that Spike Lee could accomplish things without their help.
While working at NBC, I learned that the Spanish channel group first proposed the idea of a new Spanish channel to Hollywood studios, and to work with them in setting one up. Hollywood laughed at them, brushed them aside, and had the attitude that a Spanish Channel wouldn't succeed. They rejected them. The Spanish channel people worked very hard to make it successful with lot of support from their Spanish community. Now it is very much successful. NBC Universal then launched a Spanish channel called Telemundo, which is currently the most popular Spanish channel in the cable network.
"There will be hunters and hunted, winners and losers. What counts in global competition is the right strategy and success." Heinrich von Pierer
The point is: don't fall victim to learned helplessness. Get out and make films. Show them what they are missing. Let's be empowered and take matters into our hands. When there is an opportunity to accept work in crew positions, go and grab those jobs. Develop your own reel. Show your work, and make others sit up and take notice. Persistence is the single most important factor in any filmmaker's career. The successful filmmakers will be the ones who don't stop until they complete the production from start to end. As Emily Dickinson says, "Not knowing when the dawn will come, I open every door."
There are two paths: Many movies are waiting to be produced. We should go out and grab these opportunities and do them all the way, each one to the end, until completion, working together, collaboratively, as crew members and actors, to actually produce films made by Deaf people. OTHERWISE, the only other path would be to head down the path of learned helplessness and catering to the people who have their eyes and minds closed who will dictate to you who gets which roles as you roll over on the ground in front of them.
A little note: I will be on semi-leave as a vlogger due to working on an upcoming film. The website about it will be released soon, some time next month. Have a great and safe summer.
In response to Monique Holt, Ethan Sinnott, Angela V. Farrand and Gerard Williams:
"It is important to get Deaf actors to create their own work for themselves and starring themselves. For those projects developed by others, it is important to educate the creative team and casting directors that Deaf characters that use ASL should go to Deaf actors/actresses who have the talent to do it." Monique Holt
"My view on this is that for every Deaf role taken by a hearing actor is one less opportunity for a Deaf actor in a field where Deaf people are vastly underrepresented. " Ethan Sinnott
"At a broader level this is cultural sabotage. There are many skilled Deaf actors in the community today who would love the opportunity to play a role suited to their cultural background." Gerard Williams
I feel for Deaf actors who become disappointed when they do not get the leading role of a Deaf character. I support the idea that all Deaf roles should go to Deaf actors. In all my productions, I will put all my efforts toward casting Deaf actors for the Deaf roles. As a director, I would face some issues that would prevent me from completing the movie if I were forced to follow an ironclad rule that could never be broken. Now, here is the challenge that I keep facing from time from time. I've seen some people say that there are PLENTY OF DEAF DIRECTORS, and DEAF ACTORS out there. I do not agree that there are, and there is evidence to show that there are not a lot of actors and directors who have heavy hands-on experience in the film industry. How could these filmmakers not notice the real state of affairs? So I bring the question to the table now. Can we solve this?
Are you, the educators of the acting world, able to recognize that there is very limited training available for Deaf actors to gain an understanding of how television and film productions function and learn film jargon and how those types of directors communicate with actors?
I constantly meet actors who bring their stage performance skills to the small screen. This is a BIG NO! I learned my lesson the hard way after I transferred from Gallaudet University to the School of Visual Arts. There is a lack of access for students to information about the system of filmmaking and acting on the small screen. I had to throw out a lot previous ideas from my studies at Gallaudet and then re-learn issues relating to the tools and techniques of filmmaking from where I study now, at the School of Visual Arts, which has a program which is taught by professors who have heavy hands-on experience with Hollywood and with independent films.
Every time I make an announcement for an audition I only get about three replies from Deaf actors, while I get about 40 replies from hearing actors. Please tell me why the heck this happens all the time if there are plenty of Deaf actors with the proper training and background out there?
What's ironic is that some professional Deaf actors are too busy sulking and pouting about how Hollywood or major independent films didn't hire them to play leading roles, while there are Deaf filmmakers who have acting roles available for these Deaf actors. They end up snubbing us because we are still climbing the ladder, and and are not in the land of Hollywood--not yet, that is--where there is room for deserving Deaf filmmakers.
Why don't we Deaf filmmakers and professional Deaf actors work together and make movies that prove to the world that we are talented artists with with our own areas of expertise, instead of wasting time begging Hollywood to give roles to Deaf actors?
"Spike is someone who is not waiting for Hollywood to provide him with the script or the opportunity. He goes out to make it happen, on his own terms, in his own way, and if that way succeeds-great, and if it doesn't-too bad. Spike will just run off to the next project." By Ossie Davis
Spike Lee, who is a Black director, chose not to accept the attitude of learned helplessness by continuing to struggle with Hollywood and begging Hollywood to give him a chance. Spike Lee chose to set up his own production company and he made movies. He's earned over a million dollars for a movie production after he worked very hard to build his reputation as a respected Black filmmaker in the world of the money-machine studios (which is what Hollywood is). One of the studios provided less funding than what he had budgeted, so he went to his Black friends and raised extra money to meet his budget. The studios were embarrassed and then knew that Spike Lee could accomplish things without their help.
While working at NBC, I learned that the Spanish channel group first proposed the idea of a new Spanish channel to Hollywood studios, and to work with them in setting one up. Hollywood laughed at them, brushed them aside, and had the attitude that a Spanish Channel wouldn't succeed. They rejected them. The Spanish channel people worked very hard to make it successful with lot of support from their Spanish community. Now it is very much successful. NBC Universal then launched a Spanish channel called Telemundo, which is currently the most popular Spanish channel in the cable network.
"There will be hunters and hunted, winners and losers. What counts in global competition is the right strategy and success." Heinrich von Pierer
The point is: don't fall victim to learned helplessness. Get out and make films. Show them what they are missing. Let's be empowered and take matters into our hands. When there is an opportunity to accept work in crew positions, go and grab those jobs. Develop your own reel. Show your work, and make others sit up and take notice. Persistence is the single most important factor in any filmmaker's career. The successful filmmakers will be the ones who don't stop until they complete the production from start to end. As Emily Dickinson says, "Not knowing when the dawn will come, I open every door."
There are two paths: Many movies are waiting to be produced. We should go out and grab these opportunities and do them all the way, each one to the end, until completion, working together, collaboratively, as crew members and actors, to actually produce films made by Deaf people. OTHERWISE, the only other path would be to head down the path of learned helplessness and catering to the people who have their eyes and minds closed who will dictate to you who gets which roles as you roll over on the ground in front of them.
A little note: I will be on semi-leave as a vlogger due to working on an upcoming film. The website about it will be released soon, some time next month. Have a great and safe summer.
