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Technological Advancements Have Added Value to Our Writings.

Apr. 9th, 2019 | 05:50 pm

YAY!!!!!

IN THE FUTURE, I WILL POST A LINK TO MY WRITINGS ON AMAZON PUBLISHING.

THANK YOU, ALL, FOR HELPING ME TO SAVE MY ESSAYS AND STORIES FROM THE PAST 25 YEARS.

I WENT TO COLLEGE FOR 13 YEARS. I BECAME A DEAN'S HONOR LIST GRADUATE WITH MULTIPLE COLLEGE DEGREES. THANK YOU, ALL, FOR HELPING ME TO PROTECT MY WRITINGS.

GOD BLESS AMERICA AND I LOVE YOU ALL,

ANDREA CALABRESE
BestHollywoodProfessionals@gmail.com
626-676-0353

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SCREENWRITING COMPETITIONS

Dec. 29th, 2014 | 09:26 pm
location: Hollywood, CA

Hey guys!

I decided to get a brain, so I've been studying screenwriting the past two years--since earning degrees in Theatre Arts and in Liberal Arts.

I'm finding that screenwriting is a very exciting business! There are lots of prizes to be won and sales to be made!

I thought it'd be a good idea to start an open blog for anyone who may know of any great screenwriting contests that shouldn't be missed, throughout the year.

Please feel free to post them!

Thanks, and Happy New Year!

Andrea Calabrese


Pipeline
ScreamFestLa.com
Independent Spirit Awards
Scriptapalooza
Beverly Hills Film Festival
Nicholl Fellowships
Burbank Film Festival
Creative World Awards
Page Awards
Catalina Island Festival
Action On Film Fetival

http://www.filmfreeway.com
http://www.withoutabox.com

If you know of anymore, please post! Thank you!

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NEW WEBSITE!

Apr. 24th, 2014 | 06:22 pm

http://www.imdb.me/andreacalabrese

Please visit my IMDb page! THANK YOU!

Andrea Calabrese
BestHollywoodProfessionals@gmail.com

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It's a Locked Oppression

Dec. 22nd, 2010 | 11:25 pm

I wrote this paper for my Liberal Arts degree With Honors in 2007. Not only did it help Arnold and Maria with a minimum wage increase to 8.00/hour for all of our supporting actors at Central Casting, but it also helped to encourage the minimum wage increase on a national level to 7.25/hour. I hope you enjoy it!




IT'S A LOCKED OPPRESSION
written by Andrea Calabrese
05/31/2007


Journalism
Santa Monica College
Spring, 2007





"OUCH! What the hell did that guy just do to me?" cried Cindy. On November 29, 2006 at Cal State Fullerton, she was unexpectedly grabbed on her left side and put into a headlock. Suddenly, her neck was twisted and her face was red. A principal actor on the Fox production, "The Comebacks" is currently under investigation for the physical assault of a non-union background actor employed by "Sessions" Casting. They were both working on the same set. She was playing a reporter, and he was playing a 6’5" football star, but because she was working as a non-union actor on the set (after working on hundreds of television and film productions) to this day she has not been allowed SAG union actor's rights, insurance, or other benefits and is scrounging on minimum wage. Cindy was left stranded holding the hospital bill.

On another film set in Hollywood, another non-union background actor employed by Central Casting (the casting agency used by almost every major studio in Los Angeles), "Nicole," (whose name has been changed to protect her identity) complains "Jesus Christ! I thought slavery and segregation ended when Martin Luther King Jr. perished! I have been working on this set for 12 hours today and they are putting up signs that say, DO NOT TOUCH on coffee and snacks reserved for SAG actors and technical staff only."

The non-union actor quietly proceeds to the segregated section of the cafeteria and says to another, "Why do they divide us like this? We are doing the same acting work as them. We are all working on the same show together. Why do they treat us like second class citizens?" She continues, "They don’t let us into the Screen Actors Guild so they can abuse their power over us. They hold our SAG union vouchers over our heads and do not let us have them just to get the background actors to bow down to sexual harassment and discrimination."

Turn on the TV. Every day on every television in America, there is a silent injustice going on that not many household audiences realize or understand. Every day, non-union background actors are seen on television entertaining audiences across America. They are the silent ones, without a voice in the background on TV and in the movies, pretending to talk. They are the lives that fill the stands, the people on the dance floor, the populace in the bars, the citizens of the town, and the patrons on the screen working to support the television show making it look cool, like it’s a hip place to be.

Take a closer look. Who and what are those life forms in the background? They are not lifeless mannequins and they are not robots. They are people with lives, emotions, and responsibilities. In reality, Central Casting is being paid millions of dollars by the movie and television studios for the townspeople working on television programming that are seen in the background: the waiters, the pedestrians, the shoppers and the givers of life to the TV. Many are non-union background actors because they are not being allowed to join the actors union, SAG. Many of these actors are skilled workers and have been working on minimum wage for many years with no increase to their wages as their skills develop. On the set, they are treated unfairly by the production companies and many times are segregated from the one or two celebrities because of discrimination via agents that do not want to represent them--even though the law (labor code 1700.4) states that every artist in the State of California must "procure work through a Talent Agency." It is difficult to imagine that entertainment industry leaders and celebrities find it acceptable to pay non-union actors (their very own supporting actors) minimum wage because the acting skills they hold and have worked to acquire do not qualify as quality attributes of a skilled trade.

Television would be lifeless if the principal actors were the only people in the town, and on the screen. By taking a closer look at these "extra" artists, many of whom have been denied representation because there are not enough talent agents to handle the demand, we find that the lack of 'artist's own rights' incorporates all sorts of problems that these oppressed non-union background actors are dealing with on a daily basis: low wages, no benefits, no residuals, sexual harassment and discrimination to name a few. With no extras union available to assist non-union background actors into the Screen Actors Guild, the real question is: Where is the money going that is allocated to pay the townspeople in television programming?

At almost 400 movies produced in America each year and over 100 million dollar profits from each film--after cinema sales, Internet sales, DVD sales, cable sales, satellite sales and pay-per-view profits off of each movie (400 times 100 million dollars each year), there is no damn reason why the background actors that work on these productions should have to be sleeping in tents on the sidewalks, going to the sets with sickness making everyone who doesn't have a private trailer sick and over 80,000 homeless people in the City of Los Angeles, many of whom are homeless because they've been forced to work as a non-union actor on these multi-million dollar productions. The fact of the matter is that if these studio workers/non-union background actors were paid proportionate wages to the few celebrity contracts written to benefit the agent's cut, the City of Los Angeles would not currently have the highest levels of poverty in the country.

Besides the lack of representation for non-union background actors, there also seems to be a few misunderstandings in the matter of how these actors should earn their way into the Screen Actors Guild on their own. SAG officials have expressed that any actor (employed by an agency, such as Central Casting) has the right to work on a SAG union voucher whether they are union or not. According to Terry Becherer, a contracts specialist at SAG, non-union "actors don't have to be a SAG member to be hired on a SAG union voucher." The contradiction arises because the casting agency (Central) is telling the non-union actors that non-union actors are not allowed to work on SAG union vouchers unless they are SAG members.

One solution to solving this "locked oppression" could be to create a new department or new job position at the SAG headquarters in Los Angeles, such as "Official Voucher Person" available to assist non-union actors if they are having problems getting their SAG union vouchers because they are trying to be SAG members, working as non-union actors at Central Casting or other agency.

If this type of assistance was made available to non-union actors, it would help to minimize the extreme and unfair poverty levels in the City of Los Angeles, help to reduce the homeless crisis, and greatly improve the quality of life for Los Angeles families and communities everywhere. What kind of life is someone to have that works 20 years at minimum wage with no increase to their wages as their skills are developed?

According to "Nicole," who says the production assistants at Central Casting "take advantage of the non-union actors and use their power to get what they want out of them" (ranging from bribery to sexual favors in exchange for SAG union vouchers) before letting them have a SAG union voucher. "The entertainment industry would be lifeless without background actors," she says. "If there was no movement, no life, no customers, no pedestrians, no fans and no supporting actors, the television would be boring and dull. If people turned on their television sets and only saw the principal actors and no people in the background, the show would be dull and lifeless. The audience would question the TV shows' legitimacy and say, 'Where are all the townspeople? Is this a real show?'"

Cindy has worked almost 1,000 days as a non-union actor and only has one SAG union voucher. She has an excellent reputation, but unfortunately has been given many excuses for why she is not being allowed to have a SAG union voucher. For example, she has been told by the production company on the set that they "would be fined $1,000" if they let her work on a SAG union voucher, which has been proven to be an illegitimate excuse by a SAG representative. Other excuses have included: Central Casting didn't have any SAG vouchers to give out to non-union actors that day; they didn't have the power to hire a non-union actor on a SAG voucher; the "P.A." didn't have the power to give out SAG union vouchers; or the production company had already met their quota for the day. Many times when non-union actors arrive on a set, they are faced with signs put up by the production companies that say: "DO NOT ASK FOR SAG UNION VOUCHERS."

Other non-union actors are complaining because they are being asked to do sexual favors in exchange for SAG vouchers. Some are being asked to wait until the show has wrapped to see if there will be any time left in exchange for SAG union vouchers and others are even being told that they would be given SAG union vouchers if they are willing to go to hotel rooms after the shoot.

If what children are watching on television is such an important issue, then isn’t it time for our leaders to realize that if what our children are watching on TV has any relevance at all, then isn’t it important to pay the people on television more than minimum wage? Paying the non-union background actors more than the minimum wage (Such as, an increase of five cents per day of work on each television show or movie set. Since they do not currently receive any annual or biannual relief from basic minimum wage after several years of working on productions—compared to 22 million per year for a few agent contracts to benefit five percent of the population of actors in Los Angeles—a five cent increase per day of work for over 90 percent of the entire acting community wouldn’t be very much.) would allow the presentation for television programming to be of higher quality.

How can anyone expect to deliver quality television programming for the children of every television household when the actors are suffering on minimum wages? After all, children reflect what they see. Isn't it important to be concerned about what they are watching on TV?



www.joematters.com

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CONTACT INFO: UPDATED 08/05/2013

Sep. 21st, 2010 | 10:27 pm
location: Hollywood

CONTACT INFO UPDATED: 08/05/2013

Please set any and/or all home pages to: http://www.imdb.me/andreacalabrese

If you send me your email to: mustcastandrea@gmail.com, I can send you a copy of my most recent screentest by email!



FACEBOOK: Andrea Calabrese

YouTube: http://www.youtube.com/watch?v=4bxR7FOovuQ

Twitter: http://www.twitter.com/leomarriedandi

Voice Demos available at: http://www.joematters.com/VoiceDemos.html


Goal: To be cast in speaking roles in movies and on TV.

Quote: I've been on stage since I was three years old--in something every year growing up. I was Miss Wisconsin Pre-Teen 1983, Graduated Modeling School 1987, Won Best Actress in High School 1990, Won several Awards for Local Origination Television 1996-1999, Graduated Theatre Arts Degree With Honors 2008, Won Best Feature Film 2009, Featured in July 2010 Players Guide for Casting Directors

Links:
Blog: http://andreacal.livejournal.com/
Facebook: Andrea Calabrese
MySpace: http://www.myspace.com/theultimateloudmouth
Twitter: http://www.twitter.com/andreacalabrese


Available for screentests and/or auditions in Los Angeles!
Please contact: mustcastandrea@gmail.com

Thank you for your consideration!

PEACE AND LOVE

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For Your Consideration to the following story on Polanski

Dec. 23rd, 2008 | 11:17 pm

The previous post on Polanski reads to me "Field Full."

Therefore, I would like to add a few points:

Let's' all ask Jack Nicholson, "Would you prefer to have the cops at your house or not at your house?"

Who called the cops on Jack Nicholson?

I believe that Samantha Geimer was prostituted by her mother who then called the cops on Jack Nicholson. It may very well be true that her mother prostituted her daughter into Jack Nicholson's house, and then called the cops trying to get money out of Nicholson.

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More Essays on Movies

Mar. 5th, 2008 | 03:24 am

To read more essays on movies, click:

http://www.joematters.com/Movies2.html

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Stagecraft: Radio Ghost Stories

Feb. 12th, 2008 | 07:17 pm

RADIO GHOST STORIES


A Play Critique
Written by Andrea Calabrese
Professor: Doug Forsyth
STAGECRAFT
11/07/07



On November 2nd, 2007 at 8pm, I attended Radio Ghost Stories, performed on Santa Monica College’s studio stage. Written and directed by Terrin Adair, I thought Radio Ghost Stories—although long and drawn out at times—was a delightful and entertaining production.

The acting was great and the lighting was perfect. I really enjoyed the hair and make-up on these characters. I thought the hair and make-up was done so well that it helped to define the characters personalities a lot better. I especially liked the 1940’s costumes and hairstyles. The characters of Penelope, Fabritzio, Hester Willis and the Ghost of Louie Montelli could not have been so perfectly presented if it hadn’t been for the excellent job (work) on hair and make-up. I thought the comedy was well written. I especially loved the variety of character in Hester Willis’s costumes and make-up.

To mention a few things about prop details, I thought it was strange that there was not a telephone in the office on stage. It seemed very strange to have microphones, donuts and couches with no telephones in the room. I really liked the color coordination as well. There seemed to be a lot of bright colors being used which really helped to animate the misc-en-scene of the stage: the red jar, the blue light on the back wall, the pink donut box and the red and white polka dots on the costume.

I also really liked the foley table. The bells, whistles, chimes, pots and pans used as special effects helped to give realistic sound quality. I also liked how they used foley sounds as transitions from scene to scene. It helped to indicate what was going on during the transition to commercials and other significant aspects of the production. There would always be foley chimes to call in the jingle girls (to signify commercials), and I really enjoyed this because it helped the audience to believe that we were really witnessing a radio show being broadcast in the 1940’s.

Something I found weird and distracting was how the ghost of Louie Montelli was hanging out in the corner for a half an hour before he spoke any lines. I saw him come in right away, but he didn’t identify himself for a half an hour. I realized he was the dead guy, but I honestly found it distracting that this great character, well-dressed with white scary looking makeup was on the set, but no one knew who he was for a half an hour—until he announced that he was a ghost!

I thought Penelope did a great job with memorization. I don’t know if it was her mic or what, but at times she was talking so fast it was difficult to understand what she was saying and at other times her voice was so loud and at such close range that it came off as somewhat annoying and overbearing. There were times when I thought she was adorable and I really enjoyed her use of the props: the gun and the case file, both having very high energy and great drama.

One of the biggest problems I noticed with the entire play was with the costumes. There were several small holes in many of the costumes and it looked like Penelope had a run in her stockings. This I did not like at all. When the costumes are under the bright lights, even the littlest hole will stand out. Among the most obvious was the problem with Fabritzio’s green jacket. There was a hole in the back of his jacket showing his white shirt underneath—making the hole stand out.

I thought that other than these few mishaps, Radio Ghost Stories was superbly entertaining and a great story.

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Acting Critique: Burn This

Oct. 5th, 2007 | 01:02 am
mood: productive

Acting Critique of Burn This written by Andrea Calabrese, STAGECRAFT, 09/28/2007


On Friday, September 28, 2007 at 8:00pm, I attended the opening theatrical performance of Burn This at Santa Monica College’s Studio Stage. Directed by Aric Martin, Burn This is a ferocious comedy about the lives of four friends and how they cope with the tragic death of their friend and roommate, Robbie “the dancer.”

The scene takes place in a Manhattan Loft Apartment in New York City where Robbie (the deceased) used to live with his two roommates, Anna and Larry. The other two characters in the cast play visitors to the scene: Pale—the brother of the deceased, and Burton—a wealthy friend who seems to know something about producing performances for Anna and her deceased dance partner, Robbie.

The two and a half hour play is spent dealing with dramatics, emotions, problems, and developments of their relationships as they all begin to learn to live without (the third roommate) Robbie. The dialog begins to pass over as an episode from Seinfeld with provocative and obscene language allowed.

When Pale’s dramatic and emotional character comes into the scene, he enters the play by standing hidden in the dark pounding and screaming behind the door on the set. While we were all sitting in the dark waiting for Anna, played by Liz Federico, to turn on the lights—Pale, played by Brian Ramian, had come over in the middle of the night and waking Anna up—and he started yelling, “Annie!” so loudly that I swear to God I almost got up to see what he wanted because I thought it was Doug (Forsythe, the Technical Director) calling for, “Andi!”


There were many aspects of this play that I really enjoyed. First and foremost, the acting was excellent and not once did any of the actors flub any of their lines. I was very impressed by this considering the small cast and great length of the play.

Secondly, I really enjoyed the music and sound effects. Although there was no mention of, or credit given to, individual songs in the program, the selection of music was beautiful and appropriate ranging from Frank Sinatra to Bjork. Audience members really took a liking to the popular choices in music as I noticed they were dancing and singing along. I also very much enjoyed the excellent coordination of sound to the dialog and to the actors movements. At one point, when Pale opened the windows, the city noise could be heard as if it was really “city noise” happening in the streets of New York. This added a very cool effect and made the play a lot more realistic. The only thing I didn’t like about the music was at the beginning, while we were waiting for the play to start, they had “You make me feel so young” on loop mode, so we heard that one song about 10 times, over and over again, while we waited for the show to start.

Thirdly, the lighting was totally awesome and beautiful. The only problem I saw with any of the lighting throughout the entire play was during the first morning when Pale and Anna woke up together. We knew it was morning because of the very cool and great new gobos brought in from up above. However, it was difficult for the audience to recognize this transition from night to morning light because at this time—the light through the windows in the background (where the ladder/escalator was) did not change at all. This made it a bit confusing, but it helped the scene to have gobos from straight above with brighter light. From the audience, it looked a little strange because the background lighting did not change from night until morning. (It stayed dark on the back wall throughout the transition.)

Finally, I would like to add that in watching this awesome production, it was really neat to see how the lighting changed the appearance of the colors on the set of the props we painted. Mixed with the gold lighting, it made the grey look more appealable and it was cool to quietly think to myself, “Hey! We painted those tables! They look great!” Beautiful job on the sets, if I do say so myself.

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I've Always Loved Horror Movies

Aug. 4th, 2007 | 01:30 am

When I was a baby, I got stuck in a haunted house with my grandmother at the town's travelling summer carnival. I believe that the haunted house that we got stuck in was being spiritually effected by supernatural spirits. This experience has had an effect upon me my entire life and has caused me to be who I am today.

I was in diapers and my grandmother was carrying me. To this day I can picture her pounding on the door of the tiny little room in the haunted house that we got stuck in. It was the only time I ever heard my grandmother scream. It was the only time I ever saw my grandmother cry. After we had entered the haunted house (We had gone on all the other rides at the carnival together--since I was a baby and she was my guardian at the time.), we came to a door, and entered a little room. The door closed behind us. The only thing in that little room we had entered was another door, facing us. There was a giant demon face, above the door knocker, looking down at us. I remember her reaching out with her right hand, while she carried me in her left arm, to open the door before us. There was one problem. There was no door handle on the door before us. My grandmother started feeling the walls for some kind of switch, and there was none. My grandmother could not find the way out of the room. We had gotten trapped in this tiny little room inside the haunted house. My grandmother was carrying me in her arms and trying to find the way out. But there were no handles, no switches, no buttons, no levers, nothing but a giant door knocker and this demon face up above it looking down at us. Of course she tried using the door knocker, over and over again. She tried everything, but the door would not open. It was like we were outside facing the front of the door, even though we were inside the haunted house, stuck in this little room. The lights went out. I remember her saying words like, "open sesame," and she started laughing about it. She tried saying all of these "magic" words to try to get the door open. It must have been about ten minutes and she could not get the door to open. Then it seemed almost as if the door came to life--causing a strange illumination from an unknown source, and suddenly, the demon face looking down at us started to change. The demon mask above the door knocker suddenly flipped around and changed into a different face. It was a scarier demon face then the one before, and it was a different color. Red, blue, and then suddenly, the demon face changed again. But my grandmother could not open the door. It wouldn't budge. We were stuck in the haunted house and the lights around us had suddenly gone out. My grandmother started getting angry because it was ridiculous that we could not get out of the room, as the demon faces seemed to start to laugh at us. My grandmother started pounding on the door. The power went out on the haunted house, and my grandmother started screaming, "Let us out of here! Let us out of here! I have a baby in here!" Of course, no one could hear us, because there was a carnival going on outside. I can still remember to this day the experience of realizing that something was wrong the moment my grandmother started crying. (Why is my grandmother crying like me? Something is definitely wrong here.) When I saw her crying I remember looking up and around to see why she was crying, and there were these giant masks--demon faces spinning--flip, flip, flip--each one painted a different color, above the door knocker, on the giant door in front of us. They were spinning into view at a temporal rhythmic pace--brightly colored demon faces changing face as they rotated into view. They were up above looking down on us. She became hysterical realizing that the action of the various demon faces was churning, but how could this be? The power was out of the haunted house and the rest of it was shut down and completely dark. She started yelling for my grandfather. It seemed like an eternity that we were stuck in that haunted house together. I think she started praying actually. Then I remember being rescued by fire and police as they tore down the door of the haunted house to get us out. Ever since then, it became ritual my entire life to watch scary movies with my grandmother. At the moment of extreme scariness, she would take me by the hand and we'd go running down the hallway together, in extreme fright, knowing that everything was going to be all right since we were already home.

Although my grandmother is gone now, I still love watching horror movies. It is a dream of mine to work as an actress in the movies. I believe I have been preparing my entire life to work as an actress in the movies. To this day, when I walk into a video store, I always ask the clerk, "What's the scariest movie you've got in this store?" I know that I would make the perfect supporting actress for any movie. It is my grandmother's dream that I would come to Hollywood. It is my dream to see myself in the movie theatres working as an actress/co-actress on film. To all: film directors, writers, casting directors and producers, please see my portfolio at: http://imdb.me/andreacalabrese
Please know that I would do my best to be a great supporting actress in the movies.

I sincerely thank you for your consideration.

Andrea Calabrese
BestHollywoodProfessionals@gmail.com
626-676-0353

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