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Monday, January 13, 2014

THE FEAR OF REVOLT AND THE SYSTEM IN PLACE TO SILENCE THE VOICES


This group of terrorists of the craft of acting... 
 referred to appropriately as ‘THE P.I.S.” (Peripheral Industry System)


THE FEAR OF REVOLT AND THE SYSTEM IN PLACE TO SILENCE THE VOICES WHO TELL IT LIKE IT IS;


We should do away with all conspiracy theorists, Conspiracy theories, Free thinkers, people with original thought, and people who speak out. They should all be cast into the abyss! After all our leaders, Presidents, and elected officials and CEO ‘s of film and television Networks are doing the thinking for us??

The very thought of rebelling against the present day system that is controlling the craft is considered morally reprehensible by the P.I.S.. Certainly reading the words of this book to this point would cause some trepidation’s amongst many professionals in our craft. Why? Because they would fear the repercussions from the system controllers with the simple mention of this books title. When I gave seminars for young actors at the University and College theatre training programs the BFA and MFA Professors would either walk out of the theatre or cringe in their seats when I spoke about the corrupt system. Any mention I would make to their students about ‘Not being a victim of the P.I.S. would be of great concern to the professors. They would speak to me after the lecture telling me that they are not training their students to fight the system but to part of it.? Amazing stupidity on the part of the alleged learned professors, or is it is it that they too are infected by the disease of the P.I.S?

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VIC PERILLO Is the creator of the not-for-profit organization: The Center for the Trained Professional Performer, which presents showcases of recent theater school graduates. Mr. Perillo also continues to hold ‘Workshops for Actors’ in New York City, Los Angeles, Miami, and Vancouver. A graduate of the American Academy Of Dramatic Arts, he studied at HB Studios, was an assistant director to Gordon Phillips at The Actors Studio, and an AFTRA field Rep (NYC) for seven years, creating and produced the first AFTRA SHOWCASE, which developed into the AFTRA/SAG Conservatory. Mr. Perillo worked as a Talent Agent for 20 years in New York, Chicago, and Los Angeles, (his clients included Gary Coleman, Kim Zimmer, Theresa Saldana, and many daytime performers). Mr. Perillo produced seven films for NBC, has written several feature films, and is currently in pre-production on a new mystery, ‘Mary Jane and the Mayor,” and a new children’s TV series, “The Bear Television Network”  to be produced this fall. ActorBears@hotmail.com.

Recently Pope Benedict XVth issued an edict condemning any Catholic who openly discusses the sexual misconduct of priests, the court proceedings, and the more than one billion dollars of judgements paid out by the Church to settle law suits against Catholic Priests who molest children. The Pope would enforce Excommunication against any Catholic who discuses this matter. Fear of serious retaliation, Fear of being disgraced by excommunication. Fear of speaking your mind and your conscience because if you do you will be guilty of a far greater crime then the priests that molest the children. These are the mind controlled games played against people who dare to question the ruling party. The P.I.S. is the ruling party controlling the film, television, and theater industries. They have created an atmosphere of fear in the exact manner the Pope has with his church members.

PRODUCERS DISDAIN AND NEGATIVE ATTITUTE TOWARD ACTORS

In the early 1920’s a group of stage actors and dancers who worked under horrible working conditions rebelled. They were fed up with being taken on the road with their shows which emanated out of New York and left to find their way back to New York on their own.  The Producers ran out of money, or decided they just did not want to pay the actors train or bus fares back to New York. They were fed up with not being paid for long over time hours, or not being paid for weeks and still having to perform. During the depression when jobs were scarce the actors and dancers had little money to survive and employment in the theater business was almost non existent. Just to have a job during this period was a miracle. Never the less with all the things they did not have, they had one important element on their side, They had ‘Their Integrity’ and they were not going to give that away. They revolted en masse, in solidarity, in a mass union marching down Broadway in New York City. They demanded to be treated with dignity, as they knew they were part of a dignified art. It was this revolt of the actors demanding fair working conditions, fair salaries and the adherence and compliance to a contract of employment by the Producer in 1920 that created the birth of the talent Unions. If the actor dancers of that time were victims of fear as the actors of 1970’s and the present we would probably never have Unions protecting the rights of actors today. The Schubert Organization refused to negotiate with the actors and Frank Gilmore the then spokesman of the actor and dancers received a threat from the Schubert’s claiming they would close their theaters down indefinitely rather than deal with any Union of actors.
Gilmore responded with’

‘ A theater remains a theatre only as long as actors are performing there. Without actors the theater is nothing but a building. The actors talents can be as easily exercised in a hall, in a tent, or even a vacant lot The public will gather to see the actor no matter where he acts. Therefore if the theaters are closed to us we shall organize companies to tour the country”

Actors marched down Fifth Ave in New York City with banners that proclaimed the following;

We are members of Actors Equity Association; Watch your step if you buy tickets tonight; We are willing to arbitrate but the managers are not; We are not after more pay but fair play’

I do not believe today we can find a group of actors who would stand up to Producers, Network Executives and the present day controlled System Leaders like the Frank Gilmore’s and the actors who marched in 1920 for their integrity and fair practice. The reason is the disease has infiltrated both management and the actor. Star and Name actors complain and make their demands for their individual contract needs but never do they speak on behalf of the entire community of actors. We have come a log way from the artist –actor of the early 1920’s who maintained a spirit and a sense of justice for all actors and were not afraid to fight for it. Present day agents and managers instill selfishness and greed in the actor of today. Once a week ‘Short Cut to Success and Acting as a Business classes” profess and demand that actors fend for themselves! The hell with everyone else!

Here is the mind set born in the 1970’s and currently in effect today created and taught by the P.I.S.;

The actor of today should have no conscience, no sense of right or wrong; be a victim of the whatever the current ‘flow of the month is. Be it style of acting, dress code, jargon and where to study and work out as an actor;
Under all circumstances SHUT UP REMAIN SILENT ON ALL MATTERS PERTAINING TO THE ‘STATE OF THE INDUSTRY”IT IS NOT YOUR JOB TO CHANGE THE WORLD OF THE INDUSTRY”

So you see the universal message being told to the actor is to not rock the boat and more to the point if you do, you will be Black Listed and never work. Well the Frank Gilmores, Sara Bernhardt’s and thousands of Actor Equity member actors of the 1920’s had no problem working after they fought hard to change the Dictatorship of the Producer Managers of the time. They did not “shut up and they knew it was their moral ethical and legal right to change the corrupt system actors were subjected to.
The actor of today has Freedom of speech and that freedom is born under his freedom of conscience. The System will insist that the actor has neither and has been successful silencing the actor in this regard for decades.

One reality is certain ‘the Producer has always considered the actor as on the low end of the Totem Pole. The actor in the eyes of many Producers today are considered a dime a dozen. I have heard actors referred to by producers in production meetings as ‘A piece of talent”. The P.I.S.  controlled Producers were forced to adopt an attitude and a vocabulary which will describe the actor. The vocabulary would describe the type of actor in the following fashion;
1.    A Name Player; a Star Name Player;
2.    A Semi name actor
3.    A Character Actor
4.    A Soap Opera Actor
5.    A Film Actor
6.    A Commercial Actor.
7.    A Bit Part Actor
8.    Back round Actors
9.    No Name Actor
10.A Nobody
11. Green

During the period prior to the Revolt of the Actors and the creation of their Union Producers was part of a Syndicate which was likened to a dictatorship. The Theatrical Syndicate decided everything, what actors would play what roles, how much they would be paid and there was no over time paid to actors. The Syndicate were businessmen similar to the businessmen of the P.I.S. today. The Syndicate was responsible for the atrocious manner by which actors of that period had to work like dressing rooms in the basements with no running water. Actors had to supply their own costumes. The strandings’ was the term actors used when Producers decided that the show would close and they would skip out of town to avoid paying the actor’s transportation back to New York.

Here is the philosophy of the Producer regarding actors; ‘They are a commodity’. ‘They are lucky to be working’. ‘They are not indispensable’.

‘They are to be used misused and abused’. Get them for as cheap as possible and take advantage of them as often as possible. If they quit, it makes no difference they’re a dime a dozen! Nothing has changed amongst today’s Syndicate because today’s Syndicate is The P.I.S. and they have adopted the exact same mind-set as their Cult Brothers of the 1920’s. How can I say that with today’s salaries paid to name and star performers in the millions? Certainly you say that we must be out of the ‘Dark Ages’ of that period. Producers today are more civilized. Yes we are, and if it weren’t for the talent unions the actors working to day would still be treated like second class citizens. However, I prefaced the chapters in this book with a statement about ‘observation and what I have experienced”. As a Union Cop representative for AFTRA , I have seen atrocities perpetrated upon actors which mirror the continued agenda of the Producers of 1920’s.There are of course gentlemen producers working today who operate with dignity and respect for actors and are class acts. However they are in the minority. There are Network television and CEO’s of film companies who operate with dignity with total respect for the actor but they are also in the minority. There would be no reason for my lament if the P.I.S was in the minority and if the disease they caused was not an epidemic.

Consider this 75% of all films produced are produced under non union contracts. Simply put, the Non Union Producer will cheat and misuse the actor as much as he can to maintain his Non Union Producer agenda. Non Union Producers are truly likened to Secret Societies. They treat actors like sacrificial Lambs used in their rituals. The more outrageous their treatment of actors is the more they will gain respect to go to the next level. In other words Non Union producers will laugh and mock the actors they have recently taken advantage of and probably study the methods used by the Theatrical Syndicate of the 20’s holding their philosophy to be their Bible.

The majority of working producers in all three mediums Film ,Television and the theater always look to save money when they produce their projects. The first place they look to save money by any means is with the actor. Producers would rather spend three hundred thousand dollars on a special effect or a high tech set than give ten actors over time or over scale. Producers are infuriated when their schedules fall behind and they have to add days and add hours to catch up, but when you hear their lament about falling behind in schedule they will always complain about the money they had to pay the actors. When one views the budgets of major film and television productions we see that actors with the exception of the stars and names are way at the bottom of the list. One can clearly see that the majority of the budget was spent on sets, locations shooting; story rights, music and Producers fees, however when the project is likely to be over budget it is the actor’s salaries that must be cut above all else.

Why is this? What is this contempt for the most important element in any theatrical production; the actor;? The reason is that the Producer knows that the actor is vulnerable, that he can be replaced at any second. Getting a job then and now as an actor in the all the mediums is a miracle. Therefore the P.I.S. Anti Artist Rulers are simply following the corrupt agenda passed down through the years as a trick of the trade. Nothing has changed as under the slick well dressed ‘holier than thou’ look and behavior of the Producer lie his true feelings and behavior toward the artist actor. Remember the disease distributed by the P.I.S. has infected the Producer of today. His blood is infected and once the Producers blood is contaminated with the disease he can easily pass it on to the next generation of Producers.

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THE ‘NAME’ PHENOMENON


An important part of the mission to desecrate the Craft of Acting by the P.I.S. was to put people in their place according to how the System wanted them to be placed. A Name Player is an actor who has reached stardom, well known by everyone, a household name. Producers then and now must have Name Players contracted for all their projects. If a project does not have a Name Player in the lead roles the project is not taken seriously and will more than likely not get distribution or consideration by the television executives as a successful project. Many producers and financiers of feature films will not even read a script until they know that a Name actor has signed on. 

The creation of the Name performer or Name Director was not created because it is a necessary requirement of the Art of Acting or producing any project. It has nothing to do with the ultimate creative success of any film, theater or television project. The System Leaders gave birth to this theory of ‘We must have a name” because they have insisted that the American Film and Television Audiences demand to see Stars, Personalities and Name performers or they will not watch. The fact of the matter is that if the demands of the play, the script, the story are not addressed correctly it does not matter one iota who is playing the lead role or who is directing. 


Every day in the Hollywood Film Industry and every year in the television Industry producers and Network Television Executives are in shock over the failures of their projects. They are stunned that even with Stars and Name performers as well as Name Directors and ‘A’ list writers their projects are not well received by audiences. They can be heard saying’ I don’t understand, we had the top Actors and Top Director and Writers and we still failed!’ This scenario continues to repeat itself yet the P.I.S. Executives will continue to abide religiously to the Systems insane demand that STAR POWER SELLS and NAME DIRECTORS and A’ LIST WRITERS must be used. One must realize that insecurity runs rampant amongst the Systems Leaders. They insist that the creative craft of acting and producing must follow the same formula used in selling a product. There is no amount of common sense reasoning with a Television Network Executive responsible for programming and deciding schedules that will change his mind. Ratings are based on STAR POWER! This is the mind set of the arrogant and ignorant controlled and manipulated P.I.S. PRODUCER and NETWORK EXECUTIVE. Executives have been known to turn down projects of tremendous merit one week because there are no Names attached and believe it to be the best thing since sliced bread when names are attached the following week. Mind you, the script was never read and the substance and writing of the material was never considered.

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