Looking Back

The other day, for whatever the reason, I found myself wondering about years past, as I looked in the mirror during my early morning "get ready" for work routine. It was a good thing. The way it used to be, way back in the fifth or sixth grade.

I’m sure most of you over the age of thirty, from time to time wonder where an old childhood friend might be today. How did he or she turn out? What variety of life’s pitfalls did they overcome? He might have been the best athlete in the school; someone you admired, or competed with. She was the little girl with the big smile who sat directly in front of you; the one who was the smartest kid in the class. I saw faces; remembered attitudes; who was tall; who was sloppy, and who was neat. There were aggressive kids and those so shy the teachers had trouble getting them to participate on anything requiring a verbal presentation up in front of the class. The voices are gone. For whatever the reason, I can recall many of the faces, but what my schoolmates sounded like escapes me.

It was a time in my life when all of us had everything in common. We were boys and girls who lived in the same neighborhood, went to the same school, and shared the label of middle class Americans, not poor, not rich, decidedly middle.

The word love rarely came into a meaningful play; nor was the term hate used in a serious vein. “I love chocolate. I hate chocolate.” That was about the extent of our love/hate expression.

Most of us have delved into self-reflection. It’s ours to experience, usually at our own propelled bidding. Naturally there are the conditioned response memories, times when without warning an event resurfaces, allowing pleasures as a rekindling; Some to our liking, bringing smiles, with endearments, capturing the moments in time which are ours alone to savor. Surely there were the not so pleasant events, none of us wish to relive. But those are the ones we learn and experience growth from by thinking back.

At eleven years of age, it was my first really deep thought experience. Up until that moment, what had existed for this sixth grader were happiness, laughter, and the occasional disappointment over the realization the Dodgers were not going to win the pennant for yet another year.

Robert wasn’t a really close friend of mine. He was one of those quiet introverted types. He wasn’t a klutz, but by the same token he wasn’t a kid who was one of the first to be picked when we were choosing up sides for a sandlot ballgame. Robert did however have the unpleasant distinction of being the first kid in our class to lose a parent. I suppose it was a day or two following his father's funeral that Robert returned to school. He looked different to me. There was something in Robert’s eyes that told the story. Of course his life would never be the same; none of us knew that. What we didn’t know was Robert’s loss was also ours. For the first time in my life I was to say, “I’m sorry about your Dad, Robert.” Robert could barely speak. I don’t recall a sound being made. Robert mustered a token thank you nod. The next day I picked him first to play on my team. To this day I wish I might have picked him before his Dad was gone.

Loss or gain is always an action, which causes change. For an eleven-year-old boy in the sixth grade, a new thought was to be perceived without warning. While I had not yet used the word empathy, I would never the less have it with me for the rest of my life.

***

From time to time I will be writing about some of my friends from the past who have become well known to the world. There names will be changed to protect their privacy.

"I Wrote A Blog"

“I Wrote A Blog”

Entitled:

“From the Heart”; Taking a stand for what you believe and what it means to the actors of Los Angeles and all over the country; perhaps the world.

***

Straight from the shoulder was a way of communication taught to me at such an early age, I doubt if I could even recall when my Father began it all. What I do remember, most of all were his words to the wise; and that would be me. In no uncertain terms my Dad said:

“If you have the courage to take a stand, on your own, on behalf of the next guy, when at first glance it appears to be of little benefit to you personally, then be prepared for the outcome, which in most cases will provide personal loneliness, and disappointment.”

Charlie, aka my Dad, was attesting to his belief, that to take a stand for the next guy, will not bring more than a fleeting fame, or fortune, or acclaim. Rather, he said a thank you would be your welcomed gratuity; not that you were seeking any. But it isn’t my intent to describe personal disappointment as derived from monetary loss. I’m talking about the deep disappointment, which I derive from people in general. Charlie warned me about expecting too much from people. He told me not to let them get to me, yet over and over in my lifetime I’ve kept from heeding his words.

“Do it for the good feeling it gives you, never because of any monetary rewards. “

Charlie was the definitive Good Samaritan. I personally experienced his courage come into play on more than one occasion. Once as a little boy, Charlie and I, as would be the case for many Fathers and sons, were at Ebbetts Field for a ball game. It was about the fourth inning, when these three guys, who had had too much beer to drink, began to make real pests of themselves. A young family that included a Father and his two kids was sitting close by. The drinkers became too rowdy for Charlie’s liking, and as their language disintegrated along with their faculties, so did Charlie’s patience. If I remember correctly, little da harv was about ten years old at the time. I wasn’t the least bit afraid because I was there with my proven champion.

There was an apparent bad call by an umpire, and it had the effect of really setting these three guys off. Now they felt justification to become a mob. The three of them were on their feet and chanting one expletive after another for all to hear. Charlie cupped his hands together, and let go with a marvelously cultivated Brooklyn shriek of his; yelling at the three of them, “Hey guys how about giving it a rest!” Charlie, all five foot five inches of him stood there looking straight at these jerks. He motioned for them to sit down, and that’s exactly what the three noisemakers did. The very next inning they were once again on there feet making every one uncomfortable. This time without hesitation Dad signaled to a near by usher and in very short order the three guys were ejected from the ballpark. I remember it as if it were yesterday. Dad had gently pushed me behind him when he first made eye contact with the three guys. On the way home I received a verbal lesson, which still holds true today.

“Never become violent with anyone in a situation like the one that happened to us today. Take your stand as a man, but don’t be the one to raise your hands combatively unless it’s the only way to protect yourself against the bullies of this world.”

Dad referred to the mob mental cases as bullies. He had four sisters, and five brothers who all shared his mantra. They had never met a bully who didn’t take on a true posture of cowardice when separated from the mob they ran with. While they have long ago passed on, to this day and forever I will take great pride as I think back to the stalwartness of my Kalmenson uncles. Family, friends, home, our country, it’s people; in that order, became their order of importance. They were never part of a gang of hooligans. I guess with that many brothers and sisters in the family they really had a gang of their own. All of them became successful working middle class citizens. Some served in the Second World War. A few of the family members had established a small degree of name recognition. None of them went to college, and probably only half attended high school. Beginning with the third and fourth grade, all of the brothers and sisters worked to bring in what ever they could in order to help support the family. In that era, employees were paid with cash. At the end of each week pay envelopes would be issued. The year was 1941. Social Security had been in place for six years, and was of little consequence at the time. Family medical insurance and welfare was non-existent. My Dad’s two-year-old Chevrolet cost him a whopping nine hundred bucks. The theme each of the immigrant families revered was simple and straight to the point;

Stand up for your near and dear. Take a stand and make sure you’re counted. If help is needed, be the one to be there.

Who knows what the cause may have been. Some said the new arrivals to the United States learned to say please and thank you as their first and most important words in the English language; words they felt would help them to assimilate. They strove for ways to become one with The United States Of America. They easily down played the boorish displays of the three guys at the ball game, in favor of standing, and joining in with great pride in the singing of our national anthem before the start of each game; and being an every guy contributor in the bottom of the seventh inning when it was time for “Take Me Out To The Ball Game”.

And as an aside…in the movie theaters they stood and sang, often before the feature came up on the screen. When the American flag appeared on screen, the audience broke into spontaneous applause. Honestly, I will never have the best words available, for me in order to describe ours, the genuineness of so many moments, so many years ago. Nor can I offer anything more than mere opinion over why a man or woman will stand by a brethren, willing to sacrifice in order to take a stand for no other reason other than it was the right thing to do.

(And back to “From The Heart”)

On June 13, of this year 2011, I shared with you via blog, some of my inner most feelings. I threw caution to the proverbial wind as I chose to ignore some of my Fathers most sacrosanct leanings. To date, I have received two formal references to “From The Heart”, the blog, (mine) in question. And as my Father pointed out with his patented approach, displaying complete certainty, what followed my posting of “From The Heart”, was the revelation; my Father was correct once again. The loneliness he referred to with his assumptions truthfully does not play a part in my life. The aspect of the disappointment however does. I’ve never learned how to resign myself to it. My salve has been an acquired one. Learn to live with it Harvey; that’s the way it is; accept this credo: Disappointment goes with life’s territory. I learned about disappointment long before I entered the world of show business. A person does not have to become bellicose, nor depressed, as the end result of each and every one of life’s disappointments. When I asked people to take a stand, I did so from the deepest place in my heart. The air we breathe and the words we hear today make me fearful of a repeat of one of histories most vile eras.

A Writer Writes About

On a day in May...

A writer writes
Where he’s been
Where he is

Where he’s going

All while void of coherence
Forgetting his past
Unsure of his present
Fearful of his future

Then as the success bell tolls

He’s congratulated

He relates stories of his past

Enjoys his present

And sells many books predicting everyone’s future

Still, perhaps not his own

Then on a day, as yet not fully lived

Sanguineness somehow prevails

And only to himself he reveals:

“Never have I been more touched by life than today.

For special reasons which will forever be unclaimed,

Yet so deeply felt.

Understanding, perhaps not a possibility.

Reasons for what transpires don’t find themselves getting in the way of the most unimaginable emotions beyond previously experienced recall.”

A message saying one's breath is far more important than its description. This is the moment for the writing to stop. This becomes a new time to capture new meanings, for quiet to resound within.

A writer listens intently though without prescription,

And just maybe an American pioneer was heard to say:

"Begin now!

Start the rest of your life

With this first day,

And each day thereafter

Serving as the canvas for your own

Personal masterpiece.

Each day is your audition for the next!"

hk

(A Primer On) Compiling “Ten Thousand Hours Of Experience”

Theater Shows Film

Just prior to this monumental period of my life, I had merely dabbled in the world of show biz. My ex-wife’s opinion of what I was doing represented far more than dabbling. A couple of years before, she had asked me pointedly if I didn’t think I was getting a little too old to be an intern. Her question followed directly after she found out Hitchcock didn’t pay interns. As a matter of fact, the man didn’t even speak to us (I do believe the woman was beginning to tire of my antics). Come to think of it, my ex-wife was wrong. It was a great time to intern, be alive, and make the most dominate decision of my life: To follow my heart.

Ten thousand hours of storage begins at birth for all of us. I refer to what enters our brains as storage because, not being a medical man, it’s the easiest way for me to remember what many refer to as "our own personal think tank." Is it a mental or physical attribute? We’re usually equipped with both. Storage begins for most at or around two years of age.

All things being equal, regardless of the time period, I had not yet arrived as "da harv," but neither had Walmart. That same year, 1962, Sam Walton opened the First Wal-Mart discount store in Bentonville, Arkansas. All Sam did was become the biggest and most successful retailer in the world. He didn’t begin at the top, and he wasn’t the first to open a store. At the time, the J.C.Penney Company had seventeen hundred stores, and Sears Roebuck & Company boasted seven hundred fifty department stores. Then there were others, like Macy’s, the May Co. and many, many more.

There are those who argue it was much easier to make it back in the old days. I think not. Sears Roebuck began in 1886, and the first J.C.Penney store opened under a different name in 1902.

Today, about fifty years later, some new giants have arisen: Home Depot, Kinko’s, Costco, and of course, the most famous of them all, “SpongeBob.” Few were given any likelihood of having success.

Let’s face it, how many of you would have invested money in a Starbucks coffee shop? I mean… give me a break. They’d have about as much chance of making it as a talking square pants sponge named Bob.

Cost Of Living 1962:
Year-end close of Dow Jones industrial average: 652.
Average cost of a new house: $12,500.00.
Average income per year: $5,556.00.
Average monthly rent: $110.00 per month.
Tuition to Harvard University: $1,520.00.
Average cost of a new car: $3,125.00.
Eggs per dozen: 32 cents.
Gas per gallon: 28 cents.

Folk music was evolving into protest music thanks to young artists like Bob Dylan, and the birth of surfing music by The Beach Boys grew in popularity. Meanwhile, in England, the Beatles were recording the single "Love Me Do." The new hit on TV for that year was "The Beverly Hillbillies," and the first of the James Bond movies, "Dr. No," was an instant success. Some of the other movies released included "Spartacus" and "El Cid."

Alternatives:
In Beverly Hills, on little Santa Monica Blvd., there existed one little theatre group seemingly on every corner. These groups began forming in the forties. Just about every character actor you might think of at one time or another took part in some form of little theater. Most came from locations all over the country, seeking to make it on what we knew as the silver screen.

It was also the era of big time radio broadcasts. During the daytime hours, the soaps prevailed. In the early and late afternoons, all the kid shows came on. The history of film and radio go hand in hand.

New York’s Off Broadway and Off Off Broadway was a respite for most of the actors before coming to Los Angeles (they thought), attempting to break into films. As they arrived, they encountered what actors had been experiencing since time and memoriam: Competition.

It was an absolute certainty: Without radio and little theatre, actors in general found few venues for practicing their craft, let alone making a buck.

On January 1, 1962, NBC broadcast the first coast-to-coast color television presentation of the Rose Bowl football game. Walter Cronkite replaced Douglas Edwards as the anchor for the CBS Evening News. He lasted nineteen years.

But most importantly, 1962 was the official kick off for da harv. I do believe that comes to a total of forty-nine years. Let’s see now… if we count it up, forty-nine years would be 2,548 weeks, and at fifty hours per week it comes to a total of one hundred and twenty seven thousand, four hundred hours of me practicing my craft.

The last nineteen plus years have been devoted entirely to the field of voice over.

I chose 1962 because much of my official academic world schooling had come to an end. Truth be told, and that’s what I’m doing at this moment. My theatrical training began with the subliminal exposure I began experiencing as a child. Anything vaguely resembling a group of people (two or more, sometimes even one) became my audience. They didn’t know it. They were sent to me by a divine power in order to have their way of life improved upon. They all needed me - even those who attempted to push me away. It was all to no avail. Even the Army, in a much earlier time period of my life, recognized I was the guy put on earth to tell people what to do, whether they liked it or not.

I doubt if there are many who may claim fame or accomplishment without fording an endless stream, or taking less than ten thousand hours of their life’s dedication. Admittedly, any thoughts of hours of study were not an occurrence of mine as I embezzled the first moments as they came to me. There were no explanations, because no one close to me was prepared to understand a person toiling without monetary rewards, either gained or offered. In the beginning, I cherished the smallest plaudits more than any man should.

Seeing my name printed on a playbill for the first time was an unequalled event. Stepping forward to begin a show produced by me brought my heartbeat to a crescendo I knew could be heard by those in the back of the house. Sharing the pain with a troupe of my players about to strike a set, the next day reborn and hopeful over an unexpected gig to direct a dream cast. The radio programs, the industrial shows, the films, the commercials, and the thousands upon thousands of actors I have had the pleasure of directing, are all in a special place within my now incomprehensible number of hours at work practicing my craft. But at the very top of my list, and what I would deem as the most rewarding adventure of my lifetime is an easy one for me to choose: It is as an educator where my most treasured plaudits lie.

What I didn’t know then, I do know now. It began during the first twenty-nine years of my life. The physiological brilliance of my father. When he asked if I would give him a hand with something was by far the most important life shaping moment of my young existence. He knew his kid well. I was bursting at the seams to show him my talents as a helper. I don’t remember what he had asked me to help with. It doesn’t matter. The thought of being paid to help someone with whatever they were up to never occurred to me. At eight years of age, I guess I was feeling like a pretty big, big shot. We lived directly across from the schoolyard, so I never ran out of kids to help.

There was this one kid in particular who became a fan of mine. He was a poor soul who was a real klutz. He constantly showed up in the school playground with his shoes untied. When I called it to his attention, he told me how his mother yelled at him for not being able to tie his own shoelaces. I kind of felt sorry for him. I learned how to tie my shoelaces by watching my dad do his own. I told the kid I would tie his shoelaces for him every day until he learned to do it for himself. It turned out to be one of my simpler feats to accomplish. Each day before he was called to return home, we both untied our shoelaces and then as I retied mine, he merely mimicked my every move. By the end of the week, he was functioning on his own. But something else happened: The kid no longer came across as the playground schlep. (Schlep: A person who drags his or her feet in an ungainly fashion would be referred to as a shlep; German origin)

Nothing has changed. A teacher is a helper. A person who is always joining in for a free ride is known as a shlepper. Schleppers rarely make it in acting - a profession where a free ride is almost nonexistent.

Saying "try it this way" to an actor, and then seeing the proverbial light go on is an amazing feeling. Nowadays, many of the actors I run into aren’t wearing shoes that need lacing, so I have resigned myself to helping them improve their acting skills. What I ask our students to do is continually practice their craft. The question comes up quite often. How long do I think it will take for them to make it? There will never be an exact answer for any question with as subjective a nature to it.

I remember seeing Tiger Woods as a child of no more than six years of age come on the Mike Douglas show along with his Dad. He put on a demonstration of his ability to hit a golf ball. Well, by the time Tiger had his ten thousand hours compiled, most golfers were just beginning to play the game.

Questions only you can answer:

1. When did you begin?

2. How much do you work (number of hours) at it each day?

3. Are there things in the way?

4. How badly do you want it?

5. Are you financially able to hold out for an indefinite period?

6. What must you do to avoid being average?

Within my hours of practice, I have experienced many of the lifestyle encumbrances which would keep the average guy from making it in our voice over world. The most important word in the previous sentence would be “average.” Average is a term which, when applied as a description of an actor, translates to “unable to support himself or a family."

For the answers to all of the above questions, please take a time out, and with not another soul around to disturb your process, answer the six questions presented above. I was honest with you. What I recommend is you be brutally honest with yourself.

da harv’s answers up:

1.When did you begin? Around age eight.

2. How much do you work (number of hours) at it each day? I usually hit it for about ten hours, six days each week.

3. Are there things in the way? Only I get in the way of me!

4. How badly do you want it? To be able to say, "I have helped more actors to win than any other man in history!"

5. Are you financially able to hold out for an indefinite period? I have been for the last twenty-five years.

6. What must you do to avoid being average? Continually seek out my goal to live and make each day of my working life a masterpiece.

Baruch Spinoza (November 24, 1632 – February 21, 1677) was a Jewish, Dutch philosopher. He said:

“Fame has also this great drawback, that if we pursue it, we must direct our lives so as to please the fancy of men.”

When People Talk (To Each Other)

“Conversation"

Talk about ever-changing. The advent of our electronic age has influenced our lives and has certainly placed a variety of new pressures on today’s voice over talent. But guess what? The voice is definitely secondary to the performance, and voice over as we know it remains an acting craft. As a matter of fact, there are more inherent acting requirement skills on today’s competitive actor then ever before.

Contrary to what has become an accepted belief, the advertising agencies don’t control what the public likes to hear -- they provide it. The general public always shows their likes and dislikes by the way a commercial is accepted. The agency pundits refer to this phenomenon as a "trend." The same has applied to theatrical films since their inception.

The interesting thing about trends is they might come and go, but never entirely disappear. Often the public treats a conceptual return as one might treat an old friend returning after being away for a while.

From 1960 on commercials used almost every form of communication in order to sell product. Every fancy electronic connivance has been tried, but thankfully, the wizards of innovation have not been able to replace the human instrument (voice). God knows it’s not because they haven’t tried -- everything from talking toys, to the most sophisticated forms of science fiction delivered by computerized animation. The public stays constant with their preference for the truth. It may be a talking toilet complaining about being mistreated by it’s owner, but the voice coming at you is that of a real live human being delivering the lines while following any number of possible directions: bad, sad, glad, mad, sick, upset, bright, dull, big, small, blue collar, or upscale.

And what follows is the most consistent trend the commercial advertisement industry has experienced to date:

“Laid back and conversational.”

And yes, you’ve heard this direction before, but it bears repeating:

“No announcers.”

And the wonderful people putting out those directions by and large have never been in front of the camera, or a microphone. In other words… they’re asking the actors to do something they themselves have never been successful at professionally. We find non-performers responsible for writing most of the commercial scripts we receive from the advertising agencies. The written directions are not theatrically driven. Some of the blame must be placed on the sponsors who indiscriminately over load the commercials with facts and numbers, which translate into a pushy type of sales approach. When this happens, we (the casting company) can also expect as part of the directions, the instructions for us not to let the actors become too much of a salesman or saleswoman. And invariably, when we get our hot little hands on the script, there it is right smack up at the top, a word none of us would ever use conversationally: "Introducing."

“Accomplished actors book more jobs.”

Our responsibility as actors is to make it work. If we make it work, they pay us -- the same people who furnished the seemingly contradictory directions.

“Conversationally Speaking”

Make it real -- what a concept. Like actual human beings in a conversation. At a glance, your first thought might be, “Are these people stark raving mad?”

I can advise actors until I’m blue in the face, of how counter-productive an un-positive attitude is. Yet there still remain a number of folks who don’t get it. If you bring an attitude into the recording booth with you, it will be hard to shake loose of it during your performance.

“Be a listening type observer.”

There are many questions about the every day occurrences of people having, or attempting to have a conversation.

“Rely on your past in order to get and keep a handle on today and tomorrow.”

About conversation:
* Is it general (in nature)?
* Is it casual?
* Is it polite?
* Is it off the cuff?
* Spiritual?
* Meaningful?
* Of importance?
* Of great importance?
* Of no importance at all?
* Is the person doing the talking speaking at the other person with the singular intent of hearing him, or herself talking?

Note: The more an actor listens to him or herself while attempting to perform conversationally, the less chance there is of accomplishing a creative portrayal of any kind or type.

Be aware of people holding conversations. It doesn’t really matter where or when. You may notice the person doing the talking doesn’t have to be an actor in order to be enraptured with themselves.

My concern is always improvement, whether it is self or another’s improvement as a person, or improvement in order to enhance one's income. Improvement means individual growth. Growth and success are not necessarily synonymous in the immediate future, but without personal growth, success becomes problematical. Learning some guidelines about conversation spells growth.

For the time being force yourself to discern some basic conversational differences. What kind of conversation are you observing?

* Polite and cordial?
* Passionate?
* Concerned?
* Matter of fact or off the cuff?
* Sarcastic?
* Imperative?
* Deliberate advice?
* Who are you conversing with?
* Where are you?
* What time of day is it?
* Why are you in conversation with this person?

The above are only a short list of conversational possibilities. In reality, the list is endless. If you get nothing from this offering other than the following two advisements, you’re well on the road to improving your conversational skills.

“At the audition”

1. Don’t be afraid of asking your imaginary conversation partner a question, either verbally or by doing your own subconscious degree of wonderment.

2. Be genuinely responsive to the person you’re attempting to have a conversation with.

The above items are excerpts from a syllabus first presented at the University Of Southern California by Harvey Kalmenson, and is currently used as an application within our current Kalmenson & Kalmenson educational curriculum.

… and speaking of income,

When it comes to an actor’s possible income, my professional mentoring remains, of course, in the field of voice over.

As a director, educator, and casting director, I find myself in the admirable position of being able to offer salient points to actors which are necessary for them to compete in today’s highly charged marketplace.

And certainly a key word in the preceding paragraph is definitely today’s market place. What changes tomorrow will bring are unknown. The actors who have developed a strong basic repertoire of emotional deliveries will always meet our industries nuances with confidence; which breeds success.

The ball is in your acting court. As we say at the beginning of our Level Two workshop: "How badly do you want it?"

A Word To and For the Wise

A word to and for the wise.

Or, in the event you’re one of those extreme cases of being an over indulgent, self aggrandizer; living life with a singular lust for ones own selfish betterment, please disregard the word “wise,” which I’ve selected as the title alliteration for this blog.

Contrary to what you may think the word "wise" connotes, the facts of life prove, without question, from day one of our existence on this planet, even the most self-assured, self-serving, and self-reliant people we happen to think we are, still owe some degree of our success to some individual other than ourselves.

In other words… I took the long way around to get to my point .

Saying, “I made it on my own,” is bull----, .

If it were possible to be totally on your own, who would be there to hire you? Who would be there to applaud? Who would be there to hand you a Kleenex? And, if you continue to read on, where would you be without the benefit of someone like Harvey Kalmenson to express glee, satisfaction, or complete disillusionment over your display of social grace - or lack of it?

Okay, okay. What brought this on? You might be curious. I usually don’t waste my time in a display of angst over having been exposed to an individual who brings to the party nothing more than a richly cultivated superiority complex. I am duty-bound to share this incident, in order to help provide a guide of what an actor should not do, say, or put on display, especially when the recipients being shown this lack of graciousness, happen to be in the position of providing work for you.

“Don’t even think about biting the hand that feeds you.”

Endear yourself, or at least make an attempt at faking it. Certainly, this isn’t just for actors. Most parents at least attempt to instill a variety of good social grace attitudes within their children. There are some parents whom, for whatever the reason, fail. The individual who was the stimulus for this blog, undoubtedly was brought up under the poorest of parental environments.

Instead of me going into all the things our culprit was guilty of, I’d prefer to offer a few tips that might be of some help to your future as an actor.

(13) TIPS FOR THE TAKER

* Treat everyone you meet as a possible work source. ”Today’s receptionist, tomorrow's boss.”
* Learn how to remain quiet. You’ll hear more if you’re not talking.
* Make sure your questions are pertinent.
* Never tell a teacher that you already knew the points he or she was making. Say the points being made stimulated your memory, and now you’re able to make good use of a technique you had forgotten about.
* Visibly show as much attention to your teacher or coach as you possibly can.
* Avoid yawning.
* Avoid giving your opinion unless it is requested.
* Never criticize another actor’s skills or the quality of his or her voice.
* Don’t be guilty of rigidly predetermining the direction if you are aware the director will be there to give you notes. Marking up your script in advance of the actual direction can prove to be disastrous during an actual session or audition (once something gets in your head, it’s hard to remove).
* Always thank your teacher, coach, or director for the notes they gave you, regardless of whether or not you made use of them.
* Show interest in each of your classmates. Networking is the single most important factor in order to have a chance at succeeding.

As an aside, some of my most important professional assignments came as a direct result of a student contact. Years ago, it was a fellow student that got me an acting job as a last minute plug-in for an actor who was unable to make it to the set. And that job was responsible for me becoming a member of The Screen Actors Guild.

* Always cheer for a teammate. Don’t spend time commenting or trying to figure out how a competitor got a job you both read for. (It’s wasted energy. You will never get into the head of the producer who hired him or her.)
* Please don’t be or become a know-it-all. Voice over will remain a subjective (art) form. Being in the business for a long period of time doesn’t allow for anyone to remotely know all the answers.

Associates have heard me moan, “What the hell do I know?” I say those words quite often. Do I make an educated guess from time to time? Yes I do. Usually, it’s because a staff member asks me to guess who I thought the ad agency picked. In the event you’re a curious soul, I’ll end your wait. I rarely pick out who the winner is on any of our auditions. It’s not that I have fewer skills than the next guy, but the truth is once again summed up with the word "subjectivity."

The Four Friends

They all so loved to get together and share experiences. The goal was to set up a marvelous networking system that would ultimately benefit the four of them. Each week they would meet to discuss all that occurred in their careers. As time passed t became obvious to the four companions; only one of them was making any headway in the acting community.

In one of these meetings, the three non-accomplishers decided they would pin the successful participant down, and make him share his secrets. So forcefully he was questioned about his methods.

He began, "Wherever I go, I listen to people talk, I watch people walk, I try to feel like they feel, and I breathe in their presence. I sometimes shake my head in agreement and often shrug in disbelief. When I ask a question, it’s always about them; things that are going right or wrong, like a job promotion or a job loss. I pay special attention when they speak of their families and friends; you know, like, relationships. All the people I meet are just the same as you three, except when we get together, the conversations are always the same. You’re always talking about careers, and how you don’t seem to be winning. I don’t have to listen as closely to the three of you, because you only show interest in one subject: Yourselves.”

If you’re not in-the-know, meaning you lack experience, your knee-jerk reaction might be a commentary about the harshness of the winner’s appraisal of his three friends' lack of interest in anyone but themselves. But, on the other hand, if you have any degree of classical training, you would undoubtedly applaud the winning actors supposition, for even as he expressed his feelings, he did so with total truth. And as the three friends offered their objections to what he had to say, our winner was intent in gathering up their display of emotions. What the three of them were now offering our winner was what successful actors must ultimately decree: Total truth.

“But if it be a sin to covet honor, I am the most offending soul alive.”
SHAKESPEARE: Henry V

Learning to Learn

"In the groove" is a common statement often heard from a wide variety of professional athletes. They speak of how the game around them has slowed down, and how they are seeing the ball or the entire field more clearly than ever before.

A golfer remarks about how comfortable he or she feels while addressing the ball. The same golfer finds himself or herself on a streak when everything he or she attempts to do works out perfectly.

Then there’s the basketball player who describes the basket as appearing twice the normal size. Every shot he throws up goes in. The guy announcing the game says how the player appears to be "in a zone."

All the old-timers agree, when skill and experience are coupled with an exceptional work ethic, one day the unusual slowdown will occur. The batter will see the ball better, the golfer becomes relaxed and comfortable, our basketball player sinks a three pointer to win the game.

***

It was probably around age fifty. A time when things in general began to slow down, appearing to all those within my spectrum, as if I was a guy who might know what he was doing. Without knowing or feeling a transition, the ten-thousand hours of toiling away at my craft were beginning to take a firm hold.

Was it others or I? Inside, the same drums continued to beat out a rhythm as background for the same word, “Learn, learn, and learn.” I may have been fifty years of age, but I was in many ways still the little kid tuned in to his dad asking him with religious fervor, “What did you learn today?” The ever-present upper right side of my grammar school report card, visibly tolling out the score of “Could do better.” The report card thing has never left me. I guess it never will.

Exactly when it happened will always remain my unanswered query; one day my personal signature became self-acknowledged. When people around me began to comment about how comfortable I appeared to be.

My life, from it’s earliest stages, was dedicated to the totally agreed upon premise of the greatest philosophers the world has known:

“Wisdom is a blessing only to those prepared to absorb it.”

When learning becomes wisdom, and one's dedication is an absolute and resolute way of life, it then becomes possible for each of us as human beings to experience being in a so-called "zone." When we are questioned and give answers while displaying a demeanor of total confidence.

Most of us, regardless of the field of endeavor we may choose, are striving to become the best we can be. Rarely, however, will a student declare their desire to get into a zone. The subject never comes up, because in life’s earliest stages, comfort zones have not yet been cultivated.

The academic world provides many of our needed tools. But the desire to reach one's goals while playing through the pain of real life experiences can’t be derived from a book. In almost every walk of life, success and endurance go hand-in-hand. A kid graduates at the top of his class, and immediately faces up to the question, "What do I do now?" In the business world, the answer is gaining some experience. And be prepared to start at the bottom.

In our entertainment world, staying in the game, enduring, and continuing an uninterrupted study of one's chosen craft, are all must have parameters for success; yet these same parameters will never guarantee your goals and aspirations will ever be met.

May I dutifully present the following life’s experiences, to hopefully serve as a helping hand to whomever there is out there in need of encouragement?

His and Hers

EXPERIENCE: 10,000 HOURS APPLIED, serving as the catalyst for the two of us to join hands and together begin the process of building:

Kalmenson & Kalmenson: The business of voice casting and education.

Catherine and I agreed:

“If we do not hang together, we shall surely hang separately. I love the man (and woman) that can smile in trouble that can gather strength from distress, and grow brave by reflection. 'Tis the business of little minds to shrink, but he whose heart is firm, and whose conscience approves his conduct, will pursue his principles unto death.”
-Thomas Paine, The American Crisis, No. 1, December 19, 1776

Our company's goals are to always provide for our patrons the ability to share in the wisdom we have both gained during our years of dedication to our craft.

Learning will remain our theme. Cultivating our learning into the wisdom we may pass on to our students and clients will remain the driving force behind the constant passage of integrity behind all we endeavor.

The last eighteen years of business have enabled each of us, Cathy and da harv, some thirty six thousand hours, in order to turn some of what we have learned, into the wisdom we endeavor to pass on.

“Ignorance is a voluntary misfortune.”

“Wisdom will not support ignorance.”

What You Have, and What You Were Given

“Let the artist live, let him be enchanted, disappointed, happy; let him suffer, love, and live through the entire gamut of human emotions, but let him at the same time learn to recreate his life and his emotions into art.”
- Constantine Stanislavski

"Each and every day I will place before you all that I have lived for, lived with, and have learned from, during the ten thousand hours necessary in order for the artist within me to emerge."
- Hk / 2010

I have allowed people to teach me.

And with it far too many questions arise. Is it because of the day and time I live in?

I learn, during the allotted twenty-four hour prescriptions, yet I find myself, creatively without the necessary skills to apply what I have earnestly striven to accomplish.

Why is it for many of us, the more skilled and adept at our craft we become, the less we see ourselves accomplishing all which we have set out as our life’s goals, or aspirations, dreams, and satisfactions?

Wandering through life’s numerous abstractions it causes me to often think about young children who come to our big party with a seemingly apparent learning disorder. Perhaps theirs is a version of mine?

What if we could slow down the twenty-four hour cycle by adding minutes to each hour for them? The new scenario would provide for classrooms with clocks, having faces displaying two extra hours of time.

And what if each of the children had their own button to press, which would set the clock back, giving them an expanded time period?

Do you think there might be a possibility some of those children didn’t have a learning disorder?

A man began by saying to me, “We’re going to practice some learning skills. I’m going to teach you a great way to learn. When you work on how to learn, the rest will come easily.”

He pointed out the power of our God-given senses. It was never a stock statement, like "I want you to pay attention." I would hear things like, “Look at this, Harv." I remember him saying this and simultaneously covering my eyes with his hand. Of course, I responded with the obvious, not being able to see with my eyes covered.

“That’s the point," he said. “Always keep your eyes wide open, and try to see as many things as you can.”

The man had given me a method for learning, along with the precise instructions to go along with it. The process was a simple example (covering my eyes) followed by, “Always keep your eyes wide open, and try to see as many things as you can.”

During the ensuing years, I continually practiced what he had given me. When I was very young, I was under the impression I would be able to see more things if there was a way to open my eyes wider.

As we drove together, I’d be in the back, pressed against a window, using my thumb and index fingers on each hand to hold my eyes open as wide as they would stretch. When I discovered it would cause others who drove passed us to laugh at my birdman appearance, I took it to school with me and enjoyed the laughs it got. When one of my teachers (most of them resented me) witnessed what I was up to, she asked what I thought I was doing. “I’m practicing how to be an observer,” I replied. Most of the kids didn’t have a clue to what I was taking about.

(She has to be long ago dead, so I guess it’s okay to mention her name: Mrs. Kaplan.)

By now you must have guessed, the man responsible for all of this was, of course my dear father.

Mrs. Kaplan figured she had me now, so I was told to explain it to the class, and to come up to the front of the room, by her desk. Mrs. Kaplan was so in to herself, she had little idea of whom she was dealing with. After all, I was the class humorist. I loved that nomenclature (humorist), as opposed to being called the "class clown." I wasn’t the kind of kid who might jump up on to a desk in order to get the students' attention. That, of course, would be clowning. I loved disrupting the class by telling a story I had heard. In my eyes, it's what Will Rogers or Robert Benchley would do.

In any event, there I was, in front of the class, along side Mrs. Kaplan’s desk.

Note: By now it was the fourth grade. I believe I was nine years old. My voice over career had begun. I was about to perform a living narration, explaining what a powerful tool observation was and could ultimately be. My daddy had introduced me to his way to practice when I was entering the first or second grade. It gave me a hefty three to four years of working out under my belt in preparation for this day in front of the class. The stage was mine. Eat your heart out, Mrs. Kaplan.

I asked my fellow students how many of them had a favorite baseball team. All hands went up. Not a tough question for any kids from New York, specifically a Brooklyn(ite) to answer.

I picked out one of the boys, and asked him to name each of the players on his favorite team (it was the Brooklyn Dodgers). He did so easily. Most of the kids who were Dodger fans instantly agreed. Now I asked them to give me the number of each player. They all did so in a snap, including the manager, all the coaches, and the team trainer.

We all agreed how easy a task it was. But then I went on to say, “You were all able to do what I asked, because you’re all observers. You’ve all been practicing by way of doing it over and over again. It’s called observing.” Even crab ass Kaplan liked that one, though she wouldn’t acknowledge I had done anything well.

So far I had only used up about ten minutes of class time. Then I picked out my favorite little girlfriend Miriam (last name deleted in order to protect the innocent). I had her come up and stand by me, with her back to the class. “Now Miriam,” I instructed, “Tell us the name of every one in this class in order of where you remember them sitting.” In nothing flat, Miriam did her thing easily.

* Both the naming of the Dodger team, and the placement of each student was done so by the ability to observe.

* The practice of observation creates the subconscious memorization of just about anything, when the observation itself is more than occasionally adhered to.

* People have been described as poor observers. The underlying factor however, is they are basically lazy.

Think about it. What I have just recalled is in direct alignment with my opening reference to Stanislavski.

“Let the artist live, let him be enchanted, disappointed, happy; let him suffer, love, and live through the entire gamut of human emotions, but let him at the same time learn to recreate his life and his emotions into art.”

And with a well-cultivated ability to observe, will come an automatic stimulation of the senses, our friend Stanislavski so adamantly advises us. They are the most vital of necessities, for every actor who seeks the reliability of substance.

For it is within the substance which we alone can become aware of an innate ability to look into, and dig deeply, searching for inner meanings of the writer's intent. Only then could any actor possibly bring to, and present our audience with the total truth as he perceives it to be. Then, upon one's perceiving it to be true, it will be so.

I became privy one day to a translation of a foreign language newspaper interview of Stanislavski. In it, the young reporter brought to the surface a comparison of an actor's depth capabilities he was not expecting to hear. Most of the time the questions were of a benign nature, never requiring much more than a superficial answer, especially at this particular segment of the Stanislavski career. He was assuredly at the highest point he would ever attain.

It was well into the end of the hour when the reporter asked and received more than expected.

“How does an actor perceive the truth?” he asked.

“He reflects upon it from another era, or near space in his time spent.” More or less, the reporter retorted with how he didn’t get it. Stanislavski replied, "The more one lives, the more they have in their reflective arsenal."

Propriety; impropriety; despair; elation; birth; death; ceremony, and celebration, when all are visually true, the verbal description or portrayal of the incidents may be interpreted as such. The audience will, without exception recognize the truth. They may find the truth disturbing: If they do, perhaps then true theater is an experience they too will one day reflect upon.

The audiences are the gods. Never lie to them.

To Tell the Truth

Remain natural. Be yourself. Don’t go for it.

The toughest assignment for an actor is to remain natural.

As a young director, I was warned by my mentors to try to stay away from asking an actor to be themselves. I was told that many actors haven’t a clue to who or what they really are. In fact I was also told that many actors think they know but are under a misguided conception of what their truth really is. Others might not want to know.

So here’s a very broad statement to chew on. If you don’t want to discover and practice your own individual truth, your chances of becoming successful as a professional actor will be unmercifully diminished. It may not make you happy to discover your truth as a human being, but knowing your truth will definitely give you a tremendous leg up as an actor.

There are times in my travels when an encounter with an actor in an everyday situation is disappointing at best. I'm referring to a chance meeting at some sort of function or during a casual coffee shop conversation. Coming away from the encounter with the feeling that this guy or gal came across as being rather shallow; they didn’t have the ability to share their true feelings with me. And then to meet that same person in the actor/director environment, only to be elated as well as surprised by their total ability to tell the truth through the eyes of another. That other person that I refer to is the character they happen to be portraying. What they don’t want to give into is the fact that, whatever they may think of it as, playacting is still a way of telling the truth.

Perhaps one of the greatest actors of all time said it as succinctly as any actor I’ve ever heard when he responded when asked during an interview what his acting method was:

“Well I just look the other actor right in the eye and tell them the truth. The truth was always evident in any role portrayed by that actor.” - James Cagney

Many actors who had the opportunity to be directed by Alfred Hitchcock usually were in for a big surprise when they discovered how little direction he offered in the way of acting. One day, when Carey Grant asked Hitchcock for some advice on how to interpret the meaning of a particular scene, Hitchcock responded with: “You’re here because you’re right for it.”

In his own way he was telling Carey Grant to be himself. That was the end of the acting direction. Hitchcock sought the truth and that’s what his actors gave him. During another incident involving Mr. Hitchcock, a visitor to the set had the guts (or the stupidity) to endanger his life by, without warning, asking Hitchcock to explain why he wasn’t looking at his actors during a rehearsal of the scene. Mr. Hitchcock’s reply: “I can hear what they look like.”

That response has become a major part of my professional career. For many years, I have earned my living listening to actors. As your audience, if you tell me the truth, I will buy from you, and I will allow you to influence my life.

Just as a reminder, the Kalmenson Method was derived by the means of close study of the most successful actors in our industry during the course of more years than I desire to call attention to.

Many of the attributes the foremost talents have in common became apparent to me. By and large these weren’t the actors that the general public described or held in esteem as celebrities. These were and are the journeyman actors.

John Houseman expounded on his credo for success. He advised us to be journeyman actors, to practice and study our craft, to search for a way to grow everyday, to be an observer with our eyes and with our ears, and to find a way to tell someone, anyone, a story that they might believe.

Why Improvise; You have a Script

"You should tell them about the time, right in the middle of the third scene, when a cue was misinterpreted and the clock began to strike a full scene ahead of schedule."

Okay then, get off my back. I’m going to tell them now!

(The actor who happened to be on stage is far too public a figure for me to reveal, and I’m sure he reads anything and everything where his name appears. As a matter of fact, his publicist spends a tidy sum keeping his charge from making the headlines. I guess you know you’ve arrived when you have a public relations team whose mainstay is keeping your life private.)

While it is one of my more comedic recollections, please trust in me when I tell you it wasn’t funny at the time. But, I digress. Back to our (very young at the time) actor's prematurely climaxing clock, as we referred to it from that point on. We had a single actor, moving to down stage center and preparing to deliver his most important and most poignant speech of the play.

A long moment of silence, signifying his attitude of deep contemplation, when the clock began to chime. Without any display of outward anguish our actor looked into the stage left wings and caught sight of the actor who was scheduled to appear with him in the very next scene, when the clock should have legitimately begun to strike the appropriate hour.

The actor in the wings was visually unstrung, and immediately began perspiring as if he was the one being “screwed to the heavens,” as it was later on aptly described.

The audience had not a sense of what was transpiring before them. It was then, as a young stage manager, I became aware of what a true actor can accomplish.

(On stage actor hesitates in further contemplation looking skyward, then speaks, unscripted:)

"Thank you, oh Lord, for chiming your recognition and sharing with me the relief of what tomorrow will bring."

(Our actor then turns away from the direction of the off-stage actor as the clock continues, and he delivers the scripted cue line for the next scene. As the clock completes its tolling the next scene begins without missing a beat or our audience becoming privy to what the future holds.)

Success became ours to enjoy because of the improvisational skills of two actors.

Notes:

The premature clock became the scripted scene.

The fellow responsible for the clock striking prematurely could never be found after that evening’s performance. I had nothing to do with his disappearance. He was gone before I could get to him.

***

Here are some things I’ve gathered along the way. Perhaps you will find them useful.

A premise:

“No matter how talented… an actor must be sacrificed if he or she cannot contribute to the harmonious atmosphere of the group.”

Because I have found myself in charge of a great many of “Life’s Happenings,” I need the utmost of displayed confidence regardless of what is churning within.

Remember your elementary school report cards? They had that box on the upper right side of the card, which had to do with your social character traits. "Gets along well with others," "meets new situations with confidence," and "could do better," are the three I feel are the most prevailing attributes for any professional.

Now that you’re no longer in elementary school, the report card as we knew it to be has been replaced by actual human beings. I always get a chuckle when I’m told not to be judgmental. Try telling that to a living, breathing audience.

If you want to get along well with this group of people, your audience, learn how to convey the truth.

Believing in one's self is the strongest ingredient for showing confidence, especially when others are depending on your performance.

All creative people live with there own personally inflicted stigma of "could do better." If you’d like to avoid complete craziness, study your craft relentlessly!

Our life and our work is a process; albeit the fact it is set up backwards has nothing to do with our work habits. The more experience you acquire, the better you will perform, regardless of the creative form you’re involved with professionally. You may be gifted with God given talents, but so are many folks in our subjective form of life’s pursuits. The best of the gifted actors are the ones who work the hardest at the continued process.

And to you, permit me to gently offer :

Enter as if you are a blank page. Be in the here and now while thinking about your past, and at the same time, show a degree of wonderment over what the future may hold.

Fill your blank page with expressions of your past.

The song that you may have hummed to yourself as a child can easily be recaptured.

The marvelous or not so marvelous odor or scent experienced can readily change your facial expression.

Add to this the sounds of today. It may only be your own breath that you’re listening to, but nevertheless, it’s there for you to hear and feel.

Your ability to recall the past and listen to the present is a simple step towards sharing your being and self. Your audience of people will believe in you, if for no other reason than your courage in sharing who you were, who you are, and perhaps additionally, your aspirations for the future, one day to be revealed.

Studying

While looking at the pictures of various historical figures, one might wonder what goals and aspirations a particular figure may have had.

Question Them

What happened to them in their earlier life?

What music did they listen to?

What daily rituals may have influenced their lives, and affected the lives of their most intimate colleagues and loved ones?

Take notice of what age brings to the face of your historical figure. A line in the human countenance may bring an engraved attitude with it.

What do you see engraved in this picture from the past?

What does the face reveal? Bearing; demeanor; calm?

Plain and simply stated, look for the emotion. It’s as if you’re being introduced for the first time.

No salutations are verbally being offered by the other party, yet they are in most cases showing you a great deal.

Many of these expressions are ones that you might be revisiting. The look of consternation on the face of an historical personage may be the very same look that you yourself have displayed at one time or another for the entire world to see. We see, we experience, we borrow, and we do.

While I’m not sure which of my mentors uttered the words, “Go with the flow,” or “Don’t confuse the issue,” I am certain that simplicity was their goal.

"Keep it simple" was the essence. If the truth is the only thing to enter your mind, then delivering a truthful line is the only thing that can be delivered.

The doctrine of the Stanislavski system worked exceedingly well on the plays of Anton Chekhov.

Chekhov wrote truthfully about ordinary men and women. He searched for the inner beauty in people and exposed their triviality and vice. Chekhov’s influence drove Stanislavski to strive to create an artistically conceived image of life on the stage. Whether you’re an experienced actor, or one trying your wings for the first time, Stanislavski has become the most accepted system for any actor to grow with. Comedy or tragedy, the method has become our most revolutionary acting tool. Given circumstances, subtext, images, real or imagined, and the beat goes on, ever changing, and always demanding that the actor continue to develop their improvisational skills. It is not a question of whether or not the actor wants to. If the actor is to grow, and have the ability to meet life’s subtleties, vagaries, tragedies, or outright desperation, then the choice is a simple one. The method will help you grow.

So look into the faces of your historical characters. Live their joys or misgivings. Empathize and redeem what their faces offer. Then through motion, or sound, or both, become, be, and continue to be.