Veterans Day Parade

My truth be told, from age nineteen on, I've never missed the observance of Veterans Day, nor inwardly enjoyed my pride over being one. It’s a big and special club. I became a member way back in my nineteenth year. What can you say about the inner workings of a nineteen-year-old boy… who was about to become a man?

Although it may have taken awhile for me, today I clearly understand. Becoming a man was what my newly joined club was all about. It was known as the United States Army.

Many today speak of patriotism and heroism, and just about every kind of “ism” known to man. However, most who speak the words have little to reflect upon. When I became an official club member, without knowing it, I was taking my first steps towards walking the walk. It’s a very private thing, requiring many years of cultivating. Today, admittedly my pride in having served this country of ours is a vital part of who I am.

Yes I was in the army, and yes I am proud to say I'm a veteran. As I write and reflect, capsules of my transition to manhood’s beginning moments return with an immediacy, which only the purest of truths could stimulate.

***

In the beginning we were referred to as recruits. And God were we an ugly-looking bunch of guys. The military set out on a goal of having us all look and act the same. Mainly it was the shaved heads, which was the most distressing. Except for the boots, none of us had anything that fit well. We were one hundred and twenty bedraggled what-is-its. Cold, wet, sick, and on the verge of hallucination due to sleep deprivation, another unpleasant ingredient was added to the mix: they began yelling at us. When I asked why I was being yelled (make that screamed) at, the man doing the screaming looked at me with more disdain than I could ever direct an actor to do, and without skipping a beat moved directly in front of me, his nose literally touching mine and shouted, "Give me ten!" I had no idea what in the name of hell he wanted; certainly I didn’t have that much money on my person. “Are you a deaf, 'cruit?” (short for recruit) he bellowed. I began to respond to him about my excellent hearing, when without warning he demanded, “Make that twenty.” Fortunately for me, one of my buddies in the back yelled out, "He wants push-ups." I complied. That was my erstwhile entrance to the infantry / combat engineers basic training indoctrination.

NOTE: I lived.

After four weeks we were a different group of guys. Our physical condition was superb. We were learning the real meaning of teamwork as taught by the military. As they repeated over and over again, “There is a right way, a wrong way, and the army way.”

***

Fort Lewis, Washington; it was a typical February day, chilly and wet. Our company of men had completed the first few weeks of basic training and had been assembled, along with four other companies, as part of our first battalion size (about twenty five hundred) parade. There we were, a group of mostly southern California guys; cold, wet, and experiencing being more miserable than any of us could have imagined. Without exception, all of us had colds.

Nothing mattered to them (our leaders). It was parade day, and we were going to parade regardless of the weather, or how sick we thought we were. Of course the premise was a simple one to understand: War knows no standstill. Sick or not, sleep deprived or well rested, hungry and thirsty, bone weary, lonely and missing your mom, your dad, girlfriend or wife and children, the war as presented by an enemy will go on as scheduled. It’s a show with performances continuing until, and when finally some form of fade comes to pass. Then and only then will the vigilant be permitted to rest, seeking recovery. For many, recovery will never be their option.

There we stood, waiting in a cold mist for the next earth-moving command to be given. Like so many before us, as American soldiers we always found ways to laugh and clown under the worst of circumstances. Most of the time it was nothing more than poking fun at each other. Someone grabbing a guy's rifle and passing it around from one soldier to another. As children we used to call it "keep away." It was nothing more than pure adolescence.

And then my moment of transition arrived; without warning, the unexpected.

The booming voice of our sergeant major brought our meaningless mass together in no more than an instant. We became a solid block. Twenty-five hundred men became an imposing figure. We were at attention. The battalion commander appeared and marched to the center of the parade grounds, standing at attention before the sergeant major, who still remained facing us.

The commander was himself an overpowering figure. He was taller than any of us, and carried himself the way his West Point credentials required. He was a full bird colonel. The emblems glittered on his shoulders as he viewed us as if inspecting the most powerful group of warriors ever seen on this planet. We were taken by our leader's presence.

Our sergeant turned a sharp about face and reported to the colonel, “All present and accounted for as ordered sir,” he bellowed and saluted simultaneously. The colonel returned his salute, and the sergeant moved to a side position, taking his place and becoming one of us. Again the colonel did his review. His eyes inspected all of us with an amazing display of pride, which I had never before experienced. At a seemingly precise moment the sergeant was once again in front of our body. He shouted, "Parade rest!" and as one unit we snapped into position. The sergeant again moved aside and our colonel took charge. The man’s presence was nothing short of inspiring. All was still as the colonel prepared to speak. Then it came: “Men, you are about to experience what only a very select group have ever had the privilege of experiencing.”

At that moment the battalion color guard appeared. To the beat of a single drum they marched into position on the parade grounds. If you can visualize the configuration of a football field; place the color guard at one end of the field. The colonel would be directly behind the guard. Next to enter was the Fort Lewis Army marching band. They took their position directly behind the color guard and in front of the colonel, and our twenty-five hundred man battalion. (What you had was a football field shape, taking up about five times the area.)

“Today you will be representing your country, the United States of America. Are you ready?"

As one we responded with, “Sir, yes sir!”

“Then give them hell, men!” he shouted.

The chills came in waves. What might seem cornball was anything but. The band struck up with John Philip Sousa's Washington Post March, and at the precise moment the colonel bellowed again, "Give them hell, men!" He turned and signaled as if he was conducting a cavalry charge. We marched as one.

And then the final emotional wave, which has remained with me all of my life. I caught sight of our American flag leading our way. To date my chest has never expanded as much as it did on that very chilly day. The chill was gone, along with the young boy. We had exchanged a variety of mild indifference into unabashed pride in one's self, and one's country.

An interesting thing happened on our way back to the barracks following our parade experience. We weren’t the same group of young boys messing around as we did before the parade. That’s not to say our sense of humor had left us. The very next day we all returned to kidding around and still playing our schoolboy tricks on one another. But as this day wore down there were conversations about some unexpected feelings. For me personally, I never totally shared up until now what a life changing experience it was.

For those of you who have visited with me on Sparks St. in Burbank, you will recall our flag flying proudly in front of our door. It’s there every day that I am there.

This coming Wednesday, November 11, we pay tribute to our veterans. I pray you share my pride.

The Actors' Daily

“Each alone must seek out another

Then the two join hands as friends
Providing the rhythms of a new parade
And on it will go, and grow
For only friendship will ease the vacancy,
Experienced by those of us
Within our selected art form”

HK

I grew up hearing my father's words and deeds. His doctrine was simple: “plant, harvest, and never extend your hand looking for something to be given to you free.”

From age nineteen to my current moment of ripeness follows, as sequentially as possible, in order to help in understanding, why and how I entered, developed, and maintained my position in the world of commercial voice over.

Some will say that being in a certain place at a certain time is all the reason a person might need in order to determine their life’s pursuits. It isn’t my intent to agree or disagree with that supposition. All I intend doing is presenting some thoughts about what carried me from one point to another while chasing down answers concerning the who, what, why, when, where, and how of what turns out to be one of the more subjective art forms relative to modern times.

“One day if ever I wish to leave this creative world, I so love... It will be then that I consider really writing a memoir of things I have seen and heard with my own two eyes and ears, without the worry of recounting incidents which might endanger or hurt another mans family or friends.”
- Bill Cullen, as shared with da harv, circa 1979

When Bill Cullen was experiencing his days in the sun, he was undeniably one of the most recognizable figures in these United States. Like many, our family considered him to be one of us. It was the days of black and white small-screen television; with all of us gathered around, taking pride in the fact we each knew everything about everybody who came into our homes to entertain us.

Perhaps you might imagine my excitement when I was about to direct one of my favorite people of all time, the one and only Bill Cullen. At the time, I was working for a commercial talent agency of great prominence (FYI, they’re no longer in business). It was one of the most amazing meetings of my life. Enter Bill Cullen. My boss, not a very thoughtful guy, neglected to tell me about Bill being handicapped. Make no mistake, Bill Cullen's handicap was strictly physical.

All the years I had enjoyed watching him every single week on the tube, I never figured out they were shooting him from the waist up. Bill was always seen seated behind a table or standing behind a speaker’s rostrum.

In reflection, I enjoy thinking back to all the ensuing meetings between Bill and myself. I ultimately became his private coach for a six-month period of time. The lesson I learned: in voice over, a person can be whomever they are capable of portraying.

For the actor seeking out a career in voice over, the only handicap is the actor him or herself.

If you can manage to tell the truth while reading another man's words, you’re on the right road to success. Sounds simple, doesn’t it? The nice thing about telling the truth is we all have the capability of knowing truth from falsehood. If you as a human being perceive something to be the truth, then that’s what it has to be.

Bill Cullen paid tribute to me one day as he recommended me to coach a very well-known actor friend of his. We were sitting together at a table at the Palms Restaurant, when the actor showed up to join us. Bill handled the introductions, and without verbally breaking stride said to the actor, “This is the man I was telling you about. Not to worry about any smoke being blown up your ass.”

Thirty years after that incident, the most active and the biggest money earner in our world of voice over, Don LaFontaine, stood there in my recording room. He had just completed reading for something or other, when, without warning, Don looked straight at me through the glass and said in his own inimitable fashion, “You know why you’re successful Harvey? Because you don’t blow smoke up anyone’s ass!”

It was Bill Cullen, and thirty years later Don LaFontaine who delivered the very same appraisal. But the thing I must honestly report was, I learned the truth lesson long before those gentlemen offered their words of praise.

My dad offered to a then little da harv, “Look the bastard right in the eye, when you shake hands, and for God's sake tell him the truth.” It’s a glorious thing to know in this day and age of second-by-second change in communication methods, the good stuff; the social graces which the real ladies and gentlemen conduct themselves in accordance with never changes.

Next time you’re on mic, tell the truth, even if it happens to be stream of consciousness.

While Bill Cullen is no longer with us, many of his dear friends still manage to endure. Most of them, which I choose to write about or mention fleetingly during my descriptive, have magic about them. Like Bill Cullen of my past, Orson Bean remains a working part of today. People would tune in to visit with Orson and to experience the radiance of his smiling truthfulness. Orson is another of the old guard who refers to me as lad. The fact, this lad happens to be a grandfather is not a deterrent. I guess once a lad, always a lad.

Then And Now, In The Little Theatre

During the winters of my junior and high school years, when I spent fewer hours competing in school sports, I often devoted industrious days and weeks working in many of the tiny legit theatres, which dotted a narrow stretch of Santa Monica Blvd. Today, “Equity Waiver” productions are usually presented in these houses with less than one hundred seats, often with less than sixty seats. The West Hollywood area of Los Angeles was a much sleepier and laid back community than today’s latest edition.

These theatres may have been small, with limited seating, but almost all of them were being funded by the working journeyman actors who had ventured fourth from the New York boards of Broadway, Off-Broadway, and Off-Off-Broadway productions. They were actors who worked in film but, without exception, missed the continual challenges of live performance.

To a young boy, seeing all of these recognizable silver screen heroes and heroines was tantamount to spending morning noon and night in Toyland. I couldn’t get enough. The way each of them carried themselves was a story in itself. Some literally reeked of glamour. For me, it was sponge time. I didn’t miss a trick. Make no mistake… in the beginning I was an “errand lad*.”

*The way an Irish actor referred to me. Whenever anyone in the theatre needed something, this “errand lad” became the designee. I never once considered it an imposition. I considered myself an important member of the team.

It was during my membership, as a participant, on many of these theatrical teams, without knowing it I was receiving the most comprehensive training a young professional could possibly reap.

The rewards and consequences of those early years have provided me with an immeasurable intellectual and spiritual harvest.

And then of course, there was radio. For me, it was and still is a double dose of my favorite pie; the kind you think about having seconds of before you even finish the first bite.

Way back, when kids came home from school and listened to the radio, they were simultaneously feeding their own personal imaginations.

Many of the same New York actors I encountered during my early theatre work were extremely prominent as players on the early soaps and serials of the radio shows I listened to as a child. The origin of these radio shows were similar in nature. Most of them were derived from comic books, such as Superman, Batman, The Lone Ranger, Captain Marvel, Captain Midnight, etcetera, etcetera, etcetera.

We all read about Tarzan, Sherlock Holmes, Superman, and, of course, our cowboy heroes. With radio, the printed word came to life. These heroes were different from the athletes we looked up to and modeled ourselves after. Going to a ball game allowed you to see and cheer right there before you in living vibrant color. With radio, you listened as you painted, in your minds eye, pictures of the action. Every one of my friends could announce the bumpers (lead-ins) of every serial drama. As a matter of fact… we had all the singing commercials memorized as well.

Disillusionment, Turned To Realization

It was on one day in particular when I found myself excited over the opportunity of meeting the actor who had been a notable on one of my favorite action radio shows. He was set to come in and read for a play we were about to stage. My anticipation was the same as preparing to meet Sandy Koufax or Don Drysdale. I mean, I was stoked. And then the air was taken from my over-sized balloon when I was introduced to my prospective hero. It was actually a two-stage reaction: sight and sound.

For certain, in the world of voice over, one must never judge a book by its cover. The actor I was introduced to appearance-wise was the last human being one might cast as an action hero. He was short, slight, and balding. But when he said hello, the theatre vibrated from the resonance of his deep baritone voice.

It was years later, after the introduction learning experience, when that moment of enlightenment became an integral part of the voice over syllabus we still use in all levels of our educational program for voice over actors.

The bottom line remains the same: listening and increasing your listening skills will allow your mind to take in the salient truth of the moment. Being a good listener is not only one of the highest forms of graciousness, but likely the most necessary ingredient for the working actor's success. Those of us who master the skill of looking and listening simultaneously are the artists who most inherently have the ability of presenting the truth.

The theatre and radio; what a great and cherished combo to have as a young man's foundation. The old timers used to say, “Reading, writing and arithmetic,” were the most important keys. For me they were, “Reading, writing and radio.”

Pet Peeves

Many of the subjects I write about are generated from the literally thousands of questions I’ve had to deal with in our world of the commercial voice over.

While commercial voice over is definitely an acting craft, there is a certain amount of difference between how the actors relate during the commercial VO audition and the theatrical audition.

The nature of the business is such that the journeyman VO actor is involved with many more auditions than that of his counterparts in TV, film, or theater.

With volume (a great number of auditions) comes a serious condition: it’s called complacency. It kind of sounds like vacancy, doesn’t it? If you happen to be looking for an apartment to rent, look for a complacent actor. If you have the time to wait, you will be rewarded. The complacent actor (unless they're rich by way of inheritance) will soon find himself or herself (usually it’s a him) looking for a cheaper place to live.

And so here is my first peeve: The VO actor who says, “It's all a numbers game.” I see this guy or gal often. They take things for granted and make statements which exemplify failure. Yes… I did say I see this often, but not from the same actors. You see, complacency by anyone is a pet peeve of mine. An actor displaying this aggravating syndrome usually doesn’t make it back for another crack with da harv.

“The very best work I’ve ever done during my professional career, I did for free.”
HK

Another complacent VO actor quote: “Oh they’ll know what they want when they hear it.”

I don’t necessarily disagree with this premise. What peeves me is who is making the statement. During a given audition, before telling the actor I felt they were missing the mark with their indifference to following the directions we go to the trouble of providing, I try not to be complacent. I’ll redirect and give them a take two, or what I refer to as "another day in court." If it happens to be a young actor, or an individual new to our business, I take the liberty of providing that actor with an unsolicited lecture. Much of this particular lecture (yes, I do have many of them) is brought to you thanks to the efforts of John Houseman, and every athletic coach I’ve experienced while growing up.

Attributable to John Houseman is one of my favorite quotes: “Complacency should be used as your condition during the portrayal of the part you’re playing. Complacency should never be a display of who you are, or might be, as a human being!”

Without exception, the baseball coaches all have this credo: “You always go all out to win. You always run out every ground ball and pop fly. If you go through the motions, you’re gone.”

It's an interesting phenomena; the vast majority of show business people and successful athletes in every sport have in common the one thing they're not: Complacent.

I’ve experienced firsthand some of the biggest names in our profession display tireless enthusiasm over projects not worthy of their stage presence.

And athletes who show up long before their call time and leave later than anyone else on the team become the stars that manage to maintain their consistent glow.

Of the actors and athletes who early on were advised they didn’t have what it takes, but ignored the advice to quit while the quitting was good, they were the ones who remained and persevered. None were complacent.

Many think the term “The show must go on,” was originated by a producer who didn't have a worthwhile understudy ready to go on. Others claim it was the understudy who fed rancid food to the star and then pronounced they were ready to go on despite the depression they were feeling over the loss of the very same thespian they had poisoned. In any event, none showed complacency. I guess that’s the point.

Truth be told, enthusiasm and poisoning don’t go hand in hand.

Self-Direction - Part 2

Self-direct as opposed to self-destruct.

As always, the basic rules are so simple sounding. The problem for many actors is the lack of detail and observance of the basic rules.

1. Before studying your audition script, read and understand the directions. If the producer took the trouble to put their directions in writing, it behooves you as the talent to at least attempt to follow them.

2. Now read the script and understand its meaning. I’ve experienced situations first hand where an actor, after studying the script for a prolonged period of time, enters my recording booth and proceeds to tell me how they just can’t figure out what the writer means.

What immediately goes through this director’s mind are the questions of how and why were they even rehearsing something they didn’t understand?

3. Self-directing means telling yourself what to do. Imagine you have a list of directions which are right up your alley. I’m referring to directions, which are part of who you really happen to be as a human being. If your natural bent is city blue collar and the script calls for it, you have it made; supposedly. I say supposedly because you still require more input in order to properly deliver what the producer is asking for. You must ascertain the condition your character is in at the moment of truth; your truth.

I.e., if your blue-collar script allows that you have recently come into a great deal of money (like winning the lottery) and they ask you to portray a rather robust and gregarious person, you are armed with a reason for being in the condition they’re asking for in the given directions.

4. Proximity & Who Are You Talking To, And Why

Okay now Mr. Blue collar, robust, gregarious person; where are you in our scenario. This one is really important.

I.e., are you at a ballgame, and the crowd is pretty noisy?

What if you just put your son to bed, and all is serene? Or you're in your backyard exchanging thoughts with a neighbor?

What I’m reminding you of are the five W’s and an H.

“Who, What, Where, When, Why, and How.”

Almost every script will reveal your answers, in order for you to prepare properly for self-direction.

Whatever the road happens to be, dirt or a paved super highway, it could be your determining factor. Some roads are bumpy, others as smooth as silk. Each will provide direction if you choose to recognize it.

It was just before the audition. The actor stood there on the other side of the glass, facing me. I remember the actor apologetically telling me how he just couldn’t get a handle on what in the name of hell they wanted him to do. He went on to tell me how confused he was, and how he felt like a confused dolt. “You’ve got it now,” I replied without hesitation. His look was priceless. His mouth opened in disbelief as he desperately pointed out his problem with the decision making process. I immediately said to him, “Hold on to that look, and what you’re feeling at this very instant. Just slate your name and do it.” He went through the script and then said, “That was marvelous.” “That was Stanislavski,” I allowed.

The contentious script called for a man of his general age range to be standing in a market in front of an endless line of products, and doing stream of consciousness showing concern over his inability to understand what his wife wanted him to purchase. He nailed it by bringing truth to the present moment at hand. Some might even refer to it as acting. Perceiving and telling your truth to another or to yourself; that’s what Stanislavski labeled it, and that’s what we wholeheartedly teach.

Self Direction - Part 1

Home recording studios no longer represent the rich man's toy. Nor are they just products of the Los Angeles marketplace. The home recording studio has arrived, and continues to grow. Shrinking hardware and software prices have made the home studio economically within reach of the journeyman voice over talent.

Today, more and more voice over actors have home recording studios. For many, what used to be a small clothes closet has become their personal professional studio.

I call these actors “The Pajama Performers.” They don’t have to dress for work. They don’t worry about deodorant, if they need to put gas in the car, or how long it will take them to drive across town to an agent’s office for the audition. All they need concern themselves with is reading the script, analyzing its content and self directing.

The process has built-in pluses and minuses. The pluses are obvious. Saving gasoline dollars by itself is probably a good enough reason to build your own studio. And for those who relish staying at home and mysteriously putting on some extra pounds, that too may be the necessary grist for a self-confined existence.

The problem for many of us is the very distinct inability to self-direct. Some actors absolutely love the sound of their voice. For them, the audition can become an adventure in self-aggrandizement, brought on and stimulated by the sheer love of anything they do.

On the other hand, there are a very large group of people like me, who always feel they can do better. The thought of self-direction actually makes me uncomfortable, especially the prospect of listening back to my own voice and making an honest appraisal. Frankly, I hate doing it. Perhaps I’m overpowered by the genuine importance of each audition.

Without exception, professional journeyman actors who can honestly say they earn a living doing voice over will agree with the importance of being given the opportunity to audition for a job. Never ever use the word “just,” when describing the content of your audition. Only the inexperienced loser may refer to their pending audition as “just another audition.” The word “just” must never creep into your voice over vernacular if you have any intention of sustaining yourself within our trade.

The highest percentage of what you will be attempting in your home recording studio will be the audition.

In my not so humble opinion, beginners shouldn’t contemplate building a home studio unless they are being counseled by an experienced and trustworthy industry professional. Never shop the yellow pages when searching for what could be one of the most important adventures of your life. Word of mouth is the only acceptable input. Anyone can have his or her claims printed. Word of mouth substantiates an individual’s, or a company’s expertise, and reliability.

When it involves your future and your family’s welfare, be with those people who are recommended by the working professionals you might wish to emulate. Don’t hesitate to ask questions. Agents and journeymen actors are the very best source for recommendations.

But if you must self direct, here’s a tip from da harv:

To be continued next edition...

Being Gracious

Not to worry, I have no intention of explaining graciousness. If you don’t know now, you probably won’t ever get it. Like always, some of you are already saying, “What in the name of hell has graciousness got to do with voiceover?”

Well, when it comes to reading for this director, graciousness is what I expect. If you come in to audition or perform for the Kalmensons you are expected to play according to our ground rules. Succinctly stated, being a celebrity or a "wanna be" has nothing to do with our team treating you as anything less than our guest. We’re not going to behave like we’re doing you a favor bringing you in to audition. As a matter of fact, almost all talented and successful actors and actresses practice the Golden Rule. Here are three folks you might recognize. All are at the top of their respective games, and all three are really a societal treasure for all of us who’ve had the pleasure of being their working colleagues.


Jane Lynch
Tall, slim, and gracious. Always early, she comes in, finds the script she will be reading, and quietly complies with whatever may be asked of her. Working with and for Jane is always a learning experience. She was a star before she became a star. When Jane asks you how you’re feeling, she is interested in the answer.


Sarah Chalke

What a delight!! I’ve only directed her once. But in that one experience we worked as if we had done so dozens of times before. I was fortunate enough to get the assignment to direct Sarah performing the role of narrator on a TV mini-series (Maneater) she was also starring in. Of course she was punctual, and as we exchanged our initial salutations it became an instant comfort zone for each of us. A marvelous actress, doing her best to create a working comfort zone for her director.

The star of a feature film or TV mini-series can usually dictate who will be added to the team. Though this wasn't the case with me, our working relationship made me feel as though I had been Sarah's first choice. Graciousness personified.


Hector Elizondo

Hector is a star that exemplifies what it means to carry yourself as a working actor. As an example of what I’m getting at, I’d like to take you into an acting class being helmed by the noted actor John Houseman, at the University of Southern California. It was John’s practice to oftentimes get in the face of a student when they responded less than professionally to one of his questions.

“What in the world are you attempting?” he asked in a rather demeaning fashion. “I’m taking a Hector Elizondo approach,” the student replied. “You are dreaming,” replied the great Houseman. “Mr. Elizondo is a gracious gentleman. He’s the genuine article who travels and purports himself as just a journeyman actor.”

I was darn near giddy when I found out I was to direct Hector. At our first meeting of many to take place, I instantly discovered what John Houseman was talking about. Here was a living acting icon, asking da harv what I would like him to do.


If you happen to run into Jane, Sarah, or Hector during your acting travels, and they ask you how you’re feeling; they will be listening to your answer...

Closely, or from a distance
Like, love, or disapprove my tone if you will
Be in agreement, or tune out my theories
Be moved into a mirthful state
Dissolve passionless from my efforts to create
Your choice in listening to me be only yours

I well may be a deceiver
Not nurturing any human’s bigoted ways
Not helping, or encouraging to cipher
Who I am, or what regions were the origin of my start

For when you are in my listening mode
I, have found your ear
Perhaps betrayed by what you hear
I am a voice bearing no skin color with my sound
My frame is both short and tall
My gender reflects all
And age becomes ageless as my messages abound
I grow stronger as experience allows
No human being, or will exerted may govern who I become

I am free from those who may choose by my color
I am race less, in all I profess or say
I am a voice actor, among many

The world would be a better place, were they bound to do it my way.
Our Voice Actor by da harv