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Classic City Vibes
Classic City Vibes Podcast - Conversations with people in the Athens, Oconee and surrounding communities who help make this such an amazing place to live. Learn what is going on in one of the nation’s most famous music, film and art scenes, learn about some of the amazing opportunities around us where you can be active and interact with others who have similar interests. This podcast is put out by the Athens Regional Library System where we are committed to helping build strong communities and celebrating our diversity. Engaging Communities, Exceeding Expectations.
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Classic City Vibes
Anthony Zuniga's Artistic Journey and the Power of Community
Join us on Classic City Vibes as we welcome back Anthony Zuniga, who takes us on his journey from a church worship team to middle school band, eventually stepping into the world of theater and dance at Brightstone Productions. Despite initial doubts from his family, Anthony's breakthrough moment arrived when his father attended his performance in "Catch Me If You Can," a pivotal event that marked a turning point in his artistic journey. His story is a testament to the power of following one's dreams against all odds.
Anthony shares the challenges and triumphs of navigating the creative world, especially during the pandemic when the arts faced unprecedented hurdles. Hear about his experiences in a prestigious Broadway intensive and the innovative ways theaters kept the show going, even when stages went dark. Discover the intersection of art, culture, and community as we explore the dynamic world of the arts with Anthony Zuniga.
Bio:
Born in California to Guatemalan parents, Anthony Zuniga moved to Athens at the age of 2 and loves living in The Classic City.
Graduating from Brevard College in 2020 with degrees in Music and Theatre, Anthony has found a path to pursue acting, singing, and writing locally and in Atlanta. His recent collaborations with UGA’s Masters in Film Arts have given him invaluable experience in assistant directing two films, The Reenactment and Whistle in the Dark and starring in two others: Tune in Next Time and Nocturne. As an actor and singer, he’s proud to say he’s played shows at The Foundry, The Classic Center, and the many famous theatres in town like Town & Gown and The Morton Theatre. He’s looking forward to performing in New York City’s renowned off-broadway cabaret, 54 Below in March of 2025.
As the event coordinator for the inaugural Athens Film Fest, he believes that the way forward is through community. His philosophy of abandoning our fight for the singular seat at “the table” and building a table for Athens where we can all eat has been at the forefront of his work, and he is excited to uplift the local artists’ voices to continue adding to the beautiful artistic tapestry of Athens, GA.
All right, welcome to the podcast today Classic City Vibes. My name is James. We have Zach here with us as well. We have a special guest, Anthony Zuniga.
Speaker 3:Yeah, zuniga, and.
Speaker 1:I believe I'm not 100% sure but I think you're the first person to come back on for a second time.
Speaker 2:Whoa Congratulations. We've joked about it a bunch of times and we've talked about, like for the 100th or you know whatever we're going to do a special episode, but I think we're at the point where we can just start cycling people. We'll just start back from the beginning, yeah.
Speaker 1:I love it. I'm lazy. Well, I also think maybe there's not a lot of people who want to come back.
Speaker 3:I don't know the new studio sounds a lot better, looks a lot cooler. Yeah, I know y'all can't see it, but this place is a vibe.
Speaker 2:Aw, thank you, yeah, these two cats have worked on it.
Speaker 3:It shows, it's awesome.
Speaker 2:Yeah, we used to just do this in a white room with a little wooden table in the middle. It was bad. Yeah, it was very.
Speaker 3:DIY. I think, Zach, you said it.
Speaker 2:You were like, no, like, no one wants to make art in that, like, this is conducive to making art. Yeah, yeah, spending time in studios making music, it's uh, it's as much vibe as it is technology, and I think the the best engineer is going to know that and be able to put that together. Maybe that would be a producer, but whatever, uh, I like what we have here. I'm, I like that we have you here.
Speaker 1:Thank you, thank you, thank you, and the first time we had you were you actually actually coming on to talk about the Athens Film Festival, which was a huge success. You did a lot for that, but today we're here to talk about you.
Speaker 3:Oh boy, the nerve setting.
Speaker 2:The nerve, that's right. Nah, dude, let's do it.
Speaker 1:Yeah, so first off, when did you first? Let's go back to little Anthony. When did you first?
Speaker 3:get into the arts, all right. So I was a church kid, so my parents were part of the worship team and all that. I remember picking up well I don't remember. There was a picture of me, and stories, of course, of me picking up a microphone at three I just started. I mean, I wasn't singing or anything, I was just like you know hearing my voice in the speakers and it started with music.
Speaker 3:So I was, I sang at church, I learned some guitar there, some bass, was in a little worship team back in middle school and all that that transitioned to middle school. Band played some alto sax, ok, and I remember in middle school oh, I'd also do like skits and stuff. You know, like they do like the sound plays and all that like stuff to music. Um, but I remember telling my mom like I want to be in movies. She's like you probably should learn how to act.
Speaker 3:okay, it's a good first step good first step, yeah, and she said do high school theater. I don't think she was serious, um at all. Were you serious? Oh yeah, I remember, um. We went to new y York when I was in middle school. We were dropping off a cousin. His dad was up there. We just road tripped. It was pretty cool and I wanted to go see a Broadway show. I was like, let's go, let's go to Lion King, let's go.
Speaker 3:No one wanted to go, though they were like nah too expensive, no one wants to, and I was like I don't want to.
Speaker 1:Wait a minute. So are your family not really that much into arts? No, yeah.
Speaker 3:At first it really ooh James that's a loaded question.
Speaker 2:That's all we do. We can cut whatever we need to, man.
Speaker 3:We can cut whatever we need to I mean I like talking about it because it's a big accomplishment for me. For sure, we're in Watkinsville this, this was my stomping grounds a lot in high school. Um, right now it's called the stage o'coney, just up the road here if you go on electric electric avenue, right is that what it is? Electric avenue is what we're on currently the that so you get out of wire park take a right get on a main street, take a left and it's on your right, maybe half a mile down the road.
Speaker 3:It used to be called Brightstone Productions, but that place taught me so much Dance and everything. I mean I would leave school sometimes a little early and go. They had me as a student teacher and all that, so I was learning dance tap for free, which was really really nice of them.
Speaker 1:Oh, wow, and I got all this crazy experience. How were you then?
Speaker 3:what was? I was a train junior year high school senior year and I had already done some stuff at school. You know gotten my reps. You know in the ensemble getting the side roles and going. It was great. You know learning everything but it wasn't until I did catch Me. If you Can, in high school, have you all seen that movie?
Speaker 2:I have not. No, I know of it. Yeah, I know of it, yeah.
Speaker 3:Well, james is a movie guy. I recommend that one. That's Tom Hanks, leonardo DiCaprio, and it's based on a true story about this guy, frank Abagnale Jr, who forged millions of dollars in checks when he was like 16 and ran away from home. They caught him, I think around 19 or 20. And he had impersonated a Pan Am airline pilot, georgia lawyer and a doctor as well by the time he got caught. And I mean he was, he was doing all this stuff, right, and they made it a musical and I was in that musical.
Speaker 3:Anyway, point of the story is my dad finally came to a show. I had to convince him to finally come to a show and he's out there at intermission and one of the people is like who are you here to see? I mean Watkinsville is predominantly white, right, so this Latino guy coming in. They're like I don't think they were trying to kick him out, but they're like who are you here to see? He's like oh, who's your son? He's the lead. Nah, the guy was like no, that guy he's. You know, he's been in our shows. He's been the lead in the past four. Like no way, that's your son. He's like nah, he pulls out his license and it's a big moment for me because my dad told me he's like that's the moment I realized like you got something.
Speaker 3:It took someone to tell you, but thanks man, but it meant a lot to you.
Speaker 3:It meant a lot. You know. I mean that helped for sure when I told them I don't want to be a doctor or a lawyer, I want to be an actor and I'm going to go to school for it. They're like, ok, you know, we can kind of back that up. And you know I was blessed to go to Brevard College, north carolina, small little school in western north carolina, the mountains, it's gorgeous, but it's big for music, you ask. I mean, I've talked to a lot of the uga music students and, like you, went to brevard oh my god, I wanted to go to brevard.
Speaker 3:I didn't get in and I was like, oh cool, like I did what did you get in for for music?
Speaker 2:music for a vocal performance, vocal and pedagogy.
Speaker 3:Okay.
Speaker 1:Yeah.
Speaker 3:Gotcha, and while I was there, there was this like rock star theater professor His name was Brandon Smith and he has since gotten promoted because he has this whole roadmaps to success kind of.
Speaker 2:Thing.
Speaker 3:And like he's worked with Emmy winning studios and even other colleges to get their students, he what is it? Helps their retention rate at colleges, so he's up to their retention rate and really big numbers. I mean, the guy knows what he's talking about. But he left the first year of college right, so I decided to double major. I'm stuck with that double major all the way through regardless and I kind of wish I stuck to music and just minored in theater.
Speaker 3:But at the same time I so much you know what I mean, and I got two degrees.
Speaker 1:So so you started out in music and sounds like you kept music all the way through high school and into college and at a high level to get into brevard. Yeah, so you're good at it, but it sounds also like at the same time that, like music wasn't as much where you wanted to go as film. Is that accurate? Yeah that's accurate, yeah. So what was the draw to film? Or is it film theater or both?
Speaker 3:It's such a mix of all of them and I've had people that you know they've made it in the industry and now, because of the industry, it's just so. I mean I call it the Yahtzee canister. I think I said it at the last one. Everything is just so shuffled now but people are like you need to stick to one thing. You need to stick to one thing to be sure. And I'm like I don't know if I can, like I do so much, like I mean I was just singing in the Grinch this this weekend, right.
Speaker 3:And um, that was like this, Ben Folds song I was riffs and runs and all that. But then also I love yeah, ben folds, how did that? Yeah, so oh, did he write for the musical?
Speaker 2:he wrote for the jim carrey film, um jim carrey grinch, and then okay, and then that was integrated into your the, the production you did so, yeah, this dance company was just doing different songs and they were like we, we want to do this one as a tap number.
Speaker 3:I was like cool and you know it's very ben Folds, if you know. But lots of chords and rolling piano, but I was like I've got a lot of musical influences and I like belting, right, that's what I like to do. So I was just letting loose and you asked why haven't I been able to stick to one?
Speaker 1:That's not quite what I asked.
Speaker 3:Well, no, it's not quite. Yeah, let me not put words in your mouth.
Speaker 1:Focus, focus.
Speaker 3:Focus focus. Anthony, I told you you'd have to say it, but I've always just wanted to do all of it. I mean, film is such a marriage of all the arts. I think it's got the soundtrack with the music right. It's got the soundtrack with the music right. It's got the acting, which is, which is such a theater thing. It's got dance even with, like I mean fight choreography and like just even regular choreography with dance has been so integrated in film lately, where it's like these big numbers that are done, um, and of course, just like that storytelling aspect.
Speaker 3:So when I told my mom I want to be in film, I just like I mean I always wanted to be in movies, right, but then like joining the theater to be able to act and learn, like I fell in love with that and music is, oh, that one's just, that's just the love that I'm never gonna leave. You know, it's like picking up my guitar, even recently, um, I mean just, it's just been so therapeutic. You know, I I probably full disclosure to y'all. Y'all probably don't know. I've been coming in here maybe like 10 minutes and he just a little 10 minutes to take a break.
Speaker 2:I'll play something on that guitar, nice, and I'll head back to my shelf reading it's a, it's a good way to uh, let your mind, just you know, breathe for a second. It is I got you.
Speaker 1:I got you for sure well, you know, you said you you know picking one thing or not, but I would think it sounds like the fact that you can have this little bit of dance background and that you can sing and you can act. That's probably not a lot of. I mean, that probably helps you right.
Speaker 2:We call that a triple threat, right? Yes, sir.
Speaker 1:Do you see that a lot? Do you see a lot of your fellow actors who couldn't sing? Maybe you have able to get parts, parts they couldn't, that kind of thing, or yeah, in the film, for sure, in film it's, it's been really.
Speaker 3:You know, people like you sing whoa, like I can't say you know it's. And I find it really strange because I was training at a high level to get to broadway. So my, my goal was broadway when I was in in college, at least, um, I wanted to go up there. I went to there's a new studio in new york that it's the newest of the broadway rehearsing studios called open jar um, and the owner he had this thing called the open jar institute where he was getting high school groups and the college groups to come do an intensive in new york for me. So I was very blessed to be able to do that intensive in 2018.
Speaker 3:Audition for it it was awesome. I learned singing, acting, dance, audition technique, got to see some Broadway shows. Broadway actors were talking to us about some advice and all that. I mean people in the industry. I mean I was stars in my eyes, like incredible, once I graduate, I'm coming here. And it was really cool because you got connections right, um, even if they didn't promise you a job. They were like, when you're in new york, you hit us up, you let us know and we'll talk and point you in the right direction, so it was really cool. Um, however, my graduation year was 2020. In 2020, everyone knows right we had that pandemic so the entertainment industry got squashed squashed for two years.
Speaker 3:I mean, yeah, like even people that were equity, which is the theater union, or um sag, after film they were not booking anything. Even now people are still kind of feeling that and I know we still got to talk, zach, about industry blossoming. Now you were mentioning your friend, so I'm really excited for that?
Speaker 2:Oh yeah, I actually messaged him Nice. He said if we could make like last weekend of December work, so I was thinking like 30th. Maybe we're going to check schedules later, but I meant to mention that a minute ago. Yeah, he wants to come on and chat with us.
Speaker 3:Yeah, I'd love to, Just because everything is so new now. And while it was discouraging at first, like oh man, I felt like the rug was pulled under me. It was.
Speaker 2:Yeah, yeah, no, it genuinely was, thanks. Hey, someone said it. Yeah, yeah.
Speaker 3:I mean, oh God, just, I don't even want to go back to those two years, right, but I kept going right and I'm very blessed to have a support group that kept me going, you know.
Speaker 1:What did you do during that time? When you know, as a performer, and you can't perform because of you know, during lockdown and things like that, what were you doing for your, you know, getting your kind of creative juices and keeping your sanity?
Speaker 3:That's a key point. I do have to thank brightstone again. They were I mean, walkinsville was a little more lenient with with the, the shutdowns, so they I don't want to say they cut corners. They actually really put used the protocols we had in place to find like they were testing everyone at the door. They were making sure everyone was safe. They were quarantining if needed to. Um, so everyone, no one. I think there was one case of someone tested positive. They were asked to step out of the show, unfortunately, and no one else got sick. Um, it was.
Speaker 2:It was really cool to see if you have a production where someone was sick and no one else got sick. That's, that's something, yeah they were really following.
Speaker 3:I gotta give them props to following the protocols and even writing some stuff for themselves, um, you know, kind of writing the book for it. So I was able to music direct. During that time. I music directed Cinderella, um, which was really cool. Um, I was able to act. I was Gomez, adams and the Adams family during that time.
Speaker 2:That is a perfect role for you. That is a perfect role for you.
Speaker 3:Yes, it was so cool man. I would love to play that role again at some point Because, you know, it was interesting to tap into the dad aspect of that.
Speaker 2:Oh, okay, I don't have kids right, but he was.
Speaker 3:I am a very caring person, so like I could find ways to tap into that, but I want to do it again once I have a child, you know. Oh sure, and seeing how that affects my acting, and then of course just the behind the scenes stuff. It was just awesome to you know do lighting or stage manage or assistant stage manage. One time I was even in the Watkinsville Parade. One of those years I was the Polar Express conductor.
Speaker 1:Oh awesome.
Speaker 3:So, yeah, I kept myself moving and sang with people sang at church, played guitar, we were doing Zoom stuff. So I was like playing guitar on Zoom, got to keep yourself going, you know.
Speaker 2:Yeah, that was kind of all the rage at that time was everyone just instantly were like oh man, let's just do live streams, right, yeah, and that didn't really amount to much, I don't think. In a lot of places, the stuff that I did certainly did not.
Speaker 1:But it kept you sane, it gave you an outlet.
Speaker 2:That's true.
Speaker 1:Even if no one even watched it or cared, still at least you had. No one watched it, no one cared. I can tell you that.
Speaker 3:Ask my.
Speaker 2:TikTok, so you're a test case. I was actually the control, everybody else was the test case. Nice.
Speaker 1:But still just to have, because you needed something. If you're creative and suddenly, like you said, the rug's pulled out from under you and no one can do all the things they love, or not even just do, even go watch them or anything, yeah, it was tough.
Speaker 2:Well, I can tell you, being in various entertainment industries varying degrees over the years, having known people who were at the top of their game when the rug got pulled out from under them in 2020, I can tell you have a pretty good shot compared to a lot of people, because so many just gave up, especially in the Athens scene yes, up. Especially in the Athens scene, yes, and a lot of people that I knew in the music industry, at least in Athens. A lot of those people don't live here anymore because their livelihoods were, you know, gigs and shows, and when that stopped they had to literally leave town to find work.
Speaker 3:Whoa, yeah, yeah. You were even mentioning your friend was Ubering. You said yes, yeah, yeah, yeah, yeah, yeah.
Speaker 2:You were even mentioning your friend was Ubering, you said yes, yeah, yeah, yeah, yeah. Well, that was because of the strikes, but I definitely the lead engineer at 40 Watt. He left almost instantly, like two weeks into the lockdown, because he had kids man.
Speaker 1:And I was like what?
Speaker 2:was he going to do if he had no work and he didn't come back? You know, whatever else he found, apparently, you know, worked out for him, which good for him, good, yeah, good for him. But we did have like a lot of the infrastructure folks left. So the people who were like willing to stick around and like grind through it, I think have a better chance of like making strides now where things are starting to be rebuilt and people are putting in efforts to make productions happen, because a lot of those people, understandably, you know, packed up and left and found work.
Speaker 1:I think, also from my perspective there's a lot in art and music and movies and things. There's a lot to momentum and so you know, once you start getting some momentum that's hard to get. But once you start getting it, you start making connections, things start flowing. So I can imagine someone who's worked very hard suddenly getting some momentum and then that happened with my band too, man.
Speaker 2:Like we came off a tour like three months before the full lockdown happened here in Watkinsville. Oh wow, like December 2019, we went on the only tour to this date we've had and we were riding high because we were like playing these different places around Richmond, raleigh, excellent, you know receptions, other bands being really into it, and then just having all of that just in an instant Gone, absolutely gone. Yeah, it's so. I, I, I have high hopes for you.
Speaker 3:Thanks, and yeah, I both of y'all are really in tune to what's going on. I mean, this podcast shows Well, this is it, that's what we wanted to do.
Speaker 2:We wanted specifically because there was not a lot going on, right, so we were trying to give people away an outlet of some kind to keep a little bit of that momentum going.
Speaker 3:Right, you know, and I think that's what, because I said it was discouraging at first, but I'm glad you said that, because I find it more encouraging now that the people that really stuck through it are finding ways to. You know, it's a new ground floor Things are being built up.
Speaker 2:That is a good way to put it. It's a new ground floor. Yeah, because the ceiling was annihilated. The glass ceiling was annihilated when COVID happened Annihilated, nuked.
Speaker 3:Atomized. And it's so interesting because, you know, I read my notebooks of even open jar or like college, and about the stuff that you need to go in the industry. A lot of that is not viable anymore. Some of it is Right, but, like so much of it now is, you know, a lot of auditions are self tapes and that didn't really exist back then. Sure, maybe if you were special you got to send in a tape, but if you were nobody, you had to wake up at 6 am, get in line and hope to get in there. It's almost like there's more opportunity now, especially if you're someone that's proactive and can film yourself. Learn, you know, can just get on. A computer doesn't have to be perfect, you don't have to be a filmmaker to film an audition or anything. You just have to get it filmed, have a decent light and, uh, make make sure you're heard.
Speaker 1:So you've mentioned several different performances that you've had. But what about film? When was the first time you did some acting for film?
Speaker 3:That was this year, I think, yeah, and it may have been just around the turn of the year, actually around January. I was talking with the filmmaker actually this Saturday. So, real man, I got like I don't know how this happened, it kind of fell on my lap. I got lucky. I don't know but Marty Lang, the director of the UGA Masters in Film Arts program. He was really instrumental in helping us with the Film Fest.
Speaker 3:But before I met him was he was just kind of like a name in an email, because I was trying to get into that program and unfortunately I was just a bit too late to get everything like written and I get some recommendations, ones that I would really be proud of, you know. So he said no worries, uh, be willing to work on some sets. Uh, you're gonna work for free, of course, but you'll learn a lot. And audition too. There's some stuff on backstage that some of the filmmakers are looking for actors. So I auditioned for about three of them, got cast in two and I asked around because I knew some of them were yeah, just some of them through mutual acquaintances.
Speaker 2:I think 60% success rate is incredible.
Speaker 1:It's not too bad is incredible. No, it's not.
Speaker 2:It is not too bad like off the ground floor and in the industry, entertainment industry, that's pretty good yeah and it was.
Speaker 3:It was really cool to see, um, just the amount of people that needed help on their films too, and I mean a lot of these people I was surprised had already worked in the industry and they were just coming back because they wanted to get that, uh, that certification during this weird time, right that, no, nobody's really working.
Speaker 2:That makes sense, right.
Speaker 3:And this program had already had some clout to it because they were working at Trillith, they did all the Marvel stuff, they did all these big stuff, all these big things that were happening, stranger Things. And then that program because of it, because of Marty Lang, he gave them an opportunity at the new athena studios.
Speaker 2:Things are just like they were working out right did that come out of grady over at uh uga?
Speaker 3:yes, it's like it was like a marriage of grady and, um, goodness, I don't want to say the wrong one, but it's. I think it was the um, just the fine arts program, okay. So they talked david sutherland also um, he was really instrumental in it and they got the MFA program to move over to Athena Studios so they were able to use that soundstage, they were able to use the equipment and just everything out there, which Athena Studios is great and they need to get some more movies in there. But that's maybe a conversation for another time.
Speaker 2:When I was doing my undergrad at UGA, a lot of that stuff I think was just starting, so it's nice to hear that that actually turned into something that's getting off the ground. That's really nice to hear.
Speaker 3:And when was that?
Speaker 2:2015, 2016?.
Speaker 3:Yeah, around then. That's when I was hearing it's there, it's building, but it's not quite. And now they're really blossoming into something.
Speaker 2:I was dating a dude who was doing grip work, something like that, over at Grady and one of the professors I forget his name but was a hot shot because he had done some stuff in Atlanta and came back to teach and he was like back and forth kind of thing. So I was like hearing, I think, rumors about that stuff as it was getting going. So it's nice to see that that's actually gotten off the ground.
Speaker 3:Yes, and to answer your question, actually the first thing I was in it was a one liner and I was a board member a new toast product it was. It was a short film. I forget the name. I should know the name, but oh, backseat MacGyver is what it was called, and this guy is presenting this. This mad scientist is presenting a new toaster to a board of directors. I was one of the directors and I interrupt him in the middle of his pitch and I'm like yo, new panini press just dropped and I walk in that that was it Right. But that, like you said, started this momentum where he was like, oh yeah, that guy was great to work with. Set started this momentum where he was like, oh yeah, that guy was great to work with, you should get him in your film. And it just started snowballing into this. I want you to work, I want you to work, I want you to work dude.
Speaker 2:That's almost more important than than being good at what you do is being good to work with yes, say that again, being on well, it's like when you're stuck, when you're stuck on a set with somebody for like 13 straight hours, if, if you can't like, you can't hang man exactly.
Speaker 3:If you can't hang. You can't hang, you know, but it's, it's to yeah, exactly what you said. You can't, you don't want to be on a set 13 hours with someone you don't like.
Speaker 2:I mean yeah and not even don't like, but just someone that's gonna be rude to you like it's like if you're in that, if you're in that environment and you're not stoked to be there and do your thing, it's going to show and people are going to remember or they're not going to remember you One of two instances. They're either going to forget about you or they're going to have a bad memory if you show up with a bad attitude.
Speaker 3:One of our main things. I used to work at the Classic Center for about three years as an event coordinator. One of our main facets was people will remember how you made them feel. I always remembered that. It's like, good or bad, they're going to remember. A lot of those events would come back the next year, so that mattered.
Speaker 1:It did bite you, for you is acting the way you approached film. Was it any different than theater, or is acting just acting?
Speaker 3:Acting is just acting. But I did have to. I mean, there was a big learning curve for sure. Just there's just so many. Acting is acting like end of the day. You have to walk in and tell the truth of the scene. That's your job. You don't have to add anything to it. Don't add any emotions. You're not trying. Some people are like I need to find the arc of the character like I've read recently.
Speaker 3:There's no arc, there's just the truth of what's on the page. Some directors even and to this, some directors like vince gilligan, breaking bad. Uh, brian cranston was talking about this. He gave him a scene and wouldn't give him the next episode.
Speaker 2:So, goodness, I don't want to spoil anything, right but, brian cranston his character spoilers for breaking spoilers for here, step ahead to this time stamp. You can see on the screen right now joking. You can't see anything I'll say minimal spoiler.
Speaker 3:he just goes how could you think I did that? Right? Yeah, and the next scene they go to work, he does the thing that he said he wasn't so, in a way, that was just perfect directing, because he was playing it so truthfully like how could you believe I would do that to you, you know, and like almost like rage and tears, and then it just shows how sadistic the character is in the next one where he's like oops, I did do it, you know after putting on this great performance of like, no like.
Speaker 1:You can trust me with your life, you know. So how do you get at that? So how do you get at what's on the page? Versus think, you know, diving into the character, or vice versa. What's, what's that process?
Speaker 3:So, for me, read, read, read, read everything. I like reading the whole context. Read, read, read, read everything. I like reading the whole context. Sometimes they don't give you everything, but you read what you have and make sure you understand it right, make sure that you can go in and know it and be able to listen to your other person. You're I call it the other, but it's you're their actor, because, um, when I go into it, because when I go into it, I don't try to put any actions or any emotions into it, I just try to figure out what my character wants. So, with this line, it's either I want to convince someone or I want to deceive someone, or I'm pleading for my life, and just the context of that will already put what's into that. I mean, when you read a book, for example, you hear the context of that will already put what's into that. I mean, when you read a book, for example, you, you hear the emotions. Right, because just the writing, when it's really good writing, you can almost like see that ebb and flow. That's exactly how acting is when there's good writing, just kind of clicks, and while that may not help new actors, right, something that will would be just to go into a play, just read one scene and try to find every scene, I believe, has a climax, you know, beginning, middle and end, and just try to find where your main climax is Right. People will say, like isn't that your arc, though? Isn't that what you just said doesn't exist? Sure, no, it's not, because what you're trying to find is where either you get what you want or you don't get what you want, and that's going to affect your acting. I mean, you know, when you, let's say, you don't get a promotion that you really want, what does that evoke in you automatically? Maybe anger, maybe disappointment, maybe just like. You know, what could I have done better? That already plays, you know, whereas like you get it, you're like you know, what could I have done better? That already plays, you know, whereas like you get it, you're like whoa, yes, let's go. That's what I mean by playing. The truth of it.
Speaker 3:Some people try to put on this mask, or they try to add something that's superfluous, that just like doesn't even matter to the scene, and then shoot. I saw it in one of mine, in one of my films recently I was. It was interesting to see because it was like like football footage. You know, like an athlete seeing what they could do better. While I'm my own worst critic sure I did, it was a good performance but I was like, oh, you were putting on a mask there. Like you were almost like acting too much. You were that's one like you don't believe something because people are just putting something there instead of just being real about it. There's something. And then the last thing I'll say on this Michael Caine says it like actors, for example, with crying, you'll see, sometimes they'll cover or try to fake it and you can just tell and you're just like that's not real, I'm not even in it.
Speaker 3:I can't believe that when you try to cry, you're trying to hold back the tears, you're not trying to show it, you're not like blubbering, you're trying to hold that it. You're not like like blubbering and like, no, you're trying to hold that back. And a lot, of, a lot of times, just like playing that truth of like I don't want to cry right now, I don't want to embarrass myself. That starts like bubbling. You're like, oh, here it comes, like you know, and then, like the waterworks happen, yeah, um, play the truth. That's all I can really say and that's that's been the the biggest thing for me. James and Zach Sorry, james asked it.
Speaker 2:You can forget, I'm here, man.
Speaker 3:It's because I think really academia, going to school and learning I mentioned that early on. I kind of wish I minored, Because acting you learn through listening and through experience, not through the internet or through even like a degree or anything, because so many people add their own things to it where you really just need to read the play, understand the truth, listen to the other and respond.
Speaker 1:So we talked a couple times about listening to the other. So when you're doing a scene with another actor or actress, or whatever, and you probably come in you have read it and you have kind of your own ideas. When the person's acting back at you or doing their own terminology for this, does that ever change very much your view of your own character?
Speaker 3:Oh yes, oh yes, so sorry, how?
Speaker 1:no, sorry, kind of what. Where does that? How does that play out?
Speaker 3:yeah. So that's and that's what I mean about you can't put on an emotion or you can't automatically like you. What is the word um determine that this is how the scene is going to go, because that other person has their own wants and needs. There's a push and pull that needs to happen for there to be. You know, contrast equals interest. There needs to be this sort of struggle for us to be interested in the scene, or else, like what are we watching? Why do we care?
Speaker 1:So how much you pull has a lot to do with how much they're pushing, or vice versa.
Speaker 3:Yes, exactly Because you know, like I, like, like I mentioned earlier, your character is going to want something, whether it's a promotion, whether it's to be with this person, whether it's to get out of the situation and the other person wants something too, and you have to listen. I say listen because that person is going to play stuff that you don't expect. That person is going to bring something that to the table that changes your performance completely, and if they're saying something and you're just like reciting your lines or regurgitating what's on the page, people are going to know that and the other actor is going to be like I, I'm feeling a wall, I'm not feeling.
Speaker 2:I'm not really feeling like we're having a conversation, I feel like you're just talking to me it sounds like to me, the underlying skill here is empathy being able to empathize with the character's situation from what you're reading, being able to empathize with your fellow actor, being able to hear the perspective of your director, whoever's giving you direction, and not bringing your own ego to that right Is being able to immerse your emotional faculties in the scene or in the dialogue you're having with another character or whatever you are hearing from someone who is giving you direction, and I think that that is you know, as an outsider, that sounds like something that I don't hear talked about enough in this kind of art form how much emotional bandwidth, how much emotional intelligence the actor needs to have to bring into the situation to be able to be open and receive those emotions from other people and directions.
Speaker 3:Yes, I think you hit the nail on the head with empathy Actors at least the good ones that I know, and myself as just an empath we're empaths to a fault sometimes, you know, empathetic to the point where we see people in you know, in real life and it's like, oh goodness, I feel that. But then we are able to draw that when we're on stage, when we're on set, we're on set and there's actually yeah, you're right, the emotional intelligence is very important because I mean, you see actors, even professional ones, that go off the deep end after a really tough role. You know, rest in peace, heath Ledger. There's an exercise that I'm really happy. I learned in college that it's just about separating yourself from your character. So I mean, I've had characters that have been murderers or, like you know, bigots and all that you can't act from personal experience on those hey where are the bodies?
Speaker 3:I'd like to say no but definitely have had people that are like I want to punch you in the face after seeing you do that. I'm like, well, I did my job right. Or just characters where I'm like breaking down and like you know, I've lost my family or whatever and you have to be able to separate yourself from that. Or you're going to sleep at night, waking up to nightmares and just like where's that coming from? Oh, I don't know. I was putting myself through emotional trauma purposefully. Eight shows a week, you know what I mean. So, um, yeah, about breathing that exercise.
Speaker 2:Just like you breathe you may it's like I am anthony, I'm here, this is yeah that sounds like the more, the the more tools you have in your like emotional arsenal, the better you'll be able to uh fulfill your, uh your role in whatever production you're in, but also be able to like not lose yourself as a person. There's multiple layers of personality and ego going on, and most people have trouble just operating all that in the real world not necessarily being able to do that on command, in front of a camera and God knows how many people and whatever lights are blaring right in your face.
Speaker 2:Yeah, oh yeah, it gets hot I do.
Speaker 3:I do agree, yeah, learning emotional intelligence, definitely getting some help. Um, for you know my own stuff and all that sure, sure has helped immensely, even on stage. You know, just it's a big communication thing. It's it's big about again listening, it's big about empathy, um, and just that one thing I didn't uh also repeat, but man, that was also big your ego.
Speaker 3:Leave it at that, leave it at the door, leave it at the door yeah um, your performance is not going to be perfect every time, and that's that is. Another difference with film is that you get multiple tries, you get takes.
Speaker 2:Yeah, You're in front of an audience, an auditorium a playhouse full of people.
Speaker 3:You don't get a second try.
Speaker 2:man, you got to nail it on the first one.
Speaker 3:You're rolling, but there's energy from that right there is energy.
Speaker 2:Oh dude, I think you can like, and this comes from, I guess, my experience as a musician. But there is no greater feeling to an artist than firing on all cylinders in front of an audience.
Speaker 3:When you're nailing it.
Speaker 2:That's what we strive for.
Speaker 3:When you're nailing it, yeah, and they're giving it back, it's always sunny. Have you all seen that show? Oh, sure, yeah, there's the Dayman episode, yeah, so he's like how many laughs do you think you're going to get tonight? It's like laughs are cheap. I go for gasps.
Speaker 2:But when you do, which character was that? I think that was.
Speaker 3:It was Charlie. No, it wasn't Charlie it was Dennis.
Speaker 2:That sounds too smart for Charlie, yeah it was, was it?
Speaker 3:I don't know I forget who it was.
Speaker 2:I feel like Dennis is the one who would try to put on airs about.
Speaker 3:like you know, I think it was Dennis Like pretense.
Speaker 2:If it's pretense, it feels like it would be Dennis.
Speaker 3:Yeah, it's just like. But at the same time I agree. I mean when you hear, when you can feel the audience lean in, you know, or like, or you hear that sniffle, you're like, oh man.
Speaker 3:When you're on a stage doing a theatrical performance, how easily can you see the audience? You can see them. You can see them there, yeah, so I look above their heads. That's my secret. I look above their heads. That's my secret. I look above their heads, I see, Unless you know. You really you're talking down or like you're looking at. You know soliloquy, like Shakespeare or something Like sometimes you're talking to the audience for sure, and sometimes that they're. I'm comfortable with it now as an as a young actor. It was for sure Shake, shake your knees and I was like I want to look at you. You're not there. You're not there.
Speaker 2:But no, that's the number one fear right. Yeah, number one fear, like in every study ever done. What is the number one human fear? It's public speaking.
Speaker 3:Public speaking Even above death. Yes, I just saw American Gangster and that's a line in that.
Speaker 1:That's because it's real. Yeah, it's real man.
Speaker 3:Yeah, public hardwired.
Speaker 1:we are to be social creatures, yeah.
Speaker 3:Yeah.
Speaker 1:It's just amazing how hardwired we are.
Speaker 3:That's interesting yeah.
Speaker 1:That we would. Nothing would make us more afraid than to embarrass ourselves or do bad in front of our A captive audience, our group. That's our social group and all the attention is on us. You know we would rather die than mess up in front of our peers.
Speaker 2:I have biffs on stage. I would rather die than mess up in front of our peers. I would rather have just killed me on the spot. Oh goodness, Just strike me down right now.
Speaker 3:Oh, I've fallen on stage. I've dropped balls, literally on stage.
Speaker 2:You literally just dropped the ball.
Speaker 3:You just gotta keep going. That's the magic of theater too. It kind of toughens your skin. You have to.
Speaker 2:But I feel of theater too. It kind of toughens your skin.
Speaker 1:Oh sure, you have to. You have to, yeah, but I feel in theater there's also a little more acceptance from the crowd that stuff's going to happen. Like if I go to a movie, then I expect the movie to be the final product. But if I go to a play, I expect there to be some flubs Like the audience might laugh. If you drop the ball too, it just becomes part of that performance.
Speaker 3:It was in High School Musical during Get your Head in the Game. I was like my head's not in the game.
Speaker 1:That's incredible, Dude, if you had done that and I was in that audience.
Speaker 2:I would never have forgotten it. That guy gets it. It was a lot of fun, I'm not going to lie. I mean it sounds like it was fun. Yeah, go for it. I mean it sounds like it was fun, yeah, go for it, yeah.
Speaker 1:so I'm just thinking about how we all were talking about acting and empathy and playing off of each other. What's that like in film in terms of how hard is it to communicate, let's say, the other actor's not? Putting up that wall, yeah yeah, yeah, but you are empathetic to them. You also know how sensitive artists we can be as artists because, it is not just our work, it is kind of part of who we are.
Speaker 2:You can't always, no matter how hard you try. You're bringing a little bit of ego into the room. Right, you are. Yeah, is that?
Speaker 1:the director's job, or is that the actors with each other? How hard is that aspect of it. It must be tricky. Dang dude, he's looking at the ceiling.
Speaker 3:I have to think about this one.
Speaker 2:Yeah, I just want to say, while you're thinking about that one, I'll give you time. A reason I asked a minute ago about can you see the audience is like when I perform, I can't see the audience, and ooh, that is a gift People always joke about like the bl is like when I perform I can't see the audience, and that's so. That is. That is a gift yeah Like the people always joke about like the blaring lights in your face, man, like I want that.
Speaker 1:I'm like, I'm like blind me.
Speaker 2:Please don't let me see people out there, because the second I see people I'm going to bring myself out of the out of the performance.
Speaker 3:That's me too, so you know I wear glasses for people that can't see me.
Speaker 2:I take mine off for the performance.
Speaker 3:Yes, I do as well. You get it, and it's interesting, though that sometimes you're so locked in on stage. My adrenaline kicks in, and I can actually see a little clearer without my glasses.
Speaker 2:It's weird. I mean, that makes sense yeah.
Speaker 3:And whenever I started performing with contacts, I finally, like the blurriness kind of, put that curtain to the audience, to where I could see them. But I couldn't put a face, so it was just like you know it was easier to play to. When I had those contacts on I was like oh, that's Tommy, that's, you know, I know her over there too. But you know, you get over it with experience.
Speaker 1:I did have to think about that question just because I'm new to the film right, I'm new this year but I can still answer.
Speaker 3:In theater you get that a lot through rehearsing the scene, so there's more camaraderie with the actors, and then the backstage crew has more of their crew. I like bridging that gap, just because we're all working on this together, right. So that really helps too, and I'll touch base on that with the film um. But in theater you get that through reps, you get it through like you were. You rehearse so much with these people, with your scene partner. I mean there's, like you know, all the, all the friendships and showmances that happen, right like there's almost like I've never heard the term showmance but it's immediately in the file like dictionary updated.
Speaker 2:It's real, zach. I mean, I've heard stories but I've never heard the word showmance.
Speaker 3:Wow, yeah, it happens and all the stuff that happens, right, I mean the backstage crew. I remember the first time I was a stage manager that's a whole different world and they have their own crews and all that. I remember the first time I was a stage manager. That's a whole different world and they have their own crews and all that.
Speaker 1:So rehearsals are you giving feedback to your actors? Is that coming mostly from the director? Is there like an etiquette to that kind of thing oh, there's more etiquette in the theater.
Speaker 3:for sure there's etiquette in film and it's just a little different. I feel like film is more quicker but there's more like a regal etiquette in the theater.
Speaker 1:You know what I mean the more sophistication.
Speaker 2:Oh yeah, do you think that has to do with how the production is put together and what the production is actually trying to achieve? Right, because if you're in a theater, the achievement there is we're trying to have all these people simultaneously pull off their parts so we have a show happen in front of an audience, whereas on film, you have all these people trying to construct the most realistic or whatever you're going for scene and get the correct take and like the pressure that is on, for all of these people are here for you on this moment, whereas we're practicing for the moment, which will be on a different day. Right, and?
Speaker 3:that's. That's, I think, the biggest difference right there that you yeah, you opened up to that because, yeah, theater is more of this this giant collaboration to this one finished product. And then afterward it's like, I mean, people get like that post-show depression they call it where it's like, wow, we just did all this for months and now it's over in the community's weekend or two.
Speaker 3:Yeah, and so a lot of people. That's's why they love the community theater. They're like well, the next show is in. You know, next auditions are in two weeks. Let's do it. You know we're back, and there's that. But film is a filmmaker's medium, not an actor's medium. So film is, and that's the biggest thing, about leaving that ego out the door because you go in, you think you put on this great performance and half that stuff gets cut.
Speaker 2:Yeah, half that stuff isn't even in the film because there's like an authorial intent behind, like the director and the editing team yes yeah whereas the production is like here it is.
Speaker 3:You see the whole thing right and while the director has, well, it's just so much more of a I don't want to say so much more of a collaboration, because film is Every step of the way is a collaboration Like if you don't have the actors, you know you don't have a scene. But if you don't have, like, your lighting, if you don't have your sound, if you don't have grip, I mean you're not getting through the day. You know what I mean.
Speaker 2:But because the goal is not to have a live production happen, but gather enough material for someone to be able to edit into a final product. You have all these different teams who never speak to each other, right?
Speaker 3:Yes, you can have that, and again, that's why. And then pin from the theater. That's what I get back to, that's why I've been so. One of my things is just like let's all talk to each other, like let's all help each other. I've found I'm new to the film thing, but I've found that the actors don't really talk to each other for the most part Interesting. Most of them go to their own places, they have their own things and if they do talk to each other, you know, it's like I could have done this better, I could have done that better. And I don't really talk to crew and vice versa. Crew only talks to the actor when it's like all right, actors, we're ready. It's very separate, everyone's got their own tent, everyone's got their own thing, but we're all like working together. I've been able to bridge that gap by talking to the crew, like how can I help? You know, what can I? What can I carry? And I've noticed other actors are like oh, can I help carry something too?
Speaker 1:I'm like yeah, come on man Follow my example. That's good, though. Exactly yeah, that's good though.
Speaker 3:Servant-style leadership. Another thing I learned at the Classic Center yeah, people follow that and you know you don't have to tell them like, hey, man, grab something, because no one's going each other out here, and that's how it works. I guess, like I feel like film is more. Theater is like you audition to get into the show and now we're going to work together, whereas film is like if you're in the world, we're always going to be calling you to do the next project and like you're part of like this, like you see, almost even when you go to film fests, like crews, it's like this is the crew that does like this studio or this studio, and like they all talk to each other. Maybe they like cross over, but like they're all together and then they help each other out, then they stick back to their crew and, like you know, it's like it ebbs and flows. I feel, yeah, I had a friend.
Speaker 1:Well, I interviewed someone one time, was a director who'd done film and theater and he was like when I do theater, I'm directing the text I don't have you know. I'm working with the actors and we're working on this text. When I do a film, I'm the author. It doesn't matter what the text is.
Speaker 1:You know I still have to work with the actors. It's still a relationship with the actors and all that. But he saw like and this is just one person, I don't know if this is true other people. He saw very much film as like he was. You know, the text was just the starting point yeah, he was essentially the author of the film and he was collaborating with other people to get his vision out, whereas in theater he was not the kind of author of the play you know he Do.
Speaker 2:you think that's because in a film you just you aggregate material and then there's like alchemy, that happens in an editing room and then a product is made, whereas with a live production it's like it lives.
Speaker 1:I think some of it too is just the fact like if you look at theater, so much of it is not written by the director, right? Where, if you look in film like if you look at the greatest filmmakers of all time, I would say 90% of them are writer directors there's a few exceptions Steven Spielberg, a few others, but for the most part they're all writer directors Kubrick right.
Speaker 3:Kubrick. He was also like right Kubrick. He was also like Spielberg. Yeah, he was like Spielberg.
Speaker 1:There are a handful of people who don't fall in that category, but if you were to name your ten favorite directors, I guarantee you eight of them are probably writer directors.
Speaker 3:Yeah, I mean, a lot of my influences are for sure.
Speaker 2:I was asking because of Space Odyssey, right?
Speaker 3:Because there's like a novel series that happened in tandem with those no, I'm pretty sure kubrick's like spielberg I don't think he did a lot of his own I forget the author, but I actually saw that I took a picture of the cover of space odyssey because I was like, oh, I gotta read this.
Speaker 2:I've been taking a lot of pictures as I warning, it's very dry really yeah, I mean I'm gonna be real, the film is kind of dry too A little bit. No, it's an incredible film, but the tone of it is very monolithic. Ha ha.
Speaker 1:You did that on purpose? No, I didn't actually.
Speaker 2:I didn't. It reads very similarly what's an example of an author-director you can think of?
Speaker 1:Name one you like, damien Chazelle yeah.
Speaker 3:Christopher Nolan Tarantino writes his own stuff Link later.
Speaker 1:all of his major films are mostly written by David Lynch.
Speaker 2:When we say writer, we're talking about writing the script.
Speaker 1:The script, yeah. They can be derived from books, though in a lot of these cases Lynch didn't do a lot from books.
Speaker 3:He pulled from a few, but he's got his own stuff.
Speaker 1:It's kind of like the guy said, there's a script but it's just a launching pad for a movie director because they can really do whatever they want. Unless you're directing a Hollywood Marvel movie, then it's more by committee probably.
Speaker 3:There's a writer's room. There's a writer's room. There's a writer's room.
Speaker 1:And you can get good stuff, like Spielberg does a writer's own stuff and does amazing movies, right, because he just has that vision he has that vision, and there's some great Marvel movies if you like that kind of thing.
Speaker 2:Continue, continue.
Speaker 1:Don't pay attention to the peanut guy, I'm going to laugh?
Speaker 2:I'm going to laugh. If you're throwing shade man, I'm going to laugh.
Speaker 1:I'm not trying to show throw shade at the comic book movies, all right, I've watched very few of them so I really can't speak. Oh man, I was a big fan up until Endgame and then fell off. I have seen, I think, iron man and I've seen a couple of the— the first one.
Speaker 2:The very first one Like 2007.
Speaker 1:Yeah, I the very first one. Like 2007, I saw some of the what's when they're all together.
Speaker 3:Avengers.
Speaker 1:I think I've seen some of the Avengers that I watched with my kids.
Speaker 2:I think I may have seen and I read comics that's what's funny to me, but you don't read superhero stuff.
Speaker 1:I did growing up Like I could tell you some Green Lantern stuff, but that movie was god awful right. But you know, sometimes you're reading things and I find this very true that I know a lot of people who are very like read classic literature, for instance, but love, all they watch are B movies.
Speaker 2:Or who are super.
Speaker 1:Well, tom is an example of someone likes um b movies and like super art house. He doesn't like middle of the road stuff. He likes anything that's extreme, like.
Speaker 2:So if you're on the that's a good way to put it. Yes, if you're on the art house yeah, side great.
Speaker 1:If you're like the super b side great and the stuff in the middle, some of of it he might like, most of it probably going to lose his attention.
Speaker 2:What kind of films do you like most?
Speaker 3:I like films where there's a protagonist that was either on top of the world and then they end up at the bottom, or someone that doesn't learn anything.
Speaker 1:Kind of like Safdie, oh nice.
Speaker 3:Safdie Brothers, or even like what's your favorite, safdie.
Speaker 1:Brothers film.
Speaker 3:Yeah, like the Safdie brothers or even like what's your favorite Safdie brothers film Uncut Gems.
Speaker 2:Oh man talking about tension the whole movie, that's the one with Adam Sandler. Yeah, and it's just.
Speaker 3:I love seeing actors that can break out of that too, like just you know, adam Sandler's such a goofy guy, right, yeah, and that I was like whoa. No, he performance was incredible in that.
Speaker 2:Idina Menzel was in that too Well all of his comedy films. That's probably fake too, man, I mean on some level, right.
Speaker 3:Well, I mean, yeah, like he's always acting, but it's just like he does comedy so well, you know, to have a movie where he's like not really comedic at all I mean, there may be cracking jokes here and there but but like just super intense, had he not done a serious thing before that he did. Yes, he did Punch Drunk Love.
Speaker 1:What a great one there's a writer, director, paul Thomas Anderson.
Speaker 3:Paul Thomas Anderson, that's great oh my goodness, there Will Be Blood. There Will Be Blood is awesome.
Speaker 1:I've seen that. That's an amazing movie.
Speaker 3:I love that. I also love. I mean I love that Nolan too, that he just like a character you can center around but then like it's just out of. Also love. I mean I love that Nolan too, that he just like a character you can center around but then like is just out of this world and I mean like, look at, like Inception, did he really learn anything in the end? You know, like he's kind of he might still be in the. Well, let me not, let me not spoil anything, right.
Speaker 1:But you like a movie with some ambiguity, like that Some ambiguity, yeah, ambiguity, yeah, someone with an open end.
Speaker 3:Um, I've also, uh, as I've been writing, I found that my stuff has a lot of social commentary too. Like I want to add um, I heard this over the, this term, over the summer latinidad, latinness, you know, to my films, okay, yeah, so, like I want to add some spanish in there. Um, you know, I'm really inspired. Also, bong joong-ho, uh, the korean, there's, there's a world of film that is open to you if you can just get over this one inch hurdle of subtitles you know like so many things are opened up to my friend, uh, frank solano.
Speaker 3:I'm telling him to listen to this. He's the guy that really got me into film. Film. He was like show me criteria on stuff and like all these directors, um, he was just like foreign film man, you gotta watch it, you gotta see it. It's good stuff, like in the mood for love, goodness. I'm forgetting the director, but, um, just a great was that one car.
Speaker 3:Why yes, yes, thank you, thank you, yes just like so much is open when you, when you just get over that hurdle and I I just take that, I'm like if I can get people to watch movies that are in Spanish, you know, and it's just like it'll be 50-50.
Speaker 2:And maybe one of them will be, I think we're seeing a change, like it's slow moving, but we're starting to see it. I mean, parasite was on top of the world and people are paying attention to Bollywood. Yeah.
Speaker 3:Bullet Train had a lot of Japanese in it. Yeah.
Speaker 1:And I'm gonna redeem myself. I'm also gonna say that like you can come from the other world and like you're trying to get rid of that like kind of bias or whatever. Like if you're kind of like living that, like I do that art house world, you also have to like be careful, like you gotta get rid of that bias like oh, it's a superhero film because there's so many, there's a lot of great stuff out there.
Speaker 1:It's just when you go into a film you know like Avengers, which was a fine film. I enjoyed it. It was a fun film to watch.
Speaker 2:You can't go in that expecting you know, wong Kar Wai, it's not made for that and just like you can't go to, you know you're not going to watch.
Speaker 1:You know one car why movies and expect the same thing. They're different experiences. But if you open yourself up to them and don't like, judge them in terms of like what's better, what's worse and just like. This is what you know. Enjoy the film for what it is. And some films you won't like and you're gonna like. We all have taste and that's perfectly all right. To like, say I don't like a certain thing, um, as long as it's not like elitist. That's the thing, do you?
Speaker 2:encounter a lot of elitism in either film or theater, do you feel?
Speaker 3:not recently. I think everyone got their hat handed to them with the pandemic.
Speaker 2:I wish that was true of the music industry, because it totally is not at least for the most part that I've seen.
Speaker 3:Sure like sure, there is still some Like I think there's still the old regime that, like at some film festivals, like I've gotten like the oh sure, I'll talk to you, and then, like you know, it's a very fake handshake and they move on, but for the most part, I've seen people that want to work because, like you said, zach, those are the people that survived. Yeah, those are the people that kept moving, the people that are like hey, and and speaking of um, you know, I just want to say this before we don't have time to say at that atlanta film festival I was, uh, I attended a latinas and media event, or panel lima for short, and they're this group of that's a really good acronym for that.
Speaker 2:Yeah, right, it's a group of latin women. That a really good acronym for that.
Speaker 3:Yeah right, that's a really good acronym for that. It's a group of Latin women that started this. They were like we're filmmakers, we know what we're doing, we want to get more people collaborating and you know they accept everyone, not just Latinos, like everyone, or the Latinx community, just everyone, right, that wants to work. They're here. And one thing that really stood out to me that they said um, carlos aviles is his name and he's working in atlanta. He's an actor that's working.
Speaker 3:He said for so long, latinos in hollywood, we have fought for a seat at the table. Why don't we just build a table? And that's been that's been ringing in my ears for I mean, since I heard it and I brought it back to athens, I'm like I'm gonna start building this table and you know anyone that wants to come eat and they want to work, they are welcome. Because I mean that's how you got to go, that's how you got to do it. You know I started off as an actor. Stars in my eyes, right, like I'm going to audition, audition, audition. Until I can't, I'm going to wait tables if I need to. You know, to reach my dreams I'll make those sacrifices, but what I have found is that it's better when you create something, it's better when you come to the table and you're like I've made something. You know I've written something. I've coordinated a film festival in athens. You know that got more people involved and, like, got this film conversation starting.
Speaker 3:You know um and you helped others on the way and I helped others on the way. Yeah, like I was able to go along and be like, hey, you're a writer or you're a grip or you're this. I mean, here's a job or someone that I know. Or you need a location. Sure, like, here's the Marigold Auditorium here in Winterville or here's the Classic Center Somehow we got a film in there. So it's been really cool, and I may not eat at every meal, but I'm still eating, right, and other people are too. You know what I mean, and that's what it's all about. Athens could be something. You know what I mean. We got that Athena Studios. We were a big music town in the 80s, still are, and you know it's going, but we could add something to it. You know People.
Speaker 3:I've also found people are going to school at uga, trying to run off to atlanta and, like you know and like, try to find jobs there again. Stars in their eyes like I'm hoping someone gives me something. Make something.
Speaker 2:You know we could be doing it. It's the difference between trying to break into a community and trying to create community exactly. And athens is, uh, for all of its flaws, a really beautiful place because the people who have stuck around are so willing to pitch in to anyone trying to make that community effort.
Speaker 2:I think that when people talk about Athens as an art town, when they glorify it, I think that's what they're trying to glorify is that sense of community, being able to just walk downtown and bump into people that are doing stuff too that's right yeah just that, that kind of vibe is, I, I think, what's most important and most conducive to creating art or creating anything that has value, right, bringing people together. But uh, athens, in particular, I think, just has that, that energy. Yeah, they do, I think we just has that energy?
Speaker 3:Yeah, they do. I think we just need that little shove in the right direction sometimes.
Speaker 2:Atlanta can feel real lonely if you don't know a bunch of people when you move there.
Speaker 1:Exactly, atlanta does not have that energy. Well, it's so big.
Speaker 2:The city is massive and because of that there's sub-communities and sub-communities and sub-communities yeah.
Speaker 3:Well, it's interesting. I can't speak to the music side of things, but in the film I've actually found a little bit more community in Atlanta than Athens.
Speaker 3:Really, and I just think it's because we haven't had anything started here, right? Not that Athens is averse to it or anything is averse to it, or anything. Um, but yeah, like this, this lima group um, they are partnered with actors army, which is a group of actors that got together during the pandemic 2020 and they were like we used to book. Now we're not booking anything like let's start making short films. And what they do is they, you know, they go to, they submit their films to film festivals they were at the athens as well.
Speaker 3:Um, they do screenwriting competitions, so they provide feedback to people that submit. You pay a $15 submission, so that's how they get, you know, like a little bit more money there and then, from the film that they choose, they produce. So they just did one. I forget what it's called Collateral Breakup, that's what it's called and now they're moving on to the next one and it, as they go, and through that, they're helping each other, they're getting a little bit of pay here and there, and that's happening here in town, that's in Atlanta right In Atlanta, but you want more of that stuff here.
Speaker 3:Exactly yes, so I would love to adopt that here, Getting people that I mean they have not just a group of actors, but they have directors and people that are crew and people teaching, acting and all of that kind of thing. So it'd be great to have that.
Speaker 1:It's all about getting organized. How do you grow that? What's the what's the step? How does that happen?
Speaker 3:Hey, so the step is one we get people that want to create. And one thing I've been working on with Laura Hogan, which was she was on the podcast with me for the film fest, last time Laura's great.
Speaker 3:Yeah, laura's awesome. We've been trying to. Maybe this is putting too much out there, but what I dream of doing into this next year right, what's not even just a dream, it's a goal we're working on it Is to start that to get screenplays produced here, do maybe some competitions and then start a fund here in Athens to where we can fund the film, get people paid, get it produced and subsequently add to the economy.
Speaker 2:That's great.
Speaker 3:Yeah, like get jobs started here.
Speaker 2:Well, you know this environment. The library is a really good place to start that kind of thing. Get it off the ground, yeah. Get people in a room, yeah, like when you were talking about like building the table. I mean, that's what James and I essentially set out to do with this. Yeah Is like get people connected, get people together, and the best place to do that is a community center, right, a place that will let you like gather without an incentive of you spending money or bringing anything to an organization.
Speaker 3:Yes.
Speaker 2:Being able to just get people together in a place. I think you're in a really good position to do that. Man Like, if you genuinely want to get out there and organize, you're in a really good place to do that.
Speaker 3:I agree with you, Zach, I'll tell you. I mean, hey told you, I started off as a church kid, right? I still believe in a lot of spiritual and I believe in God, right, and I feel like I think he—. Put you here I think he put me here or the universe, or fate, whatever you want to call it. Church is an excellent place, too right, it's an excellent place.
Speaker 2:It's designed as a place to gather.
Speaker 1:Community, community, yeah.
Speaker 2:But just being able to like but there needs to be that institution, there needs to be, like, the thing that people go to and gather around. Yeah and yeah, I think you're in a great place to do that, man. Thank you.
Speaker 3:I mean hey podcast. We're going to get a little mushy here. I got to throw it to Zach, I remember at the development day. He was just like hey, man, I just feel like you're a good guy and I was like I feel like you're a good guy. Is that?
Speaker 2:what I said. You have a good vibe In the entertainment industry. I'm so used to dealing with dudes with bad vibes yeah, unfortunately. Well, specifically in metal, everyone's just super extreme.
Speaker 1:It's part of the metal thing, obviously, but you don't have to be that way.
Speaker 2:Your art can be that way, but you don't have to be that way. Your art can be that way, but you don't have to be that way Right.
Speaker 3:I do like finding the metal guys that are really wholesome. It's like yo, you're just great to talk to.
Speaker 2:Those are my people and Athens has those in spades for sure. But it's too intense. And being able to just meet someone and just be able like tell off of first blush they have a good vibe like you just gotta. You gotta nurture that man that's. That's all I was trying to do in that moment. If, yeah, I don't even remember.
Speaker 3:Yeah no, thank you. That was one of the moments I was like whoa, I feel like I'm for sure at the right place, and james, of course, meeting him through the film fest and all that, I was like this is a cool cat both of y' that's what got you this job right.
Speaker 2:Like being like, knowing and being connected.
Speaker 1:Well, certainly, just like you know and that's true in film, it's true in anything is that when you get to know people, I mean there's some negative connotations to kind of like who you know, right, yeah, and I understand that. But there's also an element to it of well, this is these are the people that come to things, these are the people I've worked with that I've seen are genuine, who are working for the community. Am I supposed to just ignore that?
Speaker 2:No, you're supposed to lift that up. Lift it up exactly. I think the difference between nepotism and community right is being able to be out there and putting work in the community and doing it because you think it's the right thing. People can see that man. It's real obvious.
Speaker 3:People can see that, and I mean just someone that you want to work with, you want to collaborate with them on another project, you can trust them with. I mean a lot of these things are babies you know, definitely you can trust them with your baby, you know so yeah.
Speaker 2:I think you passed the interview. I think, if it wasn't clear to all the listeners, this has been an interview process, not just for Anthony's art, but also because he is now our new talent.
Speaker 3:That's right, hey, are we dropping that? We are. We are dropping that, we actually.
Speaker 2:James and I talked about it before, where we were like yeah, I think we're going to do the interview and then also simultaneously announce like hey you did so good, New co-host.
Speaker 3:You did so good, you got the job. You heard it here first folks.
Speaker 2:Welcome aboard. Yes.
Speaker 3:Thank you, I was actually commenting to James too. I don't know. We all kind of like we're on the same wavelength today. We've got the olive pant going, we've got the black top.
Speaker 1:Oh yeah, Coordinated without having to coordinate.
Speaker 2:I think it's just librarian drip, but yeah.
Speaker 1:Whatever it is.
Speaker 2:James was like I just got dressed man.
Speaker 1:That was clean on the. It was either that or put the clothes away.
Speaker 2:Yeah, just pick it off the pile. Yeah, what's in the basket? I don't care what's in the drawers, what's in the basket, what's in the basket. Yeah, what's getting worn Right?
Speaker 1:We always ask people and we haven't asked you this yet what's a book? And in your case also, let's add a movie that's had an impact on your life.
Speaker 3:Ooh, all right, a book is Brave New World by Aldous Huxley Excellent choice. I love that book and I just feel like ever since I read that, all my stuff has been sort of dystopian or had a twist. Or if everything is super happy in the world, there's a secret, hidden something behind it.
Speaker 2:You're talking about that ambiguity, right yeah, exactly the ambiguity behind the characters. And what exactly is the crux of the story being told? Right Right?
Speaker 3:I mean, I just love the duality of the two worlds in that book too. You know the savagery and the society that they're in and how that one character gets transported to this savage place and he doesn't really know how to interact you to interact and how they're treating them like a zoo.
Speaker 1:It's all just. Yeah, it's all really good.
Speaker 3:And I like stuff that Almost like Black Mirror too. I guess does that count as a film? Can I say that? No, you can pick.
Speaker 1:Black Mirror. Sure, there are no rules.
Speaker 3:I love how that's so, twilight Zone. But it's just barely into the future, maybe like five years, and we can unlock whatever technologies in that one episode and we're in that world. You know what I mean? I love something that's so close. That's almost like a warning sign.
Speaker 2:Do you know? There's a term for that, a literary term for that. It's speculative fiction. No way, yeah, a lot of people there's like and this is just me weighing in because I'm a giant sci-fi fantasy nerd. Yeah, there's a discourse over what to call that sphere of literature and art, and speculative fiction is kind of what people have landed on, I think, as a way to tie it all together, Like, instead of doing the science fiction fantasy dystopian, like having a million words in a row Right.
Speaker 2:Just kind of bringing all under the umbrella of speculative fiction.
Speaker 3:I love that.
Speaker 2:Yeah.
Speaker 3:Yeah, yeah, it's, I mean Parable of the Sower I was renewing today. Yeah, it's, I mean Parable of the Sower I was renewing today. It's Octavia Butler, who I think she inspired Jordan Peele I don't know if that's that's confirmed, but just in the way that she would write a crazy sci fi story, that's, you know, like Bloodchild, for example. That's a short story of hers about aliens impregnating males on earth and like bringing their children to fruition Right and how it's an allegory for how black women that were enslaved were impregnated and like like blows my mind.
Speaker 1:Like what you didn't even know that until the end.
Speaker 3:Like what? That's genius.
Speaker 2:But Butler is like one of the one of the goats. Oh, she is. She is genius, one of the greatest of all time. She is genius, she is genius, genuinely genius.
Speaker 3:I was telling James, I've long passed the rollercoaster point where I can't put the book down. I'm reading it every night. I'm reading it whenever.
Speaker 2:I can. When people ask me how to get into science fiction, Butler is usually one of my first suggestions because I feel like she's very easy to read to you. Don't feel like she's talking over your head.
Speaker 3:Yes, it's very relatable. Yeah, and her characters are too.
Speaker 1:It's usually not like if someone's never read science fiction, they usually don't want to jump in with space opera they don't want, asimov they don't want spaceships. There's more of a connection to what you were talking about like yeah, right now speculative fiction.
Speaker 2:That's another. That's another uh argument for tom's looking at me through the window and it's he was just standing there staring at me. Uh, I think that's another uh reason why people argue for speculative fiction. Because, uh, there's like soft sci-fi, hard sci-fi, all those different delineations, but but like we want the umbrella. Yeah, what is like accessible to someone who isn't going to be able to like pick up on, like the super hard jargon in like.
Speaker 1:Hyperion or something, yeah, which is a great book. It is, it is yeah.
Speaker 3:I just want you to read it, oops.
Speaker 1:Yeah, yeah, yeah, oh.
Speaker 3:Oh, you haven't read Hyperion.
Speaker 2:No, but that's on the list now, that's a hard sci-fi one, though I would check out other stuff on the list before hitting that one up. It's easy to stop by for your recommendations, Okay yeah, le Guin's next, if you haven't read a lot of Le Guin. Oh, okay cool Left Hand of Darkness. If you want a recommendation anyone listening like surface-level stuff I would recommend Left.
Speaker 1:Hand of Darkness Definitely one of the classics of sci-fi.
Speaker 2:I think so and, again, very easy to pick up.
Speaker 1:It's not like she's talking over your head and it's not like 800 pages, like a lot of fantasy and sci-fi.
Speaker 2:It reads like a fugitive story in a lot of places.
Speaker 3:See that's the stuff, yeah, where it's not too crazy. It's just like you can really relate to it in a way.
Speaker 2:that's like this could be close to now, like yeah yeah, because a lot of science fiction is like trying to see very far forward, whereas some of it can can be predictive of what is right around the corner. Right, right, I love that kind of stuff yeah yeah, I think that's what you were getting at. Sounds like it and then film. Right, you asked for a film too, would you answer Black Mirror, oh.
Speaker 3:Black Mirror, yeah, I mean that's and that's a series that's kind of like a film. I feel like that show was one thing. It's like every individual episode is kind of like a short film yeah different directors really big names too, and around that era of just like streaming and all that, I feel like everything became higher quality.
Speaker 2:Oh, it had to. Yeah, exactly, have you seen Love, Death and Robots?
Speaker 3:No, but it's on the list.
Speaker 2:That's actually if you want something to bump to the top.
Speaker 1:Love Death and Robots, if you like.
Speaker 2:Black Mirror. I think you'll like that too. Yeah, I've only heard great things about it. Cool, Some really incredible animation on that.
Speaker 3:Man films. I'll choose one film. Okay, it's cool. Under the Same Moon, debajo la misma luna. It's, oh man, recommend, highly recommend, forget who directs it. But it's about a little boy that his grandma dies in Mexico and his mom's already working in California and so he goes through the process of illegally immigrating to get to her. All the stuff he goes through during that, and there's this guy that helps him out throughout the way. You just see a lot of what they really go through through that. Anyway, it's called that because she says no matter where you're at in the world, just look up at the moon and we're staring at the same one. We're at the same one and it's ah, it's so good and it's got both English and Spanish.
Speaker 3:I'm going to watch it. So yeah, it's really good. I'm going to watch it.
Speaker 2:Yeah, that sounds right up, James' alley.
Speaker 1:Yeah, it's right, there's subtitles. I don't like dubs, oh you're one of those I don't Gotcha. Yeah, I prefer the subtitles, and me and my kids actually debate over this sometimes and there are instances where maybe the dub's better than the subtitles Sometimes.
Speaker 2:Can you think of one off the top of your head, one that you would be down to watch the dub?
Speaker 1:Good question Not off the top of my head, but I could see like the answer is Akira.
Speaker 2:The dub of Akira is really good.
Speaker 1:Oh, okay, yeah, I think I own that.
Speaker 2:I don't think I've watched the dub version, but I mean it's like the A lot of the giants of the VA, like in the anime industry. A lot of those folks were young on that film so it's like very predictive.
Speaker 2:Yeah, like, johnny Young Bosch is one of the main guys and he's like one of the most like prolific voice actors in anime. Kaneda was one of his first roles on that film and he does incredible. In fact, the Kaneda Tetsuo like yell that they do at each other like is is a meme because of how well he did that performance. Huh, yeah, you should check it out. We have it. We have it in our collection.
Speaker 3:Akira yeah, it's akira, oh, yeah, I do need to see that, yeah that's yes, that's like.
Speaker 2:It's probably one of the it's probably my. In my opinion, the best animated film of all time is that the one with the motorcycle. Yep, that's it. That's probably one of the it's probably my. In my opinion, the best animated film of all time.
Speaker 3:Is that the one with the motorcycle? Yep, that's it. That's the one the motorbikes.
Speaker 2:Iconic. Yes, I need to see that.
Speaker 1:All right. So where can people find information about you? Follow you, keep up with your burgeoning film and theater career.
Speaker 3:Yeah, hey, the new calling card these days is Instagram. So, yeah, hey, the new calling card these days is Instagram. So follow me on Instagram, anthonyzuniga77. That's A-N-T-H-O-N-Y-Z-U-N-I-G-A-77.
Speaker 2:Nice, right on, right on, and you will be hearing from and seeing a lot more of Anthony here in the near future.
Speaker 1:We've got some big plans, oh yeah, and glad to have you on board, yeah man Glad to have you.