Maxwell Caulfield Opens Up About Life, Love and Career

September 20, 2012

Actor, Maxwell Caulfield shot to fame with the 1982 film, “Grease “2 and has sustained a thirty year film career that has seen both highs and lows. He has had a noteworthy presence on Broadway and London’s West End. This writer directed Mr. Caulfield in the feature film, “Midnight Witness” and sat down to chat with him recently at the Pali House Hotel in West Hollywood.

Hollywood Revealed: Maxwell, you are currently starring in the play “Euripides’ Helen” at the Getty Villa where you portray “Menelaos,” a character that has been missing in action for seven years. How do you personally relate to that role?

Maxwell Caulfield: (laughs) Brilliant question. Yeah, that’s absolutely the truth. I play Manelaos, The King of Sparta, and those so called missing years of both the character as well as myself were bloody–but will prove ultimately victorious.

HR: So what have you been up to since we last saw you on TV in the “Colbys?”

MC: I think I’ve racked up a decent body of work. Some pretty good film credits.

HR: Which ones are you especially fond of?

MC: One that comes to mind is “The Real Blond,” Tom DiCillo’s movie with an all-star cast in which I had the best part. “Empire Records” with Renee Zellweger and Liv Tyler has also gone on to become a bit of a cult favorite, and even a couple of my more obscure straight to cable films…

HR: Like our project, “Midnight Witness”.

MC: Well indeed, “Midnight Witness.” A wonderful little movie. Very under estimated. Produced by Menahem Golan and directed by your good self, with the wonderful Jan-Michael Vincent. What a true Hollywood legend.

HR: I agree.

MC: The movies that I am thinking of tended to be shot in Eastern Europe for not a great deal of money. One of them that I was in, “Dragon Storm,” went on to become Sci-Fi’s Channel’s biggest hit at the time. That was a whole lot of fun.

HR: You had tremendous early success with your films as well as your work on stage. Would you say that was a good thing?

MC: No. It was definitely misleading in so far as it set up one’s expectation level to inappropriate heights. While I was considering what my next film at Paramount would be under my three picture contract, they were rush releasing “Grease 2” to a less that stellar opening weekend and my contract suddenly went up in smoke, rather like a James Bond directive.

HR: Ouch. That must’ve hurt.

MC: It did, but I managed to work my way back into the game, specifically with a TV show, ironically again at Paramount, called “The Colbys” which was the spin off of “Dynasty,” but in all honesty, appearing in the sequels to big monster hits is not always the savviest move, particularly if the sequel under performs.

HR: So is there one favorite character you’ve portrayed?

MC: On film?

HR: Yeah.

MC: ‘Cause some of the best roles I’ve gotten to play have been on stage, but on film, there is one project I did that unfortunately didn’t get a theatrical release, even though it was getting a very excited response. It was “The Boys Next Door” with the young Charlie Sheen who just had bud-horns coming out of the top of his head at that point.

HR: What happened?

MC: The production company, New World Pictures, went under at the worst possible moment, so the film ended up, like a lot of my flicks, moving into that cult arena and that doesn’t ultimately serve you too brilliantly in terms of the jockey stakes of movie stardom. But that was a part where I really got to lose myself in the role, because that is what you are ultimately trying to do. Get immersed in the part so that where you leave off and where the part takes over is almost invisible. Considering that I was playing a homicidal maniac it doesn’t speak too highly of my character.

HR: So what advice would you have to the 22 year old Maxwell Caulfield who has just finished starring in “Grease 2?”

MC: (laughs) Don’t believe your own hype is top of the list. Definitely start shooting your second film before the first one comes out. Get out there as quickly as you can to display your versatility. Hollywood is inclined to consign you to a category and it’s up to you to make sure the box is as big as possible so that you can stretch. To quote Noel Coward, it’s imperative to come out of a different hole every time.

HR: And you did with “Boys Next Door.”

MC: Yeah, but it was about a year and a half after being left out in the cold by Paramount.  I was actually hopping mad and used that film as an opportunity to vent.  I did get to work with the wonderful and brilliant Penelope Spheeris on that one.  In fact on “Midnight Witness” you caught me at a pretty opportune time in terms of using a role as an outlet for my own pent up emotions.  I loved playing that guy in your film.  That psycho cop, “Garland.”

HR:  Your movie star status got that film financed.

MC: Wow, that’s a wonderful thing.  Maybe I should have tried to make it a bigger payday.  Just kidding.

HR: You could’ve hit Menahem up for…

MC: Another five grand? (laughs)  Hey, God love him.  He put a lot of us to work.

HR: You’re of course married to the beautiful and talented Juliet Mills, sister of Hayley Mills, daughter of Sir John Mills, who are part of an acting dynasty in the U.K.  What was it like for you, coming from humble beginnings to suddenly find yourself in the midst of British theater and film royalty?  And did your father-in-law give you any career advice?

MC: My father-in-law, the late, great Sir John Mills, chose to let me make my errors.  He did counsel me on occasion but I really should have towed the line a bit more.  I was very enamored of the antics of James Dean and similar rebel heroes of the mid to late fifties who kind of got away with murder on the basis of their talent and their indispensability.  Since then the business has become more corporate as it transitioned into the eighties and nineties.  There was no room for antics or acting out.  I’m not suggesting that I was particularly unprofessional, but Sir John was the height of professionalism and it would have suited me to try and be a consummate pro like he was.

HR: So you’re saying you were you a bad boy in your early days?

MC: It’s not like I was throwing tantrums on the set.  I’m talking about those things that show that you are a thoroughly prepared pro who goes along with the flow. That said, I doubt there are many people who you could talk to in the past two decades who would say that I wasn’t a team player, but at that outset, when I first started out, I admit I was looking for the teen rebel mantle.

HR: And why not?  You were barely out of your teens yourself.

MC: Barely.

HR: And that’s when you met your wife, Juliet.

MC: Yes, Juliet and I met in New York for the first tour of the play, “The Elephant Man” after it had won the Tony Award.  We did a prestigious winter tour of Florida in 1980.  I was playing the title role and she was playing the Victorian actress, Mrs. Kendal, and frankly, it really, truly was love at first sight.  Kind of a beauty and the beast story.

HR: Were you aware of her work?

MC: Yes. I was a fan of hers back in England.  I was very aware of Juliet and her family, but it was the woman I was attracted to, it wasn’t just her beauty and her fame and indeed her money at the time.  We quickly blew through that, by the way–but she was a spectacular woman, and she has made big sacrifices in her own career in support of mine.  That’s one of the reason’s I’m so determined to finally come good.

HR: So what have been some of your favorite on stage experiences?

MC: I’d say on top of the list is obviously “The Elephant Man” because of the great bonus of meeting the woman of my dreams, and “John Merrick” is a marvelous role.  A gift for an actor.  More recently “Billy Flynn” in “Chicago.”  I mean that was crazy.  You spend the show sliding around in a tuxedo with six-foot tall beauties in black lingerie cooing over you, so that was a fantastic role.  I got to do it in London and then a very brief run on Broadway.  “An Inspector Calls” on Broadway was a lot of fun.  Did that for 6 months.  I also toured in a wonderful play called, “Sleuth” with Stacy Keach.

HR:  You’ve actually had a really well-rounded career compared to a lot of actors.  Films, Broadway, television.  What do you think it takes for an actor to make it in today’s market?  ‘Cause things are very different from twenty years ago.

MC: It was definitely a smaller industry then.

HR: You saw the tail end of the star system.

MC: Yeah, I really did.  When I was cast in “Grease 2” I got my break from a genuine, bone-fide star maker, Alan Carr who helped make Ann Margaret a household name.  He was from that school of producers who believed that you cultivate an actor.  He said that Michelle (Pfeiffer) and I were going to become the next Ann Margaret and Elvis Presley.

HR: That must do something to your ego.

MC: Yeah. I think that when you’re young and you are trying to figure out who you are, you try to create an image that you can, (a) live with and (b) you hope will be alluring, particularly if you’re looking to enter this profession.  Anything that is going to give you a high level of self-confidence, ‘cause it’s a big factor in this game.  It’s not only believing in your path but also being very self confident which makes you more or less irresistible to men and women alike.  So for a younger actor, you not only have to have tremendous faith in your abilities but you also have to hone your craft.  You can’t just be lazy about it.  I think that’s critical.

HR: That’s good advice.

MC: I would also add that comedy is king in this town so if you can combine both worlds then you’re really styling, which is why the theater always had such appeal to me.

HR: So what’s next for Maxwell Caulfield?  After this play?

MC: I’m not counting on good old Tinseltown.  It’s been a bit of a jockey stakes for too long now so I’m going to hedge my bets.  Besides a sitcom pilot we’ve developed Juliet and I are combing through scripts at the moment, trying to find a good vehicle for ourselves.  I’m itching to work with her again.

HR: Film or theater?

MC: Theater.  If it’s got film potential and we enjoy success with it, in other words if audiences are touched by the story or amused, or it actually hasn’t been made into a film already, then what we might do is take it either to London or Australia first and then who knows.  Maybe bring it to New York.  It’s so incumbent on you now to generate your own work.

HR: If you could pick three people in Hollywood to sit down with and say, look I started a great career thirty years ago and I’m actually much better now than I was then, who might those three people be?  Who would “get you” right now?

MC: The director I’ve always wanted to work with, but he seems to have just disappeared off the face of the earth,  is Alan Parker but funnily the first person who comes to mind is Sean Penn because he’s an actor director and obviously a contemporary of mine.  There’s a producer I like a lot.  A guy called Laurence Mark who I had a very funny early encounter with at Paramount.  He is shooting a film right now called “Last Vegas” with Robert De Niro and he produced “Julie & Julia,” “As Good as it Gets” and “Jerry Maguire.”  I wouldn’t mind getting a break from him.  I would love to re-team with Tom DiCillo who made the “Real Blond.”  He’s kind of an auteur director and that has been slightly to the detriment of his own career because he’s probably passed on a lot of very good commercial opportunities.  I think when a director wants to work with you again, that’s the greatest compliment, and so it would have to be Penelope Spheeris, Tom DiCillo and Peter Foldy.

HR: Aw, thank you.

MC: It’s true!

HR: So which three actors you haven’t been in films with would you like to work with?

MC: There are so many.  I think I wouldn’t mind going toe to toe with Cate Blanchette.  I hear she’s a firebrand.  I wouldn’t mind being involved in scenes with Philip Seymour Hoffman and… Tom Cruise.  I think Tom is quite an enigmatic fellow.

HR: Good choices.

MC: Oh, and in the veteran acting department it would be a lesson I’m sure to work with Michael Caine.

HR: I’ll leave you with one last question.  Describe what would be your favorite L.A. weekend.

MC: I think it’s always great to catch an open-air concert.  A rock and roll weekend is always fun.  Juliet and I also love going to the racetrack.  It’s wonderful to bump into the same old characters.  Mel Brooks, Dick Van Patten.  They’re just terrific guys.  I’m a mad keen swimmer as you know so any chance to get into the ocean.  I prefer frankly Zuma Beach over Santa Monica bay, just in terms of the water cleanliness.  And obviously good food.  My wife is an awesome cook.

HR: That’s great, Maxwell.  Thanks for chatting.

MC: It’s been a real pleasure, Pete.

Catch Maxwell Caulfield in “Euripides’ Helen” playing Thursday through Saturday at the Getty Villa, closing September 29, 2012.  Showtime is 8:00 p.m. Tickets and further information is available by calling (310) 440-7300 or clicking HERE

Photos by:Peter Foldy

Lenore Andriel: Cowgirl on the Rise

Los Angeles: July 10, 2012

Lenore Andriel is a hard working Los Angeles based actress who has recently co-written,  produced and starred in a successful western feature film that has received accolades and managed to win top prize at several prestigious film festivals.  We caught up with Ms. Andriel and asked her to enlighten us about her project and about how comedian Rodney Dangerfield gave her respect and pushed her to pursue acting as a career.

HR:  Hi, Lenore.  Congrats on the success of “Yellow Rock.”  This is a film you co-wrote, produced and starred in.  What was the genesis of the project?

LA: It actually started out as a web series, then a small film, set in present day, with some of the same storyline and characters.  This was my first time ever producing a film and it was daunting. On top co-writing the script and playing the female lead, I worked twenty four seven. Many people thought I was crazy to take it all on, even me! But when we started, it was a much, much smaller project.  It’s come a long way, from that idea!.

 HR: What made you chose a Western?  Did you realize you might be ahead of the current trend to make Western movies?

LA: When we initially got together with our first director and cinematographer, they weren’t that thrilled by our total concept. But they liked a lot of aspects of it, like my character’s right-hand being Native American, and the through-line of “deception”. So my writing partner, Steve Doucette, and I knew we had to make the story flow better. It was Steve’s idea to make it into a Western. We didn’t have the slightest clue that the Western genre was about to make a huge comeback! We just wanted to write a story we believed in. It’s based on historic fact of what happened to many tribes in California, but told through the eyes of the fictitious “Black Paw’s”, who would be symbolic of the others. It has already brought us more success than we could have dreamed possible.

HR: Your project is a great example of not giving up and going for what you believe.  How difficult was it to put “Yellow Rock” together?

LA: Difficult, but we felt that if we did a film with an important message, others might feel the same. We kept following our instincts. Some of those were wrong, but most of them, luckily were correct. In some ways it was difficult, because the project kept getting larger. It had a very small budget, but once we decided to do it as a Western period piece, set in 1880 California, that changed everything. It was tough putting aspects together, like getting the perfect location, cast, horses, etc. But once we found the right people to help us accomplish it, it shifted into high gear. We lucked out when our Costume Designer, Catherine Elhoffer, recommended actor Peter Sherayko and his company “Caravan West”, who supplied all the horses, wranglers, costumes, guns, production & set design, and the props – all authentic to the period!

HR: Did you have people telling you, you were crazy to go down this road?

LA: Shooting the movie, felt almost impossible!! And yes, we had tons of people telling us, every step of the way, that we were crazy! Even while shooting, some of the cast and crew were saying it! Things like “just shut it down” or “quit and cut your loses!” But thankfully, my partner Steve and our other Executive Producer Daniel Veluzat, would not bend, nor would I. Like Ed Harris said in “Apollo 13”, “Failure is not an option”. We felt that to give up when the going got tough, would have been very tragic and a financial loss on top of it. When Nick Vallelonga, my other producing partner took over as director, it breathed new confidence into everyone on set, yet even then, there were so many things that went wrong that we never saw coming.

HR: How did you lock your stellar cast?

LA: I went to (casting director) Paul Weber, through a director friend of mine, who highly recommended him. Paul wanted to read the script of course, before taking it on. I remember he called me while I was driving, around midnight. I pulled over and we talked for like an hour – he loved it! We decided he was going to cast the male leads, since we had Brigitte Burdine, casting the Native American actors and other roles. Paul was fabulous, but the actors we wanted initially, were TV Male Leads and their shooting schedules conflicted.

Finally, Nick recommended Michael Biehn and James Russo, whom he had worked with and were perfect for the movie. Paul Weber was then able to close the deals. Some of the other “Cowboys” were brought to us through those actors. For example, Clay Wilcox, who portrays “Roscoe”, and Brian Gleason, as “Billy-Boy”, James Russo suggested. I brought in Peter Sherayko, who had been in “Tombstone”, with Michael Biehn. Biehn recommended Jennifer Blanc, who we wrote the role of “Monica”, the Saloon girl for. Brigitte Burdine, did an excellent job of getting us Michael and Eddie Spears for the two Native American Lead brothers, and the supporting cast of Zahn McClarnon, Joe Billingiere, Angel Felix, Rick Mora, and all the rest of the terrific  Native American cast. Peter Sherayko got us Sam Bearpaw as “Strong Bear” and the Native American extras. I wrote the roles of “Dr. Sarah’s” assistants, “Martha”, Amy Jennings and “Sequilla”, Elaine Lockley-Smith, specifically for them, having been friends with them for years and working with them. Christopher Backus as “Cobb”, was brought to us by Nick. So it truly became like a family affair, with a lot of the actors knowing each other and the rest forming great friendships.

HR: What about those authentic looking locations?

LA: I had been pulling my hair out, running around scouting with our cinematographer, Ricardo Jacques Gale. Finally, Ricardo mentioned a place he remembered called “Veluzat Movie Ranch”, in Newhall so we went up to scout it and we FELL IN LOVE! The first thing we saw was a complete period Western town, that was incredible! Ricardo turned to me and said “Re-write”! I laughed, and knew I had to write this town in. It became the town of “Yellow Rock”, which the viewers will find out is for a reason!

We went further into the over 800 acres of this mythic movie ranch, and found the perfect “Open Plains” area, nestled against the back of the mountains, to build the entire “Black Paw Village”. I got chills and teared up when I saw it. I stood in this beautiful place and could see the tippees in my mind’s eye and hear the sound of Indians chanting! I knew we found the home for “Yellow Rock” to be filmed.

Next, we drove through gigantic, tall pine trees, which then revealed, the most perfect log cabin! It was tucked into the pines, exactly as I’d written it! Ricardo and the crew were all shouting, “Dr. Sarah’s Cabin”! I ran up the boulder-stone stairs into “my cabin”, and was jumping around like a five year old!

Each area we scouted was more rustic and beautiful than the next and completely gave you the feeling of being in the wild lands of California – all perfectly set, to have our cast on horseback, take us on the journey of their characters.

HR: So you shot the film entirely on location there? Did it all go smoothly?

LA: Yes, we did it all there. Daniel Veluzat, who owns the ranch, wanted to read the script prior to approving our shoot there. He loved it, and said he’d come on board! He became a God-send and not only acted as Executive Producer, with my partner Steve, but also wound up becoming our “on-set producer”, because Nick and I were too over-loaded with shooting, and couldn’t do it by ourselves.

For Nick, directing a “Cowboys and Indians”-type film in 120 degree heat, with all the horses, crew, and locations, was huge and exhausting, but he managed to do it and keep us on schedule. For me, portraying the Female Lead, of “Dr. Sarah”, galloping full speed with nine men shooting over my head and delivering lines, made me truly know what women in those days must have gone through. We were all filthy, soaked in sweat, bug-biten, and exhausted. But we used it and you truly feel you’re right there on the dusty, dangerous trails with us!

HR: What was the most difficult day on set?

LA: Oh My God! EVERY DAY was difficult! I don’t think a day went by, where at least three things weren’t going wrong all at the same time. For example, minutes before shooting, our videographer, Keith Clark, ran up and told me that Saginaw Grant, whom we cast as our “Chief White Eagle Feather”, was ill and couldn’t do the role! I turned to Joe Billingiere and Robert Pyute Hessen, who were cast in smaller principle roles, and said “How would you both like an upgrade?”. Thankfully, they both jumped at the chance and Joe became our wonderful “Chief” and Robert became our medicine man, “Healing Deer”!

While this was going on at base camp, Eddie Spears as “Angry Wolf”, was being thrown off his horse up on the mesa where they were shooting, and to top it off, someone ran up to me and said “The catering truck just got a flat tire and won’t be here for another hour AND they got a ticket, which you have to pay for!” For the most part, everyday was tough, due to unforeseen circumstances you encounter when shooting a Western – and still we pulled it off.

HR: What about for you, as the Female Lead “Dr. Sarah”?

LA: For me personally, it was when we were about to shoot a beautiful scene with myself, “Sequilla” my Tribal nurse assistant, played by Elaine Lockley-Smith, and the adorable children of the tribe.

I’m supposed to exit the main Tippee and turn to see the children happily run up, play with them, and then speak with “Sequilla”. But the wind and dust was whipping us and my long red hair was completely covering my face, so that I looked like “Cousin It”! Everyone was shouting to “get hair & makeup” on set to help, but they couldn’t get them from base camp in time. Our director started yelling at me, because we had to go. I went back into the tippee with Elaine and Daniel. I started crying because I had so looked forward to this scene and now it was going to be a mess and I was being yelled at. Daniel was amazingly inspiring – so I dried my tears and had to “buck up”. No matter what happens, you have to be a pro. So I went out to do this “happy” scene with Elaine and the children and still get it done in 1 – 2 takes at best. When you watch the film, thankfully, you would never know it.

HR: What was your favorite day?

LA: My favorite day started at sunset, galloping into the “Black Paw Village”, with my Co-Stars, Michael Biehn “Tom Hanner”, and Michael Spears “Broken Wing”. Though we had problems riding in, i.e. my reins broke in full gallop, and Michael Spears’ horse stumbled in a hole and almost threw him, we wound up getting the gorgeous shot we needed riding full gallop “back in time”. My mom was  watching and I saw the look of pride she had and it meant the world to me, to have her see what we had accomplished.

The scene then rolls into the evening, when an authentic  “Round Dance”, is lead by Michael Spears “Broken Wing”, with my character and Biehn’s smiling and looking on. The giant bonfire, tippees, druming, chanting, and dancing by the Native American actors, brought us all into 1880. At that moment, I truly was “Dr. Sarah” and felt her joy and love for the Tribe – I’ll never forget it and neither will anyone else!

HR: What are some of the accolades your film has received?

LA: We’ve been blessed to receive many awards so far. But first off is the “Western Heritage Awards” for which we received many “Wranglers” and is the most prestigious Western Award to honored with, in the U.S. and around the world. It is afforded by The National Cowboy and Western Heritage Museum, in Oklahoma City, Oklahoma. We received the Awards for “Outstanding Theatrical Motion Picture”, “Best Director” – Nick Vallelonga, “Best Screenplay”, Lenore Andriel & Steve Doucette, “Best Actor” for Michael Biehn, James Russo, Lenore Andriel, Michael Spears, and Eddie Spears. We are so proud and honored to have received these beautiful, bronze, “Wranglers”. The sculpture is of an historic “Cowboy on his horse” and looks like a Remington statue. Last year’s winner was “True Grit”, and prior to that was “3:10 to Yuma”, “Unforgiven”, “Dances With Wolves” and every iconic Western you can think of for the past 50 years! We all accepted them at the museum’s gorgeous Award Ceremony, filled with 1200 attendees! When we all walked into the Black-tie event, it took our breath away, and the great people who run the entire program and museum, were truly wonderful to us! The memory of the entire weekend, will stay with all of us, always.

HR: I understand you met the late actor, Ernest Borgnine at the Western Heritage Awards ceremony.

LA: Yes, we had the honor of meeting him there and he was such a lovely, wonderful, man. Full of energy and kindness and you just couldn’t help but to adore him. We were Honorees with him and did a press conference on the panel together. He won for the television film he did. Ernie told the press how important doing “classic-style” Westerns with a message are. Telling a great story is what was important to him and to us as well. We all felt that being award winners with such an iconic Western figure as Ernest Borgnine, is a memory we’ll treasure.  So sad that he has passed away.

HR: What are some of the other honors you have received?

LA: We’ve also been greatly honored by the Red Nation Film Festival, here in Los Angeles. We were their “Opening Night Premiere” at the Simon Wiesenthal Theatre and won “Best Picture”, “Best Director”, and “Best Actor – Michael Spears” and a nomination for “Best Supporting Actor – Zahn McClarnon”. The RNFF award is a beautiful, golden statue of a Native American woman. It looks like the “Oscar” and she’s proudly displayed in my home!

We also just garnered the Lake Arrowhead Film Festival’s “Audience Award”, which is judged by your peers and the public, so we were deeply honored to receive that as well.  Additionally, we received a Nomination from the American Indian Film Festival in San Fransisco, for “Best Supporting Actor – Michael Spears”.

HR: Where will “Yellow Rock” be seen next?

LA: We’re an “Official Selection” at the Prescott Film Festival, in Prescott Arizona, August 1st -8th and will be premiering at their Performing Arts Center with 1200 seats. Then we will be premiering as an “Official Selection” at the Almeria Western Film Festival in Spain, the first week of September. So we’re looking forward to both of them!

HR: The film is about to be released soon, is that correct?

LA: Yes, it will be officially released August 7, 2012, by our Domestic Distributor Screen Media Films. Initially, it will be available on Netflix,, and through the National Cowboy and Western Heritage Museum Store. Then it goes wider throughout North America, but I’m not at liberty to say how and where yet. It is being distributed in the rest of the world, through Epic Pictures, who was just at the Cannes Film Festival, busy selling it to Europe, et al. So all those countries will all be announced shortly, as well.

HR:  Where are you from originally?

LA: I’m originally a “Jersey girl”, where I began my studies and doing theater. Then I moved to NYC, to further study acting at the Warren Robertson Acting Studio, Elaine Bovaso Studios, and many others, and to continue my stage and indie film career.

HR: What was the first thing you did when you got out here?  Were you excited or overwhelmed by Hollywood?

LA: Believe it or not, I rented a mansion on Mulholland Drive, from my hair stylist! I thought, “Oh my God! This is  an awesome way to live!” But then he came back from his   trip around the world, and I had to go down into the valley with the rest of the struggling actors! I figured it always gave me something to shoot for again! I was excited from the moment I got here and have never stopped loving California! But I’m thankful for having my roots in New York city – I studied and worked hard there and it was worth it.

HR: You’ve been a working actress for quite a few years but prior to that you were producing plays and concerts.  Tell us about that other life.

LA: I guess I started my career in very “backward” way. I found a 1920’s theatre for sale in Elizabeth, New Jersey. It was in terrible condition, but you could still see the beauty and craftsmanship from that era. It was a 3,000 seat theatre, from the days of vaudeville and loaded with potential. So a business friend of mine and I, were lucky enough to find an investor with the same vision, and turn it into a concert hall/theatre venue. The three of us oversaw complete renovation to the theatre, back to it’s original splendor and produced shows and concerts with incredible stars. We had everyone from Spyro Gyra, The Oakridge Boys, George Carlin, Ray Charles, and Charlie Daniels, to Rodney Dangerfield. I was producing at 21 years old and was the youngest and only female doing it in the country. It was an amazing time in my life, riding around in limos with these people, doing their contracts, and running the theatre with a huge staff, seven days a week.

HR: You had an interesting encounter with Dangerfield, tell us about that.

LA: When Rodney Dangerfield came in, he asked to speak to who was in charge. My staff brought me to him and he said “No, where’s your father or the guy who runs this place. I said “That’s me – I do.” He rolled his big, bulging eyes, then argued with me about how he didn’t want anyone getting up during his performance to get a drink. I argued right back with that big man towering over me – I looked like a little mouse! He finally said, “Kid, you got my respect!” We became great friends after that for years.

It was Rodney, who told me to be an actress. On show nights, prior to the curtain rising on our star act, I would go out on stage to welcome everyone and talk about upcoming shows. It was thrilling talking to 3,000 people a night and entertaining them. Rodney watched me from the wings one night, then sat me down and said “Kid, you got it, you got stage presence. You’re a natural and should get into acting, besides, you’re too emotional to be a producer!” So in some ways he was right and when I was ready, that sage advice helped me begin my journey into acting. I’ve come full circle now – producing and acting with “Yellow Rock” – it’s been a heck of ride!

HR: You mentioned “when you were ready”. Did you go right into acting after that?

 LA: No, I threw myself into studying acting first. But I needed to make a living, so I bought a white limosine from the Marshall Tucker Band, who had done a concert at my theatre. I started a company of all female drivers, myself included. I became Regis Philbin’s driver and would go out on stage with him at the start of his live shows. He’d say to the audience, “I’m sorry I’m late! My chauffer is to blame.” I’d then walk out in my white limo outfit, replete with white hat, short skirt, and matching heels, towering over Reg. The audience would always laugh and we’d do an impov together. They loved it and he likes redheads, so asked me to consider being his side-kick on his T.V. show. But I wanted to act in stage and films, which I love and went on to do.

HR: Hindsight is twenty/twenty. Looking back over your showbiz career, what would you have done different, knowing what you know now?

LA: I would have started acting sooner. It’s a long road and you have to be able to tough it out, plus it was hard hearing at 27, you’re too old to be an actor! It’s an ageist concept that I’ve never agreed with. But it is good to get the training earlier because it takes a long time to make a living at it. I also wouldn’t have let every remark and audition get to me so much. Now if I don’t get it, I just move on instead of going home crying about it. I think as actors, we have to not take ourselves and our careers so seriously and enjoy the journey more.

HR:  What have been some of your favorite projects and who have been some of your favorite people to work with?

LA: I’ve had small parts in big films, and big parts in small films, but with directors, I loved working with Marty Scorsese, Woody Allen, and the UK director Charles Jarrott. There’s such a galactic difference working with filmmakers of their magnitude. I’ve also had a great time with indie filmmakers, who have more time to work on a personal level and have deep conversations about your character. I don’t think I have a favorite project, because I’ve loved working on (most) of them. I did a film called “Jamie’s Secret”, with Paul Rudd, directed by Peter Foldy and was nominated for “Best Supporting Actress” and flew to Colorado for the Awards Ceremony, so that was fun. I did the Supporting role in “Midnight Witness”, with Maxwell Caulfield and Paul Johannson. It premiered at the Cannes Film Festival, so Maxwell, the director, and I were there to do the press and promo on it, and had a fantastic time! I also Won a “Best Actress” from Showtime’s Joe Bob Briggs for “Eyes of the Serpent”, which was a blast. I’m also the voice of several recurring roles in “World of Warcraft”. Oh! Yes, then there’s “Yellow Rock”! That’s my favorite! How could it not be?!

HR: What advice would you have for younger actors or filmmakers starting their careers?

LA: For younger actors, training is a must! I meet so many  who’ve been told they should be actors because of their looks. What they don’t realize, is that there’s a million gorgeous actors in L.A. It might get them in the door, but they’re eventually going to have to deliver. I saw it myself, when we were casting “Yellow Rock” – handsome guys would come in and everyone would get excited. Then they’d read, and there was nothing going on. They’d leave and everyone would look at each other and say “What a shame”.

I also think younger actors shouldn’t concentrate so much on becoming a “Star”. Everyone should absolutely have their dreams and hope it happens, but you have to be in love with the craft of acting, not with being a celebrity. That attitude comes through in auditions. Loving the work is what casting wants to see – it creates passion for what you’re doing, keeps you in the moment, and winds up being more rewarding in the long run.

For filmmakers starting up, I’ll pass on what I learned from a Producer at a seminar: “Make a film about what you  know about, or subject matter that you want to know about!” Then I’d add, put all your time, heart, and soul, into seeing it through. Listen to advice you get with a grain of salt, then use your instincts, and go for it. You might not make an “Award Winner” out of the gate, but at least you’ll have a voice and enjoy your path because it’s what you believe in. Just like acting, your passion for it always comes through.

HR:  Describe your perfect L.A. weekend.

LA:  Right now after completing “Yellow Rock”, it’s sleeping! But I  love to go dancing and to dinner with friends. I also spend time with my mom and watch movies. But I guess I’m also bit of a “work-a-holic”, so my partner Steve Doucette and go over “YR” stuff and the projects we’re working on for our company Enlightenment Films, which is exciting.

HR:  What do you have coming up next?

LA: “Yellow Rock” was just inducted into the Melody Ranch Museum, on display next to “Deadwood” and “Bonanza” and countless other Westerns that were shot there. We’re definitely are going back to Melody Ranch and Veluzat Motion Picture Studios to do another Western! We also have two other projects in development. One is a beautiful, medieval fantasy, which is hot right now, and the other is a suspenseful, haunting tale. I’m excited about all of them and can’t wait to start diving in!

HR: Is there a website for “Yellow Rock” and how can people contact you?

LA: Yes, it is

Our Facebook pages:, and so folks can contact us, get updates, and follow us on Twitter too. Film festivals regarding “Yellow Rock”, can contact our Producer’s Representative, Noor Ahmed at Reder & Feig, LLP or via email to us at

HR: Thanks for talking with us, Lenore.

LA: Thank you so much for having me, it was my pleasure!

Film Planet Concludes First Cannes

Distributor, Film Planet Entertainment reports solid sales in Cannes this past week.

“We felt we were right on target with our projections and this Cannes proved to be better than expected” said 65173313Film Planet President, Pamela Vlastas.

Among the finished titles that Film Planet acquired for 2010 include, “Sordid Things,” “Rise and Fall of the American Dream”, “Crime on Terror” and a coming-of-age film, “The Wheeler Boys” starring Bill Campbell. “The Wheeler Boys” will premier at the Los Angeles Film Festival this June after having won the 2009 Netflix Find Your Voice competition.

The company is also developing several films in association with L.A. based  Filmstreet Productions.  The projects include a true story set in France called, “The Princess of Cats,” and edgy indie film called “Rock and Roll Confessions,” written and to be directed by Peter Foldy, and a sci-fi thriller, “The Tainted” by Mark Elias.  No start dates or cast have yet been announced.

A Director’s Advice for Up and Coming Actors

Peter Foldy started his career as a musician who wrote and recorded a number one hit in Canada called “Bondi Junction.” After a move to Los Angeles, Foldy turnedp1 his sights on the film industry.  Before long he was was writing and directing feature films that starred actors such as Jan-Michael Vincent, Maxwell Caulfield, Virginia Mayo, Paul Rudd and Academy Award Winner, Louise Fletcher.

Hollywood Revealed recently sat down with Foldy and asked him what advise he had for young actors looking to get their careers on track for 2010.

HW Revealed: What are the key things an actor needs to do to succeed in this business.

Peter Foldy: First of all an actor needs talent. Unfortunately we have lowered our standards with the current crop of cheesy TV shows and many people get by on their looks and their limited ability. An actor needs to constantly act, whether it’s on a show or in a film, or in class. The more you do it, the more comfortable and better you become. The camera doesn’t lie. It really does see the truth. There is a certain skill in being open and honest in front of the camera and thirty crew members. Many people give great auditions but freeze up on set. Or have trouble dealing with the technicalities of film making, such as hitting their marks, remembering continuity, etc. All that comes with practice. Keep learning by doing.
Secondly, an actor has to understand the business. How it all works. I personally don’t put much stock in cold submissions to agents and casting directors. We live in Hollywood. Work hard at making contacts. Network so that somehow you can get through the doors. Get someone to help you. Find a mentor if possible. Again, being in class, being around other actors gives you a chance to find out what is going on, who is signing with who etc. There is no stock answer on how to best find an agent or a manager, but without one, life in this business will be difficult.
Lastly, never stop believing in yourself. If you give up, it’s over. It may be hard. It IS very hard, but if you believe, and you have proven ability, it can and will happen for you. It is always darkest before the dawn, and just when it seems that NOTHING is happening, something amazing comes along that can move your career forward. If you truly want this, put in the time and MAKE IT HAPPEN.

HW Revealed: What do you look for when considering an actor for a job?

Peter Foldy: Well, first of all, they have to be right for the part. They have to look right, and be able to deliver what we are looking for. They have to have some experience. I have been burned by people who looked right, gave good auditions, but could not deliver on the day.
Actors have to be easy to get along with. With films costing what they do, in the millions, there is no time for people who are difficult. It is stressful to make a film. Ask anyone who has directed one. It’s like going into battle. You want to surround yourself with positive people who can work as a team to give the project the best chance possible at success. Ideally their agents and managers will also be team players and not be “the bad guys” in negotiations, with exorbitant demands. I’ve seen it happen and it can make your relationship with the actor strained. You can’t help thinking, I wonder if he is the one telling his agent to be the jackass.

HW Revealed: Name the three favorite actors you’ve worked with and why?

Peter Foldy: Well, this is tough, but I would say David Warner, the great English actor who you might know from “Titanic.” He was a huge star in England back in the day in a film called “Morgan.” Working with him in a film I directed called “Tryst” was awesome. He brought something special to the role, and I would always keep the camera rolling after the scene was done as David had a habit of giving you one little extra moment. A gesture, a look, a reaction. Something cool. He was totally professional. Had no time for set politics and always got the job done.

Paul Rudd would be another. I worked him on two short films. His first time acting in front of the camera in something other than a TV commercial. Paul was very comfortable and easy going. It was kinda obvious that he might become a star. His acting ability was strong, and it has only gotten better over the year, again from doing it so much. It’s cool to know that I directed him on film before anyone else.

Number three would be Eugene Levy, the guy who played the dad in “American Pie.” Eugene was not very funny off set as most people imagine him to be. He was professional and perhaps a little distant, but in front of the camera he was awesome, giving a lot of himself, and not settling till we all felt that the scene was the best it could be. Eugene has this look and a talent that is very unique, and that is why he will work for as long as he wants to.

There are many other actors I loved working with. Some less famous than others, but you only asked for three. I respect actors for what they do. I have tried it and I know how hard it is to be good.

HW Revealed: What is the single most important piece of advice you could give to aspiring actors?

Peter Foldy: Never give up.

HW Revealed: In your opinion, what is the best way to begin a career as a professional actor?

Peter Foldy: Get GREAT headshots. Network. Meet as many people as you can. Take classes. Be nice, and not an asshole. Inspire others. What goes around comes around. Do as many of those cold reading workshops for casting directors as you can afford. Think outside the box. Back engineer someone’s career. If you think you could be the next Leo DiCaprio, study Leo’s career. See how he did it. Who did he know, or meet along the way? In Hollywood, it’s possible you will run into someone from his world, or just someone who can give you that break you need. You can’t do this alone. Don’t even try. You need a team around you after a certain point, so along with nurturing your talent, build your team. And make sure one person on that team is a CLOSER. Someone who can make the right deals for you, and get you though the doors you need to go through. Again, all this is assuming you truly HAVE THE ABILITY it takes to compete in this business.

HW Revealed: What makes a good actor in your opinion?

Peter Foldy: Talent, charisma and the ability to combine the two to create a viable, marketable entity that can “put out” in front of the camera or in front of an audience.

HW Revealed: What things does an actor need to do in order to succeed on a real movie set?

Peter Foldy: Confidence that he or she belongs there and can deliver on the day. The knowledge and the experience to know the technical side of film acting, such as hitting marks, working with props and understanding eye-lines. Lastly–and it always comes down to it, TALENT.

Hollywood Spotlight Shines on Directors Guild of Great Britain

The Directors Guild of Great Britain in association with EJ Casting hosted an an evening of cocktails and conversation last night at Cecconis Restaurant in West Hollywood. Among those attending were actresses hollywood-party-ej-casting281009-0262Jacqueline Bisset, Joanne Whalley, Barbara Steele and former MGM child star, Cora Sue Burnett. Male actors were represented by Kakeem Kae-Kazim, Tom Malloy, Luke Massy, Craig Young, Darren Darnborough and Eric Peter-Kaiser.

Also in attendance were musician and author, Paul Tennant whose Beatle related book. All You Need is Luck will released early in 2010, Lady Victoria Herve and designer Julia Clancey.

Others enjoying wine and Cecconis delicious pizza were actress, Tessa Shaw, producers, Louisa Spring, William J. McDonald, Peter Crane, Michelle Alexandria and Julia Verdin, directors Paul Lynch, Armand Mastroianni, Riley Wood and Peter Foldy, as well as EJ Casting president, James Norris.

The Directors Guild of Great Britain was aiming to raise awareness for their various causes and charities, as well as to invite both American and UK industry professionals to join the organization.

EJ Casting President, James Norris, musician, Paul Tennant and actress Joane Whaley

EJ Casting President James Norris, musician Paul Tennant and actress Joanne Whalley

The DGGB focuses on promoting British directors, training and cultural events. They have given Lifetime Achievement Awards to film and theater directors such as Fred Zinneman, Joan Littlewood, Stanley Kubrick and John Schlesinger CBE.

Filmstreet Announces New Feature Projects

L.A. based production company, Filmstreet has announced a new thriller slated for production later this year according to company spokesman, Palmerston Hughes.

Entitled “Isolation” the film is an edgy Gen-X thriller, written and to be directed by Peter Foldy. Currently no cast is attached. The company has also optioned an original screenplay by first time writer, Mark Elias entitled “Purge.” “We are looking to package “Purge” for production in 2010″ said Hughes, “and we are very excited about having acquired this excellent screenplay.”

Filmstreet’s other feature projects, “All You Need is Luck” and “The Juggler” are also moving toward a start date.  “All You Need..” juggler_posteris due to start filming in Northern Ireland next spring while “The Juggler” should see camera’s roll in November.

Filmstreet is currently closing distribution for all it’s projects though no firm details have been announced.

Filmstreet has been active since the early nineties starting with the action/thriller, “Midnight Witness” starring Jan-Michael Vincent and Maxwell Caulfield. The company has seen four other feature projects to fruition and was also active in the production of a short film called, “Head, Heart and Balls… or Why I Gave Up Smoking Pot” starring radio and TV personality Adam Carolla.