Robbie Magasiva on ‘Wentworth’

Guarding women prisoners is not Robbie Magasiva’s only job. He also has to protect them from their emotional pain. Magasiva gives insight about his experience on Netflix’s Wentworth.

ATM: What does this show symbolize about women?

RM: This is a good question. What an intense question. It symbolizes strong women. The main characters are played by wonderful actors and they portray strong individual women.

ATM: How has your character progressed?

RM: He has always been loyal to the women. He understands what the main character has done what she did and why. My character functions in a way to help progress the women characters.

ATM: How would your character Will have acted if put in the shoes of these women?

RM: Wow. This is a hard question. I would have to look at this as if Robbie made this bad decision. It would freak the shit out of me. If everything was going well in my life and something terribly went wrong, then it would take me a few months as to how it all works. I would not be able to talk to anyone for several months. I would cry in my cell thinking about the why. There would be recurring questions about what if I did this or that. I would be an emotional wreck. I would not be able to see my kids. Usually, in life, you have the control to see them and now you do not. It would probably destroy me. It would be emotionally hard to overcome it. I would probably not be able to do it.

ATM: There have been people from the beginning of their life doing bad things and in and out of jail.

RM: Yes, and wrongly convicted. This is horrible. You have to be emotionally hardened or capable to deal with this. There are people who cannot.

ATM: These people are around others who are discussing their issues. You are sitting around them saying “But I did not do it.” No one is going to believe this. Based on this show, do you feel prison is sort of separate than the world we live in?

RM: We are much closer in showing it than most. The reality of it is that we are making television. We are able to tell stories in the world of prison. There are standards in prison that we are not able to tell. There was a scene were one of the women had walked to one brick to another. This is pushing the envelope in terms of security. In uniform, I have thought there are like 400 cameras and no one can see this. We resemble a world of prison than any other shows now. I cannot think of any other. There is Orange is the New Black.

ATM: Oh, do you watch this show?

RM: I started watching this show but cannot commit to it yet. I feel guilty.

ATM: Why? You feel like a traitor?

RM: Yes. I will watch it when this show finishes. I need to watch it from season one. I need to watch it from the beginning.

Julian Works Talks Beautiful Boy, 9-1-1 & The Affair

ATM: How does your character Gack fit into the scenario of the story?

JW: Gack is the connection to the lead in finding his way to the drugs he is addicted to.

ATM: Based on the title, what do you believe is internally beautiful and ugly about the lead character?

JW: The ugly is, of course, the addiction. The beautiful is what you would find in the vulnerability, youthfulness in this kid. For him to have so much potential and a brighter future based on how he was raised with his parents. This would be the beautiful element to it because there is so much more potential.

ATM: How can this be an inspiring film narrative about survival?

JW: The main issue that is tackling is the addiction and the overdose. It is one of the highest causes’ in deaths. I read somewhere that it is even more than automobile accidents and shootings combined. This is to bring it to light and have a conversation about it as a positive step moving forward. Also, giving it a platform to show kids that are this young, they are not the only one. It is something they can relate to. Hopefully it transpires them to go into another direction.

ATM: Why do you feel the lead male character picks meth?

JW: There is no specific reason. It pertains to a bunch of things. One of the few things can be because he has always been an outcast. He found a select group that he thinks he fits in with and another mechanism of coping with himself. He obviously does not love himself internally. It is a way for him to forget what he does not love about himself.

ATM: Let’s move to 9-1-1. What did you learn differently about first-time responders when playing on 9-1-1?

JW: All my scenes are with Angela. I learn that the first-time responders are key to communicating with the cop that is in an area to make sure they are there at a time that is needed. They are the ones that dictate what callings are to the ones that are needed now. Whether it is someone dying or a cat getting stuck in the tree. They are the key ones that put out the responding message to make sure there is someone to help.

ATM: How can someone balance saving people during their hardest times and living their own life?

JW: This is a good question. Everyone at a certain time is either in a need of help or you are the helper. To find balance in this is if someone is close to you needs help is to make sure you are in the right place to offer this help. You can get lost trying to help someone solve their problems while you are drowning in yours. You must make sure you are right first.

ATM: Do you think first time responders are a metaphor or euphemism for the word savior?

JW: It can be. There is a metaphoric way of putting this with savior. It is all really on the responsibility of the individual. One bad reputation from one person can make the whole seem like a bad bunch. I would like to think a cop and a fireman who resembles the symbol of savior have a lot of responsibly on their hands. It is a lot to take in.

ATM: How do you handle things at unpredictable moments?

JW: By just slowing it down. In life, you are always thrown in unpredictable moments and stuff does not really go as planned as one really hopes. You must prepare for something that is out of the ordinary.

ATM: Let’s move to The Affair. Describe a favorite scene you played in.

JW: The favorite scene was the scene that I am in class. Dominic West is teaching the class. We have all been upset with the way the principal is handling things. We all feel deflated. Meaning what can we really do to change things around here. Dominic West influences the class in a way to help us realize that maybe individually we can and that you can make some noise. I stage and start a walk out. This was kind of fun. We had to get cops involved to play in.

ATM: What is your favorite and most challenging thing when it comes to acting?

JW: My favorite part is being able to tell a story that is not mine. The most challenging is the same exact thing. Sometimes there is nothing I relate to in these roles. I have to kind of dig and do my own research myself to fit into the ambiance of what I put on camera.

Queen Sugar’s Director Shaz Bennett

Shaz Bennett is one of the powerful directors picked by Ava DuVernay on OWN’s Queen Sugar. Bennett talks about her episode that aired in this current season called A Little Lower Than Angels and her upcoming independent film Alaska Is a Drag.

ATM: Are you standing on the hill where the famous Hollywood sign is?

Shaz: Next canyon over, but I can see it from here.

ATM: Interesting. Express your time directing on this show.

Shaz: This season Ava created for many of us an opportunity to get our first steps into television directing. For me, I knew I wanted to prove I was worth the risk. Even though, I’ve heard Ava and Kat talk about how it’s not a risk, they’re hiring strong directors. Coming into the show I was already a huge fan. I had seen every episode. I have known the show runner Kat Candler for a few years and DeMane Davis a long time, who is the producing director. I have known both from the independent film world. I felt comfortable with them as collaborators. A lot of the season’s themes and stories are written by Kat, Ava and the rest of the writers – my job as a director is to make sure, I know where we are in the season arc and make sure I’m setting up and giving them what they need for the rest of the season. Talking to Kat initially and in the tone meeting was asking about how far and what they wanted from each scene.

Each episode is one part of a 13 hour movie in many ways. I was conscious, that I had a lot of big moments for each of the lead characters. Charley finding out Davis had another child, that leads her to the bar to meet Jacob. Blue finding out that his parents aren’t getting back together. Nova and Remy on the lake. It was a big episode. I asked the actors to trust me and that I was going to take care of them. We talked through the scenes. I wanted the lake scene to be quiet, isolated. A moment for these two characters who have known each other their whole lives but don’t get to talk like that alone. It was the beginning of a possibility.

The scene with Charley in the bar is one of my favorites. Dawn-Lyen is such a magical actor. Charley works for control. And none of her plans were working that one day. She lets down another guard in order to get into control again. I love the scene of her crying on Jacob’s shoulder. I love the end of the episode with her in the bathtub crying alone. All of the actors are so strong. They can take a line on paper and add all the layers.

I love the scene with Ralph Angel and Benny in the kitchen too – both those actors brought so much to that moment.

ATM: Why do you feel you are considered a strong director? 

Shaz: I’m a collaborator. I love actors and aspire to add to the cinematic conversation always. As a film programmer, I can’t help but draw on the million films I’ve seen but as a director and storyteller, every shot, every moment has to tell the story first. I hope that’s what I bring as a director.

ATM: How did you foreshadow how your career would plan out?

Shaz: My whole life is self-taught. My first job in film was at 14 years old taking tickets at the Sundance Film Festival. I took copious notes from every Q&A I saw and when I saw a film I loved that resonated with my soul. I asked the filmmaker what your influences were and then went out and found and watched all the films and broke them down — shot by shot — what worked and how it felt to me. I was a film nerd who later became a film programmer.

ATM: Describe yourself as if you were not yourself.

Shaz: I hope someone that didn’t know me well would say what my close friends would say: Loyal. Kind. Exacting. Driven.

ATM: Why do you think the title A Little Lower Than Angels was decided for this episode?

Shaz: I love this title. Every season I understand that Ava selects the titles – this year, the titles come from a Maya Angelou poem. Thematically, it felt right because the three main characters are all at a crossroads. You might make decisions that are not perfectly in line with how you want to be in order to help you get to the next place. We make decisions that are from our heart. We’re all a little lower than angels.

ATM: How does this episode show children’s naivety toward their parent’s relationship?

Shaz: Ethan is such an incredible actor. This was a very personal story to some of the writers. When family members go through a divorce/break-up there comes a point where the children must become aware of it. You are always hoping and dreaming your parents will get back together and be perfectly aligned, even if in your gut, you know it’s not true. Blue is in that place in the scene with Hollywood eating the chicken. “Chicken Cheers” – which was s a little improv line from Ethan. He’s so sweet.

Earlier, he asks his mom when are you coming home? He is testing everyone to see what is really going on. Then at the picnic table with Hollywood and says, “when will my mom and dad get back together?” Hollywood doesn’t respond. But, Blue is getting the answer. The end where they are sitting together. When we filmed this scene, we wanted Blue in the middle. We wanted Ralph-Angel and Darla on the sides of him. Metaphorically they will always be there for him, but in this moment. They can’t be together. Such a heart breaker. Blue had to realize he wasn’t going to get the dream he hoped for.

ATM: “What happened to the forevers.” Express the emotion you believe this line is supposed to evoke.

Shaz: When children are coming to realize nothing is forever. It’s such a big concept. When Ethan said that line “but you said forever”. We all melted. The plan was to get married and stay together. But, it didn’t work out. They weren’t lying. Life just got ahead of them. For Blue, it’s like you promised me it would be forever. It is just such a heartbreaking moment. All of us were like this at one point. I still am. When we thought someone would be there forever – and then they’re gone — through death, end of a relationship, or the end of a friendship. You go in with those intentions but sometimes it just doesn’t work out.

ATM: How did you want to exhibit the mood modifications of Charley’s character in this episode?

Shaz: Dawn-Lyen and the writer Chole Hung and I talked about the full arc – knowing that in the end, she’s going to be alone in a tub washing way the entire day and everything that had happened. So, each scene it was just remembering where we were and what’s next – to play the layers. First, she’s getting teased by her son and his friends about the Almond milk. It leads to this revelation from her ex-husband – then to calling her family. None of them are around to meeting up with Jacob. That split-second decision is the catalyst to the end. There were two break-downs written in the episode. One at home after Davis leaves and one in the bar with Jacob. We wanted these two breaks to be different. Collaborating with the DP Antonio Calvache we shot them differently and gave Dawn-Lyen the space to make them work.

ATM: How did you want to highlight a female’s vulnerability?

Shaz: Charley very rarely strips away everything. She is always so put together, in control, and knows what is happening. Dawn-Lyen was very excited about this scene. It was a side of her character we don’t get to see often. The vulnerability She strips down and gets into the tub. Washes her face and just sits quietly alone. She’s starting over in some ways. She rebuilds this character throughout the rest of the season. I am excited to see what happens next season as a fan. I love where Charley went this season.

ATM: She is figuratively washing away the hurt and the pain.

Shaz: Yes. I love the line where she says, “When do you hit bottom.” She says this to her ex. Like is there going to be enough? A part of this is about how much do I give over to you. When do I stop dealing with this shit? Dawn-Lyen intuitively knew how to play it. I gave her small little notes but often it’s just about seeing the full arc.

ATM: Why do you think women are more emotional submissive in giving men a change in relationships or in marriages?

Shaz: It is so true to how family works. He is the father of her son. It is hard to cut someone out of your life when they are so intertwined into your family. He is going to be in her life, so how she handles it is the story. I felt like it was her moment of saying to Davis that you need to get out of my life for a while — in this episode. I need to erase you and you are not helping me. But that’s now. Who knows where it will go next season. Ava, Kat, and the writers are always talking about family. And about how women see family. It is sort of ingrained in us to keep the family together and give a second chance to someone who does not deserve it. Like later in the season when Charley says to Remy – Nova and I are forever. Such a beautiful moment of sisterhood.  I love this show because of all of the complications that go into family and relationships. Women see more nuances in others. We’re self-reflective that helps us as directors because we can identify with the characters, even though it may not be our own personal story.

ATM: Are you saying you are a complex woman/person?

Shaz: Yes. Women are, and we see nuances in friendships, relationships, siblings, mothers, and fathers. I cannot make a statement that men do not.  I know in general with the conversations I have had with my female friends that they can see both sides of a story. Whereas, men would say hey that is wrong, fix it. Women see the nuances. Nuance and layers are at the core of great story.

ATM: What is the moral behind your recent from film Alaska Is a Drag?

Shaz: I made my feature film to explore gender. Why/what makes masculine/feminine powerful. I grew up in place that was stunningly gorgeous on the outside but can also be isolating and violent for anyone who stands out in a crowd. I liked the idea of a character who lives and thrives in the collisions of male/female — gay/straight — fantasy/gritty. At its core ALASKA IS A DRAG is about survival and found family. It’s a drag origin story and power that comes from all the above.

ATM: What are the advantages and disadvantages of being self-taught in film through empirical observations? 

Shaz: I can only speak from my side, but I see a lot of advantages in being self-taught and breaking down films and TV shot by shot — because you get a sense of what’s working for you — even if it’s abstract you are developing your own personal style.

ATM: Did the effects of how women and men were seen in this culture affect you growing up?

Shaz: I grew up with four brothers and one sister and our mom and dad did a great job of making us feel equal — with so many kids — that was my tribe for a long time so it wasn’t until I moved to LA and later NY when I felt the expectations of women and men, but by that time, it was too late — ha! I have better days and worse days when society norms weigh on me, but I try not to give those limitations space in my heart and soul.

ATM: What would America look if this was a matriarchal world where men were the minority/marginalized? 

Shaz: I think it’d be so fair and equitable. Women in my experience aren’t trying to take everything — they’re more willing to move over and make space for everyone.

ATM: Why did you link the noun fantasy and adjective gritty together?

Shaz: To me, they’re two sides of the same coin. The times in my life when I had the least and was struggling to survive were also the most inventive — I daydreamed about getting out and beyond.

ATM: What has Ava DuVernay systematically taught you about being a woman in the T.V. industry and a director? 

Shaz: Ava is just an incredible role model for this business — every meeting I got in — I channel my inner Ava — or at least what I imagine my inner Ava to be — if a door is closed to you — open your own doors. And a big thing that stuck with me — the day I was flying to New Orleans to direct my episode — I emailed her to thank her for this opportunity and she responded immediately saying she remembered that feeling and to take it and make sure to give it to someone in the future. What a beautiful way to live an incredible way to approach art and business. So grateful for the chance and I can’t wait to succeed beyond hers and my wildest dreams, so I can do what Ava did for me to more artists.


Returning the Favor with Mike Rowe

Mike Rowe’s show Returning the Favor on Facebook Watch is an example of great humanity. Rowe speaks with ATM about his desire for helping others.

ATM: Why do you like having a show on Facebook?

MR: Well, if I’m going to make content, I might as well put it in a place where I know people can find it, right? Facebook already has 2 billion customers, and everyone I know has a smart phone. I don’t think television is going away, but I’m pretty sure the future of content is going to unfold online. More importantly, Returning the Favor – like every other show I’ve ever worked on – is programmed by fans of the show. Ever since Dirty Jobs, I’ve relied on viewers to suggest my next adventure. My Facebook page has over 5 million people, so it’s real easy to stay engaged with the people who actually watch the show and ask them to help program every episode. Returning the Favor is really a show for them.

ATM: What is your earliest memory of someone doing a good deed to you?

MR: Does good advice count as a good deed?

ATM: Sure.

MR: Well, when I was 16, my grandfather gave me some very good advice. He was a skilled tradesman who everyone admired a great deal. He only went to the seventh grade, but the man could literally build or fix anything, and everyone loved him for it. I was convinced that I was going to follow in his footsteps, and he allowed me to apprentice with him as a kid on all kinds of projects. Problem is, the “handy” gene is recessive, and what came easily to my Pop didn’t come easily to me. One day, after watching me struggle on what should have been a really simple project, he pulled me aside and said, “Mike, if you want to be a tradesman, you can be a tradesman. But you’re going to need a different toolbox.” At the time, it really broke my heart.

ATM: Why?

MR: Because sometimes, the truth hurts. I always think of the people on American Idol who dream of being a pop star but can’t sing. Their auditions are so painful. Many of these people were encouraged by well-meaning parents and teachers to “follow their dreams” and never give up on whatever it is they love to do. Then, suddenly, at 25 years of age – they’re told they don’t have what it takes, and they’re devastated. Well, that was me. It had never occurred to me that just because I love something doesn’t mean I can’t suck at it. But of course, that’s exactly how life works. Anyway, once I got over the initial disappointment, I went about the business of figuring what I was good at. It took a while, but thanks to a local community college, I was able to experiment with all kinds of classes and vocations I’d never considered before. I studied writing, singing, public speaking, narrating, and acting. I learned I was good at some of those things and started pursuing them. In time, I got myself a new toolbox, and went to work in my chosen field. My grandfather’s advice was a good deed – a very good deed. It put me on a path that brought me here.

ATM: Why do you love to give back and help people?

MR: I do what I do because I enjoy it. Helping people makes me feel good. Producing shows that that “give back” also makes me feel good. That’s why a run a foundation and a scholarship fund. But make no mistake – I get paid to produce the shows we’re talking about.  Dirty Jobs, Somebody’s Gotta Do It, The Way I Heard It, and Returning the Favor…these are all “for-profit” ventures. Having said that, I guess I’m attracted to projects like Returning the Favor because our country is divided.

ATM: Yes, it is.

MR: Politics have crept into just about every topic and every conversation. People are sick of talking heads screaming at each other on TV. They’re tired of scrolling through their news feeds and seeing angry rants from people they used to call friends. Honestly, I think America is desperate to watch something positive. For that reason alone, Returning the Favor is succeeding. But the show is also working because it’s real. It’s a short, light-hearted look at real people doing nice things for their community. Plus, we document the making of each episode, so you don’t wind up with some overly-produced, manipulative mess that pulls on people’s heartstrings unnecessarily. It’s just a fun, light-hearted reminder that good people still walk among us.

ATM: Because you travel so much, did you ever like adventure as a child?

MR: Sure. I was in Boy Scouts as a kid, and we traveled all the time. Camping, hiking, white-water rafting, hunting, fishing, sky-diving…we went all over the place. In those days, The Boy Scouts – my troop anyway – was really a gang of daredevils run by a former Colonel. It was a great way to prepare for life on the road. It was also the place where I learned the importance of things like personal responsibility and delayed gratification.

ATM: So, did you make Eagle?

MR: I did. In fact, I became a “Distinguished Eagle’s Scout” several years ago. I’m not sure what I did to “distinguish” myself, but I was honored to see my name alongside astronauts and Presidents and various other luminaries far more accomplished than I. I think it was probably the fact that my foundation reflects a lot of the philosophy that the Boy Scouts still embrace. I think they also appreciated the fact that I sent out 50,000 letters to other Eagle Scouts over the years, congratulating them on their success.

ATM: You have a good heart!

MR: Well, I try not to be a schmuck.

ATM & MR: (Laughs).

ATM: It is nice to take the time to send out all those letters.

MR: I guess it was a way for me to “return the favor” to an organization that made a difference in my life a long time ago. I think it’s important to remember the people who help you along the way.

ATM: Is that why you started a foundation for skilled labor?

MR: Yep. mikeroweWORKS evolved out of Dirty Jobs back in 2008. It started as a PR Campaign for jobs that don’t require a four-year degree.  Really, it was a way to say thanks to the industries that allowed Dirty Jobs to become a successful show – industries that were struggling to attract skilled workers. It was also a way to acknowledge my grandfather, and his influence on my life. Today, I use mikeroweWORKS to remind people that over 6 million jobs are currently available to anyone willing to master a useful skill. We also award scholarships that pay for vocational training. We’ve raised over 5 million dollars so far and hope to do a lot more in the future. In fact, if your readers want to learn welding, plumbing, electric, or any of the other construction trades, they’re welcome to apply for a work ethic scholarship at

ATM: I’ll let them know!

MR: Cool! That’s called “returning the favor…”

Gene Jones Takes on ‘The Old Man & the Gun’

Gene Jones plays a role in the film The Old Man & the Gun. Jones talks with ATM about his aspirations and experience on set with Robert Redford.

ATM: How was your experience while on set?

Gene: It is a beauty and a great old fashioned film. It is full of good acting. David Lowery is such a brilliant man. What a job he did with this script. It is richer and fuller than it was on the page. How nice of me to get a couple of scenes with Robert Redford.

ATM: What do you like about old fashioned films?

Gene: There is a kind of a matter of factness to them. The story is told in pictures and dialogue. Pictures and dialogue get an equal measure. The camera is not alone in telling the story. It is rich and it is like watching an old satisfying movie on TCM. The connection between Robert Redford and Sissy Spacek was just wonderful. Oh god, the scene on the porch blew me away. They are just sitting there talking. They are not doing anything, and the camera is not doing anything. It is just a straight shot of great movie acting.

ATM: What is your take on a person choosing to love someone despite their bad ways?

Gene: People fall in love all the time in spite of something they know about the person they love. This made perfect sense to me. She did not chase him. She got to know him.

ATM: Talk more about the porch scene.

Gene: It sounded like a real talk and sounded like things people would actually say to each other. It was very simple to talk. The actors are so honest. It is just rich. It has nuance and subtext. There is a life lived behind what each of these characters said. It was beautifully done and my favorite scene in the film.

ATM: Express details about your role.

Gene: I was a bank manager in one of the many banks Forrest Tucker robbed over his career. This was a Texas Bank. My role is a small town guy. A self-important guy who is totally unprepared and off guard. Forrest walks in with the gun in his jacket pocket. You never see him pull the gun at any of the banks. He just says I got a gun and people hand over the money. Part of the readiness to hand over the money is the quiet demeanor of Forrest. If he was wild and yelling, then people would have pushed the button to call the police. He is not wild and yelling. People want to co-operate with Forrest.

ATM: Have you ever thought of having a profession in the bank world?

Gene: Oh goodness no.

ATM: Are you good at math?

Gene: No I am not bad at math. I just never had any interest in it.

Edward De Juan on Marriage and Divorce

ID Channel’s Fatal Vows shares dramatizations of marriages that went terribly wrong. Edward De Juan is an actor, producer, and artist who has played on a few episodes and talks about the criminal psychology that he learned about marriages that led to divorces.

ATM: How do you believe this show dives into the psychology behind men and women?

Edward: It dives in there a lot. It talks about murder and the psychology everyone goes through while dealing with anger. It pushes their boundaries. It analyzes from a scientific perspective and gives you a good understanding. It helps people.

ATM: How does this show exhibit how a marriage can turn from perfect to a murder tragedy?

Edward: The show points out a lot of red flags in terms of a marriage. Whenever you point out those red flags it gives people warnings of what to watch out for. No, there is no such thing of a perfect marriage. It shows you you never know what people are capable of. For example, cheating. It gives you a perspective of how everyone is different on how they will react to certain things.

ATM: What is the negative side to love?

Edward: The basis of the show displays that whenever a trust is broken it can push a human being to an emotion that can show them on a different level. A negative side would be anger. A negative side of trust leads to jealousy. Whenever someone gets jealous they can dive into the emotion of anger. Sometimes anger can get shown on different levels. It accelerates to a point where murdering can come out of a human being. It shows that it can be controlled. It shows the different angles of anger. It raises the awareness of what you should not be doing.

ATM: Explain how the forensic professionals continue the narrative related to this topic.

Edward: They break down the emotion from a scientific point of view. It controls the narrative in a way where it gives an explanation in a scientific way. Whenever the public hears something from a scientific way they jump to conclusions. “This is scientifically proven then there is no way getting around it.” They break down the human psyche of it. People say they could never end up like this. When you break down the human psyche of it you never know what you could be like. When this and that happens, it allows your brain to react to certain emotions. Some people do not believe they can get to this mindset. You may think you are not capable of doing this. Sometimes when you are pushed emotionally, you lose the control of logic.

ATM: Do you feel most people have it in them to make a person tick to make them come out of their comfort zone?

Edward: It is possible. It all comes down to the individual themselves how much control they have or their logic over their emotions. Some people have their emotions speak over their logic. There are some people that are very strong-minded while in an emotional state. They can take a deep breath and choose logic.

ATM: Explain the Blood Matrimony episode you were on.

Edward: I played a character named Steve Dingle. He basically was manipulated to the point of having a psychosis. He just lost all control of all his logic. He allowed his anger and emotions to take over. He thought his wife was cheating on him. A lot of his information was fed by his own family because they did not like the wife. They manipulated him to the point where he just believed everything they said even if it was not true. This is an example of emotions taking over logic. He never stopped to think about if this was true or not. His emotions overwhelmed him to the point he did not think at all. He just reacted. He was pushed to this point where a murderous rage just came out of him.

ATM: Explain the significance of your quote “I can go through the rest of my life pleasing my parents by working as a businessman, a lawyer, a doctor, but deep down I will always be an artist at heart. . . And no matter what, at the end of the day . . . this is what I was born to be.”

Edward: Growing up I always wanted to be an artist. I have always taken a big interest in music and in acting. Anything in the realms of entertainment. This is kind of based on our economy. We are all living in an economy of capitalism where money rules all. From a general perspective, artists are not known for making lots of money. Unless you are a big time A-lister. It is such a niche market of making it big and becoming financially stable. It is more of our parent’s dreams for us to be doctors, lawyers, or a businessman.

There is a funny thing with Filipinos. Everyone in the Philippines wants to be a dancer, artist, or singer. Most of them become nurses. The joke is that this is not our dream, but it is our parent’s dreams because they get a lot of benefits and become stabled. Money is not everything. We are always looking for that thing that makes us happy. The significance of the quote is that I can make a lot of money with what my parents want me to be, but deep down I will never be happy. Because being an artist is what I was destined to be as a kid.

ATM: Do you feel like some parents vicariously live their dream through their children because they did not live out their dreams?

Edward: I would say most of them do. I would not say all. A lot of parents like to live through their children. Especially if they grow to be more successful than they did. It is always the children wanting to make the parents proud in becoming more successful.

ATM: How can a person pick happiness over money when they have not experienced true happiness?

Edward: True happiness is mainly a mindset. There is no real definition of anyone’s happiness. It is something that brings you to a point. You can wake up in the morning to loving everything. Some people who are not doing what they love to do wake up in the morning saying, “I have to wake up. I have to do my job.” They stare at the clock all day. When you are doing something, you enjoy doing and something you really wanted to do, time does not exist. Sometimes when you are just going through the rest of your day as it goes by you do not even realize you stayed three later from the time you were supposed to. Nothing else matters. This caters to every individual’s definition of what happiness is.

ATM: What makes you happy?

Edward: It is hard to say. I feel like with happiness there is always a journey, at least for me personally. I am always striving for it the closer I get to it. I would say I am truly happy. If I have become an A-list movie star and made it in music, then this would make me happy. I can wake up every day to say I have made it.

ATM: You are saying you do not have the real definition of happiness yet?

Edward: No. Not the true definition. I can name a bunch of things that make me happy on a daily basis, but true happiness, no. I guess I do not. I just realized this maybe five minutes ago in this conversation. I thought I did, but after thinking about it more, maybe I do not.


Feature Film Los Angeles Casting Call for Native American Actors

Casting directors are now casting actors, models, and talent to work on scenes filming in Los Angeles, California.

To Audition:

Major Feature Shooting in Los Angeles is looking for a Native American Male! Casting for a heavily featured Native American Male, 35-65 Years Old, 200-275lbs, Long Hair Preferred. THREE DAYS OF WORK at $170/8. IF this is you or someone you know please email current photos, full sizes, union status, and contact cell to with “OPERATOR” in the subject line.

Máté Haumann Speaks on Society and the 20th Century

The early part of the 20th century was a time where women did not have a voice or a right to take ownership of their work. Colette is a film about a woman, Sidonie-Gabrielle, trying to get ownership after ghostwriting on her husband’s work. Hungarian actor Máté Haumann talks with ATM about women of this time.



ATM: How do you feel women were treated during the early 20th century based on the performance of the female characters in this film?


Máté: Gender equality was nowhere in sight. It was a different patriarchal society getting jobs was a lot different. Our society is still going through a massive transition in the light of this. This is a great thing. There should be a healthier balance. I am on for it. Bring it on. The whole change is brilliant.


ATM: Based on your answer in the previous question, explain how men were viewed. Was the perception on men correct or exaggerated by their society?


Máté: Back in the day, men were considered the know-it-alls of the family and thus society. As a Hungarian, I had a chance to feel what it is like to be a part of such patriarchal society. This is just how it was. Sometimes it did not work but at times there was a mutual understanding also. Take my mother for example. She is immensely proud of all of her children and how it all worked out between her and my dear father in mutual love and care. It was discussed and agreed upon. I was one lucky kid growing up. Thankfully things are on the move in our society. The younger generation is beginning to comprehend this breakthrough transition today. 


ATM: Describe a day as if you lived during Sidonie-Gabrielle Colette’s time. What would your daily schedule consist of? Family? Kids? Beliefs? Social life?


Máté: My character in the movie is called Count Muffat. I always thought of him as a larger than life socialite. That being said I didn’t think of him as a very constructive and collected person. More so someone who truly enjoys his status and not always to its best merits.


ATM: Did the economic system influence how any gender was treated?


Máté: Some tasks and professions were considered more for the men than otherwise. There was a big differentiation in jobs. My character’s steady social status provided him with a different kind of ability as a nobleman.


ATM: In some sort of time capsule world, what would the 20th-century individuals converse about with people living now? What would people of 2018 converse with the people of the early 20th century about? What would early 21st-century men say to early 20th-century men vice versa and the same for women in both periods? Even children?


Máté: I would say there is hope and they should always strive to make their voices be heard. This is the motto of Colette. The motto is not to be led by anyone. I am displaying this with my actor’s mind. They should keep going, exploring boundaries, and also be pushing them. They should stand up and stand their ground.


ATM: Explain your desire to act. What about acting keeps you waking up each day?


Máté: The past 50 years my father has been and still is a well-respected actor in Hungary so it was inevitable not to live and breathe it in our home. It runs in my family. His dad was also an actor but did not do it as a profession he only did it for the love of it. I am ever so grateful to fate that I can be a part of this beautiful transition if not legacy. I cherish every wonderful opportunity that comes my way. I cannot see life any other way than being an actor. 

Samira Izadi Speaks on Money, Fame, and Reality

Trauma is a part of everyday life. When the life of Jim Carrey’s character, Mr. Pickles, on Showtime’s Kidding takes a hard turn, he must figure out how to handle his emotions in the midst of continuing to be an inspiration to children on television. Actress Samira Izadi recurs in this show and shares her thoughts on how we can learn from the story’s plot.

ATM: How does this show display people who are widely respected go through trauma?

SI: That fame does not shield us from trauma. It does not matter how one may look into the public realm. Especially with Instagram and other social media tending to show a perfect picture, it’s easy to forget that we are all dealing with our own battles and struggles. We have sadly seen famous people succumb to drug overdose and suicide. People like Robin Williams. We are all left so shocked because they seemed to have been on top of the world and yet . . .

This is what I love about the show. It does not matter if you have money, fame, and people love you. It does not matter. We are all human. We all have good days and bad days. Money and fame do not protect us from experiencing helplessness, sadness, or isolation. There was a study done a few years ago that revealed that the most popular future goal among children was to be famous. We live in a fame crazed society. With most public figures, we are mostly exposed to their good times and glamour. Kids think if they were this famous and had a ton of money their life would be better. “Kidding” reveals there is no guarantee that fame will fulfill you or make you happy. And it’s important for a show like “Kidding” to show a different narrative; a different side than the one we’re accustomed to seeing associated with fame.

ATM: I feel many people are attracted to the portrayed perfectionism of individuals working in Hollywood. 

SI: Right, the perception of perfection.

ATM: There are a lot of people who want to act just like you. They do not see the other side of how it is. Kids think this looks nice. You have to create a secondary self when you are in the limelight. This goes for people in Hollywood and Jim Carrey’s character. There is the “self” that is publicized and then there is the “self” that has been the “you” all through your life. You have to maneuver through both of the “self’s” daily. Whereas people that are not famous only have to concentrate on one “self.”

SI: I totally agree with you. A painter paints, a dishwasher washes dishes and a famous person sells a persona, a brand. Their job is to show us this secondary persona. This is their profession. If their brand is happy and glamorous, then it is their job to look happy and glamorous. Unless of course, they have the courage to show us a more authentic side. Which will inevitably have an impact on their career – both good and bad?

ATM: This is what people should realize. Once a person is let into the public eye there is no turning back.

SI: You could retreat. But if this is your way of making money and you do not know any other way to make a living, then yes, it could feel like you are stuck. But you are never really stuck. Few are ever really stuck doing anything, that’s just a story our minds make us believe.

ATM: Would you endure the same emotions on this show if you were Jim Carrey’s character?

SI: I would 100% feel I was coming undone. I imagine it would drive me to deeper levels of awakening and authenticity. Tragedy like the one he is going through. . . it is such a raw, vulnerable experience. And then to be in the limelight and to have to continue work in such a public way. I can empathize with his dedication to his viewers; to want to be there for the children who are relying on him. While at the same time he is trying to come to grips with his own pain. We’ll see what impact that has had and will have on him and his family’s life.