Netflix’s ‘Tall Girl’ Casting Call for High School Students

Netflix is now casting experienced pageant girls in New Orleans, Louisiana. Producers are looking for talent in their early 20s to play high school beauty pageant girls. Filming will shoot on February 5th in New Orleans, Louisiana.

About Tall Girl:

The film was written by Sam Wolfson and will be directed by Nzingha Stewart. The movie centers around Jodi, “the tallest girl in her school, who has never quite felt comfortable in her own statuesque skin. All of that changes when she falls for the handsome (and equally tall) foreign exchange student Stig, who of course gets Jodi’s quirky, best, male friend Dunkleman and his hippie mom as a host family. As a result, Jodi gets embroiled in a surprising love triangle, which helps her realize she’s far more than her insecurities about her height have led her to believe.”

To Audition:

Netflix film, TALL GIRL: seeking experienced pageant girls.
**18-early 20s age range to portray high school beauty pageant girls**

FILMING DATE: subject to change

We are looking for girls that have REAL EXPERIENCE BEING IN A PAGEANT**

Include: Name, Age, Height/weight, Contact #, City/state you live in and include a head shot and full body photo.

Sally Rubin on Systemic Media Brainwashing

Sally Rubin is the co-director for the film Hillbilly. She tackles the wrong representation of residents and people who have origins in the Appalachia region. They are often greeted with derogatory language such as stupid, ignorant and more. They are often asked offensive questions such as Where did you get that accent? Or Do you know what TVs are? Rubin shares her views on how Hillbilly strive to advocate a better view on people from the Appalachia region.

ATM: What is your perspective on the representation of poverty in America?

SR: We talk so much about this in the movie. Poverty is represented in America as two dimensional, and it is a human element. Poverty is something that is treated as materialistic, stereotyped, and simplified. The wide story behind poverty is always removed. We tried to put the human faith back on poverty in Hillbilly. It is a really important point that Appalachia is not a place of poverty. It is a huge region that has over 23 million people. A lot of people are not poor and are well off. They do not look like what most people think.

ATM: What else were you setting out to tell in Hillbilly?

SR: We wanted to tell a story that told a different story of Appalachia, the Appalachia you do not get to see. The people who live here who do not look like the story. There are a lot of stereotypes in a nugget of truth. You can always find it if you are looking to prove it. However, we believe there is more to every stereotype that meets the eye. We set out to uncover the people who come from Appalachia who do not look like that. These people in their gender and sexual orientation. It exposes a side of Appalachia that has not been widely seen in the media.

ATM: How do you feel in the beginning stages of the establishment of when a stereotype is created that someone can become marginalized?

SR: Stereotyped dumps down human portraits. Stereotypes make people who are complicated have complicated nuisances’ stories with their characters. We wanted to show people who are from here who are represented with the Hillbilly stereotype and how different they could be. Your question is how stereotypes lead to marginalization. People and the rest of America see these stereotypes and do not go or look any further. They do not go to see what this person is really like. Stereotypes offer a quick easily summary of what people are like and what is in front of them. It is so much more in reality of what is about these portraits. It becomes easy to marginalize people when you do not see them as human beings and see them as these two-dimensional characters.

ATM: In what ways does your film talk about how a person can up rise from a stereotype?

SR: Some of it is personal beliefs. Stereotyping is inevitable for a human being. It is something we just do. Sociologically we put people in boxes, try to fit them into existing ideas of how people are so that we can compartmentalize and manage the world. It is a survival instinct. I do not want to criticize people for stereotyping because this is what we do. On the other hand, all of us always have to be thinking about and notice our reactions of how we put people in these deep boxes and see them as complex and third-dimensional people.

ATM: Does a person have to come from humbled or poor beginnings to understand the deep-rootedness of poverty and how it affects one’s life?

SR: This is a really good question. I have been amazed since the release of the film from people who do not have working-class roots or Appalachia roots or rural roots. A lot of the film is about media representation on stereotyping. Even if you are not from Appalachia or rural areas, we all seem to laugh at these types of people. This resonates. One of the most powerful responses to the film was in New York City. These are people who had no connection to Appalachia. Some of them resonated with the film. There are some universal themes to the film that rings true to everyone. It is the idea of making assumptions of people based on what we see on T.V. We have all done this. Everybody can relate to this.  

ATM: How can the media affect the detrimental perspective of contemporary Americans when talking to rural areas and rural identity?

SR: Media does some of the most damaging and cultural work when it comes to our current political and social divide. It is media that is responsible for the portraits that make people seem to like these characters who do not get along. The media says things like “All Appalachia voted for Trump. He is only in office because the people in Southeastern United States put him there.” It is not true. Often the media dump things down in packages. Film and television are a fast medium. It is not an easy or the written word. There is no time to necessarily go back. Often film and television are responsible for these two stereotypes.

ATM: If the media are mostly known for wrongly commercializing, and putting out the authenticity or the core truth, then why do we still run to it?

SR: This too is a really good question. This again is human nature. We cannot help it. We want and need these human stories. We are used to stereotypes, and we do not watch media critically. We sit back, and we are used to being entertained. Most of us do not watch film and television to be educated, but we watch it get entertained. These are very different time masters here. Also, specific to the “Hillbilly” type, we got so used to seeing these types of portraits that most people do not blink an eye when a person comes on scene with a pipe, slug hat, or southern accent. This is what we expect of the region and we do not expect anything else. We are so desensitized at this point to the stereotype. We just do not see it critically. This is the most specific part to it. We do not even know we are watching a stereotype, but we think we are watching reality. This is when it’s the most damaging.

ATM: So, we are getting brainwashed and do not even know it.

SR: I would say this is not just with “hillbillies,” but with women, folks of color, and folks from different regions. This is kind of what is done.

ATM: A lot of times when you are watching something that is offensive to a specific gender or sexuality, you do not see it while it can also be targeting you. You do not see the persuasive language until afterward. You go “wait that was targeted at me, and I did not recognize it.”

SR: Right. Maybe the professor points it out. It is said in class, and then you realize what has been done.

ATM: Culturally, how would you describe the American mass media in a way that would get captured in a future history book.

SR: This is a great question. It is very innovating. I have been in a documentary film for almost ten years. Within these ten years, I have seen it changed, and evolution in the type of media young people are creating and have the type of appetite for. We see a huge amount of evolution in the documentary and fiction form. Different types of cameras are allowing for different types of stories to be told. It is an exciting time. Younger and younger people who have grown up during the internet and post 9/11 are the ones who are becoming the future media makers of our country. You have seen the social process through the media over the decades.  

Esther Turan speaks on Ageism, Her Film Company, New Projects and more.

Photo Credit: Tim Cofield

ATM: What is your connection with other female filmmakers and how you are working to empower women in this industry?

ET: It was always super important to me to be surrounded by other female filmmakers. It is a very natural thing for me to create film with other women. I needed to fight for people’s attention, and I needed to fight when I started my career as a producer for men to take me seriously. So, it is important for me, but it is not a new thing. I started the production company on my own as a woman and asked another female producer to join me. It is important to create something together and it is important to take a female approach when it comes to filmmaking. I also started to direct and have recently finished my second documentary with another female director. So, I am not just a female producer, but I am also a female film director. It is wonderful that I am around another female director as I love to make films with other women.

ATM: What were the times you felt men did not take you seriously because of your gender?

ET: Also because of my age. I was very young when establishing MovieBar, I had just come out of film school, and was in my early to mid-20s. It is not a usual thing that someone who is under the age of 25 and a female to establish a company, so it was the gender and the age. I was 100% confident that men wouldn’t take me seriously. I always needed to put extra effort and time into what I did for people to take me more seriously. Now, that I have started to direct recently, I am facing the same problem. I needed to face the fact that some men just think women cannot direct. They thought we could not direct our documentary, it was an insult. Why do you think we need help? We never turn to you to ask for help. Why do you come to us offering help in directing when we never asked? I started out fresh as a director. Even recently I witnessed some prejudice with this from people who are probably not experts in this field. “These chicks cannot direct.” When people noticed the success, we gained in Europe for our documentary series, then things started to change, and people started to take us more seriously.

ATM: Did you feel like the 1% during the start of your company because you were going against expectations? What was the journey like for you to know you could do it?

ET: Experience helped and gave me the confidence to know more about filmmaking. Also, gaining more projects and trust from people. When you begin something, you probably have a lack of confidence, so gaining experience helped me. When I was calmer with my knowledge and had more confidence in myself, then I could be more aware of who took me seriously and how I should act. I also had more positive feedback than negative feedback and could deal with it easier after a while.

ATM: What did you daydream or visualize while sitting in the seats of your film school, as far as your career and the film business goes?

ET: I was thinking about Hollywood. When I was a freshman in film school, one of my producers turned to the entire class to ask, “Who spoke English? Who wanted to come for a summer job on an American shoot?” I raised my hand because I did speak English. I wanted so bad to know how to become a trainee. At 20, during the summer, I found myself on this huge American shoot. I was serving coffee to Mr. Ben Kinglsey and Patrick Dempsey. This is how I started my film career as a trainee. It was a wonderful experience because I saw some fantastic and phenomenal actresses. I have a theatre background, so I was interested in the acting. It was an amazing experience. Because of this American film shoot, it helped me to find myself in the film business. I really dreamed of making it in Hollywood and today here I am.

ATM: Explain the start of the preparation for BP Underground and introduction to meeting your co-director.

ET: My background is in television and directing. So, I always had this creative aspect in me, even though becoming a producer. I still see myself as a creative producer. After being a part of so many countless projects creatively as a producer, I found an urge I had not mastered. I met this woman named Anna who would later become my director for the BP Underground series. We knew each other briefly but we met at a concert. She started to tell me about this idea of hers to portray certain sub cultures of Hungary. I told her I had the same idea because this is where I came from. If someone is connected to any of the sub cultures, then they really shape you. After becoming old enough, I felt cathartic in a good way about where I came from and what was important at the time. Every youngster belongs to certain music sub culture, but why? How? I wanted to portray it. We teamed up and the rest is history.

ATM: Is misogyny infused in Budapest’s music similarly to how it is in American hip hop music?

ET: I come from Budapest, which is such an interesting spot in the room. We are literally on the edge of east and west. My country became westernized thirty years ago. I was already alive and only in elementary school, but I remember the regime change portraying in the music subculture. This was not just hip hop but hardcore punk. This was in the 2000s. Again, we are talking about the American pop culture genre that some youngsters on the other side of the world think is fascinating, and here they created their own version of the American sub cultures. Both hardcore punk and hip hop are so deeply rooted into American society. Everything that came from America back then seemed cool over there, but they added their own voice to it, which was very different. When we are talking about hip hop, I do see a lot of similarities in our music. For example, we have Romani and Gypsies. It gave the Beastie Boys a legacy, which is why white men can rap. We touch all these topics and others.

ATM: During the 1990s and early 2000s in Budapest, what were the main musical themes present in the music?

ET: These were chaotic times. The regime changed a couple of years before. There was a sense of hysteria that was going to be in our democracy. A lot of lyrics touched on social justice, drugs, poverty, teenager problems, and depression. There were other genres of hip hop, like the little gangster scene. Some songs were funny and sarcastic about things in society. Also, in both sub cultures, unity was important and wanting to feel like they belonged somewhere. You could feel anger and frustration in the hardcore punk movement. These are the topics now that come to my mind. There were a lot of questions about the future of Hungary and society. Where would the society go?

ATM: What are some of the interesting aspects of the dark anthology series The Field Guide to Evil?

ET: I am the producer for the film The Field Guide to Evil. This is a horror movie, and the director is Peter Strickland. It is a film with eight sequences, and every sequence is about a folk story filmed in the director’s country. The folk stories are somehow horror related and very dark. Each of them is very brutal and executed in a very fascinating way. It is an art-house project. I oversaw the sequence directed by Peter Strickland. He is very well known in the indie world and he is married to a Hungarian woman, so he picked a Hungarian folk story. Our sequence is called “The Cobblers’. It was so much fun!

ATM: What does the horror in the film represent about Hungary?

ET: In every nation folk mythology has darker aspects. It is very interesting to feel in any given nation’s consciousness, in a way. It is a fascinating topic. As a Hungarian filmmaker and person, it is very interesting to see the dark side within our mythology. These are the stories not being told to children, and you do not necessarily hear, but they still exist. What is interesting in the Astoria or Polish sequence is that we had so much in common, even though I did not know about this sequence and was not involved. The American sequence was also so different and interesting, and there is an American twist to it. It was very modern and contemporary compared to the European sequences that took place during the 19th century. You could not tell, but it was all ancient stuff vs. the American.

ATM: What does living as a Hungarian woman mean? What are the average expectations or views put on Hungarian women?

ET: I feel like Hungarian women have to fight for their rights. I am very sad to see that we are not represented as well in our parliament. I am very sad about the situation of Hungarian women. Domestic violence should be treated differently and taken more seriously. It is such a tense issue for me. We should have more female role models and more female leaders. We do not have a track record of female leaders. For me now, living in the United States, it is refreshing to see that the United States is on a better stage. However, we do have a lot of successful female artists in Hungary, but it is still not enough. We should be more present in the political field and every other field. We should be paid equally and taken more seriously. Hungarian society needs more projects.

ATM: Who were your role models?

ET: Oh, this is such a nice question. One of my role models was my mother for sure. Aside from being a mom, she was a successful medical doctor. This was in addition to being a mother, a wife, and being in a hospital all the time. She managed it. My other role model was my aunt who is a very successful actress in Hungary. We all grew up watching her movies. She was involved in the show business, and this was what I saw as a young child. I saw her movies and visited her at the theatre. Both were very super successful in Hungary and were strong woman.

ATM: If you could morph these two inspirations into a slogan, then what would it be?

ET: It was momentous for me to see a woman achieve her dreams. They both gained tremendous success in their fields, and they were independent. For me, it was being an independent woman, to decide to fight your destiny, and your own actions. These are very important issues, and they both represent independent, successful, and strong women.

ATM: How were you able to hold on to these inspirations, while most Hungarian women did not have access to those types of inspirational women?

ET: It is about education. Hungarian education for women should be changed. Women should get more respect and equal rights. Things are changing slowly.

ATM: How does combining the topics of war, love, and amusement parks help to make a stronger film narrative in Swoon? Also, what is your relationship to these topics?

ET: It is a Swedish film, and I am producing it. It is Swedish life based, though I am not Swedish. It is a romantic love story, but it more reflects Swedish society, iconic places, and topics. It is about a Swedish amusement park in Stockholm, which has been the capital for 200 years. I am not Swedish, but I am honored these people choose me to be a part of their time. I will travel to Stockholm for the premiere of the movie in two weeks, but culturally I am not connected to it because it represents a different country. I learned so much on this project about Swedish society.

These topics are adjoining in a way, unfortunately. It is important to discuss. It is an individual question about what you want to say in your movie. What is the movie saying? I believe in messages, and that you should make a movie because of a message. You should not make a movie because you want to pose as a filmmaker. I know so many people that are just in the industry for the pose. I hate people like this. You should be in this industry if you have message or if you have something to give. Not because it is cool, but because you do have something to say. Unfortunately, there are always wars for a revolution. If you have specific message for a specific war, then it is great to make a movie about it. I come from a world where we had a lot of wars, revolutions, and battles. Nothing is stable. Our neighborhood is former Czechoslovakia.

There was a war next to my country in the 90s, which is insane in a neighboring country. Love is something that is interesting for all of us. Amusements are a great idea that we captured in this feature film Swoon. Besides this, I would not use an amusement park, but it is deeply related. It is an element for the story. It is about two families and their amusement parks and is sort of like a Romeo and Juliet story in a way. I hope there is going to be an English version aired in the United States.

ATM: What are ways you are looking to share your European skills with American indie filmmakers? Also, what are your upcoming projects and workload?

ET: After my premiere I have to go to Hungary to receive a big award. It feels good being a part of something when coming from nothing. Now, I have many things on my desk. I am involved in projects in the United States. I am trying to share the bridge between European and American filmmakers. I am trying to work on co-productions together. I have so many projects going on. I am involved in a documentary, a huge feature film, and they are both American. I am also developing written content, and I have meetings. I just want to show American indie filmmakers they should come and collaborate with European filmmakers because it is beneficial to everyone.

ATM: How has your upbringing as a Hungarian city girl shaped you into who you are today?

ET: Wow. I can appreciate things more compared to America. When I was born in Hungary there was socialism. It was not like a poor country, but it was not a wealthy country either. For certain items as a teenager, I needed to travel to Astoria to buy them. Teenagers are enthusiastic about certain things. I still sometimes shop in United States on the quantity and choices. How many cornflakes are on a supermarket shelf? These certain things I am not used to. I am an 80s girl. In the 80s, even though I was young, I witnessed that art has a part in criticizing society. You can make a change with art. I saw this when I was a young girl. My father was a playwright and a director of museums. I grew up with a Bohemian family and intellectuals who made a difference in culture under socialism. I inherited it. Art is such a strong tool if you use it in the right way. It is definitely from where I grew up.

ATM: How did you view the United States?

ET: The United States was the land of opportunities. I know the Unites States has its problems, but it still is an existing democracy. I come from Europe where democracy is not always that obvious. I love the United States. I was eleven the first time I was in the United States. I had an uncle who lived in Chicago. He invited me, so I spent an entire summer there. It was the end of the 80s. It was such a huge difference for me coming from socialist, communist Hungary to the United States.

ATM: What differences did you see at eleven years old?

ET: I felt like kids in my age range were much freer in a way. Back then, I did feel it was a much wealthier place than the country I came from, everything was existing, and everything was here. Everything is quite fascinating. I remember when I was eleven, and we went to Toys R US, and I freaked out. I was like, “This cannot be true.” I was so into music. This was the MTV era. I was like, “Oh my god. MTV!” I was just watching all the music videos and brought tons of music in every form.

ATM: What did you tell your Hungarian friends about your venture in the United States?

ET: They were so jealous because I got home with so many American clothes. They liked me, but they were jealous. Thank you for the brilliant questions, I enjoyed talking with you! These were such relevant and eventful questions.

50 Cent’s New STARZ Series ‘BMF’ Now Casting

50 Cent is now casting speaking roles and lead roles for his new TV series for the Starz network, BMF. But, in a surprise twist, 50 Cent and G Unit Film and Television production company are also seeking submissions for other upcoming STARZ network TV series.

To apply for a speaking role or lead role in BMF or other upcoming G-Unit Film and Television productions, click here.

Casting directors are looking for basic information including your name, contact information, social media profiles, whether or not you have a talent agent, and a video reel.

Review: ‘Vice’

American film director Adam McKay debuts his second biographical comedy-drama feature known as Vice. Starring big names such as Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, and Jesse Plemons, the film tells the story of Dick Cheney and his rise in political power.

Told through the narration of a fictitious veteran by the name of Kurt (Plemons), we are introduced to a young Cheney (Christian Bale) in 1963, as he works as a lineman and struggles with alcoholism after he drops out of Yale University. His wife Lynne (Amy Adams) convinces Cheney to get his life together. Fast forward to 1969 and Cheney becomes an intern at the White House under Nixon’s economic advisor, Donald Rumsfeld (Steve Carell). The story then unfolds as we see Cheney progress from an intern to a successful politician in the later years.

While the film tries to add comedy, the comedy at times seems inappropriate and edgy considering this is a film that’s supposed to be a biopic about Dick Cheney. 75 percent of the film is narration from Kurt, and considering he’s a fictional character it takes away from the biographical element the film is supposed to have. There’s a lot of random visuals added in between segments that don’t seem to have anything to do with whatever subject is being discussed between characters and are just added for metaphors that are confusing to understand. The film is also very messy and all over the place from talking about Cheney’s family life and his political life. It is also extremely biased and portrays Cheney as well as other Republican figures as drunken idiots with cartoonish personalities. We all have our own opinions on how certain politicians act, but when creating a biopic it’s important to portray them in a way that’s appropriate for audiences to understand why there’s a division among people when it comes to politicians.

The film was nominated for 6 Golden Globes, and Christian Bale took home the award for Best Actor in a Motion Picture Musical or Comedy.

Delta Casting Call For Atlanta Actors For Upcoming Commercial

Seeking Men and Women All Ethnicities / Age 25-60
Rate: 200/10

Date: 1/15, 1/16 or 1/17

{You will only work one of those days}

Location: ATL Airport
If you are available and interested please email Include 3 pics (head, body and selfie with paper with today’s date written on it) age, height, weight and all contact info.
Subject: DELTA
Submissions will be sent to client at end of day tomorrow!

Review: ‘Spider-Man: Into the Spider-Verse’

Columbia Pictures along with Sony Pictures Animation and Marvel bring back the friendly neighborhood Spider-Man to the big screen in Spider-Man: Into the Spider-Verse. However, this story of Spider-Man is told in beautiful animation along with comic book panels and page turning effects in order to give viewers the feeling that they’re walking into a comic book story.

While most Spider-Man films introduce us to Peter Parker being bit by a radioactive spider, the film’s protagonist is an Afro-Latino boy named Miles Morales. Miles struggles to fit in at his new elite boarding school and has dreams of pursuing in street art. However, while doing graffiti in an empty subway station, Miles is suddenly bit by a radioactive spider and develops spider-like abilities overnight. Miles investigates the subway station to find the spider that bit him. This investigation opens a whole new world for Miles, as he learns he is not the only spider person in his world.

The film takes an interesting approach on the classic Spider-Man story that many audiences grew up watching on the big screen. Other Spider-Verse characters introduced include Spider-Gwen, Spider-Man Noir, Spider-Ham, Peni Parker and SP//dr, and of course the classic Spider-Man himself. Despite being animated, the film did a very good job at adding diversity in the characters as well as each character having their own story as to how they became involved in the Spider-Verse.

The film has gained praise on its unique animation style. It recently won a Golden Globe for Best Animated Feature Film among other titles including Incredibles 2, Isle of Dogs, Mirai, and Ralph Breaks The Internet.

S. Epatha Merkerson of NBC’s Chicago Med

S. Epatha Merkerson has played in various jaw-dropping films through the later part of the 90s and until now. Merkerson’s role on Chicago Med has her once again taking on an authoritative and leadership position as the character Sharon Goodwin. The NBC drama features Merkerson running the hospital. She carries the important trait of believing in her employees. This allows them to continue doing their best work. Merkerson gives her opinion and view on her character. “Well, she runs the hospital. Goodwin takes charge. She believes in her staff, and the buck stops with her. She doesn’t suffer fools and will call someone out when they’re wrong.”

Merkerson playing a leadership role is often not easy. It comes with challenges, problems, and issues with employees. This could challenge her character’s point of view. Strength and grace get used in the portrayal of Sharon Goodwin. How would Sharon Goodwin handle a stressful situation? “Hopefully with grace but we’ll see…Gwen Garrett has arrived, and Goodwin’s’ authority is being questioned!” It can be very stressful to come into a job and have your judgment of things get questioned. Goodwin pushes this through and looks to provide the best care at the hospital. She carries out the true description of her job. This happens through the pressure from the higher-ups on the job. How did you prepare for this character? “I spent time with an administrator in a Chicago hospital and with our medical consultant at Cook County Hospital Burn and Trauma Center.”

Aside from Merkerson’s role of Goodwin on Chicago Med, she recounts on a previous character that resonated with her. Her character Lola Delaney in the independent film Come Back Little Sheba. What has been a character/role that has resonated with you through your career? “Lola Delaney from Come Back Little Sheba. I’m rarely cast in roles where the character is so vulnerable. It was refreshing and challenging at the same time.” This 2008 Broadway revival of Come Back, Little Sheba earned Merkerson a Tony nomination.

The award-winning and long-standing actress shares the characteristics and traits behind being a successful actor and her approach on acting. “Training, work ethic, being prepared, being on time, and respecting the process.” Through the years of being an actor, these are Merkerson’s key elements of how she approaches the acting industry. “I believe no matter where you are in your career being a team player is key. I’ve worked with some incredible people over my 40 years and counting and the ones I remember the most are those actors, technicians, designers, directors who respect everyone on set.”

‘Bad Boys 3’ is Now Casting Fit Atlanta Actors

Catrett Casting is now casting background actors for Bad Boys 3. Catrett Casting is now looking for fit actors to work on scenes filming on January 15th, 17th and 23rd.

To Audition:

Seeking a very fit tough & athletic AFRICAN AMERICAN Female,  5’8 or taller. Must have natural colored hair and nails, No tattoos, or piercings.

This is a recurring role, so you MUST have open availability for the following work dates:
Works: January 15th, January 17th, January 21st, and January 23rd
Rate: $75/8 per day of work
Fitting: Tuesday January 8th or January 10th
Location: Atlanta, GA

How to Submit:
To apply, please send your name, age, height, weight, phone number & 3 photos to
Subject: Super Fit AA Chick

Christine Toy Johnson Talks ‘You’, ‘Iron Fist’ and More

Christine Toy Johnson stars in Marvel’s Iron Fist and Lifetime’s You. Christine speaks with ATM about her obligations to acting, poetry, and shooting at night on set.

ATM: Explain your technique to acting.

CTJ: Since I am a writer and an actress, I tend to approach characters from the same angle in finding out what makes them tick. What are their motivations, obstacles, and objectives? This is a very basic acting 101 thing, but this is the place to start. I then like to look at the character’s subtext, the underbelly, and motivations. What the character’s central wounds are and the things that affect them — also, the things that affect the things around them, their decisions, and actions. I also have a list of questions that I like to ask myself to get to know the character. This is both from an acting point of view and if I am creating the character. What are the things they battle to achieve? How do they evolve in their revelation, as they go through the arc of their story?

ATM: Why were most of the episodes for Marvel’s Iron Fist shot at night?

CTJ: We shot a lot at night because the exteriors in New York City were important to the storytelling. There were some times when I went for a normal television call time at 6 am. There was a time where the call time was 1 am. New York looked different, and the streets were quiet, and they could get the atmosphere they needed. The traffic is less busy in the wee hours of the morning. It is true when they say the city never sleeps. The neighborhoods were scouted out to make sure there was no traffic. The city was never completely dead. I got on set from 3 am to 4 am in the morning. There were always people out. It was easier for them to manage and get the light and the soundscape to be quieter than in the middle of the morning or even at dusk. The light and the sound would change. They would make sure the street we were shooting on was locked down.

ATM: Also express how you changed and what you learned throughout these four months?

CTJ: This was my first time working on a project for such a consecutive period of time. I have done different shows over some time, but this was more concentrated. I learned how to concentrate differently and how wonderful it was to establish this kind of family on a show. Also, how you can discover along with the writers how your character changes. When first starting to shoot in January, I did not know how my character would develop. The writers knew the arc of the story. As the story continued to shoot, we all learned different things and the elements contributed to the characters and the storyline. We all learned something new when working on the show.

ATM: What does your character say about a woman that can take charge?

CTJ: It says a lot. It says a woman can overcome whatever obstacles she has and to do what is right. Even if some mistakes might be made along the way. A woman can stick to her guns and retain her sense of what is right.  

ATM: How can someone like your character give both families and work attention without making the partition between the two wider?

CTJ: Women are the multitaskers of the earth. We just figure it out. I know I feel very strongly about the importance and the ability to make priorities and that they get done. Intrinsically, I will say women are great multitaskers. It is certainly true of this character I play on Iron Fist.

ATM: As the poetry teacher to the female lead in Lifetime’s You, what are some poets that interest you?

CTJ: Oh, good question. Emily Dickinson. Her poem I dwell in Possibility “I dwell in Possibility – A fairer House than Prose –More numerous of Windows –Superior – for Doors – Of Chambers as the Cedars –Impregnable of eye –And for an everlasting Roof the Gambrels of the Sky – Of Visitors – the fairest –For Occupation – This –The spreading wide my narrow Hands To gather Paradise.” I love the idea of dwelling in possibility. There are so many times with everything in the world and life; we can as is our human nature dwell in fear and the idea of lack. I like the idea of dwelling in possibility and knowing there are infinite possibilities out there that we can take if it is intentional.

ATM: Yes. If you want it, then go get it.

CTJ: This is right. This goes back to your question about being able to balance everything. I did not mean to be glib about us being multitaskers. I think it is true. It comes from an intentional commitment to making things happen and not being afraid of not being able to do it. But knowing you can do things you set your mind to do. You have to make space for it, but it is possible.

ATM: The fear sometimes leads you closer to accomplishing what you need to accomplish. Have you ever heard of her poem ‘Success is counted the sweetest?’

CTJ: No, but I want to know it.

ATM: It is also a poem about Emily Dickinson, and it happens to be my favorite. She talks about a courageous army and a dying warrior. The moral of the poem is saying that only a person who has suffered true defeat can understand success. So, meaning a person who fails and fails is the only one that knows success at its finest — not the person that barely fails.

CTJ: This is certainly true. Also, the idea that you can’t appreciate what you could have until you have not had it. This probably is not what Emily Dickinson was meaning.

ATM: No, she says a line that relates to exactly what you are saying, but she says it in an Emily Dickinson way.

CTJ: I am a big believer in gratitude. Also, in acknowledging the gift that you have and the potential, you can live up to. Being mindful of this is a driving force in my life and career.

ATM: In You, at what point does his deep infatuation become an obsession and love comes out the picture?

CTJ: This is a tough question. This is probably different to everyone. The circumstances of the show are pretty unusual. I do not know how to answer this. I would hope that the love between them comes when it is mutual and when they have gotten to know each other very well in a compassionate and human way. Obsession develops when someone is focused on their lens and needs. When it is a mutual relationship, the people care about each other. Obsession seems to be one-sided.

ATM: How would you classify this deep infatuation with the lead character?

CTJ: This character Joe is sure he knows what is best for Bec. This drives him to do all of these things for her. For example, he kills one of her ex-boyfriends because he thinks he is in the way. Joe thinks he is doing the best thing for her. It is not only a feeling that he wants to be with her but a certainty that he knows what is best for her. He is what is best. He is going to remove any obstacle that will keep them away from each other. This is where I said it was one sided. He has not checked in with her to see if she wanted her ex-boyfriend dead. He just decided this would be a good thing. Once it becomes a little unbalanced, then you are tipping the realm of an obsession.