Analysis: ‘The Mercy’

The Mercy represents how isolation can influence someone’s mentality and perspective on life. Donald Crowhurst was a real amateur Yachtsman whose goal was to compete in sailing around the world in the Sunday Times Golden Globe Race 1969. In the opening scene, he becomes curious about this race. He seems lost within himself as a person. Even though he is a man, this could be seen as a curious and lost state that is similar to a baby. He is curious to know about the race and wants to take it on. This also becomes his dream and passion. Having a dream and passion is a part of society in the American culture. Crowhurst had a dream, and he goes after it like society says you should. But he has a wife and three children at home. People in our society think an adult’s dreams is over once having children and getting married. How could he live out his dream and still be a father? The answer is that you cannot do both for long. He tries to, but it gives his dream more attention.

Everyone disagrees he should go but his three children. The children and him being on the same page could be the idea of a man sailing across the world is something a kid would dream. His wife is the one who thinks this is a bad idea. There is a line where she says “[Oh, you were serious about this.]” Crowhurst looks at her in disbelief and as if he has something to prove to her and everyone else. Additionally, he lacked logic about the whole boat adventure. His ambition and perseverance overshadowed this less attention on logic. Crowhurst was not aware of the severity of the trip and the internal effect it would have on him. This contest was extremely bigger than him. To him, it was just proving to the people around him and his family that he could do something. He was already failing with his ad selling company.

People in the film start to label him as a hero while he is freaking out on the boat in the middle of nowhere. Crowhurst had no idea how he started to get seen in the eyes of people. Crowhurst obliviousness is like the isolated mentality someone is in once they are so engrossed in their dream or passion. He represents how a person does not tap into the comments of the world. The internal change someone goes through is never celebrated. It will get overshadow with fame, money, and other notoriety labels.

Crowhurst internal change made him become a new Donald. His new “identity” or “self” is oblivious to the people around him. No matter how many reporters or deep conversation he would have with his wife, they would not be able to capture the change through the words coming from his mouth. He knew this because the change is indescribable. A person like Crowhurst begins to look at the water different, the people in his life differently, and thoughtfully looks at life. It is as if figuratively life is on a wooden table and Crowhurst is sitting in on the outside. He sees all the labels and does not want to be a part of that world. This world includes his wife, children, reporters, and everyone else. The change becomes higher than a rebirth for the husband of three. This is what happens when a person undergoes a journey that is insanely bigger than them. Toward the end of the movie, Crowhurst tells an imaginative figure of his wife “I am something else now.” He does not even say, someone. He objectifies himself as a thing and not classify himself as a person. At this moment in the film, we hear the voice over of his old self and clips of his old self. Crowhurst wants to connect with his old self. He wants to hug his old self. He probably in an imaginative world, would sit his old self down, and ask “Who was I? Explain me to me.” He knows if he comes back, the people around him will throw a camera in his face. The people around him will see him as his old self. He would coin the title famous but will not feel famous. Society’s only response to a person who encounters the new human perspective Crowhurst does is fame. Why should Crowhurst receive fame for something that was just a passion and goal for him? Why couldn’t he just enjoy his new take on life and explore more of his identity? Society would not let him do this.

In one of the closing scenes, Crowhurst’s wife says something that sums up society and life. “If he did jump, then he was pushed. Each and every one of you here had a grubby hand on his back. Every sponsor, every photographer, every reporter, and the sad little man who stands at a newsstand. To feast on the straps of another’s undoing. Once he was in the water, you all held him under with your judgment. Last week he was selling hope. Now you are selling blame. Next week you will be selling something else.” At the beginning of the film, Crowhurst was doing it for the reporters, but then he starts to realize life is not about pleasing people. Did Crowhurst die or did his old self already become dead? Was his body just an empty vessel for new identities to move in and out? What happens when a person like Crowhurst achieves their dream, purpose in life, and goal? Does the only answer have to be to make them famous?

WATCH NOW: ‘Avengers 4: Endgame’ Movie Trailer

The sequel, Avengers: Endgame, has a brand new movie trailer and celebrates Marvel’s 10-year achievement of building a Cinematic Universe other comic book companies can be envious of.

The trailer features everything that has happened over the last decade including Tony’s Stark’s first time wearing the Iron Man suit to fighting Thanos in Avengers: Infinity War, which was released earlier this year. Many of Earth’s biggest superheroes are still dealing with the loss of their friends who died in Marvel’s most climactic ending yet.

Avengers 4 is the final film in the Marvel Cinematic Universe. It comprises 22 different films including Spider-Man: Homecoming, which filmed in Georgia, and the upcoming Captain Marvel. Avengers 4 will reportedly be the last Marvel movie for many major actors including Chris Evans, who played Captain America. Other Avengers actors Robert Downey Jr., Mark Ruffalo, Scarlett Johansson, Jeremy Renner, and Chris Hemsworth have not revealed if they’re leaving following Avengers: Endgame.

Avengers: Endgame will be released on April 2019. Captain Marvel will be released prior to Avengers: Endgame and it will be followed by Spider-Man: Far From Home.


Parker Wierling Talks ‘Greyhound’

Photo Credit: Valheria Rocha

ATM: What research did you do for the role in Greyhound since the film takes place during WWII? How did your character relate to the research?

Parker: Greyhound was so fun! It was an amazing learning experience and working on location with an amazing cast and crew in Baton Rouge was a blast. I did some research on the U.S.S. Kidd, which was the ship that we filmed some of the movie on! It was such a trip being able to work on real battleship that fought from World War II through the Korean war.

ATM: How does working with an actor with a long career such as Tom Hanks add more to your intriguing nature for acting?

Parker: Working with Tom Hanks was a dream come true. I always wanted to work with him on a war film after watching Saving Private Ryan when I was 13. He’s a lovely person and a total professional in every sense of the word. I learned a lot from him!

ATM: What is unique about the plot summary and express the identity of your character in your next year’s Yes, God, Yes?

Parker: Yes, God, Yes is an early 2000’s coming of age movie that takes place in a weekend Christian retreat. It was so fun filming in my hometown of Atlanta. I played a character named Wade, who’s a good kid even though he may not always make the right decisions because he wants his peers to like him.

ATM: How did the family atmosphere on set effect your experience with the film?

Parker: I loved filming Yes, God, Yes because it was such a tight bond with the entire cast and crew. We felt like family even though it was a shorter shoot. Karen Maine, the director was so on top of things and kind at the same time. Watching her work was inspiring, for sure.

ATM: In what ways did your performance on with film Greyhound drive your artistic goals and allow you to gain knowledge?

Parker: The role that impacted me the most was my role on Greyhound because I was on that set for the longest amount of time. Living with a character for that long was an interesting experience for me and I got to learn a lot about World War II navy life.

ATM: What actor or actress has inspired you enough to want to work with them? How does this same inspiration influence a character’s expression you would want to embody?

Parker: It would be amazing to work with Bill Hader. I’ve always loved comedy and that guy always cracks me up. Everything I’ve seen him in never fails to make me laugh! A dream role for me would be a wacky character in a Christopher Guest mockumentary. Spinal Tap and Best In Show are probably my favorite comedies ever and I would love to be a part of something like that.

ATM: What does your latest single “TailorMan” resemble to you as an musician? How does this introspective about yourself dictate the projects you have in the coming forth?

Parker: “TailorMade” was inspired by going through a rough 2017 and rising above it this year. Filming Yes, God, Yes and Greyhound really helped me out and that song was an outpouring of all my emotions after coming back from Baton Rouge. Check it out! I have a song called “D.I.Y.” coming out on December 7th and an EP titled, “Automatic Focus” coming out on December 22nd!


A Chat with CJ Tyson of Paramount Network’s Lip Sync Battle

ATM: What about your interest in the arts persuaded you to take this position on this production?

CJ: I am originally from New York. I lived here for about 14-15 years. I come from a live theater background. A lot of the creatives on the show are from New York City. The Lip Sync Battle started as a segment on the Jimmy Fallen show. Steve Merchant created the idea and concept. They brought it over to Spike, which is now Paramount Network. This was one thing that drew me to this show — the interest of the gratification in seeing the audience laugh and to entertain them. I enjoy anything that happens spontaneously to the audience. I loved the comedy aspect. There are not too many jobs where you get to combine the art of dance and the art of comedy. I love things that are funny. I love to dance.

ATM: Who is your favorite comedian?

CJ: From the show or just in general?

ATM: Both.

CJ: I love watching animations in general. Family Guy is one of my all-time favorites. Seth McFarlane is incredible. I got to meet him, and he is just a genius. This is a great attribute all human beings should have. There are a lot of funny people on the show. It is an enjoyable process once you start filming. Matt McGorry was a hilarious guy. We had to give him a couple of creatives to choose from before coming on set. He wanted a little help on the dance moves.

He would send us videos of him dancing at home on his own. These are the crazy moments you would never send to anyone. He was someone who wanted to have fun and be very serious. He made you laugh. Snoop Dogg was very funny. He was in a great state of mind. He is kind of carries a dad demeanor. He made light-hearted jokes. Everyone that said yes to the show had a funny aspect. We have been lucky not to have to pull the funny out of them. They open their hearts to the show.

ATM: How does this show exhibit a softer side to people working in Hollywood?

CJ: The people who are coming in and wanting to be funny must show a vulnerable side, primarily because of the scheduling of the show. We sometimes get a confirmation the day before filming. The celebrity comes in with having an hour to learn the song, lyrics, and the creative. You are in the state of vulnerability to the max. They are usually in the state of coming to set well-rehearsed. They learn their lines. This is their art form. Here you are at the whim of dancers and the choreographers. They have to be open to trying and seeing everything. Seeing what works and what does not. This is a side other people do not get to see.

They all come from different artistic backgrounds, which shows their softer side. The creative process is fascinating. You have these icon actors like Kathy Bates who gets serious about everything. They are serious because they care about the funny. They put their all into it. Every moment means something to them. The athletes are the ones freaking out. The athletes get the most nervous. We have to calm them down and remind them that these are the things you do around friends and family. It is the same thing on this show except with cameras.

ATM: What has this show taught you more about your love for the arts?

CJ: It has taught me that I truly love to dance. It takes a month to film an entire season. We film most of the episodes on the weekend. We have eight days to film 20 episodes. You must love what you do being in this type of pressure cooker. Otherwise, you just will not make it, to be honest. — The hard work each art department goes through is amicable: the dancers, choreographer, lighters, art department, and everyone. You see how much they care about the quality. They love the art of comedy. I enjoy this. The show is like a Christmas, Thanksgiving, or family dinner. They are prepping and cooking all day. You just sit to enjoy a great meal. It is just fucking delicious. They put so much of their heart and soul into the entire process. You cannot help but feel the love.

ATM: Does this show help you see a different side of LL Cool J and Chrissy Teigen does not get seen?

CJ: What you see is what you get, honestly. I only knew LL as the rapper. I have followed his career in the acting field. This work ethic is one of the best seen. He is right up there with Beyonce and Madonna. I used to work for them. He is meticulous and direct. He is a great man and never raises his voice. He is “LL Cool J.” He bases his points very concisely. He knows how to have fun. There is no pseudo. Chrissy is so funny. She tones herself down for the show. She says everything from the heart and says it with pure love.

ATM: How do feel your work ethic can match to the people you have mentioned above?

CJ: I have always been the type of person to observe the things I liked. I take a piece from the people who I find inspiring and take it with me. I have always been a person of discipline. Dancing is the most disciplined among all the other arts to me. Dancing takes your mind body and soul, and you also have to give your all at it. I just watched what they did meticulously and applied it to my regime of being an artist. Todd Smith is not late and knows his lines. This has a lot to do with your reputation in Hollywood. It is a very small group of people. People talk about your reputation. These small things are a part of the discipline. Someone is going to get hired over someone that shows up on time and can do the job correctly. This does not work with people coming in with an ego.

ATM: Describe the energy that moves throughout the production.

CJ: It is an organized, crazy, hilarious, and chaos. The dancers start from 7:30 am to 1:30 am depending on when we give the creatives.

ATM: Why dance? Why does dance make you who you are?

CJ: Honestly it comes naturally to me. My dad was a rapper, and my mother was a break dancer. It was in the blood. I dance and act. I found my true calling in dance. I love communicating with all types of people. I found this in me while being an entertainer and an artist. Dancing is a way for me to do both as an artist. This is why I picked to dance. It is such a universal expression.

ATM: How could a younger dancer look up to you?

CJ: Hmm. I have never thought of this before. If you want to be a dancer these days, then discipline is the number one priority. It is going to take hard work to get what you want. If it is easy, then you may not have done it right. You have to research whatever you want to do. We have Google. People should know their craft. It is bullshit when people say they do not know. You must work your hardest. As a dancer, you have to be perverse. This is a prerequisite for a dancer. You can no longer work at being good at ballet, tap, or hip-hop.

We auditioned over 500 to 600 dancers for this upcoming sixth season. You have to learn a technical and Hip-hop combination. You can get anything from Fifth Harmony to Paul Abdul. There are many factors with dance on the show. You must be able to infuse all these genres of dance into one project. Take as many classes as you can. A lot of Los Angeles dancers think the dancing that happens on tours is all they have to do. There are many jobs for dancers. If you want to pay your rent and eat, then you have to be able to take a job where you can point your feet or twerk.

Zach Avery Talks Complexity in ‘Farming’ & ‘White Crow’

Photo Credit: Bobby Quillard

Zach Avery plays an authoritative profession in Director and Writer Adewale Akinnuoye-Agbaje’s film depiction of his real life in Farming. Thie film is about a black male who lives in London and struggles with hatred in his heart toward blacks while growing up in a working-class white family. Also, Avery plays a journalist in a film based on a true story called White Crow. This film follows the legendary life of Russian male ballet dancer Rudolf Nureyev. We see the Nureyev’s struggle with his sexuality, following Russia’s societal norms, passion, and his dreams while living in Russia.

ATM: What problems are visible with a black guy living in a white household?

ZA: The problem was not just race, but more of the fact 10-12 black kids were living in this one household. Kate Beckinsale plays the motherly figure to the kids. She really was not there and does not act like a real motherly figure. She seemed to be taking of the kids to get paid. You have these negative race ideologies. During this time, there was a class system regarding if you were darker than another than you got put in a lower class. This is a very tough situation to live in. On top of that, you are a 4-year-old living in the household with 10 or 12 other children in the same house.

ATM: How can the mindset of someone like the male lead character become restructured for how they grow up?

ZA: You have to know how to create your own path at such a younger age. It teaches you that in life you are going to go through these hardships and have cards stacked against in many scenarios. You have to have the resilience and the perseverance to say “Look it is just me. I am the only one that can make my dreams come true and push them in the right direction.”

ATM: What did you observe about the lead character’s shift in persona once joining the white skinhead gang?

ZA: It was a crazy transformation talking to Adewale about what happened as well as watching it through the film. He is so mentally, physically, and emotionally broken down because of what he has gone through in life. He truly begins to hate people who look like him. There is a violent and vicious hatred you see in his eyes that makes him become the head of this white skinhead gang. At first glance, you would think this was far away from his personality. If you would speak to the character, then you would see he has hatred. During this time, he was in a place where he despised people like how to like the other skinheads and gang members. It was sad and crazy to watch and hear.

ATM: Express the hatred that grows in him stemmed from his parents giving him away.

ZA: There is definitely hatred. I’m not sure, but he realizes this hatred later on in his life. He gets so bad in London that he gets sent back to his birth parents. He goes completely mute. He refuses to speak and interact with them. He takes this action path because of this hatred, and he does not fully understand why this happens. He knows there is this feeling of hatred and animosity. He won’t even speak to them.

ATM: Did you become aware of this old term used in London before coming onto the project?

ZA: I was not. I heard about the project. I got sent a couple of pages of the script. I met with Adewale to not audition, but just talk about the whole process. Through him telling me his whole story, this is how I learned about the whole thing. He did a deep dive into the whole situation. It is something I never heard about while growing up in the United States.

ATM: Did you witness any of the tools you got taught in your Doctoral Psychology program inside the minds of these characters?

ZA: I always had this secret passion of wanting to act. There was no thought of becoming an actor and it being a job based on my family. Psychology was the closest thing to it. I have always been interested in people and why they do certain things. You could have two people raised in the same upbringing and they could go different paths. What is the reason for this? It is about internalizing all of this. Everything learned in school. Psychology is more of life. You can learn about the theorist Freud, but it is more about watching the people around you. Looking at their decision and how they do everyday life. School helped, and it was a way for me to show my parents I was doing something outside of acting. It was also about living and taking all this in to help onset.

ATM: Which selection would decide as male lead’s character’s biggest struggle: animosity toward his parents giving him away, his location of where he is while living in this white working-class families, and what he learns about his skin, play more of a role in how he transforms mentally?

ZA: It was more about when he was London. He went to school in a predominately white situation. It would be him growing up in a white middle-class environment. He would get broken down by these people mentally and physically. It was a defense mechanism. The only way for him to survive was to hate people like himself. He did not want to get beat up, so he did it to other people to live. This is not the creative way of doing things, but this what he has to do at the time.

ATM: Do the white people become oblivious of his skin color because he agrees with them in contributing the same hatred and behavior toward black people?

ZA: It is a piece of this, but there is also a fear factor. When you can truly instill fear in someone, regardless of race, this fear is the driving force. He thought no one was going to mess with him. He was a loose cannon. They knew he would do anything to them to make sure he was king. This does erase the racial barrier of thinking I am better than you. Now, this is just a guy who I am afraid of no matter his looks.

ATM: Society has this idea of us living in one world. Each of us is raised differently and go through a different thing. Do you believe this is a world within its self?

ZA: Yes. It really is exemplified by the journey. Race was nothing when he was a young boy. You do not think about whether you are different or the same as other people. When these things start happening, there are things of black, white, or brown. This was the force of knowing he was different and that he needed to assimilate to survive. He grew up to realize these things were not right. He became a person who wanted to teach equality, and there is danger in separating ourselves. Adewale feels it is about bringing people together on a human level than on a race level.

ATM: In the White Crow, how does his sexuality influence how he performs? What does ballet dancing truly mean for him?

ZH: There is inherent sexuality in the nature of dancing, especially ballet dancing. There are smooth sensual motions and especially if dancing with a partner. For him being a man in ballet, there is a notion about him possibly having female qualities and about him as a homosexual even though you have an extremely man figure doing these dances. There were rules about marrying a woman and living a life doing what a heterosexual man should be doing during this time in Russia. Rudolf did not feel like this. He felt he loved woman and men. He wanted to live a free and creative life. This did not gel with the time, but this helped him dance. He could channel all these emotions all in a dance piece. It draws us in when we see a dancer have emotion.

ATM: Why is he considered a legendary dancer?

ZH: He makes the balance between strong masculinity, but also a balance of fluid unlike motions on stage. He almost looked like he was floating. They were very powerful dancing. These two dichotomies in a ballet piece are what sets you apart than most other dancers, especially male ballet dancers at the time.

ATM: Do you believe he died not knowing he was the epitome of the greatest during his generation and a legend?

ZH: This is a tough question. He knew he was great, but because of the creative nature of any artist, you are always second guessing yourself. You are always using the confidence of feeling great, but it is within yourself on your deathbed. Everything that has been percolating throughout your life and the realities of your insecurities come out. I do not believe he felt he was the best no matter what. I truly believe he knew he was good, but there is always going to be that insecurity where I do not know if you can label yourself this.

ATM: Did you go for Psychology to answer everyone’s question of “What are you going to do after college” knowing you it was acting?

ZH: Yes. Looking back. I do not realize this at the time. It was one of those things feeling like it was concrete and tangible rather it saying I want to become an actor and move out to LA. Everyone looks at you like oh really. This was something people understood. I felt this was not going to make me happy. So, I did not care what people thought and just went for it.

Mary Queen of Scots – Watch New Trailer Now

“Mary Queen of Scots” explores the turbulent life of the charismatic Mary Stuart (Ronan). Queen of France at 16 and widowed at 18, Mary defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. But Scotland and England fall under the rule of the compelling Elizabeth I (Robbie).  Each young Queen beholds her “sister” in fear and fascination. Rivals in power and in love, and female regents in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth’s sovereignty. Betrayal, rebellion, and conspiracies within each court imperil both thrones – and change the course of history.

Director: Josie Rourke (artistic director of The Donmar Warehouse)

Writer: Beau Willimon (“The Ides of March,” “House of Cards”), based on Queen of Scots: The True Life of Mary Stuart by John Guy

Producers: Tim Bevan, Eric Fellner, Debra Hayward

Cast:  Saoirse Ronan, Margot Robbie, Jack Lowden, Joe Alwyn, Gemma Chan, Martin Compston, Ismael Cordova, Brendan Coyle, Ian Hart, Adrian Lester, James McArdle, with David Tennant, and Guy Pearce

In Theaters Friday!

Tiffany Haddish’s ‘Limited Partners’ Atlanta Casting Call for a Baby Shower Scene

Casting directors are now casting actors, models, and talent to work on scenes filming on December 12th and 13th in Atlanta, Georgia.

To Audition:

ARE YOU NEW TO The New Feature Fashion Film?

CAUCASIAN, ASIAN, LATINA,COLOMBIAN, HISPANIC,INDIAN that appear to be successful and very well put together.

New female faces only, that are local to and around the Atlanta, Ga area PLEASE. At least 1 hour within the Atlanta, Ga area.

(2) day booking
Everyone will need to return for continuity.

Youthful appearance Energetic, well put together.

CAUCASIAN, ASIAN, LATINA,COLOMBIAN, HISPANIC,INDIAN that appear to be successful and very well put together.


———————-FILMING DATES——————
Dates: Wednesday 12/12 and Thursday 12/13
Call time: (day) could be as early as 6:00AM
Please have open availability.
Rate: $75/8
Location: Downtown, Atlanta, Ga area

Call times are not negotiable. Please do not submit and ask to arrive to set at a later call time on the day of filming. This is not open availability on your end.

Ladies, if you are not available both days.
It is imperative you DO NOT SUBMIT!

Do NOT SUBMIT IF YOU HAVE TO ASK OFF FROM a secondary job and are subject to be called back to work.

If you do not have reliable/adequate child care. This may not be the position for you.

If early mornings is not your thing and you struggle with multiple days of early/consistent days.
This position is NOT FOR YOU.

Everyone will need to return for continuity.

New Faces only that have not worked on this film.

Directors (picture select)

*****************NEW FACES ONLY**********


How to submit
ARE YOU NEW TO The New Feature Fashion Film?

Email (3) recent photos
No professional photos, no filtered or touched up photos

1. Full Length
1. Waist up
1.chest up

List your DISTANCE to downtown Atlanta, Ga area.
CAR: List year, Color and Model!
CAR: List year, Color and Model!
ARE YOU NEW TO The New Feature Fashion Film?

List your DISTANCE to downtown Atlanta, Ga area.
CAR: List year, Color and Model!

Get your photos in now!
Subject Line: BABY SHOWER 2Days

ARE YOU NEW TO The New Feature Fashion Film?

TV Series Open Casting Call for Singers

A TV show shooting in Miami, Florida on December 13th is now casting high school or church choirs. Producers are looking for teen singers and musicians to work on scenes as it films in Miami, Florida. Talents will be compensated $2000 for their work on the upcoming production. Details for the upcoming TV series have not been released.

To Audition:

We are looking for 8 members of a high school or church choir, ages 16-20yrs old! All ethnicities, this will shoot in Miami! We can make payment payable to individuals or a school or organization or program, rate is $2000 for the project. This is for a show shooting in Miami on 12-13. Referrals of any professional groups are very welcome. Please email Pictures of the groups to

Patrick Kilpatrick Talks New Book, Hollywood and Career

ATM: What can a young person take from your memoir Dying for Living: Sins & Confessions of a Hollywood Villain & Libertine Patriot?

PK: Any challenges that they have is God’s blessing to pivot them toward the skill set needed for their true purpose. I had a privileged upbringing. I had a mother who was mentally ill and bipolar. She was violent, irrational, and volatile a lot of times. These kinds of things can get seen as negative events, but they drive you towards what you are supposed to do on a lot of levels. I broke my back in a car accident, which ended my high school athletic career. This can appear to be negative, but I became a writer as a result. I learned how to do a lot of healing exercises. All of these things put me in good steps when getting into action films. I hope people are entertained. My book is not boring. There is a lot of instruction on how to add and cultivate the skill set of how to work in the entertainment industry.

ATM: How can the skill set needed in the entertainment world be the same for another profession outside of this industry?

PK: All human endeavors involves delivering the good. This means a whole set of methodology for actors. I have been running a mentor-ship program for entertainment lawyers for about 15 years. There is a methodology to do things to make you not wonder in the wilderness trying to figure how you do things. If you want to be a doctor, then obviously you want to follow in the footsteps of other great doctors. You want to get a superb education and succeed.

You are going to need to meet the challenges that come your way with a lot of hard work, education, and diligence. You will need to deliver the goods. It helps to be well spoken, to have a broadly-based education to succeed in most things. Most people think you will succeed when going after acting. Acting is a combination of writing, producing, and directing, which allows you to have a long career. Some disciplines are vital to all activities. If you want to go into politics, then the study of acting is a good one.

ATM: Can you explain the title “Dying for Living”?

PK: I have played a large number of villains. You are either dying or living. You are being jailed or beaten up at some point in the movie. I picked this for a larger sense. The moment I came out of my mother’s womb, I was just crazy to live. Also, to gobble up as much experience in all directions that I possibly could. Some of it was reckless such as motorcycles and driving cars fast. I was always dying to live. You live the most when you are out there on the edge of an activity.

ATM: What are the moments you reminisced about while reading the book?

PK: I ended thinking about how I began to play the villain all the time. How did I end up with the moral code, politics, and patriotism? The first book deals with why I ended up playing a villain in 170 television shows. I realized while in 2nd grade, my class put on a play and named me the villain. I did not remember this until after the first book was written and published. This is a small thing but a remarkable thing. What was it about me that made people put me in the antagonist position? What was it about me in football that made them design the whole defense for me to go where ever? They nicknamed me the “Monster Man.” I could go where ever I wanted to on the field.

ATM: How do you see Hollywood and what does it mean to you?

PK: Hollywood is an extraordinary grace filled place on one level. It is failing on other levels. The studio system is not as creative as it used to. They mostly do sequels, bad television shows, and comic books. I wish there were vastly more of original storytelling in Hollywood. This is where they are failing. During the 70s they succeeded in being great sources of stories such as the Godfather and others. Television is a great thing in Hollywood right now. There are streaming platforms such as Netflix, Amazon, Hulu, and others. This is where all the great, original and creative writing is going and has been for some time. The financing of movies is incredibly complex that is pretty much a broken system.

There is a lot of intellectual property theft in Hollywood. Not the best. It is a two-way thing. It is an extraordinary life, and then it is an extraordinary brutal life. You get adored one moment, but the next moment you are treated with very little dignity. It is two sides of a different coin. You have to become happy and make your peace with this. It is a very bizarre world. I talk about this in the book — one minute you are on top of the world because you are in anything. This “anything” can last forever because of Video on Demand or streaming service. You can do a good part in a movie, and it can last forever.

Sooner or later they use you and will kick you out. It is up to you to reinvent yourself and conjure up a light. I advise the young actors to have side things like producing, directing, or writing scripts. All of these things give you a psychological and economic sanctuary for how brutal the industry can be. Another thing is your skill set separates you from the vast majority of the people who are wandering around and have no idea what they are doing. There is a way to do these things. It involves creativity and a methodology that works. We are in a very different time now with social media and other things.

ATM: What happens when acting slowed down during your career?

PK: I had two kids who were in school when acting slowed down. I just could not support them. So, I became a really fine acting teacher as a consequence. I wrote my book as a consequence. I became a screenwriter, director, and a producer as a consequence. The world drives us to some of these things. I always have something whenever anything slows down. You cannot be a good director if you do not know how to write and produce. You cannot be a good actor without knowing great writing and great directing. It is a cross-discipline craft. I love teaching. You reach a point where there is nothing better than to instill skills in a young person to send them off to make a difference.

 ATM: How do you help make a difference with your acting students? 

PK: Most acting schools do not teach audition mastery. If you are not a master at auditioning, then you are not going to work. You might lock in a job, but you are not going to have a career. Auditions are such a component of this. We teach them to have brilliant, creative, and swift auditions. If they are writing a script, then we teach them how to do this, so they are not wasting their time writing about something that is not going to get produced. This could be because it is missing some key elements. If you are a director, then we teach people how to know about quality acting and producing. We teach people how to prepare their materials so that they can find financing for their projects. You do not want to spend your life doing this. You need to know how to speak the language of money.

ATM: Explain how your current and future projects further your dedication and perseverance in the entertainment world.

PK: The Night Walk is a Romeo and Juliet story. A Western journalist meets Islam beauty. She gets killed, and he gets framed for her murder. He ends up in prison. I am in charge of the prison, and I make his life hell. This is the movie only in my words. Each project is different. I saw the movie as what it was, which is a Romeo and Juliet story. I worked to elevate this project all the way down the line. A lot of young filmmakers have a wonderful idea for a movie, but they do not know much about the business. There is so much to learn in this business, Gabrielle. I will get hired as a lead actor, and I end up directing or consulting the whole thing.

The idea is a good thing, but they do not know to keep it simple to sell it to an international distributor. This is all the sellers care about in the international market. Matt Damon, 42 million dollars, and an action movie. You have to keep it simple. You have brought them toward excellence. I worked with the director to bring in the message. There are strategic materials that go to the investors. You have love scenes, so you have to bring on bold actors who are not afraid of love scenes. You have to pick a location for films that goes with your budget. I know a lot of locations all over the world. Active Shooter is a unique project. I had a lot of resources as a successful actor. We had 500 hours of footage that we had to cut down to a small number of hours. I knew how to take a little bit of money and stretch it.

Dash Mihok Talks Family Characteristics in ‘Ray Donovan’

ATM: What is the importance of the last name Donovan? What does it signify on the show?

DM: It is a blessing and a curse, but mainly a curse. They are a family full of dark secrets and deep insecurities. They are wild, volatile, and free. They perform violent things and take care of business things at the same time. The one thing about being a Donovan is that even though your family has your back ultimately, despite a feud that goes on internally, the Donovan will have each other’s back first.

ATM: How does your character display masculinity vs. your brother Ray Donovan?

DM: Depends on your definition of masculinity. In real life, I would say having sensitivity, and some femininity is a more masculine thing. Ray is as masculine as it gets. He has a deep insecurity, and he cannot explore it in any other way. It is unsettling for him. Ray feels like he will lose control if he is not ruling with an iron fist. Bunchy cannot help being sensitive and emotional. They were both abused by a priest. They dealt with it differently in ways over time. Bunchy started to find more of his masculinity. Ray started to find more of his sensitive side. This is the beauty of the evolution of these two characters in the less five or six years.

ATM: How does your character’s insecurities help him foster a relationship with his daughter?

DM: It is perfect that a baby comes out in the series and it happened to be Bunchy. He has always been desperate to have something to take care of. No one even thought he could take care of himself. He realized there is this little girl that he made. He will do anything for his daughter as a parent. She has given him great pride, responsibility, and direction in life. This is awesome to contribute to the grand evolution of the character growing up.

ATM: How does Mickey shape your character to be strong during everything he has done?

DM: This is the quandary of Bunch this season. It is about how much damage has Mickey done and is he still willing to protect him. The minute his daughter gets taken from him; he is willing to do anything. Mickey gives him a sense of purpose once again. He is a Donovan, and it is in his blood to take care of his seemingly dying father. Mickey will always be a master manipulator of anything he can. He does love his children, and they somehow love him.

Through the years you never saw Bunchy fighting for anything. Bunchy is macho a lot since Mickey came back into the Donovan’s lives. Ray tried to keep Bunchy away from the more criminal aspects and rough ways. Mickey is bringing Bunchy into it whether they are good for Bunchy or not. It made him feel as if he had something to do. This could have been taking out a bunch of Russians with him or being involved with a prostitution ring. Bunchy is always trying to find a purpose and strength. Mickey will always make this front and center. Whereas, Ray will always try to shield this from him.

ATM: What is your character in constant need of with the people around him? Do you believe your character is trying to feel wanted?

DM: For sure. Since day one Bunch has wanted to feel loved. Everyone does deep down. Certainly, all the Donovan’s do. They show it in different ways, but Bunchy’s is more honest. Bunchy wears his heart on his sleeves. He wants to feel worthy and will do anything to receive that love. He spends all his time wanting this. How it transpires seems to be heartbreaking. Deep down he knows his brothers and his father loves him. Abby is now out of the picture, but she was certainly a strength for him. She was a strong female figure in his life. He is looking for love in any place after this. It is not working out with his wife, and certainly, he wants it from his wife. It is tough without female energy in his life. Expect for his daughter, which is why he wants to hold onto her so badly.

ATM: What would you do to help your character if you saw him walking on the street knowing his insecurities and problems?

DM: It is different in various years. I would have stopped the car and got out to hug me. Now, there is a little bit more protections, virtuosity, and wildness in his eyes. He would have just welcomed a hug earlier in the series. Now it would be a bit leerier and warier of who you are and why you are hugging him. This makes it more complicated. I would approach it by asking him how he was and wait for his answer. If it were one that constituted hugging him, then I certainly would do that. If it were not, then I would ask him if he had a place to stay.

ATM: Why does your character still struggle with his identity when he has a massive number of brothers around him?

DM: He does not identify with him the same way. He desperately wants to. He does start as he begins to flex the muscles in his blood to kick some butt. Also, to take more responsibility and matters into his own hands. This is a kid who was the youngest while being abused. Things deeply break you at such as young age. You look up at your brothers to know that it did not happen to Terry. You were the weak one. You did, or you did not know whether it happened to Ray. Why was it you that the person went after? So, it would be best if you were weak. Growing up with this when paradigms are formed at such a young age, around 8 or 9, will affect you for the rest of your life. The identity struggle will always be, “Why me? Why did I source this abuse? It is my fault, and I did it.” This would make any human struggle with their identity.

ATM: What is your character’s definition of love is?

DM: Oh, this is a great question. I want to answer this in a good way. It is a combination of a lot of things. His definition of love is ultimately being able to give it and figuring out how to do this. Once he realizes the unconditional love with his child, he sees, he is love. Love is serving and giving it to other people. There is a common to it, and it is universal. Feeling safe first and foremost.

ATM: What’s the lineage of your last name?

DM: It is Czech. It is from a Czech Scandinavian name. I do not know much about my father’s side. I know that they are East European. I am not Native American.