Advice and Tips for Actors Helpful thoughts on acting from someone who wasn't the least successful actor of all time.

April 27, 2010


The second suggestion when you type “Actorsaccess” into Google after is the phrase “Actorsaccess Scam.”  Well, is a scam?

The answer is no.

What is ActorsAccess?  AA (as I like to call it) is the publicly published section of Breakdown Services.  Breakdown Services is the system on which anyone casting a project can accept submissions from managers and agents.  When publishing they are also given the option to post to Actors Access where any actor can go and look at the parts they are casting and submit online.  The yearly cost for unlimited submissions (as of 2010) is $68.  It’s been the same rate for years.  If you want to pay per-submission the cost is $2.

Now, the better question is “why do people think Actors Access is a scam?”  I think there are several reasons:

Pay Per Submission: Many people use this for their first option when signing up for AA and see how quickly the charges add up.  Why would it cost this much for an online submission?  Truth is, it doesn’t really.  Personally I think they’d rather you sign up and have a subscription account (which also grants you access to audition sides).  In the past four months I’ve done a total of 74 submissions and I only submit on non-student film union projects.  If you were just starting out you’d probably double or triple that number of submissions.  Totally worth every penny.

Few “Big Name” Projects: There are many scam casting sites out there that either make up or steal casting information for major shows.  They let actors submit on these projects but no one ever sees the submissions so actors get no response.   Since the vast majority of big name projects are actually cast through Breakdown Services there’s little need to put out a call to the actors at large unless a production company needs something very specific.  I’ve yet to see a major production put out a call for “Beautiful Blond 25-30 Guest Star” roles on Actors Access because they simply don’t need the extra submissions to successfully cast the part.  Is that unfair?  I’ll talk about that in another review.

They Submit Two or Three Times and Get No Calls: Believe it or not, this is the one I hear the most.  Someone in Nebraska wants to be an actor so they sign up figuring they’ll fly in if they ever get a major audition.  They spend six bucks to submit a photo they took with a camera phone and a resume that says, “Tree #3 Elementary School Production of Snow White” for roles they’re not right for and they get pissed because no one calls them in.  What they don’t know is that they were one of 3,000 submissions for that role from Actors Access and there were another 2,000 from agents/mangers who are more likely to have a relationship with the casting director.  I submit on Actors Access all the time (and I have a couple credits and good headsh0ts) but still only get a few calls.  Agents and managers have the same problem, they submit actors all day (it’s their job) but there is so much competition for even a one line role on a Nickelodeon show that they don’t get as many calls as actors think they do.

Both of these boil down to one point:  many people (particularly beginners) have no idea how the industry works.  They expect there to be shortcuts and there aren’t.  You’re unlikely to book a major role from Actors Access that will define your career but you are likely (if your photos are good enough) to get called in for plenty of shorts, web series and low budget films to make the $68 worth it.

Even if you have an agent it’s worth it to check on AA for projects you might want to do for little to no pay and your agent won’t be pursuing.  There’s some quality work on there.

AA also offers add-on services like the ability to upload a demo reel and to record video for you to use in lieu of a demo reel.  I have a demo up (haven’t had them record anything) and the cost wasn’t super cheap but I get to include it on all my submissions (included in the yearly subscription).  It sets me apart from the other submissions and lets me show my work.

And as an added bonus an Actors Access page can stand in for a free acting website if you haven’t put one together yet.

I could probably write a few dozen more glowing things about Actors Access but I won’t.  I’ll simply say it’s one of the few bargains for actors out there and an essential part of building a career.

May 6, 2009

The Most Famous Actor (on the Internet)

Believe it or not, I’m a pretty famous actor. That is if you count people who visit my website. As of today (5/6/09) I’ve had over 50,000 hits on .

Now, I’ve been on some pretty popular TV shows. Most memorably I’ve been on Ghost Whisperer and iCarly, two shows with huge followings online. I’ve also written two very popular articles that come up a lot in Google searches on how to write an actor bio and taking a good Polaroid.

Those four posts draw a huge amount of traffic to my website, which is awesome. So what do you do if you were an actor on Battlestar Galactica? It doesn’t matter if your scene was with Admiral Adama (Edward James Olmos) or Caprica Six (Tricia Helfer), your’e going to be able to draw huge amounts of fans to your website. What if you were on an episode of Lost? You could have had two lines with Jack Shepard (Matthew Fox) in the airport bathroom or you simply handed Kate Austin (Evangeline Lilly) her latte, you’re still going to be able to pull in huge numbers of people to your website because both of those shows have massive online followings.

So how do you do it? Well, you need to write about it. This doesn’t mean you need to share juicy on-set gossip about which two actors were secretly dating or write about who has a nasty drug habit. Write about your experiences on set. Be positive. This is less of a “draw traffic to your website” advice than a “be nice” piece of advice. If you want tens of thousands of people to read your post, don’t make it mean. It won’t help you in the end.

After that you need to link to the post. Go onto BSG or Lost websites and write a short snippet about being on the show. When I was on iCarly I went on a few blogs/forums and posted a quick thing. I know from watching my site statistics that many people clicked those links. I’ve seen other blogs pick up these actor posts and repost them. That’s the best way to build up your page rank and drive traffic to other pages on your website.

Also offer to be helpful. I try to write articles (like this one) that not only promote myself but may help actors at large. People love a good “how-to” article. Trying to give back is a great way to build your popularity online. For example, Jenna Fischer (from The Office) wrote a really good article on how she made her way from a no-name actress to being a series regular on one of the top ranked shows on TV. She gave lots of advice and naturally it was passed around like a revolutionary document online by actors. She posted the article several years ago on her Myspace page and just a month ago I saw another actor trot it out. I wish I could find a link to the original, but I can’t. If you Google enough it’ll probably turn up.

It’s also important to update your site more than once in a blue moon. Google doesn’t like sites that never update and neither to visitors. I don’t update my site as much as I used to but I still try to log in once in a while and post something. Active writers draw active readers.

What does all this traffic do besides boost my ego? That’s a topic for a whole other post.

April 22, 2009

Becoming a Good Actor

People wonder all the time how they can be the best actor they can be.

Learning how to be a good actor can be broken down into two questions.  The first question is, “How do you act?”  This seems to come from a lot from people auditioning for community theater or trying out for their first student film.  It’s natural to be nervous and wonder how the heck to perform in front of an audience or act in front of a camera.

Here are my basics:  Know your lines, know your character, know the story and then try to speak clearly and have fun.

You want more complicated answers here are a few books that I’ve pretended to have read:

Sanford Meisner on Acting
Acting: The First Six Lessons (by Boleslavsky)
Acting for the Camera (by Tony Barr)
True and False (By David Mamet)

The second part to this question is “how do I behave as a good actor.”  And here’s my personal advice on that question:

  • Don’t Be Crazy – Crazy people like to say they’re actors and actors often think they have to be crazy to be taken seriously.  It’s not true.  Some of the best actors I’ve worked with are normal people who happen to be very good actors.  Don’t believe everything you read in the tabloids.
  • Don’t be a Jerk – Actors somehow got the impression that they have to be mean to everyone they meet.  Series regulars are mean to guest stars, guest stars are mean to co-stars and everyone’s mean to craft services.  Don’t.  Be nice.  People like to work with nice folks.
  • Roll With It – Sad fact of life is that lines change, blocking gets switched and scenes get added/deleted.  Relax and deal with it.  No one is out to get you.
  • Be Helpful – Performing a play or shooting a film is a lot of work.  Depending on the union status of your project actors may be prohibited from doing anything but acting.  That means if you’re on the set of Grey’s Anatomy and someone asks you to move a c-stand around, you say no.  But when you’re acting in community theater or doing a student film do us all a favor and help as much as you can.  Don’t let it get in the way of your acting but lend a hand any way you can.
  • Take it Seriously – You are an actor because you enjoy acting and that’s great.  But it’s a job (paid or not) and you need to treat it as such.  No one says you can’t enjoy work, but you’d better put your nose down when it’s time.
  • Listen to Your Director – The director has one goal, make this the best project possible.  It’s not about stroking your ego, it’s not about ruining your career and it’s not about trying to make your life difficult.  If the director tells you to cry as you cross from stage left, then cry as you cross from stage left.  Try it before you start complaining about how it’s not something your character would do.  It’s the director’s decision, not yours.
  • Listen to the Script – I’m stealing from one of the books above but you’d be shocked how many actors see something in a script like “Irving hits his sister” and claim, “Irving would never do that.”  Yes he would, it’s in the script.  Everything you need is in the script.  If you start making up crap outside the script you’re not performing the same play/film as everyone else.
  • Be Friends With Everyone – This is the most important advice I can give, especially starting out.  This doesn’t mean you have to buddy up to everyone and kiss butt.  It means you have to smile, be nice to everyone on set and help in any way you can.  This goes triply so in small projects that don’t pay.  People don’t do student films forever.  They go on and do bigger and better things.  Or maybe their college roommate goes on to do bigger things.  Either way, they become a good ally in this industry.  Everyone says the entertainment industry is about “who you know” and that’s completely true but more importantly it’s about who likes you and wants to help you out.

May 14, 2008

Lying On Your Resume

Filed under: classes,eitan's writings,film,theater,TV — Eitan @ 12:40 am

Lying on your acting resume? You think this would be a really short post. I’d say something like “don’t do it” and run off for another month or so without posting. Sorry, it’s way more complicated than that.

Some of the stuff I’m going to talk about is risky, some of the stuff is safe as a Volvo. It’s all about your comfort level and how honest the lie actually is.  Mostly these are white lies that actors are expected to tell.  But they can get pushed too far if you’re trying to be sneaky.  The biggest rule I can say is don’t get caught lying.  Even if it’s minor.  You don’t want to have to start justifying your whole resume to a casting director in the middle of an audition.

Lying On Your Resume Can be a Good Idea – In a perfect world everyone’s acting resume would be a list of parts they’ve played and casting people could easily look at the resume and see where the actor is in their career and if they could possibly be a good fit for the part they are currently casting. Problem is, it’s just not possible. No one’s going to recognize every item on an actor’s resume. Credits don’t always mean the same thing in different contracts. School plays can be really hard to sell as “legitimate experience.” And the list goes on and on.

The First Lie Every Actor is Told To Tell – Let’s get this one out of the way. I’ve read this in books and on other websites so this is the least risky thing in the post. If you did a play at Xavier High School and you played the part of the Fiddler in The Fiddler on the Roof you don’t need to list the production company as “Xavier High School,” you can list it as “Xavier Theater.” Or if the theater has a name you can list it. “The Herbert Einstein Memorial Theater.”  Whatever.  Because no one really cares.  It’s a play in a theater they’ve never heard of.  They’ll ask about the play (if at all) and that’ll be that.

Don’t Upgrade Yourself –  I’ve seen a fair number of actor resumes in my life.  I can’t even calculate the percentage of which have obvious attempts at upgrades but it’s a high number.  Suddenly that guy with one line has a “Major Supporting Role” in the film.  Or the guy who passed by the star in the hallway is a “Guest Star.”  Well guess what, the bigger the lie the more likely someone’s going to catch you.  Saying you had a Guest Star part on a very successful show when you had a one liner is typically pretty obvious.  I’ve seen resumes listing multiple large parts and when you type the name into IMDB maybe one of the parts comes up… as “Waiter #3.”  That’s no “Starring” role.  And do you know who’s going to catch you every single time if you list that extra work as principle?  The casting director.  They remember people they hire.  And they’ll never be hiring you.  And if you say you were a guest star someone just might try to check your quote, they’ll find out you were lying and you’ll get fired before you were even hired.  That’d suck.

Move Laterally –  Look at my resume and you’ll see the Final Justice part listed as a “Co-Star.”  My contract doesn’t say “Co-Star.”  In fact, I have no idea where my contract is so I can’t read the actually billing.  But I was hired as a “Principle” and that’s the only billing I had.  Problem was, it just stood out on my resume as a weird thing next to my other two actual “co-star” roles (as of this writing, just for the record).  So I moved myself laterally.  I changed it to “Co-Star.”  It’s not really a lie, it’s equivalent.  If I were hired on any other AFTRA show I’d be billed as a “Co-Star” with that part.  I just didn’t know to ask for that when I was starting out.  Also, they never ran credits on that show.  Uch.  How do you know what your billing is supposed to be?  Read your contract.  The other great time to move laterally is on a feature when you’re booked as a “Featured” part.  Technically this means you got paid a day rate and had a line or two.  In resume world, this means you were an extra who thinks they could pick themselves out of a crowd.  “Featured” is a term that is dead and gone on resumes.  It’s been ruined.  You’re now a “Principle” or “Featured Principle.”  That means you had a line otherwise people think you’re making stuff up.  Isn’t that ironic?

A Real Serious Lie – Ok, this last one is beyond anything I’ve ever done.  I’ve said time and time again that no one really cares about films and plays they’ve never seen and never heard of.  They just see lines on your resume and assume you know something about being on camera or being on stage.  There’s nothing that’s going to excite them unless they recognize something from your resume.  That means you can completely make up student films, short films, original plays, acting classes and cast yourself in plays you’ve read and know well enough to pass a quiz on.  You can, but you shouldn’t.  This is where you really can play too much with your resume and head down a dark and dangerous path.  I did a few student films in college but how does someone know I didn’t do three more in which I was the lead?  Heck, I was in a few plays there that I know like the back of my hand.  Who’s to say I didn’t play the lead instead of the guy carrying suitcases?  No one would ever catch a single one of those lies and they’d pad my resume quite nicely.  Or at least they would have back when that was all I had on my resume.  But know I’ve seen directors ask about a random part, just to make conversation.  Just make sure you could make something up if need be.

Don’t Do That! – I hope you read this paragraph after reading the one before it.  Don’t do it.  Don’t completely make stuff up on your resume, even if you’ll never get caught.  It’s useless, no one cares about these projects.  Why be a liar for something unimportant?  BUT I’m totally down with making things look as good as possible on your resume.  Let’s say you did a staged reading for a class of an original play your friend wrote but never did anything with.  Why can’t that part be on your resume under theater?  You did the part, it just wasn’t a full show.  That short fillm that you shot with your buddies?  Put your friend as the director and put that on your resume.  You shot it, it’s a film.  No one judges an actor by how small the font size is on their resume.  A List actor resumes only have their latest, greatest and most famous roles listed anyway.  B and C list actors don’t even have their theater listed most of the time.  It’s only us working class stiffs.  If you only had one liners in student films no one’s going to be upset if you make one of those a lead.  The director might get annoyed but if he’s teaching 5th grade in Kansas now, how does that affect you?

Lie as Little as Possible – What we can take away from all my examples is that you should lie as little as humanly possible.  Don’t go for any lies that can be caught or pointed out easily (See that guy with an iPhone at your audition?  He’s checking your IMDB page and knows you’re lying).  Lies should be used only to very lightly massage your resume, never to try to bump it up to the next level.  Nothing I’ve suggested here will land you a single extra audition.  None will make any perceptible difference in your career.   They’re small and they just smooth the way towards getting some real credits that you don’t have to work to pretty up.

March 25, 2008

Getting On Your Favorite TV Show, as an Extra

Filed under: acting philosophy,film,TV — Eitan @ 11:17 am

This post is all about how to get on your favorite TV show, as an extra. It’s not going to appeal to many of the people who read this looking to make a career as an actor. Why?

Because in the eyes of the film/TV industry being an extra is not acting. I’m not saying that being an extra requires no ability to be directed, be believable and know how to work on camera. I’m just saying it doesn’t count as acting work. That means you don’t get to put extra work on your acting resume and you shouldn’t tell agents you meet with about your extra work. If you want to do it, do it for the fun and learning experience of being on set (and the money, you do get paid to be an extra after all). I don’t care how much camera time you get or if people refer to your character by a name, if your contract doesn’t say “principle” you’re an extra. Sorry.

So, why then am I writing about this? Because enough people find my site from around the world who might just be interested in being on a TV show or a movie for one day, seeing themselves as a blur on the background and they’d be happy with that. Kudos to them.

If you’re still reading you want to find out how to get on Greys Anatomy or CSI as an extra. Maybe you’re interested in seeing how a set works up close, you want some spending cash or you just want to see if you can get Katherine Higel to yell at you. Well, don’t do that last one. Be nice.

So the first step is going to be heading over to Central Casting and signing up. Yes, that Central Casting. You can go to their website or call up to get information about registering. They have different times/dates if you’re union or non-union.

After you’re signed up you have to call a job line and they list the jobs that they’re casting at that moment. They give you a number to call if you qualify for that job (men with handlebar mustaches and velvet leisure suits), you call and the background casting director will say if they want you or not based on your look. It’s that simple.

You’ll vastly increase your chances of working if you have lots of different wardrobe choices and are tenacious about calling in. Police uniforms are good, lab coats are good as is formal wear. They’re supposed to pay you extra if you bring your own wardrobe, to cover cleaning costs.

But if you want to be an extra, that’s how you do it.

How much do you get paid to be an extra? Minimum wage if you’re non-union. Slightly more if you’re union. You probably won’t be sending your kids off to Harvard on a film/TV extra salary. But if you want to spend a couple days working on your favorite TV show or a big upcoming movie, this is your best and easiest way.

November 7, 2007

Support Your Writers

Filed under: eitan's writings,film,TV — Eitan @ 1:46 pm

Currently in Hollywood and New York the WGA (Writers Guild of America) is striking against the producers after the failed negotiation of a new contract. I’m asking every actor who reads this blog to go out and support the writers by joining a picket line.

As an actor why should you support the writers? Simple, what they get is what we’ll get. The SAG TV/Film contract expires this summer and there will be new negotiations between SAG and the producers over a new deal and we need to get paid for internet and other new usage. As far as I’m concerned DVDs are a throwaway issue and I don’t really care if we get a penny more, what we need is a good cut of new media.

DVDs will soon go the way of the VHS tape. They’ll gently be phased out and replaced by downloads. Internet service is getting faster. Soon there will be things like WiMax and other next generation technologies that will allow your average every day Joe Blow to download a high definition movie directly to his PC or TV in less time than it takes him to drive to his local Target. It’s not far away at all. The amount made off this type of technology now is negligible but it’s set to shoot up in the coming years (the years that will be covered by these new contracts). But it’s pretty much a given that DVDs and other hard copy media will disappear in the next few years. It’s already happening. People are buying their TV shows on iTunes instead of waiting for the DVDs to come out.

Everyone got royally screwed on DVD negotiations a few years ago. The only people who expected the DVD market to be huge were the producers and they really got an amazing deal. Writers get a few pennies per DVD (way less than it costs to print the packaging) and actors split a tiny slice as well. Someone thought when DVDs (actually the contract was written when it was all VHS tapes) would be really expensive to manufacture and we wanted to give the producers help on getting the technology going. Well, it went and they refused to give us another penny even when they were turning huge profits on each DVD sale.

There’s no reason to doubt that downloads are the next DVD. They can be delivered to your door, they’ll be easily back-up-able and they cost the producers even less than a DVD. The writers aren’t even asking for a dollar amount per-download. They want a fixed percentage of sales. If the producers don’t ever sell a download, neither will anyone else. Fair, right?

I’ve heard a lot of crap on the WWW about how the writers are talentless and it’s a good thing they’re on strike.  I spent time working at a production company and have read dozens of scripts.  99% of the scripts I read were awful and couldn’t possibly have been made into a movie or a TV show.  Only someone who hasn’t had that experience and seen how bad most writing really is would make such a dumb statement.  The people writing for TV shows and films are incredibly talented.  And however bad you think a show is, it’s on the air because there are thousands, if not millions, of people who watch it every week.

So join your writers out on strike. Grab a sign, chant and make sure the producers know that the entire entertainment community is united on this strike.

I’ll be trying to make it out to either Fox or Sony a few times a week as long as the strike is going on. If you see me, say hi.

October 22, 2007

In Case of Strike, Break Glass

Filed under: eitan's writings,film,TV — Eitan @ 11:19 am

Unless you’ve been living under a rock or somewhere in the Midwest you probably have heard about a possible impending writers strike. Here’s the 10 second version: members of the WGA (Writers Guild of America) are negotiating a new contract and will go on strike unless the producers meet their demands for things like fair DVD payments. The producers have countered by pretending to want drastic cuts and crying about how little money they’re making. So there’s a good chance there’s going to be a strike on all television and film work in Los Angeles very soon.

This post isn’t going to be about the nitty gritty of strikes, greed and/or corporate evil. No, this post is about what to do as an actor if there is a strike. (more…)

September 18, 2007

Nerves – A Tale of Two Auditions

Filed under: bookings,eitan's writings,film,TV — Eitan @ 12:21 am

It was the best of auditions, it was the worst of auditions. Sorry, couldn’t resist. I actually hate overdone titles like “To act or not to act” but this one just rang true to the post. So enjoy.

I want to discuss two auditions I had in the last couple weeks and how different they were. I think a lot can be learned from these two about nerves as an actor, what they can do to you and a few potential pitfalls to watch out for when you do get a “big” audition.

The first audition was for a film. I’m not going to mention the name of the film as I didn’t get it and I don’t like to talk too much about stuff I didn’t get but it was a pretty large film with an A-List cast. The scene I was reading for was with a pretty well known actor and a major A-lister. It was two straight pages of talking with one of the actors. Amazing, right? I got the call from my manager on a Thursday and the audition was the next Tuesday. I had five days to prepare and five days to freak out.

This wasn’t a “career maker” audition like a pilot or a major role in a film but it would have looked really great on my resume and demo reel. So there I was with a few pages of sides and a bunch of days to work on them. I went online did plenty of research to find out who each character was going to be played by, looked up the director, looked up the writers, read the IMDb board on the film and, of course, read over my lines dozens of times and made some good strong choices of what I wanted to do. I show up at the audition and have to wait an hour to go in and read. Finally I go in and give a pretty good read. Not the best of my life, but I was really pleased with what I did.

I’m so happy I did well because that audition easily could have gone the other way. I could have started to think about how the director works ALL the time and could make my career on his next film, how I’d format my resume with the new credit or how I could easily screw up in front of one of the top casting directors in Los Angeles and never get brought in by her again. Those kind of things can consume an actor and do nothing to help with the actual audition. I’d be lying if I said I didn’t think of all of those things but I focused my energy on the work. That’s what stopped me from freaking out. When I started to think of how amazing this job would be and how much money I’d make on residuals when the thing runs on TBS every two hours I picked up the script and worked on it again.

And in that waiting room I could have started to worry about what the other actors were going to do. I could have looked at them and judged their wardrobes and demeanors to figure out who my real competition was. But instead I stretched out on the sofa, relaxed and read my lines a few more time. This took my mind off of the hour wait and onto the work.

When you have days to analyze and think about your audition the best thing to do is to focus as much as possible on the work. What good are five days if you only spend an hour on the sides and twenty hours fantasizing about what could happen? Switch those two around (maybe not 20 hours on the scene, that’s insane) and you’ll calm yourself down to no end.  Because you’ll know what you have to do when you walk in that room.

The second audition I want to discuss is my audition for Ghost Whisperer. I get the call Tuesday at 2PM for an audition at 4:30PM in Burbank. That means I have to finish what I was doing, do a little shopping for dinner, get in my car and go. That was it. I barely had time to print out the sides. I read them over quickly on my way out the door.

I drive to the studio, park my car, get lost and eventually find the casting office after asking directions at a production office as well as the casting office for Heroes. I get in there and there’s one guy in front of me. He’s in the room for two minutes and suddenly I’m in there auditioning.

There was no room for nerves. In fact, the excitement of the whole thing didn’t sink in until the morning I shot. I woke up and said, “Hey, I get to shoot a scene with Jennifer Love Hewitt and Orlando Jones today… neat!”

The best way to keep nerves from messing you up is to keep busy and keep focusing on the work. If you feel like you’ve worked the scene to death, go out and watch a movie. Have a cup of coffee with an old friend. Do something other than ponder over and over what would happen if you got this part or messed up. Enjoy the opportunity, get excited about the fact that you get to have this audition and make sure you’re ready to step in there and give a good performance.

March 22, 2007

Cricket Feet Showcase, Three Commercials and Alive and Wonderful

Filed under: commercial,film,projects — Biographer @ 10:22 pm

Eitan’s just showing off. Three commercials at the same time? Seriously? Uch! How unbecoming.

Not only can you see Eitan in his commercials for Las Vegas and Cingular but now he’s going to be seen all over the country in his commercial for Saturn that started airing last night during Lost.

Eitan appears at the end of the commercial giving a “I’m not nearly as good as you” wave to the Saturn dealer. At least they cast Eitan well in this one. Listen for the “manamana” song playing.

Also, Eitan has expanded his ineptitude. If it wasn’t enough that he was an actor (and a writer/director, if you count his short film which the biographer doesn’t) Eitan is now a producer. Together with casting director Bonnie Gillespie, Eitan is producing the Cricket Feet Casting Actors Showcase. It will be performed at the Promenade Playhouse in Santa Monica on April 23rd,24th and April 26th at 8PM. More info can be found on that website. Eitan will, of course, performing in it. So expectations should be tempered.

The short film Eitan performed in “Alive and Well” has been accepted into over a dozen film festivals. Chris Peckover, the director, won “Best Director” at an Australian festival. Eitan’s IMDb Star Ranking skyrocketed from 334,733 to 237,193. There are over 100,000 dead people more famous than Eitan.

June 29, 2006

Alive and Well

Filed under: bookings,film — Biographer @ 10:18 pm

Eitan has just wrapped shooting the short film “Alive and Well” with Neil Flynn (he’s the Janitor on Scrubs and was also in Mean Girls, stuff Eitan would never be caught dead doing).  Eitan played a nerdy know-it-all badminton player named Steve.  It’s very difficult to imagine Eitan as a nerdy know-it-all, but somehow he managed to pull the part off admirably.  The film takes place when a badminton team’s charter jet crashes into a California field.  The crazed pilot wants to immediately start eating people to survive.  Then the nerdy Steve saves the day.  Or so Eitan would have us believe. 

Eitan spent two days in a smoke filled airplane set in North Hollywood shooting this film.  And no, he did not get any frequent flier miles for the shoot.

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