Category Archives: Film

Miki Yamashita On Acting | Frost Interviews

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What made you go into acting?

I think I was interested in the arts and performing even before I was aware
of it. My mother says that as a child, I danced and sang around the house so
much that she put me in lessons as soon as I was old enough, because she
wanted me to learn how to do it right. My parents are both teachers, so their
solution for everything is education. It’s actually a pretty good philosophy.
As I grew conscious of my passions in life, I consistently made life
decisions that propelled me towards a life as a performing artist. Let’s just
say I never gravitated towards coal-mining.

Could you ever do anything else?

I guess the right answer is that I actually do many other things. Having
spent my life around many other actors, I have observed that I may be a
slightly different breed than most. I have a group of actor friends that I
started out with performing improv and sketch comedy with at Walt Disney
World, who are still doing only that; I have another group who I did a lot of
musical theatre with, who are still focusing only on Broadway; same with
opera people and comedy writers and commercial actors and episodic
television actors. I am really lucky in that I am actively able to book work in
all of these areas, and I consider that huge spectrum of interests to be my
pursuit as a whole, so if my universe is that huge, understandably there
really isn’t an “anything else” for me.

You famously said: ‘If this business kills me, it will be after everyone in it has my
headshot.’ That’s a go-getting attitude that can be missing in a lot of
performers. Do you agree?

My dear friend Bonnie Gillespie was kind enough to include that in her
brilliant book, “Self-Management for Actors.” When a newer edition came
out, she asked if she could include it again, and I said of course, except that
I didn’t want to imply that manically blanketing an acting market with
headshots was the technique I was espousing. I believe in being fiercely
motivated, but in a very focused and strategic manner. There’s a young actor
in LA, I haven’t seen him in a while, but this crazy kid literally plastered the
exterior of his car with his headshots. I swear! He drives around in this car
all day long hoping for, I don’t know, to get pulled over by a casting
director and get asked to do a monologue by the side of the road?? I don’t
know! But it’s pretty delusional and highly misguided. I guess what I meant
to say is that “If this business kills me, it will be after everyone in it whom I
have researched and targeted as potential buyers for my product has my headshot.”

Over the years, I have met so many actors; some have almost zero
motivation and ambition to do the basic work that is necessary to even have
a chance at success; others are rabidly foaming at the mouth and doing
everything they can desperately and inefficiently so that they can get ahead.
What I’ve learned from these actors is that there is a better way, there is a
sweet spot, where you have a calm, cool, focused energy that propels you
forward slowly, steadily, and intelligently. Wow, I think this is officially the
most Asian thing I have ever said!

I find you incredibly funny, has your sense of humour helped you survive in
showbusiness? Is it possible to do this without one?

Thank you! I think it’s literally impossible not to develop a sense of humor
as a professional actor. I was once asked to sing opera while running full
speed on a treadmill in a sequined gown. I was once told to continue
reciting my monologue while the casting director got on her cell phone and
ordered a chicken salad. I was once physically threatened by a male chorus
dancer. I mean, as actors, this is daily life, okay? And I think if you don’t
find it hilarious, you become seriously mentally damaged in a way that
prevents you from functioning in society as a normal adult. And then it
becomes this wonderful tool to help you consistently cope with the vast
array of indignities that actors face all the time.

What’s the hardest thing about being an actor?

The hardest thing about being an actor is when Chanel sends you so much
free couture from their latest collection that you run out of assistants to re-
gift them to. JUST KIDDING!!! That’s what most people think actors’
problems are. The general public is fed nothing but lies about our
profession, and they are only provided with the success narrative. It’s part
of the machine that allows the industry to maintain its operations, so you
have to accept that civilians are not ever going to get what most of us go
through. The most difficult thing is really how seldom we are actually able
to do our work, and that we must spend an inordinate amount of time doing
work that has nothing to do with performing in order to bankroll the pursuit
of our REAL work.

And the best?

The best thing about being an actor is getting to crash your car into an 18-
wheeler, blaming it all on your assistant, and showing up 4 hours late to set
where they will still tell you you’re the perfect choice to play Liz Taylor. HA
HA HAAA. Seriously, the best thing about this profession is that we are
constantly challenged to imagine what is possible. Every time I get an audition,
whatever it is, a commercial where I’m a pretty Asian mom, or an
opera where I’m a flying ghost bird-spirit, or a daytime drama where I’m the
secretary to the family patriarch, I get to make decisions about these
characters based on my imagination, my life experience, and what is on the
page. And no one else is going to make the same set of choices that I will.
Even if I don’t get the part, for a brief moment, for the duration of that
audition, my humanity was merged with that character, and I find great
fulfillment in my ability to execute that with consistency and quality.

What is your favourite thing that you have worked on?

My favorite thing that I have worked on is an original new work in which I
sang a principal role, with Los Angeles Opera. The piece was called “The
White Bird of Poston,” and it was newly commissioned specifically for the
purposes of educational and community outreach in the city of Los Angeles.
The opera is about the Japanese American Internment during World War II, a
very dark part of American history. The music and the story are so
beautifully written, I felt so honored to be a part of it, and I felt like it used
so many of my skills simultaneously—my classically trained voice, my
acting training, my dance training, and even a little bit of my abilities as a
comedienne. And on top of that, it had such profound cultural significance
to me as a Japanese American.

You have a great niche as an actress: you studied opera, has this greatly helped
your acting career or is it separate thing?

As I mentioned earlier, there are a lot of people that I started out with,
training and performing professionally as serious classical or musical
theatre singers, who are still completely focused on only that sector of
performance. For me, singing eventually became something glamorous and
glorious that I could just keep hidden in my back pocket, and whip it out
suddenly and just stun people with it as needed. This evolution mostly took
place because I moved from the New York acting market which is very
heavily theatre-based, to Los Angeles, which of course focuses much more
on, well, speaking and not singing. But even without the move, I think I was
really adamant about transcending musical theatre; I felt that I had more to
accomplish in other areas, and my interests had a much wider span than just
singing in musicals until I was dead.

Advice for actors?

My advice for actors is pretty depressing, but realistic. If at all possible, get
a degree in a subject that has nothing to do with drama or music. I’ve made
a lot of hideous mistakes in life, but the one thing I did right was to earn a
college degree in English literature instead of acting or vocal performance.
Even though many would say a degree in English is almost as useless, I
would have to argue otherwise. The acting business becomes more and
more competitive every day, and what sets me apart from many others is my
relentless desire to articulate my own experience. As a writer, I have a
heightened sense of power because for the most part, words on a page
cannot be refused or rejected because the writer isn’t blond or skinny. I am
shut out of thousands of performing job opportunities a day simply because
of my physical appearance, something that cannot be transformed by
“working hard.” Trust me, I’ve tried. Exercising cannot change your race!

So my advice is to find tangible skills that will enable you to support your
pursuit of acting for a very very long time.

But ultimately, have faith that you are answering a divine calling by being an
artist. And know that you are in control of what you choose to sacrifice for
this calling.

What’s next for you?

I’m about to make big changes to my online presence; a fellow LA actress,
Sarah Sido, taught me a lot about building websites, so I’m going to use
those skills to rebrand my personal page, as well as start a blog about
acting. Wow, now I’ve said it so I better do it!

FAVORITE ACTORS/ACTRESSES – I think my favorite male actor is Jim
Carrey. A lot of my earlier sketch comedy and improvisational work I did at
Walt Disney World was heavily influenced by him, and I have deep respect
for his significant capabilities as a dramatic actor. He is so interesting to
watch doing anything! Let’s say if, starting tomorrow, he stopped making
studio feature films and decided to just host a vegan cooking show on
HGTV, I would watch that.

For female actresses, I would rather be executed than name just one. Meryl
Streep seems to literally becomes other human beings, to the point where it
actually scares me. Meryl is a frightening example of sheer mastery of the
craft. I would like to see her play some kind of deep sea creature or
something, because that lady would seriously prepare for the role by eating
paramecium and withstanding 500 bars of atmospheric pressure. And that’s
entertainment, my friends.

I love Julianne Moore’s work, because I find that no matter who she plays,
her characterization is so detailed and complete that I feel like I actually
live out the movie in real time as her role. The performance is so intimate
and honest and infused with inner life that I feel like I AM her character.
Believe me, it takes skill to convince a short Asian girl that she is a white
1950’s housewife.

Photo credit: David Muller

Nora Ephron Dies Aged 71.

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Nora Ephron has died at the age of 71 after a battle with leukemia. The screenwriter, journalist and director rose to fame after writing hugely successful films, specialising in rom-coms including When Harry Met Sally and Sleepless in Seattle.

Tom Hanks and wife Rita Wilson released a statement saying: “Nora Ephron was a journalist/artist who knew what was important to know; how things really worked, what was worthwhile, who was fascinating and why. At a dinner table and on a film set she lifted us all with wisdom and wit, mixed with love for us and love for life. Rita and I are so very sad to lose our friend who brought so much joy to all who were lucky enough to know her.”

When Harry Met Sally star Billy Crystal said: “When Harry Met Sally …” in his remembrance of the multi-hyphenate talent. “I am very sad to learn of Nora’s passing. She was a brilliant writer and humorist. Being her Harry to Meg’s Sally will always have a special place in my heart. I was very lucky to get to say her words.”

Nicole Kidman said” “She was so smart, warm and funny. I am so grateful that she was my friend and we had the opportunity to work together. My thoughts and love are with her family at this time. I will never forget the dinners, games and laughter we all shared,”

Ephron married three times. One of her ex-husbands is Carl Bernstein. Her last husband was the basis of her motto at the end of her life: “Secret to life, marry an Italian.” Nicholas Pileggi wrote the screenplays to Goodfellas and Casino. They were married for 20 years.

She is survived by the two sons she had with Carl Bernstein.

Cosmopolis | Film Review

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Canadian director David Cronenberg is still perhaps best known for his extreme horror cinema of the 1980’s such as Scanners, Videodrome and The Fly where the line between graphic body horror and examinations of his characters psychology. In recent years the psychological aspects of his work have come more to the fore and some may say it appears more conventional, most notably his recent works with Viggo Mortensen. Now he unites with young superstar Robert Pattinson for an adaptation of Don Delillo’s 2003 novel Cosmopolis. Expectations are high not just for the auteur’s new work but also but many are keen to see if Pattinson has the acting chops to pull of such an awaited film in the critical community. Cosmopolis certainly cannot be described as conventional but there may not be a lot of overly positive things to say about it…

Pattinson plays Eric Packer, a 28 year old financier working for ‘The Complex’ with millions at his disposal and divorced from society, who decides on a whim to travel across New York City, in his hi-tech, sound proof stretch limousine for a haircut. His security officer warns him that the arrival of the President, resultant crowds of protesters and a possible threat against his life make such a journey a potential hazard. Packer is resolute on his decision and what sounds like a simple journey spirals into a surreal odyssey as he cruises through an urban landscape populated by angst ridden colleagues, his distant wife, financial doomsayers, revolutionary protesters and a cream pie wielding anarchist. No, really.

Cronenberg’s direction is astonishingly precise to the point of extreme alienation. Taking place almost entirely within Packer’s science fiction like limo, his camera rarely has room to manoeuvre and instead we slowly glide across the cold, metallic surfaces that constitute this character’s life. CGI backstreet projection in these scenes creates a heightened sense of artificiality that mirrors Packer’s attitude to life. There are echoes of American Psycho in the fetishist style the camera roves over his material wealth. When we venture outside the limo hired from tampa charter buses, there is still an achingly claustrophobic feel to the urban environment. It’s a director at the height of their technical skills and yet it is in the cold, distant approach that Cronenberg observes the drama is that Cosmopolis makes its major stumble; the lack of emotional and visceral connection.

It is the dialogue that drives Cosmopolis, adapted by Cronenberg himself. Practically every scene is dialogue driven with characters spieling into lengthy, philosophical monologues about the world of finance, yuppie culture and in some circumstances whatever seems to come into their heads (‘Why do they call them airports?’). These lines are delivered with a very precise rhythm and arcane structure that very quickly becomes impenetrable despite occasional flashes of brilliance. There is little fault in the performance. Robert Pattinson could be blamed of making a very deliberate attempt to distance himself from the Twilight crowd, but his performance itself is fine. The camera is clearly drawn to his handsome features, he has cold and detached down to a tee and even performs gamely in a wince inducing medical examination scene, which closely recalls the director’s back catalogue of body horror. However Packer is such an empty ‘vessel’ that it’s impossible to drum up any sympathy at all for him. Where is he going? What does he want? What does he think? Questions are constantly answered but rarely answered. At one point he is directly quoted St Augustine; ‘I have become an enigma to myself, and therein lies my sickness.’ The problem is that the enigma never reveals itself and the sickness is never understood. It all becomes lost as he ventures from one bizarre set piece to another. I truly don’t think the problem is with Pattinson’s performance but rather through Cronenberg’s writing and direction of him.

The supporting cast are left to fare little better. Juliette Binoche and Samantha Morton pop up briefly into the limo to discuss Packer’s situation yet are not afforded rounded characters to flesh out. Sarah Gadon is alluring as Packer’s distant wife yet again there is such a sense of distance between them that it seems like their relationship is taking place on either side of a massive piece of perplex. You could argue that it’s the point yet no empathy still results in no emotional connection. Thankfully Mathieu Amalric is bursting at the seams with dangerous glee as a seemingly demented celebrity anarchist whilst the great Paul Giamatti very nearly steals the whole show as a disgruntled former employee of ‘The Complex’ who harbours an obsessive grudge against Packer. His ranting speech towards the end of the film makes him the closest thing to a recognisable human being we can see with the final shot and lines of dialogue hinting at how Cosmopolis could have been a devastating account of our contemporary attitude to material wealth and the Wall Street elite. Unfortunately it’s too little too late.

Cosmopolis is not terrible by any standard, but given the subject matter and the calibre of talent it can’t help but rank as a major disappointment and one of Cronenberg’s least satisfying films. Pattinson may have proved he has the chops but he’s going to need to find something more resolute to prove to everyone he is the real deal after all.

Lara Pulver: “People Think I’ll Keep Getting Naked”.

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After her nude turn in Sherlock Holmes Lara Pulver says she has been “inundated” with nude offers. The episode where she striped while playing Irene Adler became the most watched show ever on the BBC iPlayer.

Now the 31-year-old is saying she keeps getting offered nude roles.

She told the Radio Times: ‘I take my clothes off for a minute and a half and everyone suddenly goes, “Oh great, she’s an actress who will take her clothes off. We can’t get Kate Winslet. Let’s see if Lara Pulver will do a swinger movie”.’

Pulver insisted that the scene was not ‘nudity for nudity’s sake’.

Lara also said she may return to Sherlock Holmes. She is in a new show; Camouflage.

Professionally Resting Interview: Lifting the Lid on Acting.

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The talented actor behind the blog Professionally Resting first caught my eye on Twitter. She is brave, witty and accurate about the downside of the acting industry. As an actor myself I just read her tweets/blog posts and nod. I just had to interview her for Frost, so here it is! I also have a guest post coming from her soon, so look out for that too.

What made you start your blog?

I’d been reading a few other acting blogs online and I soon realised that none really covered what it’s like to be an actual working actor. Many are written by actors who are constantly in work and that was something that I just couldn’t really identify with. Most actors I know spend a great deal of their time resting and I wanted to create something fun and supportive for those of us that regularly find ourselves within the unemployed majority. I also wanted to use it as an excuse to keep busy. There are days when there’s very little work coming in and having a blog to think about really keeps me feeling like I’m at least doing something creative.

Tell us a bit about yourself (without giving too much away)!

It’s always tough answering these questions without sounding like you’re on Blind Date! I’m in my late twenties and have been acting (on and off) since graduating from drama school in 2006. I had a break for a couple of years after getting a bit trapped in a temping job that became permanent. It was a horrible job but it meant I could have a couple of years actually earning money and being able to buy things that had previously been a luxury like food that isn’t on the reduced shelf. However, there’s nothing quite like a miserable job to remind you exactly what it is that you really want to be doing and that was the catalyst to making me find acting work again so that I could finally escape.


What do you think of the acting industry?

It’s very much a love/hate relationship. I regularly complain about it on Twitter and on my blog because it honestly drives me insane. It can feel that it often has more to do with luck than talent and you are completely at the mercy of those in control of the work that is out there. It often feels like many companies and channels operate a closed shop policy and I think many of them are guilty of working with the same very tiny gang of actors time and time again. I read an article recently that said there was a very small pool of talent out there which simply isn’t true. There’s an absolute ocean of clever and gifted people out there but they often get ignored as there are other names and faces that are deemed more popular. Unfortunately viewing figures and ticket sales are placed about creating quality work and while I accept that many of those performers that are used time and time again are very good at what they do, a bit of variety really wouldn’t go amiss!
However, having said that, there are very industries that would pay you a month’s rent to mess around as a time-travelling police officer for the day and that’s why I’m still slogging away at it!

What is the worst casting you have ever seen?

There are so many to choose from! The reason I started tweeting about castings was because people were so shocked at just how insulting and offensive and downright baffling they often were. Ones such as ‘No pay unfortunately but you will get to ride in a white stretch limo with a midget and the band’ and ‘She looks a bit like a trollop but tries to dress a bit classy’ have been incredible finds. However, I think the worst has to be one that I saw recently asking for actors to play characters in a sweatshop and the company (a very well-known TV channel) were only offering expenses. I thought I was past being shocked by castings but this one was offensive on so many levels that I genuinely had to keep re-reading it just to make sure that I was seeing it properly. Sadly I was.

What was the catalyst behind you starting your blog?

As I said, it was because I felt like I couldn’t relate to the other acting blogs out there and I felt that there needed to be a voice that represented normal working actors who often find themselves out of work. However, although I knew that it was something I wanted to do, it took me a while to actually get it started. It only happened when I was coming back on the train after a month performing at the Edinburgh Festival. I’d stupidly forgotten to bring a book and my boyfriend and I were unable to sit together so to keep myself occupied, I just started writing. After nearly 4 hours of solid writing, I realised I had a lot to say on the subject of acting and after a bit of encouragement from my boyfriend who’s also a blogger, the blog was born.

What can be done to improve the kind of roles women get?

It has to start with the writing. There is not a day goes by that I don’t see at least one casting where a woman isn’t required to either be a stripper or a prostitute and although I often make a joke of it on Twitter, it is very worrying too. There is such great writing out there for men but female roles are so often overlooked. So many times I read castings where all the male characters are given weird and wonderful characteristics while the women are just written to look nice. There are some incredible writers out there who are really trying to make sure that there are strong, interesting roles for women but they need support from the major producers for their work to get made and seen. I do think that it’s changing and television and film is starting to listen but it feels like a very slow process that needs to speed up a little!

What is your favourite, and least favourite, thing about the industry?

Let’s start with my least favourite and get the negative stuff out the way. It has to be the lack of good, paid work out there for actors. So many companies expect actors to work for free and although I completely understand how difficult it must be working on a tight budget, it’s tough when you’re faced with it day after day. Acting is something that I stupidly want to do for the rest of my life but it’s hard when people seem to think that by offering you a limp cheese sandwich and £5 to cover your travel expenses, they’re doing you a favour. I’ve done jobs in the past where I’ve essentially been paying to be part of them and that’s when you know that something has gone wrong.

And my favourite thing about the industry? It’s that you just don’t know what’s coming up next. A few months ago I was whinging on Twitter about how there didn’t seem to be any work out there and literally minutes later, my agent was on the phone with an audition for an incredible part in a feature film. I didn’t get the role but I do love how your luck changes from one minute to the next. Although it can be pretty unnerving at times, especially when you’re going through a particularly quiet spell, it’s incredibly exhilarating too. I think it’s a little bit addictive which is why actors put themselves through such torment.

You blog and tweet under a pseudonym, do you believe it would harm your acting career if you didn’t? Can you be critical?

The decision to write under a pseudonym was made so that I could be openly critical about the industry. As an actor you have to be so careful because you never know who you’re going to be working with next and I think that means a lot of actors are worried about speaking out about how infuriating this industry can be. Writing anonymously gives me the freedom to be brutally honest about the problems I face without jeopardising my acting career. Although there are days when I wish I could just tweet under my real name, I’m sure I’d have been in a fair bit of trouble for some of my comments, especially about casting calls and auditions.

What was your favourite ever job?

Despite going on about getting paid, my favourite job was one when I didn’t receive a penny. It was one of the first jobs I did after graduating from drama school and was a devised piece. It was pretty shambolic most of the time and we didn’t even get expenses but it was incredible experience seeing a project from the first meeting where we had some terrible ideas to the final night of performance. We barely sold any tickets (mainly because it was listed incorrectly meaning that most audience members turned up about 5 minutes before it was about to end) but it was great fun and real learning curve for me as a new actor.

and your least?

A summer-long Shakespeare festival. It was fun for about a fortnight but after three months away from home on only £25 a week, I was a state. The plays were performed outdoors and it was a particularly bad summer which meant that we spent a lot of time performing in soaking wet velvet dresses. British audiences are incredibly resilient and would determinedly sit there huddled up in anoraks and shelter under umbrellas while we battled with wind, rain, thunder and lightning. Because I was earning so little money, I was mainly living off value bran flakes and tomato soup so I ended the three months malnourished, exhausted, utterly sick of the sight and sound of Shakespeare and with about £4 in my bank account. That was something they really didn’t warn me about in drama school!

You can read the Professionally Resting Blog here and follow her on Twitter.

The Amazing Spiderman Premiere

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Last Night the beautiful Donna Air walk the red carpet at The Amazing Spiderman Premiere in Leicester Square, donned in the W Hamond, presented by CW Sellors & Henshall dress and jewel collaboration. At Frost magazine we loved her dress.

Scott Henshall & W Hamond, presented by CW Sellors wow the crowds at

‘The Amazing Spiderman’ London premiere

British brands W Hamond, presented by CW Sellors & Henshall last night unveiled Donna Air sheathed in a British made Whitby Jet & Diamond Spider Web dress at ‘The Amazing Spiderman’ premiere at London’s Leicester Square. The intricate Spider and cobweb design by Scott Henshall and created by W Hamond is crafted from Whitby Jet combined with diamonds spinning its magical web around a daring little black dress. Presenter of Fashion TV, Hofit Golan, was also seen in W Hamond Whitby Jet & Diamond jewellery.

CW Sellors are no strangers to the silver screen and were involved with the movie possession where Gwyneth Paltrow can be seen wearing their Whitby Jet jewellery.

Scott Henshall “King of the Red Carpet” originally stole the headlines at the first Spiderman world premiere in 2002 when Jodie Kidd strutted down the red carpet in a web of lace. Henshall then eclipsed that dress at the ‘Spider Man 2’ world premiere in 2004 when Samantha Mumba wore a £5million diamond encrusted dress, which to this day is still the ‘world’s most expensive dress’.

Photo credit: Ewan Mathers. Photo 2: Donna Air and Scott Henshall.

A Dangerous Method | Film Review

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This film about the birth of psychoanalysis is a triumph. An intelligent and though-provoking film with wonderful performances by Michael Fassbender, Viggo Mortensen and Keira Knightley. Fassbender plays Jung when he was 29 and just married to a wealthy women called Emma. He was working at a hospital in Zurich in 1904 when he met Sabina Spielrein, an 18-year-old Russian Jew who is admitted in a deeply distressed condition.

Jung is attracted and fascinated by Sabina and after Freud sends him Otto Gross, (Vincent Cassel), as a patient, Jung comes under his influence and enters into an unprofessional relationship with Sabina. Gross was himself a psychiatrist in his 20s and suffered from dementia praecox (as schizophrenia was then known).

Jung cures Sabina with the “talking cure”, or psychoanalysis, then being used in Vienna by the 48-year-old Sigmund Freud (Viggo Mortensen), a well-established but highly controversial figure.

Sigmund Freud thought of Carl Jung as his natural heir, but relationships between the two men became strained.

This film is a very good historical film from David Cronenberg. I believe this film is the best Cronenberg has ever made.

Freud sees himself as the father that Jung wishes to destroy. Jung believes that psychoanalysis may save the world.

As the film ends Jung tells Sabina about dreams of the apocalypse. This film ends just before the first world war so Jung was accurate about an apocalypse. The legacy of Freud and Jung is evident in the film. They still affect not only psychoanalysis but our everyday lives. Sabina becomes a celebrated psychologist in the Soviet Union, but, sadly, becomes an early victim of the holocaust along with her two daughters.

A Dangerous Method is available on DVD and Digital Download from June 25th.