PHOENIX (AP)—The death of Mike Tyson’s 4-year-old daughter in a bizarre accident adds an awful chapter to the boxer’s troubled life.
Exodus Tyson died at a hospital Tuesday, a day after her neck apparently got caught in a cord dangling from a treadmill at her Phoenix home, police said.
Police said Exodus either slipped or put her head in the loop of a cord hanging under the console and suffocated. She was pronounced dead just before noon after being on life support, said police Sgt. Andy Hill, who called the injury a “tragic accident.”
“There are no words to describe the tragic loss of our beloved Exodus,” the family said in a statement. “We ask you now to please respect our need at this very difficult time for privacy to grieve and try to help each other heal.”
Tyson, who has been living in Las Vegas, flew Monday to Phoenix, where he was seen entering the hospital.
The modest house where his daughter was injured contrasts starkly with the lavish lifestyle Tyson had through his tumultuous years of boxing, when he spent tens of millions of dollars and says he had millions more stolen from him by unscrupulous associates.
During two years at the height of his career, he earned $140 million—but he filed for Chapter 11 protection in U.S. Bankruptcy Court in 2003.
He has been promoting a new documentary about his life and told The New York Times earlier this month he had been sober for 15 months after years of drug and alcohol abuse.
“I don’t know who I am,” he told the newspaper. “That might sound stupid. I really have no idea. All my life I’ve been drinking and drugging and partying, and all of a sudden this comes to a stop.”
Tyson first began boxing in a facility for juvenile delinquents in upstate New York at the age of 12. Eight years later, he became the youngest heavyweight champion ever when he knocked out Trevor Berbick in 1986. But in 1990, he was defeated by James “Buster” Douglas in one of the biggest upsets in boxing history, and soon after was convicted of raping a beauty pageant contestant in Indianapolis.
Tyson, who still denies he raped the woman, served three years in prison.
A few years later, he served three months in jail for beating up two men after a minor car crash in suburban Washington.
As his career continued, so did his bizarre behavior. He bit off a piece of Evander Holyfield’s ear during a boxing match and once threatened to eat the children of heavyweight champion Lennox Lewis.
Although Tyson’s children had lived in their unassuming neighborhood for several years, he purchased a separate home in the tony Phoenix suburb of Paradise Valley in 2005 for $2.1 million, selling it two years later for $2.3 million.
In November 2007, Tyson spent 24 hours in Maricopa County’s “Tent City” jail after pleading guilty to one count of cocaine possession and one misdemeanor count of driving under the influence. Police found the drug when they pulled over Tyson’s car after he left a Scottsdale night club.
According to police, Tyson said after his arrest that he bought cocaine “whenever I can get my hands on it.”
At Tyson’s sentencing hearing, nearly a year after the arrest, his attorney David Chesnoff said his client had taken 29 drug tests without a relapse and was attending Alcoholic Anonymous and Narcotics Anonymous meetings.
Tyson had become an example of how a person overcomes problems with drugs, a violent past and poor upbringing, Chesnoff said.
“He’s tried his hardest,” his attorney said, “despite coming from almost impossible beginnings.”
Wednesday, May 27, 2009
Monday, May 18, 2009
Is There Really Beef??
Joe Budden calls Ed Lover & Free to discuss his issue with VIBE's "Best Rapper Ever" and his potential beef with Method Man because of it.
Method Man calls The Ed Lover Show to respond to Joe Budden's phone call and the potential beef between the two.
Method Man calls The Ed Lover Show to respond to Joe Budden's phone call and the potential beef between the two.
When Is Old....Too Old?
LONDON - A 66-year-old pregnant British woman has defended her right to have a baby at her age.
Elizabeth Adeney, who is believed to be around eight months pregnant after undergoing fertility treatment, is expected to become Britain's oldest mother when she gives birth.
The divorcee has told reporters that her pregnancy is her own business.
"I don't have to defend what I have done. It's between me and my baby and no one else," she told the Sunday Mirror newspaper.
"It's a very private thing and I don't expect anyone else to understand it.
"It doesn't interest me that I'm going to be the oldest mum in the country.
"It's not my physical age that is important; it's how I feel inside. Some days, I feel 39. Others, I feel 56.'
Ms Adeney, of Lidgate, Suffolk, runs a plastic fastenings factory.
A friend told the Daily Mirror that she unsuccessfully tried to have a baby five years ago.
The UK's oldest known mother was 62 when she gave birth in 2006.
The oldest mother in the world is believed to be an Indian woman who gave birth at the age of 70 in 2008.
Elizabeth Adeney, who is believed to be around eight months pregnant after undergoing fertility treatment, is expected to become Britain's oldest mother when she gives birth.
The divorcee has told reporters that her pregnancy is her own business.
"I don't have to defend what I have done. It's between me and my baby and no one else," she told the Sunday Mirror newspaper.
"It's a very private thing and I don't expect anyone else to understand it.
"It doesn't interest me that I'm going to be the oldest mum in the country.
"It's not my physical age that is important; it's how I feel inside. Some days, I feel 39. Others, I feel 56.'
Ms Adeney, of Lidgate, Suffolk, runs a plastic fastenings factory.
A friend told the Daily Mirror that she unsuccessfully tried to have a baby five years ago.
The UK's oldest known mother was 62 when she gave birth in 2006.
The oldest mother in the world is believed to be an Indian woman who gave birth at the age of 70 in 2008.
Saturday, May 16, 2009
Where Are They Now
Featured NavigationFeatured Entertainment Sports Video May 16, 2009
'Facts of Life' cast update
George Clooney rocketed to stardom, but what about the other actors from the hit '80's show? » See them now
'The Facts of Life' cast Former 'Bachelorette' gets married 'The Facts of Life' cast: Then and now Mocked fighter takes out foe in just 24 seconds Boom in tiny bedbugs is causing big trouble Filly wins Preakness for first time in 85 years » More:FeaturedBuzz
'Facts of Life' cast update
George Clooney rocketed to stardom, but what about the other actors from the hit '80's show? » See them now
'The Facts of Life' cast Former 'Bachelorette' gets married 'The Facts of Life' cast: Then and now Mocked fighter takes out foe in just 24 seconds Boom in tiny bedbugs is causing big trouble Filly wins Preakness for first time in 85 years » More:FeaturedBuzz
Thursday, May 14, 2009
Wednesday, May 13, 2009
Casting Agencies
Fresh Faces Agency, Inc. Web site Email
2911 Carnation Ave
Baldwin, NY 11510-4402
Contact: Aggie Gold
Phone: 516.223.0034
Fax: 516.379.0353
Janet Foster Casting
3212 Cambridge Ave
Bronx, NY 10463
Contact: Janet Foster
Phone: 718.549.6066
Electric Talent, Inc. Email
172-13 Hillside Avenue
Suite 202
Jamaica Estates, NY 11432
Contact: Robert Persad
Phone: 718.883.1940
ABC
157 Columbus Ave
2nd Floor
New York, NY 11713
Contact: Rosalie Joseph
Phone: 212.456.3631
ABC All My Children
320 W 66th
New York, NY 10023
Contact: Judy Blye Wilson
Phone: 212.456.0802
ABC Television Network
157 Columbus Ave
New York, NY 10023
Contact: Geoffrey Soffer
Phone: 212.456.4313
About Artists Agency, Inc.
1650 Broadway
Suite 1406
New York, NY 10019
Contact: Renee Glicker
Phone: 212.581.1857
Abrams Artists Agency
275 7th Ave
26th Floor
New York, NY 10001
Contact: Harry Abrams
Phone: 646.581.1857
Access Talent, Inc.
37 East 28th
Suite 500
New York, NY 10016
Contact: Chas Cowing
Phone: 212.684.7795
Back to Top
Acme New York
875 6th St
Suite 2108
New York, NY 10001
Contact: Nina Shreiber
Phone: 212.328.0388
Fax: 212.328.0391
Agents for the Arts, Inc.
203 W 23rd St
3rd Floor
New York, NY 10011
Contact: Carole J. Russo
Phone: 212.229.2562
Alan Filderman Casting
333 W 39th St
Suite 601A
New York, NY 10018
Phone: 212.695.6200
Amanda Mackey Johnson Casting
180 Grand St
3rd Floor
New York, NY 10013
Contact: Amanda Mackey
Phone: 212.343.3660
Andreadis Talent Agency, Inc.
119 W 57th St
Suite 711
New York, NY 10019
Contact: Barbara Andreadis
Phone: 212.315.0303
Arcieri & Associates, Inc.
305 Madison Ave
Suite 2315
New York, NY 10165
Contact: Steven Arcieri
Phone: 212.286.1700
Associated Booking Corporation Web site Email
1995 Broadway
Suite 501
New York, NY 10019
Contact: Oscar Cohen
Phone: 212.874.2400
Atlas Talent Agency, Inc.
36 W 44th St
Suite 1000
New York, NY 10036
Contact: John Wasser
Phone: 212.730.4500
Avy Kaufman Casting
180 Varick St
16th Floor
New York, NY 10014
Contact: Avy Kaufman
Phone: 212.620.4256
Barry-Haft-Brown Artists Agency
165 W 46th St
Suite 1114
New York, NY 10036
Contact: Bob Barry
Phone: 212.869.9310
Back to Top
Bass Visgilio Casting
157 Columbus Ave
New York, NY 10023
Contact: Victoria Visgilio
Phone: 212.456.3580
Bauman, Dedanty & Shaul
250 W 57th St
Suite 2223
New York, NY 10107
Contact: Mark Redanty
Phone: 212.757.0098
Beech Hill Films
443 Greenwich St
Suite 5A
New York, NY 10013
Contact: Alexa L Fogel
Phone: 212.226.3331
Beverly Anderson
1501 Broadway
Suite 2008
New York, NY 10036
Contact: Beverly Anderson
Phone: 212.944.7773
Bloc NYC Web site Email
137 Varick St
6th Floor
New York, NY 10013
Contact: David Crombie
Phone: 212.924.6200
Fax: 212.924.6280
Bonnie Finnegan Casting
12 W 27th St
11th Floor
New York, NY 10001
Contact: Bonnie Finnegan
Phone: 212.725.3505
Bowling / Miscia Casting
1775 Broadway
10th Floor
New York, NY 10019
Contact: Kim Miscia
Phone: 212.767.8697
Bret Adams, Ltd.
448 W 44th St
New York, NY 10036
Contact: Bret Adams
Phone: 212.765.5630
Carry Company Web site Email
20 W 20th St
2nd Floor
New York, NY 10011
Contact: Sharon Carry
Phone: 212.768.2793
Fax: 646.349.2250
Carson Organization, Ltd.
419 Park Ave South
Suite 606
New York, NY 10016
Contact: Barry Kolker
Phone: 212.221.1517
Back to Top
Carson-Adler Agency, Inc.
250 W 57th St
Suite 2030
New York, NY 10107
Contact: Nancy Carson
Phone: 212.307.1882
CBS
51 W 52nd St
20th Floor
New York, NY 10019
Contact: Mark Saks
Phone: 213.534.3060
Cindi Rush Casting
27 W 20th St
Suite 404
New York, NY 10011
Contact: Andrew Zerman
Phone: 212.414.2838
Cindy Tolan Casting
609 Greenwich st
Suite 401A
New York, NY 10014
Contact: Cindy Tolan
Phone: 212.430.5094
Clear Talent Group Web site Email
440 9th Ave
8th Floor
New York, NY 10001
Contact: Chirstopher Freer
Phone: 212.840.4100
Fax: 212.404.1244
Cornerstone Talent Agency
37 West 20th St
Suite 1108
New York, NY 10011
Contact: Steve Stone
Phone: 212.807.8344
Creative Artist Agency, LLC.
162 5th Ave
6th Floor
New York, NY 10010
Phone: 212.277.9000
Fax: 212.277.9099
Cunningham Escott Slevin Doherty Talent Agency Web site Email
257 Park Avenue South
Suite 900
New York, NY 10010
Contact: T.J. Escott
Phone: 212.477.1666
Dave Clemmons Casting
265 W 30th
New York, NY 10001
Contact: Dave Clemmons
Phone: 212.594.7434
Fax: 212.594.7435
DDO Artists Agency Web site Email
81 Franklin St.
5th Floor
New York, NY 10013
Contact: Thomas Scott
Phone: 212.379.6314
Fax: 212.379.6356
Back to Top
Deborah Brown
160 West End Ave
Suite 15P
New York, NY 10023
Contact: Deborah Brown
Phone: 212.724.3447
Fax: 212.724.3524
Don Buchwald & Associates
10 East 44th St
New York, NY 10017
Contact: Don Buchwald
Phone: 212.867.1200
Douglas, Gorman, Rothacker & Wilhelm, Inc.
1501 Broadway
Suite 703
New York, NY 10036
Contact: Flo Rothacker
Phone: 212.382.2000
Dulcina Eisen Associates
154 E 61st St
New York, NY 10021
Contact: Dulcina Eisen
Phone: 212.355.6617
Elissa Myers Casting Web site
333 W 52nd St
Suite 1008
New York, NY 10019
Contact: Elissa Myers
Phone: 212.315.4777
Fax: 212.315.4780
Endeavor Agency
152 W 57th St
25th Floor
New York, NY 10019
Phone: 212.625.2500
Eve Battaglia Casting
338 First Ave
New York, NY 10009
Contact: Eve Battaglia
Phone: 212.777.1449
F. D. Productions, Inc.
250 W 57th St
Suite 1431
New York, NY 10107
Contact: Aleta Chappelle
Phone: 212.642.6355
Flaunt Model & Talent Inc. Email
114 E 32nd St
Suite 501
New York, NY 10016
Contact: Gene Roseman
Phone: 212.679.9011
Frontier Booking international, Inc.
1560 Broadway
Suite 1110
New York, NY 10036
Contact: John Shea
Phone: 212.221.0220
Back to Top
Ginger Dicce Talent Agency
56 W 45th St
Suite 1100
New York, NY 10036
Contact: Ginger Dicce
Phone: 212.869.9650
Guiding Light
222 East 44th St
4th Floor
New York, NY 10017
Contact: Rob Decina
Phone: 212.986.5330
Ilene Starger Casting
P.O. Box 246
New York, NY 10150
Contact: Ilene Starger
Phone: 212.563.7990
Irene Stockton Casting
261 Broadway
Suite 2B
New York, NY 10007
Contact: Irene Stockton
Phone: 212.964.9445
Jay Binder Casting
321 W 44th St
Suite 606
New York, NY 10036
Contact: Jack Bowdan
Phone: 212.586.6777
Jodi Collins Casting
9 Desbrosses St
2nd Floor
New York, NY 10013
Contact: Jodi Collins
Phone: 212.625.0115
Joseph McConnell Casting
155 W 68th St
Suite 825
New York, NY 10023
Contact: Joseph McConnell
Phone: 212.874.1591
Judy Boals, Inc. Email
208 W 30th St
Suite 401
New York, NY 10001
Contact: Judy Boals
Phone: 212.868.0924
Judy Henderson & Associates
330 W 89th Street
New York, NY 10024
Contact: Judy Henderson
Phone: 212.877.0225
Julie Tucker Casting
568 Broadway
Suite 301
New York, NY 10012
Contact: Julie Tucker
Phone: 212.334.1167
Back to Top
Kelli Lerner Casting
330 W 56th
Suite 25E
New York, NY 10019
Contact: Kelli Lerner
Phone: 212.459.9293
Lincoln Center Theatre
150 W 65th St
New York, NY 10023
Contact: Daniel Swee
Phone: 212.501.3230
Lynn Kressel Casting
23rd St @ The Hudson River Pier 62
Room 304
New York, NY 10011
Contact: Lynn Kressel
Phone: 212.414.2941
Manhattan Theatre Club
311 W 43rd st
8th Floor
New York, NY 10036
Contact: David Caparelliotis
Phone: 212.399.3000 x. 157
Margolis-Seay Casting & Productions Web site Email
333 W 52nd St
Suite 1008
New York, NY 10019
Contact: Jamibeth Margolis
Phone: 212.582.9223
Fax: 212.582.9224
Mark Simon Casting
321 W 44th St
Suite 801
New York, NY 10036
Contact: Mark B. Simon
Phone: 646.289.6884
McCorkle Casting, Ltd.
575 8th Ave
18th Floor
New York, NY 10018
Contact: Patricia McCorkle
Phone: 212.244.3899
Michael Amato Agency
1650 Broadway
Room 307
New York, NY 10019
Phone: 212.247.4456
Mungioli Theatricals, Inc. Web site Email
207 West 25th St
6th Floor
New York, NY 10001
Contact: Arnold J. Mungioli
Phone: 212.337.8832
National Artists Management Co.
165 W 46th St
Suite 1202
New York, NY 10036
Contact: Howie Cherpakov
Phone: 212.575.1044
Back to Top
NBC
30 Rockfeller Plaza
Room 1237E
New York, NY 10112
Contact: Steven O neill
Phone: 212.664.5517
Norman Meranus Casting
201 W 85th St
Suite 16-D
New York, NY 10024
Contact: Norman Meranus
Phone: 212.799.0352
Peter Beilin Agency, Inc.
230 Park Ave
Suite 200
New York, NY 10169
Contact: Peter Beilin
Phone: 212.949.9119
Sherie L. Seff Casting
400 W 43rd St
Suite 9B
New York, NY 10036
Contact: Sherie Seff
Phone: 212.947.7408
Stephanie Klapper Casting
39 W 19th St
12th Floor
New York, NY 10011
Contact: Stephanie Klapper
Phone: 646.486.1337
Stuart Howard Associates
207 West 25th St
Suite 601
New York, NY 10001
Contact: Amy Schecter
Phone: 212.414.1544
Tara Rubin Casting
311 W 43rd st
5th Floor
New York, NY 10036
Contact: Tara Rubin
Phone: 212.445.0088
The Artists Group East
1650 Broadway
Suite 610
New York, NY 10019
Contact: Robert Malcolm
Phone: 212.586.1452
Bethel Agency
2565 Broadway
Suite 126
New York, NY 10025-5657
Contact: Lewis R. Chambers
Phone: 212.864.4510
The Gage Group
315 W 57th St
Suite 408
New York, NY 10019
Contact: Martin Gage
Phone: 212.541.5250
Back to Top
The Jim Flynn Agency
208 W 30th St
Suite 401
New York, NY 10001
Contact: Jim Flynn
Phone: 212.868.1068
The Richard Astor Agency
250 W 57th St
Suite 2014
New York, NY 10107
Contact: Richard Astor
Phone: 212.581.1970
Universal Television
23rd St @ The Hudson River Pier 62
Room 304
New York, NY 10011
Contact: Suzanne Ryan
Phone: 212.414.2941
Warner Bros.
1325 6th Ave
New York, NY 10019
Contact: Phyllis Huffman
Phone: 212.636.5023
Warner Bros. TV
1325 6th Ave
New York, NY 10019
Contact: Meg Simon
Phone: 212.636.5145
Woodman Casting
11 Riverside Dr
Suite 2 Je
New York, NY 10023
Contact: Liz Woodman
Phone: 212.787.3782
2911 Carnation Ave
Baldwin, NY 11510-4402
Contact: Aggie Gold
Phone: 516.223.0034
Fax: 516.379.0353
Janet Foster Casting
3212 Cambridge Ave
Bronx, NY 10463
Contact: Janet Foster
Phone: 718.549.6066
Electric Talent, Inc. Email
172-13 Hillside Avenue
Suite 202
Jamaica Estates, NY 11432
Contact: Robert Persad
Phone: 718.883.1940
ABC
157 Columbus Ave
2nd Floor
New York, NY 11713
Contact: Rosalie Joseph
Phone: 212.456.3631
ABC All My Children
320 W 66th
New York, NY 10023
Contact: Judy Blye Wilson
Phone: 212.456.0802
ABC Television Network
157 Columbus Ave
New York, NY 10023
Contact: Geoffrey Soffer
Phone: 212.456.4313
About Artists Agency, Inc.
1650 Broadway
Suite 1406
New York, NY 10019
Contact: Renee Glicker
Phone: 212.581.1857
Abrams Artists Agency
275 7th Ave
26th Floor
New York, NY 10001
Contact: Harry Abrams
Phone: 646.581.1857
Access Talent, Inc.
37 East 28th
Suite 500
New York, NY 10016
Contact: Chas Cowing
Phone: 212.684.7795
Back to Top
Acme New York
875 6th St
Suite 2108
New York, NY 10001
Contact: Nina Shreiber
Phone: 212.328.0388
Fax: 212.328.0391
Agents for the Arts, Inc.
203 W 23rd St
3rd Floor
New York, NY 10011
Contact: Carole J. Russo
Phone: 212.229.2562
Alan Filderman Casting
333 W 39th St
Suite 601A
New York, NY 10018
Phone: 212.695.6200
Amanda Mackey Johnson Casting
180 Grand St
3rd Floor
New York, NY 10013
Contact: Amanda Mackey
Phone: 212.343.3660
Andreadis Talent Agency, Inc.
119 W 57th St
Suite 711
New York, NY 10019
Contact: Barbara Andreadis
Phone: 212.315.0303
Arcieri & Associates, Inc.
305 Madison Ave
Suite 2315
New York, NY 10165
Contact: Steven Arcieri
Phone: 212.286.1700
Associated Booking Corporation Web site Email
1995 Broadway
Suite 501
New York, NY 10019
Contact: Oscar Cohen
Phone: 212.874.2400
Atlas Talent Agency, Inc.
36 W 44th St
Suite 1000
New York, NY 10036
Contact: John Wasser
Phone: 212.730.4500
Avy Kaufman Casting
180 Varick St
16th Floor
New York, NY 10014
Contact: Avy Kaufman
Phone: 212.620.4256
Barry-Haft-Brown Artists Agency
165 W 46th St
Suite 1114
New York, NY 10036
Contact: Bob Barry
Phone: 212.869.9310
Back to Top
Bass Visgilio Casting
157 Columbus Ave
New York, NY 10023
Contact: Victoria Visgilio
Phone: 212.456.3580
Bauman, Dedanty & Shaul
250 W 57th St
Suite 2223
New York, NY 10107
Contact: Mark Redanty
Phone: 212.757.0098
Beech Hill Films
443 Greenwich St
Suite 5A
New York, NY 10013
Contact: Alexa L Fogel
Phone: 212.226.3331
Beverly Anderson
1501 Broadway
Suite 2008
New York, NY 10036
Contact: Beverly Anderson
Phone: 212.944.7773
Bloc NYC Web site Email
137 Varick St
6th Floor
New York, NY 10013
Contact: David Crombie
Phone: 212.924.6200
Fax: 212.924.6280
Bonnie Finnegan Casting
12 W 27th St
11th Floor
New York, NY 10001
Contact: Bonnie Finnegan
Phone: 212.725.3505
Bowling / Miscia Casting
1775 Broadway
10th Floor
New York, NY 10019
Contact: Kim Miscia
Phone: 212.767.8697
Bret Adams, Ltd.
448 W 44th St
New York, NY 10036
Contact: Bret Adams
Phone: 212.765.5630
Carry Company Web site Email
20 W 20th St
2nd Floor
New York, NY 10011
Contact: Sharon Carry
Phone: 212.768.2793
Fax: 646.349.2250
Carson Organization, Ltd.
419 Park Ave South
Suite 606
New York, NY 10016
Contact: Barry Kolker
Phone: 212.221.1517
Back to Top
Carson-Adler Agency, Inc.
250 W 57th St
Suite 2030
New York, NY 10107
Contact: Nancy Carson
Phone: 212.307.1882
CBS
51 W 52nd St
20th Floor
New York, NY 10019
Contact: Mark Saks
Phone: 213.534.3060
Cindi Rush Casting
27 W 20th St
Suite 404
New York, NY 10011
Contact: Andrew Zerman
Phone: 212.414.2838
Cindy Tolan Casting
609 Greenwich st
Suite 401A
New York, NY 10014
Contact: Cindy Tolan
Phone: 212.430.5094
Clear Talent Group Web site Email
440 9th Ave
8th Floor
New York, NY 10001
Contact: Chirstopher Freer
Phone: 212.840.4100
Fax: 212.404.1244
Cornerstone Talent Agency
37 West 20th St
Suite 1108
New York, NY 10011
Contact: Steve Stone
Phone: 212.807.8344
Creative Artist Agency, LLC.
162 5th Ave
6th Floor
New York, NY 10010
Phone: 212.277.9000
Fax: 212.277.9099
Cunningham Escott Slevin Doherty Talent Agency Web site Email
257 Park Avenue South
Suite 900
New York, NY 10010
Contact: T.J. Escott
Phone: 212.477.1666
Dave Clemmons Casting
265 W 30th
New York, NY 10001
Contact: Dave Clemmons
Phone: 212.594.7434
Fax: 212.594.7435
DDO Artists Agency Web site Email
81 Franklin St.
5th Floor
New York, NY 10013
Contact: Thomas Scott
Phone: 212.379.6314
Fax: 212.379.6356
Back to Top
Deborah Brown
160 West End Ave
Suite 15P
New York, NY 10023
Contact: Deborah Brown
Phone: 212.724.3447
Fax: 212.724.3524
Don Buchwald & Associates
10 East 44th St
New York, NY 10017
Contact: Don Buchwald
Phone: 212.867.1200
Douglas, Gorman, Rothacker & Wilhelm, Inc.
1501 Broadway
Suite 703
New York, NY 10036
Contact: Flo Rothacker
Phone: 212.382.2000
Dulcina Eisen Associates
154 E 61st St
New York, NY 10021
Contact: Dulcina Eisen
Phone: 212.355.6617
Elissa Myers Casting Web site
333 W 52nd St
Suite 1008
New York, NY 10019
Contact: Elissa Myers
Phone: 212.315.4777
Fax: 212.315.4780
Endeavor Agency
152 W 57th St
25th Floor
New York, NY 10019
Phone: 212.625.2500
Eve Battaglia Casting
338 First Ave
New York, NY 10009
Contact: Eve Battaglia
Phone: 212.777.1449
F. D. Productions, Inc.
250 W 57th St
Suite 1431
New York, NY 10107
Contact: Aleta Chappelle
Phone: 212.642.6355
Flaunt Model & Talent Inc. Email
114 E 32nd St
Suite 501
New York, NY 10016
Contact: Gene Roseman
Phone: 212.679.9011
Frontier Booking international, Inc.
1560 Broadway
Suite 1110
New York, NY 10036
Contact: John Shea
Phone: 212.221.0220
Back to Top
Ginger Dicce Talent Agency
56 W 45th St
Suite 1100
New York, NY 10036
Contact: Ginger Dicce
Phone: 212.869.9650
Guiding Light
222 East 44th St
4th Floor
New York, NY 10017
Contact: Rob Decina
Phone: 212.986.5330
Ilene Starger Casting
P.O. Box 246
New York, NY 10150
Contact: Ilene Starger
Phone: 212.563.7990
Irene Stockton Casting
261 Broadway
Suite 2B
New York, NY 10007
Contact: Irene Stockton
Phone: 212.964.9445
Jay Binder Casting
321 W 44th St
Suite 606
New York, NY 10036
Contact: Jack Bowdan
Phone: 212.586.6777
Jodi Collins Casting
9 Desbrosses St
2nd Floor
New York, NY 10013
Contact: Jodi Collins
Phone: 212.625.0115
Joseph McConnell Casting
155 W 68th St
Suite 825
New York, NY 10023
Contact: Joseph McConnell
Phone: 212.874.1591
Judy Boals, Inc. Email
208 W 30th St
Suite 401
New York, NY 10001
Contact: Judy Boals
Phone: 212.868.0924
Judy Henderson & Associates
330 W 89th Street
New York, NY 10024
Contact: Judy Henderson
Phone: 212.877.0225
Julie Tucker Casting
568 Broadway
Suite 301
New York, NY 10012
Contact: Julie Tucker
Phone: 212.334.1167
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Kelli Lerner Casting
330 W 56th
Suite 25E
New York, NY 10019
Contact: Kelli Lerner
Phone: 212.459.9293
Lincoln Center Theatre
150 W 65th St
New York, NY 10023
Contact: Daniel Swee
Phone: 212.501.3230
Lynn Kressel Casting
23rd St @ The Hudson River Pier 62
Room 304
New York, NY 10011
Contact: Lynn Kressel
Phone: 212.414.2941
Manhattan Theatre Club
311 W 43rd st
8th Floor
New York, NY 10036
Contact: David Caparelliotis
Phone: 212.399.3000 x. 157
Margolis-Seay Casting & Productions Web site Email
333 W 52nd St
Suite 1008
New York, NY 10019
Contact: Jamibeth Margolis
Phone: 212.582.9223
Fax: 212.582.9224
Mark Simon Casting
321 W 44th St
Suite 801
New York, NY 10036
Contact: Mark B. Simon
Phone: 646.289.6884
McCorkle Casting, Ltd.
575 8th Ave
18th Floor
New York, NY 10018
Contact: Patricia McCorkle
Phone: 212.244.3899
Michael Amato Agency
1650 Broadway
Room 307
New York, NY 10019
Phone: 212.247.4456
Mungioli Theatricals, Inc. Web site Email
207 West 25th St
6th Floor
New York, NY 10001
Contact: Arnold J. Mungioli
Phone: 212.337.8832
National Artists Management Co.
165 W 46th St
Suite 1202
New York, NY 10036
Contact: Howie Cherpakov
Phone: 212.575.1044
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NBC
30 Rockfeller Plaza
Room 1237E
New York, NY 10112
Contact: Steven O neill
Phone: 212.664.5517
Norman Meranus Casting
201 W 85th St
Suite 16-D
New York, NY 10024
Contact: Norman Meranus
Phone: 212.799.0352
Peter Beilin Agency, Inc.
230 Park Ave
Suite 200
New York, NY 10169
Contact: Peter Beilin
Phone: 212.949.9119
Sherie L. Seff Casting
400 W 43rd St
Suite 9B
New York, NY 10036
Contact: Sherie Seff
Phone: 212.947.7408
Stephanie Klapper Casting
39 W 19th St
12th Floor
New York, NY 10011
Contact: Stephanie Klapper
Phone: 646.486.1337
Stuart Howard Associates
207 West 25th St
Suite 601
New York, NY 10001
Contact: Amy Schecter
Phone: 212.414.1544
Tara Rubin Casting
311 W 43rd st
5th Floor
New York, NY 10036
Contact: Tara Rubin
Phone: 212.445.0088
The Artists Group East
1650 Broadway
Suite 610
New York, NY 10019
Contact: Robert Malcolm
Phone: 212.586.1452
Bethel Agency
2565 Broadway
Suite 126
New York, NY 10025-5657
Contact: Lewis R. Chambers
Phone: 212.864.4510
The Gage Group
315 W 57th St
Suite 408
New York, NY 10019
Contact: Martin Gage
Phone: 212.541.5250
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The Jim Flynn Agency
208 W 30th St
Suite 401
New York, NY 10001
Contact: Jim Flynn
Phone: 212.868.1068
The Richard Astor Agency
250 W 57th St
Suite 2014
New York, NY 10107
Contact: Richard Astor
Phone: 212.581.1970
Universal Television
23rd St @ The Hudson River Pier 62
Room 304
New York, NY 10011
Contact: Suzanne Ryan
Phone: 212.414.2941
Warner Bros.
1325 6th Ave
New York, NY 10019
Contact: Phyllis Huffman
Phone: 212.636.5023
Warner Bros. TV
1325 6th Ave
New York, NY 10019
Contact: Meg Simon
Phone: 212.636.5145
Woodman Casting
11 Riverside Dr
Suite 2 Je
New York, NY 10023
Contact: Liz Woodman
Phone: 212.787.3782
Tips For Head Shots
1. Lots of Personality!! Many people may have a similar look to you- it's your personality that makes you special.
2. Look like your headshot. This is not a time to be a beauty queen. You need to give casting directors and clients an accurate version of yourself.
3. Keep your clothing choices simple. Avoid patterns and prints in favor of solid colors. No white or very light pastels. Simple clothing helps the viewer see YOU.
4. Spark the viewer's imagination. Don't dress like a nurse or a police officer. You want the viewer to be able to imagine you as many different characters from one picture.
5. Go easy on the makeup! Yes, you want to look your best for your headshot, but that does NOT mean layers of eyeshadow and blush. If you can, hire a makeup artist. Keep in mind, you should pay close attention to what your makeup artist does so when you go to an audition or to meet an agent you can walk in the door looking as close to your picture as possible.
6. Don't show a lot of skin! Ladies, this means no excess cleavage. Guys, keep your shirts on. Casting directors want to see you…but not that much of you!
7. Keep in mind what kind of work you are trying to get. Do you want to do theater, film, or commercial work?
8. It's all about the eyes. Of course your smile is important, too, but the eyes can make or break your picture. Your eyes give you the opportunity to show the layers in your personality. Rather than thinking about the viewer looking at your picture, think about you looking at the viewer.
9. Face shot or ¾ shots. ¾ shots are useful to show a casting director your body type. This can be good if you are looking to do commercial work modeling clothes. Be careful, though. In a ¾ shot, your eyes can get lost.
A face shot is the best way to show your eyes and your personality...
Which brings me to my last tip:
10. Did I mention PERSONALITY? Be yourself and show what makes you unique.
2. Look like your headshot. This is not a time to be a beauty queen. You need to give casting directors and clients an accurate version of yourself.
3. Keep your clothing choices simple. Avoid patterns and prints in favor of solid colors. No white or very light pastels. Simple clothing helps the viewer see YOU.
4. Spark the viewer's imagination. Don't dress like a nurse or a police officer. You want the viewer to be able to imagine you as many different characters from one picture.
5. Go easy on the makeup! Yes, you want to look your best for your headshot, but that does NOT mean layers of eyeshadow and blush. If you can, hire a makeup artist. Keep in mind, you should pay close attention to what your makeup artist does so when you go to an audition or to meet an agent you can walk in the door looking as close to your picture as possible.
6. Don't show a lot of skin! Ladies, this means no excess cleavage. Guys, keep your shirts on. Casting directors want to see you…but not that much of you!
7. Keep in mind what kind of work you are trying to get. Do you want to do theater, film, or commercial work?
8. It's all about the eyes. Of course your smile is important, too, but the eyes can make or break your picture. Your eyes give you the opportunity to show the layers in your personality. Rather than thinking about the viewer looking at your picture, think about you looking at the viewer.
9. Face shot or ¾ shots. ¾ shots are useful to show a casting director your body type. This can be good if you are looking to do commercial work modeling clothes. Be careful, though. In a ¾ shot, your eyes can get lost.
A face shot is the best way to show your eyes and your personality...
Which brings me to my last tip:
10. Did I mention PERSONALITY? Be yourself and show what makes you unique.
Habits of Highly Successful Actors
11 habits of Highly Successful Actors
I recently read an excellent article called 5 Tips for Actors. When I say excellent, I mean good, really good advice. (Due to a senior moment, I do not know who to give credit to for this great article. I'm sure someone will tell me.) Anyway, these five tips were all crucial advice to anyone who wants a career as an actor.
They were all steps that must be taken.
They will work.
However, even if you take these five excellent tips and put them to work immediately, if you really want to get somewhere in this business (with any pursuit really) you MUST have or develop some work habits.
These are bottom line (absolutely necessary) habitual behaviors that every actor must possess.
You must be on time.
If you can't get anywhere on time now, you'd better learn how before you attempt the 'real world' of show business. On a big film the money is going out the door at about 30 grand every 20 minutes. On a network TV show the rate is only slightly less. If you are ten minutes late for a job that pays five hundred bucks - you will be heartily disliked by the producer and everybody that works for him. People will scream at you. If you are late for an audition, the casting director will worry that you won't get to the job on time. If you're late for a job, that casting director will also have people screaming at her. Understand? NEVER BE LATE.
You must be able to work a long day.
There is no such thing as an eight-hour day in show business. In forty years, I've had about 23 eight-hour days. And two of those were because somebody died. If you cannot work a long day, you are unsuited for success in show business. IT'S LO-O-NG HOURS.
You must be an early riser.
I know it's nice to laze around in bed when you've got a day off, but this is a habit you cannot afford. Grasp the idea that if you want to be in the movie or television business, you must be the kind of person who can get up at 5 in the morning. All the time. Period. If you work in the theatre, your early rising will fall about 10 AM - because you work into the night. But if you plan on working in 'the industry' you'd do well to make early rising a lifelong habit. WAKE UP THE ROOSTER. You must be a pleasant person under these circumstances.
The early starts and long hours mean that you will be spending (on average) about half your life with co-workers. If you are a pain in the a@# - you will be heartily disliked by other people who are also working 12 hour days. Word will get around. It will be harder to get work. BE NICE.
You must love the work.
You have to keep your 'creative juices' flowing during the entire 12 hours. If you don't love doing this kind of work, being 'on' for 12 hours is impossible. Don't forget why you are doing this. LOVE.
You must be well groomed and clean.
You are not the part. Even the guys who play bikers and bums wear deodorant. The teeth are clean. The breath is pleasant. I know this seems nitpicky, but a co-worker who literally 'stinks' will get a reputation and lose opportunities because of it. I've seen it happen. And when it comes to casting people, who see hundreds of actors in a day or two - well, that's their number one pet peeve. Far and away. CLEANLINESS IS IMPORTANT.
You must not complain (with one proviso.)
Those actors on sets who complain about the dressing rooms, the food, the director, the co-star, the costume people, the lack of work, the hours, the script, or pretty much anything - are labeled as "complainers" or a##h##s and they are rarely appreciated or tolerated for very long.
Besides, complaining about circumstances doesn't work. People near the bottom of the ladder who think it's 'smart' to gripe about every little screw-up, are putting a bulls-eye on their butts. Don't become one of those people or you will find yourself near the bottom of the ladder for a long, long time. Nobody reaches out to complainers. Nobody, including you, even likes complainers. If you want to be thought of as someone NICE, DON'T COMPLAIN.
(The proviso to this is that you must never let anyone abuse or berate you - in those cases, complain to the authorities - loud and often.)
You must not spread rumors.
Rumor mongering is the first sign of someone who isn't really interested in the job at hand - someone so bored or so shallow that they must talk about other people. When you hear someone say, "Oh, I worked with (fill in the name of a movie star), he's a pig." - excuse yourself and go somewhere else. You do not want to be around this sort of person. 93.3 percent of all rumors are false. The other 6.7% are probably none of your business.
Again, people who are rumor mongers are labeled and eventually work dries up. Talk business, talk philosophy, talk about the weather - but avoid the temptation to talk about other people (except in the most glowing terms).
Watch the stars when they are asked about other performers. Have you ever heard a star say, "She's an idiot." No, they are always upbeat, positive, and effusive in their praise - because they know the rumor mill is a two way street. If avoiding this sort of thing is good behavior for stars (and most behave this way) then what's stopping you from adopting the same habit?
NO RUMORS.
Drugs, drinking and screwing around.
I'm sure you know what people think of people who are more interested in sin than cinema. You will be labeled. People will not forget. Work will be harder to get.
JUST SAY "NO THANK YOU." (BEING NICE)
Jealousy and other bad feelings.
Jealousy is one of the main causes of "messing up" on one of these crucial behaviors listed above. Jealousy leads to bad decisions. Bad decisions lead to bad results.
And jealousy allows you to blame others for your results. You begin to believe that things aren't fair. You begin to look for 'reasons' for your lack of progress. They will be well argued reasons, no doubt - but an excuse by any other name is still an excuse. Jealousy is a bad path - it's a step on the wrong ladder - you're on the wrong street - you're a stranger in a strange land - GET A MAP.
The same goes for other "negative" emotional reactions. Self blame. Frustration. Fear. Anxiety. Worry. This is business. "There's no crying in baseball." Besides, wallowing in your emotional reaction slows down your forward progress toward success.
Give good value for the dollar.
When you habitually give 100% of your energy to the work - you will get more work. It's a mortal lock.
Bob Fraser is an actor, writer, director, producer and author of
You Must Act! The Bible of Acting Success.
Bob was one of the original writers for the television series The Love Boat. He went on the write and produce the successful sitcom - Benson. During the shows seven year run, Bob also directed a few episodes and acted as Benson's nemesis, the slimy Senator Leonard Tyler. His career also included the title of Supervising Producer for the hit show Full House
I recently read an excellent article called 5 Tips for Actors. When I say excellent, I mean good, really good advice. (Due to a senior moment, I do not know who to give credit to for this great article. I'm sure someone will tell me.) Anyway, these five tips were all crucial advice to anyone who wants a career as an actor.
They were all steps that must be taken.
They will work.
However, even if you take these five excellent tips and put them to work immediately, if you really want to get somewhere in this business (with any pursuit really) you MUST have or develop some work habits.
These are bottom line (absolutely necessary) habitual behaviors that every actor must possess.
You must be on time.
If you can't get anywhere on time now, you'd better learn how before you attempt the 'real world' of show business. On a big film the money is going out the door at about 30 grand every 20 minutes. On a network TV show the rate is only slightly less. If you are ten minutes late for a job that pays five hundred bucks - you will be heartily disliked by the producer and everybody that works for him. People will scream at you. If you are late for an audition, the casting director will worry that you won't get to the job on time. If you're late for a job, that casting director will also have people screaming at her. Understand? NEVER BE LATE.
You must be able to work a long day.
There is no such thing as an eight-hour day in show business. In forty years, I've had about 23 eight-hour days. And two of those were because somebody died. If you cannot work a long day, you are unsuited for success in show business. IT'S LO-O-NG HOURS.
You must be an early riser.
I know it's nice to laze around in bed when you've got a day off, but this is a habit you cannot afford. Grasp the idea that if you want to be in the movie or television business, you must be the kind of person who can get up at 5 in the morning. All the time. Period. If you work in the theatre, your early rising will fall about 10 AM - because you work into the night. But if you plan on working in 'the industry' you'd do well to make early rising a lifelong habit. WAKE UP THE ROOSTER. You must be a pleasant person under these circumstances.
The early starts and long hours mean that you will be spending (on average) about half your life with co-workers. If you are a pain in the a@# - you will be heartily disliked by other people who are also working 12 hour days. Word will get around. It will be harder to get work. BE NICE.
You must love the work.
You have to keep your 'creative juices' flowing during the entire 12 hours. If you don't love doing this kind of work, being 'on' for 12 hours is impossible. Don't forget why you are doing this. LOVE.
You must be well groomed and clean.
You are not the part. Even the guys who play bikers and bums wear deodorant. The teeth are clean. The breath is pleasant. I know this seems nitpicky, but a co-worker who literally 'stinks' will get a reputation and lose opportunities because of it. I've seen it happen. And when it comes to casting people, who see hundreds of actors in a day or two - well, that's their number one pet peeve. Far and away. CLEANLINESS IS IMPORTANT.
You must not complain (with one proviso.)
Those actors on sets who complain about the dressing rooms, the food, the director, the co-star, the costume people, the lack of work, the hours, the script, or pretty much anything - are labeled as "complainers" or a##h##s and they are rarely appreciated or tolerated for very long.
Besides, complaining about circumstances doesn't work. People near the bottom of the ladder who think it's 'smart' to gripe about every little screw-up, are putting a bulls-eye on their butts. Don't become one of those people or you will find yourself near the bottom of the ladder for a long, long time. Nobody reaches out to complainers. Nobody, including you, even likes complainers. If you want to be thought of as someone NICE, DON'T COMPLAIN.
(The proviso to this is that you must never let anyone abuse or berate you - in those cases, complain to the authorities - loud and often.)
You must not spread rumors.
Rumor mongering is the first sign of someone who isn't really interested in the job at hand - someone so bored or so shallow that they must talk about other people. When you hear someone say, "Oh, I worked with (fill in the name of a movie star), he's a pig." - excuse yourself and go somewhere else. You do not want to be around this sort of person. 93.3 percent of all rumors are false. The other 6.7% are probably none of your business.
Again, people who are rumor mongers are labeled and eventually work dries up. Talk business, talk philosophy, talk about the weather - but avoid the temptation to talk about other people (except in the most glowing terms).
Watch the stars when they are asked about other performers. Have you ever heard a star say, "She's an idiot." No, they are always upbeat, positive, and effusive in their praise - because they know the rumor mill is a two way street. If avoiding this sort of thing is good behavior for stars (and most behave this way) then what's stopping you from adopting the same habit?
NO RUMORS.
Drugs, drinking and screwing around.
I'm sure you know what people think of people who are more interested in sin than cinema. You will be labeled. People will not forget. Work will be harder to get.
JUST SAY "NO THANK YOU." (BEING NICE)
Jealousy and other bad feelings.
Jealousy is one of the main causes of "messing up" on one of these crucial behaviors listed above. Jealousy leads to bad decisions. Bad decisions lead to bad results.
And jealousy allows you to blame others for your results. You begin to believe that things aren't fair. You begin to look for 'reasons' for your lack of progress. They will be well argued reasons, no doubt - but an excuse by any other name is still an excuse. Jealousy is a bad path - it's a step on the wrong ladder - you're on the wrong street - you're a stranger in a strange land - GET A MAP.
The same goes for other "negative" emotional reactions. Self blame. Frustration. Fear. Anxiety. Worry. This is business. "There's no crying in baseball." Besides, wallowing in your emotional reaction slows down your forward progress toward success.
Give good value for the dollar.
When you habitually give 100% of your energy to the work - you will get more work. It's a mortal lock.
Bob Fraser is an actor, writer, director, producer and author of
You Must Act! The Bible of Acting Success.
Bob was one of the original writers for the television series The Love Boat. He went on the write and produce the successful sitcom - Benson. During the shows seven year run, Bob also directed a few episodes and acted as Benson's nemesis, the slimy Senator Leonard Tyler. His career also included the title of Supervising Producer for the hit show Full House
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SPECIAL ONE on ONE Workshop with Film & Commercial Casting Director Amy Gossels. Due to the overwhelming interest in meeting top Casting Director Amy Gossels, and the fact that the number of people we can actually audition at our casting sessions is so limited, we have decided to set up a few SPECIAL workshops where you will not only have the chance to meet and work with Amy Gossels personally, but you will also get a chance to get acquainted with her associate Eliza who handles most of the bookings! Read More >>>
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212. W. 35th Street, 11th floor
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New York, NY-10011
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Take your career to the next level with New York City’s top studio for networking and classes. We provide our members unique opportunities to work with New York's leading entertainment industry talent through sessions, classes and intensives. Learn from the best. Make connections. Get results. One on One. Read More >>>
Amy Gossels' Workshop
Email Contact
SPECIAL ONE on ONE Workshop with Film & Commercial Casting Director Amy Gossels. Due to the overwhelming interest in meeting top Casting Director Amy Gossels, and the fact that the number of people we can actually audition at our casting sessions is so limited, we have decided to set up a few SPECIAL workshops where you will not only have the chance to meet and work with Amy Gossels personally, but you will also get a chance to get acquainted with her associate Eliza who handles most of the bookings! Read More >>>
Breakthrough Studios
212-594-9616
212. W. 35th Street, 11th floor
New York, NY-10001
Visit Website
Email Contact
Meet today's top New York Casting Directors, Agents and Managers at Breakthrough Studios! Located conveniently in Midtown Manhattan, we are dedicated to bringing the best acting talent in New York to today's Read More >>>
One on One Productions
212-691-6000
121 West 23rd Street
New York, NY-10011
Visit Website
Email Contact
Take your career to the next level with New York City’s top studio for networking and classes. We provide our members unique opportunities to work with New York's leading entertainment industry talent through sessions, classes and intensives. Learn from the best. Make connections. Get results. One on One. Read More >>>
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Welcome to NYCastings version 2.0
NYCastings.com is New York's most widely used source for Actors, Models & Musicians of all types to find work in Film, Television, Commercials, Theatre, Music Videos, Voice-Overs & Print.
If you are Talent and want to learn how you can use this service for your career click here to take our tour. You can also join our email list for free to receive our daily list of projects that are casting.
Industry professionals can learn more about our services by taking our Industry Tour, and can also send us casting information here.
Film/TV/Video | Theatre | Student Film | Kids/Teens | Background | Models | Representation | Voice-Overs | Promotional | Comedy Clubs | Dance | Singers/Musicians | Reality TV | Jobs/Internships | Live Events | Out of Area | Crew |
Welcome to NYCastings version 2.0
NYCastings.com is New York's most widely used source for Actors, Models & Musicians of all types to find work in Film, Television, Commercials, Theatre, Music Videos, Voice-Overs & Print.
If you are Talent and want to learn how you can use this service for your career click here to take our tour. You can also join our email list for free to receive our daily list of projects that are casting.
Industry professionals can learn more about our services by taking our Industry Tour, and can also send us casting information here.
Tuesday, May 12, 2009
Keeping Your Faith
I chose this topic because we can all use a little help in building our Faith. "Faith comes by hearing & hearing by the word of God........AMEN
Star Trek
NEW YORK (Hollywood Reporter) - Forget all those bad 'boldly going' puns.
The real headline in the "Star Trek" take of nearly $77 million at the North American box office this weekend is not all the talk about whether it could ultimately beat "Wolverine" or hold its own against the Catholic Church-loving/baiting of "Angels & Demons" next weekend.
It's this not insignificant fact: a television property has again been successfully revived on the big screen.
It may at first not seem like such a surprise given how much coin these built-in brands seem to rake in, but it's been a while. Outside of "Charlie's Angels" (first feature installment, 2000) and "Mission: Impossible" (first feature installment, 1997), big-screen revivals of classic television shows could pretty much be counted on to generate all the excitement of a TV Land marathon.
In the last fifteen years, theatrical versions of classic TV shows had gone through several development renaissances ... and just as many box office busts, from the late-'90s adventure remakes ("Lost in Space," The Mod Squad") to the recent comedy revival ("Bewitched," "The Honeymooners").
"Star Trek" breaks the streak, Remake culture had for the last few years moved on from '60s and '70s TV shows to '80s and '90s movies ("Robocop," "Red Dawn" et al). This prequel could change that. In fact, some shows of older vintage are already off the shelf -- "Magnum, P.I." at Universal, "The A-Team" at Fox -- and this kind of bank tends to prompt studios to give them a new polish.
But "Star Trek" is unique on several levels. The show has already had more feature iterations than some TV series have episodes. And some of the success this weekend is as much a function of timing as it is smart marketing and execution. Paramount couldn't have known when it moved the release from Christmas '08 to spring '09 just how ideal the recession would be for a movie about other times and places -- escapism at its most literal -- but it proved to be a masterstroke.
More than anything, though, "Star Trek" has been the exception to prove the rule, consistently showing over 40 years that like a certain kind of distant planet, it can find life no matter who's in it and what storylines are invented. When they think about remaking pretty much any other show, though, studio execs would be better off boldly going where others haven't gone before.
The real headline in the "Star Trek" take of nearly $77 million at the North American box office this weekend is not all the talk about whether it could ultimately beat "Wolverine" or hold its own against the Catholic Church-loving/baiting of "Angels & Demons" next weekend.
It's this not insignificant fact: a television property has again been successfully revived on the big screen.
It may at first not seem like such a surprise given how much coin these built-in brands seem to rake in, but it's been a while. Outside of "Charlie's Angels" (first feature installment, 2000) and "Mission: Impossible" (first feature installment, 1997), big-screen revivals of classic television shows could pretty much be counted on to generate all the excitement of a TV Land marathon.
In the last fifteen years, theatrical versions of classic TV shows had gone through several development renaissances ... and just as many box office busts, from the late-'90s adventure remakes ("Lost in Space," The Mod Squad") to the recent comedy revival ("Bewitched," "The Honeymooners").
"Star Trek" breaks the streak, Remake culture had for the last few years moved on from '60s and '70s TV shows to '80s and '90s movies ("Robocop," "Red Dawn" et al). This prequel could change that. In fact, some shows of older vintage are already off the shelf -- "Magnum, P.I." at Universal, "The A-Team" at Fox -- and this kind of bank tends to prompt studios to give them a new polish.
But "Star Trek" is unique on several levels. The show has already had more feature iterations than some TV series have episodes. And some of the success this weekend is as much a function of timing as it is smart marketing and execution. Paramount couldn't have known when it moved the release from Christmas '08 to spring '09 just how ideal the recession would be for a movie about other times and places -- escapism at its most literal -- but it proved to be a masterstroke.
More than anything, though, "Star Trek" has been the exception to prove the rule, consistently showing over 40 years that like a certain kind of distant planet, it can find life no matter who's in it and what storylines are invented. When they think about remaking pretty much any other show, though, studio execs would be better off boldly going where others haven't gone before.
INTRODUCTION
WELCOME!!
This is going to be one of the newest spots to get casting info, meet other actors & network. It doesn't matter if your a novice or a well seasoned actor. This is where you can begin to make dreams come true!
My Name is Terence Exodus. I started acting in September of 2007. The first thing I did was begin to look at help wanted ads because I remembered, this is where I always saw ads for "Become an Actor" or "Actor's wanted". So I started there! You should have seen the first photo I used as a headshot! I didn't have the funds to get real headshots done, so I took a photo that was shot in my cousins Livingroom/Diningroom. It was a full body shot. I was wearing, a hoodie, sweat shorts, a knit fitted baseball cap & retro jordans. I thought it was a definite "I'm the man" headshot. My mother is a fellow thesbian & when I told her of my decision to act, of course she was elated! When I showed her what I was using for a headshot, She literally SCREAMED!!!!!! Immediately, she asked me "how much do you need for headshots?!?!" That's when I realized that maybe casting directors we're having the same response when receiving my "I'm the man" headshot. I began to look on-line as well as the news paper & I found a company that offered "walk-in" auditions. I went & they told me that I could do background work but I still needed headshots & they had a photographer who could do that for me. YES! I paid the $250.00 for headshots that I really wasn't all that crazy about. I received 36 headshots on CD in color but I didn't like them.......Ok, I liked two just a little bit. OK, I liked one alot, but it had to grow on me!
Well............. that was then & this is now. Since then, I've sat for numerous photo shoots (by request) I've done print work (currently have billboard ads running in Harlem & Brooklyn) I've landed principle roles in commercials & feature film & a host of many parts as an extra.
I hope that you will find this site informative, encouraging & spiritually nurturing.
Thanks for dropping by!
BIG EX
This is going to be one of the newest spots to get casting info, meet other actors & network. It doesn't matter if your a novice or a well seasoned actor. This is where you can begin to make dreams come true!
My Name is Terence Exodus. I started acting in September of 2007. The first thing I did was begin to look at help wanted ads because I remembered, this is where I always saw ads for "Become an Actor" or "Actor's wanted". So I started there! You should have seen the first photo I used as a headshot! I didn't have the funds to get real headshots done, so I took a photo that was shot in my cousins Livingroom/Diningroom. It was a full body shot. I was wearing, a hoodie, sweat shorts, a knit fitted baseball cap & retro jordans. I thought it was a definite "I'm the man" headshot. My mother is a fellow thesbian & when I told her of my decision to act, of course she was elated! When I showed her what I was using for a headshot, She literally SCREAMED!!!!!! Immediately, she asked me "how much do you need for headshots?!?!" That's when I realized that maybe casting directors we're having the same response when receiving my "I'm the man" headshot. I began to look on-line as well as the news paper & I found a company that offered "walk-in" auditions. I went & they told me that I could do background work but I still needed headshots & they had a photographer who could do that for me. YES! I paid the $250.00 for headshots that I really wasn't all that crazy about. I received 36 headshots on CD in color but I didn't like them.......Ok, I liked two just a little bit. OK, I liked one alot, but it had to grow on me!
Well............. that was then & this is now. Since then, I've sat for numerous photo shoots (by request) I've done print work (currently have billboard ads running in Harlem & Brooklyn) I've landed principle roles in commercials & feature film & a host of many parts as an extra.
I hope that you will find this site informative, encouraging & spiritually nurturing.
Thanks for dropping by!
BIG EX
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