The "Jeremy Brett" transition

Here I am practicing a fun interstitial in preparation for filming my one woman show- "The Campaign", written for me by writer/director Stephen Mitchell.

IS THAT EVEN A THING?! Ep. #3 "Ups & Downs"

Here is Episode 3 of "Is That Even a Thing?!"- "Ups & Downs"! Enjoy :)

IS THAT EVEN A THING?! Ep. #2 "Sex & Relationships"

Here is Episode 2 of "Is That Even a Thing?!"- "Sex & Relationships"! Enjoy :)

Samantha Bogach talks about "Is That Even a Thing?!"

Samantha Bogach

talks about 

"Is That Even a Thing?!"

Q: Is that even a thing is an unusual title for anything, much less for a TV show. How would you describe it? 

S: The title is self defining and self explanatory. The show is my life delivered in five minute segments without lead in build up or follow up.

Q: So are you presenting yourself as yourself or as an alter ego? 

S: That depends on how you define yourself. I’m inclined to say neither one or the other but both in a desultory fashion. It’s like that Harley Davidson t-shirt that says, "If I have to explain it to you, you wouldn’t understand."

Q: Does the fact that you're an actress in LA creep into the subject matter? 

S: That is the subject matter. It influences every aspect of the physical and spiritual universe as it is experienced by a young woman in LA who knows how to act.

Q: Where can we see it? 

S: I’ll give you the link to the first episode- https://youtu.be/W1Oh1z81Xt8

For further information, contact

615-945-7062

and/or

samanthabogach@gmail.com 

https://youtu.be/W1Oh1z81Xt8

Another reenactment show??

As actors, we go through many trials and tribulations before coming to a point where we actually care about what we are auditioning for. I know I know, "How dare she?". Well I'm saying it! The stuff we want to be auditioning for couldn't be farther from the crap roles we get handed day to day as moderately credited actors/actresses in Hollywood. "Blonde groupie", "Disgruntled barista", or my favorite, "girl 1, 2, 3"- that's one name for 3 SEPARATE people. Let's be honest it can't get worse than that.

Oh wait it can! You'd cross rivers, valleys, low enough, high enough, (see what I did?) just to get seen for "girl 1, 2, 3"! And if you booked that role?? You'd be so high on your horse no landslide could bring you down! (oh come on that was good) you'd feel unstoppable for about 5 days and then it's back to black, (done) BUT STILL. You will forever have the glory that comes with being..."girl 1, 2, 3". No one can take that away from you. Except editor #17 who cut your one line and hair flip. DRATS. Is there no end to this torment that is being a moderately credited actor/actress in Hollywood?

Alas!
CUE THE TRUMPETS

There is a bright light at the end of this smoggy, tunnel. Or at least somewhere in the middle of it! It's a place where people come to watch sad, traumatic, bizarre, and strangely true situations reenacted by other people. You've guessed it! Probably because I used the word reenactment (damnit!)- REENACTMENT SHOWS. I know it could be conceived to be some form of reality television, but to us actors and actresses in Hollywood making that ever so slow transition to being a consistently working actor/actress, it is heaven. HEAVEN.

"You mean I get to be the star of a television show?"
"well a reenact-"
"The star?? really??"

We just want to do it! As much as acting class is fun and helpful in many ways, what we crave is emoting as a means to produce a specific end result. Not just emoting for the heck of it. As much as we like to think of ourselves as supernatural beings with emotional super powers, we're simply people who look to create a reaction. We get these little spurts of happiness from knowing we made people, for the most part strangers, feel something. You laugh? We practically jiz in our pants. You cry?  Well just roll me over with a steam roller because...I don't know why, I'm so happy I can't care to think of a less corny saying...is that even a saying?

The point is, we do this for that very specific ever fleeting reason. And we do not get complete satisfaction from performing in a class, or alone in a room, or even with friends. It's that mass connection, that grand scale of emoting that gets us to our happy place.

Reenactment shows give us the opportunity to do just that. They allow us actors/actresses with less credits or experience to feel the fire for a moment; See a glimpse of what we're fighting for. Because of reenactment shows I've gotten to showcase some of my strongest talents on camera in just a few short years. Due to extreme situations being played out, I've had the opportunity to cry on camera, be brutally beaten, murder someone, be bipolar, and the list goes on. Those are some intense scenes to have on your reel, and due to that I landed a recurring guest star on DAYS OF OUR LIVES in which I portrayed a traumatized rape victim.

I'm not saying don't take "girl 1, 2, 3". Take it! Own "girl 1, 2, 3"! Whichever one you play! Brag about it on FB! Sure you'll lose some followers but you still got "girl 1, 3"! Just don't make the mistake of skipping those reenactment show auditions. The people you work with on those projects are right there with you, waiting to make the next step. Those are directors and producers who could be anywhere within the next 5-10 years. Let them see what you can do! They're they ones who are actually watching you! Plus you'll get exposure and hopefully something great for your reel.

Rant done!

The Importance of Interstitials

Here I am practicing interstitials via skype with writer/director Stephen Mitchell.

Adding interstitials to a monologue and/or scene is vital to a well rounded and compelling performance. Life is moving and our emotions are constantly changing every second. Without interstitials we can't give a proper example of how humans interact in real life, which is the whole point of our job is it not?

Watch the video above for an example of an extreme interstitial within a monologue.

Auditioning at CBS-Radford studios

You get a call from your agent. You have a super last minute audition for ABC Family's new procedural drama STITCHERS at CBS-Radford studios. You will be reading for casting director Michael Testa, whom you've never met, in three hours. You are at another audition waiting to go in and have another one to get to in an hour. Both of these roles call for a "girl next door". But WAIT. This super important last minute audition at CBS-Radford studios calls for a "research assistant." You look down at you're bright red sun dress and wedges and start to panic. You didn't even bring you're "smart person" glasses! "Why me??!" you silently yell to the heavens. "Why now??!". Your robot "actor" self kicks into gear as the assistant calls your name to come read for..."wait what am I reading for??!". You smile politely and walk in the room. It's a blur, who knows what went down. All you know is you look way too cute to be a 28 year old research assistant who's life revolves around work!

CHAOS ENSUES, as if every half hour sitcom pilot happens to you all at once. Sure three things in one day doesn't seem like a lot but matched with traffic and the universes' burning desire to ruin your life, you barely make it you're 5:15pm appointment at CBS-Radford studios in Studio City. The security guard sees you and greets you with a smile. You start to pull out your id (a requirement to get in) and you look up to see that he has already printed your pass out due to recognizing you. You smile gratefully "I'm important!". He then shows you where to go on the map since you've never auditioned for this particular office on the lot before. You exchange a look. "Run" he says. You run, more like skip walk, all the way to the other end of the lot. There are people driving past you on golf carts and several of them call out "break a leg". You thank them while still skip walking awkwardly to your destination.

You've made it! You know this because there's a piece of paper taped to the door that says "STITCHERS CASTING". You take a deep breath and enter. You sign your name after "Alicia Something-or-another" and see that she is auditioning for the same role as you. You see a young brunette woman dressed like a research assistant studying lines. "Alicia." You try really hard not to concentrate on her. Thank god she gets called in right away. You focus on your lines. At this point there are three of you waiting to read. The door opens and everyone turns to see Alicia exit with Michael Testa, the casting director, right behind her. Michael stops in front of the three of you and asks you to give him a minute. He then steps five feet from you to talk to another Casting Director Lisa Ystrom (YOUNG AND HUNGRY) about pilot season. The three of you still waiting exchange looks. "You guys know a reading is still an audition right?". The three of you look up suddenly. "Was he talking to us?". Michael repeats the question and the four of you wind up having a lovely conversation about the film industry for about fifteen minutes. The energy seems to be shifting. You don't feel like you have to go to the bathroom. You feel comfortable with what you're wearing. The lines on the page suddenly don't look so scary. Michael finishes the conversation and goes back to auditioning you as if nothing happened. He calls your name and you enter the room with an easy smile. After all you just had a whole conversation with the guy! You're glad to know that Michael will be reading with you himself while his assistant operates the camera. You don't even have to take a breath before you start reading. It all flows well. Michael gives you a small note on the second scene. You make the adjustment and he compliments you on how well you take direction. He thanks you profusely for coming into read last minute and you thank him for the opportunity. You leave knowing that you'll be back in that office soon.

Every time I'm at CBS-Radford Studios, whether it's auditioning or filming, I have a great experience like this one. I wish every audition could be like the one I had for Michael Testa. Why? Because he simply created a safe environment for us to do great work. He wasn't a casting director and we weren't actors; We were simply artists of different nature. He listened to us. He had a conversation with us! I was able to do my best, and isn't that the purpose of auditions? To show the casting director/director/producers the best of what you have? I think more casting directors should be dedicated to creating a safe environment for us to be vulnerable in, if of course the point is to see great work.

The Campaign continues

Here I am practicing the most recent addition to The Campaign, a one woman show currently being written for me by writer director Stephen Mitchell.

I love how sassy this character is!

Rehearsing The Campaign with Stephen Mitchell via Skype

Here I am rehearsing the newest monologue of The Campaign via skype with writer/director Stephen Mitchell. The Campaign is a one woman show currently being written for me by Stephen.

Headshots...We need how many??!

Photo credit: joannadegeneres.com

It's very helpful to have several looks in your repertoire of headshots; especially if you have an ambiguous appearance (like me!). You need to hit all your bases and trust me, it's not that easy! As you can see in my headshot above, this is a completely different look for me. One of the many types of roles I get called in for is "Intelligent" (I know, very vague), so it's important to be able to convey this on many levels; the most obvious one being wearing glasses.

Check out my headshots below and see if you can find out which look I'm missing! 

Photo credit: joannadegeneres.com

Photo credit: anthonymongiello.com

Photo credit: Emily Dane Brown

As you can see, I have a commercial shot, a theatrical/action shot with little makeup, and a period piece shot. All of these go within my wheelhouse, although I'm missing just one look...have you guessed it yet??

Ok I'll tell you.. 

Beauty Shot

Photo credit: someone AMAZING

Stay tuned for my new look!

Samantha Bogach talks about her role on Days Of Our Lives

Samantha Bogach 

on her recurring role on 

Days of Our Lives

Q: Can you describe the role you played?

S: The audience is introduced to “Lucy” in the hospital after she had a traumatic experience at a party. I tend to play roles with a type of heaviness surrounding them. It’s clear “Lucy” is a strong woman but has been put in a situation in which her strength was tested. 

Q: How was the audition process, and how did you prepare?

S: The audition was a very pleasant one despite some dark aspects of the script. Marnie Saitta is a wonderful casting director! She doesn’t allow an assistant or camera man in the audition room so she reads with the actors herself. I find it difficult to prepare for a scene in which the role I’m playing has been “traumatized”, because everyone reacts differently to extreme situations. There is no right or wrong way to emote being the victim of an inhumane situation. I cleared my head, imagined this really happened to me, and went in to read the scene. When it was over Marnie had tears in her eyes, so I knew it went well!

Q: Are Soap Opera’s something you’d be interested doing long-term?

S: I love to act, so whenever the opportunity arises I will act. Some of my favorite actors/actresses have started out on soaps and I’m honored to be following in their footsteps! It seems to be a solid step for most actors who have experience and training on stage, which is my case.

Q: How do you feel about transitioning from stage to film?

S: I’m never “transitioned”; That would mean I was once something specific and am now something else specific. My job is to not be specific, but rather to identify with all art forms, including and especially the human psyche. I will always be a stage actress at heart! I strongly believe that acting on stage is the most vital prerequisite for acting on camera. I love cinema as it is the evolution of stage, and has the capability to project more intricately on a mass scale. It carries the opportunity for greatness and I truly hope it starts heading back in that direction soon. 

For further information, contact:

615-945-7062

and/or

samanthabogach@gmail.com

The Campaign advances

Here I am practicing part three of the one woman show, The Campaign, written for me by director/writer Stephen Mitchell. This show was initially intended to be aired on PPV but is also destined to be performed live.

Brief Encounter

   

Over the holidays I spent a couple weeks in Italy with my family. My ENTIRE family, all 10 of us rode in tiny boats through the canals in Venice, climbed the Duomo in Florence, frolicked through wine country, and traipsed through the ruins in Rome! It was a lovely and enlightening trip, which I can easily say about all of my experiences overseas.

I even got to connect with an industry professional while I was in Rome thanks to director/writer Stephen Mitchell. He connected me with a good friend and colleague of his, John Lawrence Ré (CEO of Northern Arts Entertainment) who then connected me with a friend and colleague of his, Carl Haber, a director/writer and film professor at the American University of Rome. Carl was amazing to talk with and gave me a lot of ideas of how I can pursue my dreams while still traveling and living the life I want to live. He also gave me some solid advice on screenplay writing and offered insight on the feature I'm currently writing. We agreed to keep in touch via Skype!

Traveling is so much more than just "getting away" from it all. It's a way to find yourself on multiple levels. You come back knowing secrets about yourself you never thought to unlock. You see yourself everywhere..in the history that's so alive it still holds feeling and presence. In the locals relaxing with their espresso in the middle of the day because their shops are closed for "siesta". In Michelangelo's "David". In your sister as she stares in awe at the buried ancient city. You start to separate all that doesn't make you feel this good, this free. You put it into a box and you never open it again. You discover a secret; We are all the same in some unexplainable way and it is time and circumstance that makes us feel separate.

Acting is putting yourself in a circumstance and acting truthfully within that circumstance. One of the most admirable things you can do as an actor is to lose yourself in a role so much so that the audience doesn't even recognize you. I find that using this secret, I don't have to "lose myself". I recognize that I could easily be any of you just as easily as I wake up as myself every morning. So the "self" I am is the thing that recognizes that, not the tiny outside things I attach myself to. I am a ball of emotion, logic, love, air and water. And I can relate to anyone or anything if I fully understand the circumstance.

Traveling allows room for discovery and presence, both which are crucial to being a well-rounded actor and a well-rounded human being. I can't wait to fill in the gaps with my next adventure!

Mockingjay Part 1: Did anything happen?

As a reader of The Hunger Games trilogy I of course went to see the third film adaptation of the series, Mockingjay Part 1 (directed by Gary Ross). I thought the film was a pretty good representation of the first half of the book, where nothing happens at all....

Most of the film consisted of "Katniss" (Jennifer Lawrence) walking through the rubble of destroyed districts while on the brink of tears. Now I understand Lawrence was probably filming a couple other projects either side by side or pretty close to the filming of Mockingjay, but her performance plays true to the quote "don't bite off more than you can chew". I found her performance to be lazy and completely lacking in truth. We've all seen "Katniss" grow throughout the past two films as a true heroine; Strong, detached, full of mystery yet always willing to take the bullet. This "Katniss" did not honor her. After going through the games not once, but TWO times, don't you think she'd have lost some vulnerability? The games, where the only way to survive is to become literally inhumane. Don't you think she would have not only run out of tears to shed, but also forget that she's even human. All I saw was a weak, sappy, and irritatingly naive young girl which caused me to wonder, "what happened to our Katniss?". The entire film relied on Lawrence's performance because, as I said before, nothing actually happens. Her talent was the only thing keeping this well done blockbuster from turning into a typical hollywood sham of a film; which is exactly what Mockingjay is. 

As for the rest of the sub-par film, "Katniss" (Lawrence) and "Gale" (Hemsworth) had absolutely no chemistry, which is strange because apparently they are very close in real life. The tension between the two characters was a huge flame in the last book that kept the story flowing, which unfortunately is lacking in the adaptation. 

The only thing that makes this film worth watching (if it is at all) is the amazing and surprising performance by Josh Hutcherson. I was a bit unimpressed by him in the first two films, but I must say I was blown away by him in Mockingjay. during his screen time which consisted mostly of close-ups, he captivates the audience with his honesty, perplexity, and the twinging pain that seems to never leave his eyes. I left the theatre saying to myself "Where did he come from?". Lawrence was clearly the stronger actor in the first two films and in this one they seemed to have switched places. 

While the late Philip Seymour Hoffman as well as veterans Julianne Moore, Donald Sutherland, and Woody Harrelson did pull in fine performances, there just wasn't much for them to do with this half told story. I kind of forgot about them...

All I ask is that when there is $125 Million on the line, please for the love of art MAKE SOMETHING WORTH WATCHING. If the studios in Hollywood weren't so consumed with making money and they actually concentrated on the QUALITY of the films, then guess what? Everyone would win! We'd get to see great quality films and they'd STILL get to make tons and tons of money. But ya know what?  Tons and tons of money just isn't good enough for them. Mockingjay so very obviously should have been one movie and the only reason it's not is because now they get to make DOUBLE.  

Thoughts on Interstellar, Birdman, and Gone Girl

The last three movies I saw were Interstellar, Birdman, and Gone Girl (directors- Christopher Nolan, Alejandro González Iñárritu, and David Fincher).  Each of these films are extremely well acted, written, and directed, and are already contenders in this years award season. I did however notice a strange similarity in the way I felt when leaving the theatre for both Birdman and Gone Girl that was drastically different than the way I felt when leaving Interstellar.

I'm very empathetic which can be fun while watching movies, as I truly feel that I'm sharing the experience with the characters. Of course this can also be emotionally and even physically disruptive while watching something painful (emotionally or physically) since I share that experience as well. While watching Birdman I felt very connected to the lead character (Riggin- played by Michael Keaton) because actors share similar "demons", mostly leading back to the need for outside acceptance and praise in order to feel fulfilled. Although I related to the character of "Riggin" which is wonderful, the film left me very emotionally confused. I felt there was no solution to this "demon" living inside Keaton's character, which made me think there was no solution to my own "demons". I felt that the film forced me to look backward at my personal problems instead of looking forward into the light at the end of the tunnel.

A similar emotion arose after seeing Gone Girl when the only conclusion I could come up with was, "both of these people are terrible." I felt confused as to why I spent over two hours watching humanity at it's worst with absolutely no message behind it. This too made me look backward on the world's issues instead of forward.

I know that every film can't be happy and positive the whole way through, and I personally would find that extremely boring. What I do think every Studio film should have at this point in time is a message that makes people think FORWARD. We know our society's issues. Everybody with an active facebook knows the condition of the world today in every aspect and from every person's point of view. We are on the brink of a spiritual and scientific revolution where we can share ideas and beliefs without filter whenever and with whomever we want. The lines are blurring and the light is spreading like wild fire. I think it's about time the media caught up.

I know It's easy to say, "A movie is just a movie", but think about what our subconscious takes from these blockbuster films. Movies like Interstellar force us to think progressively because of it's message. I'm not saying every film has to be about literal progression like Interstellar. I'm saying the most beautiful messages are always intertwined within the darkest of tales, and that might be the only thing I know certain to be true in this life. Why put something out there for the world to see that hones in on yesterdays problems, unless it leads us somewhere new? Where there is darkness there is always light and that message should be underlaid whenever possible.

Samantha Bogach talks about The Campaign

Q: What would you like to tell us about The Campaign?

Samantha: It is a one woman show that was written for me and initially intended to be aired on a PPV channel, but is also destined to be performed in front of live audiences.

Q: What sort of character are you playing in this piece?

Samantha: She is more me than not. She appears to be vibrant and invincible but can become emotionally vulnerable without warning. I find her to be fascinating and unpredictable.

Q: What is The Campaign about?

Samantha: On the face of it, it’s about a young woman trying to gain acceptance with a constituency that either doesn’t know her or has only heard negative things about her. At it’s core it speaks to the need that we all have, in varying degrees, for acceptance and to have others understand who we really are. The character is ahead of the game in that she realizes that it is incumbent upon her to understand her constituency, their wants and needs, if she is to expect them to understand her. You could say it’s a story about reciprocity.

Q: What led you to become involved in this project?

Samantha: I found that what I was reading in my free time was far more interesting than what I was reading in the audition room. This project is intended to eliminate the gap so that the audience will witness something that is as interesting as it is enlightening.

For further information, contact:

615-945-7062

and/or

samanthabogach@gmail.com

Mike Nichols 1931-2014

Today the industry lost an amazing asset to the world of directors, Mike Nichols. Mike has personally been a favorite director of mine having directed some of my favorite films, "The Graduate", "Closer", and of course "Who's Afraid of Virginia Woolf?" which is shown in the clip above.  This clip alone, in which Elizabeth Taylor and Richard Burton beautifully play to their brands, is a wonderful tribute to Mike as a director. Not only did Mike direct some of Hollywood's most legendary pictures he had a big helping hand in some of our most beloved actor's oscar winning performances, including Meryl Streep and Dustin Hoffman. Nichols was know for bringing out the best in his actors- “I love to take actors to a place where they open a vein. That’s the job. The key is that I make it safe for them to open the vein.”- Nichols. Rest in Peace Mike, you will be sorely missed.

And each of you...

This is an extended monologue written for me by writer/director Stephen Mitchell. It is on its way to becoming a one-woman show for PPV, but could be performed on stage as well. It's still a work in progress and we are having fun experimenting with it. Here I am playing with tonalities..

An exercise on nonverbal communication

Here's an exercise on nonverbal communication provided for me by director/writer Stephen Mitchell. I hit nine different emotions in this nonverbal "monologue"; Can you tell what I'm feeling?

On being a Warrior Goddess...

I've been into stage combat for years- working on classic and contemporary theatre pieces, but within the past couple of years I've transitioned into cinema where I've been able to bring my stage combat into play in a slightly different way.

I started working with Cross the Line Entertainment, a company that produces live-action comic book movies, where I was provided with stunt fight training for film (hand-to-hand combat and weaponry). Fighting for camera can be tricky because you have to be very aware of your placement in correlation to the cameras. Ex. If the camera is in front of you to you're left, a left jab would have to go straight behind the left side of your opponent's head in order to sell to camera, and same goes for the other side. A knee to head would have to go behind the head of your opponent (the head being in between your knee and the camera) so the lack of impact would be hidden. You have to be aware of where the camera is at all times throughout the scene for the DP to fully get the shots he/she needs. Everything of course depends on whoever is "getting hit" to sell the "impact". Big reactions will make or break a fight scene. I personally love getting beat up- it's super fun!

The best part of having stunt fight training is the opportunity it brings in the acting world. Since I can do my own stunts I make it a lot easier on casting and production because they don't have to hire a stunt woman. If you're not able to get training circumstantially like I did, I'd suggest taking classes (GROUPON!) to broaden your chances in this industry. It's a great skill to have under your belt!