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Inspired by Louis Malle's 1981 movie My Dinner with Andre, the story is about two ladies who lunch regularly and share their very particular, if not peculiar, views of themselves and the world around them and satirizes the obsession with status and standing in the modern social media era.

An odd pairing of a cultured ladies' man and an uncouth slob in this televised one-act play which examines how the unscrupulous men seek out wealthy women to seduce and murder for profit and delves into a growing tension and resentment that threatens to dissolve their unsavory but lucrative partnership.

From September 1985 to early 2001, 500 half-hour segments were produced. (Interview) resulted in regular sales of story ideas to film production companies, producer and directors. The series generated a "first-look" deal with Tri-Star Pictures, who would pay to see segments of (Interview) before it aired on cable television. (Interview) version française is a French language version.

Clip Joint is a show-within-a-show (à la Larry Sanders) about a self-absorbed, narcissistic movie reviewer. Whenever the show offends a V.I.P. with its content, the show put the offended party on the payroll to silence them, hence the studio is full of silenced malcontents.

It's the Kid's Word is a comedy about a child actor who took early retirement and "went out on top"--six months ago. He's rich beyond belief and keeps a full-time staff of retainers and attorneys working overtime to maintain and oversee his dynasty. Having conquered the real world, "The Kid" matriculates into the world of his cellphone game environment where he can confront and conquer the characters and situations he discovers there. From within the cellphone he makes calls to his friends eliciting their help in overcoming enemies and obstacles within the game.

Carrera Panamericana road races held in Mexico (1950-54) were colorful, fast and perhaps the most dangerous in the world. Features original footage and Stephen Mitchell interviews, including the legendary John Fitch.

As The French Chef, Philippe Léotard takes us on a tour of Paris pointing out notable cultural and historic sites on the way to the Place du Tertre in Montmartre where he escorts us into La Mère Catherine restaurant. In the restaurant's kitchen, Philippe prepares his recipe for us with help from his assistant, a showgirl recruited from the famous Crazy Horse saloon in Paris.

Each week, the show presents a fictional interview with an 'author' who has written about an extraordinary event in his or her life. The interview is presented as real except that the end credits reveal that an actor has played the role of the fictional author.

The Question-Asker is an enigmatic and foreboding character who confronts his target with a question that imparts dread and panic and knowledge of a terrible event to come. His target must choose between taking action or remaining passive with either choice having unavoidable and devastating consequences.

In launching a career as an actor, writer or director, it is important to understand your brand and develop it to a point of expertise before marketing to the people who actually hire actors. Follow all of the expert advice and you are likely to end up in the parking lot instead of on the 50-yard line taking snaps from center. If you are still doing under-5s, your career has yet to launch.

Most of what you communicate as an actor--both on and off the screen--transacts at a subliminal level. Learn what you are communicating with just a look and how to tailor your message to convey that you are a seasoned professional worthy of upgraded roles.

Branding and typecasting are at the opposite ends of the spectrum for an actor or any artist, for that matter. Learn how branding applies to lead roles and typecasting regulates background players. The consequences of each will affect your career.

This quote from Miles Davis was meant for musicians but is particularly applicable to actors and points to the essential part of acting. Dialogue, in my estimation, is only twenty percent of a performance. The performance of unspoken thoughts--what is not there in the script--is where the magic resides.

An effective brand not only articulates the personality dynamics of an actor or actress but it can serve as a catalyst for bigger, better and more challenging roles as filmmakers start to see your brand as more interesting than the character as written in the script they are casting.

Everything you do on screen sends a message about you, the story and other things as well--especially your relationship to other characters in the film--so it is best that an actor understand the impact of his or her actions--nothing should be random or arbitrary.

The better defined a product is, the easier it is to market and that which makes you different is what defines you for the audience. Whether the product is a Ferrari automobile or an actor's onscreen persona, the definition of a brand is critical to its success on the marketplace.

In my book, Action/ReAction, I advise actors to think of themselves as singer/dancers as the rules of those disciplines apply very effectively to speaking dialogue and expressing emotion. In this podcast, I talk about the use of vocal tonality in making a performance more organic.

Once you have mastered the art of playing a character, there is another layer of performance you can confront. It isn't in the script and you have to give yourself permission to author and implement it but it can and will take you to another level as an actor.

I encourage actors to think of their careers in strategic terms and to approach their acting from the perspective of taking control of what may seem to be uncontrollable. Forgetting the writer's division of character types--protagonist, antagonist and so on--I suggest understanding functional aspects that can make a pathway into the industry easier.

No. You don't need to know anything about the character because my advice to actors is never play the character--play your brand so that every performance increases your fan base and furthers demand for you in whatever project you may undertake next.

No one succeeds in the entertainment business without receiving help from somebody. The trick is finding someone who has specific advice rather than generalities and platitudes you are likely to find on a greeting card at the supermarket. Playing to win goes beyond merely playing.

A philosophical approach to acting can change not only the way you perceive yourself with regard to the industry but the results you achieve as well. Are you content to be a job-seeker or are you intent on building your own franchise and charting your course through the marketplace?

Acting: A cynic's perfect paradise or reflections on keeping one's head above water for as long as possible. As Steely Dan would say, acting is a 'Glamour Profession' and more people want in than the business could possibly accommodate. The best way to succeed is to combine a cynical viewpoint with an astute understanding of human behavior.

Why paying attention to this can take your acting to the next level. Rushing through the spoken part of a role deprives the audience of the interactive aspect of a performance and can rob you of a career. You want to engage the thought process of viewers by orchestrating what you are showing them. Try the experiment I outline at the end of the podcast.

How do you get an agent? When do you need an agent? What does an agent want? Finding an agent means contracting with a professional where you both have something of value to exchange in present time. It's important to find out exactly what your valuable offering is so as not to waste our time. Know that an agent cannot commission quality.