CITY BABY trailer from David Morgan

CITY BABY trailer from David Morgan on Vimeo.

Available on iTunes and all other digital VOD platforms April 22nd.
Links coming soon!
CITY BABY is a Portland-centric coming-of-age story about a group of meandering 20-somethings trying to find meaning in the new world of adulthood. CITY BABY features live performances by Glass Candy and STRFKR/Starfucker, a soundtrack of local Portland bands including Chromatics and The Helio Sequence, as well as a cameo from musical frontman Stephen Malkmus (Pavement).
An updated REALITY BITES for the Me Generation, CITY BABY ruminates on themes of love, class, and contemporary youth subculture. CITY BABY follows Cloey, played by Benesh (PORTLANDIA, RID OF ME), who is reluctantly plucked from her party-girl lifestyle and forced to deal with her real life. Pressure from her dad (Daniel Baldwin – TREES LOUNGE) to find a job, her best friend Paige’s (Jillian Leigh – A BIG FAT LOVE STORY) new relationship driving a wedge between them, and a balancing act of two romances with an aging rocker (Andrew Harris – SWEAT, LEVERAGE) and a yuppie ad agency guy (Richard Keith – GREYS ANATOMY, VERONICA MARS) all weigh heavy on her young heart.
“Pungently captures [Portland’s] arty, hipster milieu… a striking performance by Cora Benesh” ~ Frank Scheck, The Hollywood Reporter
“A well-made unpretentious indie, solid picture bolstered by the cast and unobtrusive direction.” ~ Mark Zhuravsky, Indiewire
“Dreamy tale of beautiful people problems, a loving portrait of an obnoxious culture.” Sarah Mirk, Bitch Magazine
“A surprisingly excellent movie and well worth seeing.” Amy R. Handler, Film Threat
“Turns a refreshingly critical eye on the city’s most frequently exported stereotypes. There’s real social commentary and insight here.” Allison Hallett, The Portland Mercury


“the black sea” Official Trailer 2014 from Brian Padian

“the black sea” Official Trailer 2014 from Brian Padian on Vimeo.

a narrative feature film debut | written & directed by Brian Padian | produced by Scott Ballard & Brian Padian | starring: Cora Benesh, Erin McGarry, Corrina Repp, Bill Sebastian, Matt Sipes, Joe von Appen | shot on Super 16 mm by Scott Ballard | original score by Jesse Jones | edited by Evonne Moritz | sound design by Jordan Eusebio


The Punishing Business – Official Trailer

Heather Harlow


Casting By: A Benefit for


The Tom Todoroff Studio & Conservatory

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John Krasinski – Off Camera – “Auditioning for The Office”


SIGNS Short Film [official]


10 DAYS in New York




Many writers want to direct their own work and many actors write projects for themselves. I am a huge supporter of writers having a hand at directing and for actors to create their own projects. I always encourage artists to do whatever they can to stay immersed in a creative process and stop waiting around for whatever they think is supposed to be coming.

I am a big believer in script development. Just because a script has been written doesn’t mean it is ready. There are several stages of development the piece will go through before it becomes a fully realized production. For the first reading of the piece I usually suggest for the writer to separate themselves from the project. What I mean is, if the writer intends to direct I encourage them to have an outsider direct it, if they intend to perform it I encourage them to have another actor read their role. At this point I usually get some resistance, which I both anticipate and understand. The director knows how they want to direct it and someone else might not see it the same way (exactly). The actor wrote the role for themselves and even at the reading stage doesn’t want to consider seeing anyone else in their role.

Of course you can direct or star in your piece, but how is one supposed to get any perspective on the writing, the story, or the dialogue if they don’t take a step back and watch it from the point of view of an audience member?

When I was developing my solo show Year of the Slut someone suggested I do a reading but cast another actor (or several actors considering I was playing 10 different people) and listen to it. This statement felt like a dagger piercing through my heart. It was my show. My ego was standing firmly in the way of the work. Initially I didn’t take that advice, I went forward with my first workshop and I’m sure my show suffered because of it. It was still a good show, but it was by no means great.

Once my show got into a festival in NY I had several months to continue workshopping. This is when I finally had another actor read the script while I simply sat back and listened. It was incredible, the fact that there were several changes I needed to make, that I simply couldn’t see without taking a step back. It was not an easy lesson but it was a valuable one. It wasn’t about me, it was about the writing and pushing through to a level of greatness.

Now, stepping away from the piece is an automatic decision when I’m developing my writing. For my latest production, Dumpwater Divas, it was a no brainer to have another actor read my role for the first couple of readings. I was already the Co-Creator/Writer and Executive Producer for the project – I needed to be in the audience with a critical eye/ear. There wasn’t any room for me to wear the ‘actor hat’ in the development stage. After several readings and re-writes I was able to step out of the Creator/Writer role and step into being the actor.

Many times in the creative process we have to put our own egos and desires of ‘how we want things to be’ aside in order to serve to needs of the work.

More on Art vs Ego next week.
Article Courtesy of


A look at the hidden force controlling Hollywood and the Music Industry. Things are not what they seem…

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