Spencer Beglarian An interview with Mary J. Shirmer
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Spencer Beglarian is an accomplished actor, director, producer, and screenwriter. Trained at the American Academy of Dramatic Arts, he earned a bachelor's degree in fine arts from USC School of Drama and a master's degree in fine arts from Yale School of Drama. He's produced documentaries, short films, educational videos, and a 13-episode, half-hour weekly TV series that aired on an ABC affiliate. A member of SAG, AFTRA, and Actors' Equity, he's starred in films, including the short festival film, JUST DON'T DO IT, which he wrote. He's had roles on SABRINA, THE TEENAGE WITCH, THE DIVISION, CYBILL, and CHEERS, among other prime-time shows. His extensive theater experience includes Broadway, off-Broadway, and Yale Repertory Theatre plays. Beglarian teaches at the Fashion Institute of Design and Merchandising in Los Angeles. His Web site is www.spencerbeglarian.com. He took time from his busy schedule for an email interview. 1. How does being an actor affect your screenwriting and visual storytelling? I think my education and experience as an actor have been great assets for screenwriting in many ways. At both USC and Yale Drama School, we were trained as actors to analyze and break down texts. When I work as an actor, I always strive to fulfill the function of my role and the individual scene as it informs the entire story and flow of the action. Psychology, needs and subtext are crucial elements of character that we explored in the text along with action and how it relates to each character’s arc and journey through the story. This critical insight and objectivity are great tools when I write as well. Also, because all actors thrive on playing complex characters with rich needs and distinct traits, I try to write characters that are multi-layered, textured, and unique – roles that actors will want to play. Dialogue, behavior, physicality, back story, props, settings and locations all become quite specific when I write because I always envision acting the role, so I can imagine and realize what is truthful, real, physically and psychologically dynamic. My imagination has been trained to visualize every action, beat, objective and specific detail. Ironically, writing is often more thrilling than acting because, as a writer, I get to play all the roles! Once we get to rehearsal and production, however, I take direction as both an actor and a writer. Ultimately, film is a director’s medium, so I feel my job, as either writer or actor, is to trust and integrate the vision of the director. 2. Since film is an international commodity, what genres do you think travel best? I suppose stories that are truthful, universal and profound find an international audience. Great characters are appealing to all audiences. I believe the best films possess essential elements that transcend the boundaries of language, culture, time and place. These films might be from any genre. 3. How important is networking in your work? Networking is crucial to success in any field, but it is only a third of my focus. My energy and goals are focused into three categories: creation, profit, and promotion. Creation might be when I write something on spec, experience other art forms, research topics or new trends. Profit is defined by the jobs that pay which may or may not satisfy my creativity. Finally, I focus on promotion or “putting myself out there,” e.g. submitting, marketing, networking, meeting and searching for more work. Ideally, a project I’m working on might allow me to benefit in all three of these areas, but that’s not always the case. I try to explore creative ways to network through film festivals, the Internet, writing groups, markets, workshops, even alumni associations. I think the key to effective networking is to research those individuals I meet and discover how both of us might benefit from our connection. 4. Does being a screenwriter give you more respect for written material, i.e. does it make you less willing to deviate from the script when you act or direct? As an actor, I have always felt it is my absolute duty, honor and privilege to respect the written material. Everything I create as an actor comes from the text. However, film is considered a director’s medium. Consequently, as a writer, I’ve always enjoyed integrating feedback from directors, producers and actors. It makes me a better writer. Film thrives on collaboration, so I have learned that as a screenwriter or actor it is my responsibility to absorb, adapt and satisfy any creative input. As a director, I feel I must respect and work with the screenwriter until we are collectively satisfied with the script before it can be filmed. I’m currently developing a feature I will direct but haven’t written. I chose the script because I love the characters and the message. My notes and feedback to the writer only concern increasing the visual elements and behavior of the characters – how the story is told rather than what the story is saying, and our work together has been hugely rewarding for both of us – a true collaboration in the very best sense. I suspect it is because I’ve been in his shoes. As a director, I am committed to shepherding his script, respecting his talent and sharing his story with the broadest audience possible. I believe there are four phases of a screenplay’s transformation into a film: the page, translating the page into footage, editing the footage into a film, and re-cutting after feedback from the producer, investors and/or audience. 5. Will computer generated images make actors obsolete? I doubt actors will ever become obsolete. Nicholson’s grin, Streep’s metamorphoses, Hanks’ impulsive humor and vulnerability, and Monroe’s physicality and vocal modulations prove that such unique creations and humanity can’t be copied or programmed. Still, I wholly embrace and look forward to the wondrous innovations that technology affords. I am forever amazed by the progress of filmmaking 6. What are three common mistakes that new screenwriters make? I think we can underestimate the sophistication of today’s audiences, spoon-feed the set-up and plant exposition in ordinary ways. How much information I release, the timing and the way in which I reveal it are major creative challenges I face whenever I am writing a script. I would strongly suggest that new screenwriters tap into their own personal experience and imagination, strive to develop the emotional lives of their characters, and care deeply about what their story has to say or offer to the audience. Most important, don’t ever give up! 7. You write in short and long form. Which do you prefer, and why? I’m inspired by both forms. A great, 60-second commercial, innovative music video or seductive trailer is really carrying on the tradition of the short film as an art form in our culture. Currently, the U.S. film industry doesn’t really recognize the short film as a viable commodity. This is unfortunate because, with shorts, I can offer a slice of life, explore an issue, or tell a simple story with a strong reversal and no excess – like a great short story. The audience can laugh, be moved, transported or surprised immediately, but I’m challenged to utilize every frame for the greatest advantage and impact. With features, I need to orchestrate a journey with multiple characters, development, structure, motif and resolution, much like a novel. I have the luxury of time and a captive audience with a feature, but the responsibility is greater in a sense. I have to keep my audience involved for the duration, modulate the experience I create for them and ultimately offer something that is, hopefully, worth their time. 8. Please explain to our readers your decision to become a hyphenate - a writer/director/producer/actor. Why did you enter all of those creative arenas? My father was a composer, and he played a range of musical instruments in order to experience the distinct characteristics of each (e.g. strings, brass, woodwind, and percussion). As a result, he could appreciate what each player contributes to a composition. I feel the greater my range of experience, the more respect and sensitivity I’ll have for the variety of disciplines that make up film production. By understanding the process and input of each member on the production team, I hope to inspire, integrate and utilize the best from everyone. I want to know how best to foster and support the entire creative process of making a film. On the other hand, when I am contributing to someone else’s project or functioning in only one capacity, I know how to adjust, support and facilitate as a team member. From a logistical standpoint, lower-budget films seem to be often written and directed by the same person. I suppose hyphenates can simplify the process of making movies and offer a purity of vision which will remain from script t o screen. 9. Do you prefer writing for TV, film, or stage, and why? I love writing, regardless of the medium! I find writing for an existing TV series has the most specific objectives and parameters. My intentions are very clear when I write in that medium. The characters, relationships and situations have already been created. Producers know what they want, and the audience response is almost immediate – your work will be broadcast within days or weeks. When I write for TV, deadlines can inspire my very best work. TV can be very rewarding and challenging because it tests my innovation and ability to work under pressure. If I am writing a TV pilot, I need to create a story that is unfinished. I have the luxury of developing characters and a story that will play out over time. My job is to reinvent these elements and innovate. With film, I have more freedom, but greater responsibility. Film offers less of a blueprint, and I must create the arena, characters and story as a complete experience. The action, visual storytelling and characters must be clear and realized for the very first time. I know with a film there is a certain alchemy that will happen with the director in development, on the set, in post and editing, so the process is less formulaic. When writing for stage, language becomes a primary focus for me because the audience can’t always see the intimate actions and details of your characters. The physical limitations of a stage often dictate the location and breadth of the story. Right now, I’m exploring writing a stage musical which has the potential to be a film or TV production as well. This concept of adapting material written for one medium to others is quite exciting and inspiring to me. The same story and experience can be shared in a variety of ways, e.g. CHICAGO, THE FULL MONTY, HAIRSPRAY, THE LION KING. 10. In persuading actors to become the characters the screenwriter envisioned, are the clues in the description or dialogue? Would you please give an example? I think actors find
clues in dialogue, action and description. I can communicate so many things
with a specific description, what a character is wearing, some well-chosen
adjectives, the vocabulary or cadence used in dialogue. Below is a rather
extreme example of how being specific as I write can create and communicate
a much more vivid characterization. 11. Is a script's potential to make money - pure and simple - the attraction for any producer? I wish a producer could predict a script’s potential to make money! I’m sure some producers focus only on profit, but I believe many have various hopes for a script. The potential for critical recognition, winning awards, a hit soundtrack, subject matter, the talent involved, or an unusual story could also attract a producer. Again, these elements might bolster its profit potential, but no script is ever a sure bet. I think many producers want to make quality films that reflect their taste, foster new, creative talent, tell stories that matter and make a difference in people’s lives. I could be overly optimistic, but I do believe that generosity, wisdom and the satisfaction that they might contribute to the power, humanity, quality and legacy of film might be of equal or greater value to box office for some producers. 12. It's such a struggle/challenge for new screenwriters to break into the business. Do you have any advice about self-promotion? As an actor, I always knew I had to put it out there on a consistent basis to get some return. Invest in yourself. Move beyond your comfort zone. Meet people. Tell them about your work. When you win a contest, have a new script, or career update, remind them. Follow up on all your leads and contacts. Use the Internet for research and communication. Write for a specific audience, producer or market and then pursue that target. Market yourself as you would a product or service. Start out by submitting a query a day for a month, rather than thirty queries in one day. Be realistic about your goals and what you hope to accomplish, but be creative and begin with small steps. Ask some actors, whose work you like, to do a reading of your script. Invite an audience when everyone feels it’s ready for one. Don’t be afraid to explore the potential of making your own short film or feature. I’ve learned that people who say no or reject you will often say yes as soon as someone else does. Remember that everyone has a different opinion, but not everyone can be right. Be generous with your talent. Do some things for free or on spec. You can charge them the next time. Build a body of work and a reputation that reflects what is unique about what you have to offer. Try to maintain a sense of humor and enjoy yourself. Use a calm tenacity and cheerful persistence as you pursue y our dreams. Thanks for your time and insights. |
