http://jimloftus.com/news.html Jim Loftus: Journal Jannis' PHPRss class - http://www.jannis.to/ Mon, 06 Sep 2010 01:07:48 -0700 http://jimloftus.com/news.html#31 I got to the set around 6:15AM(I had let them know that the bus gets in around 6AM and I'd get to set ASAP after that)...wardrobe supplied me with a cool blue striped power tie to go with my new suit I had brought, and they OK'd my second change for a later scene with my purple shirt and tie, and Navy blue sport coat and black slacks. Scarfed down some breakfast at the catered buffet outside of St. Bart's, and an hour or so later several of us were led to the set--I had wondered what "upscale steakhouse" had been secured by the "Locations Crew"--and was pleasantly surprised that it was the "Bull & Bear Steakhouse" located in the prestigious Waldorf-Astoria Hotel, adjacent to St. Bart's. ( http://bullandbearsteakhouse.com/ ) I had a wonderful history with the Waldorf--having played grand piano for a tribute gala dinner for Milton Berle in a banquet room there back in October 1996(with a cavalcade of stars in attendance including then-Mayor Rudy Giuliani). I also played a wedding reception for a lovely couple from London in a suite at the Waldorf Towers a few summers ago, so being back at this NYC landmark was a sentimental treat! As we entered the Bull and Bear, I was eventually placed at the bar with a nice lady named Christine; others were seated at tables adjacent to the main dining table where the star actors would be in dialogue. We were given "prop drinks" to "drink"(appropriately mine looked like a scotch on the rocks--lol)..in another scene Christine and I were placed at a table near the bar; it seems the entire restaurant would be involved in a sweeping camera shot to capture the idea of a full restaurant that the stars were dining in. One star jumped out at me--yet none of us that I spoke to were able to pinpoint her name...I kept thinking she had a middle name that she also used in her "stage name"--and it wasn't until the next day after doing some googlng that it came to me--MARCIA GAY HARDEN--check her out at http://faceof.net/marcia/news.htm ...as that site mentions, Harden joins the cast in it's new second season as a high-powered attorney who locks horns with Glenn Close's character. While we were shooting these initial scenes, I noticed another actor who had been at the "main table" come into the bar area on a break. I recognized him as an actor from a soap opera(or two), yet something else about him tugged at me. It wasn't until I was tapped to move into the dining area for some later scenes, sitting at a row of 2 seat tables along the wall that this actors identity became clearer. He was addressed as "Mark" by one of the directors--and then it "clicked"--Mark LaMura, who had played Erica Kane's(Susan Lucci's)brother on "ALL MY CHILDREN" back in the 1980's. What I also knew was that Mark was also an alumnus of Allentown College of St. Francis DeSales(now DeSales University), and I saw him do various Shakespeare Festival roles at the college several seasons ago--yet we had not met. I was a Theatre & Speech major there from 1979-1981(left to do radio at WAEB and then WZZO in the Lehigh Valley)--Mark was there during the inception of the Theatre Department, taught by it's founder Rev. Jerry Schubert and Bill Callahan(as I had been). On a break, Mark happened to be walking by me and I introduced myself. He was happy to learn of our similar backgrounds, and asked me what alums I might have known that he also knew. Hopefully we'll be in touch in the coming weeks as there are some Alumni functions going on. Small world, huh? Learn more about Mark's years on "AMC" at http://pinevalleybulletin.com/Quick%20Guide/BiographiesWeb/DaltonMark.html
On breaks in the action we would return to our holding area, on the 3rd floor at St. Bart's Church, and by around 2PM many of the actors on set were "wrapped" for the day--they were Non-Union. The remaining 15 to 20 or so AFTRA actors including myself were told to change into our "2nd change", and not long after we returned to the "Bull & Bear". I was seated again in the dining room at the same table by the wall as previously, with an actress named Vivian. They were shooting some bar scenes with Marcia Gay Harden and we would be in the background of that-- with a waiter coming to our table refreshing our wine glasses. Vivian and I were able to converse in whispers as were away from the basic action, and we talked about the recent upheavals with Lehman Brothers and the weather in Texas, which affected some of her friends. Before we knew it the scene was over and we returned to St. Bart's for a 3PM buffet lunch that was to be savored(I always look forward to the meals on set--first class!) Since the "Bull & Bear" had to get ready for their regular hours of business--our time there today was over--and so we were wrapped at 3:30PM--I and many of the actors were relieved that it wasn't a 12 hour day or more as we were all pretty exhausted(even NYC area actors can't seem to sleep much when there is a 6AM calltime). I caught a 4:30 bus back to the Lehigh Valley, closed my eyes and reviewed this great day in my mind...THIS EPISODE ENTITLED "A PRETTY GIRL IN A LEOTARD" will debut Wednesday, February 11th,2009 on FX(and will air a few times that week until the following Wednesday)... visit their Official Site at http://www.fxnetworks.com/shows/originals/damages/ .]]> http://jimloftus.com/news.html#31 Wed, 17 Sep 2008 00:00:00 -0700 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#30 www.harveyatkin.com --of "Cagney & Lacey" fame). I, along with about 6 or so other actors who were also plucked from the courtroom "cast" to be stand-ins, headed for set to watch the rehearsal. I circled my lines on the script and watched the first scene unfold. The episode was entitled "SWING" and involved some drama close to home to the character Elliot Stabler(Played by Chris Meloni). His daughter Kathleen(played by Allison Siko)is in trouble with the law, and Stabler's estranged wife Kathy(Isabel Gillies) is seated adjacent to her daughter. Tempers flare in this scene and the Judge has to restrain Kathleen; Kathy storms out of the courtroom after strong words to Stabler. The stand-ins are referred to as "THE 2nd TEAM" and so not long after several rehearsals we took the places of the "1st TEAM"(the stars)...how cool was it to sit in that big Judge chair with the gavel to my right ready to pound away! Our job is to help the crew set up camera angles/lighting and so forth, sometimes running lines to cue each actor and keep the scene flowing. Later we would report back to set as our actual "characters"(seated in the gallery of the courtroom simply watching the arraignment proceedings). The crew runs the scene several times on camera, changing the focus so as to get closeups of various actors and their lines. Originally the right side of the courtroom where the defendant was not standing was not in camera view; but after the crew got what they needed on that side of the room, they reversed angles to catch our reactions on our side of the courtroom.
The defense attorney for "Kathleen" was ironically played by C.C.H Pounder--a recurring role she has as "Carolyn Maddox"--it was this actress who asks me the hypothetical question in my first SVU episode "STRAIN"--"You've got a gun--would you shoot him(Osama Bin Laden)to save the city?" The camera then zooms in on me and my pensive closeup. Well later in the day during rehearsals for the second arraignment scene, the "1st team" returned to set, but Harvey Atkin(the judge)was nowhere to be seen...I stayed put in the chair and was asked by the Assistant Director if I minded saying his lines. I certainly needed no prodding and jumped in with glee. The scene actually "belonged to the judge" in that it was his verdict rendering of Kathleen. I was told to pick up the scene at the very end where the judge says to Kathleen "See you back in six months for a status check"--he then pounds the gavel and bellows "Call the next case!"...I can't tell you how cool it was to see C.C.H Pounder and Mariska Hargitay(Olivia Benson--the show's co-star)along with Meloni in the back of the courtroom watching me and avidly listening to my decision. Mariska(as Benson)stares at me(as the judge)with a look of agitated disbelief and makes a quip to Stabler(Meloni)as she exits the courtroom unpleased with the verdict. We reheased this for at least 20 minutes and then broke for a late afternoon lunch.
After lunch we returned to the courtroom to finish this second scene--I and a few other actors were selected to walk past the courtroom doors as Mariska is exiting the courtroom(as described above), so look for me when she exits(if you catch the episode). Being a stand-in has perks of a higher pay rate--and I would also learn at the days end(we had what would be considered a short day today--wrapped at 5:18PM)--I learned that my "offstage lines" during the rehearsal also counted for a few more bucks. We have vouchers we complete with all this info recorded, and the the PA signs it and gives us our copy. I went outside the studio as there had been showers forecast for today, checking to see if it was raining. I noticed the SVU director *David Platt having a cigarette--he saw me and said "Nice job today." I took this opportunity to introduce myself, saying I'd worked on a few "SVU's" that he directed, and said I do TV and film as an actor AND a musician(I cited two recent on-air roles as an organist and pianist in "Confessions of a Shopaholic" and "Unorthodox" respectively). I gave him my card and he put it in his shirt pocket saying "Thank you--I'll keep this." And so I gathered my things and headed back to Pennsylvania very proud of another great day on SVU--and the chance to technically "audition" for David Platt and his directing crew...one never knows when those little moments arise--if they will yield bigger things...
***THE AIRDATE FOR "SWING" WILL BE TUESDAY, OCTOBER 14th AT 10:00PM E.S.T. ON NBC--it is the 4th episode of the new season of "SVU".

*more about David Platt at http://www.film.com/celebrities/david-platt/14624960]]> http://jimloftus.com/news.html#30 Fri, 12 Sep 2008 00:00:00 -0700 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#29 http://www.thecityreview.com/uws/cpw/cpw160.html ) This would be the holding area for all of the upscale folks in tuxedoes and nightgowns for this upscale cocktail party(perhaps even a wedding--not sure at this writing)..I arrived at holding via taxi around 9AM; we helped ourselves to some breakfast just outside the doors of the church, and wardrobe checked our tuxes and gowns afterward. I could not find my black bow tie and had brought along a red paisley bow tie and cumberbund and royal blue tie and cumberbund as options. The black bow tie they supplied for me they later changed their minds about, and they fetched a regular scarlet long tie. I showed them the red paisley--and after a few meetings with the director, the wardrobe dude returned with the decision that MY red tie and cumberbund "won out"(funny--that had been given to me by a waitress who worked an Allentown PA bar then called "H.A. Winston's" in the 1980's--has been a "Rookies Sports Bar" ever since--I'll have to let her know that her tie got into a Hallmark Hall of Fame film--LOL!!)...Prior to going to set we all had makeup and hair done by professionals. I was also given a CD of the music I would be "mimicing" to--that is, I would be pretending to play the piano keys, as the background tracks on the CD would be the actual music aired. (This would be similar to my stint back in March 2008 on the film "Confessions of a Shopaholic" where I am mimicing playing the church organ to background organ music). The songs were very familiar to me--old standards from Gershwin, Porter and Kern("Someone to Watch Over Me", "Night and Day", "The Way You Look Tonight" and "I've Got You Under My Skin"). In the late morning hours we headed around the block to the set; the grand piano lid was actually "taped down" so it could not be lifted, and a flourescent light was attached to it perhaps to illuminate me behind the piano. The shots of me would be of me "behind the piano" so my hands would actually not be seen, as the emphasis would be on the actors dancing in the foreground. A few of them would be the lead actors and they had dialogue occuring during the dancing, so we were the "backdrop" for their scenes(one of the stars is Lauren Ambrose of "Six Feet Under" ( http://www.imdb.com/name/nm0024404/ )
I was given an earpiece so I could hear the music piped in--there would be times where the music was shut off for the dancers but I would still hear it in my head--they would not, and would have to keep dancing as if the music was playing...this would be where dialogue lines were being spoken between actors-- and so no music could be heard there. My first "piano playing" however involved the "mingling of the guests", and the camera was further away from me--it was only 12 hours later that we would finally get to the scenes of me actually playing for "the dancers". Yes folks--this was to be the LONGEST I ever was on set for a film or TV show--15 hours! We wrapped at 1:00AM--and I had called my NYC friend to alert him that I needed to "crash again" at his place--as I was going to miss the last bus back to Allentown(12:15AM bus). On the set I had met the director Jeff Bleckner (http://www.imdb.com/name/nm0088121/ )and he asked if the CD had helped me to become familiar with the songs--I said I knew them all--and could have sung and played them live. But I know that they need the background tracks for continuity and exact timing, and of course "sound quality"--but he said he'd try to get a shot of my hands playing...that never happened, as perhaps the day got away from them a bit with the long shoot..."LOVING LEAH" follows the story of three Jewish families and the unorthodox decisions they are faced with--airing Sunday, January 25th on CBS as the 235th presentation of the legendary Hallmark Hall of Fame.]]> http://jimloftus.com/news.html#29 Fri, 12 Sep 2008 00:00:00 -0700 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#28 http://www.anna-torv.com/ ) would be "jogging" in one scene, and I walk right past her as she jogs by me. Prior to this however, while waiting to go to set, one of the AD's came up and asked me to come with him--my "hands" were being beckoned. I was being considered as a "photo double" for one of the main actors--but only my "hands"--when they discovered that the hair on my hands could probably help me land a role as a caveman in the Geico commercials--they sent me back to "holding"(lol)--apparently the star actor was very fair skinned and had little-to-no body hair.(There also would have been a "Pay bump" in my paycheck had it worked out). Once we finished the pedestrian work, (which was troublesome as the NYC commuters and residents did not like being told by the crew that they could not walk down 10th street), many of us were huddled into a van and transported to 646 Park Avenue at 66th Street--the old 7th Regiment Armory Building--now simply called The Park Avenue Armory (http://artobserved.com/nyc-seventh-regiment-armory-to-become-contemporary-art-space/ )Ah--alas this would be a fully air-conditioned building that would be the venue for an upscale business seminar featuring many of us in upscale business formal wear. Again Anna Torv and a few other main actors were at this "seminar"--and we were to mingle around them--waiters attending to us. An entourage of main actors descend a long staircase--and I and a pretty lady named Madeline are sent up the staircase passing them. Later in some scenes I was paired with another pretty actress named Colleen, and we would stroll past the many other actors likewise playing business people, greeting them. Our day lasted until 9PM at the Armory where we wrapped...This episode will air most likely in October, probably about the 4th one of the new season--this blog will be updated with the airdate so check back! Visit the main site for this show at http://www.fox.com/fringe/ , and for a fun You Tube video of a "Behind the Scenes look at FRINGE" go to http://www.fringetelevision.com/2008/09/video-behind-scenes-at-fringe.html]]> http://jimloftus.com/news.html#28 Fri, 12 Sep 2008 00:00:00 -0700 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#27 http://jimloftus.com/news.html#27 Tue, 22 Jul 2008 00:00:00 -0700 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#26 When I had first started playing piano at DESTINO RESTAURANT(851 First Ave, NYC) in April 2006, not long after Mr. Pollack visited us for dinner a few times. On one particular Thursday evening, I spotted Sydney at the Destino bar dining solo--enjoying a simple marinara pasta dish and I introduced myself as the pianist at this venue. He was instantly gregarious and we began chatting. I told him I was also an actor and that "I came at a much cheaper price tag than Tom Cruise"(as I gave him my business card)--my memory was that Sydney was sipping his glass of red wine as I said this and almost spewed it across the bar as he chuckled. It struck me that this giant of Hollywood was so accessible and friendly. He said that he'd be back to Destino as he had a NYC residence right around the block from the restaurant. When I asked him what his current projects were, he spoke with avid interest of his foray into the documentary film world, and began describing in detail one of his then-current films. After his story we shook hands and I went to the piano and he stayed for my first set. He waved goodbye an hour later...but this would not be the last time I would see him...
On another Thursday evening(August 17,2006), once again I noticed Sydney at the intimate Destino bar about to have dinner. I greeted him again and he instantly remembered me and was once again gracious. After a brief chat, I told him "I had forgotten to do something the last time we met"--and said I'd make up for it now. He looked at me quizzically and I then headed for the piano.
I then played and sang "The Way We Were", the theme song of the film which he directed, and followed that with the theme of his Academy-award winning film "Tootsie", the Stephen Bishop song "Maybe It's You". He smiled several times as he looked over and at one point lifted his wine glass in the air, "toasting" my renditions. What a great honor it was to tribute him in that manner, and as I look back on the memory I realized that I never saw him again after that evening. But those moments with the great Sydney Pollack will forever stay with me--rest in peace Sydney and thank you for your great work in the film industry--and the gift that you were to all of us. For more about the man, check out these links:
http://news.aol.com/entertainment/movies/movie-news-story/ar/_a/famed-director-sydney-pollack-dies/20080526212209990001
http://en.wikipedia.org/wiki/Sydney_Pollack
http://www.emulsioncompulsion.com/tag/sydney-pollack]]> http://jimloftus.com/news.html#26 Tue, 27 May 2008 00:00:00 -0700 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#25
Friday morning, April 25th I took a 9:15AM bus from Allentown and got to the Port Authority in NYC by 11:15AM. I then took the "C" train uptown to 125th Street at Nicholas Avenue and walked a block over to Morningside and entered the church "holding area". It was a few minutes before noon, and only two other actors were there. Soon the Production Assistant(PA)arrived and told us if we wanted breakfast it was a few blocks away at 128th street, so a few of us walked down Nicholas Avenue and found the breakfast truck(interestingly, there is a You Tube video of the area we walked at
http://www.youtube.com/watch?v=hLNMZFen2rA&feature=related ). When we returned, the wardrobe ladies arrived with various NYPD uniforms for myself and the other police "brass"; there were probably 75 actors called today playing various background roles from detectives to regular cops to photographers and press people. Our check in numbers were called(I was #2)and our uniforms distributed. According to the casting director, myself and others were to be "passerbys" and "neighborhood people" in the first scenes and then CHANGE into the police uniforms for later scenes. Around 2PM however we were told by the PA that our holding area was moving to another building closer to the set--it was at this time that a wardrobe girl told me "I should be changed into my police uni"...obviously the original sequence had been scratched or moved and now I only had a few minutes to make the change. I elected to do it at the new location, and just as I was putting my socks and black patent shoes on--we were called to "set"--just in time! The shoot location was a small junkyard around 127th street and Nicholas where a crime scene was being addressed. Cop cars with lights aflashing were parked strategically around the junkyard which was located on a corner. The real drama of today however was much greater than I'd ever had imagined. Today was the day that the ruling on the Sean Bell murder case came down--ACQUITTING the police officers involved. A link about this can be found at:
http://www.blackvoices.com/newsarticle/_a/sean-bell-case/20080425093009990001?icid=templatized_template_test.M The opening lines read like this:

"Three New York City police officers were found innocent of all charges Friday in the shooting death of an unarmed black man killed in a hail of 50 bullets on his wedding day. Justice Arthur Cooperman cleared two officers of manslaughter and other charges and a third of reckless endangerment in the death of Sean Bell , 23, who was shot, along with two friends, after a bachelor party at a strip club in November 2006. The case has generated outrage in New York's black community."

As we prepped for the scene, being put in place by the assistant directors, the tensesness in the Harlem neighborhood was palpable. Those of us with NYPD uniforms were advised to either turn our jackets inside out or have other jackets on as we walked to and from the set--to conceal our connection to "NYPD". As we began shooting some scenes with most of the SVU star on hand(Chris Meloni, Mariska Hargitay, Ice-T, Richard Belzer and more to arrive to the set later)--a black woman in her mid-50's began taunting us from the fence that enclosed the junkyard. She screamed and carried on, cursing the NYPD that we represented as actors. Her tirade went on for a good half hour, until she was somehow removed from the area. Later in the afternoon, others would likewise bellow their resentment--and at one point I turned to see who was yelling--and a black man screamed at me--"Yeah that's right--I'm talking to you!" I was one of maybe five actors dressed head to toe in the impressive suit and tie and hats with gold brass medals and decorations. Later that day when actors Diane Neal(A.D.A Casey Novak) and Dann Florek(Lt. Cragen) joined the set--Diane looked straight at me and said "you guys look great!"--Dann then came over and chatted with us "in character" beginning by saying "you guys are my best--my brass!" We huddled together and talked about the derision we experienced earlier by the black community, and how hostile it was. Dann brought up the Rodney King LA riots of April 1992 and hoped that NYC did not follow that same path. It was interesting to talk to Dann and be intimately involved with the star cast of "Special Victims Unit"--and feeling like we were not just "acting"--but were--ourselves--in the midst of potential real danger. Fortunately, the powder keg did not ignite this day in Harlem, though it had been tense.
We broke for dinner at 7:00PM--and were back on set by 7:45PM as we still had many more scenes to shoot. Tamara Tunie(medical examiner Dr.Melinda Warner)was on the set with her little dog when I arrived--it was a sweeter moment in a hectic Harlem day. As we began shooting, actor Chris Meloni(Det.Elliot Stabler)scolds one of our 'brass' for tainting the crime scene by standing in the blood on the ground of the junkyard. I and another inspector are standing behind him, and we look over and then move away from the area--various scenes like this would be shot tonight, with the 'brass' crossing behind or being "panned" by the cameras to acknowledge our presence at this crime scene. We were sent back to "holding" in the 11:00 hour, with still a few hours of shooting remaining. The PA told those of us who were "passerbys" to change out of our current look and into our "second change". This allowed for me to put the NYPD uni away and prepare it to give back to wardrobe; my second change would be my own clothers and so I could depart Harlem dressed that way.
The hours went by and we were not called to set--I had prepared to stay with a friend in NYC in case the shoot went beyond 12:15AM--the time of the last bus out of NYC back to Allentown. Around 2AM we were told to return our wardrobe and prop items and so several of us walked to those trucks and did so. At 2:30AM we were finally called to set--but alas when we arrived director David Platt was thanking Diane Neal and others on set for a job well done--and that it was a wrap! We returned to holding, filled out our SAG vouchers and turned them into the PA who signed them and gave us our copy. It would be a good $$$ day for SAG members as we worked 13.5 hours; also various other items 'kick in' such as two 'night premium' payments and three meal penalties(not serving us a sit down meal at least 6 hours after 7:30PM)--a few of us took the A train from the 125th St. subway station to our respective destinations downtown--I had met several new friends on the set today and look forward to seeing them in the future(some others I actually worked with on the last SVU "Authority" episode)...this one we did today is entitled "COLD" and will air May 13th, 2008 on NBC-TV--look for me "IN THE BRASS"!!!]]> http://jimloftus.com/news.html#25 Wed, 30 Apr 2008 00:00:00 -0700 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#24 The next day I joined NYcastings.com so I could retrieve the information--it was Comer & Gallucci(C & G Casting)in NYC that had posted the ad seeking the Church Organist. Once I sent my info to them and called them as well--they said they would get back to me as the date of the shooting of that scene was still a few weeks away. And so I waited patiently...and sent follow-up emails..it finally paid off...
I received a call from C & G Casting March 8th(on the 11th anniversary of my father's passing)--saying that the director wanted to go with me for the role of the Church Organist! (I'm thinking Dad had something to do with this as he used to be the cantor at some of the Masses I played on Sundays!)...I was told that I had to learn/know two traditional wedding songs--Trumpet Tune and Air by Henry Purcell and Trumpet Voluntary by Jeremiah Clarke. I knew both of them--but did not know the "Air" part of the Trumpet Tune(the middle part)and so I was to spend most of Saturday and Sunday listening to mp3s of the songs on my computer. Another conflict is that the call time for the film shoot was 5:00 AM on Monday March 10th in NYC--the holding area was the Central Presbyterian Church at 593 Park Avenue at 64th Street. Over the years my method of transport to NYC was the Bieber Bus leaving Wescosville--but even their new early bus schedule was not early enough to get me to Manhattan by 5AM--so I chose to book a cheap hotel the night before so I could awaken in NYC that Monday morning.
I was told to wear a dark suit as the organist and so I brought that along and an overnight bag and Sunday night I took the 6PM bus to Manhattan. A few hours later I was checking in to the Best Western President Hotel on 48th Street(a hotel I've stayed at previously that was very reasonable). Though I tried to sleep, getting to bed a bit after 10PM--it seemed like 3AM came much too quickly as a drowsy Jim showered, got dressed and hailed a cab for 64th Street. When I arrived at the the holding area(Central Presbyterian)--dozens of actors were gradually filing in--looking as groggy as myself. Most of them would simply be "the wedding guests" at this church--and as many as 200 were called in. As we all checked in and were given our vouchers to fill out so that we can be paid correctly(I was check in #136), one of the Production Assistants on "Confessions" told me I would be receiving extra paperwork to fill out since I would be paid under a AFM Contract rather than by Screen Actors Guild. "AFM" meaning American Federation of Musicians--since I was playing an instrument on camera, it was not under the jurisdiction of SAG but the AFM--this would prove to be a more lucrative situation for me as well. I was also told that I would be wearing actual "Choirmaster" garments as the Church Organist rather than my dark suit--and eventually the actor playing the minister and myself were directed to the wardrobe truck. There we were given our appropriate robe and surplice--I must say I looked "smashing"(a British term--appropriate as the lead actor in this film-- Hugh Dancy-- is a Brit). Though the holding area was a Church--it was not where the filming would take place--eventually the production staff walked us all over to St. James Episcopal Church on the corner of 71st St. and Madison Avenue ( http://www.stjames.org/). As I arrived I noticed that the organ was on the altar(on the right side if you are viewing it from the pews). I was concerned about trying to get time to rehearse my songs and adjust the organ settings--but was told by one of the assistants that I WOULD BE 'MIMICING" or pretending that I was playing the songs. The reason for having an authentic organist however is that it had to look believable that my hands and arms were moving in a convincing manner--in sync with a taped version of the wedding marches I would be "playing".
As the morning progressed, it took some time to get the couple hundred actors situated in the pews and start rehearsals for the wedding processional. I had opened the organ, pulled out various organ "stops" and pressed some buttons so that in case there was a closeup shot--it looked like the organ had been "set to play". Once the music began for the bridal party's entrance, I noticed the melody was not familiar to me--and was more "violins and stringed instruments". Due to having numerous takes, I was able to memorize the tune and play the notes/chords convincingly(I still don't know what the melody was!)...At some point the tape switches to the "Trumpet Tune" that I was familiar with--and this is when the actress Krysten Ritter playing "Suze" comes down the aisle as the bride to meet her groom "Luke" played by Hugh Dancy(Australian actress Isla Fisher is the "Shopaholic" Rebecca Bloomwood and matron of honor). There is no actual ceremony that is filmed so I'm not sure how this wedding scene fits into the plot of "Shopaholic"(fans of the book series by Sophie Kinsella can email me here to fill me in). Much of the filming was actually from the back of the church looking into the church, with some disturbance occurring prior to the wedding in the Church vestibule. The hours went on as I watched the actors in their pews looking restless--welcome to showbiz!(a lot of 'hurry up and wait")...An area was set up downstairs in the church basement for a craft service table--and so actors were excused periodically to eat and use the restrooms. I noticed a few lady friends from back in the Lehigh Valley were on set today, so that was a fun discovery. They and others I met on the set told me they actually "thought I was playing the organ"--so that is the best compliment I could receive.
As we kept shooting even into the evening hours, around 8:00PM most of the actors were dismissed except for a few in the front pews. Close up shots of the wedding party and couple near the altar, along with the minister and myself at the organ were filmed. It was only at this time that I felt I may have been getting "my closeup"--as the cameras were now at the front of the altar--and why should they not get the "choirmaster" organist costume into the film?(lol)--we'll see--when the film comes out in February 2009. Around 8:30PM it was finally a "wrap"--whoooh--15 and a half hours later!!
In the coming days I contacted the AFM in NYC, Green Scarf Productions(the film's producers)and tried to get a sense of how I was to be paid. A representative from the Philly SAG office was on the set that day as an actress--and she advised me to be vigilant about this as I could be "credited" for my role as the organist in the closing credits of the film. After a week or so of explaining my situations to various people at the AFM on both coasts--Green Scarf was in touch telling me they spoke with Disney people in CA and they had granted me the AFM contract for the film--and almost a month later I received a sizable check for my time. I was also told by AFM in NYC that once the film is released and then goes to DVD--I could see residual checks every 6 months on the sale of the DVDs due to the music I was playing--or "mimicing"--on screen. It's all very complex how all this minutia is worked out..I'm just going to keep my mailbox open--keep those checks coming!(so I can be a "Shopaholic" too)...
Here are some links for the film--enjoy!
http://www.imdb.com/title/tt1093908/fullcredits#cast
http://www.cinemablend.com/new/Dancy-And-Ritter-In-Confessions-Of-A-Shopaholic-7470.html
http://buzzsugar.com/tag/confessionsofashopaholic]]> http://jimloftus.com/news.html#24 Fri, 04 Apr 2008 00:00:00 -0700 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#23 I got to the set around 6:15AM dressed in a black suit with white shirt, blue tie, and black overcoat. We were told to seek out "Enza"(who was an associate producer for the show)to check in with her. We had to present some working papers that were sent to us from Mike Lemon Casting that enabled us to work on the show. This was actually my first AFTRA "gig" even though I had joined AFTRA prior to my Screen Actors Guild membership in 2003. AFTRA does most of the daytime dramas-- and though I had submitted to many of those shows casting directors over the years I had not been called. So the rules for this union were a bit different--and perhaps were based on the soap operas or networks stringent rules.
Upon pulling into the train station I noticed that the Philly bus was already there with the motor still running--it was a frigid February Monday with rain in the forecast so this was as good a "holding area" for those actors as any. I walked to the station where the crew was setting up their equipment for the days shoot, and I asked if Enza was there. I was greeted by the stage manager Marty who said Enza was not there yet but that I could help myself to some breakfast inside an adjacent building to the ticket area of the train station. He then went to greet the other actors(about 25) and they filed out of the bus and also headed for some oatmeal and bagels(and lots of other goodies!). I chatted with a few of the actors and eventually we all headed back to the bus as it was agreed that it was warmer there than the inadequately heated station. I saw that a lady was shuffling through working papers of the other actors and so I gave her mine and she assured me they would get to the right place.
After waiting on the bus for 15 minutes or so, Marty came on the bus and asked for a few of us to come to the set. This was about 7:30 to 7:45AM--so shooting would begin rather early. I had been watching "All My Children" and knew that two actors Darnell Williams and Debbie Morgan had returned to the show after almost 20 years--they were one of the first African American couples on daytime TV playing "Jesse" and "Angie". "Jesse" had supposedly died and from what the viewers could sense from their return(and thanks to the soap opera magazines that are story "spoilers")--there would eventually be a reunion of this couple who's storyline is very endearing to fans of the show. What I did not know until Debbie Morgan stepped out of the train station onto the platform where I had been placed along with other actors--is that these New Hope scenes would in fact be the staging ground for this reunion of Jesse and Angie. This thought excited me and I felt honored to be a part of this action.
I had been placed right next to Debbie Morgan to her left as she views the train slowly passing her--as they roll "action!" I notice that Darnell Williams is on that train and she spots him(or "Jesse")in the train window. Debbie("Angie")drops her pocket book and ticket on the ground and screams "JESSE"!! as she runs down the platform after the train...she would repeat this action a few times as they would back the old train up--on the first take I uttered to her "that was dramatic"--she either did not hear me or chose to ignore it and walked back into the train station(actors are always running lines in their head and it's not a good idea to say anything to them)--however later she smiled when after take 5 or so I said "you're getting your exercise today". All of us react to Angie running after the train--and in subsequent shots she is filmed wallking back towards us in a daze, almost ghostlike. Both she and Jesse are dressed in the same shades of brown which make for an alluring color scheme when they are eventually reunited.

*THESE SCENES WERE SEEN ON FRIDAY FEBRUARY 15th AND CAN BE VIEWED AT THIS YOU TUBE VIDEO LINK: http://www.youtube.com/watch?v=CwNYYPWaZTc
(at 1:46 into the video you see me placing my bag onto the train platform and "Angie" crossing in front of me to wait for the train--the camera stays on us for a few seconds; then from 2:00 to 2:20 of the video you see me standing next to Angie from the camera angle INSIDE OF THE TRAIN(Jesse's perspective)and that is where Angie spots Jesse on the train and begins to run after him--near the videos end she walks slowly back to the station and you can see me "far away" a few times still standing on the platform).

In between takes of the above described scenes we were asked to head back inside the station and other actors were placed in other scenes outside on the platform--this is when I noticed that another veteran actor from the show had arrived--and to my delight it was Michael Knight who has played Tad Martin on the show 'forever'. I had actually met Michael a few years ago in Allentown PA--I was playing a grand opening for a new Crowne Plaza Hotel at 9th and Hamilton in their lobby, and after my gig went for a drink in the bar--Michael walked into the bar and was greeted by a waitress by name. When I heard his full name announced I turned and was shocked to see "Tad" there--I shook his hand and expressed how I loved his work all these years. We spoke for a half hour--he was in town to shoot a film in the PA area and was staying at the hotel...well fast forward to Monday morning February 4th and there is "Tad Martin" walking into my life again!--I shook his hand again and reminded him of our Allentown meeting a few years back. He lit up and say "I was just thinking of that this morning!"--perhaps it was his first return back to this part of Pennsylvania and it was on his mind. We would not speak at length though as--once again--he was running lines with Darnell Williams and this would consume most of his day. The idea was that "Jesse" was on the run and "Angie" could not know he was alive--though he loved her greatly--and she him--if they knew he would be alive it would endanger her life and the life or their son Frankie. Some unidentified criminal element has impressed this fact on Jesse and he is driven to remain "dead". "Tad" is the only one so far that knows Jesse is alive and is reluctantly facilitating his getaway via a train to "somewhere"--remember that word as it will be explained later...
We broke for lunch at about 12:30 and we all headed for the adjacent Triumph Brewery at 400 Union Square--check them out at www.triumphbrew.com --a wonderful buffet awaited cast and crew--salmon, ziti, mixed veggies, barbecued chicken, potatoes and more. Our 1:15 curfew came too soon and we headed back for more shooting on the platform of the train station. This time we filmed commuters walking TO the train station to enter and get our tickets. "Jesse and Tad" are seen approaching and entering the station, and later "Angie" approaching the station and seeing that her train is delayed. After viewing the actual show this is the only segment I was not seen in as they cut just before I strolled into the picture.
At one point some air-activated "hand warmer" packets were distributed to the cast by the crew--we gladly put them in our gloves and shoes as the light freezing drizzle and frigid air on this cloudy February had us cold to the bone. The fortuitous foggy and damp weather contributed to the melodrama of the days scenes with Angie sad over seeing Jesse on the train. At times the drizzle changed to snow and we thought "How pretty that would be if that could be filmed"--but in reality the camera can't pick that up and "fake snow" has to be created(from "milk" I was told)to allow it to be discernable on camera. While some of us were inside, I was called out to speak to the stage manager Marty. He asked me if I could stay longer today--as he knew I drove to the set. The other background actors had to board the bus back to Philly by 5:00PM. I heartily agreed--as I assumed I would be in more scenes(obviously). When I returned inside, an actor asked me in front of Debbie Morgan(Angie)and others what I had been called about--I said in a low ominous voice"THEY WANT ME TO STAY UNTIL MIDNIGHT". I finally got a laugh out of Debbie Morgan as she said "honey you can stay but I know I'll be long gone by then!"
Sure enough, at 5PM I saw the bus pull out of the New Hope Train station taking the 25 or so actors back to Center City--an actor from NYC named Chris Stadulis (
http://www.imdb.com/name/nm2617580/resume ) was the only other actor on the set besides Michael Knight and Darnell Williams--Chris and I have kept in touch after that day--he played the police officer in several scenes who "Jesse" was nervous about(that he could be looking for him). What we filmed next was Jesse and Tad entering the train station and chatting inside; Tad asks him where he's going and Jesse responds "somewhere"--Tad advises him to stop delaying and go get a ticket to "somewhere". At this point the director had me standing at the ticket window; I was mimicing that I was talking to the ticket guy and my profile can be seen for several seconds as Jesse approaches the ticket counter behind me. I take my ticket and then Jesse is asked where he wants to go and he responds "Toronto--one way". This scene occured on Valentines Day, February 14th near the end of the show, and as mentioned earlier, the initial scenes we shot today appeared the next day. Monday February 18th was the actual meeting of Jesse and Angie where they embrace and leave the train station--I am seen in a recap of Fridays scene as she walks back to the train station after chasing the train. The music bed underneath the scene is Alicia Keys "Like You'll Never See Me Again"--it is a powerful song that perfectly mirrors the inner angst Angie and Jesse are feeling.

**TO VIEW THE FEBRUARY 14th SCENE OF ME GETTING MY TICKET AT THE TRAIN STATION WINDOW, GO TO:
http://www.youtube.com/watch?v=9q2gIaUBLg0&feature=related ((you can see me at 1:35 to 1:53 into the video)

We were told when we signed on to work on "ALL MY CHILDREN" that we would be paid for 3 episodes since our shoot encompassed 3 days of viewing. We wrapped at 6:30PM--I shook hands with Michael Knight and Darnell Williams and thanked them for the experience. Marty the stage manage wrote down "7:30PM" for me as he asked me how long it would take me to get home(I said about an hour). Two weeks later I would get a check from the Disney Company(I forgot that they had bought ABC-TV)for a very nice piece of change for my 13 hours on the set. If you watch the scenes on You Tube you'll note at least 30 other videos relating to this Jesse-Angie reunion are there as well--this was a very popular couple in daytime drama and I was elated to be a part of such a historic reunion--so there's your inside peek at my day--hope you enjoyed it!!]]> http://jimloftus.com/news.html#23 Sun, 24 Feb 2008 00:00:00 -0800 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal http://jimloftus.com/news.html#22 This tall distinctive man entered with his wife Julia Schafler(which I learned from googling a few things when I came home)and immediately asked to be seated near the piano--I nodded to him as it is unusual for Destino customers to make any eye contact with me or request tables in the bar--they all head for the restaurant or an initial bar drink but keep their concentration there...so I knew there was something about him that was curious and special. His wife seemed uninterested in sitting near the piano but he won the battle. Throughout their drinks and dinner he would hum or sing along with tunes I was playing whether they be standards/Broadway or Pop tunes---I would nod to him and smile to encourage him to continue--little did I know at the moment who he was-- yet I had this uncanny feeling like "I knew him"...over an hour later he rose from his seat and came to put a few dollars in my tip jar--I said "you have a nice voice"--to which he responded--"I'm a singer"--I asked him his name-- as by this time I was confident that this was just no ordinary singer. He responded "JIM DALE". Immediately the light bulb went on and I shook his hand and said "of course!--" I told him I saw him in "Barnum" years ago(the late '80's)and that he did the show with my friend Jim Fyfe from my alma mater Allentown College where we were both Theatre majors. I went backstage to see Jim Fyfe and also met Jim Dale at the same time...(note: the show was actually "Privates on Parade"--an off-Broadway musical Dale starred in that Fyfe was also a cast member in--I mistakenly said "Barnum" because that was his more identifiable show which won him a Tony award years before.) Jim Dale nodded to me that he remembers Jim Fyfe(who of course has gone on to have a great career himself)and I saw him speak with his wife about it--he took my card and exited Destino, hailing a cab for both of them.
Upon arriving home I googled his name and many great links came up--Jim Dale has been the voices(Literally!--over a 170) of ALL of the Harry Potter books/DVDs and is currently the narrator for the new ABC show "Pushing Daisies". What is SO weird is last week at Destino I started playing the music for "Georgy Girl" on the piano--not singing it--because I didn't know all the words--but always liked that melody and just happened to think of it. WELL-- JIM DALE is the LYRICIST for that 1966 song which was a #2 hit and nominated for an Academy Award! (Hey there Georgy Girl!)...at 22 years old he was the first singer to be produced by Sir George Martin(the Beatles producer); so many other kudos to his career that can be found at the links that follow...hard to believe that he is 72 years young--he looks great... learn more about JIM DALE at:
www.jim-dale.com ,

the Wikipedia link http://en.wikipedia.org/wiki/Jim_Dale

a recent pic of he and his wife at an opening party for the "Pushing Daisies" show at:

http://www.thepiemaker.com/pushing-daisies-exclusive-jim-dale-interview-pics-from-nytvf/pushing-daisies-jim-dale-julie-schafler-5/

How Jim creates his incredible "Potter patter" at:

http://findarticles.com/p/articles/mi_qn4188/is_20070902/ai_n19501634

...and another Pushing Daisies site:

http://pushingdaisies.wetpaint.com/page/JimDale?t=anon]]> http://jimloftus.com/news.html#22 Mon, 21 Jan 2008 00:00:00 -0800 Pianist/Keyboardist/Singer/Composer - Jim Loftus - Journal