From Dead Last to Top 3!

Chasing The George

Am I talking about being dead last on RuPaul’s Drag Race (You know, the wildly-addictive, funny and touching reality show that looks for America’s next drag superstar)? Am I talking about the drag queens who get eliminated on the first episode of every season like Porkchop, Shangela, Penny Tration, Kelly Mantle, Magnolia Crawford, Tempest DuJour, etc.?

Nope!

I’m talking about being dead last when my classmates and I in the Professional Development Program 3.0 class created a comprehensive points system in January 2016 to track our progression as the CEO’s of ourselves as artistic businesses. The points system covers many different categories of career administration and the value of the points varies from one category to the next. For example, putting up a scene in class is worth a certain amount of points whereas booking a guest star role on a TV series is worth a higher amount of points. Mailing out postcards is worth a certain amount of points and making an industry phone call is worth another amount of points.

What I love about the points system is that it gives me an accurate picture of where I am thriving as an artist and where I am not. Which areas I am strong in and which areas I need to put more attention on. And you have to be honest about giving yourself points in the different categories because it’s an honest look at your career administration. To cheat the points system in order to be ahead of others only hurts yourself. To cheat and add points that weren’t earned only hurts yourself in the long run. We are a business. We punch in and we punch out. The points system tracks our progress. It’s our profits and loss statements. It’s our growth statements. No point in cheating.

When we started tracking our points back in January, I was shocked to see that I was dead last in terms of points earned. Out of all my classmates, I was dead last for three or four weeks straight. I was mortified! How could I, of all people, be dead last in the areas of career administration?!?!?!?! I’m supposed to be Chasing The George every week!!!! I’m supposed to be the motherfucking man, careering gaily over the waves!!!!

Instead, I looked like the screaming man in the famous painting, “The Scream”, by expressionist artist Edvard Munch. The horrors! The horrors!

Instead of giving up, I decided to focus and study the facts. First of all, I wasn’t clear about what I wanted 2016 to be about on a professional level. That was problem number one. Public enemy number one. Without clarity, my career administration was general and uninspired. I didn’t have clearly-defined goals to work towards. So being dead last was a wake up call for me to get specific about what I wanted 2016 to be about.

Once I got specific about the professional design for 2016, I moved pretty quickly into the second to last position on the overall points earner list. I was earning more points in different categories and that excited me! The points system also forced me to administrate and take action in certain categories that were uncomfortable for me. Categories I had a flinch on. Why does this section have no points at at all? What am I scared of? Focus on this area. Confront it. Be a better artist at the end of the day because I am confronting uncomfortable categories.

As I gained momentum on my career administration, I continued to move up the overall points earner list. If I saw someone gaining up on me, I worked harder and pushed myself further. What risks could I take this week to stay ahead?

On July 8th, we assessed our six-month progress in class and it was really nice to hear the points list administrator acknowledge how cool it was to see me move up the list over the last six months. By the time we assessed our progress on July 8th, I was in the Top 3! I was positioned at #3!

In RuPaul’s Drag Race terms, I was the drag queen who made Top 3! I joined the ranks of past Top 3 Drag Race contestants like Nina Flowers, Alaska Thunderfuck, Roxxxy Andrews, Adore Delano, Courtney Act, Pearl, Ginger Minj, Kimchi, Naomi Smalls, etc. When you make Top 3 in RuPaul’s Drag Race, your career is pretty much set for life. Top 3 is still a rocking place to be even if you aren’t crowned America’s next drag superstar (the person who ultimately comes in at number one) Top 3 is an achievement. These three have shown consistency week to week on the show and also Charisma, Uniqueness, Nerve and Talent. C.U.N…

Instead of being told to “Sashay away”, I was told, “Shantay, you stay”. Or, more importantly, I told myself to stay and keep fighting.

It was such a gratifying experience to see my hard work pay off.

On July 8th, the points system got revamped and became more streamlined. All our points have been reset and we’re all starting from ground zero again. I hope to be Top 3 again. I’d LOVE to be number one by the time 2016 comes to an end, but I’ll be just as happy with Top 3. Why? Because being Top 3 is still a cause for celebration. It’s still an indication that the work flow I’ve created and maintained for myself is working. It’s still an indication of how consistent my career administration is. Having a work consistency that produces results, that makes an impact and that is in alignment with what I’m about is more important to me.

And at the end of the day, I can rest assured knowing that if I make Top 3 again, I can come back for the All Stars Season…okay, okay, enough of these RuPaul’s Drag Race
references!

(By the way, RuPaul and Michelle Visage, I would LOVE to be a guest judge on a future season of Drag Race! xoxo)

Like A Virgin

Chasing The George

Like a virgin. Touched for the very first time.

On July 1st, I had the pleasure of seeing the first rough cut of a SAG film titled “Human Revolution” that I executive produced, co-wrote and co-starred in. As the lights began to fade and the screen came on, my heart started to race. I was excited and nervous. Excited and nervous because this was my first time watching the film after months of pre-production and filming. The wait was finally over! This was the first time seeing how the words in the script translated onto the screen. This was the first time seeing how the performances translated onto the screen. This was the first time seeing how different elements of production from direction to cinematography to wardrobe translated onto the screen.

Like a virgin. Touched for the very first time.

Watching the first rough cut is like a virgin. The anticipation. The excitement. The nervousness. The heart racing. Not knowing whether the first rough cut will be painful or enjoyable to experience.

As the film screened, there were many moments where I beamed. There were also moments where I wrote down notes for our fabulous director and editor. Being discerning and clear with my notes. Some notes were technical. Other notes were storytelling-based in terms of when I thought a moment was delivered and we could cut out or when I thought a moment could be heightened.

Overall, I was very pleased with the first rough cut! And because a lot of pre-production went into this film, it presented itself beautifully in the rough cut. I could clearly see where the film is headed and how the final product will look.

Our goal is to have a final cut by August 1st. By this date, notes will have been implemented, sound design and color correction will have been implemented, etc. After this date, we will start submitting Human Revolution to various film festivals from Cannes, Sundance, South By Southwest and Tribeca to Academy Award qualifying film festivals.

Like a virgin. Touched for the very first time.

The first time watching this was great. Not painful or traumatizing at all. Rather, it was exciting and orgasmic (Yes, I had to go there!)

My Meeting With A Manager

Chasing The George

As I continue to carve out my career, it’s important to have a team assembled that gets my vision and are willing to work together with me to achieve it. That no idea, no pursuit, no suggestion of mine is crazy. This marriage between us is “yes, and…” or “yes, and how about…”

And when I look at how big my dream is and how I want to marry acting, writing and producing together, I need strategic guidance and support along the way. Don’t get me wrong, I am great with administration and strategic planning, but it does make a difference to have a team on board hustling on your behalf as well.

This is where I have turned the spotlight on managers. A manager would be a great investment in helping me to MANAGE my interests and my dream. To strategically implement the phases of my career. To guide me along the way. Someone who gets the bigger picture. Who gets me.

In my research, I began targeting a list of managers that I could see myself working with. I looked at certain things like the company’s ranking on IMDB, the number of clients they had, the type of work their clients booked, etc. And if available, I read their mission statements to get a sense of what they are all about.

With a great, compelling cover letter and links to my website and reel on hand,
I started submitting to my target list of managers. I received some no’s. I received a yes and had a meeting on Tuesday, June 21st. It went great. I liked their energy. I liked that they asked me questions about my casting (which I broke down for them on both the dramatic and comedic sides) They also asked me about my ultimate dream (which I broke down for them as well and they were impressed)

My ultimate dream, by the way, is: A self-generating artist who creates, writes and stars in their own vehicles. I want to be up there with Tyler Perry, Lena Dunham, Cristela Alonzo, Mindy Kaling, Louis C.K., Tina Fey, etc.

From sharing my ultimate dream, they asked me to give examples of the writing
and producing opportunities I’ve had. I did so and they lit up with excitement.
They were also impressed that I had a lot of knowledge and awareness of the different components and departments that go into shooting a film or a TV series. That I’m not just an actor, but rather, an actor who is aware of the bigger picture when I’m on set. This makes me more valuable because I know how the components come together to create a product. I’m not in the way. Instead, I’m contributing. I know where the camera is and how to act on camera. I know about continuity and matching from take to take. I know where my marks are. I have an awareness of who is who on set and what they do. I have a great attitude on set and I am respectful of all the departments because THEY’RE ALL FUCKING IMPORTANT! Art is a community effort!

I also had an opportunity to ask them questions and I was very pleased with how aligned they were with what I’m looking for.

We had a 30-minute meeting and they decided at the end that they wanted to bring me in again for a second meeting.

I left feeling very happy and accomplished. I had a sense of certainty, but I also listened to them and kept myself open to any info they provided. I kept myself open because I am always willing to learn and grow.

And of course, I celebrated afterwards!

Stay tuned!

 

Chasing The George

Why I Write.

Nothing gives me more power than being able to write my own shit. The pen is
truly mightier than the sword. The keyboard is definitely mightier than the sword.

Writing allows my voice to be heard.

Writing gives me the opportunity to create compelling characters for myself that Hollywood wouldn’t necessarily give to me or see me in upon first glance. Or second glance. Or third glance. Or never. And not only can I write it, I can shoot it as well and present the evidence to others. Okay!

Writing gives me the opportunity to create compelling characters for my friends. I want to be on set with my friends!!!

As a writer, I made myself the boyfriend.

As a writer, I made myself the boyfriend to a transgender woman.

As a writer, I made myself the guy starting life all over again in the concrete jungle of NYC.

As a writer, I made myself the guy who stands up against James Franco.

As a writer, I made myself the guy who strikes up an unconventional relationship with a teenager.

As a writer, I made myself the guy trying to hold it together in a family business.

As a writer, I made myself the guy who maybe, just maybe, will finally follow his gut and his heart.

As a writer, I made myself the writer repped by ICM who has had wonderful success with his first two feature film scripts, but now needs help with his latest ones.

Writing allows me to be the things people don’t see me in, don’t want to see me in, can’t see me in, won’t consider me in, etc.

As a writer, I can defy the stereotypes that Hollywood places on Latino actors. I can write stories where I actually live in a beautiful home. Where I actually have a wonderful career. Where I actually have a college education. Where I actually have wonderful, informed conversations with Harvey Weinstein, Guy Oseary and Megan Ellison. Where I make decisions. Where I save the day. Where I save the world. Where I save a student. Where I save a community.

Writing means that the sky’s the limit.

Writing lets my imagination soar.

Writing allows me to show another side.

Writing allows me to be dangerous.

Writing allows me to make the world a little more colorful.

Writing allows me to play some amazing and cool fucking characters.

Amen. Amen. Amen.

Chasing The George

It truly takes a village to create art! On April 8th 2016, Robin Karfo, Sayaka Miyatani, Angela Robinson Witherspoon and myself began pre-production on a film for the PDP 3.0 class at the Richard Lawson Studios. Cut to June 10th, 2016 and principal photography on our SAG film, “Human Revolution”, ended!

From the talented actors and crew, to the motorcycles and Land Rovers, to the amazing home that became the setting for our story, to the fabulous production design and props, it takes a village. To the tribe of women chanting “Yoni, yoni, yoni…” to the rainbow-tastic boys making the world a better place, it takes a village. It takes a Human Revolution.

Thank you to the following people for their give, love, support and talent:

K.C. Sterling (Our fierce Director)

Hitoshi Inoue (Our fierce Cinematographer and Director of Photography)

Jessica Sade award (Our fierce First Assistant Director and Yoni Tribe Woman character)

Micaiah Fletcher (Our fierce Camera Assistant and Rainbow-tastic Guy character)

Logan Browning (Our fierce Boom Operator and Rainbow-tastic Guy character)

Shang Abrams (Our fierce Script Supervisor and Uber Driver character)

Stevie Sornbutnark (Our fierce Script Supervisor and Rainbow-tastic Guy character)

Joann Wabisca (Our fierce Key Make Up artist and Yoni Tribe Woman character)

Aristotle Ioannis Rector (Our fierce Key Make Up artist and Rainbow-tastic Guy character)

Donathan Walters (Our fierce Production Assistant and Rainbow-tastic Guy character)

Evelyn Landa (Our fierce Production Assistant and Yoni Tribe Woman character)

Jaymee Zuhey (Our fierce Production Assistant and Yoni Tribe Woman character)

Kristin Thomas (Our fierce Production Assistant and Yoni Tribe Woman character)

Marie Victoria Ray (Our fierce Production Assistant)

Chad Strawn (Our fierce Biker Guy character)

Lawrence Garmon (Our fierce Tyrone character)

Maria Rivera (Our fierce Retreat Employee extra)

Lupe Rivera (Our fierce Retreat Employee extra)

John Witherspoon (Your fierce home that you let us film at)

Chris Beber (My fierce man and my personal Wardrobe Stylist who helped me materialize my character’s wardrobe)

*****Richard Lawson (Our fierce Teacher!!)*****

The Diversity Divas themselves who co-wrote and co-starred in “Human Revolution”:

Angela Robinson Witherspoon
Jorge Ortiz
Robin Karfo
Sayaka Miyatani

Pre-Production Part 1

Chasing The George

Pre-Production Part 1

Aka Prior Planning Prevents Poor Performance. Pre-production is the process of preparation that a production company/filmmakers does before principal photography begins on a film or series. This is where you plan everything out and line your ducks in a row so that when shooting begins, there are no major surprises and setbacks. Now, that being said, is there such a thing as a perfect shoot? No, of course not. Certain challenges will always arise. However, if you’re armed with ample pre-production, the challenges that arise will be minimal and easier to handle.

I’m currently in the middle of pre-production on a SAG short film that shoots on June 5th and June 6th. How that came about is because I’m part of the Professional Development Program 2.0 class at the Richard Lawson Studios. My classmates and I were divided into three different groups in January and were then assigned in mid-April to create a short film from scratch. The intention behind these short films, due on July 1st, is to create the evidence for our careers. To market ourselves with a solid product.

The minute we received the assignment, I felt myself take the position of producer in order to lead my group with intention. To lead the ship. With four very distinct, strong and creative minds in my group that all wanted to act in the film and write it as well, I took charge to shape the course of our direction. And a lot of it was by me asking the next question. Not for me to invalidate anyone’s ideas, but to ask the next question towards something exciting and tangible for all of us. And since that first initial production meeting in mid-April, this has been a lesson in “Yes, and…”

Yes, that sounds great, and…

Yes, I love that idea, and how about we add…

Yes, that’s cool, but how about we try this…

Yes, I get that and I get where you’re coming from, but can we also try…

And this process has been a reinforcement that art is a collaborative effort. My fellow co-stars and co-writers in this group have been amazing. When our director came on board, the support and collaboration she flowed to us was incredible as well.

If anyone is familiar with the concept of Backwards Thinking With Forward Motion by renowned manager Ken Kragen, that’s what I applied from the start of our pre-production process. July 1st is when the films are due. Great! So let’s work backwards from July 1st to where we are in mid-April. Great! This will help us to systematically and strategically push our pre-production process forward every single week. Each week will be a calculated and concentrated effort in putting together our short film.

In our first production meeting in mid-April, we started brainstorming potential story lines. Each one of us in the group come from different walks of life. We could not be more different from each other. And because we all wanted to act in it as well, we had to come up with a story that would make sense. A story that would believably involve all of us in a coherent and logical way. We threw out some ideas before settling on one. Once we settled and agreed on that idea, the impulse to immediately start writing dialogue emerged. As the emerging producer and leader, I knew this would be a nightmare if we didn’t establish a log line first. A log line is a short paragraph that summarizes what a film or TV series is about.

I knew I had to be adamant about creating a log line first because that would be our guide. Our blueprint. Our road map. Without a log line, we could start in NYC and end up in Venus. Like WTF? How did we end up there? What is this story about again? What are we writing about again? I’m confused. With a log line intact, we can stay on track with the story we want to tell. So we worked together to create a log line.

Next, I suggested that we establish weekly production meetings. Since we all live in different parts of Los Angeles, we decided to have production meetings on a video conferencing program called Zoom (By the way Zoom, if you need a spokesperson for your national commercials, I’m your guy)

These production meetings over Zoom would cover and handle certain things so that we could move our film forward.

Within a week, one of the group members offered to come on board as a co-producer so that we could split and carry the workload. FANTASTIC! THANK YOU! Within a week, I started to create a production timeline containing weekly goals, important information and deadlines that needed to be met. This production timeline listed deadlines for obtaining a director; the second writing meeting; the third writing meeting; obtaining a cinematographer and DP; taking pictures of the place we are shooting at; filling out SAG paperwork so our film can be a SAG signatory production; locking the script; locking a film crew from the first AD to a script supervisor to production assistants; a tech walk through with the director, cinematographer and DP; actor rehearsals; etc.

While I created the production timeline and obtained the crew (above and below the line) my co-producer handled all SAG paperwork and reached out to other potential crew members. She and I have met on Zoom to handle certain aspects of production. She will also handle the post-production paper work with SAG. She and I will coordinate on obtaining equipment and props for the shoot. Our director is currently story-boarding the script, is shaping the look and tone of our film, has given us homework for our characters and has served as a story editor to help strengthen our script and take it to the next level.

For the crew, I reached out to people who were upbeat, fun, energetic and hard-working. Cause at the end of the day, the set needs to be light, fun and forward-moving! And I have to say what a wonderful community we have at the Richard Lawson Studios. These crew members from the studio are contributing their talents and hearts to our film. Like I said earlier, art is a collaborative effort! You can’t do it alone.

So week to week, we are systematically crossing things off the list to set ourselves up for the best shoot possible. Script locked this past Wednesay. Crew locked this past Thursday. SAG paperwork submitted this past Friday. Etc. And even though we have two more weeks of pre-production left before we start shooting, I wanted to share this pre-production process. After we screen our films on July 1st, I’ll share the production timeline I created with you all.

Now, I have to say that producing is taking up a lot of my time. But I also have to say that it’s been exciting to create something from scratch again. To collaborate and create a product that will benefit us all. We are thinking bigger picture with our film. I look forward to being on set, taking off the producer hat and putting on the actor hat as well!

And somehow, despite how busy I am co-producing this film, I am still blogging every week. I am still rehearsing a scene from HBO’s “Girls” that I’m putting up in scene study class. I am auditioning and getting callbacks. I am receiving requests for self-tape auditions. I am getting closer to obtaining a meeting with James Franco and pitching my script to him. I am planning a reading of my feature film script. I teach the Professional Development Program 1.0 class every week with Richard Lawson. I am active on social media. I support people on my relationship map by seeing their plays, watching their music videos, listening to their podcasts, etc. I have a social life that is alive again because of a beautiful relationship that I am currently in.

Good God almighty! I’m ready and due for a TV series pick up. Like Lena Dunham. Mindy Kaling. Louis C.K.

🙂

🙂

🙂

Seriously.

Bitch, I’m Jorge Ortiz

Chasing The George

We interrupt this programming to bring you a very important announcement:

Bitch, I’m Jorge Ortiz (pronounced “George”)

Time to take even more responsibility for my power, talents and skills as an artist and person.

Bitch, I’m Jorge Ortiz (pronounced “George”)

I know what I know.

I know a lot.

I am life force.

I uplift sets and rooms and make them better.

I act. Damn good actor, too.

I write. Damn good writer, too.

I teach. Damn good teacher, too.

Bitch, I’m Jorge Ortiz (pronounced “George”)

I inspire people.

I move people.

I impact others. It’s time to own that and claim that.

I also need to know the impact I have on others I’ll never meet or know about.

I know what I know.

I’m not Richard Lawson.

I’m not Milton Katselas.

I’m not Ivana Chubbuck.

I’m not Lesly Kahn.

But…

Bitch, I’m Jorge Ortiz (pronounced “George”)

You’re getting me and what I know.

IMDB credits, lack of IMDB credits, lack of TV credits-

Bitch, I’m Jorge Ortiz (pronounced “George”)

I change lives.

Yes, I claim that and I have pride about that.

I blog. Every week. I blog about my experience, my journey, my voice, my POV. All of which are valid.

I’m much better at not comparing myself to others. I am able to cut it off at the pass a lot more faster. They are them. I am me. And I’m just as valid. I am on my own fantastic journey.

Bitch, I’m Jorge Ortiz (pronounced “George”)

Now back to our regularly scheduled program.

An Audition I Did

Chasing The George

Our teacher, Richard Lawson, recently assigned us to find audition sides, do a self-tape and then submit it to the casting director of that particular project.

I found sides from a TV series and quickly began using Richard’s technique
for audition preparation called The Subtees Process. I spent a total of five hours on The Subtees Process to create the product I wanted.

I did the audition in class and delivered my product. I delivered exactly what I had worked on during The Subtees Process. After the class watched my audition, our teacher that morning, the amazing Kelly Tighe, gave me my assessment. She started off with what worked about it and what I could fix in the second take. Here at the studio, the philosophy is “Find The Good And Praise It”. Find what works about it first, praise it, and then present the adjustments and fixes.

Kelly thought I did a great job. That I allowed myself to be seen. That I am a leading man. That I had no judgement on the character or on myself. I had no walls up and I wasn’t hiding: What you see is what you get. She clearly got my apparent event (what we think is going on in the scene) and the actual event (what is really going on in the scene) The actual event is where the character’s subtext and inner life occurs.

I identified and carved out the following apparent event:

I’m showing off my new restaurant space to a friend.

I identified and carved out the following actual event:

I’m actually in love with her.

Kelly gave me the following notes to work on for the second take:

  • In your moment before, what are you looking at? Be more specific with what you’re looking at and let it impinge you. What you were looking at in the first take was a little general. (I was looking at the restaurant space during my moment before, but it was general. I didn’t really see anything in particular.)
  • How does Jorge react when someone critiques him? (I ask the girl what she thinks of the new space and she uses general, uninspired words like “Very nice” and “Fantastic” I reacted well to her comments in the first take, but how do I really react?) What’s the sting for Jorge? In this way, the other character’s words land on me in a more personal way.

I repeated the take in five minutes and nailed the notes. My audition elevated to another level. In those five minutes, I kept what worked and added the new notes Kelly gave me. In my moment before, I looked at a cable that ran along the wall and I actually became interested in the yellow velcro ribbon tied around it. I also became interested in the screw that held the cable up against the wall. I really looked at these things and became interested. On camera, I looked like I was beaming with pride over my new restaurant space, but I was actually in love with the cord on the wall. That specificity helped me to create a stronger moment before. My eyes focused on something specific. It helped me to pull in the environment even more into the audition and to be more connected to it throughout the audition. The specifics of the environment enhanced my storytelling, my belief and my pride in the restaurant on camera.

When the character gave her reaction to the new space, I reacted as I would. So, it became more personal to me. In the five minutes I had to apply the notes, I looked at how I respond to critiques and how I respond when I expect a certain answer and I don’t receive it.

After the second take, fellow friend and classmate, Lindsay Hopper, said, “You were able to still be flirty with her…even though you were clearly affected by what she was saying, you had good-humored inflexibility in what you wanted to hear from her. But you didn’t make her feel bad about it because you clearly like her. So that was a subtlety you brought in the second take that I don’t remember you doing so much in
the first take.”

So, for your viewing pleasure, here is the second take of the audition I sent to casting:

https://youtu.be/IFdmuVLe70M