I was neither blood nor water in this, but I played a pretty good drunk in between
them.

There was a fair amount of dramatic improvisation to refine and develop our roles
here. Directed with a deft hand by Richell Morrissey, we had a ball collaborating on
this rich man’s overlooked son. (I love rehearsing. The more rehearsal, the better!)

You know when your Mother tells you that she hated you and wanted the other guy
to win, you’re on to something.
Meet Stephan, algebraic poet.

I’m very proud of this feature. It’s the story of Sam, a former football star who’s
capped out over 400 lbs., and his attempt to get his life back together. It’s told with
heart and charm, a truly beautiful family effort.

There are times when you just love being an artist. This was a beautiful and
wondrous piece about a cleric whose faith is shaken when he’s tempted by a fallen
angel.

It’s also not my first time playing a man of the cloth. I’m regularly cast as both
priests and serial killers. It turns out that my morality is suspect.

We had 48 hours to complete a movie entirely from start to finish. From the
wellspring of Kristina Denton’s creativity came an awesome heist film, and THE
DEED was born.

For some unfathomable reason, I was allowed to direct and perform. It was
unparalled grandeur and exquisite hell. And truly hilarious. Amazing actors and a
crackpot team!

This was an original play based on the beginnings of Dadaism. Featured here are the
brilliant Jared Mertz, Corena Chase, Anthony Backman, and me.

I remember, as tensions collided, Dada finally came roaring alive through us in a
symphony of nonsense and beastlike sounds: a revolution of hilarity and sheer
power.

A screenwriter. A serial killer.

Going crazy, it turns out, was easier for me than expected. It was my first time
drowning a producer in a swimming pool, though. And bludgeoning a man in a
shower, also new. And definitely my first time pushing a guy out a window.

The car explosion, though? Not new. Not by a long shot…

This was my first directing effort, an hour-long pilot about the private stories of
men. Not the overgrown stunted men children as we often see, but men struggling
with complex feelings, men trying to do right, men with self-awareness and
morality, facing up to the ideas of how they should behave in an emasculated,
confused time.

So I’ve sworn about forty-one Confidentiality clauses for this small, independent

feature. And that means that I won’t tell you anything about it, or confirm that I was
in it, really. If I was. And I won’t share any photos or video, were there any to share.
And were I to say I relished wearing horn-rimmed glasses I would most certainly be
referring to some other film experience.

This premiere work of DTG was performed as part of the Santa Monica Playhouse’s
50th season. All proceeds were donated to the theater to help its financial burden.

This beautiful, arresting piece was my Hamlet, a hard-won dream role supported by
an extraordinary ensemble. One of my top theatre experiences ever. Unforgettable.

This was a huge hit, and I still don’t understand half of it! This was an ensemble of
20 overachievers, the kind that remindst you how little talent you possess. I played
Laptop, a lispy, undersexed computer freak. Before each show, I was lowered into
a coffin beneath the stage for an hour. Unable to move, I could only listen. IIt was a
truly unforgettable way to experience this play.

Charming. It’s the perfect and only word to describe this musical. I had so much fun
acting the smarmy Kodaly, and I was able to work with the inimitable Jill Bennett,
whom I’ve played with on more than 10 occasions. I delighted in flying around the
stage, dancing the tango, and hurling insults at my fellow actors whenever the script
allowed. Charming, indeed.

This short film began as a challenge: Without leaving one room, could we tell the arc
of a relationship in one night? The joy of solving this dilemma found us navigating

not only the game of their relationship, but the layout of a confined space. Perhaps
an homage to Sartre, or maybe just some fun with the 5D. Also, Tristan James Butler
and Kristina Denton were inspired.

When my friend Paul Teodo told me that Michael Altman was directing this
throwback to ON THE ROAD, with original music and a script from icon Danny Darst
I was certainly intrigued. When he told me I would be reading a snively weasel
named Wooten, well, that was that. Paul, as you can tell from his lats, had no trouble
assaulting me all over the stage. Damn fun times!

GINA. You put $2,000 cash in your crotch?

VINCE. Of course. Where else could I trust this kind of money?

GINA. Get in the car, Vince.

VINCE. ..a little bit sticky…

GINA. Get. In. The car!

I loved directing this…

Brian Friel’s beautiful and lyric tale of his family’s downfall is reminiscent of an Irish
Glass Menagerie. As the narrator Michael, it was very satisfying to live through much
of the play as an observer, traveling from an old man to a boy.

(A trick, incidentally, that I’ve tried unsuccessfully many times since. I guess the first
time was an illusion, after all.)