|
ROB MACIE TURNING OBSTALES INTO OPPORTUNITIES
By Montgomery Fisher Jr.
This multi-talented actor, writer, producer and executive is president of his own production company, Jalisco Entertainment, as well as production executive at Fiesta Studios in Hollywood.
Macie had all the odds stacked against him. When his father lost his fortune overnight, the family went from abundance to scarcity. At a young age Rob learned to turn obstacles into opportunities; and to stop at nothing to achieve his goals. At fifteen his persistence led him from soccer, which he played badly, to ice skating, in which he taught himself to excel, and then became an instructor. As a teenager, Rob decided to leave his native Mexico and set his sights on Chicago, in hopes of finding his own success. A natural born entrepreneur, Rob worked odd jobs and double shifts as a bellman at the Ambassador Hotel in an attempt to earn money and network. He saved every penny he made and soon partnered with his brother, launching their own limousine company. After three prosperous years, Rob bought out his brother and became the sole owner of the business.
After seven years of life in the fast lane, this over achiever saw fellow limousine entrepreneurs having heart attacks in their forties. Rob asked himself, "What do I want to do before I die?" Acting didn't come as a chosen solution, but rather as a catharsis - it gave Macie his life back. He started doing plays, short films and commercials. Rob finally headed west to Hollywood in March 2001, to face what almost every young aspiring actor must face: no agent, no job and no money.
Fierce determination and his training at the Lee Strasberg Institute led to a quick reversal of fortune. He joined the Screen Actors Guild; and secured jobs as a Spanish and dialogue coach for a number of highly popular cable TV shows including "Nip/Tuck", "Kingpin", "The Closer" and the feature film "Happy Endings". Each time the directors noticed Macie's intelligence and artistic demeanor and began to cast him in the shows. Rob quickly realized that exploring different elements of the entertainment industry brought him a new sense of satisfaction.
In 2004 Rob Macie founded his own production company, Jalisco Entertainment, and created and developed a number of film and television projects including "Hot Salsa", "Poker" "Skater", and "Limousine Academy", based on his adventures and misadventures of seven years owning his limousine company. He recently co-produced and acted in the independent movie "The Big Deal". Next on his slate is the filming of "Getting Married", a screenplay written by Macie in which he will also star and produce. The project already has financing in place and is scheduled to shoot in summer 2007.
In the end, Rob Macie's story certainly goes beyond the writing of his own screenplays, since life itself is a never ending movie, reinforcing the lessons learned. There is great power in passion and intention. Life infallibly is in the hands of those who never lose sight of what they want - Rob's philosophy.
Did you ever think about being an actor when you were a child?
Never. I was a very introverted child. When people asked me what I wanted to be when I grew up was; I wanted to be rich. I was talking out of fear of living my life as a poor man. Later when I had a clearer idea about professional careers I remember wanting to be a pilot, an architect, or the president of my own company. And at one point, the president of Mexico.
You have had a very interesting life living in two cultures. How has that enriched you as an actor?
Tremendously! Your brain is somehow channeled differently. When using your imagination and or life experiences in your craft, you definitely have a lot more to choose from. I could give you endless specific examples but let's just say I'm lucky to have resources from both cultures. The passion of my Latin blood combined with the great acting techniques that our American acting icons have created for us.
What kind of training do you have?
As an actor, I'm a method actor. I took some Meisner training in Chicago, but it was really the Strasberg method that did it for me. I studied at the Strasberg Institute in Hollywood, but also with other coaches including Sally Kirkland, Eric Morris and the legendary Ivan Markota, the last of the great ones. Ivan is special; he teaches acting, but most importantly, how to get the job; how to become a star, and how to play the strategic Hollywood game.
How has your training at the Lee Strasberg Institute changed you as a person and an actor?
Training at the Lee Strasberg Institute, or for that matter the Strasberg Method, taught me to be more at peace with myself. It takes time and commitment because at first you confront yourself through some terrific exercises that force you to discover and admit your greatest flaws; but at the end the pay off is just as great. Lee Strasberg used to say that his class was not a therapy session; but I always say it's a catharsis every time you allow yourself to reach the level of honesty the method requires, no matter how painful, no matter how dark. As an actor, I also felt a breakthrough a few months after I started to study the method. The hard training and depth of exploration made it seem easy when I auditioned - for the first time I felt free in front of people.
What do you want to accomplish in your upcoming film "Getting Married"?
"Getting Married" is a story about a Latino man marrying into an American family; with the complications and rejection by the girlfriend's father. I always want to send a great number of messages in my writing, my acting or producing; but the most important issue to me in this film is the portrayal of the Latino image. I am tired of the stereotype that Hollywood has told about us in its long history. In my movies, you won't find the Latino being the typical underdog, uneducated, broke, bad guy or drug dealer. On the contrary, I try to tell the stories of the complex human beings that we are with the same flaws and virtues as any other ethnicity or race.
What is the greatest challenge in producing, writing and acting in your own film?
The greatest challenge in wearing so many hats is learning to see the whole picture and not just from one angle. The audience goes to see a complete "movie", not just a story told with the actors' emotions, or the cinematographer's great shooting angles, or the writer's intentions... etc, you must achieve a superlative level of integration from all production areas.
What do you look for when casting actors for your project?
I look for reliability, availability, openness to adapt and take direction, training and experience. Theater is almost always a must. Film and TV are a plus.
Ed Asner has read and given you comments on your screenplay. He may even accept one of the leads in the film. Do you feel at all intimidated working with an actor who has won seven Emmy awards and nominated for two others in comedy and drama between 1971 and 1980?
Not at all. We have many things in common. He went to the University of Chicago and I spent several years in the Windy City. But perhaps what makes me identify most with Mr. Asner is the fact that we both stand by our own deepest beliefs. I also like archeology and deep sea diving; the only difference is that I do it from the comfort of my living room, on Discovery Channel.
You have a bilingual script - English and Spanish. Are American audiences ready for this?
Americans have been tasting it for years... they are craving for more. Let's not forget that what really keeps a viewer watching is the story. "Amores Perros", "Y Tu Mama Tambien" were totally in Spanish - subtitled in English. American audiences are intelligent, they can read and interpret emotions and situations. I attended the Academy Awards with Sally Kirkland and saw Spanish language "Pan's Labyrinth" get nominated for six Oscars and win three. Multi-lingual "Babel" got nominated for seven Oscars and won one. I've seen both films several times and it was great to see the American audience glued to the screen, full of emotions, affected by these masterpieces.
Who are some of the actors who have inspired or mentored you?
Sally Kirkland, Kevin Costner, Robert DeNiro, Al Pacino, Lee Strasberg, Stella Adler, Anthony Quinn, Martin Landau, Johnny Depp, Marlon Brando, Benicio Del Toro, Andy Garcia and James Edward Olmos.
How did you get involved in acting?
I met Alec Baldwin's manager in Chicago who encouraged me to take an acting class and give it a try. I didn't right away since I had just started my first business, the limousine company, and I was more interested in succeeding in my entrepreneurial dream. A few years later though, I found myself in a personal crisis, and that's when I took my first acting class, which led to a number of commercials and stage work.
What made you become a producer?
It takes very little effort to see the unfairness of the entertainment business, economically speaking. Having a business education and by then years of experience, I decided to stop thinking "Show Art" and get into the "Show Business" game.
How did you start writing?
I had my own stories to tell, and the way I wanted to tell them, without being dictated by someone else's vision. As long as you know your craft, have the discipline and some talent... you're on the right track. And that goes for any area: writing, directing, acting; etc.
What gave you the confidence to come to Hollywood?
I like going all the way! I started to get too comfortable in Chicago doing commercials, short films and plays. That's when I knew I needed more. I knew it wasn't going to be any easier, but I guess that's my nature. I'm afraid to get stuck or go down. Plus if there's more to life, why not get more from life?
What do you think about the competition in Hollywood?
I refuse to see great numbers as "competition". When you have something to offer someone always wants it. We all have something to offer, but not everyone wants to invest the time, effort and discipline in finding what that special quality is, develop it and perfect it; and then focus on how to channel it properly in order to "sell it", or make it desirable.
What do you think about Latinos in Hollywood?
I think we are hot and spicy... and maybe that's why people are too afraid to put too much of us in their recipes. The last time I checked, only 3% of the roles were given to Latinos in Hollywood. There are 45 million Latinos in the United States and 700 million in the world. We are a major audience in the Global Village. We must not be ignored. I'm here with my company, Jalisco Entertainment, for the long run. One of my goals is to help increase the number of Latinos being hired.
Is "Getting Married" your first film as a producer?
No. I've co-produced two other films in the past. The first one was in 2001 called "Returning Home", a 36 minute drama shot on 35 mm. in Mexico. Most recently I co-produced a 90 minute comedy called "The Big Deal".
What if Ed Asner is not available or you cannot meet his price?
There's always Plan B. I had Thanksgiving dinner with Martin Landau and Peter Lupus from the hit TV show Mission Impossible. They read my screenplay and they are right for the part. The name of the game is shoot for the stars and if you fall short, my casting director Marvin Paige will get a very talented actor to play the role.
Who will be your director?
I want a director who loves my screenplay and shares my vision. I'm considering Robert Martin Carroll ("Sonny Boy", "Babyluv") and Stella Stevens ("American Heroine and the Ranch")
For more info visit:
www.JaliscoEntertainment.com
Home |
Actors/Models |
Art |
Books |
Dining
Film & Video |
Food & Wine |
Health & Fitness
MediaWatch |
Money and Business |
Music |
Profiles
Professional Services |
Sports |
Style & Fashion
Technology |
Theatre |
Travel & Leisure
Copyright © 1995 - 2008 inmag.com
inmag.com (on line) and in Magazine (in print)
are published by in! communications, Inc.
www.inmag.com
|
Advertiser Info
Subscription Form
Contact Us
|
