NEWS, REVIEWS AND CELEBRITY INTERVIEWS.

Tony Simmons: Actor

1. Please tell us a bit about your background.  Where are you from and what or who inspired you to become an actor? Impossible to abort, I was born in Washington, D.C. and I pretty much grew up in the Maryland suburbs. As far back as I remember, I wanted to be an actor. I don't know why. Perhaps a desperate need for attention, I suppose. Although I did do drama class and some small local plays in my teens, I pretty much submerged the urge in my early adulthood, as other urges demanded indulging (sex, drugs, etc..) About fifteen years ago, the need was re-acknowledged and I began acting school and doing plays, again. I could talk about Marlon Brando or Robert Duval or Al Pacino as being inspirational in the sense that I came of age in the seventies and was very impressed by that era of filmaking. 2. Who is your biggest influence as an actor? As far as influences or inspiration from watching other actors, I have to say that are really are many many wonderful actors out there. That said, I am compelled to acknowledge my admiration for the work of Sean Penn, in particular. I have to say, that the honesty and integrity I see in the work of Sean Penn is truly inspiring. There are so many styles and techniques that it's really just a personal preference. Of course, Tom Cruise is possibly the only actor I can think of who can keep me from seeing a movie, though. 3. Tell us about your roll in “Human No More” Directed by Christopher Alan Broadstone. Working on Human No More was something of a new direction in a way for Christopher Arnold Broadstone and therefore for me, also. Chris's concentration on the 'picture' or 'image' mandates very specific blocking and choreography with the camera. In an odd way, that was true with Human No More, while there was another divergent element that called for more intimate quality also. With Chris there is no improvisation, and in the part of the film where my character directly addresses the camera I was allowed a certain degree of freedom. Since it wasn't about the action and movement, but focused more on the words and feelings, I was called upon to work more from the inside out. And I really liked that. Plus, I didn't have to shave my head or get naked. What more could I ask? 4. Of all the films that you've done, what would you consider your most memorable roles? Because the character of Madman in Scream For Me is one of the most violent in-your-face kinda guys, I think he is the one folks find most memorable. Even if they hate it or him. Although it may not be most people's favorite Christopher Alvin Broadstone movie, I really had fun with My Skin. The character of DEATH was an over-the-top, theatrical hammy kinda thing and it was a blast. I like the idea of putting on makeup and costumes and changing my appearance. And if one has a chance to perform in something 'other-worldly', the door is open to do things that you couldn't usually get away with in a 'straighter' role. So, My Skin might be my favorite. Unless, of course, someone were to think it was a piece of shit acting job and then I will change my opinion to reflect my sycophantic inclination. 5. How did you prepare for that role?  While Chris and Schwarz did camera tests and blocked camera-work, I rehearsed with them, and during that process the character of DEATH kinda came into being. Chris wanted something un-human and creepy and although simply turning the camera on Chris himself may have satisfied that need more, we settled on me shaving my head. And again, with Madman, there was quite a bit of rehearsal for blocking the 'tying-up', and because that action occurs with most of my dialogue, it allowed for that character to evolve in the rehearsal process. 6. What aspects of these characters do you identify with? With the character of Nemo in Human No More, my own feelings of sorrow and disappointment and loss fueled my work. Everyone has those feelings, for me it was just a matter of mining them for some sense of authenticity. And that's really the same for any other parts I've done. Although I haven't fucked a bound guy with a knife that many times, I know that the two-year old megalomaniac in me still exists deep inside and his sadistic urges helped me find some truth in Madman's needs and deeds in Scream For Me. And my own naturally occurring  bitterness and anger gave me a window into the character of DEATH in My Skin.

7.  As an actor what is the most important thing a Director can bring to the set? What I most appreciate in a director is for him/her to have a vision, while being flexible enough to allow an actor to experiment to help that director bring the vision to fruition. Rigidity can be very stifling for an actor. And a director who doesn't have at least an idea of what he/she wants can really leave an actor without a rudder, just flailing about. A director who can't communicate with actors can perhaps make a wonderful looking movie through technique, but he really can lose out on making a better movie. 8. What is the biggest problem with Hollywood today? The biggest problem with Hollywood today is their lack of using me. That said, they're second biggest problem is probably their reflection of society in general in looking at everything as a 'commodity' as a consumable product and the rush to maximize profits, rushing to get things out there for sale and not having a sense of nurture. It's a matter of 'virtual' living in a culture dominated by corporations where everyone seems to speak in business-speak. Because when you speak in business-speak all the time, you are forced to think in business-speak. And that is very very shallow and dishonest. 9. Do you have any advice for aspiring actors? As cliched as it is to say, I would tell any aspiring actor to quit and get a real job instead. And then to the ones who dismiss that advice as untenable, I can only say be true to your heart. You've only one life to live (as far as I know), go where your heart leads you. Don't sell yourself short. So many people seem to think that acting is superficial, but it is, in fact, a wonderful craft and at its best an extraordinary art form. 10. Here's where we give you a word or phrase and you give us the first thoughts that pop into your mind. Toxic Shock TV- Sick Fucks Hollywood- Business Biggest Regret- I didn't try to fuck my way into the biz when I was young enough to possibly succeed Biggest Prick- Dick Cheney Funniest Thing On a Set- Having to duct tape my flopping penis to stay out of frame on one weekend shoot and then not having to do it on the next weekend because it was cold the second weekend. Biggest 'Break Thru' Moment- I don't know if this is particularly illuminating, but going (with Christopher Alex Broadstone) to a screening of a film I had worked on and seeing how terrible the movie was and how awful I seemed. It really brought home to me how much good or bad editing can make or break not only a movie, but just a small performance. Three Movies- Godfather part II,The Stuntman, Dead Man Walking Three Albums- Dark Side Of The Moon (Pink Floyd), Here's To Life (Shirley Horn), Some kind of greatest hits album of George Jones