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THE PROCESS with Larry Moss
November 30, 2017, 7:00 PM
The Ray Stark Family Theatre, SCA 108, George Lucas Building, USC School of Cinematic Arts Complex, 900 W. 34th Street, Los Angeles, CA 90007
USC Comedy and The Process Studios invite you and a guest to a special screening of
Directed and Produced by Mitzi Kapture
Executive Produced by Ralph Hemecker
Featuring Larry Moss, James L. Brooks, and Barnet Kellman
Followed by a Q&A with Larry Moss
Moderated by Professor Barnet Kellman, USC Comedy Co-Founder and Robin Williams Endowed Chair in Comedy
7:00 P.M. on Thursday, November 30th, 2017
The Ray Stark Family Theatre, SCA 108 900 W. 34th Street, Los Angeles, CA 90007
OPEN TO SCA STUDENTS, FACULTY, STAFF, AND ALUMNI. FREE ADMISSION. RSVP REQUIRED.
Available on Blu-Ray and DVD at www.theprocessstudios.com
About The Process
For the very first time on film The Process gives the audience a front row seat of world-renowned acting, directing coach, and author Larry Moss, who has coached Academy Award and Golden Globe–winners, including Leonardo DiCaprio, Hilary Swank, Chris Rock, Helen Hunt, Jim Carrey and rising star Hailee Steinfeld.
The film, directed and produced by Mitzi Kapture, follows Moss as he works alongside a young director and his actors taking them from their first choices to a final polished performance; allowing the viewer to absorb what makes The Process so effective and brilliant. It also features appearances by Academy Award–winner, James L. Brooks and is moderated by USC Cinematic Arts Professor, Barnet Kellman. The film includes a hilarious clip featuring Tracey Ullman and Mel Brooks from The Tracey Ullman Show. The DVD and Blu-Ray includes special bonus interviews and includes tips from these seasoned pros. Ralph Hemecker and Mitzi Kapture are the executive producers of The Process.
'Larry Moss is universally acclaimed as one of the great acting mentors of our time,' said director Mitzi Kapture. 'The Process is a story I had to tell. Everyone should have access to the fine arts as a way of inspiration and expression, now they can.'
This never before seen documentary offers viewers a peek of a rehearsal process that will elicit a richer comedic performance by exploring the subtext of gifted comedic writers.
Hollywood is taking note of The Process and is praising Kapture's documentary.
'A profoundly gifted, articulate teacher,' said Academy Award–winning actress Hilary Swank.
'Larry Moss picks up the mark from Stella Adler and Sandy Meisner and for a whole new generation of artists,' said writer and director Gary Ross (The Hunger Games, Seabiscuit, Pleasantville).
'Brilliant!,' said Jim Carrey.
OFFICIAL WEBSITE: theprocessstudios.com FACEBOOK: @theprocessfilms and @theprocessstudios TWITTER: @theprocessdocu INSTAGRAM: @theprocessdocu
About the Guests
LARRY MOSS
Larry Moss has been an acting coach for over 35 years and is now the most sought after acting coaches of our time.
Moss began his career at New York’s famed cabaret Upstairs at the Downstairs and went on to appear on Broadway in numerous productions including Joe Layton’s Drat! The Cat!, Neil Simon’s God’s Favorite, directed by Michael Bennett, Burt Shevelove’s So Long 174th Street, Gerald Freedman’s The Robber Bridegroom, and Gene Saks’ I Love My Wife.
After teaching in New York at Juilliard and Circle in the Square, he moved to Los Angeles and founded The Larry Moss® Studio. It was here that he directed and developed Pamela Gien’s The Syringa Tree, which had its world premiere at ACT in Seattle. The Syringa Tree, opened in New York in September 2000 and won the Obie Award for Best Play of 2001, the Drama Desk Award, the Outer Circle Critics Award for Outstanding Solo Performance, a Drama League Honor and a nomination for the John Gassner Playwriting Award. The Syringa Tree, has played to sold out houses and critical acclaim around the world, including London (The National Theater), Toronto (Can Stage), where it won the Dora Award for Best Actress and Best Play of 2005. Moss directed the TV version that was filmed by Trio Arts Network and in 2005, Pamela, Larry, and their producer Matt Salinger, took The Syringa Tree, on a profound journey of the heart, home to South Africa to the Baxter Theater.
Moss developed and directed Bo Eason’s Runt Of The Litter at Manhattan Class Company in January 2002 and when it re-opened in November 2007 at 37 Arts Theatre. It was voted one of the top ten plays of the year by NY Daily News and was bought by Castle Rock to be made into a major motion picture. Runt of The Litter had a National Tour which began in Seattle at ACT.
Moss has directed off-Broadway Michael Raynor’s Who is Floyd Stearn; Richard Kalinoski’s Beast On The Moon; Jack Holmes’s RFK (Drama League Award); and Josh Jonas’s Capture Now. He directed the World Premiere of Jam, a new musical, starring Clint Holmes, and the following at the Café Carlyle: Remembering Bobby Short, What Is This Thing Called Love (Bistro Award – Best Male Cabaret) and Stop this Train(Broadway world.com Award for Best Celebrity Performance of the Year) all starring Clint Holmes and the concert When Everything Was Possible at City Center in New York starring Kurt Peterson and Victoria Mallory. In Los Angeles, he directed Richard Hellersen’s Dos Corazones both as a play and film; I Love My Wife starring Jason Alexander at Reprise; John Patrick Shanley’s Beggars In The House of Plenty, The Los Angeles premieres of Neil Labute’s In a Dark, Dark House, and Tim Murphy’s Holding the Man. He most recently directed David Hare’s SKYLIGHT at The Berkeley Street Theater in Toronto. He will be directing Relative Insanity and Capture Now, two new films and Producing Monty (a biopic about Montgomery Clift), starring Matt Bomer for HBO Films.
Moss coached Sutton Foster in Broadway’s Anything Goes (Tony Award); Helen Hunt in As Good As It Gets (Academy Award); Hilary Swank in Boys Don’t Cry and Million Dollar Baby (Academy Awards); Michael Clarke Duncan in The Green Mile (Academy Award nomination); Hank Azaria in Tuesdays With Morrie (Emmy Award); Jim Carrey in The Majestic; Tobey Maguire in Seabiscuit; Leonardo DiCaprio in The Aviator (Golden Globe Award and Academy Award nomination); The Departed (Golden Globe nomination); Blood Diamond (Golden Globe and Academy Award nomination); Shutter Island, Inception, J. Edgar (SAG and Golden Globe Award nomination) and Wolf of Wolf Street(Golden Globe Award and Academy Award nomination). Moss’s teaching career includes US, Canada, Australia and Europe. His book on acting, The Intent To Live, was released by Bantam Dell in 2004.
MITZI KAPTURE (Director, Producer)
Mitzi Kapture, born Mitzi Donahue (MD), is an American actress, producer, and director.
Kapture began exploring acting at the Alliance Theatre in Atlanta while studying Business and Computer Science at Berry College. Making a decision to focus on acting, she moved to Los Angeles where she was cast in lead roles for film, TV series and movies. Kapture gained global recognition for her lead role as Sgt. Lance in the groundbreaking hit series Silk Stalkings. She went on to portray ‘Joanne Jensen’, a NCIS Agent in Perfect Crime: The Joanne Jensen Story, based on a true story. These projects garnered some of the CBS/USA’s highest ratings. Other movie and film credits include Storytellers, Perry Mason: The Case of the Maligned Mobster, God’s Ears, His Bodyguard, and TV shows such as the pilotThe Dark for TNT and Rules of Engagement on CBS.
While performing in front of the camera for five seasons on ‘Silk Stalkings,’ Kapture was encouraged by the prolific series creator Stephen J. Cannell, writer of over 40 shows and novels. Cannell supported Kaptures’ interest behind the camera and as a storyteller. Having directed episodes of Silk Stalkings, Kapture continued to explore both sides of the camera. It was from the culmination of her acting and directing experiences that Kapture conceptualized The Process.
The Process Documentary, produced and directed by Mitzi Kapture, takes the audience for an inside, behind the scenes look at world renowned acting coach, Larry Moss while he works with a young director and his actors through a rehearsal process that will elicit a richer comedic performance by exploring the subtext of gifted writers. The film also features appearances by writer, producer, director James L. Brooks, moderated by USC Cinematic Arts Professor, producer, and director, Barnet Kellman, with a special clip of Tracey Ullman and Mel Brooks from The Tracey Ullman Show, with bonus materials included.
Mitzi Kapture has two daughters Madison and Emerson. Kapture is currently producing The Process and developing future projects.
About the Moderator
PROFESSOR BARNET KELLMAN (Robin Williams Endowed Chair in Comedy)
Barnet Kellman directed the feature film comedies STRAIGHT TALK (Disney) KEY EXCHANGE (Fox) and STINKERS (Sony). His highly regarded work on television includes the directing the pilots of the network series MURPHY BROWN, MAD ABOUT YOU, SUDDENLY SUSAN, SOMETHING WILDER, THE GEORGE LOPEZ SHOW and MY BOYS. His work on television has been recognized with two Emmys Awards and seven Emmy nominations, a Directors’ Guild Award and three nominations, and a Monitor Award. He has directed twenty-one pilots that became on-air series, and continued with many of them as Executive Producer/Director.
In addition he has directed episodes of the award winning series ALIAS, ALLY MCBEAL, ONCE AND AGAIN, FELICITY and E.R. and the ABC hit comedy THE MIDDLE, starring Patricia Heaton.
Barnet began his career in the New York theatre, directing the premiere productions of KEY EXCHANGE, DANNY AND THE DEEP BLUE SEA, THE GOOD PARTS, THE LOMAN FAMILY PICNIC, FRIENDS and BREAKFAST WITH LES AND BESS. His New York productions have been seen at the American Place Theatre, the New York Shakespeare Festival, Playwrights’ Horizons, Circle in the Square, The Manhattan Theatre Club and the Ensemble Studio Theatre. He has also directed works at the Geffen Theatre, the Eugene O’Neill Theatre Center, the Yale Repertory Theatre, The Folger Theatre, Williamstown Theatre Festival and the Actors’ Theatre of Louisville. Barnet made his radio debut with Wendy Wasserstein’s THE SISTERS ROSENSWEIG for L.A. Theatreworks, and KCRW.
He graduated magna cum laude from Colgate University in 1969. A member of Phi Beta Kappa, he was a recipient of the prestigious Danforth Graduate Fellowship, and the Thomas J. Watson Fellowship. He attended the Yale School of Drama, and received a Ph.D. from The Union Institute. He is a Professor of Directing at the USC School of Cinematic Arts, founder and Co-Director of its comedy initiative, USC Comedy, and Vice-Chair of its Production Division.
About USC Comedy
The James L. Brooks/ Larry Moss Workshop you see in THE PROCESS was produced at the USC School of Cinematic Arts as part of its USC Comedy program.
USC Comedy, now in its seventh year, provides a one-of-a-kind educational experience for university students of all levels. The program offers instruction in the writing, directing, production as well as the history and theory of comedy. Students work with a distinguished, award-winning faculty of comedy professionals to discover and develop their comedic voices, while getting unrivaled access to the field through workshops, internships, demonstrations and screenings and festivals.
Check-in & Reservations
This screening is free of charge and is NOT open to the public; only guests of the film and students, faculty, staff, and alumni of the USC School of Cinematic will be granted admission. Please bring a valid USC ID or print out of your reservation confirmation, which will automatically be sent to your e-mail account upon successfully making an RSVP through this website. Doors will open at 6:30 P.M.
All SCA screenings are OVERBOOKED to ensure seating capacity in the theater, therefore seating is not guaranteed based on RSVPs. The RSVP list will be checked in on a first-come, first-served basis until the theater is full. Once the theater has reached capacity, we will no longer be able to admit guests, regardless of RSVP status.
Limited handicap seating is available. For guests with disabilities who require special accommodations, please contact Matthew Meier at [email protected] with the subject line: 'Accommodations Request -- THE PROCESS.'
Parking
The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles, CA 90007. Parking passes may be purchased for $12.00 at the McClintock Avenue Entrance (formerly Gate #5) or Royal Street Entrance (formerly Gate #4) on W. Jefferson Blvd. We recommend parking in the Royal Street Parking Structure (formerly PSD), at the far end of 34th Street. Metered street parking is also available along Jefferson Blvd, with limited non-metered spaces also available north of Jefferson and throughout the surrounding neighborhood. Especially if you plan to utilize street parking, we HIGHLY recommend arriving at least 30 minutes before the screening, as parking can be difficult to find and it may take time to walk to the theater from your parking space.
For a map of campus, visit: https://web-app.usc.edu/maps/map.pdf
Barbara Bain, who’s about to open in Why We Have a Body at the Edgemar Center, probably will never top the excitement of her first premiere — her own entry into the world. She made her debut on Friday the 13th in the back seat of her uncle’s new car. “You’ve always been impatient,” her mother later told her.
“You messed up the back seat of my Buick,” her uncle said. Bain is a meticulous Virgo. If she could have, she would have cleaned up the car on the spot.
Buick played another role in her life, years later. She did a modeling gig as Miss Buick, one of those beautiful women who stood beside a new car to attract potential buyers at an auto show. “I wore a gold Trigère gown, and they paid me large sums of money,” Bain says. “In real life I was a dancer, and this job paid for my classes with Martha Graham.”
Modeling is “a cutthroat, mindless business,” she continues. “You’re not supposed to look like anything human.” Touring with five other models left her “feeling very removed. I just couldn’t get absorbed into conversations about what kind of lipstick I wore or what my dress size was.”
She had received her bachelor’s degree in sociology from the University of Illinois, but she had moved to New York to pursue her dancing career. Soon, however, she began attending classes at Lee Strasberg’s Actors Studio, and her interest turned to acting.
Her interest also turned to a fellow actor at the Studio — Martin Landau. They were married in 1957 and, a decade later, became co-stars in the hit television series Mission: Impossible. As Cinnamon Carter, a secret government agent in the Impossible Missions Force, she won Emmy Awards for best actress in a leading role in a dramatic series three consecutive years — in 1967, ’68, and ’69.
“Bruce Geller (writer/producer) created the part of Cinnamon specifically for me,” she says. “It was the best role in the universe, an actor’s dream…I have such a lot of dear feelings for Bruce.”
“For the pilot, John Alton (Painting with Light) came out of retirement to set the lights. I was so excited, I was sure the sound man could hear my heart beating.
“It was amazing,” Bain adds. “We didn’t kill people on the show. We didn’t even have weapons. We played mind games with the villains, tricking them into doing each other in.”
Bain and Landau left Mission: Impossible in 1969 and later starred together in the science fiction series Space: 1999. They divorced in 1993.
Their two daughters followed them into their profession. Juliet Landau is an actress who appears often with her mother, played opposite her father in Ed Wood and recently starred in Danny and The Deep Blue Sea at Crown City Theatre. She also played Drusilla in Buffy the Vampire Slayer. Susan Landau Finch is a film producer who has worked extensively with Francis Ford Coppola at American Zoetrope.
The ever-busy Bain is ensconced with actress Tanna Frederick in a dressing room at the Edgemar Center for the Arts in Santa Monica, waiting to go onstage to rehearse Claire Chafee’s 1993 comedy Why We Have A Body. It’s Frederick’s directing debut, and she and Bain are tossing verbal bouquets at each other.
“Tanna’s concept is just delicious,” Bain says. “She is incredibly creative. She has a wonderful vision and every element in the show is incredibly inventive.”
“She’s the wunderkind,” Frederick responds. “She’s the sexiest woman on the set — the Prom Queen of our play.”
Why We Have A Body deals with the adventures of a mother and her two daughters. Bain plays the mother, an archaeologist named Eleanor, who is continually gallivanting around the globe researching the female brain. The two daughters are Lili (Alex Sedrowski), a lesbian private investigator who specializes in tracking cheating husbands, and Mary (Frederick), who makes a career of holding up 7-Eleven stores at gunpoint.
The fourth member of the cast is Renee (Cathy Arden), who wasn’t a lesbian (or didn’t think she was) until she is pursued by Lili.
Chafee’s comedy premiered at San Francisco’s Magic Theatre in 1993, ran six months, and was revived there last year. It also was produced Off-Broadway and in 1995 at the Tiffany Theater in West Hollywood. It’s a tale about love in many permutations, from sibling love to lesbian love to family love.
An added fillip is a jazzy, funky, classical original score composed by Edward Auslender and rendered by a talented quintet. “The music goes with the story,” Frederick explains. “There is a special theme for every person.”
Frederick, who recently came off an extended run as the frisky puppy in A.R. Gurney’s Sylvia, suddenly found herself at loose ends when it closed. “That role was me,” she says, “and I really felt sad when it finished. I needed to do something new.”
She remembered Chafee’s play, which she had appeared in as a student at the University of Iowa in 1996. “In times of emotional crisis, lines from that play have come back to me,” she says. “It really affected my attitude toward life.
“I never wanted to direct,” she continues, “but I’ve done six plays with director Gary Imhoff and five films with Henry Jaglom, so that’s equal to the best university training.”
“This is a big production of a small play,” Bain adds. “But these women are confident, regal, strong risk-takers. They give people permission to do their own thing.”
“Very often there is tension between the actors and the director,” she continues. “When the director has a sour look, the actor thinks “˜You don’t love me any more, you’re sorry you cast me and you want me to go home.’ The director should make you feel that they’re glad you’re here. That’s gold.”
In addition to their obvious affection for each other, Bain and Frederick have a mutual interest in doing meaningful work in the community. Frederick is the founder of Project Save Our Surf, an organization designed to help preserve oceans both locally and globally. One of the organization’s outreach programs is a two-day Surf-a-thon fundraiser that she hosts in Santa Monica and which features some of the world’s best surfers. They also have provided fresh water to children at an orphanage in South Africa.
Bain, who says she is “a reader who found my soul at the library,” founded the Screen Actors Guild club “Book Pals,” which has given some 100,000 children the opportunity to listen to Guild members reading cherished books aloud. Bain herself spent 15 years reading to kindergarteners and first graders in Watts. She tells about a skeptical student who confronted her by asking, “˜You got any stories about whales?’ “Did I have a book for him!”  she laughs.
The rehearsal is called, and the two women stroll arm-in-arm to the stage.
“My life is heaven right now,” Bain says in parting. “I should be arrested for having such a good time.”
Why We Have a Body, presented by the Rainbow Theatre Company and Edgemar Center for the Arts. Opens March 2. Plays Thur-Sat at 7:30, Sun at 5 pm through April 22. Tickets: $34.99. Edgemar Center for the Arts, 2437 Main St., Santa Monica. 310-392-7327. www.edgemarcenter.org
***All Why We Have a Body production photos by Ron Vignone