Mid-Term Presentation: Artistic Director Gilbert Cates Interview
Mid-term Presentation Interview with Artistic Director: Gilbert Cates Directing 402A - November 9, 1999 TABLE OF CONTENTS A/ Preface/Introduction/Prologue Kind of Thing B/ A short Biography of Achievement on Gilbert Cates and a quote C/ Letter to Mr. Cates requesting interview D/ Interview with Mr. Gilbert Cates E/ “Thank You” letter to Mr. Cates A/ Preface/Introduction/Prologue
Kind of Thing When I first found out about this assignment for my Directing class, I was somewhat intimidated. Who would I interview and how would I go about getting a busy “Artistic Director” to take time out of his or her busy schedule to answer a few questions from some “nobody” from Southern Illinois? Thoughts swam through my head and I began to think of whom I could get. I knew I didn’t want just any Artistic Director but one that had transcended the position to unparalleled success. From my three years experience in Hollywood with actors, agents, producers, directors, and the like, I decided to pull out all the stops and try to set up a “dream” interview with someone in the business I knew may be unattainable. But, like I say, “Don’t think about it, just do it”. Two names kept coming to mind: Kenneth Branagh, who had been Artistic Director in England and Gilbert Cates, who was currently Artistic Director of a professional Theatre in Westwood/Los Angeles. I called the Screen Actors Guild first and got Mr. Branagh’s agent. Upon reaching the agent, I was given the phone number for Kenneth’s manager. Once I got through to the manager’s assistant, I was given the phone number of Mr. Branagh’s new agent. After all of that, I finally reached…the new agent’s assistant. After introducing myself and explaining my situation, I was eventually told that the interview wouldn’t happen because of an injury Mr. Branagh was recovering from and being busy finishing editing chores on a film. “All that work for nothing.” I thought as I hung up the phone. Maybe I was setting my sights too high. I didn’t care and wasn’t about to give up, so I called The Geffen Playhouse and was put through to Gil Cates’ Office where his secretary informed me on how to go about submitting for an interview: Fax a letter over and she would forward it to Mr. Cates for consideration. I did so and it wasn’t long before I heard back from his secretary. The answer was “Yes”. It took a great many phone calls until the interview with Gilbert Cates finally happened and he commended my persistence. When I told him that I wanted to interview him as part of an assignment for my Directing class in Theatre at SIUC, his answer was, “Good for you”. After the short interview was over, I was in a state of surreal shock. I couldn’t believe I had done it. Mr. Cates turned out to be friendly, humble, charming, and intelligent man. Those are qualities that aren’t always in abundance in the entertainment industry and/or Hollywood. I’m glad I pursued the interview and that I met him, however brief the opportunity. One ironic twist to things came the next year when I applied to UCLA for an MFA in Acting to begin Fall 2000. After completing the lengthy and complex application process (which included an acting audition in Chicago, Illinois), I was quickly and efficiently declined admittance. It has stayed with me since that I was able to coordinate an interview with Gil Cates who had been Head of the School of Theatre, Film & Television at UCLA but due to not having or using the connection effectively enough, I was viewed by UCLA as just another applicant. To me, I've always thought I stood out more than others that have been admitted to the MFA program and I will always be firm in my assertion that UCLA lost out on one of the best students their Theatre Department could have had. Maybe I should have used my contact with Mr. Cates for possible admittance to UCLA but knowing how complicated and competitive the modern day educational system has become, it probably wouldn't have helped. It's a shame too because the Theatre Department Faculty's decision to decline my request for admittance caused me to permanently close the door on my goal and dream of a Masters Degree. To me, their power and control over one's future is a present day travesty to the potential, growth and success of the individual. B/ A
short Biography of Achievement on Gilbert Cates (from www.geffen.ucla.edu) Producing Director Gilbert
Cates has distinguished himself in the fields of Theatre, film, television, and academia. He began his career as a director / producer in
live television, and has worked on Broadway, producing a trio of plays by playwright
Robert Anderson – I Never Sang for My Father, Solitaire/Double Solitaire, and You
Know I Can’t Hear You When the Water’s Running – and Murray Schisgal’s
The Chinese and Dr. Fish. He has directed and
produced many films including, I Never Sang for My Father, which received three Oscar
nominations, and Summer Wishes, Winter Dreams, which received two Oscar nominations. His many awards include: Director’s Guild of America Robert B. Aldrich
Award, Syracuse University Chancellor’s Medal for Distinguished Service in the
Theatre, NAACP Image Award as Television producer of the Year, the Christopher Award and
the James A. Doolittle Award for leadership in Los Angeles Theatre. From 1990-1995 and 1997-1998, Mr. Cates has
produced the Academy Awards broadcast, generating the largest viewing audience ever and
winning an Emmy award in the process. Mr.
Cates recently stepped down as Dean of UCLA’s School of Theatre, Film and Television
where he had served since 1990. Gilbert Cates Quote: (from www.tft.ucla.edu/pov/volume6_1/dean.html) “When I am asked to
describe the difference between a producer and director, I frequently use a restaurant
analogy. The producer is the owner who finds
the space, hires the people and obtains the supplies; the director is the chef who whips
up the food.” C/ Letter to Mr. Cates requesting interview September 10, 1999 ATTN: Gilbert Cates / Artistic
Director The Geffen Playhouse
Mr. Cates, I am writing to pursue the
possibility of conducting a short telephone interview with you concerning your take on
directing for the Theatre and the professional goals you have accomplished along the way. I am currently a senior in
Theatre Performance at SIUC and in a “Directing for the Stage” class. An assignment we have in that course is to conduct
an interview with an Artistic Director from a professional theatre in America and write a
paper on it. The Geffen Playhouse came to
mind for many reasons. First and foremost, I
have a great respect for you and your achievements.
Secondly, between 1995 and 1998, I lived in Hollywood and worked in the
entertainment industry in a variety of positions, from acting, casting, and production, to
a short stint parking cars at AMPAS, where I was privileged to be able to attend one of
your finest “productions”, the 1996 Academy Awards. Thirdly, while living in Los Angeles, I attended
“Four Dogs and a Bone” at the reopening of The Geffen Playhouse. Lastly, I have always held the UCLA School of
Theatre, Film and Television in high regard. Knowing
all of that, I knew you would be an excellent Artistic Director choice for my interview. I understand that you are
extremely busy and have a more important and pressing schedule to deal with, but if you
have an opportunity to lend me a few minutes of your time, it would be greatly appreciated
and would, in no small way, change my life for the better. Cordially, Myles Leighton Gullette D/ Interview with Gilbert Cates 1/ What was his training as a
director and where did it begin? Gilbert Cates got his
undergraduate degree in Theatre at Syracuse University as well as his Masters in
Directing. 2/ What does his position at The Geffen Playhouse encompass and how gratifying an experience is it? Mr. Cates holds the favored
title of “Producing Manager”. He
feels more comfortable with that title over the oft-used “Artistic Director”
one. In his position, he oversees the local
Geffen Playhouse and selects the plays that are produced and presented there.
A brief history of The
Geffen Playhouse (from www.geffen.ucla.edu): In 1993, the Westwood landmark
was purchased by UCLA as part of the University’s long-term commitment to the arts. Following a major donation from the David Geffen
Foundation, the Theatre was renamed the Geffen Playhouse in 1995 and has enjoyed continued
success ever since. 3/ After deciding on directing a play, how in depth is his study of the play before hand and does he conduct a lot of research? He does a great deal of
research depending on the play. For example,
the play Collected Stories by Donald Margulies, Mr. Cates not only chose and directed the
play, but did extensive readings of the writings of Delmar Schwartz as well as others
which helped him understand the mentality behind writers of short stories, fiction,
non-fiction and poetry. The play Collected
Stories is about a short-story writer who becomes the mentor to a budding fiction writer. Drama ensues.
Gilbert Cates also does a great deal of research on the characters in the
play, fleshing them out in order to thoroughly understand them.
4/ What type of play does he prefer to direct? Comedy, tragedy, drama, modern or classical? The type of play constantly
changes to keep him challenged and continually growing as a director and artist. The main ingredient Gilbert Cates requires in the
play is that it must be “well made”. He
pointed out that being older and more experienced is a major influence on his choices. He’s interested in the story and character
more than when he was younger and less knowledgeable in life and the Theatre. 5/ How important is communication to him when it comes to directing and dealing with cast and crew? Communication is the
“tool to accomplish the ends” and comes in many varieties. Mr. Cates demonstrates those varieties of
communication to the cast and crew through gesture, mood, and example. Under all circumstances, communication is
“vital” to the production going smoothly and successfully for all parties
involved. 6/ How important is the stage manager to him? The stage manager is essential
with every production he directs. The SM is,
in essence, the backbone to everything involved with the production. Without the SM, everything would crumble because
he/she brings “order to the chaos”. 7/ When it comes to determining the amount of rehearsal time needed on a production, what comes into play? Does it depend entirely on what date opening night is or are there other circumstances involved? Number one on the list is
“money” and in general, for Mr. Cates, it all comes down to that at the Geffen
Playhouse. Most of the time, he has about
four weeks from start of rehearsal while the fourth week is dedicated exclusively to the
technical side of things. 8/ What theatrical projects or plays make him passionate and want to become involved with them? Ones that are heavy in dealing
with the “interpersonal relationships” of people, couples, family, friends,
mother/father, husband/wife, etc,. To Gilbert
Cates, interpersonal relationships are the “ultimate battlefields” for drama. One example he brought up, with passion I might
add, was William Shakespeare’s masterpiece Macbeth, which focuses on Lady Macbeth and
her relationship with her husband. That to
him is wonderful in depth of relationship and something to which he is extremely
passionate. 9/ When he undertakes a production/play, how does he begin rehearsals? To start things off right, a
read through of the play with assembled cast is a must.
When it comes down to it, Mr. Cates begins rehearsals during the audition
process by watching the openness, flexibility, ability and overall presence of the actors
along with how they deliver their lines. 10/ When he directs a play, does he hold text rehearsals? And, if so, why? Gilbert Cates holds text
rehearsals for the first two days of every production to dig deep into the text and play
with everyone present in a relaxed mood. After
a couple of days, he gets everybody on their feet as quickly as possible to maintain the
momentum of emotion, concentration, and intensity. 11/ How prepared does he like actors to be when they arrive at rehearsals? He wants the actors to come
“prepared and open”. He is also
open to and expects his actors to have their own “ideas” and be vocal about
their character as well as the play. 12/ Does he notice that the older an actor is, the less open he/she becomes as far as taking direction and leaving their ego outside the rehearsal and production space? Yes. In some cases, the older an actor, the less
flexible and open they tend to be about taking direction, being positive, and bringing
ideas to rehearsals. 13/ As a director, does he delay blocking or does he begin with that from the start? Gilbert Cates usually begins
blocking on the third day, immediately after putting the play and actors on their feet. That is essential to keeping things moving and
flowing properly. 14/ Does he encourage actors to take risks? Absolutely. Without risk comes boredom and failure. 15/ As a director, does he give a lot of notes to actors either in rehearsals or between performances? It varies. Sometimes he gives an actor many notes and other
times, not many at all. It depends on what
the actor brings to the role and how he or she is progressing throughout. 16/ The Academy Awards, to me is a highly “theatrical” event. How does producing the Oscars differ from directing a play and are their similarities between the two? There are many similarities between the two. Mr. Cates comes up with many of the concepts and ideas in collaboration with a small group of technical and creative people. Whether dealing with the sets, dancers, women being behind screens, comedy and musical bits or individual presentations, it’s all about putting together a cohesive product that will entertain the world. E/ “Thank You” Letter to Mr. Cates September 24, 1999 ATTN: Gilbert Cates/Artistic
Director The Geffen Playhouse Mr. Cates, I would like to express my
sincere gratitude for the opportunity to interview you this week by telephone. That you made available time for me and were also
professional, open and friendly surpassed all of my expectations. Your invaluable assistance was greatly appreciated
and has provided me with enough information to give an exciting presentation on Directing
for the Theatre. Thank you for your well wishes
on the phone and I also wish you the best as well as much continued success both
professionally and personally. Cordially, Myles Leighton Gullette home bio dj/vj events acting photography videography films resumes writings
COPYRIGHT 2007 - MYLESMATISSE.COM Site powered by
|
