Just Between Us by Mario Lopez

Mario Lopez with Steven Santagati. Just Between Us. New York, N.Y.: Celeba, Penguin Group, 2014.

The author has worked in the entertainment business since age 10. He started doing commercials. He was on the TV series “Saved By the Bell”, was a guest judge on “Dancing with the Stars”, and now hosts “Extra”.

Lopez was a chubby baby, claiming to look like a sharpei dog. He grew up in Chula Valley, Ca. near the Mexican border. It was whispered some of relatives were involved in the drug cartel.

Lopez’s mother enrolled him in dance class at age nine, which he questions as “what cool boy ever took a dance class?” He found he liked it and enjoyed being the only boy in class dancing with girls.

Christine Guerrero, a talent agent who specialized in representing children and young people was at a dance recital where Lopez danced. Lopez’s mother approached Guerreo who had liked his dancing. Lopez read for her at her San Diego office and she took him as a client. His first work was in local print ads. He then was cast in 1984 as a regular on the TV series “A.K.A. Pablo”, a Norman Lear production that showcased Hispanic actors. He enjoyed working with guest star Bea Arthur who answered many of his questions. Lopez remained in public school through graduation. “A.K.A. Pablo” filmed 13 episodes yet was canceled after six episodes. “TV Guide” ranks it as the 45th worst TV show of all time although Lopez argues it wasn’t on long enough for it to gain an audience.

Lopez met other child actors. He found Gary Coleman, who had several handlers, spoiled from all the attention. Ricky Schroder, on the other hand, was friendly and nice to Lopez and others.

In the fall of 1984. at age 11, Lopez was cast in the TV series “Kids Incorporated”. His dance and drumming skills were important to his work on the show. He recalls it as “the toughest job I ever worked” with a “tough as nails choreographer”. Off set, he exchanged 11 year kisses with Stacy Ferguson who is now knows as Fergie. He also did guest appearances on other shows such as “The Golden Girls”.

NBC developed a TV show “Good Morning, MIss Bliss” that it then rejected. The Disney Channel ran it but canceled it before its first season was over. NBC reclaimed the show, changed the focus from the teacher to the students, and renamed it “Saved by the Bell”. Mark Paul Gossler was kept as the lead along with Dustin Diamond and Lark Vorhies. New characters were created. Lopez won a role as one of the added characters. He was a permed mullet cut wig. The wardrobe was chosen by staff who attempted to follow current trends.

Lopez was friends with Dustin Diamond. Not everyone liked Diamond. Diamond would leave photographs of his penis around the set.

Mark Paul Gosselaur’s mother did not let him go to parties or hang out with the other kids.

Lopez was close to co-star Elizabeth Berkley as a “brother / sister” type relationship that continues to the present. He dated co-star Tiffani Thiessen off and on.

“Saved by the Bell” laster five seasons. It became more popular afterwards in syndication. There was a season long spin-off “Saved by the Bell: The College Years” which did not connect as well as the network did not want the characters to become too different from their high school characteristics.

Lopez did personal appearances. He was amused seeing how young girls would slip him their phone numbers, and then mothers would also slip him their phone numbers.

Lopez appeared as Greg Louganis in a TV movie “Breaking the Surface”. He was nominated for an ALMA Award.

Lopez hosted the reality TV show “Name Your Adventure:. He later co-hosted the talk show “The Other Half”. Dick Clark gave him lots of useful advice. Lopez then had a recurring role for four years on ?Nip/Tuck”. He was a contestant on “Dancing with the Stars” and won the contest He then hosted “America’s Best Dance Crew” on MTV in Los Angeles and would then fly to New York where he was on Broadway in “A Chorus Line”. He was later hired to host “Extra”.

He notes that, on movie press junkets, a stopwatch is used to time interviews and when the prescribed time is reached, the interview is over and then next interviewer takes over.

Lopez also had a radio show “ON with Mario Lopez’ that is nationally syndicated. It ranks best in its time slot in all major markets including Los Angeles. He also has a NOVO show “Mario Lopez: One on One”.

Dear Cary by Dyan Cannon

Dyan Cannon. Dear Cary: My Life With Cary Grant. New York, N.Y.: It Books, HarperCollins Publishers, 2012.

Dyan Cannon was born Diane Friesea. Jerry Wald of 20th Century stated he wanted to change her name to something that evoked “Explosions! Guns! Cannons! Excitement!” He declared her new name was Diane Cannon, later changed again to Dyan Cannnon.

Cannon tested for a movie role. One of the studio executives declared her nose was oo flat. She went to get a nose job. The doctor refused to perform the surgery, stating she already had kind of nose that people were paying to have.

Cannon did not get the movie role for which she tested. She get a job working on publicity for the movie “Les Girls” for $200 a week.

Cannon dated Cary Grant. Grant believed his mother had died when he was 10 years old. He learned 20 years later from his father that she was still alive yet in a mental institution His father declared he did it for Cary and he could not support both of them. His mother had not had a breakdown. Cary walked out on his father. He father died a year later.

Cary Grant alway wrote Dyan as “Diane” as if not accepting her stage name. Yet Cannon always referred to Grant as “Cary Grant” and not by his real name Archie Leach.

Cannon agreed to take LSK with Grant. Grant called LSK as “the key to ultimate peace of mind” that makes the user “closer to God.” She agreed. After taking it, Grant told her “this is your opportunity to ask the universe anything you want”. She responded with “okay, universe, I want to ask you, what is God?” Cannon then saw giant dancing bears singing nursery songs in German. Cannon reacted badly and a doctor present gave her Seconol which made her sleep for 18 hours. Cannon asked Grant “How in hell can giant bears singing in German bring you closer to God?”

Cannon admits to feeling jealous while watching 30 feet away on a set watching Grant kiss Leslie Caron while filming “Father Goose”. She knew it was acting but felt they were “putting a little too much feeling” into their roles.

Grant and Cannon married. Grant convinced Cannon to take LSD again. She did not want to but finally agreed. Cannon’s father told Grant “She doesn’t need drugs, Cary. She needs love. Your love.” Grant responded “She’s under my jurisdiction now.”

Grant kept taking LSD yet Cannon wouldn’t. They drifted apart as Grant became more dependent on chemicals. They divorced. Cannon had a breakdown that ws attributable to the 10 or 12 times she had taken LSD and other drugs she had taken. She detoxed from her pills and chemicals.                                                                                                                                                                    

Cannon returned to acting. She appeared in the movie “Bob & Ted & Carol & Alice” and several others. 

A Survivor's Guide to Hollywood by Robin Riker

Robin Riker. A Survivor’s Guide to Hollywood: How to Play the Game Without Losing Your Soul. Studio City, CA.: Callipygian Press, 2013.

Th author warns that the entertainment industry has norms that are different from other industries. Rejection for work is common and often occurs for reasons that are not easily understood. Work is not hired based upon merit.

The author advises actors to remain positive, noting an actor’s “state of mind is the most  important thing” the actor has.

The author advises actors avoid focusing on studying acting rather than applying what has ben learned.

Luck is an element in getting acting jobs, but it isn’t all luck.

The author appeared on TV with Lloyd Bridges. Bridges offered to pay for an apartment for her “no strings attached.” She turned the offer down noting “I also know a little bit about strings. Thus, I left with my integrity.”

The author advises actors be enthusiastic about their work.

Actors are advised to not become derailed by others who wish to attempt to place the focus on themselves or those who are always trying to steal scenes.

Auditions are a necessary part of acting. An actor should not be discouraged if the people giving the audition are not friendly. The author recommends asking those giving the audition a question to allow the actor to show a bit more of the actor’s personality.

An actor should realize those giving auditions are usually looking for a specific type of actor.

The author recommends wearing the same clothing for a callback as worn during an audition.

 An actor may not be called for  table read. This is because the producers want to save money and not pay the actor for that day.

The author recommends Los Angeles film and TV actors also appear in Los Angeles theatre. This exposes the actor to casting directors, agents, and managers. It also gives actors affirmation of their work. The dues for Actors’ Equity (circa 2013) are $1,100 or which $400 may be paid upfront with the balance paid in two years.

An agent is essential for an actor. An agent’s commission cannot be higher than 10%. Managers are not essential but often are helpful. Their percent is negotiatble and often 15% and sometimes between 10% and 15%.

Agents seldom contact their actor clients.

In 1921, the Hollywood Chamber of Commerce warned those moving to Hollywood hoping to become actors that “only one in five reach the top.”

Know Small Parts by Laura Cayouette

TLaura Cayouette. Know Small Parts: An Actor’s Guide to Turning Minutes into Moments and Moments into a Career. San Bernardino, CA.: LA to NOLA Press, 2012.

The author notes if one loves acting, one may make a living acting even if one’s career is all small parts. Independent films are more apt to hire unknown actors whereas huge studio films are more apt to seek well known actors. Even big stars will take small roles or “cameos”.

It is often easier to get roles in smaller regional markets than in more competitive Los Angeles.

Cayouette observes her two lines in the movie “Kill Bill” led to more work. She nots Suzanne Somers had a memorable role in “American Graffiti” despite having no lines. She notes “every small part is a big opportunity.”

An actor should always be prepared and do one’s best at an audition. Even if the actor is not chosen, an impressed director may know of another role the actor could portray.

When receiving a script for an audition, the actor should learn what the scene is about including its genre, mood, time period, etc.

The actor should consider what the characteristics of the role are, what are the motivations and objectives of the character, how the character relates to others, what the character wants from others, whether there is someone the actor knows who is similar to the role and could serve as a good substitute to how that character reacts, and consider details from one’s own life that may add to the role.

An actor should consider what obstacles face the actor’s portrayal including nerves and  worries about timing. The actor must learn to face obstacles and find how to overcome them.

An actor must focus on acting while acting. An actor must know lines and must ignore distractions until the director yells “cut”.

It is an actors job to play a role as it is written. An actor should not refuse to act in a role because that is not how the actor would behave in real life.

Auditions are job interviews. An actor should remember that one “gets” to audition and not that one has to audition and that opportunity should be embraced. the author did not get a role in his first over 100 auditions.

One should take a head shot to an audition. One should have an acting reel online.

An actor at an audition is expected to know how to pronounce and understand the words in the dialogue. If there is a pronoun with a questionable pronunciation, the actor should ask how it is pronounced before the audition. If an actor doesn’t have any questions, the actor should demonstrate the actor knows the materials, perhaps with humor.

An actor should listen to and follow instructions and directions. An actor should mentally prepare ahead as to how the actor will perform.

Am actor should be even more prepared for a callback.

An actor should have an updated passport in case the actor is hired to film in another country.

When an actor is called to a callback, this means those evaluating already like what they have seen. It is advised to wear the same outfit as worn at the audition at the callback. This will help the evaluators remember the actor. An actor should keep a record of what is worn to auditions.

Props taken to auditions should be limited to what one normally carries.

Actors hired are advised to arrive early, check in, check that the contract is correct, have proper ID, wear easily removed clothes to quickly change into costume, and check the 
“minis” which state what is being shot. An actor should be prepared to sit around a lot. An actor should be prepared to be called upon earlier than expected. An actor usually signs out at the end of the day. An actor should not leave personal items behind.

An actor is advised not to bring anything personal to the set. Personal items can be moved at will without regard to them. The only exception to this is actors with personalized chairs with pouches may put items in the pouches.

Any item that is brought to a set by an actor should be labeled with the actor’s name. Nothing irreplaceable should be brought onto a set.

An actor who is married should consider the microphone is always on. Conversations can be overheard A mic on a person can be asked to removed for bathroom breaks.

It is good for spirit when actors with spoken lines introduce themselves to stunt actors and background actors.

An actor during filming should learn to reach one’s marks, be on camera, be where lighting requires the actor to be, and to adjust if the actor notices the actor is casting a shadow on another actor

It is common that a shoot will begin early in the morning and lost 12 to 16 hours.

Rehearsals are often to assist camera, sound, and lighting people practice where they need to be. An actor should be prepared for changes.

An actor should roll with problems. The author worked while having laryngitis which she used to make her voice sound sultry.

The author warns against actors who are saboteurs against other actors on sets. She advises remaining professional and “the best defense against a saboteur is to deliver an amazing performance no matter what crap anyone pulls.”

It is illegal to ask an actor’s age except to ask if an actor is over age 25 for liquor commercials.

When an actor is asked to “slate” it means the actor is to state his or her name on camera.

THe suggest profile shots be taken with the hand and shoulders turned to one side and the eyes facing towards the camera.

The author recommends “as a general rule, keep everything positive.”

In commercials where a product is lifted by hand by an actor, the actor should keep the label facing the camera with as little obstruction as possible on that label.

When an actor eats on camera, it is often best to take a small bite and chew as if it is a big bite.

The SAG-AFTRA initiation fee (circa 2012) is $3,000 with semiannual dues of $99. One has one day to pay the dues. To become eligible to join the union, one needs to work in a union job or work at least three days as a background actor on a union job. A principle in ACTRA, CAEA, AGMa or AGUA may also join SAG-AFTRA.

A credit for work done may be claimed regardless of the final product. One may list a credit for a part that is cut from a film.

IMDA Pro costs $124.95 annually (circa 2012). It allows credentials on IMDb to be updated. An actor should make certain there is at least one photo available on the actor’s IMDb page.

An actor should have a reel of work available online.It should be at least three minutes long up to 10 minutes long.

Websites such as Actor’s Access and LA Talent allow any actor with a headshot and resume to register with them.

Agent and manager contracts are usually for one to three years. The best time for an actor to get an agent is when the actor is working. The author recommends a commercial agent is a necessity for getting commercial work. An actor should never pay an agent upfront.

The most publicity excitement occurs before a movie is released or before a new TV series starts.

A publicity usually is hired for at least three months. A publicist is best used in the months prior to a film’’s release.

It is possible for red carpet events to allow an actor to find a new clothing company that wishes the actor to promote their clothes while on the red carpet. These clothes can be borrowed from such a company.It is considered as wrong for an actor to ask for photographs or autographs at red carpet events. These events should be considered as work for promoting films. An actor should not drink to excess or cause embarrassment.

It is good for actors to keep good company and make good industry contacts.

95% of actors (circa 2012) make under $5,000 annually, 4% make a bit more but can’t live on it, and 1% made enough to live. The author advises “know what you can control and what you cannot and focus your energy only on the things you can change.”

The Unified Field by David Lynch

David Lynch. The Unified Field. Oakland, Ca.: University of California Press, 2014.

David Lynch studied at the Pennsylvania Academy of the Fine Arts. While he concentrated on painting, on his own he tried filmmaking. Neither film nor animation were taught at this school. Still, in 1967, he made a six minute animated film “Six Men Getting Sick”.

Lynch chose film over painting He next made a four minute animation and live action film “The Alphabet” in 1968 followed in 1970  by a 34 minute animation and live action film “The Grandmother”. These films helped him become a fellow at the American Film Institute’s Center for Advanced Film Studies. He then created a move “Eraserhead” from 1972 to 1976. This led him to directing successful internationally known films such as “Elephant Man”, “Blue Velvet”, “Wild at Heart”, “Mulholland Drive” and to also create the TV series “Twin Peaks” in 1990-1991.

Robert Cozzolino states “Lynch is an artist who happens to make film as part of his expression”.

The social turmoils Lynch saw while living in Philadelphia helped inspire him. He also found great inspiraitons from his fellow art students.

Some themes that often appear in Lynch’s films are home, childhood, and nostalgia. His films are often voilent, to which he explains home “is a place where things go wrong.” Lynch notes his own childhood was happy. He also notes his paintings are “violent comedies”.

Famous Enough by Diane McBain

Diane McBain and Michael Gregg Michaud. Famous Enough: A Hollywood Memoir.Duncan, Ok.: BearManor Publishing, 2014.

At age 16, McBain auditionaed for and won a role in a play at the Glendale Center Theatre. She then modeled, appearing in several national magazines. Then she was going to work exclusively for Revlon yet was badly sunburned when appearing at her first shoot.

McBain appeared in the TV show “Father Knows Best”. Her few lines earned her $200.

A Warner Brothers talent scout, Sally Bianco, asked McBain to audition. She did and then did an episode of “Maverick” followed by an episode of “77 Sunset Strip”. She found Efrem Zimbalist, Jr. “mannered, stylish, and sophisticated” while she found E Bynes “insufferably egotistical”.

At age 18, McBain signed a seven year contract with Warner Brothers Studios at $250 a week. She writes men began at $275 a week and women began at $250 a week.

Her first movie, “Ice Palace”, was filmed in 1959. She later learned Richard Burton saved her from being fired. Burton knew the director wanted to replace McBain for struggling with memorizing her lines. Burton deliberately flubbed his lines so the blame on delays would be on him and not McBain.

McBain lost her virginity to Richard Burton yet writes his penis was too large to complete intercourse.

“Ice Palace” received poor reviews and lost the studio millions of dollars.

McBain observes movies are “profoundly infused with homosexual aestheticism. I think their cultural influence was so powerful, it’s mystifying to me that so many people---people who loved the movies---harbored homophobic prejudices.”

McBain continued with memorization difficulties while filming “Parrish”. She appeared with Troy Donahue who explained “method-style” acting. The movie ran 138 minutes which she writes was too long. The length hurt its audience appeal.

McBain was cast in the TV series “Surfside Six”. She was in most of the 74 episodes that appeared over two years.

The studio arranged for celebrity dates for her for publicity purposes. She writes “rather than making me sound interesting, I thought it made me a slut.”

McBain starrted in the movie “Claudelle Inglish”. The movie earned several million dollars. McGain was nominated for a Golden Laurel Award for Top Female New Personality.

McBain was date raped and blackmailed by her assailant who threatened to cliam she was a “whore”. Such an accusation could have ended her career a studio contracts insisted on public morality. She fell into depression.

McBain appeared in the movie “Black Gold”. The director was Leslie Martinson, who McBain writes was “arguable the most neurotically dramatic director I ever worked with” who would “fly off the handle over the silliest things.”

McBain was “rented out” to Paramount Studios to appear in the movie “The Caretakers”. When an actor was “rented out” to another studio, the actor received the same pay while the studio received an “inflated” amount. She found the other female actors “all behaved as if they had something to protect” which “degenerated into ugly bitch fights.” Joan Crawford had a vendetta against McBain and had most of McBain’s scenes removed from the film.

“The Caretakers” did poorly at the box office. President Kennedy asked for the movie to be shown on the Senate floor, which may have been the first time a movie was shown on the Senate floor. The movie is credited with helping the Senate unanimously pass Kennedy’s mental health bill.

McBain worked with Ty Hardin. whom she found a “strange actor” whose real name was Orson Whipple Hungerford, Jr. He was nicked “Ty Hard-on” for his attempts at picking up women while holding a Bible and telling them God wanted them to sleep together.

McBain was in the movie “A Distant Trumpet”. She found Suzanne Pleshette had “the foulest mouth I’d ever heard on anyone in my life---man or woman” although she grew fond of Pleshette.

McBain in 1963 turned down appearing in “Sex and the Single Girl”. Warner Brothers thus terminated her contract.

McBain dated a few men, including producer Aaron Spelling. She found him “very sweet” but “ust too nice. There was no chemistry.”

McBain appeared on the TV show “Batman”. Adam West believed the show was “a comic farce”” and not “campy” as some observed it. To McBain, “the experience was like being in a funhouse on acid.”

McBain appeared in “Spinout” with Elvis Presley, who “behaved like a complete gentleman:.

Johnny Grant, a talk show host, asked McBain to entertain troops in Vietnam on the 29th tour there. Tippi Hedren went with them. At one point, Viet Cong personnel took control of their parked jeepp. Tippi Hedren yelled at them to leave the jeep, and they did so, yet with sinister looks.

While in Vietnam, McBain and Hedren befriended Vietnamese actress Kieu Chinh. Chinh was on the last Pan Am flight out of Vietnam before it fell to the Communists. Hedren helped arrange for Chinch to enter the United States, where Chinch then revived her acting career.

McBain appeared in, which she describe as “a piece of celluloid trash” a movie “I sailed to Tahiti with An All Girl Crew”. At one point Edy Williams was in the water when all ten of her falsies popped out.

McBain appeared in the movie “Maryjane” which Fabian. It was written by Peter Marshall and Dick gaither. It appeared on a double bill in drive in theaters.

McBain performed in another tour of Vietnam in 1968. She saw lots more injured soldiers then. SH felt “an emotional dam burst” and began crying uncontrollably. She deiced “war means one thing---failure to communicate---and no one wins.”

After returning to the U.S., McBain visited many Veterans’ Administration hospitals.

Tippi Hedren’s husband, Noel Marshall, an agent, advised McBain to pose for Playboy magazine. McBain initially did not wish to yet realized it had helped Carol Lynley’s career. She agreed yet regretted it the next day.

McBain appeared in “the Mini-Skirt Mob” and then “Savage Season” which was Ron Harper’s first film.

McBain writes that agent Kurt Frings considered adding her a a client when “he literally chased me around his office and then threw me out when I refused to have sex with him.”

McBain filmed an episode in “ABC’s Wide World of Mystery”. She breast fed her baby at work. This prompted a national debate.

In 1977, McBain was cast in “The Silent Scream”. The film was “un-releasable” and in 1978 Barbara Steele and others were brought in for re-shots. Only 15% of the first filmings appeared in the final produce. McBain was totally cut from the film. This upset her as she “had delivered a good, balanced performance.”

Michael Druxman handled her publicity. One “story sounded amusing in paper, and it was a complete fabrication.”

McBain appeared int he TV movie “Donner Pass”. She writes “Druxman didd the best he could with the press, but the reviews were lukewarm”.

McBain next appeared in “The Life and Times of Grizzly Adams” with Dan Haggerty.

Christopher Reeve confided to McBain that Reeve’s father appreciated Reeve’s theatrical performances but did not like his “Superman” film performance.

McBain filmed an episode of “Hawaii 5 O”. She found hat actor Jack Lord “proved to be another one of those egotistical males whose manners on the set needed some polish. Everyone handled him with kid gloves.” Lord had it written into his conract that he would not work past 6 pm. At 6 pm he suddenly walked off the set without saying any goodbyes.

As McBain found it harder to find roles, she took an acting class and dieted. She got a role on the TV show “Dallas”, Ten in 1982 she was cast in the NBC soap opera “Days of Our Lives”. While she worked steadily, she was hired only on days when called. Some other soap opera stars had three year contracts. On that set, she found her wardrobe was from “leftovers”.

On December 20, 1982, McBain was raped and beaten by two strangers. She later did interviews on how women may survive such trauma. “The Days of Our Lives”, though, dropped her.

McBain filmed an episode of “Airwolf”, She worked with actor Ernest Borgnine, who she found as “one of the sweetest actors I ever met.”

In 1988, McBain was on the soap opera “General Hospital” for several months.

McBain visited filmmakers in China. She found they did not know about American movies. She found, of their films, “the technical quality was very good. The subject matter was a bit old-fashioned and very melodramatic.”

McBain got a new agent and was cast on the movie “Puppet Master V: The Final Post”. She had to put on her own makeup and wear her own clothes.

McBain appeared as Granny in an episode of “Sabrina, the Teenage Witch”. She was told the part would be a recurring character yet she was never called back.

McBain was elected to the National Board of Directors of the Screen Actors Guild (SAG). Richard Masur was a pro-union President. She supported him even though she was elected opposing him. McBain supported merging SAG with the American Federation of Television and Radio Artists. She “reluctantly” supported the 2000 strike which successfully kept the Pay Per Play residuals and increased cable residuals by 140%.

Actors such as Peter Mark Richman, whom she had liked yet described them as “union busters, attacked McBain’s union activities “with malice, blatantly lying about my political activities and the activities of others in my coalition.” She was falsely accused of distributing pro-union pamphlets on Guild property. She was exonerated of the charges and SAG paid for her legal bills. She notes “I cannot say for sure whether the overt mudslinging or the negative chatters behind the scenes did me in, but the fact remains that after my acrimonious stint on the SAG Board, I never worked as an actress again.”

McBain advises people to give love instead of ego.

From Hollywood to Michael Dante Way by Michael Dante

Michael Dante. From  Hollywood to Micael Dante Way. Albany, Ga: BearManor Press, 2013.

Dante as a child worked as an assistant to a barker at the circus for $2 a day. He discovered he enjoyed performing.

Dante played on a baseball team that won the Connecticut high school championship in 1949 as well as a team that won the New England Newspaper League championship. The Boston Braves signed him for a $6,000 bonus, which was then the maximum bonus that could be offered without requiring the player be on the major league roster for two years. He hurt his arm playing. The doctor suggested he move to a warmer climate to heal. He moved to California. There, a scout signed him to play for Hermosillo in the Mexican Coast Winter League. This was followed with reporting for spring training for the Hollywood Stars of the Pacific Coast League. Yet his injury prevented him from playing for the team. He kept in shape playing semi-pro baseball in Connecticut.

Dante could play baseball yet had troubles throwing overhand. An operation attempted to correct this. While healing, he started class at the University of Miami as an Acting major. He got a scholarship to be Assistant Manager of their baseball team.

Dante attended spring training with the Washington Senators. He was designated to go to their Chattanooga team when he was also offered a screen test. He chose the screen test.

Dante writes “the 1950s was perhaps the most exciting and creative time in the history of the business because television was just coming into its own.” Lots of new opportunities arose for cast and crew.

Dante’s screen test resulted in a standard several year studio contract. The studio, MGM, could cancel the contract every six months. He was offered to meet with an acting coach, even if just to say hello. He made a point ot do that at least twice a week. He wored on improving his diction.

Dante also learned that there was much “envy and jealousy” among other actors.

His first role was in “Shorty the Greek”. He shared a dressing room with Steve McQueen.

During filming, a truck’s brakes failed. The driver managed to avoid hitting people on ground. Dante pulled Steve McQueen away from getting hurt. The truck ran into a plank with a dolly which tossed the camera operator into the air. Neither was seriously injured.

Steve McQueen considered Dante to be with him in the movie “Bullit”. Dante had observed tht McQueen had a complex about his height. When Dante rose at their meeting before McQueen rose, McQueen asked him “Whoa, hey, man. What did you do? Get taller since I saw you last?” Dante correctly knew that he had lost the part.

MGM had one of the first large scale dumping of actors. Dante’s contract was among those MGM did not renew.

Warner Brothers, which was investing in tV shows, hired Dante for $250 a week with increases over the following six years. We has cast before getting the contact. Dante insisted of $275 a week, which he received as he was needed for the movie. He did earn the displeasure of the head of casting.

Dante’s first Warner Brothers role was in “Westbound” where he portrayed a one armed soldier returning from war.

Jack Warner wanted to change Dante’s name fro his actual name that he was using, Ralph Vitti. Warner said of the first and second names that one had to be long and the other short. He picked a relative’s name, Dante, to keep his Italian heritage.

Dante had guest roles in 13 TV shows in addition to three movies in his first year at Warner Brothers. He was getting his name in publicity magazines which helped create interest in his appearances.

Dante was in the movie “Seven Thieves”. Joan Collins was often missing from the set. She was then often found with her boyfriend Warren Beatty. Collins and the director got into heated arguments. Edward G. Robinson advised regarding Collin’s actions “Michael, don’t behave that way, it’s so unprofessional.” Dante followed that advice.

Actors went on strike for six months. This ended all studio contracts. Dante was among the last of the contract actors.

After the strike ended, Dante did several more TV episodes. He then appeared in the movie “Kid Galahad”. He filmed a boxing scene with Elvis Presley as no stunt doubles were used. Elvis accidentally cut Dante’s mouth with a late blow.

Dante’s next movie was a low budget “Operation Bikini” about the Bikini Atoll and not bathing suits. It took two weeks to shoot and made International Pictures a lot of money for their investment, The actors received little pay.

Dante next appeared in the film “The Naked Kiss”. The movie receive rave reviews.

Dante filmed “Apache Rifles” with Audie Murphy Much of the filming was in the 117 degree Mojave desert.

Dante filmed “Harlow” with Carol Lynley. He improvised a line with her on a polar bear fug stating “do you like fff..fireplaces?”, elongating the “f”. The director Alex Segal stated it was one of the greatest improvised lines ever.

Dante made an appeared on “Bonanza”. While filming it, the Executive Producer, David Dortort, offered Dante a role in a TV series he was creating, “High Chapparel”. Dante turned it down and the show ran for five years. Dante writes he has no regrets turning it down.

Dante appeared in “Get Smart” . He writes that experience was the most fun as laughter reigned on the set.

Dante was cast in the TV series “The Legend of Custer”. He portrayed Crazy Horse. Critics did not like the series. It lasted 17 episodes. Four episodes were later edited into a movie “Crazy Horse and Custer---The Untold Story.”

Gene Roddenberry offered Dante to be in “Star Trek” Dante did not have to audition as Roddenberry already appreciated his work. Dante accepted. Most who appeared on “Star Trek” earned more money at fan conventions and autograph shows than what they received for being on the show. Dante and seven others who were “Star Trek”, including a brief appearance by William Shatner, filmed a comedic homage in 2013, “Unbelievable!!!”

Dante filmed an episode of “Daniel Boone”. He performed a scene in water with Darby Hinton. The crew did not realize the water was cold and Hinton was shocked by the coldness. Dante swam 40 yards, holding onto Hinton. Hinton credits Dante with saving his life.

Dante appeared in “Willard”. He notes that the scene were rats appear to kiss Willard’s ear were shot by placing peanut butter on Willard’s ears, thus making their eating look like they were kissing him.

Dante continued appearing in TV episodes.

Dante had the title role in the movie “Winterhawk”. He suffered torn ligaments when the horse he was riding for the film caught his foot between some logs and then reared up. This caused Dante to slide off as the horse bolted. They had to shoot around him during his ten day recovery.

In 1977, Rep. Chris Dodd invited Dante to the National Prayer Breakfast. Dodd was a fan of “Winterhawk”.

Dante’s next movie role was in “The Farmer”, followed by “Cruise Missile”. He then filmed “Beyond Evil”, his only horror film.

While Dante had turned down appearing in a soap opera in 1963, he agreed to appear in “Days of OUr Lives” in 1984.

Dante filmed two movie with Fred Williamson. Dante believes Williamson was “ahead of his time” and that his movies would be more commercially successful today.

Dante got a radio show. After 13 weeks of the show, the manager offered him another 13 week contract. Dante insisted in creating his own show. He paid for airtime and obtained his own sponsors. The “Michael Dante Classic Celebrity Talk Show” lasted 12 years.

In 2011, a road in Stamford, Ct. was named Michael Dante Way.