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Angela DiMarco and David S. Hogan
Tonight's Feature Presentation


an interview with angela dimarco and david s. hogan

The Green Room

Last year, I saw one of the most respected film personalities in Seattle refer to Angela DiMarco and David S. Hogan as a “power couple,” and it’s hard to argue with that description.  Living the dream as working actors on both stage and screen, teaching their craft to others, and making movies under the Mighty Tripod banner, these pros do it all, and they do it with a smile and a positive attitude.  Somehow, they were able to find the time to answer a few questions about acting, educating, the Seattle film and theatre scene, artistic passion, and, of course, cheese.  If you weren’t familiar with Angela and David already, don’t worry… you will be.

The Interview

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Ziggy Berkeley:  What is your definition of the word “actor”?

Angela DiMarco:  A storyteller.  Being truthful and in the moment.

David S. Hogan:  An actor, to quote Sanford Meisner, must be able to “live truthfully under imaginary circumstances.” And, I would argue, a good actor is able to do this on a consistent basis. The best actors possess tremendous imaginations and bravery, and are able, through training and talent, to bring exceptional humanity to a part. I think we appreciate actors who disappear into a role (Christian Bale, Daniel Day Lewis, Meryl Streep), as well as those who touch us with their physical and comic gifts (Buster Keaton, Jim Carrey, Lucille Ball). Defining “actor,” and especially, “good actor,” can be tricky. But, we know it when we see it. 

Ziggy Berkeley:  What drew you in to become actors yourselves?  What was the spark that made you say “Yes, this is what I want to be”?

Angela DiMarco:  Growing up very poor, I always found times of needing to entertain myself.  I would do so with impersonations.  My top three were Robin Leech, Hulk Hogan and Pee Wee Herman.  Most importantly, I loved performing for people and making them laugh.  My mom signed me up for a Kids’ Theatre program, and film came shortly after that.  My Great Grandmother (Nanny), in her nursing home bed, would throw her slippers at the TV and scream in Italian.  She would look at me and say in her broken English: "You, my Angel, belong on TV, not that other child."  So I told my mom "I want to get on TV and in movies for Nanny."  My mom had a friend who knew a talent agent (D&R Enterprises), and set up a meeting with us.  I was only 8 years old, and my Mom told me "just be yourself."  So while my Mom sat there talking with my soon to be agent, Dee, I ran around her office acting like Pee Wee Herman.  My professional acting career began that day.

David S. Hogan:  I think it hit me late. College.  Looking back, I recall my young friends making movies with Star Wars figures, but I am not sure I was that into it, really.  I took a drama elective in high school, but the most vivid memory of that is of the teacher’s extreme halitosis.  I fell in love with performance and the power of artistic collaboration when I joined the Seattle University Choirs in maybe 1996.  My first play at SU was The Threepenny Opera.  I discovered Shakespeare (or at least my passion for his work) in college, as well, when I really worked with the text.  I acted in a few plays at SU before they even had a real theatre, and by 2000, I decided that acting was something I wanted to really explore.

Ziggy Berkeley:  You both actively work as camera actors and as stage actors.  When preparing for roles, do you approach those platforms differently?  What are the major differences between the two, from an actor’s perspective?

Angela DiMarco:  Naturally, you have to [prepare differently] because they are set up so differently. 

David S. Hogan:  Preparation for each “platform,” as you say, is quite similar. A method for “finding the character” and doing the homework is often identical, in my experience.  The big difference lies in the performance or the experience of the role when the curtain goes up or the director calls “action.”  When working on the stage, the actor must be heard.  In larger theatres, this means that the voice must be projected far and wide.  If an actor working in front of the camera spoke with the same kind of volume and force required to fill a large theatre, it would look completely unnatural.  So, the actor must know how to “scale” her performance accordingly.  And, in regards to being able to project the voice well, the actor must train and exercise her voice regularly.  Not that a film actor should not train her voice, but it is absolutely mandatory for a stage actor.

The experience of living a role from beginning to end is also very different in each medium.  When working on stage, the curtain goes up, there is a live audience (which the actor must respond and adjust to), and the story is told from beginning to end, sequentially, with no stopping.  A two-hour play takes two hours to complete.  A two-hour film (running time), will take 20+ days to complete!  In film, scenes are almost never filmed sequentially, so the actor must know how to prepare for each moment accordingly.  There is also almost never a rehearsal period when working on film.  (There are exceptions, of course.)  And any rehearsals happen almost exclusively on-set (and the rehearsal is mostly for the camera and to set the blocking).  The actor must be fully prepared to “bring the role to life” without coaxing from the director.  Sometimes an actor in film will arrive first day to set and have a love scene later that day with an actor she has never met.

Angela DiMarco:  In theatre, you usually get 2 to 4 weeks of rehearsals, and then run the show for at least a month.  I don't come in memorized; I do so during the process, finding the character alongside my scene partners and with our Director.  Then once the show is open, I may tweak things over the course of the run.  On the stage, you get to "perform" bigger than life, fill a space with your voice, and yet still tell a story truthfully.

 Film, you may have no rehearsal, so you’d better come prepared.  I was cast based on what I brought to my callback, so I use that as a base.  I know the Director likes what I did and will take any notes they give and add it to my work.  With Film, you get the script ahead of time, so I like to come in memorized and ready to let it all go on set.  I don't want the words to hold me up or keep me from an honest take.  So I won't "lock" anything in too tightly, in case the Director throws something at me.  I want to be able to adapt and change within the scene if needed.  Also, you have no idea what your scene partner is going to give you or if you are looking at a light stand and pretending it's your scene partner.  When it comes to film, I think you need to be more prepared but be able to fully let it all go on "ACTION!" and live within that moment.

David S. Hogan: For a staged play, you also almost never “play to the camera” or have to worry about things like, “I hope the audience can see me.”  When working on film, the camera can go wherever it wants, which allows the actor to behave as “naturally” as the scene requires.  On stage, there are always considerations made about where the actor moves, whether she is upstaging herself (or being upstaged), and if a particular alignment of bodies on the stage is “clumpy” (ew!) or “aesthetic,” (yay!) among other things.

Angela DiMarco:  One of my acting coaches, Nike Imoru, said it perfectly. "Acting on stage, you are Promiscuous; it's for everyone.  Acting on Camera, you are Monogamous; it's just you and your scene partner."

Ziggy Berkeley:  What’s your favorite role that you’ve ever played as an actor?  What makes it so?

Angela DiMarco:  My favorite role was on stage as Sugar Ducharme in the dark comedy “Trout Stanley.”  It was the first time a Director cast me outside my "type" that Seattle had been casting me as for years.  (Pretty, Strong, and Confident.)  Sugar was the "ugly sister;" shy, very alone, weak, and in her own little world.  As the plays starts, she soon is trying to kill herself.  The role took me places I had never been to as an Actor on stage or screen.  My Director, David Gassner, pushed me beyond my limits and let me fall, learn, and get back up.  I will cherish that role and await a role like this that I can tackle on film.

David S. Hogan:  The favorite roles I’ve played on stage are Grumio in “The Taming of the Shrew” with Seattle Shakespeare Company and Enzo in “The Art of Racing in the Rain” with Book-It Repertory Theatre.  

The role of Grumio in our “Trailer Park Shrew” was so fun to play because he was such a radical departure from my persona.  He is a wild, mullet coiffed, beer swilling, punch throwing manservant.  [Please see the photo further down and to the left for reference.]  And, the cast and crew were top notch.  And, the first time we ran the show (it was mounted in 2008 and 2013… I think those are the dates), my wife was in it, too!

My other favorite role on stage was playing a noble and wise dog named Enzo, in Book-It’s adaptation of Garth Stein’s “The Art of Racing in the Rain.” Now, I can hear you say, “Come on, you played a dog, man, a dog! It was in a kid’s show, yeah?”  Believe me, this story of life told from a dog’s perspective is really moving, and playing the role was not only an absolute honor for me as a dog fanatic, but I received some of the best press of my career.

My favorite role in front of the camera to this point was Allen, in Shadowed.  I have enjoyed almost all of my time in front of the lens, mind you, but I am choosing Allen because that role gave me the most to explore, as it was a lead in a feature film.  The “center” of the character was not that far removed from my own, but what he went through during the story was quite extreme, so it was a wonderful opportunity to work on dynamics of the role.  High stakes, man.

Ziggy Berkeley:  What made you decide to make the leap from “working actors” to “working actors who also teach the craft”?  What makes one ready to teach?

David S. Hogan:  I am not sure what makes one “ready” to teach.  Some would say “When you have an MFA.”  Others might say “When you have a certificate.”  I have neither, but I think I am ready.  I come from good “teacher stock” – my dad and my uncle were both professors at universities.  I have 10+ years of industry experience, have trained with a variety of teachers, and am a “teacher” in my other life (dog training – which is really all about teaching the humans).

A good teacher has to know when to push and when to be gentle.  And, a good teacher has to be a master of communication.  I think I possess the needed skills.  Our education division has teamed up with Tony Doupe’, and I think we are offering something special to actors who want to work more efficiently and effectively in front of the camera.

Angela DiMarco:  We simply wanted to give back to the community.  There is very little to no acting for the camera in Seattle.  As a child actor who grew up here, I had very few places to work on my craft.  So I am the head of our – Mighty Tripod's – Youth Division.  I love working with all the incredible young NW talent.  I make myself available to the parents, which I know my mom would have loved when I was starting out.  I will also assist David with our Adult workshops from time to time.  We love teaching together and coming up with homework and exercises to bring in.  We have had sold out classes of returning and new students for over a year.  Personally, I can say I want to teach even more because I love hearing when my students are now getting work.  Even the adults I’ve worked with, they came to me, frustrated, not working, or just rusty.  Now they are active in the community and BOOKING GIGS!  I think actors need teachers to be honest and not sugar coat.  I also think we, as teachers, need to set you up to succeed by showing you your footage and challenging you. We do all of this at Mighty Tripod.

Ziggy Berkeley:   Like they say in the infomercials, “you’re not stopping’ there.”  Along with continuing to work actively as stage and screen actors and educators, you’ve also made a production company out of Mighty Tripod.  But before we get into specifics, I’m sure there are many people reading this who don’t have a clear understanding of what a “Producer” actually does.  So… what does a Producer do?   Does a Production Company offer something beyond the scope of individual Producers?  What was the spark here?

David S. Hogan:  I am still figuring it out, man!  I am a noob, myself!  But I will tell you what I think I know thus far.  First off, I believe in learning by doing, and we have recently produced two short films.  A producer gets things done in the trenches and makes sure that everything is put into place to get the film made on time and to specifications.  An “executive producer,” as far as I know, is in charge of securing/managing funding or provides the actual funding for the film.

A “production company?”  I dunno.  We are merely individual producers.  I imagine a “company” would have a facility or a studio.

Angela DiMarco:  Yes, we have our own company, but I would still call us performing and teaching artists first.  We have co-produced, not putting up money but helping with pre-production and on set too.  We also have produced, where we brought all the money to the table and had our hands in pre-production, on set and post.  I think in the indie world, these lines are blurred sometimes.  Also in Seattle, many people wear many hats.  For us, we wanted to start Mighty Tripod mainly because of our teaching.  But we do hope to continue to collaborate on select projects and help produce.  We have produced some of our own films, which give us double the artistic input.

David S. Hogan: We started producing to have more creative control of our careers.

Angela DiMarco:  We were starting workshops and launched the company from that.  Then we were asked to co-produce on the short film Enmity Gauge along with [production companies] Adventus Films and Evil Slave.  This was a great first film to work on and amazing people.  We then jumped onto Ben Andrews SIFF Fly Film, The Three Stars, and Ship Shifters with Faith Vs. Fate Productions; both were fantastic co-producing ventures.  After that, we wanted to try and produce a film all on our own.  We also wanted to work with some new people and expand our working circle.  We are thrilled with our first fully produced Mighty Tripod film, Trauma.  We won ‘audience favorite’ in the 48 Hour Horror Film Project, it's been sent off to numerous festivals for this year and next.  But as many people know, the 48 Hour Film Projects are all volunteer.  So we just wrapped on producing another short, Miles. This thriller has a budget; we had another great professional crew, and can't wait to share. 

Ziggy Berkeley:  Why combine your production company and your acting school under the same banner?

David S. Hogan:  Convenience? Laziness? Good question…

Angela DiMarco:  We do not have a "school;” we offer acting workshops and private coaching.  It is just the two of us and our teaching partner, Tony Doupe.  We do not want to open some establishment, nor do we want to become producers only.  So we have Mighty Tripod as our company that represents US; it's perfect. 

Ziggy Berkeley:  Why “Mighty Tripod”?

Angela DiMarco:  On top of all of the answers above, I want to share where the name came from.  David and I knew we wanted to start a company and needed a name that represented what we are doing.  We are teaching acting for the camera, we are producing strong projects, we want to collaborate with true artists, and we are driven.  At the time, we had a dog named Vida, a gorgeous boxer mix.  She was a rescue we got during the time we lived in Los Angeles 10 years ago.  About 3 years ago in September, she was diagnosed with bone cancer.  To rid her of the huge lump David found in one of her back legs, her leg was completely removed.  She then became a tripod, and a mighty one at that.  All her remaining legs got stronger.  They gave her months to live, and she soldiered past 15 months.  Vida was not only the inspiration of the name of our company, Mighty Tripod, but continues to be my inspiration in life.  She never gave up, she always believed we'd be there for her, and was always there for us.

David S. Hogan:  She was a Mighty Tripod dog, taking on life with three legs, never ceasing to amaze us with her courage and enthusiasm.  It is this same attitude that I think actors need to have in order to stay motivated in any market.  Hence: Mighty Tripod Productions.

Ziggy Berkeley:  Someone reading this is thinking about becoming an actor.  What’s the first thing or what are the first things you’d ask this aspiring person?  What should they know and/or be prepared for?

Angela DiMarco:  Why do you want to be an Actor?  If they say, "I wanna be famous"...  I think it will be a long road for them, because many people think that.  You have to know how you can stand out from those millions of other actors.  I think craft is important; integrity and staying humble.  So get in a Mighty Tripod class, audition for a play, get some headshots, and be ready for a long ride.  This is not an easy career; it is not all fun.   You get out what you put in, so be ready to put in some hours.

David S. Hogan:  Often, the first question I ask is, “Why do you want to do this, to pursue the life of an actor?”  At least this is how I start with adults.  Then, assuming the student has career-type goals, I talk about the harsh realities of the business.  I dispel any myths about the business as soon as possible.

In our market, we have a strong theatre scene, a good amount of commercial work, and a reinvigorated film scene.  It’s a good time to be an actor in Seattle!  But, to “succeed” (meaning, in this case, “to work often”), the actor has to learn how to be “attractive” in each venue.  Therefore, I stress the importance of training and business acumen.

Ziggy Berkeley:  Is there a common challenge you find most of your students have a particularly difficult time overcoming?  And if so, does there seem to be a common solution, or is it something unique to each individual?

David S. Hogan:  Inexperienced actors don't have any tools yet, and often deal with general nervousness and insecurity.  Tools are easy to teach, and as long as a student can apply them smartly, she will become more and more technically sound.  And, oftentimes, an actor with good tools gets the job done.  Many other actors have trouble with letting down their guard; you have to be willing to look stupid, to be completely embarrassed and vulnerable.  And, finally, a lot of actors are afraid of "doing it wrong," which can really put a damper on creativity.

Angela DiMarco:  It is very individual.  But I would say most common is trouble with memorizing and camera fear.  Memorizing is different for everyone; what I do may not work for you, so you have to try many methods and see what sticks.  As for camera fear, that will make or break your auditions.  An actor can prepare and prepare at home, but they get in that casting room and freeze.  Again, like most things, the best thing to do is practice.  Get a camera and work in front of it at home.  Get in a class where you get to work in front of the camera and see your footage.

 Ziggy Berkeley:  Have you ever had a student who, despite his or her best efforts, you honestly didn’t think could “make it” as an actor?  If so, how do you tell someone that?

Angela DiMarco:  I never think in terms of "Making It," because what does that mean?  Some folks just want to be in a play once a year and do a commercial here and there.  Others want to be a "Movie Star".  I can only work with them on what they already have and teach them new skills to add to their toolbox of craft.  I have told many students "I think you should pursue Theatre versus Film."  I've told students that same thing in regards to moving to LA versus New York.  Often some girl or boy will be seen at a coffee shop in Los Angeles and next thing you know they are a "star".  Then there are those who are "working actors;" they may not be on the covers of magazines, but are making a living as an Actor. 

David S. Hogan:   I would never tell a student or an actor that they could not “make it.” I am very straightforward in my advice and in my teaching, but I don’t think anyone has the prescience to know whether someone will “make it” or no.

Ziggy Berkeley:  What, to you, is “making it”?

Angela DiMarco:  See above.  For me, I never wanted to be "Famous."  I wanted to perform, to make people laugh, cry, and hear the story I needed to tell.  I have always wanted to be an Actor, and I have been ever since.  To me, I'm "making it" with every project I get.  And I will always learn and grow from that project.  I pick and choose the work I give myself to.  I stay true to myself and stand by what I am a part of. 

David S. Hogan:  There is no such thing as “making it,” meaning there is no universal definition.  The same could be said for notions of “success.”  Each actor must decide what he wants out of life and out of acting.

Ziggy Berkeley:  What has been your proudest moment thus far as an acting instructor?  What about the most fun?

Angela DiMarco:  For sure getting that first call that one of my students was cast as a lead in a film.  Now I get those calls all the time, and it makes me feels like a proud parent. 

David S. Hogan:  I feel pretty darn good when a student tells me that they have achieved a goal or a milestone in their journey and they give MTP some credit.  I also like it when I feel like I am really “on” when I am teaching.  Most nights I am good, sometimes I am off, but occasionally, I have a really “on” night where all my points land and every coaching tip I give is super specific and timely.  It’s hard to get in the zone and stay there, but that is the goal.  The most fun?  I think I always have fun when I am instructing.  I strive to bring a lightness to the art of teaching, even though I have to be brutally honest, too.

Ziggy Berkeley:  The whole world’s been aware of Hollywood for a hundred years and Hollywood North in Vancouver for decades, but you operate out of a thriving film and theatre environment in Seattle.  Describe the Seattle arts community.  What makes it special, and what do you think is driving its increasing exposure beyond the region?

David S. Hogan:  This community has deep roots in the theatre, and some great local actors, the best of which work in both theatre and film.  I think our area, for some reason, also hosts great cinematographers.  We have been receiving more attention lately because of the success of local directors Lynn Shelton, Megan Griffiths, Sue Corcoran, and Nicholas Gyeney.  Having a healthy tax incentive through Washington Filmworks also really helps.  However, I believe to build a sustainable film/TV community, we need a more robust film incentive, and a network television show which actually films in Seattle.

Angela DiMarco:  Being a Seattle Native, I have seen films come and go through this city for years.  I am very excited about where we are now, and think Seattle will become the "go to place to film".  I love Seattle because my family is here and David's family is here.  But also, we are close to the other major cities that are constantly filming.  I will fly to LA for jobs and David and I are discussing doing so for Vancouver.  But I think we are needed in Seattle to provide good education and represent good film making in the NW.

Ziggy Berkeley:   You both maintain a very active social media presence.  Describe the impact of social media on your work.  How important has that presence been to what you do and what you want to accomplish as actors, producers, teachers, people?

David S. Hogan:  A healthy social media presence can be very helpful for an actor and businessperson.  I have made a lot of connections with out of town producers, casting directors, and actors via Twitter, and I almost always connect with industry people on Facebook after meeting them in real life.  Because it is so easy to connect and follow up with people, these social media platforms can be very helpful in getting work (actor) and reaching new students (teacher).  However, it is important to market and brand yourself in a good light.  If you act like a jerk on social media, you will probably not be taken very seriously.  And, as much as I love social media, it’s important to know when to step away…  a skill I am still refining.

Angela DiMarco:  I actually was very stand offish at first.  I would not get a Twitter account... then David convinced me.  Since then, I have made relationships with Directors that led to being cast in feature films.  I love sending positive energy out to my tweeps and help keeping their heads up.  I think it is easy to get bogged down in this business, and get depressed with the rejection that comes with it.  I am known in the NW and now on Twitter as "Mama DiMarco."  I will take this title proudly and nurture my artistic pals all over the world.  It's amazing how many more people you can reach by using these social media platforms.  One of my fondest Tweeps is @Shawn_Lights.  Nashawn is a filmmaker in New York.  His tweets caught my eye right away.  Nashawn is helpful, tweeting his tips and tricks to the Twitter world.  We need more artists like that, who want to help our film communities grow and succeed. Because the more films that are out there, the more work for all of us.

 Ziggy Berkeley:  Even though you’ve both been working actors for quite some time, you’ve run a production company and educated actors together for some time, and oh yeah you’re also married, it wasn’t until very recently that you actually filmed together as actors.  What took so long, and what was that experience like?

Angela DiMarco:  I KNOW!!!  We both were doing professional Theatre when we met.  So we have been in many plays together, such as “Taming of the Shrew” (where we met at ArtsWest; I was Grumio and he was Petruchio), “Shape of Things” (ReAct), “The 13th of Paris” (SPT), and again “Taming of the Shrew” (Seattle Shakes).  It wasn't until recently that David started diving into film in the NW.  I decided to dive back in after being cast as Rosie Finkelstein in Switchmas.  As for us working together, I think, at first, the relationships we had made in the film community were still new, so nobody was casting us together.  It took us producing our own film, Trauma, to get side by side.  Now that everyone has seen how well we work together, offers have come in.

I love working with David.  He is an incredible scene partner, and we work together so easily.  In Trauma, it was great to have such a dark role between us.  I felt comfortable but soon found myself scared for my life.  David and I both really embraced those roles and just let go on set, and I think it shows.  Our second short film, Miles, is even more powerful.  Again, we are opposite one another, and the dynamic between us is more emotional in this one.  Jeremy Berg, who wrote and directed both, is so incredible to work with.  He quickly learned how each David and I work as Actors.  His way of giving notes, re-direction, and feedback on set is amazing.  I would always be surprised and thrown deeper into the moment on every take because of something Jeremy gave David.  In a nutshell, if you can't tell already, I love working with my husband.

David S. Hogan:  I don’t know what took so long!  We met during a production of “Taming of the Shrew” back in 2001, so I suppose we started this adventure by working together, but you are right; we don’t work together as much as we would like to.  We are working on changing that, as we speak.  We just wrapped our second short film together, and we have a few other projects in the works for 2014 which have us both in front of the camera.

Ziggy Berkeley:  What’s been your favorite production to come out under the Mighty Tripod banner thus far?  And/or, what’s been the most challenging to work on?

Angela DiMarco:  I would say Trauma.  I know it's our first baby and came from a festival challenge, but there is something so thought provoking about the story.  Jeremy, John, and I wanted a script that told just as much, if not more, in the unspoken moments.  That is a true sign of a good film.  All the cast and crew that came together to work with us blew me away. I t will always be our little psychological thriller that could. 

David S. Hogan:  Miles, our recent short film, has been my favorite.  Enmity Gauge was probably the most challenging, but mostly because it was our first undertaking.

Ziggy Berkeley:  In an industry that’s often overloaded with stress and rejection, you both maintain a very positive attitude.  How do you keep smiling no matter what the day brings?

Angela DiMarco:  I am doing what I always wanted to do.  Who am I to be negative and whine about being an actor?  I get to teach and share with young and adult actors and watch them grow.  I am playing on stage with sold out audiences at The Village Theatre in the hilarious farce, “The Foreigner.”  I have worked with actors like Elliott Gould, Shirley MacLaine, Domenic Keating, and more.  I am cast in some mighty feature films in 2014. And I get to do all of this with my partner in Love and Artistic Life, David S. Hogan.  How can I not be positive?

David S. Hogan:  One of my good friends, and a very fine actor, is fond of reminding me that actors must learn to “control the controllables.”  There are so many things that are out of our hands as actors, but attitude is not one of those things.  It is pretty common knowledge that the power of positive thinking really works, so by reframing how we think about our journey and experiences (looking at a “challenge” as an “opportunity,” for example) can really help an actor stay motivated and moving in a good direction.

Ziggy Berkeley:  What’s coming in the year ahead for Mighty Tripod and the mighty couple behind it?

David S. Hogan:  Our short film, Miles, is in post-production right now, then that will be submitted to festivals and eventually find its way online, I imagine. We are working on a screenplay which we hope to produce this year, as well, and have plans to produce a film for the Northwest Horrorfest.

Angela DiMarco:  Currently I am in the play, “The Foreigner,” at The Village Theater in Issaquah.  I am Catherine Simms, a Southern Belle with an attitude.  Our thriller, Miles, is currently in post.  Once it is done, we will be doing the festival rounds.  We are filming a horror film short next month, in the hopes of submitting it to the NW Horrorfest.  I am cast as the leading woman in an Independent feature film on the paranormal, filming in April.  In the Fall, we will both star in the feature film and true story, The Rectory.  This will film out of state and is a period piece that takes place in London.  There are two other feature films this year that I have been made offers for and details are being worked out.  2014 IS A VERY MIGHTY YEAR!

Ziggy Berkeley:  What kind of cheese and recreational beverages would you each pair yourselves – and each other – with, and why?

Angela DiMarco:  David and I both don't drink, but we love cheese.  But I can still come up with a beverage.

I would be Mozzarella and an Extra Dirty Martini... Because I am Italian, and even though I'm sophisticated, I can hang with the boys.

I would make David Flagship Cheese and Whiskey on the rocks.  David enjoys fine things; he is classy and smooth.

David S. Hogan:  I would give myself coffee – probably an egg nog latte if we were in the right season, or a double tall Americano otherwise – and a hunk of Beecher’s Flagship…  Or, baked brie with a side of finely sliced pear.

I would give Angela a steaming cup of Celestial Seasonings Sleepytime tea and shredded Mexican cheese… for her nachos!

Angela DiMarco:  Remember what Mama DiMarco says...  Be Daring. Be Honest. Be Yourself. Be Mighty.

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Cary Elwes points out David S. Hogan as a trailer park version of "Grumio."

- Interview conducted by Ziggy Berkeley, January, 2014

You can email Ziggy at ziggy@cinemaontherocks.com. You can also find us on Facebook.


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