Garbo was one of the greatest screen idols of all time, but she didn't start out that way. In fact, when she got to the studio they didn't know what to do with her. Was she the strong woman? Vamp? Wayward woman? She proved she was a little bit of every woman....and completely onto herself. In this video Joan Crawford talks about how Garbo became her own type.
So for everyone out there struggling to figure out what makes their business or their artist brand unique pull a Garbo and be your own type!
Have you pulled a Garbo in the past? Inspired to do so now? Let me know in the comments below!
Sometimes you have to make a decision: do you want to do this the right way or not at all? Everyone who works with me know that I don't f-around. When I do something I do it right. I've done other performances of Garbo Dreams before, but I thought: What would happen if I give this project my full effort and energy? Two months ago I made that leap and have kept that commitment going strong each day. I've said no to a lot of other work, gotten up at six every day to have maximum rehearsal time, and assembled an incredible team that inspires me daily. My dad always said: "It's not the shot at the buzzer that counts, but every shot, every defensive move, and every effort made every other minute of the game that matters." Indeed. http://garbodreams.eventbrite.com/ Sunday, April 28th 2013 Doors and Campanile Fizz Cocktails at 6:30 Performance promptly at 7pm through 8:30pm www.garbodreams.com Beekman Bar and Books 889 1st Avenue New York, NY 10022 Written and performed by Lauren LoGiudice Directed by Greg Cicchino Voiceovers by Christopher Catalano and Sarah Dacey-Charles Sound Design by Greg Russ Dialect Coaching by Stuart Williams Movement Coaching by Barbara Mahler Costume Design by Britta Uschkamp (Paris) Pre-show music by Karen Bach (Denmark) A very special thank you to all the wonderful who have supported this project! Cornell University, The Field, CAVE Arts Space, Essex House, Silverstein Properties, Theater Resources Unlimited, Dramatists Guild Norwood Arts Club
 A successful advertising executive, Shelagh stood on a mountaintop in the Himalayas and asked: “How can I use my experience and passion to feel fulfilled in my life?” In that moment she felt a voice inside her say: “Don’t worry about it. Keep doing what you are doing and the answer will become clear when you are ready.”
The answer came on a beach on Labor Day weekend when Shelagh had the inspiration to create an all-natural cider that would represent freedom, purity, and passion, and and give drinkers a sense of free spirit and health. She later named it Cliffton Dry and based the logo off of a design she made in the sand. Three weeks after the holiday Shelagh filed the paperwork to establish Cliffton Dry as a business entity. One year to the day after taking this action she received her wholesale license to begin distribution. While going through the licensing process everyone -- she emphasized everyone -- told her she would never get it and even if she did the process would take years. She ignored them, sourced apples for her product in upstate New York, put together the first batch, began promoting the brand, and crossed her fingers that the license would come through soon.
“I figured if nothing else my friends and I would have a lot of cider to drink.” She took a risk and was rewarded; you will soon find Cliffton Dry on the shelves at Whole Foods.
Did I mention that besides taking inspired action to fulfill a dream, Shelagh has also managed to create an alcoholic beverage that is HEALTHY?
“I made this beverage for people to feel good. It is made from all natural products and from the first press of the apples, so higher quality than anything else on the market. For this reason it doesn’t make you feel hungover or bloated. It is light and fresh, and since it is carbonated it has a celebratory feel.”
I got to test the enlivening affects of Cliffton Dry at an opening I produced for my latest photo collaboration “Greta Dreams” (link) based on my solo play “Garbo Dreams.” Shelagh contributed Cliffton Dry to our cause because our missions are congruent. People went crazy for the cider and an entire case was drunk well before the party was over. Cliffton Dry has a light, fruity flavor and doesn’t come on too strong. The bubbles feel like a party in your mouth.
“I made sure that the bubbles and the citrus notes were the exactly perfect to get the effect that I wanted: the feeling of freedom while surfing with friends in Capetown.”
Creating Cliffton Dry has been an incredible journey for Shelagh but it hasn’t been easy. Like most people who blaze their own trail she finds herself incredibly busy steering her ship, manning the cargo, and entertaining the guests. Also, like most people who are creating something new and innovative, Shelagh says that the process doesn’t feel like work. It is challenging, but one that is up to the task for.
It is comforting to know Shelagh, another person in the world who is creating their own own way by sheer bravery, intelligence, and commitment to quality. We aren’t walking the same path, but as I continue on my journey there is someone else out there who is holding their own light and become more luminous by the day.
Meet Alla Nazimova, actress and owner of the most infamous hotel of the 1920s. What
started as a private estate for private exploits ended up as a public spectacle in financial
ruin.
 I recently asked brilliant creative genius coach Samantha Bennett about setting goals for 2013. I may set them, but as the year goes on, how often should I review them? Her response was so helpful I'm letting you in on the goods, with her permission, of course. And if you want to check her out here is her website: www.theorganizedartistcompany.com. Lots of helpful goodies there! Hi Lauren -- What a great question! And my very short answer is: as often as seems necessary. My other answer is to focus on the goals that stay constant no matter what activity you're engaged in. These tend to be more "feeling" goals and "outcome" goals, like: - My goal is to ask for what I want, no matter what... - My goal is to stay relaxed and trusting, no matter what... - My goal is work smarter, not harder.... - My goal is make at least one new friend every day... - My goal is to make sure I'm bringing in $40,000 every month... See? Picking one or two of these kinds of goals gives you a question to ask yourself whenever you're presented with a new idea or a new option, and that will lead to better decision-making. Also, these kinds of goals tend to insure that you'll be happy during the process of your work and put a little less pressure on the outcome. Make sense? Happy New Year! xo Sam.
In the past year I've met some inspiring people who have made their vision into a reality and I would like to share their stories with you here.
I recently moderated a panel for New York Women in Film and Television that featured Jill Bauer and Ronna Gradus, the two filmmakers behind Sexy Baby, a groundbreaking film about sexuality in modern culture. Their story is an example of how effective it is to put your energy behind your inspiration. Things happen!
Here is their story:
"We met working at the Miami Herald: Jill was a reporter, I was a photographer. One night I had an assignment that involved photographing in mainstream clubs on “college night out.” Most of the clubs had stripper poles in them and girls were gyrating on them. I was taken aback, not because the behavior was shocking (I saw my fair share of wild behavior in my clubbing days), but because they were trying so hard to get attention and to be sexy—all the while looking like they weren’t having any fun at all.
I called Jill the next day to see if she could help me articulate what it was that I witnessed that I found so disconcerting. She looked through my photos, and what struck her was the fact that as half- naked as the girls were, the guys standing around seemed un-phased, like: “Been there, done that, see it every day.”
The two of us were fascinated by the topic, and we decided there was some type of story in it. Initially we pitched it to the newspaper as a feature story, but after doing a bit of research and pavement pounding, we realized there was a film in it. And then Jill pushed us to actually do it! We soon moved to New York."
The film was a success at Tribeca and then later had a theatrical run in both New York and Los Angeles. How is that for taking the leap?
With the precision of a Basset Hound hot on a trail in a hunt, I can sniff out inauthenticity with a quickness. When surrounded by an extraordinary aesthetically pleasing situation I sometimes get distracted and it takes some reflection to uncover the fakery. The "Mandarin Oriental" in Chiang Mai was one such situation. Grammarians out there just shuddered that I put the name of the hotel in quotes, but title case really won't do it justice. The Mandarin goes beyond hotel and in the words of their marketing director seeks to be a "kingdom" onto itself, aiming for the affect of the ancient Burmese variety.
When you pull into said kingdom you might notice that the wooden planks on the entry bridge make a little jingle jangle. Our marketing director friend said that the purpose of the noise was to model a typical entry bridge in an ancient kingdom, which was also made of clangerous planks to signal an approach to people inside city walls. She pointed to a purple and white tour bus. "But one has trouble hearing it in that." Times have indeed changed.
The grounds of this fair kingdom are a bit too vast to navigate on foot. One bikes or takes a buggy (glorified golf cart) to get point-to-point. As I darted through the lanes I noticed that there were glass-fronted faux storefronts cut out of the walls. More like giant display cases housing suggestions of establishments that you might find in an actual kingdom: a barbershop, a wicker-basket maker, a tailor.
The staff here seem to have been trained at the Harvard of hotel etiquette schools. Or maybe more like the West Point of hotel etiquette bootcamp. A guest can not take two steps without a staff member pointing out a stair, a low-hanging beam or flower pot, or a slope in the floor. If you walk past a staff member they stand at attention and give a little bow and a Sawasdee Kaa. This replaces the usual casual, but warm and genuine, Sawassdee Kaa of the average Thai, which never entails snapping your legs together, demurly avoiding direct eye contact, and bowing solemnly, as if to a religious icon. We felt a hankering for a movie one night and rang the front desk for their DVD collection. Minutes later a gentleman arrived with a wicker basket full of DVDs. The contents of the basket were covered with a cloth so that when he walked on the grounds his ancient-Burmese style servant outfit didn't clash with 21st century escapism.
After spending a day exploring the demonstration rice paddies, -- both the North and the South plots -- the pristine gardens, non-worship temples (there is no on-site monk to make it official), Colonial suites and pool, shaded dual-level pool, and my own two-floor Thai villa -- we unfortunately didn't have time to jump on the architectural and historical tour offered to guests and non-guests -- I got the nagging feeling that I was in Disney World. Epcot Center meets the Magic Kingdom meets All-Star Sports Resort. Except that this amusement part is meant for 1/130th (I actually calculated this) of the amount of the guests and frequented by the likes of Serena Williams (this is her favorite hotel), Sylvester Stallone, and royal families of various nationalities (note that only those of proper breeding can stay at the royal villa).
My marketing manager friend revealed that The Bachelorette was filmed there. My initial reaction was: It's unfortunate that the desperation of Americans to make meaningful connections has marred the ambiance of this place. After thinking a minute it seemed like the perfect fit: One enterprise blatant in it's inauthenticity meets one that is fairly sleek in pulling it off.
When I left the Mandarin Oriental and entered back into the real world of Chiang Mai I had the same sad sinking feeling that I've had when leaving Disney World: The real world, it's not so perfect and pretty. Both franchises are genius at creating a secluded and surreal world that makes you not want to emerge for the entirety of your stay. Also like Disney, as well as movie theater and and museums, they get you on the food and you can't miss the gift shop on the way out.
 Last winter my friend Sheetal Vyas reintroduced me to a lingerie designer named Britta Uschkamp. We had all worked on the same movie together, and as films often go, had only really come across each other at the opening night party. Britta was ecstatic about my solo project "Garbo Dreams." We had a great meeting and afterwards I thought: "Collaborating sounds nice, but how the hell are we going to work together when she lives in Paris?" Britta made the next step clear and made it happen. Last spring I planned a reading for the project at a historical home in Brooklyn. Britta took the initiative and flew over from Paris to work with me on the project. I was stunned. And honored. What amazed me more was to find a collaborator with a similar work ethic. We both do what we say and say what we mean -- a recipe for action, action, and more action. Britta and I not only created a look for a show, but maximized the opportunities while she was in the country. During her ten days in NYC we coordinated several photo shoots based on the subject and themes of the play. One of these shoots, with the fierce photographer Amber Rima, resulted in the upcoming art opening on October 11th at Prohibit NYC. Taking a chance makes things happen. If you have a project you love with people you can trust, then the next step is to make the leap with a full heart and a resolution to do the work required to make it fabulous. Wonderful things result. Hope to see you at Prohibit on the 11th!
Over the past few months I've become aware of how commonly the general New York City populace misuses the word "just" and completely overuses "sorry." After considering the context in which both are uttered, I am now fully engaged on a campaign to obliterate them from my vocabulary. "I'm just saying..." "I just mean..." "I just need..." What we really mean is... "I have nothing important to say." "I barely have an opinion." "My needs don't count." And, sorry! "I'm sorry it's raining..." "Sorry to intrude..." "Sorry I bumped into you when the train doors almost shaved three inches off my back." What we are telling ourselves: "Everything is my fault." "My presence is barely worth your time." "Of course, your comfort over my safety!" OK, so I DO have awkward starts and stops in my conversation, like "I was ju-- saying" and "Sor-- I'm here." I consider that progress. I look forward to hearing your awkward stops and starts! For inspiration, here is my friend Dyana Valentine at TEDxOjai Women's event on the ways that she is not sorry.
Two months ago I was accepted into a Fieldwork Workshop with The Field, an incredible arts organization, to work on my solo project about Greta Garbo. The program entails rehearsal time donated by a local studio (mine was The Cave -- love them!) and then a weekly share with the other Fieldworkers.
I like to be surprised, so once I was accepted I didn't ask many questions about what the exactly experience would be like. Naturally, the experience exceeded expectations.
Here is what made Fieldwork such a work-transforming experience: the majority of the other other participants are dancers and/or choreographers. Their eye is trained towards movement. I'm used to feedback from theater/film people who have an eye towards story-telling and performance. So I had to learn to rehearse in an entirely different way, because dancers notice EVERYTHING you do on stage. "Hmm....your shoulders were down on that moment, that made me think of...."
Wah?
Their attentiveness pushed me into changing my method of working. My rehearsal process shifted to focusing on movement. Every moment and line I had to ask myself how my body's movements were affecting the way the story was being told.
Another reason that Fieldwork is in-cred-di-ble is the way that they give feedback. Again, as an actor I'm used to something entirely different. "I didn't get what you meant by that line, and where is the climax of this piece anyway?" In Fieldwork it's all about impressions. You don't explain your piece before you perform it and other participants act as a mirror to your presentation. "I saw this...I noticed this...I was curious about...This made me think of...." If people don't mention something you did, that means it didn't leave a lasting impression with them. And you can decide what you would like to do with that information. There were no wounds being punctured in the feedback process; the environment was rife with experimentation. And seeing how much my work was able to evolve over the past six weeks, I think that I can say the experiment was a success.
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