We recently connected with Daniel Mart and have shared our conversation below.

Daniel, appreciate you joining us today. So before we get into the rest of our questions, can you briefly introduce yourself to our readers.

Hello, my name is Daniel Mart and I am an actor and filmmaker based out of Miami, Florida.

I started off my acting journey in many local projects which include, but are not limited too, Middle (2016), Ron Ehmann Park (2017), Philadelphia Here I Come (2017), Food Trucks (2018), and Shut Up You (2018). Due to my relentless persuit to ingratiate with the local film industry through networking, I was able to work on a number of projects such as The Taking Of Broward County Savings & Loans (2018), Schism (2018), The Awakening (2019), Lights, Camera, Disaster (2019), and Suitcasing (2019).

Over time, I found that my passion in film further expanded than just acting, something that allowed me to persue work as a director, writer, and producer. Although I had helmed a few webshows beforehand, I would say my actual journey as a filmmaker who directs, writes, and/or produces projects truly started when I found my own production company, DMart Productions. With my production company, I started off with my own films like The Deal (2019) and Unwritten (2020). Very early on in the making of DMart Productions, I found myself to be the producer of a number of other local projects such as Churi (2019) and Drew (2020). DMart Productions has also had a hand in helping develop a number of other projects since then, projects that are both my own and others, such as Quince (2021), Spending Some Time Togehter (2021), Corner (2021), The Date (2021), S.H.E. (2021), Johnny Has A Visitor (2022), and Loose Ends (2023). Thanks to my relentless efforts in the industry, many of these projects have been able to both be made in manner that they should be made and garner the exposure that they deserve.

My goal as a creator & entertainer – as an actor, director, writer, producer, ect. – is to bring forth the art that me and my collaberators are working on the the appropriate audiences so that we garner the recognition we deserve. As like every other creator & entertainer, I want to make sure that I bring the most value that I can to any project and hope that said work can be accepted and appreciated in the appropriate manner. My work, from the acting to the directing to the writing, has often been lauded across the world to the point that it’s often won and been nominated for a number of awards. From the US to UK, Italy to France, Russia to India, Greece to Japan, and Nigeria to Peru, and everything in-between, my work has been lauded across the world across 17 different countries in 6 different continents. I wish it could be all 7 continents, but last time I checked, Antartica doesn’t have any film festivals; but who knows, maybe some time in the future that’ll be a reality.

Awesome – Can you talk to us about a project that’s meant a lot to you?

I would say that I’ve had a number of projects that have had a profound impact on me.

The thing with me is that I initially didn’t know what I wanted to do. It was my mom who signed me up for these acting summer camp classes at the University of Miami. Despite my protest for not wanting to go, I fell in love with the process there. By the end of that summer camp experience, we had to perform a pre-selected piece from a film or play, and I got tasked with doing The Battle Of Wits scene from The Princess Bride, funny enough alongside my stepbrother who was also put into the camp by his mother. I played the part of Vizzini, who was originally played magnificently by Wallace Shawn.

After that whole experience, I started taking classes at a local theatre company, but I still saw this as a hobby. It wasn’t until almost a year or two later that I started seeing the potential of me being an actor as a viable career choice. I had done film acting before that, in two short films I did in middle school with my friend Erick. They were called Cheese vs Pepperoni (2013) and EDrum98: The Videogame (2013). But it’s one of those things that at the time, I didn’t think much of. It was just one of those things I was doing along with my friends for the heck of it. So cut back to when I was starting to pursue film acting roles on a more consistent basis, I was doing the work – responding to casting calls, auditions, reading and watching anything that can help me, ect. I managed to get a few auditions, some of which landed me some roles. One of my earliest acting roles once I started pursuing this as a career was for the short film WIthin It (2016). It was a role I was very excited to play, that of this kid who becomes a drug dealer after his mothers death. And at the time, maybe due to it being my first role, maybe due to naivety, maybe both, I thought that this was a very awesome project. I was somewhat aware of the troubles the crew had between each other, but it’s something that again, due to naivety or what have you, I wasn’t entirely conscience. It’s one of those projects, looking back, was a very toxic environment to be in. And in an odd way, I kind of like the fact that I went through such a toxic set very early on, even if I didn’t pick up on all the details of how toxic it was, because now I’m able to look back and see how certain situations played out and how they could have been handled better. It’s something that I do actually often think about and apply what I have retroactively learned from that set into my current day to day filming life.

After that, I worked on this pilot for a show called Twilight Of Dreams (2017). excluding the films I did with my friends back in middle school, this project started a trend that continues to this day, the fact that I die in a lot of my films. I’m basically South Florida’s Sean Bean. In this project I am a roman citizen who is bitten by a vampirized Julius Caesar, and then the vampire version of me gets killed off by Zombified Jesus. It’s a wild story. It’s for sure the bloodiest death I’ve had for any of my films. And honestly it was so fun to shoot. The special effects used to accomplish not just my death, but also the look of Zombie Jesus and Zombie John The Baptist looked super scary and amazing. Also, this was a project that my mom saw how we filmed it. My parents usually are not on set when I film, usually they’re closed sets so it’s one of those things where only those who need to be there are allowed. But she came early to pick me up, and she saw me die. Although I’m not sure if she got the concept of the project even after I explained it to her, she liked how it turned out. Although we did need to figure out how I’d be driven back home so that I don’t literally bloody up the car. Gus Aviles, the director, I know was inspired to make the project by other anthology horror shows like the Twilight Zone. The franchise eventually did go in another direction, something I’m happy about, and hopefully I can rejoin it some time in the future.

I also worked on The Visitor (2017). I had actually auditioned for Jordan Roa, the director of the project, for a different project the year before; however, that project never got off the ground. Despite that, he remembered who I was and contacted me to be in this project. I was actually both shocked and honored. Since I was so new to the industry at this time, I didn’t really think that could be a possibility; that you can not get a part in one project, yet get called back for a different project. It’s something that now, it occurs a bit more often, but back then it totally blew my mind. And yea, I worked on the project. And this project, The Visitor (2017), actually became one of those “linchpin” projects for me for a time, a project that everyone knows me from. It had a short festival run down here in Miami as well as it being posted on Youtube, and it was just one of those projects everyone liked and it helped me get several roles afterwards. And the making of the project itself was great. Working alongside my co-star Justin Andrew, someone I still occasionally talk to, was amazing. It was the first time I, alongside my director and fellow actor, actually developed and fleshed out a character. Especially since my character is much more villainous than he initially lets on, exploring the complexities of that was so exciting to do.

Some time after that, I worked on several more local projects, but Sick Minded (2019) I would say is by far the biggest and most notable project I’ve been a part of. I played the role of this agent who’s investigating a series of kidnapping. I actually almost missed out on the role funny enough. LeVar Leo, the director of the project, sent out a casting call, and it was basically a first come first serve type of thing, so whoever responds to the casting call first gets a role in his next film. And I just so happened to be in class when he messaged me back, so after class I responded and got the role, and he said had I responded a bit later that I may not have gotten the part. Now actually working on this project was amazing. To a certain degree, locally speaking, this is the film where I felt like “I made it”. I was working with some of the best talent in South Florida, both in front and behind the camera. I’m working on this big project that’s for sure going to go places. I’m working on this project that everyone is going to see. And if I’m being honest, I felt that affected my performance. I got cocky essentially. I had all those thoughts of “I made it” in my head, and I feel like I didn’t do the best work I could’ve done because of it. Because I was on such a “I made it” high, I honestly feel it prevented me from giving a more solid performance. Now the film did go places – It did it’s festival run, it was shown on the Short Film Channel on TV, and it has a sequel that should be coming out soon. I actually did make it into the sequel as well. Basically, the short film was incorporated into the sequel. And similarly to The Visitor (2017), this is a film that has become a “linchpin” film for me as I still get comments or questions about how it was to have worked on this project, especially now that the franchise if you will, is expanding even further than what was presumably originally intended.

Debts Unpaid (2019) is another project I hold dear to me. Another “Linchpin” project of mine if you will. I think part of its success had to do with the fact that it came out literally the day after Sick Minded (2019) came out, so thus that one-two punch of having those two film performances out there for people to see really bolstered both the film and me as an actor. Similarly to The Visitor (2017), it was a character I was further able to develop alongside director Mallory Glickman and my co-stars Joanna Heath & Andy Glickman, Especially with this character who’s put into a difficult position of having to do these heinous acts despite not wanting to but having to do it to protect the person he loves the most. Finding the complexities in that was amazing, moreso since it was done during the 48 Hour Film Challenge, so now you have to remember that this film was written not less than two hours ago and we have 24 hours to film everything we need so it can be completed by tomorrow. I’ve done a lot of 48 Hour Film Challenge projects, but this one for sure is the most rewarding one out of the bunch, and it’s a role and film that people still ask me about. Actually, I’m willing to say that it may be the film I’ve done the best acting for given how many times people have casted me because of this film alone, whether they saw a clip of it in my reel or saw the film in its entirety.

Now during the pandemic, I was still surprisingly active, having done a number of projects such as The Shadow Side (2020), I Am The One (2020), Treach (2020), S.H.E. (2021), The Tasmanian Devil (2021), and Always Be You… Except You (2022). But the most impactful project I did during this time is sadly a project that will never be released, Diary Of A Vampire Stalker. This movie was directed by the Great Late Nelson Ricardo, someone who I will undoubtedly say is the best director I’ve ever worked with. But yes, I did say Late. He sadly passed away, and that’s actually why it’ll never be released. He was the editor of the project, and when he died, the project went with him. I presume his family has all the footage to the film, but it’s one of those things where it is effectively gone. But that aside, that was honestly one of the best sets I have ever been a part of. Everyone, from the cast to the crew, was on their A-Game. And what makes this feat more impressive is that we were often filming at night, well into the next morning, and we were obviously tired, and yet Nelson was able to consistently keep this fun yet professional tone on set. As an actor and as a director, I learned so much from him in this regard. Also, I got to do some wicked karate fight scenes. In my time as an actor, I’ve done a number of fight scenes, but those are usually short and not that complex to do. The ones I did in this film, we went all out, had prop weapons to use, fake blood and bruises as well. It was all a trip. And I would say if it’s not Debts Unpaid (2019), then this, personally, is the best acting I’ve done in a film. It honestly does suck that no one will be able to see this film, but sometimes life has other plans. Nelson was a great guy to work with, and he’s someone I do think about often, whether it be how we filmed the film or how we acted in our scenes together or how he just took control of the set that could sometimes become unruly. He is someone I miss dearly, and wish I could have worked more with him.

Now I don’t usually do theatre. It’s not that I don’t like it, I do like doing it, but I think it’s because I’m just so focused on film that I don’t really seek out theatrical parts. I’ve done small scenes in class such as Orange Flower Water, Long Day’s Journey Into Night, The Glass Menagerie, Doubt, and The Little Dog Laughed. I’ve even done full on Shows such as Thea Teachers Lounge (2019), Luna Gale (2019), Warner Bros (2019), and Influence (2018). I’m not discrediting the work I’ve done there, but theatrically, the most impactful theatrical thing I’ve done was Pericles (2023). It was done as part of this bigger project called Telepresence, which was started by Tom Gorman from Coventry University, where he would take a bunch of actors from his classes and pair them up with actors from a different nation, and the whole group would do a play. My school, Florida International University, was selected for the 2023 season. I thought that this would be a great opportunity for me as I would be able to expand both my theatrical abilities, but also my Shakespearean abilities. I got the role of King Simonideas, a very powerful role. Playing Simonides did help me familiarize myself with Shakespeare a lot more, especially since it threw me into the deep end in certain regards as I did have a hell of a monologue towards the end of the scene. It’s also a character where he’s hiding his true intentions for most of the scene and playing with those intentions was very fun. Also my scene partners for that scene, Gabriel Perez who’s from FIU and Ana Conrado who’s from Coventry, were great to play off of. Honestly, the whole Coventry crew was great to work with – Ana, Laura, Joao, Simona, Adhieu, Manuela, and Daisy – were all a pleasure to work with. And of course the FIU crew as well – Gabriel, Christina, Santiago, Justin, Rudy, Mia – was also great to work with, moreso since I knew and was already friends with all of them, and this helped further strengthen our friendship. And of course Michael Yawney and Tom Gorman, our directors for this project, were great to work with as well. This whole experience was one that I’ll never take for granted, and it’s definitely the project I would say helped create the deepest bonds out of anything I’ve done. Also, a fun bonus to all this is that during one of our rehearsals, we had Andy Serkis directing us. Can’t get any better than that, just saying.

Recently I worked on Primal Fear (2023). The casting for this movie was last minute, the actor who was originally cast had to drop out. So Liz Nicholls, the director, reached out to me. It’s funny because although this wasn’t a 48 Hour Film Challenge Film, it felt like that in many ways. We were shooting this on Thursday night as it had to be completed by Monday afternoon. She was planning on submitting this to the Jakob Owens Horror Short Film Contest. Funny enough, my co-star Leilah Star, we had just worked together a few weeks back on a 48 Hour Film Challenge project. She did amazing work back then when I worked with her, and she did amazing work now when I worked with her. For sure one of the best actors I’ve had the pleasure of working with. Despite how late it was when we filmed the project, I mean we started filming at around 7:00 PM and finished at 4:30 AM, so it was a long process, it was still an overall fun set to be on where as everyone was on their A-Game and bringing in ideas of how this scene can work and how this can happen now and all that good stuff. Everyone was bringing ideas to the table. And one of my favorite things to do is develop the character, something I feel I’ve lost doing in many recent projects. Like I still try to develop the character regardless, but it’s me developing the character alongside the director and/or co-stars that I feel I’ve lost, and that’s something I was able to do on this project, and for that I was very thankful for. And it’s another project that I suspect will become a “linchpin” in my career as people are already asking me about it and it’s gotten a number of views on Youtube and everyone seems to be enjoying it thus far.

Now I’ll be remiss if I don’t shout out my man Jace Elton, we’ve done a number of projects together. Initially, our projects were fan films. Films such as Halloween: Michael Myers Comes Home (2018), Gremlins: A Christmas Nightmare (2018), Chucky: Friends ‘Till The End (2019), Wilfred: The Fan Series (2019), and U Driver (2020). He then decided to expand his filmmaking techniques to his own original works, most his own music videos such as Ego Trip (2020) and Ego Death (2020), and he did direct one original short film called Electric Feel (2020), but eventually and naturally he wanted to expand to do feature films, which led to S.H.E. (2021). Despite all that, I would say our most fruitful collaboration would be for Spending Some Time Together (SSTT), which should be released some time next year if all goes to plan. I think what makes this project so special for me is how much time we took to make this project. We started off with a short film version of SSTT, which got views and good reviews, but was only made to help with fundraising for the feature film version of the film. After we gathered up enough money, and had our cast and crew set, we filmed the project. It’s a project that was a lot more taxing to do, surprisingly so. It’s one of those projects that teaches you as both an actor and filmmaker what you’re made of because of the scope of the project. At this point in my career, I had already started to direct and produce a lot more often, however that really only extended to short films and web shows, not feature films. And yes, I had helped produce his prior film S.H.E. (2021) before this, but everything I had to do for this project was so much more. In a lot of ways it was difficult, but in a lot of ways it helped me understand and realize both where I needed to improve and how much I truly did know about the industry.

I’d also be remiss if I didn’t shout out Alejo Vega, someone else who I’ve done a number of projects with. Our first collaboration was for Zombies! Run! (2019), and from there we’ve done a number of other short films such as That’s How It Happened (2019), Hand Of The Pharaohs (2020), Wiseguys vs Aliens (2022), Hard Christmas (2022), and Third WIsh (2022). That being said, I think our best output, or soon to be output as it’s in post-production at the moment, is Captive, which should be out next year. This is a film I directed. I’ll get to my directing history soon, don’t worry. But yea, this film is one that took many twists and turns during the pre-production phase due to life essentially getting in the way. Eventually we gathered our cast and crew, and we made this amazing project that we hope to be a thrill ride the whole way through. I don’t wanna say too much right now, don’t want to spoil anything yet, but I’d say we had a great cast and crew working on this. Everyone brought their A-Game on this project, and I’m very thankful for how it turned out at the end.

So as I alluded to before, I am a director and producer in my own right. A filmmaker essentially. It’s one of those things where I saw everyone around me making project after project. I was inspired by the directors around me such as Jordan Roa and Eddie Poletto, who were making film after film after film, and I basically thought “Why don’t I do that?”, and I did. My directorial debut was The Deal (2019). The plot for that film, two teens trying to sell drugs to a drug dealer, is an idea I had been kicking around in my head for a while, and I just thought “Why don’t I make it?”, and I did. As this was my first film in general, I was very keen on wanting to do everything, so I directed, wrote, produced, acted, edited, cinematographed, sound mixed, and casted it. Now, directing, writing, producing, and acting in my own projects, that is something I would continue doing in tandem. Everything else, no way. But that just goes to show how excited I was to do this project, how excited I was to finally direct a project. So we filmed the project and then released it shortly thereafter. And for it being my first directorial project, I’m still proud of what I was able to accomplish. Yes, it does look amateurish in certain parts, but I think there’s a charm to it because of that. At the end of the day, we’re just these kids who were trying to make something, hoping that it was fun to make on set, and hoping that people would enjoy it once they saw it. And generally speaking I’d say we succeeded in that endeavor.

After that, I worked on this series called Silent Locale Cinematics (2018-2021). The first episode, Love Thy Neighbor (2018) was directed by my friend Jordan Vegas. And his plan for the series was to explore different societal topics in every episode. However, life got in the way and the series lay dormant until 2020. At that point, in part because I’ve always wanted to do more silent films, in part because I wanted to make films during the pandemic, I asked Jordan if he would allow me to continue the series, something he allowed me to do. The first episode I directed, the second episode of the series, Birthmark (2020), was released during the height of the Black Lives Matter movement. There is a part of me which I’ll admit does wonder if I should have made the film in general because of the topic I was covering and me not being black, but at the same time I have a message to share and thought this would be the best way to do it. From there I went on to make The Last Fair Deal Gone Down (2020), The Last Supper (2020), and Fugazi (2021). With each episode I tried to keep the spirit of the series alive, looking at societal issues in new and interesting ways, but also trying to bring my own twist to them. I’d say my best directed works would be between The Last Fair Deal Gone Down (2020) and The Last Supper (2020) because of the fact that I took such an experimental approach with both films. And that is the beauty of the series, the fact that I can try to do something that’s more experimental than what I would normally do. It’s something I’m hoping to get back to again one day, especially since I do have a number of scripts written for new episodes, but it all comes down to time and how much time do I have to do these projects again.

Up until this point, I normally write and direct my own projects. That was until I connected with Oli Hughes and he gave me his blessing to direct Corner (2021). That’s the first, and so far only, time that I’ve directed someone else’s work. The fact that someone would trust me with their work did surprise me if I’m being honest because it’s not like I was ever looking to do someone else’s work, it just kind of happened. Don’t get me wrong though, I took the project very seriously. From the casting to the directing, as usual, it was all hands on board for this one. There’s a certain care you need to have when you’re working with someone else’s material because unlike my own written work, Oli didn’t have anything else to rely on. He’d written scripts in the past, but nothing that’s actually been made up until this point. Something else I wanted to do with this project is that I wanted to submit it to film festivals, and those who know about film festivals know how expensive that can get. And boy did it get expensive real quick. The great thing with submitting to festivals though is that you get your name out there, you get your cast & crew’s name out there. And this film began that journey of further expanding everyone’s name in the industry. The film has won and been nominated for a number of awards including best short film at the Cefalu Film Festival, Outstanding Director at the Palm Beach Film Festival, Best Screenplay for Oli Hughes at Pavlos Paraschakis Video Film Festival, and Best Actor for Brian D. Long at the Kalakari Film Festival.

After that I directed Quince (2021). It’s a short film that I made as part of a bigger project by Matthew Mark Hunter called Deadly Numbers (2021) where we were each given a number from 1 to 20 and were to make a film around whatever number we got. I got 15. I’ve always wanted to make a slasher so I called the killer Quince, the Spanish word for Fifteen, because he kills on the 15th of every month, and went from there. I brought back my consistent collaborators Jace Elton and Angel Padilla for the film, got Daryan Lyew-Ayee who I worked with on Corner (2021), brought in Melissa Almanza and Chloe Schwinghammer who i currently went to school at FIU with, and brought back Charles Ace who I worked on Fugazi (2021) to play the killer, and we went from there. At its core, this is basically your classic teen slasher, and that’s how I operated it. It was a fun set to be a part of, I killed myself off in my own movie, killed everyone but Melissa and Chloe in the film, and that’s basically it. We edited the film and sent it to Matthew so it can be in the film, and that’s it. When Deadly Numbers (2021) came out, it was lauded as one of the better films in the bunch. Thankfully, I was able to submit to other festivals, with the one caveat being that I can’t submit the film to any festivals that Deadly Numbers (2021) was being submitted to, which wasn’t an issue. Like Corner (2021), it has won and been nominated for a number of awards such as Best Short Film at the Scream It Off Screen Festival, Best Effects at the Pavlos Paraschakis Video Film Festival, Best Monster at the Ghastly Pumpkin Awards Film Festival, and Best Cast at the Kalakari Film Festival.

Outside of Captive which comes out next year, the last major film I directed was The Date (2021). It’s about a woman who finds herself on the most uncomfortable date of her life. Barring the Silent Locale Cinematic episodes, I would say this film has brought me the most acclaim as a director. I brought back Chloe, Melissa, and Jace for this project and added Derrick Similien and Jessica Pastor to my rotating list of collaborators for this project. Jessica and I had actually worked together before on many of Jace’s projects such as Night Lag (2021) and Johnny Has A Visitor (2022). This film in many ways was inspired by Alfred Hitchcock’s Psycho (1960), more specifically the office dinner scene that Norman and Marion have at the start of the movie. I liked the idea of having this guy who doesn’t seem like a menace turn out to be a violent individual, and I just ran with that. And this also helped me develop the characters as well, but from the other side. Normally, when developing a character, I’m doing it as the actor, but not I’m doing it as the director, and that was such an interesting perspective to take, more so because it’s Chloe and Derrick interpreting what I wrote and them turning it into something that’s their own, and I really loved seeing the process behind that. And as with Corner (2021) and Quince (2021), this did win and get nominated for many awards such as Best Short Film at the Universe Film Festival, Best Screenplay at the San Bernardino Valley College International Film Festival, and Best Actor and Actress for Chloe and Derrick at the Ghastly Pumpkin Awards Film Festival.

Now my directing talents are not just limited to film. Recently, I’ve expanded to directing theatrical work, with my theatrical directing debut being Stuff (2023), which was written by my friend Cristian Torres. I assembled the cast which included Matthew Hernandez, Diana Aleman, Tania Nieto, and Isabella Burgos. The story is about a man who’s trying to get a necklace back from his ex while trying to deal with his current girlfriend’s opposition to this endeavor. The cast and crew were very supportive of me as a director. I mean sure, I had directed scenes for my class in the past, but this was a full on play. I think the biggest thing for me was that I needed to shut off that “filmmaking director” part of me and unlock the “theatrical director” part of me. It challenged me because of it, in a good way, and I’m happy I was able to do it. And when the show premiered, everyone loved it. In theatre, it’s hard to determine how people will react to your work, but seeing how everyone reacted during the play and cheered at the end told me this was an experience that was well worth it.

A rather lengthy answer I’ll admit, but that’s the thing, I just have so many projects that have had a profound impact on me that I couldn’t just cherry pick one or two to talk about. In reality, I would say every project I’ve done has had an impact on me. That’s kind of the point of working on so many projects, to learn from each experience, both the good and the bad. It’s just that when you have such a wild journey as I’ve had, for whatever reason some of these projects stand out more than others. On to the next hopefully impactful project now.

Can you tell us about a time you’ve had to pivot?

I would say now that I’ve graduated from college, from FIU, and figuring out that post-college life. That’s been a major pivot for me, which if i’m being honest, that I’m still figuring out.

It’s something that to a certain degree has left me a bit aimless. With school, you have this structure where you’re always being told what to do and when to do it. But now in the real world, you don’t have that structure anymore. It’s all me trying to figure it out. And yes, career wise I still know what I want to do. But on a more personal level, living the day to day life, that’s where I feel kind of aimless. I hate to admit it, but it very much is just me waking up and going on Youtube or reading a book or watching a movie until I decide to do the next brain numbing activity I want to do before falling asleep and starting the cycle all over again.

I of course have worked on my upcoming projects, but I still feel like I’m missing that structure that I once had. I’m still figuring out, seeing what I can do to bring some semblemce of structure back into my life.

That’s the thing I guess, no one really tells you or warns you how hard it is to be an adult during that recently graduated post-college time, so having to figure it all out, it’s been a struggle. Especially since I’m an extrovert and love talking to people, and now it feels like I don’t talk to as many people as I used to. It’s a hell of a challenge, I’ll say that much.

We’d love to hear a story of resilience from your journey.

Yall ever heard of the meisner acting technique?

Let’s just say that working on that technique kicked my ass, and that’s putting it lightly. The thing with this techniqeue is that you essentially need to put yourself out there. You need to be fully open with your scene partner. Sound easy enough? That’s what I thought. But boy did it kick my ass at the end.

The problem with me is that I have a lot of emotional baggage, much more than I originally thought. And doing this technique, which is based on being fully open with your partner, dug up a lot of that emotional baggage that I had. It brought out a lot of anger, shame, paranoia, distrust. And yea, I had friends, many friends, who were open to helping me out in any way they can. But a lot of them got hurt in the process. I wasn’t a nice person during this time so to speak. I was pushing them away and stuff, just not a good time.

And eventually, there came a point, there came many points where in the midst of all this madness I was dealing with, that I had a moment of clarity and realized that this is not the way to be handling the situation. Saldy, I also regressed a lot during this time because I thought those thoughts were the ones that were gonna hurt me.

It wasn’t until I hurt people really close to me, people that I cared about, that I finally got it through my thick emotional skull that I should probably get help. And well, that’s what I did. I got the help that I needed at the time. It wasn’t perfect, but it was something. And ever since then I’ve been trying to improve from there, improve upon the lessons I learned from that whole experience. And thankfully, all my friends forgive me for putting them through all that. They all understood that I was going through something hard.

Meisner, it’s something that not only you need to be ready for, but you also need to be open to in all aspects. It’s also something that you need to understand that if you need extra help to get you to a better emotional place, then seek the help. Don’t let it linger inside of you, because then it may lead you to do or say stuff that you don’t actually mean.

Contact Info:

• Website: https://linktr.ee/DanielMart
• Instagram: https://www.instagram.com/daniel.mart.1234/
• Facebook: https://www.facebook.com/MartDaniel1234/
• Linkedin: https://www.linkedin.com/in/danielmartactor/
• Twitter: https://twitter.com/MartDaniel1234
• Youtube: https://www.youtube.com/@DanielMartActor/featured
• Other: DMart Productions Youtube Channel – https://www.youtube.com/@dmartproductions3164 DMart Productions Instagram – https://www.instagram.com/dmart_productions/ DMart Productions Linktree – https://linktr.ee/DMartProductions

Image Credits
Churi1 – DMart Productions Chucky15 – Jace Elton Entertainment Corner1 – DMart Productions Debts1 – 2564 Films Diary1 – Wolf Call Productions Indiewise20189 – Indiewise Film Festival AngelaInterview Copy – Angela Andronache THIH3 – McPree Productions Films P16 – N/A PFP – Poseidon Films Fratto3 – DMart Productions Schism5 – Jordan Roa ShutUp5 – Between Renders SM2 – LA3Films LTN1 – DMart Productions LTN6 – DMart Productions 38 – DMart Productions TLS1 – DMart Productions JAK – 305 Film Studios SSTT2 – Jace Elton Entertainment Tanos3 – Eddie Poletto Deal1 – DMart Productions Broward4 – Kaleidosight Films Visitor6 – Jordan Roa Torment3 – Eddie Poletto Treach2 – DFG Productions Jesus5 – AllonMedia UD7 – Jace Elton Entertainment WilfredPoster – Jace Elton Entertainment W18 – Mcpree Productions Films W23 – Mcpree Productions Films Within3 – Glen Bandoo