FilAm Creative presents the 4th Annual Hollywood Actors Panel, a panel discussion and networking event featuring our special guest industry panelists who represent the craft of acting across the board.

Hear our panelists discuss about their explorations of the process and profession of acting; their reflections on personal experiences and artistic influences that informed and shaped their careers; their discussions of past and current projects and share valuable insights into the craft and the industry.

Get a chance to ask our panelists questions, learn about open opportunities, and build your network.

2018 INDUSTRY GUEST PANELISTS INCLUDE:

Jon Jon Briones (actor) recently played ‘Modesto Cunanan’ in FX’s “American Horror Story: The Assassination of Gianni Versace” and played ‘The Engineer’ in the US, London, Philippines and German stage productions of "Miss Saigon,” of which he garnered prestigious award nominations and recognitions throughout his theater career. On television, he guest-starred on “Designated Survivor,” “Criminal Minds,” “Bones,” “The Mentalist,” “Southland,” “Monk,” “Law & Order: LA” and “Sons of Anarchy.” And his film roles include “Blood Ransom,” “Brown Soup Thing” and “Sinbad: The Fifth Voyage." 

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American Tragedy

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It’s not quite five o’clock, but Darren Criss is sipping his first glass of champagne moments after arriving in a small basement lounge in Park City, Utah.

The Sundance Film Festival is in full swing, accounting for much of the activity in the cramped space, but Criss isn’t here for that. The star of FX’s The Assassination of Gianni Versace just wrapped a set nearby at the ASCAP Music Café, where he performed angsty songs from his sophomore solo release, Homework.

Though plenty of Hollywood types are in town for the indie film festival, Criss says he recognized no one in the crowd at his gig, save for his fiancée, Mia Swier, who has also been joining him on the ski slopes during the day. It’s a bit of a celebratory trip, given that the pair recently got engaged and Criss just finished shooting the final episode in season two of the American Crime Story anthology series, in which he plays megalomaniacal spree killer Andrew Cunanan.

Belting out tunes for a roomful of strangers can be just as gratifying as heading an ensemble cast for his former Glee boss Ryan Murphy on Versace, where he played (briefly) opposite titular victim Edgar Ramírez and on a parallel but separate track from costars Penélope Cruz (as Donatella Versace) and Ricky Martin (as Gianni’s lover Antonio D’Amico).

The nine-episode storyline moves in reverse chronological order: Criss operates in his own thread, which traces the roots of the Talented Mr. Ripley-esque maniac, once dubbed “most likely to be remembered” by his graduating class at a posh San Diego high school.

“One of the great goals in my career is to keep things as versatile as possible and to confuse and to throw people off,” he says. “So, I like it when you have a room full of Sundance people, you know, music folks, music supervisors, filmmakers that are like, ‘Wait, what? He’s a songwriter?’ That really excites me. The same way that, when I was mostly playing music and booked an acting gig, people would be like, ‘What? You’re an actor?’”

Unlike his famous costars, who have toplined studio movies (Ramírez), won an Oscar (Cruz) and enjoyed huge musical success (Martin), Criss has been waiting for his breakout.

Keep reading

American Tragedy

The Opposite of Genius: Netflix’s New Docuseries and the Limits of “True Crime”

[..] Marjorie Diehl-Armstrong indisputably had a condition. Probably several. But what hit me while I was watching the five episodes of Evil Genius was that there was something… boring going on. Not boring filmmaking—that’s not the issue. I was thinking about… well, I was thinking about Darren Criss, actually. Several of us here at Paste feel FX’s true crime drama The Assassination of Gianni Versace did not get its due in the court of public opinion and are scratching our heads at people who called it “disappointing.” Some of us think it was kind of a masterpiece. I’m one of those people, so I was weighing the shows against each other. Sure, one is a documentary and one a dramatization, with totally different styles and production values. But they’re both well-made and they’re both anatomies of sociopathy. Why did one fascinate me while the other left me faintly impatient?

The Opposite of Genius: Netflix’s New Docuseries and the Limits of “True Crime”