Greetings, readers!  The excellent onslaught of interviews continues here at OneFilmFan.com today with the second participant from director Ed Hellman’s neo-noir indie short film effort “Dime Crimes #34“, lead actor Jimmy Dalton.  As we’ve had the opportunities to get into the heads of so many of the independent film world’s thespians, it is always a unique adventure to have them each reveal so much about themselves over the course of our questions, painting the consistent picture of artists who are dedicated to the pursuit of their craft and the promotion of independent cinema.  So, get ready folks, as “Dime Crimes #34″‘s resident bad boy weighs in on life, career, the film, the wonder that is Ed Hellman, a film that makes him cry, and does so with a playful, hilarious, and candid eccentricity that will pull you right in! Presenting Jimmy Dalton!

 

One Film Fan: The story so far, how were you first drawn to the acting profession? When did it become evident that acting was going to be your career choice?

Jimmy Dalton: Well Kirk, it’s the classic Americana story of the bored suburban kid with workaholic parents and no siblings or friends I guess.  I was practically raised by my TV set and inspired by the actors I’d see from countless hours of watching movies and shows. Add in a diet rich in sugar and a severe deficit in attention, and you have a recipe for a class clown constantly cutting up, doing impressions, acting out for the other kids, and languishing in detention.

Then when puberty hit, and it hit hard and moody, I went into this crisis where I became dreadfully bored being–me. Whether it be from low self esteem or just to show off, I would desperately pretend to be other people. Real people, fictional, whomever I found interesting. I would carry myself different, change my posture, speech, clothes, over and over again. Like a chameleon. To this day, I always feel most like myself in the skin of someone else. Not literally you sicko. (My laughing ensues!)

That’s what continues to draw me to acting. That, and to shake people up. Whether it be to humor them or inspire them or disgust them or enrage them. Anything to lift them out of their 9 to 5 day even for a moment to feel something. So when I eventually stumbled into acting classes in college and learned I could still do all these things AND get paid for it? It was a match made in purgatory.

O.F.F.: How did you further learn the art (ie: mentors, influences, and schooling)?

J.D.: Funny enough, I just never considered becoming an actor. Like most people feel about acting I suspect, it wasn’t a profession I ever took seriously until I needed some extra electives in college. So I tried out Acting 101 thinking it would be a breeze!

The thing is, I went to a little 2 year school by the name of Suffolk County Community College in Selden NY, part of the SUNY family of schools. I didn’t know it at the time, but the theatre program at this ‘lil ole university is bar none, one of the BEST in the country. Not even kidding. The faculty, specifically Professor Steven Lanz-Gefroh, whom I had the pleasure of being directed by on many occasion, ran the department like a finely tuned, oiled machine. The very last semester I attended, our school actually won the KCACTF festival (American College Theatre Festival) and beat out all the 4 year big boys. A feat our school has done before on multiple occasions.

When I saw how much blood, sweat, and tuition actually went into a properly trained actor’s performance, it truly won my respect and I sort of became obsessed with it. It was at this institution that I learned the core essentials of contemporary and classical acting, scene study, intentions, dramaturgy, monologues, theatre history. But, most importantly, I learned to belong.

O.F.F.: Being newer to the acting scene, at least in terms of film, how has the experience of having several short films under your belt now struck you?

J.D.: It hasn’t so much as struck me as it has graciously and tenderly caressed me with open arms into it’s warm and loving bosom. No, I’m kidding. Of course, I auditioned a s#@!-ton and worked extremely hard to receive these roles that I now have the honor of listing on my resume. I feel the most gratifying part of it all is the fellow storytellers I have befriended and gotten to rub elbows with. Whether it be writers, actors, directors, DP’s, cameramen and women, PA’s–we all get to breathe life into the story. The collaboration, the camaraderie, the empathy we have for each other in this ridiculously difficult and uphill business–I find comfort in that I’m not the only one.

O.F.F.: How do you tend to prepare for a film role, ie: getting into character, researching a part, etc. Do you find it different at all for movies as opposed to your stage work?

J.D.: From the outside in, which I know is kind of frowned upon by actor snobs, but it’s just always worked best for me. I start outside, then I start inside, then meet half way. I think about this character’s personality and break it down to appearance, how he carries himself, posture, dress, tics, nuances, habits, how he opens a door, how he butters his toast, whatever I find relevant. Sometimes I think about other people and characters that I know who remind me of this role and make a stew.

The thing about stage work and film work is that it’s comparing apples and typewriters. I love both of em, but for different reasons. I love how stage (usually) follows the characters natural chronological progression and the magic of live performance when the stakes are sky high and everyone’s on their “A” game, but regret having to over enunciate and pronounce every syllable and action so the back row can hear me. I love how film realistically captures every little subtle detail, but lament the sometimes rushed production schedule where scenes are out of order and there are distractions galore.

O.F.F.: Reading your bio, you have proclaimed that you learned many “random hustles like stockbroking, waiting tables, playing drums, cardboard box sales, and fire spinning.” Is it hard to be become a successful actor in New York? Hard not to want to give up over the years?

J.D.: Well yeah, of course it’s hard. But if it was easy, then everyone would do it. Actually, I never really think about it, because it just doesn’t matter. When you want something bad enough, you don’t tend to think about the odds, you just don’t care. You just go after it and that’s it.

But funny you should mention this because recently I read an article in Forbes Magazine naming acting as the #1 most difficult profession of 2015. If you’re doing this crazy business and making some sort of headway, then you are not weak. You are part of an elite group. Thinking about it now, I find a lot of pride it that.

O.F.F.: So, onto your recently completed project, “Dime Crimes #34”, heading out onto the Film Festival circuit. What drew you to this film?

   

J.D.: Obviously the big bucks. But secondly, I loved the feel of it. The 50’s pulp-fiction-y vibe. I’m a huge fan of that era in pop culture. And the music! Plus I get to play a character that is basically James Dean. What American male could say no to that?

O.F.F.: Tell us a little about the character, Bug, you play in it.

J.D.: Oh he’s the cat’s PJ’s, baby. The girls want him and the guys wanna be him. But he has a very sinister and almost disturbing bent to him that keeps people guarded. You don’t know what hand he’s playing until it’s too late. And even then, it’s not what you think because he’s insanely layered. He’s definitely not what he seems.

O.F.F.: Ok, have to ask. Was it flat out fun TO play the consummate, James Dean-looking, swagger-filled, smooth talking bad boy? No spoilers, please!

J.D.: For a dork like me? HELLS YEAH!! And I always love, love, LOVE playing the bad guy. Always. Good is dumb! It’s just so much fun to have a moral carte-blanche to do what ever the hell you want with no repercussions.

O.F.F.: How was it working with fellow thespians Ashlee Mundy and John Michael Wagner? Care to dish on any of them from the time on set?

 

J.D.: Johnny is a hard man, but fair. And thorough. He’s got a mature and impeccable wardrobe, and smells like rich bergamot. He’s the Daddy on the set. But at the end of the day he’s a teddy bear, and I found we both share the same unbridled, childlike enthusiasms. He also wrote and produced the story you know. For someone to wear all those hats and still not sweat, I have immense respect for him.

Ashlee is like the sister I never had or wanted. She was a bully to be honest. She put toothpaste in my shoes and dunked my head in the toilet. But she was MY bully. And god@#$^%&# I have to admit, she is RIDICULOUSLY talented and can still look gorgeous behind a pair of nerdy coke bottle glasses and an old bathrobe and slippers.

O.F.F.: Also, what were your impressions working with director Ed Hellman? From our interview, I got the sense he thinks he’s all that. What about you?

J.D.: Young Edward–is a truly unique soul. A lot of people say the same thing when they meet him. That he comes of as “full of himself” or “snobby” or “hot s%$#”. I didn’t like him either. At FIRST. But after working with him and truly witnessing the magic in action, well, I really believe the world is not yet ready for the GENIUS of Edward Q. Hellman. We are all ants to his breathtakingly vast creative prowess. Give it some time. Mark my words, Kirk–mark em well.

O.F.F.: What other projects are on the horizon or would you LIKE to be involved in?

J.D.: Hallmark and Lifetime made-for-TV movies mostly. Like when I’m a washed up, old, has-been. But truthfully, I am in LOVE with this golden age of television and feel honored to be an actor during this era. I pine at the chance of being apart of the next “Breaking Bad” or “Wire” or “Mad Men”.

I’m finishing up production on a feature length film called “Credit Union” directed my Max Chance where I play the lead role. My character’s fresh out of school and running around to get a decent job, a real apartment, and a ring for his girl, all while trying to keep his crumbling band together. But with no experience, no prospects, and no credit score, he’s obviously got a lotta work cut out for him. I think most millennials know what that’s like.

I got a few other irons in the fire! Check out my website, http://jimmydalton.com, for more k thx 🙂

O.F.F.: Stage acting is, from what we can see, a large part of your career currently. Tell us a little about that other side of you as an actor.

J.D.: As far back as I can remember, I always was a film buff. But when I started learning acting in college, which is all stage work, I fell in love with it. The “theatre bug”. Did lots of Shakespeare. And contemporary plays too, of course. Everything but musicals. You do NOT want me singing AND dancing at the same time.

Nothing beats the high you get when you’re totally invested in the scene with your co-stars as well as the audience. It’s rare, but you can literally feel the energy between all the parties involved. I really miss it being I’m mostly doing film and TV now, but not the long rehearsal hours required by the theatre. Still, I’m positive I’ll pursue it again soon.

O.F.F.: What advice would you give to someone looking to get into the film industry in general?

J.D.: Don’t. Seriously, I don’t want you here. No one wants you here. It’s way too crowded as it is. It’s hot and sticky. The rent keeps going up. Everyone’s mean. Just stay home and actually contribute something noble to society. Like a banker, or a lawyer.

O.F.F.: Always the final question—What is YOUR favorite film of all time? Why?

J.D.: Geez, depends on my mood. I guess I’d have to say “Paris, Texas”. It’s an indie from the mid-80’s about a man, played by the incomparable Harry Dean Stanton, who wanders out of the desert after a four year absence. His brother, played by the forever charming Dean Stockwell, finds him, and together they return to reunite the man with his young son. Soon after, he and the boy set out to locate the mother of the child who left shortly after the man disappeared.

Just–EVERYTHING about this film is magic. The natural scenery is GORGEOUS, the cinematography is so perfect you could blow up and frame any still and hang it on a wall. The performances are ingeniously nuanced and slowly slice away at your soul. The music by Ry Cooder just plucking at his over reverbed electric guitar is hauntingly beautiful. Everything. And I’m not a big crier, but I bawl like a baby at the ending every time.

 

What else can be said, people?  Honestly!  What else can we say as we pick ourselves up off the ground from laughing and thoroughly enjoying the ball of confident and comedic energy that is Jimmy Dalton?  An amazing talent who is most certainly making his mark in film, TV, and stage (you know, those places he doesn’t want ANY of you to show up! Sorry, guys and gals whose dreams just got crushed. LOL) and that we will be hearing from for many years to come!  Interested in learning more about Jimmy and/or keeping up with his goings on (oh, and “Dime Crimes #34”)?  Check out the following ways:

Jimmy’s Twitter account: here

Jimmy’s aforementioned website: here

Jimmy’s Facebook Page: here

The Rebel, rebel Productions Facebook Page: here

The film’s Website: here

Our usual heartfelt “Thank you!!” to Jimmy Dalton for the opportunity to do this interview!  Until next time, thank you everyone for reading and helping to support independent cinema!  Catch you later!