Noted film and stage director, author, and world-renowned acting coach, Michelle Danner has taught the Golden Box Acting workshops in South America, Europe, Canada, Dubai, New York, and Australia. Founding Director of the Creative Center for the Arts and the Los Angeles Acting Conservatory, Michelle Danner is well-established as a film director and acting coach/mentor. She has worked as an acting coach privately and on-set with Penelope Cruz, Seth MacFarlane, Salma Hayek, Henry Cavill, Zooey Deschanel, Gerard Butler, Chris Rock, Chris Martin, Michael Peña, Michelle Rodriguez, Kate Del Castillo, and many others.
Michelle directed the drama thriller Bad Impulse, produced the drama Hello Herman, and the crime thriller The Runner. Most recently, she directed the courtroom drama Miranda’s Victim, which tells the true story of Trish Weir (played by Abigail Breslin) who was kidnapped and brutally raped by Ernesto Miranda (played by Sebastian Quinn). The subsequent trials went all the way to the Supreme Court and led to the creation of Miranda Rights.
A dedicated mom of two (one is an aspiring filmmaker), Danner still has her “day job” – overseeing the faculty of the Los Angeles Acting Conservatory, and conducting her weekly acting class. A longtime student of legendary acting teachers like Stella Adler and Uta Hagen, Danner’s eclectic approach (which she calls “The Golden ToolBox”) allows actors the freedom to employ a wide variety of techniques.
Raised in a show business family, her father, Alexander Valdez, opened the very first William Morris Agency in Paris, France. This instilled a strong passion and work ethic that has stayed with her throughout her life.
Danner also continues to run the boutique Cinema at the Edge Film Festival and is currently preparing to direct a new one-person play, Bonnie Culver’s Norris, starring Anne Archer, based on the memoirs of the widow of writer Norman Mailer.
In the quirky food dramedy, The Italians, which Danner directed, a typical Italian-American family meets their son’s new girlfriend. The series stars Abigail Breslin and Mathew Daddario.
So you appear in this story as Angelina. How did you create her? Was she a person you know or imagined?
Michelle Danner: Angelina reminded me a lot of my mother, my sister, and my grandmother. It was an amalgamation of my Italian family. It’s a movie that’s funny and heartwarming. And I hope it touches people and makes them want to hug their families and eat some fantastic Italian food.
What was the biggest challenge in filming/directing The Italians?
Danner: It was an extraordinary shoot. I had an incredible cast. I had one rehearsal with my cast that brought tears to my eyes. I told them all that I couldn’t have picked a better cast to do this film. I felt strongly about this part because, as you can tell by the end of the movie, that last card gives it away that she was my mother. It was an homage to my mother. That is why I very much wanted to do this film. And I couldn’t have picked a better cast to do it with. Having said that, I also had my son, who graduated from USC in Theater and Film. My sister and my best friend also helped.
How do you approach casting? What did you look for in Lily and Nico–the two central characters?
Danner: Rob Estes and I have some great creative histories together. In 1996, we did a play called The Rose Tattoo. At the time, he was on Melrose Place. It ran for about a year. We had a cast of 21 people and a goat. And we were sold out every night. We made other movies and shows together. So acting as Joe Vincenso was a no-brainer for Rob. When Lainie Kazan agreed to ply my mother, that was pretty rage. And Perrey Reeves I admired for playing Mrs. Ari in Entourage. Olivia Luccardi is a great actress whom I admired in Channel Zero. Then David DeLuise, whose show I’d always watched with my kids. And, who played my son Nico and who will be in another movie with me. I like to work with the same actors. I love the idea of a theatre company on film. Which brings me to Abigail Breslin, who was my lead actress in Miranda’s Victim.
Was that you singing Ave Maria? You have a beautiful voice. And what a great way to end the film with all those lovely heart-warming vignettes.
Danner: I sang some of that song. I conceptualized those vignettes, which were inspired by a play.
At the very end, I’m wondering what Vincenso was smiling and daydreaming about in the garden.
Danner: I wanted to show him thinking about the people in his life. Those that were no longer with him but still with him in some way. It’s been three years since his wife passed and he has not yet moved on. He basically stays true to her memory. She is with him coming into his dreams, reminding him to get eggplant from the garden. They lived a rich life with so much passion and that passion stays with you.
Can you talk about your eclectic approach using the “Golden Toolbox”?
Danner: It’s something I talk about in my Acting Conservatory. I teach actors to create a toolbox for themselves. It’s a golden box that they fill with concepts that they learn, about acting and how to break down a script to create a character. How to make choices—not only technical in terms of technique but also instinctive based on their wisdom and experience. They can also add lessons that they’ve learned throughout their careers. They can even add life lessons, which can make you a better actor. So it’s a combination of all of that.
What surprised you the most about directing films?
Danner: That’s a really great question. Well, I knew it was going to be hard, so that was no surprise. And even though you’re surrounded by people, I knew that it was going to be lonely to a certain extent because the decisions depend on you. I think the hardest part is the stamina you need. You have to wake up early and you’re the last one to leave. You’re up on your feet all the time. You have to remain patient even though you’re irritated sometimes. It’s the physical toll that it inevitably takes on your body.
Any advice for new directors coming out of school?
Danner: For me, it’s all in the preparation. You have to know how to prepare. You need to do your research and understand the world your story is taking place in. For instance with Miranda’s Victim, I watched countless courtroom dramas. For The Italians, I watched a lot of family films like Moonstruck, and My Big Fat Greek Wedding. I went to Italy and watched a lot of romantic comedies. I’m also going to direct another romantic comedy and a sci-fi thriller.
What were you like in high school? The girl most likely to…?
Danner: (laughs) Put on a play. I revolutionized the school because I adapted different plays. And I cast everybody. I was always putting something together or directing something or acting in something.
