I came to acting a little later than most. Although, I had several other careers, but always felt sort of like an artist without an art. I was a sommelier, a realtor, an artist manager…nothing was fulfilling. My only form of expression at that time was my love for Jiu Jitsu, but it wasn’t something I could make a living doing. I went through a little period of being lost in my mid 30’s. I ejected out of a successful real estate career with no real plan on where to go.
But, I had promised myself if I ever felt that thing I felt the first time I walked into a Jiu Jitsu class, that feeling like I totally get this art form and I can speak this language and I’m feeling sort of a flow state when I’m engaged with this….I promised myself if I ever felt that again and it was something I could have a career doing, I would commit fully to that thing. In hindsight I think I put going to an acting class off for a long time when I moved to LA 8 years ago because deep down I knew it was the thing and I was scared of it.
Because within the first moments of auditing RAW Acting Studio in Venice Beach I knew not only that I had been training for this my entire life, but that I was totally screwed and had to keep my promise with myself to charge after it 100%. And that it wasn’t going to be easy.
The Official Trailer for Murder and Cocktails
indieactivity: What acting technique do you use?
Jason Bernardo (JB): I think acting is a lot like martial arts in the sense that the history of the craft has certain views/schools/philosophies pitted against others and our tribal genetics kick in and we argue which works better. And I think as in martial arts, there’s no one technique or style that will work all the time or that is superior in all situations. It depends on the content or environment and your own personal talents and attributes.
All to say that I try and learn every technique or tool known and experiment and get lots of reps with the things that work, which will change all the time. With Nick in Murder and Cocktails, Jessica, Ron, Henry and I all worked together to bring a rich history and lots of backstory. So much of it is really just about this relationship and the love between him and Lana. So Jessica was great to work with building all of that and using our own personalization for that. The rest of it was really just to get some of the quirkiness going through physicalization. Just finding a walk that carried Nick’s vibe so to speak. The rest is all there because it’s great writing.
How did you connect to the project? Audition? If you did, would you still have got the part?
Jason Bernardo (JB): Believe it or not they found me on IMDB. They had auditioned a lot of Nick’s and had some great options, but still there was apprehension to move forward. They snooped around IMDB and saw my reel and called my manager and asked for a tape. I put in two scenes and shortly after was asked to drive down to San Diego for a chemistry read with Jessica. We met Ron and Henry and rehearsed a bit and luckily they saw something in us that hit the mark.
How’d you prepare for this role? The cast, physicality, terrain, climate, and project demands?
Jason Bernardo (JB): I didn’t have a ton of time to prepare considering my character was in the majority of the script and had a lot of dialogue. I read the script a lot. Ran the scenes different ways on my own…out loud, in my head, etc. I got with my coach Guy Camilleri right away. We dug into the character work. Jessica and I had a few rehearsals. We did a few Zooms with Henry and Ron. We had a really good flow going with Henry on set and the nuances were really coming together as we were shooting. I’d say one of the hardest parts was just keeping up with the amount of dialogue and having to be constantly preparing for what’s next while being present in what’s being shot now.
As one of the cast on the project, how did this ‘choice’ work for you?
Jason Bernardo (JB): I learned so much and grew so much as an actor choosing this project. I mean mastering any craft takes lots and lots of reps. In our craft, it’s not always as easy as it is for say, a musician that can just pick up the guitar and just practice. There are certainly things we can do on our own, and classes are great…labs of fellow actors rehearsing, etc. But the technical aspects of being on set all day everyday for a month and being in the real work flow of it all is so valuable and impossible to get anywhere else.
How do you create the character from a script into a person?
Jason Bernardo (JB): I think it’s just about staying grounded in the relationships and using your imagination to see the world through the eyes of someone that has lived the life of this character.
What part of the story challenged you when you read it? What drove you to get on the project?
Jason Bernardo (JB): I was really drawn to Nick because he’s a dreamer and he doesn’t take himself too seriously. And I think because of those things, he manages to stumble into the honey pot. It’s like The Tao of Poo. He makes his luck through his optimism. And then love. He really loves Lana and is devoted to her and it’s quite sweet.
Explain one creative choice you took on the set of this production?
Jason Bernardo (JB): There was a cool comment from Henry when we were shooting the climactic party scene at the end of the film. I was most nervous about this scene because all these amazing actors had come in over the weeks before and did their scenes and everyone just killed it. So when they all came back and filled the room for my big finale monologue, I really wanted to be on it and shine. We got rolling and I was just playing this thing in a different way than Henry had in his mind, but really liked it and said “keep going”. That always a good feeling to bring your take and have the director dig it.
Give an example of a direction you received from the director during the production?
Jason Bernardo (JB): Henry was great about reminding me of the stakes. Nick has so much going on in this film…a lot to carry mentally…and he’s such a cool cucumber and doesn’t show it on the outside, so it was great that he kept bringing me back to what’s underneath the surface.
How did you collaborate with your cast members from scene to scene?
Jason Bernardo (JB): It was so cool for Jessica and I because they cast such talented actors in the roles of all these eccentric characters. I mean everyday there’s a new lineup of collaborators coming in. We had a great process with the team that was there everyday and we got to sort of invite these wonderful people in to play with us. It’s great to see how everyone’s process is so different and support them where you can and also know where you don’t want to go and have that boundary. I’m someone who doesn’t like to over-rehearse the literal scene too much. I like to rehearse but doing speed throughs and gibberish and improv more than trying to “do the scene”. It just starts to crystallize and feel less spontaneous to me. But I see it really works for some, so it’s just about finding a way to support what they need without messing up my process.
Describe your responsibility; were you scared? Or did it fire you up? What scenes where difficult?
Jason Bernardo (JB): I was super fired up and excited to co-lead this film with Jessica. Of course I was scared too. I knew it was going to be a grind as it had a small budget and we were on most every page of the script with dialogue. It was long days in small space and we didn’t have a lot of the luxuries you get on bigger sets.
I had my most embarrassing experience ever on set, which ended up being an insanely valuable lesson. We were in the later part of the first week of shooting and we had been doing really long days and I hadn’t been getting too many meals in. We were so excited to shoot this fun scene in the evening and we got into it and I just completely dried up on my lines to the extent that we had to take a break. Everyone was really frustrated. I was so confused. And, I knew this scene. I could see some people were sort of judging me for not knowing my lines and it really felt horrible because I knew this scene better than any in the script.
Henry was really patient with me and we ran through some lines while I took a few breaths…then I walked over to crafty and had a few bites of salami and cheese and bam…the lights came back on. I scarfed down some cold cuts and we went and nailed the scene right away. My brain just needed some calories.
What did you take away from the film production?
Jason Bernardo (JB): I took away so much, but the thing that really sticks is…know your instrument and know what you need to be at peak performance. Especially if you’re a lead and have lots and lots of scenes and dialogue and standing in to set the camera with little down time. For me, my brain won’t work if I’m pushing myself and not eating enough. Coffee and a cigarette is no substitute for lunch. Knowing that regardless of what kind of breaks we get or food on set or anything like that…at the end of the day…it is my responsibility to make sure I’m giving myself what I need to be sharp.
What do you like most about the director, and his /her collaboration with his/her team?
Jason Bernardo (JB): The entire team was outstanding. Henry (director) was very clear that he was not going to be “results driven” and chase anything, but have an environment to explore and be free and be truthful. Which is extremely refreshing. Having Ron (writer/producer) right there on set all the time was great too, since this was his baby. We were able to suggest small changes to dialogue and make sure it all seemed logical and he was very professional and open, while still having his own strong point of view. We weren’t afraid to ask and he wasn’t afraid to say “no”…so that was great. Jon De Fazio (DP) was so easy to work with and added to a fun atmosphere. And everyone else too…sound, make up, wardrobe…we were all on this small set together for a month and really got to know each other well and everyone added something magical to the process.
What is next for you?
Jason Bernardo (JB): I did two leads in features last year. Murder and Cocktails and another that premieres this Spring (The Long Road to Tao). This year I’d love to do more TV work…the holy grail would be to nail a series-reg. I love horses and cowboy stuff, so a Western would be amazing. And I’d love to do another lead in a feature of course, but also it would be great to get some supporting roles working on bigger budget productions with seasoned actors. I think that’s gonna be a great place to observe and learn.
What advice do you give actors regarding what you learned on the project?
Jason Bernardo (JB): You never know where a great opportunity could come from…yes having agents and managers that get you and support your vision for where you’re going and help build relationships, etc. But also, make sure your IMDB or website or whatever looks good and has your current reel, headshots, etc. I never would have thought I’d book a lead in a feature film from my IMDB page, but the producers told me “you’d be surprised how many actors’ IMDB photos and reels are out of date and not good…”
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