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Initial Publication Date: May 3, 2007 |
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It
was the early 1980s. Professor Toru Tanaka had been a major
internationally known professional wrestler for over a dozen years.
He had won virtually every major title that existed. He had lived
his dreams and it had been a wonderful life. The injuries had taken
their toll, however, and it was time for him to make a transition.
He asked me if I could help him break into the acting business. He
wanted to do movies and television roles. I had reduced my personal
wrestling schedule substantially and had founded a Hollywood-based
production company and “marketing machine” for professionals in the
entertainment industry. I was happy to be able to help my longtime
friend and fellow wrestler Toru Tanaka. I created a résumé and
marketing materials for him. My organization, APS, had marketing
minimums for each of our clients. One of those was to deliver the
actor’s photo and resume to at least fifty active film and
television producers per week. We did that for Tanaka, with
surprisingly good results. Although he had never acted before,
producers loved his look and they knew we would not submit someone
to them who would not be a credit to their project.
In last week’s column, I described Tanaka’s first audition. He
asked me to join him for the meeting. It was very interesting to
have two living legends in the room – wrestling legend Toru Tanaka
and film-producer legend Frank Capra, Jr. When director Steve
Carver asked whether I was Tanaka’s manager, Tanaka replied, “No,
he’s my bodyguard.” The director didn’t know it was a joke until
Tanaka and I could no longer hold back our laughter. Here was a
tenth-degree martial arts grand master, weighing a very solid 325
pounds, telling the producer, director, and casting directors that
I, weighing a hundred pounds less, was Tanaka’s bodyguard. It was
an event to remember. If you missed last week’s column you can read
it, along with over sixty others, on our HollywoodSuccess.com
website. Just click the “Wrestling Revue” link.
They liked Tanaka and were considering him for a fairly large role
in the upcoming feature film “An Eye for an Eye.” The film would
star Chuck Norris. Several additional "name"
actors were already confirmed for the project. I talked with the
producer and director privately. “We like Tanaka,” they said, “but
the part was written for someone bigger. Tanaka is big, but we were
looking for someone about a foot taller.” “Well, we can certainly
put Tanaka on platform-type shoes, and that would give you an extra
five or six inches,” I suggested. There was no verbal response. I
hesitated for a moment before I continued, “Are you telling me that
you want Andre the Giant? Andre is about seven foot five and weighs
over five hundred pounds.” “Yes, that’s more what I think we had in
mind – although we are still interested in Toru,” director Steve
Carver said. Reading between the lines, I think Steve was actually
saying, “We’d like to go with a really big guy like Andre but I
don’t want Tanaka to be mad at us if we don’t choose him for the
role.”
“I
know Andre very well. He is a friend of mine also,” I said. “If
you want Andre, I can get him. But,” I cautioned, “he is going to
be very expensive and you’re going to have to work around his
schedule.” They asked, “How expensive?” “Well,” I responded, “I’ll
have to check with him and with the wrestling promotion that
currently has him under contract, but suffice it to say that he will
definitely take a chunk out of your budget.” The producer and the
director looked at each other. The director asked if I could get
back to them with actual figures. “I will do that if you really
want me to pursue Andre for you, but I have to ask you a question
first.” With a serious look of concern on my face, I looked them
directly in the eyes and asked, “Is this meant to be a comedy?” I
paused before I continued, “Or, is it supposed to be serious?” I
knew the answer and neither of them said anything. “Because, if
it’s supposed to be serious, you really need Tanaka. You’ll save
well over fifty thousand dollars, the film will be believable, and
you’ll be much happier.” I paused again, looked at them both, and
said, “So, would you like the appropriate bird-in-the-hand or would
you like for me to get Andre for you? I will personally make a lot
more money if you hire Andre, but I’d rather see you produce a
better film.” Director Steve Carver looked at producer Frank Capra,
then turned to me and asked, “Do you know a shoemaker who could
create those built-up shoes for Professor Tanaka before we begin
shooting?” “Absolutely,” I said, smiling slightly. “And, what’s
Tanaka going to cost us?” they asked. “Keep in mind,” I began,
“that I just saved you fifty grand and made your film more
successful before it started. So, we’ll probably go with seven
times what you had originally budgeted for the role … as long as we
can get Tanaka first position, separate card, co-star billing.” We
negotiated and signed the contracts the next day.
I felt good. I provided what I thought to be the perfect nemesis
for Chuck Norris in the film. I was successful in obtaining
Tanaka’s first movie role ever, and I secured the highly
sought-after first position co-star billing for him. Additionally,
he was to be compensated very well. When I told Tanaka what I was
able to negotiate for him, I smiled and pushed my chest out with my
thumbs facing forward as though I were pushing suspenders forward in
the “look at me – I’m so good” pose. While I was striking my pose,
Tanaka stood up from his chair and quickly came toward me. My
eyebrows elevated for a moment, not knowing exactly what was coming
until I felt slight pressure around my arms and chest, and my feet
left the floor. Tanaka was hugging me. It was a special moment
that I will not forget.
The
producers called for a “table read.” That meant that all of the
stars of the movie would sit around a large conference table with
scripts in their hands and read their parts. Tanaka had no
dialogue; only the occasional grunt. But those grunts, his actions
and reactions were important, so they wanted Tanaka there. Once
again, Tanaka wanted me there for moral support. Sitting at that
conference table were some very powerful people. In addition to the
aforementioned producer and director, there were Christopher Lee,
Richard Roundtree, Chuck Norris, Toru Tanaka, Matt Clark, Mako,
Rosalind Chao, and me. The reading began. I felt honored that I
was invited to be a part of this momentous occasion. I had been
given a copy of the script, and I was following along. I was
impressed with the talent I was witnessing in a “cold reading.”
Steve Carver was directing and would occasionally give suggestions
and additional input to some of the actors. At one point, Tanaka
saw that it was his turn to deliver his line. It was “Auuugh.”
Tanaka smiled and said, “Ah.” “Tanaka,” Steve Carver advised,
“You’re angry here. Could you say it again?” Tanaka said “Ah” a
little louder. Steve looked at me, unsure, as though he wanted my
input. I looked at Tanaka and said in a stern voice, “Tanaka: Tojo
Yamamoto Chung!” A look of hatred overtook Tanaka’s face. In a
bellowing voice that shook the room, Tanaka roared, “AUUUUUGH!”
Steve Carver was shocked and speechless for a moment before he said,
almost in a whisper, “Perfect! Thank you.”
Steve Carver approached me after the reading. “You have an amazing
rapport with Tanaka,” he said. I could see that he was a little
concerned about directing the 325-pound “machine.” “Is there anyway
you could be on location with us next week when we shoot Tanaka’s
first scene? I don’t know if there’s anything in the budget, but
you could ask Frank.” I smiled. “I’ll be there,” I said. “I’m a
pilot, and I need an excuse to fly sometimes. Just get me a ride
from the airport to the location.” He agreed. The next week, on
location at a BART station in San Francisco, I watched Carver direct
Tanaka. Tanaka took direction wonderfully. I walked up to the
director. “I told you he’d be easy to work with,” I said smiling.
“Obviously you don’t need my help, so I’m going to fly back to Van
Nuys before the fog gets too thick.” He thanked me … several
times. Until next week, keep those e-mails coming!
