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| caption = | caption =
| birth_name = Sandra Diane Seacat | birth_name = Sandra Diane Seacat
| birth_date =
| birth_date = {{birth date and age|1936|10|2}} <ref name=TWSSBD>{{cite book|quote=|first=John |last=Willis |title=|year=1980 |publisher=Crown Publishing, Inc. |location=New York |language= |isbn= 0-517-53997-7 |page=252 |chapter=}}</ref><ref>. Familysearch.org. Document dated May 2, 1940 + 3-year-old Sandra + October 2 birthday (as per ''Theatre World'' ref) = 1936 YoB</ref>
| birth_place = ], U.S. | birth_place = Yates Center, Kansas, U.S.
| occupation = Acting teacher, actor, director | occupation = Acting teacher, actor, director
| years_active = 1960s–present
| other names = credited as '''Sandra Kaufman''', her then married name, prior to 1969
| spouse = Thurn Hoffman<br />Michael Ebert (divorced)
| years_active = 1962–present
| spouse = Kaufman<br /> (? - 1968 or 1969)<br />Michael Ebert<br />(? - Jan 26, 1978; divorced)<ref> FamilySearch.org.</ref><ref name=CDI1978> FamilySearch.org.</ref><br />Thurn Hoffman<br />(? - present)
| partner = | partner =
| children = Greta B. Kaufman (aka Greta Seacat)
| parents = | parents =
}} }}


'''Sandra Diane Seacat''' (also known as Sondra and Sandra Kaufman) (born 1936 or 1937) is an American actor, director and acting coach best known for teaching method-style acting. She was the first of three daughters born to Russell Henry and Lois Marion Seacat in ].<ref>. Familysearch.org.</ref><ref name=LMSObit>. HutchNews.com. December 23, 2007.</ref>
''''Sandra Diane Seacat''' (born October 2, 1936), known professionally as '''Sandra Kaufman''' {{#tag:ref|In addition, researchers, be warned: Seacat's first name has occasionally been misspelled S- '''''o''''' -n-d-r-a (and, no doubt, will continue to do so), both in print and online, simply because that is, indeed, how her name is pronounced, despite the conventional spelling. Not surprisingly, then, though not nearly so frequently, it is also misspelled S-'''''a-u'''''-n-d-r-a.|group=lower-alpha}} prior to 1969, is an American actor, director and, most notably, an acting teacher and coach. Widely regarded as one of ]'s primary disciples (and thus one of ]'s prime repositories),<ref name=JLVF>. ''Vanity Fair''. October 1988.</ref><ref name=GUL>{{cite book|quote=I only wish Lee could have lived to see me portray a schizohprenic in ''Nobody's Child''. I never could have gotten near playing that kind of part without Lee's exercises, and the subsequent work I did and continue to do with his primary disciple, the brilliant Sandra Seacat.|first=Marlo |last=Thomas|url=http://books.google.com/books?id=pbVDuMYsLJQC&pg=PT221&lpg=PT221&dq=Sandra+Seacat+intitle:Growing+intitle:Up+intitle:Laughing&source=bl&ots=KXERvA6NU4&sig=kOBrig5G71TamKsUzC97w5RW4PM&hl=en&sa=X&ei=p6oqUKHIN6Lx0gG7roDwAg&ved=0CDYQ6AEwAA#v=onepage&q=Sandra%20Seacat%20intitle%3AGrowing%20intitle%3AUp%20intitle%3ALaughing&f=false|title=Growing Up Laughing: My Story and the Story of Funny|year=2010 |publisher=Hyperion |location=New York |language= |isbn= 0-13-367870-9 |page=210 |chapter=Obsession}}</ref><ref name=ARL:BM>Leopold, Todd: . CNN. February 13, 2012.</ref> as well as ] of the 1980s and beyond,<ref name=RSHIP>Cohn, Al: "People: The Rising Star Has an Identity Problem," ''Newsday'', June 29, 1984. "A former Actors Studio student ('I sat there a year, waiting for the teacup to develop in my hand'), Rourke relied on the training of an acting coach, Sandra Seacat, and 'that's when everything started to click.'"</ref> <ref name=EMGQC>Smith, Liz: "Elaine May Gathers Quality Cast Together for Her Next Movie". ''The Orange County Register''. December 1, 1988. "The director was an interesting choice: Sandra Seacat, acting coach and guru to many stars. (Sandra is credited with helping Jessica Lange to her Oscar and Marlo Thomas to her Emmy.)"</ref><ref>Chutkow, Paul: "I Dream of Gina". ''Cigar Aficionado'', September/October 1998. </ref> she has, in recent years, come to be equally well, if not better, known for her groundbreaking work in the early 1980s, involving the application of ]'s theories to acting technique and pedagogy, introducing the practice, now widespread, which would come to be known as dream work, or sometimes simply "The Way" (much as Strasberg's ]-based system eventually came to be known as "The Method").<ref name=TROTD>Kershaw, Sarah: . ''The New York Times''. May 6, 2009. (3rd paragraph from the end, and the following page, 1st paragraph.)</ref>


==Career== ==Career==


Seacat began acting in theater in the early 1960s and was described with a fellow actor by the '']'' after a summer-stock production of ] play ''The Waltz of the Dogs'' as "destined to bring many future stages alive."<ref>Tallmer, Jerry . ''The Village Voice''. August 2, 1962.</ref>
===Acting (The 1960s)===
Seacat was the first of three daughters born to Russell Henry and Lois Marion Seacat in ].<ref>. Familysearch.org.</ref><ref name=LMSObit>. HutchNews.com. December 23, 2007.</ref><ref name=TWSSBD/> A graduate of ],<ref name=TWSSBD/> Seacat eventually made her way to New York and, shortly thereafter, the ], where she studied ] under the studio's director, ].<ref name=JLVF/>


She moved to New York and attended the ], where she studied ] under the studio's director, ].<ref name=JLVF>. ''Vanity Fair''. October 1988.</ref>
During the 1960s, Seacat began to get acting jobs, initially appearing under her married name, Sandra Kaufman. In the summer of 1962, she made her New York stage debut, earning plaudits from the Village Voice for her performance in the American premiere of ]'s ''Waltz of the Dogs'', an ] production directed by noted acting teacher - and Actors Studio alumnus - ].<ref name=T:TWD>Tallmer, Jerry: . ''The Village Voice''. August 2, 1962.</ref><ref>{{cite book|quote=|first=Ronald |last=Rand |first2=Luigi |last2=Scorcia|url=http://www.michaelhowardstudios.com/Michael_Howard_Studios/History_Press_files/MHRonRandInterview.pdf|title=Acting Teachers of America: A Vital Tradition|year=2007 |publisher=Allworth Press |location=New York |language= |isbn=1-58115-473-9 |page=53 |chapter=Part I: Acting Teachers}}</ref>


By the early 1970s, she led classes at the ], ]'s Leonard Davis Center for the Performing Arts, and as a member of the Actors Studio, as well as teaching privately. ]<ref>. Winthrop Rockefeller Institute. U. of Arkansas System.</ref> and ], who told '']'' that Seacat was his mentor for six years,<ref>Allen, Jennifer: . ''New York Magazine''. November 14, 1983.</ref> were among her clients during that period.
While the next two years would be taken up with the birth and early rearing of her daughter Greta, she returned to action in 1964, making her ] debut <ref name=TWSSBD/> in the sixth and final production of the short-lived Actors Studio Theatre, albeit in a minor role. The first and only installment directed by Strasberg, ]'s translation of ]'s '']'' starred ], ], and ] <ref>{{cite book|quote=|first=David |last=Garfield|title=A Player's Place: The Story of the Actors Studio|year=1980|publisher=MacMillan Publishing Co., Inc.|location=New York|isbn=0-02-542650-8|page=233|chapter=Venture Into Production: The Actors Studio Theatre}}</ref><ref name=IBDB3S></ref> (though neither Knight nor Seacat would appear in the version eventually preserved on videotape).<ref></ref>


Seacat eventually worked in both New York and Los Angeles,<ref>. ''The New York Times''. May 6, 2009.</ref> coaching actors like ] as Lange prepared for her role in the 1982 film '']''.<ref name=JLVF/><ref></ref><ref name=CGITB>Associated Press: . ''The Nashua Telegraph''. March 29, 1983.</ref> It was at about that same time, according to '']'', that Seacat helped pioneer the practice of dream work, where actors study and play characters in their dreams. She also taught the method to her daughter, Greta Seacat, who is an acting coach. Seacat clients ] and ] have credited Seacat's use of the dream method with improving their craft.<ref>Goldstein, Patrick: . ''The Los Angeles Times''. November 10, 1986.</ref><ref>. '']'', September/October 1998.</ref>
For the remainder of the decade, she continued to hone her craft at the Studio, working frequently with ] and Robert Viharo, two artists whose ties to Seacat would survive each of their eventual west coast migrations,<ref> posted February 8, 2009 by Will Viharo</ref><ref name=WRIFFF></ref> as well as two of her future co-stars, ] <ref name=JHPSND>Kelly, John: , ''The New Orleans Times-Picayune'', April 7, 2010</ref> and ].<ref name=NYMOT>Gilbert, Ruth: ''New York Magazine'', October 28, 1974</ref><ref name=ASKAASAC> at the ]'s </ref> During that time, Seacat (aka Kaufman) was fast becoming one of Strasberg's prize pupils, and one of the Method's most articulate exponents.<ref name=GUL/> Thus, at just about the time her first marriage was coming to an end, a new career path beckoned, when, in 1969, the ] was born.


Acting teacher ] in 2010 told '']'' that he learned compassion for his students from Seacat.<ref>. ''Backstage''. June 23, 2010.</ref> CNN's Todd Leopold, in a story about acting coach Elizabeth Kemp, coupled Seacat with ] as "legendary acting coaches."<ref>. CNN. February 13, 2012.</ref>
By the early 1970s, she was leading classes, not only at the Institute, but also at the ]'s Leonard Davis Center for the Performing Arts, as well as teaching privately.<ref name=BBAMR>Allen, Jennifer: , ''New York Magazine'', November 14, 1983</ref> By 1980, Seacat would also teach at ]'s The Real Stage.<ref>"Survey of Continuing Education," ''The New York Times'', September 7, 1980, p. 20, Education Section</ref>


Seacat is a faculty member of the ] Institute Film Forum at the ].<ref>. KTHV. March 8, 2012.</ref>
In the meantime, though, both her acting career (which, from this point forward, along with all facets of her professional life, would be conducted under her maiden name, Sandra Seacat), and her matrimonial status - this time with fellow actor Michael Ebert - were showing renewed signs of life, as the couple appeared together in a 1969 production of ]'s '']''.<ref name=ETJ>Giannetti, Louis D.: ''Educational Theatre Journal''; Vol. 21, No. 1; March, 1969; pp. 110-</ref> This would eventually be followed by their joint appearance in the New Orleans Repertory Theater's June 1970 revival of ]' '']'', directed by ], featuring Ebert as Harold 'Mitch' Mitchell and E. Katherine Kerr as Blanche DuBois, as well as Seacat and Ben Piazza, respectively, as Stella and Stanley Kowalski.<ref name=JHPSND/>


She has commented over the years about actors she has trained, including ], who thanked Seacat when she accepted a best actress award at the ] in January 2012.<ref>. Golden Globes 2012. CelebrityNetworth.com.</ref><ref>. ''The Baltimore Sun''. August 23, 2004.</ref>
===Teaching===
Returning to New York, Seacat began to build her teaching practice. Among her early students were ],<ref name=WRIFFF/> then preparing for his film debut in ]'s '']'', and later ], whose own screen debut was still several years away. Rourke would study with Seacat for six years in New York - both at the Strasberg Institute and at CCNY, as well as privately - before departing for the west coast in 1978, and then, only at his mentor's insistence.<ref name=BBAMR/>


Other actors who have studied under Seacat include ],<ref>. ''Backstage''. June 15, 2009.</ref> ],<ref>{{cite book|quote=|first=Marlo|last= Thomas |url=http://books.google.com/books?id=pbVDuMYsLJQC&pg=PT221&lpg=PT221&dq=Sandra+Seacat+intitle:Growing+intitle:Up+intitle:Laughing&source=bl&ots=KXERvA6NU4&sig=kOBrig5G71TamKsUzC97w5RW4PM&hl=en&sa=X&ei=p6oqUKHIN6Lx0gG7roDwAg&ved=0CDYQ6AEwAA#v=onepage&q=Sandra%20Seacat%20intitle%3AGrowing%20intitle%3AUp%20intitle%3ALaughing&f=false|title=Growing Up Laughing: My Story and the Story of Funny|year=2010|publisher=Hyperion|location=New York|isbn=0-13-367870-9|page=210|chapter=Obsession}}</ref> ],<ref>Smith, Gavin: . ''Film Comment''. September/October 1993. Vol. 29 Issue 5, p. 53. (EBSCO Research)</ref> ], ],<ref>Kolson, Ann: . ''The Pittsburgh Press''. December 22, 1985.</ref><ref>. ''Chicago Tribune''. November 28, 1985.</ref> ],<ref name=CGITB /><ref>Wilkins, William: . ''The Oxnard Press-Courier''. March 27, 1983.</ref><ref>Preston, Marilynn: . ''The Chicago Tribune''. March 29, 1983.</ref> ],<ref>{{cite book|quote=|first=Jane Marla |last=Robbins|url=http://books.google.com/books?id=4bCpBRYNSr0C&pg=PA57&lpg=PA57&dq=%22Treat+Williams%22+%22Sandra+Seacat%22&source=bl&ots=JbPe49DX-s&sig=Qwi9bTREnFVJP09XAReA-vrOzK8&hl=en&sa=X&ei=F88YUNKwHoSP6gGymoCoDw&ved=0CFIQ6AEwAw#v=onepage&q=%22Treat%20Williams%22%20%22Sandra%20Seacat%22&f=false|title=Acting Techniques for Everyday Life: Look and Feel Self-Confident in Difficult Real-Life Situations|year=2002|publisher=Marlowe & Company|location=New York|isbn=1-56924-554-1|page=57|chapter=Relaxation}}</ref> ],<ref>. Australia:''Urban Cinefile''. November 13, 2003.</ref> ],<ref>{{cite book|quote=|first=James |last=Lipton|url=http://books.google.com/books?id=f-63agjguvgC&pg=PT666&lpg=PT666&dq=%22Sandra+Seacat%22&source=bl&ots=8_l9ma3tCw&sig=DQGUPd-ZNv93zSVm_C8MJYmiwsg&hl=en&sa=X&ei=LG4YUIGLMKTk6QHKxICQBw&ved=0CFEQ6AEwBQ#v=onepage&q&f=false|title=Inside Inside|year=2007|publisher=Dutton|location=New York|isbn=0-525-95035-4|page=}}</ref> ],<ref>Reuters: . ''The Windsor Star''. December 18, 1985.</ref><ref>Kriegsman, Alan M.: . ''The Washington Post''. December 6, 1985. (paywall).</ref> ],<ref>{{cite book|quote=|first=Peggy |last=Lipton|first2= David and Coco|last=Dalton|url=http://books.google.com/books?id=1DWei3xOAhYC&pg=RA1-PA40&lpg=RA1-PA40&dq=My+agent+sent+me+out+Seacat&source=bl&ots=MEmiQ_O9Sv&sig=mRqC-6Ii1g5T2E4OkdxtoOyh-H8&hl=en&sa=X&ei=A5cYUNTKGs726gH4kIH4Cg&ved=0CDMQ6AEwAA#v=onepage&q&f=false|title=Breathing Out|year=2005|publisher=St. Martin's Press|location=New York|isbn=0-312-32413-8|pages=240–242 |chapter=Ch. 67. Gurumayi}}</ref> and ].<ref>. ''USA Today''. August 15, 1994.</ref>
Rourke has repeatedly cited his time with Seacat as the turning point in his career. "That's when everything started to click," he told '']'' in 1984, making a point, as he had in '']'' the year before, to contrast this with his disappointing Actors Studio stint ("I sat there a year, waiting for the teacup to develop in my hand"),<ref name=RSHIP/> saying of the Studio's director: "All I saw Lee do was tear people down."<ref name=BBAMR/> By contrast, speaking with the '']'' in 1984, Rourke credited Seacat with "channeling all it was that was messing me up into something creative and challenging."<ref name=MRSO>Taylor, Clarke: . ''The Los Angeles Times''. July 24, 1984. pp. F1, F8.</ref>

Moreover, as Rourke himself has recounted on numerous occasions <ref>Allen, Jennifer: "Bad Boy: Actor Mickey Rourke is a hard case with a heart", ''New York Magazine'', November 14, 1983. .</ref><ref name=JSMRint>Schnabel, Julian: . '']''. November 2005 (scroll about a third of the way down)</ref> (notwithstanding his subsequent disappointment with Strasberg and the Studio), it was Seacat's coaching, and, in particular, her simple yet novel suggestion, which allowed Rourke to get into the Actors Studio in the first place - that being, that in order to bring any conviction to the character he was to portray in his Actors Studio audition scene, he needed ''immediately'' to find his biological father, whom he had not seen in almost 20 years. In short, Rourke found his father, auditioned the following day, and delivered what Actors Studio co-founder ] - as recounted by ] during Rourke's 2009 '']'' appearance - "famously called the best audition he'd seen in 30 years."<ref>. Broadcast August 31, 2009.</ref> During the same program, after describing his first ], executed under Seacat's guidance more than thirty years before, the 56-year-old Rourke was asked by Lipton whether he still used what Seacat had taught him. "Very much," he replied.<ref name=IAS:MRAM>. Broadcast August 31, 2009.</ref>

Speaking with '']'' in 1993, another of Seacat's seventies alumni, ], had his own anecdote regarding a basic but invaluable technique which had stood him in good stead for nearly two decades: "I had a wonderful acting teacher, Sandra Seacat, and one of the things she taught was she'd put a book on a chair and all you did was ask questions about that book: is it a good book or a lousy book? Who made the binding? Why don't I want to read it? Why would I want to read it? How long has it been sitting there? It's a very simple exercise but I do that all the time, constantly question myself and my surroundings, not in a negative way but in a positive way that leads toward my character."<ref>Smith, Gavin: . ''Film Comment''. September/October 1993. Vol. 29 Issue 5, p. 53. (EBSCO Research)</ref>

===Acting (The 1970s)===
During the 1970s, Seacat continued to juggle her teaching and acting careers, portraying the female leads in ], as well as minor roles in three Broadway and Off Broadway shows.<ref></ref><ref></ref>

Of the former group, two productions in particular stand out. First was the 1973 revival of ]'s ''Natural Affection'', which marked the debut of U.R.G.E.N.T. (Universal Relevance Group Enterprise in a National Theatre), a new theater company founded by producer Ronald Muchnick and actor ] (who co-starred with Seacat). While this revival does not appear to have won Inge or his play any new adherents, both the staging ("skillfully directed by ]") and performances ("acting on a level not customarily encountered Off-Off-Broadway") received high marks from ''Newsday'': "Seacat conveys admirably a woman made vulnerable by her fading beauty."<ref>Wallach, Allan: ''Newsday'' June 14, 1973</ref>

''New York Times'' critic ] noted that the new company's home, situated "on the 15th floor at 151 West 46th Street, is a snug, three-sided arena with better acoustics than some big Broadway houses nearby. For that matter, the acting is so good it is hardly notable as such... The best are Sandra Seacat as the heroine, Nathan George as her husband, and ] as a neighbor."<ref name=INAMS>Howard Thompson: . ''The New York Times''. June 13, 1973.</ref> "Seacat," added the ''Village Voice'', "exhibits a fine range of emotions from nervous joy to fits of despair and is always under control. She is well supported by Nathan George as her lover and ] as the returning son."<ref>Sainer, Arthur: . ''The Village Voice''. June 21, 1973.</ref>

The upcoming Actors Studio production of ]'s '']'' (to be staged in November and December of 1974 and reprised in January 1975 at the ]) sounded promising, with "supervising director" ] stating: "At last, ''Old Times'' makes sense."<ref>Drake, Sylvie: "Stage News: Reprieve for 'Wanda June'; Additional Stage News". ''The Los Angeles Times''. December 15, 1974.</ref><ref>Drake, Sylvie: "Stage News: Hartford Bills Revival of 'All My Sons'; Additional Stage News". ''The Los Angeles Times''. January 12, 1975.</ref> In fact, the staging was largely developed by the actors themselves, with Penn only entering the process during the final two weeks, a fact not lost on the play's reviewers, as the revival quickly proved a critical disaster, lambasted both for presuming to 'explain' Pinter's intentions ("the deadly subjugation of imagination to explicit, dull events - the shackling of inspired possibilities in favor of uninspired fact"),<ref name=ANT2OT>Drake, Sylvie: "Stage Review: A New Twist on 'Old Times'". ''The Los Angeles Times''. January 20, 1975.</ref> and for a lack of focus and unity in the production and performances, right down to the cast's mismatched accents, working "against the illusion of some shared secret which is one of the play's major strengths. Hard as these actors strive for intimacy, they suggest the representatives of three different tribes accidentally met ... Here is one show that needed more than a supervisor."<ref name=OTFOHT>Sullivan, Dan: "Stage Review: 'Old Times' Fall on Hard Times". ''The Los Angeles Times'' February 7, 1985</ref> Even the stray positive mention was quickly qualified: "Sandra Seacat starts off promisingly as the passive wife with inner strength but the performance doesn't build."<ref>. ''The Ojai Valley News''. January 26, 1975</ref>

The 1976 Actors Studio-produced American premiere of ]' ''Economic Necessity'' would fare somewhat better; it starred Seacat in the role originated three years earlier in London's ] by the playwright's wife, and Seacat's Actors Studio colleague and onetime cast mate,<ref name=IBDB3S/> Shirley Knight.<ref></ref> Like the Inge revival three years before, this appears to be a case of the production, and, in particular, the performances, being more compelling than the play itself; at least that was the verdict of ''Village Voice'' theater critic Arthur Sainer: "Concerning the performances, I was most impressed by Sandra Seacat as the sometimes sympathetic, sometimes terribly cruel wife."<ref name=VVEN>Sainer, Arthur: ''The Village Voice'', April 12, 1976</ref> It would prove to be Seacat's last substantial role on either stage or screen for more than 35 years.{{#tag:ref|In the fall of 2011, Seacat co-starred in the independently produced short subject, ''Shale'', which debuted on May 5, 2012 at ]'s ], as part of the ].<ref></ref> Coming in the wake of nearly three decades' worth of coaching credits discreetly camouflaged as acting credits (and bit parts at that), it remains to be seen whether or not this performance, along with some of Seacat's most recent, still brief, but better integrated and increasingly integral characterizations in such films as ] and ] (and it was writer-director Jed Cowley's viewing of the latter film which immediately sold him on Seacat as ''Shale's'' leading lady)<ref>Jed Cowley: kickstarter.com. December 8, 2011.</ref> signal a resurrection of Seacat's long dormant acting career.|group=lower-alpha}}

Two years later (after ] in two TV specials, ]'s ] tribute to historic ],<ref>. ''The Lexington Dispatch'' January 16, 1976.</ref> and ]'s premiere presentation of ]'s ''Fame'' <ref>]: ''The Charleston News and Courier''. November 25, 1978</ref>), Seacat's stage career concluded on a decidedly anticlimactic note: a pair of minor roles, even within the context of two somewhat notable productions - one being the first work to be staged in the new ], the other, a rare directorial credit for ] - and even if the former did provide yet one last example of a performance, however peripheral, outshining the work being performed, at least as per ''Newsday's'' Allan Wallach: "Sandra Seacat has no problems with the small role of the maid. The play, unfortunately, is a formidable problem."<ref>Wallach, Allan: "Theater Review: By Ionesco". ''Newsday''. October 19, 1978.</ref> As for Erika Munk's scathing ''Village Voice'' piece, the best that can be said from Seacat's perspective is that, unlike the two stars (the one, deemed "limp, squeaky, coy," the other, of whose performance, an inadvertently un-pasted moustache is deemed the sole highlight), the staging ("not at all innovative... when the work should be gathering tension, it becomes fatally slack, and deathly boring"), and even the play itself ("about as minor as a classic can get"), Seacat alone escapes unscathed, albeit unmentioned.<ref>Munk, Erika: . ''The Village Voice''. November 6, 1978.</ref>

1978 provided a number of punctuation points for Seacat. Early that year, two significant eras had come to an end - first, on January 26, the end of her second marriage, to Michael Ebert,<ref name=CDI1978/> and next, just two days later, the death of her father.<ref></ref> This was also the year Seacat persuaded her prize pupil, Mickey Rourke, that there was nothing further to be gained by staying in New York, that it was time to go west and test his fortunes in Hollywood.<ref name=BBAMR/>

===Coaching ("Guru to the Stars")===
====Early Collaborations====
Certainly, given her circumstances at that moment, one could see such advice applying equally to Seacat herself, and, indeed, by the early 1980s, Seacat had expanded her base of operations, teaching in both New York and Los Angeles (as she has continued to do ever since),<ref name=TROTD/> helping actors like ], ], and ] give career-altering performances. On March 29, 1983, just weeks after the announcement of Lange's ], Seacat was acknowledged by the Associated Press as the one who "helped turn Jessica Lange from '']'s'' consort into the soulful actress in '']'' and '']''.<ref name=TBCG>Rothenberg, Fred (AP): . ''The Lewiston Journal''. March 29, 1983.</ref> Later, ] would write that "Sandra is credited with helping Jessica Lange to her Oscar and Marlo Thomas to her Emmy."<ref name=EMGQC/> Lange herself later told both '']'' and ''Inside the Actors Studio'' host James Lipton just how pivotal Seacat's contribution had been, both for her career in general and, in particular, her portrayal of ].<ref name=JLVF/><ref>Noel Holston: . ''The Minneapolis Star-Tribune''. June 12, 1996.</ref> Regarding the latter, and the intensive nature of that collaboration, J.T. Jeffries writes in his 1986 biography of Lange: "In the spring of 1981, while still breast-feeding her newborn daughter by ], she worked on each scene with her coach, Sandra Seacat... Seacat had expanded her theatrical repertoire in recent years to include techniques from Eastern meditation. Lange regularly used those deep relaxation techniques on the set {{#tag:ref|For Baryshnikov, those relaxation techniques would prove a happy legacy of his relationship with Lange, long since ended by 1985, when the dancer was shooting his second feature film: "] says he and Actor's Studio coach Sandra Seacat worked extensively on acting with Baryshnikov, who had only '']'' to his credit."<ref>Reuters: . ''The Windsor Star''. December 18, 1985.</ref> "He says he benefited greatly from the training he undertook with Actors Studio coach Sandra Seacat, whom he'd met earlier through Lange. 'One of the main things was she helped me relax in front of the camera,' he says. 'The best acting I did on the set was in the improvisations before the takes - that gave me real satisfaction. But keeping the level when the camera was going, that was completely something else. Technicians placing the camera, the director behind you, your throat is dry, and you're trying to forget everything, all distractions, and ask yourself what is this scene really about - that's when the hard work starts.'"<ref>Kriegsman, Alan M.: . ''The Washington Post''. December 6, 1985. (paywall).</ref>|group=lower-alpha}} to improve her concentration in the grueling role."<ref>{{cite book|quote=|first=J.T. |last=Jeffries|url=|title=Jessica Lange: A Biography|year=1986|publisher=St. Martin's Press|location=New York|isbn=0-312-44200-9|pages=18-19|chapter=}}</ref>

Regarding the ]-winning performance which would transform the perception of Marlo Thomas from the perpetually perky sitcom heroine to an actor who could take on any role and be taken seriously doing it, Thomas writes in her 2010 autobiography: "I only wish Lee could have lived to see me portray a schizohprenic in ''Nobody's Child''. I never could have gotten near playing that kind of part without Lee's exercises, and the subsequent work I did and continue to do with his primary disciple, the brilliant Sandra Seacat."<ref name=GUL/>

Of the three actors mentioned above, Rachel Ward's transformation - culminating in her ]-nominated lead performance in '']'' - stands out. In the fall of 1982 and continuing on through the following winter, even as Lange's two Oscar-nominated performances were receiving applause, acclaim, and, eventually, awards, the then inexperienced Ward was undergoing a rigorous makeover program under Seacat's guidance.<ref name=TBGWCWW>Preston, Marilynn: . ''The Chicago Tribune''. March 29, 1983.</ref> But simply in order to ''get'' to that point, Ward first had to get the part. The Associated Press reports: "Ward's first reading before producers ] and Stan Margulies was disastrous. So she hired drama coach Sondra Seacat."<ref name=TBCG/> "I studied exhaustively for two weeks," recalled Ward, "went back and did a screen test with ]."<ref>Wilkins, William: . ''The Oxnard Press-Courier''. March 27, 1983.</ref> According to Margulies, Ward's second reading "was so breathtaking that she got the part right there. But our questions were whether she could do it over the five-month shooting period."<ref name=TBCG/>

Seacat had no problem answering those questions, but her prescription was radical, and required Ward's active participation and unwavering commitment. "Seacat saved her," reported the '']'', "and in the end, Ward saved herself. For Seacat, Ward stopped smoking, stopped eating meat, started to exercise every day, learned to calm her mind and focus on the moment. You can almost see her develop as an actress in 'Thorn Birds'... By the finish, her Meggie is much stronger, more worldly, compassionate. The changes were in character, but they were taking place in Ward too. Thanks, in large part, to Seacat. 'She's extraordinary,' Ward says. 'She made me work in a totally different way than I'd ever worked before. For the first time, I really worked on technique... It was definitely not an easy five months. It was a lot of tying things together and understanding and confusion and frustration and anger. I asked a lot of questions about acting and about me and stuff, and Sandra just had these answers, and they were just like, of course, oh my God, of course!'"<ref name=TBGWCWW/>

====Dream Work====
It was during that same period, as reported by '']'' more than 25 years later, that Seacat's ]-inspired experiments ushered in the now widespread practice known as dream work, wherein actors interpret and sometimes influence their own dreams, often casting and staging those dreams in the process, all in the interests of achieving the richest, most genuine characterization possible.<ref name=TROTD/> A number of the current crop of dream work practitioners, such as Elizabeth Kemp,<ref name=ARL:BM/> Kim Gillingham,<ref name=TROTD/> ],<ref>. austinfilm.org. May 9, 2010.</ref> director John Markland,<ref name=BIFF:NRDFP>Collins, Mark: . ''The Colorado Daily''</ref> and, most recently, Sandra's daughter and fellow acting coach, Greta,<ref>]: . ''The Lab Magazine''. July 10, 2010</ref> all claim Seacat as their mentor.

Moreover, Seacat clients ] and ], as well as onetime student, ], have long been on record as crediting Seacat's use of dreams with improving their craft. "In Sondra's class," recalled Salinger in 1987, "we had dream assignments where, before you went to sleep, you'd write out an assignment to yourself--and dream dreams that had connections to the work you were doing. I've done that with this play."<ref>Arkatov, Janice: . ''The Los Angeles Times''. November 20, 1987.</ref> "It's a great way to open yourself up," insisted Griffith in a 1986 interview. "It's been very healthy for me, because I think our interior soul knows a lot more about ourselves than our conscious intellect ever allows you to think about."<ref>Goldstein, Patrick: . ''The Los Angeles Times''. November 10, 1986.</ref> More recently, Hélène Cardona, a Paris-born poet, translator and actor who studied at the ] and the Actors Studio in the early 1990s, recalls: "When I trained with Sandra Seacat at the Actors Studio in New York, she introduced me to a particular form of dream work. You could call it Jungian. I have kept doing this work for many years now. It’s very therapeutic, a more holistic approach to medicine. And it can also be used to develop a character in a play or movie. You dig into yourself to find the answers. In the dream you are connected to your inner self and to the divine." <ref>Draghincescu, Rodica: . ''Levure Litterature''. Retrieved October 2, 2012.</ref>

Gershon is particularly passionate on the subject, speaking in a 1998 interview: "Sandra totally changed my acting. Instinctively, I was always in love with psychology and my dream life had always been very important to me... What's really exciting to me about Sandra's work is that it changes your life, almost on a psychic level. Now I'll get parts and in working on them, she'll say, 'Well, let's see how you're developing, as a human being.' Because the parts you're doing, it's no accident. Those parts affect your life and they kind of illustrate the map that your life is following."<ref>Chutkow, Paul: "I Dream of Gina". '']'', September/October 1998. (final two paragraphs) & </ref> As recently as August 26, 2012, Gershon reaffirmed the importance of Seacat and dream work to her career.<ref name=F:GG>Dawn Kay: ''The Lab Magazine''. August 26, 2012</ref>

In a 2001 interview with '']'', another longtime Seacat client of mid-eighties vintage, ], went public. While not specifically referencing dream work, Dern echoes both Gershon, Cardona and Rachel Ward in her portrayal of Seacat's holistic, almost therapeutic approach, a characteristic previously noted in 1994 by erstwhile '']'', ] (calling her time with Seacat "better than any therapy),<ref name=CTWH>. ''USA Today''. August 15, 1994.</ref> and one which brings to mind ] central to Seacat's career from at least the 1980s onward; as Seacat would tell the ''New York Times'' in 2009, "I believe that the artist is a wounded healer, that they are healing wounds of their own, and when they do that truthfully, they heal the audience.”<ref name=TROTD/> Dern recalled:

"Through studying and through being raised on movie sets, I was surrounded by a lot of people who believed that the more tortured the person, the greater the artist. I always had a hard time understanding that, but thought, 'I guess that's the way it is'... Luckily through life and the gift of the acting teacher who's changed my life in so many ways since 1984--her name is Sandra Seacat--I learned there's another opinion, which is: the better the person, the better the artist. The more true you are to who you are and the more honest you are as an individual, the more honest you can be as an actor, and I'm really liking that." Asked if she still studied, Dern replied, "I still study with Sandra and I love studying."<ref name=P:DM>Young, Jamie Painter: "Profile: Defining Moments". ''Back Stage West''. November 22-28, 2001.</ref>

Speaking again with ''BSW'' in 2004, Dern elaborated: "All of a sudden this new idea that the parts I play help me discover myself and I could maybe be kinder to the ambiguous places and the flaws--I was so lifted by that. Since then, I feel like it's an extraordinary experience of therapy and learning about being in the moment and honoring that. All of a sudden, acting wasn't this torment where you're supposed to be a screwed-up artist, but it's an opportunity for self-growth. And I think I've had fun ever since."<ref name=LOL>Riley, Jenelle: ''Back Stage West''. August 16, 2004</ref> Finally, in January 2012, at the ], Dern reaffirmed the connection, thanking Seacat in her acceptance speech for Best Actress in ]'s '']'', the first two episodes of which each featured Seacat in a small role.<ref name=LDGGASBA>. Dailymotion.com. January 16, 2012</ref>

====Back to School====
After an extended teaching hiatus, roughly mid-1988 to mid-1990, devoted to production and post-production for Seacat's sole feature film directing assignment, '']'', the transition back to her customary regimen was eased considerably by the fact that the client for her first project after ''In the Spirit'' was none other than ''In the Spirit's'' star, Marlo Thomas, on her TV movie, ''Held Hostage: The Sis and Jerry Levin Story''; in addition, Seacat would work with ''In the Spirit'' cast member Melanie Griffith on 1993's '']'', and with Thomas again on the 1994 TV movie, ''Reunion''.

In the mid-to-late 1990s, Seacat joined the faculty of the newly formed ] at the ].<ref name=IASJD>. Broadcast September 8, 2002.</ref>

====Seacat Speaks (and is spoken of)====
Starting in 1999, Seacat embarked on an unprecedented binge of media exposure, becoming the 'talking head' on ], and, even more uncharacteristically, talking at length about three of her clients in the process. Despite this seeming inconsistency (witness the ]), whenever a given client has no qualms about revealing their working relationship, or has already done so, Seacat has always been happy to grant interviews on the subject, as she did in 1983 for ''New York Magazine's'' Mickey Rourke profile.<ref name=BBAMR/> Speaking of whom, Rourke is the subject of the second of these three documentaries (as well as one in 2008, in which Seacat also participated), flanked, respectively, by two very vocal Seacat champions, Laura Dern and Jessica Lange.

Another Seacat outburst, addressed not merely to the press, but to one of her longstanding client's potential employers, would occur in 2003, part of an image makeover much like that of Seacat's oft-recounted early success stories, Jessica Lange and Marlo Thomas,<ref name=EMGQC/> especially the latter, another perpetually perky, seemingly ubiquitous paragon of 'cute.' This time, however, instead of a sixties sitcom princess, it was the nineties ] queen, ], who was chomping at the bit for some more challenging roles. Already at work with Seacat on her upcoming ], the 2004 ] ], Ryan saw the opportunity for an even more radical departure with ]'s early exit from ]'s '']''.

Interviewed shortly before the film's release, Campion recounted Seacat's surprising phone intervention: "Sandra said, 'Look, I'm working with Meg Ryan. I've never done this before, but she's doing amazing work. You should audition her.' And I said, 'Audition Meg? Do you think she'd audition?' She said, 'Sure, she would.'"

Ryan would indeed audition, and for helping Campion get beyond her preconceptions, the grateful director likened Seacat to "a fairy godmother who takes the mists away."<ref name=C2D:MR>Schruers, Fred: . ''The Los Angeles Times''. October 5, 2003.</ref> As it happens, Campion's preconceptions were not unlike those of the many reviewers who would find Ryan's performance a revelation, as well as the most interesting and accomplished element within a not so successful film.<ref>Urban, Andrew L.: . Australia:''Urban Cinefile''. November 13, 2003.</ref> Speaking for public consumption, Seacat reiterated: "Meg has great courage and discipline and commitment. Her talent is large, and her potential is vast."<ref name=C2D:MR/>

The following year, speaking with Newsday columnist John Anderson on the set of '']'', exactly one week after the film's co-star, Laura Dern, had expanded <ref name=LOL/> upon her 2001 testimonial,<ref name=P:DM/> her longtime teacher returned the favor: "'Laura is a free spirit,' says Sandra Seacat, the celebrated acting coach and a longtime associate of Dern's. 'She's also a great student and a dedicated artist - and there aren't very many people I call artists. But the entire cast of this film, they're all true artists, dedicated to their own inner truth, and they have the courage to share that. You don't find that very often.'"<ref>Anderson, John: . ''The Baltimore Sun''. August 23, 2004.</ref>

As the decade wore on, perhaps fueled by dream work's increasing popularity, Seacat's name began to be seen in print more frequently, some of the mentions dreamwork-related,<ref name=BIFF:NRDFP/><ref name=TROTD/><ref name=F:GG/> others, like those by Mickey Rourke,<ref name=JSMRint/><ref name=IAS:MRAM/> Marlo Thomas,<ref name=GUL/> or Laura Dern,<ref name=LDGGASBA/> simply satisfied customers reaffirming their indebtedness.

Speaking in 2010, acting teacher ] told '']'' that he "learned compassion from Seacat, a beautiful woman and a beautiful artist."<ref>. ''Back Stage''. June 23, 2010.</ref> Speaking with CNN's Todd Leopold in 2012, acting coach and dream work practitioner Elizabeth Kemp paired Seacat with ] as two of the coaches to whom she was most indebted.<ref>. CNN. February 13, 2012.</ref> Moreover, two of Seacat's students, actor/directors Jamie Wollrab and John Markland, have each been putting Seacat's teachings into practice, one play at a time - Wollrab, with his Triptych Theatre;<ref name=HAC2B>Joanna Adler: . YourHub.DenverPost.com. July 29, 2007.</ref> Markland, with the Moth Theatre Company, itself composed largely, if not entirely, of fellow Seacat alumni, recently incorporating Wollrab as well.<ref>Sheehan, Michael: . On Stage Los Angeles. January 31, 2010.</ref> The latter's words, spoken in 2010, echo those of his mentor, just one year before: “'More than anything,' Wollrab says, 'we’re wounded healers. Each of us. I think that’s why audiences keep taking to our work.' Work, he describes, as fragile and beautiful."<ref>Julian, Steve . Steve Julian. February 28, 2010.</ref>

Others who have studied with Seacat include ],<ref name=RAFCKN>Rea, Steven (KNT News Service): . ''The Orlando Sentinel''. April 28, 1985.</ref> ],<ref name=TSM:HST>{{cite book|quote=|first=Bill|last=Hayes|url=|title=Two Square Miles: The Heros of a Small Town|year=2009|publisher=Fireship Press|location=Tucson, AZ|isbn=1-934757-81-9|page=7|chapter=Arts and Entertainment}}</ref> ],<ref name=RAFCKN/> ],<ref>Glikas, Bruce (photo): Broadway.com. November 28, 2010.</ref> ],<ref>Moore, Roger: . ''The Orlando Sentinel''. May 6, 2010.</ref> ],<ref>Baum, Robert: . thespian.net. 2001.</ref> ],<ref>Collins, Glenn: . ''The New York Times'' October 31, 1981.</ref> ],<ref name=WWIE1989>{{cite book|quote=|first=|last=|url=|title=Who's Who in Entertainment, Vol. 1|year=1989|publisher=Marquis Who's Who|location=Wilmette, IL|isbn=0837918502|page=527 |chapter=}}</ref> ],<ref name=IASJD/> ],<ref name=PLBO>{{cite book|quote=|first=Peggy |last=Lipton|first2= David and Coco|last2=Dalton|url=http://books.google.com/books?id=1DWei3xOAhYC&pg=RA1-PA40&lpg=RA1-PA40&dq=My+agent+sent+me+out+Seacat&source=bl&ots=MEmiQ_O9Sv&sig=mRqC-6Ii1g5T2E4OkdxtoOyh-H8&hl=en&sa=X&ei=A5cYUNTKGs726gH4kIH4Cg&ved=0CDMQ6AEwAA#v=onepage&q&f=false|title=Breathing Out|year=2005|publisher=St. Martin's Press|location=New York|isbn=0-312-32413-8|pages=240–242 |chapter=Ch. 67. Gurumayi}}</ref> ],<ref>{{cite book|quote=|first=|last=|url=http://www.google.com/search?tbo=p&tbm=bks&q=%22sandra+seacat%22+intitle:Who's+intitle:Who+intitle:of+intitle:American+intitle:Women&num=10|title=Who's Who of American Women 1999-2000|year=1998|publisher=Marquis Who's Who|location=New Providence, NJ|isbn=0-8379-0424-2|page=320 |chapter=}}</ref> ],<ref name=TSM:HST/> ],<ref name=TROTD/> ],<ref name=PLBO/> ],<ref name=CTWH/> ],<ref>{{cite book|quote=|first=James |last=Lipton|url=http://books.google.com/books?id=f-63agjguvgC&pg=PT666&lpg=PT666&dq=%22Sandra+Seacat%22&source=bl&ots=8_l9ma3tCw&sig=DQGUPd-ZNv93zSVm_C8MJYmiwsg&hl=en&sa=X&ei=LG4YUIGLMKTk6QHKxICQBw&ved=0CFEQ6AEwBQ#v=onepage&q&f=false|title=Inside Inside|year=2007|publisher=Dutton|location=New York|isbn=0-525-95035-4|page=}}</ref> ],<ref>. ''Backstage''. June 15, 2009.</ref> ],<ref name=WWIE1989/> ],<ref>Kolson, Ann: . ''The Pittsburgh Press''. December 22, 1985.</ref><ref>Cook, Bruce: . ''Chicago Tribune''. November 28, 1985. (scroll to last paragraph)</ref> ],<ref name=RAFCKN/> ],<ref name=TSM:HST/> and ].<ref>{{cite book|quote=|first=Jane Marla |last=Robbins|url=http://books.google.com/books?id=4bCpBRYNSr0C&pg=PA57&lpg=PA57&dq=%22Treat+Williams%22+%22Sandra+Seacat%22&source=bl&ots=JbPe49DX-s&sig=Qwi9bTREnFVJP09XAReA-vrOzK8&hl=en&sa=X&ei=F88YUNKwHoSP6gGymoCoDw&ved=0CFIQ6AEwAw#v=onepage&q=%22Treat%20Williams%22%20%22Sandra%20Seacat%22&f=false|title=Acting Techniques for Everyday Life: Look and Feel Self-Confident in Difficult Real-Life Situations|year=2002|publisher=Marlowe & Company|location=New York|isbn=1-56924-554-1|page=57|chapter=Relaxation}}</ref>

On March 8, 2012, together with longtime friend and colleague, ],<ref name=ASKAASAC/> and several others, Seacat became a founding faculty member of the newly instituted ] Institute Film Forum, a three-day seminar to be hosted annually by the ].<ref>. KTHV. March 8, 2012.</ref>


===Directing=== ===Directing===
Seacat directed one movie, 1990's '']''. In reviewing the film, which starred Marlo Thomas and ], ''The New York Times'' called it "a nervous new-age comedy more notable for good intentions than good luck."<ref>. ''The New York Times''. April 6, 1990.</ref> '']'' described the movie as "An Endearing Mess,"<ref>. ''The Boston Globe''. June 8, 1990.</ref> '']'' headlined it a "Grand and Goofy Comedy,"<ref>. ''The Washington Post''. May 18, 1990.</ref> and the '']'' wrote that "Spirit Loses Its Comic Flair Halfway Through‎."<ref>. ''Los Angeles Times''. April 11, 1990.</ref> '']'', however, described the actors in the leading roles a "memorable screen odd couple."<ref>. ''Variety''. December 31, 1989.</ref>


While ''In the Spirit'' was filming, the ''Los Angeles Times'''s Cinefile column covered Seacat's directorial debut, calling her an "acting guru,"<ref>. ''Los Angeles Times''. June 26, 1988.</ref><ref>. NYTimes.com.</ref> and ] wrote about the film in her gossip column.<ref>. ''The Sarasota Herald-Tribune''. December 6, 1988.</ref>
====''A View From the Bridge'' (1975)====
In February 1975, upon Seacat's less-than-triumphant return to New York following the ill-fated Los Angeles engagement of the Actors Studio revival of Harold Pinter's ''Old Times'', <ref name=ANT2OT/><ref name=OTFOHT/> Seacat's CCNY employment afforded her a welcome distraction, in the form of a 4-day event - May 12-15, 1975 - starting with a symposium entitled "Theatre in the University," hosted by ], and featuring playwrights ], ] and ], to be followed by one day apiece devoted to the works of each of the three guests, with student performances being followed by discussions with the respective playwrights. The final day was to be devoted to Arthur Miller's work, with each grade level in the Davis Center's acting program performing a scene from a different Miller opus. The play assigned to Sandra's freshman class was '']''. After choosing as their showcase the climactic closing scene of Act One, Seacat cast four of her regular students, but reserved the central role of ] for one of her private students who had just started auditing the class. And thus did Seacat, in this somewhat obscure setting, come to direct the stage debut of the as-yet unknown Mickey Rourke.<ref name=WBCCAH>Shepard, Richard F.: "Work Begins on City College Arts Hall". ''The New York Times''. May 13, 1975.</ref>


In August 2007, Seacat, with Jamie Wollrab, directed her daughter, Greta Seacat, and others in ]'s play ''The Mistakes Madeline Made'' at Boulder, at Colorado's Dairy Center for the Arts, starring ], ] and ].<ref>. '']''. July 29, 2007.</ref><ref>. ''The Boulder Daily Camera''. August 9, 2007.</ref>
====''In the Spirit'' (1988-1990)====
=====The Making and Marketing of...=====
13 years later, by then well established as Hollywood's "Acting Guru,"<ref>. ''The Los Angeles Times''. June 26, 1988.</ref> another, slightly more publicized directing opportunity fell her way; this would eventually become '']'', the first, and as yet, only film Seacat has directed, boasting an "ultra-hip cast" <ref>. ''The Baton Rouge Advocate''. November 23, 1988.</ref> featuring no less than three of Seacat's regular clients, Marlo Thomas, Melanie Griffith and Peter Falk, plus ] at the height of her popularity, having just collected her ]. Arguably the film's casting coup, however (and probably the positive element most frequently cited by reviewers), was landing the celebrated writer/performer ] to co-star opposite Thomas (with May's daughter, ], who co-authored the screenplay, also appearing).

The remainder of the film's cast would reflect its homegrown ] bent, featuring an assortment of local luminaries, some of them professional actors, some not.The former group included both indie icons (such as ]'s brother, and sometime leading man, Michael Emil, plus Steve Buscemi mainstays ] and ]), and 'legit' stage and TV actors (e.g. Seacat's Actors Studio colleagues, Hope Cameron and Gary Swanson),<ref>{{cite book|quote=|first=David |last=Garfield|title=A Player's Place: The Story of the Actors Studio|year=1980|publisher=MacMillan Publishing Co., Inc.|location=New York|isbn=0-02-542650-8|pages=277, 280|chapter=Appendix: Life Members of The Actors Studio as of January 1980}}</ref> while the latter featured such miscellaneous notables as musician ], journalist ], and playwright ]. Moreover, making his film debut here was Seacat's current husband, Thurn Hoffman.

Notwithstanding numerous press references to the "respected," "famous," even "legendary" "acting guru" and her screen directing debut, Seacat managed to maintain a characteristically low profile throughout, surfacing only long enough to contribute one sentence to an article on ''In the Spirit's'' producer, ]: "There are two main things about Julian -- he has a big heart and he goes the distance."<ref>Russell, Candice: . ''South Florida Sun-Sentinel''. September 9, 1990.</ref> Speaking of Schlossberg, co-star Elaine May got into the act as well, providing her own characteristically tongue-in-cheek teaser for ''In the Spirit'', a mock-interview with the film's producer on the making and marketing of ''ITS'', published in the ''New York TImes'' just days before the film's release. <ref>May, Elaine: . ''The New York Times''</ref>

Regarding May, Liz Smith would report (circa December 1988, shortly after the film had wrapped): "Recent remarks here about the genius that is Elaine May brought forth the encouraging news that we'll soon see this gifted actress in a new suspense movie written by her daughter ] (with co-writer Laurie Jones). ''In the Spirit'' had all its money raised independently by producers Julian Schlossberg and Beverly Irby. They're now editing the film and seeking a distributor for release next spring. The cast is a staggering one -- Elaine and daughter, as well as Peter Falk, Melanie Griffith, Marlo Thomas, Olympia Dukakis and ]. The director was an interesting choice: Sandra Seacat, acting coach and guru to many stars. (Sandra is credited with helping Jessica Lange to her Oscar and Marlo Thomas to her Emmy.)" <ref name=EMGQC/>

=====Critical Reception=====
Kind words aside, in hindsight, one cannot help but note both the fact that ] - barely visible in the finished film and nowhere to be seen in its credits <ref>Figler, J.: . amazon.com. June 13. 2005. "FYI: Blink twice and you will miss the estimable Louise Lasser lurking in the background of an early shot. Would we have O.D.'d on Funny Women if she hadn't been left on the cutting room floor???."</ref> - was still being announced as one of the film's stars even after the film had wrapped, ''and'' that the film itself would not make it to theaters until more than a year past its estimated release date; certainly, the former tends to shed light on the latter, as it does on the general narrative disarray which, as evidenced by the mere titles of this broad sample of ''In the Spirit'' reviews, managed to survive nearly a year and a half's worth of editing - assuming, that is, that it was not in fact exacerbated by the process: "Grand and Goofy Comedy,"<ref>Hinson, Hal: . ''The Washington Post''. May 18, 1990.</ref> "'In the Spirit' – An Endearing Mess,"<ref>Carr, Jay: . ''The Boston Globe''. June 8, 1990.</ref> "Screwball Comedy Holds Up Even When Plot Sags,"<ref>Russell, Candice: '']''. May 11, 1990.</ref> "Spirit Loses Its Comic Flair Halfway Through,"<ref>. ''Los Angeles Times''. April 11, 1990.</ref> "'Spirit' Amusing, But Unpolished,"<ref>. ''The Pittsburgh Post-Gazette''. June 22, 1990</ref> "'In the Spirit' Needs a Bit More Body,"<ref>. '']''. June 21, 1990.]</ref> "'In The Spirit' Needs To Be More Perky, Less Poky,"<ref>Barnes, Harper: . ''The St. Louis Post-Dispatch''. June 8, 1990.</ref> and "A Few Screws Are Loose But 'In The Spirit' Offers A Rare Glimpse Of Elaine May In A Feminist Comedy."<ref>Carroll, Kathleen: . ''The New York Daily News''. July 6, 1990.</ref>

As one can see, critical reaction among the nation's ] was mixed at best. Two reactions were almost universal: appreciation for the film's performances, especially those of the two leads, as well as disdain for its technical shortcomings - seen primarily in the areas of camera placement and pacing, as well as the aforementioned matter of narrative construction. What distinguished the favorable from the unfavorable review in these cases was largely a matter of emphasis. Unfortunately for Seacat, when it came to evaluating her impact on the finished film, the emphasis was placed almost exclusively on the shortcomings. And while reviewers had, almost without exception, acknowledged Seacat's storied coaching career, in practice, it appears, few felt compelled to credit her with even contributing to her actors' success.

Two of the more sympathetic reviews, by ] of the ] and ex-''Village Voice'' critic ], writing for the '']'', tended however to bypass both Seacat and the film's screenwriter, ], and instead credit Elaine May as the film's true ].<ref>Kehr, Dave: . ''The Chicago Tribune''. August 3, 1990</ref><ref>Rickey, Carrie: . ''The Philadelphia Inquirer''. July 6, 1990.</ref>

Two of the film's most merciless drubbings were administered, respectively, by the '']'' ("New Age 'Spirit' Gets Old and Boring Quickly")<ref>. ''The Washington Times''. May 18, 1990.</ref> and by the '']'' ("The Mystery of 'Spirit' is Finding Film's Funny Parts");<ref>Voedisch, Lynn: . 'The Chicago Sun-Times''. August 3, 1990.</ref> however, given the film's target audience (even the '']'' called it "a flat-out New York comedy, with all of the pluses and minuses"),<ref>. ''The Los Angeles Daily News''. April 11, 1990.</ref> the most damaging blow of all was almost certainly delivered by the ''New York Times''' ], with her considerably more 'polite,' yet thoroughly condescending dismissal: "The beneficial power of crystals has done nothing for ''In the Spirit,'' a nervous new-age comedy much more notable for good intentions than good luck. A rare appearance by Elaine May, who co-stars with Marlo Thomas in what proves to be an unexpectedly mundane caper story, and a directing credit for the respected acting coach Sandra Seacat give ''In the Spirit'' a lot more curiosity value than it would otherwise have... Ms. Seacat's direction is especially strange, since it is so thoroughly unaccommodating to the actors. The camera is treated as if it were radioactive, never being allowed to linger where a performer might be heard clearly or shown off to good advantage." Even the generally lauded female leads do not escape unscathed: "The actors, especially Ms. May and Ms. Thomas, spend a lot of time yammering simultaneously in time-honored sitcom style."<ref>Maslin, Janet: . ''The New York Times''. April 6, 1990.</ref>

If America's original ] had delivered one of ''Spirit'''s most resounding pans, it would fall to the entertainment industry's ] 'paper of record' to supply arguably its most simpatico critique. Not merely echoing the critical consensus regarding Thomas' and May's "memorable screen odd couple," '']'' embraced the film itself, portraying its limitations as strengths ("an unusual case of big-name talent gathering with friends to make a low-budget pic freed of mainstream good taste and gloss") and, while not oblivious of the film's structural issues ("weakest element being a stupid framing device of a mystical narrator... midway shift in tone may put off some viewers, but others will likely relish the intensity of the May and Thomas segment"), it was ''Variety'', virtually alone among reviewers, which cited Seacat for something beyond merely her ability to handle actors: "First-time director Sandra Seacat emphasizes slapstick but also female bonding as the gals on the lam reach beyond their wacky survivalist tactics to address feminist issues."<ref>. ''Variety''. December 31, 1989.</ref>

====''The Mistakes Madeline Made'' (2007)====
In August 2007, Seacat, with Jamie Wollrab, directed her daughter, Greta Seacat, and others in ]'s play ''The Mistakes Madeline Made'', staged at Boulder, Colorado's Dairy Center for the Arts, starring ], ] and ].<ref name=HAC2B/> As in her previous directorial assignments, Seacat was again supervising a number of current and former students, which, in this instance, included her daughter Greta, co-star Justin Chatwin, and director Jamie Wollrab.<ref name=BIFF:NRDFP/> The younger Ms. Seacat's performance garnered particularly favorable notices, deemed "steady and grounded" by Mark Collins of the ''Boulder Daily Camera'',<ref>Collins, Mark: ''The Boulder Daily Camera''. August 9, 2007.</ref> while Lisa Bornstein of the ''Rocky Mountain News'' writes, "As Beth, Seacat is a marvel: simplistic (she frequently shuts her laptop to avoid news of Iraq) and authoritarian, but awkwardly kind as well. Beth is annoying, but she knows it; in Seacat's hands, she's funny and real."<ref>Bornstein, Lisa: . ''The Rocky Mountain News''. August 10, 2007</ref>


==Personal life== ==Personal life==
Seacat lives in Santa Monica with her husband, actor Thurn Hoffman.<ref name=LMSObit />
Seacat lives in Santa Monica with her husband, actor Thurn Hoffman, son of Le Roy Hoffman and Claudia Boettcher Merthan.<ref name=LMSObit /><ref>{{cite book|quote=|first=Timothy W.|last=Bjorkman|url1=|url2=|title=Verne Sankey: America's First Public Enemy|year=2007 |publisher=University of Oklahoma Press |location=Norman, OK|language= |isbn=0-8061-3853-X|pages=ix and 225|chapter= and }}</ref>

==Stage and Screen Credits==
===Theatre===
{| class="wikitable"
|-
!style="background:#B0C4DE;"| Year
!style="background:#B0C4DE;"| Title
!style="background:#B0C4DE;"| Theater Company (or venue)
!style="background:#B0C4DE;"| Directed by
!style="background:#B0C4DE;"| Role
|-
| 1962 || ''Waltz of the Dogs'' {{#tag:ref|Written by ].|group=lower-alpha}} || The Barnard-Columbia Summer Theatre || ] || Jennie <ref name=T:TWD/>
|-
| 1964 || '']'' || The Actors Studio Theatre || ] || Carnival person <ref name=SSakaSK@PV> at Playbill Vault</ref>
|-
| 1969 || '']'' || '''NA''' || Michael Howard || Meg <ref name=ETJ/>
|-
| 1970 || '']'' || The New Orleans Repertory Company|| ] || Stella Kowalski <ref name=JHPSND/>
|-
| 1972 || ''The Siamese Connection'' {{#tag:ref|Written by Dennis Reardon, best know for his play ''The Happiness Cage'', later made into a ] of the same name.|group=lower-alpha}} || The Actors Studio || ] || Kate Kroner <ref>{{cite book|quote=|first=John|last=Willis|title=Theatre World, 1972-1973 Season. Volume 29|year=1973 |publisher=Crown Publishing, Inc. |location=New York |language=|isbn=0-517-50618-1|page=124|chapter=}}</ref>
|-
| 1973 || ''Virility'' {{#tag:ref|Written by Actors Studio member Ed Setrakian.|group=lower-alpha}} || The Actors Studio || Ed Setrakian || Eileen <ref>{{cite book|quote=|first=John|last=Willis|title=Theatre World, 1972-1973 Season. Volume 29|year=1973 |publisher=Crown Publishing, Inc. |location=New York |language=|isbn=0-517-50618-1|page=125|chapter=}}</ref>
|-
| 1973 || ''Beau Brummel and the Lady'' {{#tag:ref|Written by ].|group=lower-alpha}} || The Ensemble Studio Theatre || Peter Masterson || '''NA''' <ref></ref>
|-
| 1973 || '']'' || ] || ] || Sue Barker <ref name=INAMS/>
|-
| 1973 || '']'' || ] || ] || Nurse <ref name=SSakaSK@PV/>
|-
| 1974 || '']'' || The Actors Studio || ] ("supervising director") || Kate <ref>{{cite book|quote=|first=John|last=Willis|title=Theatre World, 1974-1975 Season. Volume 31|year=1975 |publisher=Crown Publishing, Inc. |location=New York |language=|isbn=0-517-52322-1|page=90|chapter=}}</ref>
|-
| 1975 || '']'' || The Leonard Davis Center for the Performing Arts at ] || '''Sandra Seacat''' <ref name=WBCCAH/> ||
|-
| 1976 || ''Economic Necessity'' {{#tag:ref|Written by ] for his wife ]; debuted at London's ] in 1973.|group=lower-alpha}} || The Actors Studio || Arthur Sherman || Audrey <ref>{{cite book|quote=|first=John|last=Willis|title=Theatre World, 1975-1976 Season. Volume 32|year=1976 |publisher=Crown Publishing, Inc. |location=New York |language=|isbn=0-517-52665-4|page=82|chapter=}}</ref>
|-
| 1976 || '']'' || '''Not applicable''' (The Broadhurst Theater) || Arthur Penn || Sly's Servant <ref>{{cite book|quote=|first=John|last=Willis|title=Theatre World, 1976-1977 Season. Volume 33|year=1977 |publisher=Crown Publishing, Inc. |location=New York |language=|isbn=0-517-53111-9|page=|chapter=}}</ref>
|-
| 1978 || '']'' || '''Not applicable''' (The Harold Clurman Theatre) || ] || The Maid <ref>{{cite book|quote=|first=John|last=Willis|title=Theatre World, 1978-1979 Season. Volume 35|year=1979 |publisher=Crown Publishing, Inc. |location=New York |language=|isbn=0-517-53997-7|page=77 |chapter=}}</ref>
|-
| 1979 || ''Bunny'' {{#tag:ref|Written by ].|group=lower-alpha}} || The Actors Studio || ] || '''NA''' <ref>{{cite book|quote=|first=Otis L., editor|last=Guernsey|title=The Best Plays of 1979-1980: The Burns Mantle Yearbook|year=1980 |publisher=Dodds, Mead & Co |location=New York |language=|isbn=0-396-07907-5|page=452|chapter=}}</ref>
|-
| 2007 || ''The Mistakes Madeline Made'' {{#tag:ref|Written by ].|group=lower-alpha}} || Tryptich Theatre || ] and Jamie Wollrab <ref name=HAC2B/> ||
|}

===Television===
{| class="wikitable"
|-
!style="background:#B0C4DE;"| Year
!style="background:#B0C4DE;"| Title
!style="background:#B0C4DE;"| Role
|-
| 1976 || ''First Ladies Diaries: Edith Wilson'' (TV movie) || Helen
|-
| 1978 || ] (TV movie) || Bess
|-
| 1986 || ''Nobody's Child'' (TV movie) || Barbara
|-
| 1991 || ''Held Hostage: The Sis and Jerry Levin Story'' (TV movie) || '''NA'''
|-
| 1994 || ''Reunion'' (TV movie) || '''NA'''
|-
| 1999 ||''Mickey Rourke: The E! True Hollywood Story'' (TV documentary) || Herself
|-
| 2000 ||''Intimate Portrait: Laura Dern'' (TV series documentary) || Herself
|-
| 2001 || ''Biography: Jessica Lange, On Her Own Terms'' (TV series documentary) || Herself
|-
| 2008 || ''The Dark Side of Fame with Piers Morgan: Mickey Rourke'' (TV series documentary) || Herself
|-
| 2010 || '']'' (TV movie) || Janet Adkins
|-
| 2011 || '']'' (TV series) || '''NA'''
|}


==Filmography==
===Film=== ===Film===
All acting credits except where '''otherwise indicated'''.
{| class="wikitable" {| class="wikitable"
|- |-
Line 216: Line 51:
!style="background:#B0C4DE;"| Role !style="background:#B0C4DE;"| Role
|- |-
| 1975 || '']'' || Voice '''(uncredited)''' | 1975 || '']'' || Voice
|- |-
| 1979 || '']'' || Reporter | 1979 || '']'' || Reporter
Line 234: Line 69:
| 1988 || '']'' || Sissy | 1988 || '']'' || Sissy
|- |-
| 1990 || '']'' || '''Director''' | 1990 || '']'' || Director
|- |-
| 1993 || '']'' || '''Thanks''' | 1993 || '']'' || Thanks
|- |-
| 1994 || '']'' || Mary Netter | 1994 || '']'' || Mary Netter
Line 250: Line 85:
| 2001 || '']'' || Sandra the Midwife | 2001 || '']'' || Sandra the Midwife
|- |-
| 2001 ||'']'' || Elbe Montgomery | 2001 ||'']'' || Elbe
|- |-
| 2003 || '']'' || Mother | 2003 || '']'' || Mother
|- |-
| 2003 || '']'' || '''Creative consultant''' | 2003 || '']'' || Creative consultant
|- |-
| 2003 || ''A Little Crazy'' || Delphine | 2003 || ''A Little Crazy'' || Delphine
Line 267: Line 102:
|- |-
| 2010 || '']'' || Mrs. Matilda | 2010 || '']'' || Mrs. Matilda
|-
| 2010 || '']'' || Janet Adkins
|- |-
| 2012 || ''Shale'' (short subject) || Sheila | 2012 || ''Shale'' (short subject) || Sheila
|- |-
| 2012 || ''The Time Being'' || Annette | 2012 || ''The Time Being || Annette
|} |}


==Notes== ===Television===
{| class="wikitable"
{{reflist|group=lower-alpha}}
|-
!style="background:#B0C4DE;"| Year
!style="background:#B0C4DE;"| Title
!style="background:#B0C4DE;"| Role
|-
| 1976 || ''First Ladies Diaries: Edith Wilson'' (TV movie) || Helen
|-
| 1978 || ] (TV movie) || Bess
|-
| 1985 || ''Reunion'' (TV movie) || Actor
|-
| 1986 || ''Nobody's Child'' (TV movie) || Barbara
|-
| 1991 || ''Held Hostage: The Sis and Jerry Levin Story'' (TV movie) || Actor
|-
| 1999 ||''Mickey Rourke: The E! True Hollywood Story'' (TV documentary) || Herself
|-
| 2000 ||''Intimate Portrait: Laura Dern'' (TV series documentary) || Herself
|-
| 2001 || ''Biography: Jessica Lange, On Her Own Terms'' (TV series documentary) || Herself
|-
| 2008 || ''The Dark Side of Fame with Piers Morgan: Mickey Rourke'' (TV series documentary) || Herself
|-
| 2011 || '']'' (TV) || Actor
|}


==References== ==References==
Line 292: Line 154:
* {{IMDb name|0780428|Sandra Seacat}} * {{IMDb name|0780428|Sandra Seacat}}
* *
*


{{Persondata {{Persondata
| NAME = Seacat, Sandra Diane | NAME = Seacat, Sandra Diane
| ALTERNATIVE NAMES = Sandra Kaufman (married name, circa 1962–1968); Sandra S. Hoffman (married name, circa ? – present) | ALTERNATIVE NAMES = Sandra Kaufman (married name, circa 1962–1968); Sandra S. Hoffman (married name, circa ? – present)
| SHORT DESCRIPTION = American acting teacher and actor | SHORT DESCRIPTION = American actig teacher and actor
| DATE OF BIRTH = October 2, 1936 | DATE OF BIRTH =
| PLACE OF BIRTH = ], United States | PLACE OF BIRTH = ], United States
| DATE OF DEATH = | DATE OF DEATH =
| PLACE OF DEATH = | PLACE OF DEATH =
Line 313: Line 174:
] ]
] ]
] ]

Revision as of 12:49, 3 October 2012

Sandra Seacat
BornSandra Diane Seacat
Yates Center, Kansas, U.S.
Occupation(s)Acting teacher, actor, director
Years active1960s–present
Spouse(s)Thurn Hoffman
Michael Ebert (divorced)

Sandra Diane Seacat (also known as Sondra and Sandra Kaufman) (born 1936 or 1937) is an American actor, director and acting coach best known for teaching method-style acting. She was the first of three daughters born to Russell Henry and Lois Marion Seacat in Yates Center, Kansas.

Career

Seacat began acting in theater in the early 1960s and was described with a fellow actor by the The Village Voice after a summer-stock production of Leonid Andreyev play The Waltz of the Dogs as "destined to bring many future stages alive."

She moved to New York and attended the Actors Studio, where she studied method acting under the studio's director, Lee Strasberg.

By the early 1970s, she led classes at the Lee Strasberg Theatre Institute, City College of New York's Leonard Davis Center for the Performing Arts, and as a member of the Actors Studio, as well as teaching privately. Steve Railsback and Mickey Rourke, who told New York Magazine that Seacat was his mentor for six years, were among her clients during that period.

Seacat eventually worked in both New York and Los Angeles, coaching actors like Jessica Lange as Lange prepared for her role in the 1982 film Frances. It was at about that same time, according to The New York Times, that Seacat helped pioneer the practice of dream work, where actors study and play characters in their dreams. She also taught the method to her daughter, Greta Seacat, who is an acting coach. Seacat clients Melanie Griffith and Gina Gershon have credited Seacat's use of the dream method with improving their craft.

Acting teacher Alex Cole Taylor in 2010 told Backstage that he learned compassion for his students from Seacat. CNN's Todd Leopold, in a story about acting coach Elizabeth Kemp, coupled Seacat with Lee Strasberg as "legendary acting coaches."

Seacat is a faculty member of the Winthrop Rockefeller Institute Film Forum at the University of Arkansas.

She has commented over the years about actors she has trained, including Laura Dern, who thanked Seacat when she accepted a best actress award at the Golden Globe Awards in January 2012.

Other actors who have studied under Seacat include Chris Pine, Marlo Thomas, Lance Henriksen, Harvey Keitel, Isabella Rossellini, Rachel Ward, Treat Williams, Meg Ryan, Michelle Pfeiffer, Mikhail Baryshnikov, Peter Falk, and Lynda Carter.

Directing

Seacat directed one movie, 1990's In the Spirit. In reviewing the film, which starred Marlo Thomas and Elaine May, The New York Times called it "a nervous new-age comedy more notable for good intentions than good luck." The Boston Globe described the movie as "An Endearing Mess," The Washington Post headlined it a "Grand and Goofy Comedy," and the Los Angeles Times wrote that "Spirit Loses Its Comic Flair Halfway Through‎." Variety, however, described the actors in the leading roles a "memorable screen odd couple."

While In the Spirit was filming, the Los Angeles Times's Cinefile column covered Seacat's directorial debut, calling her an "acting guru," and Liz Smith wrote about the film in her gossip column.

In August 2007, Seacat, with Jamie Wollrab, directed her daughter, Greta Seacat, and others in Elizabeth Meriwether's play The Mistakes Madeline Made at Boulder, at Colorado's Dairy Center for the Arts, starring Shannon Woodward, Justin Chatwin and Johnny Lewis.

Personal life

Seacat lives in Santa Monica with her husband, actor Thurn Hoffman.

Filmography

Film

Year Title Role
1975 Night Moves Voice
1979 The Rose Reporter
1980 The Kidnapping of the President Henrietta Cown
1980 Jane Austen in Manhattan Thriftshop Lady
1982 Frances Drama Teacher
1983 The Golden Seal Gladys
1984 Country Louise Brewer
1987 Promised Land Mrs Rivers
1988 Wildfire Sissy
1990 In the Spirit Director
1993 Born Yesterday Thanks
1994 The New Age Mary Netter
1996 The Destiny of Marty Fine Woman on Beach
1998 The Baby Dance Doreen
1999 Crazy in Alabama Meemaw
2001 The Want Doctor
2001 Nailed Sandra the Midwife
2001 Daddy and Them Elbe
2003 Prey for Rock & Roll Mother
2003 In the Cut Creative consultant
2003 A Little Crazy Delphine
2004 In the Land of Milk and Money Mrs. Trevors
2004 Illusion The Boarding House Lady
2007 Fade Woman
2007 Tattered Angel Louise
2010 Sympathy for Delicious Mrs. Matilda
2010 You Don't Know Jack Janet Adkins
2012 Shale (short subject) Sheila
2012 The Time Being Annette

Television

Year Title Role
1976 First Ladies Diaries: Edith Wilson (TV movie) Helen
1978 "Fame" (Hallmark) (TV movie) Bess
1985 Reunion (TV movie) Actor
1986 Nobody's Child (TV movie) Barbara
1991 Held Hostage: The Sis and Jerry Levin Story (TV movie) Actor
1999 Mickey Rourke: The E! True Hollywood Story (TV documentary) Herself
2000 Intimate Portrait: Laura Dern (TV series documentary) Herself
2001 Biography: Jessica Lange, On Her Own Terms (TV series documentary) Herself
2008 The Dark Side of Fame with Piers Morgan: Mickey Rourke (TV series documentary) Herself
2011 Enlightened (TV) Actor

References

  1. "1940 U.S. Census form". Familysearch.org.
  2. ^ "Obituary: Lois Marion Seacat". HutchNews.com. December 23, 2007.
  3. Tallmer, Jerry "Theatre: 'The Waltz of the Dogs". The Village Voice. August 2, 1962.
  4. ^ "Jessica Lange". Vanity Fair. October 1988.
  5. "Film Forum Faculty". Winthrop Rockefeller Institute. U. of Arkansas System.
  6. Allen, Jennifer: "Bad Boy: Actor Mickey Rourke is a hard case with a heart". New York Magazine. November 14, 1983.
  7. "The Role of Their Dreams". The New York Times. May 6, 2009.
  8. "Frances Farmer – The Making of Frances," from the book Jessica Lange – A Biography (1986) by J. T. Jeffries
  9. ^ Associated Press: "Casting Gamble in Thorn Birds". The Nashua Telegraph. March 29, 1983.
  10. Goldstein, Patrick: "Many-Sided Melanie Griffith". The Los Angeles Times. November 10, 1986.
  11. "I Dream of Gina". Cigar Aficionado, September/October 1998.
  12. "L.A. Readers' Choice: Classes and Coaches". Backstage. June 23, 2010.
  13. "Actress' role of a lifetime: Being a mentor". CNN. February 13, 2012.
  14. "Winthrop Rockefeller Institute hosting first Film Forum". KTHV. March 8, 2012.
  15. "Laura Dern Wins Best Actress TV Series Comedy Or Musical". Golden Globes 2012. CelebrityNetworth.com.
  16. "Laura Dern: A Hollywood Old-Timer at 37". The Baltimore Sun. August 23, 2004.
  17. "The Self-Aware Artist". Backstage. June 15, 2009.
  18. Thomas, Marlo (2010). "Obsession". Growing Up Laughing: My Story and the Story of Funny. New York: Hyperion. p. 210. ISBN 0-13-367870-9.
  19. Smith, Gavin: "Don't Let That Go: That's Valuable". Film Comment. September/October 1993. Vol. 29 Issue 5, p. 53. (EBSCO Research)
  20. Kolson, Ann: "Isabella Rossellini: No Comparisons". The Pittsburgh Press. December 22, 1985.
  21. "Isabella Rossellini: A Rose Who Has Known Thorns". Chicago Tribune. November 28, 1985.
  22. Wilkins, William: "Thorn Birds Star Enthused: Chamberlain Role Pursuit Succeeds". The Oxnard Press-Courier. March 27, 1983.
  23. Preston, Marilynn: "Thorn Birds gives Ward chance to win her wings". The Chicago Tribune. March 29, 1983.
  24. Robbins, Jane Marla (2002). "Relaxation". Acting Techniques for Everyday Life: Look and Feel Self-Confident in Difficult Real-Life Situations. New York: Marlowe & Company. p. 57. ISBN 1-56924-554-1.
  25. "Campion, Jane: In the Cut". Australia:Urban Cinefile. November 13, 2003.
  26. Lipton, James (2007). Inside Inside. New York: Dutton. ISBN 0-525-95035-4.
  27. Reuters: "Baryshnikov natural for movie". The Windsor Star. December 18, 1985.
  28. Kriegsman, Alan M.: "The Screening of Baryshnikov: From the Ballet Stage to a Cinematic Star Turn". The Washington Post. December 6, 1985. (paywall).
  29. Dalton, Peggy (2005). "Ch. 67. Gurumayi". Breathing Out. New York: St. Martin's Press. pp. 240–242. ISBN 0-312-32413-8. {{cite book}}: |first2= missing |last2= (help)
  30. "Carter tackles the wonders of history". USA Today. August 15, 1994.
  31. "Movie review: In The Spiriti". The New York Times. April 6, 1990.
  32. "In the Spirit – An Endearing Mess". The Boston Globe. June 8, 1990.
  33. "Grand and Goofy Comedy". The Washington Post. May 18, 1990.
  34. "Spirit Loses Its Comic Flair Halfway Through‎". Los Angeles Times. April 11, 1990.
  35. "In the Spirit". Variety. December 31, 1989.
  36. Cinefile: "Acting guru Sondra Seacat makes film directing debut with In the Spirit". Los Angeles Times. June 26, 1988.
  37. "In the Spirit production notes". NYTimes.com.
  38. "Churchill Book is Good Reading". The Sarasota Herald-Tribune. December 6, 1988.
  39. "Hollywood Actors come to Boulder". Denver Post. July 29, 2007.
  40. "Review: The Mistakes Madeline Made". The Boulder Daily Camera. August 9, 2007.

Further reading

External links

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