One on One with Kelly Stables

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Kelly Stables

If you were placing bets on how the warm and bubbly Kelly Stables would get her big break in Hollywood, chances are you wouldn’t have guessed “playing a creepy little girl who attacks Naomi Watts in a bathtub.” But thanks to legendary makeup artist Rick Baker, who helped her land the role of “evil” Samara in The Ring 2, that’s exactly how it happened.

Luckily, Stables has found a role closer to her cheerful personality on the hit show Two and a Half Men. She plays Alan Harper’s girlfriend Melissa, who has been described as “Tinkerbell with knockers.”

Stables recently talked to us about breaking into the business, working with Charlie Sheen and John Cryer and her “make-me-pee-my-pants-if-it-ever-came-true” dream.

Where are you originally from and where do you call home now?

I now call Los Angeles my home. I’ve been out here going on 10 years, and I love LA. But I was born and raised in St. Louis, Missouri, and the Cardinals are in first place by like 10 games now, which is very exciting. I still follow the St. Louis Cardinals because, if you’re born in St. Louis, you’re just kind of born rooting for the Cards.

But that’s where I was born and raised and I went to college at the University of Missouri. I graduated early and packed up the old Ford and moved out here. Nine and a half years later, here I am.

How old were you when you decided to make the big jump and to head out west?

To be fair, I’ve always wanted to pursue acting. My mom was a teacher and she’s taught second grade most of her life, and she would always tell me, “Well, Kelly, I get to act in the classroom every single day. I get to read in fun voices to the kids and you can do that too.” I actually majored in education for a semester, but my thesis at the end of that semester was “I don’t think I want to actually be a teacher.”

I had wanted to do it for as long as I could remember, but I didn’t do it until right after college. So I guess I was 21 or 22.

If this has always been something you’ve wanted to do, is it then safe to assume you were always involved in drama and things like that growing up?

I remember being five years old and being an angel in the Christmas play and the two other little angels were giggling because they were nervous up on stage. And I remember thinking, “You know, if I’m being an angel, then I wouldn’t be giggling. I should just be watching over people” or something ridiculous. I’m like, “Why are they giggling? They shouldn’t be giggling.” So even at five years old I was thinking as that character should be thinking.

That was just itty bitty, but then I got involved in school plays and quickly found out that I could really be myself when I was acting. I always got a lot of support from friends and family and I was trying to do any play available in school. In Missouri there really isn’t an opportunity to do on-camera work, unless you want to be an anchorwoman or something with the news, so I majored in communications because that was the only place to do that. But yeah, it’s something I’ve always had a passion for.

Packing up and moving halfway across the country is never easy. How tough was the transition, and how tough was it to break into the business?

It’s very tough. I’m definitely an underdog. I didn’t know one person in LA. I moved out here alone. I didn’t have my Screen Actors Guild Card, and I wasn’t in any of the unions. But I knew that this was what was in my heart and I had to at least give it an honest try. But it was tough, because so does everyone else who moves out here.

I started out doing “extra” work, just so I could be on set and see what it was like on a movie set. It just so happens that one of the very first movies I got cast in was Planet of the Apes, where I played a little extra monkey, and through that experience I met Rick Baker, who did the amazing makeup for that movie. He remembered me from that and referred me for The Ring 2, so I kind of found out that this is just like any other business. You meet people and build connections. You just try to get out there, do a good job and be on time.

Was there ever a time when you thought you might have to give up and do something else for a living?

Absolutely. It wasn’t until The Ring 2 that I stopped my day job, so to speak. I did accounting at a theater company when I first moved here, and then after that, I did the bookkeeping for a small production company. I definitely had to have that source of income. (Laughs). I knew I couldn’t wait tables because I’m not strong enough to hold those big trays, and plus, I’m so short that they would be hitting people as I walked past them.

You mentioned The Ring 2. What was it like to be a part of that sequel?

It was amazing, mainly because I was the canvas for Rick Baker. He’s an Academy Award winning makeup artist and is just awesome. He has such an amazing imagination, and works so well with the director and producers. I’ve been asked before, “Were you scared shooting the movie?” when we were actually shooting the movie I wasn’t because everything was so technical.

It was Dreamworks, and they have a lot of money to spend, so they would take the time to get each shot exactly how they wanted it. And the wig that I wore as Samara was $15,000 because each piece of hair was sewn on individually. It was pretty cool working on it, but I wasn’t scared filming it. When I’ve watched it and would see the parts that people would get scared at, I was sitting there thinking, “I remember when we shot that. We had lobster for lunch that day or that’s the day so-and-so got sick.” I guess I just remembered everything going on at that time.

I’ll tell you what was interesting and what I learned about fear of the unknown. That’s why they wanted to keep Samara’s face covered with the hair. They didn’t reveal my face too much because you want the audience to be wanting more. If you show it, well, then they’ve already seen it. The fear of the unknown is a very powerful fear.

You’re a very warm and bubbly person. Samara? Not so much. What was it like to play a role like that?

(Laughs). Well, the difficult part was that it took five and a half hours to put all that prosthetic makeup on me, and then we would shoot all day and night. And then it took an hour and a half to take it all off. Obviously that’s a lot of time required, but it was all part of playing that role. I think the roles I play on television are a lot closer to me. First of all, there’s not that prosthetic mask that I’m hiding behind. But it’s acting, and not to sound too cheesy, but it’s my passion and I like to play all different kinds of roles.

Kelly Stables

You’ve appeared in such shows as Til Death and How I Met Your Mother. What’s it like to walk onto the set of an established show like that?

It’s very important to know your lines and hit your marks. In my opinion, you need to just do your job that you were hired to do. It’s not really the time to go out and have fun and be like, “Hey, check out my improv skills.” Do your job and make it easier for all those people who have so many other things to worry about. But I think you’re treated well, as long as you go out and do your job.

How did your role on Two and a Half Men come about?

Through a regular audition. I got called, had an audition, went, got called back and this is one of those moments I will never forget. I was sitting in the hallway right after I auditioned and they were letting all these other girls go except for me. I was working on Greek that day, and I knew I had to show up there a couple hours later and the casting director said to me before all of the other girls left, “Hey Kelly, can you hang on a sec? Your agent wants to talk to you about Greek.”

Well, they let all the other girls go and he says, “Really, we just wanted to let you know you got the part and Kelly, this is big.” My heart just sank and I tried with every fiber in me to not start screaming and crying because I was so excited. I tried to play cool and was just like, “Oh, thank you very much,” but then I got in my car and was screaming. I was so, so happy. But it was just like any other audition, which is why I say that the majority of my job as an actress out in LA, who came out here knowing no one, the majority of my job is auditioning. I just try and do a good job and make a good impression during my auditions because when I actually get the opportunity to work, that’s the icing on the cake.

That brings up a good point. How many auditions do actors and actresses go to before they finally get that break?

It definitely depends on where you are in your career and the credits that you have. Now, keep in mind, I moved out here with no credits, except for my local theater work. It’s a Catch-22 because you can’t book a job unless you have credits, but you can’t get credits unless you book a job.

There are ways that actors who are just starting out can submit themselves. They can actually submit their stuff online – their pictures and their credits, if they have any – and try to get smaller, independent movies. That’s what I started doing. That’s how you get credits and they’re movies that people will never see, but at least you have something. You gain experience and some ‘know how.’ There’s been times when I did a couple of auditions in a day, and then others when you go a couple weeks without doing any. You just kind of have to expect the unexpected.

Getting back to Two and a Half Men, you play the bubbly and energetic Melissa. How was the role described to you when you first auditioned for it?

She definitely was not described as petite. As a matter of fact, I’m sitting in that waiting room with all of these beautiful, voluptuous women and I’m thinking, “Why am I here?” you find yourself in that mode and you have to quickly talk yourself out of it. You get somewhat of a character description, and I don’t even remember if it said bubbly. I’d have to go back and check. But I do know when Berta calls me a Smurf or “Tinkerbell with knockers,” all of that was written after I got the part. There was one point where the writers came up and asked me if it was cool to write in that stuff and I said, “Do it all you want. Go for it.” It’s not like I haven’t heard it before. I can take it. I’m a big girl … well … not literally.

When you landed the role did they give you any idea how many episodes you’d be involved in?

No, not at all. I was told one, with the possibility that it might recur.

Well, you definitely seem to be making the most of the opportunity. What’s it like working with such established guys like Charlie Sheen and Jon Cryer?

It is the most fun and rewarding, and it’s been a great honor. Jon Cryer is such a professional in every sense, and his skills are amazing. His physical comedy is hysterical and he’s just the nicest person. He’s a family man and he loves his work and being around him has been a great lesson for me. He always shows up on time, knows his lines and does great work. He’s just unbelievable. Charlie Sheen is the same way. They’re both such professionals. It’s such a great lesson for me, and it’s so much fun. So much fun. I’m extremely grateful for this time in my life.

Kelly Stables

Talk to us a little bit about Greek and your role as Janette.

It’s a show about fraternity and sorority life in college, which is something I lived through. People back home ask me if the show is accurate, and yeah, it actually is as far as all of the politics behind the Greek system, rushing and all that. It’s a really great show on ABC Family. Its super fun, and I guess being associated with that network, they were able to offer me a movie that’s going to air on that network at Christmas called Santa Baby 2, with Paul Sorvino, who plays Santa Claus and Jenny McCarthy, who plays his daughter. I am vying with Jenny for the right to take over for Santa Claus’s job, so that’s a cute little family movie coming out around Christmas.

But like I said, Greek is just a super fun show and it’s got great characters, and the actors are really great to work with too.

What else are you working on these days?

The most exciting one is the pilot that just got picked up. It’s called Romantically Challenged, and it’s with Alyssa Milano and Kyle Bornheimer. It’s a sitcom and Alyssa and I play sisters. It will air on ABC as a midseason replacement and it is just really funny. All of the writing is hysterical, so I’m really excited about that. We should probably start shooting sometime in October.

What goals do you have set for yourself?

I would like to continue doing amazing, funny and fun work on TV. I’ve found that to be very rewarding and really fun. I’m also a writer and I’ve been dabbling in screen plays. I don’t know if I have the quick wit to do TV, but I’m trying to write a screen play by the end of year. That’s my goal.

Is there a specific genre you prefer?

I love chick flicks. The Notebook and Beaches are two of my favorites of all time. Movies with the mother-daughter relationship are compelling to me.

Chick flick or not, who in Hollywood would you like to work with?

I’ve always been a big fan of Kristin Chenowith. I admire her and feel like I should thank her for opening the door for petite little blondes. I’ve always been a big admirer of Sally Fields and Reece Witherspoon is another great actress. Those are a few great, strong actresses. My ultimate dream would be to do a movie musical with Baz Luhrmann. I’m a theater nerd, and I love musicals. My ‘make-me-pee-my-pants-if-it-ever-came-true dream’ would be to do a movie musical with lots of glitter. (Laughs).

Can you sing?

Yes! I love show tunes! But I probably carry too many tunes. (Laughs).

What do you do in your free time?

I like to do home improvement. I’m going to be installing new cabinets this weekend, which is something I like to do. My stepfather is a carpenter, so he taught me how to do some stuff. I like to get ‘hands on’ and see immediate results. Although, admittedly, everything takes me 10 times longer to do than it should. But I’ve installed a fireplace, replaced the hardware on my doors and rewired the cable. I like to do all that kind of stuff.

Tell us something most people don’t know about you.

My feet are not ticklish whatsoever. You can put the tiniest little feather on my foot and I won’t laugh. Maybe I should put that on my resume.

Kelly Stables

Interviewed by Brian Murphy. You can learn more about Kelly Stables at her official website.

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Positive Cynicism – Giving credit where credit isn’t due

Positive Cynicism 4 Comments
Aaron Davis

Aaron R. Davis

Because being on Blogger, Blip, a virtual football club and Twitter apparently doesn’t give me enough on the Internet to be ambivalent about, I’m also on Tumblr.

For those who don’t know, Tumblr is another blogging platform, one that’s generally devoted to pictures and short little personal posts, and tends to be all about immediacy. People are posting images left and right, all day and all night long, just sharing things they find interesting and then, really, abandoning them forever. It’s not a place designed for a lot of commenting and conversation over an issue; things go by too quickly for that. Either people like something, or they just ignore it, and Tumblr moves on to something else. It’s weirdly gratifying.

I’d say the appeal of Tumblr is that immediate response. It’s not like a blog, where the paucity of comments makes you wonder if anyone read or cared about what you had to say. And it’s not like Twitter, which seems more and more pointless the longer you’re on it. Often the only response I get on Twitter these days is from my account picking up activity from my other online accounts, and getting me snarky comments looking down on me about how all I do is link pictures or play online games and have nothing to say. Do I need Twitter reporting on my every online time-waster? Other than stalking celebrities (and you will be my wife one day, Kristen Bell), what is Twitter really good for other than engaging yourself in your own narcissism?

(And yes, I know I once wrote a Positive Cynicism column defending Twitter, but that was then and this is now, and now I’m aware of just how incredibly lonely an experience it really is.)

But the one thing that keeps Tumblr from being as fun as it could be is the whining.

The near-constant whining over who deserves credit for the images, songs and videos posted.

This is the most irritating aspect of the Internet in its entirety. Everyone wants credit.

I’ll give you the most hilarious example.

My youngest sister frequents a number of websites devoted to Disney fandom. For them, fandom means ripping every new Jonas Brothers CD and Hannah Montana: The Movie and posting it online for download. And they all want credit for it. Like, if one of them posts it, and then another one puts the same download link to Rapidshare or whatever on their own website, the original poster wants the credit for putting it online. Really? Would you like the Walt Disney Company to give you credit for that one, because their crediting of your criminal action might not be so appreciative. Why would you want to credit for doing that? You’d think someone wouldn’t want the attention for stealing something and making it accessible for others to steal. But no, these kids on the Internet are crazy.

Another example: I have a blog on Blogger that I’ve been running since 2005. It’s mostly me ranting about stuff or making lists of things or posting movie trailers from YouTube or pictures of pretty girls — the things everyone does on their blogs. Several months ago, I found a picture I had to post on my blog, because it was a picture of Pac-Man and I love Pac-Man like he’s my own uncle. That picture was posted on a friend’s blog, and he had a link back to The Daily What, which finds interesting things all over the Internet and showcases them for people. (It’s like BoingBoing, only not maddeningly irritating.) I put up a link to the friend’s blog, and anyone going through the linkbacks would’ve found where the Pac-Man image was originally located.

And then I get a very angry comment, telling me the name of the artist, and that it’s a Threadless t-shirt design, and that I should link to the original image, and “you should give credit where credit is due.” And it just rubbed me the wrong way like you wouldn’t believe. I had given credit: I’d credited the blog I got the image from. He credited The Daily What, where he found it. And The Daily What had a link to the Threadless store. So what did I do wrong?

I challenged the person by asking if Threadless and the artist had credited Namco, the publisher of Pac-Man, when they had created a commercial tee shirt based on someone else’s copyrighted characters, but the answer never came.

That, in a nutshell, is how I feel about giving credit on the Internet.

It’s like those sites that are nothing but scans of magazines. If you look at the scans, many of them have little logos on them, which are ways for scanners to “sign” their scans, so that if you copy them and put them up on a blog or something, everyone knows who did the “original” work. Sure, you’ll never see those scanners crediting the actual photographers and publishers of the work they post on the Internet, but heaven forefend a scanner doesn’t get the credit for taking the incredible amount of time to buy a magazine, scan an image into a computer and post it online.

So the real problem I have with Tumblr is not the platform itself — it’s pretty, efficient and simple to understand — it’s the people on it who whine about not being credited with posting something.

My wife (a closet Jonas Brothers fan) follows a number of Jonas-related Tumblr blogs that post the same pictures, because they’re all getting their pictures from the same sources, and every so often a fight seems to break out over who originally posted what.

I’ll actually stop following a Tumblr blog if someone whines too much about getting credit. I’m not the kind of guy who actually removes the link that automatically generates when you reblog someone’s post — though there are people who do that and are objects of scorn as a result — but I am the kind of guy who will say, “Actually, I think you’ll find that picture belonged to the late Russ Meyer, who published it in Playboy long before you were even born.”

Now, don’t get me wrong. If you do a webcomic or create an animated .gif or post something original on your DeviantArt page and people are passing it around without crediting you for it — that stinks. That ruins the sharing experience for someone. And the original creators of those works should say something if they don’t want their work being shared. But let’s get some perspective here: if I post a picture from Marvel Comics’ Wonderful Wizard of Oz adaptation that you have also posted, and you feel you deserve the credit, you really don’t. Not unless you’re the artist, Skottie Young, or Marvel Comics. Because otherwise, you’re doing the same thing I am: sharing someone else’s work that you and I have no personal stake in.

While we’re on the subject, I’d like the movie studios and music companies to get some perspective, too. If I post an MP3 on Tumblr, it’s not stealing. It’s sharing. And it’s not sharing in a way that someone can download it. It’s me saying, “Hey, listen to this, you should go buy it!”

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When I want to post a David Bowie video on my blog and see that EMI has disabled the embedding on all of their David Bowie videos, it makes me feel like a thief. And why? How is posting something that no one makes any money on stealing? It’s me sharing my love of David Bowie with the people who follow my blog; it’s just another avenue of promotion. That’s all music videos are: a way to promote a single or an album. Why does it descend into thievery when I post the video somewhere other than YouTube? You’re just making it unnecessarily hard to sell David Bowie albums when you hoard the videos and disable the embedding. (Very tellingly, the Official David Bowie Channel on YouTube does not disable the embedding. Who is EMI really protecting?)

Unless you actually own something original, everyone online needs to stop being so precious about credit and sharing. If you’re ripping a CD and putting it online, you don’t get credit, except in the eyes of the law, where “credit” translates to “the defendant.” If you scan someone else’s picture in a magazine and put it online, you don’t get credit for the work you didn’t do. If you post a music video or a movie trailer because you want to share something you’re excited about, you’re not a thief, but you’re not the owner of it, either.

And if you want credit for posting an image you don’t own so badly that you put your web address on it … well, what’s the word they have for someone who takes someone else’s work and puts their own name on it? Right: plagiarist.

Get over yourselves, plagiarists.

Aaron R. Davis lives in a cave at the bottom of the ocean with his eyes shut tight and his fingers in his ears. You can contact him at samuraifrog@yahoo.com.

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