Who is New York’s Franklin Livingston and some of his American actor and influencer thoughts: Franklin Livingston received training in filmmaking and directing from New York University, and Yale University. Franklin then went on to study at a world-renowned institution, Guildhall School of Music and Drama, London, where he was trained in Shakespeare and contemporary acting. In addition to studying at institutions, Franklin got trained for 3 years in classical and modern singing by Melania Maldonado, Speech and Voice by Shane Ann Younts and Lenore Harris, and Acting for American Sitcoms by David Ross. Franklin is a trained dancer, he learned Latin and Ball Room Dances at various studios in NYC and Chicago, as well as Bollywood dances by Pooja Narang in New York City. Legendary dance teacher Saroj Khan trained Pooja. Find more information at Franklin Livingston actor.
What makes Franklin Livingston different? Franklin has been described as a living legend. His legendary persona comes from his unique and creative ideas mixed with his diverse cultural upbringing, world travels, his ability to relate to people of diverse socioeconomic class, and his teachable spirit. He is also comparable to World’s best content creators like Charlie Chaplin, Rowan Atkinson, and Chuck Lorre. The unfortunate reality that hit Franklin is that he came to birth when American film and television largely undermines the creativity of people with Non-White accents and skin color. Classic Hollywood still doesn’t consider people of color as intelligent, dynamic, and in-demand as someone of the Caucasian race. However, Franklin is motivated and getting started to prove that the paradigm of racism among American actors is long gone!
Franklin is a thoroughly trained actor and filmmaker who completed an apprenticeship right out of high school in videography. Since he grew up in an artistic household, Franklin already had significant exposure to acting and singing. Later, he learned about cameras, light, sound, preparations to shoot, footage delivery, editing, mixing, and coloring. Franklin ended up acquiring formal training at New York University. From working with a myriad of diverse cinematographers and technicians, he has learned about various lenses, lights, cameras, and audio equipment which has helped him develop a great eye on the subject of digital storytelling.
Please tell us the one thing that separates you from your competition. I do have a unique perspective to bring to the table. Currently, there is no person of Pakistani origin in Hollywood’s big-budget movies or TV networks that has the training I do. Especially not one playing a dramatic role that will be taken seriously and not a funny guy character. I would love to put my extensive experience to good use and not only go up against the competition for a leading serious role one of these days, but actually get a call back for it!
Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life? Visualizing. Actualizing. There is beauty and power in these practices. However, I feel that learning to live, breathe, and exist in the moment without stressing about the future and focusing on your thoughts and feelings right now — is vital and the most valuable lesson you could ever complete. Often on the set myself or my assistants might worry about staying on schedule or getting behind, but there is no resolution without conflict, and we always claim victory when we work hard and never surrender.
Franklin has broad training from highly experienced professionals in the areas of drama and the more serious cinematic roles. In films produced in the United States, there are no such leading roles that are filled by qualified Pakistani actors. Franklin has spent significant time and effort acquiring the necessary training and expert guidance to fill these roles. Franklin has the particular skills and personality necessary as an American actor to proudly and personally take on the privilege of shedding light on many important socio-political issues. Including representation or the cross-cultural issues faced by recent immigrants. Franklin envisions changing the way stories are told in America while empowering day-to-day heroes. In his films, Franklin has shown the heroism of average men and women. He believes heroes don�t have to be fictional or over-the-top good-looking men and women. Since those are standards set by humans and are not closer to the principle of nature and the Universe. Franklin believes heroes are always born among average people, and they live among us, helping us on a day-to-day basis, making our world a better place.
Can you share a story about the funniest mistake you made when you were first starting? Can you tell us what lesson you learned from that? I was in a meeting with my first TV commercial agents. They asked me if I was working on getting rid of my accent. They said that getting work without having a native sounding American vernacular is impossible. I laughed to myself and replied bluntly that I don’t believe I could ever eliminate my accent and that local people tend to search for a foreign accent when they need a medical specialist or a cosmetic surgeon in Beverly Hills. I think it’s only the Media, the formula, and the system that believes that actors shouldn’t have their native accents if they wanted to play leads in the local projects. Upon seeing their facial expressions, I realized my honesty was a mistake.
With possibilities comes challenges: Like many people who have been affected by the pandemic, Franklin is no exception. He mentions that during quarantine, he developed a couple of health conditions. He gained weight, became depressed, and started showing signs of aging. He, therefore, suggests an acting technique that supports the actors and can empathize with their emotional and cognitive state so they can have well-balanced lives. Franklin goes back and reflects on all the popular American acting schools and realizes that they affect actors emotionally or disrupt their mental well-being negatively. He mentioned it’s time for classic acting schools to revisit their curriculums and research why most actors who survive their training are introverts. They after two or three years of training, their actors end up becoming socially awkward, emotionally closed off, and distant from those community members who are not from the same professional backgrounds as them.