Film and Television
In 2004, Catalyst and writing partner Darren Stein co-created a proposed drama The Flyover States in a development deal with Touchstone/ABC. As an associate show producer, he worked for three cycles (2005–2006) on the reality series America's Next Top Model.
In the 2007 short film In the Spotlight, Catalyst was cast opposite Guinevere Turner as a charlatan named Bell Wartock. Catalyst also appeared in Darren Stein's 2007 short Color Me Olsen in a small role as an Oompa-Loompa impersonator. He also plays the role of Járéd Silver—a parody of Catalyst's close friend, the designer Jared Gold—in Lisa Hammer's feature film, POX.
In February 2008, Catalyst won the first place for TV Host in CBS's Big Shot Live contest. His role for the follow-up winner's episode was red carpet commentator for the 50th Grammy Awards. In November 2008, Catalyst had a cameo as the stylist for Antoine de Caunes in Allez a L.A.!, a five-part series that ran on the French Cable Network Canal Plus. In March, 2009, Catalyst appeared as a special guest in an episode of the reality television series Germany's Next Topmodel, hosted by Heidi Klum.
As 'Himself', Catalyst appeared in a celluloid version of the off-musical comedy Forever Plaid, shown nationwide in theatres for one night in 2009 to celebrate the play's 20th anniversary. However, his recent role as 'The Interviewee' in Matthew Mishory's short film "Delphinium: A Childhood Portrait of Derek Jarman" has been seen at film festivals around the world. It had its world premiere at the 2009 Reykjavik International Film Festival in Iceland, its UK premiere at the Raindance Film Festival in London, and its California premiere at the 2010 Frameline International Film Festival in San Francisco. It won the Eastman Kodak Grand Prize for Best Short Film at the 2010 United States Super 8 and DV Film Festival.
Catalyst also appears as "Johnny The Bartender" in Matthew Mishory’s 2012 feature Joshua Tree, 1951: A Portrait of James Dean, which stars James Preston.
Ramzi Abed's psychological thriller Noirland is still listed as "in production," though from press the film has already generated, Catalyst is credited in the role of 'The Baron.' Conversely, in Hilary Goldberg's experimental cross-genre feature recLAmation (2010), he has the role of 'Gaylord Wilshire Queer Superhero.'
Catalyst is an interview subject in Christopher Hines film The Adonis Factor (2010), a documentary about body issues among men within the gay community. Among the film's reviews, Catalyst is described as "one of two interviewees who 'stand out'" for being a "gothic artist model who is so painfully awkward that he becomes beautiful."
In 2011, Catalyst portrayed Salvador "The Ice Fiend Man" for episode #5.6 ("Better Them Than Us") of the SPIKE TV series "1,000 Ways to Die."
Read more about this topic: Clint Catalyst
Famous quotes containing the words film and, film and/or television:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . today’s children have substituted television viewing and, most recently, video games.”
—Marie Winn (20th century)