Born and raised just south of Boston, actor and author Dylan Saccoccio grew up playing sports, focusing primarily on hockey and golf. But when his high school resurrected its drama program during Saccoccio’s junior year, he was convinced by a friend to audition for a play entitled “The Diviners.” At competition, Saccaccio won an award for “Best Actor” for his portrayal of Ferris Layman. After working on his craft under the tutelage of Carolyn Pickman in Boston, Saccoccio was cast in “Mill Girls,” a play about the life of female textiles workers in Lowell, Massachusetts, and starred as the lead in a critically-acclaimed play about a modern teen Holocaust denier called “Ann Frank and Me.”
After graduating from Hofstra University, Saccoccio moved to Los Angeles, where he has starred in such films as L’amour Montparnasse, Alone at Midnight, The Appearing and Red Wing.
In April of 2014, Saccoccio published his first novel, The Tale of Onora: The Boy and the Peddler of Death, an epic love story that blends elements of Game of Thrones and Harry Potter. In November, Saccoccio published the second book in the series, The Girl with the Solar Eyes.
To learn more about Saccoccio and his work, follow him on Twitter.
What was your childhood like, and how did it shape who you are today?
My childhood was full of paradoxes. There seemed to be this constant duality in just about every aspect of my life, which gave me many perspectives and allowed me to wear many different masks. Ultimately, I was fortunate enough that my consciousness maintained its understanding and connection with Natural, Moral Law, so I never chose a path that sought to control people, but rather empower them. I have unknowingly tread on the left hand path, and I suffered a lot for that, but it allowed me to gain experience and understanding of certain types of people.
Before your readers cast stones at me for that admission, know that most people are on the left hand path, they just don’t realize it, which was the case with me. So that’s why I became an alchemist, one who transmutes base consciousness into higher consciousness, whereas Sorcerers seek to destroy people from within through obfuscation of the Knowledge of the Self, and they do that for their own ego-driven, selfish gains.
Right now, the most effective way for me to the transmute consciousness of unbegun, unraised slaves is through art, because of the frequency at which my work is created: Love. The greats do what they do because they love it, and Love is the force that expands consciousness.
How did you initially get into acting, and what did you find most enjoyable or exciting about performing on stage?
I got into acting by a fluke. I broke my driving club during the first round of tryouts for my high school golf team during my junior year. I couldn’t afford to buy another one for the next day, and I didn’t want to ask my parents because they did enough for me, so I didn’t play golf that year. It just so happened that my school brought back its Drama program that year, and the next day a friend of mine, who wanted to be an actor, talked about it with me during gym class. So we decided to do it together, and we brought another one of my best friends into it.
I think the most exciting thing about theater acting is that each performance is its own entity, and it never is the exact same. It’s not like film or TV where if you make a mistake, you can stop and say cut. It brings a whole new dynamic to the craft.
How have you evolved as an actor over the years?
As an actor, I’ve evolved over the years tremendously with the coaching of Will Wallace, and he’s one of those guys that, if you give him permission, will push you towards your fears ’til you no longer fear them. His work with me as an actor helped me become a better writer, because in his methods of coaching, he always teaches you to raise the stakes in work and make the strongest choices possible, even though many times they’re not obvious. And so now, I don’t really care about who I’m auditioning for or what the project is, or how much money is on the line. I prep, I go in there, and I do my best to live the moment, and then when I’m done, I walk out of that room and let it go.
I’m like a mercenary now. I couldn’t possibly care less about Hollywood or the fame and fortune. I already have real wealth, real MONEY, mon- :the prefix of one and ey: eye; one eye, one I, one self, the unity consciousness. So I think, so I feel, and so I act. That’s money.
I don’t care what people think of me. Instead, I invest my Care into them to help them whenever possible, and I try to share the Knowledge and Wisdom I’ve accrued and discovered during my life, so that they can get that perspective and possibly avoid the needless suffering that many young artists go through because they’ve been programmed to have unrealistic expectations of what the Entertainment Industry is like. Reality and the way most people think the world works are perfect strangers that never have and never will meet.
As an actor, have you been comfortable on stage or in front of a camera from the start, or was that something you had to work on?
I was absolutely not comfortable “on stage” or “in front of a camera.” I put those two in quotations, because if you’re being true to the craft, and living the moment, they are not part of the equation. I know there are a lot of professionals that may disagree, and it’s important for productions to keep certain things in mind, but if you strip away all the business aspect, if you do anything for any other reason other than natural reaction or instinct in a scene, you are performing, not acting, not becoming, not being. That being said, as long as one’s consciousness doesn’t expand, and they stay at that level of thinking about money and who’s in the room, and essentially every other detail that siphons one’s power away from his/her instrument, then he or she will always be a victim of the situation and never the godhead that creates it.
I didn’t wake up and think like this. There was a lot of psychological resistance and suffering that I went through by trying to ignore Natural Law and think I could do it my way. The best way to expand one’s consciousness, is to find a safe environment where he/she can step outside his/her comfort zone. That’s where life truly begins, and Fear is a low-level frequency vibration that restricts and contracts the expansion of consciousness, so you must find an environment that allows you to operate at the high frequency of Love, which is the force that expands consciousness. Most Fear comes from a state of ignorance, of not knowing, and so the majority of us have been beaten down by society, and we have all kinds of irrational fears that we imprison minds and hearts with. The first step is to start doing what you fear, so you can gain Knowledge of it, and familiarity with it, and then you won’t fear it anymore, and then you will fee comfortable doing it.
What made you decide to write The Tale of Onora, and what was the inspiration behind the story?
There are a number of stories that I’m a fan of that were never made into films. One of my best friends, Anup Lall, encouraged me to write The Tale of Onora. This was back in 2010. So I wrote first passes of the screenplays, and then another one of my best friends, Aaron Denius Garcia, who was a writer for that show Leverage at the time, told me how a lot of TV writers convert their screenplays to book form and self-publish them on Amazon, that way when they sell their screenplays, they retain the rights that a published author would have over the work. So I considered that, and I began to convert my screenplays into a book, and when that happened, all this new material and information came to me because I suddenly went from writing only dialogue to having to describe the world in the five senses and get inside the characters’ minds. In screenplays, you write the dialogue and leave it up to the actors/directors to make choices in how to deliver them. It’s like giving them a great recipe, but it’s up to them to make the dish. Whereas with a book, you’ve gotta prep it, cook it, and serve it yourself.
As I started writing the book, there was this overwhelming responsibility I had to really tell the story of my life, because there are things that I Know, not because I am wise, but because I was fortunate (or unfortunate) enough to acquire experiential Knowledge of. There are things going on in this world that 99% of humanity has ZERO clue about. They actually have Negative Knowledge, because they believe in absurdities regarding the nature of the world and the Universe. They are the sort of things that most people dare not confront. For years, I’ve been watching others blow whistles and talk about what’s going on, and then see how little it is received. It’s falling on deaf ears because people don’t spend their time or pay attention to the right things. They do not use their spiritual currencies wisely. The required numbers for a Quantum Shift to occur are not being met. So rather than tell people what they don’t want to hear, I put together a story that’s a metaphor for my life and includes elements of some of my favorite stories and games as a child, and I use those elements as a wardrobe to dress up the Truth of what’s really going on in this world.
It makes no difference if the readers understand the metaphors. The Gnosis and Wisdom within the books are discoverable, knowable facts that do not require human belief to exist. And so within those pages are the principles that one can incorporate in order to defend his/her mind from Sorcerers and protect his/her body in the physical realm as well. And it’s there for someone to take or leave. Unlike the people this book wards against, I have no interest in using their techniques to make you buy it, even though I possess that Knowledge. The Laws of the Universe exist to serve our benefit, but in order to serve us, they must first be obeyed. You won’t see me doing things like converting the Philosopher’s Stone into the Sorcerer’s Stone as they did with Harry Potter. I use the Trivium, and my book series is also a blueprint for teaching people how to use the Trivium.
So if I put anything into my book, it will be under its true meaning, not a corrupt version of it or the symbol of its archetype. There are people that use the Trivium to gain advantage over others, hence the reason they don’t teach it to us. So while I made up the parts of the Trivium for my story, when you see that symbol on my cover, that’s what you’re taking in. Grammar, Logic, Rhetoric.
How does The Tale of Onora differ from other fantasy stories?
The Tale of Onora differs from other fantasy series because it serves the True Great Work, whereas most fantasy series serve the dark work. They scatter enough Truth to suck its readers in, but then add enough lies to obfuscate the most important Knowledge of all, and that’s the Knowledge of the Self. My story is gritty and dark. I’m able to draw from my experiences of using magic and other weapons and then blending my life-changing experiences into the tale so that it maintains the element of reality. And that’s one of things that readers love about it. It feels so real. Well, that’s because their subconscious minds Know it’s real. I just dressed things up differently and changed their names. So it’s a lot different from the fantasy series that came before it, but it will remind you of them in positive ways.
What are some of your fondest video game memories?
I don’t play video games or watch TV anymore. My favorite experience was when one of my best friends, Gil, and I would link our Playstations together and play Command & Conquer side by side on two different TVs but in the same world, or stay up all night to beat a video game. The role-playing games that impacted me the most were Guild Wars, Elder Scrolls, the Legend of Zelda, and Dragon Age. You’ll probably see the most influence in The Tale of Onora from Guild Wars. I played on PvP teams with the best players in the world, and we used to stay up at night to fight against Korea and other countries with AMAZING gamers, and by winning we could gain control of the Hall of Heroes so that people in the United States could enter and farm the Fissure of Woe.
They were great times, and not only did they help me cope with learning how Hollywood, Wall Street, and Washington really worked (as a way of escape), but they also empowered me to learn and understand the best magic systems in the fantasy world. In the real world, magic is a lot different.
I became renowned in that PvP world with one of my builds. I discovered a build of Warrior/Necromancer that was self-sufficient and nearly invincible. I was never defeated by anyone in one-on-one combat when I used this build. Then, when GW2 came out, I converted that Warrior/Necromancer build into a Dervish/Monk build that was even more deadly and self-sufficient. And it’s funny, all the elementalists, mesmers, rangers, necromancers, builds that usually dominate a Warrior one-on-one, always had fun degrading Warriors until they faced me. A lot of people knew me. I was an arrogant, ego-driven prick that not only went after people who ran their mouths, but I made examples of them by humiliating them and taking screenshots.
But in Guild PvP, it’s a lot different because everyone had a function, and the execution had to be perfect. So you’ll see that when Aithein and the Bannitlarn Brothers fight as a group, and you’ll see it in Aithein’s quest as he gains certain skills and becomes a great warrior. You’ll see some of the secrets from my build revealed in his skills, and it’s exciting to know that the time I spent playing video games wasn’t just a waste. I took a lot of Knowledge away from them. Here’s a screenshot from the good ole days. Those who recognize it know how expensive that Obsidian armor was, and the requirements it took to get it.
What do you miss most about Boston?
The thing I miss most about Boston is how free it felt to be a kid there, and how when you’re roaming the streets with a pack of friends, not a care in the world, you get a taste of what living in Anarchy would be like. I’m not talking about the misinformed perception of anarchy that dark occultists and their mind-controlled house slaves want you to believe. I’m talking about real anarchy, from the Latin prefix: an- : “without” and archon: “rulers/masters.” Simply put, anarchy means to be without rulers. And no matter how delusional one’s justifications of other ways of life are, there are ONLY two ways to live: In anarchy (without masters/rulers; FREE) or in archony (with rulers/masters; enslaved). There is NO gray area to this.
I remember how much fun life was when we didn’t have to answer to bosses and “government” psychopaths who pretend they have more rights than you do, and that they can just magically write something on a piece of useless paper and it somehow is binding upon you. No. Never has existed. Never will exist but in your minds, and that’s where the war is being waged, because they cannot control your soul, and if they try to control your body, you’ll give them fierce physical resistance. I miss my stomping grounds, specifically Copley Square (the marks from our skateboards still decorate some of the cement and monuments there, nearly two decades later), and I miss the food on the North End. That’s the first thing I do when I fly to Logan. Gotta hit up Hanover Street immediately for some of the best food in the world. Other than that, the East Coast and the cities I grew up in have deteriorated to a point where I feel like a foreigner when I return. Everything’s changed regarding the people and infrastructure, so it’s like I was never even there. Funny how that works.
What’s the best piece of acting or writing advice you’ve received?
I never listened to anyone with advice for writing, other than avoiding passive sentences and basic things like that. But as far as I’m concerned, tell the story, indulge when it’s relevant, when there is particular Gnosis that must be acquired, and keep it moving. Raise the stakes. Don’t be afraid to prep as much as possible, and then just let your imagination in the scene allow you to live it as a writer and see where the moment takes you. That’s what I do. I have my notes, my plans, but then sometimes a wayward arrow or an ill-timed sword strikes a character dead that I had no intention of killing. Shit happens. Allow for it to happen in your work, because if you, as the writer, didn’t see it coming, then your audience certainly won’t either.
As for acting, but I think this is applicable for all crafts, the best advice came from Will Wallace, who constantly reiterates this: “Trust your instrument.” Do the prep work, mentally and physically in whatever craft you do, and then trust your instrument. It doesn’t matter what you believe, your belief is irrelevant. Your entire life and surroundings are based on a perception that is already a moment that has passed you. Everything you perceive is the past. You are being operated by your higher-self. Trust that. If you don’t, then you cannot perform the True Great Work that your higher self wants you to perform. The more you betray your instincts, the more suffering you will experience. You have a moral compass and everything you need already built into the mind-body machine/computer that you are operating. You have the five senses for a reason; trust that.
That which is Above is like to that which is Below, and that which is Below is like to that which is Above. The Universe is self-similar across all scales. This is the Principle of Correspondence. It existed before you, it will exist after you, and human belief in it is completely irrelevant. The best thing anyone can do is to embrace Natural Law, obey it, and then allow it to work for you. That’s what I’d like whomever reads this to understand.
What are you working on next?
Right now, I’m scheduled to shoot a film at Sony Studios as an actor, and then I’m about 3/4s through writing Book 3, The Tale of Onora: To Seek The Eye of God. That book should be published sometime in the middle of 2015.