Biz Blog:

The Biz Interview: Simcha Jacobovici - Executive Producer of Biblical Forensics: Real Faces of the Bible

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Biblical Forensics: Real Faces of the Bible is a groundbreaking documentary series – hosted by David Berman of CSI: Crime Scene Investigation – that combines archaeology, forensic investigation, and dramatic reenactments. The four-part series follows a team of archaeologists who use advanced facial reconstruction techniques to reconstruct four ancient skulls from the past.

Notable Canadian investigative journalist and documentary filmmaker Simcha Jacobovici is the executive producer of Biblical Forensics: Real Faces of the Bible. In advance of the conclusion of the series – airing Monday, April 29th on Vision TV – he spoke with us about the series and his involvement.

Tell us about Biblical Forensics and what viewers can expect to learn from the series.

We have seen facial reconstructions of ancient people from countries other than Israel. Nothing from the Holy land! Reason being opposition from religious groups that do not want to “disturb the dead”. But now, by doing a CAT scan on skulls, we were able to avoid the controversies. Our experts reconstructed the skulls in a computer and then generated a 3D printing of the skulls. After that we were able to reconstruct the faces using both police manual methods and modern digital technology. In this way, for the first time ever, we come face to face with people who lived in the Holy land during Biblical times.

From a creative standpoint, what is the process like for building a coherent series that combines dramatic recreations and documentary footage?

Coming face to face with Biblical people allows us to get to know their lives. For example, the Biblical enchantress Delilah was from the area of modern day Greece, not the Middle East. The reenactments allow us to recreate those lives. That way the CSI style of investigation opens the door to a historical period. We get to meet the person and at the same time learn about the world he or she came from. Mixing recreation, computer graphics and live action documentary allows us to bring both the faces and their lives to the screen.

Forensic science is a big part of this project. How does forensic science differ in reality from how it is often portrayed on television series?

I don’t know that it differs. We used two forensic artists that actually work with police departments – Victoria Lywood in Montreal and Greg Mahoney in Boston – so the procedure on the Biblical faces was really no different than the procedures that take place when an unidentified body is recovered. In TV drama the difference is not the forensics but the love affairs between the experts. In the documentary we stayed out of the experts’ lives.

You’re the executive producer on this series. Can you explain exactly what your duties were?

I came up with the idea and I had the contacts in Israel to make it happen. I outlined the basic structure which follows our unique genre i.e., investigative archaeology. But after that our talented team of producers and directors took over. Of course, I commented on cuts like all series creators and Vision TV played a big role, especially Joan Jenkinson and legendary executive producer Moses Znaimer.

How did you first become involved in this series?

I do a lot in the world of archaeology, especially Biblical archaeology. I’m friends with the head of forensic anthropology at Tel Aviv University, Professor Israel Hershkovitz. We were discussing the fact that there was no forensic recreation of Biblical faces because of religious opposition when we suddenly realized that today’s digital technology and 3D printing could get around past obstacles. We got very excited about the idea that people would get to meet a Philistine woman who lived in the same place and at the same time as Delilah, or a Galilean who lived in the first century in the area where Jesus preached. After that it was a question of pitching the project and getting the backing of National Geographic in the US and Vision TV in Canada.

You have a strong background and interest in investigative journalism. How does this influence your choice of projects and your creative process?

Usually investigative journalists stick to social issues and politics. People who do historical and archaeological stories are usually more deferential to the professors that they interview. They don’t come from an investigative world. We continue to do investigative social issues e.g., we are premiering our new film on organ trafficking (Tales from the Organ Trade) at Hot Docs in Toronto next week, but we also bring the tools of investigative journalism into the realm of history and archaeology. This gives us a unique niche so we tend to focus on historical stories that have an investigative angle. We like to “decode”. I like to focus on projects where there is a physical artifact at the center of the story which, once decoded, can change the way we see history.

Are there any books relating to film and television that have been influential in your journey?

When The Shooting Stops The Cutting Begins: A Film Editor’s Story by Ralph Rosenblum and Robert Karen. It gave me an insight into the politics and art of filmmaking.

What advice would you give to people who have an interest in becoming producers or directors in the area of documentaries?

Get a general BA first. Documentaries are content driven. If you have nothing to say – no matter how nice your camera angles – your documentaries will not be worth much. On the other hand, if you take some time to formulate your views on things and do lots of reading, you’ll have a story to tell. Only then should you learn the craft of documentary filmmaking.

What is the biggest challenge for Canadian filmmakers today?

Funding is always the biggest challenge. In the past, documentaries had to contend with live action drama. Now, they have to contend with formula driven, factory style documentary reports on the one hand and “reality” television on the other. In the short run, this creates a shrinking market for true documentaries. On the other hand, as the internet becomes a sponsor of content, I believe that documentaries will find a wider market than ever before.

What upcoming projects do you have that you would like to mention?

I’m following up Biblical Forensics with a show called Biblical Codebreakers where we look at recently found artifacts and their impact on our understanding of history. To see what I’m up to you can follow me on my blog or Facebook.

The final installment of Biblical Forensics airs Monday, April 29th on Vision TV.

Posted on April 23, 2013.
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The Biz Interview: Jesse James Miller - Director of Becoming Redwood

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Canadian filmmaker Jesse James Miller has a diverse set of directing, writing, and editing credits in television (Captain Starship, 4Real), documentary films (Uganda Rising), and feature films (The Seamstress, My American Exodus). His newest effort as a writer and director is the drama Becoming Redwood. He spoke with us about the film and his creative process in putting it together.

Can you briefly walk us through your creative process for the production from the early stages (initial ideas, writing, etc.) all the way to the theatrical release of Becoming Redwood?

I wrote Becoming Redwood in 1998 while living in Los Angeles. I had written a script prior and felt it wasn’t deep enough and as a writer I needed to go further. So, I decided to delve into my own past and that lead me to Redwood. I had parents that divorced, that had come from the U.S to Canada during the Vietnam war. I had searched for ways of getting them back together and did believe I could beat Jack Nicklaus. Not in the way Redwood believed, but we shared very similar thought processes and the script took off from there. I wrote the first draft that year and received some interest at an agency in Los Angeles. Ultimately however, I felt as a director and writer I wasn’t ready and neither was the script. For the next half decade I spent my time honing my craft as a writer/director as well as an editor and after many re-writes of Redwood I shopped it around with my agent in Vancouver, Barbara Bird. There was interest again, but the Canadian model’s didn’t make sense to me. The script was too polished to enter the telefilm/development world and the grant system itself was foreign to me. I wanted to follow the private financing model which I believed at the time would give me more creative control. I found out Chad Willett and Joely Collins were going to start a new company (StoryLab Productions) and were looking for a script. They read it and loved it. We agreed on the private financing system and away we went. I happened to be directing a feature documentary (The Good Son: The life of Ray “Boom Boom” Mancini) at the same time the financing came in for Redwood and did both films at the same time. Pre-Production and Casting happened in June/July of 2011 and Redwood went to camera in Late July and all of August. Post Production was great as my ratio was very low and I know the editor very well. Charlie Renfrew is an great friend of mine and we work well together. Schaun Tozer came on board to compose and we work very well together as well. The film was done in December of 2011 and sound/music/color correction was finished by April. The film then hit the festival circuit in September of 2012, opening the Edmonton Film Festival, winning the jury prize, then off to VIFF, winning the most popular film award. Now it’s about to be theatrical released across Canada.

What themes and ideas do you want the audience to think about from watching the film?

That love can change everything. It might not change things the way you thought, but it’s the only positive way forward.

What was the most challenging sequence for you to film?

There were very few, but the 18th hole at Augusta scene was written with the gallery/crowd lifting Redwood onto their shoulders, a big celebratory moment. We didn’t have the money for extras in that scene or any time, so modifying that feeling without visual support was difficult for me, however it worked in the end.

You have a diverse background as a director that has included documentaries, TV series, and dramas. How does your preparation change if you are shooting a drama like Becoming Redwood vs. a documentary like The Good Son or a TV series like Captain Starship?

Preparing for different genres is why I do them. It’s very exciting for me to step into different worlds. However it all goes back to story in whatever your directing. So my preparation for any film, whether it’s fiction or non-fiction is delving as deeply as I can into the story. Knowing it’s elements, it’s characters. For non-fiction these are real people so that preparation is a bit different than the casting process in fiction, however it’s still about finding real moments, real people.

Which accomplishments are you most proud of from each filmmaking experience that you’ve had and what are the most important lessons you’ve learned?

I’m very proud of Becoming Redwood for enduring the many years of that’s scripts growth. It was hard, but I kept going and it’s paid off with a beautiful film that I’ll always be very proud of. For The Good Son, it’s just such an amazing film because of it’s subject matter – Ray “Boom Boom” Mancini. He allowed me to enter his life and was very open during the process, no matter if it was painful to him or not, he was open. I’m very grateful to him for that experience.

The most important lesson I’ve learned is to never panic. Even when you are, never show it. The minute that happens you might as well go home and close shop because it will never show you the way through hard times.

From your perspective, what are the keys to creating effective drama in a film or a documentary?

Well for one thing you need to know where those dramatic moments are and figuring out the best way to present them. With Redwood it was understanding those silent introspective moments with my character Redwood and drawing those moments out properly. To effect drama I decided to break the 4th wall and have Redwood look directly at the audience, sometimes in total silence, sometimes with a line. It was a chance, but I found it to be very effective for his character and heighten the dramatic aspect the film needed.

With The Good Son it was making sure I approached the death of both Ray’s brother and Deuk-Koo Kim with respect. Nothing ever over the top in those moments, so lots of mindfullness as a filmmaker. With documentary it’s different however when it comes to effecting drama. Your job, in my opinion, is to create a comforting environment for them to express themselves and then get out of the way.

Which steps can directors take to build positive working relationships with their cast and crew during the making of a film?

It’s all about trust and creating a safe environment for the actors or your subjects. So for crew it’s for me to lead in that example and make sure that happens. That is just a directors job whether it’s fiction or non-fiction. With actors it’s essential for me to make sure they feel safe to express themselves in their work. With subjects in documentaries, if they don’t trust you, you have no film.

Who and what were your major inspirations for becoming a director?

I found directing through a lot of people. Because I’m a late bloomer and didn’t fully understand early in my life that being an artists is not a choice, I attribute most of my inspiration to my parents who never questioned my own choices. As crazy as they were. Then one day I found my wonderful wife, Jennifer Copping who’s continued that support exponentially, and finally, Francois Truffaut. 400 blows also changed my life.

Are there any authors or specific books that have been influential in your development as a filmmaker?

Walter Murch’s In the Blink of an Eye. Sidney Lumet’s Making Movies. Nikolai Gorchakov’s Stanislavsky Directs.

What is the biggest obstacle facing independent filmmakers today?

I think it’s getting your work seen at the next level. Studios control theatres, have massive P&A budgets and the film festival route has changed. So there’s little room for indie films to truly break through. However, it’s an exciting time as well. Technically equipment has never been better or cheaper and with new distribution channels and funding possibilities via the internet, there is a new world coming. We just have to be patient, open minded and continue doing great work. Great work always shines through.

What advice would you offer to aspiring directors who are looking to get started in the industry?

Learn how to write, find a great editor and get a good lawyer.

Are there any upcoming projects that you’re working on that you’d like to mention?

I’m writing two feature film scripts and starting a re-write on a feature script I’m shooting this summer in the U.S. I’ve also started a new production company called Profile Films with two fellow filmmakers in Vancouver and we have a few projects in development that are starting to find there legs and could go to camera soon as well.

Becoming Redwood opens in Vancouver on April 26th, 2013. For more information on the film, please visit BecomingRedwood.com.

Posted on April 6, 2013.
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The Biz Interview: James Bamford of Arrow

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Vancouver’s James Bamford has an extensive history in stunt work, having worked as a stunt coordinator and performer on a wide range of film and television projects like Final Destination, Eragon, The X-Files and Stargate Atlantis to name a few.


James is currently the fight choreographer and coordinator on the CW series, Arrow, which has recently been renewed for its second season. He spoke with us about his life in stunt work.





What are the keys to a perfect stunt?


A great script. Prep time. Creativity. Talent. Toughness. A budget… and in some rare cases, a little luck.


Tell us about Arrow and your involvement in it.


Arrow is an adaptation of the DC Comics character, Green Arrow. In our version, he is quite a bit darker/grittier than the original comic, quite similar to The Dark Knight/Batman character. My involvement consists of membership on a complete team of the stunt department. I personally choreograph, and oversee all of the combat/fight action on the show, including training of the actor(s) and other utility stunt coordinator duties. We have a stunt coordinator, in addition to myself heading up our team, Mr. JJ Makaro.



What’s the worst injury you’ve ever had from doing a stunt?


The worst immediate injury consisted of tearing my lat muscle in half during a highfall (the landing). But I have accumulated damage to both my hips throughout the years requiring a double hip replacement surgery. I’m bionic from the waist down.


How do you mentally and physically prepare for a stunt?


Mentally, I go into a bit of a calmed zen state of meditation immediately before the camera rolls. Physically as a performer, I attempt to make it to some form of physical training as many times a week as possible. It’s important to keep sharp at all times when being a regular performer of stunts. Losing your edge is not an option.


What advice do you give to actors when you are training them for a stunt?


To be honest with me regarding ability, previous injuries incurred, and to listen when instructed to “stand down” during the performance of any given stunt on set, letting a double take their place.



How has recent film technology like CGI and 3D affected modern stunts?


It has enhanced what was already a beautiful creative process. One can’t replace the other, as a good coordinator knows. Working together with the VFX department only serves to ensure a seamless blend of live action and FX magic.


What made you want to get involved in the stunt side of the industry?


Early on, I was influenced by Bruce Lee and Muhammad Ali. There was really no other path for me.


What is a typical day like for you on set?


Does typical exist on set for a stuntman?


What’s the most surprising thing about stunt work?


The average person has no idea how much the stunt performer actually is subjected to on a regular basis. In conversations with extras, or other civilians they assume that everything is just “cool” and “fun” and therefore won’t hurt…. How wrong they are. This career is not for just anyone. There is a small section of the population who can handle it, and they are proud of the job for that reason.


What advice would you give to people who are interested in doing stunts for a living?


Many times I’ve just told them, “Don’t bother, unless you want to limp permanently by the time you are 35”. If they are still around 5 years later wanting the job, then they are worth giving a shot.


Are there any differences between doing stunts for film vs TV?


Time. We have far less time to prep and shoot on a TV series as compared to a feature film.


What stunts are you most proud of?


I don’t have the room here to go on, but there have been too many times in my career where I’ve walked away at the end of the day saying to myself, “Today I can die happy.”


At what point in the filming process do you need to replace an actor with a stunt performer?


When the risk to the actor’s safety becomes more than the stunt coordinator, insurance company, production, and in some cases the actor is comfortable with.


Are there any books that you would recommend about stunts?


The Stuntman by Yakima Canutt and The Fall Guy by Chuck Roberson.


What is the casting process like for stunt performers as far as physical resemblance to the actor vs the requirements for a specific stunt?


That is the stunt coordinator’s skill set to determine. There should be a balanceof the correct physical look and skill set.


What upcoming projects do you have that we should be aware of?


I’m currently on the TV series, Arrow full-time and that is where I plan to stay for the near future or until season 10 comes around… if and when that does.

Posted on February 11, 2013.
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The Biz Interview: Lucia Frangione - Writer and Co-Star of Leave of Absence

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Lucia Frangione is the writer of Pacific Theatre’s current production, Leave of Absence, as well as a co-star. She spoke to us about her specific inspirations for writing the play and her challenges as an actor.

What were the elements that drew you to write this play?

This play is my love letter to the kids and young adults who wrote me after Espresso, looking for a compassionate voice to tell them they weren’t shameful, they weren’t disordered, they shouldn’t die for being a sexual being that didn’t fit neatly into the “straight” jacket. I realized addressing the huge issue of bigotry towards homosexuality (be it cultural or religious) was absent from my work. Like most people I suspect, I did not feel qualified to have the conversation. But I am realizing the lack of action is a lack of love. Time to love. Children are dying. Artistically, I wanted to put this conversation into a world full of provocative unexpected humorous flawed and gorgeous souls.

Can you share some of your creative process in writing a play, from the initial idea to opening night?

I met a priest through Michael Kopsa named Rob Repicky: a beautiful articulate immensely intelligent and compassionate man who worked at the Newman Centre: a very progressive Roman Catholic community in Toronto. He took a leave of absence and did a pilgrimage to Spain. He walked the Camino to Santiago and shared his journal with me. So, he became Father Ryan. I was doing A Streetcar Named Desire with Craig Erickson at the time and he said “Cia, write me a part in a play.” I said “What do you want to be?” He said “A boxer.” And that is how the character of Leap was born. Blake is a fifteen year old girl who is right out of a page of my own journal at that age. Many of her poems are mine, many of her experiences are right out of my high school. I had a “best friend” like Tracy and my Mom did do handwriting analysis and so forth, haha. Greta started off being a real ball breaker based on a woman I knew and I could not STAND the way she treated men and I had to exorcise my frustration with her by making fun of her in a play. As you can well imagine, that just made for shitty art. So… I changed Greta into someone much more like myself, exposing the most moronic of all my behaviours. It’s embarrassing, but ultimately I suppose I hope to learn something. Finally, I created Martha as the main antagonist. She was the hardest for me to write. I didn’t want to give her a reasonable voice because in real life, I don’t agree with her. But I worked very hard to love her and now I do and she has immense humour, love, wise and sensual things about her spirit and some arguments that I just don’t have the answer to. That’s risky theatre to write but the most exciting, ultimately. Do any of us think we’re doing harm to children? Most of us act out of love. And sometimes we just frankly screw up.

Are there any books or specific authors that have been influential to you so far in your creative journey?

Father Rob Repicky. But the first person who got me rethinking sexuality was Colin Thomas and his play Flesh And Blood, about twenty years ago. It changed my life.

What were the biggest challenges for you as an actor in preparing to perform in your own plays?

It’s hard to memorize because I remember all sixteen drafts. Once in a while I’ll come out with a cut line and my scene partner is like “what?!” There comes a time when I really have to stop giggling with glee when a great actor can deliver a humorous line exactly the way I hoped they would. I feel dreadfully exposed. This time around I am playing Greta and Greta has some faults similar to my own. The other day, Tom said “I’m not sure why he says he loves her” and it was hard for me not to fall through the floor, into the basement and crumple up into a ball and say “just let me die right here, I know, I know, I am completely unloveable!” But then that’s when the director comes in. The director says “because blah blah blah” and Tom goes “aha, of course!” and then all is well in the world. Yeah, mostly it’s working up the courage to be so exposed. But I only write about things I believe in. So, passion quickly out rules fear.

What can you share about any future projects that are in development?

The Arts Club has a play soon to be produced called Frankie Armitage. I’m working on an experimental operetta with Fugue Theatre called Dog Park. I’m writing a pod play for The Gateway with Neworld. Horseshoes & Hand Grenades have called me in as script editor for their Forgiveness Project. Prairie Theatre Exchange in Winnipeg is developing Diamond Willow with music by beloved genius John Mann. And last but not least, I’m premiering a new play this summer at St Lawrence Shakespeare Festival in Prescott Ontario called Maid for a Musket: a real fun little romp about the war of 1812.

Leave of Absence is now on at Pacific Theatre.

Posted on January 31, 2013.
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The Biz Interview: Kaitlin Williams and Mack Gordon of "The Lion, The Witch, and The Wardrobe"

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Kaitlin Williams and Mack Gordon are the actors bringing The Lion, The Witch, and The Wardrobe to life this holiday season at Pacific Theatre. We spoke to this real-life couple to learn more about how they got involved with this ambitions incarnation of the C. S. Lewis classic.


What was were the elements that drew you to be part of this production?


Kaitlin Williams: This is a very unique production of The Lion, The Witch and The Wardrobe as the whole story is told with only two actors. That alone is very appealing to me. I also love C. S. Lewis, and I love the Narnia stories. I have fond childhood memories of reading them with my brother and sister, and then watching the BBC adaptations on VHS until we knew them by heart. I’ve always loved Lucy for her ability to believe with such an open heart and for her tremendous courage. This adaptation is especially exciting as I not only get to play Lucy, but also a number of others including vastly different characters like the White Witch and Father Christmas. It means I get to do a lot of fun character work, which would be any actor’s dream, I think.


Mack Gordon: A chance to work with my wife on a great show that so many actors I look up to have worked on before.


Can you share some of your creative process in preparing for the role from the initial planning of the production all the way through to opening night?


Kaitlin WilliamsTo prepare for this production I actually read through the entire series of The Chronicles of Narnia again. Because the play starts with Peter and Lucy as grown ups returning to the wardrobe many years after their adventures, it was important to have some context and know their larger story, and to know where Wardrobe fits in the big picture.


I also focused on dialect and character voices to help distinguish all the different characters I play in the show. I also spent time reading up on C. S. Lewis and his background and history.


Mack Gordon: It starts with research. Read the books, know about the author, understand the world at that time as best you can. I like to examine the text quite closely. Figure out why the writer chose each specific word so that I know exactly what my character means with each line he speaks. For LWW dialects and character work is also very important. I play no less than seven distinct characters in the show and I need to get to know the physicality, cadence, and tempo for each. Then, in the rehearsal room, we work on relationship and storytelling. How do these characters feel about each other. What offers does the other actor bring to the table that surprise me? How do I respond to these offers? Obviously, somewhere along the way we’ve also got to memorize the lines?


Are there any books or specific authors that have been influential to you so far in your creative journey?


Kaitlin Williams: I don’t read a ton of books on the craft of acting, although some of my favourite authors would be Uta Hagen and David Mamet (True and False). I like to read plays in my spare time, and some of my favourite playwrights include – Kevin Kerr, John Patrick Shanley, Joan McLeod, Steven Adly Guirguis and Lucia Frangione.


Mack Gordon: The man himself, CS Lewis. I think of Peter as a sort of Stephen Fry narrator. Mr. Beaver’s got a little bit of funk to him that I apply with a sort of 30’s gangster feel. These are all just initial impulses though.




What were the biggest challenges for you as an actor in preparing for this production and how did you deal with them?


Kaitlin Williams: The biggest challenge as an actor in this production is the amount of text there is to learn, as well as the challenge of playing so many different characters. I tackled these challenges by working hard in rehearsal and outside of rehearsal. I’ve been focusing on protecting my time during the two weeks of the rehearsal process so I don’t overbook myself when I need to be studying my lines and characters – that certainly helps the process.


Mack Gordon: I think the dialects are going to be a big challenge for me. I plan on working with Dialect Coach Brett Harris. He’s good!


What can you share about any future projects that are in development?


Kaitlin Williams: I just wrote a new one-act play and submitted it to a festival. I’m hoping that it will be accepted and produced in the new year. We are also remounting Wardrobe in the spring of 2013, so I’m looking forward to that. Mack and I are also featured artists in a new book launching in December called We Make Stuff. The book features 100 artists from the Vancouver community. I also just launched a new website where folks can check in to keep up to date on news – KaitlinWilliams.com.


Mack Gordon:I’m going to be in The Cat in the Hat at Carousel Theatre in February and I’ve written a short play for the Pull Festival of emerging artists for January.


The Lion, The Witch, and The Wardrobe is now on at Pacific Theatre until December 15th before going on tour at The Evergreen Cultural Centre from December 18th to 22nd.

Posted on December 11, 2012.
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