Play Details

Reality Curve Theatre presents Bug by Tracy Letts.

Set in a seedy Oklahoma City motel room, the play centers on the meeting between Agnes, a divorced waitress with a fondness for cocaine and isolation, and Peter, a soft-spoken Gulf War drifter introduced to her by her lesbian friend, R.C. Agnes stays at a hotel in hopes of avoiding her physically abusive ex-husband, Jerry, who was just released from prison. At first, she lets Peter sleep platonically on her floor, but not long after she promotes him to the bed. Matters become more complicated as Jerry eagerly returns to the woman he loves to beat her up, expecting to resume their relationship. On top of that, there’s a hidden bug infestation problem that has both Agnes and Peter dealing with scathing welts and festering sores—which has Peter believing this is the result of experiments conducted on him during his stay at an army hospital. Their fears soon escalate to paranoia, conspiracy theories and twisted psychological motives.

Directed by Stuart Aikins
Starring Lori Triolo, Paul Piaskowski, Rekha Sharma, Aleks Paunovic, and Andrew McIlroy

Bug is now on at The Annex (823 Seymour Street) in Vancouver until September 18th. Tickets are available through RealityCurve.com

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

The post “Bug” at The Annex appeared first on Biz Books.

The positive response to the film has led to a national release and more acclaim for the film and Robyn Wiener, producer Dylan Jenkinson, and director Jason Goode.

With Numb now in select Canadian theatres, we spoke with Aleks Paunovic and Jamie Bamber to learn more about the production and their experiences going Numb.

________________________________

Can you start by telling us about Numb and your involvement in it?

Aleks Paunovic: I’m an associate producer and lead actor in Numb. I  knew about this project for close to 5 years. Jason Goode, the director, had me in mind for the role of Lee and then we helped workshop it.

Jamie Bamber: I was contacted by Dylan Jenkinson and Jason Goode in December 2014 via my agents. They put together a great creative package, including the script, which spelled out the vision they had for the film. Their funding was in place contingent on the role of Will being cast and apparently my name was on their list. I related to the role and after Skyping with Jason and connecting with him, I was only too delighted to climb aboard.

Recommended Reading You Can Act On Camera Click a cover for more details The Art of Voice Acting Secrets of Screen Acting Recommended Reading You Can Act On Camera Click a cover for more details The Art of Voice Acting Secrets of Screen Acting

What kinds of preparation did you do for your role?

Aleks Paunovic: I did a lot of backstory and had some amazing coaching sessions with Andrew McIlroy who helped me find the depth of what this character of Lee was going through and why. He was my saving grace in shaping Lee.

Jamie Bamber: Jason and I talked quite a bit over Skype, honing Will and Dawn’s story arc, taking them from a shared predicament of adversity to one which had wrenched them apart. That was the crux of my preparation, exploring the stress which can work like freeze-thaw action on rocks, penetrating the cracks in otherwise sound relationships. I suppose the other aspect was researching the effect of cold on a body. I have had mild hypothermia before so I could call upon that too. Unfortunately when we shot, it was unseasonably warm so the bulk of our time was spent pretending to be cold and shivering on purpose, which is hard because it really makes you hot and sweaty; our physiological responses are logical and effective, it turns out.

What drew you to be a part of this production?

Aleks Paunovic: Relationships and story. I felt we had something great here and I got to do it with people that I know and respect. Heck ya, I wanted to be a part of it.

Jamie Bamber: I felt a connection to the impending financial abyss that Will faces. As an actor, I have been very lucky in many respects but that doesn’t change the fact that I am often only a couple of months away from facing the fact that I cannot pay the mortgage. As a husband and father, that feeling fills me with dread and shame and often the only solution is denial or semi-blind optimism. It’s the loneliness of the provider when you think your number is up. You are desperate for help, but to ask for it is weakness. Very real for many people. That’s what this movie was for me. Jason allowed me to work with him to accentuate that loneliness in the story.

What should audiences expect from this film?

Aleks Paunovic: I’ve had the pleasure of watching some screenings around the country and abroad and I love how people are responding. The oohs and ahhs. It’s great. So they can expect this thriller to be a bit of a ride.

Jamie Bamber: The Treasure of The Sierra Madre in the snow. Hopefully a meditation on need and how it can quickly turn into greed at the expense of spiritual – and literal – warmth.

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

Aleks Paunovic: John Patrick Shanley is a big one. I connect with his writing and stories. And Larry Moss’s book, The Intent to Live.

Jamie Bamber: I would not have started acting without the Theatre and Shakespeare’s words in particular. Good words clustered in powerful rhythms are magical to speak and mesmerizing to hear.

What is the most important lesson you have learned so far in your career?

Aleks Paunovic: This career can take you in different directions that may challenge you ethically. Try to live true to your character and integrity. I’ve been challenged in that and failed at times but those failures are my measuring stick. I’m going to try to keep doing the best I can for myself, my craft and to be true to my word and kind to people. It makes for a more joyful ride in work and in life.

Jamie Bamber: To be prepared. Turns out that effortlessness comes after much effort. Annoyingly, for me.

What’s your take on the current state of the Canadian film industry?

Aleks Paunovic: I love it! I love to see so many talented people working in front and behind the camera. We have some amazing product coming out of this country and it should always be supported.

Jamie Bamber: I have been lucky to live and work in Canada for long periods. I have always been deeply impressed by the talent, the infrastructure and the craft of your industry, particularly in Vancouver, which I know best from my Battlestar Galactica days. Some of the best sets I have ever worked on have been yours. I believe state funding is important not only to the arts but also to the economy at large. It gives me pleasure to work anywhere where that is born out.

What advice would you have for emerging Canadian actors?

Aleks Paunovic: Consistent persistence in what you believe in. Be kind and compassionate to yourself. Don’t be afraid to fail.

Jamie Bamber: No different to actors anywhere I’m afraid. Work hard and create your own work. Being on America’s doorstep gives you a privileged access to the biggest English-speaking market in the world, but in order to make the most of that you must also make the most of what you have at home; so write, direct, produce so that you don’t depend on anyone else to act.

What other projects do you have coming up and where can people find out more about you?

Aleks Paunovic: I’m close to wrapping the new installment of Planet of the Apes called War for the Planet of the Apes. I’m also starting a new series called Van Helsing that I’m extremely excited about. I produced and starred in a great short film written, directed and starring Ben Ratner with Zak Santiago and Donny Lucus called Gangy that should be coming out later this year.

Jamie Bamber: I am currently wrapping production on Marcella, a UK crime series by Hans Rosenfeld (The Bridge) which is for ITV and a Netflix Original. I am also awaiting release of Money, an indie feature shot in New York last summer. I have also written my first feature which I am hoping to produce and direct in the near future.

________________________________

Thanks to Aleks Paunovic and Jamie Bamber for speaking with us!

Numb is now playing in select theatres across Canada.

For more details on the film, please visit the official Facebook page at Facebook.com/numbmovie

The post The Biz Interview: Aleks Paunovic and Jamie Bamber appeared first on Biz Books.

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

I was studying with my mentor Larry Moss and did a scene from Danny. I connected to Danny in such a colossal way that I wanted to know more about it and tell his story. I approached Jason Goode, our director, after we worked together on a short film he directed me in and the seed was planted. I was quite scared of the play and the role. Four years later, Jason and I reluctantly and excitedly dove into the deep end.

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?

This is the first play I have ever done so to be honest, I’m working with one of the best actors in the city – one of the best actors I know – Lori Triolo. Most of the work I have done is asking Lori about situations and process. Jason Goode, the director of the show, has also been amazing in helping shape/shift into who Danny is. They have been great partners in guiding me through this amazing ride.

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

One my favourites is On the Road by Jack Kerovac. There’s also The Tao of Muhammad Ali and The Tao of Bruce Lee, both by Davis Miller. The Vagabond nature of On the Road and exploring life, love and the world. Plus Davis Miller tells the story of both of these amazing physical specimens who have accomplished so much that even their unique Tao would still have made them one of the most influential people of this century. So from growing up in a boxer’s family, boxing was the first thing I knew. Also, playing in a band in junior high where music was a big part of growing up also. On top of that, my mother is a travel agent so I had the opportunity to travel and see the world. With the help of Kerovac and Miller they helped me get closer to finding myself.

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

One of the biggest challenges has been in finding the seams in the character, Shanley wrote a exceptional piece of work with so many layers, and it’s been the script analysis of finding the colors in the play. It’s 80 minutes of 2 people on stage. Plus getting into the Danny character who is a powerful man and the play is physically and emotionally demanding. Hitting the boxing gym and doing a proper emotional warmup before hitting the stage is a must.

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

I’m working on developing a couple of series and a reality show. Looking forward to a second season on Arctic Air and a screening of a film I was in, This Means War with Reese Witherspoon in L.A. on February 8th – and pilot season for a few months in L.A.

Danny and the Deep Blue Sea is now on at Pacific Theatre. Visit PacificTheatre.org for details.

The post The Biz Interview: Aleks Paunovic – Actor in “Danny and the Deep Blue Sea” appeared first on Biz Books.

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

I am an enormous fan of John Patrick Shanley. I have been mounting productions of his plays for 20 years and I had NEVER worked on the character of Roberta. After Jason (Goode) and Aleks (Paunovic) approached me to be a part of this production we sat down to read the play together. It became clear that we needed to put this sucker up. I thought it was a gift I was being given. Not only to explore “Roberta” but to work with two talented men that I barely knew. They both have enormous hearts were so committed to telling this story that I would have been crazy not to participate. I also have always wanted to work at Pacific Theatre and thought this was the perfect introduction to their world.

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

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?

For 10 years, Larry Moss hammered into my head that our job as actors was to teach the world how to be more human. That we must be willing to expose ourselves and ultimately pay a price for the work we do. That is something I understand to my core. I grew up in NY and had a theatre in The Bronx where this play takes place. I KNOW “Roberta’s”. Most of the prep came in the form of script analysis. Connecting all the dots. I love doing this kind of detective work. I have trained with many incredible teachers over the last 25 years. I always bring my practice with Sanford Meisner into rehearsals. Being in the moment, listening, staying present, always having an opinion. I also do very strong intention work.

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

Of course I LOVE Sanford Meisner on Acting. I read it when I was 18 and decided to go study with Meisner the next year. I knew this technique was really right for me. I think it’s good for everybody. I can’t imagine any actor starting their career without this very simple and vital work. Meisner is magical and I believe the technique can change the world.

The Fervent Years by Harold Clurman had an enormous influence on me as well. I always wanted to be around in 1930 when The Group Theatre was born. I think I would’ve fit right in.

While preparing for this role I read Adler on Ibsen, Strindberg and Chekhov. Might sound like a strange choice but I love to be reminded of where we came from and what was important during the dawn of modern theatre. Nothing really changes.

I try to read a play a day (or at least a week) and I am a big fan of Biographies. My most recent read was Drama by John Lithgow who is a hero of mine. Seeing him on Broadway in M. Butterfly changed my life at 17 yrs of age.

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

I think my biggest challenge was/is finding the physical stamina to bring “Roberta” to life every rehearsal and now throughout the run of the show. The play is highly emotional and physical. Aleks and I really give everything we’ve got to these two broken/beautiful characters which can leave me pretty depleted…so, I try to take care of myself and get a lot of rest. BUT, it’s the price I pay to do what I love and tell the right story to help people find/remember their own humanity. I wouldn’t have it any other way. I am blessed.

Danny and the Deep Blue Sea is now on at Pacific Theatre. Visit PacificTheatre.org for details.

For more of Lori, check out her recent appearance on Urban Rush with Danny and the Deep Blue Sea co-star Aleks Paunovic.

The post The Biz Interview: Lori Triolo – Actor in “Danny and the Deep Blue Sea” appeared first on Biz Books.

What inspired you to take on this production?

Aleks Paunovic and I had a great experience doing two short films together (Ducks and The Hitchhiker). We got along really well and I think we brought the best out of each other. Not long afterwards, in 2006, Aleks brought me the script for Danny and the Deep Blue Sea and very generously suggested we do it together. I wasn’t familiar with the play, but when I read it I immediately fell in love with it. I had wanted to direct a play for a while and it felt like the perfect production for me. I would still call it my favourite play.

Can you briefly walk us through your creative process for this production, from the early stages all the way to opening?

People familiar with the play will know that it’s quite taxing for the actors: 80 minutes, no intermission, the two of them on stage the whole time. And they have to go all the way: to the lowest depths of despair, to the highest peaks of relief and joy, and everywhere in between. So I feel that part of the process for me creatively, is managing just how hard the actors go and mostly encouraging them through the process. I think it would be easy to burn out rehearsing this play and to lose the energy and joy that doing this play can bring to an actor. And it would be easy to really tax the actors emotionally and physically by over-directing it. So besides all of the usual things a director does, I’m also paying attention to that.

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

Books have been really important for me. I didn’t get any formal training in this besides the occasional one-off class and I don’t work in film or theatre on a regular basis, so I read (and dream) a lot on the subject. Some key volumes for me:

William Ball’s A Sense of Direction
Uta Hagen’s Respect for Acting
David Mamet’s True and False, The Three Uses of a Knife, and On Directing Film

And, frankly, Pacific Theatre as a place and community for artists has been key. When I first moved back to Vancouver a few years ago, I was lucky enough to get cast in a non-professional show there. That experience connected me to Ron and the staff and the cadre of artists that hang around there. I took acting classes there and did some more non-professional shows there as well. I generally hung around there when I could and most of my films, and now this play, have some sort of connection to that place.

What were the biggest challenges for you as a director in developing this production and how did you deal with them?

Fear was our biggest challenge. Aleks and I made a number of attempts at mounting the production, but we always found a way not to do it. Frankly, we were both terrified. The material is quite daunting and neither of us had done a play before (though I had acted in some non-professional productions). So the whole endeavour was very intimidating.

Finally in late 2009 we faced our fears and decided that we were going to do it no matter what. And Pacific Theatre had an opening the last week of August, so we booked it. Thankfully, Lori Triolo jumped in with us to play the role of Roberta. With Aleks and Lori, it felt like perfect casting and the production, despite only 4 shows, was successful. (Facebook was instrumental in helping us find an audience during a one-week run.)

And people responded really well to it. Ron Reed, the artistic director at Pacific Theatre, liked the show and asked us to put it in 2011-2012 season. We jumped at the chance.

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

I’m developing a couple of film projects with my producing partner, Dylan Jenkinson. (We work under the banner Jenkinson/Goode Productions.) I don’t have any plays in the works, but after Danny finishes its run, I’ll start dreaming and scheming again.

Danny and the Deep Blue Sea opens at Pacific Theatre on January 20th, 2012. Visit PacificTheatre.org for details.

The post The Biz Interview: Jason Goode – Director of “Danny and the Deep Blue Sea” appeared first on Biz Books.

More than two decades ago, Michael French went to China to join Rick Hansen on the Man in Motion Tour. The footage that Michael captured would later become the television documentary, Heart of a Dragon. After working as a producer and director on other projects like Jim Carrey: The Unnatural Act and Reelmadness with Will Ferrell, he decided to re-visit his experiences in China with Rick Hansen and re-create them in a different way.

With Heart of a Dragon set to be released on October 29th in British Columbia, Michael French joined us to reflect on his filmmaking journey and how he transformed his real life experiences into an ambitious feature film.

Let’s talk about Heart of a Dragon. How would you sum up the main elements of the film to someone who is new to Rick Hansen?

Twenty-five years ago, a group of friends set off across the world on an adventure. One of them was in a wheelchair. Together they changed forever the way we look at disability because Rick Hansen, the man in that wheelchair, knew that surrounded by those you love and trust, anything was possible.

You originally travelled to China with Rick Hansen during the Man in Motion Tour to capture documentary footage. From your experiences as a filmmaker, what are the major differences between directing a documentary and working on a feature film?

It’s really more about the similarities than the differences. Being on the Great Wall with Rick 25 years ago making a documentary and more recently with a cast and crew making a feature film were both about telling a story. The documentary dealt with what was happening, the movie deals with how it happened. Same story but told from different perspectives. One was objective, the other subjective.

Recommended Reading Producing for Profit Click a cover for more details Directors Tell the Story The Cheerful Subversive's Guide
to Independent Filmmaking Recommended Reading Producing for Profit Click a cover for more details Directors Tell the Story The Cheerful Subversive's Guide
to Independent Filmmaking

What can you share about the casting process for Heart of a Dragon?

We knew from the beginning that the story needed an ensemble. April Webster had cast a number of Mark Gordon’s films and understood we wanted to make our cast a kind of family, inasmuch as the story was based on a group of friends who spent more than a year sharing the same life pushing themselves across the world. The process began with Victor Webster. He came to us through an agency in Los Angeles who did not represent Victor but knew of him. The first thing I saw of Victor was a martial arts performance. He had the same confidence and power Rick has. From there we cast for the rest of the family, Ethan Embry as Lee Gibson, Rick’s cousin and full time court jester. Andrew Lee and Sarah-Jane Potts as Don Alder, Rick’s lifetime best friend and Amanda Reid, Rick’s physiotherapist. Next, Yu Na – a Chinese actress – to play Ms. Wong, a Chinese translator, Jim Byrnes to play Ivan the reporter, and finally Aleks Paunovic to play Tim Frick, Rick’s longtime coach.

When you’re working on set with actors, what’s the most effective way to communicate or reinforce your vision of the film to them?

The movie is inspired by a true story about real people. Each of the actors knew the story and for a time in China during our production, lived something of that life and knew the struggle their character faced. Actors sometimes become the characters they play. Being in China and on the Great Wall helped that happen. Once that happened, my job was easy.

What was the most difficult scene for you to shoot?

The final scene in the movie because it was the most emotional.

You have directed Jim Carrey, Dennis Miller, and Will Ferrell in separate television comedy specials. What kind of preparation goes into directing comedy projects such as these?

Each of them knows their their talent exceeding well. My job simply to learn about how they worked and not get in the way.

As a writer-director, which qualities would you like audiences to associate with a Michael French film?

A story well told.

If you could recommend one book about screenwriting or directing, which one would it be and why?

Read something, anything about your own family, appreciate where you came from. Those are the stories you will tell and re–tell in most everything you write and direct.

What upcoming projects are you developing that you can share with us?

Once Heart of a Dragon begins playing theatrically and takes on its own life, I will return to being a full-time husband and father. That’s the only project that’s on the horizon that matters.

Heart of a Dragon opens in select theatres in BC on October 29th, 2010.

heartofadragonmovie.com

The post The Biz Interview: Michael French – Director of “Heart of a Dragon” appeared first on Biz Books.