What’s it like to star in a short film that’s completed in only 8 days?

We rounded up a talented bunch of thespians – Lee Shorten, Alex Barima, Jerome Yoo, Lorne Cardinal, Brad Duffy, Denise Jones, Lee Majdoub, Scott McGrath, Brendan Taylor, Darien Provost, and Peter New – to talk to us about their experiences in this year’s Crazy8s films.

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Lee Shorten of Anh Hung

Can you start by telling us a little bit about you and the Crazy8s film you are acting in?

I’m Lee Shorten. I’m a former lawyer from Australia and I’m playing Tuan in Anh Hung. Anh Hung is this great coming of age story that centers on a Vietnamese Canadian family. I don’t want to give too much away but it’s inspired by actual events and offers a snapshot of the Vietnamese Canadian immigrant experience. 

What kinds of preparation did you do to get into the role?

I read as much as I could about Vietnamese culture. I also looked into Taoism and researched Vietnamese gang life and gang culture. I managed to track down some old interviews with Vietnamese Canadian immigrants and gang members which was really helpful in rounding out my understanding of that experience, books can be a little clinical sometimes. I was insanely lucky in that I got to grab dinner with the guy my character is based on and he was incredibly generous with his time and insight. I also worked with him on the accent and learnt a little Vietnamese as well. I tried to prep as much as possible, but sadly 8 days is not a lot of time.

What was the most memorable moment for you in this production?

No one thing per se. But it was Athena Ho’s, who plays Jenny (my character’s sister), first role. So just watching her grow over the 3 days was really wonderful and I’m honoured to be a small part of her journey.

What would your advice be for actors who become part of a Crazy8s film in the future? 

Accept the nature of the challenge. You only have 3 days to shoot, so do as much prep as you can and come to set with as many ideas as you can. But when you get there, be willing to compromise and be willing to play. The pace is fast and the work is challenging for all involved. You might only get a single take, just roll with it.

What’s the most valuable lesson you’ve learned in your career thus far?

If (and only if) you have done the work, then trust your instincts and don’t be afraid to voice your opinion. You’re not always going to be right but some of the best moments are born from conflict and compromise. The director should have the best grasp of the overall story but you should have the most in depth understanding of your character. But again, I can’t stress enough, you might not always be right but it’s usually worth a conversation. 

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

What books have been important for you as an actor so far in your career? 

Oh man, tough question, there have been so many! The Art of Acting by Stella Adler, True and False by David Mamet, Stanley Kubrick: Interviews by Laurence Knapp, A Life in Parts by Bryan Cranston and The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje.

What other projects are you working on and where can we find out more about you?

You can catch me as Sergeant Yoshida on Ridley Scott’s The Man in the High Castle and sometimes I hang out with Crowley on The CW’s Supernatural as well. If you really want to find out more about me, I guess you could follow me on Twitter @lcshorten.

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Alex Barima and Jerome Yoo of Cypher

Can you start by telling us a little bit about you and the Crazy8s film you are acting in?

Alex Barima: My name is Alex Barima. I’m originally from Montreal, and I’ve been acting in Vancouver for the last 5 years. In Cypher, I play the role of Thello, the young rival of protagonist Jay. Our two characters resolve their personal issues through their connection to hip hop in the late 90’s.

Jerome Yoo: My name is Jerome Yoo and I’m an actor/writer. Prior, I was a Science student at UBC before I decided to pursue acting full-time. I’m a part of this year’s Crazy8s film Cypher and play the role of Jay, the timid Korean high schooler trying to deal with the lingering tensions between the Korean and African-Americans, 5 years after the LA riots. Entranced by the rap legends of his day, he finds himself drawn to LA’s underground rap scene where he must find the resolve to step up and confront his past to hopefully bridge the misunderstandings between the two communities.

What kinds of preparation did you do to get into the role? 

Alex Barima: We had a few rehearsals before the shoot with Lawrence, our director, to build and explore each character.

Jerome Yoo: Rapping. A lot of rapping. I watched an unhealthy amount of battle videos on Youtube, and spent hours in front of a mirror rapping along to Hip Hop greats. I also tried to write a verse everyday. Here’s one: Yo, I’m a savant, working in a restaurant. Here’s your croissant, so can I have your number, nonchalant? Worst pick-up line ever, haha…

What was the most memorable moment for you in this production?

Alex Barima: Filming the last scene was an experience I’ll never forget; it happened to be the last scene of the shoot, and everyone there gave it everything they had. 

Jerome Yoo: So many! I think I shed some manly tears when our DP, Leo Harim, pulled me aside and told me the entire crew had my back on the first day. It meant a lot to me. Our director Lawrence Le Lam announcing that I booked the role of Jay at our first production meeting was also a pretty sweet moment. 

What would your advice be for actors who become part of a Crazy8s film in the future?

Alex Barima: Bring a lot of care and dedication to your work because it’s all that holds these projects together, and they are definitely worth it. 

Jerome Yoo: Do another hour of table work and analysis! I wish I had another hour…

What’s the valuable lesson you’ve learned in your career thus far?

Alex Barima: To never take for granted what I accomplish in this business, and always keep looking ahead. 

Jerome Yoo: Don’t eat chili on set and use the restroom while your lav mic is on.

What books have been important for you as an actor so far in your career?

Alex Barima: Unfortunately I’m not much of a reader. 

Jerome Yoo: One Piece. 

What other projects are you working on and where can we find out more about you?

Alex Barima: I’m currently doing Voice Over work for an animated Netflix series. You can follow me on Facebook or IMDB.

Jerome Yoo: Back to the drawing board for me! Find me on social media @jeromeoyoo.

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Lorne Cardinal, Brad Duffy, and Denise Jones of No Reservations

Lorne Cardinal’s Photo Credit: Shimon

Can you start by telling us a little bit about you and the Crazy8s film you are acting in?

Lorne Cardinal: No Reservations is a comedic spin on the pipeline issues happening across the country today. A what if…story.

Brad Duffy: I’m a Vancouver-based actor who moved here from Alberta about six years ago to transition my acting career into more of a film focus. I’ve seen Trevor Carroll (the director) in the casting room for years but this is the first time I’ve been able to work with him personally.  He’s a pretty cool dude, for the record. I also do a lot of improv around the city.  No Reservations is a satirical take on the pipeline issues we’ve been having in BC, but has broader relevance.  I’d say it’s funny enough to be entertaining, while true enough to be poignant.

Denise Jones: My name is Denise Jones. I am a stage and film performer in Vancouver and the current Artistic Director of Vancouver TheatreSports League. I play the role of Marilyn Whiteman in No Reservations. It’s a fun satirical take on current pipeline protests.

What kinds of preparation did you do to get into the role?

Lorne Cardinal: Just read the script a lot, looking for rhythms & places where setups and payoffs can happen. Also being familiar with the story to allow for spontaneity and improvisation to happen.

Brad Duffy: The preparation was pretty standard: memorize the lines, look up what the material was referencing, and try to figure out the tone it’s going for.  We had a meeting where Trevor talked us through some of the beats where he needed something specific.

Denise Jones: I had been an avid watcher of the coverage of the protests at Standing Rock, so was pretty in the loop on the material. As far as prep for the role, I showed up ready to play. The cast assembled was so funny and talented it was so fun and easy to step into.

What was the most memorable moment for you in this production?

Lorne Cardinal: Seeing people I’ve worked with before and feeling welcomed into a highly dedicated group of creative beings. All I had to do was not screw up.

Brad Duffy: The most memorable moment was probably hitting Lorne Cardinal in the face with a beach ball; there he is being so professional, and my mind is just saying, “please beach ball, don’t make this guy get hit in the face 17 times, fly true.”  I’ll also remember Denise Jones cracking me up all weekend.

Denise Jones: We were shooting an idyllic look at the main married couple’s lives when out of nowhere a massive rainbow appeared and the whole cast hustled to move the entire camera set-up and video village to  accommodate it. It was insane.

What would your advice be for actors who become part of a Crazy8s film in the future?

Lorne Cardinal: Don’t stray too far from set, save your energy when not working and nap when you can.

Brad Duffy: Just come ready to work, and to enjoy the work.

Denise Jones: Come prepared for anything. Know your lines backwards and forwards as time is VERY VERY limited. Know that it’s going to be a great time as awesome things happen under pressure.

What’s the valuable lesson you’ve learned in your career thus far?

Lorne Cardinal: Always be learning from everyone and respectful to who you’re working with, especially crew members.

Brad Duffy: “The irony of commitment is that it’s deeply liberating — in work, in play, in love. The act frees you from the tyranny of your internal critic, from the fear that likes to dress itself up and parade around like rational hesitation. To commit is to remove your head as the barrier to your life.” – Anne Morris

This quote really helped me.  I’ve also learned how to let go after auditions better than I used to, which is largely due to repetition, (and maybe that Bryan Cranston on acting video you should look up).

Denise Jones: Don’t be an asshole.

What books have been important for you as an actor so far in your career?

Lorne Cardinal: The works of William Shakespeare. He shows what the power of words can do.

Brad Duffy: Impro for Storytellers by Keith Johnstone first ignited my passion for improv which has heavily influenced my career.  You Are Not So Smart by David McRaney helped me get ahold of my ego.  Books and graphic novels by Neil Gaiman have also been instrumental in keeping me filled with a sense of wonder and possibility: a necessary tool for any actor I would say.

Denise Jones: The Power of Now by Eckhart Tolle.

What other projects are you working on and where can we find out more about you?

Lorne Cardinal: Currently working on Corner Gas animated series, the never-ending auditions and looking forward to the releasing of a few projects I’ve been working on, should happen very soon. Find our more at facebook.com/lornecardinal or lornecardinal.com.

Brad Duffy: Right now you can regularly see me performing in various improv shows throughout the city, primarily with Instant Theatre, the Rookie League at Vancouver Theatresports, and Sin Peaks the Improvised Soap Opera opening up at the Revue Stage on March 7th.  I have a fan page on Facebook, “Bradley Duffy”, where I regularly post about my film and TV projects, but should probably work on a website.  Thanks for reminding me!

Denise Jones: I am currently directing an improvised stage production called Western World at Vancouver TheatreSports League. Check me out at www.vtsl.com or IMDB!

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Lee Majdoub, Scott McGrath, and Brendan Taylor of The Prince

Can you start by telling us a little bit about you and the Crazy8s film you are acting in?

Lee Majdoub: Hi, my name is Lee Majdoub, and I play Amir in The Prince. The film tackles Islamophobia and what it means to be Middle Eastern-Canadian.

Scott McGrath: The film I’m in is titled The Prince, and it’s about a young dancer and her Uncle dealing with what it’s like to be Middle Eastern post 9/11.  It struck a cord with me as an actor because I feel as an actor it’s important to be truly connected with yourself and the characters we play.  It’s my job as an actor to affect change and push if necessary current issues to the front line even if these issues are difficult to discuss or view.   Films and events like Crazy 8’s allow us to stop and reflect on the choices, opinions we have currently and hopefully create an outlet to make things better.

Brendan Taylor: The Prince deals with a young Muslim man and his dream of being actor, but facing challenges of racial and religious stereotypes in this modern world. He and his family have an encounter on a bus with an intolerant person and he has to decide how to react to him.

What kinds of preparation did you do to get into the role?

Scott McGrath: Well, because of the serious nature of the film it was hard not to feel compassion for the lead but the important thing for my scene was to be light natural and not think anything I was saying was offensive or inappropriate . Just everyday set talk between costumer and actor.

Brendan Taylor: I play the role of the instigator on the bus. It’s important to try to understand the perspective of someone who is intolerant or openly racist, that it comes from a place of fear or ignorance. Then, we as humans portray all kinds of behaviour to cover that up, often resulting in anger and frustration. I explored the many ways this person could have acted towards this family.

What was the most memorable moment for you in this production?

Lee Majdoub: It’s hard to whittle down this project into one most memorable moment. So many people came together and volunteered their time to tell a story they believed in… that they felt needed to be told. That, to me, is most memorable as a whole. So much work was put into The Prince, from all sides of film-making. It was inspiring.

Scott McGrath: The joy I felt in the trailer prior to our scene where everyone of many different ethnicities were laughing and truly enjoying each other’s company.  Non-competitive,  non-judgemental, a genuine spirit of love and support.  This support was across the board from the producers Danielle Stott-Roy and Robin Nielsen, the Director Kyra Zagorsky (who I learned much from) and all the cast from make to wardrobe and everyone I encountered that day on set.

Brendan Taylor: Well, to be honest, amidst the seriousness of the storyline, there were many lighter moments, that were necessary to break the tension: one of them being, I was sitting in my seat on the bus drinking water, and I went to get up, and being a taller man I often bump my head (I don’t fit on buses to begin with), and I bumped my head on the roof handrail, with a mouthful of water. It squirted out like a super-soaker on an unlucky background actor! 

What would your advice be for actors who become part of a Crazy8s film in the future?

Scott McGrath: Savor every moment and realize your part of something magical. Be grateful and enjoy the ride!

Brendan Taylor: Follow the Crazy8s, get involved, go to readings, contact the filmmakers, and even submit a pitch yourself! 

What’s the valuable lesson you’ve learned in your career thus far?

Lee Majdoub: A valuable lesson I’ve learned in my career so far? That’s a tough one to answer. There are so many. I would say learning to let go of control is a huge lesson. There are so many things I’m not in control of in life… and career. All I can do is work hard and be ready for every opportunity that comes my way.

Scott McGrath: I believe it’s important to have wonderful, harmonious relationships with the people we encounter, where on both sides there is caring and mutual respect.  I believe it’s important to let my heart be open so that. Have space within me to grow learn and give back unconditionally.

Brendan Taylor: Definitely persistence. I’m fortunate to say this is my main source of income right now, but it was not a smooth road. So many reasons to give up along the way. But I always train, or do a play, or do something to keep my art alive. But it’s what I love doing, and that’s a good test. You have to love it undeniably. 

What books have been important for you as an actor so far in your career?

Lee Majdoub: I’ve found a lot of books that have nothing to do with acting have helped me on this journey. I think living life and learning as much about oneself as possible is the greatest thing you can do for your acting. I’ll list a few that have helped along the way and no two are similar.

The Prophet by Kahlil Gibran

The Crossroads of Should and Must by Elle Luna

Notes to an Actor by Ron Marasco – I really recommend this one if you want a book on acting. It’s very different from other acting books.

Love Anthony by Lisa Genova – personally, a tearjerker. 

Scott McGrath: By far the greatest tool I have used is a marvelous toolbook titled AuditionCraft For Film & TV – The Craft, The Mastery, The Reality By Linda Darlow.

Best advice … “Keep stretching and growing, and remember to always be willing to learn, no matter how often you work, or how long you’ve been in the business”.

Brendan Taylor: Uta Hagen’s Respect for Acting, Sanford Meisner’s On Acting. Learn from the greats. Start there. And watch, read, or listen to interviews and biographies to be inspired.

What other projects are you working on and where can we find out more about you?

Lee Majdoub: I’ll be appearing in a few episodes of the new season of Prison Break, which begins airing in April.

And, I start work on the third season of Zoo very soon.

Scott McGrath: Other projects I am part of is the new web series “Inconceivable” where I get to play the Step Dad Terry in a wonderful new comedy.  Check it out – http://www.facebook.com/thisisaspoon/

I also have been fortunate enough to be part of some fun Music Videos:

Check out Hey Ocean’s “Make a new Dance Up”

A Wallace – “Shake it Out”

And lastly, my website where I get to play my favourite character… SANTA with my Elf Spandy Andy: www.hireanelf.com

Brendan Taylor: Currently about to shoot another short film called Pearly Nights, and I have an episode of The Magicians airing March 29th! You can follow me on Twitter and Instagram check out brendan-taylor.com for past work! 

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Darien Provost of The Undertaker’s Son

Can you start by telling us a little bit about you and the Crazy8s film you are acting in? 

My name is Darien Provost, I’m sixteen years old. I have been acting since I was four years old. I have done various TV shows and Movies but my role as Christopher in The Undertaker’s Son is one of my favourites. The cast and crew were amazing. The set and script made my job much easier due to the realism.

What kinds of preparation did you do to get into the role? 

I would talk to my fellow actors and rehearse lines. I’ve always found it useful to listen to music and read over the script. It helps me get into character.

What was the most memorable moment for you in this production?

The most memorable moment for me was on the last day when we shot the opening scene for the film. I loved watching all the components of the set come together to make for an amazing scene.

What would your advice be for actors who become part of a Crazy8s film in the future?

My advice for actors who become part of a Crazy8s film is to show up with your lines fully prepared and practice being able to get into character quickly. There is not much time to spare on these shoots so it is important that everything moves smoothly.

What’s the valuable lesson you’ve learned in your career thus far?

The most valuable lesson I have learnt in my career so far is don’t pretend to be the character. You must become the character and add your own personal twist.

What books have been important for you as an actor so far in your career?

The most important book I have read so far is No Acting Please by Eric Morris. The book teaches you to be present in the moment rather than mechanically act.

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Peter New of Woodman

Can you start by telling us a little bit about you and the Crazy8s film you are acting in?

My name is Peter New and I played the Woodman in the film Woodman.

What kinds of preparation did you do to get into the role?

I had a 3.5 hour long makeup application in the morning which was a useful time to gradually purge my silliness. The more our talented makeup team applied layers, the more trapped I felt, which is exactly the state the character lives in. By the time they were done I felt transformed.

What was the most memorable moment for you in this production?

There are so many memorable moments to choose from! I think I’ll never forget being on set, with my prosthetic nose being supported by three people, prop shears, fishing line  and a great deal of hope that it won’t collapse into its three component pieces between ‘frame’ and ‘action.’

What would your advice be for actors who become part of a Crazy8s film in the future?

Don’t write yourself into a part that traps you under a heavy typewriter while attaching your face to a 600ft tube thus pinning you to a chair and restricting your movement for hours and then drink many coffees because your makeup call is at 5:30 am. It’s a smidge uncomfortable (but 100% worth it).

What’s the valuable lesson you’ve learned in your career thus far?

Keep moving, keep doing. There’s no value in fame, only in work.

What books have been important for you as an actor so far in your career?

True and False: A Practical Handbook for the Actor by David Mamet.

What other projects are you working on and where can we find out more about you?

I’m a voice on My Little Pony: Friendship is Magic. Find me on Twitter @actorpeternew and on Facebook and Instagram.

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Thanks to Lee Shorten, Alex Barima, Jerome Yoo, Lorne Cardinal, Brad Duffy, Denise Jones, Lee Majdoub, Scott McGrath, Brendan Taylor, Darien Provost, and Peter New.

You can see all them on screen at the Crazy8s 2017 Gala on Saturday, Feb 25^th. For ticket information please visit Crazy8s.film!

The post The Biz Interview: Crazy8s 2017 Actors appeared first on Biz Books.

As the lead in the upcoming Vancouver production of Heathers: The Musical – the first time in Canada – she’s helping to bring life to a staple of 1980s pop culture in a whole new way. We caught up with Christine Quintana to get the goods on how the themes of Heathers can resonate on stage.

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What is your involvement with Heathers: The Musical and how did that get started?

Our director David C. Jones approached me a few months ago to ask me if I was interested in playing Veronica in the musical version of Heathers. It was a lightning-quick meeting we both fit in between other meetings – so quick that I left thinking, did that just happen? But I’m so glad it did because here I am. Now I’m seeing my dang face on posters around town. Things happen fast sometimes!

What drew you to be a part of this production?

I have a terrible confession to make – I hadn’t actually seen Heathers. Not the movie, or the musical. But I knew about its cult classic status and I’d heard wonderful things about the musical.  After I  did a bit of research, I knew I wanted to be involved. It’s rare that you get a cast stacked with female leads, but that’s Heathers – Heather MacNamara, Heather Duke, Heather Chandler, Martha and Veronica all have incredible, meaty, rich material. The boys get to be the eye candy and comedic relief!

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

I only watched the movie once – just to see the style and the iconic moments. I think with a show like this it’s important to nod to the origins, but the scenes and even plot points are different and I didn’t want to start getting attached to choices from the movie that no longer suit the musical.

Our rehearsal process has been very part-time over the last few months. I’m used to working in the traditional Equity process where you come together for two weeks, three at most and bang out the whole show working full-time. I’ve really enjoyed having a lot of time to let the material sink in, focus on one thing at a time. Without the pressure of having to turn out the shape of the show immediately because you head into tech in a week, there’s time to get to know the material well.

Right now, I’m focused on the guts of the show – going into those deep dark teenage feelings and mining the emotional truth of it. Once we get into runs, it’ll be time to fine tune the technical aspects of comedy – staying inside the show for the personal arc, but standing just outside enough to make those precise choices of timing and gesture that make the show as funny as it can be.

The preview performances will be essential to nailing down the rhythms of the show once we have an audience in the house responding – or not responding, as is sometimes the case – and making sure the audience doesn’t miss a beat. I can tell already that it’s going to be totally jarring to be in a moment that is a five alarm high stakes devastating situation for Veronica, and the audience might be laughing their asses off. But it’s only funny if it’s real for us – the comedy lies in the dichotomy between truthful moments and absurd situations in Heathers. Come opening night though, it’s time to put the script and my notes away and play for real.

What should audiences expect from this show?

Fierce singing, fierce dancing, and the sting of teenage angst that might hit a bit too close to home. Heathers: The Musical is hilarious and has killer music, but I think the real surprise for audiences will be the incredible cast. There are a lot of new faces on stage and I think people will be really blown away.

What are the three most important ingredients for a successful stage production?

I’m going to use the Heathers as my inspiration for this question:

Heather Chandler: Leadership.

It takes a lot of people to make this thing happen – we’ve got producer Lori Watt, director David C. Jones, stage manager Michael Brooks, musical director Steven Greenfield, choreographer Ken Overbey, and also lots more help even within the cast, like our dance captain Daren Dhyengco and music captain Steffanie Davis. Everyone has a unique job and important perspective to add to the production.

Heather Duke: Confidence.

I think in the performing arts, particularly in the theatre, we suffer from low self-confidence. Sometimes in Vancouver we feel like all the action is happening somewhere else or that theatre as an art form is somehow ‘less than’. We need to fight that, always – to believe that we’re worthy of audiences and that we’ve got something important to offer. We need to value our work and believe in its worth to our community.

Heather MacNamara: Vulnerability.

These two go hand in hand – it requires confidence to be vulnerable and vulnerability to be confident. Just the act of getting on stage or offering your art to the world requires tremendous vulnerability. In our working process we need to be open and generous with our scene partners and collaborators – that’s when the work gets good. It’s a lifelong practice to be comfortable with making yourself vulnerable, but it’s an essential ingredient for worthwhile art.

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

I find this is a love-it-or-hate-it read, but I love True and False by David Mamet. I certainly don’t agree with the entire thing, but he nails some pithy, tweet-sized philosophies about how to approach work as an actor. Sometimes we can get so bogged down in our fears and distractions about the ‘industry’ – I gagged a bit just saying the word – and then also about our process that we lose the ability or focus to just get the f**k to work, as David Mamet would say it. There’s some great food for thought in there about putting your ego and fragility aside and just doing your damn job.

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

Very little will come to you on its own – you’re responsible for your destiny as an artist. Whether that’s a large-scale thing like producing your own work or creating opportunities for yourself to perform, or as simple as being clear on what you want from a rehearsal day and setting yourself up to achieve that objective, it’s up to you. And hey, you can learn something from the Heathers on this one – that takes leadership, confidence, and vulnerability. But it’s worth it – the hardest thing in this business, especially as an actor, is feeling like you have no agency over yourself or your work. Taking charge is the only way to feel like you’re moving forward.

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

I’m the co-Artistic Producer of an indie theatre company called Delinquent Theatre which has a show coming up in the spring called Never The Last. We’ll share all the details on our website and Facebook page.  I also write essays and other things on my personal website.

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Our thanks to Christine Quintana for speaking with us!

Heathers: The Musical runs January 6th to 17th, 2016 at The York Theatre, 639 Commercial Drive in Vancouver, BC. For tickets, call the Cultch box office at 604-251-1363 or order online.

The post The Biz Interview: Christine Quintana appeared first on Biz Books.

With the demand for animated programs and voice actors higher than ever, we spoke to Peter New to learn more about his career and the art of voice acting.

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Tell us a little bit about you and what projects you have on the go right now.

I’m doing voices on Littlest Pet Shop, among other shows, and I’ve recently finished shooting a fun turn in Electra Woman and Dyna Girl for Legendary Pictures.

What was the moment when you knew you wanted to be a performer?

I was maybe 5. I had a menagerie of animal characters I played. I used to put on shows curated by Ruff Ruff the Talking Dog.

Who were some of your greatest influences early on?

Terry Gilliam. Samuel Beckett. The Frantics. I just realized that Samuel Beckett and the Frantics sounds like a terrible band.

You’ve enjoyed a variety of roles on stage, on television, and on film. What creative rewards do you get from each of these three platforms and do you prefer one over the others?

Each individual job has its own challenges and rewards. I don’t really see the forms as being altogether different. Each has its joys and limitations. Indeed sometimes the limitations themselves are the source of the joy.

When you look at your career, what have been the most memorable moments for you?

I have to say chatting idly with Terry Gilliam while on the set of The Imaginarium of Doctor Parnassus about one of my all-time favourite shots from any movie – the epic pullback from The Adventures of Baron Munchausen when Baron Munchausen is surrounded by the Turks army. To have this casual moment with someone whose work I’ve long respected was the kind of perfect moment that can sometimes happen in film.

As someone who has been inside the Vancouver film industry for a long time, how do you think it could be improved?

I think the main improvements – and this is nitpicking to an extent – would have to be at the political level. There are rules around distribution and citizenship which I read as grossly skewed. I have eked out a fine career despite this, however, so I’m not sure how wise it is to bite that feeding hand any harder.

You are getting a lot of recognition right now for your voice acting on My Little Pony: Friendship is Magic and Littlest Pet Shop. What does it mean to you at this point in your career to have a large fanbase that you’ve gained specifically through voice acting?

It’s incredibly humbling. That anyone at all would call themselves a fan of me or my work is deeply touching. Let alone a group of people. It’s incredible, regardless of whether it’s from voice work or whatever.

How does your creative approach change when you are preparing for a voice role vs. a live action role?

It doesn’t really. I mean you have to memorize a live role, so that’s a change, but every scene is a conflict featuring a character who wants something. Deciphering that and then rendering it is the job of the actor, regardless of the format.

What advice would you give to an actor who wants to specialize in voice acting?

Start by acting. Voice is not the operative word. Acting is. Get on stages, join improv troupes. Use the audience to learn how to make fast, bold, successful choices.

You won a Leo Award for your writing on Point Blank. What are the three most important elements that every screenwriter needs for a successful screenplay?

I disagree with this question. Each screenwriter needs to serve the story being told. Each story requires different things, has variable needs. Writing is a process of discovery, like any art. Understand that everything will be wrong before it feels right. But I disagree with the approach that there are specific creative fundamentals. I think that’s a recipe for pat stories and dull screenplays.

What books have been influential in your creative journey so far?

True and False: Heresy and Common Sense for the Actor by David Mamet.

A Practical Handbook for the Actor by Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel Pollack, Robert Previto & Scott Zigler.

The Demon-Haunted World: Science as a Candle in the Dark by Carl Sagan & Ann Druyan.

Fox in Socks by Dr. Seuss.

Ozma of Oz by L. Frank Baum.

Where can we find out more about you and keep up with your projects?

My website PeterNew.net or follow me on Twitter @ActorPeterNew

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Our thanks to Peter New for speaking with us!

________________

Recommended Reading

[bscolumns class=”one_third”]

A Practical Handbook for the Actor
Melissa Bruder

[/bscolumns]

[bscolumns class=”one_third”]

True and False
David Mamet

 [/bscolumns]

[bscolumns class=”one_third_last”]

The Demon-Haunted World: Science as a Candle in the Dark
Carl Sagan & Ann Druyan

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Peter New appeared first on Biz Books.

With social media being a continually relevant and evolving necessity for entertainment professionals, we wanted to tap into Rebecca Coleman’s well-versed industry knowledge to gain a clearer understanding of how the social media machine works.

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Can you start by telling us a little bit about you and what you’re up to these days?

I am an instructor at BCIT, I teach 4 courses there (social media and blogging), and I am also teaching acting students at Douglas College and School Creative (Vancouver Acting Studio) PR and Social Media Skills. I am a consultant; working with businesses to help them to market themselves via social media. I am a blogger, I currently run 3 blogs and write for a few others, as well.

Why is social media important for people in the film, television, and theatre industry?

There was a time, when, to be an actor or a writer or a director, there was a prescribed path: go to school, get your degree. Get an agent. Get out there, hopefully land small roles, leading to larger roles, and eventually, stardom. Much of your career was placed in the hands of someone else. Those days are gone. Today, through social media, you can create your own marketing, create your own career. Having a following in social media will make a difference when you go to audition. 9 times out of 10, the casting directors are going to choose someone with a bigger twitter following, all other things being equal. You can help them market the production–that is leverage.  Social media is allowing artists, in a way, to choose their own adventure, carve out their own careers.

What are the three things that every blog post needs to be effective?

Voice and story. A unique voice or point of view is incredibly important, and being able to tell a story that draws people in.

A compelling image. Our brains process images way faster than they can process words. Plus, a screen full of words is a bit of a turn-off–it’s important to break up the text with graphic or images, which help to draw the reader in. Thirdly, with the rising of new image-based social media like Pinterest, having an image in your blog post helps to market it, and gets it found in searches easier.

Keywords. Okay, gonna get a bit technical. From a marketing standpoint, if you want your blog to be found, you need to think backwards. For this particular post, what are the keyword strings people would put into Google that would make them end up on your blog post? Integrate those into your tags and also into the body of your blog post–but do it in a way that flows. People can tell when you’re faking for SEO.

Among the various social media networks (Facebook, Twitter, Instagram, Pinterest, LinkedIn), which ones are most important (and least important) for entertainment personalities to be using?

Facebook, because it’s the biggest. With nearly 1.5 Billion accounts worldwide, FB is still the first thing people look into every morning when they wake up. The algorithm, however, makes it tricky.  Twitter is an amazing tool for artists to find others like them, and forge connections with other artists all over the world. I love it for that. I adore Instagram, personally, because I love the pretty pictures. Instagram is a great tool for artists to show what I call “a slice of life:” going to auditions, the gym, costume fittings, backstage on opening night. What’s your story? You can show it through Instagram. LinkedIn is important for connecting with agents and casting directors, or finding job-jobs. YouTube is very visual, so for such a visual medium as ours is, video is incredibly important.

In your opinion, should actors learn social media from a professional and then handle it themselves or are they better off with someone who can manage and create their social media content with their approval?

It really depends on how busy you are, and what your finances can handle, but I recommend you learn enough about it so that you know what’s good practices and what’s not. It’s very easy to get fleeced by unscrupulous individuals. You should treat social media the same way you treat your finances; sure, hire an accountant, but know enough about bookkeeping and taxes to know if you are being ripped off.

Having said all of that, I think the best path is to handle your own. It’s more authentic. But I would get some training and advice first, and if your following gets out of control and you need to hire someone, that’s cool, too.

As someone who has a long and successful association with the arts, what books would you recommend to people who want to pursue a career in the arts?

Some books that really inspired and focused me include:

True and False by David Mamet

The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield

A Whole New Mind by Daniel Pink

The Artist’s Way by Julia Cameron

And if I may do a shameless plug for my own book:

Getting Started With Social Media for Artists and Arts Organizations

What is it that got you interested in the social media side of things to begin with?

Almost 8 years ago, i went through a big career change. I’d been doing freelance arts publicity, mostly as a hobby (on the side), for a few years, and then I lost my job-job. I wondered, “could I make a living doing this full time? Self-employed?” I was a newly single parent, and needed work that allowed me a flexible schedule so I could still drop off and pick up my son from school every day. So, I launched my business in December of 2007. I started writing a blog as a means to market my new business, and quickly fell into Facebook and Twitter soon after. I started to wonder, “could I make this work for my clients?” and began experimenting with it. I quickly became the go-to gal in Vancouver if you wanted to use social media to market your theatre production.

Why did you choose the arts as your area of focus?

Because I couldn’t possibly choose anything else. I’ve only ever wanted to be in the arts. It is my heart. When I was 18, I went to university, and discovered the theatre, and it was a complete revelation to me. I had always been a writer, but in the theatre I found the people that were like me. I found my tribe. And that was incredibly powerful. I’d never want to work anywhere else. It would feel too much like work.

You have a long history in publicity as well. What are some of your project highlights and memorable moments in that area?

I have worked with some amazing artists–including the incredible Robert Shields and Robert Lepage. I interviewed David French, one of my writing heroes, and more recently, Alan Doyle.

I have worked with almost all the independent theatre companies in Vancouver; The Electric Company, Shameless Hussies, Touchstone. A few standout projects include The Beast of Bottomless Lake, a film I was part of, and very proud of, about the Ogopogo. I also really love doing site-specific stuff, like some of the show Itsazoo does–in parks and parking lots, and this really cool production called Metamorphoses, which takes place in a swimming pool. Oh–and a production of Five Women Wearing the Same Dress I produced and also acted in.

Where can people find out more about you and what you’re up to?

Through my website: RebeccaColeman.ca

Also on all the social medias! @RebeccaColeman (Facebook / Twitter / Instagram / Pinterest).

________________

Our thanks to Rebecca Coleman for speaking with us!

________________

Recommended Reading

[bscolumns class=”one_third”]

A Whole New Mind
Daniel Pink

[/bscolumns]

[bscolumns class=”one_third”]

The Artist’s Way
Julia Cameron

 [/bscolumns]

[bscolumns class=”one_third_last”]

The War of Art
Steven Pressfield

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Rebecca Coleman appeared first on Biz Books.

This is the pitch for How to Succeed in Hollywood Without Really Acting, the new book by actor, coach, and now author Peter Skagen which taps into his many years of industry experience and conveys his wisdom in ways that are inspiring, informative, and practical for today’s actors.

We spoke with Peter Skagen to give you a peek into his experiences in the industry, the insights waiting inside the book, and to find out more about just how to succeed in Hollywood without really acting.

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What was your inspiration for writing How to Succeed in Hollywood Without Really Acting?

I came to feel I was done with acting after 35 years and as many movies, and wanted to summarize everything I learned, without any agenda, into a book that would actually be useful, honest and hopefully inspiring.  It became a kind of thesis project, or maybe a letter to the young me.  Before it was even finished, it started taking on a life of its own.  I got a call from the Dean at the University of Lethbridge, whom I know, asking if the book was done.  I told him it wasn’t.  He said ‘we’ll take it anyway.’ They’re still using it, and since then, I’ve just been hanging on as it grows.  I get glowing reviews from casting directors all the time, and I’ve won a couple major book awards already.  I won Best Book in Performing Arts in California for 2015, and I’m a finalist in the Foreword Indie book awards, which is like the Oscars for indie books.

What are some of the recurring lessons that readers will learn from reading it?

Wow.  Well, there are a lot.  First of all, I think you need to be called to it.  Most successful actors I know can point to the very moment they woke up to themselves as actors.  That inspiration has to be strong enough to carry you to the bitter end, so it has to be huge.  Then, they have to know how the Biz works so they’re not going in blind.  Most actors take about 10 years just to figure out how it all works, so I want to save them that time.  Then story.  Story, story, story.  And craft.  Technique.  Nuts and bolts how to do the job.  Craft is the difference between working actors and wannabes.  Finding their brand, or signature character is crucial.  Then they need to know how to package and sell it.  And then it’s all about the audition.  Probably 98% of actors fail badly in the ‘room’ cause they don’t know what they’re doing; they think it’s about acting.  If they really take in all the secret info in the book on the audition process, they’ll never go wrong.

How to Succeed in Hollywood Without Really Acting

What do you think the biggest mistake is that new actors and performers are making when they try to enter the industry?

Giving it a try is the first mistake.  If you’re trying to be an actor, you should maybe move on.  You have to know.  You should have a ton of raw talent and unshakeable faith to start with because those things will be assumed throughout your career and you have to deliver them time and again without fail and without notice.  You gotta have the goods off the top.  If the industry–not necessarily acting coaches, but industry people like casting directors–if they respond to you early, that’s a good sign.   Love is another problem.  Many actors come to it thinking they’ll get love and admiration and all their problems will be over.  The Biz will never give you those things.

Who are the people that are going to get the most out of reading the book and applying the knowledge that you are sharing?

Anybody coming up, their parents, college students and professors, coaches and teachers, stage actors, comics, singers, anybody planning on moving to Los Angeles or New York to get into it, writers are loving the book, and you wouldn’t believe how many working actors in the Biz contact me saying how much the book helped even them.  Also, anybody who’s just plain interested will find the book very easy to read and very informative.  I hear it called a page-turner a lot.

 One of the themes of your book is the idea of not thinking like an actor, but instead thinking like a filmmaker. As you see them, what are the differences in how actors think vs. filmmakers?

Actors are all about themselves.  Filmmakers are about story, financing, making the day, and making a dollar at the end of it all.  They look for actors who understand their pain, and know how to help out in all those ways, and many others.  The acting is only a small percentage of the job.  Example: do you know how to talk to a potential investor in the movie in question?  If the answer is no, you have learning to do.

What inspired you to get into the film industry?

I started writing plays when I was about 9.  I made a movie when I was 14.  It was just always in there.

How would you describe the state of the film industry now? How has it evolved since you first became involved and where do you see it going?

This is a huge question which I address in the book.  I’m not a Hollywood insider by any means, but it’s clear that the actor has to think about his or her career more like a band does these days.  You have to become successful on your own.  It’s all about your social media following, your YouTube presence and so on.  And your knowledge and skill of the Biz, and ability to join the party seamlessly without having to be a beginner (somehow).  I came up during the ’80s, before the internet.  One of my classmates said she was thinking of getting into a new thing called rock videos.  Movie stars were really movie stars, and it was all about movies.  Nowadays, if you tell an agent you want to be a movie star, he might drop you.  There’s no money in it.  The big corporations running the studios don’t even want stars.  They want interchangeable young people as Spider-Man.  They want sequels, and remakes, and animation, and knock-offs.  The money is in television, and increasingly on the internet.  So, a lot has changed.  I see China becoming a much bigger player in the Biz, and I see the potential for a new renaissance of micro-studios making movies all over the world similar to Hollywood in the ’20s.  The major studios will continue only with giant blockbusters leaving room for new moguls around the world to fill the gap, and distribute on the web.

What books have been influential to you in your creative journey?

I’ve read everything on the subject I think.  I love the books of William Goldman – like Adventures of the Screen Trade – who wrote The Princess Bride and about 50 other major movies.  That’s for story.  Michael Caine’s book on acting – Acting in Film – is still one of the best.  And I love True and False by David Mamet.  Patrick Tucker’s book – Secrets of Screen Acting – is really good. And I would suggest reading books on film production including biographies, like The Kid Stays in the Picture by Robert Evans who produced The Godfather. And so on. You can’t read enough. And just really good fiction.  One of the first books I ever read was The Three Musketeers by Alexandre Dumas. It became a movie in my head.

What other projects are you involved with right now?

I’m writing a sci-fi thriller to be shot in China in 2016.  Right now it’s called Dead Still, but that title will change.  It’s a little like Jurassic Park but the dinosaurs are something else, and much worse.  And, crazy as it sounds, I’ve started writing a stage show based on the book.  It’ll be a musical with songs like I Wanna Be Rich, Would You Like Cream With That (from the book) and Oh, my God, it’s Johnny Depp.

Where can people find out more about you and your work?

They can go to PeterSkagen.com.

________________

Our thanks to Peter Skagen for speaking with us! You can check out his book right here!

________________

Recommended Reading

[bscolumns class=”one_third”]

Adventures in the Screen Trade
William Goldman

[/bscolumns]

[bscolumns class=”one_third”]

Secrets of Screen Acting
Patrick Tucker

 [/bscolumns]

[bscolumns class=”one_third_last”]

The Kid Stays in the Picture
Robert Evans

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Peter Skagen appeared first on Biz Books.

In the middle of his busy international book tour, Jeff Seymour spoke with us about The Real Life Actor, his history in the entertainment business, and his advice for new actors.

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Can you start by telling us a bit more about you and the projects that you are involved with at the moment?

Currently I’m on a book / seminar tour. I was at Second City in Chicago on June 16th. I’ll be at The Triad Theatre in NYC on June 30th. Then I’m off to the UK, Austria and France. I’m looking forward to seeing how they respond to my book and approach across the pond.

How did you first become interested in acting and what steps did you take to get there?

I was a latch key kid so I was always alone in front of a TV.  I loved television. I’m sure it was something I always wanted but I didn’t say it out loud till I was 18 years old. I left Virginia, where I grew up and headed to a theatre school in L.A.

Who were your greatest influences when you were starting out?

Believe it or not, Al Pacino and Dick Van Dyke.

What have been some of the most memorable moments in your career thus far?

Running my own theatre for 10 years in LA. Working on The Eleventh Hour in Canada. Creating my own TV series, JeffLtd and getting to do whatever I wanted for 2 seasons. Winning a Gemini and receiving multiple nominations is always lovely. Going to Morocco to shoot an episode of Homeland and work opposite Claire Danes. Doing Speed the Plow by David Mamet in a small theatre in LA and having Quentin Tarantino show up.

Let’s talk about your book, “The Real Life Actor”. What inspired you to write this?

35 years of teaching and in that time developing an approach to acting that I feel is as unique as it is highly effective. It was something I wanted to do after 15 years of teaching. It took me another 20 years before I finally got around to doing it. When I finished the last words of the final chapter and knew that my 20 quest was complete, I started blubbering like a baby. I was so relieved I had finally finished it.

What can actors expect to gain from reading the book?

Hopefully the clearest explanation of what great acting is and the most straightforward, effective way to attain it. It also outlines and shares the winning professional attitude needed to persevere and succeed in the business. The book is also meant to inspire.

From your standpoint, is it easier or more difficult for new actors to “break out” in the industry today than it used to be?

It’s probably a wash. Whereas it might be harder to get to agents and be seen because of the overwhelming amount of actors vying for a chance, there is now electronic media. Nowadays with a good idea and some initiative, actors can leap frog ahead and make some serious noise on their own.

Overall, what is the most rewarding aspect of your work?

All of it. Any of it. In the thirty six years since my first professional job, I’ve never had to make a living doing anything else.  It never feels like work. Like the saying goes, “Find something you love doing and you’ll never work a day in your life.”

As an actor, you’ve had a number of roles on television and film. Do you prefer one over the other and how does your creative process change if it’s a film or television role?

The only difference I see between the two is that they take a little more time when they make a film. My process is the same, I just have more time in between takes.

What advice would you give to someone who wants to pursue a career in acting?

Take the time to acquire ability before you market yourself. Agents and casting directors have long memories. A bad first impression may be the only impression you are ever afforded. Make it count.

What books have been influential in your creative journey so far?

The War of Art by Steven Pressfield. I can not recommend his book enough. It is life changing!

Where can people find out more about you and keep up with your latest projects?

You could go to my website at RealLifeActor.com or the Real Life Actor Facebook Page.

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Our thanks to Jeff Seymour for speaking with us! You can check out his book right here!

The post The Biz Interview: Jeff Seymour appeared first on Biz Books.

Opening June 6th at the Beaumont Stage, it features a new twist in the form of a talented all-female cast, including our own Catherine Lough Haggquist of Biz Books. We spoke with Rachel Peake to find out more about the process of developing and directing such an ambitious production.

What inspired you to take on this production?

I have always thought of Glengarry Glen Ross as a “man’s play” – about men, for men – so I never imagined tackling it. But when I was asked to direct an all-female production I began to wonder about that idea of a “man’s play.” What did my labelling it that mean? What did it say about my own compartmentalization of how men behave versus how women behave, and what men are driven by versus what drives women? That, combined with my interest in separating notions of “feminine” and “masculine” from “female” and “male”, began to get me really excited about what could be unearthed in hearing these words come out of women’s mouths. Not altered. Not made into female scenarios. But presented as-written.

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

The process was a bit unusual for me because it was an extended rehearsal period and our designers came on after our actors had been cast. However, this scenario allowed me to really focus on the text: the ideas, the language, the arguments, the rhetoric, for a large chunk of the preparatory time, and then to bring design and aesthetic conversations into the discussion. Once in rehearsal we spent a good chunk of time on the dense text, and then got on our feet, pushing relatively quickly to a first run in order to give us all an overview of the story, and then breaking in down into detail to rehearse again. We have been rehearsing half-time for a little over seven weeks, and we will go into full time rehearsals for tech leading up to opening.

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

All the glory and all the trials are in the text. It is dense text about a world very few Vancouverites in 2015 know much about, so negotiating the realities of the business and how it works are extremely tricky. Also, of course, there is the added challenge of women taking on male roles and understanding what that means in terms of tactic and intention. When it comes to the second point we have sought outside advice, techniques, and counsel. For the most part, research, analysis, and our detective skills with some imaginative problem-solving thrown in seem to have been our guide.

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

I have read a lot of David Mamet. His plays, his theories, his rants. It is interesting to see both how his writing and opinions have changed over his career, and how differently I come to it all than I did last time I read it when I was in university! I also read A Practical Handbook for the Actor by Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel Pollack, Robert Previto and Scott Zigler. It was not written by David Mamet, but it was in essence endorsed by him and seems to espouse his directives to actors playing his text. I also read some critical essays that form part of “Gender and Genre” and “David Mamet’s Glengarry Glen Ross: Text and Performance” as well as some articles on sales from the era.

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

I’m thrilled to be heading to Newfoundland again this summer to work on an interarts project there with Dark by Five at the Liminus Festival in Corner Brook and Gros Morne National Park. I will am developing two new works here in Vancouver: Mata Hari with Single Line Theatre (debuting in February), and Point Counterpoint with the Elbow Theatre (debuting in Montreal in January). I am adapting the main stage opera Stickboy by Shane Koyczan to be toured in high schools by Vancouver Opera in Schools next January. I’ll also be heading out of town to direct Miss Caledonia at Western Canada Theatre in Kamloops and The Snow Queen at the Globe Theatre in Regina.

Where can we find out more about you?

RachelPeake.com

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Glengarry Glen Ross runs from June 6th through June 27th at the Beaumont Stage. For ticket information, please visit TicketsTonight. You can also support the production through its Indiegogo campaign.

The post The Biz Interview: Rachel Peake of “Glengarry Glen Ross” appeared first on Biz Books.

Play Details

This scalding comedy took Broadway and London by storm. Here is David Mamet at his very best, writing about small-time, cutthroat real estate salesmen trying to grind out a living by pushing plots of land on reluctant buyers in a never-ending scramble for their share of the American dream. Revived on Broadway in 2005 and 2012, this masterpiece of American drama also became a celebrated film which starred Al Pacino, Jack Lemmon, Alec Baldwin and Alan Arkin.

The producers of Classic Chic Productions are thrilled to announce their next project, an all-female Glengarry Glen Ross.

Glengarry Glen Ross is presented by special arrangement with Samuel French Inc.

June 6th – 27th, 2015

Preview June 3 & 4 (half price), Opening Night June 6th

Run Tuesday to Saturday, with a 2 for 1 on Tues June 9th

Matinees at 2:00pm on all Saturdays except opening, June 6th.

Tickets $25.00 at the door and $23.00 + service fee on Tickets Tonight.

At the Beaumont Stage (326 West 5th Ave, Vancouver, BC)

You can also get some great perks and help support this production through the Indiegogo campaign for Glengarry Glen Ross and Classic Chic Productions.

Cast:

Catherine Lough Haggquist – Baylen
Marci T House – Williamson
Colleen Winton – Levene
Michelle Martin – Roma
Corina Akeson – Moss
Suzanne Ristic – Aaronow
Christina Wells Campbell – Lingk

Directed by Rachel Peake.

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 Glengarry Glen Ross at the Beaumont Stage appeared first on Biz Books.

Glengarry Glen Ross is their latest production, which opens on June 6th at the Beaumont Stage. We spoke with Christina Wells Campbell to find out more about what Classic Chic Productions is and what it’s bringing to the Vancouver artistic community.

Can you start by telling us about how Classic Chic Productions got started?

I wrote a blog post about that very thing which you can read here. That’s the long answer. The short answer, and it’s less altruistic than you might expect, is that I really wanted to play Iago and realized the only way for me to be able to do that was to have a company where women played all the parts.

Of course there are great women’s roles in the classics, but so many of them (particularly in Shakespeare) are pleading for their lives, begging for justice, or goading men to act on their behalf; from Beatrice in Much Ado About Nothing’s “Oh, that I were a man!” to even Lady M’s “When you durst do it, then you were a man” I wanted to be able to explore parts where the characters have agency in their lives—where they make choices based on their own motivations and desires—even if (or especially if?) the consequences of those choices turns out badly.

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

What do you want actors in your productions and audiences who see them to come away feeling after experiencing a Classic Chic production?

I want the actors to come away with a better understanding of how men (in general) are in the world. It’s proved to be both a fascinating and a powerful thing to feel what it’s like to put on the costume of man because it points also to how we put on the costume of woman. Men (again in general) tend to occupy more physical and energetic space than women. They state their positions without apology. They are better at letting the world know what they want. And being able or not able to do those things has repercussions for women – from having your voice heard at a board table to having your testimony believed in court.

I want the audiences to feel that too. But I also want them to be taken along for the ride—to forget the gimmick of it being an all-woman cast and be engrossed in the story.

What can you tell us about the upcoming production of Glengarry Glen Ross?

It’s going to be good. It’s vicious, funny, and a little heartbreaking.

What are the biggest challenges with running a theatre production company today and how do you deal with them?

Same as it ever was: money, time and space and not enough of any of those. We’ve dealt with them through ulcers, insomnia and general anxiety. No, I jest. We deal by having small budgets, getting things donated or in-kind and putting great people on the tasks of fundraising and marketing. The key to most things in life is relationships – making connections with people you like and respect and building a network that eventually becomes like another family.

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

As far as influencing my creative self and spiritual self, I look to these books.

• Women Who Run with the Wolves by Clarissa Pinkola Estes
• On Becoming an Alchemist by Catherine MacCoun
• The Creative Habit by Twyla Tharp
• How to Fail at Almost Everything and Still Win Big by Scott Adams

Other authors and playwrights I love are: Morris Panych, Christopher Durang, Zach Helm, Charlie Kaufman, Robertson Davies, Jane Urquhart, and Carol Shields.

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

Still evolving. I’m afraid there’s not much to report on that front. Soon though. Soon!

Where can we find out more about Classic Chic?

The Official Site, Facebook, Twitter, and Pinterest.

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Glengarry Glen Ross runs from June 6th through June 27th at the Beaumont Stage. For ticket information, please visit TicketsTonight. You can also support the production through its Indiegogo campaign.

The post The Biz Interview: Christina Wells Campbell of Classic Chic Productions appeared first on Biz Books.

With the contest winding down and “When Pigs Fly” holding steady as a prime contender, we spoke with Brendan Taylor about how the commercial came to be, what goes into a successful commercial, and what else he has in the pipeline.

Tell us about the Doritos Crash the Super Bowl contest and your commercial, “When Pigs Fly”.

The contest is open to anyone who wants to make an ad for Doritos; they don’t have to be filmmakers necessarily, they just have to have a good idea. The winning ad is shown during the Super Bowl, the filmmaker gets a job at Universal in LA, and they win $1 million! Graham Talbot and Nelson Talbot happen to be great local filmmakers, they are SFU Film Alumni and aspire to work on bigger projects. They entered the contest last year and made it to the Top 25 semi-finals, which is already great. But this year they made it to the Top 10, out of almost 5,000 submissions. But I didn’t know it would get there when we shot it in October! It turned out amazing, and of course I’m biased, but I actually do think it’s the best one out of the 10 finalists!

In the ad, a young boy approaches his neighbour and casually asks for a Dorito chip. The grown-up says to him “When pigs fly!”, and the smart young boy takes it literally; he comes back the next day to surprise his neighbour, with a fly-by pig with a rocket on his back. The neighbour concedes and gives him the whole bag.

How can people get involved to support it?

Please go to Doritos.com and click ‘VOTE’ under our video “When Pigs Fly”! We are 1 of 2 Canadian teams this year, and would love all the support we can get to win this thing! It’s real easy, no sign-up, just visit the site and vote! You can vote every day until Wednesday, January 28th, once a day on your computer, phone, and tablet!

And find Vote4whenpigsfly on Facebook for all the latest news and extra behind-the-scenes stuff! We find out who won the contest DURING the Super Bowl on February 1st; they will air it live, so we will all find out at the same time!

How did the idea for this commercial come about?

Graham Talbot and Nelson Talbot just did a brainstorming session and built on what they learned last year, got an idea, and ran with it. Raw creativity based on experience! They knew kids and animals were popular in ads, so they worked from there. They have a good friend who does most of the post-production CGI effects. You can find a great little video on the visual effects on our Facebook page.

What can you tell us about your creative process in putting it together?

There were many factors, the Talbots will tell you: working on a budget, calling in favours and finding the location, and the actors: Keegan Turbitt, the perfect young genius boy, myself for the ‘simple’ farmer, and Bernard the Pig, who is a local pig actor! I got a call randomly from a mutual friend who was helping them find cast. I looked at the Talbot’s previous work and really liked it. I decided to jump on board, thinking at the very least of having something cool for a demo reel. The rest is history!

What do you enjoy about doing commercials vs. theatre, television, and film?

Commercials have been great for me not only for on set experience, but as an outlet for comedic acting. I love comedy, but there’s not a lot of comedy that shoots in Vancouver, just mainly dreary sci-fi stuff. But I do love TV and Film, more so in fact because I get to dig into a real story, and not just a fleeting gag or idea from a 30 second spot. And I love theatre: I was trained in theatre, and firmly believe it makes the actor great. Name any famous actor you enjoy, and chances are they grew up on the stage. Overall, I just love being immersed in storytelling. In a perfect world, I would balance my time shooting TV in LA, traveling abroad and shooting a film on a remote island somewhere for 6 months, then hunkering down in NYC for a few months to work on a Broadway play.

What would you say are the three most important things that every successful commercial needs?

Hmm, tough question. I’m not a marketing person, but from my own experience I would say: know your market, think outside the box, and…hire good actors? I find advertising fascinating, but I think it’s a lot of pressure to constantly come up with good ideas! Often times I’ve found myself improv-ing something in an audition and they end up using my idea because it was better than their own!

One of my favourite recent gigs I had was a singing voice-over gig for Old Spice ‘Dadsong’, once of the most unique and creative ad campaigns out there. The song was written by Bret McKenzie of ‘Flight of the Conchords’. So bizarre, yet very high production value and and you can’t help but laugh and sing along. Check it out on Youtube!

What other projects are you involved with these days?

I have a few projects coming out very soon. I was on an episode of the CW’s Arrow, which will be airing in a couple weeks, and I was on a new show called Olympus on the SyFy Network. I have a few commercials airing right now, and couple more on the way. I was also a lead in a feature film that shot last summer called Charlotte’s Song, which will be in festivals this Spring. It’s a supernatural period piece set in the 1930s Dust Bowl based on the fable of the Little Mermaid. I’m very excited for people to see it.

I’m also in the midst of co-producing an original play with some friends from my theatre company. We’re still in early stages, and it’s scary to dive into something original, but it’s exciting.

Who are some of your influences in film, television, and theatre?

I’ve found my tastes and interests have changed greatly over my life, in terms of who I like and who I think is good. But I definitely have some role models: In dramatic acting, I look up to Daniel Day Lewis, Joaquin Phoenix, Michael Fassbender, Michael Keaton. In the world of comedy, I love Ty Burrell, Patrick Warburton, and Larry David’s brilliant writing. I’m fascinated by Wes Anderson, Paul Thomas Anderson, and Quentin Tarantino’s Pulp Fiction era. In theatre, sometimes I’m in the mood for William Shakespeare or Tennessee Williams, but then I’ll play with David Mamet or Martin McDonagh.

What books have been influential to you in your career so far?

As I mentioned, I like a variety of theatre, so I love reading plays. Actual physical plays, not so much online. I’d love to have a huge collection of play books that I could chip away at. I find they’re very useful to have around too, if you’re an actor in training, which you should be. It’s so easy to be lazy as an actor, so at the very least you should be reading plays, thinking of monologues, reading up on playwrights or directors, reading or watching biographies… do something to further your craft if you’re not taking classes. Which you should be.

Where can we find out more about you and keep up with your projects?

You can check out my website at Brendan-Taylor.com. I try to keep the blog up to date with my latest gigs. You can find most of my commercials there too, and plenty of photos from past projects, including several plays with Blind Pig Theatre. And you can follow my Twitter @bdog_taylor and Instagram @dardaboy. In the coming weeks I will have a new demo as well as a voice demo up on my site, so stay tuned!

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