In his books, The Film That Changed My Life and The Best Film You’ve Never Seen, American journalist and teacher, Robert K Elder offers some suggestions.

The Film That Changed My Life provides 30 directors sharing thoughts on their first encounter with the film that inspired them to direct movies. Spanning several generations – from relative newcomers to Oscar Award-winning veterans – these are inspired and inspiring discussions of classic films that shaped the careers of today’s directors and, in turn, cinema history.

The Best Film You’ve Never Seen is not only a guide to some overlooked movies but a bold attempt to rewrite film history by 35 directors who recommend what they consider to be underappreciated films. They each champion their favourite overlooked or critically savaged hidden gem.

Both these books offer some perspectives on what makes a “classic” film beyond the regular “Best of” lists with thoughtful, personal reflections. 

The post Films You’ve Never Seen That Might Change Your Life appeared first on Biz Books.

As Edge of Winter enjoys a theatrical release in select cities across North America and on iTunes and VOD, we spoke to Rob Connolly to find out more about the film and hear about the production from his perspective.

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Can you start by telling us a little bit more about you and Edge of Winter?

Kyle Mann, the producer and co-writer of the project, pitched the idea to me and I was immediately intrigued. I read his original version of the script and knew exactly what I would want to do with it if I were to come on board.  We discussed focusing the story much more on the characters than on the thriller elements and wanted to really build up the internal struggle that Elliot was dealing with as a man who hasn’t gotten much right in his life and is now about to lose the one thing he has left.  Kyle and I were working together on another project at the time and I kept telling him I thought this would be the perfect film for us to collaborate on so we started reworking the script until it became what it is today.

Can you briefly walk us through how the film came to be and what your creative process was like from the early days of production all the way to completion?

After working on the script together for about eight months or so, we were ready to go out to cast. Joel Kinnaman was really our ideal choice to play Elliot but we weren’t sure how open he would be to the idea of playing a father who puts his kids in danger.  We sent him the script and he immediately connected to Elliot’s struggle and we met two days later and he signed on to the project that night.  From there, was a very collaborative process where Joel and I would discuss specifics about his character and really hone in on a diagnosis for what is going on with him internally.  Once we started shooting, most of that character work had been done and it was just a matter of battling the elements.  Throughout the shoot, the weather was by far the most unpredictable part of the process but as long as we were able to shoot, we knew we were able to rely on great performances.

What should audiences expect from the film?

Audiences should expect to see a father trying his best to do what’s right for his kids.  This is a man who isn’t really equipped with the necessary skills it takes to be a great, nurturing father, but he is determined to do what he thinks is best for his kids. Elliot doesn’t have great instincts and therefore relies on classic examples of how fathers and sons are meant to bond.  He makes one short-sighted decision after another that lead the family, little by little, further away from safety and by the time the realize how far they’ve gone, it’s too late.

What was your biggest challenge in making the film and how did you deal with it?

The biggest challenge was absolutely the weather.  We knew it was going to be unpredictable but adapting to the constant chang in weather was much more difficult than we could have imagined.  We obviously needed extreme weather and extreme cold which is what led us to shoot in Sudbury, Ontario in the first place.  Throughout our pre-production, the weather was consistently 40-50 below zero with ample snow but as soon as we started shooting, the temperatures rose to around 5 degrees and all of the snow began to melt.  By the second week, we were having to bring in dump trucks full of snow and spread it around so it would match.  Just when we got used to that, a blizzard came in on our last day and changed the landscape completely.

From your perspective, how would you describe the current state of the Canadian film industry and how can it be improved?

There are some really great projects coming out of Canada these days and there are so many incredible resources available to develop a wide variety of films.  I’m most excited about the unique potential the Canadian film industry has to take chances with storytelling and create an identity all its own.  There is an opportunity here to really explore the possibilities of style and story that often have a tough time getting made in the more traditional, tentpole-driven Hollywood system.

What would your advice be to aspiring writers and directors?

The best advice I can give is to keep creating content.  Short films are a great way to cut your teeth and build a reel but the jump to features is a tricky one to maneuver.  A short film, no matter how good it is or how many awards it has won, is a great calling card but it can be incredibly difficult to use a 10-15 minute movie to convince financiers that they can trust you with the amount of money needed to pull of a feature.  This is where relationships matter.  Having producers who you know and who will fight for you are invaluable.  Unless you are able to come up with a budget on your own, it is all about fostering those relationships and building trust so that when the right project comes along, you have a team willing to go to bat for you.  That being said, nothing will happen without a script.  The more you write, the more likely you are to have a product that someone will want to make.  Amazing scripts won’t most likely fall into your lap unless you write them yourself.  There are too many people with proven track records that will typically get those opportunities first, so it really is up to you to create the content that you want to make.

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

My love of reading started with plays (mostly because they were shorter and easier to digest for school book reports).  Somehow through that initial laziness, I became hooked.  Early major influences on me were Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, Thornton Wilder’s The Skin of Our Teeth, Edward Albee’s Who’s Afraid of Virginia Woolf?

Others include Geek Love by Katherine Dunn, John Irving, Tom Robbins, J.G. Ballard, Gary Shteyngart, and Joe Meno who wrote the short story my first short film was based on called Our Neck of the Woods. 

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Thanks to Rob Connolly for speaking with us!

Edge of Winter is now playing in select theaters and it’s also available on iTunes and VOD.

The post The Biz Interview: Rob Connolly appeared first on Biz Books.

One of those filmmakers is Scott Parker, who has taken taken his Prairie upbringing and filmmaking ambitions to create The Grasslands Project, a 10-part short film series that chronicles the lives and issues that the core of the Southern Prairies.

With The Grasslands Project now available for viewing on the NFB website, we spoke to Scott Parker to learn more about how this project came to be and his experiences as a Canadian filmmaker.

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Can you start by telling us a little bit more about you and your film?

My name’s Scott Parker and my family has deep roots in the Prairies of Saskatchewan. My father and I still own our family homestead from 1902 (although we no longer farm it). I have been a traveller, adventurer and filmmaker for 30 years. I have been lucky to work on a wide range of projects during that time, and received the benefit of many generous filmmakers’ wisdom. Although I used to work on commercials, television series and music videos, I now focus my efforts on small films for social-change organizations, as well as documentaries.

The Grasslands Project is a series of 10 short documentary films produced through the National Film Board of Canada’s North West Centre in Edmonton. Producer David Christensen wanted his studio to produce a film featuring rural life in the southern Prairies. As we discussed it on a fall morning, I suggested the best way to learn what stories are important to people in the south is to go and ask them. This led us to develop a community engagement tour (of nine communities) in order to determine what the important stories of the Southern Prairies were. We decided we’d create an anthology of short films, giving us the ability to tackle several different story streams. These stories are a gift from the people of the southern Prairies, and they are deeply rooted in that region.

Can you walk us through your filmmaking process from the conception of the film to the completion?

This process is a unique one. During our community consultations, we logged every single idea that was offered (we had hundreds!). We then looked for common themes that emerged. A lot of people spoke about the disappearance of small family farms, the struggle for small towns to remain vibrant, the battle to keep businesses operating. . . We then used the resources and expertise of the National Film Board to tell these stories. I saw myself as less an auteur filmmaker and more as a translator, taking these authentic Prairie stories and turning them in to short films. We needed to make films that would reflect the stories that were so generously given to us.

Another unique aspect of this project was the crew size. It was 1. Originally, we had looked at bringing in small documentary crews (usually 3 people – sound, camera and director), but I had all the contacts with people and had built a lot of trust and goodwill. Bringing in additional people would have been tricky. Because I have been fortunate to have worked with so many generous filmmakers, I have a good knowledge of camera and sound, and I’ve been directing and editing for 30 years. David and I made the decision early on that I would be the sole filmmaker. I did have a lot of help, though. The NFB team at the North West Studio office in Edmonton provided terrific administrative and technical support, and I hired local production assistants when required. Additionally, I had the incredible Kristin Catherwood (prairie girl, folklorist, writer, workshop leader, logistical wrangler, etc. etc.) working on the project. Kristin was primarily our social media writer, but she was invaluable for many other aspects of the project.

I was shooting films while I was editing other films. The Grasslands Project headquartered itself in Eastend, SK, and it was in the living room of a little 60-year-old house that most of the editing happened. Yet another unique process with these films was that nearly every main character saw the films before they were finalized. We wanted to make sure we got their stories right, so we asked for their input. I think because we worked so hard in capturing these stories, and really listened to what people told us was important, that had a big bearing on how subjects originally reacted to the films. They thought we’d done a great job telling their stories, and that was very satisfying.

What should audiences expect from The Grasslands Project?

This is a series of short, intimate sketches of contemporary prairie life. People opened their homes and hearts for these films, and it shows. Audiences can expect to see authentic and powerful stories from a part of Canada that is rarely represented in the media.

What was the biggest challenge for you in making this project and how did you deal with it?

At first, I thought the biggest challenge would be creating authentic stories . . . creating films that would reflect how people felt and how the landscape felt (as the two so strongly influence each other). However, once people got to know what The Grasslands Project was all about, they gave their time and energy to the films and really ensured that each film would be authentic and honest.

In reality, the biggest challenge was shooting 10 films over 160,000 sq. km. When the sun is rising at 5 AM and setting at 11 PM, and you’re shooting and travelling for weeks at a time, the workload catches up to you. We were also holding community filmmaking workshops, and we did 12 of those. So it was a lot of long days, and then there was still all the editing to get done. It was quite stressful sometimes as the workload would get in the way of the creativity, but fortunately I had many colleagues that helped keep me going in the right direction. I wouldn’t trade a moment of the experience!

From your standpoint, what is the current state of the Canadian film industry and how can it be improved?

From my personal standpoint, I think we will see an exciting shift from traditional, linear documentary to more socially active and engaged storytelling. The Grasslands Project is part of that shift, as we worked hard to include our audience in the creation of the films.

Working on films has never been an easy way to make a living in Canada. But amazing people make their lives in this industry and pass on their knowledge to the upcoming generation. We love what we do, we love to tell stories, and I in particular love to tell the little forgotten stories that are hidden away at the end of remote, long roads all across this country. Canada is a story machine.

Who are a few of the Canadian filmmakers and films that you appreciate the most?

Colin Low is my hero. He pioneered community engagement films with his incredible work on Fogo Island in the ‘60s, and is responsible for a library of seminal Canadian work. Gil Cardinal is also an influence and an inspiration, and he really helped me understand some of the nuances of making a compelling documentary. I’ve been fortunate to edit most of Rosie Dransfeld’s films, and have learned the subtleties of cinema vérité . . . Well, I’d say I understand them more than have learned them. I’ve learned a lot from craftspeople too, so many people who have been so generous to me, learning the craft of editing, of shooting, of directing, gripping, lighting, sound. People in this business are generous.

What’s the most rewarding element of being a filmmaker?

I get inside of peoples’ lives. It’s incredible to learn so much about people and their stories when you’re making a film. The process is so open and honest. So many amazing people have let me in to their lives and shared their stories and emotions and trials and victories. The film Life Out Here is a terrific example of that (in many ways ALL of The Grasslands Project films are…). We met rancher Joan Hughson at a community engagement meeting in Foremost, AB, and Joan talked about what it takes to be a rancher out in that landscape. Joan and I worked together to coordinate the filming of Life Out Here, enlisting three other amazing ranchers and farmers, all women. These four women sat down and developed the themes the film would touch on (family, hard work, the future, isolation) and then they interviewed each other. It is incredibly touching that they were all so forthcoming with their stories, and the resulting film (which they and I are very proud of) has brought many people to tears. I can’t imagine any other career where I would make such rewarding connections over a few days, and get to create a record of that connection!

What advice do you have for aspiring documentary filmmakers?

Three things:

• 1^st, there are dozens of great courses and schools that can help you get started in this business. It’s great to learn as much as you can about the process, and get some practical and theoretical experience early on. There’s lots of people looking for work on film crews and in documentary, and having some education (if you don’t have any experience) is very valuable.
• 2^nd, make films, but don’t just make crappy films. It’s so easy to make a little short film now! Back in my day (yes, way back when) we had to buy film and get it processed and everything was really expensive. Now, you can shoot a freaking little film with your PHONE.
• But 3^rd, because technology makes filmmaking so available to the masses, many people make really lousy films. Don’t be that person. Think before you shoot. Think about the story you are telling. Why should your audience take precious minutes or *gasp* hours out of their lives to listen to the story you made? Life is too short to make lousy films. Well, maybe people think my films are lousy, but they can go jump in a lake then.

What film-related books and authors have been influential in your creative journey?

For this project, two books were really important as an esthetic touchstone: Wolf Willow by Wallace Stegner and Sharon Butala’s The Perfection of the Morning.

Wolf Willow reflected the toughness of the Prairies, the battle and the beautiful life lived out there.

The Perfection of the Morning is more about isolation and culture and being out on that massive unforgiving landscape yet feeling like you belong.

Another influence would be Suds Terkel’s Working. This is a masterpiece of taking mundane, unimportant little stories and giving them their moment and really showing that no, our little lives are not mundane and they do matter.

Cinematically, there is In The Blink of an Eye by Walter Murch. This is a treatise on editing that is recommended reading for any serious editor.

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

Easy! Roll on over to nfb.ca/grasslands and watch the films. If you don’t like them though, remember you’ll have to jump in a lake!

Watch Life Out Here in full:

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Thanks to Scott Parker for speaking with us!

For more about The Grasslands Project and other NFB projects, please visit NFB.ca!

The post The Biz Interview: Scott Parker appeared first on Biz Books.

We caught up with Neil LaBute in advance of his stop in Vancouver for a live reading of his play, The Way We Get By and asked him for his insights into effective plays, his acclaimed career and what he enjoys about Vancouver.

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Can you start by telling us a little bit about how your career first got started?

Like many people,  I  was an overnight success ten years in the making. After I got out of graduate school, I started teaching while also having productions of my work done in various theaters, mostly in Chicago to start. It was not easy to take advantage of those productions, however, as I was living elsewhere and it was not until I finally decided to make a film that my theater career really took off. After I directed In the Company of Men people were interested in my work in a more global way, including my plays. That film allowed me to get productions in New York and London of the play Bash and my career in both film and theater expanded very rapidly after that. I have since tried to maintain a relatively even commitment to both plays and films, with television becoming the latest expansion in my work. So far I’ve been very lucky to do a lot of what I  wanted to do in my life, at least from a creative standpoint.

What projects are you currently involved in these days?

I’m in Vancouver working on a television show called Van Helsing about Greenpeace and global warming. Actually, it’s about vampires and the apocalypse; the Greenpeace thing just sounded really noble in my mind. A super-volcano does create a shroud of ash over much of the northwest in Van Helsing so in a sense it’s about global warming but the rest of that was a complete lie. After this, I’m going to direct Uncle Vanya in Germany and then be in New York in the fall for the presentation of a new play of mine called All the Ways to Say I Love You starring the amazing Judith Light. There’s also the possibility of a new film in there as well but I’ve become very zen about making movies—they happen when they happen and I don’t chase after them like a madman any longer. I’ve made ten already, more than half of which are pretty good, and  I’ll make another one when the time is right.

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From your experience as a playwright, what are the three most important elements for writing an effective play?

The first most important element of writing a play is actually writing it. People love to talk about writing and love to sit in coffee shops and have people watch them writing but actually writing something is very different. So, first, write the damn thing.

Second most important thing is to not be afraid of re-writing. I know people who hate to re-write — some hate it so much that they don’t ever do it and I’m including some very famous and successful people. I think this is a mistake. I’ve never once written something that was at its best the first time out. Not one time, and I’ve been doing this for almost thirty years. So, learn to re-write. Give it a try. Think outside your little box.

Third most important thing is seeing and hearing your play on its feet. I don’t mean just get the thing read because that’s good, too, but to see it in a performative state, that’s the purpose of a play (even though I believe it should be very enjoyable to read as well, simply as literature). This, of course, may mean that you have to put it on yourself if no one else wants to — be it a theatre company or a producer or group of students at a local college — and that’s exactly what you should do. Go watch an old Mickey Rooney–Judy Garland movie and see how it’s done: get somebody’s dad who has a barn and go put on a show in front of whomever will come watch it. That experience will be invaluable.

As someone who has been involved with creative work in different forms of media – film, television, and theatre – what is rewarding about each of these platforms for you?

Each one is different and each one is special. I hope I get to continue working in all three of them, along with radio theater whenever the chance arises (not very often in the U.S. but on occasion).

I love how fast you work in television; very quickly you see a show come together and a longer-form story being told. You also get to work with a variety of writers and directors in a way you don’t experience them in other mediums.

Film is a beautiful collaboration with a group of people in a very limited time frame and I’ve enjoyed the outings I’ve had very much — that said, there is a pressure to film and television that I haven’t experienced in theater and I love the privacy and the steady, step-by-step process that comes with rehearsing a play.

Theater is where I started and remains my religion. The other mediums have been artistically and financially rewarding, an international passport to working with other artists in other countries and a wonderful way to tell stories that don’t belong on stage. That said, the theater is where I belong and find myself most fulfilled and happy.

You will be visiting Vancouver for a live reading of your play, The Way We Get By. What can you tell us about this play and the inspiration behind it?

The Way We Get By is a two-hander (two characters) that takes place in ‘real time’ on the stage; the 90 minutes you spend with the characters is the 90 minutes we see of their lives. It is a ‘morning after’ play, where two people find themselves together against their better judgement and face the crossroads of ‘should we go on or should we leave this where it is?’ I set out to write an unabashedly romantic story and think I succeeded; it also became the basis for a television series I recently did called Billy & Billie, although the characters in each are different people and not a continuation of one story into the other.

You have been involved with several film and television projects that have been produced in Vancouver. What advantages does Vancouver offer to the film and television industry that other cities don’t have?

Well, if you need rain in your work you’ve come to the right place. Actually, it’s a beautiful place to live and work—the breadth of locations is amazing and people are just generally nice to work with and that’s a huge part of the process for me—do  I  want to spend time with this person and create something with them? I made a movie here ten years ago that was poorly received and I still take sh*t for it (The Wicker Man) but I had a blast making it. Nothing but good memories about the city and the creation of that project. Now, a decade later I find myself shooting on several of the exact same locations and they work wonderfully well for a whole new world. That’s a pretty lovely and rare thing. You also have just enough good used bookstores and independent cinemas to keep me going when I’m away from home — I also love to walk through the International Village Mall because it is one of the strangest buildings and collection of stores I’ve ever seen in one place.

What’s the biggest challenge you’ve faced in your career and how did you deal with it?

The biggest challenge of your career is always yourself: getting your voice out there and then if you do, doing it again. And again. And one more time. And then not repeating yourself and remaining relevant in a fickle and ever-changing creative landscape. Trying not to sell out and trying to do good work but needing money to survive and finding it harder and harder to make yourself and your producers and the studio and the public happy. Listening to the critics is also tough but important — in case they say something worthwhile but not being brutalized by them, those people who sit on the sidelines (or heckle you from the cheap seats of the Rio Theatre) rather than getting out on the playing field themselves. I love this job but I do think of it as a job and believe that I’ve worked hard to get anything that I’ve received through my talents and perseverance. I must say, though, that I continue to love what I do and I’m always ready for the next experience rather than wondering why I’m doing what I do or just biding my time until my next few vacation days. I’ve been very lucky in that one respect.

What advice would you have for aspiring playwrights?

The same that Chekhov gave to Gorki: “Write! Write! Write!”

Nothing replaces sitting on your ass and doing the work. Let the pages pile up. Get to the end and then start over again. This is a blue-collar business paid for by white-collar patrons. I hope that changes in the future and of course it’s not completely true but it’s not untrue, either. The ‘blue-collar’ part I truly believe, though; you have to eventually stop wanting to be a playwright and become one. Roll up your sleeves and get started. Turn a blank piece of paper into something extraordinary. It’s not magic. It’s not alchemy. It’s just good old-fashioned work.

What plays, books, and authors have been influential in your career so far?

Everything I’ve read and seen and listened to. All of it. The sh*t with the gems. I’ve learned as much about what not to do by bad or, even worse, mediocre material as I have by the good stuff. I could roll off a list of names and it wouldn’t be enough but even one good film or book or play or album by someone is better than nothing at all. It’s more than most people will ever create. I admire the creative process — I grew up working on a farm and I like getting my hands dirty; I just happen to prefer them covered in ink rather than soil but it’s the exact same principle. You want a good film? La Dolce Vita. You want a good play? Top Girls. You want a good novel? Disgrace. You want a good album? Revolver. You want a good opera? Hell if I know. Carmen, I  suppose. Or Madame Butterfly. The one where the two lovers have a falling out and they sing a lot and then someone dies. That one.

Where can we find out more about you?

On the internet, where else? That Pandora’s Box of the 20th and 21st centuries. I feel like Oppenheimer when I point a finger at that world-wide-web and say “watch out” but here I am saying it. It’s all fun and games to look sh*t up on YouTube and to download movies for free and get your news 20 minutes ahead of your neighbor, but be careful out there, people. There are things that go bump in the night and I think the internet is one of them. I know I sound old and backward and like I should hang out with Jonathan Franzen more often, but all I’m saying is “Be careful what you wish for.”

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Thanks to Neil LaBute for speaking with us!

You can join him for a live reading of The Way We Get By on June 16th at Studio XX in Vancouver. For tickets, please visit neillabute.brownpapertickets.com.

The post The Biz Interview: Neil LaBute appeared first on Biz Books.

In Pacific Theatre’s newest production, Wit, Katharine Venour plays a renowned professor dealing with cancer who learns about kindness and redemption over the course of her treatment.

Now on until June 11th, the storyline and and acting demands in Wit ultimately offered Katharine Venour a deeply rewarding experience. She spoke to us about the play and her career.

What is your involvement with Wit and how did that get started?

I play Vivian Bearing in Wit.  I’ve loved the play for many years now.  I first saw the play in production at The Vancouver Playhouse and thought it was just a wonderful role and story.  I was overjoyed to be offered the role by Pacific Theatre, and to be directed by Angela Konrad.  I’ve always have wanted to work with Angela, so this has been an exciting collaboration for me.

What drew you to be a part of this production?

Margaret Edson has written a very beautiful play in Wit. The language, the character of Vivian Bearing, the construction and rhythms of the play are powerful, and have great range for an actress to play. The play says important and true things about what is important in life when we face the end of life.  It is a joy to play an English professor of John Donne as I have always loved Donne’s sonnets.  After I completed my theatre degree, I got a Masters degree in English Literature, so this play, to some degree, combines my two loves of theatre and literature. It also offers an actress a wonderful dramatic range to play, as it combines humour and tragedy in the Vivian’s story. It is a play that is ultimately about struggle and the movement towards grace, expressed with a humour and sensitivity that is very powerful.  Also, I connect personally with the play in that I have people close to me in my life who have struggled or died from cancer.

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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?

As soon as I heard that I got the role, I ordered the play and started to work.  I researched ovarian cancer and the medical terms used in the play.  I researched and read about John Donne.  From the very first time I read a script, I begin to personalize the story – finding and searching for the ways in which the story is a part of me.  That is – who is Vivian Bearing in the text and how do I find her in me?  I think of people in my life whom I’ve met who are ‘forces of nature’, like Vivian.  In practical terms, I set out a schedule for learning the text which is massive.  The more time I have to ‘absorb’ a role, the better.

What should audiences expect from this show?

It is a beautiful expression of grace. It explores themes of life, death, God, John Donne’s literature, the struggle with illness, ambition, and identity, and it does all this with great depth of feeling, as well as humour.  The play is a superbly written piece of theatre.

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

Three most important ingredients for a strong production:  I think a strong production always begins with the playwright.  A strong show starts with a strong script.  Then, strong actors and designers of set, lights, and sound.   And I will add that a strong director who has a clear vision of the heart and workings of the story is very important too…I think that’s more than three ingredients!

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

My acting mentor when I was an acting student doing my theatre degree in performance was Grant Reddick and he was taught by Uta Hagen.  So Uta Hagen’s Respect for Acting and her approach to the craft has been a deep influence on me as an actor.  In recent years, I have participated in workshops at the Michael Howard Studios with Patsy Rodenburg and I really like her approach to acting in the powerful work she does incorporating voice, body, presence, and Shakespearean text.  I have all her books, and I highly recommend, The Second Circle.

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

I think it is important for an actor to keep training.  I try to seek out the professionals whose work I admire, and take workshops to continue to hone my skills.  Remember that it is a joy and privilege to be an actor, and love the people in your life with generosity.  Have faith. Breathe onstage, and in life.  Technique and the craft of acting liberates you to be free and serve the story you share with other actors onstage and with an audience.  The actor serves the story.

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

Not sure what project will be next, but I continue to hope for strong, powerful stories and wonderful artists to work with!

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Thanks to Katharine Venour for speaking with us!

Wit is now on at Pacific Theatre until June 11th. For tickets, please visit pacifictheatre.org.

The post The Biz Interview: Katharine Venour appeared first on Biz Books.

Just ahead of the film’s world premiere at the Vancity Theatre on April 5th, Robert David Duncan talked to us about how his time as an actor and director influenced his work on A Legacy of Whining.

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Can you start by telling us a little bit about you?

I have been dedicated to acting for 10 years now, having decided to pursue it seriously in mid-life after working as a consultant, college teacher, author and public speaker. At one point, I literally “gave up my day job” and took a leap into the Stella Adler Studio summer conservatory program in New York, which was a wonderful experience.

After lots of acting training here and in New York and some cool experiences in acting, I decided to try directing. Ross Munro was a big encourager of mine, telling me that I should give directing a try, and that it was fun. He was right! Several years ago I formed a production company, Fat Punk Productions, and we have developed a number of films, most recently a feature called It’s About Love that is in post-production. We have been fortunate to have had a lot of success getting our films into festivals around the world and winning several awards. I have also written books on acting and filmmaking and teach both subjects.

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 can you share about your character in A Legacy of Whining?

Hilariously enough, Dunc is like my evil twin. He is everything that I am not. Aside from the obvious physical and name resemblance, he is Mister Hyde to my Doctor Jekyll, which makes him a delicious acting opportunity. In real life, I am an optimistic, encouraging person. I’ve been with my wife for 25 happy years, I don’t party or pop pills, and I’d much rather be home in my nest when the sun sets. Dunc on the other hand, well…

What kinds of things did you do to prepare for your role?

Ross Munro and I talked quite a bit about the characters, and the homage to old buddy movies of the ’70s. We very early on had a meeting of the minds, and didn’t have to explore the script to death, because the rhythm of the communication between the characters was just so natural. We slipped into each of our characters very readily and our rehearsals were really a lot of fun. My wife was also great at helping me with the lines, and she still knows a frightening number of them – we are always tossing around Mitch-isms and Dunc-isms. I also think everyone has had a friend like both of these two guys, the one who remembers everything about the old days, and the one who couldn’t care less, the undermining friend, the starry-eyed dreamer, and so on. By the time you get to middle-age, there’s a lot of experience to draw upon!

You have a wide mix of acting and directing credits. What do you enjoy about each of them?

Directing is a lot of fun and I find it sits comfortably on me as a vocation, probably due to my background in teaching, acting and management. Acting though, is the real drug, and is my first love. There are times during a performance when you can be so in flow that you zone out, and only come fully back into yourself when “cut” is called and you see that everyone is quite excited by the work. I’m sure every actor gets that experience at times, and it is really special.

How does your experience as an actor help you as a director and vice versa?

Because I was an actor first, I get where most actors are coming from, which helps me immensely as a director. I have studied most of the acting traditions, and can relate to an actor that is working either from their emotional experience, or from a more cerebral or imaginative place. This helps me communicate my vision as a director in terms that we both understand. I also know to go easy on the number of takes because I understand the risks of burning out the actors. I aim for 3 takes maximum. To get to that level of performance I try to do a lot of work with each actor before we shoot. As for being an actor who also directs, I think it helps me understand what the director likely needs, and so I can bring that to my performance – things like repeatability in coverage shots, awareness of continuity and the like. In both cases, my empathy is deepened because I understand the different jobs on set, and the importance of serving the story and ultimately the audience.

Many of your directing credits are short films. What would you say are the three most important ingredients that every short film needs to be successful?

A story, a message and a theme you care deeply about. To some extent those elements overlap, but they are the key ingredients. I wrote a book called “Micro Short Filmmaking: A guided learning journey” which guides aspiring filmmakers on how to make a simple one-minute film. If you can get a story that fits into a minute, that is driven from something you care about, and leaves a viewer affected, then you can make any length of film. The important thing is to start. If you have a smartphone or other simple camera, you can make a micro short film for no money and get it into festivals and perhaps even win an award. I run workshops on micro short filmmaking, and I am constantly blown away by the creativity of the people who take part. These are the filmmakers of the future.

Are there any books or authors that have been influential in your career so far?

The Art of Acting by Stella Adler, Being an Actor by Simon Callow and Acting in Film by Michael Caine. I read very widely on acting craft, but those are the 3 that I would grab in a fire!

What’s the most important lesson you’ve learned in your career?

Nothing comes easy, and everything takes more time and more work than you can imagine. It’s important to be working constantly on craft and generating your own work through writing and producing. Waiting to be chosen through the traditional audition process is a recipe for defeat and discouragement. You don’t need anyone’s permission to be working on your acting craft. Study, practice, write and shoot a simple film, surround yourself with others who are working hard, and be quietly grinding away all the time. Work more, talk less.

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

We are in the middle of a sea-change in terms of the democratization of content production. We are seeing feature films shot with iPhones. If you have a great story, you can find a way to make a film and get it out there into festivals and released online. It’s not a recipe for making lots of money, but there is a lot of talent here in Canada, and a lot of creative people. I think it’s a great time to be an independent film producer.

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

I am in post-production on a feature film called “It’s About Love” and I am really happy with how it is coming together thanks to an awesome cast and crew. I am also filming a second feature which is an experimental iPhone film, and I have other projects in development. People can come visit us at FatPunkProductions.com, and can check me out on IMDB. Information on my current workshops and training is here. I am @duncanrob on Twitter, and am also on LinkedIn.

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Thanks to Robert David Duncan for speaking with us!

You can check out A Legacy of Whining at the Vancity Theatre on April 5th at 6:30PM.

Tickets available through VIFF.org.

The post The Biz Interview: Robert David Duncan appeared first on Biz Books.

Now, the all-female Vancouver group that features Jackie Blackmore, Iva Kapsikova, Sidika Larbes and Lauren Martin are putting the finishing touches on their newest show, Strapless: Unstrapped, set for Friday, March 11th at The Evergreen Cultural Centre.

We spoke to them to find out more about their gutsy and gut-busting sketch comedy ways.

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Why don’t you start by telling us a little bit about you?

Strapless Comedy is four fearlessly funny females who enjoy acting silly, pushing boundaries, and dressing up like men. Individually we are Jackie Blackmore, Iva Kapsikova, Sidika Larbes and Lauren Martin. We’ve been together since 2013 and have enjoyed entertaining  audiences and selling out shows across Canada. We’ve been described as the all-female ‘Tits in the Hall!’

How would you describe sketch comedy to someone who has never seen or performed it?

Short, scripted, self-contained, comedic scenes. Strapless writes, acts and produces their own sketches and performs regularly in front of a live audience. Some examples of sketch comedy are: Carol Burnett, Monty Python, SNL, Portlandia or Key & Peele.

What inspired you to get involved with sketch comedy and what do you get from it?

We all watched sketch comedy as kids, so seeing strong, funny female characters on television was a huge influence and made us all want to follow in their footsteps while also  seeking out our own unique voices as writers.

What we get from sketch is the gratification of making our audiences laugh, forget their troubles for a while and hopefully afterwards see them all in a twisted new light!

How did Strapless come about?

Strapless was formed as a pop group in 1998 by a Swedish music producer. After losing ‘Best New Artist’ at the Grammys, and grappling with Lauren’s cough syrup addiction, they lost a founding member when Beyonce decided to go solo. Her loss, really. Strapless regrouped in 2013 as a sketch comedy troupe and have been living ‘tits-to-the-wind’ ever since.

Tell us about Strapless: Unstrapped and what audiences should expect.

Strapless was thrilled to be asked by The Evergreen Theatre to perform a Mainstage show as part of their Comedy Series on Friday, March 11th, 2016. We started writing our new show last fall but don’t worry there will also be a couple of fan favourites from our wildly popular Fringe Tours!

You won’t want to miss The Golden Girls doing The Godfather! The Voice Over audition from Hell! Or a performance from your friendly neighbourhood Butchershop Quartet!

Not to mention, our Strapless Riverdance has to be seen to be believed!

From your standpoint, what makes for an effective sketch?

A clear, strong comedic premise. Jokes that continue to build, develop and evolve. Well-crafted, fun physical characters. And the willingness to take big risks.  Boobs also help.

What is involved with the preparation of a show?

A lot of chin-ups and squats with some binge eating between rehearsals. Strapless has a firm rule that all tears due to exhaustion must be shed in the cry room/bathroom.

What advice would you give to someone who wants to get involved with sketch comedy?

Just Do It! Please don’t sue us, Nike.

What books and authors have been influential in your career so far?

Born Standing Up – Steve Martin

Bossypants –Tina Fey

Tragically, I Was An Only Twin – Peter Cook

Chelsea Handler, and of course, the Coles Notes version of Hamlet.

Where can we find out more information about you?

Find out more about us and get info & tickets to our upcoming show at: StraplessComedy.com!

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Thanks to the ladies of Strapless – Jackie Blackmore, Iva Kapsikova, Sidika Larbes and Lauren Martin – for speaking with us!

Buy tickets for their March 11th show at StraplessComedy.com.

The post The Biz Interview: Strapless appeared first on Biz Books.

We wanted to learn more about Kim Barker’s memoir, her thoughts on seeing it brought to the screen, and her opinions on how journalism is portrayed in film and television.

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Beyond writing the original book, what kind of influence and involvement did you have in the production of the film?

I had absolutely no influence on anything.

I mean, this is what happens when you’re a totally unknown author and you sign away the rights to your book… I’ve had friends who have gone through the same process. I don’t know if it was William Faulkner, but I think it was William Faulkner who said if Hollywood gets a hold of your book, just go to the border of California and – I could be making this up out of whole cloth – basically give over the book and take the cheque and turn around and go away.

Michiko Kakutani is the chief book critic at the New York Times. I was working at ProPublica at the time and she reviewed the book and she said she loved it. She named it one of her Top 10 of the year. She said it was like I had created a Tina Fey character in the book… So Tina Fey, I don’t know who brought her the book, if her people did or if my agent sent it over, but somehow she got her hands on the book and read it, loved it, and within two weeks of that review, Paramount had optioned the book on her behalf.

So she was pushing Lorne Michaels to do it – like it’s been a long time since there’s been a dark comedy about a war, it’s time. Robert Carlock has been her right-hand guy at many a project – 30 Rock, the Kimmy Schmidt TV show – they’re very much a partnership and he writes her voice very well. So he basically was in charge of writing the script and so he met with me and he was always super honest with me – like who knows if they’re going to make this? It’s a dark comedy about war – let’s see if this gets greenlit. He met with me often, he met with a lot of other folks who had been in Afghanistan and Pakistan – a lot of journalists, people from the military. I think he met with folks who had been in Iraq.

So then he came up with the screenplay based on talking to them and then also using the book as a frame to hang things on. Some of it’s my story – it’s all my narrative arc – but there’s definitely fiction in there… I just decided not to be too involved in it.

What was it like for you seeing Tina Fey and other actors bringing to life people that you knew?

I had lunch with Tina… We had lunch together, talked and of course got along. Then I went out to watch shooting for a couple days last March and that was the first time I actually felt like it was gonna be real.

I just saw a couple of the military scenes filmed and in one, I was complaining to the Pentagon consultant. I was like, “You know, there’s no way that a colonel from the Marines would ever say that to me. Tell them! Tell them!”

And he’s like, “Eh, it’s a movie.”

And I’m like, I guess if like the Marines aren’t worried about it, I guess that I should stop worrying about it, you know? Cause I was just like, “Well they would treat me with more respect.”

And then I was also like, “Look, I was super naïve when I went over there, but there’s no way I would’ve worn high-heeled boots on an embed. That wouldn’t have happened. They’d send you a list and I most definitely brought my hiking boots and I was wearing those. My trouble was in the other direction. I didn’t understand that there was a party scene there and I actually had to have clothes that were reasonably Western.”

Then they changed that particular scene a little bit after I pointed out the boots thing. So that was my big influence in the movie.

When it comes to movies that involve journalists, are there movies that stand out where you feel that they get it right and others where you feel the get it totally wrong when it comes to portraying journalists?

Most definitely Spotlight gets it right – I thought that was a great movie. Look, I saw and I read All the President’s Men when I was a little kid. I think I read that when I was 10 and saw the movie and I was sold. I think there’s a lot of truth. Obviously that’s also got its Hollywood aspects, but I thought it was a pretty good journalism movie.

Some of them are just so bad. It’s just frustrating.

I thought The Paper was pretty funny. Then there was that one with Russell Crowe as a reporter in competition with the online person (State of Play) – I thought that was a little simplistic and the whole idea of the evil online, that was also super simplistic in House of Cards. That I found to be ridiculous – like the whole online vs [print], it was just very simplified.

Also what (Zoe Barnes in House of Cards) would do to get a story and the whole idea that her big scoop on the education bill was going to be front page and everybody would be talking about it? That was hilarious to me.

House of Cards’s portrayal of journalism and women sleeping their way around to get stories – [it’s] offensive and totally wrong. I really hated the House of Cards portrayal of journalism… I think House of Cards was damaging because it’s like this whole idea – and you see this in a lot of movies – where female reporters sleep with somebody or do something really sleazy to get a story. That’s just not the way it works – or you just sort of take one source on a story and you run with it. You can’t do that. You’ve got to vet things if you want to be credible.

What would your advice be for people who want to write a memoir?

I think it’s interesting. I think if women write a memoir, it’s probably different than if men do.

I don’t know if that’s the case but I definitely had some people coming, saying to me, “Well, why are you writing about what you’re wearing or writing about this stuff?” and I’m like, “Because I’m a character. I’m basically like the doorway opening into this other world, so of course I want to give the reader a sense of what I look like.”

I think that men probably wouldn’t get that same sort of scrutiny. Maybe I’m overly looking at that… but I would also say that you should write truthfully. I really tried to show my warts and all in the book. I was not necessarily the smartest person in the room. I was really naïve when I went over there and covering the things that we covered for a really long time, I was not always very likeable. I tried to write the other people who in the book as well – just like honest human beings and real human beings with flaws – and I’m okay with that.

So some people are like, “At certain points in the book, you’re not likeable” and I’m like, “In certain points in real life, I’m not likeable.”

So that’s okay. I could live with that.

So if you’re going to do a memoir, it’s best to be honest – and dark comedy always helps, right?

Are there any authors that you looked to for inspiration or any memoirs that stood out for you that guided you with this at all?

No, not memoirs, but I mean I have most definitely read like Kurt Vonnegut and Joseph Heller, and Catch 22 when I was really little. So I think I always loved the idea of blending dark comedy with serious subjects like war. I also really loved MASH, so those sort of comparisons are always welcome to me. I’ll take it.

What kinds of things are you up to these days?

I definitely want to do more books. I’m looking at doing a book, like looking at some of the stuff I’ve worked on in the last year and hanging out with these guys in New York and sort of looking at the other 1%, former addicts and current addicts, how the other 1% lives in a city as expensive as New York. There are other ideas that I have.

But I’m a metro investigative reporter for The New York Times now, so I’m basically also just really swamped with work.

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Thanks to Kim Barker for speaking with us!

Whiskey Tango Foxtrot is now in theatres!

For more details on the film, please visit the official site at WhiskeyTangoFoxtrotTheMovie.com

The post The Biz Interview: Kim Barker appeared first on Biz Books.

A loyal supporter of the Vancouver International Film Festival, Katherine Monk gets to attend as a filmmaker in 2015 with the premiere of her new short film, Rock the Box.

Ahead of the premiere, we spoke with Katherine Monk about her new transition from film critic to filmmaker and her new career endeavours.

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Why don’t you start by telling us a little bit about what you’re up to these days?

I just launched a new website called The Ex-Press with a clutch of other veteran newspaper colleagues who have given up on corporate media. We had a hugely successful launch in the US with our first print edition on September 20th. Canadian launch to come next month.

Your first film, Rock the Box is premiering at the 2015 Vancouver International Film Festival. What can you share about the experience of making the film?

It feels like I just graduated from film school – even though that was 25 years, and an entire journalism career, ago.

What does it mean to you to have Rock the Box showing at VIFF and how important are film festivals for filmmakers these days?

VIFF Is huge for me. It’s my hometown. It’s where I’m known as a film critic, not a filmmaker. So it’s like starting a whole new life. And festivals will always be important even if they are changing, because filmmakers need community. So much of filmmaking happens in isolation with your team. The only time you realize you made something for other people is when you share it with an audience.

How did you first become interested in and involved with the film industry?

I made Super8 movies with my big sister when we were kids and when I graduated from UBC with a honours undergraduate degree in English Lit, I needed to go back for a second degree because I had been elected city editor of the student paper. I applied to film school and law school. I got into both, but film school seemed like an easier course load. At the time, it was about serving the student paper. But I quickly realized film school was probably more intense than law. But who doesn’t want to make movies?

From your standpoint, what is the current state of the Canadian film industry?

That’s a very, very, very big question. I wrote a whole book about Canadian cinema called Weird Sex & Snowshoes… things have changed since it was published in 2001. Mostly for the better.

What advice do you have for people who are interested in becoming filmmakers?

Focus on your vision, make it because you have to, and don’t pay attention to the negative people. Everyone will tell you it’s impossible and that you are wasting your time.

What about advice for aspiring film critics?

It’s an open ball game now. Anyone can be a critic! You don’t need to know anything at all anymore. Hell, you don’t even have to be able to write. So go for it. See what happens. There’s room for everyone online.

What’s the biggest misconception about film critics?

We’re all fat, unhygienic and male – which for the most part, is true.

How would you sum up the films of 2015 at this point?

Great performances. Mediocre movies.

What are some of the most memorable moments of your career so far?

Over my 25 years as a career journalist, I met everyone I ever wanted to meet, said all the things I felt I had to say, and went to all the places I dreamed of going. My whole life has been one awesome moment after another. Seriously. I’m the luckiest person on the planet.

Who are the Canadian films and filmmakers that you most admire?

I love and admire everyone in this country. Even the ones who write me hate mail regularly.

What books and authors have been influential to you throughout your career?

Goethe, Nietzsche – I had to read a lot of Nietzsche for my Joni Mitchell biography – and Homer. Reading the classics and German philosophy are a great way to find perspective on the daily dose of bulls***. You realize nothing really matters except loving relationships.

Where can we find out more about you and your various projects?

I have my own website, KatherineMonk.com, which I update when something big happens and it’s a sure thing. But The Ex-Press (Ex-Press.com and Ex-Press.ca) are where you can catch up with my exploits, and my writing, on a daily basis.

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Our thanks to Katherine Monk for speaking with us!

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Recommended Reading

[bscolumns class=”one_half”]

Chris Gore’s Ultimate Film Festival Survival Guide
Chris Gore

[/bscolumns]

[bscolumns class=”one_half_last”]

The Complete Filmmaker’s Guide to Film Festivals
Rona Edwards and Monika Skerbelis

[/bscolumns]

The post The Biz Interview: Katherine Monk appeared first on Biz Books.

In the midst of another busy season, Pamela Wise spoke to us about her experiences and her opinions on branding for actors and what they should look for in a potential agent.

Can you start by telling us a bit more about what you do?

I am a talent agent with Premiere Talent Management, an acting coach and I do intuitive branding for actors and creatives.

Why is personal branding important for actors?

Most casting people, producers and directors are highly intuitive and communicate visually and emotionally. For an actor, it’s important to be aware of how their own spark connects with an audience and how their brand aligns to a character and a storyline.

How would you describe the process of branding for actors?

It’s an exhilarating process for me. I tap deeply into my intuition and am inspired by actor’s inner stories. I respect actors for how they understand character, and for their innate perception and curiosity. I tighten that focus even more and really examine how they are showing up as person in person, online and in their marketing. I help them define their core identity, points of passion, and how to fuse those key layers when they present themselves, especially in their photos. The goal is to uncover their unique, cohesive and intriguing brand. This result should be a fluid extension of who they truly are and what we can expect to see from them in the audition room and on set.

What should actors look for in finding the right potential agent for them?

They should do their research and they should ask trusted industry mentors for advice and referrals. I accept emailed submissions so actors should have two photos, and a resume or bio. A witty intro gets my attention and a note mentioning who referred them is important. See PamelaWise.com for submission guidelines.

As an agent, what do you look for in potential new clients?

Spark and likability grab my attention. Training, grounded determination, commitment and the potential to grow as an artist are things I like.

What is a typical day like for you?

The day doesn’t begin until the caffeine hits my veins! Then I start responding to casting breakdowns. Sometimes I’m researching new talent, new projects or meeting with clients. We field casting requests usually until the late afternoon and sometimes well into the evening. I am very motivated to get my talent into those audition rooms and onto set! Facebook has opened up a new arena for me to find new talent outside my core roster. I post casting calls often there at Pamela Wise Talent Agent and Industry News. That’s a typical day. I also serve on panels, speak to high school students, guest lecture at colleges & universities and adjudicate competitions and festivals. I’m a strong believer in mentorship and I happily make time for that role as well.

What brings you joy, Pamela Wise?

My joy comes from seeing my actors in action. I love them. I value all the good relationships I’ve built over the years. I also like attending events, festivals and connecting with people from all sides of the industry.

What books have been influential in your creative journey?

The Artist’s Way by Julia Cameron was a powerful book to me. Anything by Seth Godin resonates. Jeanette Winterson and Pablo Neruda are dear to me also as they are so visual and sensual in their style.

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Our thanks to Pamela Wise for taking the time to speak to us.

For more information about Pamela Wise and her various services, you can visit her online at PamelaWise.com.

The post The Biz Interview: Pamela Wise of Premiere Talent Management appeared first on Biz Books.