Here’s a recap of some of our best Biz moments in 2015.

MOVIES

Among the films we supported this year were The SpongeBob Movie: Sponge Out of Water, Project Almanac, Hot Tub Time Machine 2, Miss Julie, The Riot Club, Mr. Holmes, Terminator: Genisys, Mission: Impossible – Rogue Nation, Paranormal Activity: The Ghost Dimension, Scouts Guide to the Zombie Apocalypse, Daddy’s Home, and The Big Short.

Thank you to our loyal customers for dutifully entering contests and attending advance screenings.

INTERVIEWS

2015 brought us more interviews than we’ve ever had before!

We spoke to Nimisha Mukerji, Brendan Taylor, Jonny Weston, Tom Kenny, Crazy8s 2015 filmmakers Caitlyn Byrnes, Jem Garrard, and Mo Soliman, S. Siobhan McCarthy, Evan Frayne, Christina Wells Campbell, Pamela Wise, Jay Brazeau, Rachel Peake, Jeff Seymour, Lochlyn Munro, Michelle Muldoon, Lori Triolo, Peter Skagen, Lisa London, Rebecca Coleman, Peter New, Esther Cohen, Tyler Labine, Julie Casselman, Brandon Bate and Joel R. Butler of Eurydice, Morgan Churla, Riley Qualtieri and Mark Vandenberg of Hunger Games: The Musical, Emilio Salituro, Shauna Johannesen, Katherine Monk, Angie Burns, Kim Larson and Matthew Simmons of Smoke on the Mountain, Christopher Chacon, Rebecca Lee, Sara Bynoe, Martha Ross, Tiarra Sulyk, Jessica McLeod and Athena Russell of Bitchpop Productions, Chris Lam, Anita Adams, Sam Mitchell, Byron Abando, and Jamieson McCormack of Love Musically, Robyn Wiener, David C. Jones, and Christine Quintana.

EVENTS

We were also out and about supporting industry events such as the Crazy8s 2015 Gala, our own May Play Sale and Pop-Up Store and Where There’s Smoke: An Encounter with William B. Davis, the launch of Crazy8s 2016, and theatre productions like Laburnum Grove, Glengarry Glen Ross, The North Plan, and Heathers: The Musical.

All in all, we had a blast sharing all of this with you and we can’t wait to see what 2016 brings!

Happy New Year from all of us at BizBooks.net!

The post The Biz Books 2015 Year in Review appeared first on Biz Books.

With over 200 film and television credits to his name, Jay Brazeau has appeared in a diverse slew of projects ranging from film work like Christopher Nolan’s Insomnia, Christopher Guest’s Best in Show, Ben Ratner’s Down River, and Carl Bessai’s Fathers & Sons, TV projects like The West Wing, 21 Jump Street with Johnny Depp, The X-Files with David Duchovny and Gillan Anderson,and Da Vinci’s Inquest with Nicholas Campbell, as well as countless stage roles in Vancouver and beyond.

On the eve of our May Play Sale Pop-Up Store, we caught up with Jay Brazeau AKA”The Braz” to find out more about his long career, the secret of his success, and what makes for an effective play.

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How would you describe your creative process as an actor for getting into your characters?

Every character is different. I remember doing some play where I never even read the whole script. I was playing a character in the first act who never came back again. So what did he have to know about the second act? Nothing. So he was developed from what I had to know. In fact I don’t think I ever watched the second act of the play. It wasn’t that I am a lazy actor it’s just that I had all that I needed. Some people have too much stuff to sift through. They read every autobiography, see every film, do research at the library…..and they are right to do that if they are dealing with a complex character. But I believe with a good script all the answers should be in the script. that’s all you need. I don’t know if I have a creative process. I never went to acting school. I have a Grade 11 education. I have a street smart intuition that has always helped me. Acting really is about reacting. And not over reacting. Usually it’s about saying yes to everything that is offered to you. It’s amazing all the places that will take you.

What was the moment when you knew you wanted to be an actor?

The first time I saw Jerry Lewis on the big screen. I wanted to be like him. manic and strange and child-like. And make millions of people laugh and get paid millions of dollars. Ha! Then later I was exposed to many great actors who took me under their wings and straightened me out.

Who were your greatest influences when you were starting out?

Len Cariou. He gave me my first professional job. I should say jobs. I had 3 small parts in Cyrano de Bergerac and 3 lines. Then at Christmas, I was in a larger role in A Christmas Carol. And my final role of the season was in a Canadian play called Creeps where I played this mentally-challenged fellow who had cerebral palsy and would take out his penis and chase girls around the stage telling them he was going to disintegrate them. It was the best year of my life.

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 platform and do you prefer one over the others?

They are all the same and yet all so different. the only thing they have in common is you are only as good as the material you are given. I have had fantastic and shitty parts in all three. Of the three I am most likely drawn to the theatre more than the other two. It’s where I started. At the end of a two show day I could be playing Cyrano and want to party. And an audience gives you so much. They have been my best teachers. On a set, you are giving everything to a machine that doesn’t give you anything back except more coin, and at the end of the day you are exhausted.

Overall, what is the very best thing about acting?

I could have a nickle in my pocket, no hair and a pot belly and on the stage I am Casanova. I am Cyrano de Bergerac. I am Lear. How exciting it is to be a King for a Night. The greatest Swordsman in Paris and the greatest lover. Well I’m already the greatest lover so that doesn’t count.

What are a few of your most memorable moments as an actor?

Playing Tartuffe, the main character in the play that doesn’t enter till 45 minutes after the play begins. They spend the whole beginning of the play talking about you. What a set-up. I slithered on stage and stood next to a stuffed owl. Got a little laugh. Poked the owl and got a bigger laugh. Made the sign of the cross and got applause. This is before I even said a word. It was a lovely part. I’m such a bragger. And no doubt sometimes an over-actor. In my first big play Cyrano I was really worried about that. The director was the famous French actor Jean Gascon. In rehearsal all my choices were small. He took me aside one day and said, “Make it big!” “You are too small I think you are a shitty actor!” “If you are too big I can always take you down.” Good advice. Never be afraid of running blindfolded through the forest.

Willy Loman in Death of a Salesman by Arthur Miller has always been close to me because reminded me so much of my father. Especially since I have two sons and so did Willy. A tragic figure. But a joy to walk on stage every night carrying those two heavy bags. I remember trying to figure what it was that Willy was selling on the road so we could put those in my suitcases. And then reading I think it was Dustin Hoffman who asked Arthur Miller what it was that Willy is selling and his reply was “Himself.” I have been very lucky to play many wonderful characters in musicals but my fave will always be Man in the Chair in The Drowsy Chaperone. The perfect musical. And it’s Canadian. I so loved doing that part. I cried when I went back to my dressing room the night we closed.

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You directed the play Poor last year, which premiered at the Vancouver International Fringe Festival. What do you get from stage directing that you don’t from acting and how does your creative approach change?

As a director you never get tired. It always surprises me when the Stage Manager says “Jay we have to stop now.” The time flies. And I’m always begging for a couple of more minutes to do the scene one more time. I love working with actors. Sometimes you have ideas about casting a character and you will hire that person and they will get a movie or a better gig and you have to recast.  Someone who is totally different than the person you wanted but you must tell yourself, “There are many ways to get to Winnipeg.” All that matters is getting to Winnipeg. And you will find that this new actor has a thousand better ideas for this character. Things you would never of thought of. Those are the surprises that a director loves.

You have a reputation as one of Vancouver’s hardest working actors. What is a typical day like for you?

First off, I give the appearance of being the hardest working actor. Just because you come home drunk at 2 in the morning and turn on your TV and see me playing a shrink or something doesn’t mean I am working all the time. A lot of that stuff was shot 10 or 20 years ago. If anything, I am working less. But I can’t complain I can be very picky about things. As you get older you want to enjoy going to work every day or night. So it is important to me to have a good time, to work with a director who is not a tyrant, and to work with good actors and to play a part that is challenging. I have done a part in Urinetown, a musical I love twice for the Firehall. I was asked to do it again for the third time but I have done all I can do in that part. It is time for someone else to tackle that character. So I do turn down a lot of stuff but I am 61. There are only so many plays left in me. So I am not a hard-working actor. I do spend a lot of time on Facebook. Maybe that has something to do with it.

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

Well you have to decide if you want to be an actor or a star. If you wanted to be a theatre actor I would say if you were young go to study with Kathryn Shaw at Studio 58. If you were older I would say study with Ben Ratner or Andrew McIlroy. If you wanted to be a star I would say move to Hollywood and hire some hacker to get your sex-tape on the internet. If you wanted to be a Canadian Movie star I would say learn to speak french and move to Montreal. If you were 60 like me I would say don’t quit. Pretty soon all your competition will be dead. Or think about making that tape again. I would love to see more found-sex-tapes with senior actors in it. You could start a new craze.

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

Alan Arkin has a marvelous autobiography about his life as an actor and his life as a teacher. I remember loving this autobiography called The Lunts. I read as many biographies about actors and directors as I can get my hands on. A watch all those old moves. And especially all the movies from the ’70s. Biz Books was a great place for me and I’m not just sucking up. Whenever I felt lonely I would drop down and talk to the people behind the counter find out about the latest new hot book, or run into old friends who were looking for a play. We have to support our favourite local bookseller or pretty soon they too will disappear. And if Harper had his way all the libraries would be turned into Tim Horton’s.

What makes for an effective play?

The same thing that makes an effective film or book. People are forever investing more money into the set and costumes and publicity or finding star power to launch their new theatrical extravaganza. It’s all about the story. I can watch a play with no set, 2 chairs and a table and 2 actors and be totally blown away with a great story. Hundreds of years ago that’s all people had. The story seems to always be the last thing that people look for. It’s what’s in the box that matters not how beautiful the box is decorated. The plays I love are the ones that challenge me. The ones I am thinking about weeks and sometimes years later. I did Danny and the Deep Blue Sea by John Patrick Shanley over 25 years ago and I still run into people on the street who saw that play and say it changed their life. The same with Cyrano de Bergerac by Edmond Rostand and Fiddler on the Roof by Joseph Stein and The Drowsy Chaperone by Don McKellar and Bob Martin and The Goat or, Who is Sylvia? by Edward Albee. And there are new plays. I would tell all the actors out there to find a new playwright and work with them on an exciting new.piece of theatre.  We should be excited and challenged when we go to the theatre. And it is those new playwrights and new actors and new directors who will hold the keys to the future of theatre.

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Our thanks to Jay Brazeau for speaking with us. For more information about Jay Brazeau, please visit IMDB.com.

The post The Biz Interview: Jay Brazeau appeared first on Biz Books.

Following the exploits of a one-percenter (Lisa Bunting) who sets up shop in a disguise in Vancouver’s Downtown Eastside, Poor is an expanded one act comedy that was originally a 15 minute monologue.

We spoke to Suzanne about her creative journey to bring Poor to life at the 2014 Vancouver International Fringe Festival.

Poor was originally a fifteen minute monologue, but it has now been expanded. What was the creative process like for you as far as creating the original script and later expanding it?

There would be no play and no process without the influence of many of my colleagues.

For instance, well over sixteen years ago, our company Angry Actors, had just come off a successful run at the Fringe with a play that we had collectively created. We began meeting with the idea of creating another piece, to be performed as a Bring Your Own Venue, perhaps at a laundromat that Kathryn Shaw knew of on Fourth Ave. Pam Johnson came to the meeting with a brilliant writing exercise: we were all to bring in an object, a piece of music and a quotation, throw it into a box and then choose something, not our own.

I chose a beanie propeller hat, Charles Ives’ Piano Sonata and Jesus’ quote: “It is easier for a camel to pass through the eye of a needle.” (All of which are still in the play.)

I was thinking about how to use these ideas when I caught myself wishing I were poor. Yes, I know utterly insane, and that wasn’t lost on me. There was a woman in my neighbourhood, a welfare mom, who I greatly envied for her strength, her tenacity, and wow! what a fighter. So I caught myself in this moment of awe and condescension and knew that this would be the central character of the monologue, not the welfare mom but the middle class, somewhat privileged character. I wrote about five minutes of material and presented it to the group. The read was successful but life got in the way and we never did get it together to produce anything, let alone a self created piece, for 16 or 17 years.

Flash forward to September of 2013. Solo Collective Theatre sends out a call for monologues for their Solo Flights Emerging Playwrights Competition. I often thought about that little monologue lying in the drawer but needed an incentive to get back to it, and thanks to Solo Collective got the kick start I needed. Our heroine became a One percenter who ventures into the Downtown East Side. I submitted this newest version and was gratefully selected for a public reading, dramaturged and directed by Carmen Aguirre and read by Jennifer Clement.

The audience response was enthusiastic and fueled me to develop this piece into a full evening. That’s where our writing club came in. We’d been meeting on and off for several years, and because I was fired up, I called and got us going again. (We’ve recently named ourselves The Word Stir Group. Our members are Eileen Barrett, Jay Brazeau, Linda Carson, Jacques Lalonde and myself.)

This play would not have moved forward without these guys and our weekly meeting. Having this club provided organization and discipline. Every week, all of us would bring in the pieces we were working on and people would give their hit on it, offer suggestions, etc. I’d take what was useful and expand on it. The original piece was an entire entity in itself with a beginning a middle and an end and to move it forward sometimes felt like building an addition onto a house. You can see the seams a bit. There are features that you need to lose in order to create a more seamless appearance but gosh-darn you’re very attached to that banister or that line or that image. What I’m learning is that I can let go of something I like because an opportunity to bring it back somewhere else usually manifests. I find that fascinating.

What was the biggest challenge for you along the way?

The first challenge I faced was: How am I going to generate enough material for a full length show? The biggest challenge was/is: I have too much material for the one hour Fringe slot I booked into. I kick myself continually for not taking the 90 minute slot but I cheaped out because I wanted more money to end up in the pockets of the artists who have generously lent their talents and time to this project. (Just quickly wish to mention Lisa Bunting our star who is playing seventeen characters! Ashley Noyes our stage manager, Pam Johnson set and costume – she’s a founding Angry Actor member – and John McGie sound and lights. Oh my gosh, Jay Brazeau my hub and the director, also a founding Angry Actor).

Having said all that above about learning to let stuff go, it’s been difficult. Lots of fun stuff did not make it into the show and we continue to pare it down.

What has been the most rewarding part of this project?

The act of writing itself. I’m socially awkward and spend a lot of time in my head rewriting real-life scenes so it’s a comfortable place for me to hang out, inside my head. Also, there is something tangible at the end, unlike acting that vanishes after every performance. John McGie, our sound designer is also a writer and he said, and I paraphrase, “you start with a blank page and at the end of it something exists that didn’t exist before. Something very satisfying in that.” The greatest reward is yet to come. We face our first audience at the Fringe on Sept. 4 and I’m scared and excited to learn what they will teach me. Poor is politically incorrect but with a purpose. They’ll sketch out the parameters for me if I did go too far.

Who are some of your major influences as far as theatre actors, writers, and directors are concerned?

My teachers in the early days: Kathryn Shaw and Carol Rosenfeldt are huge influences in my acting work. They both subscribe to the same methodology: keep it simple and just talk to your scene partner. Decades later, I still have to remind myself to do that. My husband, Jay Brazeau, is a great influence in my life. He’s a writer, a director and an actor and I continue to learn from him. Not only is he directing Poor, he is my dramaturge and always demands more. I’ll think the script is done and he’ll say “No, we need something else here.” After throwing things at each other it’s back to the computer I go.

Kim Selody and Linda Carson are huge influences in my life. Kim loves theatre artists. He is a great supporter of new plays and extends himself to help artists make stuff happen. He is producing Susinn McFarlen’s new play Since You Left Us at Presentation House Theatre for their season opener and has provided space for me to test out new material and will provide it again this fall on Culture day. He and his wife Linda, a very busy playwright in her own right, have worked all over the world and share what they’ve learned about theatre abroad. In fact we often engage in wrestling with your next question, over a bottle of wine.

In your opinion, what is the current state of theatre in Vancouver and how can it be improved?

I don’t have an answer for this…get ‘em while they’re young! If we had a government that valued theatre/art, kids would be going to plays regularly, and develop an appreciation for it and hopefully carry that through for their entire life.

What books have been influential in your journey?

Angela’s Ashes! It’s referenced in Poor, as a matter of fact.

A biography on Frank Lloyd Wright. He designed rooms to have theatrical impact. The entrances were very low, one would have to stoop to get through but when one entered the great room, lungs expand, the visitor grows to his full height, a sense of exhilaration ensues. I thought it a great image for actors.

Keith Richards’ biography! During unproductive writing sessions, they would tear headlines out of newspapers, throw them into a pile and rearrange them till something clicked.

A magazine article from – if I remember correctly – American Theatre, is the most impactful thing I’ve read. I think the title was “Ten Things Wrong with Theatre”. I don’t recall everything on the list but I do remember “Too Much Shakespeare” was one of the items. Not enough development of new voices, new playwrights. The article went on to say how important it is to get these new voices out there in front of an audience that it is a necessary step in the playwright’s development, even if the play isn’t ready. I know some people disagree with that, that putting unfinished works up on stage only drives people away from the theatre.

This is where I say Bravo to The Fringe because they provide that stepping stone for new works. A place to learn. And if it’s a failure, well, the theatre consumer is only out of pocket by 14 bucks… better than 35 or 85 or more !

What other projects are you working on now or in the future after Poor?

As soon as the Fringe ends our writing club resumes. YAY! I have a very bad mystery I wrote several years ago that I’d like to get back to and a couple of small pieces that may or may not be developed. We are doing a presentation of works in progress at Presentation House on September 28th – Culture Day – and I look forward to that.

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Poor runs at the Firehall Arts Centre from September 4th through September 7th, September 10th, and September 12th to September 14th.

For more details, please visit VancouverFringe.com.

The post The Biz Interview: Suzanne Ristic – Writer of “Poor” appeared first on Biz Books.

Tell us a little bit about The Oblivion Series: A (Not So) Girlie Show.

You mean my ‘magnum opus’? Haha! My show is a collection of characters and stories that I’ve been developing over the past few years. It was born out of me wanting to perform material as an actor that I felt really jazzed about. I am a longtime Cold Reading Series participant and one year Lori Triolo dared me to join in on the “Actor’s Challenge” – where actors write their own stuff and have it read at the event. Terrified, I took her advice. Much to my surprise it was quite well received, and from there the show slowly started developing a life.

What can audiences expect from The Oblivion Series: A (Not So) Girlie Show that will make for a unique stage experience?

I’d say that audiences can expect first and foremost to be entertained and to laugh. Also perhaps to be inspired, moved and turned on in a new way. I don’t mean that in a naughty way, but in an “ideas” kind of way. A lot of the ideas in the show seem to resonate with people. I imagine it makes for a unique stage experience because it’s written by an actor – not a professional playwright – so maybe that’s a different sort of thing right out of the gate. Also it’s not structured as a traditional “play” but really as a fun wild romp of a live “show”.

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Can you briefly walk us through your creative process of this incarnation of the show – from the early stages all the way to opening night?

That’s a funny story. Basically my co-producer and co-star Lori Watt (who had seen the show in LA) called me up one day and said “hey I have a friend starting a Fringe Festival on the island and how would you feel about doing your show there in June?”

I said yes and we got together to read the monologues, deciding it would be fun to do it just the two of us. We thought originally that we would self-direct (which is hilarious in retrospect) and so began rehearsing at Lori’s place. After a bit we thought: maybe a director friend could look at this just to give another p.o.v., so we contacted Linda Darlow, who agreed to “take a peek”. From there it kind of snowballed into the Zone Festival with Jay Brazeau adjudicating, which was a very fun and encouraging experience. That was actually the moment I thought we were onto something with this new version. The audience feedback was clear.

Now, since joining forces with Alison Araya – who has really amped it up with what she’s bringing to the table – it really feels like it’s up and running with a clear vision and in a great place as a production. The creative process in a nutshell I suppose has been aligning with like-minded people who love this wacky material and are really bringing themselves to it and are showing up in a big way. Oh and HAVING FUN. I should have said that at the beginning. The creative process has mainly been about having fun with this.

The Oblivion Series: A (Not So) Girlie Show has played in a few different cities now. How has it evolved over time and where do you see it changing in the future?

It has evolved a lot. What a journey! Primarily I’d say the show is now finding it’s correct rhythm, and has become a lot funnier. I credit Linda Darlow for this immensely with her direction. Somehow she has elevated it to a wonderfully absurd yet honest and hard-hitting place, if that’s possible to imagine. The earlier iteration in LA was treated a lot more seriously. That’s the interesting thing about creative collaborations: so many possibilities to explore. Also there are a few new pieces in this show that weren’t in LA, and I’ve dropped a couple of old pieces. That’s the beauty of having titled it a “series” – it can always evolve and change as I write new bits. Probably that’s how it will continue to go in future.

What has been the biggest highlight for you with The Oblivion Series: A (Not So) Girlie Show so far?

Two things: #1: Debuting my show in L.A. at the Stella Adler Theatre. That blew my mind and was one of those ‘pinch me’ moments. Huge gratitude to the L.A. Women’s Theater Project for hooking that up. I read Stella Alder’s book on acting back when I was training and her words resonated with me more strongly than most teachers. She is one of the greats – and an original. I never thought I’d be in her theater with my original work. I still get goose bumps thinking of walking around her hallways and hanging out in her speakeasy. I’m pretty sure I could feel her presence in there. I think that’s what they call “walking on your dream”.

#2 biggest highlight has been working with Linda Darlow and the ladies of WaWaYa Productions. It’s simply a joy.

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

The challenges have really only been #1: getting out of my own way and just getting out there with my work, taking the risk, and #2: aligning with the right people to collaborate with. How I dealt with that is by #1: saying yes when there was interest in my show and basically throwing caution to the wind, despite my fear or doubts, and #2: trial and error, and getting clearer on my own vision over time. I sometimes joke that I’ve been work-shopping this show in public, and now it’s finally hitting its stride after all the live experiments.

What advice do you have for other performers who want to develop or act in their own show?

DO IT! Stop thinking about it and actually do it! If you are remotely inspired and have some ideas: write them down, try them out, read them aloud to people, get up on a stage and give it a whirl! I was so scared when I first started with this material and now I can honestly say it is one of the most rewarding and exciting experiences of my life.

The Oblivion Series: A (Not So) Girlie Show is very adult-oriented and draws from your own life. What was the process like of writing from your own experiences? How close does the final version match up with the original life experiences that they were drawn from?

I love how you say “very adult-oriented” – sounds so racy and dangerous! The process of writing from my own experiences is very liberating and empowering. I say in the synopsis that the characters are coming to terms with their lives, but secretly I think I am. There’s something about owning things out loud in front of people. Making them “characters” and putting them on a stage gives the freedom to poke fun at myself and to be creative about how I tell the stories. Hopefully I’m offering a somewhat universal take on the themes I’m exploring, and that the characterizations allow for that detachment that can then resonate more deeply somehow. I like to leave it up to the audience to guess how closely the final version matches up to reality. A girl’s gotta have some privacy. Things are certainly embellished and altered for dramatic (and comedic) effect.

What are the advantages of writing roles for yourself and acting in something that you’ve written? Are there any challenges?

The advantage is that I already know the characters because I wrote them. I already feel a sense of freedom and confidence because it’s from me. It feels natural right out of the gate to speak the words. There’s not that same searching and discovery process that comes from taking on a role written by someone else. There is still discovery, it just starts from a totally different place. The challenge has mainly been in marrying the p.o.v. of my director about the characters with my own, and allowing space in my writer brain for that much needed director p.o.v. Also it’s sometimes hard to separate my writing and acting brains, when they are both going on at once. But that’s a challenge I am thoroughly enjoying.

What were your reasons for getting involved with acting and writing to begin with?

Reasons? Ha! I’m not sure reason had anything to do with it! I have been making things up and getting people to watch me since the age of four. It’s just something I’ve always done. That’s from the acting side of things anyway. I guess there is a reason I got more involved as a writer these past years, and that’s because I wasn’t feeling entirely satisfied as an actor. I love performing but I only ever sometimes felt like the material was rocking my world. I needed more, and writing has certainly filled that hole.

Again I go back to what Lori Triolo preaches at the CRS: “…if you’re not satisfied with the work you’re getting, create your own!”

Ba-da-boom.

Who are the performers, writers, or directors that have been influential to you?

Along with those already mentioned… Eve Ensler, Meryl Streep (it’s not cliché, she’s a genius!), Robin Williams, Sandra Bernhard, Sacha Baron Cohen, Stephen Colbert, Marilyn Monroe, Ani DiFranco, Bob Marley and ummm, Madonna. To bring a local flavor I’m gonna go with Kate Twa, Andrew McIlroy, Lynne Stopkewich, Rob Stewart, Kris Elgstrand, Dylan Akio Smith, and Tony Pantages.

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

Oh goodness there are so many! Off the top of my head, in acting school my favorite reads from a training point of view were Stella Adler and Uta Hagen. Also Michael Caine’s Acting in Film. Tina Fey’s Bossypants is SUCH a great read. I read a lot of non-fiction, quantum physics and healing stuff. At the moment I’m going between Joanna Macy’s Active Hope: How To Face The Mess We’re In Without Going Crazy, and Russell Brand’s My Booky Wook. Also I hear Linda Darlow has a new book coming out. That’s gonna be a must-have for every actor.

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

I’m playing with ideas on how to translate some of this existing work into short film format. On the live performance front I’ve recently developed some 5 minute comedy sets that I’ve been performing at local comedy venues. I plan to elaborate on this, and am slowly but surely developing new material for an hour long show.

The Oblivion Series: A (Not So) Girlie Show is now on at Studio 1398 (Playwrights Theatre) Granville Island. For tickets, please visit: Oblivion.BrownPaperTickets.com

The post The Biz Interview: Justine Warrington of The Oblivion Series: A (Not So) Girlie Show appeared first on Biz Books.

After successful film festival showcases in Vancouver, Toronto, Edmonton, and Sudbury, the film opens in Canadian theatres on March 23rd. We spoke with Carl Bessai to get an inside look at his creative process and learn more about his latest critically-acclaimed contribution to Canadian film.

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

This is a tough question because the process varies so much from project to project.

In the case of Sisters & Brothers, the pre-production phase really consisted of a lot of discussion/workshops with the actors because we didn’t have a script and we were building the narrative as a collaboration. What we came up with would go into a written outline so that I was able to break down the shooting plan.

As far as casting went on that project, I really approached that film as I would planning a party… I just invited some of my friends and in some cases, when I was stuck, I would get their recommendations on who else to invite! but that is really rare. On a scripted drama like Repeaters, it’s obviously much different. You have a team that you are working with (producers, financiers, distributors) and their is a lot more discussion and prep around casting and hiring and all the issues that go into bringing a creative team together.

Then in production, my process is varied of course depending on the size of the film. With a larger scripted drama, we obviously have a more conventional shooting style, with lighting, blocking, rehearsal and shooting… multiple takes… but with the improvised films, it is a lot more like a documentary with things being invented on the spot and new things being tried – some kept and some thrown away… there are usually a lot more takes in that process as well because we are trying to iron out a scene that is being written as we shoot – it’s a lot less structured. In the end, the process toward promoting each film – festivals, screenings and theatrical release – are more or less the same project to project. You run like crazy and hope that the critics are supportive, and that you can get enough friends and family in the various cities to attend and keep each film in the theatres for as long as possible… which is obviously a challenge when you’re competing with The Hunger Games!

For audiences who have seen the previous two films in the FamilyX trilogy, which common themes are present in this film and what are some new ones they can expect this time around?

I think the thing that is most common between all three films is the sense of the universality of families and relationships within families. We all see aspects of our own relationships in these films – some characters you will relate to and some not so much in terms of an individual experience but I guarantee anyone watching any of these films, they will recognize one of their own family dynamics in the scenes. In S&B there is a lot of sibling rivalry, tension and animosity… I’m not sure why… siblings just compete like crazy and so this film is a little more caustic than the others – more swearing (you better have a strong tolerance for the f-bomb) and a lot of scrappy behavior… that said, these characters love each other. I relate to this mess a great deal in my personal life!

Are there any books or specific authors that have been influential to you during your journey as a filmmaker?

I have always been a fan of JD Salinger for his family stories… Franny and Zooey is a favourite of mine – these wonderfully dysfunctional people who love each other but can behave so strangely about their emotions. He is a writer who touches on the complexity of siblings, even though he only wrote a handful of books.

You’ve had several films screened at film festivals around the world. What’s the most important piece of advice that you would give to filmmakers who are trying to enter the festival circuit?

Don’t be discouraged if you don’t get invited to Cannes Film Festival or Toronto International Film Festival or one of the big ones… of course these festivals are awesome if you are lucky enough to be invited, but chances are if you do go, you will be one of the smallest fish in the pond and sometimes, it is better to go to a smaller festival anyway where you’re film will be genuinely supported and there will be so much audience enthusiasm for the ‘smaller’ film… I have had great experiences in Toronto, of course, it is in my opinion the most supportive festival in the world – especially for CDN films… but a boutique festival like thessaloniki where you can be in competition or a real audience festival like Seattle… these are fantastic affirming experiences for a filmmaker.

What is the biggest obstacle facing Canadian filmmakers right now?

It’s probably a big cliche, and I’m sure this is true in any country, but financing films is the hardest it has ever been. Quite frankly, the global market for films is tough and is really pre-occupied with a relative handful of movie stars, so unless you have a major actor in your film, getting the money to make your movie is really challenging. That’s the reason there is so much DIY (do-it-yourself) filmmaking going on… it’s refreshing to see people go out and commit their ideas to film (or chip) and not wait for the unlikely event that tom cruise will be available for your epic.

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

I’m keeping a balance between my bigger projects and my low-fi efforts. I love the idea that even if everything falls apart with a big film, I can still go out there with my SLR and shoot a DIY movie… So in that spirit, I am working with Brent Butt (of Corner Gas fame) on his new movie – a big comedic noir epic called No Clue which is going ahead in the fall, and a DIY horror film with a turkish producer starring Jodelle Ferland that we are shooting in Vancouver in the next month or so (still a moving target!)… and then I have my LA projects.

Sisters & Brothers is now in theatres. For more information, please visit SisBroFilm.com.

The post The Biz Interview: Carl Bassai – Director of “Sisters & Brothers” appeared first on Biz Books.