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Can you start by telling us a little bit more about you and what projects you have on the go right now?

Sure. Right now I’m working on a family drama called Common Grace which goes up at Pacific Theatre in January, and a screenplay called Trying, which is a Judd Apatow-style comedy about a couple trying to get pregnant. I’m also working as a dramaturg on Ron Reed’s play about the friendship between C.S. Lewis and J.R.R. Tolkien!

The 2015 Vancouver International Film Festival is coming up. Your short film, Bedbugs, which you wrote and starred in, screened there last year – along with other festival appearances. What can you share about the journey of creating the film and taking it through to festivals?

Films are incredibly collaborative things and you go in with a plan, but you don’t really know what’s going to come out until the thing is done. So it’s been an incredibly informative experience in terms of learning so much more about how films are made, how they evolve, and how everyone contributes to make a thing what it is. And I love Bedbugs. I love what a fantastic cast and crew I got to play with and how much support we got from Crazy8s to make this wacky little puppet film. So taking it to festivals just feels like gravy. Or whipping cream. Like you get to invite everyone in on the fun.

Having gained some experience on the film festival circuit, how are they beneficial for filmmakers and what challenges did you run into along the way?

I think seeing your work in front of an audience is extremely informative because you need to know if your story lands – if your jokes are funny, if your moments lead people on a journey, if people are connecting. You learn how well you succeeded in telling a story – or not. There are jokes in Bedbugs that I thought were funny and no one ever laughs at. Ever. That’s interesting to me. What should we have cut? Where did we need another beat? As far as festivals, it helps to meet people. It helps to win awards. It helps to see what other people are making and creating to spur you forward to the next thing.

In terms of challenges, I would say it’s expensive. Festival entries are expensive and going to festivals is expensive. And also it’s very time consuming to be spending so much time administrating. As a writer looking forward to the next project it’s hard spending a lot of time on emails and correspondence and uploading things to Dropbox when you’re not being paid for any of it. But it’s also a great problem to have, because it means people want to see your film.

You’re a prolific writer as well as being an actor. What inspired you to do both?

I think if you’re a storyteller, if you’re an artist, then that impulse can come out in different ways. I love bringing a character to life as an actor and connecting with my heart and mind and body to a story. It’s so physical and happens with other people – on a stage or a set. But I also love that as a writer I get to create the world, all the characters, and the whole journey myself. But the seed of  it is the same. Plus, I like to write what I want to play as an actor and what I want to see as an audience member. It’s all about story.

If someone sees your name in the credits of a film as a writer or actor, what qualities do you want the audience to associate with you as a performer and writer?

I guess I want them to see truth. I want them to see something in the story or the character that feels true or authentic to them. And I hope I make them laugh at least once.

What have been some of your career highlights at this point in time?

Getting my first professional production of a full-length play in January is pretty exciting, for sure. It’s a play I really love, full of funny, broken, deeply human people and I can’t wait to share it. Working with Kristin Lehman and Louis Ferreira on the set of Motive was something I really loved because I think the writing on that show is stellar, and they’re two incredibly gifted, hard-working, and generous actors. And every time Bedbugs plays on the big screen and people genuinely laugh, it’s a career highlight. I could eat those laughs for breakfast.

You’ve written for stage as well as for screen. What are the challenges and rewards of writing for these two mediums?

I would say that one of the challenges of theatre is that you can’t visually cut away to reveal something or button a scene or build suspense – the actor has to do it with their performance and you have to construct it with your words. On the flip side, the challenge for me in film and TV is to not use words so much – to think more visually.

The reward of film and TV both as an actor and a writer is that you have something tangible when you’re done. You can watch it again and again. You can look at it. In theatre, the beauty and the difficulty is in its ephemeral nature. But you get to live the story with the audience in real time which is this beautiful, marvelous, kind of sacred thing when it’s done well. You actually breathe the same air and hold your breath together and affect each other. It’s alive.

What advice would you give to actors who are considering writing their own material?

Do it. Absolutely do it. But also, learn about writing. I studied writing for a long time. I’ve written a lot of stuff – and it’s hard. Sometimes you write things that are bad. Very bad. It’s hard to do it period, and it’s hard to do it well. So read the books on story and structure, then practice and get feedback. And don’t let wanting to play the part cloud your judgement about whether the story works or not. Then rewrite. And rewrite again.

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

I’m most moved by stories that explore the depth of human experience. I connect most with stories that have some kind of existential longing. Stories that make me feel, think and laugh. I loved
A Circle of Quiet by Madeleine L’Engle. The Brothers K by David James Duncan. Bird by Bird: Some Instructions on Writing and Life by Anne Lamott.

I saw Good People last year, by David Lindsay-Abaire and half-way through I almost jumped out of my seat because I realized “This play is about something.” And it was fantastic. The Last Days of Judas Iscariot by Stephen Adly Guirgis, too.

And I love good television – I love The West Wing, Six Feet Under, Parenthood, The Good Wife. And I love seeing smart, funny women telling stories – they influence me. Elizabeth Meriwether. Tina Fey. Amy Poehler. Amy Schumer. Smart and funny. Gets me every time. I’m sure gonna miss Jon Stewart.

Where can we go to find out more about you?

You can go to my website, which should be updated this month, or you can find me on Twitter!

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Our thanks to Shauna Johannesen for speaking with us!

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Recommended Reading

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Bird by Bird:
Some Instructions
on Writing and Life
Anne Lamott

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[bscolumns class=”one_third”]

Good People
David Lindsay-Abaire

[/bscolumns]

[bscolumns class=”one_third_last”]

The Mistakes Madeline Made
Elizabeth Meriwether

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Shauna Johannesen appeared first on Biz Books.

These days, she’s busy with her newest film role in Down River, which premieres in Vancouver at the Vancouver International Film Festival. Jennifer talked to us about the film, her growing career, and her time at Biz Books.

Tell us about Down River and what audiences can look forward to.

Down River is a very special project to us. It was inspired by Ben Ratner’s close friendship with Babz Chula who passed on before her time. While the film is classified as a drama, there are many comedic moments and we think folks will identify with its universal themes. Our hope is that audiences will come away feeling inspired to create value and connection and live their lives in the best way that they can.

How did you become involved in the film and what was your creative process like throughout the production of the film?

I became involved through the very convenient situation that I’m married to the director! My creative process started out with the basic questions an actor asks themselves about their character. Then Ben, Gloria (wardrobe) and I worked together to choose what outfits felt most like “Aki”. That was hugely helpful in getting a feel for her. The glasses we ended up using belonged to Babz. We actually used a ton of Babz’s stuff for the film: much of her clothing for Helen Shaver’s character “Pearl”, items from her apartment and Gabrielle, Colleen and I each wore one of her signature bracelets. The way Ben then guided me in going deeper and telling Aki’s story was such an amazing experience for me- he’s the kind of director every actor wants to work with. I trusted him completely and not just because of our relationship. Everyone did. He’s really good at what he does. To be exceptional in one artistic discipline is admirable enough but to be exceptional in many (directing, writing, acting, teaching, painting, making music) is a very rare thing and he actually is. OK, I sound like I’m gushing but it’s all true!

What are the key similarities and differences between you and your character, Aki? How did you address those as an actor?

I think we’re similar in that we’re both pretty nerdy, introverted and weird. Maybe I’m not quite as cripplingly shy in real life so I guess I had to “turn up” that part of myself that is.

What was the biggest challenge for you in this film?

There’s a scene where I had to dance drunkenly and bizarrely and sexually in front of a crowd so yeah I’d say there was some major fear involved in that.

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

I wanted to do it primarily because I really wanted to affect people- make them feel something, change them in some small way. And to me, stories and art were the way to do that. That’s what’s always affected me the most and helped me to understand what it means to be human. I wanted to help other people understand that too.

You’ve had a successful mix between television and film roles. As an actor, what do you enjoy about each medium?

I love the intimacy of both. For the actors and the audience. With film, it’s almost even more intimate than TV because the screen is so huge so the audience is really getting EVERYTHING. But with TV, more can happen in a way. There are more possibilities of how characters can develop as you evolve them through episodes and often, seasons.

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

Oh man- where to start? Gary Oldman, Philip Seymour Hoffman, Bryan Cranston, Meryl Streep, Catherine Keener, Julianne Moore, Judd Apatow, Charlie Kaufman, John Hughes, the list goes on!

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

Many! When I first started out I remember finding The Actor’s Survival Kit which is written specifically for Canadian actors. That helped demystify the business for me. It seems like I’m always in various stages of re-reading The Intent to Live especially when I need help deepening a character. Writing Down the Bones is an amazing book on writing and the creative process and really made me realize just how important practice is to bettering oneself as an artist. Other ones that resonated with me are: The Actor’s Audition Checklist, The War of Art and I just finished reading Judi Dench’s And Furthermore which I devoured in three sittings.

Speaking of books, you were part of the Biz Books team at our old Vancouver location. How did your experience at Biz Books influence your career?

Honestly if it weren’t for Catherine Lough Haggquist, I probably wouldn’t still be in the business. Her wisdom and insight into the industry and her belief in me made me believe I could do it. I was/am lucky to have a mentor and friend like her. It’s way too easy to go crazy in this business unless you have someone you trust who has a lot of experience in it and can help point you in the right direction. When I worked at Biz, it was like we had a built-in support system. We were all like-minded friends who ran lines with each other and covered each other’s shifts when we had an audition or gig. I was very fortunate to “find my tribe”. Not to mention being surrounded by every book and resource I could possibly need to help me on my actor’s journey!

What is the most important advice you could offer to aspiring actors in Canada?

Make sure you’re always working on your craft in some way. Work hard at it. Class is usually the best way to do that. You need to be ready for when opportunities come and it keeps you engaged and reminded of why you do it. Surround yourself with like-minded, genuine people. It can be a lonely, bewildering profession so find your tribe. Don’t be an actor unless you absolutely have to and are willing to be persistent through the ups and downs.

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

We start shooting the third season of Continuum in November so can’t wait for that! Also I found myself really fascinated with the post-production process of making Down River so would like to learn more about editing and setting up shots- maybe get involved in the technical aspects of filmmaking as well.

Watch for Down River at the Vancouver International Film Festival and visit the official site for the film at DownRiverMovie.com.

The post The Biz Interview: Jennifer Spence of Down River appeared first on Biz Books.