Her newest project, Yellow, is an ambitious pilot that she hopes will be the first in an anthology film series written and directed by Canadian women.

As Yellow finds itself in the midst of a Kickstarter campaign, Sarah Deakins spoke to us to share more about how the project came to be and what she’s learned along the way.

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Can you start by telling us more about you and Yellow?

I’ve been an actor for most of my life and a few years ago I realized I wanted to have more control over the types of stories I was putting out into the world. A friend of mine, Jason Goode had directed a film I wrote called Late and it went to Cannes as part of Telefilm Canada’s Not Short On Talent program. I was lucky to have Brightlight Pictures take me under their wing when I decided to direct my next film myself, Greece and it went on to win over 30 awards on the film festival circuit.

I spent much of the following two years shadowing established directors on the sets of various TV series (Hannibal, Killjoys, Wayward Pines) and although this was extremely helpful in learning about the politics of working on a network show, I had a conversation with one of the executive producers on one of these shows, and she explained to me that they had only had two female directors on their show that season, one of whom was very well established and the other who had never directed TV before but had written and directed seven feature films, had the best reel they had ever seen for their show, and they still had to bend over backwards to get her approved by the network. So, she said, It’s nice that you made a short film, but…

It was clear that gaining access to series TV directing was not going to happen for me through shadowing and having a few short films to show. I started thinking about all the women like me who wanted to get into this world, who wanted to direct series TV in Canada and were making their own work out of the passion for it, but also wanted a way to make a living in their chosen field. It is so tough to break through, and I started thinking about what if we made an anthology series that was exclusively written and directed by women?

Yellow was a long short film that I had been developing and I realized it was the perfect length for a pilot. From there, I thought what if I did a seven part anthology series, with each episode titled after a different color of the rainbow (Red, Orange, Yellow, Green, Blue, Indigo, Violet)? We could use Yellow to pitch the series, and attach up-and-coming female directors and writers from all walks of life in Canada, all ages, races and sexual orientations, so as to tell a wide range of stories. The series would have the theme of human connection, which is strongly illustrated in Yellow, and I want that to run through the whole series, but other than that, the stories would be up to the women we end up working with on this. It’s quite Black Mirror-esque in that each episode will be completely different, but with a recurring theme.

The idea has been evolving and growing since then. I want to use established women directors to mentor the up and comers, and the main thing is to create a platform for women who have something to say, have a promising body of their own work, and need some more experience and a forum where they can all cross promote and have a community that is their own.

I had sent the script to Shawn Williamson and Arielle Boisvert at Brightlight Pictures, and though they liked the script a lot, Arielle was most interested and excited about the bigger picture idea of a series exclusively written and directed by women. So here we are, raising money for the pilot episode of the series, Yellow. We have a “who’s who” of Canadian talent attached, and I’m excited to move forward in this process!

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“There’s something about connecting with art that connects us deeper to our own humanity.”

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What is the inspiration for it?

The inspiration for Yellow itself is from a day I spent at the Art Gallery of Ontario. I heard snippets of conversations, observed people’s behaviors and started making up stories in my mind about the characters wandering around in this place build for contemplation and reflection. People are different in those spaces. Things slow down, their humanity floats to the surface. There’s something about connecting with art that connects us deeper to our own humanity and I wanted to write something set in that world.  So Yellow follows ten characters over the course of one ordinary afternoon in an art gallery, but on this particular afternoon, each of these characters experiences some sort of crossroads in their lives.

How does your specific part of the project, Yellow, fit in with the rest of the series?

Yellow is the jumping off place for the series. It should set the tone and the theme of the series and hopefully is engaging in a way that makes people want to see more stories in this vein.

How can people get involved in helping this project come to life?

We’re running a Kickstarter campaign for the pilot right now.

Other than that, we are looking to create a community around the project and a buzz of expectation for the series, so spreading the word really helps!

What have been some of your most precious career highlights?

Working on Greece with Brightlight Pictures was a dream come true. This is probably the one and only time in my life when a piece will come out looking exactly as it did in my head when I was writing it. Truly, writing and directing, having control over every aspect of how a story is told from conception through post-production (one of my favorite parts of the process) is the highlight so far. I had no idea I would love it this much.

You’ve done a lot of acting to go with your recent shift towards directing. What advice would you give to other actors who want to direct?

I think actually Jason Goode, who directed Late had an interesting approach. He wasn’t a writer, but he sought out short film scripts that had an element of something he wanted to learn about or work on in his directing. So each time, I remember him telling me, he picked a project that had something he thought he needed to work on in his development as a director. So, while my first film was set primarily in one room, with just two actors, I am now working on a piece that has a much wider scope, with ten characters all interweaving, and a sense of movement that my first film did not have.

I would also say to seek out scripts or write ones that really move you. It’s the only way I know how to work. Filmmaking is hard. The amount of prep before you even get to shoot, raising money, promoting etc. probably take up more time than the actual time on set and in post. So make sure you love and are truly passionate about the subject matter. If you are going to work that hard, it may as well be on something you really believe in and think is important for you to be doing.

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“I’ve always felt that if I’m doing something, I’m going to do it to the absolute best of my ability.”

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What is the biggest challenge for you as an actor or director and what steps do you take to overcome it?

As a filmmaker, raising money is always the hardest part. I hate asking people for money. I hate being in people’s faces, or feeling like I am bugging them with constant posts about my project. I’m still learning to overcome that icky feeling I get when asking for help in this manner, but it helps to have support, and a team who believe in you and what you are doing. It can be isolating and you can feel very alone in that process, but if you just start, then you have to follow through, and I’ve always felt that if I’m doing something, I’m going to do it to the absolute best of my ability. So I learn how to make memes at three in the morning to thank the people who put money into the film that day, and I send letters to people personally, and I take marketing and fundraising people for coffee and pick their brains. Information is power, and though I am always still learning, I think seeking out that information from people who have done this before me is how I work through my fears.

What’s the most rewarding part of being an actor and director?

The most rewarding part of being an actor is sitting in the story. Being immersed in another life and taking that emotional roller coaster. I adore that process.

The most rewarding part for me so far in being a director is seeing it all come together in post. That process of seeing the story strengthened by the perfect cut, or the swell of music at the exact right moment, or the lone church bell chiming in the background that you layer in during an achingly lonely moment…that is where the story really becomes magical and I get such joy from that part of the process.

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

As an actor, I use Larry Moss’ book, The Intent to Live whenever I am building a character and as a filmmaker I love the book How Not To Make A Short Film by Roberta Monroe and The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje, a great resource and inspiration when one is in post.

Where can people find out more about you and stay updated about the status of Yellow and In Person?

Currently you can stay in the loop with our Kickstarter campaign.

You can join us on Facebook at Yellow, A Sarah Deakins Film.

And Twitter @YELLOWthefilm1.

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Thanks to Sarah Deakins for speaking with us!

Watch for more of Sarah Deakins and Yellow in the weeks and months ahead!

The post The Biz Interview: Sarah Deakins appeared first on Biz Books.

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

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

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Lee Shorten of Anh Hung

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Alex Barima and Jerome Yoo of Cypher

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jerome Yoo: One Piece. 

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

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

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

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

Lorne Cardinal’s Photo Credit: Shimon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Denise Jones: Don’t be an asshole.

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

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

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

Denise Jones: The Power of Now by Eckhart Tolle.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Prophet by Kahlil Gibran

The Crossroads of Should and Must by Elle Luna

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

Love Anthony by Lisa Genova – personally, a tearjerker. 

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

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

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

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

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

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

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

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

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

A Wallace – “Shake it Out”

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

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

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Darien Provost of The Undertaker’s Son

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

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

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

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

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

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

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

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

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

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

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

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

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Peter New of Woodman

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Caitlyn Byrnes: I am a production designer and writer/director based in Vancouver BC. My film is called One Last Ride. It tells of an unlikely friendship between a young soul singer and a taxi driver.

This is the synopsis:

Tired of being ripped off by entitled hipsters, taxi driver Inderjeet Dhaliwal is prepared to call the cops when his latest customer, a boisterous young soul singer named Maggie, can’t pay the fare. Desperate to get to her audition, Maggie attempts to find some common ground between them, and uncovers an unexpected shared love of deep soul music.

Jem Garrard: I’m a Writer and Director from London, UK and Vancouver has been home to me for the past six years. In that time I’ve been directing and shooting music videos, commercials and documentaries. My film is called The Wolf Who Came to Dinner and it tells the story of 8 year old Bea Barkley who imagines her Moms dinner date to be a werewolf and she makes it her mission to get rid of him over the course of the evening.

Mo Soliman: I’m Mo Soliman, writer/director for the film Under A Glass Moon. UAGM is both a mystery thriller and a character-driven piece, where a world of secrets unfold as the story is told.

Can you tell us about how the idea for your film came to be and what your creative process was like in making it come to life?

Caitlyn Byrnes: My film was inspired by my own experience as a struggling artist, my love of fleeting moments of human connection, and more than anything the soulful music and wild spirit of my friend Colleen Rennison who stars in the film. I wrote it for her.

I had the idea for some time but it wasn’t until I was talking to a friend about Crazy 8’s that I thought it might be a viable way to make my film come to life. Then I pitched it and the rest is history!

Jem Garrard: I grew up in a single parent family with my Mom and two sisters and we were always creating characters and monsters. I’m a big fan of monster movies and horror and a lot of my stories are about family dynamics so I decided to mesh the two. It’s part autobiographical I guess. The script was developed over a period of about seven or eight years. The six months leading up to the crazy 8s pitch deadline was when the script really started to come together for me.

Mo Soliman: I’m a big fan of the genre, especially Hitchcock and I wanted to create a story which uses these elements of suspense storytelling. I also wanted to explore how the medium of film can evoke the very primal emotion of fear. Essentially it is a film about coming face to face with your worst fear. So it’s kind of an experiment in story telling that I wanted to undertake. There are surreal elements and very subjective visuals in this film aimed at creating a visceral experience for the audience

What was the most memorable moment for you in the Crazy 8s process?

Caitlyn Byrnes: The first time Colleen sang on set for the camera – it was in that moment I really realized that the film I had in my head for so long was actually being made!

Jem Garrard: The most memorable part, there are many. Production went really well – seeing the wolf and these characters I’d had in my mind for so long come to life was surreal. Post was insane. I learned a lot about myself. I can pull four all-nighters in a row (and I don’t drink coffee!). But probably getting the call that I had made it to the final 6 is up there with memorable moments. I was with family and friends and it was a great celebration.

Mo Soliman: When I got the phone call at 11 p.m from the Crazy 8s producers telling me I got selected!

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

Caitlyn Byrnes: On the Road by Jack Kerouac. I read this book right before I left on a trip for India was I was 18. It has really informed my view of life every since. Particularly my view of art.

Jem Garrard: I read a lot of everything. I’m a big sci-fi geek actually so Isaac Asimov and Ray Bradbury are up there. I’ve also been heavily influenced by J.D. Salinger’s work.

Mo Soliman: I think reading is imperative to what I do. My favourite film books are Hitchcock: The Definitive Study by Francois Truffaut, The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje and Easy Riders, Raging Bulls: How the Sex, Drugs, and Rock ‘N’ Roll Generation Saved Hollywood by Peter Biskind. Non-film books include everything by Fyodor Dostoyevsky, Gabriel Garcia Marquez, Milan Kundera, Albert Camus, Kafka and Naguib Mahfouz.

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

Caitlyn Byrnes: I just finished designing a feature called Unseen and will likely be going on to design a few more projects soon! You can find out more about me and my team at scopitonefilms.com or the-herd.ca.

Jem Garrard: Currently I have three short sci-fis in post, nearing completion. My feature documentary Guns to Mics is being released in April and I’m jumping into pre-production on a comedy TV show called The Switch. I’ll be directing the first season beginning in April.

Mo Soliman: Currently I’m producing a video series for Government Canada as well as TV spots for the United Nations Development Program. You can check out my website at bigredfish.co

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For more information about Crazy 8s, please visit crazy8s.cc

The post The Biz Interview: Crazy 8s Filmmakers appeared first on Biz Books.

Dividing her time between television projects like Border Security and a new documentary on Tempest Storm, Nimisha Mukerji continues to put her significant talents to strong use as she pushes forward into the next chapter of her career.

Nimisha Mukerji spoke to us about her career, the documentary filmmaking process, and maintaining the necessary distance between filmmaker and subject.

What are you working on right now?

I’ve been working on a new feature documentary on American sex icon Tempest Storm for the past year. It’s an exciting project that’s taken us all over the United States, which has been a lot of fun. The official website is TempestStormFilm.com.

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

While we were film production students at UBC both myself and Philip Lyall (the co-director of 65_RedRoses) were mentored by Oscar winning filmmaker John Zaritsky. John’s class was the first time I was really exposed to the beauty and artistry behind documentary filmmaking and that experience is essentially what prepared us for 65_RedRoses. The actual moment that I knew I wanted to make a documentary is when I first heard Eva Markvoort’s story. Her circumstances were so extraordinary, it didn’t make sense to try to write a narrative script. The most effective approach was to create a cinema verite film that brought people into Eva’s life at that time.

Who were some of your greatest influences early on?

In the non-fiction world I love Steve James’ Hoop Dreams, I watched that film a bunch of times while making 65_RedRoses. RJ Cutler’s series American High was the first doc series I had ever seen and it just blew my mind; it was such brave television. Other influences have been Hal Ashby, Steven Soderbergh, Richard Linklater, and Gus Van Sant.

Can you share about your creative process as a documentary filmmaker from the idea stage to film release?

In some ways the easiest part is choosing my subject, because when I’m affected by a story and want to make it into a film, I delve right in. I start shooting and putting together a demo as I write out the treatment and start working out the potential character arcs and story-lines that might unfold. I can’t control what happens, but I need to really think about what could happen, and ask the right questions at the right time to set up scenes that might unfold later on. Once I feel like I’ve got a lot of scenes and the majority of the story (but usually not the ending) I start editing. I do this so that I can get a sense of how much more I have left to shoot. When I feel like I’ve got an ending I get moving on rough cuts, and have a lot of test screenings to sort out if the structure is working, and if the audience is emotionally invested in the film. The picture is never really locked until it’s screening for the first time, there are so many final changes I tend to make even late in post.

You’ve worked on feature-length documentaries like 65_RedRoses along with documentary series like Border Security. How would you compare these two mediums and how does your creative approach change?

When directing for television I’m only involved in the shoot, so the pressure is on to make sure that I’ve got all the pieces needed to tell the story in an effective way later in the edit room. Unlike reality TV, on Border Security there was no script, and the situations were unfolding in real time, similar to Emergency Room. I think the series originated in Australia where it was popular for entertaining while educating the public about safe travel practices and the legalities of entering/exiting countries. Similar to documentary filmmakers shooting in the field, the crew had a “fly on the wall” approach, getting clearances as we went along and not interfering with what was unfolding in front of the lens. But when I work on my documentaries I have a lot of control in the edit room, and a lot of creative freedom with the material, so that’s really the biggest difference.

From your experience, when making a documentary as personal as 65_RedRoses, does a filmmaker need to make an effort to keep some emotional distance from their main subject (person) or does a strong emotional investment lead to a stronger film?

Having a bit of distance is important for me, and while I often become very good friends with my subjects after the film is done, during production I try to keep the relationship as professional as possible. I remind myself that the people in my films have trusted me with their stories, so I have a responsibility to stay in filmmaker mode and make sure I am doing my job. If I get too invested emotionally than I will stop being a director and instead try to be their friend. Sometimes your subjects need both, but most of the time I think people are relieved to have someone to talk to who isn’t close to them. It’s like being a therapist. You’re there to just listen, not judge, or interfere in their lives.

What do you think Eva Markvoort would say today about the legacy and impact that 65_RedRoses has had?

Thankfully she was able to see the beginning of the film’s impact, and she had so much faith in the project. She was all about bringing people together, and dreaming big. She’d probably say, “I told you, Mish. I told you that all the love you put into the world comes right back to you. Now get to work!”

65_RedRoses played at several film festivals – including the Vancouver International Film Festival. How important are film festivals like the Vancouver International Film Festival for filmmakers today and what insights can you share into the process of getting a film chosen by a festival?

Festivals like Vancouver International Film Festival are really important platforms for filmmakers to not only create interest in their work (distribution opportunities, audience engagement) but also to celebrate their films. Filmmakers make films to be seen, and there is nothing like sitting in a theatre with an audience for the first time. VIFF supported my second feature documentary Blood Relative and after we won the Audience Award, it got the attention of more programmers and we screened at some incredible festivals. For broadcast documentaries, festivals give you this unique chance to play in theatres. For theatrical films it’s a chance to create hype and excitement around the film. Art is subjective though, and I would say that you never know what programmers are going to go for. I think it’s useful to go to festivals and engage with programmers as much as possible. They won’t necessarily choose your film because they know you, but it’s good to get a sense of who they are and what they’re drawn to.

In your mind, what are the three most important things that every documentary needs in order to be successful? Why?

You need access, that’s paramount. And by that I mean both access to places as well as emotional access. I think there has to be a story with a beginning, middle, and end. You also need a strong visual style. This can be personal, subtle, bold, there just has to be a sense of direction and purpose in the cinematography and approach to shooting and/or conducting interviews.

What’s the biggest challenge for you as a filmmaker and what steps do you take to deal with it?

The biggest challenge is unfortunately funding, especially in the development stage. I did a Kickstarter campaign for Tempest Storm. It was the first time I did crowd-funding for a project and that support enabled us to continue making our film. I also pitched the project a lot at forums and competitions that had cash prizes.

What advice would you give to someone who wants to pursue a career as a documentary filmmaker?

My advice would be to think carefully before starting a documentary. Making films requires a lot of sacrifice and with docs you could easily end up self-financing your film for the first few months. There’s often this misconception that making a documentary film will be faster, or easier than producing a narrative feature, but that’s really not the case. You have to feel very passionately about the story, since you might be working on it for years. And when you make a film about real people, with real lives, they can be profoundly effected by the film, both in negative and positive ways. You’re taking on that responsibility, which is different than working with actors who are playing characters in fictional scenarios.

From your standpoint, what is the current state of the film industry in Canada today – especially where documentaries are concerned? How can things be improved?

There aren’t many broadcasters to approach in Canada right now who commission documentaries, especially feature docs. While festivals like DOXA and Hot Docs prove there is an audience for nonfiction films, we’re not seeing the licenses that are needed to get films made. With the rise of Netflix, which is now starting to commission documentaries, there are new avenues, especially online. I think transmedia is creating new opportunities for docs as well. These are newer, unconventional ways of funding and distributing films, and I’m still trying to understand how to tap into these resources.

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

The Artist’s Way by Julia Cameron and The Conversations: Walter Murch and The Art of Editing Film by Michael Ondaatje.

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

They can find me at ShotGlassProductions.com.

The post The Biz Interview: Filmmaker Nimisha Mukerji appeared first on Biz Books.