television Archives - Biz Books

The Biz Interview: Rebecca Lee

Biz Books — Sat, 24 Oct 2015 01:31:34 +0000

Rebecca Lee is an Emmy Award-winning makeup artist who is based in Vancouver. In the television industry, she’s familiar as the head of the makeup department on the popular CTV series, Motive. In film, she has also worked on films like Watchmen, Life of Pi, and X-Men: The Last Stand. For aspiring makeup artists, she’s equally familiar as an instructor of the craft at New Image College.

We spoke with Rebecca Lee to get her insights into what makeup can add to creative projects and what her advice is for the makeup artists of the future in film and television.

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Can you start by telling us a little bit about you and what you’re up to these days?
I’m the head of the makeup department for the CTV television show Motive. We are in our fourth season and I have been with the show since the beginning.

What inspired you to pursue a career in makeup?
I started as an apprentice in the theatre department of UBC. There I learnt that makeup could be a viable career. The creative aspect and the collaborative nature of the theatre process inspired me to pursue makeup as a job.

How does the makeup process stay the same or change between film, television, or commercial projects?
The size of the medium may change but the process of breaking down the script, designing characters and executing flawless looks remains the same.

In the context of an entertainment project (Film, TV, Commercial, etc.), what does effective makeup add to a character?
Makeup can add so much to a character and adds a dimension acting can’t do on its own. From full prosthetics to just a simple corrective makeup adds an extra element to the performance and helps to tell the story or the journey of the character. Makeup also helps to prepare an actor for their role and feel at they “look” the part.

What are the main advantages of using a professional makeup artist for a film, television or commercial project?
Film and TV makeup is not the same as everyday makeup. Many things must be taken into consideration such as cameras lighting and the story being told. A professional with training from a school such as New Image College has the experience to bring all these elements together, maintain continuity and keep the actors comfortable.

What’s a typical day like for you?
When shooting, my mornings usually start around 6:00am. We process the cast and get them ready for the day ahead based on the call sheet. That might include beauty makeup, corrective make up and a lot of special FX. Most episodes of Motive have a dead body so that keeps us pretty busy too. Then my team and I maintain that make up and keep it touched up and looking fresh all day. At the end of the shooting day we clean everyone up and help them look after their skin so it looks beautiful for the next day.

What have been some of your career highlights so far?
Winning an Emmy in 2007 for makeup in a miniseries was definitely a highlight and a very happy time. I’m also blessed to work with a wonderful teams of artists and I’m thankful for that everyday.

What would be your advice to someone who wants to pursue a career in makeup?
Education, education, education. A school like New Image College will provide a new makeup artist with the tools and the skills to succeed on set. The great thing about New Image is they also provide work experience. This is essential for the student to determine whether a film career is something they would enjoy and also provides the first steps to getting into professional unions.

What books have been influential to you throughout your journey in makeup?
Stage Makeup by Richard Corson is the first book I read and one I return to often. It’s excellent for learning the basic concepts of makeup and has great pictures and is updated often.

Where can people go to find out more about you and your latest projects?
My website is RebeccaLee.ca

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Our thanks to Rebecca Lee for speaking with us!

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Where There’s Smoke… An Encounter with William B. Davis

Biz Books — Fri, 23 Oct 2015 22:30:22 +0000

BizBooks.net and SchoolCreative Present

Where There’s Smoke… An Encounter with William B. Davis!

Book Signing, Interview and Q&A!

One of the most iconic villains in the history of television, the enigmatic Cigarette Smoking Man fascinated legions of fans of the 1990s’ hit TV series, The X-Files. Best known as “Cancerman,” he was voted Television’s Favourite Villain by the readers of TV Guide. The man behind the villain, William B. Davis, is a Canadian actor and director, whose revelations in this memoir will entertain and intrigue the millions of X-Files aficionados worldwide.

But there is more to Davis’ story than just The X-Files.

William B. Davis’ extensive acting experience began when he was a child in Ontario in the 1950s, and grew to encompass radio, theatre, film, and television. At the University of Toronto, where he graduated with a degree in philosophy, he turned his hand to directing, a move that took him to theatre school in Britain and a directing career. There, he reconnected with his undergraduate colleague, Donald Sutherland, and worked at the National Theatre, with such notables as Sir Laurence Olivier, Dame Maggie Smith, and Albert Finney.

Join us as William B. Davis discusses his career, reads from excerpts from his book, and answers audience questions. There may even be a few insights about the highly anticipated return of The X-Files!!

Here’s William B. Davis on Breakfast Television Vancouver talking about The X-Files and our event!

When: Sunday, November 15th at 7PM.

Where: SchoolCreative – Institute of the Arts (210 – 112 East 3rd Ave, Vancouver BC, V5T 1C8)

This is a free event.

The post Where There’s Smoke… An Encounter with William B. Davis appeared first on Biz Books.

The Biz Interview: Angie Burns

Biz Books — Fri, 25 Sep 2015 10:00:45 +0000

With a strong entertainment career that has led her to become the Vice President of Public Relations and Promotions at Strut Entertainment, Angie Burns has seen it all in when it comes to entertainment publicity.

Film festivals, press junkets, and media pitches are all in a day’s work for Angie Burns, so we wanted to take a closer look at why publicity matters for actors and filmmakers today.

Angie Burns took a break from her continuously busy schedule to give us the goods on the finer points of how the entertainment publicity machine works and what the life of a publicist is really like.

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Why don’t you start by telling us more about you and what projects you are involved with right now?

At the moment, I am in full-on TIFF (Toronto International Film Festival) mode! It’s that time of year we entertainment publicists dread, and yet thrive on. This is my first TIFF working with Strut Entertainment, an amazing boutique PR agency in Toronto. Strut specializes in music, brand and lifestyle PR, and I have joined the team to build the film and TV division.

What inspired you to get involved in public relations and promotions for entertainment?

I fell into it quite by chance. After working and going to university full time (studying art history and women’s studies), I decided after graduation to take a breather before moving on to post-graduate work. I applied for a receptionist position at an office that advertised in the classified section of the paper (Google it, kids) but didn’t name itself. I arrived for the interview and the company was the newly formed Lions Gate Films. I never went back to school. It took me a few years to begin working film publicity, which I am eternally grateful for, as the different positions at Lions Gate taught me so much and gave me a multi-faceted understanding of film distribution in Canada.

I love film and my skill set made me a fit for the publicity and promotions department. I never would have considered a career in PR if I hadn’t (luckily, thankfully, happily) stumbled upon it.

What is a typical day like for you?

It’s rare that one day is the same as the one before it – and I love that about entertainment PR. Mornings can be spent escorting talent to morning shows for interviews or screening new films for press. Sometimes, especially on Fridays, they are spent sending out film breaks and reviews to the client.

I’m a big believer in taking a break away from your desk mid-day, so I try to schedule meetings over lunch. These can be with clients, members of the press, or promotional partners. If I don’t have a meeting, I take a walk to stretch the ol’ pins!

Afternoons can be spent pitching interviews, editing reports, building itineraries, crafting proposals, or meeting Tom Hardy for a cocktail. That last part isn’t true, but let’s just leave that in there.

Evenings often involve attending industry events or, more commonly, advance film screenings. Luckily I love what I do, because long days come with the job.

How can promotion and publicity be valuable for actors and filmmakers?

It’s absolutely vital to the success of filmmakers and actors, whether they engage a publicist to handle it – I highly recommend this option – or pursue it on their own, getting word out is essential. Established publicists have spent years getting to know the media – what specific writers’ interests are, who best to connect with regarding a specific project. It can save the client a world of frustration and time by having a publicist represent them and their work. We know what events are on the horizon, who the players are, and how best to navigate opportunities and challenges.

What are the most important factors for actors and filmmakers to consider when they are looking to hire a publicist?

In a word – chemistry. You can have the most skilled publicist in the world, but if they don’t connect with you or your project, those skills mean nothing. I recommend taking the time to research potential publicists; see what they’ve worked on previously, talk to others in the industry if you can. Good word of mouth is critical to a publicist’s success. Have a preliminary conversation to get to know each other … and follow your gut.

How has the landscape of entertainment publicity changed since you first started in the industry?

Night and day! When I started, we were mailing out physical black and white photos and BetaCam tapes to newspapers; now we are emailing links and jpegs to bloggers and social media influencers.

Many boutique and indie distributors have been swallowed up by the larger ones, and the shift from print to digital have greatly impacted our day to day.

Oh – and smart phones! The thought of not being able to text or email someone during an interview on a press day actually gives me hives. We used to have to excuse ourselves and (GASP!) use the phone. I know it sounds like I’m a dinosaur, but seriously, this wasn’t all that long ago.

What is the biggest misconception about entertainment publicity?

Probably that publicists spend our nights rubbing elbows with celebrities, attending all the cool parties and generally leading glamorous lives. Again, I love my job – and I’m not denying that there are perks – but entertainment publicists are some of the hardest working, most organized people I know. You have to check your ego at the door and be prepared to have your successes sometimes ignored, because our jobs are to make our clients shine without showing the hard work that goes into it.

What have been a few of your biggest career highlights so far?

Oh wow – so many! Working with Jon Stewart last year at TIFF on his film Rosewater was definitely a major highlight. He is one of my favourite celebs I’ve ever worked with – and what he does is so brilliant. It was an incredible honour.

Other highlights have been taking films to the Fantasia Film Festival in Montreal. Watching the filmmakers and cast literally weep when they receive the Fantasia ovation is just amazing – it can be a bit overwhelming. You can’t leave that festival without falling in love with it.

Finally, working on films with a message are definitely at the top of the list. Whether it’s the Planet in Focus or Regent Park Film Festivals, or the award winning docs The Cove and Deliver Us From Evil, getting the message out is an incredibly rewarding experience.

What books have been influential to you in your career?

Tina Fey and Amy Poehler are my heroes – their books are not only hilarious, they are inspiring. I will pretty much read any autobiography penned by a comedian, but these two are tops!

I also loved Down and Dirty Pictures by Peter Biskind, Weird Sex & Snowshoes by the amazing Katherine Monk, and Raising Hell: Ken Russell and the Unmaking of The Devils by Richard Crouse is a must-read for fans of genre cinema.

Where can we find out more about you?

My Twitter handle is @Angabama_Burns and I’m on LinkedIn! You can also check out Strut Entertainment’s Twitter, Instagram and website (strutentertainment.com).

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Our thanks to Angie Burns for speaking with us!

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The Biz Interview: Shauna Johannesen

Biz Books — Fri, 18 Sep 2015 13:14:33 +0000

Equally talented in the art of acting and writing across film, television, and theatre, Shauna Johannesen offers the best of both worlds to her creative projects, which have included credits like Motive, Cult, and Bedbugs, a short film that made waves at the 2014 Vancouver International Film Festival. With this year’s festival only a few days away, Shauna Johannesen offered us some insights into balancing writing and acting, the film festival circuit, and her career highlights thus far.

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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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The Biz Interview: Tyler Labine

Biz Books — Sat, 29 Aug 2015 01:20:18 +0000

With more than 80 acting credits over the a career spanning nearly 25 years and counting, Tyler Labine is easily recognizable for roles on series like Reaper and Deadbeat or films such as Rise of the Planet of the Apes and Tucker and Dale vs. Evil (for which he won a Leo Award).

For his latest film release, Tyler Labine has returned to his Canadian roots to co-star with Chace Crawford in Mountain Men, opening in Vancouver at the Vancity Theatre on August 28th.

We spoke with Tyler Labine to get his thoughts on Mountain Men, collaborations with family, the differences between acting in Vancouver vs. Los Angeles, and how online streaming platforms can have a positive impact on film and television development.

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Your newest release, Mountain Men is opening in Vancouver on August 28th. Can you tell us a little bit about the film and what the process was like for you as an actor from the early stages of the film all the way to theatrical release?

The film is essentially a two-hander about semi-estranged brothers who get stranded on a mountain and run into some serious life or death stakes trying to get down. I was always really invested and involved in this project because it is about brothers and the essence of being a brother and it also happens to be written and directed by… my brother. So to help him bring this vision to life was my pleasure as well as my brotherly duty. Gotta rep up.

Your brother is Cameron Labine. You’ve also worked with him in the past on projects like Control Alt Delete. What is the experience like working with your brother on films and what are the advantages of that dynamic?

Cam and I have a certain understanding and a real, effective short hand. So short that sometimes it’s almost non-existent. He can communicate a lot to me through a look and well-placed “hmmmm”.

Same goes for me. Although I am definitely the mouthpiece of the two of us. I’ve never been accused of not having enough to say. I think the depth of our understanding is so deep that we don’t actually understand it. Understood?

You’ve enjoyed a lot of success in film and television. How does your preparation for a role change between television and film roles?

TV is always a much more lengthy process and you and the writers have some time and a bit of a cushion to “learn” your character. Learn the arcs. Learn the story.

I feel like in film, much more prep is needed. You only have a finite amount of resources, time being the most precious of them, to tell this exact story and be this exact character. To go on this specific journey and to do it well. That just takes a bit of a mental shift going between the two. But it really is required in different ways for each.

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

That everybody’s time is equally valuable. I’m not just talking about actors being late, or directors behind schedule. I’m talking about basic respect for others’ time. Whether that means that those people get to do their jobs to their fullest potential or if it means that everybody gets to go home and see their families for dinner that night. Respect everybody’s time and effort. It takes a village.

You’ve worked a great deal in Vancouver and Los Angeles. What are the advantages of each city in terms of what they offer for film and television productions?

I have a real soft spot for Vancouver. I love this city. I think the landscape itself is pretty unbeatable. It’s very versatile. The crews and the talent in this town are amazing. The talent period, is amazing here. But there was a ceiling here for how far I could go as an actor. I hope I’m not speaking out of line but personally, I needed to go south to pursue the jobs that I wanted. That sucks. But it’s what a lot of us have to do.

Los Angeles is a great town to shoot in. It’s a well-oiled machine. Let’s just put it that way. No shortage of grease in that town. Plus California is a beautiful state. Gorgeous. No tax credits to help snag productions. A bit cocky in my opinion.

What would be your advice to actors who are thinking about making the move from Vancouver to Los Angeles?

Nothing is written in stone. It’s an easy commute, and you can always leave. I think honestly, if you are an actor here and you don’t ever give yourself the shot at going there and really grabbing the brass ring, you may miss your shot.

Again, no disrespect to people who choose to stay here. I’m saying if you feel it in your guts that LA is the place you wanna be or at least go try on, go! You’ll never regret trying, you’ll always regret not trying.

You’ve enjoyed a lot of comedic roles in your career. What do you think are the three most important elements for making a successful comedy scene?

Rhythm. Rhythm. Rhythm.

If you can’t feel the flow of a scene… If you can’t literally feel the flow of comedy, then the rhythm is off. We’ve all felt it when the rhythm is right. It’s lightning in a bottle. But you can learn to harness that lightning by finding your rhythm. Listen to your fellow actors, listen to their rhythm, their cadence, find their groove. Pretty soon it’s all you’ll hear. It’s like the comedy matrix.

Your series, Deadbeat was created for Hulu. From your standpoint, how can online streaming services like that benefit the entertainment industry?

In so many ways. It opens a flood gate of material that would not have necessarily seen the light of day otherwise. I think more unique and offbeat voices will get heard and find their homes on these platforms. It is also just the way of the future. It is the way we as people want to view things. Anytime. Anywhere. Anyhow. Where there is a void, someone will fill it. Does that mean that inevitably, more horses**t will also be produced? Yes. But there will be so much more to choose from.

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

Stephen King. I mean, pretty much name a book of his and I’m a fan.

Haruki Murakami’s Hard boiled Wonderland and the End of the World. My favourite book of all time. I have read it at least 6 times.

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

IMDB as always, is a great tool. I’m also very active on Twitter @TyLabine and I have a podcast on WolfPop called Picking Favorites with Zach Levi and myself. You can find that on TheNerdMachine.com and iTunes and EarWolf.

Please keep your eyes peeled. I have lots coming up.

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Our thanks to Tyler Labine for speaking with us!

To see Mountain Men at the Vancity Theatre in Vancouver, please visit VIFF.org for showtimes.

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The Biz Interview: Esther Cohen

Biz Books — Tue, 25 Aug 2015 13:00:07 +0000

Multi-faceted Vancouver talent agent Esther Cohen has lived and breathed entertainment for most of her adult life, first in music – highlighted by performing as an interpretive dancer alongside Christopher Guest, Harry Shearer, and Michael McKean on the Spinal Tap & A Mighty Wind: Unwigged & Unplugged Tour – and now as a talent agent for film and television.

A graduate in acting and producing from Langara’s Film Arts program, Esther Cohen works with some of Vancouver’s brightest stars as part of the Carrier Talent family.

We spoke to Esther Cohen about her journey into the talent agency realm and some of the dynamics that go into the actor and talent agent relationship.

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

I’m Vancouver born, and I grew up in a very artistic family. I’m trained in music, theatre, dance, the whole lot. These days, I’m spending my time riding my bike on the sea wall; in ballet classes; playing guitar and singing in Rock & Roll bands; competing in karaoke competitions; watching live music; painting abstracts on canvas; learning how to cook; doing photography; picking and eating berries; and watching a lot of sunsets. Aside from all that, I am a Talent Agent at Carrier Talent Management. Do I have to talk about work?! Work consumes 90% of my life, though as you can see, I make time for plenty of other interests.

What is a typical day like for you as an agent?

I arrive at the office, tea in hand. I open the blinds to sunshine pouring in through my windows and spilling all over my desk. Sounds nice, doesn’t it? Just wait.

Then I turn on my computer, where I am promptly bombarded with a hundred or so emails from clients, casting directors, breakdown notifications, actor submissions, etc. I spend the day responding to said emails, and the hundreds more that come in throughout the day. I answer phone calls, from all of the above mentioned. I submit my clients on breakdowns, and make my pushes to get them auditions. I phone & email out said auditions.

Then my associate and I have a pow-wow, where we discuss whatever the heck we want… work, or non-work related. Let’s call these ‘therapy sessions’. And I drink some more tea. I update my client resumes & sort through their new headshots. And I take meetings with new potential clients. But my day doesn’t end there.

After work, I’m usually out scouting talent at showcases, or at theatre shows. Or I’m out meeting industry folks (Directors, Producers, Actors and such) at events like Tuesday Night Live, Celluloid Social Club, Cold Reading Series, Raindance Vancouver, and going to Canadian film premieres hosted by the First Weekend Club. It’s all non-stop really. But I love it. It’s fun.

For actors who are seeking representation, what are the three most important things that they should look for in an agent?

Someone who they can trust enough to communicate openly and honestly with.

Someone who can share their vision & be on the same page with in regards to their career.

Someone who is excited about working with them… enough that they take the time to go out and see all their shows!! (I go to see all my clients whenever they’re performing anywhere!).

What do you look for in a potential client?

I look for all sorts of things.

I look at every submission that comes in. I’ll look at their resume to see what sort of credits and training they have. For me, someone who is continuously training in acting classes is my favorite. Because I know they are working hard, investing in themselves, and they’re constantly learning and improving their craft.

Other things I take in to consideration is what type of ‘look’ they have, and can I ‘sell’ them? And do they conflict with any of my current clients on my roster?

I’ll also take on people that have special skills. I’ve got a magician. As well as several musicians, who I’ve managed to get some really exciting roles on some major productions. This year I’ve gotten a couple musicians working with George Clooney, Leonardo DiCaprio and Cameron Crowe.

What’s the most rewarding thing about being an agent?

Helping actors achieve their dreams. When I was training as an actor, I remember thinking “If only someone would just give me a chance, I know I could do it!” It can be tough for some people to find an agent who believes in them. But I might see something special in someone that nobody else sees, or that nobody else is willing to take a chance on. And now I am that person who is giving these people those chances. It feels good. I get just as excited as they do when they book a movie or TV show. It’s team work. It’s a win for both of us.

What’s the biggest misconception about being an agent?

That we’re all old stuffed shirts. Well, maybe some of them actually are – I don’t know! But it’s funny, when people ask me what I do, and I tell them I’m a Talent Agent, I always get the funniest reactions.

People are like “Really?! But you look so young, and you seem so cool! I always thought agents were like stuffy office people!”

Whenever I meet with new potential clients they always tell me I’m so down-to-earth and easy to talk to. And I am! I’m just a regular person like everybody else. I like going out and doing fun things. Just because I’m an agent, doesn’t mean I’m not allowed to have fun too!! But I work my ass off at everything I do. Including work.

What made you decide to get involved with the agency side of the entertainment industry?

Oh man, I get asked this question all the time.

Long story short, I was working part time in an agent’s office as an assistant, because I figured, as an actor (I had just graduated from theatre & film school), it’d be beneficial to learn what goes on behind the scenes with agents & casting directors etc.

So I did that for a year, at which point the company I was working for at that time (a different one than the one I’m with now), asked me if I’d be interested in working full time as an agent with my own roster. By then, I had seen enough behind the scenes to know how tough it can really be to make a living as an actor. And I’m not talking about having to work hard –I’m ok with working hard. I’m just talking about the nature of the industry. It can be done, but the industry is different now than it was 20 years ago. I was seeing people who had been at it for 15 years still struggling to make a steady living at it.

So at that point I decided to take the other route and become an agent. I have no regrets. I love my job. Ask me for the long version of the story when you see me in person. It’s much more interesting! Hahaha.

In your opinion, what is the current state of the Canadian Film & Television Industry? And where do you see it going in the future?

Well, we’ve got some pretty big productions in town right now. A lot of Hollywood A-listers are bringing their projects here. It’s pretty wild. That said, I wish we didn’t lose so many roles to U.S. actors. There’s plenty of great talent in this city.

As for the future, I hope I only see it grow. I feel like everything in this biz is somewhat unpredictable. It’s like gambling, really. But that’s what makes it exciting, I think. It’s always changing. But yes, I hope our industry here in Canada continues to grow. We have such a hard-working, passionate community of people in this industry. We have a lot to offer.

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

The War of Art by Steven Pressfield. It’s about resistance, and breaking through those blocks that a lot of artists and creative people face.

The Artist’s Way by Julia Cameron is another good one. It’s more of a workbook.

And then, all the plays I’ve read… there have been hundreds! Shakespeare, Neil Simon, Samuel Beckett. I love reading plays and scripts.

I’ve also done a lot of reading from Deepak Chopra & Eckhart Tolle, which helps with finding balance, calm, and peace, (amongst so many other things) which is so important, especially amongst the craziness that this industry can bring.

Where can people find out more about you?

Carrier Talent. Twitter. IMDB. Facebook. Instagram. MySpace.

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Our thanks to Esther Cohen for speaking with us!

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The Biz Interview: Rebecca Coleman

Biz Books — Tue, 18 Aug 2015 13:00:40 +0000

In Canadian artistic circles, Rebecca Coleman is well-known and respected for her achievements and expertise in the areas of social media and publicity.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Some books that really inspired and focused me include:

True and False by David Mamet

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

A Whole New Mind by Daniel Pink

The Artist’s Way by Julia Cameron

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

Getting Started With Social Media for Artists and Arts Organizations

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

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

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

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

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

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

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

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

Through my website: RebeccaColeman.ca

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

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Our thanks to Rebecca Coleman for speaking with us!

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The Biz Interview: Jay Brazeau

Biz Books — Fri, 29 May 2015 17:33:00 +0000

In film, television, and theatre industry circles, Jay Brazeau is well-known for his strong performances and frequent workload.

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.

The Biz Interview: Pamela Wise of Premiere Talent Management

Biz Books — Thu, 21 May 2015 22:11:40 +0000

Pamela Wise is one of Vancouver’s busiest talent agents. With 18 years of experience in BC’s film and television industry, Pamela has helped countless actors build their careers and as a branding coach, given them the tools to discover their true presence.

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

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

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

Why is personal branding important for actors?

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

How would you describe the process of branding for actors?

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

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

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

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

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

What is a typical day like for you?

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

What brings you joy, Pamela Wise?

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

What books have been influential in your creative journey?

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

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

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

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

BizPop.2 Holiday Edition

Biz Books — Tue, 02 Dec 2014 19:12:08 +0000

We had so much fun the first time that we’re doing it again!

BizPop.2 Holiday Edition arrives just in time for Christmas.

Books for actors, writers, filmmakers and more!

Get your shopping done early and easily… and save shipping costs!

When: Saturday, December 13th & Sunday December 14th – Noon to 5PM.

Where: Go Studios – 210-112 East 3rd Avenue (between Quebec & Main).

See you there!

The post BizPop.2 Holiday Edition appeared first on Biz Books.

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