Earlier this week, we spoke with the filmmakers of this year’s Crazy8s films. Now it’s time to highlight a few of the actors involved. Joining us for a discussion about their on-set experiences are Danny Mac (Evan in Patrick Currie’s film, Meet Cute), Kacey Rohl (Abigail in Shannon Kohli’s film, A Family of Ghosts), Chris Wilson (Alex in Matthew Campbell’s film Grocery Store Action Movie), Alex Duncan (Vivian in Joel Ashton McCarthy’s film, I Love You So Much It’s Killing Them), Christina Sicoli (Ellie in Shauna Johannesen’s film, Trying) and Katharine Isabelle (Anna in Jesse Lupini’s film, Iteration 1).

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

Danny Mac: I’m an actor and writer originally from Edmonton. I moved to Vancouver in 2011 where I’ve been working on a variety of projects from writing for TV and video games to producing my own feature film. The first gig I ever booked here was for a Crazy8s production, a quirky film called Stewing, written by Patrick Currie. Now, four years later, I’m starring in his second Crazy8s production, Meet Cute, playing the romantically-conflicted lead, Evan. The film keeps a light, comedic tone throughout while questioning the need for labels in the LGBT community. It’s a wonderful script that attracted a really talented group of filmmakers.

Kacey Rohl: I’m a local film & TV actor. This year I’m a part of a film called A Family of Ghosts. I’ve worked with Shannon Kohli a couple of times in the past and when she asked me to be a part of her Crazy8s film, I jumped at the chance. I’m a big fan of hers.

Christina Sicoli: I’m an award winning actress, writer, character-driven comedienne and co-owner of Rare Little Bird Pictures Inc. I’m acting in Trying, a rom-com about a couple in their mid-thirties who’ve been trying to get pregnant for over a year with no luck. While they endure fertility clinics and injections, they are surrounded by friends who seem to be popping out babies like no tomorrow. Sex isn’t just sex any more – it’s scheduling their encounters while losing a sense of their fun-loving relationship. They need to come to terms with what they really want and accept the circumstances given. In turn, be open to the possibilities that lie ahead.

Chris Wilson: The film is about a man in the check-out line at a grocery store who realizes he’s forgotten an item and has to rush back to get it. The stakes are high, because he and his girlfriend are throwing a dinner party in a half hour.

Alex Duncan: I was born and raised in Vancouver, B.C. I studied theatre at Bishop’s University and Circle in the Square. I love walking my dogs in the forest and am particularly passionate about yam burritos. The Crazy8s film I am acting in is about the drastic things we do for love.

Katharine Isabelle: I’m Katharine Isabelle, born and raised BC filmy.

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

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

Danny Mac: Early on, I did my usual prep work – finding personal similarities between myself and my character, trying to bring truth to any of Evan’s experiences that were foreign to my own, etc. I was also able to get a hold of the full script before my audition, which was a great help in finding how to justify Evan’s internal struggle. He changed as I studied him, his voice eventually becoming equal parts neurotic and sweet. Leading up to production, our co-writer/director, Patrick Currie and I had dozens of conversations about the character that I found very useful, right up until we shot the last scene. It was refreshing as an actor to have the inspiration for the character so readily available for backstory or motivational clarity, while simultaneously being given the freedom to make him my own. The result is a character with a degree of depth that one might hope to meet in a feature-length film, but in an 15-minute short.

Kacey Rohl: I always try to approach anything I do from as truthful a place as I can. It’s a period film, so I spent some time thinking about how young women fit in to society at that time and what was expected of them. How if I, at that time, was part of a slightly more liberal generation, I would feel some frustrations… And I think love and heartbreak are pretty timeless themes, so those came free of too many historical trappings for me.

Christina Sicoli: Some of my closest friends in their 30s have shared their experiences with me. The successes, the heartbreaks, whether it be miscarriage, stillbirth, or the fertility route. I examined my own life, being in a place where having a baby is the next step but naively thinking I have all the time in the world (often forgetting that no matter how healthy, energetic and youthful I feel…my eggs may not feel the same). A lot of factors and thoughts come into play, so taking any fear or hesitation and accessing those emotions with other’s experiences helped me.

Chris Wilson: I wrote it (with comedy partner Peter Carlone), so there wasn’t much needed in the way of acting preparation, because I knew the tone and what the character wanted and needed. But what we did have to do was practice and choreograph all the fight scenes that are in the film. We practiced for several hours the day before shooting, coming up with a routine and moves that would look good with the stunt coordinator. Lots of fun, and work I hadn’t really done before.

Alex Duncan: I watched American Psycho (because I instantly thought of Christian Bale’s character after reading the script) and watched some interviews online. I tried to put myself in Vivian’s shoes as much as possible, thinking of times in my life where love has driven me to madness. Working on Vivian felt like an opportunity to really sink into any intense or dark thought that I have ever had surrounding love, lust or relationships and just go to the most extreme depths.

Katharine Isabelle: The film Iteration 1 is an exercise in the existential. It’s a short film exploring the futility of existence and the human experience while displaying the roller coaster of life and emotions that make this futile human existence worth it after all. I think… ?

Preparations for the film on my end were brief and limited to a quick chat and a stunt rehearsal. I like it that way. The experience this character goes through is not something you need to overthink. It just needs to happen to you.

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

Danny Mac: There were a few. Watching the extras get wrapped on the first day of production stands out. To me, it cemented how special the script was, to see 50 or so people give up their weekend for the project, especially seeing as how the Crazy8s’ process is a true labour of love beyond what conventional filmmaking already is.

That same day, our Meet Cute mentor, Amanda Tapping, showed up on set, and the energy she brought with her touched the entire cast and crew. I had worked with Amanda last summer and was delighted to hear she would be overseeing this film. She’s a born leader who offered seasoned advice, while never overshadowing a single aspect of the shoot.

My third memory, and perhaps the one I’ll remember most vividly, was when I got a back rub from Patrick for 5 minutes.

Kacey Rohl: Galloping through the rain — shout out to Jerry the most wonderful horse — while wearing a floor length cape was one for the books… Also, when my skirt dropped to the ground out of nowhere and was absolutely caught on camera! We’ll see if that sweet clip rolls out after the credits…

Christina Sicoli: Walking away and thinking “Damn! Look what accomplished in 3 days!” Being surrounded by such a talented group of people (cast and crew) made it easy to work and play. Everyone brought their A-game and watching Shauna Johannesen in her element and see her project come to life put a smile on my face. Everyone comes together to make the best possible product in a short amount of time because they believe in it and that’s what’s amazing. This is what excites me! And the “car scene.” It’s surprising how stiff one’s entire body can be from a “sex scene” in a car!

Chris Wilson: Probably watching my stunt double push a shopping cart down the aisle, jump into it, crash into a shopping cart that was blocking the aisle, and jumping over it. All on purpose.

Alex Duncan: The bathtub scene. I’ve never done anything like that before! There were so many moving parts.

Katharine Isabelle: What I found memorable was the crew – all young, fresh film students, incredibly enthusiastic. Really worked together as best they could toward a common goal we can all be proud of. Hopefully they all stay that way. Hahaha.

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

Danny Mac: The same advice I would give to any actor on any set: don’t forget that it’s an honour to be there in any capacity. And what’s especially unique to Crazy8s is that everyone is there because they want to be. Nobody’s paying rent off their Crazy8s shoot. That means that everyone around you will be passionate. Find a way to absorb some of that passion and emit as much as you can too. Be flexible, be helpful, be happy you’re exhausted.

Kacey Rohl: I’d say do your best to be of service to the director. Know that this is a fast process, but there aren’t a ton of people to move all the pieces of the machine around, so be patient. Show up ready to do your best. Bring a book. Bring a warm jacket. Be kind.

Christina Sicoli: There’s not a lot of time, so do the work, come prepared, let it go and PLAY!

Chris Wilson: Do as much personal preparation beforehand, whatever that means to you – to deliver when the cameras are rolling. There’s just not a lot of time to do lots of takes and take your time with shooting it. Which is great.

Alex Duncan: When my agent initially sent me this script, I felt like it was a stretch and questioned whether I was right for the part. My instinct was that if I was going to be believable for the part, I had to be pretty still, grounded and stark – somewhere between Wednesday Adams and Jeffrey Dahmer with a quirky twist. I made a choice that felt appropriate for me and stuck to it and it ended up being what Joel was looking for! So, my advice: make a strong choice and stick to it; don’t do what you think they want, do what feels right for you.

Katharine Isabelle: Advice to future Crazy 8s actors would be do it. It’s a great adventure. And bring sandwiches. Also don’t show up to the screening an entire week early like I did.

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

Danny Mac: Collaborate and play nice with other people. They’ll make up 100% of who you work with.

Kacey Rohl: Cultivate gratitude. Avoid comparison. Being early is being on time. Self-care is your best friend. Don’t be afraid to call yourself an artist. Ask questions if you don’t know something.

Christina Sicoli: Creating original material. It keeps me sane and allows me to have control over my career. Having many projects on the back burner so there’s always something “cooking” is valuable to me. Being an “individual,” really embracing my own unique gifts and talents. I can’t trade myself in for anyone else so focusing on my strengths and weaknesses makes me more in tune to what I need in a certain moment or time. Play. Saying “Yes” will open doors. Saying “No” will often save your sanity. Focus on the work, and do it because you’re passionate about it. Buy some shoes along the way, for your “character’s” sake, of course!

Chris Wilson: As a writer, the final part of the writing process is in the editing room. So be there for it.  You’re rewriting constantly, and making endless tweaks.

Alex Duncan: Work hard and stay humble.

Katharine Isabelle: Always make friends with the teamsters. And stealing socks and underwear from set is perfectly acceptable.

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

Danny Mac: I enjoyed How to Stop Acting by Harold Guskin, but I really found The Audition Bible: Secrets Every Actor Needs To Know by Holly Powell to be the most informative thing I’ve read. It’s just packed with invaluable tips for being more comfortable with your choices in the room (especially if you live in your own head too much like me).

Kacey Rohl: The Year of Magical Thinking by Joan Didion, The Waves, and I’ve been meaning to get back to The Artist’s Way by Julia Cameron.

Christina Sicoli: An Improvised Life by Alan Arkin, biographies of actors, musicians, designers, Where Did I Go Right? by Bernie Brillstein, The Power of the Actor by Ivana Chubbuck, Respect for the Actor / A Challenge for the Actor by Uta Hagan, Bunny Bunny by Gilda Radner, plays (from Shakespeare to Neil Simon), Impro for Storytellers by Keith Johnstone … just to name a few.

Chris Wilson: Save the Cat by Blake Snyder is a great book on scriptwriting. I’m sure everyone says that. I also love Steve Martin’s biography, Born Standing Up. It’s very inspirational and I think about it and quote it in my comedy career often.

Alex Duncan: Franny and Zooey by J.D. Salinger and Letters to a Young Poet by Rainer Maria Rilke.

Katharine Isabelle: Books that have been important to me are the thick old Russian novels that I haul around to every set to beat AD’s with. And they’re also good stories. Love me some Dostoevsky. I’d like to play Raskolnikov one day.

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

Danny Mac: I’m currently writing two video games with my long-time writing partner, Cooper Bibaud, as well as polishing off two feature scripts I’ve recently finished. But what you should really watch out for is my feature comedy, HEEL KICK!, which will premiere some time this year. I wrote, produced, directed and star as a backyard wrestler who tries to go pro. It’ll be the most fun you have watching a movie where people get hit in the head with folding chairs this year. Follow me everywhere at @mactwelve for HEEL KICK! updates and photographs of things I eat.

Kacey Rohl: I’m about to pop over to Wayward Pines as new regular for this coming season. Don’t know what’s in store yet, but I’m very excited. You can find out more about me by following me on Twitter @kaceykadoodles!

Christina Sicoli: I’m currently in the last few stages of developing “small cop,” a comedy feature film that I wrote. Aside from a few other projects I’m creating, you can find me in a few digital series and a film release in spring 2016. In the meantime check out ChristinaSicoli.ca.

Chris Wilson: Peter N Chris, my three-time Canadian Comedy Award-winning sketch duo with Peter Carlone, are always performing live. We will be performing a Christmas Show we are working on this summer (I know), and filming a documentary style webseries in March. We will be in Toronto for the Fringe in the summer as well as at the Winnipeg Fringe in July.

Alex Duncan: I have a reoccurring role on a new show called DC’s Legends of Tomorrow, playing the wife of Rip Hunter. I have popped up a little but am awaiting episode 7, which features me quite a bit – eeeek! You can find me on IMDB.com.

I am in the process of self-publishing a children’s book, called An Army of Hearts, which will be coming out this spring.  It has been a huge focus for me over the past two year and I am so excited to share it with the world. Other than that, I am auditioning for new things all the time, so anything is possible! Vancouver is so busy right now, which is amazing.

Katharine Isabelle: Currently awaiting the release of How To Plan An Orgy In A Small Town and The Girl In The Photographs, and shooting Origami in Ireland soon. Working on staying working. And training my dog not to bite me whenever he sees The Dog from the 16th Floor.

You can learn more about me by following me on Twitter @katie_isabelle. Putting me in your movie or TV show. Or going through my garbage.

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Thanks to the actors for speaking with us!

You can see all of these actors at the Crazy8s 2016 Gala on Saturday, February 27^th. For ticket information please visit Crazy8s.film!

The post The Biz Interview: Crazy8s 2016 Actors appeared first on Biz Books.

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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Recommended Reading

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Waiting for Godot
Samuel Beckett

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The Odd Couple
Neil Simon

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Hamlet (Illustrated)
William Shakespeare

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Esther Cohen appeared first on Biz Books.

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!

________________

Recommended Reading

[bscolumns class=”one_third”]

A Whole New Mind
Daniel Pink

[/bscolumns]

[bscolumns class=”one_third”]

The Artist’s Way
Julia Cameron

 [/bscolumns]

[bscolumns class=”one_third_last”]

The War of Art
Steven Pressfield

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Rebecca Coleman appeared first on Biz Books.

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

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

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

Why is personal branding important for actors?

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

How would you describe the process of branding for actors?

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

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

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

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

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

What is a typical day like for you?

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

What brings you joy, Pamela Wise?

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

What books have been influential in your creative journey?

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

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

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

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

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.

What was were the elements that drew you to be part of this production?

Darren Boquist: Well, having been involved in the first incarnation of Armed and having a hilariously wonderful time I knew for sure I wanted to play this role again in the extended version.

Ky Scott: Dude loses balls. Dude gets a cannon arm. Need I say more? Seriously though, I was drawn to the script immediately. It’s hilarious! It’s so rare to read a new play off of your laptop that makes you laugh out loud interspersed with “What the f***?!”‘s (even alone in your apartment). It’s original, and quirky, and ballsy. Pun intended. Add that to the fact that it would give me the opportunity to play multiple, cartoon-like characters that stretched me and had no limits on how crazy or playful it could be. It’s exciting to be a part of a production like this. Vancouver can get a little play stuffy sometimes, and this is refreshing!

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Can you share some of your creative process in preparing for the role from the initial planning of the production all the way through to opening night?

Darren Boquist: Originally, I thought that most of my work was already done having played Joe before but now that I am the only remaining original cast member and we have a new director and a new extended script full of new zany characters that Joe encounters I’m realizing that I need to treat this as a totally new play which is admittingly quite invigorating. And only a couple rehearsals in and I’m already laughing so hard sometimes I have to fall to the ground. If the audience experiences 10% of the laughs that I experience in rehearsal then they will have gotten their money’s worth of entertainment.

Ky Scott: The creative process is still very much that-in process. I don’t see the process of developing so many wacky characters stopping on opening night either-it’s one of those things. For myself, especially in a wild piece like this, I find I discover and develop the most by spending time with the character I’m creating. Sometimes it’s in rehearsal with focus and exercises, and sometimes it’s just in my head as I’m walking down the street to the grocery store, and sometimes it’s seeing qualities in friends and strangers that fit.

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

Darren Boquist: I am a big fan of The Artist’s Way by Julia Cameron. It’s a great tool for releasing your creativity and inner child regardless of what your background is or what your artistic endeavours are.

Ky Scott: Do the writers of the script count? Because they have heavily influenced my creative journey on this play! I’ll be honest- once I start working on a play, I stop reading for fun. I feel too guilty about the fact that I should be memorizing lines instead.

What were the biggest challenges for you as an actor in preparing for this production and how did you deal with them?

Darren Boquist: Well, this play is a bit of a marathon for all the actors. The other 2 actors play I believe 5 crazy characters each and I’m stuck on stage essentially the entire play having to deal with them! Not to mention fighting off wolves, birthing sheep, and enduring military training on stage.

Ky Scott: Jumping in headfirst was a little intimidating. This is the first theatre production I’ve been apart of since graduating from Studio in December, and that alone can be a bit scary. Managing a schedule for jobs that help you pay bills and the job that you love doing is always a challenge. And within the play, it’s the biggest challenges of differentiating characters, creating new colours and nuances with each specific moment, and feeling like there’s never enough time to dig deep enough that also make it fun and exciting. That’s live theatre!

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

Darren Boquist: My company Idea Factory Entertainment is currently in creation of an onsite theatre piece for the Vancouver Fringe Festival. It is entitled How to Love and will provide a completely new experience for the audience. Each audience member will have a headset and as they hear the story evolve they will become a part of the story. I’m really excited to see this project come to fruition.

Ky Scott: I may have been the only person in the history of Studio 58 that graduated without performing my solo show. So I have every intention of finding the right time and place (is there ever?) to birth that baby. It’s done! I swear! I just need to do it!

Armed plays July 18th – July 21st at Pacific Theatre at 8pm with a pay-what-you-can preview on July 17th.

For more information, please visit xuaxuaproductions.com.

The post The Biz Interview: Darren Boquist and Ky Scott of “Armed” appeared first on Biz Books.