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Can you start by telling us a little bit about you and The Merry Widow?

I am a Vancouver-based TV, film & theatre actress and filmmaker, as well as a soprano, dancer, and pianist. I have a voracious appetite for learning new things, and the thing that thrills me most is getting a full new script and juicy role to sink my teeth into. Most recently, I have discovered how much I love to sing, dance, and act at the same time! So after doing straight plays for years, I’m debuting with my first operetta, in the title role in The Merry Widow. It runs May 19th-29th at Presentation House in North Vancouver. Here is a 1 minute audio clip that I sing in the show with ensemble and orchestra:

The Merry Widow is a comedic operetta, with gorgeous music by Franz Lehar, and internationally loved since it premiered in 1905.  North Shore Light Opera Society (NSLOS), which has produced 68 years of musical comedy on the North Shore, placed the show in their season after Stage Director, Edette Gagné, and Music Director, Stephen Pickett, were inspired by a 2015 production starring Renée Fleming at The Metropolitan Opera.

How did you become involved in this production?

Last year, I started studying opera with my incredible voice teacher, Marisa Gaetanne. I sought her out because one of my theatre roles (Angelique in Moliere’s The Imaginary Invalid) demanded that I sing a couple of numbers. One day, on the fly, she mentioned that North Shore Light Opera was doing a production of The Merry Widow and were still looking for a Widow. I watched a YouTube production of the show and was enchanted! I auditioned without expectations and was thrilled to be offered the role of the Widow. I have been in sheer heaven ever since.

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What should audiences expect to see on stage?

Audiences can expect a great energetic show with a huge cast of twenty-six and a live orchestra – all with immense talent!  There’s some stellar singing in this show!  There’s a moving romance set amidst the clashing of cultures, political intrigue, marital affairs, gender wars and money issues.  We’re using Jeremy Sams’ very witty and snappy English translation, and our fabulous Stage Director, Edette Gagné, has created detailed, motivated and entertaining staging.  Oh and original choreography!  My co-lead, Carlos Vela-Martinez, and I have been training in Viennese Ballroom Dance with choreographer, Dominic Boyer, for the last couple of months.  And with my background in Ukrainian dance, I choreographed the folk dance numbers.  Lots of variety and family friendly, with a few subtleties for the adults!  It’s a lovely show and I am super proud of it.  Tickets can be found at nslos.com.

What was your creative process like for getting into character?

As a second generation Ukrainian prairie girl, I can relate to the character of Hanna!  She is an Eastern European farm girl who suddenly becomes one of the richest women after her 70 year old ultra rich husband dies on their honeymoon.  OK, maybe not the last bit!  But Hanna is definitely a fish out of water in a new environment, as she tries to navigate the unfamiliar high society world around her.

As Hanna spends nearly 80% of her time onstage with her romantic interest, Danilo, it has been fun mining every moment with my equally passionate colleague, Carlos.  We have put a lot of thought and effort into getting deeper with motivations, psychology, tactics, objectives, and subtext to bring Hanna and Danilo and all of their exchanges to life.  It has been a thrilling ride!

What was the biggest challenge for you with this role and how did you deal with it?

When I was first offered the role of the Widow, I went through a period of self-doubt about whether I could pull it off.  This was my first operetta role, and the role of Hanna is huge!  Could I get through a two week run of singing eight vocally demanding numbers?  Also, five months ago, I was a mezzo-soprano, squeezing out Gs and As.  Hanna is a soprano role with many As, Bs and even a couple of high Cs.

So what to do?!  I accepted the role! Then I plunged into a daily practice of body and vocal exploration and working on my role.  I ramped up my kundilini yoga and studies with my opera instructor, Marisa.  I was vigilant about getting to bed at the same time each night, and eating healthy food.  I felt as though I were training for a marathon!  And I still do, as it’s not over yet, thankfully!

Bit by bit, my range opened up.  My voice shifted into soprano territory and is literally growing by the day – I have recordings of my lessons over the months to prove it!  And now, with the show opening a week away, I am confident in my role and cannot wait to share it.  This brings to mind a quote by Lemony Snicket: “If we wait until we’re ready, we’ll be waiting for the rest of our lives.”

I was extremely lucky to have this opportunity, and that Edette and Stephen believed in me the whole way.  I could not have done it without my amazing family – my husband and two preschool daughters were champions with their busy mama.  And it was also great to have an extremely supportive and awesome agent, Esther Cohen, at Carrier Talent.

What’s the most rewarding element for you about performing?

The most rewarding element of performing is feeling the energetic magical exchange between performer and live audience – when I am so fully present in my role and can feel the audience right there with me alongside my character’s journey.

What’s the most important advice that’s ever been given to you about your career?

A few years back, one of my acting teachers said to our class -“Everyone has access to their own unique personal charm, and there is nothing holding one back from finding it except oneself.” It took me years to figure out exactly what that meant!  But last year, inspired by the book A New Earth by Eckhart Tolle and after increasing my own self worth and self esteem, I was finally able to give myself permission to be myself without apologizing to myself.  My attitude towards people and the world changed for the positive.  My career took off and I was booking professional TV jobs one after another. I made a decision to let out my voice, literally, with singing.  And here I am today singing this incredible role!

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

So many books have been influential on my artistic career and life!

My most favorite are:

Gandhi An Autobiography by Monhandas K. Gandhi

The Art of Time and The Return of Courage by Jean-Louis Servan-Schreiber

The Story of Art and A Little History of the World by E. H. Gombrich

The Power of the Actor by Ivana Chubbuck

Story by Robert McKee

Self Management for Actors by Bonnie Gillespie (she is a wonderful person and has set up an incredible supportive community for actors)

What other projects are you involved with at the moment?

The Merry Widow has consumed nearly every spare moment at the moment! Though, a few weeks ago, I had the opportunity to work on the NBC pilot, Miranda’s Rights, directed by Mad Men director Jennifer Getzinger. Once the operetta is done, I will go back to auditioning for TV and theatre (and likely musicals now!). I will pick up where I left off with some personal screenwriting projects. I have a short film (that made a shortlist for the Hot Shot Shorts Competition last fall) to shoot, and am working on a feature film as well.

Where can we find out more about you and The Merry Widow?

Olesia Shewchuk – Olesia.ca, IMDB, Facebook, and Twitter.

North Shore Light Opera Society – NSLOS.com and Facebook.

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Thanks to Olesia Shewchuk for speaking with us!

The Merry Widow is on now until May 29th at Presentation House in North Vancouver. Performances are on at 8PM Thursday to Saturday evenings along with matinees on Sunday afternoons at 3PM. Tickets are $20 to $30 and are available from PHTheatre.org

The post The Biz Interview: Olesia Shewchuk appeared first on Biz Books.

Chelah Horsdal took some time away for her very busy schedule to talk to us about her role in the film and her most treasured career accomplishments.

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Can you start by telling us a little bit about you?

I’m a Vancouver native who’s been at this acting gig for fourteen years. I love my dog more than most people & feel that chewing with your mouth open should be punishable by death.

Can you tell us about your role in Patterson’s Wager and how you became involved?

Alex Zahara approached me in the waiting room for an audition around pilot season 3 years ago. He said he was producing a film with one of his university friends and that they’d talked about me as their Audrey. I read the script and quickly said yes. Simple as that.

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

What did you do to get into character for this role?

Audrey’s two clear driving forces for me were her love of Charles and her desire to stay on the straight and narrow as a reaction to growing up in a family of oddballs. I can relate to both of those things. Growing up the child of hippies, raised by a single mother while going to an upper-middle class high school (Lord Byng), I relate to wanting to fit in… all the while feeling like it’s a mask I’m wearing. I determined Audrey to have that same struggle. That motivated most of her objectives for me.

You’ve enjoyed a lot of success in both film and television. What do you enjoy the most about each medium?

Preparation wise, I don’t see a huge difference. The catering is usually better on TV. I love the chance to explore a character over the course of a full season or seasons. Although, as Canadian cast, it’s not as common that we get the roles with a strong narrative. The exposure to working with a myriad of directors, the sense of family that forms 3-4 episodes in, the security of a longer run of employment…those are all awesome. In film, I experience two extremes…the big budget world, where we as a Canadian, I’m generally a service provider; and independent, where I have so much more creative freedom. There are benefits to both, usually one pays the bills and the other feeds the soul. It’s rare to find one that does both.

What’s the biggest challenge facing the Canadian film industry right now and what have you been doing in your own way to deal with it?

Our contribution as artists is often under valued. When the world of MOWs got to the point of shooting an 85 minute movie in 11 days and paying people in sandwiches (basically), I said enough, and stopped doing them. I won’t work for less than scale & wish that more of my peers would hold the line with me. I also find the designation of ‘cross board block shooting’ pay structure on episodic TV (shoot 5 episodes in one day and be paid for only 1) to be absurd and won’t work under that agreement. This is all to say, we will only be treated as valuable if we demand it. It’s a great source of frustration and I think it’s does harm to our industry.

To be clear, I’m not talking about independent or $100/day agreements….I’m talking about For Profit productions where the people at the top are making enough to pay their bills.

What have been some of your most memorable career moments?

A tiny role opposite Sir Ben Kingsley, one of my heroes; filming a classic guns-blazing-shoot-out on season 3 of Hell On Wheels; filming the pilot for Wishing Well (formerly Wish List) for CBC; and, most recently, finding out that The Man in the High Castle expanded my small role from season one to an all-episodes deal for season two…that’s a big deal for me. Oh! And meeting my dog on Marley & Me 2.

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

To value myself, have the courage to say no and trust that more work will come.

What books and authors have been influential to you throughout your creative journey so far?

Acting-wise, Stella Adler (The Art Of Acting), Ivana Chubbuck (The Power Of The Actor) & Ellen Burstyn (Lessons In Becoming Myself).

Writing-wise: Save The Cat & Big Magic are my current go-to.

What other projects are you involved with at the moment?

We’re into filming season 2 of The Man in the High Castle, which I’m in love with; I’m doing a couple of days on When We Rise, which is such a powerful & important story to be a part of; I’m on the other side of the lens having written & plans to direct my first short this year and continuing work on a documentary about my father’s life & career. But, mostly I’m involved with prepping my garden for the summer.

Where can we find out more about you?

I still love Twitter: @chelahhorsdal

Or you can poke around on my website: chelah.com

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Thanks to Chelah Horsdal for speaking with us!

Patterson’s Wager will screen at the Vancity Theatre on April 17th as part of the Canadian Film Week series and on April 20th for Canadian Film Day.

Tickets are available through VIFF.org

The post The Biz Interview: Chelah Horsdal appeared first on Biz Books.

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.

What themes and ideas do you want the audience to think about from watching the film?

I want them to think about the importance of mentors and friends … about overcoming fear in order to achieve your goals and live a fulfilling life … about how hard it is to be an artist, especially, in many cases, a woman artist, and that talent isn’t enough, it takes endless perseverance … about how fleeting life can be … about embracing life despite the hardships we all face … I want artists and lonely people and sick people and broken people to know they’re not alone in their suffering … that kinda stuff! Ultimately, the film is about overcoming fear in order to live your life as fully and as fruitfully as possible. And the importance of mentors to help point us in the right direction when we are adrift.

What was the most challenging sequence for you to film?

Shooting the scene with Harper singing to Molly in The Cobalt was almost the end of me. Smoke machine giving me massive headache, making me nauseous, tons of extras, not enough food or water for them, live music blasting all day, a massive shot list … I has hanging by a thread. But we got it all done and it’s one of my favorite sequences in the film. Larry Lynn, our DP did a fantastic job lighting it, and the gals’ performances were excellent. There’s a photo of me on the cover of the Reel West magazine issue that contains my director’s diary that was taken that day, and if you look closely at my eyes, it looks like I’ve been kicked in the head by a horse.

Which steps can directors take to build positive working relationships with their cast and crew during the making of a film?

Something I learned from Babz Chula: treat everyone the same. From PA to Executive Producer, they all deserve respect (as long as they give it to you, that is). Don’t suck up to people and don’t let anyone treat you like shit. Create a family. The film is the baby. The Producer is the Daddy. The director is the Momma. The rest of the cast and crew are big brothers and big sisters, helping to take care of the baby. As far as the cast goes, treat the actors as individuals — everyone has different needs. There’s some good basic tools, but there’s no instructions or manual. You have to use your intuition, moment to moment and learn as you go. Don’t try to come up with things to say if there’s nothing useful to be said. Some actors need space, some need a hug, figure out which kind you are dealing with, and know that these traits may change day by day or even scene by scene.

You have also done a lot of acting. What inspires you to direct?

I like telling my own stories and I like feeling like I’m in control. As a kid I always felt loved, but I didn’t feel safe. Directing creates the illusion of control, and with that comes something that feels like safety. I once read that George Clooney said, “The director is the painter, the actor is the paint.” I think that’s an oversimplification in many cases, and doesn’t give the actors their due, but there’s a lot of truth to it. And I don’t like small talk. On film sets there’s a lot of small talk because things take a long time to set up. I like keeping busy. I like doing shit. The director is always busy.

Are there any authors or specific books that have been influential in your development as a filmmaker and actor?

Too many to mention. I read a lot — fiction and non fiction, biographies, plays … and when I meet truly literate people, I am always a bit embarrassed by how much I have not read. There’s just not enough time to read all the great works out there. Here’s a few good reads for filmmakers: The Second Circle by Patsy Rodenburg is one I am reading now and getting a lot out of. The Power of The Actor by my mentor, Ivana Chubbuck. The War of Art by Steven Pressfield. Open Up or Shut Up by my very wise friend Barbara Deutsch. Kazan by Jeff Young. The Art of Dramatic Writing by Lajos Egri. And I must sheepishly admit that Save The Cat by Blake Snyder has helped me achieve clear, concise structure in several screenplays. It’s such a Hollywoodized, commercially-minded book, but the lessons are valid no matter what genre you are writing in. Certain things have always worked and always will. John Steinbeck is my favourite author of fiction. I have read everything he has written and every time I read his work, I feel like I understand what it means to be human a little more clearly.

What is the biggest obstacle facing independent filmmakers today?

There are so many films being made these days, that getting noticed has become incredibly challenging. Would Clerks be a huge smash if it was made today? I don’t know. You have to be really, really good and really, really smart, or at least really, really unique and you must work really, really hard, or the experience of making a film can be really, really disappointing. You better care about your film a lot, and believe in it, or you’ll be living a lie for years.

What advice would you give to aspiring actors and directors?

Act and direct as much as possible! Take classes and learn from people whose work you admire. Get out of the house and connect with other like-minded people as often as you can. Take chances. As the character Pearl says in Down River, “Fear is the enemy of Art.” I borrowed that from my teacher Ivana Chubbuck, who told me, “fear negates art.” Acting and directing ain’t for the weak or the meek. As Elia Kazan said, “You have to do something every six months that almost kills you.” That’s why I’m directing a play (White Hot) starting next month, and writing a new screenplay right now. Life is short. If you call yourself an artist, stop bragging about how much Netflix you watch and make a contribution!

Down River is now playing at Fifth Avenue Cinemas in Vancouver and at Cineplex Yonge & Dundas in Toronto.

The post The Biz Interview: Ben Ratner – Writer and Director of Down River appeared first on Biz Books.