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

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

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Lee Shorten of Anh Hung

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Alex Barima and Jerome Yoo of Cypher

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jerome Yoo: One Piece. 

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

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

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

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

Lorne Cardinal’s Photo Credit: Shimon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Denise Jones: Don’t be an asshole.

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

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

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

Denise Jones: The Power of Now by Eckhart Tolle.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Prophet by Kahlil Gibran

The Crossroads of Should and Must by Elle Luna

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

Love Anthony by Lisa Genova – personally, a tearjerker. 

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

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

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

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

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

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

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

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

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

A Wallace – “Shake it Out”

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

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

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Darien Provost of The Undertaker’s Son

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

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

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

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

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

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

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

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

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

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

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

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

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Peter New of Woodman

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As the lead in the upcoming Vancouver production of Heathers: The Musical – the first time in Canada – she’s helping to bring life to a staple of 1980s pop culture in a whole new way. We caught up with Christine Quintana to get the goods on how the themes of Heathers can resonate on stage.

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What is your involvement with Heathers: The Musical and how did that get started?

Our director David C. Jones approached me a few months ago to ask me if I was interested in playing Veronica in the musical version of Heathers. It was a lightning-quick meeting we both fit in between other meetings – so quick that I left thinking, did that just happen? But I’m so glad it did because here I am. Now I’m seeing my dang face on posters around town. Things happen fast sometimes!

What drew you to be a part of this production?

I have a terrible confession to make – I hadn’t actually seen Heathers. Not the movie, or the musical. But I knew about its cult classic status and I’d heard wonderful things about the musical.  After I  did a bit of research, I knew I wanted to be involved. It’s rare that you get a cast stacked with female leads, but that’s Heathers – Heather MacNamara, Heather Duke, Heather Chandler, Martha and Veronica all have incredible, meaty, rich material. The boys get to be the eye candy and comedic relief!

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

I only watched the movie once – just to see the style and the iconic moments. I think with a show like this it’s important to nod to the origins, but the scenes and even plot points are different and I didn’t want to start getting attached to choices from the movie that no longer suit the musical.

Our rehearsal process has been very part-time over the last few months. I’m used to working in the traditional Equity process where you come together for two weeks, three at most and bang out the whole show working full-time. I’ve really enjoyed having a lot of time to let the material sink in, focus on one thing at a time. Without the pressure of having to turn out the shape of the show immediately because you head into tech in a week, there’s time to get to know the material well.

Right now, I’m focused on the guts of the show – going into those deep dark teenage feelings and mining the emotional truth of it. Once we get into runs, it’ll be time to fine tune the technical aspects of comedy – staying inside the show for the personal arc, but standing just outside enough to make those precise choices of timing and gesture that make the show as funny as it can be.

The preview performances will be essential to nailing down the rhythms of the show once we have an audience in the house responding – or not responding, as is sometimes the case – and making sure the audience doesn’t miss a beat. I can tell already that it’s going to be totally jarring to be in a moment that is a five alarm high stakes devastating situation for Veronica, and the audience might be laughing their asses off. But it’s only funny if it’s real for us – the comedy lies in the dichotomy between truthful moments and absurd situations in Heathers. Come opening night though, it’s time to put the script and my notes away and play for real.

What should audiences expect from this show?

Fierce singing, fierce dancing, and the sting of teenage angst that might hit a bit too close to home. Heathers: The Musical is hilarious and has killer music, but I think the real surprise for audiences will be the incredible cast. There are a lot of new faces on stage and I think people will be really blown away.

What are the three most important ingredients for a successful stage production?

I’m going to use the Heathers as my inspiration for this question:

Heather Chandler: Leadership.

It takes a lot of people to make this thing happen – we’ve got producer Lori Watt, director David C. Jones, stage manager Michael Brooks, musical director Steven Greenfield, choreographer Ken Overbey, and also lots more help even within the cast, like our dance captain Daren Dhyengco and music captain Steffanie Davis. Everyone has a unique job and important perspective to add to the production.

Heather Duke: Confidence.

I think in the performing arts, particularly in the theatre, we suffer from low self-confidence. Sometimes in Vancouver we feel like all the action is happening somewhere else or that theatre as an art form is somehow ‘less than’. We need to fight that, always – to believe that we’re worthy of audiences and that we’ve got something important to offer. We need to value our work and believe in its worth to our community.

Heather MacNamara: Vulnerability.

These two go hand in hand – it requires confidence to be vulnerable and vulnerability to be confident. Just the act of getting on stage or offering your art to the world requires tremendous vulnerability. In our working process we need to be open and generous with our scene partners and collaborators – that’s when the work gets good. It’s a lifelong practice to be comfortable with making yourself vulnerable, but it’s an essential ingredient for worthwhile art.

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

I find this is a love-it-or-hate-it read, but I love True and False by David Mamet. I certainly don’t agree with the entire thing, but he nails some pithy, tweet-sized philosophies about how to approach work as an actor. Sometimes we can get so bogged down in our fears and distractions about the ‘industry’ – I gagged a bit just saying the word – and then also about our process that we lose the ability or focus to just get the f**k to work, as David Mamet would say it. There’s some great food for thought in there about putting your ego and fragility aside and just doing your damn job.

What is the most important lesson you have learned so far in your career?

Very little will come to you on its own – you’re responsible for your destiny as an artist. Whether that’s a large-scale thing like producing your own work or creating opportunities for yourself to perform, or as simple as being clear on what you want from a rehearsal day and setting yourself up to achieve that objective, it’s up to you. And hey, you can learn something from the Heathers on this one – that takes leadership, confidence, and vulnerability. But it’s worth it – the hardest thing in this business, especially as an actor, is feeling like you have no agency over yourself or your work. Taking charge is the only way to feel like you’re moving forward.

What other projects do you have coming up and where can people find out more about you online?

I’m the co-Artistic Producer of an indie theatre company called Delinquent Theatre which has a show coming up in the spring called Never The Last. We’ll share all the details on our website and Facebook page.  I also write essays and other things on my personal website.

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Our thanks to Christine Quintana for speaking with us!

Heathers: The Musical runs January 6th to 17th, 2016 at The York Theatre, 639 Commercial Drive in Vancouver, BC. For tickets, call the Cultch box office at 604-251-1363 or order online.

The post The Biz Interview: Christine Quintana appeared first on Biz Books.

With the demand for animated programs and voice actors higher than ever, we spoke to Peter New to learn more about his career and the art of voice acting.

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Tell us a little bit about you and what projects you have on the go right now.

I’m doing voices on Littlest Pet Shop, among other shows, and I’ve recently finished shooting a fun turn in Electra Woman and Dyna Girl for Legendary Pictures.

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

I was maybe 5. I had a menagerie of animal characters I played. I used to put on shows curated by Ruff Ruff the Talking Dog.

Who were some of your greatest influences early on?

Terry Gilliam. Samuel Beckett. The Frantics. I just realized that Samuel Beckett and the Frantics sounds like a terrible band.

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 platforms and do you prefer one over the others?

Each individual job has its own challenges and rewards. I don’t really see the forms as being altogether different. Each has its joys and limitations. Indeed sometimes the limitations themselves are the source of the joy.

When you look at your career, what have been the most memorable moments for you?

I have to say chatting idly with Terry Gilliam while on the set of The Imaginarium of Doctor Parnassus about one of my all-time favourite shots from any movie – the epic pullback from The Adventures of Baron Munchausen when Baron Munchausen is surrounded by the Turks army. To have this casual moment with someone whose work I’ve long respected was the kind of perfect moment that can sometimes happen in film.

As someone who has been inside the Vancouver film industry for a long time, how do you think it could be improved?

I think the main improvements – and this is nitpicking to an extent – would have to be at the political level. There are rules around distribution and citizenship which I read as grossly skewed. I have eked out a fine career despite this, however, so I’m not sure how wise it is to bite that feeding hand any harder.

You are getting a lot of recognition right now for your voice acting on My Little Pony: Friendship is Magic and Littlest Pet Shop. What does it mean to you at this point in your career to have a large fanbase that you’ve gained specifically through voice acting?

It’s incredibly humbling. That anyone at all would call themselves a fan of me or my work is deeply touching. Let alone a group of people. It’s incredible, regardless of whether it’s from voice work or whatever.

How does your creative approach change when you are preparing for a voice role vs. a live action role?

It doesn’t really. I mean you have to memorize a live role, so that’s a change, but every scene is a conflict featuring a character who wants something. Deciphering that and then rendering it is the job of the actor, regardless of the format.

What advice would you give to an actor who wants to specialize in voice acting?

Start by acting. Voice is not the operative word. Acting is. Get on stages, join improv troupes. Use the audience to learn how to make fast, bold, successful choices.

You won a Leo Award for your writing on Point Blank. What are the three most important elements that every screenwriter needs for a successful screenplay?

I disagree with this question. Each screenwriter needs to serve the story being told. Each story requires different things, has variable needs. Writing is a process of discovery, like any art. Understand that everything will be wrong before it feels right. But I disagree with the approach that there are specific creative fundamentals. I think that’s a recipe for pat stories and dull screenplays.

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

True and False: Heresy and Common Sense for the Actor by David Mamet.

A Practical Handbook for the Actor by Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel Pollack, Robert Previto & Scott Zigler.

The Demon-Haunted World: Science as a Candle in the Dark by Carl Sagan & Ann Druyan.

Fox in Socks by Dr. Seuss.

Ozma of Oz by L. Frank Baum.

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

My website PeterNew.net or follow me on Twitter @ActorPeterNew

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Our thanks to Peter New for speaking with us!

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Recommended Reading

[bscolumns class=”one_third”]

A Practical Handbook for the Actor
Melissa Bruder

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[bscolumns class=”one_third”]

True and False
David Mamet

 [/bscolumns]

[bscolumns class=”one_third_last”]

The Demon-Haunted World: Science as a Candle in the Dark
Carl Sagan & Ann Druyan

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Peter New 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!

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Recommended Reading

[bscolumns class=”one_third”]

A Whole New Mind
Daniel Pink

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[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.

This is the pitch for How to Succeed in Hollywood Without Really Acting, the new book by actor, coach, and now author Peter Skagen which taps into his many years of industry experience and conveys his wisdom in ways that are inspiring, informative, and practical for today’s actors.

We spoke with Peter Skagen to give you a peek into his experiences in the industry, the insights waiting inside the book, and to find out more about just how to succeed in Hollywood without really acting.

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What was your inspiration for writing How to Succeed in Hollywood Without Really Acting?

I came to feel I was done with acting after 35 years and as many movies, and wanted to summarize everything I learned, without any agenda, into a book that would actually be useful, honest and hopefully inspiring.  It became a kind of thesis project, or maybe a letter to the young me.  Before it was even finished, it started taking on a life of its own.  I got a call from the Dean at the University of Lethbridge, whom I know, asking if the book was done.  I told him it wasn’t.  He said ‘we’ll take it anyway.’ They’re still using it, and since then, I’ve just been hanging on as it grows.  I get glowing reviews from casting directors all the time, and I’ve won a couple major book awards already.  I won Best Book in Performing Arts in California for 2015, and I’m a finalist in the Foreword Indie book awards, which is like the Oscars for indie books.

What are some of the recurring lessons that readers will learn from reading it?

Wow.  Well, there are a lot.  First of all, I think you need to be called to it.  Most successful actors I know can point to the very moment they woke up to themselves as actors.  That inspiration has to be strong enough to carry you to the bitter end, so it has to be huge.  Then, they have to know how the Biz works so they’re not going in blind.  Most actors take about 10 years just to figure out how it all works, so I want to save them that time.  Then story.  Story, story, story.  And craft.  Technique.  Nuts and bolts how to do the job.  Craft is the difference between working actors and wannabes.  Finding their brand, or signature character is crucial.  Then they need to know how to package and sell it.  And then it’s all about the audition.  Probably 98% of actors fail badly in the ‘room’ cause they don’t know what they’re doing; they think it’s about acting.  If they really take in all the secret info in the book on the audition process, they’ll never go wrong.

How to Succeed in Hollywood Without Really Acting

What do you think the biggest mistake is that new actors and performers are making when they try to enter the industry?

Giving it a try is the first mistake.  If you’re trying to be an actor, you should maybe move on.  You have to know.  You should have a ton of raw talent and unshakeable faith to start with because those things will be assumed throughout your career and you have to deliver them time and again without fail and without notice.  You gotta have the goods off the top.  If the industry–not necessarily acting coaches, but industry people like casting directors–if they respond to you early, that’s a good sign.   Love is another problem.  Many actors come to it thinking they’ll get love and admiration and all their problems will be over.  The Biz will never give you those things.

Who are the people that are going to get the most out of reading the book and applying the knowledge that you are sharing?

Anybody coming up, their parents, college students and professors, coaches and teachers, stage actors, comics, singers, anybody planning on moving to Los Angeles or New York to get into it, writers are loving the book, and you wouldn’t believe how many working actors in the Biz contact me saying how much the book helped even them.  Also, anybody who’s just plain interested will find the book very easy to read and very informative.  I hear it called a page-turner a lot.

 One of the themes of your book is the idea of not thinking like an actor, but instead thinking like a filmmaker. As you see them, what are the differences in how actors think vs. filmmakers?

Actors are all about themselves.  Filmmakers are about story, financing, making the day, and making a dollar at the end of it all.  They look for actors who understand their pain, and know how to help out in all those ways, and many others.  The acting is only a small percentage of the job.  Example: do you know how to talk to a potential investor in the movie in question?  If the answer is no, you have learning to do.

What inspired you to get into the film industry?

I started writing plays when I was about 9.  I made a movie when I was 14.  It was just always in there.

How would you describe the state of the film industry now? How has it evolved since you first became involved and where do you see it going?

This is a huge question which I address in the book.  I’m not a Hollywood insider by any means, but it’s clear that the actor has to think about his or her career more like a band does these days.  You have to become successful on your own.  It’s all about your social media following, your YouTube presence and so on.  And your knowledge and skill of the Biz, and ability to join the party seamlessly without having to be a beginner (somehow).  I came up during the ’80s, before the internet.  One of my classmates said she was thinking of getting into a new thing called rock videos.  Movie stars were really movie stars, and it was all about movies.  Nowadays, if you tell an agent you want to be a movie star, he might drop you.  There’s no money in it.  The big corporations running the studios don’t even want stars.  They want interchangeable young people as Spider-Man.  They want sequels, and remakes, and animation, and knock-offs.  The money is in television, and increasingly on the internet.  So, a lot has changed.  I see China becoming a much bigger player in the Biz, and I see the potential for a new renaissance of micro-studios making movies all over the world similar to Hollywood in the ’20s.  The major studios will continue only with giant blockbusters leaving room for new moguls around the world to fill the gap, and distribute on the web.

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

I’ve read everything on the subject I think.  I love the books of William Goldman – like Adventures of the Screen Trade – who wrote The Princess Bride and about 50 other major movies.  That’s for story.  Michael Caine’s book on acting – Acting in Film – is still one of the best.  And I love True and False by David Mamet.  Patrick Tucker’s book – Secrets of Screen Acting – is really good. And I would suggest reading books on film production including biographies, like The Kid Stays in the Picture by Robert Evans who produced The Godfather. And so on. You can’t read enough. And just really good fiction.  One of the first books I ever read was The Three Musketeers by Alexandre Dumas. It became a movie in my head.

What other projects are you involved with right now?

I’m writing a sci-fi thriller to be shot in China in 2016.  Right now it’s called Dead Still, but that title will change.  It’s a little like Jurassic Park but the dinosaurs are something else, and much worse.  And, crazy as it sounds, I’ve started writing a stage show based on the book.  It’ll be a musical with songs like I Wanna Be Rich, Would You Like Cream With That (from the book) and Oh, my God, it’s Johnny Depp.

Where can people find out more about you and your work?

They can go to PeterSkagen.com.

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Our thanks to Peter Skagen for speaking with us! You can check out his book right here!

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Recommended Reading

[bscolumns class=”one_third”]

Adventures in the Screen Trade
William Goldman

[/bscolumns]

[bscolumns class=”one_third”]

Secrets of Screen Acting
Patrick Tucker

 [/bscolumns]

[bscolumns class=”one_third_last”]

The Kid Stays in the Picture
Robert Evans

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Peter Skagen appeared first on Biz Books.

Can you discuss the creative process of your involvement in Lawrence & Holloman from the earliest days all the way to release?

Yeah, I grew up as an actor and writer in theatre and so I’d seen three productions of the stage play Lawrence & Holloman (written by the amazing Morris Panych, winner of 2 Governor General’s Awards for Drama). So when Matt asked if I wanted to do the play, I looked at it again, and went: Wait, this would make an awesome indie feature. Like the cult hit Withnail & I or Labute’s Sundance hit In the Company of Men. So we brought producer Paul Armstrong aboard, who had seen and loved the play at the Arts Club in 1999, and we got development funding from Corus Entertainment and then the Harold Greenberg Fund and BC Film (now Creative BC). After 3 years of adapting it into a screenplay, we then attached Exec Producers Mary Anne Waterhouse and Andrew Currie, then Telefilm came aboard with production financing, then we raised the rest of the money, got Super Channel involved, and made the thing. It sounds easy, but that’s only the Coles Notes. It was a humungous learning curve on me and Matt’s part. We had made a 35mm short together (The Janitors) through the NSI Drama Prize and he had made a few other shorts, but writing this feature, securing the money, and making the movie was a mind-bogglingly complex thing — and if you strive towards it being the best it can possibly be, it’s all-consuming. Oh, I co-wrote, am on the producing team, and play Holloman.

From your experience in co-writing the film, what are the most important elements that a feature film screenplay needs to be successful?

I guess I found that it needs to be able to excite the people with money or who are going to make it. That’s what it comes down to. Sometimes people wouldn’t jive with the script and you have to just say “Okay, they’re not going to help us make it.” It doesn’t mean it’s bad (necessarily), it just means the fit isn’t right. So what are the elements that attract that interest? Again, it depends who you’re talking to and pitching to. I’ve heard some producers say they want something that will sell in foreign markets, which usually means a genre picture with a bankable name actor. Story is less important. Other people, the ones we were dealing with, mostly look for that fresh idea, a different spin on a universal theme, a story that compels. But again, the alchemy is so important … really it’s all about finding partners who grab hold of what you’re writing, and how you’re writing it. So you’re always writing with an audience in mind, and then trying to find that audience. That’s what I do. When I’m structuring a story, I’m always thinking two things: Where is the character at in their journey/what would they do next? And 2: What is the reader/audience feeling now? What emotions am I invoking, where to do I take the audience next, and why should they care? Writing a story is a very manipulative exercise. I picture it like sitting around a campfire telling a story to sleepy people: it’s got to have twists and turns and take them on a visceral, emotional, and intellectual ride, and keep them awake! And hopefully, if it’s really good, also ignite in their dreams.

What was your most memorable moment from the making of Lawrence & Holloman?

Actually the moment that sticks out the most is being on the phone one-on-one with Karynn Austin, who at the time was the regional director at Telefilm Canada, and hearing her tell me how much she enjoyed the script. No major notes, just “I loved it.” I still remember where I was, what time of year it was, and the inflection of her voice. That moment was the culmination of me, Matt, and Paul’s 2-3 years of work thus far, and is what spurred the eventual greenlight towards production. In my mind it was probably the most important moment in the film’s history; without it, it may not be in front of you today nor getting all the awards and accolades. Thank you, Karynn.

You’ve worked in both film and television projects. How are they different as an actor and how does your preparation change?

This is an interesting question because I’ve been in TV but never made TV. But I made Lawrence & Holloman. So when I work in TV it’s very different than this. TV gigs for me have usually been like being a small cog in a big machine; you show up, do your acting, commit to the moment, and then go home and collect the cheque. Whereas for L&H it was all-consuming. That said, I’ve been in other films where I wasn’t making the thing, so they’ve been a lot more like a TV set too. Everyone knows their job, and the actor’s job is to act in the part. When it comes to doing that, both TV and film are the same to me. And even though every project is different, the preparation is pretty much the same: learn the lines by learning the moment to moment beats, while also making choices about character, intention, motivation, and stakes.

What books have been influential to your creative journey as a writer and actor?

Awesome, love to answer this one. Cuz I read books like this all the time! As an actor, the most thumbed-through ones on my shelf are True and False by David Mamet, Michael Shurtleff’s Audition, Larry Moss’ The Intent to Live, and A Practical Handbook for the Actor. As a writer, Robert McKee’s Story, Blake Snyder’s Save the Cat series, The Eight Characters of Comedy, and Syd Field’s The Screenwriter’s Problem Solver. Oh, I also loved the book The Activist Screenwriter and I keep a copy of One Less Bitter Actor on hand!

What advice would you give to aspiring actors and screenwriters?

Read the books above! Actors, if you want to act, act. Whether it’s classes or making your own stuff, just do it. Learn. I started getting paid to do theatre when I was 12, but I still went through a conservatory acting program, and that helped solidify a career for myself in the theatre. Screenwriters, I hear a lot of people say to develop a database of story ideas, and sure that’s important, I have that … but in my experience nothing beats sitting down and wrestling those one or two projects into the best they can possibly be in order to get them made. Writing is rewriting, I’m a firm believer in that — and you must listen to your audience. Oh, and if you want get paid to act or write, you have to treat them like crafts, but also businesses.

What is the biggest challenge you’ve faced in your career and what have you done to overcome it?

Biggest challenge has been and continues to be transitioning from a theatre-only actor to an actor who works on screen as well. What am I doing to overcome that? Making my own movies! I should probably do more to overcome it, but this is a start.

What would you like to share about your upcoming projects?

Well beyond the theatrical release of Lawrence & Holloman — which is already amazing — and the fact that it’s won 11 awards in 11 festivals, received “must-see” reviews, 9 Leo nominations, and is currently nominated for 4 Canadian Comedy Awards (all right all right all right) — I’m also thrilled that my other feature script Any Night just won the nation-wide CFF Super Channel Screenplay Award, which means it’s on Canada’s It-List of the best as-of-yet-unproduced screenplays and receives a pre-buy offer from Super Channel, worth $30K-$50K or more depending on budget. So hopefully that one will get made soon!

For more information about Lawrence & Holloman, please visit LawrenceandHolloman.com.

The post The Biz Interview: Daniel Arnold of Lawrence & Holloman appeared first on Biz Books.

We spoke with Linda to find out more about the book, her process in creating it, and the various benefits it offers to the acting community at large.

Please tell us a little bit about AuditionCraft for Film & TV and what actors can expect to gain from reading it.

AuditionCraft is a “how to” manual, using guidelines that any actor can follow in preparing for an on-camera audition. It covers “the craft” – giving the actor specific tools to use when working on the material for an audition; “the mastery” – laying out a technique for handling the logistics of auditioning: from preparing at home, to getting in the room, to what to do when it’s over; and “the reality” – explaining what it will take to have not only a successful but also a satisfying and rewarding acting career. In this book, as in my classes, my goal is to help actors see auditioning as a necessary skill and to give actors the tools to develop that skill as part of their craft. I want actors to be able to approach auditions with confidence, eagerness and a sense of mastery that will allow them to not only do their best, but also allow them to enjoy the process.

What can you share about your creative process in developing the book from start to finish?

I’ve been teaching Audition Technique classes and working as an actress myself here in Vancouver for 30 years, so I’d have to say the development process started 30 years ago! I personally hated the audition process at the time and set out to find a way to get passed my fear and loathing and learn to enjoy them. So I designed a technique based on the “guideposts” from Michael Shurtleff’s Audition book, re-organized the material to specifically suit Film & TV auditions, and added handling the logistics of working on-camera. Then I tested the technique in my own auditions – it worked! I not only started enjoying auditions, but I started booking more jobs. I’ve been teaching the technique ever since, adding to the technique from my own personal acting experiences over the years and coming up with exercises that would be beneficial for film actors.

It wasn’t until a couple of years ago that it started to bother me that my classes were “experiential” and students were responsible for taking their own notes – or not. It bothered me that some students were better note-takers than others, and it bothered me that I had to keep explaining the same things because I didn’t have written material to hand out for students to refer to and study on their own. After hearing myself say over and over in my classes, “I wish I had good notes to give you”, I finally just decided to write it all down!

So it took 30 years to develop the contents, but it only took 3 months to write it all down. I just had to write down what I’ve been saying in class all these years, organize what I’ve learned about how this business works, and decide which aspects I thought were the most important to cover. It seemed to flow easily and once I got started, it became an obsession to get it finished.

It also helped to have a limited window of opportunity to get it done, since I started it while on a three-month hiatus between two seasons of dialect coaching on the TV Series, Fringe!

What are the most common mistakes that actors make in the audition process?

Oh, there are quite a few, so I will only give you the short list here:

— Not taking charge of the audition room and giving their power away.

— Worrying too much about getting the words “right”.

— Not making strong choices about the scene and committing 100% to them.

— Not listening and really hearing “the reader” in the scene.

— Not knowing how to manage “nerves”.

Just to name a few…

How did you get started in the acting industry to begin with and how has it changed the most since that time?

I knew in high school that I wanted to be an actress. At that time, Patty Duke had her own TV show — we were the same age. I felt like I was missing the boat, I just wanted to get started in the professional business, but my father insisted that I go to college first and as a result, I have a BA in Theatre from Hofstra University in New York. I’d done lots of theatre and taken lots of classes in N.Y. but I wanted to do film & TV, so I moved to L.A. It was there that I worked as a commercial casting director, started teaching commercial audition technique and fell in love with teaching. After I left casting, I continued teaching and began acting in commercials mostly. I also took a workshop called “The Mastery of Acting”. It had such a huge impact on me that I wound up running The Actors Institute, leading that workshop and teaching other classes there. “The Mastery” Workshop is actually what brought me to Vancouver – we would come up to lead the program and then I moved here in 1986. That’s when the Film Industry moved here as well, and I started teaching my own technique and acting full-time. I still to this day, also lead “The Performers’ Mastery” here.

I remember when there was no such thing as a “video camera” and all auditions were live, but then I’m old enough to remember not having TV and listening to the radio! So there you go! When I was in L.A. in the ‘70s, commercial auditions were all on-camera, but film & TV auditions were still live for the most part, then slowly but surely they started taping film & TV auditions as well. I always wondered why it took them so long to get around to it! I also remember when there was no such thing as a film school, or film department in a school. It seems like it has taken longer than it should have for training in film to be considered a legitimate course of study. It seems to be catching up now.

When I arrived in Vancouver, there were only two other acting teachers here and I was the only one specializing in film acting — now there are dozens! There were four or five agencies and three or four casting directors – there are so many more now! Let’s hope the business keeps coming!

What have been some of your career highlights so far?

For one thing, it was really difficult in L.A. to get an audition even with a good agent. So coming to Vancouver at the right time, even getting auditions and starting to book roles was a highlight! In the ‘90’s here, it was easier to book really good roles, so I’m proud to say my roles in Immediate Family and The Accused were highlights as well. Booking recurring roles on series is always great, especially when it’s a show like Chris Haddock’s DaVinci’s City Hall which I loved. Also, receiving the 2010 UBCP “Sam Payne Award” – for humanity, integrity and the encouragement of new talent, was a major highlight. It meant a great deal to be acknowledged in that way. Being nominated for a Leo Award and a UBCP Best Actress Award was pretty awesome too! But the biggest highlight for me has been leading The Performers’ Mastery and knowing that I’ve made a small contribution to actors not only making huge progress in their careers, but in their lives as well. I’m blessed to have that experience at least three times a year!

What were the biggest challenges for you in creating this book and how did you deal with them?

I’m a pretty opinionated person and at times I have a very negative view of how this business works, but I didn’t want the book to reflect any of that, so it was a challenge to stick to the facts of what I know to be true about the business; and be positive, passionate, supportive and inspirational for anyone reading it. But I also wanted to make readers aware of the pitfalls, so it was tricky to find a balance in that. I hope I achieved that – we’ll see! I also found it challenging to explain a process in writing that is so experiential in nature, which is why I keep stressing the need to take classes throughout the book. I don’t think you can benefit much from just reading about this process without practicing the elements! So my hope is that teachers will use this book to exercise their students and aspiring actors will realize the need to study and learn auditioning skills.

Writing this book was the easy part! Getting it published was the biggest challenge! It’s been a huge learning curve for me. After some research, I decided to “self-publish” with a vanity publisher, and I had to decide who would be the best for me. Not being a “writer” by nature, I also had to learn about the editing process which is quite involved; being computer illiterate didn’t help either! At a certain point the last thing I wanted to do was read this book again – but read it again I had to do! It’s taken me 7 months to get the publishing handled which is longer than it took me to actually write it, but it’s done and I’m proud of the finished product.

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

Oh my, yes! My Dad was an actor, so I grew up with lots of acting books and books of plays all around me. In fact, I still remember the very first acting book I read, which was Acting: the First Six Lessons by Richard Boleslavsky. It had a huge impact on my understanding of the acting process. Then came all of the Constantin Stanislavski books, but I haven’t looked at those in years. I’m sure I’ve forgotten a few that I’ve read over these many years, but the most recent, memorable and influential ones for me have been David Mamet’s True and False, and The Practical Handbook for Actors, the book written by his students Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel Pollack, Robert Previto and Scott Zigler.

Of course, the most influential book that has been my acting bible for 30 years is Michael Shurtleff’s Audition. I actually attribute that book with being the reason I have had the success in acting and teaching that I have had. His book is the reason I wrote my book! Audition, brilliant as it is, was written in 1976 and was all about the stage. I felt the need to update his wisdom and knowledge to include auditioning for film & TV because the logistics of the process change dramatically (pardon the pun) when there is a camera involved. The whole nature and tone of the film business is so different from that of the theatre and I wanted to address that as well. I know I have sufficiently acknowledged Michael Shurtleff’s work in my book, but I like to think of his bible as “The Old Testament” and mine as “The New Testament” — if you will.

Outside of AuditionCraft, what other projects are you working on these days that you would like to highlight?

At the moment, my current job as Dialect Coach on the new TV Series, Almost Human, is taking up most of my time. It’s pretty much full-time every day and we’ve just started working six days a week! We’re doing 12 episodes, which takes us to the end of the year and then we will see if the show is picked up or not. Once I’ve recovered from the experience of publishing this book, I do have thoughts of doing another book on commercial auditioning (which is very different from film & TV) and maybe one on being a working actor! If the show doesn’t get picked up, I will be quite happy to get back to teaching classes, coaching and devoting more time to marketing my book, which I’ve had to put aside for now. I still am co- leading The Performer’s Mastery with Henry Mah a few times a year while I’m working on the show ‘cause being actively engaged in helping people change their lives for the better and watching the results is my favorite project of all!

The post The Biz Interview: Linda Darlow – Author of “AuditionCraft for Film & TV” appeared first on Biz Books.

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

Kaitlin Williams: This is a very unique production of The Lion, The Witch and The Wardrobe as the whole story is told with only two actors. That alone is very appealing to me. I also love C. S. Lewis, and I love the Narnia stories. I have fond childhood memories of reading them with my brother and sister, and then watching the BBC adaptations on VHS until we knew them by heart. I’ve always loved Lucy for her ability to believe with such an open heart and for her tremendous courage. This adaptation is especially exciting as I not only get to play Lucy, but also a number of others including vastly different characters like the White Witch and Father Christmas. It means I get to do a lot of fun character work, which would be any actor’s dream, I think.

Mack Gordon: A chance to work with my wife on a great show that so many actors I look up to have worked on before.

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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?

Kaitlin WilliamsTo prepare for this production I actually read through the entire series of The Chronicles of Narnia again. Because the play starts with Peter and Lucy as grown ups returning to the wardrobe many years after their adventures, it was important to have some context and know their larger story, and to know where Wardrobe fits in the big picture.

I also focused on dialect and character voices to help distinguish all the different characters I play in the show. I also spent time reading up on C. S. Lewis and his background and history.

Mack Gordon: It starts with research. Read the books, know about the author, understand the world at that time as best you can. I like to examine the text quite closely. Figure out why the writer chose each specific word so that I know exactly what my character means with each line he speaks. For LWW dialects and character work is also very important. I play no less than seven distinct characters in the show and I need to get to know the physicality, cadence, and tempo for each. Then, in the rehearsal room, we work on relationship and storytelling. How do these characters feel about each other. What offers does the other actor bring to the table that surprise me? How do I respond to these offers? Obviously, somewhere along the way we’ve also got to memorize the lines?

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

Kaitlin Williams: I don’t read a ton of books on the craft of acting, although some of my favourite authors would be Uta Hagen and David Mamet (True and False). I like to read plays in my spare time, and some of my favourite playwrights include – Kevin Kerr, John Patrick Shanley, Joan McLeod, Steven Adly Guirguis and Lucia Frangione.

Mack Gordon: The man himself, CS Lewis. I think of Peter as a sort of Stephen Fry narrator. Mr. Beaver’s got a little bit of funk to him that I apply with a sort of 30’s gangster feel. These are all just initial impulses though.

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

Kaitlin Williams: The biggest challenge as an actor in this production is the amount of text there is to learn, as well as the challenge of playing so many different characters. I tackled these challenges by working hard in rehearsal and outside of rehearsal. I’ve been focusing on protecting my time during the two weeks of the rehearsal process so I don’t overbook myself when I need to be studying my lines and characters – that certainly helps the process.

Mack Gordon: I think the dialects are going to be a big challenge for me. I plan on working with Dialect Coach Brett Harris. He’s good!

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

Kaitlin Williams: I just wrote a new one-act play and submitted it to a festival. I’m hoping that it will be accepted and produced in the new year. We are also remounting Wardrobe in the spring of 2013, so I’m looking forward to that. Mack and I are also featured artists in a new book launching in December called We Make Stuff. The book features 100 artists from the Vancouver community. I also just launched a new website where folks can check in to keep up to date on news – KaitlinWilliams.com.

Mack Gordon:I’m going to be in The Cat in the Hat at Carousel Theatre in February and I’ve written a short play for the Pull Festival of emerging artists for January.

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The Lion, The Witch, and The Wardrobe is now on at Pacific Theatre until December 15th before going on tour at The Evergreen Cultural Centre from December 18th to 22nd.

The post The Biz Interview: Kaitlin Williams and Mack Gordon of “The Lion, The Witch, and The Wardrobe” appeared first on Biz Books.

What inspired you to take on this production?

Aleks Paunovic and I had a great experience doing two short films together (Ducks and The Hitchhiker). We got along really well and I think we brought the best out of each other. Not long afterwards, in 2006, Aleks brought me the script for Danny and the Deep Blue Sea and very generously suggested we do it together. I wasn’t familiar with the play, but when I read it I immediately fell in love with it. I had wanted to direct a play for a while and it felt like the perfect production for me. I would still call it my favourite play.

Can you briefly walk us through your creative process for this production, from the early stages all the way to opening?

People familiar with the play will know that it’s quite taxing for the actors: 80 minutes, no intermission, the two of them on stage the whole time. And they have to go all the way: to the lowest depths of despair, to the highest peaks of relief and joy, and everywhere in between. So I feel that part of the process for me creatively, is managing just how hard the actors go and mostly encouraging them through the process. I think it would be easy to burn out rehearsing this play and to lose the energy and joy that doing this play can bring to an actor. And it would be easy to really tax the actors emotionally and physically by over-directing it. So besides all of the usual things a director does, I’m also paying attention to that.

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

Books have been really important for me. I didn’t get any formal training in this besides the occasional one-off class and I don’t work in film or theatre on a regular basis, so I read (and dream) a lot on the subject. Some key volumes for me:

William Ball’s A Sense of Direction
Uta Hagen’s Respect for Acting
David Mamet’s True and False, The Three Uses of a Knife, and On Directing Film

And, frankly, Pacific Theatre as a place and community for artists has been key. When I first moved back to Vancouver a few years ago, I was lucky enough to get cast in a non-professional show there. That experience connected me to Ron and the staff and the cadre of artists that hang around there. I took acting classes there and did some more non-professional shows there as well. I generally hung around there when I could and most of my films, and now this play, have some sort of connection to that place.

What were the biggest challenges for you as a director in developing this production and how did you deal with them?

Fear was our biggest challenge. Aleks and I made a number of attempts at mounting the production, but we always found a way not to do it. Frankly, we were both terrified. The material is quite daunting and neither of us had done a play before (though I had acted in some non-professional productions). So the whole endeavour was very intimidating.

Finally in late 2009 we faced our fears and decided that we were going to do it no matter what. And Pacific Theatre had an opening the last week of August, so we booked it. Thankfully, Lori Triolo jumped in with us to play the role of Roberta. With Aleks and Lori, it felt like perfect casting and the production, despite only 4 shows, was successful. (Facebook was instrumental in helping us find an audience during a one-week run.)

And people responded really well to it. Ron Reed, the artistic director at Pacific Theatre, liked the show and asked us to put it in 2011-2012 season. We jumped at the chance.

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

I’m developing a couple of film projects with my producing partner, Dylan Jenkinson. (We work under the banner Jenkinson/Goode Productions.) I don’t have any plays in the works, but after Danny finishes its run, I’ll start dreaming and scheming again.

Danny and the Deep Blue Sea opens at Pacific Theatre on January 20th, 2012. Visit PacificTheatre.org for details.

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