Now a busy actor in many Vancouver-lensed projects like Supernatural, Travelers, and Chesapeake Shores, Jerry Trimble spoke to us about his unique career and inspirational journey.

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Can you start by telling us about what you’re working on these days?  

First off, I want to thank you for the interview. Much obliged. It’s always nice to get to share my story and experience with others. Hope your audience gets something out of it.

2017 was a fantastic year for me.  Hope it was for you as well. I am so blessed to be able to do what I do.

Last month I wrapped a film called Rabbit directed by Jesse James Miller, coordinated by Ernest Jackson and starring Derek Hamilton. What a blast it was.  I got to do acting and fighting.  My two favorite things to do on film.

I recently guest starred on a Matt Damon Netflix project, The Green Beret’s Guide to Surviving the Apocalypse, created by military veterans: Shawn Vance, a former U.S. Special Forces Green Beret, and Daril Fannin, an ex-combat medic in the U.S. Army. These guys were so awesome to work with, they are the real deal. I was in the season finale, and it was fun times kicking the crap out of zombies and saving the world. This is a unique and entertaining series to watch, coming out this year, and directed by Adam Newacheck. I also got to do acting and fighting on this one, too.  Fun times, living the dream.

I did a supporting role on Travelers playing a pedophile football coach – a real creepy character – directed by the amazingly talented Amanda Tapping.

I’ve got a recurring role on the Hallmark series, Chesapeake Shores, playing the role of Mark Hall, a Nashville music producer to the star of the show, Jesse Metcalfe. It’s a fabulous role. The character was only supposed to be in one episode, but the producer Dan Paulson said they liked what I did with the character so much that they had to bring me back. I’m feeling pretty blessed to be a part of such a fantastic show.

I did a guest appearance on Supernatural, playing Ramiel, Prince of Hell. Season 12 episode 12 – “Stuck in the Middle with You”. Directed by Richard Speight, Jr.  Loved this character.  Got to do acting and fighting on this one, too.

I’m also doing some writing with my father-in-law, Micky Dolenz (The Monkees). We’ve got a couple of projects we’re working on together; We’re hoping to get one of them off the ground this year – a live action/animation screenplay, Socrates. It’s a strong, entertaining story with a powerful message. Very excited about this one. Fingers crossed.

Lately, I’ve been traveling around the US and Canada speaking to teens as well as adults in prison and detention centers on overcoming struggles, discovering your gifts, and using them to create your reality. I’m writing a book on growing into your best you. I’ve also been training private clients in Vancouver, teaching, martial arts, kickboxing, boxing, for film and self-defense. I love teaching and empowering others.

Lots of good stuff in the works for this year.

How did you first get involved in the industry?

My background in the entertainment industry started out in the ring as a professional fighter. I fought under the name “Golden Boy” and went on to win numerous titles that included the Kentucky, Georgia, Southeast, U.S. and two World Championships. In 1990, I retired as a two-time World Kickboxing Champion. I sold everything I owned and moved to Los Angeles, California to pursue a career as an actor. Within the first few months, I got an agent and booked my first two auditions as the lead villain; my first role was playing Jet Li’s nemesis in The Master directed by Tsui Hark. I’ve been blessed enough to be working ever since. It’s been a great ride, and it’s getting better every year.

Based on your successful background in kickboxing, you can speak from a unique perspective about fight scenes in film and television. What are the keys to creating an effective fight scene on camera?

Besides the obvious, having a great team and a clear collaboration with the cast and crew, stunt coordinator, stuntmen, and stuntwomen, you’ve got to know your craft inside and out.

A fight scene is like a story; you have to be fully engaged in it from start to finish. Instead of just going through the movements, the choreography, you have to be aware every moment of the action. When you’re not throwing punches, kicks, or being hit, you have to be aware of everything – your reactions, breathing, timing, movements, intention, continuity of action, acting, your character, being safe, self-control, etc. It can be dangerous if you aren’t fully in the moment. You’re not just talking as an actor – you’re throwing down and it has to look real or else it looks bad.

For me, doing dialogue and fighting are my favorites to do. I get to do the best of both worlds.

What’s the biggest misconception about fight scenes?  

That they’re easy and anyone can do them. A lot is going on in a fight scene. The performance has to be spot on at all times. There’s a specific flow of action you’ll have when doing a beautiful fight scene. It’s like poetry in motion. Action acting is an art.

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

What’s the worst injury that you’ve ever had as an actor and stunt performer?  

Besides the normal bumps and bruises, aches and pains that are part of it all, in 2009 I was working on a reality TV series called The Colony. I did four episodes, playing a Marauder. During a big action scene, I got stabbed with the edge of a broken pipe and gashed my forearm. We didn’t stop the action and kept going; blood was squirting out. It looked great cause it was real, but the director saw it and yelled, “Cut!”

I went to the hospital and got 15 stitches. It was all good. It happens. It’s the nature of the beast.

You’ve worked out of Los Angeles and Vancouver. How would you compare these two cities as far as their respective film and television industries?  

Vancouver seems to me a more of a tight-knit community.  Obviously, it’s not as big as Los Angeles, so you know a lot of the same cast and crew on set which makes it more like one big family.  Everyone knows everyone and gets along.  The synergy works wonders when doing long hours. Vancouver has such a cool vibe and energy about it.  The people are amazing.  I love Vancouver.

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“The entertainment business is one of the toughest careers to do; it’s not all glamour and glory. You have to keep working on yourself, your body, mind, and spirit. Stay away from negative people.”
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What’s the biggest professional challenge you’ve experienced and how did you overcome it?    

Getting out of my way. I started doing the work and learned to not give a shit what others think about me. If you do the work and prepare, everything will be fine. You don’t get ready; you stay ready. What you put out, you get back.

The entertainment business is one of the toughest careers to do; it’s not all glamour and glory. You have to keep working on yourself, your body, mind, and spirit. Stay away from negative people.

Practice “The Four Agreements” – a fantastic book by Don Miguel Ruiz.

1. Do your best.
2. Don’t take anything personally.  (This is a big one in this business.)
3. Don’t assume anything.  (Another big one.)
4. Have an impeccable word.

Skies the limit if you put the work in it. The comfort zone’s a beautiful place, but nothing ever grows there. DO THE WORK!

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

Stay busy. Temptations come about and if you’re not careful, they will steer you away from your goals and dreams in your career and life. The idle mind is the playground of the Devil. Keep learning. Keep growing. Try new things. Help others. Be kind. Enjoy the ride. Be positive. Share your experiences to help others. Work on you every day. The more you know who you are, the better every character will come out on screen, and your performances will shine through.

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

Some are The Real Life Actor by Jeff Seymour, Dreams into Action by Milton Katselas, Respect for Acting by Uta Hagen, The Art of Acting by Stella Adler. There are so many out there that are good. You have to find what works for you.

Where can we find out more about you online?

My website is JerryTrimble.com. My speaking website, TrimbleTalks.com is being remodeled and hopefully will be up soon. You can always Google me to find out more about my history in the martial arts, work in films, speaking, etc.

Thanks again, Create an awesome 2018.

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Thanks to Jerry Trimble for speaking with us!

The post The Biz Interview: Jerry Trimble appeared first on Biz Books.

Nicole Oliver spoke to us about a few of her current projects, her biggest challenges, and the best career advice she’s ever received.

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Can you start by telling us about your current projects?

Currently I am in prep for a new web series – Narcoleap. It is a female-driven science-fiction project. I will be acting in it as well as directing an episode!

My voice work is still going strong… I am currently recording season 2 of Rainbow Ruby, Season 5 of Superbook… and a few other projects that I can’t spill the beans on yet!

I also have a nice role in Wonder starring Julia Roberts, Owen Wilson and Jacob Tremblay in theatres now, and My Little Pony: The Movie as Princess Celestia – a role I have played on the TV series since 2010.

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“Voice acting allows you to be anything your voice can be; how you look is not a limitation on what you can play.”
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You’ve had success in live action projects as well as voice acting. What do you enjoy about each one?

I love live action projects; however, roles for white middle-aged women are pretty middle of the road, but things are getting better.  Female-driven stories are important and it is essential that we write, produce and share these stories!  I would love to play a kick-ass, take-no-prisoners type of character; perhaps I should put my money where my mouth is and write something!

Voice acting allows you to be anything your voice can be; how you look is not a limitation on what you can play. I love the freedom in expression the medium allows as well as the exaggerated sense of play and humour.

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

What is the biggest challenge that you’ve faced in your career so far and how did you overcome it?

There are challenges everyday- big and small.  The biggest challenge I have faced so far is one many women share regardless of where they may find employment; how to balance work and life.  How can you fulfill the inner artist, make dinner for growing teenagers, nurture your significant relationship and find time for self care?  The business is brutal and filled with rejection and challenges; surrounding myself with loved ones and family allows me to face each day, each challenge.  Some days are great and others are not so great.  A support network is important and having the courage to communicate and share your challenges is essential. Granting myself some grace in not always having to be perfect and recognizing that I am enough also helps the “spinning head” syndrome a bit.  I have learned that asking for help comes from a position of strength.

How is your preparation different for a voice acting role vs. a live action role?

There really is no difference in the prep except that I don’t have to memorize my lines for voice work!  With voice acting, I see “voice” as merely the adjective.  It is all acting, so relationships, intentions, obstacles, sharing true emotional experiences are always in play.

What is the biggest misconception about voice acting?

I think the biggest misconception is that it is just about making funny voices.  You have to engage your body, your breath and use movement.  Most of us voice actors use our natural speaking voice over 75% of the time; making funny voices is tons of fun, but even those voices are connected to a “living and breathing” character with a rich history, relationships that affect choices and strong intentions and desires.

From your perspective, why do audiences continue to connect with animated television series and films?

I think animation allows all of us adults to embrace our “inner kid” and reflect back on a simpler time. Whether the show is wacky or carries a strong emotional message, the medium of “cartoons” lets us drop our adult faces and engage in play.

What would your fans be surprised to know about you?

I think my fans may be surprised to know I love to garden, I am obsessed with all things zombie and occult, and that ’80s arena rock is my music mojo.

What film and TV-related books and authors have been influential in your journey so far?

In no particular order: A Challenge for the Actor by Uta Hagen, Freeing the Natural Voice by Kirsten Linklater, and Complete Works of William Shakespeare.

What is the best career advice that you have ever received?

Ooohhhh, great question! It’s a tie between:

“The entertainment business is a business;  use your head but the lawyers and accountants have no business with your heart.”

and

“You should try voice over work. It will help fill the gaps with on-camera work.”

Where can we find out more about you?

Check out my website- NicoleOliver.com or follow me on Twitter: @mouthnoize

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Thanks to Nicole Oliver for speaking with us!

You can see Wonders in theatres everywhere.

The post The Biz Interview: Nicole Oliver appeared first on Biz Books.

We asked James Clayton to take us inside the dangerous world of Residue and tell us more about his career.

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

Residue is a supernatural action horror written and directed by Rusty Nixon and will be released on VOD and iTunes July 18 in North America. The film is produced by Blaine Anderson & myself through our company Motorcycle Boy Productions. It’s being distributed by IndustryWorks Studios and Xlrator Media.

I play a private investigator named Luke Harding who accidentally reads a demonic book that unleashes an evil force in his apartment. It boasts incredible ensemble cast which includes Leo Award nominated Taylor Hickson (Deadpool), Gemini Award nominated Matt Frewer (Timeless, Orphan Black), Alika Autran (Altered Carbon), Elysia Rotaru (Arrow), Costas Mandylor (Saw series), Blaine Anderson (Scary Movie 4), and William B. Davis (The X-Files).

What can audiences expect from the film?

Fun. I had the privilege to watch the film at the Academy Award-sponsored Sunscreen International Film Festival in St. Petersburg, Florida back in April of this year. The film is a thrill ride. The audience loved it and the biggest question we received afterwards was, “When is the sequel?” The film creates a very lush world and although it delivers a satisfying conclusion, it leaves the door open for an entire universe of discovery.

In terms of tone, it very much has elements of H.P Lovecraft, The X-Files, and a dash of Evil Dead.

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“Never stop. Be yourself. Enjoy the process.

Enjoy the people. Create your own work.”

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What kind of preparation did you do for this role?

For all my roles I do intensive preparation on the psychology and physicality of the character.

The previous film I did, Candiland with Gary Busey, I lost 55 lbs from my normal weight of 185 lbs. I’m just about 5’11 and I was 130 lbs during filming so it was a real challenge. We went into Residue next and I had to build myself up into a muscular but out of his prime detective. So I worked out quite a bit, ate a lot of burgers, and bulked up to 190 lbs. The physicality of a role really informs the psychology and I love the challenge. I also write an entire backstory for my character.

What was the most challenging part of making this movie and how did you handle it?

You know, there wasn’t anything exceptionally challenging about making Residue. Everything always came together, we had an amazing crew & cast, and post production was seamless. From pre-production to delivery it was only 12 months. It really flew by.

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

How would you describe the current state of the film and television industry in Vancouver?

Busy! I think it’s great how many productions are in town and it’s inspiring that the local indie filmmaker scene is expanding every day. There are some great filmmakers in this city and the international market will become very aware of our indie scene as time goes on.

You’ve done a lot of acting in both the film and television worlds. What do you enjoy about participating in each one?

I really enjoy the collaboration. You have to like people to be in the film industry because that’s what it’s built on. Great people. And I love meeting new people everyday and sharing stories. When crew and cast are in sync, that’s when magic happens.

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

Never stop. Be yourself. Enjoy the process. Enjoy the people. Create your own work.

What film and television-related books and authors have been influential to your professional journey so far?

For the craft of acting: Lori Triolo who studied at The Neighbourhood Playhouse taught me how to act. She resides in LA. She should write a book because there is no one better. But I have read great books about the craft by Susan Batson, Larry Moss, Ivana Chubbuck, Stella Adler, Sanford Meisner, and Uta Hagen. Those are all essential reads. Linda Darlow, who also appears in Residue, is an awesome teacher and local to Vancouver. I encourage young actors to read her book Auditioncraft for some amazing practical advice.

What other projects are you working on?

I’m currently in preparation for an action thriller called High Caliber. The film is written by Niall Cassin and Rusty Nixon and will be directed by Rusty Nixon as well. Blaine Anderson and myself are producing it through Motorcycle Boy Productions and it will be distributed by IndustryWorks Studios. Think Die Hard meets Lethal Weapon. We begin filming late September of 2017.

Where can we find out more about you?

For updates on all the film work I do people can check out:
JamesClaytonActor.com
MotorcycleBoyProductions.com
Instagram.com/jamesclaytonactor
Twitter.com/jamesclaytonactor
IMDB

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Thanks to James Clayton for speaking with us!

You can see Residue at The Rio on Sunday, July 9th, 2017 at 3:45PM. The filmmakers will be in attendance. For tickets, please visit riotheatretickets.ca.

After that, watch for it on VOD and iTunes on July 18th.

The post The Biz Interview: James Clayton appeared first on Biz Books.

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

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

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Lee Shorten of Anh Hung

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

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

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

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

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

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

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

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

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

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

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

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.

In Pacific Theatre’s newest production, Wit, Katharine Venour plays a renowned professor dealing with cancer who learns about kindness and redemption over the course of her treatment.

Now on until June 11th, the storyline and and acting demands in Wit ultimately offered Katharine Venour a deeply rewarding experience. She spoke to us about the play and her career.

What is your involvement with Wit and how did that get started?

I play Vivian Bearing in Wit.  I’ve loved the play for many years now.  I first saw the play in production at The Vancouver Playhouse and thought it was just a wonderful role and story.  I was overjoyed to be offered the role by Pacific Theatre, and to be directed by Angela Konrad.  I’ve always have wanted to work with Angela, so this has been an exciting collaboration for me.

What drew you to be a part of this production?

Margaret Edson has written a very beautiful play in Wit. The language, the character of Vivian Bearing, the construction and rhythms of the play are powerful, and have great range for an actress to play. The play says important and true things about what is important in life when we face the end of life.  It is a joy to play an English professor of John Donne as I have always loved Donne’s sonnets.  After I completed my theatre degree, I got a Masters degree in English Literature, so this play, to some degree, combines my two loves of theatre and literature. It also offers an actress a wonderful dramatic range to play, as it combines humour and tragedy in the Vivian’s story. It is a play that is ultimately about struggle and the movement towards grace, expressed with a humour and sensitivity that is very powerful.  Also, I connect personally with the play in that I have people close to me in my life who have struggled or died from cancer.

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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?

As soon as I heard that I got the role, I ordered the play and started to work.  I researched ovarian cancer and the medical terms used in the play.  I researched and read about John Donne.  From the very first time I read a script, I begin to personalize the story – finding and searching for the ways in which the story is a part of me.  That is – who is Vivian Bearing in the text and how do I find her in me?  I think of people in my life whom I’ve met who are ‘forces of nature’, like Vivian.  In practical terms, I set out a schedule for learning the text which is massive.  The more time I have to ‘absorb’ a role, the better.

What should audiences expect from this show?

It is a beautiful expression of grace. It explores themes of life, death, God, John Donne’s literature, the struggle with illness, ambition, and identity, and it does all this with great depth of feeling, as well as humour.  The play is a superbly written piece of theatre.

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

Three most important ingredients for a strong production:  I think a strong production always begins with the playwright.  A strong show starts with a strong script.  Then, strong actors and designers of set, lights, and sound.   And I will add that a strong director who has a clear vision of the heart and workings of the story is very important too…I think that’s more than three ingredients!

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

My acting mentor when I was an acting student doing my theatre degree in performance was Grant Reddick and he was taught by Uta Hagen.  So Uta Hagen’s Respect for Acting and her approach to the craft has been a deep influence on me as an actor.  In recent years, I have participated in workshops at the Michael Howard Studios with Patsy Rodenburg and I really like her approach to acting in the powerful work she does incorporating voice, body, presence, and Shakespearean text.  I have all her books, and I highly recommend, The Second Circle.

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

I think it is important for an actor to keep training.  I try to seek out the professionals whose work I admire, and take workshops to continue to hone my skills.  Remember that it is a joy and privilege to be an actor, and love the people in your life with generosity.  Have faith. Breathe onstage, and in life.  Technique and the craft of acting liberates you to be free and serve the story you share with other actors onstage and with an audience.  The actor serves the story.

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

Not sure what project will be next, but I continue to hope for strong, powerful stories and wonderful artists to work with!

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Thanks to Katharine Venour for speaking with us!

Wit is now on at Pacific Theatre until June 11th. For tickets, please visit pacifictheatre.org.

The post The Biz Interview: Katharine Venour appeared first on Biz Books.

We caught up with Carl Kennedy to find out more about Common Grace and what he brings to the production.

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What is your involvement with Common Grace?

I will be portraying the role of Pastor “Dan”.

What drew you to be a part of this production?

First and foremost, Pacific Theatre feels like family. My first show in Vancouver (Jesus Hopped the A Train) was at Pacific Theatre. It’s always exciting to work on a new play. Now, add the fact that we actually have the opportunity to (not only interact), but share the stage with the playwright. How many times in life will an opportunity like this present itself?

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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 will be portraying a pastor in the show, so my first reference was the word of God – The Bible. I was drawn to Galatians 5:22-23 – “But the fruit of the Spirit is love, joy, peace, long-suffering, gentleness, goodness, faith, meekness, temperance: against such there is no law.” Often – in life – we listen to respond. I feel that its Dan’s aim to listen in order to gain understanding. Dan is obviously a friend of the family, so it’s important to create a solid backstory with every member of the family. Also, using improvisation in the rehearsal process as a tool will help strengthen the relationship structure/dynamic.

What should audiences expect from this show?

This play is a hearty stew, filled with love, loss, anger, resentment, shame, compassion and forgiveness (stirred with the ladle of life altering decisions) If not carefully watched, the pot will boil over.

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

For this question, you have to go back to the basics. The three ingredients essential to a stage production would be the players on stage, a well written story and a captive audience. With this particular production, I feel that the audience will feel like a part of the family – a part of the community by the time the play is over. The chairs in the audience will feel like living room furniture – the awkwardness of crossing to the refrigerator for a glass of milk will be palpable.

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

The Six Steps by Uta Hagen readily comes to mind. It’s important to note that acting is “action” so my training at the University of North Carolina at Wilmington (BA in Theatre) and the University of Washington (MFA in Acting) has been indispensable to my growth as an actor.

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

What’s meant for you is for you and no one else. You’re only competing with yourself.

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

I’ll be performing in The Sunset Ltd at Rosebud Theatre from July 8th to August 27th.

I’m also on Twitter: @carlkennedyshow    Instagram: @carl_kennedy_actor

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Our thanks to Carl Kennedy for speaking with us!

Common Grace is now on at Pacific Theatre until February 14th, 2016. Visit PacificTheatre.org for ticket information!

The post The Biz Interview: Carl Kennedy appeared first on Biz Books.

Tell us a little bit about The Oblivion Series: A (Not So) Girlie Show.

You mean my ‘magnum opus’? Haha! My show is a collection of characters and stories that I’ve been developing over the past few years. It was born out of me wanting to perform material as an actor that I felt really jazzed about. I am a longtime Cold Reading Series participant and one year Lori Triolo dared me to join in on the “Actor’s Challenge” – where actors write their own stuff and have it read at the event. Terrified, I took her advice. Much to my surprise it was quite well received, and from there the show slowly started developing a life.

What can audiences expect from The Oblivion Series: A (Not So) Girlie Show that will make for a unique stage experience?

I’d say that audiences can expect first and foremost to be entertained and to laugh. Also perhaps to be inspired, moved and turned on in a new way. I don’t mean that in a naughty way, but in an “ideas” kind of way. A lot of the ideas in the show seem to resonate with people. I imagine it makes for a unique stage experience because it’s written by an actor – not a professional playwright – so maybe that’s a different sort of thing right out of the gate. Also it’s not structured as a traditional “play” but really as a fun wild romp of a live “show”.

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Can you briefly walk us through your creative process of this incarnation of the show – from the early stages all the way to opening night?

That’s a funny story. Basically my co-producer and co-star Lori Watt (who had seen the show in LA) called me up one day and said “hey I have a friend starting a Fringe Festival on the island and how would you feel about doing your show there in June?”

I said yes and we got together to read the monologues, deciding it would be fun to do it just the two of us. We thought originally that we would self-direct (which is hilarious in retrospect) and so began rehearsing at Lori’s place. After a bit we thought: maybe a director friend could look at this just to give another p.o.v., so we contacted Linda Darlow, who agreed to “take a peek”. From there it kind of snowballed into the Zone Festival with Jay Brazeau adjudicating, which was a very fun and encouraging experience. That was actually the moment I thought we were onto something with this new version. The audience feedback was clear.

Now, since joining forces with Alison Araya – who has really amped it up with what she’s bringing to the table – it really feels like it’s up and running with a clear vision and in a great place as a production. The creative process in a nutshell I suppose has been aligning with like-minded people who love this wacky material and are really bringing themselves to it and are showing up in a big way. Oh and HAVING FUN. I should have said that at the beginning. The creative process has mainly been about having fun with this.

The Oblivion Series: A (Not So) Girlie Show has played in a few different cities now. How has it evolved over time and where do you see it changing in the future?

It has evolved a lot. What a journey! Primarily I’d say the show is now finding it’s correct rhythm, and has become a lot funnier. I credit Linda Darlow for this immensely with her direction. Somehow she has elevated it to a wonderfully absurd yet honest and hard-hitting place, if that’s possible to imagine. The earlier iteration in LA was treated a lot more seriously. That’s the interesting thing about creative collaborations: so many possibilities to explore. Also there are a few new pieces in this show that weren’t in LA, and I’ve dropped a couple of old pieces. That’s the beauty of having titled it a “series” – it can always evolve and change as I write new bits. Probably that’s how it will continue to go in future.

What has been the biggest highlight for you with The Oblivion Series: A (Not So) Girlie Show so far?

Two things: #1: Debuting my show in L.A. at the Stella Adler Theatre. That blew my mind and was one of those ‘pinch me’ moments. Huge gratitude to the L.A. Women’s Theater Project for hooking that up. I read Stella Alder’s book on acting back when I was training and her words resonated with me more strongly than most teachers. She is one of the greats – and an original. I never thought I’d be in her theater with my original work. I still get goose bumps thinking of walking around her hallways and hanging out in her speakeasy. I’m pretty sure I could feel her presence in there. I think that’s what they call “walking on your dream”.

#2 biggest highlight has been working with Linda Darlow and the ladies of WaWaYa Productions. It’s simply a joy.

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

The challenges have really only been #1: getting out of my own way and just getting out there with my work, taking the risk, and #2: aligning with the right people to collaborate with. How I dealt with that is by #1: saying yes when there was interest in my show and basically throwing caution to the wind, despite my fear or doubts, and #2: trial and error, and getting clearer on my own vision over time. I sometimes joke that I’ve been work-shopping this show in public, and now it’s finally hitting its stride after all the live experiments.

What advice do you have for other performers who want to develop or act in their own show?

DO IT! Stop thinking about it and actually do it! If you are remotely inspired and have some ideas: write them down, try them out, read them aloud to people, get up on a stage and give it a whirl! I was so scared when I first started with this material and now I can honestly say it is one of the most rewarding and exciting experiences of my life.

The Oblivion Series: A (Not So) Girlie Show is very adult-oriented and draws from your own life. What was the process like of writing from your own experiences? How close does the final version match up with the original life experiences that they were drawn from?

I love how you say “very adult-oriented” – sounds so racy and dangerous! The process of writing from my own experiences is very liberating and empowering. I say in the synopsis that the characters are coming to terms with their lives, but secretly I think I am. There’s something about owning things out loud in front of people. Making them “characters” and putting them on a stage gives the freedom to poke fun at myself and to be creative about how I tell the stories. Hopefully I’m offering a somewhat universal take on the themes I’m exploring, and that the characterizations allow for that detachment that can then resonate more deeply somehow. I like to leave it up to the audience to guess how closely the final version matches up to reality. A girl’s gotta have some privacy. Things are certainly embellished and altered for dramatic (and comedic) effect.

What are the advantages of writing roles for yourself and acting in something that you’ve written? Are there any challenges?

The advantage is that I already know the characters because I wrote them. I already feel a sense of freedom and confidence because it’s from me. It feels natural right out of the gate to speak the words. There’s not that same searching and discovery process that comes from taking on a role written by someone else. There is still discovery, it just starts from a totally different place. The challenge has mainly been in marrying the p.o.v. of my director about the characters with my own, and allowing space in my writer brain for that much needed director p.o.v. Also it’s sometimes hard to separate my writing and acting brains, when they are both going on at once. But that’s a challenge I am thoroughly enjoying.

What were your reasons for getting involved with acting and writing to begin with?

Reasons? Ha! I’m not sure reason had anything to do with it! I have been making things up and getting people to watch me since the age of four. It’s just something I’ve always done. That’s from the acting side of things anyway. I guess there is a reason I got more involved as a writer these past years, and that’s because I wasn’t feeling entirely satisfied as an actor. I love performing but I only ever sometimes felt like the material was rocking my world. I needed more, and writing has certainly filled that hole.

Again I go back to what Lori Triolo preaches at the CRS: “…if you’re not satisfied with the work you’re getting, create your own!”

Ba-da-boom.

Who are the performers, writers, or directors that have been influential to you?

Along with those already mentioned… Eve Ensler, Meryl Streep (it’s not cliché, she’s a genius!), Robin Williams, Sandra Bernhard, Sacha Baron Cohen, Stephen Colbert, Marilyn Monroe, Ani DiFranco, Bob Marley and ummm, Madonna. To bring a local flavor I’m gonna go with Kate Twa, Andrew McIlroy, Lynne Stopkewich, Rob Stewart, Kris Elgstrand, Dylan Akio Smith, and Tony Pantages.

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

Oh goodness there are so many! Off the top of my head, in acting school my favorite reads from a training point of view were Stella Adler and Uta Hagen. Also Michael Caine’s Acting in Film. Tina Fey’s Bossypants is SUCH a great read. I read a lot of non-fiction, quantum physics and healing stuff. At the moment I’m going between Joanna Macy’s Active Hope: How To Face The Mess We’re In Without Going Crazy, and Russell Brand’s My Booky Wook. Also I hear Linda Darlow has a new book coming out. That’s gonna be a must-have for every actor.

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

I’m playing with ideas on how to translate some of this existing work into short film format. On the live performance front I’ve recently developed some 5 minute comedy sets that I’ve been performing at local comedy venues. I plan to elaborate on this, and am slowly but surely developing new material for an hour long show.

The Oblivion Series: A (Not So) Girlie Show is now on at Studio 1398 (Playwrights Theatre) Granville Island. For tickets, please visit: Oblivion.BrownPaperTickets.com

The post The Biz Interview: Justine Warrington of The Oblivion Series: A (Not So) Girlie Show 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.

We spoke with William B. Davis to get his insights into Where There’s Smoke … Musings of a Cigarette Smoking Man and the various musings that we can expect to see.

Can you walk us through the process of writing this book – from the early stages to publishing? Why was now the right time to make it happen?

To write a memoir one has to be a certain age; old enough to have a story to tell and not too old to tell it. Early seventies seemed about right.

I had often thought about writing a memoir, my idiosyncratic background surely of interest to aficionados of Canadian theatre if no one else. It was Jerry Wasserman from UBC who first suggested it and directed me to Fred Euringer’s memoir, A Fly on the Curtain, that dealt with a similar period from my early life, summer stock and University of Toronto in the late fifties. I also read my friend David Helwig’s memoir, The Names of Things, also about the same period.

Would the book be about early Canadian theatre or about my life as a late blooming celebrity? I decided on both. And added my life in the British theatre in the dynamic sixties.

Not only is the book a history of theatre and film, it is also a social history spanning the early postwar period to the present. And I am far too candid about my personal life.

Of course my X-Files experience is important and has many fans, but equally important was the light I could shed on the development of theatre in Canada.

In the book, you discuss how chance factors into the career of any actor. What can today’s actors do to increase their “luck” in the hopes of having a more successful career?

I suppose I should suggest all those things I hate doing and rarely do. Going to the right parties, meeting the right people. Being a first rate actor is all that you can control. Whether you are the right size or look is out of your control.

What kinds of discoveries can your fans expect to learn about you from reading this book that they might not know already?

Few fans of The X-Files, few producers of The X-Files, were aware of my long career in Canadian and British theatre. They will learn more of my personal life than I should have revealed. And they will learn of my personal history with the show and my thoughts about it.

You mention that Bill Davis has had many different lives. What are the accomplishments that you are most proud of as an actor and also as a person?

I am proud of my early career as something of a boy wonder in the theatre – as a director, not an actor.

I am proud and surprised to have become a successful actor, a career path I had abandoned in favour of directing when I was 20.

My short film, which I wrote, directed, and performed in, Packing Up, is still especially meaningful for me.

Founding The William Davis Centre for Actors’ Study in 1993 which continues to this day.

I am pretty pleased that at age 74 I can still climb the Grouse Grind and water ski competitively.

How influential do you feel that The X-Files was for science fiction, television, and also the Vancouver film and TV industry?

No doubt the success of The X-Files has brought attention to Vancouver as a location for science fiction projects. Many have followed, notably Supernatural and Fringe and more recently, Continuum.

How do you handle the challenge of being closely tied to one character without being typecast? What steps can actors take to avoid that and what can they do to also further their enjoyment of playing the same character on a regular basis?

Of course I am typecast sometimes. But I’m fine with that. Fortunately I am quite a different person than the character I played on X-Files so frequently I play very different roles. I don’t know how one deals with playing the same character for hundreds of episodes – I only did 35 episodes of X-Files. For me the character kept changing in subtle ways and deepening.

What’s the best advice you’ve been given in your career and what’s the most important thing from your own experience that would share with today’s actors?

On my first day as an acting student at LAMDA in London, the principal told us all to be happy, to accept that we had talent or we wouldn’t be there, and allow our work to grow. For me, beating young actors into submission is to risk destroying their talent to say nothing of debasing them as people. Talent is to be nurtured like a plant, provided with nutrients and a healthy environment. If you pull it out of the ground every week to see how it is doing you will surely kill it.

You’ve been acting at many different points in your life and have been able to witness a lot of different actors come and go throughout the industry. Which actors really stood out for you in your earlier years and which ones impress you with their work now? From your vantage point, what are the elements that make someone a legitimate talent?

There were many actors in my early years, Michael Redgrave, Joan Plowright, Paul Newman, Geraldine Page, Albert Finney. Now, Ian McKellen, Judi Dench, Anthony Hopkins.

Is there a difference between a talent and an actor? There are many film actors with amazing talent but limited to a narrow range of film and television work. To be a major star one needs training and experience in both theatre and film.

But any actor must be able to put herself in imagined circumstances and live truthfullu.

What books have been important to you throughout your career and were there any that inspired you when it came time to write your own?

I have read widely on subjects such as evolutionary biology and climate change that have influenced my thinking about life in general. I read many memoirs when I came to write mine. Peter Hall, Judi Dench, Amelia Hall, and Fred’s and David’s mentioned above. I read Christopher Plummer’s and William Shatner’s but felt I wanted to write a different kind of book.

Theatre books – Larry Moss, Hart, Uta Hagen, and, of course, Constantin Stanislavski.

What other projects are you involved in right now?

I have a small but key role in the new series Continuum. Tall Man will be released at the end of August. I shot a new Steve Austin action movie, The Package, and a low budget science fiction feature, The Singularity Principle. A lovely docudrama, The Mountain Runners has just been released. I am looking at other writing projects, a new book on acting and a new translation of Feydeau. And some directing projects are being discussed for 2013.

Where There’s Smoke … Musings of a Cigarette Smoking Man is available for purchase at WilliamBDavis.com.

The post The Biz Interview: William B. Davis for “Where There’s Smoke… Musings of a Cigarette Smoking Man” 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.

The post The Biz Interview: Jason Goode – Director of “Danny and the Deep Blue Sea” appeared first on Biz Books.