How did he become involved with the film and bring this much influence and talent to the production? We spoke to him to find out.

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

Well, I am a working actor, producer, director and human.  More accurately l am working on my humanity while being an actor, producer and director as well as teacher.  I also am a friend in my spare time!  I started off by doing sock puppet plays from behind the couch when I was three, or so says my Mother.  Then I graduated to being taken to plays and caught in the wonder of Fiddler On The Roof, when the lights went down and magically (in my future high school gymnasium) a little house appeared with a man on the rood playing a fiddle!!  Then I watched every movie I saw from the silent era forward and was doing impressions of Bogart, Cagney and W. C Fields when I was 4-6 years old.  I got hooked on telling stories and did all kinds of plays in school, then videos, then eventually graduated from that same high school and went onto UBC.  I got a BFA in Theatre from UBC in 1996 and did as many plays and student films as I could get into to learn more of the craft.  I have since worked in over 120 TV shows, films, MOWs and done many animated shows as well as voice overs for commercials on radio and TV.  I have also produced a few film projects and directed a few.  The one I am most proud to be a part of is, Patterson’s Wager.

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

My good friend Corbin Saleken called me up one day and said, “Hey, I have this film I want to make.”  The rest is history.  I immediately said yes to being a part of it, because everything Corbin does is incredibly good.  We have known each other for over 20 years and I have been fortunate enough to have been asked to be a part of some of his projects in the past.  Corbin sent me the script, I read it and loved it!  He asked me about playing a part and helping to cast it and I of course said yes!!  We then had chats about who we saw playing each part and we basically had the same or similar people in mind and set about asking those people if they would like to be involved.  They said yes!  My role as Co-Producer grew as well as the project grew, it was a big learning curve, let me tell you!  The crew was amazing and I worked into their vibe as the film went on and my acting part was over.  Cause if it ain’t broke, don’t fix it.  I play as a team member on and off camera and it worked great.

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

To get into character for this role I borrowed the life experience that I saw in my father and grandfather.  I myself am not a father so I looked to the love and affection that my Dad and grandfather gave me and used that as my template.  Corbin gave me the chance to play a father and I will never forget that!  I experienced the joys and sorrows of parenthood in this role, that is something I will never be able to properly thank him for.  Plus I drew from other mentors in my life, my girlfriend’s father who was a mining engineer for many years and my uncle.  There is a lot of family in this movie so I used my family and the emotional connections I am lucky and was lucky enough to have with them.

You were also involved as the Casting Director for this film. What can you share about that experience?

Luckily I have been able to work in the Vancouver community for the past 20-25 years and I have worked with a lot of people and know a great many quality actors that we have.  When it came down to casting, once I had read the script I just saw the people I know in the parts I had read and talked to Corbin about it and we got everyone we wanted!!!  Once everyone read the script they all said yes!!  So that was the majority of my job, the script did it!  We only really had to look for one character, Otter and we luckily found her in the wonderful Michelle Creber!! What a wonderful young actress she is.  All the major parts were played by incredibly talented actors like Garry Chalk, Anne Openshaw, Fred Ewanuick, Chelah Horsdal, Tom McBeath, Gillian Barber… in fact and all the supporting cast.  Honestly I thought everyone involved did a wonderful job.

Thinking back, what was the moment when you knew you wanted to be an actor?

I remember the moment I became an actor, it was in styles class with JB Brockington at UBC.  We were in scene study and everything gelled for the first time and I was gone and my character took over!  Every since then that is what I strive for!  I think I made the conscious choice to become a professional actor once I completed my training, it was so satisfying doing something I had trained so hard for! Prior to that I had always loved acting and being part of a good show, because the theatre, TV and movies had given me so much entertainment.

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

My favorite author is Richard Bach, who has written many books.  Illusions: The Adventures of a Reluctant Messiah is one of my favorite of his books and of all time.  It is a book about being, being yourself, being human, just being.  Also I really loved Kirk Douglas’ autobiography, The Ragman’s Son.  It shared the hope I already had that if you worked hard you would find a measure of success.  I read it coming back from Europe on the plane, bought it in Heathrow and finished it on the flight.  I have re-read both of them a few times over the years.  I also really like Piers Anthony who writes amazing fantasy and sci-fi as well as my guilty pleasure of Clive Cussler novels.

What advice do you have for new actors entering the industry today?

My advice to actors entering the profession today is… and I am going to quote Peter O’Toole here, “Study!”  Study your future life’s profession.  You must have a solid base of training in order to have a fulfilling career.  Enter a university, college or other credited training program and learn as much as you can.  It is easier and easier to “make” films these days but the quality of a lot of these films is questionable.  Just because you like movies and watch them does not make you a good filmmaker or actor.  You have to get experience.  Now you can gain that experience by making your own films of course and I encourage that, however make sure that there are people on the film that you can learn from.  Acting is a craft, take time to learn your craft and your will have a long career.

What do you like the most about being an actor in Vancouver?

What I like the most about being an actor in Vancouver is the variety of shows I have the opportunity to work on, as well as the people I have had the chance to work with!  I have worked with the cream of the crop of our Vancouver acting crowd, the excellent, dedicated professional crews, producers, directors, designers, office personal, everyone!  I have also been able to work with a lot of big names in our industry.  All in the beautiful setting of Vancouver.  Having a great life here with wonderful friends and lifestyle.  Kits pool in the summer, biking, snow boarding on the local mountains and the wonderful friends and support team I have in them.  Wow there is no one single thing!  They are all related.  Plus great professional agents that make my life easier too by doing such a good work!

What other projects are you involved with at the moment?

I am currently working on developing a web series with the same production team as our short film, Not Indian Enough, which I directed, which got into VIFF.  I have also just worked on a couple murder mystery MOWs and I hope to be back on Amazon’s The Man In The High Castle.  I do a bit of commercial casting with Kirsten DeWolfe from time to time at GO Studios and I also teach at School Creative (GO Studios) and I find that very satisfying as well.  Giving back to the new actors coming up today and passing on the knowledge that was passed onto me and keeping the knowledge flowing between generations is important

Where can we find out more about you?

You can find out more about me at my website, AlexZahara.com.  There you will find all my demo reels for on camera and voice work, lots of photos and articles as well.  And just punch name into google and see what happens!

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Thanks to Alex Zahara for speaking with us!

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

Tickets are available through VIFF.org

The post The Biz Interview: Alex Zahara appeared first on Biz Books.

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

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

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

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

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

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

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

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

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

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

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

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

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

What have been some of your most memorable career moments?

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

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

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

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

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

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

What other projects are you involved with at the moment?

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

Where can we find out more about you?

I still love Twitter: @chelahhorsdal

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

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Thanks to Chelah Horsdal for speaking with us!

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

Tickets are available through VIFF.org

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

With a Golden Honu Award for Best Foreign Feature at the Big Island Film Festival for his film Patterson’s Wager, he’s eager to share the film with local audiences in just a few days at the Vancity Theatre.

O. Corbin Saleken gave us the lowdown on the film and his process in bringing it to life.

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

I am a Vancouver-based filmmaker whose primary goal is to make engaging, original stories.   I love it when a movie surprises me, when it takes me somewhere I haven’t been before, so that’s the kind of experience I’m trying create for an audience.

How did you get started in the industry and who were some of your early inspirations?

I got my start making movies back in high school, using a VHS camera to make bad skits and horror movies with my brother.  I eventually went to film school at UBC.  After graduating, I just kept plugging away, making shorts and writing scripts, until eventually I decided to take the leap and make Patterson’s Wager, my first feature.
As far as early inspirations, I’m a kid of the eighties, so I was hugely inspired by filmmakers such as Steven Spielberg, John Carpenter, Robert Zemeckis, and James Cameron.

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

You’re the writer and director of Patterson’s Wager. What can you tell us about the film and how you got started with it?

Patterson’s Wager is a romantic comedy with a dash of fantasy.  It’s about a man named Charles (played by Fred Ewanuick, from Corner Gas and Dan for Mayor) who discovers that he has the unpredictable ability to see two minutes into the future.   The key word here is “unpredictable.”  Charles can’t control his ability, nor does he know when it’s going to happen, which introduces a significant amount of uncertainty into both his life and the life of his girlfriend Audrey (played by Chelah Horsdal, from Hell on Wheels and, currently, The Man in the High Castle), to whom he wants to propose.

The impetus for the film was twofold.   The concept came to me when I was thinking about useless superpowers, and how I could introduce a single fantastical element into an otherwise grounded story.  I figured that being able to see a minute or so into the future wouldn’t really allow you to do anything spectacular, but it would be just enough to seriously complicate matters.  I then used this conceit to explore particular themes in which I’ve always been interested, these being trust, faith, and the nature of belief.

What should audiences expect from the film?

Audiences who see Patterson’s Wager should expect to see an original story that they haven’t seen before.  It’s a film that comes straight from my heart and mind, and its narrative journey is as unpredictable as are its main character’s “superpowers.”  Audiences can also expect to have an engaging, thoughtful, heart-warming experience that leaves them feeling particularly good when they exit the theatre.  At least, that’s my hope, and, judging from some of the comments I’ve received from audiences who’ve seen the film at festivals, it seems to be what a number of people have felt.

In your own personal experience, did the film change a lot from how you originally envisioned it during the writing process, or was it close to how you imagined it?

Honestly, the film turned out pretty much exactly as I envisioned it, to the point where many of the line readings were uncannily similar to what I’d imagined when I initially came up with the dialogue.   This only happened because people just kept saying “yes” to me whenever I approached them about contributing to the project.   This list of incredibly generous individuals includes the all-volunteer crew, the great cast, the people at William F. Whites and Sharpe Sound and Skylab, and everyone else who gave me access to a particular location, who loaned me or let me use a special prop, who carved me a special prop, and who sewed me a special costume.

What was the biggest challenge for you in making the film and how did you handle it?

The biggest challenge in making Patterson’s Wager was deciding to do it.  I knew that I was going to have to self-fund the movie if I wanted it to get made, which would require a huge financial and time commitment on my part.  I also knew that it would require access to a whole bunch of external resources, such as top-notch actors who’d have to be willing to work for next to nothing.  Despite these limitations, I was also determined that I didn’t want to go ahead if it meant I would have to compromise my intentions in any way.  If I couldn’t do it the right way, I didn’t want to do it all.

I handled this challenge by initially engaging three key people: my long-time friend and the movie’s eventual co-producer (and co-star) Alex Zahara, and the super talented cinematographers Nelson Talbot and Graham Talbot.  Once these guys were onboard, I started adding more and more people to the roster, until eventually I’d gained enough forward momentum that I couldn’t stop even if I wanted to.

What advice would you have for other directors who want to direct their own screenplays?

To answer this, I shall quote a writing instructor I once had, who said that every writer’s problem is that they can’t see their screenplay’s biggest flaw.  Now, I don’t necessarily believe that every screenplay has a big flaw, but when you’re directing your own script it’s certainly easier to overlook, or simply be oblivious to, some problems that might be there.  For example, I will admit that there was one scene in Patterson’s Wager that I overwrote.  It was an important monologue with which I, the writer, was a little too enamoured.  Unfortunately, I, the director, hadn’t realized that I’d overwritten the scene, so we shot it the way it was written, which meant that it was eventually left to me, the editor, to fix it.

I guess, then, my advice is to be very critical of your own script, and make sure you ask for feedback from people you trust.  More importantly, make sure that you listen to this feedback.  If you truly understand the story you want to tell, you’ll be able to apply this feedback in ways that will make your project stronger.

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

My two favourite authors, the ones who’ve had the biggest influence on the way I think about stories, are Jonathan Carroll and Neil Gaiman.  Both of these writers have a knack for creating original narratives, ones that often mix the fantastical with the quotidian, which is something I also like to do.   I’ve also been influenced by D.H. Lawrence, Iris Murdoch, Brian K. Vaughan, Alan Moore, and Roald Dahl. Dahl’s James and the Giant Peach and E.M. Forester’s A Passage to India are probably my two favourite books.

As for film-related books, I loved Hard Core Roadshow, which is about the making of what I consider to be the greatest Canadian film ever made, Hard Core Logo, as experienced by the movie’s screenwriter Noel Baker.  Another great book on filmmaking, and just life in general, is Herzog on Herzog.  During pre-production on Patterson’s Wager, I found Master Shots Vol 2: Shooting Great Dialogue Scenes to be particularly useful.

What other projects are you involved with at the moment?

My next project is probably going to be a short film that will also feature Fred Ewanuick. I’ve written a bunch of feature scripts, so I’m hoping that I can use Patterson’s Wager as a springboard to get one of them made. My dream project is called Peach Fest, it’s kind of the Canadian Dazed and Confused. I’ve got another one called The Dummy Factor, which is about a group of kids investigating a possible local connection to some child abductions.  I’ve also got an unconventional ghost story that I wrote with my cousin Ben Rollo.

Where can we find out more about you and Patterson’s Wager?

You can find more information about Patterson’s Wager at PattersonsWager.com, facebook.com/PattersonsWagermovie, and @PattersonsWager on Twitter.

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Thanks to O. Corbin Saleken for speaking with us!

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

Tickets are available through VIFF.org

The post The Biz Interview: O. Corbin Saleken appeared first on Biz Books.

Film Details

A Legacy of Whining not only throws gasoline on the familiar cinematic trope of male mid-life crisis but watches gleefully as it sits back and throws a lighted match onto the proceedings. Inspired by its love of early 1970’s American buddy films, this shaggy dog comedy (played out in one desperation-soaked dreamlike evening) tells the tale of two former high school friends, Mitch and Dunc, who reunite thirty years later in an attempt to resurrect the faded corpse of their “glory years” only to find, perhaps, that the past ain’t all it’s cracked up to be…

Starring Ross Munro and Robert David Duncan and Angie Descalzi.

Written and Directed by Ross Munro.

NextOneProductions.ca

Screening Details

Date: Tuesday, April 5th, 2016

Theatre: Vancity Theatre

Time: 6:30pm

For tickets, please visit VIFF.org

Win a Pair of Tickets

Please send an e-mail to info@bizbooks.net and please include this information:

• Your Name

• Your E-mail Address

• Your Phone Number

• “A Legacy of Whining” Movie Contest in the subject line

Winners will be selected at random and will be contacted by e-mail.

The post A Legacy of Whining Movie Contest appeared first on Biz Books.

Just ahead of the film’s world premiere at the Vancity Theatre on April 5th, Robert David Duncan talked to us about how his time as an actor and director influenced his work on A Legacy of Whining.

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

I have been dedicated to acting for 10 years now, having decided to pursue it seriously in mid-life after working as a consultant, college teacher, author and public speaker. At one point, I literally “gave up my day job” and took a leap into the Stella Adler Studio summer conservatory program in New York, which was a wonderful experience.

After lots of acting training here and in New York and some cool experiences in acting, I decided to try directing. Ross Munro was a big encourager of mine, telling me that I should give directing a try, and that it was fun. He was right! Several years ago I formed a production company, Fat Punk Productions, and we have developed a number of films, most recently a feature called It’s About Love that is in post-production. We have been fortunate to have had a lot of success getting our films into festivals around the world and winning several awards. I have also written books on acting and filmmaking and teach both subjects.

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

What can you share about your character in A Legacy of Whining?

Hilariously enough, Dunc is like my evil twin. He is everything that I am not. Aside from the obvious physical and name resemblance, he is Mister Hyde to my Doctor Jekyll, which makes him a delicious acting opportunity. In real life, I am an optimistic, encouraging person. I’ve been with my wife for 25 happy years, I don’t party or pop pills, and I’d much rather be home in my nest when the sun sets. Dunc on the other hand, well…

What kinds of things did you do to prepare for your role?

Ross Munro and I talked quite a bit about the characters, and the homage to old buddy movies of the ’70s. We very early on had a meeting of the minds, and didn’t have to explore the script to death, because the rhythm of the communication between the characters was just so natural. We slipped into each of our characters very readily and our rehearsals were really a lot of fun. My wife was also great at helping me with the lines, and she still knows a frightening number of them – we are always tossing around Mitch-isms and Dunc-isms. I also think everyone has had a friend like both of these two guys, the one who remembers everything about the old days, and the one who couldn’t care less, the undermining friend, the starry-eyed dreamer, and so on. By the time you get to middle-age, there’s a lot of experience to draw upon!

You have a wide mix of acting and directing credits. What do you enjoy about each of them?

Directing is a lot of fun and I find it sits comfortably on me as a vocation, probably due to my background in teaching, acting and management. Acting though, is the real drug, and is my first love. There are times during a performance when you can be so in flow that you zone out, and only come fully back into yourself when “cut” is called and you see that everyone is quite excited by the work. I’m sure every actor gets that experience at times, and it is really special.

How does your experience as an actor help you as a director and vice versa?

Because I was an actor first, I get where most actors are coming from, which helps me immensely as a director. I have studied most of the acting traditions, and can relate to an actor that is working either from their emotional experience, or from a more cerebral or imaginative place. This helps me communicate my vision as a director in terms that we both understand. I also know to go easy on the number of takes because I understand the risks of burning out the actors. I aim for 3 takes maximum. To get to that level of performance I try to do a lot of work with each actor before we shoot. As for being an actor who also directs, I think it helps me understand what the director likely needs, and so I can bring that to my performance – things like repeatability in coverage shots, awareness of continuity and the like. In both cases, my empathy is deepened because I understand the different jobs on set, and the importance of serving the story and ultimately the audience.

Many of your directing credits are short films. What would you say are the three most important ingredients that every short film needs to be successful?

A story, a message and a theme you care deeply about. To some extent those elements overlap, but they are the key ingredients. I wrote a book called “Micro Short Filmmaking: A guided learning journey” which guides aspiring filmmakers on how to make a simple one-minute film. If you can get a story that fits into a minute, that is driven from something you care about, and leaves a viewer affected, then you can make any length of film. The important thing is to start. If you have a smartphone or other simple camera, you can make a micro short film for no money and get it into festivals and perhaps even win an award. I run workshops on micro short filmmaking, and I am constantly blown away by the creativity of the people who take part. These are the filmmakers of the future.

Are there any books or authors that have been influential in your career so far?

The Art of Acting by Stella Adler, Being an Actor by Simon Callow and Acting in Film by Michael Caine. I read very widely on acting craft, but those are the 3 that I would grab in a fire!

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

Nothing comes easy, and everything takes more time and more work than you can imagine. It’s important to be working constantly on craft and generating your own work through writing and producing. Waiting to be chosen through the traditional audition process is a recipe for defeat and discouragement. You don’t need anyone’s permission to be working on your acting craft. Study, practice, write and shoot a simple film, surround yourself with others who are working hard, and be quietly grinding away all the time. Work more, talk less.

What’s your opinion on the current state of the Canadian film industry?

We are in the middle of a sea-change in terms of the democratization of content production. We are seeing feature films shot with iPhones. If you have a great story, you can find a way to make a film and get it out there into festivals and released online. It’s not a recipe for making lots of money, but there is a lot of talent here in Canada, and a lot of creative people. I think it’s a great time to be an independent film producer.

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

I am in post-production on a feature film called “It’s About Love” and I am really happy with how it is coming together thanks to an awesome cast and crew. I am also filming a second feature which is an experimental iPhone film, and I have other projects in development. People can come visit us at FatPunkProductions.com, and can check me out on IMDB. Information on my current workshops and training is here. I am @duncanrob on Twitter, and am also on LinkedIn.

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Thanks to Robert David Duncan for speaking with us!

You can check out A Legacy of Whining at the Vancity Theatre on April 5th at 6:30PM.

Tickets available through VIFF.org.

The post The Biz Interview: Robert David Duncan appeared first on Biz Books.

Ross Munro joined us to give us the inside word on everything we need to know about A Legacy of Whining and why you should see it!

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Can you start by telling us a little bit about you and A Legacy of Whining?

Well, like a lot of filmmakers I grew up as a kid spending all my weekends hanging around movie theatres – I would watch the same film all day long (including all the trailers, shorts, cartoons)! The first movie I went to without my parents was Red Sun with Charles Bronson back in 1972- I’ve been obsessed with movies ever since!

A Legacy of Whining was created as an homage to the very popular ’70’s buddy film genre which I loved seeing so much back in my early moviegoing days- with a healthy dose of Woody Allen’s sarcastic humour thrown in.

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

What should audiences expect from the film?

Hopefully, audiences will find many of the painful situations that my character gets into not just funny but they will also recognize the universal themes of what it’s like to question where you are in life and whether you’ve made the right choices in trying to achieve success i.e.- what’s your legacy?

You wrote, directed, starred- Can you take us inside your creative process for building the script, prepping to play the character, bringing the overall vision to life?

As for the script, once I settle on the central idea or concept – in this case, a buddy film about two mismatched former high school friends who reunite 30 years later – I like to take some time to just think about it, let it germinate. I buy a fresh notebook and continually jot down info about character, plot, situations, scenes- any and everything that would seem to fit the film. Then when I have the main ingredients for the body of the film, that’s when I get on the computer and do my official first draft – using the blueprint of my now – hopefully- overflowing notebook.

As for preparing to play the main character of Mitch, I found that while still in the writing process, I kept visualizing him- with all his sarcastic commentary and never-ending complaining- as very Woody Allen-like as he’s always trying to talk his way out of jams a la Bob Hope (Woody Allen’s self professed influence for his cinematic persona).

Bringing the vision to life is the most exciting part – when you get to bring in all your cinematic collaborators – camera, costume, actors, production design, music, etc. – and share your vision with everyone and see all the amazing ways they contribute to taking it from the page to the screen!

What was the most memorable moment for you during the making of this film?

It was probably the very first day of shooting. We were filming the Fred Astaire-like 1930s dance fantasy sequence- I remember I was dressed in my tux and top hat and looking around at how our amazing crew had transformed the studio into an old Hollywood musical set and thought to myself, “Wow, we are actually doing this!”

The feeling of accomplishment at bringing a film all the way into the production stage is something I never take for granted and at that time, I felt so blessed- especially to be collaborating with my wife, Maria Munro, one of the film’s producers.

What was the biggest challenge in creating the film and how did you handle it?

The biggest challenge was the unique situation of trying to maintain my directorial vision over the course of the six months of filming. A Legacy of Whining takes place over the course of one crazy night- from dusk to dawn. The challenge was keeping my focus and always re-calibrating my cinematic compass to make sure the film’s structure and events always flowed smoothly. Needless to say, myself and the other lead actor, Robert David Duncan, who played Dunc, had to also assume the daunting task of keeping our physical look the same over the course of the six months filming for the sake of continuity  i.e.- keeping our hair, weight, clothes , complexion etc. – that was not easy. I even made sure not to be in the sun too much or end up having a tan that would not match previously shot scenes in the earlier colder months!

Any books/authors that have influenced you in your career so far?

I am and have always been a voracious reader- I’ve seen great film directors mention what a great influence in their work that books bring and I have to agree! One book that I go back to again and again that influences me greatly is Catch 22 by Joseph Heller for his absurd but deadly accurate satirical style. Another of my favourites is Chilean author Roberto Bolano – especially his awe-inspiring opus 2666.

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

It’s the most cliche but also the most true – never be afraid to follow your dreams and visions! If you have passion for what you believe in, you will never stop until you achieve your goals! Also, surrounding yourself with like-minded talented individuals who believe in what you’re doing and have the same commitment and passion will only elevate your work!

What advice do you have for actors who would like to write and direct their own material?

I grew up watching many of my favourite actors write and direct their own films – Charlie Chaplin, Woody Allen, Jacques Tati – so it wasn’t a hard leap to want to climb into that arena. I think it’s important to prepare your film as much as possible as both the writer and director so that by the time you’re on set filming, you are able to then focus more of your energies as an actor as most of the technical aspects – like shot lists, blocking, performances of the other actors, etc. – have all been worked out ahead of time. But mostly, if it’s something you want to do, then just ignore the terror that you might feel at that daunting prospect and just go for it!

What’s your opinion on the current state of the Canadian film industry?

Working as a Canadian independent filmmaker, especially here in Vancouver, it seems like there is a lively, thriving community of fellow filmmakers, acting talent, and amazing behind-the-camera crew people. Everybody seems to know everyone else and there is fantastic support amongst everyone and a willingness to help and encourage that I am constantly in awe. Basically, whether it’s docs, shorts, features of any/all budgets- there really are an abundance of creative people with that do-it-yourself spirit!

Where can we find more info about you and A Legacy of Whining?

Twitter: @rossbrew

Facebook: Next One Productions and World Premiere Screening Event

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Thanks to Ross Munro for speaking with us!

Don’t miss A Legacy of Whining at the Vancity Theatre on April 5th at 6:30PM!

Tickets available through VIFF.org.

The post The Biz Interview: Ross Munro appeared first on Biz Books.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rhythm. Rhythm. Rhythm.

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

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

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

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

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

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

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

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

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

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Our thanks to Tyler Labine for speaking with us!

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

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Recommended Reading

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On Writing: A Memoir of the Craft
Stephen King

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Misery
Stephen King, Adapted by Simon Moore

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The Shawshank
Redemption:
The Shooting Script
Frank Darabont

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The post The Biz Interview: Tyler Labine appeared first on Biz Books.

If you’re in Vancouver, check out Vancity Theatre’s Black History Month series. On Mondays throughout the month of February, they will be featuring a series of specially curated films (including documentary, music, comedy and drama). www.viff.org

Visit www.blackhistorycanada.ca for information on the history of Canada’s Black community.

The post February is Black History Month appeared first on Biz Books.