Six new short films for 2021 will be shared at an online Gala Screening on May 1, 2021 followed immediately by a Virtual AfterParty on Gather.

Production on the six short films took place in mid-March over the 8 celebrated days. Tickets are now available at www.crazy8s.film.

We spoke to Jessey Nelson about Crumbs.

________________________________

Can you start by telling us about you, your Crazy8s film, and your involvement?

Hey! I am the co-founder of SPK Productions and the sketch comedy crew known as The Smashed Potato Kids. I co-directed and co-wrote the film Crumbs. It’s the story of a young boy who loses his father at a young age. After his mom remarries an abusive man, Shylo conjures up an imaginary friend from a childhood book to help him with his traumas in life.

What was the most memorable moment for you in the Crazy8s process?

Honestly, being able to work with amazing people. We brought a big crew from out production company/sketch world to make this film and all the new people along the way were amazing. We created some great human connection on this journey.

What would your advice be for anyone considering Crazy8s?

Make sure to bring people that you love with you on this journey. Get people together who are passionate about your idea. Find a way to have as much fun on the journey because before you know it the film is made and it’s on to the next journey. Also get information from past Crazy 8’s participants. Most people are more than willing to give advice.

What books would be valuable to have read before participating in Crazy8s?

Ha! I write a lot but i do not read too much too be honest. What helped me was reaching out to as many people who had much more experience than I did and learning from them. I also watched a couple Master Classes on directing (Scorsese and Ron Howard).

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

Lots of stuff! We are currently working on an anthology series and feature film pitch with the concept of Crumbs.

We are working on making more comedy sketches and releasing a pilot sketch show within the year. We also just started and AD Agency called SPK Creative. Lots of fun content creating moves!

________________________________

Thanks to Jessey Nelson for speaking with us!

For more information, please visit Crazy8s.film.

The post Crazy8s2021: Jessey Nelson appeared first on Biz Books.

Six new short films for 2021 will be shared at an online Gala Screening on May 1, 2021 followed immediately by a Virtual AfterParty on Gather.

Production on the six short films took place in mid-March over the 8 celebrated days. Tickets are now available at www.crazy8s.film.

We spoke to Luvia Petersen about iDorothy.

________________________________

Can you start by telling us about you, your Crazy8s film, and your involvement?

My name is Luvia Petersen and I’m a multi-nominated actor and director living here in Vancouver, BC. My Directing credits include the Leo Nominated short film Dog Bite, the Harold Greenberg Funded short film H.appiness and most recently the Crazy8’s co-produced short iDorothy.

My Crazy8s film is a sci-fi drama about a grieving widower, played by Hiro Kanagawa, who has his dead wife’s memories uploaded into her bio-synthetic replica. Once activated, she, played by Carmen Moore, begins experiencing flashes of terrifying images as buried secrets force their way to the surface threatening both of them.

I’m the Director.

What was the most memorable moment for you in the Crazy8s process?

My most memorable moment was during a rehearsal with Carmen Moore & Hiro Kanagawa. They were bringing so much vulnerability and honesty to each character that I had the pleasure of re-discovering my film on a deeper level.

What would your advice be for anyone considering Crazy8s?

Make sure the story lives in your heart. You need to know WHY you are making this film and will use that answer time and time again as your guiding light.

What books would be valuable to have read before participating in Crazy8s?

I read three books to prepare for Crazy8s. Master Shots by Christopher Kenworthy Volumes 1, 2 & 3. In fact, I think it was another Crazy8s director, Jay Kamal, who recommended them.

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

You can find out more about me at www.luviapetersen.com

My team at Download Joy Productions and I will be working on a Music Video, developing a Feature Film to pitch to Telefilm and developing a Web Series.

________________________________

Thanks to Luvia Peterson for speaking with us!

For more information, please visit Crazy8s.film.

The post Crazy8s2021: Luvia Petersen appeared first on Biz Books.

In this interview, we talked to Brodi-Jo Scalise – director of “Itsy Bitsy Spider”.

________________________________

Can you tell us about how the idea for your film came to be and what your creative process was like in making it come to life?

I’ve always had a fear of spiders since early childhood, and I thought using real tarantulas as a metaphorical device in a short film could be both fascinating & unnerving – after shooting I can confirm that those are both still equally true. I wanted to tell a personal relationship story through the lens of a psychological horror film, this stems from my love of genre films that begin from a place of authentic human feelings/emotion and then spiral into something unexpected.

What was the most memorable moment for you in the Crazy8s process?

There are many for me, ranging from being announced in the top 6 through to filming our final shot. It’s a very intense process that has both highs & lows, yet the journey has always been wildly exciting & collaborative with your guiding light being the gala where you know your project will screen in front of over 1000 people. It’s all for the audience!

What would your advice be for filmmakers considering Crazy8s?

Focus on telling your story in your own specific way, and stay faithful to that, that is your greatest asset as a director. And always stay humble and respectful to everyone along the way.

What books would be valuable for a filmmaker to have read before participating in Crazy8s?

I am a total nerd for any & all screenwriting books. Although not screenwriting-centric, a favourite of mine is Stephen King’s On Writing. A classic read for any aspiring writer.

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

In an effort to sustain this positive momentum I’ve felt being a part of this year’s Crazy8s, I’m forging ahead with rewriting feature & short scripts I’ve had in my back pocket for too long. You can find me on Instagram at @brodijo 

________________________________

Thanks to Brodi-Jo Scalise for speaking with us!

You can check out all of the Crazy8s films tonight as part of the Crazy8s2020 gala.

For more information, please visit Crazy8s.film.

The post Crazy8s2020: Director Spotlight appeared first on Biz Books.

In this interview, we talked to Avi Glanzer, Luisa Muniz, and Mike Johnston about producing their Crazy8s films, The Quieting, Mr. James is Dead and Sol.

________________________________

Can you start by telling us a little bit about you and the film you are involved with?

Avi Glanzer: I’m born and raised in Vancouver, attended Capilano University for Filmschool, and have been Producing Short Films since 2012; this is my second Crazy 8s, having produced Woodman in 2017. Our film, The Quieting, is the story of Maggie, who is well into her 30s before she decided to come out, as she psychically combats the manifestation of her anxieties and internalized hate on the night before an important date.

Luisa Muniz: I’m Luisa the producer of Mr. James is Dead. A short film in which every crazy idea is welcomed. The film tells the story of Tom as he attends his strange fathers funeral only to find out that the funeral is filled with villains from all shapes and sizes. I meet Josh and Daniel in Film School at Capilano University and when they sent me the script it was just a perfect combination of both of them. Daniel’s sense of humour and Josh’s rhythm and passion for stunts.

Mike Johnston: My name is Mike Johnston and I am a director and producer based in Vancouver, BC.  I am also one of the principal owners of the Vancouver-based production company, Studio 104 Entertainment.  The film we have developed and produced thus year is entitled, Sol, and is the story of a mother and daughter living in a future set in 2042 where toxic smog has blocked out the sun.

As a producer, what have been your duties on the film?

Avi Glanzer: I like to be involved in some way at all stages of production. When I came to the project Ali Liebert had just started writing the rough draft. My role in that stage was to guide her towards a completed, shootable, story. Going into production I built a team of producers around me who were all able to help bring to bear an element of our production needs. Keeping the blood (Coffee) pumping and putting out fires (not literal ones) while on our days of shooting. During Post Production I worked closely with our post team in order to ensure a smooth delivery throughout the whole pipeline.

Luisa Muniz: As a producer I have had to deal with problems and make plans to avoid problems. Also make sure everything is paid and happy.

Mike Johnston: On this production, I have overseen the development and production phases of the film including but not limited to the hiring of our production crew, facilitation of all departmental needs, logistics, scheduling and communications with our locations and sponsorship personnel.  Additionally, I will be overseeing our festival and distribution strategy after the gala presentation.

What was the most memorable moment for you in the Crazy8s process?

Avi Glanzer: When we screened the rough cut for the first time, and I wept so hard that everyone in the room started laughing.

Luisa Muniz: Most memorable moment was during out very first production meeting with Nate and Julia from Crazy 8’s. They looked at us and said: “Soooooooo, how are you planning on doing-” and then they listed all the challenges we would be facing. I was in my corner not worried at all because we were never going to get top 6. Well, turns out we had to figure that out. Second day on set I remembered that meeting and it was great looking back at all the challenges we had to overcome.

Mike Johnston: The most memorable part of the Crazy8s process for me this year was the live reveal.  Last year, I produced the Crazy8s film, Idols Never Die and I remember watching the Golden Globes and getting a phone call from our director Jerome Yoo telling me that we had been green lit for the Top 6.  This year, with the live reveal you could feel the tension in the air, the excitement was palpable and it make the stakes that must more intense.  Felt like American Idol!

What would your advice be for other producers considering Crazy8s?

Avi Glanzer: Make sure you build a support team around you larger than you would for a normal short film. There’s a lot of resources being given to you, knowing how to use them will make all the difference. You can’t go into this process thinking you’re shooting a film for $1000; the value of in-kind services is remarkable, build a production that can take advantage of them.

Luisa Muniz: Make sure you have a great team and also plan to spend all your money on this. It will be hard, but you will end up with a great film.

Mike Johnston: For any future producers considering Crazy8s, I think it is important to consider the equity of your project and just what the expectations are.  Know that you will be responsible to fear the bulk of the financing for your film and also you will not own the intellectual property.  It is important to consider these contractual obligations before beginning the Crazy8s process.  Moreover, as you will be responsible for the bulk of the financing, manage your expectations.  Make sure your film is logical and logistically sound for a three day shoot.

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

Avi Glanzer: Everything takes longer than you expect. You can plan everything down to the most minor of detail, but when it comes time to play, your schedule rarely cooperates.

Luisa Muniz: Make sure you work with people you enjoy spending a lot of time with. Build your team and make sure they can relay on you, but also that they can relay on you. Nobody can make a film alone, and to be honest, we would you want to since the best part is sharing the experience and the results.

Mike Johnston: The most important lesson I have learned in my career so far is to make your own opportunities.  Don’t wait for them to come to you or you will be waiting a lifetime.  Don’t wait for opportunity to knock, knock first.  Don’t be afraid to cold call, buy someone a coffee or lunch or walk straight up to them, shake their hand and introduce yourself.  We are our own worse enemies believing we are not good to be forward.  Block out the noise and be the hardest worker in the room every day.

What books would be valuable for a producer to have read before participating in Crazy8s?

Avi Glanzer: Even though it’s not a book on Producing, I would say that On Directing by David Mamet has been the most useful resource for me in all filmmaking. Mamet outlines a very clear relationship which the Director builds with specific Key Creatives. This overview on how everything fits together has been invaluable as a producer for understanding on how every department functions with one another.

Luisa Muniz: I’m sure there are many books I could recommend but for now just read and reread guidelines and contracts. If you get into Crazy8s you would want to know all those things by heart. Same applies to all other competitions/festivals you submit too.

Mike Johnston: Best books to read for producing independent films are Rebel Without a Crew by Robert Rodriguez and Independent Film Producing: The Craft of Low Budget Filmmaking by Suzanne Lyons.

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

Avi Glanzer: I have a number of music videos which will be in production before the summer as well as a couple of new short film projects with collaborators in the pipeline. I also work as Outreach and Community Partnerships for the Vancouver Short Film Festival which occurs every January. My two most recent Short Films A Typical Fairytale (2018) and Woodman (2017) are still making their rounds through festivals and can be seen on Telus Storyhive and CBC respectively.

Luisa Muniz: What’s next is whatever Peter writes next. This is a great team and if they would have me I will keep on working with them.

Follow my IMdb: https://www.imdb.com/name/nm8913977

Mike Johnston: Our production company – Studio 104 Entertainment – is transitioning out of short films and into developing and producing longer form content such as series and feature films.  In fact, Sol is one of the last short films on our 2020 slate.  Currently, we are developing 3 series:

1. True North Crime – a five part anthology series examining the most baffling and mysterious cold cases in Canadian history.
2. Breaking Kayfabe – a documentary series pulling back the curtain on the world of professional wrestling, featuring some of the best talent and most bizarre incidents in the history of the business.
3. Growing Up With Mi Familia – a 5-episode comedy series about a Latino girl going through periods, puberty and growing immigrant in Canada.

Lastly, we are also beginning to develop two feature films – 84 Bison, is based on the true events of a mafia hit woman coming to Canada and Yellow Ribbon the incredible true story of the citizens of Gander, Newfoundland on September 11, 2001.

To find out more about Studio 104 Entertainment, please visit www.studio104entertainment.com or like us on Instagram or Facebook: @studio104entertainment

________________________________

Thanks to these producers for speaking with us!

You can check out all of the Crazy8s films tonight as part of the Crazy8s2020 gala.

For more information, please visit Crazy8s.film.

The post Crazy8s2020: Producers Spotlight appeared first on Biz Books.

Here is our interview with Derek Chan!

________________________________

Can you start by telling us a little bit about your inspiration for Chicken Girl?

Of course. Chicken Girl started as an investigation on why we are or aren’t content in life, and what keeps us going. It has taken many forms over the last year and a half, but the story of Chicken Girl is where we have arrived at in the end.

In the midst of everything that is Chicken Girl lives a back-alley fried chicken shop. When I was a kid, growing up in Hong Kong, my grandmother would babysit me when my stereotypically stoic and quiet father went to work. This was when I was about 3, maybe 4 years old. After a day of teaching, my dad would pick me up, and we’d take the bus home. He’d ask me about school or something, and I’d answer dutifully. Thinking back, I was a little scared of him. But once in a while, for reasons still unknown to me, he would take me to this chicken shack under the highway bridge after work. It was one of those places where you weren’t sure whether the food would be amazing or if it’d give you food poisoning- or both. And this place, I swear, only sold chickens. All sorts. Deep fried, soy sauce, salt-baked. Nothing but chicken legs. And my dad would tell me to pick whatever I wanted. I would always pick fried chicken. Since I am left handed, my dad would always make sure the hawker gave me the right leg, because that way the chicken skin will always face the right way when I hold it – my mouth. Then we would go to the bus stop on the bridge, and take the bus home in silent contentment. That was his way of showing care to his children.

The chicken shop remains one of my favourite childhood memories- warm and a bit mysterious. There is a lot going on beneath the colourful magical realism of the play. A dark undercurrent of anguish and despair. I wanted the characters of the play- and the audience- to have a safe place to depart from and return to. That’s why I have placed this parallel-universe version of the chicken shop in the middle of the play.

What should audiences expect from the show?

An adventure! The show is a vibrant collage of text, languages, characters, visual elements, and sound design.

From your perspective, what is the most rewarding thing about writing a play?

The most rewarding thing about writing? I get to work with a room full of talented folks and share stories with people out in the real world!

What are the three most important ingredients for a successful play?

Honesty, relevance, and passion.

You’re involved in this production as a writer and director. What was your experience like directing from your own writing?

Directing my own writing has been a fundamental element in my creative practice over the years. At the end, I guess I am really just theatre-making. I am lucky to work with Heidi Taylor (my dramaturg) throughout the process, identifying whether each question is for playwright-Derek at his computer, or director-Derek in the rehearsal hall. This hat-switching is definitely a bit of a juggling act, but that’s the way it goes. I am learning that director-Derek has to trust playwright-Derek, in the sense that any director should trust the playwright- all the clues are in the script. At the same time, playwright-Derek has to make sure that everything on the page is clear and concise (especially when it comes to complex stage directions), so that director-Derek can translate vision into reality. It is, at the same time, easier and more challenging.

In your opinion, what is the current state of Canadian theatre and how has it evolved since you first got involved in the industry?

Things are changing. When I first started, there were very few opportunities for emerging artists of colour. That was actually why Pedro and I started rice & beans theatre in 2010, right after we graduated from university. We couldn’t find any platform or significant support for our work in the beginning. We didn’t see any work that we could related to. Over the years, important conversations have begun to emerge, people are beginning to find the space to speak up, and the capacity to listen. Is that enough? Absolutely not. There are many things that we all could still be doing better, no matter the size of the organization. There are many people out there who go through the ‘right’ motions on the surface, but repeatedly miss the point deep down. But I am hopeful, because there are many, many brave, persistent members of the theatre community out there, fighting for the right things, fighting for what they believe in. Some of them have been doing this for decades, some years, some months. Those folks need our support. Things are changing, that’s for sure.

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

Listen with compassion.

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

I remember reading Artaud’s The Theatre and Its Double as a teenager. I remember felling in love with Die Hamletmaschine by Heiner Müller. That was kind of the beginning of my journey into western theatrical practices. I must also mention Anne Bogart’s A Director Prepares. The Viewpoints Book was integral to my training at university, so was An Acrobat of the Heart by Stephen Wangh and later on, The Moving Body by Jacques Lecoq. I am also a huge fan of Gertrude Stein and Sarah Kane’s works. (I am sure I missed a ton of essays and books. Time to brush up on my studies, it seems!)

What other projects are you working on right now?

I just started writing my next play, which is a multilingual venture, like always. This one riffs on the hierarchy of accents and how languages survive or perish, in our bodies, and in our communities. The play is scheduled for rice & beans’ 2021 season.

rice & beans always have things on the go, big or small. Our next public thing will be #DBLSPK with Boca del Lupo. It is a casual event where excerpts of translated or multilingual works are presented, and the creators and translators are invited to have a conversation with the audience about what is gained and lost by creating in a cross-cultural context. It will be at the Fishbowl on Granville Island. (date TBD)

In the fall, I will be performing in the revival of Hong Kong Exile’s No Foreigners in Toronto, Winnipeg, and eventually back here at the Shadbolt Centre for the Arts.

Where can we find out more about you?

The rice & beans theatre website. We exist on Facebook as well. I also exist on Facebook, but I don’t go on it too often. If you want to chat about theatre, or anything else, I am your friend.

________________________________

Thanks to Derek Chan for speaking with us!

You can check out Chicken Girl at ANNEX until June 7th. For tickets, please visit TheatreWire.com

The post The Biz Interview: Derek Chan appeared first on Biz Books.

Here is our interview with Amanda Sum!

________________________________

Can you start by telling us a little bit about your involvement with Chicken Girl?

I am playing the role of Chicken Girl! Bawk bawk!

What should audiences expect from the show?

Starry skies, good hearts, and the distant smell of fried chicken.

From your perspective, what is the most rewarding thing about acting in theatre?

Sharing the space with artists and community members alike, acknowledging the work together.

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

Listening, breath, a light dinner.

In your opinion, what is the current state of Canadian theatre and how has it evolved since you first got involved in the industry?

I think Canadian theatre has a driven community, pushing to create rigorous work. It’s also malleable, flowing from hopefulness in the inclusion of more voices, bodies, and experiences, to disheartening funding cuts. There is change, though it comes slowly (and not easily).

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

Make a fool of yourself. Fail!!! Ask questions. Respect the time of others, and respect your own time.

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

Jean Yoon, Young Jean Lee, and Theatre & History by Rebecca Schneider.

What other projects are you working on right now?

Singing in Mermaid Spring at InTune on June 8th at CBC Studios, creating a solo piece for Persistence at the Shadbolt in June, New Societies with Brian Postalian in September!

Where can we find out more about you?

You can check out my low budget Youtube account, sumsings4you, which I started in grade 10 to impress my crush. Or on instagram @amanduhsum.

________________________________

Thanks to Amanda Sum for speaking with us!

You can check out Chicken Girl at ANNEX until June 7th. For tickets, please visit TheatreWire.com

The post The Biz Interview: Amanda Sum appeared first on Biz Books.

Here is our interview with Pedro Chamale!

________________________________

Can you start by telling us a little bit about your involvement with Chicken Girl?

Well to start off I am the co-artistic director of rice & beans theatre, which means that I helped to produce the production. I was also the technical director for the show and play the part of the Submariner.

What should audiences expect from the show?

I think that the audience should expect to go on a ride. The piece itself has such a movement to it, there are a lot of working parts all hurtling through the world that the play happens in. From the mythology that Derek builds in the play to the wonderful artistry that all of the designers bring and the complex performances my fellow actors bring to the stage.

From your perspective, what is the most rewarding thing about acting in theatre?

There is no one thing that makes it rewarding that I can put my finger on. I think I can only say that, if I had to label it, it’s that I find great joy being part of it, getting the chance to work with all of the great artists that I have and tell the stories that I have been able to.

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

I don’t think I can prescribe what is most important but just what I choose to value which is a lot so I will pair it down as much as I can. Being ready for anything, knowing that all of my choices are not precious, that the director sees the bigger picture and that my current choices may need to change to help get the play to where it needs to be and to constantly make my fellow actors look better by supporting the choices they make.

In your opinion, what is the current state of Canadian theatre and how has it evolved since you first got involved in the industry?

The current state is one of flux and one of great resistance. There is change that is happening in many aspects, to some folks its all happening too fast and others not fast enough. I think there are some theatre makers who are seeing a decline in audiences and others who are managing to engage people in a meaningful way which is having them see great success in audience turn out. All I know is that those who think they can continue to make theatre the way they always have or that are simply programming their one show for a certain audience per season are holding up the system that has excluded so many of us for so long.

When I first started in the industry I was a young artist wanting to make things my way and no one was throwing money at me to do so. There was not that much support on a funding level for those of us trying to do that, now there is a lot more support for emerging artists and for new voices. With the help of grants such as the early career development grant, almost every company in town is working with new exciting artists every year. It’s great and I am so happy that young artists have that support for them now.

Also when I started, whether I knew it or not I was hungry for theatre that reflected who I was as a person and that I had to make it. I was lucky enough to partner with Derek at such an early stage in our careers, with him I was able to find someone who was willing to throw everything we had into making our art, continually trying new things and learning from all of our mistakes. We created work that excited us but was always pushing our capabilities as artists and producers while still maintaining a joyful room where people are happy to be there.

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

To own the mistakes I have made and to learn from them. That I have many strengths but also weaknesses and that I have to be honest with myself about those weaknesses and when I am not right for a certain job.

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

Well certainly there is Acrobat of the Heart by Stephen Wangh, A Director Prepares by Anne Bogart, the french Absurdest playwrights have always been a source for me such as Alfred Jarry and I would say two books that are not theatre-related but have influenced me in theatre are the collected works of Calvin and Hobbes and Hitchhiker’s Guide to the Galaxy.

What other projects are you working on right now?

After Chicken Girl wraps I will be heading to the Banff for my last module of the Banff Leadership in Arts in Culture Program that I have been taking, continuing to write my new play Made in Canada: an agricultural operetta which will be our next production for rice & bean and finally getting to take my honeymoon seeing as I got married last year and have yet to do so.

Where can we find out more about you?

Soon you will be able to find more about me at pedrochamale.com but I have yet to build that. So for now you can find me at riceandbeanstheatre.com, and on my Twitter and Instagram which is @pedrowyourboat.

________________________________

Thanks to Pedro Chamale for speaking with us!

You can check out Chicken Girl at ANNEX until June 7th. For tickets, please visit TheatreWire.com

The post The Biz Interview: Pedro Chamale appeared first on Biz Books.

We chatted with two other members of the cast – Kyle Mosonyi and Amy Rhead – about their roles in the show and what they’re up to.

________________________________

Can you start by telling us a little bit about you and your involvement with “Mal and Cara”?

Kyle Mosonyi: I am playing the role of Kris, Mal and Cara’s new flight attendant neighbour. I am somewhat newer to the theatre world, having done mostly film and television work in my young career. I jumped at the chance for this role after reading the audition sides. The scene was hilarious and I saw this as a great opportunity in broadening my acting range.

Amy Rhead: I’m a third generation Greater Vancouver-ite. Since my early twenties, I have acted in about twenty independent and community theatre productions in the Lower Mainland. By day, I work in marketing management to support my less lucrative passions for theatre and billiards.

I play Beth in “Mal and Cara.” I learned about the audition from Sarah Harlow (Cara). Sarah and I had performed together at the Metro Theatre, and I was happy for the chance to work with her again. I love that “Mal and Cara” is based in Vancouver and written and directed by a Vancouver resident.

What can audiences expect from the show?

Kyle Mosonyi: I think audiences can expect a fun show with loads of Vancouverite-related Easter eggs.

Amy Rhead: Expect a generally good time and a few big laughs when you come see “Mal and Cara.” It’s a clever show with a simple story; a bit reminiscent of a sitcom.

What do you find to be the most interesting aspect of your character?

Kyle Mosonyi: The most interesting aspect of my character is his ability to make significant career changes at the snap of a finger. I can relate to this on a fundamental level. After graduating with a bachelor’s degree in mathematics, I was accepted into medical school. However, my love for movies pulled me into film school instead. I then transitioned into acting at the ripe age of 30.

Amy Rhead: Audiences will get to see different sides of Beth. She’s straightforward, but silly. She’s edgy, but well-meaning. She’s snide, but sweet. I enjoy playing her comical moments very much.

What was your preparation process like?

Kyle Mosonyi: I prioritized learning my lines as soon as possible. Just straight up zombie memorization. Then through the rehearsal process, the character’s line delivery and physicality are refined until it jives with the director’s vision.

Amy Rhead: A lot of work goes into preparing for a show. I spend hours reading the script to really get to know my character and her dynamic with the other characters, and to memorize my lines. I also ask my Director a lot of questions and try to wholeheartedly trust in his or her process.

What do you specifically enjoy about acting on stage?

Kyle Mosonyi: I enjoy the “loudness” of acting on stage. In my film and television experience, subtlety and quietness tend to be favoured. It’s not often I have the chance to tap into this acting frequency.

Amy Rhead: It’s challenging and exhilarating. No two performances are ever exactly the same. Every night could hold a surprise – more laughter, a full house, a few dropped lines and quick recover, a misplaced prop, a perfectly delivered bit, friends in the audience…

What theatre-related books have been influential to you in your career thus far?

Kyle Mosonyi: I haven’t read up on any theatre-specific literature. However, influential acting-related books for me include “The Power of the Actor” and “The Intent to Live.”

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

Kyle Mosonyi: The most important lesson I’ve learned is to keep the gears moving. If you stand still and wait for opportunities, you’re going to be standing there for awhile. Nothing will happen. And you need to keep a positive attitude… while also not being delusional.

Amy Rhead: Listen. Listen to your Director, always. And, on-stage as your character, listen to your fellow actors – be completely present in every scene/moment. For a production to be successful, the cast and crew must function really well as a team and be extremely supportive of each other.

What other projects are you involved with beyond “Mal and Cara”?

Kyle Mosonyi: Beyond “Mal and Cara,” I try to keep active in the film and television world. Just last year I wrote, directed and co-stared in a TV pilot called “To the Madness.” It’s a 30-minute comedy about two criminals who decide to move to Los Angeles and become actors. I have just begun submitting the project to film festivals in hopes of turning some heads!

Amy Rhead: Nothing else yet, but I’ll keep you posted.

________________________________

Thanks to Kyle Mosonyi and Amy Rhead for speaking with us!

“Mal and Cara” is on at the PAL Theatre until April 28th.

For tickets, please visit MalandCara.BrownPaperTickets.com

The post The Biz Interview: Kyle Mosonyi and Amy Rhead appeared first on Biz Books.

We spoke to the show’s two leads – Sarah K. Harlow and Malcolm Stead – to find out more about the show and about them.

________________________________

Can you start by telling us a little bit about you and your involvement with “Mal and Cara”?

Sarah K. Harlow: I’ve always loved acting and decided to pursue it more seriously, much later in life, after we adopted our daughter. “Mal and Cara” is the first play I both produced and acted in. It’s been a bit of a learning curve. I play Cara.

Malcolm Stead: I grew up in England, living in a teeny tiny small humble village (population 500) where we all lived inside of hills, had big feet, and drank a lot of tea. 12 years ago, my talents as a Bridge Troll were recognized by a Bridge Troll company in BC (I think it was called TreeLo or something), and they promptly decided to pay for me to move out here and demand that everyone pays their Bridge Trolls – until the current government put me out of work. My involvement in “Mal and Cara” is that I play some guy named Mal – a suave, sophisticated, devilishly handsome, sexy 20* something with an amazing slim, muscular body and a full head of hair.

* (EDITOR: This might be a typo)

What can audiences expect from the show?

Sarah K. Harlow: They can expect an evening of fun and laughter.

Malcolm Stead: They can expect an evening of fun and laughter.  (No, Sarah – im NOT copying you!  Honest!)

What do you find to be the most interesting aspect of your character?

Sarah K. Harlow: Cara is a very strong and smart woman. I love that.

Malcolm Stead: Mal is the most interesting amazing person in the world – as are all people called Mal.  Mals are full of life and charm, and are always fun to be around – and you should always make time to be around a Mal.  In fact – if you ever see a Mal pop up in your online dating site – make that guy a priority to go on a date with – he’s probably going to be awesome, fun, amazing – and the best date you’ve ever had.

Also my character is very modest.

What was your preparation process like?

Sarah K. Harlow: Mostly, I work on the connection with my scene partners, but that’s after I’ve done some script analysis, subtext and inner monologue work.

Malcolm Stead: I tend to go to North Vancouver – find a forest in the middle of nowhere, strip down to my underwear and dance and frolic with the monkeys and baby Sasquatch.

What do you specifically enjoy about acting on stage?

Sarah K. Harlow: I love the instant connection with the audience, and with your castmates. I love taking them on the journey with you and being able to feel that immediately.

Malcolm Stead: Enjoy?  I take this stuff very seriously.

What theatre-related books have been influential to you in your career thus far?

Sarah K. Harlow: I can’t think of any one particular book that has been influential, but I do read a lot of plays.  The most recent ones are “Mothers and Sons”, “A Different Moon”, and “In the Next Room”. I’m currently reading “The Full Monty”.

Malcolm Stead: I remember once going into Biz Books when it was a physical store – i was young, naive and asked the attractive, friendly lady behind the desk what plays she felt suited my “type”.  I walked out with a copy of “Of Mice and Men” and never looked back.

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

Sarah K. Harlow: The most important lesson I’ve learned (although probably not fully) is that sometimes you’re not right for the part even though you had a great audition. I’ve seen this more fully being on the other side of the casting process.

Malcolm Stead: Always show up to auditions wearing pants… And don’t bring monkeys!

What other projects are you involved with beyond “Mal and Cara”?

Sarah K. Harlow: We will be working on another original play called “Million Dollar Shot” by Clive Scarff and probably “Barbara’s Wedding”.

Malcolm Stead: I wish i could say I was in a plot to assassinate a certain popular politician (reader : please make your own mind up as to who that is – depending on your political leaning)… But alas, I tend not to be able to think of what I’m going to do tomorrow, let alone what project I’m doing next.  One day I will try to plan further ahead than “do these socks smell?” (does that count as a life goal?).

________________________________

Thanks to Sarah K. Harlow and Malcolm Stead for speaking with us!

You can check out Mal and Cara at the PAL Theatre from April 18th to April 25th. For tickets, please visit MalandCara.BrownPaperTickets.com

The post The Biz Interview: Sarah K. Harlow and Malcolm Stead appeared first on Biz Books.

In this interview, Peter Harvey talks to us about the film and his career thus far.

________________________________

Can you start by telling us about Acquainted and your involvement in it?

Acquainted is a beautiful film that I was very fortunate enough to help produce, with a lot of amazing people behind it. The film is by writer and director Natty Zavitz starring Giacomo Gianniotti (Grey’s Anatomy) and Laysla De Oliveira (Locke & Key, In The Tall Grass, Guest of Honour). It is an unconventional romance about when and how a person chooses partnership. Emma and Drew are both in committed relationships when they meet. As their chemistry grows, both are faced with decisions about whether to pursue the love they’re in, or the love that could grow. Acquainted also stars Rachel Skarsten, Raymond Ablack, Jonathan Keltz, Adelaide Kane, and Parveen Kaur and features a soundtrack filled with Torontonian artists like DVSN, Daniel Caesar and Charlotte Day Wilson.

What were the main day to day tasks that you were responsible for on this project?

Mainly, just getting the coffee so that the cast and crew just kept rolling, ya know? In seriousness, I was apart of an amazing group of producers on the project, including Stephanie Sonny Hooker, Jonathan Keltz, Giacomo Gianniotti, James O’Donnell, Aidan Kahn and Adelaide Kane. We all worked hard and shared the work load to make this film as beautiful and great as it is. We’re all very proud of it!

What can audiences expect from the film?

I think a lot of people will relate to the characters in this film. The feedback has been amazing thus far and a lot of people speak to one character or another. A lot of real life moments in the film that really make people question their own relationships. It’s deep and people are connecting with it, which as filmmakers, we love to see! Definitely a conversation starter about where society is at currently.

You’ve produced both film and television projects. What do you enjoy about each of these mediums?

To be honest, I really love both. It’s a changing game out there with Netflix, Amazon, and the rest of the streaming companies producing amazing content. I will always love making indie films, but the streaming services are changing the game and allowing filmmakers to create these projects that would have never been funded by traditional TV models. For example, Letterkenny here in Canada and Stranger Things down in the US. Those projects would have never been funded through the regular TV methods and look how wildly successful they are! Love them both, but find they are different creatures. Indie films will always have my heart. 

What has been the most memorable moment of your career so far?

Tough question for sure, I have a lot of favourite and memorable moments making films. I love when the director calls “Action” for the first time on a project or when a film premieres at a film festival. I would have to say the most memorable moment was when our film, Mobile Homes, had it’s World Premiere at the Cannes Film Festival. That was a wild experience. Will remember that forever!

What would your advice be to aspiring producers?

Chase your dreams! Never stop that. I would say keep making films with your friends, not matter what. That has always been my goal! I made a short film years ago at Capilano University, which premiered at TIFF. They flew me out to Toronto and that’s when I realized that I needed to be in Toronto to really be plugged into the Canadian film industry. Don’t be afraid of change when you’re chasing your dream.

What film and television-related books have been helpful for you in your career?

I really loved reading Norman Jewison’s autobiography This Terrible Business Has Been Good to Me, which I read when I was in film school at Capilano. Robert Rodriguez’s Rebel Without a Crew is a great way to help push yourself to make your first film. Mastering Suspense, Structure, and Plot is a must read by Jane K. Cleland. Plus scripts! Read as many as you can. You’ll find a lot of the big scripts online, read those. Read your friend’s scripts. Just read script! It will help. 

What other projects do you have coming up?

A couple of exciting new projects in the works with amazing directors, so definitely keep an eye out for them. One is Harpoon by Rob Grant that is playing film festivals around the world right now. I’m also in development with another script with Rob. Have an exciting new film that I’m developing with Jeremy Schaulin-Rioux called Rules for Werewolves. Excited to be making that! Plus, keep an eye out for the theatrical release of Marshall Axani’s The Cannon.

________________________________

Thanks to Peter Harvey for speaking with us!

You can see Acquainted now in select theatres in Canada.

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