Summer 2008 - ACTRA Toronto

The magazine from ACTRA Toronto
Volume 17 • Issue 2 • Summer 2008
PUBLISHER
Lyn Mason Green
[email protected]
The long and winding road.
ADVERTISING SALES
Karen Cowitz
[email protected] 416-461-4627
CONTRIBUTORS
Heather Allin
Joy Corion
Judy Barefoot
Arlene Duncan
Chris Faulkner
David Gale
Jag Gundu
Lyn Mason Green
Art Hindle
David Huband
Karen Ivany
Dan Mackenzie
Monica McKenna
Freda Merritt-Gambrill
Eric Murphy
Chris Owens
Susan Ponting
Karl Pruner
Austin Schatz
David Sparrow
Brian Topp
Carol Whiteman
Eda Zimler
ItQs always been about work opportunities. ThatQs where weQve
always been headed. WeQre performers. Where are the cameras?
The original plan was clear. Break in, find an agent, go to an
audition, blow everybody away, get hired, become an overnight
success and wake up poolside in Malibu with a recycle bin overflowing with A-list scripts. Simple.
Our destination remains the same. ItQs still all about work
opportunities. One way or another we are going to perform in
front of cameras. And if we have to take the long way around,
so be it. We want to work. Performers in this country have
taken it upon ourselves to build and rebuild our industry
because we want to work. Individual members are writing,
pitching and occasionally even producing their own stuff.
Together, through the union, we are bargaining to make sure that
we share in the expanding opportunities created by new media
and to push back against multinational entertainment corporations
who multiply profits by dividing artists. And we are lobbying.
Lobbying is a crappy word. Lobbying sounds like standing
around in hallways, trying to influence decisions. Sure, we do
that. But we do so much more. We plead. We cajole. We argue.
We raise hell. We intervene. We represent. We study. We report.
We demonstrate. We go to QueenQs Park. We go to Ottawa. We
join industry coalition groups. We go on marketing trips to Los
Angeles to sell Hollywood on Toronto. We show up. Everywhere. Anywhere. We do whatever it takes to make the work
opportunities happen.
You know this. I know you know this. But this is the PresidentQs
message and I find that IQm the President and, if I have any-
EDITORIAL COMMITTEE
Heather Allin, Lyn Mason Green, Chris Faulkner,
Jani Lauzon, Dan Mackenzie, Chris Owens, Karl Pruner,
Brian Topp
DESIGN and LAYOUT
Erick Querci
[email protected]
ItQs the third week of April and IQm camped out at a coffee shop
buying caffeine in exchange for power and an internet connection.
Outside the bright sunshine and temperatures in the high teens
are still a novelty, but IQm writing, as usual, to the future. And
by the time you read this the developing heat may have worn
out its welcome. Once again, you have the advantage of me. I
know where weQre trying to go. You know how far we got. But
so what? IQve been strapped to the hood ornament of this speeding vehicle called ACTRA Toronto for three and half years now
and if I dont know exactly whatQs around the corner, I do know
what kind of country weQre passing through, what kind of shape
weQre in, how much gas weQve got and the likelihood of finding
ice cream soon.
But, oh, the bumps on the road, the many detours, the breakdowns, the other drivers!
EDITOR
Chris Owens
[email protected]
Karl Pruner opens the 2008 ACTRA Awards in Toronto.
Photo: Jag Gundu
thing to say, itQs this; keep your courage up. This crap that we are
all living through is really something beautiful. That uncanny,
elusive, shy, shaggy and wondrous animal, our culture, is struggling
to be born once again. Our dear little middle-powered, also-ran,
cranky, self-deprecating, envious and proud, hesitating, covetous
yet generous country full of elbows is doing its perennial will-we,
wonQt-we, do-we, donQt-we dance of identity. Again.
In the middle of it all, we performers are caught up in the same
turf wars, the same struggle to carve out a Canadian space in
the shadow of America. All may be lost and all may be won.
Again. Again and again. What could be more annoying and
frustrating? What could be more challenging and surprising?
What could be more difficult? What could be more important?
Were taking the long way around. Were building the road as we
go. What a pain. What an adventure. What a story.
Somebody oughtta make a movie.
In solidarity,
Contents
2
President’s Message
4
A look into Toronto’s stunt community
by Chris Owens
8
An interview with Tonya Lee Williams
by Arlene Duncan
12
The Border
by Art Hindle
16
The Toronto Film Board: good news for
the local production scene
by Heather Allin and Brian Topp
PLEASE ADDRESS EDITORIAL
CORRESPONDENCE TO:
Performers Magazine
c/o ACTRA Toronto Performers
625 Church Street, Suite 200
Toronto, ON M4Y 2G1
Fax: 416-928-2852
[email protected]
JOIN THE TEAM
If youQre an ACTRA Toronto member or apprentice and
want to write an article or contribute original artwork or
photos, weQd love to hear from you.
Send an email to [email protected].
THE NEXT COPY DEADLINE IS
August 19, 2008
The magazine invites members to submit notices of
births, marriages, obituaries and letters to the editor. Article submissions must be sent via email [email protected]. We reserve the right to edit or omit any
material for length, style, content or possible legal ramifications.
17
Stewards at work
19
ACTRA Toronto Member Conferences
22
2008 Toronto ACTRA Awards
by Karen Ivany
25
Members’ News
28
When times are tough,
the tough do what?
by David Huband
29
Who’s Who
30
In Memoriam –
New Members
Performers Magazine is published three times a year by
ACTRA Toronto Performers. The views expressed in
unsolicited and solicited articles are not necessarily the
views of ACTRA Toronto Performers, its council or this
committee.
Publications Mail Agreement number 40069134
ISSN 1911-4974
www.actratoronto.com
Tonya Lee Williams
Photo:
www.mckennaphoto.com
Karl Pruner
President
ACTRA Toronto
Tonya Lee Williams
Photo: www.mckennaphoto.com
Printed in Canada by union labour at Thistle Printing.
2
AC T R A TO R O N TO P E R F O R M E R S
SUMMER 2 0 0 8
3
I fall,
you ride
Inside the rough
and sometimes
dangerous
world of
stunt performers
4
AC T R A TO R O N TO P E R F O R M E R S
“When it came to rolling
the cameras it was never
an issue. There was never
a moment when I doubted
I could completely do
this. It was made for me.”
by Chris Owens
SUMMER 2 0 0 8
5
After the jockeys watch Shelley ride her horse down the stretch,
jerk its head around and come flying off four times in a row at
the exact same spot, their tune changes. Back in the silks room
on their lunch break they tell her, NWe get it. We donQt ever like
to fall like that.O
NThere you go,O said Shelley. NI fall, you ride.O
Becoming a stunt co-ordinator provided Shelley with something
rare in this business: job security. She credits her dadQs influence
with providing some of the qualities necessary to make the
jump. The co-ordinator has to be able to work with the director,
with actors and other stunt performers and often with the
production designer, props department and special FX.
Shelley adds, NItQs a great career. Most of the people IQve met
and worked with in my own industry are different. TheyQre
difficult and tough and fun and spirited and aggressive and
independent and, you know, I kind of like that in people. I donQt
know if I want to live with people like that but I kind of like
that in people.O
After the jockeys watch Shelley
ride her horse down the stretch,
jerk its head around and come
flying off four times in a row at
the exact same spot, their tune
changes. Back in the silks room
on their lunch break they tell her,
“We get it. We don’t ever like to
fall like that.”
6
AC T R A TO R O N TO P E R F O R M E R S
I first met stunt performer John MacDonald, a.k.a. PJohnny
MacQ, when we worked together on The Incredible Hulk. We were
part of a Delta Force Commando unit assigned the unenviable
task of subduing the big, green angry guy. Needless to say, we had
our hands full - hence, our crackerjack unit was largely made
up of stunt performers at the top of their game. Aside from a
few scenes of dialogue, even the actors spent most of our time
running and firing guns. We even participated in a week of
weapons training.
When it came to the real stunts, thankfully, the pros took over.
Johnny was literally thrown into a wall in a bottle factory fight,
a stunt featured in the moviesQs first theatrical trailer. He also
did a fall from a rooftop in Rio S even getting back to his feet
to continue the chase!
NOne of the most important things that can be overlooked is
the need for people skills,O Johnny says. NOn the Hulk we were
a total commando team. We worked really well with the crew.
That was probably the most that IQve felt like a family on set in
my whole career.O
When stunt performers are working they are often working hurt.
We all worked hurt at some point. “You just take it and go on.
There’s a difference between being hurt and being injured.”
Toronto member
John MacDonald, doubling
as Sylvester Stallone,
on the set of Avenging Angelo.
Photo courtesy of John MacDonald.
SUMMER 2 0 0 8
7
INTERVIEW
TLW
TLW
TLW
TLW
TLW
TLW
TLW
TLW
TLW
TLW
Photo: www.mckennaphoto.com
8
AC T R A TO R O N TO P E R F O R M E R S
SUMMER 2 0 0 8
9
TLW
TLW
“I don’t think anything will top the
experience I had in the 15 years
working of on The Young and the
Restless developing the character
Olivia Winters. It was everything I
always wanted, to play a character
that was not a stereotype.”
TLW
Film and Television
TLW
TLW
TLW
TLW
TLW
Arlene Duncan is an award winning
singer/songwriter and actor. Her credits include Soul Food, Degrassi: The Next Generation and This is Wonderland. Currently she
can be seen on the hit CBC series, Little
Mosque on the Prairie. Arlene lives in
Toronto with her two sons, who are also
ACTRA members.
Photo: www.mckennaphoto.com
10
AC T R A TO R O N TO P E R F O R M E R S
SUMMER 2 0 0 8
11
The Border has exploded onto
Canadian television screens.
Cutting edge Canadian drama
by Art Hindle
CBCQs new fast-paced, hard-driving series follows the elite Toronto Immigration and
Customs Security Squad TICSU as they deal with terrorists, cross-border police actions
and trafficking in everything from enriched uranium to abducted children. Shot in
location-rich Toronto, the edgy, compelling show exposes us to the professional and
personal conflicts and haunting choices faced by the diverse men and women of ICS
as they put themselves on the front lines of complex and dangerous border security
flash points.
On my visit to The BorderQs production offices, I was greeted by the office mascot,
Logan, a Wheaton Terrier, who, if he chose to talk, might tell me the same thing I
observed. Smiles all around, and why not? The Border was one of the bright spots in
what the CBC perceived to be a dismal television season in which they axed three
worthwhile shows; Intelligence, MVP and J - Pod.
NOur cast of actors is a big reason for The Border being so successful,O says Janet
MacLean, producer, writer and co-creator with Lindalee Tracey and Peter Raymont.
NThey are a fantastic ensemble who, while sticking faithfully to the script, also
inspire the writers by their creativity to make subtle changes in their characters.O
ACTRA Toronto member James McGowan plays Major Mike Kessler, head of ICS.
Janet says that after a long search for just the right actor James walked in and that
was it. NHe brought something new and fresh to the character. He gave Mike the
authority that was needed.O
As a young man growing up in Montreal, James was interested in the theatre and
participated throughout public and high school. NBut it was always a love/hate
relationship for me,O said James, NI always found it daunting and a bit scary.O
When it came time to enroll in university, he had dropped acting completely, taking
Communications at Concordia instead. When he graduated, he was hired by McGill
University as an Assistant Audio Visual Co-coordinator. NThe longer the title the
smaller the pay,O James says, looking back. After settling in to that job for a few years,
he was approached by a director friend who sensed he might need an outlet. She asked
him to audition for a play she was doing, and he got the part.
At first, he thought this would be something to do on the side but as more opportunities
came his way his mentor, acting teacher Steve Leckie, suggested James should think
about heading to Toronto.
For the next five years he drove back and forth between Montreal and Toronto, wearing
out cars and agents. NI was resolved to do what I had to do to find out if I could make
it in this crazy business despite my late startO James recalls. He went to every audition
that would have him. NThe only way to be successful in an audition is to be comfortable with yourself,O James imparts. NYou need a thick skin and I find the room is always
the same no matter what the role. All I wanted was a kick at the bucket.O
And kick it he did, getting roles in everything from MOWs, episodic television and
commercials. His role as the gangster in a Verizon spot is now legendary! Which brings
us back to The Border. After an excruciating wait on the short list the role was finally
his. One would think the tough part was over. James now recalls those first few days
shooting the pilot episode. NWe lost our first set five hours before shooting and scrambled
to find a new one. For a while everything was chaos. It seemed I could hardly breathe.
I was terrified.O
12
AC T R A TO R O N TO P E R F O R M E R S
2008
13
It was only in the last three days of shooting that James felt comfortable. NThey invited us to a screening of the pilot and although I could see the differences between
my first five days and the last three days, I thought it was a good looking show.O
After a couple of months of white knuckling it by the cast and crew the show was
picked up.
also finds the writing staff accessible and approachable. She feels the well-written
scripts engage issues of the day and the diversity of characters-in-crises bring to the
set a wide range of talented actors. NOur cast and crew are funny, smart and care about
one another,O she says, while acknowledging how fortunate she is to be doing a
dramatic series on a set she can walk to from home.
Graham Abbey plays Detective Sgt. Gray Jackson, an edgy character with an eye for
the ladies, a penchant for gambling and a thirst for danger. This is a contrast in
personalities as GrahamQs background is centered on family, music and theater,
particularly Stratford, where he got his first taste of performing as a young boy playing a
page in The Merry Wives of Windsor. It was in this production he would witness a
performance that would change the course of his life. NEvery performance I had the
opportunity of watching Nicholas Pennell play Jacques, the character who has the
wonderful speech NAll the WorldQs a stage…,O recalls Graham. NEven though that was
my last play as a child, it stayed with me and, IQm sure had a big effect on me.O
Unashamedly Canadian and eminently watchable, The Border casts its spell, week after
week, with taut tales of suspense, emotion, humour and intrigue.
Now the first season is in the can. NThis has been everything I hoped acting would be,O
James exclaims. NItQs been an amazing experience of collaboration and creativity. It is
a privilege to work on this show and IQm very thankful. This is exactly what I wanted
to do and now, IQm doing it.O
However as Graham got older he turned to academics and eventually he graduated
from QueenQs with a Degree in Politics and a scholarship to Osgoode Hall. While at
QueenQs, dabbling in theatre must have stirred something inside him because 10 days
before attending Osgoode, he called his parents to announce he was going to try
acting for one year, focusing on musicals. He worked for a time with the Carousel
Players, traveling the school circuit. That got him his Equity card and eventually led
to him joining the Stratford Shakespearean Festival Company. Ten years later, after
performing in everything from Death of a Salesman to a musical production of Snow
White and the Magnificent Seven, Graham found himself auditioning for The Border.
The responsibility is huge. The Border is a prime example of what we in Canada are
capable of creating if the money, opportunity and support are given to our artistic
community. From Quentin Durgens, M.P. to Street Legal, to E.N.G, and Traders, time and
again our industry proves that if we build it the Canadian public will come and watch.
And one thing all the writers agree on, whatever scripts they come up with, they will
be in good hands with this happy gang of actors.
Art Hindle is a new member of ACTRA Toronto Council.
He is the lead actor and director of the television series Paradise Falls.
Art is also a cast member of the unfortunately now defunct MVP.
NThey were all so very warm and receptive to meO Graham says looking back. NThey
watched me lose my place and blow my lines. I fled from the place thinking IQd missed
that opportunity. About a month later my agent called to say IQd been approved for the
pilot. IQd so put it out of my mind, I couldnQt initially remember which one it was.O He
fondly remembers The BorderQs co-creator Lindalee Tracey, who sadly died during the
shooting of the pilot episode, and always carries her photo in his character jacket.
Working on the show, Graham couldnQt be more satisfied. NEveryone from Janet and
Peter on down has been wonderful, accepting and made it a fun experience.O As for
the transition from stage to small screen, he didnQt find it that big a shift.
NI remembered Colm Feore telling me that the Stratford stage is Pintimate and so the
transition to film is small.QN Whatever method heQs using, itQs certainly working.
And speaking of working, the PvetQ of the cast, as she refers to herself, is the vivacious
and funny Catherine Disher, portraying Maggie Norton, Mike KesslerQs secondin-command at ICS.
Some years ago, in the Borneo jungle, this award-winning actress had to choose
between acting or nursing orangutans back to health. Sadly, for the orangutans, but
happily for us, she chose the former. Catherine has gone on to work in theatre, film
and television from one end of this country to the other, garnering nominations,
awards and plaudits for her talent and range. Now, sheQs doing her sixth series and
maybe the most enjoyable one.
Catherine explains why. NThe people,O she says emphatically. NPeter Raymont, whoQs
doing his first dramatic piece, approaches the show with a Pwhy canQt we do that?Q
attitude and it really works. ItQs refreshing and has banished my cynicism.O Catherine
14
AC T R A
PER FOR M ER S
Catherine Disher on the set of The Border.
2008
15
FYI — TorontoFilmBoardUpdate
Right
Toronto Film Board part of returning city
to the centre of film excellence
Off-Camera Performers vs. Narrators
by Heather Allin and Brian Topp
Recently an ACTRA Steward noticed a number of contracts
indicating that a performer was hired as a narrator, yet their
contract specified a character name. The Steward requested
scripts from the producer, and when examined, it was apparent
that the work was not third party narration, but first person
dramatic characterizations.
Two female Background
Performers were engaged to
be in a bedroom scene. They
were told there was no nudity involved. However,
when they got to set the Director asked them to disrobe
to their thongs and cover up
with a towel. This was a last
minute decision by the Director and there was no nudity rider in place. The
performers agreed to do the work, but when signing out at the
end they put a check mark in the box marked Nudity on
their voucher.
The production representative refused to sign off on the
voucher, claiming that the Performers were fully covered by the
towel. The performers then marked PdisagreeQ on their voucher
and contacted their Steward. After several weeks of dispute
between the production and the Steward, the performers
received their just pay.
Choreography
Not all off camera voice work in the IPA comes under the
category of Narrator. Article B103 sets out the fees for OffCamera Performers. These fees are quite different from those
of a Narrator in B104. In this case the performers had been paid
the Narrator fee of $281.00, when the correct fee was $420.75,
as an Off-Camera Performer.
Be aware that an Off-Camera Performer is engaged to execute
or interpret a role while a Narrator performs narrative material
that is not a characterization, although this does not apply to
animation. If you have any doubt that the work you are performing is narration, contact your ACTRA Steward.
A choreographer was absent from set one day and asked one of
the dancers to teach the choreography to some new dancers in
her absence. No additional fee was offered to the dancer.
The agent suspected this was incorrect and called the Steward
to explain the situation. The Steward got hold of the Production Manager and read him the clause in the IPA which
states that a choreographer not only creates dances, but also
stages them. After much discussion, the production agreed to
give the dancer two contracts, one for her work as a Dancer and
one for the day as a Choreographer.
FYI — ActraStewardsatWork
Stewards
at work
Things Going
Nudity on set
When in doubt about what you are asked to do on set, itQs best
to call the ACTRA Steward as soon as possible so the situation
can be handled without delay.
Preference of engagement
Heather Allin is an actor and the Vice-President, External Affairs, of ACTRA
Toronto and Brian Topp is the Executive Director of ACTRA Toronto.
ACTRA Toronto President, Karl Pruner, and Toronto Mayor and film board co-chair,
David Miller, at a recent member conference. Photo: Jag Gundu
16
AC T R A TO R O N TO P E R F O R M E R S
A producer required his casting director to only audition
performers from a specific agency for a certain role. A nonunion performer from that agency was then cast and a permit
submitted to ACTRA. When the Steward did their research it
was discovered that the performer was from an agency that
represented a considerable amount of non-union talent, and
that preference of engagement had not been given to ACTRA
members. The permit was denied by the Steward and an
ACTRA member was subsequently cast in the role.
SUMMER 2 0 0 8
17
ACTRATorontoMemberConferences ACTRATorontoMember
How to write a screenplay
INT. Victoria College Classroom, U of T - MORNING
Open on an intrepid group of would-be-writers shifting in their seats, trying to make
themselves comfortable in this hallowed place of learning.
At the front of the class, David Sparrow (46) and Marium Carvell (46, but doesn't look it)
prepare to offer up the pearls of writing wisdom they have gleaned from years of having their
work rejected by broadcasters across Canada.
SPARROW
Ideas are a dime a dozen. You won't own your story until
you've written it down. A ONE LINE is your idea in it's
simplest and rawest form, but it's not a script.
CARVELL
You've heard it said, ‘Write what you know.’ Well, write
whatever you want, but use what you know to tell your story.
SPARROW
So, if you've been married for ten years, choose to have
one of your characters married and write in some of the
details and dynamics you're an expert on.
CARVELL
There are many things that will inform the telling of a
story or the writing of a screen play.
Sparrow lumbers toward the blackboard and, with the assistance of the class, makes a list
of things that could direct writing. -- LOCATION (Setting), ERA (Time Period), CHARACTER
SPECIFICS (Income, Education, Addiction).
CARVELL
Know your characters. Build their back story, even if it doesn't
end up in the final script, the details will inform you along the way.
IMPROV
FOR
ACTORS
• Develop subtlety and reality to
your comedic work
• 7 week sessions/3 hr classes
SPARROW
I like to write my script as a short story first. Later I can
expand that into a treatment and then I can add dialogue.
CARVELL
But, if any particular scene seems fully developed in your mind,
go ahead and write it down. Then you can forget about it.
There are no rules you can't break.
Sparrow and Carvell are joined by ACTRA member Kent Stains, writer of PROM QUEEN, SPIRIT
BEAR and the hit series MVP. Stains holds the class in rapt attention as he shares tales
from his storied career.
Sparrow tries to steal focus by asking Stains whether it is difficult to write for female
characters as he does on MVP.
STAINS
No. I write them as I think they'd react in the situation.
Luckily I have my co-writers, Mary Young Leckie and Sherry White
to check that the female characters are believable.
• Theatre Degree or ACTRA /
Equity membership required
SUBMIT HEADSHOT & RESUME
FOR CONSIDERATION
416-340-7270 • secondcity.com/tc
Applause.
SPARROW
It looks like we're out of time. Hope this has helped get you
started on the road to writing, appearing in and maybe even producing
your own projects. Thanks to Marium Carvell and Kent Stains.
As the class files out they thank the presenters for a job well done.
ROLL CREDITS
David Sparrow
18
AC T R A TO R O N TO P E R F O R M E R S
SUMMER 2 0 0 8
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ACTRATorontoMemberConferences ACTRATorontoMember
Conferences
ACTRATorontoMemberConferences ACTRAToronto
ALL CONFERRENCE PHOTOS
BY JAG GUNDU
Art Hindle talks about some of the highlights
of his career at the Winter Member Conference.
How to self-tape for auditions
Photo: Jag Gundu
Computer instructor, Michael James, talks about how to use computers and the
internet to promote your career.
The Art of Art
Stephen Barden talks about
looping techniques at an early
morning voice workshop.
David Sparrow and Marium Carvell offer insights to
help new writers during the Writing Boot Camp.
From L – R: Jason Knight, Joanna Bennett, James Allodi, Tom Melissis,
Phillip Mackenzie, Cayle Chernin, Michael Copeman, Gina Clayton
Chris Owens, Kate Trotter and Jonathan Potts chat during the Auditions 101 workshop.
Eric Murphy
20
AC T R A TO R O N TO P E R F O R M E R S
SUMMER 2 0 0 8
21
2008
Toronto
ACTRA AWARDS
by Karen Ivany
Hot show beats cool snow
Despite another snow squall that darkened the city, over 800 people attended the
2008 ACTRA Awards in Toronto at the fabulous downtown Carlu. ThatQs got to mean
weQre doing something right.
From L – R: Matt Watts, Aaron Poole, Caroline Cave,
ACTRA Toronto President Karl Pruner and Eric Peterson.
After tossing their parkas to the coat-check ladies, members found themselves
surrounded by hundreds of glossy headshots, hanging from four foot tall silver photo
trees, placed throughout the venue. The effect was grand and glamorous as guests
sipped cocktails and gazed at the Pstars.Q Did I mention the black and silver-sequined
linens? Perhaps they were another reason we had to beg members to leave their drinks
and hors dQoeuvres and wrestle them into seats for the show to begin.
Impish and affable Colin Mochrie as host proved heQs also the sweetest Canadian
comic around. Since I have the inside scoop, I can tell you heQs a master at spontaneously
inserting hot topics, like Bill C-10, into his remarks and seamlessly twisting them
into jokes.
Photo: Jag Gundu
Toronto member, singer/songwriter Kathryn Rose,
providing the evening’s entertainment. Photo: Jag Gundu
Award presenter and previous Award of Excellence
winner, Wendy Crewson. Photo: Jag Gundu
ACTRA Toronto’s 2008 Award of Excellence recipient, Eric Peterson.
Mayko Nguyen and Joe Pingue, both
ACTRA Award nominees, take time to pose
for the camera. Photo: Jag Gundu
Photo: Jag Gundu
Singer/songwriter Kathryn Rose was the eveningQs musical entertainment. You
could sense the audience holding its breath during the final notes of her original song
POne Person,Q and sit upright in their chairs during the horns in PYellowknife.Q That
girl can sear your heart with a single note.
The winners in each category were fabulous in a variety of ways; performance,
fashion and eloquence. MattWatts, who won for his role in Canadia: 2056, was fearless
with his comment, NItQs all about radio drama!O Caroline Cave and Aaron
Poole, selected for vulnerable and startling performances in the feature This Beautiful
City, were passionate in their thanks and praised the Toronto TIP agreement,
which enabled the making of the low-budget, but high-quality, film.
David Gale and Jocelyn Zucco.
Photo: Susan Ponting
Humbled to be named among previous honourees, this yearQs Award of Excellence
recipient Eric Peterson regaled the crowd with his trademark wit and good humour.
This reluctant spokesperson reflected on his past and how his involvement during
ACTRAQs first strike in our 60-year history helped re-invigorate his sense of purpose.
The real party exploded after the show, and the energy reverberated throughout. I
spied the grinning faces of all fifteen outstanding nominees. As the night wound
down and the DJ kept spinning for the packed floor, I took a moment to cement a
few last images in my mind; Jack Knight waltzing with his mom, wheelchair-neverbound actress Spirit bopping and popping wheelies, abandoned ladiesQ shoes everywhere, Aaron PooleQs crowd-surfing statuette, and a little, boot-stompinQ freckled boy
who loves Elvis Presley, and didnQt want to go home, ever!
Awards host, Colin Mochrie, warms up
the crowd at the 2008 ACTRA
Awards in Toronto. Photo: Jag Gundu
Dirk McLean and Stephen Graham Simpson.
Photo: Susan Ponting
Karen Ivany is currently serving her second term as an
elected councilor for ACTRA Toronto. She is chair of
the Awards Committee and producer of the annual
ACTRA Awards in Toronto. Some of KarenQs recent
credits include The Jon Dore Show and Back in A93.
22
AC T R A TO R O N TO P E R F O R M E R S
Caroline Cave and Aaron Poole, from the film This Beautiful City,
celebrate their award winning evening. Photo: Jag Gundu
ACTRA Award nominee, Kristin Booth,
talks to the media. Photo: Jag Gundu
SUMMER 2 0 0 8
23
Actors Helping Actors
John
Andrew
Robinson
Mortgage Consultant
Credit Union gets the green light!
Actra Member since 1985
+
+
416 835 1754
[email protected]
The credit union youQve heard so much about is finally ready for prime time.
On June 3 the Superintendent for the Financial Services Commission of Ontario TFSCOU,
the regulator for credit unions, gave final approval to the Creative Arts Savings & Credit
Union to begin selling investment shares.
It has been a long journey since ACTRA Toronto first decided to pursue a charter for a new
cooperative financial institution S one that would be designed especially for working
professionals in the creative industries.
The credit union is now poised to begin operations in the weeks ahead, as soon as it raises
$2.5 million in start-up capital by selling investment shares. These shares, which will be RRSP
eligible, can earn interest up to 1.25% above the average five year GIC rate. For a brand new
credit union like Creative Arts, investment shares are vital to its formation. They provide the
bulk of the equity capital it needs to ensure the safety of member deposits, support the credit
unionQs asset base as it grows and finance the institutionQs operating costs until such time as
expenses can be met by revenues on an ongoing basis.
Creative Arts Savings & Credit Union will be a banking institution where the statement that
you are a performer will mark the beginning of the conversation, not the end. So if youQre
tired of the hassle of dealing with big, inflexible banks, youQll love doing your banking at a
credit union, where the needs of performers come first.
Star power recharged
Glam up your travels at the Metropolitan’s starstudded hotels in Toronto and Vancouver. Our
luxurious settings and intuitive service are
worthy of the most discerning superstars. Check
in with your sunglasses and A-list attitude ...
we’ll make sure you check out feeling like a star.
MOVING
TO THE
NEXT
STAGE?
THINKING
ABOUT
BUYING YOUR
Visit www.creativeartscu.com or call Steve Mumford at 416-642-6751 for more
information on the credit unionQs planned products and services, and how you can do your part by
purchasing investment shares and becoming a Founding Member of this unique institution.
FIRST HOME
The 45,900 square foot mega-stage under construction at
FILMPORT.Photo: Chris Faulkner
Toronto member, Wendy Crewson, in Ottawa to talk
about the dangers of Bill C-10. Photo: David Gonczal
Together we’ll put your real estate Dreams
DOWN STAGE CENTRE!!
DAVID MACLEAN
Sales Representative
416
465.7527
a proud ACTRA Member since 1998
www.livinginthegta.com
1.800.668.6600
w w w. m e t r o p o l i t a n . c o m
SUMMER 2 0 0 8
25
Paul Gross
Gordon Pinsent and Sarah Polley at the 28th annual
Genie awards. Photo: © 2008 Academy of Canadian Cinema & Television
Dorothy Atabong
Lee Rumohr
Dione Taylor at the fourth annual Scrabble with the
Stars PAL fundraiser. Photo: Gerry Salsberg
Robb Wells, Richard Hardacre and Julie Stewart in
Gatineau, Quebec at the recent CRTC hearings.
Photo: David Gonczal
R.H. Thomson speaks out about the importance of Canadian
culture at the recent CLC convention. Photo: Chris Faulkner
26
AC T R A TO R O N TO P E R F O R M E R S
SUMMER 2 0 0 8
27
ACTRA Toronto
Staff is here for
When times are tough,
the tough do what?
YOU.
by David Huband
I was at dinner party once and a woman asked me, NAnd what
do you do for a living?O To which I responded, NIQm an actor.O
She looked at me and said, NBut what is your real job?O Ah yes,
a real job.
I am reminded of an old joke. WhatQs the difference between an
actor and a large pizza?
A large pizza can feed a family of four.
Recent times have been hard for actors, the ACTRA strike in
2007, the writerQs strike in the United States this past winter,
the strong Canadian dollar and competitive tax breaks offered
south of the border. Yes, the business is slow right now. Hell,
itQs downright dead. So, what does an actor do when times are
tough?
I spoke with two ACTRA members who have come up with
some unique and interesting solutions.
Michael Caruana started coaching actors in 1995, when he
formed his own company, Bongo Productions. He renovated
space in his house to be his studio, which has all the high-tech
equipment that any current casting facility would have.
Michael sees actors on a daily basis, and he books out hourly
sessions for private coaching and two hour sessions for scenes
for actors.
NIf I get an audition, or I get booked on
something, I can book off,O says Michael.
NOr if IQm needed around the house, and
want to spend time with my family, itQs all
pretty flexible.O To have such flexibility and
control over his schedule was important for
Michael when he started his business.
Lesley Kelley is an actress, and
writer. As she puts it, NI needed a
job, I mean, actors donQt work all
the time. ItQs not consistent.
So I needed a way to
make
money,
good
money. IQm not going to
go out and work for ten
bucks an hour, you know
what IQm saying? So I
started my own business.
I have an all-female painting
company called PGo Girl InteriorsQ.O
Lesley adds, NIt brings in a good income, and I have a lot of freedom.
I donQt have to rely on just acting to pay my bills.O
28
AC T R A TO R O N TO P E R F O R M E R S
In our household, my wife Christina is the one who does the
plumbing, electrical work, wood work, and tiling, not to mention creating magnificent stained glass pieces. I wish I had skills
like those. IQm just not wired that way.
In my pathetic attempts to find a straight job I have failed
miserably. I flamed out as a short-order cook, because I was
afraid of, well, flames. I think I was the only office temp-worker
in history who couldnQt type. IPve had dreams of one day
opening a restaurant, but IQd eat everything IQd make, so that
wouldnQt work. How could I make some much needed cash?
Then I was informed that IQd be receiving a $100.00 honorarium for writing this article. It got me to thinking, if I wrote
an article a day for every day in a month, ka ching, ka ching,
IQd be pulling in almost three grand a month! I have found my
skill at last.
David Huband is an award winning Toronto-area
writer and actor. Some of his recent credits include
The Shakespeare Comedy Show, The State Within and
Little Mosque on the Prairie.
ACTRA
Toronto Council
WhoQsWho
ACTRA Toronto
General contact information
Tel: 416-928-2278 or toll free 1-877-913-2278
[email protected]
www.actratoronto.com
625 Church Street, 1st floor, Toronto, ON, M4Y 2G1
Commercial Agreement Interpretations
Judy Barefoot TDirectorU Tel: 416-642-6705
Kelly Davis TStewardU Tel: 416-642-6707
Cathy Wendt TStewardU Tel: 416-642-6714
Commercial Audition Callback Inquires
Claudette Allen Tel: 416-642-6713
Commercial Cheque Inquiries
Tammy Boyer TExaminerU Tel: 416-642-6739
Lyn Franklin TExaminerU Tel: 416-642-6730
Brenda Smith TExaminerU Tel: 416-642-6729
Commercial Payment Inquiries
PRESIDENT Karl Pruner T1,2U [email protected]
Tereza Olivero TCoordinatorU Tel: 416-642-6731
Laura McKelvey TCoordinatorU Tel: 416-642-6728
VICE-PRESIDENT, EXTERNAL AFFAIRS Heather Allin T1,2U [email protected], ext. 6610
Communications and Organizing
PAST PRESIDENT, ACTRA<S NATIONAL PRESIDENT Richard Hardacre T2U [email protected]
VICE-PRESIDENT, FINANCE Austin Schatz T1,2U [email protected], ext. 6607
VICE-PRESIDENT, INTERNAL AFFAIRS Theresa Tova T1,2U [email protected], ext. 6605
VICE-PRESIDENT, COMMUNICATIONS Lyn Mason Green T1,2U [email protected], ext. 6603
VICE-PRESIDENT, MEMBER SERVICES David Sparrow T1,2U [email protected]
EXECUTIVE MEMBER-AT-LARGE David Gale T1,2U [email protected]
Joanna Bennett T1,2U [email protected]
Wendy Crewson T2U [email protected]
Ferne Downey T1,2U [email protected]
Dom Fiore T1,2U [email protected]
Art Hindle T2U [email protected]
Karen Ivany T2U [email protected]
Taborah Johnson T2U [email protected]
Don Lamoreux T2U [email protected]
Jani Lauzon T1,2U [email protected]
Steve Lucescu T2U [email protected]
Lynn MacKenzie T2U [email protected]
David Macniven T2U [email protected]
John Nelles T1,2U [email protected]
Jack Newman T2U [email protected]
Wayne Robson T2U [email protected]
Stephen Graham Simpson T2U [email protected]
Legend 1 - ACTRA National Councillor; 2 - ACTRA Toronto Councillor
Shereen Airth, Apprentice Chair [email protected], ext. 6621
Peter Lukashel, Apprentice Vice-Chair [email protected]
Bob Grant, Apprentice Secretary [email protected]
Theresa Tova, ChildrenQs Advocate [email protected], ext. 6605
Dan Mackenzie TDirectorU Tel: 416-644-1506
Joy Corion TWeb Communications CoordinatorU
Tel: 416-642-6747
Chris Faulkner TPublic Relations OfficerU
Tel: 416-642-6710
Norm MacAskill TOrganizerU Tel: 416-642-6711
Finance and Administration
Karen Ritson TDirectorU Tel: 416-642-6722
Independent Production Agreement (IPA),
CBC TV & Radio, CTV, City-TV, Global and
TVO Agreements
Eda Zimler TDirectorU Tel: 416-642-6717
Indra Escobar TSenior AdvisorU Tel: 416-642-6702
Clare Johnston TSteward: CBC, IPAU Tel: 416-642-6738
Barbara Larose TSteward: IPA, Co-op, Student FilmsU
Tel: 416-642-6712
Noreen Murphy TSteward: IPA, Animation, DigitalU
Tel: 416-642-6708
Richard Todd TSteward: IPA, Audio Code, Global,
TVO, Industrials, DocumentariesU Tel: 416-642-6716
Karen Woolridge TSteward: IPA, City-TV, CTV,
VISIONU Tel: 416-642-6709
Toronto Indie Production
Tasso Lakas TTIP CoordinatorU Tel: 416-642-6733
Member Training Intensive &
Gordon Pinsent Studio Bookings
Jani Lauzon, Diversity Co-Chair [email protected], ext. 6618
Stephanie Stevenson TAdministrative AssistantU
Tel: 416-642-6735
Shawn Lawrence, Ombudsman [email protected], ext. 6604
Membership Department Dues &
Permit Payments
Shelia Boyd, AcessAbility Task Force Co-Chair [email protected], ext. 6619
Eric Bryson, Stunt Committee Chair [email protected]
Contract: Membership Department Tel: 416-928-2278
Dan Mackenzie TDirectorU
SUMMER 2 0 0 8
29
In Memoriam
We share our sadness at the passing of our beloved colleagues
IN MEMORIUM / NEWMEMBERS
Bruce Alton • Thom Bell • Don Chevrier • John Davies • Milt Dunnell • Annie Hart
Andy Knott • Leon Lawes • William Lyon • Robert McKenna • Barry Morse • Mary Pirie
Joseph Shaw • Charles Weir
Banks don’t ‘get’
entertainment freelancers
Barry Morse • 1918 - 2008
The first time I met Barry was in 1958, at the old CBC rehearsal building on Sumac Street in
downtown Toronto. I wandered into the building, not knowing where I was supposed to go, when
this gentleman entered the front door, and seeing my dilemma, came over to me and asked if he
could help. NIQm supposed to be here for a rehearsal for the television play Charles Jarrot is directing.O I said. NCome with me,O Barry replied. NWeQre both in the same production.O
We do.
Barry was one of the most professional people I ever knew. He once fought the CBC for an over
scale payment of one dollar, just for the principal of the thing. He always fought for what was right.
We lost another great one. Farewell Barry. Rest in peace
John Grima
Joseph Shaw • 1921 - 2008
Joseph Shaw, actor, director and teacher was a 24 year veteran of the Stratford Shakespeare
Festival. Joseph joined the festival in 1962 when he played Duncan in Macbeth and Pedant
in The Taming of the Shrew.
As a young man Joseph studied at the Central School of Drama in England, where he won the
Gold Medal for acting. Joseph was also the founder of the George Brown Theatre School in
Toronto, one of the countryQs premier theatre training programs. Joseph went on to be the
schoolQs artistic director for the first 10 years of its existence.
Joseph is survived by his son, Timon.
Coming soon.
Welcome
new
members!
30
AC T R A TO R O N TO P E R F O R M E R S
Mustafa Abdelkarim
Cole Abernot
Dan Abramovici
Erik Alcock
Beryl Bain
Susana Baker
Jessica Barrow
Flora Bilyk
Christina Bilyk
Avery Bisbee
Ronnie Black
Katie Bowes
Philip Bucceri
Darius Buddington
Glenn Burton-Thomas
Mike Butters
Daniel Chapman-Smith
Jeannette Choueiri
Warren Chow
Alli Chung
Lisa Codrington
Justin Skye Conley
Patrick Cooke
Graeme Cornies
Brandon Craggs
Paul Deerin
Max Dreesen
Hailey Einhorn
Kurt Firla
Ron Fountain
Danny Gallagher
Lila Ghadban
Ryan Granville Martin
John Grose
Jamie Gutfreund
Megan Henry
Shawn Hewson
Paul Johnston
Graeme Jokic
Anne Jung
Joe Kalra
Oksana Kuz
Tom Lee
Noah Lehman
Danielle Lindy
Nicolette Liwanag
William Loftus
Faye Ly
Iona Rose Mackay
Justin Mader
Jane Maggs
Danijel Mandic
Joseph Masellis
Kirt Mason
Lisa Michelle Mckenzie
James Mclennan
Dennis Mockler
Jennifer Mote
Gage Munroe
Siobhan Murphy
Marco Paganelli
Brian L Pickett
Denise Pinnock
Karen Pires
Nick Policelli
Edward A Pzytula
Eva Redpath
Kyle Riabko
Wellesley Robertson Iii
Lukas Rossi
Alie Rutty
Christopher Segovia
Monica Shah
Ron Sham
Dejah Slater
Quinn Smith
Nick Spencer
Rhonda Stakich
Nicole Stamp
George Stroumboulopoulos
Oscar Surla
Asante Tracey
Georgia Valentyne
Tino Wilson
Trey Wright
If you and your family are thinking about a new home, a car,
retirement savings, or other financial services, soon you’re going
to have a new, better place to go.
Whether you are a member of ACTRA, NABET, IATSE, the
Directors Guild or any of the many unions, guilds, associations
or companies serving the creative arts community, you’ll be able
to take advantage of a full-service financial institution designed
exclusively for creative professionals like yourself.
To find out more, visit www.creativeartscu.com
or call 416.642.6751
SUMMER 2 0 0 8
31
Annual Labour Day Parade, Monday September 1
Join ACTRA Toronto members and march in the annual Labour Day parade on
Monday, September 1. ACTRA Toronto is proud to join other Toronto area unions in the annual
parade celebrating the history and struggle of working people and the achievements of organized labour.
Please meet on University Avenue and Queen Street West. The parade marches along Queen Street and south on
Dufferin Street to the Canadian National Exhibition. All those marching in the parade get into the Exhibition for free.
For more information, check out www.actratoronto.com
All ACTRA Toronto members, and their family and friends, are welcome.
ACTRA Toronto Performers
625 Church Street, 2nd floor
Toronto,ON
M4Y 2G1
Printed in Canada
C a n ad a P o st C or p or a t i o n
P u b lic a t ion M a i l A g r e e m e n t N o .
400 6 913 4