spring 2014 - ACTRA Toronto

Transcription

THE M AGA ZINE FROM AC TR A TORONTO
VOLUME 23 • ISSUE 1 • SPRING 2014
THE 12TH ANNUAL ACTRA
AWARDS IN TORONTO:
THE NOMINEES ARE...
THE ART
OF ACTIVISM
BREAKING INTO
COMMERCIALS
R.H. Thomson
THE Eric PETErSon inTErViEw wiTH
2014 AwArd of ExcEllEncE winnEr
Contents
President’s Message...
4
Meet Your New Councillors...
6
R. H. omson:
e Interview...edited by Chris Owens...
9
And e Nominees Are...
the 12th ACTRA Awards in Toronto...
Welcome New Members...
14
19
Breaking into Commercials by Paul Constable...
e Art of Activism by Art Hindle...
Members News...
20
22
24
ACTRA ABP: Quest for Video Empowerment
by John de Klein...
27
Ask Tabby and Tova...
Lives Lived...
2
ACTRA TORONTO PERFORMERS
28
30
Who’s Who at ACTRA Toronto...
31
Photo: Tim Leyes
Performers
Volume 23 * Issue 1* SPRING 2014
PUBLISHER
David Gale
[email protected]
EDITOR
Chris Owens
[email protected]
STAFF EDITOR
Karen Woolridge
[email protected]
Contributors
EDITORIAL COMMITTEE
Heather Allin, David Gale, Art Hindle, Chris Owens, Karl Pruner, Sue Milling
David Sparrow, Karen Woolridge
DESIGN and LAYOUT
Erick Querci
Creative Process Design • [email protected]
ADVERTISING SALES
Karen Cowitz
[email protected] 416-461-4627
Shereen Airth
Paul Constable
CONTRIBUTORS
Shereen Airth
Paul Constable
John de Klein
Art Hindle
Tabby Johnson
Chris Owens
Eric Peterson
Dave Sparrow
Theresa Tova
Karen Woolridge
ADDRESS EDITORIAL CORRESPONDENCE TO:
John de Klein
Art Hindle
Performers magazine
c/o ACTRA Toronto
625 Church Street, Suite 200
Toronto, ON M4Y 2G1
Fax: (416) 928-2852
[email protected]
JOIN THE TEAM
If you’re an ACTRA Toronto Member and want to write an article or contribute original
artwork or photos, we’d love to hear from you. Send an email to [email protected].
Printed in Canada by union labour at Thistle Printing on 50% recycled paper.
NEXT COPY DEADLINE IS: July 15, 2014
Tabby Johnson
Chris Owens
The magazine invites members to submit notices of births, marriages, obituaries and letters to the editor. Article submissions must be sent via email to [email protected].
We reserve the right to edit or omit any material for length, style, content or possible
legal ramifications.
Performers magazine is published twice a year by ACTRA Toronto. The views
expressed in unsolicited and solicited articles are not necessarily the views of ACTRA
Toronto, its council or this committee. The presence of an advertisement in Performers
Magazine does not imply ACTRA Toronto’s endorsement of the advertised company,
product or service.
Publications Mail Agreement number 40069134
ISSN 1911-4974
www.actratoronto.com
Eric Peterson
Cover Photo: Tim Leyes
(www.timleyesactors.com)
David Sparrow
Theresa Tova
SPRING
2014
3
president’s
David Sparrow
ACTRA Toronto President
Of pOwer Outages
and uniOns
Ice storm, Day 3, December 23rd, 2013. Power’s been out for
over 36 hours – thermostat reads 14˚C - computer battery
claims 54% - I’ll have to type fast.
Electricity is something I have apparently been taking for
granted. It’s always there, doing its job - powering things - the
blower on the furnace, the stereo, the oven, traffic signals, the
bathroom light. I don’t have to think about it; it’s just there…
until it’s not and suddenly I’m back in the 1800s burning
candles and wearing a toque indoors.
With no TV to entertain me, I get to thinking, and it occurs to
me that unions are kind of like electricity. ey’re there, operating in the background of every worker’s life – empowering
the employee. Whether union, non-union, contract or
4
self-employed, unions have set the standards for wages, work
hours, health and safety, retirement, parental leave, sick benefits, vacation pay and the list goes on. Over the last hundred
years, workers just like us stood together to demand fair treatment by employers and governments. eir activism built the
middle class by lobbying government to make the contractual
gains they achieved into laws that benefit all workers. ey did
such a good job that our generation has been able to take
unions and the work they do pretty much for granted. We
even question the relevancy of unions now that legislation addresses the big issues. is belief, that rights extended by one government will not be withdrawn by another, is perhaps too
trusting.
Already, Conservative leaders in Ottawa and here in Ontario
unions are one of the few voices
families in the face of corporate
executive bonus-driven, maximumare on record proposing legislation that will diminish the
ability of unions to negotiate, increase their accounting costs,
complicate their reporting to the Canada Revenue Agency,
attack their ability to fund the services they provide to members
and basically put them out of business. Of course they won’t
say that… they plan to cloak the assault in words like “right-towork,” “transparency,” “choice,” “flexibility,” “competitive workforce” and “fairness.” It’s ironic, because the unions of today are
the embodiment of most of those words. ey are some of the
most democratic, fair and transparent organizations that
exist… certainly when compared to the Senate of Canada.
is attack from the Right is not new. Twenty-four U.S. states
are “right-to-work” states, jurisdictions where joining a union,
where one exists, is not compulsory. Even Michigan, the birthplace of modern unionism, recently threw workers under the
Union Made bus and adopted right-to-work laws. Right-towork means the employees in those states get to choose
whether to join a union or not, to pay dues or not. Many workers
choose to be free riders, receiving the services of the union,
where one exists, but not paying for them. With fewer resources,
unions reduce services and some disappear entirely. e result
for workers is lower wages, lower employer healthcare contributions, fewer employer-sponsored pension plans and a greater
incidence of fatal workplace injuries than in non-right-to-work
states where unions are strong and active. ese right-to-work
states actually advertise their low-wage economy. Boasting
about falling salaries. at’s scary.
Unions are one of the few voices standing up for workers and
their families in the face of corporate bottom line, shareholder
dividend, executive bonus-driven, maximum-profit-at-anycost capitalism. ‘Investotainment’ media is happy to tell us that
greedy unions led by militant, cigar-smoking union bosses
don’t understand the complexity of a global marketplace. In
the blame game, this spin from the Right is designed to
suppress collective voices and strike fear in the hearts of the
middle class. e uncertainty it breeds causes our neighbours
to embrace the politics of envy that would rather see union
members lose their pensions than all workers receive a
dignified retirement.
Over the next year we will likely see both a municipal and a
provincial election (followed by a federal election in 2015). is
is our opportunity to ensure our voice is heard. As a union of
professional performers, ACTRA Toronto will pursue and
support an arts-based agenda that will seek to protect our
jurisdiction and the policies that make it an attractive place for
the film & TV industry to come and play. We will show support
for a strong and active Toronto Film Office with an energetic
and dedicated Film Commissioner. We will seek a continued
government commitment to tax policies that bring stability
and confidence to our production community. We will defend
child performer legislation, respect for artists and increased
safety standards in our industry. We will see the arts recognized as
an important economic and tourism driver in both the city and
the province.
As union members we will need to be even more proactive. We
will have to stay alert and be ready to support candidates that
will speak against the anti-union storms that may blow our way.
What these elections represent is bigger than our industry alone.
eir outcome could redefine the future work environment for
our children and our grandchildren. Their outcome could
fundamentally change the ability of workers to be fairly
compensated, to be safe and to retire with dignity. It’s time to
get political… time to be an activist.
Across a recent negotiating table, a producer boasted that in
South America he had hired background performers for
nothing more than a meal. When asked if he expected ACTRA
to compete with that, he paused, a moment too long, smiled
and said, “Of course not.” is is what we’re up against, the kind
of thinking we must defend against. is is the time for our
generation to stand together as workers to demand fair treatment
by employers and governments.
Because… if the union power goes out, it will get cold really
fast.
•
In solidarity,
David Sparrow
ACTRA Toronto President
SPRING
2014
5
Meet
YOur
new
COunCillOrs
Shereen Airth: “I have been acting all
K.C. Collins: An ACTRA member for
of my life, but have been paid for it for
the last 13 years through the work and
advocacy I have done in this community.
I feel both humbled and validated to be
elected to a second term, and look forward
to working again with our dynamic Council
on a myriad of issues.”
15 years, K.C. might be best known for
roles as Detective Hale on Lost Girl and
Dr.Tom Reycra on Saving Hope.
Heather Allin: “ank you for your
many votes of confidence, I will continue
working towards making actors’ and
artists’ lives better, to ensuring Canadian voices are on Canadian screens, and
towards building our vibrant industry.”
Wendy Crewson: “I am pleased to be
Heather Allin's film work includes Small
Town Murder Songs, Welcome to Mooseport; her recent TV series includes Played, Rookie Blue and e
Listener.
Lisa Berry: “ank you to everyone
who elected me and for allowing me to
bring my passion, energy and eagerness to
our union. I have a voice because I feel the
power of my union.”
returning to council and anticipating renewed energy and ideas as we welcome
our new councillors. ere is much to be
done this year and I see opportunities for
greater membership involvement as we continue to ensure more work opportunities
here in Toronto.”
Maria del Mar: “I am honoured to have
been placed in a position where I get to
work with such inspirational, hardworking people on the ACTRA Toronto
Council. I look forward to participating
and learning as much as I can.”
Maria del Mar is an award-winning actor
who also coaches Spanish and auditioning.
Catherine Disher: “I feel very lucky
6
and grateful that I have been able to support myself by working exclusively as a
professional actor since graduating from
the National eatre School in 1985. I
look forward to giving back to the union
that has made this possible and to doing
my part to ensure that young actors today
will also have the opportunity for long
careers; making a living doing what they love.”
YOur new COunCillOrs
Ferne Downey: “I am thrilled to serve
Joel Keller: “I am so very thrilled and
honoured to have been voted into council
by my friends and peers.”
as your ACTRA National President and
FIA (International Federation of Actors)
President and pledge to work actively
as an advocate for performers’ rights locally, nationally and internationally.”
Joel Keller has been an ACTRA member since
1978 and has worked on all sides of the business, from on-camera commercial work, Production Assistant, writing, producing, starring
in several series and now directing.
Ferne Downey is an actor, originally from
the Maritimes, who came to Toronto to
pursue her dreams and fell in love with e Big City and
ACTRA.
Jani Lauzon: “I am looking forward
to building on the incredible work we
have already accomplished as a union,
especially with such a strong and dedicated team.”
David Gale:
“ank you sisters and
brothers for electing me for a fourth
term. I strive to bring compassion, creativity and humour to my volunteer work
with ACTRA Toronto. Here's to two more
remarkable years.”
Jani Lauzon is a multidisciplinary stage artist
and an award-winning screen actress.
David Gale is a multi-award winning actor,
writer, director and host best known for
hosting the cooking with grandmothers TV series Loving
Spoonfuls. He recently appeared on Degrassi: TNG.
David Macniven: “I am honoured to
be re-elected and excited to continue the
good work to protect and advance the interests of my fellow performers.”
Richard Hardacre: “Being elected is a
David Macniven has been a professional
actor for over 20 years and has served on
ACTRA Toronto and National Councils
since 2000 and is currently Treasurer of
serious matter; real leadership works for
the empowerment of others, so let’s keep
building this empowerment, for all.”
Richard Hardacre has been three decades
an actor, two of those as an activist for the
creative opportunities and the rights of
Canadian performers and writers.
Art Hindle: “I am first and foremost, a
proud ACTRA councillor, ACTRA National Councillor and a very aggressive
Vice-President of External Affairs and as
an aerthought, an actor/director. Since
being re-elected, I will happily continue in
those roles. ank you, Membership!”
Tabby Johnson: “I wish I could sing
you how my heart feels. I am again humbled by your belief in me and the work I
do.”
www.tabbyjohnson.com
Jani Lauzon
ACTRA Toronto.
Colin Mochrie: “I'm Colin Mochrie,
improviser, actor, author and proud
ACTRA member. I am honoured to be reelected and allowed to continue the
fight to give Canadian stories and Canadian talent the audience they deserve.”
John Nelles: “I’m grateful for the support, and ready to work with my colleagues and members to keep ACTRA
vital, forward thinking, and relevant.”
John Nelles works as an actor, dialect
coach, fight director, and has served on
many committees and task forces, and on
ACTRA Toronto and National Councils.
Jack Newman: “I am delighted to be
back on Council where I have learned that
the Council does such good work for the
members and for Canadian culture in
general. As an ACTRA member for 40
years, I have also learned that an actor has
to diversify so I happily have tried speaking parts, background work, OSLO work
and Council work.”
SPRING
2014
7
Meet
Your
new
Councillors
...continued
Eric Peterson: “I have early-onset ‘old
fart dementia’ which means I rail and
gripe a lot about almost everything, so
it’s surprising how pleased I feel being
elected again to ACTRA Toronto Council.
“ank you” to all those members who
voted for me; “ank you” to a l l t hos e
me mb e rs w ho d i d n’t vote for me ;
“C on g r a t u l a tions” to all those members who ran in the
election successfully and a hugely special “Congratulations”
and “ank you” to all those members who ran in the election
but weren’t elected; I feel for your disappointment, but your
participation renders you unsung champions of what makes
this union strong and effective.”
Leah Pinsent: “It is an honour to be reelected to Council and I am looking forward to continuing to help in our fight to
keep Canadian culture relevant.”
Leah recently performed in the mini-series Best Laid Plans; and two features, the
comedy Big News in Grand Rock and the
drama Wet Bum all to be released in 2014.
Nicole St. Martin: “I am elated and
grateful to have been re-elected to council and I look forward to continuing to
serve the ACTRA membership.”
Nicole has been acting professionally since
she was seven years old, appearing on
stage and screen internationally, and has
served on ACTRA Toronto Council for
four years and as Chair of the Conference and TAWC Committees.
Theresa Tova: “I am honoured to be
able to continue being inspired by the
work we artists of ACTRA do, and to ensure respect for workers on behalf of our
union, our industry and our society.”
A Gemini nominated actor, Governor General Award nominated writer and international cabaret diva, eresa Tova serves as
ACTRA Toronto Vice-President Internal, ACTRA National
Treasurer and National Children’s Advocate.
www.leahpinsent.ca
Chris Potter: “A brief note to thank
the voting members for your confidence
in re-electing me for a second term on
Council.” Chris Potter stars as Tim Fleming on Heartland.
RULES
FOR COUNCILLORS
• A Councillor term is two calendar years.
• Council meets monthly except for one summer month.
David Sparrow: “Being an advocate for
artists and the arts in a tough business and
challenging political environment has
taught me many valuable lessons over the
last eight years. Standing alongside the talented and creative self-employed performers of ACTRA gives me hope for a
future where Canadian voices will have
even greater impact in our country and
around the world.”
An actor, writer and community advocate, David was elected
President of ACTRA Toronto in January of 2013.
• A Councillor is a volunteer position but Councillors are paid a
$120 per diem for each meeting they attend.
• Performing comes first. e Constitution includes the understanding that
performers first need to attend to their performing careers. If a
Councillor has an audition or a job and cannot attend a Council meeting
they are asked to suggest to the President a suitable Full-Member
alternate to attend the meeting in their stead. If they do not make a
suggestion, the President can suggest an alternate. Many frequent
alternates come to understand the workings of Council by being an
alternate and later go on to run for Council. Example: Maria del Mar
YOur new COunCillOrs
8
Source: ACTRA Toronto By-Laws:
http://www.actratoronto.com/performers/my-union/policies-by-laws
Photo: Tim Leyes
t H e
i n t e r V i e w
R.H. Thomson
Excerpts from a far-reaching, thoughtful, entertaining conversation between friends, Eric Peterson and R.H. omson.
SPRING
2014
9
R. H.THOMSON:
Thomson takes questions from reporters, CRTC hearings,
2006.
Edited by Chris Owens
Eric Peterson: “e truth about stories is, that's all we are.”
R.H. omson: Who said that?
E.P.: omas King
R.H.: Wow.
E.P.: It's tremendous. So to start your story: I wonder if you
can tell me, why acting?
R.H.: It’s the only thing I could do. (laughs)
E.P.: No, c'mon. I need an honest answer.
R.H.: I really wanted to be a forest ranger.
E.P.: Did you?
R.H.: Yes I did.
E.P.: What happened?
R.H.: I’m not sure. I remember I went to Stratford and then I
wanted to be an usher. I thought that would be pretty exciting.
I wanted to be an usher at Stratford but I failed. (laughs)
E.P.: Why Stratford?
R.H.: My mother took me to the theatre. It was glamorous
and glorious in those days. You went to see John Colicos
playing Lear and you never forgot it. You know, Eric, you see
a performance of something and somehow it reaches into your
being and it changes you inside. It rearranges your horizon, so
to speak. A moment, or a performance, or a story told in a
certain way. It’s really powerful stuff. Great stories well told can
change you.
E.P.: What do you like about film and television?
R.H.: Film has a remarkable ability to be intimate, deeply,
deeply intimate and private. And that's its power. I don't think
a film’s real power is in the spectacular, though that’s what it’s
commercially used for now, spectacular entertainment. Big
music, big sound, big effects, spectacular smash editing, really,
really big monsters and threats to all the Earth. But if you see
a Haneke film, he can take you somewhere deep into a privacy
that again, changes you.
E.P.: And television?
R.H.: Television has a version of privacy but now we come to
the subject of the monetization of narrative, which is what's
overrun network televison in North America. ankfully, theatre has not been monetized because there's no money to be
found to monetize. But when you can monetize drama on television, when network executives see the telling of stories primarily as means to direct profits to people whose goal is to
make profits, then you reach into our ancient instincts, into
our genetic imperative for telling stories to each other, into our
'five imperative stories' which we tell and retell in order to ensure our survival, and then narrative is misshaped in a way that
10
is truly depressing. I'm talking network television here, not
HBO which has found another economic model and has freed
itself from the narrowly formulaic approach that has driven
network drama into a blind alley. Of course the telling of stories has to pay for itself one way or the other, that was true for
Shakespeare and that is true for us. But Shakespeare’s goal was
storytelling first and he did charge admission. Drama on television can be very powerful but you have to abandon the North
American networks to see that. HBO’s e Wire is iconic now.
E.P.: Why don't we make good television in English Canada?
R.H.: I’d take out the word ‘good’ and replace it with the phrase
'not a slave to formula'. Why do we make so much formula television up here? Why are we less adventurous? Why do we not
let our writer’s imaginations run free? Every culture, every era,
will have its formulas but we, in English Canadian television,
seem extremely bound by the fashionable formula of the
moment.
E.P.: Why do you think that is?
R.H.: Well, because our southern neighbour’s television has
poured over our border since its inception. And our execs feel
they must only emulate that neighbour’s formulas. Our immediate neighbour has enormous production facilities, giant
budgets, and they're very successful showmen. American culture is incredibly skilled at showmanship. You can't beat them
at that. ey're stunning. ere are other things they're not
stunning at but at showmanship they are amazing.
E.P.: But I would say, in this day and age, everybody’s as close to
the Americans as we are. I often wonder if there's something
actually deeper than these technological things in English
Canada that we have to deal with or that we seem to be
enthralled with, that has to do with something deeper than the
proximity we live under and the language we speak.
Continued on page 12.
“
If you are a creator, if you are an artist, some of you will have an obligation to fight and you
must fight. To fight you have to know the battlefield. You've got to learn the field and then see
how you're going to do your part to carry that on because only successive generations who do
that over and over again can at least keep our nostrils above the water in some
sort of creative situation. It's about the young. It's about
young artists. That's where it's got to go.
“
SPRING
2014
11
R. H.THOMSON:
Thomson listens closely at CRTC hearings, 2006.
Thomson speaks at ACTRA press conference on Parliament Hill, 2005. Photo by Jonathan Hayward
R.H.: Yes to all of that but people like playwright George
Walker just don’t walk the walk. ank God for George
Walker. George didn’t much like the line the network executives asked him to fall into.
E.P.: He's made some successful television.
R.H.: Yes, and Richard Stursberg at CBC cancelled is Is
Wonderland. George kept trying and then, when aer a decade
he finally walked away from TV drama land, his creativity
broke lose and he wrote a number of plays in a number of
weeks as if he'd been imaginatively constipated while asked to
dance only to the beat of the formulas. Make no mistake you
can formulize it all; acting, writing, casting, directing, makeup,
hair, facial hair, body type, set design, editing, sound score…all.
E.P.: I would say that in 10 years, if we continue in this way, we
won’t be making television in this country at all.
R.H.: Well, we're only making Canadian programs because it's
mandated by the CRTC through the Broadcast licensing of the
networks and the CRTC is mandated to do that because it's
been politically stated by Canadians for decades that we want
our broadcasters to include us by actually telling our stories,
playing our music, and showing us news about ourselves and
that's a political ground that generations have had to stake out,
and that we must maintain. As the internet, as streaming, as all
of the borderless delivery systems grow, the next generation
must continue to engage fiercely and imaginatively and tenaciously in this debate.
E.P.: I can watch great British television. I can watch great
American television. And I'm puzzled because there is no great
Canadian English television.
R.H.: I think is is Wonderland was a really wonderful slice
at it. I think Intelligence was a great shot at it, I think Da Vinci
was a great shot at it. Interestingly, those are three programs
that our public broadcaster chose to execute because instead
of getting 950,000 viewers they were getting 450,000 viewers
and the execs didn't think that 450,000 Canadians were that
important. Forgive my numbers, I am sure the real ones are
not exactly those but you get the point.
E.P.: What's a highlight for you in your career? I remember how
happy you were doing e Englishman’s Boy. What was it about
it that was so wonderful?
R.H.: A great, great story. A story that descended layer aer
layer aer layer aer layer. We have Alice Munro, Michael
Ondaatje, Joseph Boyden. Look at the writers in this country.
We are in a golden age of Canadian fiction. Guy Vanderhaeghe.
Why do most of them never get to our screens? ese writers
run free in fiction, but network television drama has little use
for them. Absolutely amazing.
E.P.: Again I would point to an economic systemic problem but
a deeper one too.
12
R.H. researches his WWI project.
“
You play ball hockey in the basement long enough and you don't know how to play on the big ice.
and the big stories are on the big ice and you have to have the reflexes. when a culture retreats from those artistic
reflexes long enough you may forget them or lose them altogether.
R.H.: We seem to have capped our ambition. We’ve put a commercial ceiling on our ambition for telling stories.
E.P.: We work out of a great sense of self-loathing which I think
goes into the deeper problem.
R.H.: ere’s a flip side to that though, Eric. We are one of the
least jingoistic people I know. Maybe the two are connected.
We kind of hold ourselves back for some reason. We don't have
a ‘driven’ national story but, having said that, we do have this
ra of fantastic fiction writers.
E.P.: To imitate the Americans in hopes that they will buy it,
that can't lead to greatness. e examples you've given, Da
Vinci's, Wonderland, that was on the road to something quite
special and solely Canadian and would be of use to the rest of
the world because it’s sourced in specificity.
R.H.: Did I ever tell my Russian Foreign Affairs story? So, I'm
working on my Centennial Project for World War I and I have
to talk to each nation, to the governments, to the militaries. I
finally get my pyjamas together and go to Moscow. Russia’s participation in e World Remembers would be historic. I have
a meeting with Russian Foreign Affairs and I'm trying to bring
them into the project. Russia is almost a 19th century country
now, moving it seems to the time of the Tsars. So I have my
meeting at Foreign Affairs and I'm quite nervous because it's
Russia for God's sake, look what happened in Chechnya. is
is a powerful nation that can poison journalists and poets that
don’t please them. I am nervous. We go through the big gates,
through the metal detectors and the soldiers with guns waiting
in the Stalin-like lobby. e young Russian Foreign Affairs aide
gets off the elevator and runs towards me from across this huge
atrium and his first words are: 'Mr. omson! Mr. omson!
You know Paul Gross? I love Paul Gross. Men With Brooms,
Passchendaele, Due South. I love! You know Paul?” at's television. And that's film. And that's Canadian. And that's in that
young Russian's psyche about this country.
E.P.: What is the question you're asking these people? What is
this project?
“
R.H.: e idea is that on the centenary of the First World War,
a war that killed 9 million men and women, to appreciate emotionally what 9 million means, you have to witness their names.
So you have to display one by one, each of the million of names
so the 100 million families attached to those 9 million names
know and see their grandfather's name or their great-greatuncle's name up there. It must be made personal and by showing the names one by one over the five centennial years all
programed down to the second, you actually create a way for
people to understand emotionally what the size of the loss was
and what it meant to the generation that followed. Moreover,
we must honour them together. Separation is over. erefore
we must put the German name beside the Canadian name beside the French name beside the Serbian name beside the
American name. ere's no separation anymore. If you separate memory, then you reinforce division, in my view. If you
put the dead soldiers side by side by side you acknowledge a
view of history, about people and about what happened. A
sergeant I met on one of my trips said, ‘Once we soldiers lie
beneath the ground, we are equals. Only the living above the
ground create the differences.’ My generation is the last generation to have contact with the men who came back from WWI
and those men committed suicide in large numbers. So 100
years later, I think it's our obligation, as the grandchildren of
that time, to create this because we're
the last connectors to that time. I am
determined to do this as a Canadian.
E.P.: An artistic idea by a Canadian
and it has resonance not only in
Canada but in world culture.
A beautiful idea. ank you.
•
Eric Peterson was awarded ACTRA
Toronto’s Award of Excellence in 2008.
R.H. Thomson is the 2014 recipient
of the Award.
SPRING
2014
13
The 12th Annual
aCtra
awards
in tOrOntO
2014
... and the nominees are...
14
Q:
What is it, do you think, about this role,
this particular performing experience that
produced such a successful result for you?
Outstanding perfOrManCe - VOiCe
DAVID BERNI:
• Duck in Almost Naked Animals, “It’s a Duck’s Party”
Played Phil Esposito in Canada Russia '72; series regular, Growing Up Creepie, Rudy
Gloom, Iggy Arbuckle, MetaJets, Pearlie, Almost Naked Animals, Rocket Monkeys; recurring roles, Scaredy Squirrel, Detentionaire.
'Director Brad Ferguson and voice director Merle Anne Ridley always pushed me to go
as far as I could with the character and any improvising was welcomed.They never made
me feel that any of my choices were bad ones - even if they were! As well, there were
a lot of talented people involved in the making of this show, and I think my nomination
is also a result of their hard work.’
CARLOS DIAZ:
at Breakthrough on the other side of that glass always makes the process more fun
than work. Special thanks to Donna at the Characters for being so incredibly professional despite her obvious crush on me. Be strong Donna ;)’
NISSAE ISEN:
• Yuri in My Big Big Friend, “Sleepover”
Has been voice acting since age six, landing the role of George on Miss BG; other
notable roles include: Mike the Knight, My Friend Rabbit, and Captain Flamingo; recurring roles on Franklin, Babar and Miss Spider, to name a few.
• Fernando/King in Justin Time, “Olé Olé”
Born in Santiago, Chile; series regular, Rent-A-Goalie, The Line, Cra$h & Burn; selected
television credits include, Rookie Blue, Saving Hope, The Listener, Nikita, Republic of
Doyle; voice of El Tabador in Koodo phone campaign.
‘I had a genuine affection for Yuri, and feel that we are in many ways alike — introspective, but if you bring us out of our comfort zone, we can become the life of the party.
As well, recording with the talented and hilarious Scott McCord, who played Yuri's best
friend Golias, definitely brought a special dimension to my performance.”
'The characters were completely different in every way so it was fun to jump between
them in the last scene, when they were interacting with the same characters and each
other. The story was high energy, and there was much singing and flamenco music what's not to like? I'm honoured to be nominated.'
TERRY McGURRIN:
DWAYNE HILL:
• Colton Steele/Sid Butane/Pete/Royce/Earl
in Crash Canyon, “The Curse of the Monkey”
Gemini Award, Best Ensemble, Atomic Betty; Gemini nomination, Grossology; selected
animation series include, Medabots, Jacob Two-Two, Ruby Gloom, Magi-Nation, Totally
Spies!, Almost Naked Animals, Babar and the Adventures of Badou, Jimmy Two-Shoes,
Scaredy Squirrel, RedaKai, Peg+Cat, Crash Canyon.
• Scaredy Squirrel in Scaredy Squirrel, “The Trophy Catastrophe”
Actor, comedian, writer, story editor; Gemini nomination, Best Ensemble, Comedy Inc.,
6Teen; Gemini nomination, Best Writing in a Children's Program, 6Teen; Canadian
Screen Award nomination, Best Writing in a Children's Program, Scaredy Squirrel; has
toured extensively as a stand-up comedian including shows for the Canadian Forces
overseas.
'Scaredy Squirrel was a project that I was involved in from the ground up. As the story
editor for the series I helped adapt the book, create the world, and develop all of the
characters in the show. The process was arduous and by the time the auditions rolled
around I was already 99% squirrelly.'
'As a performer, having the enthusiastic support of people you respect and admire allows a freedom that you only dream of. To be able to work with the incredible people
L to R: David Berni, Carlos Diaz, Dwayne Hill, Nissae Isen and Terry McGurrin.
SPRING
2014
15
Outstanding perfOrManCe - feMale
AMANDA BRUGEL:
• Vanessa in Sex After Kids
Montreal-born; started as a dancer; series work includes,
Paradise Falls, MVP, Seed, Covert Affairs; selected television credits, Saving Hope, The Firm, Flashpoint, Nikita;
recent film work includes, The Calling, Maps to the Stars.
'I told my ego to take a long hike...barefoot...uphill.
There's something incredibly freeing about abandoning
your dignity. It was the messy, vulnerable, uninhibited
moments that resonated with our audience, simply because they were watching their own truths unfold. Not
Hollywood's version of the truth, but the ugly, real truth.'
TATIANA MASLANY:
• Sarah/Alison/Coz in Orphan Black, “Natural Selection”
Born in Regina, Saskatchewan; ACTRA Award, Picture Day; Golden Globe nomination,
Critics' Choice Television Award, TCA Award, Orphan Black; alumna of the Canadian Improv Games; Gemini Award, Flashpoint; Gemini nomination, Renegadepress.com; Genie
nomination, Sundance Film Festival, Special Jury Prize, Grown Up Movie Star; selected
television credits, 2030 CE, Instant Star, Heartland, Being Erica, World Without End,
Cracked, Parks and Recreation, film appearances include: Ginger Snaps: Unleashed,
Blood Pressure, The Vow, Cas & Dylan.
Speaking with James Ostime (Interview) Tatiana said: 'I worked with dance a lot, for
each character—different ways I could move my body, different music. It's the most
fun thing in the world because I love each and every one of the characters and I'd be
happy just to play one of them, but the fact that I get to play upwards of six, seven,
eight or whatever, it's a total dream.'
JENNIFER PODEMSKI:
• Minerva in Empire of Dirt
Father is Israeli (born in Kfar Saba) and mother is Saulteaux (Bear/Thunderbird Clan,
from Muscowpetung First Nation in Saskatchewan); Gemini nominations, The Rez,
Moccasin Flats; TIFF special jury citation shared with Cara Gee, Shay Eyre, Empire of
Dirt; series work includes, Degrassi: The Next Generation, The Border, Republic of Doyle;
film appearances include Dance Me Outside, Take This Waltz.
'I channeled women that I knew and some from the spirit world to help ground me in the
essence of a young grandmother who had overcome a lifetime of pain. I had a deep
connection to the character and was open. I trusted myself, the universe, my director
and the story and knew that it was there to support me.'
HELEN SHAVER:
• Pearl in Down River
Canada's Walk of Fame, 2004; Canadian Film Award, In Praise of Older Women; played
opposite Oscar winner Paul Newman in The Color of Money; Genie Award, We All Fall
Down; selected film appearances include, Who Has Seen the Wind, The Osterman
Weekend, Desert Hearts, The Amityville Horror, Lost!; television series credits include,
Hill Street Blues, Columbo, Poltergeist:The Legacy; Daytime Emmy nomination,
feature-length directorial debut, Summer's End; Gemini Award, Best Direction in a
Dramatic Series, Just Cause; selected directorial credits, Judging Amy, Law & Order:
Special Victims Unit, Flashpoint, Combat Hospital, The Firm, Person of Interest,
Republic of Doyle.
‘are you willing to be present between action and cut... to take that ride/risk ... to let
the truth drive/lead the moment... to make a mistake.... ??? Having focused my creative life on directing for the last decade and knowing that this is what I ask from my
actors, this role was my opportunity to show up on all levels, take the risk/ride and discover PEARL, a woman who quietly comes to terms with her own mortality...... a very
intimate experience.’
MEG TILLY:
• Lorna in Bomb Girls, “Party Line”
Oscar nomination, Golden Globe winner, Agnes of God; Leo Award, Bomb Girls; screen
debut, Fame; retired from acting 17 years, moved to B.C., devoted herself to writing
and raising a family; has published four novels; film credits include: The Girl in a Swing,
Psycho II, The Big Chill, Valmont, The Two Jakes, Body Snatchers, Sleep with Me,
Leaving Normal.
‘The sole reason for my success in slipping so comfortably into Lorna's shoes was the
commitment and excellence of the creators, the executives on the show and the wonderful cast and crew. They created a world and a believability within that world that
made it impossible not to dive into my character, her circumstances and what living
during those times meant.’
L to R: Amanda Brugel, Tatiana Maslany, Jennifer Podemski, Helen Shaver and Meg Tilly.
16
Outstanding perfOrManCe - Male
MICHAEL D. COHEN:
DAVID SUTCLIFFE:
• Abner in It Was You Charlie
Gemini nomination, Grossology; Canadian Comedy Award nomination, Norm Vs. Cancer; Golden Sheaf nomination, Jew Jube Lives; selected television, The Mindy Project, Michael: Tuesdays & Thursdays, Eagleheart; film credits include InAPPropriate
Comedy, Whiplash.
• Aidan Black in Cracked, “How The Light Gets In”
Plays hockey; spent 14 years in L.A.; appeared on World Poker
Tour; episodes of Will & Grace, Friends; played Christopher
Hayden for 7 seasons on Gilmore Girls; series regular, I'm With
Her, Private Practice.
'Staying committed to Abner's emotional truth while juggling scenes with physical
comedy or extreme paranoia was the biggest, most fun, and satisfying challenge I’ve
had as an actor. Writer/Director Emmanuel Shirinian’s trust in me never wavered which
made me feel tremendously supported. I knew the team had my back, so I could let go
and make the character my own.'
'It always starts with the writing. Aidan's a great character, wellconceived and written. And since I relate to him, my approach was
to bring as much of myself to him as possible. I hoped if I let the
audience see my struggle — my loneliness, my longing, my
sadness, my anger — that they would relate and connect.'
MAXWELL McCABE-LOKOS:
HUGH THOMPSON:
• Henry Andreas in The Husband
Former keyboardist for The Deadly Snakes, a garage rock band in which he was known
by his stage name, Age of Danger; episodes of Being Erica, Happy Town, The Listener,
Copper, Lucky 7; film appearances include The Tracey Fragments, Lars and the Real
Girl, Toronto Stories; co-writer of The Husband.
• Smith in Forgive Me, “Hallowed Be Thy Name”
Nova Scotia born; Gemini Award, Blessed Stranger: After Flight 101; television
appearances include, Black Harbour, Traders, MVP, Haven, Sea Wolf, Flashpoint,
Rookie Blue.
'Being involved in a production on both sides of the camera made it difficult sometimes
to concentrate on the performance. There is also great advantage to giving up
personal control and leaving your trust in somebody else, not getting lost in the reeds
of one's own myopic perspective.'
RICK ROBERTS:
• Jack Layton in Jack
Gemini nomination, Traders; series work includes, LA Doctors, An American in Canada,
This is Wonderland, Angela's Eyes, ZOS: Zone of Separation, Cra$h and Burn, Republic of Doyle; guest star appearances include Little Mosque on the Prairie, Heartland,
Haven, Cracked, Saving Hope, Rookie Blue, The Listener, Suits.
'There was a mysterious amount of trust, an expectation that I would bring something
to the party, which can be liberating and terrifying — because they were really asking
me to take responsibility for my portion of the storytelling. The writing asked me to
take a leap. Leaping is fun.'
'With the writing you could really enter that world of the character and Mike McLeod
is quite a force. He’s trying hard to go toward the good and that’s why I was interested
in it. Even in this heavy material there’s a search for the light.'
"I am so inspired by the exceptional work of our nominees
this year. High calibre performances like these are building
our Canadian Star System. And speaking of stars, I have
watched the career of R.H. Thomson since before becoming
an actor myself. His dedication to our Canadian industry and
to recognizing the contributions of so many to the actual
building of Canadian history itself makes him an obvious and
excellent choice for the 2014 ACTRA Toronto Award of Excellence. I know we are all honoured to call R.H. and each of
these performers our peers and members of ACTRA Toronto.”
David Sparrow
President, ACTRA Toronto
L to R: Michael D. Cohen, Maxwell McCabe-Lokos, Rick Roberts, David Sutcliffe and Hugh Thompson.
SPRING
2014
17
The 12th Annual
aCtra awards
in tOrOntO
thank you to our generous sponsors.
Diamond Sponsor
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18
Music sponsored by
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SPRING
2014
19
“My friend called me ‘the callback queen’,” Cilevitz says. “For
two years I didn’t book anything because my attitude was
‘I don’t even want to do commercials.’ I said no to my agent
aer she tried to send me out
on an audition because I didn’t
want my friends seeing me in a
black shirt and khaki pants.”
Not an uncommon point of
view. She is not the only actor
who ever felt like commercials
were just not for her. What
changed her mind?
“I heard how much commercial
actors made.”
Breaking into
Cha-ching!
Commercials
By Paul Constable
I once went to an audition for a radio spot. ey were looking
for the “voice” of a new campaign, something that was going
to run for a long time, something that was going to be a lot of
work for someone in the near future. I went to sign in, and
saw there were already about three pages of other actors who
had auditioned for the spot.
I scanned through the list of names (we all do this right?) and
saw so many other talented actors that I felt it really was going
to be a crapshoot as to who was going to book it. e client
was going to have their pick of the litter.
So why is it that with all this talent out there we seem to see the
same people in different ads, or hear the same voices on the
radio? Is it some kind of conspiracy?
e commercial world, even though it’s sometimes thought of
as the ugly cousin of the arts, is just as hard to break into as any
other. Dozens of people fighting over one spot where you get
to dress up in a chicken suit or get really excited about a breakfast cereal you’ve never even heard of.
“You can work 10 days out of
the year and get a pretty nice
paycheque,” Cilevitz explains.
“I used to manage a retail store
and I would have to work 60
hours a week waking up at a
god-forsaken hour, not get paid
for overtime and basically work
my butt off to get paid the same
for what I do in commercials.”
What changed for Cilevitz though? What was her secret
formula for booking that first spot?
“e first commercial I booked was for Tassimo. At this point
I had basically given up. I think my agent was about to drop
me. I had rolled out of bed for the audition – I actually almost
missed it – I hadn’t even seen the breakdown. When I got there
all the men were wearing head-to-toe black and all the women
were wearing head-to-toe white. is was because we were auditioning to play a ‘bar code’. I was wearing a bright yellow
shirt and a polka dot dress. I was so embarrassed. But it
actually worked out for me because it made me stand out.”
This changed Cilevitz’s attitude on how she prepared for
commercial auditions.
How do you train for this?
“I used to care so much about the breakdown and what I
looked like and what my role was going to be. Even for S.O.C
I would get all the information. But I still came across as
desperate. I feel like (the casting people) can smell the
desperation through the camera when they’re watching.”
Laura Cilevitz, who has been seen in TV ads for Ritz
Crackers, McDonalds, Skinny Cow, Tassimo, and quite a few
others, somehow found a way. Like most, she struggled at first.
Nigel Downer, who has been seen this past year in TV ads for
Tylenol, e Source, McDonalds, OLG and Kia, also struggled
to get cast. He admits his auditioning technique wasn’t always tops.
20
Kate Hewlett (left) and laura cilevitz
“It was just a gong show,” Downer says. “When they took my
picture I wasn’t sure if I was supposed to smile or not smile.
Sometimes I dressed up too much for the role, sometimes I
hadn’t even read the breakdown.”
Downer had gone to about a dozen commercial auditions
before he booked his first one, which just happened to be a U.S.
National opposite NBA Rookie of the Year Blake Griffin. He
has been on a pretty good roll ever since.
own little secret because I know that’s my voice.”
“I prepare differently now than I did before,” Downer says. “I
don’t overthink it. I go in thinking two things – one, I’m just
going to have a bunch of fun. And two – this commercial is
mine until I lose it. Not in a cocky way, just in a way that I have
the confidence I’m going to book this gig.”
“It’s fun to talk with my other friends in the business about the
commercials they’ve been in and the sets they’ve been on,”
Downer says. “I mean, I never looked down on commercials
because I never thought I would ever be in one! But to those
who feel they might be above doing them I say – good luck!”
On the other side of the platform are the voice actors, who are
the unseen talent of TV and radio commercials. Is preparing
for the voice audition any different?
“If you want to make money in this business it’s what you need
to do,” Cilevitz says. “It’s a starting point. Aer five years of
doing this I consider commercials to be my job and I love it.”
Kate Hewlett, who is the voice of Winners and has been heard
in spots for Campbell’s and Tim Hortons, has her own technique.
To break into commercials, it sounds like you need to find a
way to make yourself stand out, do something a little bit
different, and let yourself shine in a way that makes people
want to hire you. Which isn’t really any different from trying to
break into any other corner of this industry.
“I had heard that ‘e actor who improvises gets the job’,”
Hewlett says. “It can be nerve-wracking to do that, but I took
it to heart and I always do something a little different. The
casting director can always say ‘Please stick to the script’, but so
far I haven’t gotten into trouble. Just something small, so that
when the client hears the same sentence 70 times I jump out a
bit and they say ‘Who was that?’ I really just learned from
auditioning over and over again.”
Hewlett’s first job in voice turned out to be a bit of a moneymaker of its own.
“It was for L’Oréal and there was a Russian model who did the
on-camera work but you couldn’t understand anything she
said. So I dubbed my voice to her face. And since this model
was very popular she booked five other commercials and I
ended up doing her voice for each of them.”
As for that long list of actors, I never did find out who booked
that part. I mean, even though it was over a year ago, maybe
they never did get around to hiring someone? Maybe I still
have a shot? Maybe my agent will be calling me any day now?
Or maybe I should just focus on the next one.
•
Paul Constable has been appearing in commercials for almost two decades, booking his first on
camera spot for Canadian Tire way back in 1996.
As fate would have it, he became the spokesperson for this company in the summer of 2012, and
since has appeared in more commercials than his
fingers and toes will allow him to count. He also
does plenty of radio work, being the voice for
Rogers Business and the Smith Brothers Steakhouse (one of the brothers anyway - he can never remember which).
So doing commercials can help put some money in your
pocket, but they can’t help you in other aspects of your career,
can they?
Negotiating for Commercial performers
“Doing these spots upped my stock in terms of being a performer
and people knowing who I am,” Downer says. “People watch
them – not just regular people but people in our community.
Casting agents see them. I would say for me that it would be a
bit more challenging to get the auditions I’ve been getting if I
didn’t have these commercials on my résumé.”
Many performers feel like they’ve won the lottery when they get a callback cheque
or a residual cheque from their union. These payments are examples of the
advantages of being a union commercial performer. Non-union commercial actors
don’t get residuals. Suppose you were in a hit non-union commercial that played for
years and years and years. Your talent was part of what made it a winning campaign
for the company but you don’t get to share in their financial success.
Cilevitz agrees. “is year I booked a spot on a U.S. television
show and all my experience from being on commercial sets really
helped me. I wasn’t green; I knew exactly what to do. I knew the
etiquette of being on set. Commercials are a good training
ground.”
But these are still just commercials right?
“Lots of celebrities do voice commercials,” Hewlett counters.
“You don’t have to put your face to something – you can remain
anonymous. When I watch one of my spots I feel like it’s my
These are just two of the rights that have been negotiated for you by your union in
previous rounds of bargaining. Negotiations for the National Commercial Agreement
begin in April. In preparation, ACTRA Toronto has held 14 focus groups and asked
members to participate in an online NCA Survey. It's not too late to go online
(http://www.actratoronto.com/nca-survey/), and give us your feedback about the
NCA! Your insight informs, educates and empowers the team to negotiate the best
possible deal in the increasingly complex and innovative advertising world in which
we work. So let us hear from you. Have your say and support your bargaining team.
SPRING
2014
21
By Art Hindle
Michael J. Fox’s advocacy for stem-cell research drew attention during the last U.S. Presidential Election.
tHe
Here at ACTRA Toronto we have a long history of activists
willing to put it on the line. I asked some of them about the
genesis of their activism.
Shirley Douglas
of Activism
“From a little spark may burst
a mighty flame.”
— Dante
By now most of you are probably familiar with Wendy
Crewson’s much repeated quote, “To be an artist is to be an
activist.” My interpretation of that quote is that an artist should
be active in defense of their art.
My reasoning is that because art will be judged and even attacked on its merits, any union of artists will also be attacked
eventually. So, for me, I think Wendy is saying, ‘Being a
member of ACTRA means you will eventually have to ‘actively’
defend your Union.’
But being an artist doesn’t automatically turn one into an activist. What is the genesis of activism? Does it lie dormant until
a moment of epiphany?
It wasn’t really until the mid-1950s that the acting community
got active, in the U.S. in particular, firstly, out of self-defence
during the McCarthy era and then in support of Martin Luther
King and desegregation. High-profile actors like Brando,
Newman and Belafonte marched side-by-side with Martin
Luther King and spoke out for civil rights. Then the antiVietnam War protesters got some high-profile endorsement
from entertainment celebrities. e worldwide champion of
actor activism must surely be Martin Sheen who has been
arrested at least 66 times over the years and he’s still at it, walking the picket line with our Past-President Heather Allin and
myself with the union of hotel workers, Unite Here!.
But Canada is not short on activist-actors. Sarah Polley has
been an activist since age of 12. Polley attended an awards ceremony wearing a peace sign to protest the first Gulf War.
Disney executives asked her to remove it, and she refused. In
1995, she lost two teeth aer being struck by a riot police officer during a protest at Queen's Park.
22
“As a small child I remember people asking my father or thanking him for help. He would carry an envelope and it had all the
‘asks’ on it. Also, there was a spirit of helping your neighbour
in Saskatchewan. So being an activist was engrained in me
early and I was involved wherever I went, from England to Italy
to America and back to Canada - causes ranging from removing
Strontium 90 in milk to children’s health to racism and immigration reform. A strong activist must have a deep belief that
their cause is just and cannot be defeated.”
David Sparrow, President, ACTRA Toronto
“My first decade as an actor was mostly self-centered, spent in
near singular focus on chasing the shiing shadows of fame
and fortune. en came the six-month-long SAG commercial
strike of 2000. By this time I was not only an ACTRA member
and a CAEA member, I was a SAG member too. I remember
being incensed that commercial producers were fleeing SAG’s
jurisdiction to shoot and record in Canada. And, it came to my
attention that some of my union brothers and sisters in
ACTRA were gladly auditioning for and accepting this struck
work. Something in me changed. I turned down a number of
“voice replacement” auditions, much to my agent’s chagrin, and
I went to my first ACTRA members’ meeting and got up to the
mic and spoke out in support of our SAG family. I said, “If we
want SAG to stand by us in the future, we must stand by them
now. Say ‘NO’ to struck work.” I had found my union voice and
I wasn’t afraid to use it.”
Tabby Johnson
“It was when it dawned that I had in fact been a union/guild
member since the age of 11 and wasn't it time for me to step up
to the plate? e phrase ‘If you're not part of the solution you're
part of the problem.' I said to myself, “Self! Stop bitching and
start convincing others that there is a way to work in tandem
and make things better. First time was in the late ‘80s early ‘90s
when I was pregnant and got fired from a cartoon voice series.
I was pissed!! Ran and got on council.”
Tantoo Cardinal
“It most likely comes from the inner rage I came out of the
bushes with. I was enraged by the way my people were maligned, misunderstood, ignored and abused - an observation
that got clearer in the city. I got into this way of working to
contribute to a dialogue that might change minds or ideas in
some way. I worked at trying to bring further understanding
at every opportunity. Overactive? At times, I guess. But the
barrage of abuse was/is overactive as well. Still a long way to
go, we humans. A rough side and a smooth side and all the
colours in-between.”
Christine Brubaker arrives in character at City Hall
with a birthday cake for Rob Ford. Photo credit: Chris Young, Canadian Press
Wendy Crewson
“Grade 10. Winnipeg, Manitoba. In the gym, rehearsing for
e Boyfriend, my best friend, Bob, and I decided that if we
were going to turn things around at that place we were going
to have to run for student council. He would be president and
I would be his V.P. Never mind that we had just arrived from
junior high. We had snagged some juicy roles in the musical
and we were flying high. Besides the seniors were all a lacklustre bunch and something had to be done to shake things up.
We were going to boost school spirit with more dances, better
sock hops and bigger pep rallies. We would march a list of demands into Mr. Proudfoot's office and not give up until they
had been met!
Soon my parents announced we were moving to Montreal. We
would pack up once more, gypsies that we were, and start over.
Alas the dynasty Bob and I hoped for was not to be. I was devastated. But I was aware now. So not really activism, but certainly a political awakening and a realization that change is
possible and in our hands. Even if it's better sock hops.”
Clara Pasieka
“In my Grade 8 yearbook I wrote that I might like to be a
human rights lawyer in the U.N. I remember sitting at the computer, not sure whether to write that or ‘actor.’ I wanted to
change the world and being an artist seemed like a selfish
choice, the fun choice. A couple of years later, I did choose
artist. It’s only recently that I’ve come to believe that there is
more than one way to change the world. I discovered that the
actual work we do as artists matters. I had written the first
scene of a play about a Rwandan refugee in a parent-teacher
interview. Following a public reading, a young man approached me and told me how he felt I had told the story of his
own mother and thanked me for voicing that perspective for
the first time that he’d seen. is young man affirmed for me
that our work as artists isn’t selfish, that it matters.
In some ways, artists are activists each time we give voice to a
perspective that is not usually voiced, reminding audiences of
our humanity which sometimes gets lost, isolated or ignored.
For me, to be an artist was a noble profession, but it wasn’t
enough. If it was easy to make sure our stories are told, if it was
easy to make sure the storytellers are treated with respect, perhaps I could “just” be an artist. But it isn’t. is is not a phenomenon unique to our country or our time. And even though
I sometimes wish we didn’t have to fight so hard, I must admit
that the fight can also be exciting and the feelings that swell inside me when we are successful are thrilling.
Aer my first meeting with an M.P.P. on a lobby day with
ACTRA, I realized the dilemma I’d faced in my childhood –
artist or activist - didn’t need to be a dilemma. I find it helpful
to imagine one person my voice might reach.”
Christine Brubaker
“ere isn’t any one moment that catapulted me from artist to
activist - but many. I’ve always been attuned to the political
landscape. I’ve marched, signed petitions. Like many, I have
been outraged by our mayor holding us hostage with his narcissism, yet I was tiring of expressing it simply through Facebook posts. It was his birthday and a friend and I thought the
perfect gi was an invite to step down and what better way to
deliver that message than via a birthday cake. We had hoped to
catch the eye of one or two of the press, but when we suddenly
encountered a massive media scrum, the performer in me
emerged. What was interesting is that this small gesture could
have easily gone unnoticed, but for whatever reasons, it caught
the attention of media around the world. It reminds me that
one never knows when a small gesture will become huge - but
the important thing is to make that small gesture. Every day,
every time we make a choice we speak to what kind of world
we want to live in - that in itself is a political act.”
As you can see, the genesis of one’s activism can come from
many sources and can take many forms. e simplest form is
so simple it’s too oen forgotten: the act of voting. As an impressionable child, I believed in the opening words of a TV series I watched faithfully: Superman. It started with, “Look ! Up
in the sky…” and ended with, "e never-ending battle for
truth, justice, and the American way." I think I took up the battle cry in small childlike ways, trying to fight little injustices I
saw - like a kid being bullied or the new kid at school being
shunned. My friend, Karl Pruner, showed me how I could be
an activist for ACTRA and I’ve never looked back! To all peformers out there: try it. You might like it.
•
SPRING
2014
23
MeMBer
news
New Committee Formed
A new committee has been formed to represent the interests
and concerns of Full Members who work Background.
it’s still a talent contest to get a job and it still depends on how you look.
(Oh, were it not so!)
Preference of Engagement means that ACTRA members or
Apprentices are to be given preference for the job over nonunion performers. Apprentices and Full Members have an
equal opportunity to win work on the basis of sheer talent
alone.
Dues Reminder
Full Members: Your annual dues are always payable at the end
of March of every year. e amount is $195.00. You could be
suspended if you forget to pay your dues. e most frequent
reason this happens is that you move and forget to notify the
union of your new address. e dues notice gets mailed to your
old address, you forget it’s March and you have to pay your
dues, and the next thing you know you’re suspended and you
have to start all over again as an Apprentice. End of March.
Don’t forget.
Preference of Engagement Explained
Some members think Preference of Engagement means
Guaranteed Engagement. It doesn’t. If the word “preference”
were challenged in a labour arbitration, it would be ruled to
mean the dictionary definition of the word. Arbitrators always
go back to the exact wording in the agreement and will say that
if the writers of the agreement had meant to say “guaranteed,”
that is the word they would have chosen.
In residual category jobs such as speaking roles or stunt roles,
24
In the Background area, Full Members enjoy Preference of
Engagement over Apprentices for jobs within the Background
count - but only to the extent that Full Members are 1)
“suitable” and 2) “available.” If Production cannot find enough
Full Members who are available and suitable, the engager must
fill the ACTRA count with Apprentices before they ask
ACTRA for permission to hire non-members. Who does the
IPA say is responsible for deciding who is “suitable?” The
Producer. In one of the very first articles of the IPA, the
Producer has the right to select and hire all personnel. The
Producer/Director retains creative control, allowing the
Director to imagine and control the look and composition of
the faces s/he puts on screen. ese two principles, Preference
of Engagement and e Producer’s Right to Hire, modify each
other. e Producer’s Right to Hire is limited by their obligation
to exercise Preference of Engagement and Preference of
Engagement is limited by the Producer’s Right to Hire.
While our current Preference of Engagement cannot be interpreted as an unlimited guarantee of full employment for Full
Members, it does limit the Producer’s Right to Hire to a degree
and does allow the union to participate in the conversation on
BG casting and to advocate for preference. ACTRA Toronto
continues to meet with Background Casting Directors and
Background Agents to ensure that they understand and comply with the Preference of Engagement language in the IPA.
One of the unique features of our unionized workplace is that
it’s still a talent contest to get a job and it still depends on how
you look. (Oh, were it not so!)
MeMBer
news
It’s in the book!
A frequent misconception about
ACTRA’s collective
agreements is that ACTRA
wrote them. Not true. With one exception (e Audio Code),
ACTRA’s collective agreements are negotiated with our employers. Most of our agreements are in force for three years and not one
word can be changed by either side in the interim. Every “if,”
“and,” and “but” has been agreed to by all the parties to the agreement. If you’ve ever been involved in bargaining a collective
agreement you’ll know how difficult it is to change an “if ” to an
“and” or a “but.” Or more importantly, a “may” to a “shall.”
Performers who do different jobs on set sometimes wish they
could make different and sometimes contradictory changes to
a collective agreement. We are a union of many different kinds
of performers: Principals, Actors, Announcers, Dancers, Hosts,
Narrators, Puppeteers, Singers, Stunt Performers, Judges,
Models, Stand-Ins, Background Performers, Photo Doubles,
Special Skills Extras, Full Members, Apprentices, ACTRA
Additional Background Performers and more. When ACTRA
represents the widest possible range of performers on set, our
power grows and we are better able to negotiate improvements
for everyone.
Do you want to see changes made to our collective agreements?
We always need volunteers. Run for Council, volunteer to be on
a bargaining committee, attend a focus group. Perhaps you’re
too busy to volunteer. But you’re never too busy to vote! Exercise
your vote in all referenda, elections and agreement ratifications.
The Discipline Committee at Work
One of the most challenging volunteer positions at the union
is Chair of the Discipline Committee. Chris Owens (also the
Editor of this publication) is the current Chair of the Discipline
Committee. e Committee hears cases of members who have
broken the rules of their Constitution and By-Laws by, for
example, working non-union. Owens says that the work of the
Committee is much more efficient thanks to Google. It is
quicker and easier now to discover the non-union work a
performer has done online.
From L to R: James Crammond, Patrick Garrow, Robin McCullough and
Phil Flagler at the 2012 Big Swing. Photo credit: narvali.com
18th Annual Big Swing Golf Tournament
set to pass the $1,000,000 mark in 2014
Started by Judah Katz and Phil Flagler 18 years ago, the Big
Swing Golf Tournament continues to be a great way for
industry members to connect, have some fun on the course
and support entertainment industry colleagues in crisis.
Executive Director David Hope is thrilled that the golf tournament continues to be so popular. “It’s remarkable that the
tournament has grown from its humble beginnings 18 years
ago to the point where it has now raised a total of over
$1,000,000 to help the most vulnerable members of our
industry”, says Hope. “We look forward to celebrating with
everyone involved including co-presenter DGC Ontario, all
our faithful sponsors, committee members, golfers and, of
course, Judah and Phil.”
e Big Swing Golf Tournament in support of the Actors’ Fund
of Canada will be held on June 16, 2014 at the Royal Ontario
Golf Club in Milton. e $175 ticket includes green fees, a
power cart, breakfast and lunch and a fantastic prize table.
Online registration is now open: visit actorsfund.ca for more
details or call 1-877-399-8392.
The Actors’ Fund of Canada is the lifeline for Canada’s
entertainment industry and plays a key role in supporting the
growth of Canadian culture. Each year the Fund distributes
over $450,000 to industry professionals who are ill, injured or
faced with a major personal hardship. rough the Fund’s Film
and Television Relief Program (FTRP), hundreds of film and
television workers, and their families, will receive assistance
with rent or mortgage payments, money for groceries, medical
expenses and other necessities during a critical period.
SPRING
2014
25
MeMBer
news
... continued
Stunts
e Stunt
Committee
has elected
its new
Chairs:
Angelica
Lisk-Hann
is the new Chair and Alicia Turner is Vice-Chair.
Marco Bianco has been chosen as the recipient of the ACTRA
Toronto Stunt Award for 2014. Marco will be presented with
the Award at the Awards show on February 22, 2014 at
the Carlu.
If you work regularly as a stunt performer, you may be
eligible to upload your profile at castingstunts.ca. Contact
[email protected] for more
information.
Marco Bianco
The Apprentice Advocate
By Shereen Airth
With the introduction of the membership change in 2010, it
became evident that Apprentices would move into Full
membership more quickly than in the past.As a result, ACTRA
Toronto’s Executive recommended the appointment of an
Apprentice Advocate and to wind down the Apprentice
Caucus Executive Committee. This was endorsed by the
Apprentice Caucus Executive and the Apprentice Caucus at
that year’s and subsequent years’ Annual General Meeting and
ACTRA Toronto’s Council. I was unanimously appointed the
Apprentice Advocate and have had the privilege of serving in
that capacity for the past four years.
As the first ever Apprentice Advocate, I wasn’t sure what to
expect. I came to learn it was more of a blessing than a curse –
I got to make what I wanted out of the position, so long as I
fulfilled my one mandate, which was to advocate for the
Apprentice members of ACTRA Toronto. I have learned so
much from this position, and I am so glad I volunteered to
represent members in a myriad of ways.
My work began with overseeing the first cohort of Apprentices
moving into Full membership under the new rules, and
included more than 1,000 personal phone calls to Apprentices
to explain the changes and how they affected Apprentices.
During this time, I was able to assist members and ACTRA
with the transition the membership changes sparked.
I have since assisted Apprentice members in various ways
including membership concerns, payment schedules, credit
applications, membership education, rumour debunking,
Apprentice Annual General Meetings, Apprentice Orientation,
and other concerns that arose for the Apprentice portion of the
membership. Although mandated to represent the more than
3,000 Apprentice members of ACTRA Toronto, I oen found
myself advocating for all performers, regardless of category, in
order to build and strengthen our union. I believe in and have
fought for and will continue to advocate for unity within our
ranks.
Recently, Apprentice Members indicated a desire to reinstate
the Apprentice Caucus Executive, a move I endorse. It will
happen during the Apprentice A.G.M. on Friday February
21st, 2014 – check the Conference schedule for time and
location. During this transition, it will be my privilege to
assist the new Executive with history, policy, procedure, and
continuity. Further, I will continue to advocate for all
performers regardless of my position, and am always available
for dialogue with members.
I can be reached at [email protected].
26
Shereen Airth was recently re-elected to ACTRA Toronto Council.
ACTRA ABP
FOR VIDEO EMPOWERMENT
Long, long ago... Well, back
around 2009... when I first
encountered the ACTRA ABP
(ACTRA Additional Background Performers) Committee
it was in the role of an Observer.
e Co-Chairs of that Committee
had a dream-quest to make some
kind of video infomercial to help
organize and raise standards for
Additional Background Performers.
Scripts were written, but for reasons
long forgotten, the video was
never made.
Later, when I was the Secretary
during the next configuration of
that ACTRA ABP Committee,
we again dreamt of making a video
infomercial. Several scripts were
written... One was chosen... en,
for reasons best forgotten, it too
was never made.
However, on December 15th,
2013, this quest, was finally
fulfilled.
For on that day, the present ACTRA ABP Committee shot
their first Union Advocacy Video, to promote the benefits of
joining the ACTRA ABP.
For most of the ACTRA ABP Members who were in the
Gordon Pinsent Studio that day, this was the first time they
actually got to say lines in front of a camera. For they are usually relegated to only perform silently on sets.
Full ACTRA Members and ACTRA Apprentices also agreed
to join us in this endeavour, both in front and behind the camera.
We also got help shouldering this enormous task from the
staff in the ACTRA Toronto office, members from the ACTRA
Toronto Council, and a very special Guest Star.
Hopefully, by the time you read this chronicle of our journey,
you'll soon be actually able to see the accumulation of our talents on your tablets and mobile communication devices. A
video testament to all those ACTRA Members who helped
finish this dream, that started so long, long ago.
•
John de Klein is the ACTRA
ABP Chair, and Co-Writer and
Director of the First ACTRA
ABP Union Advocacy Video.
He is also a Gemini-nominated
screenwriter.
‘Tis proof that, despite the conflicting agendas and priorities
of the different kinds of members within ACTRA, we can be
truly stronger when we work together.
SPRING
2014
27
asK
(photo: Tricia Clarke)
Theresa Tova, ACTRA National Child Advocate (L) and Tabby Johnson, ACTRA Toronto Child Advocate
TAKING CARE OF THE KIDS
TABBY And ToVA
Q: I’ve heard a lot from ACTRA about
Bill 71, An Act to Protect Child Performers.
Can you explain it to me?
eresa Tova: Sure. Briefly, the bill covers five main areas.
• e first area is Work Hours. e proposed legislation forbids overtime for minors under the age of 12 and provides for
age-appropriate breaks so that little ones don’t spend too much
time under the hot lights. Aer all, infants work in film too!
• e second is Health and Safety. Imagine you’re the parent
of a child performer and your child is running about among
the cables, ramps, cones and ladders that make up a typical film
set. This bill requires the employer to provide workplace
orientation to the child and their parent so that accidents can
be minimized.
28
• e third is Education – the requirement to provide on-set
tutoring. You don’t want your child to fall behind in their
schoolwork because of work. A child’s education should never
be compromised. Bill 71 requires the employer to provide qualified on-set tutors and to set aside time for tutoring within the
workday.
• e fourth is Income Protection. A child’s income is their
own property and should be available to them once they reach
the age of majority. Bill 71 requires a portion of a child’s income to be invested in a protected trust account until they
turn 18.
• e fih area is Parental Supervision. e bill makes clear
that a parent or parental-appointed chaperone must be with
and available to the child at all times at work.
advertisement
Ask Tabby and Tova ... continued
Q: But don’t ACTRA kids already get
these things?
Tabby Johnson: You’re quite right. ACTRA kids have
been protected by our collective agreements for decades
thanks to the hard work of my colleague Tova here and
ground-breaking activist, Shirley Douglas. ACTRA has
established minimum protections for children on
unionized sets so we were consulted on this bill to
develop similar standards for non-union child
performers. e bill also covers children working on
stage. e bill progressed further than ever, before the
Legislature broke for the holidays in December 2013. It
appeared to have all-party support and would be passed
with unanimous consent. Unfortunately that didn’t
happen. e Legislature returns on February 18.
Buoyed by the support of members in both ACTRA and
Equity we will be working hard to see the bill pass ird
Reading.
•
advertisement
S
A rt
is the only way to run
away without leaving home.T
~Twyla Tharp
Belynda Blyth
Sales Representative
Your Key to Success
Bus: 416-699-9292
Cell: 416-371-3717
bblyth@ rogers.com
www.belyndablyth.com
Actra member since 1985
RE/MAX Hallmark Realty Ltd., Brokerage
2237 Queen Street East, Toronto, ON M4E 1G1
SPRING
2014
29
lives
we honour those
that have passed
much too soon.
30
MASON ADAMS
ALAN ARGUE
LUCILLE DE SAINT-ANDRE
BOB DORSEY
RONALD J HAMILTON
BOB HARDY
SUZI HORTON – IFILL
MURIEL JOHN
JACK KWINTER
MARTIN MARTINUZZI
LOIS MAXWELL
JOHN EDGAR THOMSON MCFADYEN
DAHNE MICHELE
LAWRENCE NAKAMURA
JAMES NELLIGAN
PAUL REED
TOM RUSK
GARRY ROBBINS
ARLA JEAN SILLERS
LOUIS STRAUSS
ROBERT THOMAS
JENNY TURNER
DANNY WELLS
LEE THOMPSON YOUNG
ACTRA Toronto
General contact information
Tel: 416-928-2278
or toll free 1-877-913-2278
Email: [email protected]
Website: www.actratoronto.com
Address: 625 Church Street, 2nd Floor,
Toronto, Ontario, M4Y 2G1
ACTRA Toronto Council
PRESIDENT David Sparrow [email protected]
ACTRA Toronto Staff
is here for YOU.
PAST PRESIDENT Heather Allin [email protected]
ACTRA NATIONAL PRESIDENT Ferne Downey [email protected]
Sue Milling, Executive Director
TREASURER David Macniven [email protected]
Tereza Olivero, Secretary Tel: 416-642-6727
VICE-PRESIDENT, INTERNAL AFFAIRS Theresa Tova [email protected]
COMMERCiAL AGREEMENT iNTERPRETATiONS
VICE-PRESIDENT, EXTERNAL AFFAIRS Art Hindle [email protected]
Judy Barefoot, Director, Tel: 416-642-6705
VICE-PRESIDENT, COMMUNICATIONS David Gale [email protected]
Kelly Davis, Steward, Tel: 416-642-6707
VICE-PRESIDENT, MEMBER SERVICES Jani Lauzon [email protected]
Cathy Wendt, Steward, Tel: 416-642-6714
VICE-PRESIDENT, MEMBER-AT-LARGE Wendy Crewson [email protected]
COMMERCiAL AuDiTiON CALLBACK iNquiRES
Claudette Allen Tel: 416-642-6713
Shereen Airth [email protected]
COMMERCiAL CHEquE iNquiRiES
Lisa Berry [email protected]
Nancy Dickson, Examiner, Tel: 416-642-6721
K.C. Collins [email protected]
Tammy Boyer, Examiner, Tel: 416-642-6739
Maria Del Mar [email protected]
Catherine Disher [email protected]
Richard Hardacre [email protected]
Taborah Johnson [email protected]
Joel Keller [email protected]
COMMERCiAL PAyMENT iNquiRiES
Brenda Smith, Coordinator, Tel: 416-642-6731
Laura McKelvey, Coordinator, Tel: 416-642-6728
COMMuNiCATiONS AND ORGANiziNG
Jani Lauzon [email protected]
Karl Pruner, Director, Tel: 416-642-6726
Colin Mochrie [email protected]
Karen Woolridge, Public Relations Officer, Tel: 416-642-6710
John Nelles [email protected]
Luca De Franco, Public Relations Officer - Web, Tel: 416-642-6747
Jack Newman [email protected]
Lisa Blanchette, Organizer, Tel: 416-642-6743
Eric Peterson [email protected]
Leah Pinsent [email protected]
Chris Potter [email protected]
Nicole St. Martin [email protected]
FiNANCE AND ADMiNiSTRATiON
Karen Ritson, Director, Tel: 416-642-6722
iNDEPENDENT PRODuCTiON AND BROADCAST DEPARTMENT
Mimi Wolch, Director. Tel: 416-642-6719
indra Escobar, Senior Advisor. Tel: 416-642-6702
Caucus chairs, member advocates and Ombudsperson:
Erin Phillips, Steward: IPA, Audio Code, CBC, NFB, TIP, TVO,
Documentaries, Industrials. Staff Liaison: Stunts. Tel: 416-642-6711
Shereen Airth, Apprentice Advocate [email protected], ext. 6621
Barbara Larose, Steward: IPA, CFC, Co-op, Student Films, UAP.
Staff Liaison: Minors, Background Performers. Tel: 416-642-6712
John de Klein, Additional Background Performer Chair [email protected]
Taborah Johnson, Children’s Advocate [email protected]
Jani Lauzon, Diversity Advocate [email protected], ext. 6618
Angelica Lisk-Hann, Stunt Committee Chair [email protected]
Shawn Lawrence, Ombudsperson [email protected], ext. 6604
Noreen Murphy, Steward: IPA, Animation, Dubbing, New Media, Video Games.
Staff Liaison: Digital, Voice Performers. Tel: 416-642-6708
Clare Johnston, Steward: IPA. Staff Liaison: YEAA, Puppeteers, Health & Safety.
Tel: 416-642-6746
Cindy Ramjattan, Steward: IPA, Animation, CityTV, CTV, TIP, Reality, VisionTV.
Staff Liaison: Diversity. Tel: 416-642-6738
TORONTO iNDiE PRODuCTiON
Tasso Lakas, TIP Coordinator, Tel: 416-642-6733
MEMBER EDuCATiON COuRSES
Holly Gray, Receptionist. Tel: 416-642-6741
GORDON PiNSENT STuDiO BOOKiNGS
416-928-2278
MEMBER SERViCES (DuES & PERMiTS)
indra Escobar, Director. Tel: 416-642-6702
SPRING
2014
31
Members Conference
february 19-21
Workshops on the actor’s process,
diverse casting, acting for the camera,
performance psychology, commercial
casting, writing, pitching, taxes and
investments, movie financing and more!
Starring
TANTOO CARDINAL
COLIN MOCHRIE
MICHAEL RILEY
AND SO MANY MORE FELLOW ACTORS!
BRING THE KIDS TO THE CONFERENCE! PROFESSIONAL CHILDCARE AVAILABLE.
Bring your glamorous self to the best industry party in town!
the 12th annual
ACTRA AwARds in ToRonTo
february 22, 2014
The Carlu
7:30 p.m. cocktails • 9:00 p.m. show
Hosted by darrell dennis • Music by saidah Baba talibah
For more information, check out www.actratoronto.com
ACTRA Toronto Performers
625 Church Street, 2nd floor
Toronto,ON
M4Y 2G1
Printed in Canada
Canada Post Corporation
Publication Mail Agreement No.
40 07 019 6

spring 2014 - ACTRA Toronto

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