it as a PDF!

INSIDE:
The nominees for the 14th Annual ACTRA Awards in Toronto
Plus the 2016-2018 ACTRA Toronto Councillors
THE mAGAZINE FRom ACTRA ToRoNTo
VolumE 25 • ISSuE 1 • SPRING 2016
GADON
Star Power: Award-winning Actor, Director & Activist
THIS IS YOUR UNION MAGAZINE
performers magazine | spring 2016 | volume 25 | issue 1
Recipient of the ACTRA Toronto 2016 Award of Excellence
GADON
11
2
ACTRA TORONTO PERFORMERS magazine
12
Photo: Tim Leyes
16 24
THE SARAH GADON PHOTO SHOOT!
Left to right: Make-up artist Bree Powell, Stylist Kirsten Reader,
Hair stylist Matthew Collins, Sarah Gadon, Staff Editor Karen Woolridge, agent Dani Delio,
V.P. Communications David Gale, photographer Tim Leyes.
Photo of Sarah Gadon by Tim Leyes
performers
President’s message by David Sparrow ...
4
Volume 25 • Issue 1 • Spring 2016
meet your new ACTRA Toronto Council for 2016 - 2018! ...
PUBLISHER
David Gale
[email protected]
EDITOR
New Stunt Committee ...
Chris Owens
[email protected]
STAFF EDITOR
Karen Woolridge
[email protected]
11
Sarah Gadon: Recipient of the 2016 ACTRA Toronto
Award of Excellence
Interviewed by Wendy Crewson ...
12
EDITORIAL COMMITTEE
Heather Allin, David Gale, Art Hindle, Farah Merani, Sue Milling,
Chris Owens, Karl Pruner, David Sparrow, Karen Woolridge
DESIGN and LAYOUT
Erick Querci
Creative Process Design • [email protected]
meet the 2016 Nominees for
ACTRA Youth: The leaders of To...Day by Tiana Asperjan ...
CONTRIBUTORS
Tiana Asperjan
Wendy Crewson
Jennifer Higgin
Art Hindle
Rick Howland
Chris Owens
IPA 2016 by David Sparrow ...
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 1, 2016
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 the editorial committee. The presence of an advertisement
in Performers magazine does not imply ACTRA Toronto’s endorsement of the advertised
company, or product.
23
24
27
Concrete Steps by Rick Howland ...
ADDRESS EDITORIAL CORRESPONDENCE TO:
[email protected]
16
20
the ACTRA Toronto Awards edited by Chris owens ...
ADVERTISING SALES
Karen Cowitz
[email protected] 416-461-4627
6
AYA Challenges misconceptions
with New Video by Jennifer Higgin ...
lives lived ...
28
Water on Stone
a report by Art Hindle ...
30
31
Who’s Who at ACTRA Toronto ...
Publications Mail Agreement number 40069134
ISSN 1911-4974
www.actratoronto.com
SPRING
2016
3
A message from
your union President
David Sparrow
Dear Members,
e year 2016 is poised to be an exceptional year. You ended 2015 by
making real advances in the Independent Production Agreement
(IPA) and by electing a strong ACTRA Toronto Council to represent
the concerns and opportunities of every member for the next two
years. Free from big negotiations, 2016 will allow your union to focus
on the important tasks of making ACTRA easier for producers to access,
lobbying our government partners for stability across the industry
and improving service to members.
anks to the exceptional work of your dedicated IPA bargaining
team and committed staff, we reached a landmark deal for the 2016 –
2018 IPA. e negotiations began with a mandate from members to
accept no concessions and to protect their earnings in a swily changing
media landscape. Your team, facing proposals of large rollbacks to
every area of the contract, held fast to the concept that performers
deserve fair compensation for their work regardless of the medium
in which it is exploited. ey were successful, securing the strongest
New Media deal in the world.
Negotiations, especially those
surrounding new technologies, are
always complex and difficult. Together, we
reached a fair and ground-breaking deal
with producers that keeps ACTRA
competitive and attracts new work to our
union while it supports the evolving
business models of our industry partners.
We’ve landed in a good place; however, our work isn’t done. Changing
technologies continue to impact professional performers. Blockshooting, CGI, cyber-scanning and compressed budgets are reducing
the number of days we work on set and the number of performers
being hired. Our members are being asked to self-tape and to audition
from home, increasing the competition for each role. Cheaper
equipment has made everyone a producer while the Internet and
YouTube make everyone a broadcaster, and every person, union or
not, a would-be celebrity. In this environment, our professionalism
and experience are more valuable than ever.
at’s why we will use this year to redouble our efforts to Advance the
ACTRA Advantage. Professional performers add real value and make
a difference to every form of production, including web series, video
games, reality and lifestyle programming, and podcasts.
4
ACTRA TORONTO PERFORMERS magazine
More and more of your business will appear online, so more of your
union’s business will take place online. Making our contracts more
accessible to producers, with online calculators and potentially
paperless payment opportunities, is the focus of the ACTRA ONLINE
initiative. We’ll make ACTRA faster, easier and the better choice by
eliminating the excuses for not working ACTRA.
We’re also extending our efforts to support a stable and growing
production environment by reaching out to our provincial government
partners with input into their Ontario Culture Strategy and by
lobbying the new federal government for increased and reliable
funding for the arts. To do this effectively, we will engage every member
and encourage them to be an arts activist, to promote our Canadian
industry and to recognize that their union makes them strong.
is important work will be led by your new ACTRA Toronto Council.
We’re a member-driven organization and your 24 Councillors are
volunteers who work hard to represent the concerns of every
membership and work category. They are responsible for the
Operating Plan that steers our staff to achieve good things on behalf
of the members, like the new online HelpDesk ticketing system that
will allow members and staff to better track the communications and
actions taken on your contract or membership concerns. Council also
governs our budget and ensures that members’ money is going to
stewarding union contracts and supporting our shared goals. On the
next pages you’ll see the pictures and election mandates of your 24
newly-elected Councillors. I’m happy to report that 14 of the 24 are
women, that several self-identify as diverse, and that they represent an
excellent cross-section of working members.
I also want to take a moment to recognize the fine service of Jani
Lauzon, Tabby Johnson, John Nelles, Eric Peterson, Farah Merani,
Chris Potter, K. C. Collins, Lisa Berry, and Past Toronto and National
President Richard Hardacre, who have moved on from Council. ey
have each contributed much to our industry and I know they will continue
to support their union. Applause to all of them for their years of
dedication and commitment to the arts.
Dedication and commitment to the arts - that’s what we must do
together as this new year begins - dedicate and commit ourselves to
the arts, to our careers, to our industry and to the diversity of voices
that make ACTRA Toronto the world’s best and strongest voice for
performers.
•
In Solidarity,
David Sparrow
President, ACTRA Toronto
We will use this year to
redouble our efforts to
Advance the ACTRA
Advantage. Professional
performers add real value
and make a difference to
every form of production,
including web series, video
games, reality and lifestyle
programming, and
podcasts.
SPRING
2016
5
SHEREEN J. AIRTH
HEATHER ALLIN
REBECCA APPLEBAUM
It is my privilege to act as the voice of ACTRA members, and I
hope that you will continue to support and trust my representation
of ALL members. My ongoing involvement for more than 15 years
is indicative of my commitment and dedication to building and
strengthening our union. As a working actor, Councillor, Advocate,
Stand-In, OSLO, Background Performer, Committee member, and
Past Chair of two Caucuses, I am well aware of the vagaries of our
industry and the contracts that govern us. I can always be reached
at [email protected] or (905)547-5893 and welcome open
dialogue with performers.
ACTRA is the leading voice in our industry. Our Canadian Drama
Campaign is helping generate the largest volume of production in
our history. Though producers understand our value added, our
fight for our stories to be told is a never-ending one, as is
negotiating for fair wages, and to be paid no matter the medium.
There is more to do regarding inclusion and seeing ourselves
reflected on all our screens. As your Past President, these files
remain my focus. I’ll work with passion, energy and commitment
to improve performers’ rights and our union’s strengths.
I’m a proud and active member of the Women’s Committee, the
Diversity Committee and YEAA. It’s such an exciting time to be a
member of ACTRA in large part because committees like these are
proving over and over with creative and bold initiatives that when
actors come together we can change this industry for the better.
As actors, I believe we share the desire for respect and the
opportunity to tell stories that matter to us and to our
communities. From lobbying government, negotiating with
producers, to navigating the ever-changing “new media”
landscape, that’s what I’ll be fighting for.
6
ACTRA TORONTO PERFORMERS magazine
Meet your new
& returning
ACTRA Toronto Councillors.
Here are the 2016 - 2018 ACTRA Toronto Councillors and Stunt Committee members who will guide ACTRA
Toronto forward in the new year.They are honoured to continue the great work of ACTRA Toronto Council,
which is, simply put, to make things better for performers.
While we are celebrating our union democracy and congratulating the successful candidates, let’s also take a
moment to express our gratitude to ALL the candidates who stepped forward and offered their
service to their fellow members.
WENDY CREWSON
MARIA DEL MAR
CATHERINE DISHER
"Creation emerges from a love of place and a desire for
connection...and communion." This is what we fight for; the
ability and opportunity, as artists, to live and work in the country
we love, telling our stories that matter. We band together, as a
union, to give each other strength and hope. Our collective
agreements ensure fair pay, safe working conditions, health and
pension benefits. These give us the dignity to do our best work as
artists. I am grateful for your trust and support. Your voice is
important and the heart of who we are. Be heard.
As a Hispanic woman, I am passionate that all our members are
properly represented on Council. It has been a career highlight
serving as your Councillor these past two years. As Chair of the
ACTRA Awards in 2015, I learned how important it is to celebrate
our members’ accomplishments, and honour and grow our union
for present and future members. I would like to continue
representing our diverse members and I am determined to move
our ACTRA Awards forward with our ever-changing times,
making sure we continue to make the awards and our union
more inclusive and accessible. I believe: our union must be run transparently and democratically;
that engaging in open, respectful and productive dialogue about
ACTRA policies is every member's right; that it is my
responsibility, as a Councillor, to work unselfishly for the benefit
of all members - and to try and safeguard and expand work
opportunities for every category of performer. Member since 1985;
IPA negotiating team 2012, 2015; New Media Sub-Committee;
Council 2013-2015; initiator and Co-Chair of Voice Committee.
I think I’ve been an active and outspoken member of Council.
It is my privilege to represent you for another term.
Thank you.
SPRING
2016
7
Your new ACTRA Toronto Council for 2016 – 2018!
“
FERNE DOWNEY
SEDINA FIATI
DAVID GALE
I currently serve as your ACTRA National President and the
President of FIA (International Federation of Actors
www.fia-actors.com/) My leadership roles are based on the fact
that you ACTRA Toronto members support me and my work, and
this Council election is no different – it’s union democracy.
Today ACTRA is a leading force in our global industry through our
advocacy, bargaining skills, and shared hopes and dreams.
We look at issues of gender, diversity and inclusion through our
ACTRA lens and work towards understanding and solutions.
Twitter @FerneDowney
For the past two years, I have been proudly representing ACTRA
Toronto as the Co-Chair of the Diversity Committee and alternated
at several Council meetings. As your Councillor, I promise to be a
strong voice, always asking why and how can we serve our
members better. I promise to push for better representation of
women, people of colour and Deaf and disabled people on our
screens and to be a part of the continual pressure for increased
government and public support of our work. I believe in our union
and in our ability to work together to make real changes.
It’s been my honour to serve as your Vice-President. I’ve spoken
to many of you on set, at Members Conferences and at the ACTRA
Awards. As performers, we all want respect, recognition and fair
pay for our work, whatever screen it’s on. However, recent
changes at the CRTC and tax credit cuts imposed by our provincial
government have put our culture and our jobs at risk. I will use
my years of experience as a performer and ACTRA Toronto
executive to fight for our stories, our members and our industry.
Together we bargain, divided we beg. SHAWN DOYLE
DOM FIORE
ART HINDLE
These nominations coincide with the latest round of the
Independent Production Agreement negotiations and it’s an
honour to serve on this committee. I’m learning very quickly
how intricate, nuanced and multi-faceted are the issues facing
us, both as a consolidated union AND as a group of individual
artists with very diverse needs. I want to be part of this ongoing
discussion. Being fortunate enough to have a vibrant career on
both sides of the border, I relish the opportunity to share what
I’ve learned and serve the union that fights so hard to serve me.
Member of ACTRA and UDA for 35 years, serving three terms as an
ACTRA Councillor. I was proud to be on the team that brought in
our credit union, and, with other ACTRA Councillors, I’ve lobbied
Ottawa to raise the profile of artists. I’m also one of the teachers
for the ACTRA Intensive course, which is a great opportunity to
meet our newest members. The issues that have persuaded me to
run again are: • More Canadian content on prime time
• Averaging income (an absolute necessity IMO) • Status of the
Artist • As artists, we demand and deserve respect.
These are challenging times for actors, for unions, for the film/
TV industry. Challenging times for us. But, like we have in the
past, we will carry the day with our dedicated members and our
dedicated leadership. Together, we convinced the Ontario
government to adopt Bill 17, grandfather tax credits for imminent
productions and helped create a financial institution (CASCU)
that says Yes! to actors. We are the most unique union in the
world and each of us is a unique artist with much to give to our
community and our country.
ACTRA Toronto Council is the artists’ army.
LEAH PINSENT
8
ACTRA TORONTO PERFORMERS magazine
“
JOEL KELLER
ANGELICA LISK-HANN
COLIN MOCHRIE
It's been an exciting two years for me but there is still plenty of
work for me to do. A stronger ACTRA means stronger contracts
and more work. All those non-union gigs need to be ACTRA gigs.
I want to brand the ACTRA name and re-ignite the need for her
talented members. Getting all those radio and television
commercials back under the ACTRA banner, where they belong,
means more work and opportunities for leading actors,
day players and background alike. More work for all of us.
It’s been a great privilege being Chair of the Stunt Committee
these past two years and serving you all on Council. Over this
term I’ve continued to champion health & safety initiatives,
including benefits for ALL members. I’ve participated in meetings
and focus groups regarding upcoming IPA negotiations and sat in
as an advisor this year. I’ll continue to mentor diverse
performers to get training to become potential stunt performers
and have also helped ACTRA promote all of our performers
nationwide to garner more work for our entire membership.
I have been proud to have been part of this incredibly dedicated
and hard-working ACTRA Council, and it is my honour to keep
serving. Fighting to keep Canadian stories on our screens,
protecting our members’ rights in new technologies, to work in
safety, to fair pay, no matter gender, age, race or physicality.
We have accomplished great things together, but the journey
continues.
GRACE LYNN KUNG
DAVID MACNIVEN
JACK NEWMAN
Swipe right. No, for real. I'm looking at you saying, 'Hey, I never
ran for student council but acting has captivated me and my
curiosity all my life. I want it to reflect the world around me,
I want everyone to feel heard and seen. Yah, let's do that.' Council
seems a good place to start. Holler at me about how we can
change things, what we want our future to look like. Let's talk at
an ACTRA event, chat in the produce aisle, leave suggestion
post-its on my bike – cuz we're in it together. Let's do this.
I’m proud to have represented you on ACTRA Toronto and National
Councils since 2000. Currently, I am Treasurer, on Toronto
Executive and sit on the board of our credit union. Previously,
I served as National V.P. and Toronto V.P. Communications. At
a time of record production in a changing media landscape, we
have many challenges that are also opportunities to continue to:
• Create a better economic-social safety net for performers
• Strengthen our jurisdiction and agreements
• Expand our work opportunities, especially in digital media,
and enable member self-production.
Together we are ACTRA.
After reflecting on my eight years as an ACTRA Toronto Councillor,
I confidently stand for: fair pay, respect for the artist, adapting to
the digital age, and propagating a dignified and safe workplace.
I am so proud of our achievements:
• The legislation to protect child performers
• Good relations with every level of government
• Finding work opportunities for actors
• Creating safety nets like the Credit Union, health insurance,
and stewarding.
My commitment and activism did not come right away. The first
step was to get out and exercise my right to vote.
“
“
I want you to feel the power and love of your union that I do.
CLARA PASIEKA
SPRING
2016
9
Your new ACTRA Toronto Council for 2016 – 2018!
CLARA PASIEKA
JULIAN RICHINGS
NICOLE ST. MARTIN
I think on governance more deeply every day. As your Councillor
and through study, I’ve become certain that our feelings are
powerful. I’ve used them when giving speeches and when I’ve
made members feel less alone. Since artists have such access,
perhaps that makes us more powerful together than imagined.
I want you to feel the power and love of your union that I do.
Highlights: YEAA Co-Chair, Bill 17 speech, voting initiatives,
Labour Day Committee, lobbyist, National Women’s Committee,
Conference Committee, TIFF parties. Other: Jack Layton
Leadership School. Upcoming credentials: Masters in Public
Policy, Law and Public Administration. I’ve been an ACTRA member for 30 years. I’ve been fortunate;
I’ve worked – in all mediums and in almost every ACTRA category.
Doing what I love, with people I respect, is a privilege, but with it
comes responsibility. Last year, I represented ACTRA on
Parliament Hill and I was a member of the IPA negotiating team.
I will continue the push for positive change, and promote working
conditions that are fair, positive and sustainable. Above all,
I will listen to, advocate for, and proudly represent
ACTRA Toronto members.
As an active and engaged Toronto and National Councillor,
Conference Committee Chair and TAWC Co-Chair, I will continue to
help create industry outreach initiatives for members through the
conferences, TAWC’s Nell Shipman Award and ACTRA Toronto’s
joint-committee TIFF party which have garnered media attention
and resulted in furthering work opportunities for members. Future
plans for self-producing workshops, casting go-sees and
professional development workshops are already underway.
I work passionately for inclusion and visibility of all members,
and to forward diversity on our screens. My continued focus will
be empowering actors through committee-driven initiatives and
lobbying efforts. LEAH PINSENT
DAVID SPARROW
THERESA TOVA
ACTRA Toronto Council is the artists’ army. It ensures we get
more respect, more work, more protection. Artists are vulnerable
to insecurities and thus victim to the need for greed in others.
As actors we know how it feels to soar with creativity or stumble
with fear or disappointment. Being a Toronto Councillor, I've been
proud to be a part of a union that has the fortitude to speak up for
all of us. I promise to fight this brave fight, knowing that we all
deserve a fair share. We are all in this together.
ACTRA Toronto = Professional Talent! Professional performers add
real value to production. ACTRA members project Canada to the
world. These are the messages your union champions everyday on
behalf of our 13,000 members. They are the cornerstones of our
efforts to Advance the ACTRA Advantage. In the face of changing
technologies and suggestions that non-union and cheaper is
“good enough,” we must work to keep ACTRA nimble, accessible
and production’s first and best choice. As your President,
I will continue to work with Council to see these priorities
build work opportunities for all members and strengthen our
great union.
A team player dedicated to supporting and protecting ALL
performers, I offer a deep understanding of our collective
agreements, history, membership, staff and industry partners.
A recipient of the Cliff Pilkey Labour Activist Award, the files I
facilitate include children, seniors, talent agents, and BG.
I serve on the Conference Committee, the CASCU board and as
an On Set Liaison Officer. I sit as your National Trea$urer and on
the ACTRA magazine editorial team that was honoured with a
Canadian Association of Labour Media Award for my article on
protecting child performers. I hope to continue to earn your trust.
“
10
I’m learning very quickly how intricate,
nuanced and multi-faceted are the issues facing us.
“
SHAWN DOYLE
ACTRA TORONTO PERFORMERS magazine
Stunt performer
Neil Davison
bursting through a
window in Bitten
NEW
STUNT
COMMITTEE
“
I wish to focus on some
very important issues:residuals
and long-term disability
are the two main issues
for me.
AL VRKLJAN
“
KEVAN KASE
ALICIA TURNER
It has been an honour to be part of the Stunt Committee. I have
learned so much from the senior stunt performers on the committee
and feel privileged to have been a voice for a younger generation.
Last term, I aided in the research and notification for health and
therapeutic treatments, promotional material for the Toronto stunt
community, discounts for safety equipment, and much more. I hope
to continue being of service for the community, wherever I can.
My role on committee has always been, and will
continue to be—to do what the stunt community thinks
we should do. As simple as that sounds, I feel I am
there to make decisions that benefit us as a majority,
decisions that make Toronto a better place for productions to shoot, and to make sure our communication is
as open to our community as possible. I look forward to
helping out the Toronto stunt community for another
two years.
ROBERT RACKI
I have been a Toronto ACTRA member for over 20 years. I’ve been
involved with the ACTRA Toronto Stunt Committee for over eight
years, four as Vice-Chair and four as Special Advisor. I’ve been
involved with many issues of the Stunt Committee, from PRS residuals,
AFBS, Accident on Set, Stunt Coordinator Guidelines and Stunt
Awards, also IPA issues. As a Stunt Committee member and advisor, I’ve
helped many ACTRA members who required assistance from the
ACTRA Stunt Committee. I believe some issues still need to be
addressed. It’s time to move forward as a stunt community.
AL VRKLJAN
A big thank you to the stunt community for allowing
me the privilege of being a member of the Stunt
Committee; it has been a great two years. I appreciate
the support and trust that the membership has shown
me. All your kind words, helpful advice and guidance
have humbled me and it has encouraged me to pursue the
Stunt Committee again. I wish to focus on some very
important issues:residuals and long-term disability are
the two main issues for me. I look forward to serving
the stunt community again.
STEVE SHACKLETON
My name is Steven “Shack” Shackleton. I’ve been a proud member
of ACTRA for many years. While I do work as a performer, most of my
time is spent rigging stunts. Many of you know me as a bridgebuilder and fence-mender, no pun intended. I hope to utilize these
skills in an effort to better address the issues and concerns of the
stunt community. I believe that having a member from the stunt
rigging arena on the next committee will be extremely helpful to all
concerned. I endeavour to bring an earnest and balanced approach
to serving our stunt community.
Alternate:
TOMMY CHANG
I have been a proud member of this community for
almost 30 years. We have come a long way, but there
is still much to do, particularly in the areas of diversity
and local hiring. I believe we can help to send a
message that content should better represent the
diverse communities in which we live. And I will also
strongly advocate that work available in our
jurisdiction be filled by members from our local
stunt community first. It is an honour to serve on this
Committee again.
SPRING
2016
11
Star Power
SARAH
GADON
Recipient of the ACTRA Toronto 2016 Award of Excellence
Sarah Gadon has been a working actor since the age of 10. She is best
known for appearing in three of David Cronenberg’s films, breaking
out with A Dangerous Method, winning a Vancouver Film Critics
Award for Cosmopolis and appearing in Map to the Stars. She won a
Canadian Screen Award for her performance in Denis Villeneuve’s
Enemy. She has appeared on several Canadian TV series as well as
Hollywood blockbusters such as Dracula Untold and e Amazing
Spiderman 2. She works frequently as a voice performer, notably
playing the title role in Ruby Gloom. Earlier this year she co-starred
alongside Logan Lerman in James Schamus’ highly-anticipated
directorial debut, Indignation. She is currently in production on a
Stephen King mini-series called 11/22/63.
Gadon is a student of cinema studies (Dean’s List) at University of
Toronto. She directed an episode of the documentary series Reelside
for TMN about the construction of female identity, featuring friend
and long-time collaborator, Caitlin Cronenberg.
“Sarah Gadon is amazing,” says ACTRA Toronto President David
Sparrow. “She has built up a significant body of film, TV and animation
work in her multi-faceted performing career. As an advocate, she has
demonstrated her keen grasp of the larger issues facing our industry
speaking at the Heritage Committee hearings on feature film and as a
member of the ACTRA bargaining team during Independent Production
Agreement negotiations. She personifies the leadership qualities many
young performers are displaying in our union.”
“I’m a proud Canadian actor and passionate about film and television
in this country,” says Ms. Gadon. “I’m honoured and humbled to be
acknowledged by my peers at ACTRA.”
12
ACTRA TORONTO PERFORMERS magazine
INTERVIEWED bY
WENDY CREWSoN
Wendy: As an actor, I’m always fascinated by the process of other
artists. I love that you have said you have a reputation “as a bit of a
negotiator.” Do you see this as a strong vision of character? Can you
talk about how you approach a role? How you choose a project? Sarah: I always have a strong vision for my characters and I’m usually
ready to defend my choices as an actor. at’s not to say that I’m not
also a happy collaborator. I’ve had the pleasure of working with some
incredible directors and actors, and I strongly believe in the collaborative
nature of our work. I can yield. I studied film theory and criticism and
I think my education has led to me be a director-driven actor. I care
about auteur filmmaking. W: You directed an episode of Reelside for TMN about the
construction of female identity featuring your friend and long-time
collaborator Caitlin Cronenberg. Can you tell us a bit about that? S: Reelside is a docu-series which features artists and explores their
point of collaboration. I was approached by the producers to be in an
episode, but I was more interested in directing the episode; that way
I could honestly represent my experiences within the industry and
truly show my perspective. We shot it about three years ago during a time when I was travelling to New York to do press for my work
in film. I was curious about female identity and how it was
constructed in the fashion, film and art industries. I felt as though I
had very little control and freedom of expression until I started working with photographer Caitlin Cronenberg. She changed my whole
perspective about working within the fashion world and so I wanted
my episode to reflect that evolution. W: Is directing something you'd like to pursue?
S: Ever since I directed that episode, I’ve been asked a lot about
directing. It’s very encouraging. Right now I have no immediate plans
to direct anything, but that doesn’t mean that I won’t in the future.
What I love about Canada is that the industry kind of tempts you to
self-create because we don’t have the same volume of work as they do
south of the border, so, yes, I think I will eventually and hopefully direct and/or produce.
“
W: How can we better reflect the female perspective in films?
“
S: I’m very interested in female subjectivity and I see it well reflected
in many films. My favourite example from this year would be Diary of
a Teenage Girl. I don’t think it’s really a question of how female
perspective can be better reflected; those types of films are out there.
We, as an audience, just have to seek them out, and promote and
support those films because they exist!
W: Why do you think there are so few female directors? S: I think there are some incredible female directors working in this
country and internationally. However, I think that there are
fewer female directors for a number of reasons. It’s a difficult subject
SPRING
2016
13
SARAH
GADON
selves here and to create work here. I’m optimistic. W:
S: Each role has a special meaning for me. I enjoyed making A Royal
Night Out, because the film was a love letter to my grandparents who
both served in WWII. I also had fun playing Sadie in 11/22/63. She’s
a southern woman with a lot of gumption, a woman ahead of her time.
Recipient of the ACTRA Toronto 2016 Award of Excellence
W:
to speak about without sounding reductive as it’s a complex systemic
issue. I think that two important things to look at are the way in which
we finance films and the structure by which we make film. I
think traditionally women haven’t had the same access to finances
and resources as men. I’m a big advocate for funders like BravoFACT,
who have made a commitment to equally funding men and women.
I think that’s a bold step in the direction of equality. S: ere are a lot of people’s work that I admire. I thought Julianne
Côté’s work in Tu Dors Nicole shattered the notion of the manic pixie
dream girl. I thought Andrew Cividino’s first feature Sleeping Giant
was resourceful and inspired. Katie Boland’s web series Long Story,
Short reintroduced her to the industry as a multi-platform writer/producer/actor with a promising future. ese people make me excited
about the landscape of our industry. I do enjoy all aspects of filmmaking. I’ve learned that you have to find joy in every aspect or else
you’ll burn out or become disillusioned. W:
W:
S: I kind of grew up in a feminist backlash generation, where the word
feminist was a controversial and provocative word, but nonetheless,
yes I would define myself as a feminist, as a woman who feels
empowered and deeply believes in equality. I especially believe in
equality in the arts and that was a big reason why I wanted to be on
the bargaining committee. W:
S: It sounds a bit corny, but you’re on a journey and it’s kind of what
you make it. Have a strong idea, creatively, of who you want to be and
then be very disciplined about your work. I think it’s also important
to have business goals. ink of yourself as your own start-up, invest
in yourself and have a plan, even if it’s small. Just because
you’re in a creative field doesn’t mean that you don’t have to have a
business mind. •
WARDROBE AND JEWELRY CREDITS:
S: I identify as a Canadian actor. I want to live and work in this country
and I want my profession to be considered a respected and distinguished
one. is simple notion is what drives me politically and why I joined
the bargaining team. It was also important for me to speak at the
Heritage Committee hearings on feature film because I am
passionate about film in our country. My work in Canadian film has
led me to have an international career and, while I hope to continue
to work all over the world, I will always be deeply committed
to maintaining and improving the working conditions in this
country. W:
S: I see our industry growing and diversifying. I’m inspired by my
peers all across the country. I think young artists in Canada are excited
and ambitious; many people are choosing to work here, to base them-
14
ACTRA TORONTO PERFORMERS magazine
Cover:
Gown, Lucian Matis
Necklace, Dean Davidson at Holt Renfrew
Rosegold and black diamond stacking ring, Haathi House
Rosegold Ring, Tessa Virtue for Hillberg & Berk
Pumps, Abel Munoz
Inside Cover:
Shirt, Pink Tartan
Jeans, Fidelity
Necklace, Haathi House
Opening Image:
Dress, Lucian Mattis
Final Image:
Dress, Beaufille at Holt Renfrew
Necklace, Dolorous
“
“
SPRING
2016
15
Time to
Celebrate!
1 4 th a n n u a l
ACTRA
Awards
in Toronto
– FEMALE
Torri Higginson
Natalie Lawson in This Life
Born in Burlington, Ontario; Gemini Award, The City; appeared
in Best Picture Oscar winner, The English Patient; series regular The City, Stargate: Atlantis, This Life, State of Syn.
Trivia: Torri Higginson has never watched Macha Grenon play
the same role in French.
The annual ACTRA Awards in Toronto recognize
outstanding performances by ACTRA Toronto
members and celebrate accomplishment and
Christine Horne
excellence in our industry. In addition to the Award
Jennifer in Hyena Road
of Excellence, three juried awards are presented
Feature film debut, Vancouver Film Critics Circle nomination,
The Stone Angel, opposite Genie Award winner, Ellen Burstyn;
ACTRA Award nomination, Entangled; film credits include Atom
Egoyan's The Captive, Tru Love, Sex After Kids, The Untitled
Work of Paul Shepard, Survival Code; television credits include
Flashpoint, Republic of Doyle, Rookie Blue, King, Lost Girl,
Remedy, Killjoys, Saving Hope, Murdoch Mysteries; Dora Award,
The Turn of the Screw ; Dora nominations Andromache ,
Sheh'mah.
Trivia: Christine Horne and Hyena Road co-star Allan Hawco appeared together in The Company Theatre’s production of Belleville at Canadian Stage.
for Outstanding Performances in the categories of
Female, Male and Voice. And this year, a special
presentation to ACTRA Toronto’s stunt pioneers.
The Awards take place at a live show and gala on
February 20 at The Carlu, 444 Yonge Street,
Toronto.
Gold Sponsors
Thank you to our generous
Sponsors
Platinum Sponsors
16
ACTRA TORONTO PERFORMERS magazine
Diamond Sponsor
Tatiana Maslany
Multiple roles in Orphan Black
Born in Regina, Saskatchewan; alumnus of the Canadian Improv Games; ACTRA Award, Picture Day; Canadian Screen
Awards, Orphan Black (2015, 2014); Golden Globe nomination,
two-time Critics’ Choice Television Award winner, Television
Critics Association Award, Screen Actors Guild Award nominee,
Orphan Black; Gemini Award, Flashpoint; Genie nominations
Cas & Dylan, Grown Up Movie Star; Sundance Festival Special
Jury Prize, Grown Up Movie Star; selected television credits include Parks and Recreation, World Without End, Being Erica,
Heartland, Bloodletting and Miraculous Cures; film credits include The Woman in Gold (with Helen Mirren and Ryan Reynolds), The Vow, Violet and Daisy and
the upcoming Stronger, Two Lovers and a Bear, The Other Half.
Trivia: This is the third time Tatiana Maslany has been nominated for this award for Orphan Black.
She won it in 2015.
Catherine O'Hara
Shailyn Pierre-Dixon
Moira Rose in Schitt's Creek
Young Aminata in Book of Negroes
Has a star on Canada's Walk of Fame; Genie Award winner, The
Life Before This; Gemini Award winner, SCTV; Primetime Emmy
Award winner, SCTV; Primetime Emmy Award nominee, SCTV,
Temple Grandin; series regular, SCTV; selected film credits include After Hours, Heartburn, Home Alone, Beetlejuice, The
Nightmare Before Christmas, Waiting for Guffman, Best in
Show, A Mighty Wind, Surviving Christmas, Lemony Snicket's
A Series of Unfortunate Events, For Your Consideration, Away
We Go; numerous television appearances include Six Feet
Under, Curb Your Enthusiasm, Glenn Martin DDS, 30 Rock,
Series regular, Between; mini-series,
Book of Negroes; feature film credits include The Best Man
Holiday and the upcoming, Jean of the Joneses (with Gloria
Reuben).
Trivia: Shailyn Pierre-Dixon began her career as a child model,
doing commercials and background work.
Modern Family.
Trivia: In 2014, Ms. O’Hara was one of five Canadian comedians featured in Canada Post’s Great
Canadian Comedian commemorative stamp collection.
Silver Sponsors
Bronze Sponsors
Supporters
The Characters Talent Agency, Entertainment Partners Canada. and Canada Film Capital, 9 Story Media Group,
oscars abrams zimel + associates, Pinewood Studios, Ricochet Water, The CG&B Group, part of Arthur J. Gallagher Canada,
Ubisoft , William F. White International
Friends
Amanda Rosenthal Talent Agency, New Leaf Flowers & Gifts, Revival 629, Talent House, Thistle Printing
SPRING
2016
17
– MALE
Nigel Bennet
Christopher Plummer
Giles in Murdoch Mysteries
Zev Guttman in Remember
Born in Wolverhampton, Staffordshire, England; appeared on
the British stage for 15 years before moving to Canada; Gemini Award winner, Forever Knight; Gemini Award nominations
Forever Knight, Lexx, At the Hotel; series regular Forever
Knight, PSI Factor: Chronicles of the Paranormal, Lexx, Windows, Beach Girls, At the Hotel, The State Within, The Border,
Murdoch Mysteries; numerous television appearances include
Relic Hunter, Mutant X, Rookie Blue, Saving Hope, Orphan
Black, The Strain.
Trivia: Nigel Bennett is a former ACTRA National Councillor
and former President of ACTRA Maritimes.
Companion of the Order of Canada; Academy Award, Beginners;
Oscar nomination, The Last Station; Emmy Awards Madeline,
The Moneychangers; ACTRA Award, Barrymore; Genie Award,
Murder By Decree ; BAFTA Award, Golden Globe Award,
Beginners; Gemini Award, The Tempest; Gemini nominations
The Summit , Caesar and Cleopatra , Harrison Bergeron ,
Counterstrike; Genie nominations Emotional Arithmetic,
Blizzard, Ararat, Impolite, The Amateur; Grammy Award
nomination, Tchaikovsky: The Nutcracker ; selected film
credits include The Sound of Music, The Royal Hunt of the Sun,
The Return of the Pink Panther, The Man Who Would Be King, The Silent Partner, Star Trek VI: The
Undiscovered Country, Malcolm X, The Insider, A Beautiful Mind, Nicholas Nickleby, Up, The Girl
with the Dragon Tattoo, Danny Collins; In Spite of Myself: A Memoir, released in 2008.
Trivia: Christopher Plummer was the cover subject of the Fall 2012 issue of Performers magazine.
Kevin Hanchard
Detective Art Bell in Orphan Black
Dora Award nominee, Miss Julie, Topdog/Underdog; has performed at The Shaw and Stratford Festivals; television credits
include Naturally, Sadie, The Listener, Degrassi: The Next Generation, The Firm, Republic of Doyle, Nikita, Saving Hope, Suits,
The Strain, Rogue, The Expanse, The Girlfriend Experience; film
credits include Guidance, Born to Be Blue and the upcoming,
Suicide Squad.
Trivia: Kevin Hanchard is a regular in two concurrently running
series, Rogue and Orphan Black. He is a lifelong Leafs fan.
Dylan Harman
Eugene in The Rainbow Kid
Resident of Scarborough; starred in Rainbow Connection, a
short film The Rainbow Kid was based on; The Rainbow Kid
debuted at the 2015 TIFF; television appearances include
Remedy, Saving Hope; film credits include Jewel, Debug.
Trivia: Dylan Harman was a member of the original ensemble of
Rare, a theatre piece co-created with Judith Thompson.
18
ACTRA TORONTO PERFORMERS magazine
Rossif Sutherland
Ryan in Hyena Road
ACTRA Award nomination, Flashpoint; Genie Award nomination,
High Life; did a season each of ER, King, Reign; other television appearances include Being Erica, Living in Your Car, The
Listener, Crossing Lines, Cracked, Covert Affairs, Haven, The
Expanse.
Trivia: Rossif Sutherland studied at Princeton and now calls
Parkdale home.
voice
Christian Distefano
Bryn McAuley
Artie in Creative Galaxy
Quills in Numb Chucks
Born in Niagara Falls; Ronnie Realist promos for Teletoon
Cartoon network at age six; series voice regular Creative
Galaxy, Paw Patrol, Peg+Cat; series regular Odd Squad; television appearances include Satisfaction, Murdoch Mysteries, The
Strain; leading role in the feature film, Clown.
Trivia: Child performer Christian Distefano was interviewed by
Child Advocate Theresa Tova in the Summer 2015 issue of
ACTRA magazine.
Selected series work includes For Better or for Worse, Anne of
Green Gables: The Animated Series, George Shrinks, Toad
Patrol, Air Master, Girlstuff/Boystuff, Caillou, Crash Canyon,
Grojband, Total Drama Present: The Ridonculous Race.
Trivia: Byrn McAuley is the Co-Chair and Co-Founder of ACTRA
Toronto’s Young Emerging Actors Assembly (YEAA).
Andrew Jackson
Adrian Truss
Buford in Numb Chucks
Armand the Sasquatch in Camp Lakebottom
Television appearances include Life As We Know It, Terminal
City, The Collector, Being Erica, Reign, Rogue; series voice
regular Bakugan Battle Brawlers: Gundalian Invaders ,
Beyblade: Metal Fusion, Numb Chucks, Beyblade: Shogun
Steel.
Trivia: Andrew Jackson plays piano and trumpet, and appears in
I Shoot UBCP.
Founding member of the comedy troupe, Illustrated Men;
selected series work includes Pecola, Rolie Polie Olie, Atomic
Betty, Jane and the Dragon, Ruby Gloom, Erky Perky, The
Amazing Spiez, Totally Spies!, Camp Lakebottom, Inspector
Gadget, Total Drama Presents: The Ridonculous Race, Babar
and the Adventures of Badou.
Trivia: This is Adrian Truss’ fourth nomination for the ACTRA
Toronto voice award.
Julie Lemieux
Granny Butternut in Numb Chucks
Born in Asbestos, Quebec; began her voice career as Rupert
Bear in the animated series, Rupert; ACTRA Voice Award,
Spliced ; ACTRA Voice Award nominations Almost Naked
Animals, Magi-Nation, Numb Chucks; selected series work
includes Sailor Moon, Pelswick, Beyblade, Henry's World,
The Wumblers, Pandalian, Growing Up Creepy, Best Ed, Miss
Spider's Sunny Patch Friends, The Amazing Spiez, Bakugan
Battle Brawlers, Spliced, Busytown Mysteries (Hurray for
Huckle!), Scaredy Squirrel, PAW Patrol, Julius Jr., Arthur,
Inspector Gadget, Total Drama Presents: The Ridonculous Race,
PJ Masks; Canadian Screen Award nomination, Dinopaws.
Trivia: Julie Lemieux holds the record for the most nominations for the ACTRA Award in Toronto.
SPRING
2016
19
ACTRA YOUTH:
THE LEADERS OF
TO…
Rebecca Applebaum
Joella Crichton
Sedina Fiati
Imogen Grace
Grace Lynn Kung
Bryn McAuley
“As I keep meeting with young people in the
industry, launching new projects and new
ideas, I can feel a power surge about to
happen. It’s just a matter of time before
something bursts.” – Farah Merani
looks forward to having young people alternate for her. She pushes
for even more youth involvement on council. Farah Merani served as
an alternate for Jani Lauzon in 2007. She was one of the youngest and
few people of colour in the meetings. When she discovered that her
unique voice, as a representative of this specific demographic, was
valued, she felt compelled to lead. Hence her continuing position as
Diversity Committee Co-Chair, as recommended by Jani in 2008.
ere is an upswing of young leaders in our union. Within ACTRA
Council, the committees, and the industry, members under 35 are
engaging in an impressive way. With an inspiring sense of ownership
over their work, this new generation of young ACTRA members are
not only committed to being a part of change, but are leading our
union towards a stronger, better, more inclusive industry now.
Encouragement to speak, coupled with the accessibility of new
technologies, fosters a demographic of empowered and knowledgeable
young people with insight into the current landscape of film and
television. ACTRA is eagerly embracing these cohorts by supporting
committee initiatives, seeking young Councillors and listening to new
members.
is capacity to trust young voices is a great strength for ACTRA.
Nicole St. Martin, Co-Chair of the Toronto ACTRA Women’s
Committee (TAWC) and the Conference Committee, thanks longstanding members Austin Schatz and Richard Hardacre who heard
her ideas with interest and curiosity when she joined the union. She
has noticed an increase of young people engaging with ACTRA since
she began, many of whom credit their involvement in the union to
Nicole herself. There are many examples of grateful ACTRA
members who would not have experienced significant opportunities
if it were not for the embrace of experienced older activists.
“We have to continuously listen to young members’ ideas, even if
there are things that have already been said, because now might be the
right moment in time to put them into action.” – Nicole St. Martin
Several young members ran in this council election, including the
newly-elected Clara Pasieka, under 30. Grace Lynn Kung, Rebecca
Applebaum and Sedina Fiati, also elected, served as alternates on
council while still under 30. Sedina (Diversity Committee Co-Chair)
20
ACTRA TORONTO PERFORMERS magazine
Brave young members ran for council and have voices as alternates
in meetings, but their roots are in ACTRA’s committees which are
creating endless opportunities and, better yet, providing space for
young members to produce their own initiatives.
“is generation of ACTRA youth are impatient…in a good way. ey
like to make things happen, now.” – Rebecca Applebaum, Councillor
e Young Emerging Actors Assembly (YEAA), Co-Chaired by Clara
Pasieka and Bryn McAuley, is an initiave that was first propelled by
Bryn, Executive Director Sue Milling and V.P. Communications David
Background illustration created with photos by Shawn Goldberg
of the 2015 tri-committee TIFF party.
…DAY
By Tiana Asperjan
Farah Merani
Clara Pasieka
Nicole St. Martin
Farid Yazdani
Richard Young
Connie Wang
Gale. e committee has been engaging and supporting youth since
its founding, but there is a strong youth presence across all of ACTRA’s
committees. Within YEAA, TAWC, the Diversity Committee, and the
Conference Committee, ground-breaking initiatives are being developed, led and executed by members under 30.
ACTRA members expressing innovative views on how film and
television can become more inclusive. Young TAWC members are
finding new solutions to existing, but constantly-changing issues not
just because it affects them today, but because they are invested in
contributing to big conversations.
In the past two years, young members of TAWC, Co-Chaired by
Nicole St. Martin and Freya Ravensbergen, mobilized their
peers thorough several new initiatives. e annual Nell Shipman
Award is the only award that ‘honours a female producer, writer or
showrunner who has forwarded gender equity in the industry both
in front of and behind the camera.’ It is awarded at the yearly Spring
Gala, coordinated this year by Rebecca Applebaum. e TAWC
Toolkit incubator invites female writers, producers, directors and
cinematographers to apply for a mentored position on the
production of a short film which furthers gender equity. In its second
year, the program was expanded to include a Stream B series of workshops designed for those new to directing, producing, writing and
script supervision. Stream B was based on the high level of interest
coming from young ACTRA members eager to learn new skills and
produce work more representative of who they are. And these members are working hard to represent all demographics.
The Diversity Committee and the Conference Committee
demonstrate the same powerful youth engagement. At the Fall Members’
Conference, Diversity hosted Mix it Up: Diversity Professional
Development Workshops, an opportunity for self-identified diverse
members to meet industry professionals. For the next conference,
young members Joella Crichton and Imogen Grace are organizing a
masterclass connecting directors with ACTRA performers. Joella and
Connie Wang, both Diversity members under 30, are writing a
committee video script based on the results of an informal survey
tracking the challenges faced by diverse actors working in Canada.
ere are two incredible examples of TAWC’s young members creating
initiatives to address challenges for demographics outside of their
own. is year’s Toolkit 3.0 incubator is only accepting applications
from women over 40. In March, the Let’s TAWC Youth Retreat was
launched by two members under 30, in an effort to highlight the
voices of females under 17. e result was a group of even younger
is year, YEAA hosted several events which addressed the actor’s
growing need to self-produce. Since 2011, YEAAShorts has been
partnering with the Toronto ReelWorld Film Festival, giving selected
YEAA members mentorship and financial support to produce films.
This year, the first YEAAShorts filmmaker/writer mixer worked
towards bridging the gap between ACTRA members and creative
teams. Our committees are helping ACTRA performers make films,
and creative teams ‘go union.’
"Farid Yazdani, co-spearhead of YEAAShorts16 at ReelWorld, has
seen first-hand that identifying as a union member has advantages:
he once wore an ACTRA pin, struck up a conversation with a
producer unknowingly and nailed the job!" – Clara Pasieka
SPRING
2016
21
Advertisement
ACTRA YOUTH: THE LEADERS OF TO...DAY
continued
“Unlike most conventional banks,
Creative Arts truly understands my
work, finances and future goals as
a Canadian performer.”
Adamo Ruggiero
By artists.
For artists.
Adamo Ruggiero has been acting professionally for
years. A veteran performer, with credits including
Degrassi: The Next Generation, Make the Yuletide Gay,
The Neverending Story and The Next Star, his
accomplished career features stage, film, TV and PSA
credits.
Adamo was one of the first performers to join Creative
Arts. He has his finances with the credit union, as well
as a number of other accounts to support his day-today banking needs.
“I trust Creative Arts with my finances and thank
them for being an ally to the Canadian arts
community.”
Creative Arts Savings & Credit Union
Main Floor, 625 Church Street
Toronto, ON M4Y 2G1
416.642.6749 | 877.643.3660
www.creativeartscu.com
Our Streng th Is In Numbers
YEAA, TAWC and Diversity came together for the Studio District
Film party at the 2015 TIFF. Clara Pasieka notes that this kind of
large-scale event attracts creators to a union, which proves that it is
current, sexy and engaged. e TIFF party is just one example of our
ACTRA youth reaching beyond union walls to create a more united
industry.
“I feel change across Canada as young people in all industries are
becoming more active in forming our future - we are more involved.”
– Grace Lynn Kung
is past federal election saw a huge increase of young people taking
political and social action. Clara acknowledges the contributions of
Farid Yazdani who has taken on leadership roles enhancing the work
being done by YEAA and the union as a whole. She says he is one of
many YEAA members who went the extra mile to support get-outthe-vote initiatives in the federal and ACTRA elections. YEAA made
a political, consciousness-raising web video, Girl Meets Boy, spreading
the hashtag #VotingIsSexy. e ACTRA co-op brought ACTRA
members on set and raised awareness that our vote affects our industry.
It is this innovative thinking, capitalizing on social media and our expansive pool of ACTRA youth that is creating big changes and new leaders.
Clara Pasieka became an active participant of YEAA in 2012. She
attributes much of her success now to the positive, vibrant
community of YEAA, which brought her opportunities not only to
be involved with her industry but to explore her talent as a leader. She
found a home for both her creative and political passions at ACTRA.
Heather Allin asked her to alternate on council, Richard Young and
Bryn McAuley invited her to Co-Chair YEAA, and ACTRA Council
sent Clara to Ottawa to lobby for the first time. Clara was one of many
young members to help pass Bill 17, the Protecting Child Performers
Act, first set in motion by Theresa Tova and Tabby Johnson. All
prepared her for her new seat on Council and new role as V.P.
Member Services. e ACTRA community offers real opportunity to
its young members and acts as a platform for the incredible careers of
socially-conscious, knowledgeable leaders who pass on the same trust
to fellow youth.
“A side effect I’ve noticed recently: more people are asking me,
‘How can I do that?’’’ – Clara Pasieka
It is gratifying to celebrate not only our young members as they find leadership roles and take ownership over their special perspectives, but
also those key members who continue to serve ACTRA and recognize the power and value of our youth, pushing for us to experience these
positions of leadership. It is evident that our new leaders are eager to provide opportunity to the next generation, continuing this learned
advantage of solidarity within our union and, more than ever, within our industry.
•
Tiana Asperjan, 24, is an ACTRA Apprentice and Social Media Coordinator for the Toronto ACTRA Women’s Committee. She holds a BFA in Acting from York University. Upon
graduating, she joined ACTRA and is now Co-Producer and Assistant Editor of the TAWC-kie videos: a series of short interviews with women in the film and television industry
such as Tonya Lee Williams, Grace Lynn Kung and Naomi Snieckus. She also developed and launched the first annual Let’s TAWC Youth Retreat. Tiana is passionate about
linking her interest in empowering youth and women to filmmaking and continues to develop her skills as an actor, writer and producer. She is grateful for the huge encouragement
and opportunity she has found in the ACTRA community and hopes to motivate other young members to get involved in big ways! Would you like to join a committee? Email one of the Chairs below.
YEAA: [email protected]
Diversity: [email protected]
TAWC: [email protected]
Conference: [email protected]
22
ACTRA TORONTO PERFORMERS magazine
Independent Production Agreement (IPA)
e new IPA 2016 - 2018
- Deal Points in Brief
ank you for ratifying the new IPA.
Your union achieved a landmark agreement that protects the value of
our work regardless of how it is exploited. Your IPA bargaining team
put in long hours over 18 days between September and December
2015, finally reaching a deal at 3:30 a.m. on Saturday, December 5th,
2015. ey said NO to concessions and were able to build work opportunities and organize performance work exploited through new
technologies.
ese are the major deal points:
• Richest/strongest New Media (NM) deal in the world. Protected prepayment into the
future at a minimum of 105 per cent regardless of the medium in which it is exploited.
• NEW Prepayments for “All-Uses” (i.e. Conventional and NM). A five per cent
increase to 135 per cent for theatrical/NM, 110 per cent for TV/NM. First increase to
prepayments since 1995.
• 105 per cent pre-payment for New Media Only Use. No Internet for FREE!
• Lower budget NM organized with two discounts (budgets less than $7500/min –
35 per cent discount; and budgets of $7500-$10K/min – 25 per cent discount.) Prepayments of
105 per cent with up to 8 per cent Distributor’s Gross Revenue (DGR). For example, this means
total minimum Principal Performer fees (Session + Prepayment) of $946.08 or $1091.63 for a
day’s work in lower budget NM in 2016.
• NM over $10K/min is paid at full IPA rates.
• Mini-series language added to NM to capture/organize web series.
• Day rate established for Choreographers at the Solo Dancer rate.
• 5 per cent of the DGR option for NM Use of CIPIP programs when Prepayment or Advance
is not chosen.
• Animation: eliminated 35 per cent discount. NEW Sound Library provision and rules in the
agreement. NEW 205 per cent All-Uses prepayment option for 10 years’ Use.
Animation can be Made for NM but no discounts beyond section D apply (i.e. no stacking).
• Stunt Coordinators to receive 10 hours turnaround! (First time they have had turnaround.)
Stunt Coordinators not responsible for performer scheduling changes.
• Documentary, Industrials & Lifestyle included in provisions to support emerging digital producers. A further organizing bid.
Changes for Background Performers:
• Change in upgrade rules to eliminate retroactivity for on-set upgrades of Background
Performers for the addition of unscripted dialogue. Same character will be paid at the higher
rate going forward, but not for days already worked as Background. More upgrades and
fewer grievances.
• BG Count – one additional background performer in every count level. Also, first two nonmember Special Skills Extras kept out of all counts (i.e. Producers would need to hire two
non-member SSEs outside the count before a non-member SSE was included in the count).
Counts rose on January 1, 2016. 30 becomes 31, 25 becomes 26, 20 becomes 21, 15 become 16
and 10 becomes 11.
• NEW! 10 background performer count for lower budget NM. No discount on background
performer fees. Count excludes Stand-ins, Photo doubles and two non-member SSEs.
Stand-ins to receive a minimum of 24 hours’ notice of scheduling changes.
Your hard-earned money doesn’t grow on trees or
fall from the sky. We help you get what you deserve.
Respect changes:
• Specialty “formal” and “culturally specific” wardrobe language added to paid
wardrobe provision.
• “Signing” added to Actor definition and “Gender Identity” added to
equality provisions.
• “Accessibility at casting facilities” notice to be posted by Producers.
Pay raise:
• 25 cents per year increase to ACTRA Additional Background Performer rates – 2016:
$12.25; 2017: $12.50; 2018: $12.75.
• 2 per cent pay increase across the contract in each of the three years.
Other Provisions:
• Settlement of past NM grievances with major studios and Canadian producers.
Performers will see payments of 3.6 per cent of DGR on NM Use outside the prepayment period
going back to productions shot between 2007 and 2015.
Settlement deadline for monies owed is June 30, 2016.
• An understanding that insurance for performers’ vehicles used on set is an important topic
of enquiry and a solution must be sought from legal and insurance authorities. Until then,
ACTRA’s advice to performers will continue to be: DO NOT provide your vehicle unless a written
insurance rider is provided by the Producer.
anks to the ACTRA Toronto bargaining team: Catherine Disher,
Shawn Doyle, Sarah Gadon, Grace Lynn Kung, Rick Howland and Julian
Richings, and the staff. And thanks to you for ratifying this groundbreaking agreement.
•
David Sparrow
President, ACTRA Toronto
SPRING
2016
23
by Rick Howland
I recently had the honour of being on ACTRA’s bargaining committee
for IPA negotiations. If you ever get the chance, it’s an interesting
process. Both sides come to the table with new proposals for amendments
to the current IPA. ACTRA held multiple focus groups to hear
concerns from all facets of our membership. Our negotiating team
was committed to ensuring that the producers heard each group’s
concerns: from financial gains to background counts, from facility
concerns to safer conditions for our stunt performers. But it’s a negotiation. Each side must give and take to find compromise. On the first day of bargaining, both sides gave opening remarks and
read their proposals in what is informally called the “big room,” where
everyone, and I mean everyone, from both sides attends. The
producers’ Chief Negotiator made the civilized comment that he does
not like and does not want anyone to have to negotiate on an empty
stomach or a full bladder. We seemed to be off to a respectful start.
ey presented their proposals. is is the moment when you put a
mask over your open, reactive actor face and find your best poker face.
It is important not to scoff or roll your eyes at their offerings; it’s the
toughest acting job you will have. We then went back to our own caucus
room or “war room” and discussed whether any of their proposals
could be considered in order to gain movement on our own
proposals. Either side may call for a “sidebar” at any time. A sidebar
is a small group discussion with both parties on specific points and
can oen result in resolution. Knowledgeable delegates from both
sides can be invited to participate in sidebar. When the parties return
to the big room, each side responds to the other’s proposals. It was
during one of those occasions that my poker face was truly tested. In the big room, ACTRA had worked through the producer proposals
in an orderly fashion, outlining our difficulties with some of their proposals and indicating where others might be acceptable. Then the
producers began to break down our proposals; a few they were willing to concede, others required in-depth clarification; but there was
one point in one proposal to which they didn’t respond at all. ACTRA had proposed that casting facilities be accessible and barrierfree, and that they have clean and accessible bathrooms. A producer
responded that cleanliness was subjective; a matter of personal
opinion and difficult to quantify. Then they moved on to another
proposal and nobody said anything at all about the accessible part of
the proposal.
I am a working diverse actor. I have spent many periods of my life
wheelchair-bound and all of it in some kind of physical pain. I have
regularly auditioned alongside actors with physical differences. I have
seen them struggle just to get into the facility where the audition is
being held. I have shared their disappointment and frustration while
they try to get themselves back into the proper headspace to audition.
I am short; I am short due to a bone disorder. I was born with
Osteogenesis Imperfecta. As with the colour of one’s skin, I did not
choose this for myself. I have been pointed at, stared at and verbally
ridiculed. We have to struggle with just living in a city that does the
24
ACTRA TORONTO PERFORMERS magazine
minimum to make it accessible and with living in a society that does
the minimum to be polite.
As the producers moved on to the next proposal, I began to shake and
felt sick to my stomach. e leap over the issue of accessibility hit me
hard but the strong emotions I felt had to remain inside of me. I began
to feverishly scribble down my thoughts. ey flooded into my mind
like soldiers marching five abreast trying to fit through a single door.
I was spurred to speak. Once back in ACTRA’s war room I waited
patiently for our group to comb through the producer’s responses
to our proposals one by one. It wasn’t until the next morning that we got
to this proposal and I could say my piece. I had a bit of a restless night.
I wrote out my notes again, removing any language not appropriate for
this strategic and formal setting. Finally, three cups of coffee into the
next morning, we were on to this proposal. I raised my hand and
spoke of how upsetting it was that nobody had responded to the
accessibility part of the proposal. is was seconded by many of the
able-bodied actors around our table.
We were told there is an audition facility that has no bathrooms at all.
A collective gasp was heard around the room and I made another
note. ACTRA’s Executive Director Stephen Waddell pointed out there
is language in the IPA about the requirement for accessible
washrooms on set (A2001 (a) (vii)). But Article A2809 of the IPA,
which covers the audition environment, said only: “e Producer
shall take reasonable and concrete steps to ensure that proper
Audition facilities are used when auditioning performers…” e
irony of the phrase “concrete steps” was not lost on me and, when I
was asked to speak about this in sidebar, I quickly added it to my
notes. Earlier that month, ACTRA Toronto President David Sparrow
had visited various casting facilities in the Toronto area and photographed a series of concrete steps. Only one casting facility was
barrier-free: Lonesome Pine Studios (Pirate Radio). Some had as
many as six flights of stairs between the front door and the
audition room.
is is (more or less) what I said in sidebar.
“Yesterday, you responded to our proposal for barrier-free casting
facilities. You spoke about the cleanliness of the bathrooms but not
about their accessibility. One of you said that cleanliness is a personal,
subjective thing. Having a disability is not subjective. No one with a
disability chose to have it. Having an accessible bathroom is within
our control.
It is incredibly important that we address this situation so that
disabled actors can audition for what little work is available to them.
Currently, when a wheelchair-bound character is written into a script,
actors who use a wheelchair won’t be auditioned if there is a flashback
scene where that character needs to walk. I have heard the complaint
that actors with disabilities don’t have enough training. Many of these
audition spaces double as training facilities for workshops and acting
classes. How is a person with a disability supposed to get in to get
more training? Disabled people have access to training monies.
Instructors are missing out on an income opportunity. We have an
aging population; we are all getting older. It is great to see more parts
written for this demographic; however, they will also need barrierfree facilities.
Article A2809 says that producers will take concrete steps to ensure
that proper audition facilities are used. Both parties need to take
concrete steps to remove the concrete steps! I have been at auditions
Photos of the entrances to Toronto
casting locations (Dave Sparrow)
where actors were unable to audition because of the barriers at
the facilities, or they were redirected to a freight elevator that they
couldn’t reach to operate. ey have had to call their agent to contact
casting to get help. I have heard of occasions where separate auditions
were held later at an accessible facility. at constitutes a loss of time
and money for the producer.
Every person who has the desire and passion to be in this industry
should be able to follow their dream and not be turned away by a
physical barrier. It’s hard enough to get in the room to be seen for a
role, they shouldn’t lose an opportunity because they can’t physically
get in the room. On the first day we agreed that nobody likes to
negotiate with a full bladder; nobody likes to audition with one.” en David Sparrow showed his photos of the concrete steps leading
to Toronto casting facilities (above).
e next day, a few of the producers thanked me personally for highlighting the situation and said they had been prompted to count stairs
and notice bathroom placement in restaurants aer my speech.
I le bargaining for work abroad but waited with bated breath to see
if my efforts had made a lasting impact.
•
Rick Howland
Rick Howland is known for playing Trick on Lost Girl.
SPRING
2016
25
President David Sparrow responds to
Concrete Steps
is round of bargaining saw little movement on
ensuring that casting facilities are accessible and
barrier-free for all members.
The producers’ side of the table had vague legal concerns about
liability and cost, and while they did agree that access was a concern,
they were unwilling to write language in the contract that would make
access mandatory. ey were moved by Rick’s appeal and agreed to
launch a communications effort to better inform their members of
the access challenges faced by performers and producers alike (we’re
all getting older) and the desirability of using accessible casting sites
where they exist. ACTRA Toronto has been raising the issue at every
pre-production meeting for years and directly contacting casting
facilities about the changes that should be made and we will continue
to champion this cause for all members.
We want film and TV to accurately reflect society in all of its wonderful diversity. If there are performers who cannot access the casting
facilities, then the goals surrounding true inclusion cannot be
achieved.
bility proposal and I know Rick Howland will be there to stand with
ACTRA in demanding fair access to all auditions for all performers.
•
David Sparrow
e Canadian producers’ associations agreed to issue the
following bulletin to their respective memberships:
NOTICE TO CMPA and AQPM MEMBERS:
During negotiations for the renewal of the ACTRA Independent
Production Agreement, the CMPA, AQPM and ACTRA discussed
issues relating to the accessibility of audition facilities for performers
with varying abilities.
e [CMPA/AQPM, as applicable] considers this to be an important
matter and encourages all Producers to take reasonable steps to hold
auditions in facilities that are accessible to performers with varying
abilities.
On the International Day of Persons with Disabilities, President David
Sparrow was interviewed by Global News about the deplorable lack of
accessible casting facilities in Toronto.
Here is a link to the Global News clip:
We will return to the table next time with an even stronger accessi-
http://globalnews.ca/video/2376681/actors-with-disabilities-being-kept-out-of-auditions-due-to-accessibility
Advertisement
“ I long, as does every human being,
to be at home wherever I find myself. ”
~ Mary Angelou
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
26
ACTRA TORONTO PERFORMERS magazine
AYA Challenges Misconceptions with
New Video
By Jennifer Higgin
One of the mandates of ACTRA Toronto’s Act Your Age committee is to advocate for a change in the perception of senior performers. We have an image of
ourselves as experienced, capable, energetic, fun and even sexy. Yet all too oen
we are overlooked, or when we are present, we are portrayed as challenged, slow,
dowdy, infirm and out of date. e situations our senior actors find themselves
in are a direct reflection of how all seniors are treated by society at large.
e statistics are disheartening. Canada’s veteran actors have little if no opportunity to work in a field that they have devoted their lives to. Without visible and positive public role models it is all too easy for aging people to become
invisible to themselves and to others, and to fall prey to feelings of shame, isolation and loneliness.
We partnered with Performing Arts Lodge (PAL) Toronto in a successful application to the Ontario Seniors Community Grant Program to produce an
advocacy video called Misconceptions. e video’s goal is to advocate for a visible and positive place in the stories we tell.
Our story started with a concept by Elva Mai Hoover, which was expanded by
eresa Tova and Jennifer Higgin. Produced by the team of Higgin and Tova,
the video was shot over two days in September with an entirely senior production team. We reached out to our industry partners who told us that ageism
is also an issue in their guilds and unions. We gathered a top-notch team of
older artists to the project. Alan Goluboff, Chair of the Directors Guild of
Joy (Kate Trotter) transforms into a “senior” for an audition in Misconceptions.
Canada (Ontario) directed; Ron Wisman co-edited; Kit Whitmore was our Director of Photography. Award-winning actors Kate Trotter, Art Hindle and stunt
legend Dwayne McLean starred, as well as over a dozen other older actors,
some in their 70s and 80s.
e video was generously supported by the Ontario Seniors’ Secretariat, AFBS,
ACTRA Toronto, PAL Toronto, William F. White, SIM Digital, Bling and
Canadian Federation of Musicians. Look for the film on the ACTRA Toronto
website, under the Act Your Age committee. And ask yourself, “What are your
misconceptions?”
•
Advertisement
SPRING
2016
27
David Bolt
1944-2015
Actor
David Bolt was the first professional actor I ever met. I was studying
theatre and he was performing in remote gymnasiums and church
basements for Regina's Globe eatre.
I longed for the opportunity to work with an actor that good and was
somehow blessed with playing opposite David dozens of times. He
was capable of flights of comedy and profoundly moving moments of
drama, while being generous to everyone with whom he shared the
stage, becoming a beloved gentleman of the theatre whose contribution to
Canadian drama is immeasurable.
Together we did his wife Carol Bolt’s landmark play Red Emma
and Tom Hendry’s astonishingly weird Gravediggers of 1942. I’ll never
forget holding a flailing Chapelle Jaffe as David’s crazed Van Helsing
drew screams as he drove a stake through her heart in Bill Lane’s
Brides of Dracula, nor struggling to keep a straight face as he delivered
the looniest monologue ever written in George F. Walker’s Beyond
Mozambique.
Aer Carol passed away, David withdrew somewhat from the stage,
but wrote radio plays for CBC and became a familiar voice on commercials.
David is remembered for his eccentric turn in David Cronenberg’s
Videodrome.
The last time we took the stage together was a 30th anniversary
benefit for Factory eatre, performing the penultimate scene from
George F. Walker’s eatre of the Film Noir, a play which might’ve been
the best work we ever did.
David Bolt passed away unexpectedly on October 3rd and it feels as
if half my fondest moments in the theatre departed with him. Yet I
doubt David saw himself as the pioneer or ground-breaking artist he
was. He just accepted he was a part of something that began long ago
and will continue long aer we’re gone and that you use the moment
you’re given to be the best you can be as both an artist and a man.
•
Jim Henshaw
28
ACTRA TORONTO PERFORMERS magazine
• IRENE HADDoW AVERY • RICHARD bAuER • DoN FoNTANA • DANIEl HYATT • YVAN lAbEllE
• DouG lENNoX • bob moNKS • SuSAN RobERTSoN • JEREmY SlARK • JoHN THAlloN
Joel Harris
1971-2015
Stunt Performer and Stunt Coordinator
e car was going about 30 kilometres per hour when it hit me. I was
airborne. I went over the roof, the world was spinning around me, but
I spotted a landing and hit the ground with minimal damage. When
I looked up at Joel, he was standing in the crowd, smiling at me from
ear to ear.
Joel Harris taught me so much in his short life, and not just the mysterious and ambiguous art of getting hit by a car. at training day
was the first full day we spent together. At the time, he was the most
talented performer I knew, the most trustworthy stunt rigger, car-hit
guru, the most humble man, and a person I was proud to call my
friend.
Twelve years later, as I face saying my final goodbyes to this unforgettable man, the roles he played in my life have grown to include
handyman, dive buddy, training partner, business partner, therapist,
dog-dad, comedian, bravest-person-I-know, best friend, soulmate and
husband. Joel Harris was truly my better half.
Joel was not one to miss out on adventure. He made his own rules and
was not afraid to pursue things that seemed crazy or unattainable. He
loved skydiving, base jumping and especially doing them in one of
his many wing suits. He would oen say to me, “ere is absolutely
nothing in life that compares with soaring through the clouds like a
bird. Nothing.”
aggressively investigated.” Cool
as always, he deflected their head
butts, eventually pulled it together and swam out of the
swarm unscathed, with his hands
tucked safely under his armpits.
He admitted he was shaken up,
but he seemed less disturbed
than me. He happily finished our
13 remaining dives in sharky
waters.
Joel was a man of action but a
man of few words. In an industry of extroverts, Joel was a rare,
quiet gem. Every stunt person in this country breathed a sigh of relief
knowing Joel had their backs on set, and that is a just a tiny window
into what the Toronto stunt community has truly lost.
•
Alicia Turner
Joel could be trusted with the most nerve-wracking stunts. He has
jumped from a helicopter onto the top of the TD building in downtown Toronto, he has been hit by so many cars I’ve lost count, he performed a 250-foot rappel down an office tower, and recently did a high
fall on fire in Suicide Squad.
On our recent scuba diving trip, the dive suddenly got very intense
and I watched Joel get attacked by a school of five or six large sharks.
If you had asked Joel, he would have said, “I didn’t get attacked; I got
SPRING
2016
29
Water on
Stone
A report from Art Hindle, V.P. External
On my walk up University Avenue to Queen’s Park to see a law passed to protect
child performers that we had lobbied on for years, I passed a small bust of Mary
Pickford. Ms. Pickford was the first Canadian movie mega-star and had started
performing as a child. I felt her presence and imagined a small pat on the back. I
looked to the trees to the east of the statue and pictured where her house might
have stood. I posted on social media about feeling Mary’s presence that day. e
passing of child performer protection legislation was a big deal - a rare event and
one to relish.
I’ve used the word "lobbied" but I'm not sure that is the correct word. I like to think
we convinced lawmakers to use common sense, something not so common in
today’s world.
Getting that bill passed was a long, long process, like the effect water has on stone
over millennia. It started in the early ‘90s by ACTRA Toronto Councillor, eresa
Tova, when her young children were working in the business. Aer three successful grievances, eresa took the helm of the Children's Committee and the process
ramped up. Now all child performers, ACTRA and non-union, are protected while
working in film, TV and on stage. Our thanks must go to eresa and other
ACTRA and Equity members and staff who spent many hours lobbying at Queen's
Park, and to our political champions, Cheri diNovo, Peter Tabuns and Paul Miller.
e challenge is always that people outside our industry don’t really know our
world. ey only see the finished product and sometimes they think our work is as
easy and fun as the fictional worlds we create and that the magic “just happens.”
ey don’t realize the amount of effort and support it takes to make art and culture
appear out of thin air.
photo by Adolf Galland
We will continue to lobby hard for stable tax credits, income averaging for
performers, for our collective agreements to be recognized under labour law and
for other elements of Status of the Artist legislation for all Ontario artists.
e drops of water on stone seem to be making an impression lately. e Ontario
government has embarked on a province-wide consultation to cra a comprehensive
Culture Strategy, and Premier Wynne was in Los Angeles recently promoting
Ontario as a destination for U.S. film and TV production.
Does this mean we rest on our laurels? No. We will continue to show up at Queen's
Park and in Ottawa to educate politicians about our industry and the concerns of
performers.
ere is some truth in the saying, "e squeaky wheel gets the grease."
Join us if you can.
•
https://www.ontario.ca/page/ontarios-culture-strategy
30
ACTRA TORONTO PERFORMERS magazine
e drops of water on stone seem
to be making an impression lately.
e Ontario government has
embarked on a province-wide
consultation to cra a
comprehensive Culture Strategy
and Premier Wynne was in
Los Angeles recently promoting
Ontario as a destination for
U.S. film and TV production.
ACTRA Toronto Council Who’s Who
Finance and Administration
Karen Ritson, Director Tel: 416-642-6722
PRESIDENT David Sparrow [email protected]
PAST PRESIDENT Heather Allin [email protected]
VICE-PRESIDENT, MEMBER-AT-LARGE Wendy Crewson [email protected]
VICE-PRESIDENT, COMMUNICATIONS David Gale [email protected]
VICE-PRESIDENT, EXTERNAL AFFAIRS Art Hindle [email protected]
VICE-PRESIDENT, MEMBER SERVICES Clara Pasieka [email protected]
TREASURER David Macniven [email protected]
VICE-PRESIDENT, INTERNAL AFFAIRS Theresa Tova [email protected]
Independent Production and Broadcast Department
Alistair Hepburn, Director Tel: 416-642-6719
Barbara Larose, Senior Independent & Broadcast Production Advisor, Tel: [email protected]
Shereen Airth [email protected]
Rebecca Applebaum [email protected]
Maria Del Mar [email protected]
Catherine Disher [email protected]
Ferne Downey [email protected]
Shawn Doyle [email protected]
Sedina Fiati [email protected]
Dom Fiore [email protected]
Joel Keller [email protected]
Grace Lynn Kung [email protected]
Angelica Lisk-Hann [email protected]
Colin Mochrie [email protected]
Jack Newman [email protected]
Leah Pinsent [email protected]
Julian Richings [email protected]
Nicole St. Martin [email protected]
Gail Haupert, Steward: IPA, Videogames, Animation,
New Media, CFC, Coop, Student. Staff Liaison: Voice,
New Media Tel: 416-642-6709
[email protected]
Clare Johnston, Steward: IPA, Reality. Staff
Liaison: YEAA, Health & Safety Tel: 416-642-6746
[email protected]
Tereza Olivero, Steward: IPA, Documentaries,
Industrials, TiP. Staff Liaison: Background Performers
Tel: 416-642-6727 [email protected]
Erin Phillips, Steward: IPA, Audio Code, CBC, NFB,
TIP, TVO, PSAs. Staff Liaison: Stunts
Tel: 416-642-6711
[email protected]
Cindy Ramjattan, Steward: IPA, CityTV, CTV,
Zoomer, New Media. Staff Liaison: Diversity
Tel: 416-642-6738
[email protected]
MEMBER ADVOCATES AND OMBUDSPERSON:
Taborah Johnson, Child Advocate [email protected]
Jani Lauzon, Diversity Advocate [email protected], ext. 6618
Shawn Lawrence, Ombudsperson [email protected], ext. 6604
{
ACTRA Toronto Staff is here for YOU.
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
Sue Milling, Executive Director
Michelle Nagel, Executive Assistant Tel: 416-642-6716
Commercial Agreement Interpretations
Judy Barefoot, Director Tel: 416-642-6705
Kelly Davis, Steward Tel: 416-642-6707 [email protected]
Cathy Wendt, Steward Tel: 416-642-6714 [email protected]
Industry Relations
Taisa Dekker,
Tel: 416-642-6740
[email protected]
Toronto Indie Production
Tasso Lakas, TIP Coordinator,
Tel: 416-642-6733
[email protected]
MEMBER EDUCATION COURSES
Holly Gray, Receptionist Tel: 416-642-6741
Commercial Audition Callback Inquires
Claudette Allen Tel: 416-642-6713 [email protected]
GORDON PINSENT STUDIO BOOKINGS
Tel: 416-928-2278
Commercial Cheque Inquiries
Nancy Dickinson, Examiner Tel: 416-642-6721
Tammy Boyer, Examiner Tel: 416-642-6739
Lyn Franklin, Examiner Tel: 416-642-6730
MEMBER SERVICES (DUES & PERMITS)
Indra Escobar, Director
Tel: 416-642-6702
Commercial Payment Inquiries
Brenda Smith, Coordinator Tel: 416-642-6731
Laura McKelvey, Senior Commercial Coordinator Tel: 416-642-6728
Communications
Karl Pruner, Director, Tel: 416-642-6726
Karen Woolridge, Public Relations Officer Tel: 416-642-6710
Luca De Franco, Public Relations Officer - Web Tel: 416-642-6747
Let us know about non-union shoots.
We will introduce the producers to the advantages
of working ACTRA. Email [email protected].
Your message will remain strictly confidential.
SPRING
2016
31
ACTRA Toronto Performers
625 Church Street, 2nd floor
Toronto,ON
M4Y 2G1
Printed in Canada
Canada Post Corporation
Publication Mail Agreement No.
40 07 01 96