Fall 2010 - ACTRA Toronto

Transcription

T.O.’s
Transformation
how we became
a series town
Young
Toronto
Our
fabulous
faces
Taking
the long view
YEAA shows you how to
take the reins of your career
Display until January 2011 $4.60
Seven films later,
Saw still makes the cut
Kicking
Ass
Kari Matchett talks about
working on both sides of the border
(FRONT COVER)
Photo: www.mckennaphoto.com • Stylist: Kirsten Reader, Judy Inc.
(L-R)
Evan Williams: Jacket, Not Your Father's Suit, GotStyle $95; Henley, Sunday Rocks, GotStyle
$95; Pant, American Apparel $67; Shoes, Aldo.
Charlotte Sullivan: Dress, Cat's Meow, www.thecatsmeowcouture.com $295; Necklace,
Cat's Meow www.thecatsmeowcouture.com $295; Boots, Christian Louboutin, Davids.
Jasmine Richards: Dress, the Cat's Meow, www.thecatsmeowcouture.com $495; Earrings,
Jenny Bird, www.jennybird.com; Cuff, the Cat's Meow, www.thecatsmeowcouture.com $195.
Genelle Williams: Dress, Jonathan + Olivia presents Topshop $72; Necklace, Jenny Bird,
www.jennybird.com; Shoes, Christian Louboutin, Davids.
Adamo Ruggiero: Bullet Hole Tee, Dutch Blonde, GotStyle $125; Pant, American Apparel $67;
Bracelet, Jenny Bird, www.jennybird.com; Hat, Necklace, Shoes, Adamo's own.
Charlotte Arnold: Dress, Jonathan + Olivia presents Topshop $90; Necklace, Jenny Bird,
www.jennybird.com; Shoes, Jimmy Choo, Davids.
Mpho Koaho: Blazer, Cold Method, GotStyle $375; Shirt, American Apparel $55;
Pant, John Varvatos, GotStyle $185; Shoes, Aldo.
Cory Sevier: Sweater, Suit, GotStyle $179; Pant, Apolis Activism, GotStyle $179; Shoes, Davids;
Watch, Cory's own.
The Face of
ACTRA Toronto
Take a look at these smiling faces.
If the names of these actors aren’t
instantly recognizable, well, we
predict that will change shortly.
They’re young, talented and they’re
already popping up, almost daily,
on our television screens. Read our
article on page 5 to find out what
makes these actors tick. These
people are going places. Stay tuned.
(L - R) Corey Sevier, Charlotte Arnold, Evan Williams, Mpho Koaho, Charlotte Sullivan, Jasmine Richards, Genelle Williams, Adamo Ruggiero
(PHOTO on this page)
L-R
Charlotte Arnold:
Tank, Jacob $30;
Necklace, Jenny Bird, www.jennybird.com
Mpho Koaho: Shirt, Diesel.
Charlotte Sullivan: Necklace, the Cat's Meow,
www.thecatsmeowcouture.com $395;
Bracelet, Jenny Bird, www.jennybird.com.
Jasmine Richards: Necklace, Dean Davidson,
www.deandavidson.com
Genelle Williams:
Snake Bracelets, Jenny Bird,
www.jennybird.com
Photo: www.mckennaphoto.com
Stylist: Kirsten Reader, Judy Inc.
Performers
The magazine from ACTRA Toronto
Volume 19 • Issue3 • Fall 2010
PUBLISHER
David Gale
dgale@council.actratoronto.com
EDITOR
Chris Owens
editor@actratoronto.com
STAFF WRITER
Chris Faulkner
cfaulkner@actratoronto.com
EDITORIAL COMMITTEE
Heather Allin, Chris Faulkner, David Gale,
Art Hindle, Chris Owens, Karl Pruner, Brian Topp.
DESIGN and LAYOUT
Erick Querci / creativeprocess@me.com
ADVERTISING SALES
Karen Cowitz / kcowitz@rocketmail.com 416-461-4627
CONTRIBUTORS
Heather Allin
Jason Blicker
Paul Constable
Chris Faulkner
David Gale
Caroline Gillis
Linda Kash
Daniel MacIvor
Monica McKenna
Lisa Mininni
Jack Newman
Chris Owens
Jeff Pustil
David Sparrow
Brian Topp
Karen Woolridge
PLEASE ADDRESS
EDITORIAL CORRESPONDENCE TO:
Performers magazine
c/o ACTRA Toronto
625 Church Street, Suite 200
Toronto, ON M4Y 2G1
Fax: 416-928-2852
editor@actratoronto.com
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
editor@actratoronto.com.
Printed in Canada by union labour at Thistle Printing.
THE NEXT COPY DEADLINE IS
November 26, 2010
The magazine invites members to submit notices of
births, marriages, obituaries and letters to the editor.
Article submissions must be sent via email to
editor@actratoronto.com. We reserve the right to edit
or omit any material for length, style, content or possible
legal ramifications.
Performers magazine is published three times 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.
Publications Mail Agreement number 40069134
ISSN 1911-4974
www.actratoronto.com
contents
Page 4
President’s message by Heather Allin
Page 5
Young Toronto by David Gale
Page 9
The Young Emerging Actors Assembly by David Sparrow
Page 10
Saw by Chris Owens
Page 14
The re-invention of Toronto by Paul Constable
Page 18
Ask an IPA Steward by Karen Woolridge
Page 19
New Members
Page 20
In Memoriam
Page 22
Members’ News
Page 25
ACTRA Toronto Who’s Who
(COVER PHOTO)
Page 26
Stylist: Kirsten Reader, Judy Inc.
An Interview with Kari Matchett by Chris Faulkner
Photo: www.mckennaphoto.com
Photo:
www.mckennaphoto.com
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President’s A brave
Message new world
This issue’s cover for Performers is really something
to look at. Young Toronto, the exciting, talented,
next generation of performers! These actors are
already a big part of ACTRA Toronto’s future and
we couldn't be more proud of everything they’ve
accomplished.
We have a talent pool that competes and distinguishes itself throughout the world. A key reason
for the resurgence of television production in this city is on the
cover of this magazine. These amazing performers are the stars
and guest stars of numerous home grown series and movies.
They make strong shows with interesting stories that speak to
us, pulling in huge audiences at home and abroad. So in this
issue we shine the spotlight on them. Their hard work is bringing more work to Toronto.
Diversity is our strength. We boast of skilled veteran performers,
fresh young talent, aboriginal and culturally diverse members,
performers with disabilities, gifted stunt performers and the
list goes on and on. Such diversity gives our membership
breadth and depth. We can cast the world here in Toronto.
Recently American broadcasters, led by NBC, asked us to help
them run an open casting call for ethnically and physically diverse
performers (check out the members news item on page 22).
Though no specific roles were being cast, NBC, Fox, CBS and
ABC got a first hand impression of the amazing depth of
Toronto’s remarkable talent pool. This open casting call was a
small, but crucial step first step in ensuring that the world we see
on our streets is that same one that appears on our screens. But
there is still much to do on this file, especially right here at home.
In the issues to come, Performers magazine will continue to
spotlight and celebrate ACTRA Toronto members’ amazing
diversity and the shared passion for work that unites us – that
and our common struggle to find it.
Eric Peterson, Peter MacNeill and ACTRA Toronto president Heather Allin,
lead the ACTRA contingent into the CNE grounds during the 2010 Labour Day
parade. Photo: Chris Faulkner
4
AC T R A TO R O N TO P E R F O R M E R S
We need more jobs. That's why ACTRA fights for more
Canadian production, appropriate funding and regulation to
develop and nourish it. This is a necessary fight to expand the
job market for all Canadian performers. But we also need to
expand the union share of that market, because we don't just
need jobs. Performers need good jobs on safe sets with fair pay
and decent working terms and conditions. Union jobs. In the
days ahead, we'll be working hard to strengthen our jurisdiction in
conventional media and to firmly establish it in the emerging
digital frontier. Organizing is every member's responsibility.
Find out what you can do and make a difference.
Finally, as I write, we are gearing up for the fall member
conference on September 25th. The member conference is a
great way to sharpen your skills as a performer, become informed about what’s happening in your industry and hear
about what your union is doing for you.
We are also preparing for Toronto’s mayoral election, looking
into the art policies of each candidate with an eye towards
making recommendations about which candidates have arts
friendly polices. When your candidate knocks on your door
this fall make sure you ask them what they are going to do for
our industry and for the arts. They won’t be just campaigning
for your vote, but your future employment as well.
The website www.artsvotetoronto.ca is an excellent
reference to help bring yourself up to speed on the candidate’s
individual policies.
Get involved, come out and help make sure Toronto remains
the centre of film and television excellence.
In solidarity,
Heather Allin
President, ACTRAToronto
Young
Why would an in-demand, twentysomething actor, with an IMDB page
as long as your arm, want to share the
cover of Performers magazine? You're
kidding, right? Because they get it.
Toronto
At the recent photo shoot in McKenna
Photography’s sunny, two-storey
studio in the heart of booming Liberty
Village, I was struck by just how much
these eight young Toronto stars got it.
No one asked them to leave their egos
at the door, they did so instinctively.
They were poised and confident and
yes, it's a Canuck cliche, but they
were all so nice!
Photo:
www.mckennaphoto.com
Rising Stars
by David Gale
Stylist:
Kirsten Reader, Judy Inc.
Niceness may well be their secret
weapon, for this youthful group of
performers has well over 75 years of
collective experience in front of the
camera. Chatting with them individually I discovered they are not just
pretty faces. They are bright, thoughtful professionals with clear ideas about
their careers,
present and future.
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Young
In person Charlotte Arnold has sparkling eyes. Nominated
for a Gemini this year for playing Holly J. Sinclair on Degrassi,
Arnold has been on the show since 2007 and acting since she
was seven. She has a head for the biz and a humanitarian heart
as well. She recently volunteered with 12 of her Degrassi cast
mates to help build a school in rural India for the organization
Free The Children. Watch for the Much Music doc about
their altruistic adventure.
Currently hosting YTV’s The Next Star, Adamo Ruggiero is
big on managing his image. He brought the pink triangle pin he
proudly wears in the cover shot to demonstrate his commitment to
gay rights and the LGBTQ community.
Koaho has over a dozen years experience and an energy
unparalleled in the biz. We predict a long career in the business,
if he isn’t torn up by the Saw series of films first.
Recently featured with the Jonas Brothers in Camp Rock 2: The
Final Jam, Jasmine Richards was the youngest performer in
our group. Thinking ahead she brought a friend along to keep
her company at the shoot. Richards was a real trooper, sitting
in her pose for so long her leg fell asleep. She never complained
and throughout it all her smile remained honest. She’ll go far!
Toronto
Genelle Williams has a glow reserved for expectant moms
and heavenly bodies. They may be shooting around her
pregnancy for the second season of Warehouse 13, but we
jumped at the chance to feature the glamorous Williams and
her potential future ACTRA member on our cover.
Despite his wildly busy schedule (he recently co-led a different
Free The Children school-building volunteer group to India)
Evan Williams, the titular star of Baxter, has plans to run for
ACTRA Toronto council. No stranger to the world of unions,
the personable Williams’ grandfather is former United Steel
Workers president Lynn Williams.
Recently included in Playback’s 2010 Ten to Watch, Charlotte
Sullivan is steaming up televisions in Rookie Blue and will soon
be steaming up history portraying Marilyn Monroe in The
Kennedys. Usually cast as tough and complicated characters,
Sullivan is sweet and self effacing in person and could not be
stopped from doing the lunch dishes at the shoot.
Mpho Koaho, still beaming from his 2009 acting Gemini for
Soul, kept cracking up the group with his enthusiasm and humour.
6
With a relaxed and easy manner Corey Sevier cuts a dashing
figure, but it’s his smile that lights up a room. It was no surprise
to learn that Sevier, who’s also been acting since he was seven,
will play the god Apollo in the upcoming Mickey Rourke film
Immortals. Gods be praised.
Leaving the shoot it was clear that George Bernard Shaw’s saying
“youth is wasted on the young” was written by an old dude.
These emerging Toronto stars are obviously not waiting
around for their careers to happen. They are embracing their
stardom today. No wasted youth in this group. These stars are
our present and our future. Watch them shine.
David Gale is the publisher of Performers
magazine. A multiple award-winning actor, host,
writer and director, Gale is VP Communications
for ACTRA Toronto, Co-chair of the Conference
Committee, an ACTRA National councillor and
the performers' representative for The Academy
of Canadian Cinema and Television. He can be
seen weekday mornings in reruns on Viva TV
hosting his beloved grandmother’s cooking
show, Loving Spoonfuls.
o
“These emerging Toronto stars are
obviously not waiting around for their careers
to happen.”
Charlotte Arnold
Mpho Koaho
Jasmine Richards
Adamo Ruggiero
What drives you to perform?
I’m a Leo…but seriously, I enjoy the challenge of
it. It’s like playing a sport. I’m my own harshest
critic, so I like setting those private little goals
and trying to meet them.
How did you get into acting?
I took an acting class taught by David Eisner, at
the Avenue Road Arts School. I started helping
him run the class, he got me a meeting with my
agent Larry Goldhar. Fourteen years later, here
we are.
I think the ultimate thing that drives me to perform would be my absolute love of the arts, be it
singing your heart out on stage or acting out a
scene. I love being able to play a different character and stepping into their shoes for awhile. It
gives me a chance to let go of ‘Jasmine’s life’
and live someone else’s.
I’d imagine the same thing that drives all artists,
the love to perform itself. The thrill and
satisfaction I feel in front of a lens or on a stage
is something I would feel incomplete without.
For me, performance is bound up within who I am
as a person.
What project do you have
lined up next?
We continue to film season ten of Degrassi until
November, and following that I’ll audition and go
back to school to finish up my Journalism
degree at Ryerson University. Fingers crossed
for season 11 as well.
What is your proudest
performing moment?
It’s difficult for me to pinpoint one moment as
having been my proudest. I think I look forward
to the small victories that come every day on set
when you manage to play a scene in a way that
feels particularly authentic to you. There’s no
fanfare, just the personal satisfaction of being
happy with your work for that day.
Why do you like
working in Toronto?
It took a visit to L.A. when I about sixteen to
really appreciate the atmosphere of working in
Toronto. For me the size of the beast in
California, the fame-seeking aspect of it, the
competition and the fact that you can’t escape
the industry was all a little overwhelming.
Maybe I’m just too laid-back, but I truly enjoy
the big family feel of work in Toronto. It’s where
my heart is.
Why do you work ACTRA?
Growing up as a young actor, it was a necessity.
I was really grateful to be a part of a union that
had my best interests in mind and could protect
me and ensure that I created only the amazing
memories that I did. Now that I’m older, I
appreciate the caliber of work that I have the
potential to be a part of and the fact that ACTRA,
obviously, recognizes and values acting as a serious
endeavour.
Selected Credits:
Degrassi: The Next Generation, Naturally Sadie,
Time of the Wolf
I'm driven by the films I want to do, the roles I
want to play, and the actors I want to work with.
Greatness drives me, the desire to be great. I am
great, and everyone needs to know that.
lined up next?
I'm proud to say I will be working on Falling
Skies, a Stephen Spielberg produced TV series
for TNT. A post apocalyptic concept that takes
place six months after aliens have invaded earth.
performing moment?
My proudest performing moment would be my
two Gemini nominations, and subsequent win for
Soul in 2009.
What role would you like a crack
at one day?
I would like to play Nelson Mandela in a biopic,
concentrating mainly on the years prior to his
imprisonment.
Why do you like
working in Toronto?
I love the opportunity to work on some of the
great projects I have, without leaving my backyard.
Why wouldn't I work ACTRA!?
lined up next?
Right now I am currently working on a new animated series called XU. It’s very exciting because
I have never done animation before, so I feel like
I’m a fish out of water. But I am learning a lot as
I go. Aside from that I am working in the studio
on my music, I had the chance to be one of the
opening acts for the season six American idol
winner,JordinSparks,whichwasanamazingexperience.
performing moment?
My proudest moment would be landing the role
of Peggy in the Camp Rock Disney movie and
being able to play the character that has inspired
many young girls to rise up against bullying and
show and love your true self.
at one day?
I am a huge fan of action packed films! If I could
play the female version of Shia Labeuf in Transformers I would be in heaven. Anything that
allows me to be in the middle of explosions and
robots is good in my books,
Why do you like
working in Toronto?
Being home in Toronto working is probably the
best thing, I get to be close to my family at the
same time having the best job in the world.
What are three random facts people
would find interesting about you?
1) My name Mpho, means a gift.
2) I tore the ligaments in my knee playing
baseball when I was 17.
3) I did Toronto Parks and Recreation talent
shows growing up.
I have been fortunate to belong to the union
which opens up so many more opportunities for
me. There are so many great actors in the union
and being among them inspires me to work
harder.
Selected Credits:
Doomstown, Get Rich or Die Tryin’, Sci-Squad
Selected Credits:
Camp Rock 2: The Final Jam, Naturally Sadie,
Timeblazers
performing moment?
Playing a straight, girl crazed, punk teenage
stoner named Van in the play Dog Sees
God: Confessions of a Teenage Blockhead .
I discovered parts of myself I didn’t know existed.
at one day?
As an Italian boy, I’ve always wanted to take a
crack at the dark, murderous, masculine Italian
Mafioso character. Lately, I have this desire to
confront the challenge of commending attention
as a villain at 5 feet 4 inches. In a broader sense,
I would love take on the director’s role sometime
soon.
Why do you like
acting in Toronto?
I feel as if Toronto is my set. To leave this city
would alter who I am as an artist. Many approach me with the question, “why haven’t you
gone to Hollywood?” My response is always,
“Toronto has been very good to me.” I’ve been
blessed to have a busy, challenging 10-year career as a Toronto actor. Also, Toronto welcomed
me with open arms when I came out publicly as
a gay performer in the effort to represent LGBT
youth in conjunction with my gay character
Marco on Degrassi. Hollywood would have turned
its back on me, but Toronto gave me a kids’ show
on YTV.
If Toronto is my set, ACTRA is my cast. For me,
ACTRA is a community – a family. As a united
group of artists, we represent our culture to our
country and the world. This mission becomes increasingly important as the American industry
continues to commercially overshadow our work
and flood our local broadcasters. I work ACTRA
because I join the fight to represent our industry,
our performers and our voice in the arts.
Selected Credits:
Degrassi: The Next Generation, The Next Star,
Being Erica
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Corey Sevier
Charlotte Sullivan Evan Williams
Genelle Williams
I’d have to say my desire to create and explore
different characters has always been what’s
driven me to work in this business. I love the
process of filmmaking and playing my part in
telling interesting and entertaining stories. I’ve
always felt very fortunate to be doing what I love.
When I watched Edward Scissorhands for the
first time my heart exploded. I had to sew my
aorta back together with knitting needles. It
made me fall in love with film. I had never seen
something so beautifully twisted in all my life. I
balled my eyeballs out.
lined up next?
I just wrapped four projects, two of which shot
here in Canada. In Immortals, I play the Greek
god Apollo. In Conduct Unbecoming, I play a U.S.
marine captain wrongfully accused of war crimes
and placed on notification duty, the job of informing families when their loved ones have
been killed in action.
I often ask myself "What would Debbie Harry or
David Bowie do?”
I got into acting during high school. A supply
teacher, who happened to be with my present
agency, saw a musical that my drama teacher,
Ms. Farmer, put on. I was lucky enough to have
been apart of that musical. She saw me and
thought that I should really pursue a career in
acting. I gave her a photo of myself and the rest
is history!
performing moment?
I feel very fortunate and proud to have played
many interesting characters and been a part of
many wonderful stories. My time working on
Lassie:The Series when I was young will always
be special to me, not only because it was my first
lead in a series, but because of the wonderful
people involved and the demands the role required of me over the four seasons we filmed in
Montreal. I was honoured to receive a Gemini
nomination for my work on the show.
Why do you like
working in Toronto?
First and foremost, it’s close to my family.
Secondly, you often get to see many familiar
faces on the cast and crew, which always makes
for a great working environment. And lastly, the
more work in Toronto, the more it will showcase
our city and all it has to offer.
What project do you
have lined up next?
I'm currently playing Marilyn Monroe in The
Kennedy's which will air on The History Channel
sometime next year and then I'm getting ready to
shoot the second season of ABC's Rookie Blue.
performing moment?
I've been doing this for a painfully long time and
sadly I've never had to research a role before this
year. I'm currently working with this incredible
vocal coach by the name of Eric Vetro. He's been
helping prepare for Marilyn's Happy Birthday
song. The first time I stood in front of his piano
was also the first time I felt like a real actress.
What role would you like
a crack at one day?
The role of Sarah in an opium induced hallucinogenic re-imagination of Labyrinth.
Why do you like
working in Toronto?
This city breeds ridiculously talented human
beings. It's like a factory of brilliant mutant
freaks. I heart Toronto!
An acting teacher told me once that it is the actors
quest to ‘expose their savage heart.’ I loved
hearing that. Great actors draw the audience in
by opening up their hearts, their hopes, dreams,
and deepest fears, for everyone to see. The
sacrifice makes the audience empathize and the
story becomes personal. The drive for me is in
figuring out how to tell the stories better, deeper,
clearer. It doesn’t matter if it’s a comedy or a
tragedy, big budget or low-budget. The stories
we share bring humanity together and teach us
about each other, that’s the point.
What project do you
have lined up next?
Firstly, I'll be playing the role of Lloyd in the
upcoming feature film Lloyd the Conqueror,
which is set to begin filming in late September in Calgary. Also, a horror film I shot a few
years ago in Montreal entitled A Flesh Offering
will be premiering in Toronto, on October 22nd,
as part of the imagineNative Film + Media Arts
Festival.
I work ACTRA because there is strength in
numbers. Especially in a time when media is
changing, we’re stronger together than we are
apart. We demand a certain quality in our workplace and wage, and in turn, we guarantee
quality in our work. The alternative is a race toward whoever is willing to work for the least
wages, until eventually nobody can afford to live
as an actor, in which case the stories aren’t made
and everybody loses.
Being Canadian and having gotten my start as a
young actor in Canada, being an ACTRA member
has always been a privilege and an important
part of my life. I still remember working towards
getting all my credits to gain eligibility as a kid
and the drive it gave me.
1) I once lied to a director. I told her I was a bible
thumping Christian to get out of doing a nude
scene.
2) I wear a retainer.
3) I met my husband-to-be in a graveyard.
1) I am the third of four siblings, all of whom
have brown eyes except me; green.
2) I once had a job as Beemo the Bear at the
Toronto Raptors games.
3) I’ve composed music for the piano, the guitar,
a 12-piece orchestra (once), as well as various
forms of theatre, and have intentions of scoring
for movies in the future.
Selected Credits:
North Shore, Zoe Busiek: Wild Card,
The Lost Future
Selected Credits:
Rookie Blue, M.V.P.,
Across the River to Motor City
Selected Credits:
Baxter, Degrassi: The Next Generation,
The National Tree
I guess the reason that stands out the most are
the emotions that go through me every time I get
the chance to perform. From auditions, to actually being on set everyday; the excitement,
nervousness, eagerness, and knowing that
someone out there is going to appreciate and
love what I do. It’s just such a great feeling as
much as it can be terrifying!
performing moment?
I believe my proudest performing moment would
be working on Doomstown. It was the first time
we had filmed anything like that in Canada and I
was honoured to have been a part of it.
Why do you like
working in Toronto?
Besides the obvious reason that Toronto is my
home, I love working in Toronto because we have
one of the greatest cities in the world!! The men
and women that make up our crews are
phenomenal. I have yet to work on a set where I
was unhappy to go to work. Toronto is the best!
ACTRA is a union that genuinely cares and
respects their actors and industry. You always
feel safe knowing you have them fighting behind
you. I couldn't imagine not working ACTRA. Its a
scary thought!
Selected Credits:
Warehouse 13, The Latest Buzz, The Line
“They were poised and confident and yes,
it's a Canuck cliche, but they were all so nice!”
8
ACTRA says YEAA!
to young performers.
The Young Emerging Actors Assembly.
Call them Generation - A (A for ACTRA) - a group of enthusiastic, business savvy, young performers who want to be
involved in shaping the future of their work and their industry.
Issues like copyright, Canadian content, net neutrality and
union solidarity don't scare them. They want long, successful
careers and recognize that the sooner they become familiar
with the business and politics of entertainment, from the officials who set the policy to the producers who sign the cheques,
the better prepared they'll be for the long haul.
But this new committee within ACTRA Toronto represents
even more than that, as I learned by talking to the two
members who spearheaded this initiative, Eli Goree (Pure Pwnage,
Da Kink in My Hair), who was recently elected to the ACTRA
Toronto council and Bryn McAuley (Franklin, Caillou).
"YEAA is a non-competitive
meeting place," says McAuley,
"where ACTRA members
who can play between 18
and 27 can meet each other
and learn about the business
from performers with a
proven track record." Goree
adds, "We look at YEAA as
a catalyst for our careers, to
move them to the next
level."
With input from members,
YEAA has been built around
four pillars to strengthen the
career path for young performers. The committee will provide RESOURCES, champion
DIVERSITY, maintain an ONBryn McAuley
LINE PRESENCE and promote
STAR POWER. Those members who choose to attend YEAA sponsored functions can expect
a focus on unity, community, diversity and publicity. "This is an
opportunity for those who know a little to learn more and for
those who know a lot to share it with others," says Goree.
McAuley has been an ACTRA member since age six and
recognizes how the work of union members in years past has
benefited her. "The changes made to how actors are treated on
set and the very fact that I was 'forced' to put money away for
retirement with AFBS are really positive things, yet some
ACTRA members don't know why these things exist. We pay
our dues, it's our responsibility to be informed and that's part
of what YEAA hopes to do."
Goree decided to become more involved after attending his
first ACTRA Toronto conference. "To be fair, I came to
the conference for a chance to meet the producer of Flashpoint,
but when I saw all that was going on it sparked my interest. I
attended a council meeting and soon identified that the youth
in ACTRA needed a stronger voice. Young people live on the
edge of modern technology, and our industry is changing so
rapidly in terms of technology and
globalization, now is the time for
emerging actors to build a strong
foundation."
Both Goree and McAuley have
become successful working actors
in their young careers and both
expressed a desire to give back to
the union and the community
that has been fighting for them for
so long. "YEAA feels that helping
young actors to appreciate where
they stand in the business and the
depth of experience that surrounds them will allow them to
avoid pitfalls and steer toward
victory." says McAuley.
"It's our turn," says Goree. "We
invite all young ACTRA members
and apprentices who play 18 to 27
Eli Goree
to visit the YEAA page on the
A C T R A To r o n t o w e b s i t e
(www.actratoronto.com/members/committees/yeah.html)
and encourage them to come out to our next event. ACTRA is
your union and we want to hear your voice."
With passionate advocates like McAuley and Goree getting
actively involved in ACTRA and working to meet the needs
of their fellow performers, the future of our union and the
defense of the arts in Canada seems secure.
David Sparrow (Little Mosque on the Prairie,
She's the Mayor) is the VP of Member
Services for ACTRA Toronto and sits on both
the Toronto and National councils. David
survives this crazy business with the
adages Trying is succeeding and Your results
may vary.
FALL
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9
HELLO, I WANT TO PLAY
A GAME
Dying
to work
by Chris Owens
10
You wake up in a large, grimy, disused
bathroom chained at the ankle to some
pipes. On the other side of the room is a
man you've never seen before. He too is
chained. Between you lies a bloody
corpse, its head blown apart by a gunshot wound. In your pocket you discover a tiny audio tape and from the
tape you learn that you must kill the
other man by six o'clock or you'll lose
your family and be left to die. You're
given a rusty hacksaw but it's not strong
enough to cut through the chains. It is
then you realize the only way to escape
is to saw off your own foot.
This is the opening of Saw, the brainchild of Australian director James Wan
and screenwriter Leigh Whannel. In
2003, the two young film students flew
to Los Angeles armed with a five minute
teaser which they used to pitch for a feature. In the air on their way back to Oz
they were told they had a deal. The first
Saw was shot in 18 days in a large warehouse on a budget of one million dollars.
It earned more than 100 times that at the
box office. Six sequels later, Saw is the
most successful horror franchise in
movie history having earned more than
$750,000,000 worldwide. Not too
shabby when you consider that the total
budget for the first six films was less
than fifty million.
The premise of the Saw movies is that
terminal cancer patient John Kramer,
played by Tobin Bell, tests his victims
and awakens their fight to live by trapping them in games filled with physical
and psychological torture. His philosophy is that “those that don’t appreciate
life, don’t deserve life” and so in his
mind he is empowering his victims,
helping then learn to live. Kramer claims
never to have murdered anyone because
“the decisions they make are up to
them.” A small jigsaw piece is cut out of
each victim who fails the test as a
symbol that the subject was missing
something, a vital piece of the human
puzzle, the survival instinct. Hence, John
Kramer becomes known as Jigsaw.
All of the Saw sequels have been shot
right here in Toronto so the franchise
has provided steady work and terror for
many of our brethren. If you're in a Saw
movie and you hear the phrase: “Hello,
I want to play a game,” you, my friend,
are in big trouble. I guarantee there will
be no easy way out and the odds are
you will die a gruesome death.
The Saw films are all the more disturbing because the mechanical traps used
are real objects, not CGI. According
to writer Marcus Dunstan they
were designed to be safe for actors
but to appear horrific and menacing. “It’s built to function
there on the day and it works,”
he says. “So if there’s a scalping chair - then there really
was a chair with working
gears to grind and pull
your scalp back.”
So what about all those polite
Toronto actors forced to play a
deadly game with the dreaded
Jigsaw? It must’ve been torture
to shoot, right? Let's hear from
some of the victims:
Mpho Koaho – Tim
Saw III
His trap: Modelled somewhat on Da
Vinci's Vitruvian Man, Tim is standing
upright, his arms and legs spread and
encased in metal, his head held in a steel
cage. The framing is hooked up to all
sorts of pulleys and toothy cogs. The
machine is designed to slowly twist his
limbs and neck, one by one until they
break.
The reality: Mpho was in the contraption for five days.
The result: “I would do it again in a
heartbeat. One of the most memorable
experiences I'll ever have on a show
because I'll probably never get an opportunity to do something quite like that
again. The crew were there for me for
whatever I needed. It was fun!”
Debra Lynne McCabe - Danica
Saw III
Her trap: Danica is chained naked between two poles with her arms above
her head in a large meat locker where
ice-cold water is sprayed on her at random intervals. Before she can be saved,
she freezes solid and dies.
The reality: It took two days to shoot.
With Debra’s permission they actually
used cold water because it worked better with the dry ice to create the effect
of frozen mist.
The result: “It was the freest peak I've
ever allowed myself to reach as an actor.
It was a crazily beautiful experience and
I'm actually very grateful for it.”
Barry Flatman -Judge Halden
Saw III
His trap: The Judge is chained by his
throat to the floor of an abattoir while it
is filled with maggoty rotten eviscerated
hog guts.
The reality: “I'm chained to a plate on
the cement floor of a deep vat while
they spew latex body parts, slime and
glycerine over me for fourteen hours and
I scream at the top of my lungs.”
The result: “Probably the hardest physical day of my career and I was very
proud to keep focus and get through that.
I loved it. The cast and crew were fantastic. These were committed people.”
“I would do it again in a
heartbeat. One of the most
memorable experiences I'll ever
have on a show”
- Mpho Koaho – Tim (Saw III)
Photo: Steve Wilkie, courtesy of Twisted Pictures
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All Photos: Steve Wilkie, courtesy of Twisted Pictures
Saw is the most successful
horror franchise in movie
history having earned more
than $750,000,000 worldwide.
Peter Outerbridge –
William Easton (Saw VI)
Noam Jenkins - Michael (Saw II)
12
Billy Otis - Cecil Adams (Saw IV)
Billy Otis - Cecil Adams
Saw IV
The trap: Cecil is strapped to a chair
with blades that cut deeply into his
wrists if he struggles. The only way to
release the straps is to push his face
through eight razor-sharp hinged knives.
With the knives slicing into his face, the
trap collapses, freeing Cecil who blindly
lunges at the sidestepping Jigsaw and
falls into a tangle of razor wire where he
flails until he is dead.
The reality: It took two days to film
the scene and because it was better for
the camera, Billy had to make his last
desperate lunge with his weaker hand.
“I said to myself, ‘I'm going to see if I can
bring some humour to this, make it
funny' and sure enough when my pals
saw it in New York they said 'when you
charged him and fell, you cracked up the
whole theatre.’”
Fun fact: Drug addict Cecil Adams was
Jigsaw's first victim.
Noam Jenkins - Michael
Saw II
The trap: Michael awakens to find two
halves of a spike-filled helmet locked
around his neck. A videotape informs
him that the key to the trap has been implanted behind his right eyeball. Fortunately, a rusty scalpel is within reach.
The gag: “Does the guy have the cojones to cut out his own eye to save
himself?”
The fans: “We were in the Saw signing
room at a bizarre convention near Philly.
They supplied me with an array of photos of myself in different torturous positions with blood and goo all over me. I
sat with a bunch of other Saw guys - it
was basically victim’s row with all our
tortured photos in front of ourselves. But
the thing is, they had the trap that I
wore in the scene and you could get
your photo taken in the trap for a fee, if
that’s what you were into.”
Greg Bryk - Mallick
Saw V
The trap: After enduring several deadly
traps, two survivors enter the final room
of a house to discover a machine fitted
with circular saws. Inside the machine is
a beaker. To open the door, they must
fill the beaker with ten pints of their
own blood.
The reality: “When they built the trap
there were three operational saws and
two dummy blades. When the machine
got going you really wanted to make
sure you stuck your hand in the right
one.”
Motivation: “You’re watching people
die all around you, it’s human nature to
freak out. You’re always 30 seconds
away from death in that movie.”
I’d rather be sailing: “I had a great
time but I don't like scary movies - I saw
Texas Chainsaw Massacre and that did
me in for about a decade.”
Naomi Snieckus - Nina
Saw 3D
The trap: Nina has a key in her stomach attached to a string. It must be removed in order to free her but if she
screams a machine is set off that pierces
her throat.
The reality: “For two days I was
strapped to a chair. The crew was
amazing. The Saw family really looked
after us. I'm not into horror films but as
an actress you think: when else am I
going to get to do something like this?”
The departure: “I'm a Second City gal
and I have my own improv company,
The National Theatre of the World, but
instead of trying to make it funnier, this
was about seeing how gross and bloody
we can make it.”
The spice of life: “I was doing a voice
for a children’s show called Franklin the
Turtle and I printed my sides out on recycled paper. On one side I had the dialogue for Aunt Turtle and on the other I
had the script from Saw 3D. My life is so
diverse, I love it!”
Peter Outerbridge – William Easton
Saw VI
A true fan: “All through the 80's, and
when I was in theatre school, my guilty
pleasure was slasher flicks. When I was
hired to do Saw, I watched them all back
to back in one day. It was like a wave of
agony and blood and wincing. I felt over
the moon to be part of that dark magic.”
Watch closely: “The entire Saw franchise is interwoven and through the
flashbacks you see that all of the clues
were there. The writers have very cleverly shown that if you're paying attention you're going to get it. It’s a brilliant
franchise for the horror industry.”
The method: “We shot all the trap
stuff chronologically. It was physically
exhausting but it’s an actor’s dream because your motivation is so clear.”
Three strikes: “The reason the series
has been so successful is because of
Tobin Bell. He’s a journeyman actor who
approaches everything as if it's important. His voice drops an octave when
he’s playing Jigsaw. I asked if he ever
uses it and he said, ‘Only on my kids’ little league team if they’re losing...”
The Jigsaw puppet
Photo: Steve Wilkie, courtesy of Twisted Pictures
A big splash: “More blood is spilled in a Saw
film than the human body actually has.”
A winning formula: “Culturally there is a fantastic tradition in scaring people. People like to
be scared. They love being scared in safety.”
As fate would have it, I was part of a loop troop
doing background voice for Saw 3D.
There I sat on the floor of a screening room at
10am, coffee in hand, watching a table saw cut a
woman in half over and over again. Now, truth
be told, I’m not a horror fan, but here I was being
asked to bear witness and react to what I was
seeing. The extreme situation demanded that we
step out of our comfort zone to vocalize our reactions. In the end, I think we were proud to discover what we were capable of doing.
In speaking with actors about working on Saw,
it was intriguing how each felt empowered by
the experience. To face a fictional death and rise
to the physical and emotional challenge required
took courage and commitment. I guess the joke
is on Jigsaw: for Toronto performers the invitation to ‘play a game’ may be just what we’re
looking for.
Chris Owens is the editor
of Performers Magazine.
He is currently working on
that screenplay. And looking
forward to hockey season.
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14
TVINTO
Missy Peregrym, as rookie cop Andy McNally on Rookie Blue,
mistakenly arrests undercover officer Ben Bass.
© 2010 7093438 Canada Inc. All rights reserved.
The
re-invention
of Toronto
You’re shooting a-what
WHERE now?
by Paul Constable
Back at the turn of the 21st century, if you were to talk to a
working actor in the city of Toronto, chances were they were
shooting a Movie of the Week, or a MOW as they are more
affectionately known. However, by 2003, thanks to a rising
Canadian dollar, tougher security measures, an outbreak of SARS
and other unforeseen circumstances, more and more foreign
production companies were looking elsewhere to set up shop.
Things were looking bleak. A strike in 2007 did not make anyone
feel there was much hope for the industry.
And yet, slowly but surely, changes started to happen. A modern,
state of the art studio, known first as FilmPort before finally
being reborn as Pinewood Toronto, was built and started to
attract attention. Tax credits were overhauled and made more
attractive (at least, as attractive as you can make something called
a tax credit). FilmOntario, a privately funded industry wide
consortium, was created to help market the province abroad and
lobby local governments for important industry friendly changes.
And, Toronto residents elected a mayor who supported and
promoted the arts.
Because of all this we now have more television shows shooting
in and around Toronto than any other time in recent history. We
have gone from being an industry that relied on foreign produced
MOWs to come in and give us work, to one that has seen an
explosion of domestic series in production.
FALL
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The cast of She’s the Mayor
(L - R: Colin Mochrie, Joseph Motiki, Denis Akyama, Janet-Laine Green,
Tonya Lee Williams, Scott Wentworth.) Photo: Ben Mark Holzberg.
This is not something to be taken lightly. As Kevin Costner
found out in the late eighties, “if you build it, they will come.”
One successful show attracts another, like moths to a flame,
or actors to a free lunch. By building a strong industry where
companies feel like they can hire talented actors and technicians and come out with a successful end product, it is inevitable that other companies will follow suit.
Two such shows are feeling this effect. Rookie Blue, which first
aired in late June, was picked up for a second season after only
three episodes. Another show, She’s the Mayor, is slated to hit
the airwaves this fall and already has enough industry buzz
that people feel a second helping is on the menu.
Rookie Blue is a joint venture between Canwest Broadcasting
System and ABC. In February of 2009 Canwest ordered 13
episodes of the series, then called Copper, and production
began in July of that same year. The show was co-created by
Morwyn Brebner, Ellen Vanstone and Tassie Cameron
and it follows the lives of rookie police officers fresh out of the
training academy.
Vanstone, co-creator and co-executive producer, explains why
they chose to shoot the show in our city. “The show was created in Toronto, and ordered by Canwest Global here, so it
made sense. Another big reason for us to stay put is that we researched the show with a number of local police officers, and
have developed an ongoing, invaluable relationship with
them. Their help is crucial in grounding our dramatic stories in
the reality of policing in Toronto. Add to that a slew of excellent local writers, crew and Canadian cast, and it doesn't make
sense to go anywhere else.”
Vanstone went on to rave about shooting in Toronto, the thrill
she receives from seeing “the CN tower in our aerial shots...
hearing real street names like Bloor, Jarvis, Gerrard, and so
forth.” She added that, “shooting Rookie Blue in Toronto has
been a colossally positive experience. We are so proud of our
16
city and the people who live here. We are incredibly lucky to
live in such a great town.”
When asked why other producers should think of bringing
their productions to our city, she was very concise in her response. “The more people shoot here, the more every production will benefit from experienced professionals...both in
front of and behind the camera.”
She’s the Mayor is the brainchild of Min Sook Lee, Jennifer
Holness and Sudz Sutherland. Lee was working on a documentary about Toronto mayor David Miller’s first days in office, Hogtown: The Politics of Policing, when the idea for a sitcom
about similar events came to her. She teamed up with Holness
and Sudz to help flesh out her ideas and a TV show was born.
The show stars Janet Laine-Green who plays the new mayor
of Fairfax, a mid-sized town that has fallen on hard times. She
is joined by Scott Wentworth, Tonya Lee Williams and
Colin Mochrie to help round out an all-star cast. The interior
scenes were shot at Downsview Park Film Studios, with exterior shots being filmed in and around Hamilton.
The show will run on VisionTV, which held an open call for
dramedy series proposals, looking to reflect Canada’s diversity
and appeal to their core demographic of female viewers aged
50-plus. From the 280 submissions received, Mayor was the
one they chose to develop further.
Having strong, older female characters was important to the
show's producers. “TV is not kind to older women. Too much
of it caters to Britney Spears or preteen vamps,” Lee said. “(The
mayor) is someone who has guts, a brain —some balls. She
can mix things up.”
Playing the part of Scott, assistant to the mayor, is none other
than Colin Mochrie, an actor who has experience working on
both sides of the border. He was full of praise for working in
the city he calls home. “Besides the convenience of shooting in
TVINTO
the city where I live, I love being exposed to the talent we have
here on both sides of the camera. Whether it was the main
cast, the day players or the crew, everyone brought 100% to
the production in talent and commitment. It’s nice to be reminded of what we have here.”
He went on to talk about changes he has seen regarding productions shooting in Toronto over the last decade. “I do enjoy
the fact that we seem to no longer make a big deal of shooting
Toronto as Toronto, as opposed to making it Chicago, New
York or whatever. Of course we can still impersonate US cites,
but when movies such as Chloe or shows such as Flashpoint
make the city a character in their productions, I love it.”
For him, shooting on She’s the Mayor was an incredibly rewarding experience. “The entire process was positive, but especially working with the cast and crew. Most of the cast I’d
never worked with before and to a person they were a joy.”
When pressed about how to let others know of how great it is
to work in this city, Mochrie had this to offer. “There is a lot
to be gained, whether you are a new restaurant, a fringe play
or a production centre, by generating good word of mouth.
People tend to follow the recommendations of those whose
opinions they trust. Getting the reactions of productions that
have shot here out to their peers could generate a positive
word of mouth that would have folks clamouring to film in
Toronto.” As a final thought, Mochrie adds, “We should also
devalue our dollar and offer an unlimited supply of Tim Horton gift certificates.”
While it is good news that lots of TV series are being shot in
Toronto, the question still remains, is it enough? The harsh
truth is that Canadian television companies still spend more
money on foreign programs than they do on home-grown ventures. And while certain governments have stepped up to
make it more attractive to film in and around the Greater
Toronto Area, more could still be done. The federal government trimmed $60 million to various arts programs, and yet
was able to find over a billion dollars to spend on security
measures for a weekend summit in Toronto.
Series shooting in Toronto can be successful. Flashpoint and
Rookie Blue have found their own audiences south of the border. Little Mosque has received international attention and accolades.
It’s time for us to ask ourselves ‘How do we as actors want to
see Toronto?’ As a place where you can pick up two or three
lines in a movie of the week, or where you can be seen week
in and week out in an original series?
We have the talent, we have the experience, and we have the
facilities. Let’s let the world know about it.
Flashpoint • Sheʼs the Mayor • The Border
Being Erica • The Listener • Warehouse 13
Degrassi: TNG • Little Mosque on the Prairie
Murdoch Mysteries • Rookie Blue • The Ron James Show
Dan for Mayor • The Line • The Bridge
What’s shooting in Toronto
Paul Constable plays the role of Stanley on
She's the Mayor. This past year he has been
seen in Dan for Mayor, The Ron James Show,
Connor Undercover and Little Mosque on the
Prairie. He is co-chairman of the ACTRA
Toronto conference committee.
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Ask an IPA steward
Making sense of life on set
FYI — AskAnIPASteward
by Karen Woolridge
Q: What are some
of the upgrades
that a Background
Performer can get?
A: There are several
different types of upgrade. A Background
Performer could be upgraded to Special Skill,
Group Dancer, Actor
or Risk Performance,
to name a few. If a
Background Performer
is choreographed in a
dance, they should be
upgraded to a Dancer
category. An upgrade
to Special Skill does
not qualify as a credit toward membership because it is still a
background category. Some examples in the IPA of a special
skill are waterskiing, driving a boat, driving a vehicle requiring
a chauffeur’s license, and any sport. Sometimes a Background
Performer will be offered an upgrade to Special Skill, though
the work they are being asked to do is not considered a special
skill. This kind of offer is really an above-minimum offer
which is equivalent to the rate of a Special Skill background
performer. It might be offered by the production, for example,
to acknowledge an exceptional background performance
which falls short of an upgrade.
Q: How are travel times determined?
A: The IPA allows ACTRA and each production to come to an
agreement on a standard travel time between cities. The travel
time between Hamilton and Toronto is usually 45
minutes each way. To determine a travel time to
other cities, an online mapping tool is used. You
should be aware that the travel time does not
account for traffic conditions.
Q: What should I say when I’m asked to do something
physically risky?
A: Ask to speak to the Stunt Coordinator. If you are concerned
that you could be hurt or that you don’t have the skill to do
the action safely, no amount of money is worth sustaining a
serious injury to your instrument, your body. You can say, “I’m
sorry, I’m not comfortable doing that”. If the action is
something you feel you can execute safely, and it’s something
that would otherwise be performed by a Stunt Performer, the
IPA says that you should negotiate an additional fee, which is
not less than the rate paid to a Stunt Performer. In this case, it
is called a Risk Performance. You might say, “I think I could do
that safely, but I’ll need to get an additional Risk Performance
contract.” For example, when you are squibbed (rigged with a
small explosive device), an additional Risk Performance contract is required.
Q: My friend wants to cast me as
the lead of his low-budget movie but he
doesn’t have the money to pay me. Can I do it?
A: Every time you
agree to work for no
money, you break the
promise you made to
your union, the promise
youmadetoyourfellow
performers and you
undermine the sacrifices
made by all those who came before you. ACTRA performers
are professionals, not hobbyists and deserve to be fairly compensated for their work. You might be told that you will be
recompensed in fame or promotion. But we don’t know of any
landlords who take the rent in fame. Ask your friend to call us
and we’ll talk to him about our low-budget agreements.
Ask a steward welcomes all your
questions. Please email them to
info@actratoronto.com.
Karen Woolridge is a steward in the IPA
department. She can be found at
kwoolridge@actratoronto.com.
18
FYI — ACTRATorontoNewMembers
Welcome
new members!
Heather Marie Annis
Laurence Anthony
Andre Anthony
Geoffrey Antoine
Luke Aquilina
J. P. Baldwin
Shanice Banton
Sam Barringer
Tanya Bevan
Lina Blais
Jonathan Brass
Abayomi 8.0.1.7.3.5 Broomes
Stacy-Ann Buchanan
Remy Busetto
Aura Carcueva
Cyndi Carleton
Brendan Carmody
Scott Cavalheiro
Graham Chittenden
Devan Cohen
Brendan Cox
Camille A Cresencia-Mills
Lori Cullen
Shannon Currie
Melissa D'Agostino
Kirsten Dahlin Nolan
Timothy Daugulis
Richard R Davis
Noa May Dorn
Megan Dunlop
Scott Edgecombe
Ali Eisner
Evren
Ella Farlinger
John Filici
Nadia Foster
Dail P Foyer
Scott Freethy
Angela Froese
Darrel Gamotin
Gil Garratt
Ajay Gautam
Riley Gilchrist
Corey Gorewicz
Brooks Gray
Evert Houston
Jordan Imray
Amy Isnor
Stephan James
Galen Johnson
Terry Jones
Kaya Joubert-Johnson
James Karrel
Valeri Kay
Daniel E Kelly
Qasim Khan
Sarah Kitz
Emily Klassen
Sanford Kong
Troy Lebane
Ryan J Lindsay
Michael Lomenda
Brandon Ludwig
Conrad Lukane
Daniel Lupetina
Matt Macdonald
Alex Mandel
Tina Mann
Brittany Mccann
Jordan Mccloskey
Alex Mccooeye
Danielle Meierhenry
Kaelan Meunier
Rebekah Miskin
Kristina Miyasaki
Emilie Mover
Matt R Murphy
Jack Murray
Steve Newburn
Robyn Newman
Edelyn Okano
Beth Ootes
Alex Perron
Darryl Pinto
Nykeem Provo
Brendan Quinn
Sabrina Rahaman
Victoria Robertson
Donovan Roossien
Marley Rooz
Natalie Roy
Irene Carl Sankoff
Tee Schneider
Marika Schwandt
Harnoor Sekhon
Genny Sermonia
Caesar Sinclair
Scott Smith
Patrick B Smith
Susannah Spearin
Peter Stacy
Simone Gabrielle Steane
Katie Strain
Karissa Strain
Sarah Surh
Mitra Suri
Sarah Swift
Troy Taylor
Kendra Timmins
Adam Tomlinson
Michael Torontow
David Tsang
Bradley Van Rooi
Carlos Varela
Linden Valdimar Vopnfjord
Olivia Yung
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In Memoriam
We share our sadness at the passing
of our beloved colleagues
IN Memoriam
Kathryn Albertson • Michael Duhig
Robert Aemilius Jarvis • Patricia Lee
William George Meek • Billie Murray
Ann Francis Oakes • Sheila Shotton
Palmyra M Williams • Slava Ziemelyte
Maureen Forrester
Gerry Salsberg
Tracey Wright
1930 – 2010
1949 - 2010
1959 - 2010
Here’s what she taught me; that success is based
on whether or not an engager asks you back.
That there’s no sense getting a swelled head, because there’s always someone coming behind
you who is equally if not more compelling,
which was not true in regard to her own extraordinary talent. That to feel lucky is to be
lucky. And that regret is for the birds. She also
taught my sibs and I never to look at the right
side of the menu. Order what you want. If you
don’t like it, you don’t have to finish it.
Gerry Salsberg was a wonderful person, beloved
by all his colleagues in the film and acting community. Everyone who knew him felt he was a
good friend, a great actor and a sensitive friend. I
remember seeing him as Tevye in Fiddler on the
Roof at the Leah Posluns Theatre. His performance was great, expansive and very generous.
People still remember him from Godspell and Second City. His resume is impressive. He was a remarkable comedy talent.
Walking through Central Park with Tracy a few years ago
we got a little lost and while we were trying to get ourselves back on the right track Tracy said with impeccable
timing and a perfectly bratty tone, "Nice park." She made
me gut laugh.
We never lived in a home more than three years,
because once mom had applied the hardwood,
installed the cabinetry and grass papered the library it was time to move again. And again, there
was tearful genuflecting from grateful landlords
who had barely tolerated five screaming kids and
a tightly wound violinist husband, 18 years her
senior. Because, as ‘Scotty’ the mover would pack
up the last box of Baccarat crystal, those Rosedale
doors would close behind an aesthetic so elegant,
warm as it was regal, that one could only hope to
behold from a twelve dollar magazine.
There were always friends, some of whom would
coordinate their vacation plans around mom’s performing schedule. They didn’t just love her. They
devoured her with adoration. And she gave it back.
Parties full of food and drink and parlour games.
Theatrical characters, bigger than life. Flamboyant
artists, who threw their heads back with laughter
and whose show tunes around the piano blew the
roof off till the wee hours.
I loved my mom with a private devotion. I truly
thought she was perfect. I miss her with an ache
that I know now has shaped my entire creative
life. I mother my children and love my partner,
family and friends using all the skills I emulate,
while compensating for those she was incapable
of teaching. Her only flaw, in retrospect, was her
inability to ask for help, to show weakness and
admit despair. These are human traits we all feel.
But she came from a generation of ‘cope-ers’.
“Carry on bravely” was a phrase I often heard.
And so, regrettably, she muddled through harder
times behind closed doors and shared her pain
with Mahler alone.
Her illness over the last decade and a half is much
too hard to describe right now. Ironically her dementia became my most influential teacher. The
contrast in persona was so unbearably great, so
cruelly unfair. So I prefer to skip that chapter and
relish in a time when music, laughter, and feathery couture was the order of the day. When life
was celebrated in all its craziness and grandeur.
When my underwear was ironed and Santa outdid herself year after year. I remember mom then
for now and I am a very lucky girl.
Linda Kash
20
But most of all we remember how much he loved
life, loved to laugh, loved people and how he
loved his kids. Gerry had many trials in his life,
but always faced them with courage.
If you visit the Steeles Memorial Chapel condolences page you will be bowled over at the volume of loving tributes to Gerry. Like everyone, I
loved Gerry and I will miss him and his laugh.
Jack Newman
Tracey’s humour and intelligence shone through in
both stage and screen with an acting style that was
truly unique. Her choices as an actress were never predictable and she had a relaxed confidence onstage, combined with an electricity that felt like she could take
you anywhere. This was evident in her powerful creations with the Augusta Company, which she founded
with Daniel Brooks and her future husband, Don
McKellar, as well as many other productions including Daniel MacIvor's A Beautiful View, in which I was
honoured to be her co-star.
Her magnetic performances in films like, Last Night, Me
and You and Everyone We Know and Monkey Warfare
showed she was the kind of actress who made you unable to imagine anyone else in the role.
Tracey was a formidable force and the commitment she
applied to her work extended to any endeavour she
pursued, from learning to speak French, as well as sign
language, to acquiring her black belt in Tae Kwon Do.
She wasn't shy about her opinions and would at times
take you on a glorious 'rant' (her word) about some injustice that would often leave you weak with laughter.
Above all though Tracy was kind and caring and deeply
loyal to the people she loved. She was always there for
you through the good days and the bad, and in times of
trouble she would walk right into the eye of the storm
with you. Even through her own illness her first instincts were always to make sure that everyone else
was alright. A truly generous spirit.
During The Lorca Play some years ago, Tracy's character threw herself against the wall in an inspired bit of
choreography that she came up with, and in the final
performance she actually broke through the wall when
she hit it, leaving an indelible imprint of Tracy Wright
behind. Anyone who knew her bears this imprint.
Doll, you will be missed by all who loved you.
Caroline Gillis
Blue
For Tracy and Maury
by Daniel MacIvor
Maury Chaykin
1949 - 2010
We were both close friends of
Maury Chaykin, having met
him five years apart but in similar circumstances – on a film
set on location away from
home. We quickly learned that
Maury loved to do three things:
eat, laugh, and work. If he
could eat in a scene while making people laugh, he was ecstatic. We could relate, and ended up spending many hours eating, laughing and working together. Working with
Maury was always exciting, because no matter how many times you rehearsed, you never knew how he would play it on the day.
People would recognize him wherever he went and although he always
got a kick out of it, he would humbly try to play it down. The worst
thing a stranger could say to him was “What have I seen you in?” Rather
than having to recite his resume, he thought it was their responsibility
to figure it out. His sense of humour and fun was immeasurable. He was
sometimes dark, but always funny. He had a sensitive, innocent quality
that made him vulnerable and accessible both on and off camera.
He loved spending time with good friends and family, and enjoyed hearing about the lives of his nieces and nephews as well as our own kids and
what they were up to. It wasn’t until he and Susannah had their own
daughter, Rosie, that he was finally able to experience the joy of being a
father for himself.
Maury was a man of many roles, embodying a variety of memorable
characters in his long and illustrious career. He leaves behind his impressive body of work as his legacy for his daughter Rosie, and the
knowledge that the role of father to her was his greatest achievement.
An amazing talent and a wonderful friend, we miss you buddy.
Jeff Pustil & Jason Blicker
A room with no walls or ceiling or floor. It seems to be
surrounded by sky. But it may be something else. It is
blue. Tracy Wright is sitting, waiting. Maury Chaykin
enters. He says, “Oh hi, how are you?” Tracy shrugs
and smiles. Maury says, “Oh yes, I guess that’s a
strange question, considering.” Tracy says, “I’m good,
I’m fine.“ Maury asks, “What are you doing?” Tracy
says, “Waiting”. Maury asks, “How long have you
been waiting?” Tracy says, “A month or so.” Maury
wrinkles his face. Tracy says, “But it’s actually fine. It’s
good.” Maury asks, “Do you know what you’re waiting for exactly?” Tracy says, “Reassignment.” Maury
asks, “Who chooses?” Tracy says, “We do. We all
do.” Maury asks, “What are you going to
choose?” Tracy says, “I was thinking maybe a housefly. Or a moth. Something that doesn’t have a huge
time commitment.“ She looks at Maury, he is considering something. Tracy asks him, “What will you
choose?” Maury says, “Perhaps a tulip. Can I choose
that?” Tracy says, “Oh yeah, or the scent of a tulip, on
a particular day, to a particular person.” Maury is intrigued, “Really?” he says. He thinks a moment. “Or
maybe …” he continues “… two lips. A kiss. Or
maybe something said. A word. A good word.” Tracy
likes this, “Nice one”, she says. They sit quietly a moment, thinking. Maury looks away at the blue that
might be sky, he looks back at Tracy. “I always liked
you” he says. Tracy looks at Maury, “I always liked
you too.” Maury says, “I saw you a lot in that crazy
movie they played all the time on TV.” Tracy smiles
“Oh yeah, on Showcase.” Maury says “Yeah, that
movie was crazy. But in a good way.” Tracy
smiles. After a moment she looks at Maury and says
“I always had a soft spot for My Cousin Vinny.” Maury
nods “Me too.” They smile and look off at what might
be sky. Maury says “This is was. Right?” Tracy says
“I guess so.” Maury looks off at the blue. He asks
Tracy “Is that sky?” She says “I think it might be
ocean.” Maury looks carefully at the blue, “Or maybe
it's just blue.” he says. Tracy says "Was blue". Maury
laughs. Tracy smiles.
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FYI — MEMBERSNEWS
2009 – 2010 audited financial
statements now available online
We were only $17K off our targeted budget! On the income
side rising domestic film and television production and a solid
level of commercial production kept us afloat. Investment income projections were not met due to low market returns
and some capital losses. We were able to control most expenses except for legal costs and finish the year with an operating deficit of $260,258, compared to a budgeted operating
deficit of $243,592.
Industry revenue is up by a total of $566 thousand including
significant increases in work dues, permit revenue, and admin
fees. Investment income is down by a total of $391 thousand
due to lower returns on bonds and capital losses on securities of $114 thousand. Total revenue is up by $175 thousand
compared to budget.
Salaries across all departments are up by a total of $81K due
to year-end vacation accruals. This liability will be reduced
as staff use up their vacation days. We had an increased level
of legal activity last year resulting in an increase in legal fees
of $75K. Total expenses are up by $192K compared to budget.
We are now required to adjust our investments to market
value at year end. The unrealized paper gains resulting from
a rising market show up as a mark-up of $684,992 creating a
total net gain of $424,734.
Should you have any questions or would like further information about our
financials contact Austin Schatz, ACTRA Toronto’s Vice President of
Finance, at aschatz@council.actratoronto.com.
You can also visit www.actratoronto.com to view ACTRA Toronto's
Auditors Report and the Audited Financial Statements for the fiscal year
ending February 28, 2010.
ACTRA Toronto members line up for the NBC open casting call, searching
for ethnically and physically diverse performers.
Photo: Janesse Leung
American studios
see local diversity
In August representatives from all four major American broadcasters set up shop in Toronto for two days to hold an opening casting call. What set this casting call apart was that the
broadcasters were specifically seeking actors from ethnically
diverse groups, including but not limited to aboriginal performers, culturally diverse actors and other peoples of colour.
Performers with physical disabilities were also sought out. The
casting call was designed to add diverse, new faces to potential
productions which might shoot in Toronto as well as expand
the local film and television talent pool. The response to the
casting call was overwhelming. Armed with their resumes,
headshots and demo reels, performers lined up as early as 3:30
am in order to ensure they would be seen by the American
casting representatives. Although the preference was to receive
demo reels, over 100 actors who did not have reels were called
back in the afternoon for an on camera audition. Although the
casting call was organized by the broadcasters, members of the
ACTRA Toronto diversity committee were on hand to help
successfully facilitate the event, ensuring that upwards of 500
people were seen over the course of the call. The large turnout
and the depth and breadth of Toronto’s diverse talent base seen
by the US networks made the event a huge success, drawing
front page press and an impressive amount of televised news
coverage.
For more information about diversity issues contact Jani Lauzon, the
ACTRA Toronto Diversity Chair, at jlauzon@actratoronto.com. Actors
from diverse communities are also encouraged to register for ACTRA
Toronto's diversity talent directory located at www.castingdiversity.ca.
22
TIP at TIFF
For more information on TIP check out
www.actratoronto.com/produce/TIP.html
or contact TIP coordinator Tasso Lakas at tlakas@actratoronto.com.
FYI — MEMBERSNEWS
Once again, Toronto Indie Production (TIP) made a splash at
the 2010 Toronto International Film Festival (TIFF) line-up.
This year three TIP shorts and one feature were showcased in
the 35th anniversary of this world renowned festival. You Are
Here, the successful feature entrant, is comprised of interconnected mini-narratives where the film’s characters are trapped
in bizarre social experiments of their own making. While this
year’s short film entrants, Above the Knee, The Old Way and, The
Camera and Christopher Merk come from a trio of skilled directors who have all seen their previous productions on TIFF
screens before. Equally as important as the number of TIP productions that played at TIFF this year is the number of productions attached to former TIP alumnae featured in many of
the festival offerings. It’s clear ACTRA members’ investment in
the Toronto independent filmmaking scene is paying significant dividends. The fact is that over 25% of the 100 features
produced in the TIP program have been shown in limited theatrical release. This speaks highly to the quality of the TIP features made in the past 8 years.
Some of the cast of The Camera and Christopher Merk,
L – R, Alastair Love, Heather Ferguson and Lexa Edelstein.
Photo courtesy of Film Forge Productions Inc.
TAWC has legs
The Toronto ACTRA Women’s Committee (TAWC) was reconstituted two years ago. The committee generated a spectacular launch, kicking off the 2009 February conference, and
continued with ‘gender-bender’ casting workshops and The
Women Fully Clothed directing sessions with Gail Harvey. At
the Women in the Directors Chair session members expressed
their desire for TAWC to step up to their wo-mandate
commitment to female performers with a TAWC studio, a
place to work out, meet each other and share our work and
dreams. Our wildly successful inaugural TAWC studio salon
debuted on June 8th. The ACTRA Toronto boardroom was
filled to overflowing with talented and willing participants including Wendy Crewson, ACTRA national president, Ferne
Downey, ACTRA Toronto president Heather Allin and
TAWC co-chairs Cayle Chernin and Tabby Johnson. Authors
presented original scenes and the cold reads sizzled. A follow
up evening with Gail Harvey happened in August.
Check out the TAWC Facebook page for details, photos and information about
upcoming events. The TAWC studio salon continues by popular demand.
Cayle Chernin
Members of TAWC do a cold table read at a
recent studio salon session.
Creative Arts, Growing Strong
Creative Arts Savings & Credit
Union is on quite a roll. Membership continues to grow, and the
credit union’s assets are up to $14
million – loans, mortgages and lines
of credit, plus liquidity investments
to protect members’ capital.
Part of the surge in interest comes
from this year’s launch of an exciting new promotional campaign, featuring appetizing Offers
of the Month such as No-Fee
Chequing and candid member
testimonials from Peter Keleghan and Adamo Ruggiero.
New additions to the website are the Knowledge Bank, where
member education pieces like How to Improve Your Credit Rating
are archived, along with Featured Product, which covers innovations like the Audition Loan to re-make your appearance and
the Artscape Loft Mortgage which enables qualifying artists to
purchase municipally supported work/ living spaces in downtown Toronto.
Photo: Lisa Mininni
For more information about what’s new at
Creative Arts visit www.creativeartscu.com
or contact the credit union directly at
416.642.6749 or info@creativeartscu.com.
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Reach
for
your
goals
John
Andrew
Robinson
Mortgage Agent
Purchase
Renew
Refinance
ActorsHelpingActors
lic.# M08007880
416-835-1754
ACTRA Member since 1985
jarobinson@mortgageedge.ca
lic.#10680
24
Heather Allin hallin@actratoronto.com
Karl Pruner kpruner@actratoronto.com
Ferne Downey fdowney@actra.ca
Austin Schatz aschatz@council.actratoronto.com, ext. 6607
Theresa Tova ttova@actratoronto.com, ext. 6605
Art Hindle ahindle@council.actratoronto.com
David Gale dgale@council.actratoronto.com
David Sparrow dsparrow@council.actratoronto.com
Wendy Crewson wcrewson@council.actratoronto.com
Cayle Chernin cchernin@council.actratoronto.com
Eli Goree egoree@council.actratoronto.com
Richard Hardacre rhardacre@actra.ca
Karen Ivany kivany@council.actratoronto.com
Lisa Jai ljai@council.actratoronto.com
Taborah Johnson tjohnson@council.actratoronto.com
Don Lamoreux dlamoreux@council.actratoronto.com
Jani Lauzon jlauzon@actratoronto.com
Steve Lucescu slucescu@actratoronto.com
Colin Mochrie cmochrie@council.actratoronto.com
Lynn MacKenzie lmackenzie@council.actratoronto.com
David Macniven dmacniven@council.actratoronto.com
John Nelles jnelles@council.actratoronto.com
Jack Newman jnewman@council.actratoronto.com
Eric Peterson epeterson@council.actratoronto.com
Wayne Robson wrobson@council.actratoronto.com
Shereen Airth, Apprentice Chair sairth@actratoronto.com, ext. 6621
Jim Usatis, Additional Background Performer Chair jusatis@actratoronto.com
Taborah Johnson, Children’s Advocate tjohnson@actratoronto.com
Jani Lauzon, Diversity Chair jlauzon@actratoronto.com, ext. 6618
Eric Bryson, Stunt Committee Chair ebryson@actratoronto.com
Shawn Lawrence, Ombudsman slawrence@actratoronto.com, ext. 6604
ACTRA
Toronto
Staff is here
for YOU.
ACTRATorontoPeopleYouShouldKnow
ACTRA
Toronto
Council
Who’s
Who
Tel: 416-928-2278 or toll free 1-877-913-2278
info@actratoronto.com • www.actratoronto.com
625 Church Street, Toronto, Ontario, M4Y 2G1
Judy Barefoot, Director, Tel: 416-642-6705
Kelly Davis, Steward, Tel: 416-642-6707
Cathy Wendt, Steward, Tel: 416-642-6714
Claudette Allen Tel: 416-642-6713
Terri Black, Examiner, Tel: 416-642-6744
Lyn Franklin, Examiner, Tel: 416-642-6730
Brenda Smith, Examiner, Tel: 416-642-6729
Tammy Boyer, Coordinator, Tel: 416-642-6739
Tereza Olivero, Coordinator, Tel: 416-642-6731
Karl Pruner, Director, Tel: 416-644-1506
Chris Faulkner, Public Relations Officer, Tel: 416-642-6710
Janesse Leung, Public Relations Officer, Tel: 416-642-6747
Norm MacAskill, Organizer, Tel: 416-642-6711
Laura McKelvey, Organizer, Tel: 416-642-6728
Karen Ritson, Director, Tel: 416-642-6722
Sue Milling, Director, Tel: 416-642-6719
Indra Escobar, Senior Advisor, Tel: 416-642-6702
Clare Johnson, Steward: IPA, Audio Code, Documentaries, Industrials, Reality TV, TIP,
Tel: 416-642-6746
Barbara Larose, Steward: IPA, Canadian Film Centre, Co-op, Student Films.
Staff Liaison: Minors, Background Performers, Tel: 416-642-6712
Noreen Murphy, Steward: IPA, Animation, Dubbing, Digital Media.
Staff Liaison: Voice Performers, Tel: 416-642-6708
Richard Todd, Steward: IPA, CBC, Global, NFB, TVO, Digital Media.
Staff Liaison: Stunts, Tel: 416-642-6716
Karen Woolridge, Steward: IPA, City-TV, CTV, VISION.
Staff Liaison: Diversity, Puppeteers Tel: 416-642-6709
Tasso Lakas, TIP Coordinator, Tel: 416-642-6733
Stephanie Stevenson, Administrative Assistant, Tel: 416-642-6735
Contact: Membership Department Tel: 416-928-2278
Karl Pruner, Director
FALL
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26
An interview with one of Canada’s busiest actors
Q&A
CF: When we last spoke to you in 2005 you were getting ready
to start shooting the sci-fi thriller Invasion. Since then you’ve
been working pretty steadily on both sides of the border. That
must give you a unique perspective on both the American and
Canadian film and television industries, what’s your take on
the state of the Canadian industry?
more for less. And I see actors suffering for it and it really
upsets me. I mean, I know people who work a lot and they
are having so much trouble making their rent or paying
their mortgage. It’s really upsetting to me.
KM: Well, I’m really excited about the success of some of
the shows here like Flashpoint and Rookie Blue. There’s a lot
of shows that Canadians are really excited about right now,
not only in the industry, but outside of the industry. And I
think that’s a beautiful progression. I don’t think that’s
happened for a little while, to actually hear civilians talking
about shows that are Canadian. The thing that I don’t like,
at all, is that I feel that the actors are, for the most part,
being treated appallingly, not only American shows but by
Canadians ones too, by the level of pay they’re getting right
now. In the old days, if you were paid for a day, it’s because
you only had a day on a show. Now I know they do it day
by day, even depending on your stature in the show, if you
work one day, they’ll only give you minimum. It just seems
like that’s the way it’s gone. Everybody is trying to get
KM: Well there’s a big part of me that just said ‘why not,
let me try.’ Initially I came to Toronto for the same reasons,
I’m from Saskatchewan and Alberta. For me, although it’s
a different country, it’s not a different pursuit to go where
the work is. It was really the same instinct, to get work.
CF: Why did you decide to make a go of it down south?
CF: Let’s take a step back, how did you first become interested
in acting? What motivated you to follow this as a career path?
KM: I was always doing something creative. I was going
to be an artist. Then, I was going to be a dancer. Then, I
was going to be a singer. I was going to be all those things
that kids often do. And then, when I was 12, I was absolutely obsessed with a book called The Outsiders by S.E.
Hinton. I read it and read it and read it. I was really addicted
KariMatchett
style
I feel that the actors are, for the most part,
being treated appallingly, not only by American
shows but by Canadians ones too,
by the level of pay they’re getting right now.
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27
Q&A
to how it made me feel. I cried and I laughed and I felt the
injustice of what they were going through. Then I picked
up a Teen Beat magazine and it said that Francis Ford
Coppala was making a movie about The Outsiders and I had
an epiphany. There was a click in the universe for me at
that moment. I just knew that I wanted to be an actor. And
that was that. I never looked back
CF: What has been your favourite role to date?
KM: Well I loved playing my alien character in Invasion. I
loved the deep quiet internal conflict that was going on in
that character. I felt that they gave me lots of room to explore that. Nobody rushed me through that process. And I
feel like I got to do what I do best. And I had this great
opportunity, when I lived in Toronto, to do this series called
Nero Wolfe with the late, great Maury Chaykin and Tim
Hutton. I got the opportunity to play thirteen different
characters over two seasons.
CF: Do you have any remembrances of your time on set with
Maury?
KM: Well Maury had this incredible deadpan delivery that
was part of his genius. And I remember just watching him
and studying him and thinking ‘how do you do that, where
does he get that strange sensibility to just pull things out of
the ether, layered with all this truth and heart? How do you
do that?’ I remember just being enthralled and amazed
watching him. And you know, he would just always say
little funny things. Or say nothing for an hour and come up
with little funny quips. And I’m horrible for remembering
exactly what they were, but they would just put me in
stitches. Another thing I remember about Maury is how
much he loved Susannah and his daughter Rose. And I
thought that was just a beautiful thing.
CF: What are your passions outside of acting, do they influence your work as an actor at all?
KM: I have done yoga for years and I feel like I would be
a different human being, on all levels, if I didn’t do yoga.
Yoga has put me in my body in a bigger way then I ever
could be through any sport I ever did. Yoga just brings a
higher level of body awareness into my life. That absolutely
serves me as an actor. Because nerves are always part of the
deal, first day on set or going in for a meeting with somebody, or whatever. And learning how to control it to the
best of my ability is key and yoga has been really helpful
for me with that, keeping me calm on all levels. I’m also
doing this fight training right now. They teach it to the
Israeli army. It’s called krav maga. It sort of fell into my lap
and I fell in love with it. That also really helps me in the
current role that I’m playing. She’s kind of bad ass, hardcore; deep in her soul. She used to be a CIA operative.
There’s just kind of a steeliness deep in your being you
need in order to do that. And for some reason I feel that
krav maga, on a psychological level, is giving that to me.
CF: Let’s talk a little about your most recent project, Covert
Affairs, what’s it all about? What drew you to this show?
KM: Well, one of the huge things is that it was shooting
here. I thought it would be heaven to be able to shoot a series in Toronto. So, that was huge. And, I hadn’t been a spy
before. I always wanted to be a spy.
CF: Do you get to do all sorts of James Bond-y type stuff?
Try not to fall into the trap of doing what
you imagine they want you to do in the
audition room. Really try to do what you feel is
right for that character and what your take is on it.
28
Kari Matchett and Peter Gallager play Joan and Arthur
Campbell, key CIA operatives in the hit series Covert Affairs,
which was recently renewed for a second season.
Photo: Steve Wilkie/USA Network.
KM: No, I don’t. I hoping next season will give me that.
I’m more of an M in this series. It’s a cool role but I would
love to get out there and kick some ass.
CF: What one thing do you want new actors, that are just
starting out, to be aware of that you wish you had known?
KM: Try not to fall into the trap of doing what you
imagine they want you to do in the audition room. Really
try to do what you feel is right for that character and what
your take is on it. Because I feel that’s all you really have as
an actor. If you want to have a filling creative life all
you really have is what your original take is on thing. And
you really have to trust that the right things will come to
you. But that’s easier said than done, especially if you work
through a string of time when you fell like you’re not
getting work. I feel like the right work and the good work
comes when you do that.
Chris Faulkner is a Public Relations Officer at
AC TRA Toronto and the staff wr iter on
P e r formers magazine. He plays ultimate
frisbee in Toronto. He can be reached at
cfaulkner@actratoronto.com.
Kari
Matchett
Selected film and television credits
Covert Affairs
Crash
ER
Heartland
Studio 60 on the Sunset Strip
24
Invasion
Plague City: SARS in Toronto
Blue Murder
A Nero Wolfe Mystery
Cube 2: Hypercube
Power Play
Christopher Gorham and Kari Matchett as
Auggie Anderson and Joan Campbell,
on the set of Covert Affairs.
Photo: Steve Wilkie/USA Network.
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2010 ACTORS’ FUND
film & television charity
challenge underway!
Get the charity challenge happening on your set! The
challenge is an opportunity for members of the film and
television community to unlock their formidable creativity and raise money for the Actors’ Fund of Canada.
Past events have ranged from collecting donations at a
wrap party to throwing a community barbeque or holding an auction. Some of the more popular ideas have
been to hold a 50/50 draw on set with half the proceeds
going to the Actors’ Fund, encouraging cast and crew to
sign up for the Reel Friends voluntary payroll donation
plan or passing the hat on set.
Dream House, a feature starring Daniel Craig and
Rachel Weisz was the first production to join this year’s
challenge, followed by the CTV series Flashpoint.
WOMEN
in the Director’s chair
Are you interested in…
• Developing original stories for screen,
• Hands-on set experience, and
• Working with other creative individuals, in a
• Professional, yet safe learning environment?
The Actors' Fund of Canada
is the lifeline for Canada's entertainment industry.
It’s not just for actors: both performers and those
who work behind the scenes in film and television,
theatre, music and dance can benefit.
Then why not participate in the upcoming session of
Women in the Director’s chair (WIDC), run by the Creative
Women’s Workshop Association. The deadline to apply to
the session as a performer has been extended to
November 30, 2010.
Applications and criteria are available at:
For more ideas and updates on the
challenge please visit
actorsfund.ca/charitychallenge.
30
www.creativewomenworkshops.com
or by emailing carol@creativewomenworkshops.com
ACTRA Toronto Fall member conference
Saturday,
September 25, 2010
The ACTRA Toronto member
conferences have returned!
The focus of our September conference
is Comedy. So laugh until your sides split
with the casts of Dan for Mayor and
Connor Undercover. Or attend the
Great Women of Improv session hosted
by Linda Kash.
There’s something for everyone at the
member conference, including
workshops for parents and kids.
The conference will be held at the Ted
Rogers School of Management, located
just west of Yonge and Dundas.
Come see and hear
Dan For Mayor hit TV series co-stars Paul Bates, Fred Ewaniuck,
Mary Ashton and Benjamin Ayres.... and so much more!
ACTRA Toronto Performers
625 Church Street, 2nd floor
Toronto,ON
M4Y 2G1
Printed in Canada
For more information, check out
www.actratoronto.com
C anada Post C or por ation
P ublication Mail Agr eem ent N o.
40 07 019 6

Fall 2010 - ACTRA Toronto

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