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Profile on Suleka Mathew

Patricia Cullen — Thu, 09 Jul 2009 21:19:42 +0000

Originally published in the Vancouver Actor’s Guide October 2008 newsletter.

Coming off the heels of a successful and yet surprisingly cancelled TV series, Men in Trees, Suleka (Sue) Mathew [imdb] is anything but concerned. With 20 years of acting experience, Sue is considered a veteran actor on the Vancouver scene. Yes, with that experience comes some clout in the industry. But clout won’t get you the job. And Sue knows that. Working or not, Sue is constantly in pursuit to learn more and it’s paying off. Within days of this interview, Sue was back in L.A. to meet with producers for a new series. What’s her secret? Read on to find out.

Why acting?

It was the one thing that I found when I was a child that I loved doing more than anything else in my life. It fulfilled the creative. It fulfilled the performance. My family would tell you it got me over being shy. It’s like that Graham Green quote; “Somewhere in childhood a window opens up and you get a glimpse of the future”. For me it happened really, really early.

Who has influenced you the most in your work?

I think I’ve had five acting teachers, whose words constantly ring in my head and there were a lot of actors that I grew up watching that I worshipped; Carol Burnette, Katherine Hepburn, Lucille Ball, Jane Fonda and Dustin Hoffman. Peter Breck said to us, “If you’re going be an actor, fall in love with the process because you will find that you will spend more time in process than you will in performance.”

Who or what inspires you?

Those individuals who do not just sit around waiting for the phone to ring. They are self-motivated, and self-generating. They’re putting on plays. Writing pilots, features, finding and creating work themselves. We come from a community of talent in Vancouver that is rich with those individuals. And one day, I honestly hope that I will have the guts to do the same myself. They are really, really, inspiring.

What about training?

For me, it’s one of the keys. However, it’s not always possible on a regular basis. When I came out of doing Men in Trees I went into Ben’s (Ratner) class pretty much right away because for me, letting go of a character means getting into a new one. So you can return to being an actor rather than being the last character you played. Currently, I’m doing voice work and looking for a movement class.

How do you prepare for an audition?

I try whenever possible to read the entire script. Then I read my sides. I watch for my instinctive first blush reaction to the scene and I jot them down…then I try to get off book as fast as I can so I can then go to the place of character analysis and adding layers to it. Try to find the understandable truth behind it. I think Gene Hackman said the first thing he does is try to find out how the character is like him and I think that is a good note. I look for those things Larry moss talks about like objective intention. Like, what do I want? What does this character want?

What aspect of preparing the audition takes precedence for you?

Getting the lines in, dialect, character history, affect and…hair & makeup. (Sue laughs). I’m kidding. But it’s funny that even though I’m joking it’s funny that how wearing the right shoes or the way you comb your bangs can lock you in comfortably. It informs you and gives you an odd confidence about who you are portraying. Our job is about convincingly portraying the ultimate lie which is, we are something else. You look for the small discoveries that will root you in the audition room.

What was your best audition? Did you book it?

One of the best auditions I’ve had was to play a lawyer and there was a 4 page closing argument. There was a casting director and the director and the producer. And I worked that thing into the ground so I felt pretty good about it. I’ve played a lawyer before but I hadn’t done a closing statement so I was really excited about that. And despite the fact that in the last two lines I forgot the name of the defendant and had to yell out ‘Naaame!’ and Lynne Carrow, who was so kind, whispered ‘Stella’, despite that, I finished the audition, yelled “Stelllllaaa!” like Marlon Brando, they all laughed, I got the part and then the movie folded about a week later so I never got to shoot it.

How do you spend your time in between shows?

When I’m not working I read more books, I hang out with my kid more, I spend a lot of time gardening because it fills both an artistic and physical component. And I look for more things to inspire me or feed a need to understand human behaviour. If you had to suggest just one book for actors, what would it be? Anything by Uta Hagan. In fact, I just bought her scene work videos at the Samuel French shop last time I was in L.A. Biz Books is fantastic and they probably carry them too. Just watching Uta chain smoke cigarettes and rattle off jems is worth the price right there. Larry Moss’s newest book, The Intent to Live. Deanne Henry’s book, Streamlining, which teaches a way of memorizing that is proving to be beneficial. There are so many things out there that we owe it to ourselves to be constantly unearthing them. Hardest lesson learned as an actor? That it is not a meritorious career. You never get to rest on your laurels. You can never insure yourself a future in this career. And that’s not a bad thing because that keeps us true artists but it is hard.

If you had to suggest just one book for actors, what would it be?

Anything by Uta Hagan. In fact, I just bought her scene work videos at the Samuel French shop last time I was in L.A. Biz Books is fantastic and they probably carry them too. Just watching Uta chain smoke cigarettes and rattle off jems is worth the price right there. Larry Moss’s newest book, The Intent to Live. Deanne Henry’s book, Streamlining, which teaches a way of memorizing that is proving to be beneficial. There are so many things out there that we owe it to ourselves to be constantly unearthing them.

Hardest lesson learned as an actor?

That it is not a meritorious career. You never get to rest on your laurels. You can never insure yourself a future in this career. And that’s not a bad thing because that keeps us true artists but it is hard.

What has been the largest contribution to your continued success?

Perseverance. I say this because the call and the desire to become a professional actor came so early in my life, I’m proud I honoured that in myself. Along that path there were plenty of people who would rather I became a doctor, lawyer, or engineer. So not being talked out of it was a feat in itself. But even now, many years later, despite the brutal cyclical highs and lows of our career: 9 month periods of not booking a single job, union strikes, burdensome deals like scale minus 250%, dozens of auditions with nary a bite on the bait, midnight hours racking our brains wondering if we wouldn’t be better off choosing another dream, another lifestyle – something inside me keeps going. Fortunately for me, I’m surrounded by wonderful, supportive loved ones who put it all in perspective on a regular basis.

Life after acting?

I have quite a few friends who went on to do other things when they felt that were done. They don’t have regrets, they found something they loved, so I never think that acting is the be all and end all. And it’s such an individual thing, the only person who can really make the call is yourself. I don’t believe anyone else can know. It might just be the thing that takes you in a new direction towards a new dream. But so far, I’m hanging in there. And I can’t tell you how grateful I am.

One on One with Russell Porter

Patricia Cullen — Fri, 13 Mar 2009 08:08:46 +0000

Founder of the First Step Actors’ Workshop, The Actors Centre, The Independent Artists Group and The North Shore Film Festival, Russell Porter, man of all trades and actor, embodies the make-your-own-work idiom entirely. In addition to starting up the aforementioned foundations geared toward strengthening actors and the acting community, Russell’s real passion is coaching.

Writer’s Note: There is no way to tell you this but with plain, good old fashioned honesty. I have in no way successfully captured the passion, inspiration nor energy that leaks from Russell like a puppy thrilled to play. How does one harness that energy?

What drew you to a career in acting?

Honestly, we’re gonna write this down? (Russell laughs) As a child I had a definite need for love and attention. (And laughs)

What keeps you in acting?

The challenge of overcoming personal obstacles to truly express our insatiable appetite to express and share, connect & evolve.

How old were you?

I think I was in Grade 7. My first audition was for a Tom Selleck movie called Runaway, shot after Magnum P.I. completed.

What was your first role/production?

My very first professional job, I’m pretty sure my very first paying job was Mattel’s Dream Phone. It’s a board game for girls where they call up fictional hot guys on this phone. And I played a bus boy serving milkshakes to the hot guys. They wouldn’t let me be a hot guy.

What inspired the creation of First Step?

I’m trying to remember literally the moment. I mean I was probably working 5 to 6 times a year. Decent things, guest starring and principal roles, but I was still going back to a construction job working in the pouring rain. The water was pouring down my back and I had just wailed my thumb with my hammer. I was just so miserable that I just had this epiphany that I have to stop being something I’m not. I started touring schools and talking about how I was an actor and thought it was about fame or something but I was acting. I needed to tell the truth. The inspiration was the truth and giving others the opportunity to do the same.

What do you enjoy the most about coaching?

OH. I love coaching. Discovery. I was just working with a girl on a Shakespeare piece and I just don’t get enough of that in my life and for me, that’s fun. I get to play the supportive role of empowering this person to listen to their instinct.

What is your process for preparing for an audition? A shoot?

There’s a preordained commitment to embrace and embody the character, their experience and to honour their wants and needs. The approach has to be storybook. You gotta read your script as though it has no consequence to you. You just read it. There’s a big difference in how you read a book and how you read your sides. You should pick up your sides and let the story colour itself like you would a book. Then when I see the experience of what the character is going through, I research that. I don’t research how to play the character. Teaching a student how to open a door won’t unlock it, teaching them why will unlock the door.

How is the Actors’ Centre different from the First Step Actors Workshop?

First Step Actors’ Workshop focuses on releasing the actor, bringing them to a place of total emotional availability. The Actors’ Centre is an advanced professional class where it’s about taking high risks with that emotional availability.

What is the Independent Artists Group?

The Independent Artists Group is a non-commissioned artists representation membership for non union artists interested in pursuing independent and non union production work. It is open to all ages and ethnicities.

As Founder & President, tell me about the North Shore Film Festival?

Founded in spring of 2006, the film festival is a registered non-profit association dedicated to providing resources and opportunity to individuals wishing to write, produce, direct and act in indigenous independent film projects. Film Festival productions shoot between May & Sept and then there’s a massive gala taking place over two nights sometime in late Sept, early Oct. The films are absolutely non-political in any way in that it’s publicly funded. The Festival helps artists build their resume, gain experience, credits, demo footage and the confidence to move on. So far we’ve already put 35 films up on the screen and we’ve recently produced a TV pilot that’s going up for bidding.

What excites you about being a part of the film and television industry?

As an actor or otherwise. Not a lot really. Nothing really. I would like to pretend that our industry here is people here creating, collaborating on everything Canadian. But that’s not the case so…

If you weren’t an actor or coaching actors, what would you be doing?

I would LOVE to be a musician. I play a little guitar and sing a bit…I would love to be Keith Urban. (laughs) I know how that sounds. I would definitely have to be doing something with my hands, something in the line of writing, holistic medicine, missionary work. Something that enables me to reach others. Whatever is meaningful.

To learn more about Russell and his work, check out www.firststepactors.com or www.northshorefilmfest.org.

One on One with Michael Bean

Patricia Cullen — Wed, 25 Feb 2009 09:09:59 +0000

Whether you have kids or teens interested in acting or you are a young adult looking to get into the business, Vancouver is a great place to get a head start. In addition to joining a drama class in elementary school, young actors can get a leg up on the competition through the many studios offering classes and coaching geared toward the 17 years and under crowd.

One such place is Biz Studio. Since 2002, Biz Studio has been providing professional screen acting classes for kids & teens. We caught up with Founder & Head Coach, Michael Bean, to get to know him and Biz Studio better.

How did Biz Studio come to be?

My talent agent at the time knew I had experience with kids and asked me to come in and help coach her clients on tape. I went from that to running some classes and getting a website together. It was such a perfect fit because it just came to me and now everything I’m passionate about is working together.

Why did you choose to focus on kids & teens?

I have a lot of experience teaching kids & teens, before coaching I used to run improv workshops in high schools, and I am very animated. I can absolutely be myself and kids dig that. It’s such a good fit that I’ve never really thought of branching out to adults.

Are there any notable difference between how adult and young adult actors approach their work?

Only about 2% of those I coach are adults. As a general rule, kids & teens will approach coaching in a very open way, because they know I’m experienced and trust my direction. But with adults you say, “Try it this way,” and they say, “Why?” Whereas kids & teens are more willing to take risks and try new things. That’s why we focus on a simulated audition, because you have to train as close to the environment you are going to be in. Under pressure and on-camera.

How many students are in each class?

I only teach classes of 8. I taught classes of 12 students for years. Then I took it down to 10 because I wasn’t getting enough time with students. Then I took it down again to 8 students with 2 teachers; myself and Julie Patzwald, who just won her 2nd Leo Award.

Would we recognize any of your students currently, or recently in any popular productions?

Yeah. You’d probably recognize Brett Kelly who was in Bad Santa, Unaccompanied Minors. Brett has a very specific look and he’s a very talented actor. He works a lot in LA. Just finished a feature called High School. Twice now he’s booked a role in a major US feature straight off of the tape we made together. Megan Charpentier, she works a lot and just recently shot Frankie+Alice with Halle Berry. And Sean Roche just booked a role on the Guard.

What resources do you recommend to your students? Books, DVD’s etc?

I have a 32 page handbook available on my website including an audition checklist and stuff like that. I often send people to vancouveractorsguide.com because of the message boards and regularly updated info. Aside from that, just practice. Acting is 1% theory and 99% practice.

What excites you about being a part of the film and television industry? As an actor or otherwise?

I’ve been acting since elementary school. When I was going into grade four, they built a fine arts school 2 blocks from my house. If it was a trade school, I’d be a very different person right now. How do you explain the why of what you’re passionate about? The more time that I spend acting, the more I learn about it, the more it feels like an art. It feels like the kind of thing that I could spend my life getting better at. I’m kinda hooked on the adrenaline of getting auditions. I love balancing the technological requirements of Film & TV with bringing in psychological realism. You can just get better and better at it.

If you weren’t an actor or coaching actors, what would you be doing?

(Michael thinks) I’d probably be teaching, public speaking, group facilitation, mediation, conflict resolution.

For a guy who has dual citizenship, why Vancouver and not L.A.?

In L.A., there’s 10x as much work and 100x as many actors. The SAG has 100,000 members. At least 2/3 based in LA. I’m already doing really well here. So why go down there and gamble. Sometimes gambling pays off, but because I’m already doing well here, where I’m established, and I love it here, why go down there? Once you get to the point that you’re competing for guest star roles up here, then you go down there. But I’m not there yet so I’m not willing to take the gamble.

You can find out more about Michael Bean and his services at www.bizstudio.ca

Business of Voice-Over with Michael Daingerfield

Patricia Cullen — Tue, 02 Dec 2008 07:32:14 +0000

What did you do first, TV or voice over?

I started out as an actor -which is what I thought I would do more of. In the last 2 years, I had to surrender to wherever the success comes from. I had this idea of how it was supposed to flow for me. It’s hard because the mind gets in the way, it wants certain things so you gotta get out of the way and let it flow.

Is it a lifetime career for you?

Absolutely. 100%. Because for me, I keep getting better. That’s what’s cool with voice over. You keep refining & micro-improving your performance. The difference between the guys who are successful and the guys who are still climbing, is that the guys who can make those subtle changes, succeed.

What attracted you to the industry?

My father was an on-air announcer for years. He did that when I was a kid. When I was 10yrs old, if I scored in my hockey game, later that night my Dad would announce on-air “My son scored a goal tonight!” I was always around it, so it was fairly easy for me to get in.

What training have you done as a student? As a teacher?

[As a Student...] I’ve studied with a lot of independent acting teachers; Larry Moss, Uta Hagen, Gina Chiarella, Alan Jordon, Janet Lane Green. I still work with my voice over coach, Marice Tobias.

[As a Teacher...] I teach a 4 week, level 1, voice over class for commercial, animation and narration. I teach everything from mic tech, empowering yourself in the room, studio etiquette to what would be effective in auditions.

How do you find your characters?

If you’re given a picture of the character, it helps. First off, you have to know what ‘box’ you’re playing in. Is it for 5 year olds or 12 year olds? The character description helps. One of the techniques I worked out with Marice Tobias; look at the celebrities you impersonate that fit it, like Woody Allen, do that and then tweak it a bit, lean further and further away and it becomes a hybrid of different characters and voices.

Do you have an archive you pull from?

I do have a certain number of voices that I’ve written down on a list. Like an impression list and a character list. There are certain stereotypes you can pull from; the tough guy, the nerd, the southern red neck, the tough New Yorker. Make it fun, make it interesting. It’s not just a voice, it’s the physicality, the movement. You should be able to do a monologue on stage and they should be able to see a character.

How often do you create a new character?

That depends on how much I’m working and auditioning. It can be very on the fly, so you have to be open, not judge it and just go with it.

How did you get started in voice over?

I got in the door with a casting director. I called her about 10x over 6 months. She brought me in for my 1st and then again for my 2nd audition for the Ace Ventura series. I got the lead for that. I was 24 years old. The funny thing is that I feel like I really deserved it because I worked on the voice 4 hours every day for 2 months. I had the full audio performance of Jim’s dialogue on a cassette tape and then mimicked the entire performance, every day.

If you had to give only one bit of advice to people interested in getting into voice over, what would it be?

Decide it’s something that you really want to do because it’s going to take effort and time for you to be successful. Yes, I did get Ace Ventura on my second audition but I am still a student of the art 13 years later. Are you really interested in making a living at it? If it is, knock on people’s doors until it happens

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To contact Michael Daingerfield or for more details about his classes with On The Mic Voice-Over Training, visit his website www.onthemictraining.com

Spotlight: Pamela Wise, Talent Agent

Kenji Maeda — Thu, 20 Nov 2008 20:39:41 +0000

Originally posted on Vancouver Actor’s Guide. -Revised on July 2008-

Pamela Wise, arriving from Montreal 18 years ago into the ‘early days’ of the Vancouver film scene, was inspired to pursue a career in casting. After realizing there is no straight road to success, she pieced together an education, studying acting, small business management, marketing & administration. She also took a production & A.D. courses; and networking & casting on every student film & low/med. budget Indie she could. Her break came when she was hired to work with local casting director, Sid Kozak. She gained insight into the process of casting, and carried that knowledge with her to the next chapter of her film career as a talent agent. She has had a successful & rewarding 10 years as owner of Coast Talent. Pamela is now an agent with Premiere Talent Management. Pamela also teaches a very popular 1-day commercial workshop on ‘Auditioning for TV Commercials’ at the Studio on the Drive.

What made you want to become a Talent Agent?

Pamela Wise – I really respect the creative process, and it is exciting to make that vision come to life. I enjoy recognizing the current trends in marketing in Film & TV world is demanding, and keeping my roster reflective. Mostly, I really like my talent, the trust, respect, communication I have in my relationship to them & to the industry, is very important to me. Lastly, I love watching my actors succeed, it is such a hit.

What advice would you give to actors looking to “break into the industry”?

My advice to actors trying to break in would be learn the craft of acting, develop solid technique. Build tons of personal confidence, determine your own edge & style. Know the market. Be a business person. Agents & casting directors only respond to what the director/producers want. Keep up to date with what is current in looks & acting trends. I also think it is key to have a mentor type figure, perhaps an acting coach or a professional actor, that knows the pitfalls & can give you solid advice. Have a game plan, soak up every experience, have a vision, and have faith in yourself.

What advice would you give to experienced local actors?

For the represented actor, hopefully your agent will guide you with sage advice. For the un-represented actor, I would have to advise to have a lot on the go. Create momentum. Network, ask questions, study both drama & comedy. Practice with other actors outside the classroom. Do respond to all casting calls-make your mistakes without the pressure of an agent & the ‘sometimes
unforgiving’ casting director watching, really hone your skills, develop mind/body & spirit, and if you are not having fun or are not truly inspired, re-evaluate.

What should people know when contacting you?

Mail a headshot & resume to the office Premiere Talent Mgmt, put “Attention: Pamela Wise” or email me at pamelawise@canadafilm.com.

What would you say is the worst casting choice in the history of Film/TV and why?

Gosh, there are so many. I would have to zero in on the style of many big Hollywood productions to answer that question. Take a great story with tons of potential, insert ‘big star of the moments’ name, then forget story line & content, bank on the name selling tickets. That formula has disappointed me too often in regards to poor casting choices. It has come to this for me: if a film is not at the ‘Fifth Avenue’ cinemas, I really hesitate seeing it.

If an actor wanted to get in your “good books”, what is the best thing they can send you?

Initially, to be in my “good books”, I wanted to be intrigued by their photo, it really has to capture their spirit on a good day! I say that because a peeve of mine, is the ‘angst ridden, killed in a past tragic life’, pose. Show me your character, smile. Include a resume. And be creative with the cover letter.
Address it to me personally. “Spoon feed me”, tell me about your range of characters, your goals as an actor. Once on board with my company, I trust that my talent will do their best to make us all look good, and create success with the ‘right’ project for them. I am impressed with an actor who stays fresh/keen, reviews how they could of done it better, and strives to improve their audition room skills.

Which actor do you admire most and why?

The actor I admire most would be, John Turturro ( check out imdb.com for his filmographies). I would see anything with him it. He is a brilliant character actor. He also writes & has directed some of his own scripts. The runners up are Stanley Tucci & Parker Posey.

Must see movies for actors?

I choose these specifically, because they are all about being a actor and quite illuminating. “A Midwinter’s Tale”, “Waiting for Guffman”, “Withnail & I”, “Girl 6”, and “Illuminata”, all available at Videomatica

If there was one thing about this industry that you could change, what would it be?

The general lack of respect for actors. The industry is based on a system of hierarchy, most in it are lovely & supportive, but there can be power misused and that, fueled with loads of ego, makes for a volatile mix. I think, that some agents & casting directors forget that we are only as good as the local talent. I hear horror stories from actors constantly, and I feel it is criminal to demean somebody, especially when they are putting themselves on the line creatively for you.

If the local film industry was like “Survivor”, who would you vote out and why?

The industry is like ‘Survivor’, those who should be voted off, either disqualify themselves quite naturally, or they stick it out and harden into an industry survivor.

Do you have any interesting or funny stories you’d like to share with us?

I am always amused by the caller who announces that he wants to be an actor, to whom I say my usual thing about what to mail, and then they say “well they have no specific acting experience, but they were the lead in a production in grade 8, they act every day on the job as sales person, and how hard could it be to deliver a line or two, it’s like faking or pretending-right?” I wonder if the same people call up a doctor’s office, inquiring about work as a Doctor on the premise that they sort of dress like a doctor, and they watch ER faithfully.

Is there anything else you’d like to tell the local acting community?

Good luck, and feel free to call me if you have any questions.

One on One with Donovan Cerminara

Patricia Cullen — Mon, 03 Nov 2008 16:11:53 +0000

Originally published in the Vancouver Actor’s Guide March 2008 newsletter.

Life is truly what you make it. So if your career isn’t what you want it to be, you’ve got to make it what you’d like it to be. That’s exactly what Donovan Cerminara has done. A Vancouver actor of 7 years, Donovan wasn’t getting the opportunities he wanted. So he wrote himself a role in his first full-length screenplay Operation:Sunrise, which just completed post-production last month.

What attracted you to the industry?
My mom was a drama high school teacher. She did the “Christmas Carol” and needed a little boy to play Tiny Tim and that was it. I was 6. I wasn’t really interested in the Film/TV aspect of the industry at first. Acting as a profession didn’t start until I came to Vancouver in 2001.

How did you first get your start?
I came out of film school with 20-plus roles (in short films and the like) and got my first agent after auditioning while eating an apple. They sent me for 1 commercial audition and that was it. That was the fall of 2001 when the economy was in a slump. But when my agent didn’t come to see me in a local theatre version of Mamet’s ‘American Buffalo‘, I took it as a sign and ended up being recruited by my castmate’s agent. That agent got me out there but was I really ready to be auditioning? Was I ready to put myself out there without leaving my ego at the door? No, I don’t think so. So I wasn’t booking.

What training have you done?
There are three names in this city I would recommend as an Acting Instructor, in no particular order, Shea Hampton, Andrew Mcllroy, and Mathew Harrison. For Directing, I did a 2-week Directors course in Europe by Mark Travis. The theory was solid.

The truth is this… there is no finer training than actually doing. I learned how to direct primarily by observing the choices and priorities of the independent directors I worked with as an actor, and this helped me identify what was important about directing as a whole.

What is Operation:Sunrise?
Operation: Sunrise is the story of a fictitious Poland in 1991. The premise is that when the Soviets withdrew from Poland occupation, they left behind a biological weapon as revenge. Those infected with this bioweapon find themselves sporting symptoms shared by those of mythological vampires and zombies, yet they are neither. To investigate the incident, NATO decides to send in a squad of undesirable soldiers, criminals and otherwise. Operation: Sunrise is the story of one of those squads, and the village/community they find in the midst of ruin.

What were your roles in the project?
Majority funding, producer, editor, original story, co-writer, director, picture editor, Vancouver casting director, lead actor.

How long have you been working on this project?
I wrote the first draft of the story May 2002. Secured and then lost funding to shoot the feature later in 2002. Shot a short film based on the script, Twilight, in 2003. Shot a preview from the existing script on a more substantial budget in October of 2005. Then finally made it to Poland to shoot April 22.07 to May 11.07. And I’ve just now finished post-production.

What was the biggest lesson, or realization that you gained from Operation:Sunrise?
I can do anything! I played the lead, directing in full costume! This was such a statement of will.

What projects are on the horizon for you?
I’m currently writing the “Desperado” to my “El Mariachi” and preparing to submit my Operation:Sunrise to the film festivals this year. I’m looking forward to capitalizing on 2007 which was the most successful year of my career, so far.

What would be the realization of a dream for you?
The dream for me would be to continue telling stories from both sides of the camera.

What has been the most challenging moment for you so far in your career?
When my ego lost me the best agent for my career at the time.

What wisdom would you share with your fellow actors?
The dangers of being headstrong. Be humble. Be aggressive. And be patient.

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Thanks to Donovan for sharing his insight and story with us. For more information on him, you can visit his website at www.donovancerminara.com

Spotlight on Olivia Cheng

Patricia Cullen — Mon, 03 Nov 2008 13:55:54 +0000

Originally published in the Vancouver Actor’s Guide October 2007 newsletter.

She’s bubbly, fun, outgoing, refreshingly honest and very motivated. And she’ll be the first to tell you, it’s a lot of work.

Born and raised in Edmonton Alberta, Olivia first started her career in media as a Script Supervisor then hard news reporter for Global Television, next a features writer for the Edmonton Journal and then having achieved her success she realized something was still missing. “I felt like I achieved a lot of my goals already early on in life, but I wanted more. I realized that after everything, all I wanted to do was act but was too scared to do it and then I was called to audition for American Movie Classic’s Broken Trail.”

“I auditioned four times and got the part. It was nuts because I auditioned for every 4 of the 5 Chinese girls they were looking for and I landed the one role I didn’t want to read for. I automatically assumed I wasn’t right for it.” But she was. And now she had to face the crossroads she was at. In order to take the part, she had to leave her job. “I was living the life I thought I should be happy with so when I had this great curve ball thrown at me, it was scary. I wouldn’t have left Global if there wasn’t something big to shake me up.” Like shooting three months opposite Robert Duvall and Thomas Haden Church.

“While on set for Broken Trail I realized that I had no idea about acting. Working with Duvall and Church was a great learning opportunity for me. It made me realize this is what I want to do, and I wanted to learn more.” So she packed everything that would fit into her car, drove to Vancouver and started studying the craft.

And with some great experience under her belt it didn’t take long before Olivia chose an agent and she was out auditioning. “My agent warned me it would be tough and I was like ‘yeah sure!’. I had no concept of script analysis, story, curve. My worst audition, well, one of them. I went in with that desperate actor stink, walking in way too thankful to be in the room and totally forgot my lines, five times. I fucked every single line up at the same spot. I kept short circuiting.”

So when did she switch on?
“When I realized I was the most toxic thing in my life. I was so negative. In a really really toxic kind of way where…I mean, I don’t think anyone wanted to be around me. I was just focussing on all the lack in my life. Acting is like unlearning a lot of shit that has conditioned you. It forces you to understand why you are the way you are. Painful, painful awareness and growth. I was so down on everything. Walking into every audition with the belief there was no way I was going to get the role.”

What triggered the change?
(She giggles) “Then I watched The Secret. And it just makes you mindful that the energy you give out to the world is what you’re going to get back. And that’s when it started to shift. When I decided to have fun, I started to book. I realized I was the only one holding myself back. I was the biggest thing in my own way.”

What does she do for prep?
“I always get someone to work on it with me. At the least, to run it Italian. I never used to work with anyone simply because it just didn’t occur to me…and those were the bad auditions. I learn the lines so much faster working with someone. I take every audition seriously even it’s the cheesiest shit I’ve ever read, because there’s always something in there to work on. I look for something in it that will make me want to work. Because that’s all you can do, give them your best performance.”

Keep an eye out for Olivia as she is set to play Asian-American author Iris Chang in an upcoming feature film docudrama about the Rape of Nanking.

Check out Olivia’s biography and demo reels including interviews with Kanye West, Sandra Oh and other celebs at www.OliviaCheng.com.

Spotlight on Brenda Matthews

Heidi Dorman — Mon, 03 Nov 2008 12:21:47 +0000

Originally published in the Vancouver Actor’s Guide February 2006 newsletter.

Brenda Matthews is not a typical grandmother. Whether she’s out on her Kawasaki motorbike or practicing her stunt training, one thing is for certain, this is a woman you are going to see much more of in years to come.

Many artists can relate to Brenda’s story. Life sometimes has a way of taking many of us away from our creative ambitions and steering us in a different direction. However, once the acting bug is in your blood, it seems impossible to stay away forever. This is true for Brenda.

Trained at Langara College’s Studio 58 in the 1970’s she worked in several local theatre companies including Vancouver’s Arts Club Theatre Company in its early days. As a single mom, she moved to Kelowna to raise her family where she was involved in community theatre for a short time, until the need to focus her energy on her young children trumped over pursuing acting opportunities.

Brenda never regretted her choice to be a mom for a second, but 4 and a half years ago with her children grown, she decided to reclaim her dreams by returning to the stage. Shortly after a starring role with Stage 43, Brenda got herself an agent and hasn’t looked back since.

In a very short time, she has built an enviable resume with stage, film and television credits. She is a character actor with a range that goes from corporate career woman to homeless person. Her grit and determination prove that she is not afraid of hard work and will do whatever it takes to find the truth in each character she tackles.

When asked what made her make the jump from full-time mom and part-time accountant to aspiring actor, not surprisingly, it had to do with the constant challenge that acting provides. “The most exciting thing about this artform is that you are a creator of a story,” says Brenda. “You are continuously growing.”

Brenda’s advice to actors just starting out: “When in a scene, whether on stage or in film, always be in the moment and listen, listen, listen to your partner. If you aren’t listening, you are not really present and there is nothing to drive the scene.”

Brenda Matthews doesn’t believe it’s ever too late to follow your dreams and live your passion. She is living proof that your life can be whatever you want it to be if you work hard enough and never stop reaching for the stars.

You can find out more about Brenda at www.brendamatthews.ca.

Spotlight on Sara Bynoe

Sarah Taylor — Mon, 03 Nov 2008 10:52:09 +0000

Originally published in the Vancouver Actor’s Guide January 2006 newsletter.

Like many people in Vancouver, Sara, is trying desperately to break into the performing arts scene and she knows that with perseverance she will find a way to do it all. She has found success to date in Theatre, Film, poetry and comedy. She says, “stick with what you enjoy doing because you never know where it will take you.” Here’s her story.

Born and raised in Alberta, Sara spent much of her life in Calgary. She graduated from the Theatre program at Mount Royal College in 2000, which gave her just a taste of what was yet to come. Following graduation, she performed in a few small projects including work for the Shakespeare company and numerous independent films. Throughout her program she decided that she would join the website phenomenon and create what was initially meant to be a data base but developed into a successful career. This is where www.teenangstpoetry.com was born!

Sara took the plunge and moved to Vancouver in 2001 to continue her studies in theatre at Studio 58, at Langara College. After hiring a Literary Agent, her side project rapidly became much more than that. Elizabeth Bewley, a publisher at the time for St Martins Press contacted her about turning her website into a book. This is where all of Sara’s hard work and perseverance came together. Teen Angst: A celebration of REALLY BAD poetry was released in April by St Martin’s Press only months after she graduated. Sara released her book in New York which started her book tour across the country. She jokes that she became a “media whore” because she had articles showcasing her book all over the country. That’s not all the success Sara has had.

For her final project at Studio 58 Sara wrote Sparkle Bunny: The Last Raver Dancing. This became a solo show which was a character study; a dying rave scene meets tragic clown piece. Sara took Sparkle Bunny: The Last Raver Dancing, to Calgary, Victoria and the Vancouver Fringe Festivals where it was very successful. Following the book launch Sara has subsequently been asked to perform as ,what she calls, “a real life poet” in the West Coast Poetry Festival and in Word on the Street.

Sara’s future plans are to adapt the story of “Sparkle Bunny”, into a short film. She is also currently working on a musical based on Teen Angst Poetry, as well as continuing to host Teen Angst Poetry Nights here in Vancouver. These nights must be a hit because she says “that I have recently come to know that this idea of a public mortification night has been gaining popularity for the past few years with several other groups around North America having similar nights, basically I am being copied.” As if she doesn’t have enough to keep her busy but Sara will also be going back to her hometown of Calgary in January to be part of the High Performance Rodeo, a group that have adapted her Teen Angst Poetry into a stage play.

Whether it’s people coping her poetry nights, adapting her website into books and plays or creating a short film out of a school project, Sara has surely found her niche in the Performing Arts World here in Vancouver. She hopes to inspire others to follow their dreams and goals and thanks VAG for keeping people connected as an up to date resource. She says that “going to the indie auditions is a great experience. You get to go through the learning process with others who are doing the same.” Keep your eyes and ears open for Sara Bynoe, I’m sure she will find much more success to come.