The lovely and talented Ms. Tiffany Mak was born in “Winterpeg”, Manitoba and moved to Vancouver in 1998. She achieved a degree in Criminology from Simon Fraser University and planned to pursue a career as a lawyer. Even though Criminology doesn’t seem to have anything in common with casting, she says it’s helped her a lot with the job and environment.

“You learn to be able to read people quickly, be analytical about everything and appreciate that nothing in life (or casting!) is black and white.”

Outside of Criminology, Tiffany’s had some pretty crazy life experiences – some she can’t reveal in writing! But she says the most challenging and rewarding life experiences happened when she allowed herself to be outside of her comfort zone and really tested her emotional and physical limits – some may think they were reckless decisions but she thinks of them as character?building adventures.

That’s as far as the fascinating Ms. Mak is willing to go with her history so on with the interview!

Why did you choose to go into casting and tell us a little about your journey so far.

I’ve always been obsessed with the film industry and actors in particular. I knew early on that I wouldn’t be a very good actor, but that I had an eye and an appreciation for good acting. I worked in a variety of other positions (production assistant, background actor, extras wrangler, sandwich getter) and continued to read books and scripts and create my dream casts in my head. (This was a tip given to me by Lauren Schuler?Donner when I was a production assistant, and she remains one of my producer idolsto this day, even though she probably doesn’t remember me!)

As luck and hard work would have it, I had the privilege of assisting for two of the top casting directors in Vancouver for a couple of years and it was during this time that I opted to stay in casting instead of going to law school. The journey so far has had a lot of ups and downs but I still think it’s the greatest job in the world – the downs make the ups that much more rewarding!

There is a bit of mystique about casting directors amongst new actors. Could you explain what exactly it is that a casting director does and how much of a role they play in an actor booking a role?

You can simplify a casting director’s job by saying we’re basically glorified HR directors! We’re the gatekeepers who showcase actors to directors and producers. A lot of my job is getting the best performances possible from the actors I consider and really sell the ones I believe in to the powers that be…ultimately the final say lies with the producers but a casting director can make or break who gets considered and who doesn’t. At the same time, I want everyone to have the best audition they can so I try to keep my audition room relaxed and comfortable.

What are some common mistakes that actors make in the audition room that could easily be avoided?

Actors shouldn’t come in unprepared – know your lines, the script and the tone of the project and make clear choices about the character – and appear confident and ready to roll! I think actors are sometimes too scared to make strong choices because they want to seem malleable but it comes off like they don’t have a solid understanding of the role. Also, always bring your headshot and resume! I don’t understand the actors who don’t. An audition is basically a job interview, and you wouldn’t go to a job interview without your business card and resume!

What are some of the more impressive things you have seen in a casting room in terms of choices actors make?

Actors who take a role and completely make it their own always stand out – we see so many actors for the same role, so someone who makes us feel like we’re seeing the character for the first time always jump to the top of the heap. I still view those old auditions from time to time. But it’s important to make choices that are still true to the character you’re playing! Don’t be different just for the sake of being different.

Do you have PET PEEVES?

People who say “for all intensive purposes” and “I would of/should of…”

In the audition room, people who make excuses, whether it be actors, directors, producers, my staff or myself.  Also, I had an actor ask once if he could take off his pants for an audition that had nothing to do with him being sans pants. What’s that about??

Who are some of your favourite actors?

I don’t want to name any Vancouver actors but there are certain performers I audition and book consistently on my projects because they always impress me with their talent and charisma, and they’re fun to work with in the audition room. My favourite Hollywood actors are Jeremy Renner, Kate Winslet and the cast of Breaking Bad. I’ll watch them in anything.

What challenges do you face in your work? Anything: from Actors to Director/Producer sessions or the scarcity of work from time to time.

There are a lot of challenges but the one I’m constantly faced with is trying to keep all parties happy – directors, producers, agents and actors. Even though the casting process requires a lot of actors to be considered and rejected, I hate hurting people’s feelings. And there are a lot of egos to deal with all around. No one has it easy and we’re all just trying to get the job done so I try to make it as painless as possible. And there’s constantly the fear of when I’ll be getting my next job. I’ve been very lucky this year, but who knows what next year will bring??

Where do you hope to go in your career?

I hope to continue casting projects that inspire and excite me, and discovering new talent. Writing and producing is in the back of my mind but I’ve yet to find a story that inspires me enough. If I spent the rest of my life casting amazing projects and discovering the next big thing (and traveling the world in my down time)… I’d be as a happy as a clam.

Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. Casting Director, Stuart Aikins on Directing Asymmetry
2. How To Have a Great Audition from Casting Director, Bernie Telsey
3. Casting Director, Candice Elzinga: How To Make A Good Impression

Last week we featured the spotlight interview with 12 year old actor Julia Stone who stared in the feature film, The Year Dolly Parton Was My Mom.  We are continuing the interview but now with Julia’s mother, Sue Chappel, about the reality of parenting a young film actor.

How did you feel about Julia getting into acting?

Sue - Julia was 9 years old when she stated that she wanted to be an actor. I say “stated” because she just walked up to me while I was making dinner and made her announcement, as if it was old, factual news that I’d heard 100 times before. A bag of emotions bombed my brain.

Surprise!  Julia is an incorrigible introvert. How could such a shy, quiet, thinking/observing kid who preferred books to TV, desire such a public, extroverted career?  How does an arts child come from a math genius and science nerd?

Scared! I was worried about her big heart being crushed before she really started living!  I was even more concerned that she would change who she was, to pursue something that seemed to contrary to her personality.

Panic!  She was serious. I felt the winds of change blowing on my face with each uttered word.  Supporting her meant overcoming my own misconceptions and fears. There’s also the hypocrisy of being a big supporter of the arts, but blocking my own child from creating it. Finally, I couldn’t make personal peace with the duplicity of telling a kid that they shouldn’t chase impractical dreams.

So, I did what most parents do when their 9 year old scares them witless with intense proclamations: I delayed the inevitable for as long as possible by blowing it in another direction.

I held her off for a year.  We made a pact. She was to spend 1 more unfettered year becoming “Julia”. She had 1 more year to experience real life before letting other complex characters in confusing adult situations temporarily take over her mind and body. She also had to do some research to understand what a demanding, lifelong journey it is to become a great artist. Finally, she also had to consider whether she was willing spend the time developing her skills and making some sacrifices, even if she never booked a single role. Without any reminders and almost 1 year to the day, she confirmed that she was ready and proved that she did her homework.

In September 2008, Julia got an agent and enrolled in her first professional acting class.  By December 2008, she was hooked and happy. She became very serious about it.  Another pact was made.

I work full time. In fact, I work more than full time because I own my own business, have 6 employees, nearly 1000 clients and an office. Time is precious to me. Skiving off work and shirking business responsibilities to support a half- hearted hobby wasn’t a realistic option. So, I agreed to support her in proportion to the effort she put in herself. For example, I won’t change my work schedule to take her to an audition unless she’s put in the work herself to prepare. I won’t take her to a class unless she’s prepared for it. And finally, nothing happens until homework is done and minimum grades in a handful of subjects are maintained.

And so began our incredible journey into this new, wonderful and mysterious world. Armed with determination, moxy and a big bag of ignorance, we set on our way. As things turned out, Julia puts in a lot of effort and my clever plan boomeranged right back on me. True to my word, I give my full support in very happy measure.

If you had any hesitation what was it and have the things that worried you happened?

I had 4 concerns:

1. She would change who she was.
2. Constant rejection would crush her self esteem.
3. She would de-prioritize school.
4. She would stop pursuing and exploring other interests or having a balanced and diversified life.

None of these things happened. This is partly because she had a grounded sense of who she was before exploring and pursuing acting. In addition, when she became more deeply immersed in the art, we became more proactive in actively mitigating our concerns. Finally, and most importantly, we soon discovered that the film community is packed with extraordinary, powerful and positive role models for kids. Acting is a big positive force in Julia’s life. Irrespective of whether she’s among the fortunate few to make it a career, it has given her vital life skills, tools and the self discipline to succeed in whatever she pursues.

What kind of relationship do you have with Julia’s agent?

Our relationship is fantastic because we share common goals, concerns, and values. He’s supportive of Julia. He has a long term view. They share the same key ideals and artistic vision.

Every agent is different. Every kid is unique. It’s important to find an agent that’s well-suited to your child, their interests and personal goals. It’s also crucial that your agent respect the non-negotiable things. For Julia, it’s school. He also recognizes and supports Julia’s desire to explore the craft by volunteering herself for rich and challenging roles with local, emerging film makers.

Are you in any way a Mom-ager!?

My most important job is to be Julia’s mom. That comes first. I’m extremely time-crunched, so when it comes to acting, I delegate as much as possible. That’s why Julia’s agent is vital to our family. Also important are classes and the instructors she works with. They give advice and guidance. I depend on them for their experience and wisdom, and trust them.

Specifically, here’s what I do:

• Ask questions – everything except “Why aren’t there more auditions?”
• Review incoming auditions
• Scheduling ….& rescheduling!
• Research and book classes and workshops
• Research independent, volunteer role opportunities & do self-submissions.
• Maintain resumes, casting accounts (Casting Workbook, etc.) and web sites (IMDB, Facebook page). It’s faster than going back and forth with someone.
• Organize audition coaching and taping
• Drive!
• Administration and bookkeeping
• Discuss characters and scenes – but actual scene work is between Julia and a pro coach, (unless I’m her last resort.)

How have you had to change your life to make her dream happen?

I don’t make her dream happen. She does.

I can’t do the work for her. I can only help her create the time to get the work done, explore opportunities to learn and grow, and support her when things look grim. But, in the end, it’s up to her to make her dream happen and carry the load.

Having said that, our family life has changed quite a bit!

Here are some examples:

• Nothing is planned far in advance – many things have become last minute only.
• I start work a lot earlier and usually work late in to the evenings to make up for time away for acting-related things.
• I’ve become seriously mobile and adaptable. I can work from any location – including cars, cramped corners, trailers, tents, etc! My only needs have become warmth, hot water for coffee and a strong wifii signal!
• I’ve delegated a lot more responsibility to my amazing staff. I couldn’t support Julia without their support.
• I’ve stopped sweating the small, mind numbing and time-eating stuff in life.
• I’ve weaned myself away as much as possible from the comforting concept of a daily routine. I’ve accepted that it no longer exists for me or our family!
• I schedule meetings and time commitments with the upfront disclosed caveat that I may have to cancel due to family commitments. I used to be dependable. Now I am dependable with full disclosure of the risks.

Above all, the realities of the film industry have given me a great gift. They’ve forced me to live in, and appreciate, the joy of the moment. I rarely know what’s coming in the next one, so I really savour the present, the people and perfection of what’s in front of me. If it sucks, I exit to a better place.

Advance plans and schedules are reserved only for a very small number of truly important things

What can you tell parents to help them in their journey guiding young actors?

• Kids should only pursue acting if they love it and as if they’ll never book a paid role.
• Focus on the craft and art above all else. All good things like joy and fun, flow from there. One day, they may get paid for it. But that shouldn’t matter at this point.
• Know your real life priorities and preserve them. Instill them in your kids. Actors must live a full, diverse and authentic life. Acting is pretend. There’s no substitute for the real thing to fuel the authenticity of your pretending.
• Be realistic – there are no shortcuts. It takes 10,000 hours to be really good at anything. The 10,000 hour plan includes classes, volunteering for roles, being an extra, and any skill that helps them physically express a character. This could include voice and movement skills, like dance and martial arts.  It also includes understanding why people are they way they are, and why they do the things they do. Reading amazing books is a tunnel into a character’s mind – so encourage your kids to read a lot.
• There are no shortcuts. They must do the work and it takes a lot of time.
• Work and time don’t guarantee success.  And, since there are no guarantees of success, it’s important to do really, really well in school. It’s how they can get in to competitive, related film making, writing and digital technology programs later in life.
• They’ll write as they read and act as they read and watch. Pay a little more attention to what they’re watching and reading. Monkey see, monkey do.
• Give back to the film community, emerging writers and filmmakers in any way you can.
• Support local productions by seeing them in the theatres and renting them. Choose Canadian. Their success and growth are essential to a vibrant industry and employment. Learn more about what’s filming and showing at www.firstweekendclub.ca.
• When on set, tell your child where you are and make sure it’s out of their view while they’re working. You’re goal is to be present, but invisible and out of the way!
• There’s lots of waiting around for everyone while on set. Bring things to do while you’re waiting.
• Have and develop your own life, relationships and goals. Remember, your first job is to be their parent and role model.

How do you see the future for you and Julia?

Lots of skiing, movie watching, cooking, reading, learning and having fun working hard on our own respective goals that make our hearts beat just a little faster!  If Julia is lucky & keeps growing as an actor, toss in some film projects, meet some more fabulous people and travel to interesting places!

It goes without saying that acting classes are a de facto part of whatever is left of the daily or weekly routine. Expect Julia to be lurking around in pretty much every class opportunity she can find for the rest of her life.

We’re really close, so whatever Julia does and wherever she is, we’ll be close by cheering her on and helping out however we can. I’ll be the one waving from behind the computer screen with a big mug of steaming coffee.

———————
Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. Spotlight Interview: 12 year old actor, Julia Stone
2. Spotlight Interview with Casting Director, Tiffany Mak

Recently I interviewed Julia Stone and her mum, Sue Chappel about each of their journeys in the process. Julia is a student I began coaching a few years ago just before she booked her first job the much acclaimed feature, The Year Dolly Parton Was My Mom. Julia is much lauded for her work in this film and was called “remarkable” by Ken Eisner of The Georgia Straight. Not bad for a 12 year old in her first work!

Since then Julia has had non-stop success booking leads in features and series. Her parents have been an integral part of her career. Her dad (Wayne) has been left to hold down the fort while Julia and her mother have spent the last year traipsing around making movies in the bustling and glamorous film communities of Winnipeg and Moose Jaw.

How old were you when you knew you wanted to be an actor?

Julia – I think always. I have always loved stories whether they’re in books, movies or plays. Ever since I can remember, whenever I read or watched something, it was like I was in it feeling and going through what all the characters were experiencing, not just watching as an observer.  Then, when I was about 9, it finally came to me that instead of just watching, maybe, I could actually be an actor for real. It took a lot of persuading my mom (about a year), but when she was convinced I was ready to do this, she helped me get an agent.  From there, I started taking as many classes as I could, and getting as much experience as possible.  

Your parents have been incredibly supportive – what have they had to do to help you?

I’m really grateful that I have such amazing, supportive parents. I think that they see that this is what I really want to do, and that it gives me joy.  The most important thing my parents have done is to be realistic with me about everything.  They don’t sugar anything up and they put the work and outcome in my hands.  They taught me that people can achieve nearly anything they put their mind to, but that it also takes a lot of commitment, work and time. You have to believe in your dream, but you also have to commit to it and work at it.  They’re also strict about school and life balance – so they’ve helped me learn the value of time, fulfilling responsibilities and having a lot of fun along the way. They’re there for me no matter what and are always making sure that I’m still really happy and balanced in life.

What was your first audition?

My first audition was for Crowley. I remember when I went in I had no idea what it was going to be like and I was incredibly nervous! The whole thing went in a blur. That was what really motivated me to take classes; I wanted to be more confident and know what I was doing so that I would be fully prepared for the next one. It was about one year and continuous classes later before I booked anything. I still take lots of acting classes – there’s always room for improvement.

Do you remember your first booking?

The first project I booked was a student film for the Arts Institute called Hopscotch.  It was exactly one year after I started classes.  I was much more confident and prepared than I was in my first audition, because of the classes I had taken. I knew what to expect, and in the audition, I just had fun! When I booked it, I was really excited, and I’m really grateful that they took a chance on such an inexperienced actor.

What has your experience been like on set?

So far, I have only had great experiences on set. I really love how it feels to be part of a project that everyone’s working so hard on and cares so much about. It’s such a group effort and I think that a real bond forms between everyone on the cast and crew.  There was one morning on the set of The Year Dolly Parton was my Mom when it was really important to shoot the sunrise. So, early in the morning, we traveled across the prairies to base camp where we found that, as a result of the rain the night before, the trailers had sunken into the mud and the power was out! It was still really dark out, so makeup and hair was done in the headlights of a truck!

Tell us a little about what goes on in a day on set?

When I arrive, I report to the Assistant Director (AD). Then I get into wardrobe and head over to make-up and hair. Within a short time, the ADs take us over to blocking our first scene and things go on from there until lunch time. You can never really know what to expect on set because every project is so different and the cast and crew are always very different. I love being introduced to a new project and team and getting the hang of each different set. At wrap time, I sign out and head home!

Read our follow-up interview with Julia’s mom, Sue, as we find out what it’s really like to be a parent of a busy young actor.

———————
Kirsten Clarkson is the Founder and Senior Education Advisor at Young Screen Actors Academy. For over 20 years, she has been coaching Vancouver’s top young actors who have book everything from actor to leading roles on films and TV shows. Kirsten has experience as an actor, writer, director, development executive, casting director and talent agent.

Related posts:

1. Spotlight Interview: Mother of young actor, Julia Stone
2. Spotlight Interview with Casting Director, Tiffany Mak

Pam Bentley is a writer/producer hailing us from many places including Louisiana, Ottawa and New Mexico.  I was delighted to have the chance to sit down and discuss her view on the acting world, making movies and overall telling a story.

Meeshelle: So, Pam, tell us a bit about yourself and what brought you to Vancouver.

Pam: Well, I have had lots of experience with story, in many different forms: teaching high school drama & English, teaching college literature and composition, helping other people tell their stories, writing, narrative poetry, writing novella- I just finished a draft of a novella and then, you know, writing scripts – it’s all about story right?

I came to Vancouver to kind of start another phase of my life where I’d stopped teaching and I wanted to do my stories instead of teaching or helping other people do their stories.  But what’s been good about that is, working with film you work with a whole team of people and of course you all work together.  So as a producer I get to help them make it happen.

M: During a conversation we had a while ago you mentioned auditioning a group of dogs and how you wish actors could have seen that.  Can you elaborate?

Pam: I had put up a description onto Craigslist of the five dogs that we needed and I was describing a look and an attitude.  So, I’m looking through these e-mails and these pictures and going, “That’s a great dog, but it’s not anywhere near what I described or what I’m looking for,” and I thought, “This must be what it’s like (when looking) for actors,” but for actors it’s harder to not take it personally because actors go to auditions and then they think that it’s because they can’t act but it might not be that at all.  It might just be that you’re not right for what somebody who has the most power on the decision-making team has envisioned for that part.

So, in that light I thought it might be very good because I know it can be ego bashing for actors to go to auditions but it just made me realize that oftentimes it’s nothing you have any control over.

M: What about when you were looking for voice-over actors?  How was that?

Pam: Well, that… (she laughs) the voice over actors were more just who was available to do it.  We asked people who we knew had a great attitude.  We knew people who were experienced voice actors but there was this one person we got because he was an experienced voice actor and he also does sound work and he had to cancel on us the day before.  So we ended up getting the roommate of somebody who Tara (the director) knew and he was awesome.

M: What has been the hardest part of being a producer?

Pam: I enjoy the parts where I get to put together the team.  I really enjoy the parts where I’m problem solving.  The parts that are tough or the parts where I go, “Oh no I’ve put myself in a role that separates me out and takes me out of the fun,” or when you have to say some version of, “the clock is ticking and the money drawer is open.  Let’s go here.”

I want to be part of the process and because I’m a writer as well, it’s really thrilling for me to see the work come to life. I know each of the people on the team in varying degrees and don’t want to squash or limit or take away from what they’re doing but as the producer I’ve got to say, “We’ve got another hour and, this has to be done today, so if you want that shot, you gotta move it.”  And sometimes people get a little annoyed and that was the hardest part… that and the reaction to me playing that role… because, I would love to just let it go.

M: What’s the biggest challenge to you as a writer?

Pam: I love seeing my work come to life but then when you hear something and it’s not working or it really sucks, like something that you didn’t notice until you hear it in the actors’ voices and it’s too late to change.  That’s hard.

Knowing that it might never be made.  Something you’re writing might not ever be made because you don’t have access to the power to make it happen.

M: I can see how that would be especially difficult.  From a producer/writer standpoint, what are you looking for when an actor auditions?

Pam: Well, the look and attitude of the character.  So, they’re close enough to it that they can do it naturally or it’s just easy for them.   I want them to be interested in the project.  I want them to have read the script and I want them to have thought about the character and I know that that’s not industry standard (to have read the script), and I know that not everyone is going to be as passionate about it as the person whose project it is but I want to know that that person somewhat ‘gets’ what you’re trying to do and at least has some passion for it.  Because otherwise perhaps they would be better off working on something that they do have passion for and we would be better off with someone who gets what we’re doing and delights in it as well.

M: What can they bring to the role or to set?

Pam: I think that they need to be willing to have fun.  That’s huge for me.  I think the creative process is fun and you have to be willing to have fun.  And, I want to hear their ideas.  I want them to be open to collaboration.

M: How would you respond if an actor feels they’ve blown the audition and asks to go again?

Pam: It depends on how they ask.  I would let them do it and see what they bring the second time.  The more money you have the less personality matters but when you’re working on small budget stuff, it’s all about who you are and the attitude you’ll bring to set.  Aim to be gracious, always.

M: Do you ever go elsewhere to find talent?

Pam: I go to the cold reading series and am blown away by the talent there.  I would like to see more diversity on television (and in general).  That’s why I like British TV. People look like people.  I mean, I wrote a script in the hopes that we would cast fuller figured women but I have some sadness around the thought that if it gets picked up they’ll change the women to a size zero.  Beauty is so much more varied than that.

I have a friend who says that if he’s watching a show and all the characters look too similar, within the first five minutes he’ll change the channel.  I love that.  He just, changes the channel.

M: Nice.  So, let’s go back to the writing aspect.  Your latest project was co-written.  How was that for you?

Pam: I love co-writing, particularly if you have a co-writer who is good at the things that you might not be so good at.  So one of my things is actually getting the draft down but once I’ve started on it, it gets some momentum but my co-writer is good at just getting things down.  I guess it’s that kind of tyranny of the blank page.

I also think a lot when I talk, so with co-writing you can talk through ideas and in comedy in particular you can riff off each other and the jokes come a lot faster and I think they are a lot funnier that way.

M: What sort of advice do you have for actors in general?

Pam: I don’t know… that’s a tough one.  I don’t know if I’m qualified to give advice.  I’m old enough to know that I’m wise enough to not know.  (both laugh)

M: What did you used to tell your acting students?

Pam: When I was teaching high-school drama my background wasn’t actually theatre.  I had a Masters degree in English and I got into teaching drama because I was teaching at a small school and they needed a drama teacher and I was willing to try, so I learned a lot as I was teaching.  That’s why I hesitate.

When I taught high-school drama it was more about the drama rather than theatre because I think high school drama is more for the kids to become comfortable in their own skin and whether they become actors or not, because there’s probably one out of 1000 who do go on.

There were a lot of kids who are told directly to their face that they are stupid or what-not so then as a composition teacher you help them find their voice, right?  And when you teach high school drama you help kids find their voice, whether or not they use it for acting.

It’s all about story and voice.

Through helping people become more comfortable in their own skin I learned to do it myself too.  ‘Cause I was only 27 when I started.  I wasn’t comfortable in my own skin yet.

So maybe it’s that.  Be comfortable in your own skin.  Don’t take it so personally. 

M: It’s a hard thing to do.  Intellectually we might know but when all you hear is “no no no” and get that constant rejection, it’s hard not to take it personally.  So, that’s what made me want to interview you.

Pam: Ok, so here’s another example, you might not use this but think about the rejection in a romantic sense.  You go to a bar and don’t want to approach anyone because you don’t want to get rejected or whatever but… you have no idea why they might be saying no to you.  Maybe you look like their mother.  Maybe your voice sounds like the teacher they hated in high school.  Maybe they’re coming down with the flu.  You know?  But… what do we do to ourselves?

M: Exactly.  Well Pam, thank you for letting me interview you.  Do you have any parting words?  Anything we haven’t covered?

Pam: Yes.  Trust your director.  The producer and director have probably had a lot of talks about what they’re looking for.  The director does not work in a vacuum and there are a lot of producer/writers out there.  And have fun.

Pam’s words about wanting more diversity made me think about ‘reality’ television.  Perhaps that is why we are drawn to these shows that are often extremely far from ‘reality,’ but tend to have people of varying weight, height, colour and background.  As much as I hate to say it, in that way reality t.v. shows give us the diversity we so crave.

Episode 1 of  The Dogumentary

No related posts.

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.

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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.

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.

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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

Related posts:

1. The Secrets to Getting An Agent | Parents Guide for Child Actors
2. The Secrets to Getting An Agent, Part 2 | Parents Guide for Child Actors Series
3. Business of Voice-Over with Michael Daingerfield

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

Related posts:

1. One on One with Michael Bean
2. There’s No Business Like Your Business
3. 3 Business Basics As An Actor

Originally posted on Vancouver Actor’s Guide. -Revised on April 2011-

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 commercial workshop at the Young Screen Actors Academy.

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.

Related posts:

1. 1 on 1 with Talent Agent, Dylan Maher – Part One
2. 1 on 1 with Talent Agent, Dylan Maher – Part Four
3. 1 on 1 with Talent Agent, Dylan Maher – Part Three

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

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