Megan Followsspeaks with Ann-Marie MacDonald

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INSIDE:Set survival p. 4 • Animated voices in Toronto p. 12

Meet our Credit Union's CEO p. 16

Ladies and gentlemen,Consider your magazine. Written for, about and UmostlyV byACTRA Toronto performers, Performers Magazine is allabout YOU!

Check out the stories. Read the feature interview withMegan Follows by Ann-Marie MacDonald. MeetSteven Mumford, the CEO of our soon-to-be-launchedcredit union and get a peek at a future in which we get afinancial institution that understands us. Follow CarolineHay as she shines a spotlight on the incredible talent in theToronto voice community working in animation. Get readyto work with our editorChrisOwens who talks to our col-leagues and shares their worthwhile tips on Surviving OnSet. Find out about some of the public policy issues thatconcern performers and the action we can take to get ourmessage through to the lawmakers. And then take amoment to reflect on the passing of a Canadian icon asSusan Coyne, Martha Henry, Tom McCamus,Michael Therriault and Peter Donaldson invite us topause and rememberWilliamHutt.And, while youRre sampling this smorgasbord of news aboutour business, consider the work being done behind thescenes by your fellow members who have taken time awayfrom their own careers and personal lives and are taking aturn at ACTRA, working for all of us. I mean your ACTRAToronto Councillors. Not just the current bunch, althoughI think they did a pretty good job managing our first strikeand launching a credit union! I mean all of the ACTRAToronto members, past, present and future who step up anddo the work that always needs to be done to protect us onthe job and fight for more work opportunities. And whenyouRve reflected on all the good things that your union does,consider this, itRs election time again at ACTRA Toronto.

Soon youRll be getting your council election package. Askyourself when you read the candidatesR statements if youknow as much as you should to make a good decision aboutwhere the union should go. If you have questions, visit theACTRA Toronto website atwww.actratoronto.com andget up to speed on what your unionRs been doing on yourbehalf and on what it plans to do. Then ask yourself who isbest qualified to represent you for the next two years.Choose wisely. We all have to live with the decisions wemake on election day. ThatRs what our union democracy isall about.

What are the qualities that make an effective ACTRAToronto Councillor? HereRs my two centsR worth.

Councillors need to be fast learners. From the nuances ofthe contract to the complexities of public policy, there is awealth of detail that needs to be understood if council is tomake good decisions.

Councillors need to be clear thinkers who can digest all thisinformation and find their way to the right decision.Weighing the unionRs history, staff Rs recommendations,other councillorsR input, membersR comments and your owngut feelings can be a challenge, especially when the stakesare high and the choices few.

Councillors need to be good listeners. This involves check-ing oneRs ego and assumptions at the door, staying open toother points of view, weighing alternatives and decidingwhere the greatest good lies.

Above all, ACTRA Toronto Councillors need to be teamplayers with a desire to serve the whole membership.Taking your turn on council and doing your best for themembers gives you the right to expect the same from everycouncillor that follows you.

Pick up the torch, hold it high and then pass it on. Thatway, it keeps giving light to everyone.

In solidarity,

Karl PrunerPresidentACTRAToronto Performers

2 ACTR A TORONTO PER FORMER S

SHEDDING LIGHT ONCOUNCIL ELECTION DAY

Karl Pruner and ACTRA members marchingin the Labour Day Parade.

(L-R: Diane Gordon, Karl Pruner, Joanna Bennett,and Lyn Mason Green)

Photo: Kim Hume

PerformersThe magazine from ACTRA TorontoFall 2007 * Volume 16 * Issue 3

PUBLISHERLyn Mason Greenlmgreen@council.actratoronto.com

EDITORChris Owenseditor@actratoronto.com

EDITORIALCOMMITTEEHeather Allin, Lyn Mason Green, Kim Hume, Jani Lauzon, Dan Mackenzie, ChrisOwens, Karl Pruner, Brian Topp

DESIGN and LAYOUTErick Quercicreativeprocess@sympatico.ca

ADVERTISING SALESKaren Cowitzkcowitz@rocketmail.com 416-461-4627

CONTRIBUTORSCayle CherninJoy CorionSusan CoynePeter DonaldsonIndra EscobarChris FaulknerDavid GaleJag GunduCarolyn HayKim HumeLyn Mason GreenMartha HenryNorm MacAskillAnn-Marie MacDonaldDan MackenzieTom McCamusFreda Merritt-GambrillSteve MumfordChris OwensKarl PrunerLarry RobertsonAustin SchatzMichael TherriaultBrian ToppEda Zimler

PLEASEADDRESS EDITORIALCORRESPONDENCETO:Performers Magazinec/o ACTRA Toronto Performers625 Church Street, Suite 200Toronto, ON M4Y 2G1Fax: U416V 928-2852editor@actratoronto.com

JOINTHETEAMIf youRre an ACTRA Toronto member or apprentice and want to write an article,contribute original artwork or photos, weRd love to hear from you. Send an email toeditor@actratoronto.com.

Printed in Canada by union labour at Thistle Printing.

THENEXTCOPYDEADLINE ISJanuary 2, 2008The magazine invites members to submit notices of births, marriages, obituaritesand letters to the editor. Article submissions must be sent via email Ueditor@actra-toronto.comV. We reserve the right to edit or omit any material for length, style,content or possible legal ramifications.

Performers Magazine is published three times a year by ACTRA Toronto Performers.The views expressed in unsolicited and solicited articles are notnecessarily the views of ACTRA Toronto Performers, its council or this committee.

Publications Mail Agreement number 40069134ISSN 1911-4974

www.actratoronto.com

On the cover:Megan Followsphotographed byJag Gundu.

Contents2 President’s Message

4 Surviving on Set by Chris Owens

8 An Interview with Megan Followsby Ann-Marie MacDonald

12 Animated Voices by Carolyn Hay

16 Meet our Credit Union’s CEO by Austin Schatz

19 ACTRA Toronto’s Members Conferences

22 Stewards at Work

23 Political Action

24 Members’ News

28 Who’s Who

29 In Memorium

30 Announcements • New Members

FALL 20 07 3

Megan Follows photographed by Jag Gundu.

4 ACTR A TORONTO PER FORMER S

How to deal with the trials and tribulations of life on the set

by Chris Owens

ON SET

Photo courtesy of Torstar Syndication Services. Photo: Peter Power

YouRve landed a job! Excellent. Congratulations. So, youtake some time off from the restaurant and prepare yourselfaccordingly. You study the script, you learn your lines, andyou breathe life into your part. And now you go to work.But how do you cope with being on set, the long hours, thedistractions, the downtime, the cast and crew and the craftservice table?

Here are a few thoughts on the subject, interspersed withobservations from a handful of wonderful actors I spokewith over countless cups of coffee.

The first time I had a lead in a television show I wanted todo everything I could to stay focused. I took out a room atthe YMCA, I wandered the streets in character and Ialways wore part of my costume, which in retrospect musthave given the wardrobe department fits.

When I arrived on set on day one, I was ready to work. Thescene I was going to shoot was a heated argument betweenmy mother and me. IRd prepared myself. I was upset. I wasangry. It was six a.m.

By the time we actually got to my scene, some five hourslater, I was absolutely exhausted. Maintaining my fightingattitude had zapped me of all my strength. How did actorsdo this, I wondered? There must be another way. I had tofigure out how to be ready when the time was right.

Now when I arrive on set, I check the call sheet to makesure I know the order of the scenes to be shot that day andI give myself enough time to prepare, depending on thedemands of the scene. I like to socialize with other actorsand the crew but sometimes IRll take advantage of down-time to rest or read or study my lines.

It can be physically challenging to be on a set, whetheryouRre on location or in the studio. I once played a two-headed creature and spent seven hours in a single make-upsession, having prosthetics applied to my face and over oneeye. The other eye was fit with a darkened, over-size con-tact lens. I then waited another three hours to shoot myscene and when the director finally saw me his first wordswere: OCan you dance?P

For that shoot I had to conserve my energy and rest when-ever I could. I meditated. I drank plenty of fluids. Ibefriended the ADs and PAs. And to pass the time andkeep me in the right head space I read Mary ShelleyRsFrankenstein.

Everyone on set has a job to do. Ultimately, itRs your respon-sibility to be ready when needed. Use your time wisely.

Ever show up on set and discover that the scene is going toplay out in an entirely different way than youRd envisioned?For me that would pretty much be every time I work. IRmalways surprised. The location, the way itRs being shot, eventhe props IRm using. In the beginning, this had a tendencyto throw me off. Eventually, I embraced the idea that I mustprepare myself and at the same time be willing to adapt.

?I donBt think you can go on set with a preconceived notion of whatBsgoing to happen, I really donBt. It has been my experience that some-thing always changes.@ - PhillipMacKenzie

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?One day IBm running around with my Delta Forcegun chasing a CGI monster and the next, IBve gotan expositional speech filled with scientific dataand tongue twisters.@

What about last minute rewrites? I worked on a TV showduring the summer and while I was sitting in the make-upchair one of the writers was busy dictating major changes tothe next scene I was about to shoot. What I do at thispoint, after calming my initial panic, is to find a quiet spoton set or in my trailer and get to work learning the new dia-logue. Sometimes, IRll enlist the help of another actor. I alsopractice cold reads between jobs to keep my muscles sharp.

?WeBre Canadians so we never say, AHey can I have some quiet timeI need to work!B But you also donBt need to panic because youBre goingto get to set and theyBre going to run it three times before you shootit and theyBre not going to shoot it in one piece, generally speaking.The director knows the lines are new and theyBre pretty good aboutit. DonBt lose your head.@ - Carlos DiazSometimes, oddly enough, last minute changes can have theopposite effect. Instead of making you panic, you might feelliberated. Under the circumstances, you have little choicebut to Qboldly go where no one has gone before.R

?On Sixth Grade Alien they would give me monologues at the lastminute because I had a reputation for being able to do them. ItBs aweird kind of freedom because you canBt expect it to be all genius.Then it turns out great because you donBt have time to worry. Iactually donBt mind it.@ - Gina ClaytonA set is a world unto itself. News travels fast. I tend to steerclear of whiners because that kind of negative energy has atendency to come back and bite you in the behind. The lastthing I want to hear is some actor complaining about hisearly pick-up time when the driver has been on the clockfor three hours already. Of course legitimate problems canalways be addressed to the ACTRA Steward. I tend tothink of everyone on set as a team. We work together andsometimes youRre called on to tough it out.

One day IRm running around with my Delta Force gun chas-ing a CGI monster and the next, IRve got an expositionalspeech filled with scientific data and tongue twisters. Youcan bet that IRm going to be a little different on set each day.The first day IRm likely to hang out and chat with everyoneand the next day, I might pull that back a bit and allowmyself to concentrate.

?EverythingBs about the work, so youBve got to take that into consid-eration first. If you feel like joking around will help the scene, Ithink thatBs fine. But sometimes, isolating yourself and conservingyour energy could be fine as well. When all is said and done, the lastthing thatBs going to be seen is what comes up on that screen andthatBs your work. You have to protect it, you have to guard it.@- Billy OtisEvery set has a different feel to it. You might find yourselfworking in an exotic location or you might find yourselfworking in a familiar studio space. If IRm working on a fea-ture, or a series, or as a day player, this might have some ini-tial effect my comfort level. I try to recognize that and geton with the business at hand.

?There is a hierarchy you must acknowledge on set and it shiftsaround. One day youBre the focus and other days, youBre supportingsomeone else. YouBve still got to do your work.@ - TomMelissis

6 ACTR A TORONTO PER FORMER S

?The First Commandment is beready to do the job. I check with theADBs to see how much time I have.ItBs up to you to pace yourself.Whenthey call on you, youBve got to beready. YouBve got to find out whatworks best for you. It requires akind of mental toughness.@- TomMelissis

?ItBs all about the craft. You know,craft services. DonBt eat all thecandies when they bringBem out.Skip a tray now and then. ItBs allabout discipline.@ - Carlos Diaz

?WeBre paid to be available.AActionB is galvanizing.It gets the adrenalin flowing.@- Gina Clayton

Each actor I spoke with told me that they make a point ofcommunicating with the ADs when theyRre on set. If they stepout for whatever reason, they always let somebody know. AnAD can give you a heads up on how much time you might havebetween shots or wardrobe changes. This is valuable informa-tion! Treat them with respect and you will find they are veryhelpful.

More often than not, the order of scenes to be shot is dictat-ed by location. I did an episodic series last year where essen-tially all of my dialogue took place in two rooms. We shot allof those scenes in one day. The other three days were just shotsof me getting in and out of cars and running down alleyways.Learn your lines!

Surviving on set is a bit of a balancing act. YouRve got to be pre-pared but flexible, youRre the centre of attention on QactionR butother times youRre just in the way. YouRve got to focus on yourtask but acknowledge that you are just one part of a largercommunity.

I always find that this helps me: remember why you are there.A set can be exciting and distracting. It can be a ton of fun andit can be tedious. Through all this, youRve got a job to do andwhen it all comes together, it can be one heck of an exhilarat-ing experience.

I want to thank all the actors for their thoughts. IRm sure tocome down from the coffee by the time my next gig rollsaround.

Break a leg!

Chris Owens is editor of PerformersMagazine. His recent credits include TheIncredible Hulk and George WalkerRs TheWeight. He plays hockey in Toronto.

FALL 20 07 7

?Being an actor can be a lonelybusiness, so itBs something to celebrate,being on set, working together.@- Agi Gallus

?The hardest thing is sustainingyour energy. ItBs physically tiring tobe on set. ThereBs a kind of pressurethatBs always there saying AyouBreabout to go onB and itBs exhausting.Then to have that sense of play atthree in the morning is difficult.@- PhillipMacKenzie

?If you need a nap, take it. Get yourrest. If you need some energy, what-ever, maybe itBs time for honey land.Pace yourself. You want to be at yourbest to give your best.@ - Billy Otis

?ItBs a privilege to be on set.You want to enjoy it and get themost out of the experience.@- Priya Rao

8 ACTR A TORONTO PER FORMER S

MeganFollowsAnn-Marie MacDonald talks with Megan Follows about her extraordinary cross border life on stage and screen aftertheir successful Toronto run together in Caryl Churchill’s Top Girls at Soulpepper Theatre.

AMM:What motivated you to become an actor?MF: Growing up around actors. Both of my parents were workingall the time when I was growing up. One of the greatest gifts myparents gave us was an absolute love and passion for what they did,their passion for the world. ThatRs very attractive, so I donRt thinkit was ever a choice for me. Mom was actually at Stratford, doingAnthony and Cleopatra I think, when she was eight months pregnantwith me.

AMM: So when did you start working?MF: I was nine. My first professional job, playing momRs TV kid ina Bell Canada commercial. But I was doing stuff at school, so I wasdefinitely a Qlook at me, woo-hoo, over hereR kind of kid.

AMM: How did you make the transition into an adult career, or was itseamless?MF: Some of it I feel is luck. But I always really wanted to be anactor. It wasnRt about being a kid in a candy store and not on a filmset. Whoa, oh, no, no, no! There was too much at stake, time, pres-sure, too many people waiting. But I just loved the work time.

AMM: So has growing up in a theatrical family taught you somethingabout how to balance your own career with being a parent?MF: ThatRs a hard one to do in this business. And I only have twokids. My parents had four! When IRm working a lot and IRm away,IRm totally away and thatRs very difficult. But when IRm not, IRmcompletely there with them. Sometimes I feel that I have the bestof both worlds, so I feel pretty lucky.

FALL 20 07 9

?We need to tell our storiesbecause theyBre ours and

no one elseBs.They have incredible value.@

- Megan Follows

Megan FollowsPhoto: Jag Gundu

AMM: You get up at 6 a.m. and youBre involved in the day with a family, then you go torehearsal and then do another show at night. How do you cope?MF: ULaughterV IRm a big believer in naps. I canRt do it without earplugs nowthough. IRve become a light sleeper. I think that is a parental thing.

AMM: You are a leading lady, a magnificent actor, so a busy day is not unusual for you.MF:No. But thatRs what my parents did. The trickier part is balancing the fam-ily part with the actorRs rush of adrenaline. Actors are sort of emotional athletes.ItRs a lot of wear and tear, an emotional war zone. But you canRt take that home.The winding down used to be the cast drink at the bar after the show. Now itRsabout getting on my bike, having to move my body. It is like warming down,stretching out.

AMM: Well, you do a lot of theatre but you also continue to do a lot of television andfilm. WhatBs your first love? WhatBs your abiding love?MF: I think my abiding love is a great character, and for me, that happened firstin film and television. It was not in a theatre. I was thinking of Boys and Girls, anAlice Munro short story. It won an Academy Award® for Best Short Drama.

AMM: So youBve always been comfortable in front of the camera?MF: I have been. Yeah.

AMM:Where is your sense of the audience when you are on camera?MF: I sort of think of the camera as the partner, or the other character in theroom. I think of it as a being.

AMM: But you can hear a live audience breathing, or unwrapping a candy, clap-ping, laughing.MF: ItRs true. You ride the wave of an audience in theatre so thatRs where thereRsa totally different technique. You sort of vaguely see shapes, almost as cells ofyour being, that each person there is a part of you. So, I think of them as a con-nection. TheyRre part of the show.

AMM: There are a lot of actors who are very powerful on stage and do not have thatrelationship with a camera.MF: ThatRs interesting isnRt it? A camera seems to seek out certain people, willlike certain people. There are actors who are fantastic on stage but the cameramay not like them T which is not about their acting or their talent. More like achemistry… But thatRs very different from what you have to do in front of anaudience.

AMM: It seems to be the counterpart to stage presence. There are some people who walkout on stage and they shine before theyBve said anything, itBs almost mercurial. That alsotakes a different craft, knowing how to be on stage… but I think itBs about energy.MF: I do too.

AMM: So L.A., how long have you been living there?MF: I first went down when I was 14. So L.A. is really more than half my life.It took me a long time to feel like it was a partial home, but TorontoRs reallyhome.

AMM:Why? How are they different for you?MF: In L.A., I wanted something from L.A. ItRs a hardcore business town.EveryoneRs waiting for… the next someone. Maybe two years earlier, no onewould give the time of day, but all of a sudden that same person, that same qual-ity, is now marketable or recognized and itRs Uexplosive soundsV. Now, I have tosay that I think all that same machinery is alive and well in CanadaRs industry.ItRs just, perhaps thereRs a different T

AMM: Adifferent scale?MF: ThatRs it, you know you are not talking about multimillion dollar movies.But business is still business and that element exists. I think that industry ele-ments and artistic elements sometimes conflict or collide, but sometimes it canbe fantastic.

MeganFollows

10 ACTR A TORONTO PER FORMER S

Megan in her iconic role asAnne in Anne of Green Gables.

Photo courtesySullivan Entertainment.

Megan plays a nurse who is asinge mother in Robson Arms.Photo courtesy Omni Film

Productions and CTV.Photo: Katie Yu

AMM: Was there ever a moment when youBd think … AOkay IBm either going to makeL.A. my home, or IBm going to come back to Toronto.BMF: Actually, in the last while IRve done quite a bit of television here. I thinkthere has been an exodus to L.A., because the feeling is that if you can get recog-nition there, itRs going to help you here, in Canada. ThatRs just the truth of thematter and itRs unfortunate. You know Lucy Maud Montgomery could not getAnne of Green Gables published in Canada. It was published initially by theBoston Publishing Company.

AMM: Oh, my goodness!MF:When I was reminded of that recently, it was rather chilling. I thought,QOh my God, what are we doing? Why is it still such a struggle, even now!?R ItRsextraordinarily admirable when actors commit to coming back to Canada. Ittakes a huge amount of effort.

AMM:When I wrote my novel UFall on Your KneesV, I found that Canadian literaturehad already been invented.You know I didnBt have to help invent it.MF: Canadian actors? I would say itRs very different.

AMM: ThatBs right. Theatre and especially the film industry is still so young in Canada.MF: But we used to also have fantastic live television in CBCRs heyday.

AMM:Why is that momentum not built upon? I think we all have opinions about whythat is.MF:We do. I have a lot of admiration for the artistry that I see come out ofQuebec and the mix of those worlds, of the theatre and the film and the televi-sion. Of course itRs an entity. The protection is in their culture and language. Butin English Canada, we are bombarded by productions and influences from a cul-ture to the South. ItRs harder to compete.

AMM: How do you see the future?MF: IRm just fascinated to see where weRre headed in our industry in Canada.The internet, that whole aspect is really at its birth. Of course, ACTRA hasbeen quite active on that front. IRm grateful for the history of theatre. I thinkultimately even when the venue or the medium through which the content isexperienced is new, the content itself, you know, is about storytelling. And weneed to have our stories told. We have to fight for that.

AMM: Do you think living on both sides of the border makes you value Canada, valuetelling our own stories, that much more?MF: Absolutely. There are always elements of any story that bring us a com-monality of human experience, but individual stories, our stories in Canadamake them meaningful and unique. We need to tell our stories because theyRreours and no one elseRs. They have incredible value.

AMM: That seems like a good note to end on.

Ann-MarieMacDonald is an award winning author, actor andplaywright. Her play Goodnight Desdemona DGood Morning JulietEwon the Governor General�s Award for Drama. Her first novel,Fall onYour Knees, won the Commonwealth Writers Prize and wasnamed to Oprah WinfreyRs Book Club. She starred alongsideMegan Follows in SoulpepperRs production of Top Girls. She isa member of ACTRA Toronto.

FALL 20 07 11

Megan Followsselected credits

Film&TelevisionBooky and the Secret SantaBooky Makes Her Mark UGemini NominationVShania: A Life in EightAlbums UGemini and

ACTRA Award NominationsVRobsonArmsOpen Heart UGemini NominationVCSIERCold CaseLaw and OrderMade in CanadaReluctantAngelThe Stork DerbyMajor CrimeTermini Station UGenie NominationVAnne of Green Gables: The Continuing StoryAnne ofAvonlea UGemini AwardVAnne of Green Gables UGemini AwardVHockey Night UACTRA Award NominationVBoys and Girls UAcademy Award® for Best Short FilmV

TheatreThree SistersTop GirlsThe Real ThingFool for LoveUncle VanyaOthelloThe SeagullADollBs HouseShe Stoops To ConquerAmadeusRomeo and Juliet

Megan FollowsPhoto: Jag Gundu

12 ACTR A TORONTO PER FORMER S

A look atA look atvoice workvoice workin Torontoin Torontoby Carolyn Hayby Carolyn Hay

Poe, from Ruby Gloom, voiced by Adrian Truss.Image courtesy Corus Entertainment.

When asked to report on the Toronto animation voicescene, I have to admit I was a little reticent. I havenRt beena full-time voiceover actor for a few years, working as storyeditor and writer for 40 eps of YTVRs animated series RubyGloom. Sure I still venture out of the cave occasionally torecord the odd gig, such as Pontifidora the Conquistadora,an alien bounty hunter in Atomic Betty, but really what didI know?

Then I thought about my experience on Ruby Gloom, andhow the characters we developed early on didnRt really cometo life until the voice actors came on the scene. It was excit-ing to witness. An actor gives a slight nuance here, a uniquetake there, and all of a sudden, we have full-blown charac-ters with lives of their own. My lines werenRt just lines any-more. They were words that the characters spoke naturally.So I decided to sit down with a few Ruby Gloom cast mem-bers and the Ruby Gloom voice director to get an idea ofwhat life was like on the other side of the glass. Okay, I saidIRd venture out of the cave, I didnRt say IRd go far.

OYou canRt do voice work. Your voices arenRt likeable. ItRsreally competitive out there so donRt even bother.P ThatRswhat Stacey DePassR former agent told her upon hearingher first demo tape. This, OAt a time when I couldnRt evenget a job as a waitress in Little Italy because I had no wineknowledge.P

Clearly, this agent got it wrong. Today, you could easily callStacey the go-to girl for animation voice work in the city.She plays Iris, a hyperactive one-eyed adventure girl in RubyGloom, not to mention the dry-witted acerbic teenager,Nikki, in 6Teen and a sweet young Indian boy, Sanjay, inCaptain Flamingo just to name a few of her roles. I reallyhope that agent is reading this.

How did Stacey weather the discouragement way backwhen? Perseverance and a true love of her craft. OI love play-ing characters far away from me. I love getting to play.P Iasked her where she draws her inspiration from and sheexplained exuberantly: OLook around, the world is full ofthese great, wonderful characters!P and then she confided,OIRm a big eavesdropper.P

The moral of the story is to work hard, hone your craft anddonRt listen to any negative advice from people who donRtknow what theyRre talking about. Toronto is a great anima-tion scene with lots of opportunity. You just need to knowwhere to find it and how to nail the job once you do.

MerleAnne Ridley, creative producer and voice directorof Ruby Gloom, tells me: OThereRs a lot more productionright now for animation than there was say, 10 years ago,because there are more shows. And the marketRs growing.More channels and more options mean they need morecontent and therefore more voice actors.P

This is very encouraging news, and Merle Anne shouldknow. SheRs been a producer, director, casting director andvoice director on countless award-winning animated seriesin Canada. IRd listen to what she has to say and IRm not justsaying that because sheRs my producer.

FALL 20 07 13

?You canBt do voice work.Your voices arenBt likeable.ItBs really competitive out there sodonBt even bother.@ ThatBs whatStacey DePassB former agenttold her upon hearing herfirst demo tape.

Stacey DePass

Iris, voiced byStacey DePass.Image courtesy

Corus Entertainment.

So the market is growing, and as a result, the talent pool isexpanding. That means voice work is, in fact, a very com-petitive field Usorry to mirror StaceyRs deadbeat agent frombefore, but itRs meant in a helpful wayV. Bottom line, how doyou stand out in the crowd and nab that first gig?

I spoke with JeremyHarris, who plays Len in Ruby Gloomand, like his wife Stacey, also has an impressive voicerKsumK, including the upcoming series My Friend Rabbit onNBC, and being the new voice of CBC Radio. He gave mesome advice on the auditioning process:

OYou have to make quick decisions. You constantly have tosuss out the situation, have your radar on to feel the vibe onthe other side. If theyRre open, you can take more risks.P

This meaning, of course, be aware of what the clients want,but also be willing to put your own stamp on the character.When auditioning for the role of Len, a rock and roll dudewhoRs attached to his brother Frank, Jeremy brought in acharacter that was based in Northern Ontario, was veryloud with a big accent and, like Len, a rocker. It caught theear of the producers and he got the gig. But interesting tonote, his character was toned down for the series T noaccent, not as loud, but still funny. Obviously it pays to takerisks. Just show the producers you have comic timing andcan bring something special to the role.

Perhaps no one knows this better than AdrianTruss, whoplays Poe in Ruby Gloom and has logged many hours in thebooth recording roles on practically every series made inCanada such as Jane and the Dragon, Atomic Betty, Rolie PolieOlie, 6Teen and Captain Flamingo. At AdrianRs final auditionfor Emmy-Award® winning Rolie Polie Olie, the author toldhim he wanted it to sound like his dad. Adrian said sure andasked if he had a tape of his father speaking. The authorsaid no, but that he sort of sounded like Bing Crosby.Adrian Odid Elvis without the twang and got the job.P

So, you have the gig. Now what?Every actor seems to have their own process. For Stacey, itmeans taking on a bit of the physicality of the character. OIimagined I was jumping around in those sproingy shoes Iriswears.P For Jeremy, it means adding punctuation thatRs miss-ing Usorry about thatV and adding breaks for breath.Regardless, one thing seems to be the same for everyone.The first step is always reading the full script, not just yourlines, to get a sense of the story and how your characters fitinto it.

Then youRre ready to add nuances. For the part of Poe,Adrian knew that the character required some subtlety asthe clients were concerned that his pompous characterwould come across as a braggart. Believe me, this was a notegiven often to us writers, so this was a challenge. Adrian wasmeticulous in his approach.

OI tried to infuse it with a sense of self-deprecation.In otherwords that even he didnRt take himself too seriously with hisbravado. To do this, I developed idiosyncratic laughs and

14 ACTR A TORONTO PER FORMER S

Frank and Len,voiced by David Berniand Jeremy Harris.

Image courtesy CorusEntertainment.

David Berni

Jeremy Harris

down-turn inflections that brought his overt personality toa more humble level.P

This detailed work reminds me of what Merle Anne saidabout finding something distinct about your character, eventhe smallest thing, and going with it.

OI like to let the actors improvise a bit and sometimes theycome up with an ad lib that suits the character. Or some-times there is a line that they do in such a unique way thatit becomes a signature for them.P

There are many examples of this. Stacey had a way of doingreally hyperactive gasps as Iris. They were so funny, wewrote more gasps in for her. EmilyHampshire who playsMisery, would only have to say QowR in her weird, Misery-esque way, and she had everyone in stitches. We kept writ-ing more QowRs into the script and itRs become a charactertrademark. David Berni plays Frank with a very funnyhard-done-by frustration with his dumber brother Len.David would always have this very woe-begotten sigh in hislines that cracked me up. I wrote more QsighsR in for him,because it was so perfect for Frank. This all goes to say, theslightest choice you make, especially if unique to your char-acter, goes a long way.

One last piece of advice from Merle Anne?

OI think there is the misconception that you have to be theguy who does the zillion goofy cartoony voices and that isnot the case. Good comedic sensibilities and strong storysense are the most important skills that any actor needs. Sohone those skills and do a class on voice work. Some castingagents do open mics to meet new people. Seek that out.And practice your acting skills doing whatever work you canfind. It all helps build your voice skills.P

So for all you veteran voice actors out there, thanks formaking CanadaRs animation scene the most successful in theworld. For the voice actors breaking in, thanks in advance.Please keep at it. Because weRre going to need you in thebooth. And as Stacey says, OItRs a great way to make a living.P

Carolyn Hay has been a voice actorfor many years and now works as acreator, writer and story editor of sev-eral animated series, including Janeand the Dragon, 6Teen, Erky Perky,RoboRoach, Carl Squared and of course,Ruby Gloom.

Ruby Gloom was recently nominatedfor a Gemini Award for BestAnimated Series. It also stars ACTRAToronto members Sarah Gadon asRuby, Scott McCord as Skull Boy,Peter Keleghan as Scaredy Bat andStephanieMills As Venus.

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?I think there is the misconceptionthat you have to be the guy who doesthe zillion goofy cartoony voicesand that is not the case. Good comedicsensibilities and strong story sense arethe most important skills that anyactor needs.@ - creative produce andvoice director Merle Anne Ridley

Ruby Gloom’s title character is voiced byToronto member Sarah Gadon.

AS: First let me welcome you to the ACTRA TorontoEntertainment Credit Union.

SM: Thank You. IRm very excited to join the ACTRA fam-ily, and IRm looking forward to the opportunity of buildinga credit union that will directly benefit ACTRA members,and all those employed in the entertainment industry; afinancial institution that I hope ultimately everyoneemployed in the entertainment industry will be comfort-able dealing with, and will be proud to call his or her own.

AS:Members IBve spoken with are curious about your background.

SM: I was born and raised in Sarnia, Ontario. As the sev-enth of eight children, I learned from an early age to appre-ciate the value of teamwork, hard work and the democraticprocess. I love sports, and I have been fortunate to excel atmost, with the grand exception of golf. I have been marriedto my wife Natalie for 22 years, and we have two children;Johnathan age 16, and Zachary age 12. We currently residein Waterloo, and we share our home with Spot, our 10-year-old Jack Russell terrier. Not a very original name, I know,but you see Spot was a present to Zach on his second birth-day.

I began my career in financial services almost 30 years agowith Canada Trust in London when they started up theirMasterCard division. These were back in the days of theJohnny Cash ATM machines. Not my idea! From there, Imoved on to the credit union world, where I have spent thepast 21 years, most recently as the General Manager ofRochdale Credit Union, which serves the residents ofOxford County through itRs three branches in Woodstock,Ingersoll and Norwich. I have enjoyed every aspect of mycredit union career, but most importantly the opportunityto provide people with a high level of personalized service.Unlike traditional financial institutions, credit unions trulydo put people first.

AS: Launching a credit union from scratch is a challenging anddaunting task.As you have a solid, secure position, why are you tak-ing such a leap?

SM: To be totally honest, I thought long and hard aboutthis opportunity before taking the leap. I was entirelyhappy with my position at Rochdale, the local economy isbooming, and the credit union is enjoying a period of solidgrowth and profitability. I had an incredible team atRochdale. Board and staff members were fully engaged, andI am very proud of what we have accomplished over theyears. When this opportunity first presented itself, I haveto say that I was initially very cautious. Who were thesepeople? And why exactly do they want to start a creditunion?

My thinking changed entirely when I first interviewed for theposition with Karen Ritson, Austin Schatz and Brian Topp. Iwas very impressed. Not only with the particulars of the proj-ect, but also with the amount of passion that these individualsheld for this initiative. I realized that these people were pur-suing a well thought-out plan; one in which ACTRA and theCredit Union Task Force had already invested a tremendousamount of time and resources.

Ultimately, the opportunity to work with this passionategroup, and to start a new credit union from the ground upheld tremendous appeal to me. I realize that I will be facedwith many challenges, and I relish the opportunity to meetthese challenges head on. While I am very proud of myachievements during my time at Rochdale, I came to therather sudden realization that it was time to move on, andthat I couldnRt possibly let this opportunity slip by. Havingbeen with ACTRA for a very short time, I know that I haveabsolutely made the right decision. I am confident in myability to lead this initiative, and along with the member-shipRs support, to build a truly unique financial institution.

AS: What would you see as the primary benefits a credit unioncould offer to those of us employed in the entertainment industry?

SM: There are a number of principal benefits that I see.WouldnRt it be nice to deal with a financial institution wherethe fact that you are employed in the entertainment indus-try is the start of the conversation, not the end of it? HereRsan opportunity to belong to a financial institution that spe-cializes in providing financial services to those employed in

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the entertainment industry, and one you can truly call yourown. You own it!

Membership is the most distinctive feature of the creditunion system. As a member, you share a common bond withyour fellow credit union members.

Credit union members are also shareholders. The funda-mental operating principle of credit unions is democraticownership. One member, one vote, regardless of theamount of shareholdings or deposits. That means you havea voice, along with other members, in setting the creditunionRs direction at the local level, where services meet yourneeds. You can also share in the distribution of earnings andseek election to the credit unionRs board of directors.Furthermore, you could be elected to regional or nationalboards or committees.

The Credit Union will offer a full range of financial services Tsavings and chequing accounts, loans, lines of credit, mort-gages and investment opportunities. These products andservices will be tailored to meet your needs, and to helpingyou achieve your financial goals. WeRre providing a betteralternative to traditional banking. A financial institutionthat quite simply, gets it.

AS: So now what?

SM: The first order of business is to raise start-up capital tofund operations and to sufficiently capitalize the credit unionthrough itRs first few years of operation. The Ministry ofFinance wonRt allow us to open for business until such time aswe have raised sufficient capital. To this end, ACTRA mem-bers will be presented with an opportunity to purchase specialCredit Union Investment Shares in denominations as low as$250. These investment shares will pay dividends at a rate of.5% to 1.25% above the average 5 year GIC rate. WeRre lookingto raise a total of $2.5 million. This is an incredible opportuni-ty to get in at the ground floor, and to help build somethingspecial. Investment Shareholders will be formally recognizedas those individuals that played a major role in ensuring thedream of ACTRA Toronto Entertainment Credit Unionbecomes a reality.

Once we achieve a successful investment share offering, wewill be positioned to begin accepting memberships in thecredit union and to open the doors for business. I look for-ward to building a credit union that provides you with inno-vative products, and second-to-none service.

I hope that you will support the new credit union, and takeadvantage of the products and services we offer. IRm con-vinced that youRll be glad you did.

Austin Schatz is the Vice-Chair ofACTRA TorontoRs EntertainmentCredit Union. Some of his other occu-pations have included a decade-and-a-half on air in AM and FM radio, and TV;more than 60 stage plays; principal,actor, background, stand-in, OSLO intelevision and feature films; radio andTV commercials, local, national, inter-national; councillor locally and national-ly; Vice-President Internal and Vice-President Finance at ACTRA TorontoPerformers.

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We had theopportunity to havea brief chat withSteve Mumford,the CEO of ournew Credit Union.

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416-340-7270 • secondcity.com/tc

IMPROVFORACTORS

REGISTER FOR OCTOBER OR JANUARY CLASSES

• Develop subtlety and reality to your comedic work

• 7 week sessions/3 hr classes

• Theatre Degree or ACTRA / Equity membership required

Markyour calendarlearn • network • connect • act

ACTRA TorontoRs MembersR Conferences are free to ACTRAToronto members who register. Conferences are held threetimes a year at Victoria College, University of Toronto.

Friday, February 22, 2008 • June, 2008

Nathaniel Stephenson and his mother,speaking at a recent ACTRA Toronto conference.

The Actors’ Director:George Bloomfieldby Cayle CherminDirector George Bloomfield joined actors TeresaPavlinek, Kate Trotter, Patricia Zentilli and MauryChaykin for a discussion on directing, and some perform-ance and direction based on actual scripts, at JuneRs mem-bersR conference.

Some of Director George Bloomfield’s insights:

See how much more comes to the scene when theactor is free to improv a little.

The director has to devise ways of convincing theactor that what he is doing totally belongs to him, it ismost important that the actor gets possession of thecharacter as soon as possible.

There are QshotR directors and actorRs directors T itRsnot about the shots, itRs about what dictates the shots.I like to work with an actor who has a sense ofhumour. If someone can make me laugh, they canmake me cry. I donRt know what it is that you strangepeople do, how you disappear into a character, but Iknow that I need to create the environment, the

atmosphere for that to happen.

Teresa Pavlinek, eponymous Jane of The Jane Show, hadsome advice about selecting actors from the auditions forher show. OWe looked for actors committed and connectedto the character like Hardee T. Lineham.PKate Trotter observed that, OYou cannot be what youthink someone else wants you to be.P She also advised,OOnce you have the role, donRt spend the first three daysauditioning… You want a director who says action to you inthe tone of your first step.PMaury Chaykin suggested, OTake care of yourself on set,some directors donRt know when to leave actors alone andwhen to be of some use. ItRs a crap shoot, when to listen andwhen not to.P Finally, he noted that ODirectors can have thesame problem when dealing with stars.PEveryone agreed: OOnly work for George Bloomfield!P

FilmPort:now under constructionKen Ferguson, President of the now-under-constructionFilmPort, as well as President of Toronto Film Studios, wasthe keynote speaker at ACTRA TorontoRs summer confer-ence.

Ken led the audience through a virtual tour of the develop-ment, the rationale and vision behind it, and where theproject is at construction-wise.

FilmPort will be a 40-hectare film studio development atCommissioners St. and the Don Roadway in Toronto. Itwill be a sorely needed purpose-built studio. The first phaseincludes 260,000 square feet.

His vision is that FilmPort will be much more than a studio,and he outlined what heRs calling the QcampusR idea T thatthe spaces both inside the studio gates and the public andoffice spaces outside will bring together a community.

Phase one includes three soundstages, the largest being 45,500sq. ft. in size, 60R high and totally column-free. Phase one alsohas a 4-storey building for production offices, already underconstruction. The soundstages will be fully soundproof, fullyair conditioned and all-concrete construction.

Ken, a professional engineer, explained that constructionthat close to the lake requires driving piles down in theground every 25R to ensure the structure is stable. This workmight explain why there isnRt any evidence of constructionlately. However, now with two recent construction industrystrikes resolved, Ken says FilmPort is ready for the struc-tural steel and precast concrete walls.

Ken is hoping nearby buildings will house other industry busi-nesses such as lighting equipment and wardrobe companies.

In the question-and-answer period, Ken, who also runsToronto Film Studios UTFSV at 629 Eastern which has beensold for redevelopment, confirmed that TFS will continuein operation until the new development, whatever that maybe, gets underway. So in effect, he will be running two facil-ities. On FilmPortRs accessibility to persons with disabili-ties, he explained that the construction will meet andexceed any barrier guidelines with automatic doors, eleva-tors, level surfaces and visible and audio fire alarms.

Ken believes we canRt do business the way we have in thepast, relying on the low dollar and competitive tax creditsalone. He wants to leverage our status as a film productioncentre into something fabulous. He says, OFrankly, I canRtafford to build what weRre building at FilmPort and have toundercut everybody else in town, and Mexico and RhodeIsland. So what do you do? Well, we have the best talent inthe world in every field going: performers, post-production,animation, writing, production crews T weRre among the topin the world.P

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Teresa Pavlinek, Maury Chaykin and Patricia Zentilli workshop a script,under the direction of George Bloomfield, at the Members Conference.

All-day stream:Actors’ Boot CampDear Mom & Dad,Today was HOT at Actor’s Boot Campbut luckily ACTRA provided water and weworked in the shade (mostly).In the morning there was a great groupphysical/vocal warm-up. Counsellor LynnWoodman says warming-up is tuning our“instrument,” freeing our mind/body/voice of tensions that restrict us,allowing us to inhabit the world of acharacter. Cool!Counsellor Doug Morency led some funnyimprov exercises like creating headlinesand opening imaginary gift boxes. Did youknow, to be successful in improv one mustcommit to the moment, make choices andtrust those choices? Amazing!Before lunch Head CounsellorDavid Gale gave us things to considerwhen preparing a scene:1. What happened before the scene

began?2. What to get from and give to

your partner?3. What’s the opposite?4. Figure out the “F” words (hee, hee)

friend/foe, fornicate/fight, fool/favour.

After lunch we were given scenes andpartners. Jane Moffat and David Sparrowjoined the counsellors and they tookturns coaching us through our scenes. Weeven switched parts in the scene.Awesome! At the end of the day somescenes were presented in front of thewhole camp. They didn’t pick me. Ilearned about not getting the part too.Love camp.SEND FOOD!xoxoDave >a.k.a. David Gale?

Sessions for kids andparents an Octoberconference highlightThe fall edition of ACTRA TorontoRs membersR confer-ence is usually held on a Saturday so that we can offersessions for child performers and their parents. Kids gota chance to act out in an improv class with Second Cityperformer Katherine Ashby, while parents had theopportunity to attend a mini version of ACTRATorontoRs membership training intensive course thatfocuses on the business side of being an actor. In ourScene on Camera workshop performers learnt how totransfer their best performances to camera with actingteacher Mark Schoenberg. Other workshops includ-ed Casting for TV, and an all-day Boot Camp for back-ground performers. Linda Kash URobson ArmsV got hercloseup in the early-bird Breakfast with… session, inter-viewed by TheresaTova.

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David Gale

Katherine Ashby

Linda Kash

Mark Schoenberg

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Participants in the all-day Actors’ Boot Camp session, rehearsing sides for an ‘audition’.Photo: Kim Hume

ACTRA Toronto members enjoying the barbecue at our summer conference in June.Photo: Jag Gundu

Ken Ferguson, President of FilmPort, was our June conference keynotespeaker, updating members on his vision for FilmPort film studios whichis now under construction.Photo: Jag Gundu

ACTRA members filled the Isabel Bader Theatre for the conference plenary session.Photo: Kim Hume

The Actors’ Boot Camp got everyone involved in the warm-up portion outdoors in theVictoria College quadrangle. Photo: Jag Gundu

Actor and producer Priya Rao, FilmOntario ManagingDirector Sara Ker-Hornell and producer Jennifer Jonas onthe Women in the Biz panel. Photo: Jag Gundu

A stunt performer from a Canadian MOW was surprised tofind himself booked for additional dialogue replacement. Hecontacted the Steward because he didnRt think that dialoguewas a part of the Stunt Performer category. ItRs not. As the dia-logue was under 10 words, he was upgraded to Stunt Actor.

Three dancers, who were contracted as Special SkillBackground Performers in one episode of a Canadian youthseries, were surprised to find themselves scheduled for arehearsal with the choreographer. The agent brought this tothe attention of the Steward of the production and all thedancers were upgraded from Special Skill BackgroundPerformer to Group Dancer.

A performer was contracted to appear in two episodes of aCanadian comedy series to be block shot on the same day. Theperformer had less than six lines of dialogue in each of theepisodes. However, once the producers had a look at the mate-rial, they moved some of his dialogue such that in one episodehe had more than six lines. The performer brought this to theattention of the steward and as a result was consequentlyupgraded to Principal Performer for that episode.

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StewardsAt Work

The Alan Lund Dancers on The Joan Fairfax Show, July 17, 1960.Photo courtesy CBC Still Photo Collection.

PoliticalAction

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Another Provincial Election,Another Government, The Fight Continues

by NormMacAskillAt press time, Ontario was in the midst of a provincial elec-tion. By the time you read this the results will be known anda new government will be ready to take the reins of power.And ACTRA is ready to work with them to get the bestdeal possible for our members, for our industry and forartists in general.

If history has shown us anything, it is that we can be sureour political action work cannot abate, no matter who is inpower. Government policies and actions have a huge impacton our industry and our livelihoods and ACTRA Uand you,the memberV needs to be vigilant and pro-active to ensurewe donRt get forgotten or left behind.

Over the past couple of years, ACTRA members have lob-bied Members of Parliament in Ottawa to fix the CRTCand invest in culture. We have met with Ontario MPPs topush for real Status of theArtist legislation. We workedhard to get increases to the Ontario Film and Television TaxCredit. We campaigned with our sisters and brothers inother unions through the Ontario Federation of Labour andin particular with our Alliance partners, the UnitedSteelworkers.

Some of this work happens in small meetings with govern-ment officials and other leaders, but ACTRA is also noticedon the public stage as advocates for the cultural vitality ofour community.

Whether we stage news conferences with some of our lead-ing performers or organize major demonstrations to get ourmessage across, ACTRA is recognized as a politically activeforce prepared to fight, not just for ourselves, but forCanadaRs cultural identity.

ACTRA members actively participated in the recentprovincial election and ACTRA Toronto along with a numberof other arts organizations co-sponsored The Great ArtsDebate, challenging all parties on their cultural policies.ACTRA members told their local candidates what theyexpected from them if they were elected. Now we need tocontinue to hold them accountable. We need to make sureour elected representatives understand our industry and ourlives. We need to push them forward or we will fall furtherbehind.

ACTRA will continue to deliver an aggressive and focusedpolitical action strategy and all members are encouraged totake an active part in it.

Inform yourself on our issues T thereRs lots of informationon our website at www.actratoronto.com. Make sure youRrereceiving the email broadcasts from ACTRA. Participate inemail or letter writing campaigns to our elected politiciansand come out and support your union when we stage a rallyor demonstration.We<re stronger with your involvement.

NormMacAskill is an Organizerwith ACTRA Toronto Performers.nmacaskill@actratoronto.com

ACTRA Toronto members Molly Johnson and Wayne Robson flank Susan Swan as panelists putting questions to provincial party candidates at The Great Arts Debate.Photo: Jag Gundu

Renewal of National CommercialAgreement ratified by membersACTRA members have voted in favour of extending the currentNational Commercial Agreement UNCAV for one year, with anincrease of 3% in all rates and a 1% increase in insurance contri-butions. The NCA bargaining committee recommended accept-ing the extension of the agreement, and members ratified theextension in a referendum vote held in June. The new rates cameinto effect on July 1, 2007. ACTRA negotiates the NCA with theInstitute of Communications and Advertising UICAV and theAssociation of Canadian Advertisers UACAV. As part of the agree-ment extension, ACTRA and the ICA/ACA agreed to enter non-binding discussions on a shortlist of issues important to ACTRAand the industry associations.

Labour Day parade a popular outing forACTRA TorontoEvery year, ACTRA Toronto joins other union members fromaround the Toronto and York regions in the annual Labour DayParade. On a sunny day in early September, 200 members convenedon University Avenue for the march along Queen Street West all theway to the CNE through the Dufferin Gates. The annual parade isorganized by the Labour Council of Toronto and York Region anddraws thousands of union members in the march. ManyTorontonians line the route to watch the floats and marchers. Thisyear, ACTRA Toronto members distributed information to thecrowds and other union members about raising arts and cultureissues with candidates in the Ontario provincial election.

ACTRA Toronto hostsWIDC alumnae receptionIn August, ACTRA Toronto was pleased to host the annual Torontoreception for women who have attended theWomen in the DirectorsBChair workshop. CarolWhiteman, Executive Director of CreativeWomen Workshops, the organization that runs the annual Women inTheDirectorsB Chair intensive, visits Toronto every summer to recruitapplications from emerging women directors and to gatherToronto-based alumnae of the program. WIDC alumna andACTRA Toronto member Rita Deverell was on hand to receiveher @Wallace Studios Award. The WIDC workshop takes placeJanuary 18 to February 4, 2008. Acting ensemble Uwomen and menVand crew applications are due October 31, 2007.www.creativewomenworkshops.com

ACTION!Toronto production scene bounces backFilmPort, our new studio complex, is under construction, and actorsand crew are busy working on projects such as The Incredible Hulk,Don McKellarRs Blindness and Atom EgoyanRs Adoration. A busyproduction season for ACTRA Toronto members is very welcome.Other shows shooting or set to start include ReGenesis, Little Mosqueon the Prairie, Degrassi: The Next Generation, Instant Star, Latest Buzz,MurdochMysteries and Life with Derek.MikeMyersR Love Guru is ondeck, along with a number of miniseries, TV movies, a handful ofdigital projects and more than 20 animation productions. Get thescoop on whatRs shooting at our website:www.actratoronto.com/what/shooting.html

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Members’ NewsACTRA Toronto President Karl Pruner and

VP External Heather Allinduring negotiations for a new

National Commercial Agreement.Photo: Kim Hume

ACTRA Toronto members take to the streets for theannual Labour Day parade.Photo: Kim Hume

Carol Whiteman, producer of the Women in the Directors’ ChairWorkshop with WIDC alumna Rita Deverell, winner of the @WallaceStudios Award, with Nate Horowitz and Doug Pringle of CentennialCollege that is a new partner with @Wallace Studios.Photo: Kim Hume

Degrassi: The Next Generation with Nina Dobrev, Ryan Cooley and Sarah Barrable-Tishauer.Photo courtesy CTV.

Members’ NewsCritical Incident puts them on targetThere are two strategic aspects to working in film and television inCanada according to ACTRA members Mark Ellis UThe ShieldsStoriesV and StephanieMorgenstern UThis IsWonderlandV who haveco-writtenCritical Incident, their first television effort. The first aspectsays Mark is the Ochallenge to earn a living as an actor and pay a mort-gage which motivates practically in terms of us branching out intoareas of the industry, but beyond that, the ability to take more creativecontrol in terms of our career is probably the driving force.P This isnot the first joint work for the Oakville couple. They co-wrote andstarred in Remembrance, a 2001 short that won a Jutra Award and tooktop prize at the Toronto Worldwide Short Film Festival. CriticalIncident has its roots in the Toronto Union Station hostage-takingincident of 2004. The ensemble cast includes ACTRA Toronto mem-bers Hugh Dillon and Enrico Colantoni and ACTRA/UBCPmembersOnaGrauer andDavid Paetkau.• Larry Robertson

Kiefer Sutherlandhonoured with ACTRA AwardACTRA Toronto member Kiefer Sutherland was honoured inLos Angeles with an ACTRA Award of Excellence, which is pre-sented by ACTRA National to an ACTRA member working in theU.S. Kiefer makes Canadians proud with his success, best known forhis role as Jack Bauer in the hit series 24 that he also produces. TheACTRA Award recognizes as well that Kiefer lends his name andcelebrity to the cause of protecting CanadaRs public health care sys-tem. The award was presented by ACTRA National PresidentRichard Hardacre at the Canadian consular residence in LosAngeles on September 25.

ACTRA women attend UnitedSteelworkers Women of Steel ConferenceA number of women from your ACTRA Toronto Council attendedthe 2007 United Steelworkers International WomenRs Conference.Held in Toronto at the end of September, the conference focused onskills enhancement, global solidarity and political action. ACTRAmembers Wendy Crewson and Tonya LeeWilliams addressedthe delegates to speak about our strategic alliance with the USWand the joint projects we have worked on together including theUSWRs support of ACTRARs strike, and our lobby efforts in Ottawaon issues important to both organizations.

Actors’ Fund celebrates50 years of supportThe ActorsR Fund of Canada celebrates its 50th anniversary in 2008and will take its place among the most connected, respected andsupported charities serving members of CanadaRs entertainmentindustry with a year-long awareness and fundraising campaign.ActorsR Fund Executive Director David Hope aims to reach allmembers of the entertainment industry with the campaign. SaysHope to culture industry members, OWe will use this opportunity toshow what we do on your behalf to bring vital assistance to yourfriends and colleagues who are in trouble.P Plans for the many com-ponents of the fundRs year-long 50th anniversary project will roll outin the coming weeks, with a focus on showing how the ActorsR Fundcan change lives and encouraging entertainment industry membersto adopt the fund as their charity of choice. Further details will beannounced on the fundRs website at www.actorsfund.ca.

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ACTRA Toronto member Hugh Dillon (as Ed Lane) and ACTRA/UBCP member Ona Grauer(as Kate Travers) play snipers in the pilot Critical Incident.Photo: Ian Watson

Kiefer Sutherland has been honoured byACTRA National with an ACTRA Awardof Excellence.Photo: Eric Charbonneau, WireImage

ACTRA Toronto memberTonya Lee Williams speaks out atthe Women of Steel Conference.Photo courtesy USW.Photo: Darren Patrick

Co-op film R.U.U.The stage playWhat to do with Jack Perdue was the basis for the R.U.U. screenplay by ACTRATorontoRs JeremyHarris Uwriter/actor/leadV and co-writerMarcAubin. It needed a directorfor its film adaptation for the On the Fly Film Festival in 2004. Jeremy approached ACTRAToronto member ShawnGoldberg to direct and transport a first draft to a shooting script.ACTRA member Toby Proctor participated as cinematographer with a host of otherACTRA members in sound, make-up and in the cast. In eight days it went from script to film.The rules were simple: shoot, edit, and screen it and themovie had to be notmore than 10min-utes, all in a 17-hour day. A 14-minute adaptation was produced after the festival to accommo-date thematerial. It has played various festivals, small tomid-size, andwon several awards, mostnotably at Round 2 ofKevinSmithRs UClerks, ChasingAmyV Online Movies Askew Film Festivalfor writing, film and audience. In February, 2007, it was licensed to The Movie Network andsince by MovieolaRs The Short Film Channel. • Larry Robertson

Get on the bus to Ottawa Nov. 5ACTRA members from Toronto, Ottawa and Montreal will be taking part in a demon-stration at the Canadian Association of Broadcasters UCABV convention in Ottawa onMonday, November 5. Come join the fight for Canadian programming and meet hundredsof fellow performers heading to Ottawa to make sure CanadaRs broadcasters hear, abouttheir obligations to properly fund and support Canadian drama on TV in primetime. Busesdepart ACTRA Toronto at 7a.m. and return later that evening. Reserve your spot on thebus at www.actratoronto.com/getonthebus/busform.htm

ACTRA Toronto Council elections are underway –please voteEvery two years in the fall, ACTRA Toronto holds elections for ACTRA TorontoPerformers Council and for ACTRA Toronto Stuntpersons Committee. Elections for the2008-2010 council are now underway. The 24 ACTRA Toronto Councillors serve as theelected representatives of our 13,000 members for a two-year term and provide steeringdecisions to guide ACTRA TorontoRs managers and staff. As a member in good standing,you have a role to play in your union by taking an active part in choosing your next coun-cil, so please make sure you vote. Ballots are in the mail including statements by nominees.Ballots must be returned by November 16, 2007, to be eligible.

ACTRA pushes theatre exhibitors to show more CanadaIn 2006, Canadian English-language films made up only 1.7% of our domestic box office Tnot good enough! In September, right around the time of the Toronto International FilmFestival, ACTRA started a campaign to push theatre exhibitors to show more Canadianfilms. There arenRt any regulations in Canada forcing theatre chains to show Canadianfilms, so we are using public pressure to try to encourage these exhibitors to screen moreCanadian films and keep them in the theatres longer. Postcards were distributed to thepublic, including film buffs in the festival lineups, urging people to go to ACTRARs websiteand send an email to the theatre chains. Canadians make great films, but blink, and youRllmiss them. Join the campaign by going to www.actratoronto.com to send your emailand take action to support Canadian films. Join the FirstWeekend Club, the organiza-tion that is boosting audience numbers on the crucial first weekend of a Canadian filmsRrelease. Go to www.firstweekendclub.ca to sign up.

ACTRA members make movies: Co-op ChallengeACTRA Toronto is hitting cyberspace by posting some of the films entered in our Co-opChallenge on YouTube. This is the third co-op challenge weRve run, asking members tomake films about the need for Canadian drama, Canadian stars, and a cultural policy thatprotects and develops our film and television industry. ACTRARs Co-op film agreement isour ultra-low-budget agreement. When you make a film using ACTRA members, you getto take advantage of an agreement available only to members. All participants agree toshare in any proceeds equally, should you achieve fame and fortune with your co-op film.Check out the fab films made my ACTRA members at:www.actratoronto.com/home/Co-opChallenge.htm.

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Members’ News

Canadian English-language films made up only 1.7% ofour domestic box office – not good enough!

Shawn Goldberg

ACTRA Toronto memberLeesa Levinson protests thelack of Canadian-madetelevision at a recentdemonstration.

Photo: Brian Topp

Members’ NewsCall for OSLOsACTRA Toronto is looking for members interested in working as On Set Liason OfficersUOSLOsV. OSLOs are members who are the eyes and ears for the steward on set. OSLOs getpaid an honourarium for the days when they are asked to go to set. AnOSLO should have greatinterpersonal skills, be assertive but non-confrontational, have a working knowledge of theIndependent Production Agreement UIPAV, especially working conditions and health and safe-ty for film sets and be able to resolve immediate issues which often concern the working envi-ronment, minors and nudity. ACTRA Toronto prefers OSLOs to be Full members who havebeen members for at least four years. A training session is provided to a shortlist of interestedmembers, after which ACTRA Toronto makes a final selection. If you are interested, pleasesend a letter to Indra Escobar at iescobar@actratoronto.com, or in the mail to ACTRAToronto, Call for OSLOs, 625 Church Street, Suite 200, Toronto, ON, M4Y 2G1. Please indi-cate your request to be an OSLO, include your membership number, type of productions youhave worked on and whether you have a car as most sets are outside of the TTC area.

Congratulations to all our Gemini Award nomineesACTRA Toronto members shine in the performance categoriesfor the Gemini Awards.The 22nd Annual Gemini Awards, presented by the Academy of Canadian Cinema andTelevision, celebrate excellence in CanadaRs English-language television. Toronto-areaseries earning multiple-nominations include Slings &Arrows U14V, ReGenesis U12V,Degrassi:TheNext Generation U6V, The Jane Show U4V JOZIH U4V and Rent-A-Goalie U3V. The Gemini Awardswill be handed out over four nights in October, with the broadcast gala aired by GlobalTelevision from Regina on Sunday, October 28. Best of luck to all nominees. ACTRAToronto nominees in performance categories include: StephenAmell, Martha Burns,L. Scott Caldwell, Dmitry Chepovetsky, Susan Coyne,Wendy Crewson, ShawnDoyle, Megan Follows, Jeananne Goossen, Paul Gross, Geri Hall, StuartHughes, William Hutt, Linda Kash, Ingrid Kavelaars, Elvira Kurt, ChrisLeavins, Brandy Ledford, Byron Mann, Yanna McIntosh, Don McKellar, RickMercer, Mayko Nguyen, Leslie Nielsen, Stephen Ouimette, Peter Outerbridge,Teresa Pavlinek, Sarah Polley, Kathleen Robertson,Michael Seater, Paul Soles,JoyTanner, MarkTaylor, KristopherTurner, GenelleWilliams and JeanYoon.

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Some of ACTRA Toronto’s Gemini Award nomineesDmitry Chepovetsky, ReGenesis.Jeananne Goossen, Falcon BeachYanna McIntosh, Doomstown

FOR MORE NEWSMore news and ACTRA Toronto Committee reports at www.actratoronto.com and www.actra.ca

Canadian Comedy Awards winners www.canadiancomedyawards.ca

ACTRA slams U.S. attempt to crack down on movies made in Canada www.actra.ca/actra/control/press_news1?id=10599

ACTRA calls for new standards for broadcaster takeovers www.actra.ca/actra/control/press_news1?id=10598

ACTRA Awards in Toronto www.actratoronto.com/awards_in_toronto/main_new.htm

ACTRA reaches agreement with producers on block shooting www.actratoronto.com/home/good_news.html

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28 ACTR A TORONTO PER FORMER S

PRESIDENT Karl Pruner U1,2V kpruner@actratoronto.com, ext. 6611PASTPRESIDENT,ACTRA<S NATIONALPRESIDENT Richard Hardacre U2V rhardacre@actra.caVICE-PRESIDENT, FINANCE Austin Schatz U1,2V aschatz@council.actratoronto.com, ext. 6607VICE-PRESIDENT, EXTERNALAFFAIRS Heather Allin U1,2V hallin@council.actratoronto.com, ext. 6610VICE-PRESIDENT, INTERNALAFFAIRS Theresa Tova U1,2V ttova@actratoronto.com, ext. 6605VICE-PRESIDENT, COMMUNICATIONS Lyn Mason Green U1,2V lgreen@council.actratoronto.com, ext. 6603VICE-PRESIDENT,MEMBERSERVICES Eric Murphy U2V emurphy@council.actratoronto.comEXECUTIVEMEMBER-AT-LARGE David Sparrow U1,2V dsparrow@council.actratoronto.com

Joanna Bennett U2V jbennett@council.actratoronto.comBrad Borbridge U1,2V bborbridge@council.actratoronto.comBob Collins U2V rcollins@council.actratoronto.comAidan Devine U1,2V adevine@council.actratoronto.comFerne Downey U1,2V fdowney@council.actratoronto.comToni Ellwand U2V tellwand@council.actratoronto.comDomFiore U1,2V dfiore@council.actratoronto.comDavidMacniven U1,2V dmacniven@council.actratoronto.comJohn Nelles U1.2V jnelles@council.actratoronto.comTara Pearson U2V tpearson@council.actratoronto.comPriya Rao U2V prao@council.actratoronto.comMaria Ricossa U2V mricossa@council.actratoronto.comWayne Robson U2V wrobson@council.actratoronto.comAnneMarie Scheffler U1,2V amscheffler@council.actratoronto.comStephen Graham Simpson U2V enochinc@rogers.comRonWhite U2V rwhite@council.actratoronto.com

Legend 1 - ACTRA National Councillor; 2 - ACTRA Toronto Councillor

ShereenAirth,Apprentice Chair sairth@actratoronto.com, ext. 6621Peter Lukashel,ApprenticeVice-Chair plukashel@actratoronto.com, ext. 6616Bob Grant,Apprentice Secretary bgrant@actratoronto.com, ext. 6617Ed Pzytula,Additional Background Performer Chair epzytula@actratoronto.com, ext. 6620PaulAnthony,Additional Background PerformerVice-Chair panthony@actratoronto.comLarry Robertson,Additional Background Performer Secretary lrobertson@actratoronto.comTheresaTova, Children<sAdvocate ttova@actratoronto.com, ext. 6605Jani Lauzon, Diversity Chair jlauzon@actratoronto.com, ext. 6618Sheila Boyd,AcessAbility Task Force Chair sboyd@actratoronto.com, ext. 6619Shawn Lawrence, Ombudsman slawrence@actratoronto.com, ext. 6604

Visit theACTRAToronto website at www.actratoronto.com!

ACTRA Toronto Council

Who’sWho

ACTRATorontoStaff ishere forYOU.ACTRA Toronto PerformersGeneral Contact InformationTel: 416-928-2278 or toll-free 1-877-913-2278info@actratoronto.comwww.actratoronto.com625 Church Street, 1st floor, Toronto, ON M4Y 2G1

COMMERCIAL AGREEMENT INTERPRETATIONSJudy Barefoot UManagerV Tel: 416-642-6705Kelly Davis UStewardV Tel: 416-642-6707CathyWendt UStewardV Tel: 416-642-6714

COMMERCIAL AUDITION CALLBACK INQUIRIESClaudetteAllen Tel: 416-642-6713

COMMERCIAL CHEQUE INQUIRIESTammyBoyer UExaminerV Tel: 416-642-6739Lyn Franklin UExaminerV Tel: 416-642-6730Brenda Smith UExaminerV Tel: 416-642-6729

COMMERCIAL PAYMENT INQUIRIESTereza Olivero UCoordinatorV Tel: 416-642-6731Laura McKelvey UCoordinatorV Tel: 416-642-6728

COMMUNICATIONS AND ORGANIZINGDanMackenzie UManagerV Tel: 416-644-1506Joy Corion UWeb Communications CoordinatorV Tel: 416-642-6747Chris Faulkner UPublic Relations OfficerV Tel: 416-642-6710NormMacAskill UOrganizerV Tel: 416-642-6711

FINANCE AND ADMINISTRATIONKaren Ritson UDirectorV Tel: 416-642-6722

INDEPENDENT PRODUCTION AGREEMENT (IPA),CBC TV & RADIO, CTV, CITY-TV, GLOBAL & TVO AGREEMENTSEd Zimler UManagerV Tel: 416-642-6717Indra Escobar USenior AdvisorV Tel: 416-642-6702Clare Johnston UStevard, CBC, IPAV Tel: 416-642-6738Barbara Larose USteward, IPA, Co-op, Student FilmsVTel: 416-642-6712NoreenMurphy USteward, IPA, Animation, DigitalVTel: 416-642-6708RichardTodd USteward, IPA, Audio Code, Global, TVO, Industrials,DocumentariesVTel: 416-642-6716KarenWoolridge USteward, IPA, City-TV, CTV, VISIONVTel: 416-642-6709

TORONTO INDIE PRODUCTIONSTasso Lakas UTIP CoordinatorV Tel: 416-642-6733

MEMBER TRAINING INSENSIVE & GORDON PINSENT STUDIO BOOKINGSStephanie Stevenson UAdministrative AssistantV Tel: 416-642-6735

MEMBERSHIP DEPARTMENT DUES & PERMIT PAYMENTSContact:Membership Department Tel: 416-928-2278DanMackenzie UManagerV

William Hutt • 1920-2007OBill was many things: kind, funny, irreverent and large ofsoul. He was also a superb craftsman, with an electrifyingstage presence. He made me believe that being an actor wassomething a grownup might do with their life. That it was,after all and in spite of everything, worthwhile.P• Susan Coyne

OSome years back, Bill asked me what was the greatest thingI had learned during my time at Stratford. I answered thatStephen Ouimette had told me, QWhen you shine a lighton another actor by giving them focus and attention, youshine an equally bright light on yourself.R At this, Bill threwhis head back and broke into a big belly laugh. He said,QThatRs what I love about the theatre. Years ago while run-ning the young company at the Grand, I told a youngStephen Ouimette that very same thing.R I was fortunateenough to speak with Bill on the phone during the lastweeks before his passing and he constantly asked me, QButare you having FUN?R It reminded me that that is an inte-gral part of what we do and probably one of the mostimportant.P• MichaelTherriault

OBill gave me my first job out of theatre school. He taughtme timing, how to make Shakespeare sound natural, how tonot care what others think, how to enjoy a cocktail, loyalty,how to laugh in rehearsal, how to laugh on set, confidence,how to make naturalism sound natural, the joys of grand-ness, how to breathe, how to take a pause and how to finishyour life with dignity.P• TomMcCamus

OI first met Bill Hutt in 1962, when I played Miranda to hisfirst Prospero. I told him frequently that it was hardly fairthat I started out playing his daughter, then his nurse UAllBsWellV, his sister ULittle FoxesV, his wife ULong DayBs JourneyV andthat eventually I would be playing his mother, while henever seemed to really age at all. He inspired me when I wasyoung and did the same when I became the artistic directorof The Grand in London, a job that he had held before me.No one could have been more generous Uhe came andworked for us for very little money and made extensive con-tributions to the theatreV or supportive Uhe came to boardmeetings and explained to them what I was doing; they lis-tened to himV. During oneRs personal crises, Bill was the firstthere T with comfort, strength and several doses of wise,

cryptic humour. And I, not a funny woman, could alwaysmake him laugh. What greater generosity could you ask ofa friend?P• MarthaHenry

OI had the great good luck to be able to audition for Bill andUrjo Kareda at the festival theatre. I canRt rememberwhich piece I used to audition, but I will never forget thatit made Bill laugh. I remain convinced that that little laughlaunched me on my professional career and started a 30-year friendship with Bill. I will forever be in BillRs debt notonly for that friendship but for every opportunity I havehad to share a stage with him. If you just had the sense tolisten and pay attention while you were out therewith him, he would share thegreatest secrets of our pro-fession with you. I knowBill was a champion forme and for many of mycolleagues throughoutthe years. He loved andwas immensely proudof all of us. He wasalways desperatelyinterested in what wewere doing not only inour professional livesbut in our personallives. He was a greatgood man and I amproud to not only haveworked with him so close-ly but to have been able tocall him my friend. Lordknows what would havehappened to me without thatlittle laugh so many years ago.P• Peter Donaldson

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In Memoriam We share our sadness at the passing of our colleagues

Kam Ray Chan • Franz Fridal

Robert Ash, ‘Uncle Bobby’ • 1924-2007Actor Bobby Ash, who became a childrenRs TV favourite as Uncle Bobby, passed away on May20, 2007, at 82. Born in England, Mr. Ash came to Canada in 1959. TorontoRs CFTO aired TheUncle Bobby Show from 1962 to 1979, which CTV then ran nationally as Uncle Bobby andFriends. Reruns continued on YTV into the 1990s. Devoted to children, he drove schoolbuses, started three nursery schools and wrote childrenRs books. Staff

William Hutt in Stratford Festival’s 1977 production ofAll’s Well That Ends Well.Photo courtesy Stratford Festival of Canada Archives.Photo: Robert C. Ragsdale

Bobby Ash, pictured in 1973.Photo courtesy CTV.

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Announcements

ACTRA members Tajja,Nissae and Joshua Isenand their younger siblingKoebe are proud to sharethe news of their new baby sister, Bria-Jenee. Shewas born on August 18 weighing 9lb. 14oz. With somany ACTRA sibs, Bria-Jenee will have just asmany scripts read to her as books!

ACTRA member Marty Moreau and his wifeTina, an Apprentice member, joyfully announcethe birth of their son Riley Gilbert Moreau onApril 18, weighing 7lb. 8 oz.

ACTRA member Gary Eisler and his wife Loriare thrilled to announce the arrival of their babygirl, Maegan Rose Eisler, on June 24. Gary nolonger needs an alarm clock for his early call times.

Welcome new members!

Riley Gilbert Moreau Gary Eisler and Maegan Rose Eisler

(L - R) Koebe, Nissae, holding baby Bria-Jenee,Tajja and Joshua

Laura AlbinoRyan AllenMichael John AlonzoRebecca AmareJade AndersonCamden AngelisLondon AngelisJaclyn AshtonDorothy A AtabongStefany BasicJake BealeRick BerryTrevor BorisJesse BostickBriana BuckmasterJulie BurnsCelina CabralSarah CalderRaffaele CarniatoJan CaruanaAdam CawleyEnrico ColantoniSarah CommissoWilliam CuddySteve D'Angelo

Roy DayeCosette DeromeJaiden DockeryKarrenga EdwardsJessica EmbroJack EpplettMargaret EvansMorgonn EwenOlympia FarmakidisJaclyn ForbesChris GilchristJeff GilesAmanda GryniewskiKayla HarrisRicky HegartyDiavion HenninghamSami HillRenee HolfordMatthew HongAziam HowesRicardo HoyosJesse Ryder HughesRobin HuttonJohn IllingworthChristian Ismodes

M.J. JohnsonAnthony JohnstonSean JordanAdam KennedyCameron KennedyDrea KiddJennifer M. KimSophia Le FevreLisa LiNeil Paul MackayColin MartinboroughShaun Mc CombChanel MichaelsJane MilmanWesley MorganChristopher MorrisMelina NacosChristian NgJeen O'BrienJoy OlimpoMaja PamicCindy PersadBrook PetersAndrew PrashadAlana Randall

Georgina ReillyJessica RomanoJenna ScottShahram ShahbaziGarth SheriffJaclyn Angela SmithDru SooJamie SpilchukKibwe ThomasMax TopplinMax ToulchLois TuckerMegan VincentGraham WagnerAdam WaxmanEvan WilliamsErin WotherspoonCourtney WrightTara YellandWilliam YongNathan YoungerNatty ZavitzTal Zimmerman

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The ACTRA Awards in Toronto honour outstanding performances by ACTRAToronto members. Now in our sixth year since the awards were re-institutedfor ACTRARs 60th Anniversary, the ACTRA Awards in Toronto is a fabulousparty that shines a light on our stars and our industry.

ACTRA Toronto Performers625 Church Street, 2nd floorToronto,ONM4Y 2G1

Printed in Canada

Canada Post Corporat ionPubl icat ion Mai l Agreement No.

40069134

The ACTRA Awards in Toronto 2008Friday, February 22, 2008 • The Carlu

All ACTRA Toronto membersare invited to submit performancesfor consideration for three awards:

The ACTRA Award forOutstanding Performance – voice

The ACTRA Award forOutstanding Performance – female

The ACTRA Award forOutstanding Performance – male

ACTRA Awards criteriaThe performance must be by an ACTRAToronto member in good standing. Theproduction must be ACTRA-signatory and musthave had its first broadcast between December1, 2006 and November 30, 2007, to be eligible.You must be an ACTRA Toronto member ingood standing (Full, Apprentice or AdditionalBackground Performer) to make a submission.ACTRA Awards submissions are nowopen until November 30, 2007, atwww.actratoronto.com.

VoiceNominated Performer can be either male orfemale. Performance must be an originalcharacterization in animation, radio drama/comedy or dramatic narration.

Male/FemaleLead or supporting performances only.Production can be in any genre (TV series,TV movie, feature film, short film, digital media).

From left clockwise: 2007 ACTRA Award winners Maria Del Mar, Gordon Pinsent and Wendy Crewson; Rick Mercer and Shirley Douglas attending the ACTRA Awards;ACTRA member and singer Amanda Martinez performing as part of the show; ACTRA Award voice nominee Ellen-Ray Hennessy;and Wayne Robson with ACTRA Awards host Patrick McKenna.