Often, the pursuit of one’s dreams takes a leap of faith, and this is especially true for prospective actors. To get one’s foot in the door as an actor requires a great degree of luck; to actually walk through the door and find lasting success requires charisma, poise, and most of all, talent. Cecilia Deacon has all of those qualities in spades, and the actor’s long list of diverse credits speak volumes to her enormous dedication.
Her leap of faith began with her journey to New York at 17, to attend the prestigious acting conservatory, the American Academy of Dramatic Arts. As an AADA alum, she is in the company of Hollywood giants Robert Redford, Danny DeVito, and Lauren Bacall, among countless others. Shortly after graduating in 2013, Deacon was featured in the hit comedy “Delivery Man,” starring Chris Pratt (“Parks and Recreation,” “Jurassic World,” “Guardians of the Galaxy”) and Vince Vaughn (“Wedding Crashers,” “The Internship,” “Old School”). The decision to cast Deacon in the star-studded and uproariously hilarious film is a testament to her talent as an actor.
Deacon just finished work on her most recent project, “The Transcendents,” in May. Directed by playwright Derek Ahonen, the film tells the story of a group of people who were once tied together by the music scene, but now find themselves at odds. Faced with a range of obstacles, each must either overcome their personal challenges or be crushed beneath the adversity.
“[The film] is essentially a Rock n’ Roll, PTSD driven, film noir,” Deacon described. “There are so many different elements to it.”
Deacon was cast in the role of Cecilia, the film’s protagonist, whose true love has been long-absent in her life. Tragedy, heartache, and disability have shaped Cecilia’s life; however, despite arguably having the most reason to be upset with her circumstances, she remains a steadfastly optimistic beacon of hope to those around her.
“The story, at its core, is essentially about people trying to overcome – to transcend – the painful experiences that have shaped them,” she said.
In addition to her work in film, Deacon has also been featured in a number of television and serial roles. She was cast in the lead role of a particularly chilling episode of the popular Investigation Discovery series “Deadly Sins.” For the young women before her, becoming romantically involved with the episode’s antagonist proved to be a death sentence. Deacon played Stormy, the sole survivor of the homicidal adulterer’s dark machinations.
In the more light-hearted series “Catch-30,” Deacon played the lead role of Sandra, a well-to-do young woman making her own way in the world. Sandra is the core of a tight knit group of twenty-somethings who find their friendships with one another tested by life, love and sex in the adult-world.
“Sandra was the privileged one in her group of friends, all glamour and gold. For all that she For all of her overt confidence, she was intensely vulnerable.” Deacon said. “She hid it behind the mask of what everyone expected her to be. ”
Cecilia Deacon (L), Christopher Wharton & Regina Blandon (R) in “No Exit”
Her experience acting in film and television is extensive, but Deacon has never strayed far from her roots in theater. Prior to her starring role in “The Transcendents” she had the opportunity to work with the film’s director, playwright Derek Ahonen, in his 2011 play “No Exit.” Deacon played Estelle in the production, which was an existential examination of the limits of human resilience in the face of unimaginable strain.
“It challenged me as an actor in a way no role has since,” recalled Deacon. “It was an exercise in despair; discovering what was each our own personal hell. But the most difficult thing about playing Estelle was not even that we were in hell; it was that the character herself found safety in all the places that I myself do not.”
Whether on stage or in front of the cameras, Deacon has proved herself to be an immensely talented actor whose versatility knows no bounds. With a charisma that most people only dream of, she is a born performer; and her audience eagerly awaits her next move.
Actor Cesare Scarpone brings passion and talent to all of his character portrayals.
Cesare Scarpone is an award-winning actor who consistently projects a formidable dramatic presence. The Canadian-born Scarpone inhabits each characterization with a masterly combination of skill and instinct, and whether it’s romantic comedy or a dark suspense story, he deftly crafts a persuasive, tangible persona imbued with the full spectrum of nuance, traits and emotion.
It’s a rare balance of sensitivity and showmanship and Scarpone, surprisingly, stumbled upon his avocation almost by chance.
“I started in high school, not knowing what acting really was, but coming from a town where theatre and acting are seen as a fantasy, imagined only through the TV, this attitude was the norm,” Scarpone said. “At my first performance, I stepped onto the stage and was overwhelmed by the mass of people watching me. I’d gotten through half the play but all of a sudden I froze. I’d forgotten my line and time stopped. This was the biggest rush I’d ever felt and I wanted more.”
Scarpone’s path was set, and the following year his performance as Jerry in the Edward Albee classic, “The Zoo Story,” earned him the Sears Drama Festival’s award of excellence for the York Ontario region.
“From there, I couldn’t get enough. I tried to do as many independent films as I could sink my teeth into,” Scarpone said. “This led to a few spots on television programs, union films and a commercial.”
Scarpone’s talent has shown up in his outstanding character portrayals in the films “Black Forest” from writer-director David Briggs, director Gabriella Bevilacqua’s “Aftermath,” Omii Thompson’s “Modern Romance is Dead,” Rebecca Carrigan’s “All I Need,” Rob Comeau’s “Chance” and “Dead Monday” from director Mark Korven. On TV, Scarpone has acted in History’s “Curious and Unusual Deaths” and Cineflix’s true crime docudrama, “Dual Suspects.”
“Working with Cesare on “Black Forest” was a great experience,” said Briggs. “It was obvious from the first take that Cesare is all about the character, and he digs deep to bring the script to life. He believes in the craft of acting, and that passion brought a lot to his role.”
Scarpone’s meticulous approach is fueled by a soul-deep passion, not just for the craft, but also its role in world culture. “Story telling is something that everyone knows in their hearts. We love it, yearn for it,” Scarpone said. “You see it in your everyday life, in some form or another and through different mediums, but we are slowly losing the original performed art. Our generation no longer needs to even get out of bed to watch a film or read a news article. They have everything in their hand. But the experience of live theatre can be life changing, perspective changing. You can truly connect with people, and not in a way that is buffered by static transmission through a screen. Everyone should know live theatre, and everyone deserves to have access to it.”
With almost 20 film and TV credits, Scarpone knew it was time to reach for an even higher level of accomplishment. “I decided to apply for a drama school, and this led me to London, England—the heart of theatre. What better place to train?” Scarpone said. “I came across The London Academy of Music and Dramatic Art, and decided to audition for their flagship courses. I was surprised to get the call from the legendary Rodney Cortier, head of the school, inviting me to their two-year acting course—the best of its kind in London, which equates as one of the best in the world.”
Arriving in London in 2014, Scarpone subsequently performed in more than half a dozen stage productions (including “A Midsummer Night’s Dream” and “The Tempest”), absorbing a full measure of the almost alchemical depth of skill which has always typified British stagecraft.
“When I got that call I was ecstatic and screamed at the top of my lungs because this meant that I would finally have the foundation I needed to have my skills really develop,” Scarpone said. “Now I am in my final term at the school, graduating in July and ready to attack this growing market.”
“What first led me to acting was the feeling of not only being free on stage, but also feeling the effect I was having on the audience in theatre and film. I love both mediums, each with their joys and merits, and both are something I’m extremely excited about,” Scarpone said. “There are so many new things going on in the industry, like immersive theatre, and advances in technology with film and television that allow new ideas to be better completed and given to the world.”
Scarpone has already distinguished himself as both a capable technician and self-possessed artist. His very sense of wonder itself generates an aura of appealing enthusiasm and is something he’s sure to bring in many more productions to come.
Archibald Spring 2015 cover styled by Kirsten Reader
Sometimes, the greatest success can come from stepping outside of your comfort zone. Leaving what you know and experimenting with new things can lead to the extraordinary. This is what happened with wardrobe stylist and fashion director Kirsten Reader when she embarked on a journey to create Archibald Magazine’s spring 2015 cover.
Reader left her home in Toronto to shoot in Los Angeles. Not only was this her first time shooting in LA, it was her first time shooting in the United States. On top of this, Reader had to not just be in charge of fashion, she was also the fashion editor, creative director, wardrobe stylist and groomer.
“This was my second issue as Fashion Editor for the men’s fashion publication, Archibald,” said Reader. “I wanted to do something to really show what the publication could do and achieve given not only was it my second issue, it was also the second issue for the publication as a whole. I wanted to truly push myself and do a shoot in LA and also create content for the publication that showed being a new publication we could compete with the best men’s publications. This was a personal challenge to see what I could achieve.”
Reader decided to reach out to her former schoolmate Patrick J Adams to see if he would be interested in being featured in the shoot. Adams, a SAG-Award nominated actor well-known for playing the lead role of Mike Ross in the critically acclaimed television series Suits, jumped on board, along with the photographer Vanessa Heins.
“Vanessa was actually going to be there, and had been trying to get a shoot with Patrick so it was a project that was just meant to be,” said Reader.
The shoot was just Reader, Adams, and Heins, and took place in Los Angeles with a lot of it in Silver Lake and around the LA River.
“Once in LA we just location scouted and ended up shooting the whole concept fairly guerrilla style,” Reader described.
The threesome of Reader, Adams, and Heins worked extremely well together, and were able to create a successful feature for the magazine.
“It was great to work with Patrick as we hadn’t worked together since drama class back in high school,” said Reader. “To have Vanessa on board and her to have a relationship with Patrick already made the whole atmosphere of the shoot relaxed and enjoyable, really allowing us to have fun with the process and create some great images that showcased Patrick in a way that hadn’t been shown prior.”
Adams agrees, and attributes Reader’s talents as the reason the magazine sold over 50,000 copies in Toronto and received over 1.3 million views online.
“This extraordinary success would not have been possible without Kirsten’s prowess,” he said. “She successfully represented me as an actor and an artist.”
Adams describes the collaboration as “nearly flawless”.
“Kirsten always kept a laid back atmosphere for the shoot while directing the overall project and styling,” he continued. “She is widely recognized for her contribution in Canadian fashion, especially within Toronto, and is listed as one of the most recognized stylists in the world.”
Despite having to overcome some difficulties initially, Reader describes the shoot as a learning experience.
“There were numerous challenges for the shoot like not having an assistant,” she said. “I definitely learned by doing.”
Reader acknowledges that she was lucky to be able to reach the talents of Adams and Heins at the click of a button.
“I was lucky enough to go to high school with some incredibly talented people who have made an impression in LA,” described Reader. “Patrick was one of them and I took the chance and reached out. Vanessa has been a great friend and work colleague who I always feel privileged to work with. Her talent behind the lens is one that inspires me to be better on every project.”
All in all, the experience was a great one for Reader.
“The whole day was a so much fun and even though I was wearing many hats for the project we had fun just trying out the concepts we had loosely brainstormed,” said Reader.
She even got to discover some natural talent that was hidden before.
“My favorite part was probably the motorcycle shot. We actually shot it with my driving across the LA River Bridge keeping pace with Patrick on his motorcycle and Vanessa leaning out the window to shoot,” she said. “Apparently I make an excellent pace car driver as well.”
Patrick Adams styled by Kirsten Reader featured in Archibald Magazine
Rex Alan McMillan and Katie Lee (right) star in Katie Micay’s “Limited Engagement.”
It’s a romantic comedy about a woman who always finds herself the bridesmaid, but never the bride.
It was shot on real film without sync sound, tells a visual story without dialogue and features a professionally trained dog named Chachi who incidentally drives the plot.
For writer-producer Katie Micay, “Limited Engagement” is a testament to her exceptional filmmaking forte. The story follows Kate, an unmarried, perpetual bridesmaid and hopeless romantic. Kate is ecstatic to find an engagement ring in her boyfriend, Ian’s, pocket. But to her dismay, the ring goes missing and in a panic, Kate turns her house upside down to find the ring before Ian notices.
The two-person short stars Katie Lee (“10 Days of Rain”) in the role of Kate and Rex Alan McMillan (“Alice Agonistes”) as Ian.
“In just a few short minutes, this film takes you on a roller coaster of emotion,” Lee said. “There is a clear conflict which everyone can relate. The story finishes with a resolution that not only gives a sense of relief, but also reminds you to laugh at yourself because in life everything works itself out one way or another in the end.”
Micay aimed to craft a story with a self-deprecating and witty sense of humor. “While writing this, I pulled a lot from one of my friendships,” she said. “I am extremely sarcastic in real life and my good friend was extremely literal. It never ceased to amuse me how many times she would fall for my sarcasm.”
“Limited Engagement” is an exercise in creativity that demonstrates Micay’s screenwriting inventiveness. The entire story is put in front of the camera and is conveyed by the characters’ viewable actions. It’s entirely absent of expository dialogue and the achievement befalls only the best screenwriters.
“I actually love creating stories without dialogue because it pushes you to really tell a story visually,” said Micay, a Vancouver native. “These days a lot of films over explain, but the audience often prefers to put the pieces together on their own.”
Said Lee, “The script seemed really fun and quirky and I’m all about quirky. Plus, the idea that it was a silent, slapstick style comedy was very appealing to me because as an actor there is such a fun physical exploration to the characters.”
Growing up, Micay absorbed influence from shows such as “Friends” and subscribes to the writing convention that situational comedy is driven by strong characters. So is the case with “Limited Engagement,” where she created a dynamic leading female that carries the story in many scenes all by herself, all the while executing the needed comedic, situational mishaps.
“The audience really stays with Kate and goes through the struggle with her. You feel her pain and her happiness,” Micay said.
The character had familiar feelings for Lee and also hit close to home. She said the best part of acting in the role was “how relatable Kate is to most women. I was going on four years in my own personal relationship and was watching friends settle down left and right. Making Kate relatable and likeable gives the audience the ability to sympathize with her and also want to follow along on her journey to see what happens.”
From a producer’s standpoint, Micay was charged the task of finding a dog that would play an integral role. Kate’s plight within the story is incited to a peak when her dog accidentally swallows her ring. Kate discovers its whereabouts using a metal detector and winds up getting it back using a laxative.
“It could happen to anyone and likely something similar has happened,” Lee said. “You can’t help but laugh because everyone knows.”
Micay says implementing the dog, Chachi, was the biggest challenge to the production. “Even though he is a professionally trained entertainment animal, it was still much harder than a human,” she said. “We had him on set one day and had to get everything we needed in a very short period of time.”
Casting the human actors, on the other hand, was a different experience. “When casting, we needed people who were very expressive, but natural at the same time. Both Katie and Rex auditioned and it was clear that they were very talented,” said Micay. “They were both a great joy to work with. They really wanted to collaborate and help my vision reach the screen.”
Micay is known for her previous writing and producing of “Flirt,” a Reality Bytes Film Festival Official Selection, “My So Called Family,” that was an Official Selection at the Bel Air Film Festival and “The Firefly Girls,” which screened this month at the Sonoma International Film Festival.
“Limited Engagement” achieved critical acclaim as it received an Award of Merit at the Women’s Independent Film Festival. It was also an Official Selection at the Los Angeles Women’s International Film Festival.
The 2012 film was dedicated to Micay’s great aunt, Clara Nelson. “She passed away before I made “My So Called Family,” which is loosely based off the week she died. She was a stand-up comedian that loved to tell a good dirty joke. She just loved life and family. When I moved to Los Angeles, she really helped make it home for me.”
Cinematographer Ross Radcliffe on location of “The Last Alaskans” shot by Dave Clawson
After multiple life-threatening sports-related injuries suddenly derailed him from a future as a professional athlete, college student Ross Radcliffe turned to his interest entirely to his other love, cinematography. Born and raised on Vancouver Island in Canada, Radcliffe became motivated by the idea of seeking out remote corners of the world and capturing them on film. Turning the hours he would have spent training into hours submerged in film making, the revolutionary cinematographer quickly became recognized as among the top of the field.
When asked what it was about cinematography that captured his interest, Radcliffe answered without hesitation. “To be a cinematographer is to be a visual storyteller,” he said. “I get to craft images that effectively move the audience through a story, with all the twists and turns of emotions along the way.” And that he does.
Radcliffe began by shooting and editing his own projects, which quickly secured him a position with Susie Films, a full service, pitch to post production company. At Susie Films, Radcliffe’s love for the industry flourished, and before long, his insurmountable talents were recognized by major reality TV networks. National Geographic quickly hired him as a freelance cinematographer, followed quickly thereafter by both Animal Planet and the Discovery Channel.
With work pouring in, Radcliffe admits that his physical stamina and limitless capabilities are invaluable to networks filming shows revolving around high paced, action packed adventure. “I think a big responsibility of mine, due to the type of projects I shoot, is to stay on top of my physical conditioning,” says Radcliffe. He continues, “when I film a subject, I want to make sure their are no barriers between the story and the audience, so I have to be a pro at following along, no matter the conditions or situations might be. In my field, a good cinematographer blends into the situation to let it play out as naturally as possible.”
It is because of this physical endurance and artistically trained eye that audiences have the incredible adventure-based reality shows we see today. For example, Radcliffe worked as the Director of Photography on The Travel Channel’s Jackson Wild. The series revolves around the EJ Jackson, a 4-time world champion and adventure author and founder of Jackson Kayak, and his brave and fearless family. During this production, Radcliffe followed the family to Germany, Austria, South Africa, England and Zambia, where he faced what he calls a “crazy challenge” of keeping up with them physically. Radcliffe recalls of the experience, “I was able to capture mountain biking through Europe and waterfall jumping in Africa but, for the record, running around Africa with a 40 lb camera on your shoulder isn’t easy!”
Trekking through the freezing temperatures of an Alaskan winter was no easy task, either, though through his beautifully captured images used in National Geographic’s Dr. Oakley: Yukon Vet, Radcliffe made it look graceful and effortless. As the Director of Photography, the tactful cinematographer followed Dr. Oakley day and night and captured irreplaceable footage of the veterinarian as she helped a weak cow deliver an over sized calf. Radcliffe recalls the experience fondly, adding “while this project was extremely demanding physically and sometimes entailed stepping in stinky animal droppings or running from an angry muskox, I was honored to be part of such a small, hand selected team.”
No longer a stranger to Alaska by any means, Radcliffe was hired next for his technological brilliance and insurmountable endurance by The Animal Planet and Discovery Channel to shoot The Last Alaskans. Ranked second in the network’s most watched shows, the program is internationally acclaimed for its genre-busting take on the people and families who reside in the Alaskan Wildlife Refuge, located just above the arctic circle. Radcliffe’s contribution to the series gained recognition in The New York Times and The Washington Post, hooking viewers with depictions of unimaginably challenging living conditions, matched only in magnitude by the stunning beauty of the terrain.
To the great advantage of audiences worldwide, Radcliffe’s deep desire to put himself into other people’s shoes through the magic of cinematography will never fade. He admits, “being a cinematographer is the only job I have ever had that doesn’t feel like work. Every day that I wake up on location, I truly cannot believe how lucky I am. I’m honored and humbled to be instrumental in telling stories about people and places that would have gone otherwise unnoticed.” With his rare and refined compounded talents in both technology and athleticism, Radcliffe is sure to bring us uniquely captivating and alluring images for years to come.
Animation films are not what they used to be. From Finding Nemo to The Incredibles, the ToyStory series and others, these productions are big box office numbers and Oscar Winners. As some of the biggest films for any studio, they’ve also become a favorite of the talented actors who voice the characters of these stories. Tom Hanks to Brad Pitt, Kristen Bell to Renee Zellweger; these roles are more sought out than ever before. While there’s some truth to the fact that this cultivates a future fanbase of loyal admirers, many actors relate that the expressive nature is paramount for them; at least Canadian actress Jenna Wheeler-Hughes does. She stars as Fran, the tomboy in a group of otherwise male friends in the 2016 release Snowtime. With costars Golden Globe winner/Primetime Emmy nominated Sandra Oh, Angela Galuppo (of X-Men: Days of Future Past), and others, Jenna manifest the kind of small town challenges and triumphs that translate to any place on Earth. Nominations and wins at the Jutra Awards confirm that this talented voice actors and full production team have realized an animated film that will last for some time.
Snowtime proves to children and adults that boredom can be the catalyst for great adventure. Watching the movie, one might be convinced that modern technology is not the default to attention. In this story, the children of a small village decide to engage in an epic snowball fight during the Winter break. Eleven-year olds Luke and Sophie assume the mantle of leadership for opposing groups to overcome the other’s snow-fort. The only stakes involved are bragging rights and the occasional welt from a hard-pack snowball. Wheeler-Hughes portrays Fran, an awkward eleven-year old who simply want to be “one of the boys” and hang out with her friends. What is not simple at all is the large hearted performance that the actress brings to this role. Fran is truly a stand-out character as she treads the line between everyone’s buddy and yet obviously of a different gender than most of her circle of friends. She’s the kind of girl that causes boys to forget that she is any different from them…until of course, they do notice. Jenna states, “I was so excited to be a part of this project. She was so fun to create and voice. Developing the character was an amazing process, because not only did I voice her, but I was being filmed throughout the entire process so that they could capture my physicality and facial expressions and add them to the animated character. I felt like I really got to exercise my craft during this creative process. Fran is the comedic friend who doesn’t know she’s funny. Her humor and passion for life comes out in several scenes.
Fran is something of a dichotomy in the story. She’s obviously maturing and growing to the point that she will soon visibly be a young lady. In spite of the awkward transition period for her, she seems to be the wise counsel for many of those around her; it’s Jenna’s personification of this that makes it so believable in the story. When Fran helps Luke realize that he actually has a crush on Sophie, both audience and characters buy into her advice because of Jenna’s tone. Fran welcomes new girls, Sophie and Lucie to town, establishing a welcoming environment. Even when her team loses the snow-battle, Fran proves a gracious loser. Though she is going through puberty and questions who she is (or maybe who she is becoming) she is well rooted in her values and empathy, courtesy of Jenna’s delivery. Though Wheeler-Hughes can be found in TV and film roles more commonly, she revels in what this foray into animated films has given her. She notes, “It’s not just as simple as speaking for these films. In addition to mannerisms and truly embodying the funny/dorky girl, I had to protect my voice. I really relied on my vocal training to make sure I didn’t overdue it and cause harm. I’d find myself screaming as loud as possible for the sessions and I’d be asked to do it again louder. It was slightly painful but worth it. We laughed for a solid 10 minutes after those scenes.”
We recently had the chance to sit down and visit with the talented, lovely actress Zoe Cleland, who film and TV audiences would recognize from her stand-out character portrayals in “How to Plan an Orgy in a Small Town,” “Murdoch Mysteries,” “Saving Hope,” “Pay Up,” “Reign” and others.
A Toronto native, Cleland first starred on the stage before hitting the screen. She booked her debut TV role when she was just 15 and became the youngest actor to ever attend the National Theatre School of Canada.
Cleland has acted alongside famed talents such as Lauren Holly and Megan Follows, and has appeared in roles ranging from comedy to period drama to medical drama and more.
She’s been in the trenches on many productions. We’ve put the spotlight on Zoe, who shared this exclusive question and answer session that reveals just what it’s like to work nowadays as a film and TV actress. We think Zoe’s awesome and invite you to find out her story below!
When you read scripts and discover characters, what qualities do you look for and what aspects attract you to a role?
ZC: I’m attracted to all kinds of characters for lots of different reasons. Great writing has a huge impact on what I want to be a part of. I think if the writing is good, it usually means there’s a level of depth to the characters and the story that is super exciting to mine as an actor. I’m also drawn to roles that I feel will illuminate some aspect of the human experience that I feel needs to be looked at, that will benefit people to empathize with…and then sometimes it’s purely selfish in that a character might be fun to play or might have an aspect that I want to explore for my own understanding or personal development. It all depends! I rely a lot on my intuition.
You booked your first role at the age of 15 when you guest starred as Eva Rookwood on “Murdoch Mysteries.” How did this character tie into the episode and what was the experience like being on a television set for the first time?
ZC: Yeah, so I played Eva Rookwood, a British orphan who gets adopted into a well-to-do Canadian family, only to be abused by her stepfather. He ends up getting murdered and the episode revolves around solving that crime…won’t give too much away but the crime is a result of the abuse that was going on.
I remember the experience being totally thrilling and terrifying at the same time. Up to that point, I had mostly worked on stage so I really didn’t know much about working with the camera. So the experience was very very new for me. I was so excited to be on set, though, and I remember being completely entranced with how much detail went into to building each room…I remember looking at the books on the bookshelves and how much thought had been put into what they were, even though they probably would never be seen by the camera. I wasn’t used to being immersed on a set in such a realistic way and I thought I had landed in heaven.
You returned to “Murdoch Mysteries” in the role of Joanne Perly in an episode that aired earlier this year. How was this character involved in advancing the story and did you ever anticipate returning to the series?
ZC: I never anticipated going back; I just assumed that would be it for that show but apparently not! I can’t say too much about Joanne Perly without giving too much away, but I will say that she appears to be a sweet young mother but is actually something else underneath. She ends up being an intricate part of the episode, which revolves around a bank robbery. Her baby also goes on to be adopted by the Murdochs, which was a new kind of plotline for the show.
Last year you made your feature film debut in Jeremy Lalonde’s comedy, “How to Plan an Orgy in a Small Town,” a project just a little different from “Murdoch Mysteries.” What was your experience playing Young Cassie?
ZC: My experience doing that film was really wonderful, it was a great set to be on and it was so exciting to be playing the leading character in the opening act. I had to have a different relationship with the camera than I’d ever had before, because the emotional heart of the opening of the film rested on me…because of that I learned a lot.
What was it like acting alongside Lauren Holly in the film?
ZC: It was great; Lauren is really lovely and very generous.
Did you learn or absorb anything from working with her?
ZC: I did, I learned a lot just from watching her work and also from talking to her, we had a lot of time to chat in between takes and she was really open about her life in the industry, so I absorbed a lot from that.
Did the topic of “Dumb & Dumber” or Jim Carrey ever arise?
ZC: Haha no, I’ve never actually seen the movie.
What are the characteristics a great actress possesses?
ZC: Great question! I think the ability to empathize is probably near the top, because without that there would be no acting. Apart from that, I’m going to say openness, vulnerability, bravery and imagination.
How do you try to incorporate those qualities into your own acting?
ZC: I just try to be honest with myself about whether I really feel I’m being true to a character and/or situation…whether I’m going as far as I can into whatever reality I am portraying. I think if I am I will exhibit these qualities by default.
What is one thing that people would never suspect about being a film and television actress?
ZC: I think people tend to have ideas about film and TV acting that it is a really glamorous job…and that somehow the actors are the most important part of the whole production. In reality it is really a collaborative thing, there is so much work that goes into film from so many different people and it is truly a team effort. That’s one of the things I love about it. It also really isn’t as glamorous as people think, there’s a lot of waiting around and it takes a lot of passion and stamina to continue to be present in the work.
What’s surprised you the most or surpassed expectations about working in the industry?
ZC: I think in a way the most stunning thing about the film industry is that it even exists at all. When you realize how much work and drive it takes from so many people working together to do a project, it’s really amazing how much great work gets produced. There’s such a magical element to the film industry and it’s incredible how many people have the passion to come together to make it happen.
What’s been your single most difficult day on set?
ZC: I had one day on “Reign” when they didn’t get to my scene till about 3 in the morning, so the whole day was waiting in my trailer, and then trying not to fall asleep. That was difficult purely physically because it was challenging to stay alert enough to do my best work.
What has been the most rewarding role you’ve played thus far in your career?
ZC: I was in a production of “Three Sisters” by Anton Chekhov in theatre school that really changed my whole approach to acting, and actually made me want to go into film. I played Irina, one of the sisters, and I don’t know if I’ve ever dove more into a part than I did with her. I just got totally lost in her and her story. We had a director who really encouraged smaller, more naturalistic acting and it made me realize how much I loved that kind of intimate work.
Continuing on the theatre theme, you attended the National Theatre School of Canada. How does that training bode well for your portrayals in film and television?
ZC: I think my training at NTS taught me a lot about myself…that has been incredibly valuable to me on many levels. The lessons that I learned about myself there made me really know who I am and how my mind and heart work, which is so necessary to act. The school also had a really strong emphasis on building stamina when I was there and that has also served me well.
What was the best part of acting in the comedy series, “Guidance,” alongside Rob Baker?
ZC: The best part of the experience was actually working with Rob, acting in those scenes with him was like being in a verbal fencing match. It was just so much fun.
You played Odette in two episodes of The CW’s award-winning period drama, “Reign.” Tell us a little about Odette.
ZC: Odette is an unfortunate maid who gets involved in a lot of intrigue that she would rather stay out of. Because she is lower class, she is in some ways not part of the world of “Reign” in the same way that everyone else is. It was fun playing her because she is a bit of a deer in the headlights…someone really powerless who has to live day to day surrounded by a lot of danger in the world of the French court.
What’s the best part of acting in a big period piece? Is it the costumes, set pieces, the transformative nature of the production or something else?
ZC: I have always had an obsession with period pieces, so acting in them is really a dream come true for me. It’s kind of the ultimate playground for my imagination, because when you are in a period piece it really is like stepping back in time. You are totally transported into another reality in a way that you aren’t when you are in something modern.
What was it like acting with Megan Follows in “Reign”?
ZC: It was wonderful acting with her, she has such a strong presence and she is so focused.
You switched gears last year and acted in the role of Brianna Pierre in the acclaimed medical drama, “Saving Hope.” How valuable is the range of an actress who goes from comedy to period drama to medical drama and more?
ZC: I think it’s valuable for sure, but to be honest I try not to think of each project as being that different from the next. It feels the most authentic to me to approach every character the same way, whether it’s a comedy or a drama. I think that’s what usually gets the best work out of me, when I’m more focused on the character and their situation, rather than trying to fit into a “style.”
How would you describe your character, Shawna, in Craig Macnaughton’s comedy series, “Pay Up”?
ZC: I would describe her as a teenage girl who is trying to assert her power in a situation in which she feels powerless. She is an only child of recently divorced parents, and she is tying to stay connected to both of them…and to keep a feeling of security around her. Unfortunately, she doesn’t know how to do this in a way that will really serve her, so she ends up basically playing her parents off each other in order to get them to buy her things.
In “Pay Up,” Richard Lett plays a debt collector named Jack. Is Jack a guy you’d not want to cross or is he living on reputation?
ZC: I would say Jack has more bark then bite, if he even has much bark at all. He struggles a lot to assert his power over the people he is trying to collect money from, and that’s where the funny parts come in.
What are some go-to hobbies or activities when you’re not on set?
ZC: I meditate a lot, and I would say I have a pretty active spiritual life, so that’s something that I commit a lot of myself to…I also watch a LOT of movies. I also like to write and paint, but I’d like to be a bit more disciplined with myself about doing those things regularly.
Who is on your short list for fellow actors or filmmakers you’d like to work with in the future?
ZC: There’s so many! And it really changes from day to day. Lately I’ve been really getting into the work of Jane Campion. I love what she does. I’ve also been going on a Tom Hardy spree on Netflix…I have an insane crush on him in every way, and I think he’s an incredibly magnetic and dynamic actor.
For Erin Simkin, the journey began eight years ago.
“Color, location and people are what drive me to create,” she said.
And create she has.
The impeccably talented photographer from Vancouver has maneuvered the trenches of action filmmaking with Dominic Purcell, Stephen Lang and Danny Glover. She’s been on set in the depths of an abandoned subway station in search of paranormal sightings with Rose McGowan and Christopher Lloyd. She’s shot for leading magazines and brands such as Toronto Life, En Route, The Grid, Peroni, Grolsch and Sephora.
Simkin’s vast list of achievements have propelled her to the top of the photography industry. Her creative and technically versed work has refined qualities and characteristics that rope in viewers time and time again.
Whether on-set photography used for film marketing and P&A, portraiture, lookbooks, editorials or branded imagery, Simkin drives her craft forward with a photographic passion that reveals itself in each and every image she captures.
“My style is very clean, colorful, bright and with an air-like openness,” she said. “I’m very much inspired by natural light, as I feel there is an inherent beauty to it that artificial lighting can’t quite match without a lot of work. I love exploring new places, meeting new people, and capturing and combining all of that in one image in order to tell a visual narrative.”
With color as the catalyst driving her vision, Simkin’s images embody texture and a dynamic use of interesting spaces. She’s most recently shot for the films “Lower Bay” (with McGowan and Lloyd) “Gridlocked” (with Purcell, Lang and Glover) and writer-director Joey Klein’s romantic drama, “The Other Half.”
“There are always great locations that we get to shoot in, amazing costumes and beautiful lighting to tell the story of the characters,” said Simkin, who shoots primarily with the Canon 5D Mark III. “I love photographing people. Each person has such a different history and tells their own story through their facial expressions, their style, hands, their energy and I love being able to document them in their world and in their work.”
Applying the same approach, Simkin photographed for the feature film, “Mean Dreams.” Due out later this year and directed by Nathan Morlando, it stars “The Book Thief” Sophie Nelisse, Josh Wiggins (“Max”) and Golden Globe nominee Bill Paxton, of “Titanic,” “Apollo 13” and “Aliens” fame. According to Variety, Paxton plays a corrupt cop and Nelisse stars in the role of his daughter. After stealing drug money from her father, Nelisse goes on the run with Wiggins’ character.
Filming commenced in Sault Saint Marie and Simkin said, “The pure beauty of the landscape and light paired with the incredibly talented actors all combined seamlessly into such beautiful imagery.”
“Mean Dreams” features the work of cinematographer Steve Cosens, a five-time Gemini Award nominee who won a Leo for his cinematography in Keith Behrman’s “Flower and Garnet.” With “Mean Dreams,” Cosens shot using ambient lighting, which provided a challenge for Simkin to match her still camera shots with that of the motion picture camera.
Simkin shot for the film using a lower shutter speed equipped to capture images in low light scenarios. “The resulting images I was able to capture was worth the challenge of shooting in low light constantly,” she said. “The photos I was able to get while working on the film were extremely poetic and it allowed us to capture the delicate and subtle natural light working that far up north.”
For TV, Simkin shot for the CBC’s “Baroness Von Sketch Show,” a new comedy due out this summer. She was hired to shoot set stills and create key art for advertising the show.
“The cast of incredibly funny and talented women made this project so enjoyable,” she said. “We went for a “Vanity Fair” Hollywood style gallery shoot and both the cast and the producers loved the final images. We had so much fun creating the style of the gallery shoot, yet I still made sure to stay true to the characters and the visual tone and style of the show with its various sketches and characters that our cast played.”
Simkin worked again in the comedy genre in writer-director Matt Sadowski’s 2014 romantic comedy feature, “Pretend We’re Kissing,” that starred Dov Tiefenbach, Tommie-Amber Pirie and Zoe Kravitz. With a huge filmmaking presence in Toronto, the tax-friendly filming location is often used as a simulated location rather than as its own true setting. The Canadian theme resonated with Simkin, who currently resides and works in Toronto.
“I got to work with some amazing actors on a really fun film that heavily featured Toronto actually as Toronto,” Simkin said. “Many native Torontonians commented on how they had been living here for x number of years and they’ve never seen Toronto shot the way that we showed them, which was exciting because it meant that we were able to show a new side to the city which is relevant to the story as the main character [Tiefenbach] falls in love and then views the city in a different way. Working with Zoe Kravitz was a real pleasure, as she was so driven and fun to work with as her character was an extremely memorable one.”
Simkin’s photographic journey has included her work for Lindsay Mackay’s family drama, “Wet Bum” (also known as “Surfacing”), that received seven international award nominations. She also worked as photographer for the documentary, “Sweet Daddy Siki,” which covers the life and times of Siki, one of the first African-American pro wrestlers.
“I had the chance to visit with Sweet Daddy Siki for a few hours in his home and was asked to photograph his story, his history, and take his portrait. He was so gracious and open to anything, including putting on his old wrestling costumes, which added so much to the portrait that we took,” said Simkin. “I felt like I was opening up a time capsule and meeting an icon.”
Simkin credits her mentors in the still photography world including Kimberley French (“The Revenant,” “The Assassination of Jesse James by the Coward Robert Ford,” “Brokeback Mountain”) and Cate Cameron (“Arrow,” “Bates Motel,” “The 100”). “Their help and advice and support have been invaluable,” she said.
While also a long-established portrait photographer, Simkin worked with Elle Ziegler of Blissful Back, a Toronto-based retailer of yoga and meditation support accessories and contoured pillows.
“We have a family business and needed our images to tell the story of my father and I’s amazing relationship, and the uniqueness of our father-daughter business,” said Ziegler. “Erin’s best quality is her ability to tell a story though her lens. She captures vulnerability and honesty in her portraits by making people feel completely open and comfortable in front of the camera. She made decisions based on the locations, sunlight, shadows, props and backgrounds – things that we never could have predicted and things that I didn’t even notice – that resulted in stunning images.”
Talia Chai, founder of Talia Chai Wellness, echoed similar sentiments. Simkin shot portrait, lifestyle and blog photos for Chai’s wellness brand. The shoot featured a combination of people and interior spaces.
“I think Erin has a fine-tuned, expert eye when it comes to photography,” Chai said. “She multitasked effortlessly, working the lights, me, props and of course the camera all at once. She was in complete control of her environment and knew exactly how to take advantage of natural elements already found in the space. She has an incredible eye for detail, lighting, color, shadow and uses these elements both strategically and intuitively to create absolutely stunning images that stand out.”
Simkin’s other photography experience includes her shooting key art for Brendan Canning’s new forthcoming album, for a Samsung Vue social media campaign and boardroom wall photography for Accelerated Connections Inc. She’s shot at events for the Toronto International Film Festival and Russell Peters Live at the ACC, as well as for the Globe & Mail, Toronto Star, National Post, Peroni, Samsung, GAP, Scotia Bank, Women of Influence, Women of Action, the Jewish National Fund, Sharp Magazine, Flare Magazine, Canadian Cinematographer and more.
Stunt performer and actor Carson Manning, who has daringly delivered stunts for more than 70 different film and TV titles such as the highly anticipated “Suicide Squad,” “X-Men: Days of Future Past” and FX’s “The Strain,” has attached to play the leading role of Michael in “Time Man,” an exciting upcoming feature film written and directed by Travis Grant.
Now in development, “Time Man,” will take place in a present day, urban New York City or Chicago-type city setting. The drama-filled, action feature film will tell the tale of a middle-aged, disgraced superhero named Michael, who is looking to redeem his name. Similar to many superheroes, Michael does have an expected heroic ability, however, the nature of his is presently under wraps.
No stranger to action, Manning has employed his expert stunt work in recent releases such as Henry Nader’s “Shoot the Messenger,” Allan Ungar’s “Gridlocked,” Columbia Pictures’ “Pixels” and “RoboCop” (2014) and Sony’s “Pompeii.” His stunt performing and utility stunts for “X-Men: Days of Future Past” led to a 2015 Screen Actors Guild Award nomination for Outstanding Action Performance by a Stunt Ensemble.
Manning’s acted in Fox’s “X-Men” in 2000, in Universal’s Oscar-nominated “The Hurricane” starring Denzel Washington and he performed stunts for New Line Cinema’s “Shoot ‘Em Up” starring Clive Owen and Paul Giamatti.
After reading the script for “Time Man,” Manning immediately knew he wanted to be a part of this high-concept, highly original superhero story. “The character Michael is multi-dimensional,” Manning said. “At the beginning of it, you can’t figure out who this guy is. I had already done all of the superhero films and thought ‘Wow, this is really different.’ The writing and the scenes were so compelling.”
Standing apart from the formula of superhero studio films, Grant, who is previously known for known for “Nick Ryan,” “Maybe Tomorrow” and “Paper Trail,” meticulously worked to create an original superhero story.
“I loved superheroes when I was a kid. When I first sat down with this, I felt like there was a bit of a hole. They’ve [the studios] glossed over character moments. They’re trying to make a big budget tent pole film,” said Grant, of his initial ideation regarding filling a gap in the current marketplace among superhero movies. “There are other superheroes you can explore that aren’t DC or Marvel properties.”
From this inspiration, Grant created “Time Man,” who is known as Michael in the story’s opening. On the character himself, Grant said, “He was looked up to as a shining beacon for the city. He became obsessed with one bad guy he couldn’t catch. He made a poor decision and that cost him everything – his powers, friends and family. He became a loner, about as far as rock bottom as you can get.”
The film will contain flashbacks, ultimately telling two stories at once. “‘You’re kind of seeing who he [Michael] became and also his fall. It’s reverse arcs at the same time. They converge at one pivotal scene at the very end,” Grant revealed.
The audience will find that the villain will play a very important role, as Grant also noted the character is integral to Michael getting back on his feet. Furthermore, alongside Manning, actor Ryan Barton (“Co-Ed”, “Owl River Runners” and “Nick Ryan”) has been cast.
Manning’s vastly impressive achievements as a stunt performer and actor have spanned nearly three decades and dozens of distinguished productions. Due to his wide-spanning, world-class experience in filming stunts, Manning is a person who can make judgment calls concerning safety, and recommendations pertaining to what realistically can and cannot be done budget wise.
In addition to starring in “Time Man,” Manning will also be coordinating and performing his own stunts, too. “To me, having an actor who is able to do all or most of their stunts is invaluable,” Grant said when describing Manning’s type of talent. “You’re not limited as to how you can shoot the scene. You can tell a story within the fight.”
Manning’s tour de force stunt performing and acting has also been engaged in many acclaimed TV series that have had international viewership. He acted in all three parts of ABC’s Primetime Emmy winning “Storm of the Century,” which was a miniseries event from writer Stephen King. Manning performed stunts for seven episodes of the Gemini Award winning action adventure series, “Mutant X,” six episodes of Syfy’s hit series, “Alphas” and for three episodes of The CW’s Primetime Emmy nominated “Nikita.”
Last year, Manning’s stunt performing was seen in Guillermo del Toro’s “The Strain,” The CW’s “Beauty and the Beast,” Syfy’s Primetime Emmy nominated “Defiance” and “12 Monkeys,” Global Television’s “Remedy” and the History Channel’s “Gangland Undercover.”
The action-packed, feature film “Time Man” will allow Manning to utilize both of his specialties at once as he delves into the mindset of his new role as Michael. “Time Man” is projecting to shoot this year and release in 2017.
In the entertainment industry, every creative position on a production plays a vital role to its success, and the job of the editor might be the most important of all. Even more so than the writer’s words or the actor’s lines, the editor is responsible for crafting the final version of what the spectator sees.
The editor helps make the footage speak to the audience, which is exactly why David Guthrie stands out among some of the most brilliant editors working in the industry today. Without his wonderful ability to tell a story, the sheer volume of film footage from the productions to which he’s lent his skill would lack a cohesive narrative.
“Most of the skill in editing comes from making creative decisions, what shot to use where, what music tracks to use, the pacing, rhythm, etc. All of that is easily done on all three platforms,” according to Guthrie.
The Toronto born editor has a knack for creating an effective, riveting story regardless of how many hundreds of hours of footage he has to sort through. Guthrie has also benefited from having a background in music, which greatly enhances the cadence of his edits.
“You try a hundred different tracks of music and none of them are the right one and you just don’t know why and then you find the one that works and you just know, you can feel it and then you cut it in and the whole scene comes to life.”
Guthrie’s exceptional talent landed him the role of editor on the critically acclaimed televised adaption Billy Bishop Goes To War directed by Academy Award nominee Barbara Willis Sweet, as well as the smash hit documentary Jiro Dreams of Sushi.
Currently streaming on Netflix, Jiro Dreams of Sushi has been an official selection at numerous festivals including Toronto, Berlin, and New Zealand International Film Festivals, as well as the Tribeca Film Festival.
After the documentary’s overwhelming feat, Guthrie took on the challenge of working on the labor intensive Weather Channel reality show Cold Water Captains.
“You can give me hundreds of hours of footage with no direction and I can sift through it and find the story thread. Having a writer‘s approach to editing has always been my strong suit, as well as having a music background,” says Guthrie regarding his editing process.
In Guthrie’s next project, he carried multiple hats as a director, writer, editor and star in the TV comedy Room & Bored. The project paid off immensely by becoming an official selection at the New York Television Festival, which led Guthrie to secure a development deal with the Gannett Network.
The outstanding editor recently completed production on the comedy series Beck & Call, produced by Rockfield Productions, Inc. The series follows two talent agents struggling to make it in Brooklyn. Season 1 of the show is slated to be released later this year.
Regardless of the genre or medium, David Guthrie’s remarkable editing prowess has placed him among the best editors in the industry; and, as he continues to flex his skill across platforms, it seems there is literally no stopping this talented Canadian.
International Entertainment, and the Talents that Leave us Buzzing….
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