Patrick Conner
It is with great sadness that I release this post into the realm of the Internet. This past Friday morning, our dear friend and colleague, Patrick Conner passed away peacefully at home, after nearly a year of bravely fighting liver cancer. He is survived by his long-term friend and partner, Andrew Arnold.
Patrick will always be a part of my life, even though I have to admit that I hardly ever got to see him – living as he did in the heart of Toronto, Canada, while I live across the Atlantic in rural Wales. But as Henry David Thoreau once said, “Nothing makes the earth seem so spacious as to have friends at a distance, for they make the latitudes and longitudes.”
With regards to Patrick, I will never forget his dedication to working with those around him, whether that be as a fellow actor, a brilliant director, or his tireless work with a local organic Co-op in Toronto, where he dedicated much of his later years to championing the push to educate people about genetically modified foods and to promote healthy eating lifestyles.
Patrick’s massive portfolio of work included all the prestigious Toronto venues, and quite a few independent ventures as well, such as Canadian Stage, Factory Theatre, and Buddies in Bad Times Theatre, while his award-winning directing credits are really too many to mention. Every review I ever read about Pat’s work was overwhelmingly positive, and I think he was known as someone who could be trusted to pull off difficult material with finesse, style and originality. He really had a passion for directing but he never forgot what it was like to be an actor.
He did serious plays, comic plays, mask-work, movement work – he was always willing to try something new. I was fortunate to have worked with him a number of times, mostly in my early video work, but he was also always there to offer advice, especially as I moved into directing a handful of theatre pieces myself. He was kind and never judgemental, gracious in his approach to the material and to the people he chose to work with. While it is untrue of most people, I have to say that I never heard a bad thing said about him, by anyone – ever. And to my mind that only can mean that everyone loved Patrick.
Pat concentrated much of the last few years on his work with the Co-op, on teaching at George Brown College and on directing, rather than acting. I had even heard through the grapevine that he wanted to move away from acting but when I approached Pat to consider revisiting the character of Professor Tom Swyft, (now over two years ago), there really was no hesitation. I asked him why he was interested in returning to a character that he hadn’t played in nearly a decade, and he gave me one simple answer. It was a heartfelt and blunt answer and it sticks in my mind because of the rapid way in which he delivered his answer. He just looked at me and said, “Because this is for Michael’s memory and it is for you.”
That’s the kind of gentleman Pat was. He did go on to say that really, he would have done anything that I was involved in, not just for the sake of the past but because he had always liked my (and Michael’s) sense of humour and our skewed way of looking at the world. I relish the fact that Patrick always “got” that, and that was why he was so brilliant in the role – he really knew how to embody the crazy character as Michael wrote him.
As the edits continue on the audio series, I have to say that life has been providing me with loads of ups and downs recently – forcing even further delays in releasing the material into the public realm. But through the support of those closest to me, one day Flashback will be out there – besides, I can’t keep sitting on this little gem for too long. Life’s events may take their toll and twist and turn around us, but I am grateful that even this delay will have the sentimental ability to give Patrick’s friends and family one last taste of his genius when the ten episodes of this series are finally released. There are hours of gorgeous material that haven’t seen the public light of day yet and Pat shines marvellously as a most unforgettable character. I am just so sorry that the box set will now include two posthumous dedications instead of the single one to Michael.
Goodbye, dear Patrick. You were taken from this world far too early. I wanted to end this post by quoting for you something pithy, something deep and resonant, with a strong literary bearing, but all I can think of are a few lines of text that I can’t seem to shake from my mind. Yet somehow these few words seem to sum up everything that I want to say about Pat, so I’ll end with them instead:
“Don’t cry because it’s over. Smile because it happened.” ~ Theodor Seuss Geisel
February Update
As we move very quickly into the second month of 2012, I am reminded about the work that still needs to be done on this little project. But the good news is that despite still being tied up with other work, I have managed to progress rather well and many boxes are being ticked in the hopes that by May, (or even earlier), Flashback will be making itself available to the world.
As you see, the artwork has already been done for the CD box set, but I’m still collecting all the material for the insert and haven’t done the actual disc art yet – but that is on its way. As for the recordings, Episode 1, “A Temporary Condition” has been mixed and mastered and is sounding quite amazing. The quality alone is a great improvement on the rough mix I did, (the first fifteen minutes of which are on this blog in an earlier post). Soon, even that rough mix won’t be around any more, as the actual episode has made use of alternative takes for the dialogue, a re-edit and some of the sound effects and music have been shifted about or completely altered.
As February looms, the final edit on Episode 2 “Possible Moments”, is nearly halfway done and the hope is to at least be done the first five episodes by mid-February, with the rest taking until mid-March to complete as they have yet to even be rough edited.
A new domain has been chosen and a new web site is also in preparation for the launch of the series. It will hopefully be ecommerce-equiped so that everyone can choose to buy Flashback either as a downloadable series of MP3 files, or put in an order for the slightly higher cost CD box set, (which will of course, also include the downloads for free). If all goes to plan, Episode 1 will be made available for a limited time only as a free download, just to whet the appetite and get people in the mood for more!
So yes, big plans are afoot. I hope that after all the hard work of everyone involved, that you out there will not only enjoy the series, but also spread the word so that others can enjoy it as well. Until then, I hope 2012 is already being good to you.
My Friend Elfy
Some people you just know forever… well sometimes it seems like that, doesn’t it? Time has a habit of getting away from even the best of us and before you know it, you’ve been friends with someone for almost twenty years. And even though your lives may diverge and go off in different directions, you still remain good friends, even when you suddenly run into each other in the middle of the street or at the supermarket counter. And it never seems like twenty years has slipped by unnoticed, does it?
My friendship with Elfriede Erzen is sort of like that I guess… timeless in that it just seems so incredibly impossible that it has nearly been two decades since we first met. But happily, I don’t have to hope for a chance meeting while in line at the deli counter because for all intents and purposes, we’ve always remained in touch with one another, even though we’ve been separated by an ocean for much of the last ten years – first her living in Ireland while I was in Canada and now me living in Wales while she has returned to Canada. But what’s an ocean between friends anyway, when you can still get to work with them once in a while?
The character of Bellissima was a hard one to cast I remember. When Michael first wrote her she was a fair bit zanier than what she ended up actually becoming. I felt she used to suffer from a sort of split personality that manifested one or the other side of her character from scene to scene. In one scene she’d be critical of Belinda, scornful of Barroqa and bitter about the world. In the next, she’d be passing comments that sounded like she belonged in an asylum. Rather I think Michael just forgot for whom he was writing and just tacked bits of dialogue onto whichever character hadn’t spoken in a while. And so Bellissima ended up with lines that I thought sounded better coming out of Belinda’s mouth, or even Barroqa’s mouth. In those early scripts the three B-Girls were kind of hard to tell apart and quite, quite interchangeable as characters.
I think it was partly due to my fiddling about with which scenes we would shoot for our pilot project, and partly due to casting Elfriede in the role that finally brought out who the real Bellissima was actually supposed to be. Elfriede managed to instill the character with a sort of laissez-faire attitude that readily altered to one of disdain for her fellow advertising campaign writers. Her “I don’t give a sh*t” attitude shone in comparison to the rather more pompous musings of Belinda or the kooky ruminations of Barroqa. I felt that when we were recording the pilot, those three characters, portrayed by three very strong and very different women, started to gel more in my head than they had done in any script.
When I came to write the audio adaptation I modeled a lot of the tone of 21st Century Bellissima on Elfriede’s portrayal in the video and from what I remembered of it. It was a joy to write for her this time around because in many ways, Bellissima is the voice of reason in an unreasonable situation. She is kind of like the audience, like what I’d be if I were a character in the serial. She had all the quippy one-liners, the doubtful asides, the wry self-references that I think are important in the kind of comedy I was trying to realise. I was of course more than thrilled when Elfriede told me she was up for revisiting the character and giving the new material a try.
I recently caught up with Elfriede via the Internet to ask her some questions about our time together both before the audio series recordings and her thoughts on the process and where she thinks it will go in the future. I was rather lucky to get a bit of time out of her as she is constantly busy with her work and raising a family but she graciously rose to the challenge. We settled down to chat about nearly twenty years of knowing each other and all that life entails:
Ed: Hi Elfriede! I seem to always be asking this question but I was wondering if you actually remember the day we met?
Elfriede: Yes I can. I remember you in my first film acting course with (teacher) Maruska Stankova. You were her right-hand man filming all our scenes (or as Bellissima would say, those “god-awful scenes”, but really I’m trying to quash HER kind of directness at the moment). My friend Charles had got to know you and I believe we must all have had wine at some point. Haha! And that’s how it all started! Shortly after, you asked me to be in a piece you had written and I remember fitting into a little black dress and you making me look glamorous! Well, from that moment… you had me sold.
Ed: I thought at the time that you had this incredible depth to explore as an actor and that you could probably play it safe and take on sweet, innocent roles, kind of like a young Andie MacDowell, or you could be more mysterious. While I thought you were wonderful in the short film you did for Maruska’s class, I felt that given the right material, you could really embody a sort of femme fatale! Hah! I suppose that was me wanting desperately to do a genre piece and work with just the right actor. In fact you and I did three short films where you played a woman that could easily have come from a past decade. The one where you say I made you look glamorous was called “Pink Streets: Stiletto” and you did look glam in that black dress. Plus it was shot in black & white and you drank red wine while lounging on the parquet flooring! Although I have to admit I joined you in finishing off the bottle well before we finished the shoot! The other “period” films we did were “Saltz Wasser” and “Isabella”.
Elfriede: “Saltz Wasser!” I just had a flashback to you editing footage from a trip to Germany and you making that wonderful video for me. “Salz Wasser”… Love that! Thanks by the way.
Ed: How it happened was… well, I recall you telling me you were off to Germany for a vacation and either I said “here, take my Super 8 camera with you” or you had one of your own – I can’t remember which – but when you returned you had all this wonderful footage of a train journey with the mountains in the background and it was all in black and white and extremely moody. So I sort of took all that away and contemplated it for a while before adapting a piece of writing I had done about four years previously into a voice over that you translated into German. I also remember shooting more Super 8 footage of you dressed in 1940s clothing, looking forlornly out a window and making tea, only it wasn’t tea… just hot water and salt. The film was meant to be a comment on feelings of betrayal, of once having intimacy with someone you loved so deeply but then devaluing it all with the reality of separation. It was the most artsy of my artsy films at the time. You were brilliant in it, giving a very moving performance considering you didn’t have any lines, only a voice over. But the power of your voice… that always stuck with me.
Elfriede: I remember thinking what an incredibly versatile and talented man you were. What couldn’t you do? You filmed, you edited, and at that time you wanted to direct but hadn’t really done it professionally at that point… you did music and graphics. Wow. I mean, who wouldn’t want to work with someone like that?
Ed: We were all part of a community of people that liked to work together I remember… to feed off of each other’s creativity. Someone would write, someone would direct, some would act and so on. I sort of muscled my way into what I knew was a fairly tight and guarded circle of “actor” friends, but what I hopefully brought to the group was an interest in video art and other elements of production. It must have intrigued people because you and I worked together several more times and also with other people in that group. There was Patrick, Randall and even Charles. Funny how Pat and Randall and you and I ended up doing Flashback then in 1999. I guess it was just a natural progression of all the short films we had been doing up until then, wasn’t it?
Elfriede: I can’t recall clearly enough… can you answer that because my mommy brain is failing me. What I believe happened was you generously asked me to be in The Flashback pilot and then you introduced me to our lovely Michael Balser.
Ed: There was no generously about it. I really wanted you to be in the pilot and I know when Michael saw you act out the scenes, he was secretly very proud. Apparently, according to him, he had written it perfectly for you… which was his way of saying that there was no one else he could have possibly imagined playing the role so well. A kind of high compliment from a man who didn’t want to pick favourites. I also know he thought you were probably the funniest of the B-Girls because you had to be the constant “straight man” to two more outwardly comic presences. The lines given to you were far more subtle than the lines he had written for either JoAnne or Tara. I think deep down he related more directly to the kind of character that Bellissima had become.
Here’s something I can’t remember, but Flashback had been your first time working with both Tara and JoAnne, was it not?
Elfriede: Yes. I didn’t know JoAnne then, but I had seen Tara in some theatre productions around Toronto and I remember her energy was just fantastic. Then when she ended up working at the same restaurant as me, I suggested her to you. I think that’s it. Or I got you her contact info.
Ed: So we all have you to thank for introducing us to the crazy Tara Samuel! I think you are right in that recollection, though it is funny how a detail like that slipped me by. I was meeting so many new faces during the casting that I forget how the names actually ended up on my desk. I still have electronic copies of all your headshots though! It is freaky!
Did you enjoy the shooting experience on the pilot?
Elfriede: I absolutely loved the whole shooting of the video. The characters really came together and there was a lot of play and exploration. I have to say that I found the screening a bit disappointing, as the sound was horrible and a lot people in the audience found it confusing. I think that was the fault of condensing the whole idea of an episode into a pilot of various scenes, and it really was never fully recognised and as appreciated as Michael wanted it to be. It was a shame. I know I had great belief in it.
Ed: The whole screening experience was bizarre. It was sort of a fundraiser to recoup some of the money we had spent on the production but it was under the guise of an award’s ceremony where people could nominate their friends for a fee for an “Embarrassing Mediocrity” Award. Anyone could be a winner of an award if the price was right. It was a dark theme to what should have been a light evening. We were younger then, and I have to take some of the blame for that zealous approach just as much as Michael. I guess we just thought that people would understand the video for what it was and not try and read anything into it. But I have since learnt to only release things that the general population can understand… don’t ever do anything in production short hand! Even television executives can’t be trusted to understand the intrinsic differences between a rough edit and a final mix.
Did it surprise you that almost ten years after that evening, Flashback made a comeback with brand new scripts and a whole new medium?
Elfriede: No, I’m not all that surprised you revised the project. But I am so very happy – especially for the memory of Michael, whom I wish could be here to see your efforts and hear this new, finished project.
Ed: Well, finished it isn’t yet… real life and money making always seem to take precedence and I’ve had to put the editing of the series on hold for a few months, which of course means delaying the release. But what I’m hoping to do is finish it all by New Years. I think the dedicated time I’ll spend with it over December will mean that it will be better than it would have been had I rushed it and tried to finish it for September like I originally planned. You yourself know all too well about real life responsibilities, don’t you?
Elfriede: Let’s put it this way… acting never brought in a stable income and being a waitress could no longer be viable with the birth of my two boys. I put off having a “real job” for a very long time but now having a life for my two sons is priority number one. But I have to say that being a mom is the best role I will ever get to play, and all the acting projects in the world couldn’t match this experience, and all the joy it brings me. I wouldn’t trade this in for anything. That said, mind you… if someone offered me an acting job that would continually provide for my family I wouldn’t say no! For those who can be creative always and still make money… that’s great.
Ed: I salute your honesty and I admire your choice to focus on your family life and all that it brings. I guess I wondered though if you missed acting just a little bit? I know that when our last recording session was drawing to an end and you were in a rush to go off and collect the kids, it was a bittersweet moment. I think you enjoyed being back in the saddle again, but you also had a different life now and more important responsibilities. But for my part, I am only too pleased to have had you reunited with JoAnne and Tara, to bring the B-Girls into the 21st Century. Speaking of which, did you find it difficult to redefine those relationships to the other girls?
Elfriede: Well, having developed a relationship with the two of them in the video it was pretty easy to revisit that scenario. Mind you, reading the script beforehand might have made it even easier! I mean, “HOLY jumping right into it!!!”
Ed: Hah! Well audio is a mad, mad world of barely any rehearsals at all! And it was indeed a whirlwind experience, wasn’t it?
Elfriede: For me, life was too crazy to even find the time to read a newspaper! I was working full-time, I had the kids to look after, but hey, I hope you’re happy with what we got. I honestly loved our solo recording sessions in the kitchen as much as the group recordings. Remember me asking, “So Ed, um just what is this scene about?” Hah! So professional, huh?
Ed: I don’t think anyone was prepared for the rollercoaster recording sessions we all did. I spent two nights with Patrick recording for Professor Swyft, individual sessions with you, with JoAnne, with David Tomlinson and Ryan Kelly. Then some group sessions because I felt that although everyone was so busy and coordinating it all would have required an immense amount of resources, we really needed a bunch of “together” moments, and so did the characters. I think in the end though we all had a laugh no matter what situation we were in.
Elfriede: Yes we had lots of laughs and that was great. What can I say? JoAnne and Tara… their voices are fantastic and they both have such wonderful personalities and explosive energy. I loved it! Of course having more time instead of doing five-hour marathons might have reduced my headache a bit afterwards!
Ed: Oh! Is that you or a bit of Bellissima creeping into the conversation?
Elfriede: Well I hope I’m nothing like her! Ed what are you suggesting???? Type casting? But seriously, I have been known to have my Bellissima moments: the sharp, sarcastic tongue that I should probably censor a little more. But equally, that’s what I love about Bellissima. She doesn’t care what people think of her and she is cruelly blunt and outspoken. Perhaps a little too negative, even for me – but she’s definitely a fun character to play. I tell you, NICE characters are boring to play, aren’t they?
Ed: I remember both you and JoAnne separately doing your first takes at the microphone and me sitting there feeling that I wasn’t getting exactly what I wanted but I was too scared to offend either of you… And it was purely because you are both too NICE for the nastiness of the characters! Once we discussed the allowance for going OTT, then I think you both took the words and chewed the hell out of them! But I for one, am definitely glad you’re nothing like Bellissima… well, maybe 10% Bellissima… okay more like 25%! LOL! I guess I’d better stop there or I’ll be buying the drinks when I see you next month!
But as for Bellissima… do you think we’ve heard the last of her?
Elfriede: God no. I think we’ve only seen the tip of the iceberg with her.
Ed: I know with your other commitments that the possibility of taking up more of your time with additional recordings might be a bit impractical, but I’d still like to think you’ll always be a part of my creative life somewhere and at some point. Hopefully you found the experience of recording this a bit of a creative rush despite your busy life.
Elfriede: Well as I said, I never had the time to read the scripts you sent me, so it was just jumping in from scene to scene with your initial instruction. In the past I would have been more prepared, but actually I kind of loved the challenge and the on the spot discovery. As for future work… I’m always open!
Ed: Now that you’ve hopefully heard a bit of the rough edits of episodes one to four, what do you think of them? Do you think that Michael would have liked the project?
Elfriede: I’ve only heard bits but it sounded fantastic. Yes it’s hard to believe all the characters weren’t in the same room together! As for Michael… Absolutely. I just got shivers which means he is hovering over us. He’d love it. I think the new scripts do his initial concept justice and he’d be very moved and proud of you. He was always so annoyed that it wasn’t properly recognised and he also felt you were so talented.
Ed: We all have hidden talents! Is there anything creative that you’d still like to do? I guess I’m asking if you have an ideal project in mind for something in the future?
Elfriede: An ideal project… as opposed to Flashback? Well, I think writing my own work still appeals to be. If I were a millionaire, I’d write a few screenplays because I believe I have a few stories in me. Haha!
But of course I’m proud of Flashback. It’s wonderful that I got the chance to work with you again. You know, I did it mainly for you but then, as were taping it I realised: “Oh yeah, I remember… this is FUN.” I suppose, to do that daily and still make a living at it would be the ideal thing. Hats off to all you out there who can do that!
Ed: Well, I’m sure you’ll be back in Series Two if we ever get to that point! I suppose in a way we’ve all grown up a bit. We’ve all taken our lives on different paths and getting to do a project or receiving the recognition for doing a project isn’t as important to us as it was in our younger days. Now we do it on our own terms. Me… I will take as long as I need to finish the edit and release the series because I’m not desperate to get it out there as fast as I can. I want the project to be as good as it possibly can be and I will work at my own pace… and of course, allow my busy life to take priority most of the time. Because I suppose in the end, it doesn’t matter. All that does matter is that when it is released we, and a handful of other people, can sit back and enjoy something original and funny.
I don’t know how the project will be received out in the world, but the one thing I do know is that if we both live to be eighty, we’ll always be friends!
Questioning Viv … er Bev 999.845.345
What can I possibly say that hasn’t already been said about the wonderfully talented and extremely fun Viv Moore? No doubt, you’ve all read one of my earlier blog entries about her, our friendship and her interesting and varied career? Well, if you haven’t, then you certainly should by checking out this link. After all it would save me retyping all that glamorous gossip about her. But who is she really you ask, and what does she have to do with this blog? Well Viv plays one half of the very odd duo of alien historians sent to document the end of the planet Earth in the upcoming audio series Flashback.
Bev 999.845.345 and her subordinate, Beverly 966.662.226 are sent by the Head Librarian on the planet Biblos to observe and make a record of all events on Earth leading up to the planet’s eventual destruction, but a problem with an ancient piece of analogue equipment leads to an unexpected chain reaction of events that could rapidly bring their mission to a shuddering halt. Bev likes to see herself as the more level-headed of the two, concerned with how the home world will react to anything deemed “outside” of the strict space fleet regulations. Beverly is more of a tourist on holiday and immerses himself in the culture of the planets they are sent to document, much to the horror and derision of his superior.
In the original video pilot of The Flashback, Bev was played by Veronika Hurnik, though subsequent projects with Michael meant that the character was recast and Viv assumed the role for a more “earth-bound” project involving the aliens and Egyptian art history. Actually even before Veronika, the role was briefly played by Jane Walker (Bev and Beverly’s computer in the audio series) … so Bev has more or less suffered a multiple personality kind of affliction. Though, when it came time to cast the audio series, Viv was the likeliest candidate to continue in the role. Plus, I just had to work with her again!
I recently caught up with Viv via email to ask her a few questions. I was lucky she even had time, what with flying across Canada and then deeply committed to rehearsing a new stage show in Toronto. I often wonder if she has time to eat and sleep these days.
Ed: Viv! We’ve known each other for a very long time now. Can you remember how we first met?
Viv: Eddy! Well, there was a party… and a kitchen… and a few bottles of wine. I remember closing the fridge door and then suddenly talking to you – hmm is that symbolic? We talked about York University and the solo show I did for my undergrad year, and I remember thinking “oh my god, this guy was from Visual Arts”, and since all Vis Arts folks were my idols, I was amazed that you’d even seen that performance and I was even more wowed that you liked it. I remember loving your energy and interest and loved talking to you that evening.
Do you remember some of the projects we did together? “Waking the Witch”,”Ohm – dance through an electric eye”,”Daddy’s Boy”, your Thesis show and the various Fringe things to name a few…
Remember!!!!! How could I possibly forget? Projects with you meant (and still mean) talking about ideas, laughing, drinking, and coming away from the experience with memories that are so full that I could just weep – and I did when you left.
Ah… you mean when I moved over to the UK from Canada… I always wondered if you thought involving you in my crazy projects meant that I was just some sort of weird eccentric.
Of course you are such a weird eccentric – yes! And thank goodness or else I wouldn’t still be working with you. You see, I only work with weird eccentrics. But with you, I love the way you include and involve and envelop people in your projects. Every show that I can think of that you and I have worked together on, I smile broadly because the details of those times are still so rich and clear. And even though you were no longer based in Toronto, you were still my obvious choice to be my “aide de everything” for my Master’s Thesis. It is sort of like you were growing out of my head… so I gave you an idea and you came up with a genius solution. But that’s the way it has always been – marvellous ideas flow between us on everything… on Waking the Witch, on Ohm… you have such a brilliant way of ‘realising’ end results that I have never possessed, so it’s like you are a magical elf who pulls ideas out of the etheric.
Magical elf? I’ll take that as a compliment, shall I? Actually I loved the challenge of helping to create images of you for your thesis show. Luckily I was visiting Toronto and was able to take a few snaps of you in costume, then with Photoshop and shots of local areas in South Wales, I was able to create some pretty beautiful portrait shots if I say so myself. Yeah, I guess with the magic of Photoshop, we artists become elves!
But on to Flashback now… I really want to know what you think of the character of Bev 999.845.345 and how she developed? I mean you didn’t play her in the video – that was Veronika Hurnik, who I believe you know – but did you still think of it as a challenge?
Actually I was honoured to be asked to play Bev 999.845.345. And yes I do know Veronika and have massive respect for her, so I didn’t ever hope to fill her shoes. I just hoped that I could do a good job for you. Bev is so dry and earnest and I had great fun playing her. So I didn’t really see it as a problem but more of a fun challenge, which is honestly how I see all of your gigs. This may sound corny but I don’t care if it does… I can’t tell you how glad I am that we are in each other’s lives because I am constantly energized by your creativity and joie de vivre.
I know that Michael really loved working with you on “Popular Science”. Of course that was the video where Bev and Beverly were more “earth-bound” weren’t they? They were forced to become hosts of children’s television shows just to make ends meet. Do you have any memories about the strange goings on in that video?
Ah Michael. You know, he seemed to pop into my life, make lots of splash and colour and then pop back out again. I adored his laissez-faire yet rebellious approach to life. “Popular Science” was a hoot to make and I had such fun working with Randall Lanthier. I can’t even begin to tell you what I did or said though! I just remember wearing some strange clothing, making pointed arm movements a la Egyptian style and then suddenly… it was over.
What was your first thought when I asked you to participate in Flashback the audio series?
Frankly… I was tickled pink and felt like I was part of a special clan!
B
ev 999.845.345 is really a rather bizarre character isn’t she? I mean, she’s sometimes so straight-laced and proper, but most of the time is a seething bundle of conflicting emotions in a being who is not supposed to display emotion. Were you able to get into her mind and discover her hidden depths or was it simply too difficult given the hectic recording schedule?
Ah Bev… Yes she is a bizzare character but I felt I did get to know her to a certain extent. And yet, with everything I do I always think that more could have been done – you know that’s my endless parrot-talker that takes up residence on the shoulder quite often. He has been away a lot recently though, and I’m retiring him pretty soon, but he still shows up sometimes. Believe me, it wasn’t anything to do with the recording sessions.
So you wish you could have done something different or you weren’t happy with the performance you gave at the time?
No, just that I’m always my worst critic. I guess I felt that I wasn’t sure if you were completely happy with my performance when you took it home. Bev is so very straight and I tried to get an edge on her, but I actually don’t really know that she even needed one at times because she was so straight. I guess that made me doubt myself a little.
I shouldn’t worry if I were you. There is great humour in the performance because in many ways she is so rigid. She is almost too rigid but that plays extremely well with Randall’s interpretation of Beverly, who is much more loose and carefree. The later scenes of her going through “that odd thing she goes through” and then even later when she faces what she terms as “the vermin”… I laugh out loud every time I hear her sighs and tsk-tskings!
So, aside from any wee self-doubts, how was the experience of working in audio? Was it your first time, because I think it was our first time together not in video or theatre? Of course, we didn’t record in a studio environment so you really can’t comment on the level of professionality of it all, but surely the environments we did work in were, although rushed and squashed in between life commitments, conducive to creativity, and bonhomie?
Well, I’d done ADR work for about three films and really loved that, but in truth I haven’t done much pure audio. As for the experience… well, oh my god we had loads of laughs. I thought the professionalism you brought into each session was excellent and even though we didn’t have a studio, we had lovely kitchen tables… yes the work environment was top notch!
What was it like working with Randall again? What do you think of his interpretation of Beverly? I certainly can’t imagine that character being any one else but Randall, can you?
Love working with Randall. The relationship between Bev and Beverly is so very silly and yet real. I just love his interpretation of Beverly and I can still hear the dry sardonic tones right now ringing in my ears. In acting, he’s the perfect sparring partner.
So then, which do you like most, acting, choreography or directing/coaching?
Well, it seems like the various hats that I love wearing… those cycle themselves around in a very satisfying manner. Recently I’ve been doing far more dance work so that has placated my “oh I wish I was dancing more” body. But I would LOVE to do more voice work because it is such a different approach entirely to what I’m used to doing.
What sorts of characters would you like to play?
I enjoy a range really. Right now I’m playing the duck in “Peter and the Wolf” and she is ornery and impatient, so I’m really enjoying being bombastic and big. Rude and ugly would be another nice change!
Would you like to do more Flashback – say Series 2?
Are you serious? I would be up for flying to the moon and back with you. So in answer to your question – yes I’d love to do a Series 2!
I’m also creating another set of CD audio stories, though shorter than a ten part serial, thank goodness! As you know it is a parallel world take on Agatha Christie’s Miss Marple where she isn’t such a sweet little old lady after all. I think you’d get your wish to play rude and ugly, don’t you?
Ah, yes please for Parallel world evil Miss Marple. And I’m not just saying that I love working with you as a mere platitude you know… you are one of my main inspirations in life and I am excited by the range of crazy projects you dream up. I am always honoured and delighted that you include me in your projects and in your life.
Hopefully by now you’ve heard the rough edits of Episodes 1 – 4 of Flashback. What do you think of them?
You know, I have enjoyed listening to the rough edits very much. I think you’ve done an amazing job of editing but I also love the sound effects. I thought the pacing was just right and the unfolding of the story is clear. I just think Bev should lose her marbles next time or just get naked!
Do you think that Michael would have liked the project? Seeing as it is in a way a tribute to him, do you feel his presence in the comedy as I do?
Oh yes. Michael would have laughed his socks off. His sense of the extreme and the ridiculous is totally present. That’s the reason that I love you so much, because you are ludicrously off-centre and completely barmy – and that’s the world that excites me most… the unexpected, the surreal. Michael and you had so many discussions about your art, and I know you wanted to honour him as well, so I think you have provided a wonderful tribute to him, while still infusing yourself deeply in there.
Most of the parts as you know were recorded separately and then put together later by me. Do you think that they feel natural?
Yes the editing is glorious – works a treat, and I can’t tell at all that we’re all miles away in different recordind spots.
Well Sarah Douglas did her recording with post being shoved through the letterbox only to land on her shoulder! At least you and I had a bigger kitchen… your kitchen to record in!
I hate to admit this but before this project I’m afraid I didn’t know much about Sarah or her career, but rest-assured I do now! I think it is just so excellent that she is involved and I’m sure her fans will be delighted with the entire series.
If you were to describe to me your “ideal” project to be involved in, what would it be?
Hmm. I think it might have to involve travel and camels – oh no wait! I think I’m doing that in October! But travel is always good. Errr… Ideal? Well, there have been so many different projects that I have already been involved in, and each one at the time was brilliant. Dudley Castle dancing with my Mum in “Waking the Witch”; dancing in New Mexico… I don’t know, this will sound corny but, as long as I can keep doing the things that have integrity and that I feel really passionate about and still intrigued in, then that will be ideal. Just as long as I don’t have to hold up adult diapers and tell viewers how good they are on a commercial – that wouldn’t be ideal!
Have you been telling your friends and colleagues about the project to get their opinion and are you proud of the work?
I have been sharing it yes, but I am also aware that I don’t get on the net as much as I might like to in order to spread any gospel. So I will have to get on that more. But yes I am very proud of the work
Don’t worry too much about spreading the gospel yet! Wait until the box set is available for sale then pitch pitch pitch! But seriously, do you have any other thoughts on the time you spent working on Flashback that you’d like to share?
Only that I’m very excited to see where this will go, and I am always so inspired by the fact that you have an idea and then finish it. There are many dreamers out there who only dream, but you are not one of those. I know how involved you are and have always been, in the greater world of sci-fi, so I’m intrigued to become part of that world for myself, because I haven’t really been into sci-fi that much… well, except for “Doctor Who” when it first started back in 1963!
And I’m sure the sci-fi world will love hearing you as the neurotic Bev the alien! Thanks so much for taking the time to answer some questions for the blog!
Click here for a scene from Episode One where Bev and Beverly discuss documenting history. Keep in mind that the scene is not mixed nor mastered and is a rough edit, but you get the idea! Below is a composite image of Viv in character from her Thesis Performance with a reconstruction of the set she performed in.
Support Sarah Douglas’ Facebook Fan Page!
Sarah Douglas’ Facebook Fan Page is just a few fans shy of reaching the 1,500 devoted follower milestone and I propose that everyone who wants to keep up to date with all the latest news of what Sarah is up to should sign up. Plus you get to boost the numbers higher and higher. Just click on the Logo to the left and you’ll be taken to the page! Go on… You know you want to!
Also, Coming Soon to this very BLOG: Two fabulous and separate interviews with even more cast involved in Flashback! Viv Moore who plays the neurotic fusspot alien Bev 999.845.345 will be first up sharing her thoughts and musings, followed by the delightful insights of Elfriede Erzen, who plays the ever cynical B-Girl, Bellissima!
Sarah’s Facebook Fan site has received 30 new members as of this evening! Well done!
FLASHBACK 