Minors’ Trust, Major Responsibility

22 August 2024

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Minors’ Trust, Major Responsibility

Keith Martin Gordey

If I have learned anything from serving in leadership, it is that if you want to get something done, particularly if it involves government, it will take longer than you think. Even if a regulation meant to protect the earnings of a minor are doing the opposite. Such has been the saga in trying to get a change in the B.C. Provincial Employment Standards Regulation to amend the option for a minor performer’s income held by law to be deposited into the ACTRA Performers Rights Society Minors’ Trust (ACTRA PRS) rather than with the Public Guardian and Trustee of British Columbia (PGT).

In British Columbia, 25 per cent of the income over $2,000 of a performer under the age of 16 has been required to be held in trust by the PGT until said minor reaches the age of majority. A good thing you might say, as it protects the minor’s interest. However, the challenge with the PGT has been, and is, the significant fees they charge for managing that trust, as well as the lack of transparency and reporting.

Consequently, a minor performer in B.C. generally finds the total amount coming to them, when they turn 19, is less than what they have deposited. For example, one performer who had approximately $10,000 held for 10 years netted out at $8,600. Whilst there is no regulation requiring the PGT to make up the difference, I believe the practice (not the requirement) is to top up to the original amount deposited. Still, this does not allow for this money to earn any interest over the years. Hardly seems right.

Executive Board Members, management and staff, parents and guardians, as well as producers lobbied and held ongoing discussions with many provincial government officials to secure the option to choose where their child’s money is held.

In contrast, the ACTRA PRS Minors’ Trust prioritizes the preservation of contributions. Established in 1999, it currently administers over 1,400 accounts with the current annual rate of return of 4.15 per cent.

Comparison	BC PGT	ACTRA PRS Minors’ Trust
Fees on Contributions	3.94%	2.26%
Fees on Income Earned	3.94%	0%
Fees on Gross Assets	0.74% per year	0%
Return	1.97%	4.15%

All fees are inclusive of applicable sales taxes as at July 31, 2024

So back to the saga. Our effort to address this issue began in 2016 when parents and guardians of minor members first brought this to the attention of UBCP/ACTRA. Countless hours were spent making calls and attending meetings with the various parties. Ultimately the only way forward was to lobby the government to amend the Employment Standards Regulation. Executive Board Members, management and staff, parents and guardians, as well as producers lobbied and held ongoing discussions with many provincial government officials to secure the option to choose where a child’s money is held. We met with the Minister of Labour on three separate occasions and held several follow up meetings with his staff. Finally, just when we sensed we were close, COVID-19 hit, which obviously drew everyone’s attention elsewhere.

As soon as we could, we resumed our lobbying efforts. We raised the issue with anyone who would listen, Ministers, MLAs and senior bureaucrats, all of whom saw the logic in the proposed amendment of the regulation. However, the bureaucracy’s tendency to maintain the status quo made progress difficult.

So, with a “never give up” and “go to the person in charge” attitude in mind, I attended a fundraiser where the Premier was expected, showed up early, and managed to speak with him directly. Fortunately, the Premier was also early. He and I were virtually the first to arrive, so I was able to spend some solid one-on-one time with him, provide background, and explain our goals. Once he understood, the Premier directed me to the Parliamentary Secretary for Arts and Culture, who promised to keep him apprised of the progress of the matter.

We followed up with the Parliamentary Secretary, who was clearly on side. Nonetheless, we continued to push for progress wherever and whenever possible. Months later, during Creative Industries Week in Victoria, we met with the Premier and the Minister of Labour to discuss the matter yet again.

On July 8, 2024, we received the welcome news the regulation had been changed to allow minors to choose the ACTRA PRS Minors’ Trust. However, nothing is simple and there was a wrinkle — the new regulation required that our collective agreements explicitly state it as an option. Currently, only the British Columbia Animation Agreement allows for that. We immediately reached out to the negotiating producers and are now working to incorporate this language into the British Columbia Master Production Agreement (BCMPA) and will collaborate with ACTRA National to amend the National Commercial Agreement (NCA).

For more information on working with minor performers and the PGT there is excellent information on the Minors page on the UBCP/ACTRA website. Also, check out the About ACTRA PRS Minors’ Trust page on the ACTRA National website.

I extend my gratitude to our staff, particularly the Industrial Relations team, the members of our Guardians of Minors Committee, and to the parents and guardians who encouraged us to persist seeking these regulatory changes. Although most of their children have aged out, and will not benefit directly, I am sure they are gratified to know that future minor performers will get a fairer shake.

Frankly, I believe we would not have achieved this without the relentless determination of our Director of Contracts and Lead Negotiator, Lesley Brady. I believe she spoke for all of us when she said, “I admit I was a bit emotional when the news of the change came — it was a long eight years of continuing to fight on behalf of our most vulnerable members. Everyone knew the change made sense, it was just so incredibly frustrating that it took so long to achieve.”

Michael Cheevers; Tracey Friesen (CMPA-BC); Keith Martin Gordey; Minister Lana Popham, Tourism, Arts, Culture and Sport – Government of British Columbia; Minister Harry Bains, Labour – Government of British Columbia and Lesley Brady.

Keith Martin Gordey is the Vice President of ACTRA National, President of UBCP/ACTRA, and Board Liaison to the UBCP/ACTRA Guardians of Minors Committee. His extensive film and television career includes roles on Stargate SG-1, Cold Squad, The Watchmen, Supernatural and The Order.

Top photo, front row: Tracy Ho; Lesley Brady; Premier David Eby, Government of British Columbia; Minister Harry Bains, Labour – Government of British Columbia; Aliza Vellani; Shawn Macdonald. Back row: Karla Laird; Fred Ewanuick; Keith Martin Gordey; Lexa Doig; Angela Liu; Anisha Cheema; Michael Cheevers.

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Futureproofing AI

22 August 2024

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Categories: Fall 2024

Futureproofing AI

Marie Kelly

Artificial intelligence (AI) has been at the forefront of entertainment industry news over the last couple of years. Opinions and attitudes around AI range from excitement for its possibilities to fear that the sky is falling. The reality likely lies somewhere in the middle, but particularly for actors and other creators, the potential threats must be taken seriously, and reasonable guardrails must be erected.

Most AI technology, including in our industry, goes unnoticed. If you subscribe to a streaming service, for example, an AI program provides the personalized recommendations you might receive. If you use a voice assistant on your phone or in your home, it is powered by a form of AI technology called natural language processing (NLP) that helps it to understand and interpret what you are asking and then respond. Online shopping, search engines, even autocorrect — these are all AI-powered functions that we encounter daily.

When used by workers to enhance and enable their work, AI can be a powerful tool. There are AI applications that are helping in medical research and diagnostics, such as in cancer diagnosis. AI tools are helping scientists combat climate change and aid wildlife conservation. The common denominator here is that the tool is being used to enhance the work of humans, not to replace them.

Newer forms of AI pose risks to actors and other creators because they can replace them. Some might argue that they are simply used to enhance the work of humans, but they do so by potentially replacing other humans. It is this use that has come to the forefront in the entertainment industry and that has become a central issue in industry labour negotiations. This is particularly true of generative AI (GAI).

GAI is a type of AI model that learns from training data, such as a studio’s library of content. It then can generate output in response to prompts it is given, creating new content that is similar — sometimes troublingly so — to the original work it was trained on. ChatGPT, for instance, is an application based on a form of GAI. Generative Pre-trained Transformer (GPT) is the type of NLP model that powers the ChatGPT application.

The underlying technologies are not new, with some of them dating back to the mid-20th century. But advances in computer processing power and data storage have prompted rapid development and growth of the technology. This has allowed the development of extremely powerful algorithms that generate more complex content like images, videos, and music, and to do it faster and more effectively than ever before.

Today’s GAI programs have developed to the point that they can generate voices, and even likenesses, that are nearly indistinguishable from a real person. This technology is growing too rapidly and is too open to abuse to sit idly by and wait for the worst-case scenario to occur. It is therefore critical we act now to ensure protections are put in place.

In many ways, the issues that have come to the forefront with GAI are not new – they are just cast in a new light. The march of technology has transformed our industry at many points in history, changing how creators are hired and paid, the nature of the work, how work is found and exploited, and so much more. What differs now is the speed with which technology is developing and advancing. Many have compared the recent advancements in AI, GAI in particular, to the invention of the printing press or the internet — paradigm-shifting revolutionary change, both to our screen industry and the world.

Our employers must recognize the need for strong, fair protections in our collectively bargained agreements, and the government must do its part to protect all Canadians from abusive uses of these technologies.

Few understand the impact of, and the risks posed, by GAI quite as well as creators and artists like our members and those of our sibling unions. Many of you walked the picket lines or rallied in solidarity with our U.S. union siblings as they fought to put fences around industry employers’ use of AI before it could run roughshod over the entire industry. Their fight was just the start, of a battle we are all entwined in.

Unfettered and unregulated, GAI can pose an existential threat to many categories of workers, both in our industry and beyond. It poses risks to democratic institutions and reputations when it can be used to manufacture disinformation and present it as truth. For ACTRA members and countless others whose likenesses, voices, and performances are central to their careers, misuse can destroy reputations, livelihoods, and even lives.

Still, no matter how strictly a union regulates GAI in its contracts, its jurisdiction can be limited.

ACTRA members’ images and voices are the cornerstones of their careers. We must, and we do, approach the regulation of GAI on multiple fronts. Beyond bargaining, we continue to engage in efforts to ensure AI-related legislation protects ACTRA members.

We work with our sibling unions domestically and in the U.S., as well as those around the world, to share knowledge, information and best practices. And we engage in efforts to educate our members and the broader community on the issues.

Our work as a union is just one part of this fight.

As performing artists, it is important that you and your representatives also understand the technology and risks and that you do your due diligence before signing any contract or clicking to accept the terms of use. This is particularly true when you come across AI-driven apps that invite you to upload content, no matter how exciting they might seem. As we have seen with social media, when you are getting the service at no or low cost, you are probably the product. Understanding the technology and the rights you are granting is critical to making an informed decision.

Our employers must recognize the need for strong, fair protections in our collectively bargained agreements, and the government must do its part to protect all Canadians from abusive uses of these technologies. Chief among these protections, particularly for actors, are the “3 Cs” that have been the cornerstone of recent negotiations and legislative advocacy, not just for ACTRA but also for our sibling unions: consent — performers should have the right to consent to, and be credited for, the use of their name, image, likeness, and voice in AI-generated content; compensation — performers must be compensated when AI is used to replicate them, particularly when used in a manner for which they would otherwise be paid for their work; and control — performers must have the right to demand mechanisms be in place to protect the data they provide, ensuring their work cannot be copied, scraped or stolen.

These “3 Cs” are all critical to any bargained contract. They also should be enshrined in the law, with the rights of consent and control set forth as protections for all Canadians. No one should be made to speak words they did not speak or be depicted performing acts they did not perform simply because the technology exists to do so. It goes against the core rights and freedoms we hold dear as Canadians.

The reality is that GAI is not going anywhere, no matter how much some might like to see its advance halted. To the contrary, the number and capabilities of AI programs are growing exponentially, and experts predict this growth will not slow anytime soon. We must all remain vigilant as we fight for protections now and into the future. ACTRA stands ready for the fight.

Marie Kelly is ACTRA National Executive Director and Chief Negotiator. Marie’s mission is to improve the working lives of performers by setting high standards for collective bargaining.

Top photo: iStock

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How the Deal Gets Done

22 August 2024

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Categories: Fall 2024

How the Deal Gets Done

Eleanor Noble

ACTRA is gearing up to enter negotiations for one of its major collective agreements, the Independent Production Agreement (IPA) expiring on December 31^st, 2024. The IPA covers film, television, and digital media productions in Canada, except in B.C. and the Yukon, where a separate agreement, the British Columbia Master Production Agreement (BCMPA) is negotiated.

Leading up to negotiations, I often get asked questions about the bargaining process, why it’s vital for ACTRA members to be actively involved, and how their collective power drives positive change. I’ve created this Q&A based on those questions.

Q: Who is involved in this round of IPA negotiations?

A: National Executive Director and Chief Negotiator, Marie Kelly, and I, along with an incredibly dedicated bargaining team and staff from branches across the country, will be negotiating with our business partners: the Canadian Media Producers Association (CMPA) and the Association Québécoise de la Production Médiatique (AQPM). During IPA negotiations, the CMPA and AQPM work alongside their American counterpart, the Alliance of Motion Picture and Television Producers (AMPTP), who will also be present throughout the bargaining process.

Q: Why is collective bargaining so important?

A: ACTRA is a union representing 30,000 members strong across this country. Earning a living as an actor can be challenging. We work in a precarious industry. Everything we do as a union strives to improve our working conditions and the lives of ACTRA members.

Collective bargaining is our most valuable tool to make change. It’s the opportunity we have every few years to negotiate new and improved terms and conditions of employment. And it establishes the responsibilities and rights of both parties to ensure safe working conditions, benefits, and fair wages.

Q: What are some of the major changes and challenges facing this round of IPA bargaining?

A: Bargaining always presents challenges. This round, we face new and unprecedented issues including the need to adjust our residuals to reflect the industry’s new business model and to capture residuals for productions made for and streamed on their platforms. This must be addressed especially at a time when Canadians have faced record inflation and the rising cost of living. We will fight for an increase that reflects this reality. And, of course, there is the threat of AI.

Q: How does ACTRA tackle issues surrounding AI during the bargaining process?

A: The threat of AI replacing human creativity is a battle for workers globally. In our industry, the unions and guilds are united on this issue. SAG-AFTRA’s historic strike established boundaries around the use of AI. It is now ACTRA’s turn. Our focus will be on three key issues: consent, compensation, control, as detailed in Marie Kelly’s commentary in this issue of ACTRA Magazine. We are committed to establishing fair industry standards. Make no mistake, we are fighting for our livelihoods.

Q: How does ACTRA prepare for negotiations?

A: For each round of negotiations, ACTRA branches reach out to members who have worked under the collective agreement to ensure diverse representation (ie: background, stunt, principal performers, etc.) inviting them to participate in surveys and focus groups. These surveys and focus groups help identify specific issues and concerns relevant to our members. In addition to member input, ACTRA also consults with key industry stakeholders, including agents, managers, parents and guardians of child performers. This comprehensive outreach enables the branches and ACTRA National to compile a robust set of proposals that prioritize the most pressing issues.

A bargaining team is then selected though branch councils followed by approval from your national leadership.

The compiled proposals are then put forward to the bargaining team to discuss in depth during the Wages & Working Conditions Meetings (W&W). The team votes to finalize ACTRA’s proposal package, which will be tabled during negotiations. While not all proposals may be prioritized during each round of negotiations, they are documented for future consideration.

Q: Does lobbying the government help ACTRA in negotiations?

A: Yes, both work in a complementary way. While our negotiations will focus on securing enforceable terms at the bargaining table, we constantly lobby for protections at the federal level as well.

Q: What is the responsibility of an ACTRA member during negotiations?

A: As a member, it is important to stay connected, engaged, and supportive of our union during negotiations. The recent, formidable negotiations faced by SAG-AFTRA, the Writers Guilde of America (WGA), and the Writers Guild of Canada (WGC), offered us a blueprint and we need to stand together in solidarity to let our partners know we will fight for our value and our existence.

On behalf of our bargaining team, we may issue a call to action, so stay connected by reading your emails, following and sharing our posts on social media. Help us by keeping your ACTRA friends and colleagues informed. Our collective strength feeds the power our bargaining team needs for negotiations.

Q: There’s been talk of a possible strike mandate in this round of IPA negotiations. What does that mean?

A: A strike mandate is a very important and effective tool in negotiations. It shows our commitment and readiness to act if needed. It is our opportunity to demonstrate that we mean business. If our bargaining team seeks a strike mandate, we would encourage members to vote “YES” to let the other side know that ACTRA members are willing to stand together to fight for what is right.

Q: Any final advice in advance of negotiations?

A: Solidarity is the key to our success. It’s our strength. I encourage every member to play their part by staying engaged and actively participating when we reach out — whether that’s by attending a rally, voting on a strike mandate, or sharing our posts on social media.

United we bargain. United we win.

Eleanor Noble, National President of ACTRA, is actively committed to creating safe sets across Canada and broadening diversity in all aspects of the screen industry and ensuring each branch feels united under ACTRA.

Pictured above, The Hollywood Reporter named Noble one of Canada’s 2024 Women of Power in Entertainment. Photo: George Pimentel Photography

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Farewells

1 March 2024

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Categories: Summer 2023

Farewells
We remember… today and always

Len Birman
1932-2023

Leonard Birman has left the stage, exiting his long and fabulous life at 90 years and passing peacefully at Cedars Sinai in Los Angeles on February 10.

Len was the son of Maurice and Anne Birman, brother to David and Norton and father to Matthew. His wife Ruby predeceased him in 2020 after 56 wonderful years together. He is survived by his two loving sisters-in-law Marilyn and Naomi, his dear grandchildren Jack and Spencer who loved their “Poppy” like mad, and sweet daughter-in-law Neesha. Uncle Lenny also leaves behind beautiful nieces and nephews Elissa, Wendy, Alden, Perry and Sheldon.

One of Canada’s most respected actors, Len had an almost 50-year career spanning theatre, film, radio and television from the far reaches of the globe to his crazy commutes between Montreal, Toronto, New York and Los Angeles. Both he and wife Ruby were trailblazers in the industry, when live television and radio were the norm. A multi-award winner, it is hard to know where to begin the saga of his wonderful career.

He was also an accomplished multi-medium artist who loved working in everything from watercolour and oil to clay and bronze. His imagination and creativity were boundless.

He could grab a spark of illumination from the tiniest moment, giving his attention to detail to the little things in life he held most importantly, all qualities that made him a great listener, a phenomenal storyteller and a loving, caring friend. He was grounding, he was strength and he was knowledge. While often an enigma, he was a philosopher and a poet, a true gentleman and, to boot, a suave and styling dresser!

He was a lover of a good joke, whether borscht-belt gems or a corny old chestnut, and he’d often sit for hours repeatedly retelling our favourite jokes.

Somehow, we’d laugh every time.

Matt Birman

Doreen Brownstone
1922-2022

On the morning of Friday, December 16, 2022, Doreen Brownstone, O.M. died peacefully in her sleep at the age of 100. A mainstay in Winnipeg’s film and theatre scene, Doreen was called both the “Grand Dame of Winnipeg Theatre” and Winnipeg‘s “Theatre Grandma,” reflecting the kind of warm inclusivity with which she approached her castmates who very often became friends.

Doreen began acting during her time in the Royal Air Force during the Second World War before moving to Winnipeg as a war bride. When John Hirsch and Tom Hendry established Theatre 77, she was involved from the beginning, both taking classes and performing. In 1958, she played opposite Gordon Pinsent in Manitoba Theatre Centre’s inaugural production, A Hatful of Rain, before taking a long break (to raise children and teach swimming).

Doreen re-entered professional performance seriously in the 1970s, appearing frequently in CBC radio dramas during their heyday (and as a regular on CBC TV’s multi-city soap opera House of Pride). Although theatre performance was her first love, she was also a prolific film, TV and radio actor, and a passionately proud ACTRA member (she was also a staunch supporter and appreciator of Canadian Equity, she would be quick to point out).

Later in her career, she appreciated the opportunities film provided, including less memorization, which allowed her to continue working right up to the end. She acted in theatre for the last time at age 92, but she submitted her final TV audition the same month she turned 100. Her final feature, Whatever Happened to Barbara Blackwood?, in which she played the titular role is yet to be released. Being able to continue to work was meaningful to Doreen, as was her connection to her vast theatre and film “family,” including many of you reading this.

Stefanie Wiens

Patricia Hamilton
1937-2023

Pat Hamilton is, unquestionably, best known to most viewers as Rachel Lynde in the Anne of Green Gables movies as well as the television series, Road to Avonlea. Also unquestionable is that her passion was in the theatre. She acted in every regional theatre in the country, all the mid-sized and countless small theatres in Toronto, on and off Broadway, across America, etc. Teaching, producing, occasionally directing, always mentoring, she was a force with which to be reckoned. But mostly, for her, it was about her main craft; she had a life-long devotion to and fascination with the art of acting.

Born in Regina, Saskatchewan, Pat studied at Carnegie Tech in Pittsburgh, then worked across the States and Canada before settling in Toronto. She didn’t stop working until she was 80, with hundreds of stage, film and television credits over a 60-year career. She brought energy and enthusiasm to every project; her fierce dedication and determination are remembered by everyone who worked with her. She was an unflinching optimist, with seemingly unlimited reserves of strength.

In the time after her death at age 86, I’ve heard from so many people about what Patsy meant to them: Inspiration, collaboration, humour, play, professionalism, the search for excellence… but mostly friendship. She had so many friends, so many colleagues for whom the gift of her presence was something that went beyond ordinary workplace stuff; they wanted to bask in her light, to feed off her natural radiance. A colleague of mine said that she was the best scene partner he’d ever had; that to look into her eyes in a scene was to feel absolutely present and totally eliminated the need to “act.”

Some of the most lasting impact she’s had has been as a facilitator for education. She started Masterclass Theatre in Toronto in the ‘80s, which she presided over for seven years before it was morphed into the Advanced Actors’ Workshop at Banff. She felt actors were always being short-changed for time: they were being limited by the demands of the system and three weeks was not enough time to examine a play before presenting it to an audience. She wanted actors to have a chance to employ their craft without having to build tension into the rehearsals. She succeeded through the strength of her convictions: 11 shows got produced over that time, employing scores of actors (in the case of the last group, for three years running!) who worked on shows with longer rehearsal periods than most North American actors see in a lifetime.

Some people have described her as fearless. As her only son, I can lay that notion to rest: It wasn’t true. She had many fears and anxieties; they plagued her as they plagued everyone. As she got older, the fear of losing her words gave her a lot of trouble before she actually started to lose them. But if bravery is the ability to act in spite of one’s fears, then my mom was a hugely brave soul. She threw herself at the work with abandon and sought out challenge as hunters seek food. I suspect if illness hadn’t slowed her down and limited her capacity, she would have worked up until the day she died.

Take a break Ma, you’ve earned it. Time for a coffee in the Great Greenroom in the Sky.

Ben Carlson

Gordon Lightfoot
1938-2023

I met Gordon Lightfoot when he was visiting the CBC in Toronto in the 1970s. He was curious about environmental issues. I was giddy to meet such a big star, but he was disarming in his low-key demeanour and genuine curiosity.

I took advantage of that meeting when I joined the battle in BC to save the Stein Valley in from logging. I invited Gordon to come and sing for an annual festival to celebrate the Valley. He drew a lot of people and came regularly after that. When the festival went deep into the red, Gordon wrote a cheque that kept it going until 1989 when 20,000 people attended. It’s now the Stein Valley Nlaka’pamux Heritage Park. What impressed me was his lack of ego. He never demanded credit or even to have his support acknowledged.

In 1988, when I was filming a special about the Amazon for The Nature of Things, I was overwhelmed by the destruction of one of the greatest ecosystems on the planet. I met Kayapo leader Paiakan, who told me he had learned the World Bank had promised Brazil a loan of $500 million to build a dam that would flood a vast area of territory, including Kayapo land. “I have a plan to bring all the tribes who will be flooded to the dam site where we will tell the government it must not be built,” he told me through a translator. “But I need money. Can you help?”

I called my wife, Tara Cullis, in Vancouver, told her of Paiakan’s plan and his willingness to come to Canada to raise money. With help from the World Wildlife Fund and Elizabeth May, she organized events in Toronto and Ottawa , which included performances by the Nylons, Margaret Atwood, Paiakan and Gordon. Aside from raising $70,000 for Paiakan to protect the “lungs of the planet,” we called for people to write the federal finance minister and Canada’s representative at the World Bank and ask them to stop the money for the dam.

Gordon came to the Amazon for Paiakan’s event. Although he was a mega star, on this trip, he hauled his luggage like everyone else, doubled up in hotel rooms and slept in a hammock under a grass roof at a research station near Manaus. He didn’t find it easy. Again, he held back, taking it all in as people like Sting soaked up the media attention. After four days of demonstrations at the dam, the gathering ended just as a rainbow appeared overhead and we learned the World Bank had cancelled its loan.

Gordon led quite a life. In the outpouring of memories and celebration of his immense musical legacy, I am grateful to remind people of his contribution to the fight to protect Mother Earth.

David Suzuki

Thomas (Tom) Peacocke
1933-2022

The “small-town boy from Barons, Alberta,” theatrical giant, actor, director, teacher, administrator, advisor, mentor, advocate, raconteur, humanitarian, father figure and friend who understood the importance of community – the cornerstone of his professional and personal life – has taken his final bow from this earthly stage and moved on to his much warranted rest with his extraordinary wife, Judy, soulmate and love of his life.

Of his dozens of outstanding acting roles, the most notable was his Genie Award-winning performance as Père Athol Murray in The Hounds of Notre Dame in 1981. An ACTRA Life Member, he was also a distinguished recipient of the Order of Canada (1995), the Queen’s Medal, Dave Billington Award, University of Alberta Distinguished Alumni Award and Elizabeth Sterling Haines Lifetime Achievement Award.

We shall surely miss Tom: his humour and his vision; his bristle; his love of food, art and natural beauty; his mischief and passion, and the tenacity of his beliefs. Tom loved our shared history and heritage and admired the richness and light he saw in others; he championed Canadian storytellers and had a life-long passion for the writings and artworks of our Indigenous nations. He strived for a better future for Canadian theatre and society, while his disdain for arrogant political stupidity never ebbed. He was at once a complex and simple man, and a fighter to the end.

Tom was an uncompromising man who defined his character through purpose and could not resist any opportunity to try to make us better. He led by example, instilling confidence, engagement, and permission to love deeply. In his company, you felt a unique bond that no one else shared. This was his most remarkable gift; every relationship mattered to him. If you thought you were special to him, you were right. As with most, I never left his company without feeling enlightened, enriched and uplifted. Countless theatre artists carry the soul and passion Tom infused in them and he remained a guidepost throughout their artistic lives. We shall all miss him tremendously, but we are so thankful for having had him in our lives.

“May flights of angels sing thee to thy rest.”

Jean-Pierre Fournier

Gordon Pinsent
1930-2023

When the end of Gord’s spectacular run was in sight, and while his upper story was slipping a little, he could still always slay me with his wit. To wit: five years ago, we got a mini-doodle puppy and Gord named her Flossie after his mother, Florence, who “insisted on Flossie ‘cause Florence was just too fancy.”

Gord and little 20-pound Flossie were more than besties, they were soulmates to the end. Flossie always made such a fuss over Gord during his weekly visits, never leaving his side ‘til he left then would mope after his departure.

About a year ago, I was driving Gord home from a haircut and lunch when we stopped at a red light. To our side was a carbon copy of Flossie but about four times her size. I marvelled to Gord: “Look at that dog, it’s Flossie but four times the size!” He glanced over and said, “Yeah…Flossie auditioned for that part. Didn’t get it.”

This was Gord. Flashes of brilliance and a proud actor to the end. It was my absolute privilege to know him as family for 23 years.

We lost a great one, but the foundation he built for Canadian actors will be eternally rock solid.

Peter Keleghan

Red Robinson
1937-2023

As the public mourns the recent passing of larger-than-life media personality Red Robinson, it’s inspiring to consider just how much larger than life Red truly was.

The teenage DJ who first brought rock ’n’ roll to Canada via CJOR radio in Vancouver, Red was the only announcer to MC both an Elvis Presley concert and a Beatles show. Red added more colour than his red hair to the vibrancy of youth culture.

To be a kid growing up with Red on the radio was like having one of “us” in the driver’s seat. His red 1957 Ford Fairlane 500 convertible, from which he would broadcast live on the streets of Vancouver, made him a one-man parade in the burgeoning days of rock music. Attracting kids to his live broadcasts at the Kitsilano Showboat was huge fun for everyone, except some of the older generation who considered Red as much a threat as the beat music he championed.

When the then-Boulevard Casino named its lavish theatre the Red Robinson Show Theatre, it was a fitting tribute to the legend himself. Red would occasionally show up onstage to introduce the acts. The audience always gave Red a standing ovation; it became a matter of anticipation whether he might actually show up to MC the acts.

When the suits at the now Hard Rock Casino Vancouver decided to rename the theatre, a petition to prevent it was signed by everyone in the business, including such influential names as Bruce Allen. That movement has recently been revived; may it yet succeed!

Red never stopped being creative, productive, a pioneer and a champion of the music of youth, a philanthropic media personality and an author. He had multiple Hall of Fame inductions, was appointed to the Order of British Columbia and won too many awards to mention. Red did not outlive his legend, legacy or larger-than-life success as hero to us all.

Al Harlow

Samantha Weinstein
1995 – 2023

Samantha Weinstein (28) died peacefully at Toronto’s Princess Margaret Hospital on May 14th, 2023 after a vicious, two and a half year battle with ovarian cancer.

Having started acting at age six, she leaves behind her twenty-two year career having played so many interesting, challenging roles and receiving a great deal of critical acclaim along the way.

At age ten Samantha was nominated for best performance by a female and later became the youngest recipient to date of the ACTRA Toronto Award. She won for her performance in the short film, Big Girl, which had just won best Canadian short film at the 2006 Toronto International Film Festival. She was nominated for a second time in 2020 for the ACTRA Award in voice, for her performance in the animated series, D.N.Ace. Samantha also had a twenty year career in voice having started in it at the age of eight.

Samantha once said in an interview that cancer was both the best and worst thing that had ever happened to her. It was the best because after her terminal prognosis in June of 2022, she started to really live her best life. With just a year left to live she decided to travel. First to the west coast of Canada, followed by trips to Disneyworld, Japan, Hawaii, and Mexico. She travelled until it was no longer safe for her to do so. Samantha also got married to her love and best friend, Michael in October of 2022. She spent a great deal of time with her friends and reached new heights of friendship with them all. She ate ice cream for breakfast, listened to tons of music, dove deep into her relationships and made sure every day counted. She really learned who she was and what was important.

Sam leaves behind her sister, Sabrina; husband, Michael; her parents, David and Jojo; her best friend, Steph; and her punk band, Killer Virgins. May she be off on her next adventure!

Jojo Weinstein

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Applause!

1 March 2024

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Applause!

Winners of the 2023 ACTRA Awards in Toronto

The 21st annual ACTRA Awards in Toronto were presented at an intimate, in-person luncheon at the Palais Royale in Toronto on Wednesday, April 26, 2023. bahia watson won the Outstanding Performance – Gender Non-Conforming or Female Voice award for her role voicing Misty in My Little Pony: Make Your Mark and Billy MacLellan won the Gender Non-Conforming or Male Voice award for his narration of the audiobook Each Man’s Son. Raven Dauda won the Outstanding Performance – Gender Non-Conforming or Female award for playing Angela McManus in Five Days at Memorial and Eric Peterson took home the Outstanding Performance – Gender Non-Conforming or Male award for his role as Junior in Junior’s Giant. Wendy Crewson presented ACTRA Toronto’s 2023 Award of Excellence to Angelica Lisk-Hann – the first-ever ACTRA Stunt Performer/Coordinator to receive the honour. The 2023 ACTRA Toronto Stunt Award was presented to Paul Rutledge by John Stead. Sort Of (Sienna Films, Sphere Media, Canada Media Fund (CMF), HBO Max) won the Members’ Choice Series Ensemble Award, presented by AFBS, and was accepted by cast members Ellora Patnaik, Gray Powell and Supinder Wraich. What We Do In The Shadows, “The Night Market” (FX Productions, Two Canoes Pictures, 343 Incorporated, FX Network, Dive) won the 2023 Stunt Ensemble Award and was accepted by Stunt Co-Coordinator Tig Fong.

Said ACTRA Toronto President David Gale: “Following a record-breaking production year in Ontario in 2022, we are thrilled to come together to celebrate our nominees and special award recipients this year at the 21st ACTRA Awards in Toronto. Please join us in congratulating this year’s winners and their outstanding performances that continue to amaze and inspire us.” Be sure to watch the first-ever broadcast of the live show.

2023 ACTRA Awards in the Maritimes

ACTRA Maritimes presented four Outstanding Performance Awards at the Screen Nova Scotia Gala held on May 13 in the Schooner Ballroom at Casino Nova Scotia in front of a sold-out crowd of industry members and supporters. Briar Mosher took home an ACTRA Maritimes Award for Outstanding Performance for her role as a neglected six-year-old girl who uncovers a secret from her mother’s past in ACTRA Maritimes member Leah Johnston’s short film Mother’s Skin. Phoebe Rex won an Outstanding Performance Award for playing the teenage Samantha in Jason Eisener’s sci-fi horror feature Kids vs. Aliens.

ACTRA Maritimes Member Koumbie’s feature film directorial debut Bystanders proved to be a showcase for local talent, with both Taylor Olson and Marlee Sansom taking home trophies from ACTRA Maritimes for Outstanding Performances for their roles in the film. Be sure to watch Screen Nova Scotia’s broadcast of the show: https://vimeo.com/825073389/c21e29d311

UBCP/ACTRA Women’s Committee honours Bonnie Hay

The UBCP/ACTRA Women’s Committee honoured Bonnie Hay on International Women’s Day in recognition of her outstanding contribution to the union, the industry and social justice causes. Bonnie has championed gender equality and empowerment through her work on both the Women’s Committee and the Age Inclusion Committee at UBCP/ACTRA. Her unwavering commitment and enthusiasm for equality and fairness help to dismantle the barriers that have historically excluded women from the industry.

As an honouree of International Women’s Day, Bonnie joins a distinguished group of women who have made significant contributions to their communities.

2023 Governor-General’s Performing Arts Awards honours Paul Sun-Hyung Lee

Paul Sun-Hyung Lee is the recipient of the 2023 National Arts Centre Award. Lee is known for playing patriarch Appa in Kim’s Convenience on stage and screen. The show brought the Korean-Canadian immigrant experience into the cultural conversation, first in Canada and then around the world, and established him as a model and an inspiration for a generation of Asian actors. Lee has recently been popping up in the Star Wars universe as Captain Carson Teva in The Mandalorian and The Book of Boba Fett. He has also been cast as Uncle Iroh in Netflix fantasy series Avatar: The Last Airbender. en.ggarts.ca

Watch Paul Sun-Hyung Lee’s video message, GGPAA 2023

Congratulations to the 2023 Canadian Screen Awards Winners

The Porter (CBC) led the television honours, winning 12 Canadian Screen Awards, including Best Drama Series, and Best Guest Performance, Drama Series for Alfre Woodward. The award for Best Lead Performer, TV Movie went to Martha Henry for Edward Albee’s Three Tall Women (CBC). The award for Best Lead Performer, Drama Series was won by Hamza Haq for Transplant (CTV), making this his third consecutive win as a lead in the series. Best Supporting Performer, Drama went to Christopher Plummer for Departure (Global). In comedy, the second season of Sort Of (CBC) took home seven awards, including Best Lead Performer, Comedy, presented by the Canada Media Fund, for Bilal Baig, and Best Guest Performance, Comedy for Amanda Brugel. Best Supporting Performer, Comedy was presented to Ennis Esmer for Children Ruin Everything (CTV).

The award for Best Stunt Coordination was presented to John Stead, Anita Nittoly, Dejah Dixon-Green, Nova Zatzman and George Tchortov for Pretty Hard Cases (CBC). Film honours were led by Clement Virgo’s Brother, which received a record 12 Canadian Screen Awards including: Performance in a Leading Role, presented by Telefilm Canada, for Lamar Johnson; and Performance in a Supporting Role for Aaron Pierre. Best Lead Performance, Web Program or Series was presented to Olunike Adeliyi for Revenge of the Black Best Friend while Sedina Fiati won Best Supporting Performance, Web Program or Series for Tokens. Best Performance, Children’s or Youth was awarded to Saara Chaudry for Holly Hobbie (Family Channel). The Fabulous Show with Fay and Fluffy (Family Jr.) won the Shaw Rocket Fund Kids’ Choice Award and Hudson & Rex (Citytv) took home the Cogeco Fund Audience Choice Award.

Hosted by Samantha Bee, the Canadian Screen Awards broadcast aired on April 16 and can be viewed on CBC Gem. ACTRA is a proud sponsor of the Academy of Canadian Cinema & Television. The full list of 2023 Canadian Screen Award winners can be viewed here: Nominees – Academy.ca – Academy.ca

Heartland kicks off season 17 with 250^th episode

Heartland is the longest-running one-hour drama in Canadian television history. The series was nominated for the Cogeco Fund Audience Choice Award at the 2023 Canadian Screen Awards and has made its way into the hearts of viewers in more than 120 countries. In 2022, Heartland fans watched 18 billion minutes to make it one of the most-streamed series in the United States.

Amber Marshall shares, “I really can’t imagine a better group of people to create something so special. We are all so proud of this show.” Shaun Johnston continues, “250 episodes of Heartland! That sure is a beautiful thing… I am honoured, humbled and privileged to be Jack Bartlett. And thank you, fans of Heartland.” Chris Potter says, “In 2007, Heartland presented an opportunity of great promise. As we celebrate our 250th-episode milestone, it is with admiration for and congratulations to every person involved in making the show throughout the seasons. For me, the dream goes on until I ride my horse into the Heartland sunset.”

Leslie Yeo for Volunteerism Award Winner

ACTRA member Jayne Heitmeyer is this year’s AFBS Leslie Yeo Award for Volunteerism. Her work for children’s and women’s charities and animal welfare, shows what bringing creative energy into day-to-day life can achieve. Jayne has generously donated the full amount of her Leslie Yeo Award – $5,000 – back to the charities she supports: Shriners Hospitals for Children-Canada, the West Island Black Community Association, the West Island Women’s Shelter and Gerdy’s Rescues & Adoptions.

Heartland is the only Canadian-made series to make the overall top 15 series watched by Americans across all streaming platforms (source: Nielsen 2023). Season 17 will premiere exclusively in Canada on CBC and CBC Gem this fall. Filming locations include Calgary, High River, Millarville and Longview in Alberta.

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FERNE DOWNEY: 2023 ACTRA National Woman of the Year

29 February 2024

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FERNE DOWNEY:
2023 ACTRA National Woman of the Year

ACTRA National’s 2023 Woman of the Year. Photo: Kevin Downey

For eight years, Ferne Downey served as ACTRA’s trusted National President (making her the longest-serving National President). She put ACTRA on the international stage by serving as the first North American President of the International Federation of Actors (FIA). She raised the bar for women in our screen industry and she has been a tremendous force of change in the labour movement. In her candid Q & A, Ferne shares why one of the greatest joys in her life has been to play a part in our dynamic evolution as a progressive union.

Q: Over the four decades you’ve been an ACTRA member, how would you say the industry has changed?

Ha! How hasn’t it? Everything has changed. Nascent diversity, equity, inclusion and belonging initiatives were springing up inside the union but there was little industry-wide support. Obviously, distribution platforms, the online universe and streaming were pretty fabulous disruptors.

In the mid-‘80s there were a miniscule number of women directing television, fewer still running the show or being number one on the call sheet. In any key creative decision-making roles, men ruled. And gender equity was just one of the big problems. Back then the common business practice was for U.S. studios to fly-in day players for shows shooting in Canada.

Dr. Amanda Coles and Ferne at the 2013 launch of the first ‘Focus on Women’ report on gender (in)equality in the Canadian independent screen-based production industry. Photo: Carol Taverner

ACTRA had a huge, positive impact on getting our members hired on any show that shot here – domestic or service production.

ACTRA had a huge, positive impact on getting our members hired on any show that shot here, domestic or service production. Because ACTRA fought for work for Canadian actors, we counted. We reported. We held up the mirror. We told the truth. We were out front in a lot of arenas. Not that being first makes it easy. But our TV and film, animation and video game collective bargaining agreements were forward looking. Of that, I am very proud.

When we tried to apply the same forward-looking energy to the advertising industry, we met more resistance. And still are.

The most seismic shifts are the result of advocacy work we did not just as a union but as part of a tight, Canadian industry-wide coalition working to create more space for more voices and opportunities in the whole system. And that work is accomplished by many, many, many activists over many, many decades. The work is non-stop. And will be until we’ve changed the film and TV sector into a healthier version of itself. Things have changed profoundly, yet not enough. When we tried to apply the same forward-looking energy to the advertising industry, we were met with more resistance. And still are.

Q: What advice do you have for performers in the commercial sector facing union-busting employers?

We have been attacked vis-à-vis one of our biggest collective agreements – the National Commercial Agreement – and have been locked out since April 2022. It’s brutal. Most who have had the good fortune to work under the NCA have seen their earnings disappear or dwindle beyond recognition. We feel disrespected and undervalued by the creative agencies that have chosen an ugly path of attacking ACTRA. After 60 years of labour peace in the advertising industry, we deserve better.

Ferne Downey, Sarah Gadon and Benz Antoine during ACTRA’s 2016 trip to The Hill. Photo: Fred Chartrand

We want to bring our A-game to the performances that build brands. But first we must survive the attack.

We would rather be expending our energies to fight for work opportunities that better reflect the wide-variety of humanity on our screens and in our sound booths. We want to bring our A-game to the performances that build brands. But first we must survive the attack.

Wendy Crewson, then MP Justin Trudeau and Ferne during ACTRA’s 2010 lobby on The Hill to fix copyright legislation to ensure creators get paid.

Stay strong. Stay connected. Strive to understand the chessboard. Most of all, keep fanning the flames of ACTRA solidarity. It is your superpower.

To do that, we have to stay strong. Stay connected. Strive to understand the chessboard. Most of all, keep fanning the flames of ACTRA solidarity. It is your superpower. As hard as it may be when the world has grown so complicated and deliberately antagonistic. I think the isolation of the last three-and-a-half years has taken a great toll on our ability to meet face to face and hash things out. Our collective spirit is stressed. Worried. We are human – we want so many things, but we need to stay in the game. As National President Eleanor Noble says, “We’re in it to win it.” And win it we must.

I am impressed by the rise in member engagement and the palpable yearning to understand collective bargaining and representative union democracy. Bring it on! Step up.

Ferne with Theresa Tova, ACTRA National Treasurer and Alvin Sanders, Past ACTRA National Vice-President in Vancouver, B.C. in 2012.

There needs to be a societal belief that the cultural fabric of a nation is worth building and protecting. I wish society had more respect for artists and our collective contributions.

Q: What keeps you up at night?

The future – how will future generations of performers thrive. AI makes me apprehensive. How will our whole creative community fare? Many of us are multi-hyphenates already. We need to be. Because the North American screen-based entertainment business is highly unionized, we’ve been able to make progress. But there needs to be a societal belief that the cultural fabric of a nation is worth building and protecting. I wish society had more respect for artists and our collective contributions.

Will all the change-makers have the resilience and strength to keep fighting? Renewal breathes life into renewal. The contact high we get when working together needs nourishment. It’s a relay race, a complete team effort.

What makes me happiest is when we inspire each other with an action-oriented desire to galvanize others… to achieve a collective goal.

Q: What brings you joy?

I have always found that building a reputation for being a truth-teller is a great source of strength. On sets, in advocacy, in leadership. Isn’t that what we strive to find as actors? Truth.

What makes me happiest is when we inspire each other with an action-oriented desire to galvanize others – not for personal benefit – but to achieve a collective goal. And to tell the truth.

I believe in the power of storytelling. Stories are not just a mirror that reflects our world; our stories shape our world. They bind us together because we all have our own stories to share. They say, ‘Here I am. This is what I see, what I fear, what I dream and who we are together.’

Jocelyne Zucco, Jani Lauzon, Theresa Tova, Catherine Joel MacKinnon, Ferne, Amanda Joy, Clara Pasieka and Angelica Lisk-Hann during Catherine’s Woman of the Year celebration in 2016.

I love seeing more women of all ages and experiences make cool work on screen, in studios, on podcasts… I love seeing more women step up as leaders, in their unions… in every part of society.

I love seeing more women of all ages and experiences make cool work on screen, in studios, on podcasts. I’m especially enjoying seeing more stories told through a female lens, particularly over the last decade or so. I love seeing more women step up as leaders, in their unions, in the political realm, in every part of society. More women are willing to take up their space and use their voice to challenge systems ingrained against our fulsome participation.

Ferne was elected President of the International Federation of Actors (FIA) during 2012 World Congress in Toronto, Ontario. Photo: Jag Gundu

We’ve learned how individuals in a brutally competitive business can come together to create a community of interests and stand up against some of the powerful economic forces that dominate our society.

Seeing more young people willing to use their power to fight for causes close to their hearts makes my heart palpitate with hope. Its not easy out there with war mongering, climate crisis, aggression against the trans and 2SLGBTQIA+ people and violence overall deepening their roots in society. Inequality is widening. But we’ve learned how individuals in a brutally competitive business can come together to create a community of interests and stand up against some of the powerful economic forces that dominate our society.

Leah Pinsent, Ferne and Gordon Pinsent at the annual CFC BBQ.

Although we’re a relatively small union, ACTRA has 80 years of wisdom on the life and workplace of a precarious freelance artist.

Although we’re a relatively small union, ACTRA has 80 years of wisdom on the life and workplace of a precarious freelance artist. You may think you’re just doing something small in your little corner of the world, but it can turn out that you’re a part of something bigger and more powerful than you could imagine.

My adventures in 30 years of union leadership… absolutely brought me joy, even when it was hard and exhausting, because there was a clear purpose – to make life better for performers. That was always my jet fuel.

My adventures in 30 years of union leadership – including nine years as President of the International Federation of Actors (FIA) – absolutely brought me joy, even when it was hard and exhausting, because there was a clear purpose: To make life better for performers. That was always my jet fuel.

What does being honoured as the ACTRA Woman of the Year 2023 mean to you?

I am proud to be a member of this beautiful and strong union, ACTRA. I am deeply grateful to receive this honour from my peers across the country. You are the community I love. My heart is full. Now, I need to update my reel. Yes, I am over [age] 50, yes, I have glorious silver hair (I was an early adopter) and I can do comedy. See you on set.

Ferne Downey is a past president of ACTRA National, finishing her unprecedented eight-year term in May 2017. From 2012 to 2021, she served as President of the International Federation of Actors (FIA). She was the first North American to lead the federation. Downey currently serves as Chair of the AFBS Board of Governors and served as ACTRA’s representative on the Board since 2004. Downey is a graduate of Dalhousie University’s Theatre Department and Harvard’s Trade Union Leadership program. She has spent the past 40 years working as an actor in television, film, radio and theatre. In June 2017, Downey received an honorary Doctor of Laws from Dalhousie University in recognition of her “exceptional service to the community.”

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ON THE SPOT: ACTRA performers who bring big brands to life

29 February 2024

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ON THE SPOT:
ACTRA performers who bring big brands to life

Teneisha Collins in Quaker Oats cereal commercial.

Heather Allin

When we decided to run away and join the circus, little did we know some of us would find a niche in telling extremely short stories. They’re often hilarious, educational and occasionally profound or sad. Making commercials is great practice, good money and a lot of fun.

I’ve been fortunate to work with smart, talented professionals in front of and behind the cameras. We’re proud of the work we have done together. It’s an under recognized art form and one, when done well, people remember for years.

Only another actor can tell you about the “spit bucket” you have to request when eating 45 cookies, 20 chicken legs or 30 hamburgers to get all the coverage; or how smelly you get after 12 hours of climbing stairs in a wool coat; or how folks will avoid you when you agree to illuminate ignorance by being one of the characters who is – it’s all part of the fun.

It’s an under recognized art form and one, when done well, people remember for years.

Skippy Peanut Butter spot with Amy Goodmurphy and Mila Morgan.

ACTRA was born from radio announcers standing up and demanding, “a dollar, a holler,” 80 years ago. Historically, our ad industry has been mostly white and told family-oriented stories based on ‘traditional values’ with roles that were heterosexual and cis-gender. This only recently shifted with #MeToo and the horrific death of George Floyd. It’s unconscionable it took such suffering to reflect reality. Though we have a long way to go before truly reflecting the world in which we live – it is changing.

Only another actor tells you about the “spit bucket” you have to request when eating 45 cookies, 20 chicken legs or 30 hamburgers…”

Tim Hortons True Stories “Proud Fathers”

I can still sing, “When you eat your smarties do you eat the red ones last?”

During my childhood, commercials were an influential part of growing up. I can still sing, “When you eat your smarties, do you eat the red ones last?” starring ACTRA member Jack Creley. When I remind myself to be a bigger person, I sometimes hear the Cracker Jack ad, “What did you learn in school today?… Sharing.”

Canadian Labour ad “Forward Together” featuring Daniel Lavigne, Nomin Bayasgalan, Henry Austin Shikongo, Gordan Finley, Jolanta Mojsej, Brooke DeBassige, Penelope Anne Goranson, Sienna Mai Jennings.

My friends frequently yell, “Start the carrr!”

I cried watching “Jane’s Story” and the ALS “Head & Shoulders” PSA; laughed out loud with Staples’ “It’s the most wonderful Time of the Year”; was uplifted seeing Andrew Moodie in the Tim Hortons ad “Welcome to Canada” and the ensemble cast in IKEA’s “Coming Home”; and giggled at the hair on Miriam Carvell in the Ontario government’s “The Future is Electric”. And my friends frequently yell, “Start the carrr!”

IKEA “Our Little World”

I felt community having characters come back to us with imp-like moments such as Linda Kash as the Philly Cream Cheese Angel.

I felt community having characters come back to us with imp-like moments such as Linda Kash as the Philly Cream Cheese Angel or Paul Constable as Canadian Tire’s Gary; and excited when I recognized voice performances by members like Martin Roach in Ford commercials and Tracey Hoyt in Toyota and Enbridge commercials.

Our work lifts the product off the page, stops you in your tracks to watch, listen, and engage. I asked these three questions to the following performers: What was your favourite commercial you shot and why?; What are your favourite commercials of all time and why?; Share one of your hardest – but perhaps most rewarding – creative experiences as a commercial actor?

I get to work with great people and make something that makes people laugh – it’s a blast!

Naomi Snieckus and Matt Baram in Kraft Italiano cheese spot.

I could watch Lisa Horner forever saying, “start the carrr!“

Naomi Sniekus: I was lucky to work a bunch with funny directors who saw the value in spontaneity and play. Working with Ric Cantor, Tim Hamilton, and with James Howarth in BMO’s “Worry doll” was a ton of fun! I could watch Lisa Horner forever saying, “start the carrr!” The talent of being THAT funny in THAT short of time – is genius! Other than shooting a hamburger commercial where I had to eat the bun over-and-over again until it didn’t even feel like food (it felt like plastic coating the roof of my mouth!). I truly didn’t have any “hard times.” I get to work with great people and make something that makes people laugh – it’s a blast!

I had played a boom operator so flawlessly some of the crew mistook me as the actual sound guy (haha!). But after a few takes I realized how physically hard that job really is.

Scott Farley: The Knock, Knock! Subway commercial spots I was in were a blast. In this one I am featured with the amazing Dina Pino. In another, I was the frozen delivery guy playing opposite the hilarious Stacey McGunnigle. In that one, makeup added little icicles to my eyebrows – it was so cool! For years, my family and I talked about The Miracle Food commercial featuring Anand Rajaram as the Broccoli Guy! Another ICONIC commercial is of course IKEA’s “Start the car!” Lisa Horner delivers comedy gold. A fun VO role I’m proud of is an LG OLED radio spot. In a AAA commercial, I had played a boom operator so flawlessly (#humble), some of the crew mistook me as the actual sound guy (haha!). But after a few takes, I realized how physically hard that production job really is. Mad respect. Shout out to the amazing crews we have on our sets in Canada!

Video caption: The Miracle Food commercial spot featuring Anand Rajaram as the “broccoli guy”.

I utilized a goofy facial trick I had learned when I was small – it was an instant hit.

Jamaal Grant: A Trident commercial in 2008 was my first time being the “hero.” It made me an immediate favourite and an easy callback for future commercials as the casting director (Powerhouse, etc.) realized I could do commercial work effectively. In it, I utilized a goofy facial trick I had learned when I was small – it was an instant hit. Family and friends who saw me on TV realized I wasn’t wasting my time as an actor. In the 2017 McDonald’s commercial “Is it still a Big Mac?” I made it through multiple stages of auditions. For all BIPOC members, it was a real achievement to be chosen over several other experienced and talented Caucasian actors. Around that time, I was contemplating leaving the industry, but that experience had been so uplifting, the popularity of the commercial so big and it led to me getting several other TV and film jobs, which changed my decision. The RBC commercials were my first time being contracted to an exclusivity deal with my work stretching across multiple years. After a gauntlet of auditions and nine final participants, my talented co-star, Amy Groening, and I were chosen. It’s the first time I’ve done a commercial that has a linking storyline.

https://www.youtube.com/watch?v=Ah9UpsRJByE

It’s an honour and a privilege to contribute to the telling of these stories.

Teneisha Collins: I enjoyed working on a series of Aeroplan spots in English and French when I got to 100 per cent play myself – as myself. As the host, I helped Aeroplan get accustomed to the “new” Aeroplan. While in school, I had worked for Aeroplan – the coincidental booking was a fun surprise alignment. I can’t count the number of times I’ve exclaimed, “Start the car!” when I got a deal that feels too good to be true. And a Spanish commercial, J&B Whiskey about trans acceptance had me in tears. An elderly man sneaks his wife’s lipstick – secretly applies it – then wipes it off in frustration as he didn’t apply it very well. It looks like he’s exploring his identity. When his grandchild (Alvaro, 26) arrives for Christmas dinner, the grandfather invites them to the bathroom where he puts his makeup application skills to use. When they re-emerge at dinner, the grandchild is re-introduced as Ana, 26. I urge you to watch – and grab your tissues. It’s a work of art. It’s an honour and a privilege to contribute to the telling of these stories.

Photos courtesy of Zandara Kennedy.

My favourite spots are the ones that use humor to turn a pre-existing narrative on its side.

Zandara Kennedy: A commercial for KIA, where I drove an SUV up a ski hill, was an amazing experience because one of my favourite things to do at work is to perform something for which I would be arrested in any other context. My favourite spots are the ones that use humour to turn a pre-existing narrative on its side. As a stunt performer, one of my favourite samples of my work can be seen in Rexona “stunt city” where we follow a man on his commute to work in a city where everything by every person is done by performing stunts. The amount and level of the stunts, combined with the utter casual attitude with which they are performed, gets me every time. My role tends to be a physical performance and/or planning the stunts. Most of my struggles are purely physical in nature – like when I spent half a day suspended awkwardly on my side in a real astronaut space suit for a Superbowl commercial. That was physically very difficult – but also an amazing opportunity for me to get to wear that space suit!

Matthew Olver in Diet Pepsi spot.

Selling product is a whole other ball of wax! You really have to understand what they’re looking for and get it done in a short period of time.

Lisa Horner: I have literally shot about two commercials and one of them was the IKEA spot “Start the Car,” so I’ll say that was my favourite! My husband Matthew Olver had one (of many) great spots where he had to dance and kind of slap his butt as the song ‘Hot Blooded’ was playing. The Diet Pepsi commercial tag line was: “I want my old jeans back” – and Jacklyn Francis with this immense hair-do, was required to cry her eyes out for the entire spot. She was incredible! Selling product is a whole other ball of wax! You really have to understand what they’re looking for and get it done in a short period of time. The IKEA spot was challenging work for me because I was young and very new to it all. I felt so nervous. But how fun when it took off. I had no idea they were going to do what they did with it!

Fun fact: “Start the Car!” is now officially in the Urban Dictionary.

Heather Allin is a working actor in film, television and commercials. Her memorable roles include: Reporter in Welcome to Mooseport; Mother in Chubby; Mother in Small Town Murder Songs; Barbara (Babs) in Let Him Be, and Wife in the ASL PSA, Head & Shoulders.

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CAPITAL GAINS: How Ottawa became the capital of holiday movies

28 February 2024

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CAPITAL GAINS:
How Ottawa became the capital of holiday movies

All I Didn’t Want For Christmas. Courtesy of Blue Ice Pictures. Photo: Albert Camicioli

Teri Loretto

Walking down historic Sparks Street in Ottawa, made famous by the assassination of Thomas Darcy Magee in 1868, one is confronted not by angry Fenians but by holiday garlands and Christmas trees, fake snow and bundled-up background performers sweating in the warm spring air. Ah yes, ’tis the season’… for Christmas movies’. Bah humbug! Some might grumble, but these movies have been the gift that keeps on giving for the region.

Sixteen of the more than 30 MOWs shot in Ottawa in 2022 were holiday themed, which contributed $28.5 million to Ottawa’s economy and kept a lot of ACTRA members in cookies and milk. You might think it’s Ottawa’s rather excessive snowfall or the Rideau Canal Skateway that are the draw for these features, but most filming actually takes place during warmer months.

The Ottawa Film Office created a holiday film Bingo card you can play while watching films produced here in the capital.

“Ottawa’s main advantage in attracting Christmas movies, in addition to provincial and federal tax incentives and skilled crew and talent, is its locations,” boasts the Ottawa Film Office. “Historic buildings, romantic courtyards, charming small towns and an assortment of film-friendly businesses all contribute to Ottawa’s growing reputation as a desirable filming destination.” The Film Office is so happy to have these gifts under its production tree that it even created a holiday film Bingo card you can play while watching the films produced here in the capital. Seriously… it’s here.

Jinesea Lewis, Alice Hamid and Vijay Mehta on set of *The Great Holiday Bake* War airing on the Oprah Winfrey Network.

Predictable? Mostly. Formulaic? Sure. But each film is unique in its approach to the structure.

And come on, admit it. You gotta love ‘em. From bake-offs, to time travel, to drunken letters to Santa that come true, each one has found a way to create the holiday spirit in a film where the endings are always happy. Predictable? Mostly. Formulaic? Sure. But each film is unique in its approach to the structure. Part of the joy of watching one is to see how the writers are going to make it all work without resorting to rehashing old plot lines.

There is also a thriving non-holiday MOW market in Ottawa. Tomas Chovanec in *Abducted on Prom Night* (Fireside Pictures).

The Christmas Set Up was the first queer Christmas movie broadcast by Lifetime while The Holiday Sitter marked the first time Hallmark featured had a same-sex couple.

The films are diversifying, too, to reach new audience bases and include everyone in the season of family and love. In 2020, Pat Mills directed The Christmas Set Up, the first queer Christmas movie ever broadcast by Lifetime, while The Holiday Sitter, starring Saskatchewan-born ACTRA member George Krissa. marked the first time the Hallmark Network had a same-sex couple at the centre of one of its films. This was not without its controversy from a certain sector of the public, but Hallmark stuck to its wish list and the film was widely successful.

George Krissa, Jonathan Bennett, Mila Morgan in the Hallmark Channel movie *The Holiday Sitter.* The production was nominated for a 2023 GLADD Media Award.

“I’ve watched every made-for-TV movie in 2020. This is the most triumphant,” wrote Patrick Serrano in O, The Oprah Magazine.

There have also been several holiday films that feature all BIPOC casts, some showcasing single parents, others with multiracial couples. So, the holiday film market is reflecting some long-needed changes in the industry too.

Candice Lidstone in the sound booth during production of *Rush For Your Life*. Photo courtesy of 1Department.

Candice Lidstone, Matt Cooke, Dave Rose and Jolanta Mojsej on the set of an Ottawa MOW. (1Department Entertainment)

These movies… employ hundreds of cast and crew members from the region and across the country.

“Although Ottawa is well known for producing these movies, the crew still gets excited when each new one arrives,” said Brooklin Watson of 1Department Entertainment Services, the company behind many of these movies. They recognize this genre of movies are the driving force behind the recent growth of the local industry, employing hundreds of cast and crew members from the region and across the country. “They are all ‘holiday movies,’ but each presents us with new challenges and encourages our crew to grow and learn new skills. We had to figure out how to film outdoor ice skating [scenes] in the summer and had to work to ensure we were depicting the celebration of Kwanza with informed respect, for example,” said Watson.

“As an actor, I feel I am given the support and freedom to bring the writer’s words to life” says Darlene Cooke.

Darlene Cooke, Holly Robinson Peete, Lyndie Greenwood star in the Hallmark Original TV movie *Holiday Heritage*.

Actors appreciate them too. “I love when I book a holiday film in Ottawa,” said ACTRA member Darlene Cooke. “I have done several of them in Canada, and my last few films have been produced by Shane Boucher and his incredible team. These films allow the viewer to imagine themselves as the characters portrayed. As an actor, I feel I am given the support and freedom to bring the writer’s words to life. These idyllic relatable films ooze small-town charm and warmth, full of community, family and friendships. When your entire family can watch, laugh, cry and celebrate with one of these films, we actually believe our struggle and growth as a family is honoured with the magic of Christmas and the holiday season.”

These films have been picked up by distributors like W Network, VH1, CTV, Hallmark, Crave and Amazon, among some of the heavy hitters in the industry. It seems everyone is aware these films get watched and want a seat at the buffet table.

*Twas The Night Before Christmas*. Photo courtesy of MUSE Entertainment. Photo: Albert Camicioli)

I was surprised to find these films really ARE good for you. Medically. No joke.

Doing a bit of reading around this topic, I was surprised to find these films really ARE good for you. Medically. No joke. “There’s a lot of dopamine and oxytocin that gets released in watching these things,” said T. Makana Chock, a researcher of media psychology at the Syracuse University’s Newhouse School of Public Communications. “They can be very de-stressing. They make you feel happier.” (1) So, despite being a wee bit too happy and cheesy? We benefit from their positive aspects and from seeing folks happy on the screen. Folks I spoke to on set also said the general feeling when working on these films is pretty happy too. They are fun to work on and the crews and cast are engaged. It’s hard to be a Grinch when the stories are so full of love, compassion and holiday cheer.

These films are here to stay and that is good news for ACTRA members.

And hey, who doesn’t love the holidays? Stay off the naughty list and enjoy the genre. These films are here to stay and that is good news for ACTRA members.

Teri Loretto holds a BA and a MA from the University of Ottawa and is the current Coordinator for the Scriptwriting and Performing Arts programs at Algonquin College in the National Capital. She is a film actor, theatre producer/writer/actor, has produced over a dozen radio plays. She is often seen or heard on the CBC as fill-in host and writer. She is the current VP of ACTRA Ottawa and is working to increase her knowledge of DEIB and Green issues in the industry. She also sits on the local Women’s Committee. She is striving to help make a better, safer industry for the next generation of performers by learning from her mistakes and listening to others. Teri lives on a farm in southern Ottawa with her son, and cat Naboo. She also really loves the holidays.

A shout out from Ottawa performers on the set of *A Christmas Homecoming*! Photo courtesy of Tifanni Kenny.

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Solidarity Superpower!

28 February 2024

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Categories: Summer 2023

Solidarity Superpower!

During tax deadline time, on April 24 ACTRA members picket front of an H&R Block office on Queen St. West in Toronto. Photo: Tony Walsh

Marie Kelly

Standing up for each other side-by-side, this union is strong.

Through sleet, snow and sideways rain, ACTRA members have repeatedly demonstrated that when our union is under attack there is no backing down. Standing up for each other side-by-side, this union is strong. Other unions, politicians and passers-by have joined our boycott pickets and even helped us disrupt a non-union commercial shoot. I could not be prouder of the work ACTRAvists have done to help us end the lockout.

April 15 picket in Toronto outside union busting brand H&R Block. Photo: Scott Doherty

ACTRA members disrupted H&R Block storefronts during the height of tax season.

We upped our game with new tactics. We launched a boycott of union-busting brands, using strategic, geo-targeted, Facebook ads that were seen by more than 400,000 Canadians. Petition software resulted in thousands of letters sent to MPs and the CEOs of advertising agencies and brands that are locking us out, vowing to shop elsewhere until the lockout ends. ACTRA members disrupted H&R Block storefronts during the height of tax season, loudly educating consumers about the unfair treatment of unionized performers.

ACTRA members picket non-union Rogers commercial shoot on location in Toronto.

Members were prepared to do whatever it took to disrupt the non-union Rogers production.

In late May, I joined a group of members who mobilized to disrupt a Sid Lee commercial shoot for Rogers. This was perhaps one of the most militant labour actions in the history of our union and it was a marvel to witness. Members used our boycott posters and hand-held mirrors to block lighting. It was invigorating to watch as our members used horns and whistles to impact the sound recording, sending a clear message to Rogers and its anti-union agency, late into the night. Members were relentless and prepared to do whatever it took to disrupt the non-union production.

Performers picketed outside of a non-union Rogers commercial shoot in Toronto on May 29 where we made lots of noise, ruined a few shots, and demonstrated union solidarity. Left photo by Sharjil Rasool; right photo by Ian Chai

“Shame” yell performers as ICA Canada ad agencies attend the June 6 Marketing Awards show at the AGO in Toronto.

A week later, nearly 100 members booed and chanted “shame” and protested outside the Art Gallery of Ontario as advertising agency execs attended the lavish Marketing Awards show.

On June 6 ACTRA performers (right Samara Smallwood) rallied in front of the Art Gallery of Ontario during the Advertising Marketing awards. Photos: Carol Taverner

When we talked about the lockout a year ago I had forecasted that it would change our union. And it has.

When we talked about the lockout a year ago, I had forecasted it would change our union. And it has. Our members are more engaged than ever and together we will harness that power to leverage it into a victory.

April 26, 2023 marks the one year anniversary of the ICA’s shameful lockout of ACTRA performers who earn their living doing commercials.

While we fight to end the lockout on many fronts, we also managed to complete a revamped, simplified and modernized National Commercial Agreement (NCA). For more than a year, ACTRA staff worked tirelessly on a comprehensive restructuring to consolidate unnecessarily complex language and streamline the agreement while ensuring the integrity of the language and the rights of performers are maintained. This user-friendly agreement has been sent to ACTRA branches for consultation with their members.

I congratulate the bargaining team for their hard work and dedication and thank all members for your continued solidarity and support.

Members of ACTRA’s NCA Bargaining Committee: Marie Kelly, Simon Peacock, Sandra Beckles, David Gale, Eleanor Noble, Ellie Harvie and Jamaal Grant. Photo: Natalie Clancy

On June 15, ACTRA members voted 80.29 per cent in favour of ratifying the NCA renewal between ACTRA and the ACA. I congratulate the bargaining team for their hard work and dedication and thank all members for your continued solidarity and support.

The multi-pronged action plan means the industry is finally listening to BIPOC performers.

ACTRA has been very busy over the past several months collecting evidence for our successful arbitration of the hair and makeup grievance, which was held in May. We reached a settlement with the Canadian Media Producers Association (CMPA) and the Association Québécoise de la Production Médiatique (AQPM) which will bring about systemic change in the industry. We look forward to meaningful progress and will continue to lead the way to help create work environments that are free from harassment and discrimination. The multi-pronged action plan means the industry is finally listening to Black, Indigenous, People of Colour (BIPOC) performers.

CMPA’s PrimeTime 2023 February conference in Ottawa.

ACTRA was instrumental in getting Bill C-11 passed to modernize the Broadcasting Act.

ACTRA has also been lobbying the federal government and was instrumental in getting Bill C-11 passed to modernize the Broadcasting Act. Working with other unions in the sector, ACTRA members joined our letter writing campaign to overcome conservative misinformation tactics designed to kill the bill. Legislation passed with the Status of the Artist Act intact. We received messages of thanks from government for our help along with commitments to ensure the policy directives on C-11 will address more of our issues. Working closely with other unions in our sector, we took part in a joint meeting in Ottawa with Heritage Minister Pablo Rodriguez.

It was a hard-fought negotiation with the goal of the industry to minimize language that gave workers’ rights to collective bargaining, copyright protections, and basic fundamental human rights.

On the international front, I was proud to represent ACTRA at the International Labour Organization (ILO) meeting of our industry in Switzerland this past February. FIA (International Federation of Actors) along with UNI-MEI represented the group of unions from across the globe to be the voice of workers in this tripartite meeting. The goal was to create an ILO policy paper outlining the principals upon which governments, the industry, and workers could agree upon.

Dominick Luquer, FIA General Secretary, Marie and Duncan Crabtree-Ireland, SAG-AFTRA NED and Chief Negotiator, during FIA meetings Switzerland in February

My experience at the international level reminds me of how easy it is to have these rights taken away from us.

An industry meeting had not taken place in over a decade and our industry landscape has dramatically changed during that time. It was a hard-fought negotiation with the goal of the industry to minimize language that gives workers’ rights to collective bargaining, copyright protections, and basic fundamental human rights. It was challenging and demoralizing, but fundamentally very important work. We succeeded in getting language into the policy paper on all three fronts, however my experience at the international level reminds me of how easy it is to have these rights taken away from us and how important it is for us to protect them.

I am keeping a close eye on SAG-AFTRA’s film and television negotiations in Los Angeles. This is an important round of negotiations for our industry, with a special focus on Artificial Intelligence and how to protect the digital likeness, voice and performance simulations of members. During a break from SAG-AFTRA bargaining, I joined the Writers Guild of America picket line at Disney Studios. It was inspiring to see such strong public support for the WGA during their fight for fairness.

As union members, we are connected by our struggle for workplaces where fairness, equality and human rights thrive.

This year continues to be a banner year for film and television production across Canada. And what a great thing to celebrate during ACTRA’s 80-year anniversary. On an earlier trip to Los Angeles in February, ACTRA National President Eleanor Noble and I had the privilege of catching up with Sarah Polley at the SAG Awards, just two weeks before her big Best Adapted Screenplay Oscar win for the Toronto-shot feature film, Women Talking.

Marie Kelly, Sarah Polley, Eleanor Noble during the 2023 SAG Awards ceremony

As I look ahead, I know we can’t plan for all that will happen next – but we will move forward by building upon our 80 years of collective strength. As union members, we are connected by our struggle to create workplaces in which fairness, equality and human rights can thrive. These values were hard fought for 80 years by those who came before us. We must never lose our rights, values and respect. Our goal must be to work closely, in solidarity – to win.

In Solidarity,
Marie Kelly
ACTRA National Executive Director

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ACTRA takes lockout fight to CLC Convention

28 February 2024

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Categories: Summer 2023

ACTRA takes lockout fight to CLC Convention

Front: Tavia Pereira, Eleanor Noble, Marie Kelly. Back: Simon Peacock, Luca DeFranco, Bob Mann, Chris Cuthbertson, Mariah Inger, Natalie Clancy, Blair Young, Christine Basdeo.

Eleanor Noble

Talk about getting put on the spot.

This past May, a small but mighty delegation of ACTRA members attended the Canadian Labour Congress (CLC) Constitutional Convention in Montreal.

We took ACTRA’s year-long battle to end the National Commercial Agreement (NCA) lockout, illegally imposed on ACTRA members by the Institute of Canadian Agencies (ICA), to Canada’s broader labour movement. Our goal: to build support for our boycott of union busting brands.

During a hotly contested vote on an entirely different issue, CLC President Bea Bruske ordered the doors locked so delegates could not leave before all votes were counted. The room fell quiet. With time to kill while we waited for the results, suddenly I heard Bea say over the loudspeaker to the crowd, “Perhaps our friend Eleanor from ACTRA will get up and give us a little update on the lockout?” I quickly realized, “That’s me!” Natalie Clancy, ACTRA’s Director of Public Affairs and Communications, shoved our boycott poster into my hand and before I knew it, my face was being broadcast across giant screens in the packed convention hall. I now had the undivided attention of more than 2,000 labour leaders who represent three million workers from across Canada. No pressure.

I did what any ACTRA member would have done.
I told our story.

I spoke plainly of how this sinister lockout is the ICA’s attempt to bust our union. To bring it home.

I did what any ACTRA member would have done. I told our story. I explained how we have been unfairly and illegally locked out by advertising agencies for more than a year now. Shouts of “shame!” echoed through the hall. I shared that, as a result of the lockout, thousands of our members are struggling to pay mortgages and provide for their families. I spoke plainly of how this sinister lockout is the ICA’s attempt to bust our union. To bring it home, I reminded them about Gary, the “Canadian Tire guy,” who hasn’t been seen on TV in over a year. I insisted we need to bring Gary back! We need to bring everyone back! At that moment, I asked every delegate in the room to help us. I held up the poster with the QR code to our boycott campaign. I got them to sign and send our boycott letters to the brands working with advertising agencies that have locked out ACTRA members.

Watch this new mini documentary about what happened at the CLC Convention:

As I returned to my seat, everyone spontaneously and loudly chanted: “Bring Gary Back! Bring Gary Back!”

The overwhelming strength and power from the room is the kind of support ACTRA needs to end this lockout.

“You could feel that every union member in the room was standing shoulder-to-shoulder with us to help us.” – Keith Martin Gordey

Just ask Keith Martin Gordey, ACTRA National Vice President. “You could feel that every union member in the room was standing shoulder-to-shoulder with us to help us get out of the lockout. You could feel that there’s a room of 2,000 people who really care.”

“Goosebumps” is how ACTRA Toronto President David Gale described the moment. “Getting the power of the entire congress behind us, understanding what we need and being there for us meant a lot, and knowing those leaders in that room will take our plight to the three million workers they represent was heartening.”

“Goosebumps… knowing leaders in that room will take our plight to the three million workers they represent was heartening.” – David Gale

ACTRA Alberta President Blair Young knows an improv performance when he sees one. “I was nervous for her, but she got up there, loud and proud,” he told our group later that day.

“Eleanor managed to create a surge to our boycott page with hundreds of people logging on at that moment to join our boycott.”

It was a big moment for our relatively small delegation. And we certainly made our presence known by taking advantage of every opportunity availed to us.

“Our mission is to tell the story. We’re under siege … we’re looking for support.” – Broadus Mattison

“Our mission is just to tell the story. We’re under siege right now with this lockout and … we’re looking for support,” explained Broadus Mattison, UBCP/ACTRA Executive Board Director. He was “moved to tears” after spending the week having one-on-one conversations with delegates from other unions who were vowing to boycott Wendy’s, Canadian Tire, Home Hardware, Sleep Country, Rogers, or H&R Block until the lockout ends.

“A lot of people that hadn’t heard about it – all of a sudden, they understood our fight.” – Chris Cuthbertson

“This was the morale boost we needed,” said Chris Cuthbertson, ACTRA Maritimes President. “A lot of people that hadn’t heard about it – or didn’t really understand it – all of a sudden, they understood our fight. They were clapping, they were supporting us.”

Blair Young, ACTRA Alberta President, Marty Warren, USW National Director for Canada, Chris Cuthbertson, ACTRA Maritimes President.

“Over 2,000 people here representing over three million workers, are now supporting us. They’re taking it back to their members, they’re promoting us on social media, they’re following us and our fight and it means a lot.”

“When people hear what’s going on in our world, they’re appalled and they’re angry at not only the ad agencies, but the brands that are using them,” said Marie Kelly, ACTRA National Executive Director.

We appreciated that even before the convention, the CLC Executive voted to endorse and share our boycott. After my impromptu pitch, the CLC went even further by delivering 2,200 bilingual posters promoting the boycott to every seat in the house.

That would not be ACTRA’s only moment in the spotlight.

“Over the past 14 months my income has just been gutted while these brands are making record profits.”
– Tavia Pereira

“End The Lockout Now! End The Lockout Now!” chanted our entire delegation from behind the mic. Following that moment, the CLC officially recognized ACTRA along with other unions facing a current strike or lockout across the country.

“I’ve been repeatedly reminded that a union is only as strong as its members and its allies,” ACTRA Montreal’s Teneisha Collins told delegates. She and ACTRA Toronto member Tavia Pereira spoke passionately on behalf of all performers who are struggling during this shameful, ongoing dispute. “Over the past 14 months my income has just been gutted while these brands are making record profits,” said Pereira to loud, supportive shouts of “shame!”

“We need to let our members know that we are part of a much bigger labour movement,” said first-time CLC delegate Bob Mann from ACTRA Maritimes.

“We all wish every member could have experienced what we felt in that room. We all wish every member could have joined us at the very front of the solidarity march we led through downtown Montreal.”

“What’s disgusting? Union busting!” yelled out Chris Small, an Amazon organizer and keynote speaker, as we joined all 2,000 CLC delegates loudly filling the streets in a demonstration march of solidarity while proudly waving our ACTRA flags.

“We are, as you would expect from actors, a pretty vocal group, so we have made sure that we have used that as our superpower this week.”
– Simon Peacock

“We are, as you would expect from actors, a pretty vocal group, so we have made sure that we have used that as our superpower this week,” said Simon Peacock, ACTRA Montreal President.

ACTRA members appeared in other significant roles at the convention.

ACTRA members appeared in other significant roles at the Convention as well. ACTRA Toronto member Jully Black opened the convention with her inspiring version of Solidarity Forever, which brought the entire house of labour to their feet singing in unison. Teneisha Collins was heard throughout the convention as the official voice for all announcements in both English and French. ACTRA Montreal’s Jennifer Roberts was an ASL interpreter and Jen Viens, ACTRA National Women’s Committee chair, hosted the CLC Women’s Forum.

In fact, we were exactly where we belong: Out front, loud and proud ACTRA performers and bona fide union activists.

Union solidarity and engagement are more important than ever. Please contact your branch for more information on how you may participate to help end the lockout.

In solidarity,

Eleanor Noble

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