Congratulations to the 2023 UBCP/ACTRA Award Winners

The 2023 UBCP/ACTRA Awards celebrated 12 years of highlighting exceptional contributions in the entertainment industry on November 25 at the Commodore Ballroom in Vancouver.

Actor and comedian Kwasi Thomas hosted the ceremony where awards were presented in 8 performance categories: Cardi Wong won the Best Lead Performance, Motion Picture for Golden Delicious, Sarah Chalke won Best Lead Performance, Series, for her performance in Firefly Lane – Heart Shaped Box. The Best Supporting Performance, Motion Picture went to June B. Wilde for Blood and Gabrielle Rose won Best Supporting Performance, Series, for The Night Agent – Eyes Only. The Best Performance, Made for Television Movie award went to Greyston Holt in House of Chains and Best Short Performance went to Jess McLeod in A Little Vacation. The Best Voice Performance award went to Ian Hanlin for his role in The Guava Juice Show – DoomsRoi Device and Mike Mitchell, Matt Mylrea, Gerald Paetz and Chris Webb won in the Best Stunt Performance category for their work in The Night Agent – The Call. The Lorena Gale Woman of Distinction Award was presented to Susan Hogan for her work as a performer and for her accomplishments in the industry.

Kevin Lewis honoured with 2023
ACTRA Newfoundland Award of Excellence

Kevin Lewis was honoured on September 15 with the 2023 ACTRA Newfoundland Award of Excellence at a special event hosted by ACTRA Newfoundland/Labrador for Canadian performers and special guests.

Kevin’s career spans over 30 years, including with appearances in The Boys of St. Vincent (1992) – his performance would end up on the cutting room floor due to a change in storyline – Misery Harbour (1999); Random Passage (2002); Heyday! (2006); Grown Up Movie Star (2009), and a number of NIFCO Shorts such as Kelly Davis’ Down to The Wood. He was one of the first people that Allan Hawco had in mind for the pilot of Republic of Doyle and was cast as Superintendent Conroy in the final series. His first leading role in a series was that of Samuel Crocker in Kenneth Harvey’s dark comedy, The Slattery Street Crockers. He would later go on to play the much less complex and more innocent title character of Bucky in Harvey’s series of the same name.

Past recipients of this prestigious award include Andy Jones, Mary Walsh, Chris Brookes, Paul O’Neill, Greg Malone, Cathy Jones and Bob Joy.

Jennifer Podemski honoured with 2023
August Schellenberg Award

Jennifer Podemski has been honoured with the 2023 August Schellenberg Award. Her on-screen credits include The Rez, Degrassi: TNG, Blackstone, Departure and Reservation Dogs. Behind-the-camera Jennifer has been at the helm of TV series including The Seventh Generation, Rabbit Fall, The Other Side, Moccasin Flats, Future History and most recently Little Bird.

In 2023, Jennifer Podemski was also presented with the Creative Voice Award at the 2023 Banff World Media Festival Rockie Awards. (Click here to read her Q&A in this issue of ACTRA Magazine.)

Past recipients of the “Augie” include Tantoo Cardinal, Tom Jackson, Tina Keeper, Michael Greyeyes, Michelle Thrush, Lorne Cardinal, Dr. Shirley Cheechoo and Gary Farmer. The annual August Schellenberg Award of Excellence is supported by ACTRA National, a generous donation from Joan Karasevich Schellenberg and individual donors. imaginenative.org

Congratulations to Alberta’s Rosie Award Winners

The Alberta Film & Television Awards, fondly known as the Rosies, celebrate excellence and outstanding achievement of Alberta-based productions and film workers who reside in Alberta. Patricia Darbasie won the award for Best Performance by an Alberta Actor for her role in Team Bride. In the Best Stunt Performer category, Kelsey Andries picked up the Award for The Last of Us “Look for the Light”. The Rosies are presented by the Alberta Media Production Industries Association (AMPIA) in partnership with the Calgary International Film Festival. AMPIA

ACTRA members Jully Black and Tonya Williams honoured with 2023 Legacy Awards. Photos: George Pimentel

Platinum-selling artist Jully Black was presented with the Icon Award at the 2023 Legacy Awards in recognition of her music, unforgettable live performances, stamina, lasting popularity, allyship and the impact she has made internationally.

Reelworld founder Tonya Williams was presented with the Visionary Award at the 2023 Legacy Awards in recognition of her exceptional leadership, contagious tenacity, innovation, activism and fierce dedication to uplifting communities of colour. Also in 2023 William was presented with the EXNW Global Connector Award in Vancouver at the 2023 East by Northwest (EXNW).

The Legacy Awards is executive produced by ACTRA members Shamier Anderson and Stephan James, founders of The Black Academy. Hosted by Keshia Chanté, the 2023 Legacy Awards can be viewed on CBC Gem.  blackisnow               

Robert Clinton honoured by ACTRA Alberta

An ACTRA member for 45 years, ACTRA Alberta presented Robert Clinton with the Life Membership Award. Front row: Faith Louissaint, Davina Stewart, Tina Alford, Samara Von Rad, Darron Ta, Pardeep Sooch; Back: Anna Primiani, Dana Andersen, Don Ast, Sharon Killey, Gordon Gordey, James DeFelice, Deanna Clee, Chris Moore, Louis-Charles Trempe, Robert Clinton, Stephanie Chabeniuk, Linda Huffman, Francis Damberger.

Maria del Mar to receive
ACTRA Toronto 2024 Award of Excellence

Maria del Mar will be presented with ACTRA Toronto’s 2024 Award of Excellence at the 22nd ACTRA Awards in Toronto. Maria’s credits in Canada and south of the border include Murdoch Mysteries, 24, Frasier, Blue Murder, Street Legal, E.N.G., Hannibal, Slasher, Star Trek: Discovery, Rosie’s Rules and LEGO® DreamZzz – Trials of the Dream Chasers. Throughout her career, Maria has been recognized for her work, winning both the Outstanding Performance – Female ACTRA Award for her lead role in the Canadian television mini-series Terminal City and the Canadian Comedy Award for her lead role in the Canadian feature film, A Touch of Grey. She received a Gemini Award Nomination for her role in Blue Murder (Best Performance by an Actress in a Continuing Leading Dramatic Role) and has been an ensemble member of several Gemini Award-winning series. An ACTRA member for almost 30 years, Maria was elected to ACTRA Toronto Council four times, chaired the ACTRA Toronto Awards Committee for five years, and served on ACTRA National Council.

The federal government has a small window of time to address this threat before it’s too late. The proposed Artificial Intelligence and Data Act (AIDA) could help stem the tide, but it still needs work. ACTRA for its part, is aggressively lobbying for protections for performers in both AIDA and upcoming copyright reform.

When most think of how AI will affect our industry, they imagine the likenesses of Hollywood A-listers manipulated to make viral videos on social media. However, no artist is immune to the AI threat including those who work in some of the less traditional roles in our industry. I recently spoke with two veteran ACTRA members – Manuel Tadros and Kayo Yasuhara – who already see the canary in the AI coalmine.

Kayo Yasuhara: Dancer

I acted for a long time when I was in Japan, but since I came here to Montreal, I did more dance and music. I’ve been the President and Artistic Director of the Japanese dance group Komachi Montréal since 2007, as well as a member of RQD (Regroupemnent québécois de la danse) since 2015.

I’ll be performing my solo dance theatre show OKUNI-creatrice du kabuki in February, March and April of 2024 in the Maisons de la Cultures in Montreal.

AI can create a human dancer’s movement very precisely, including the very small, detailed movements from the dancer’s emotion. But I feel there is no human spiritual aura there. I think audiences can feel the difference from a human’s performance and an AI performance. They can feel that the human spiritual aura is missing in an AI performance.

But in the future, if more AI performances are coming and the younger people watch only AI performances, they might lose the ability to feel the human aura. I think it is a very sad thing.

Ellen Dubin 

AI is all over the news these days as the technology rapidly spreads worldwide. 

Performers are the tip of the spear.  While AI presents incredible opportunities, it also carries the potential for severe impacts on our lives as actors.  

To me, AI was Hal in 2001: A Space Odyssey or Siri when I needed directions. It was nothing stressful, nothing that ever weighed on me.  

All that changed a couple of months ago, when I found out through a wonderful fan that my voice in a triple A video game had been stolen and used in a deep fake porn site. I had never heard of anything like this!  

My first reaction was shock because I worked on this game 12 years ago playing over 80 characters. As a massively popular game, I also recorded downloadable content over the years – more lines, additional characters in different worlds. 

I had no idea which characters had been modified. 

This fan was very thorough in his research, though. If it wasn’t for him, none of the cast would have discovered that there were over 200 actors compromised in just this game alone. Subsequently, we found out that other titles also had actors’ images or voices stolen.  

I was stunned. I felt like someone had broken into my apartment and literally violated me.  

I discovered that original dialogue in my voice was altered into something pornographic.  They had also changed the images of our characters.  Female characters especially were altered physically and put into compromising positions. So, in these “mods” (game modifications a player can download from the internet), everything was highly oversexed! 

None of that was what I had originally signed up for. I contacted a few of my voice actor friends and we sent a cease and desist to the company who was hosting the mods. The company agreed to take it down. 

But a month later, the fan noticed that someone else had picked it up. This content was out there and out of control. Once it is downloaded, in a second someone in their basement or wherever can download it again. 

We can’t keep up with or control other mods and there are thousands of mods around.  

Performers need guardrails

Let’s say you are a government official giving a speech in front of parliament. They record it.  

A couple of days later you see it online but the words you hear are not the words you prepared or wrote or said. They’re something vile. Something completely against your own political party. Against what you believe in. 

It’s the same thing for an actor. This is our livelihood. This is our heart and soul. 

How can we deal with this? 

A wonderful start is to educate everybody, to emphasize that there must be guardrails against AI: for control, compensation, and consent. We must come together – the actor, the agents, the casting directors, the producers, the creators of video games or any other genre as we are all a part of this vulnerable ecosystem. 

Of course, we want to be compensated for our work.  But I think consent is almost more important because this is about our reputation.  Our careers are built on reputation.  If our characters are out there saying things we didn’t agree on or doing things we had no knowledge of, this not only affects us emotionally but can damage our professional careers.  

Informed consent is crucial

We need the ability to give informed consent before we get on set. We need to examine our contracts well before we sign them in case there are AI clauses we don’t agree with or don’t understand. 

Most of the time, actors must sign an NDA to protect the project, and its content. It would be wonderfully reciprocal if producers of these projects would protect our image and voice just as we protect their content. 

For example, is the vocal content going to be exclusive to that game? Will our voices be used in another game?  Will the content of that game be something we are comfortable with morally?  Will our voices be used to train AI systems? Can we be protected from people downloading and abusing our voices with mods?

These issues have rarely been addressed in a union contract. Fortunately, ACTRA is currently working hard on the AI front.  

Setting the stage for generations to come

I know of a little girl starring in an Emmy nominated animated series. She is nine or ten years old, and her voice and character image have already been compromised. Her voice was available on a database where you could type in anything you want and get this little girl to say it.  

It’s reprehensible. 

Thank goodness the producers of the show had it taken down right away. But the truth is, this little girl’s image and voice is probably still out there.  

The guardrails we create today will set a precedent for the younger generation. AI technology is growing by leaps and bounds so these guardrails must be flexible to reflect that rapid growth.  

If we do this now, we stand a good chance of protecting our ACTRA members in the future. AI may be here to stay but it is our humanity that will stand the test of time! 

Jennifer Podemski

Stories with impact are told by creators closest to the subject matter. Greater representation of our stories includes creators from diverse and Indigenous communities across the country. As we look to the future, we need to ensure that the production of high-quality Canadian content which supports our screen industry will flourish.

In November 2023 the federal government unveiled new policy directives to the CRTC on how to best implement Bill C-11: The Online Streaming Act. How funds will be collected from streamers, distributed to funders, then allocated to equity deserving groups has yet to be determined. If applied and enforced properly, the CRTC could improve the working lives of ACTRA performers and strengthen the industry. 

These changes, along with expected updates to the allocation of public media funds, are meant to usher in a future where stories close to home receive the attention they need and deserve.

Someone who understands the power of storytelling is Jennifer Podemski. The award-winning writer, director and producer started out in front of the camera 30 years ago. While committed to the telling of Indigenous stories by Indigenous filmmakers, in this Q&A Jennifer shares why she supports all creators who should be telling the stories that need to be told. 

Question: Do you feel there have been recent turning points for producing good, raw, edgy drama in Canada?

Jennifer Podemski: I think Canada has been doing a good job at creating content that appeals to the global consciousness and the more recent appetite for premium, streamer style drama series. Examples of that would be Plan B, Alias Grace, Handmaids Tale and I think we achieved that with Little Bird.

Q: During your ACTRA Toronto Award of Excellence acceptance speech in 2018 you said, “The stories we collectively tell have the power to save lives”. Can you explain this? 

JP: Stories have always been a tool that can connect or divide people, they hold a lot of power. Depending on the story you’re telling and the perspective it’s from, there is an audience who sees themselves within that story and therefore feel validated. Being and feeling seen is critical to growth and many people don’t have that kind of acknowledgment within their own circles, so stories – oral or otherwise – can determine how good or bad someone feels about themselves. 

In my experience in the Indigenous stories on screen space, I’ve witnessed incredible healing. I’ve seen the positive, transformative power that Indigenous stories through an Indigenous lens have on the community. 

I’ve received the letters over the 30 years of my career that confirm the life saving and life affirming power Indigenous representation and Indigenous stories have on people. I think generally, we should not take this work for granted, be careful throughout the entire process, and consider if we are doing harm. 

Q: From your perspective as a filmmaker, what kind of support is needed in Canada for the building of a better future for storytelling? 

JP: I really think we thrive when we tell stories from the regions. It’s a sum of its parts kind of thing. The more we focus on the regions, the richer our storytelling will be. This includes many more stories through an Indigenous lens and more diversity in general. 

Q: On the federal level, what are your thoughts on the passing of the Online Streaming Act?

JP: It’s hard to know what the impact will be exactly, but I hope it will support the aspects of what I’ve identified above. That would be incredible. 

Q: In 2006 you and your Moose TV castmates were on the cover of InterACTRA, crediting Showcase for being the first to air an Indigenous comedy series. At that time could you have pictured a story like Little Bird becoming the first Indigenous series drama on a streaming broadcaster like Crave? 

JP: I had big dreams and aspirations at that time, and I had already made several shows including Moccasin Flats which was the first Indigenous drama series also for Showcase and APTN. I had big dreams about seeing our stories be written, directed and produced by us with all the agency and autonomy we deserve. It’s incredible that ten years later I began developing Little Bird with the same team that made Moose TV. And by the way, Moose TV is one of my favourite things I’ve ever done as an actor. 

Q: You’ve inspired and trained many Indigenous youth in the film and television screen industry who’ve contributed to stories we have enjoyed. Do you have advice for emerging creators? 

JP: My advice is always the same. This business is entirely built on relationships. You will work with the same people over and over again and each time you will each be in a different position, department or level. Trust that the relationships are an investment in our collective future.

Marie Kelly

2023 has been a quite the year.  

It was reminiscent of the 1950s, when the collective power of workers changed the fabric of labour in North America. The post-war emergence of unions started in the manufacturing sector but spread more widely than ever, ushering in a financial boom unlike any era seen prior. It helped build a middle-class that could finally achieve real financial stability for them and their families without the fear of unfair work practices and unjust workplaces. Finally, the working class could dream of a better future and play a part in the rapidly changing world of labour. Their unions and the landmark collective agreements they forged, made this possible.

The future was bright… for a time.

The landscape has changed drastically since those post-war boom years. Evolving economic, technological, political, and social shifts have negatively impacted the strength and reach of unions. Unsurprisingly, the state of the working middle class has suffered. Widespread corporate greed and individualism over collective action has become the new “dream” perpetuated by the one per cent. The fact that they are most responsible for the erosion of union solidarity and bargaining power, is not a coincidence.

This generation is paying the price, and future generations are next in line. But hope is not lost. As long as there is organized labour, hope remains for a better future for all.

Canadian workers have been striking and rallying for better workplace wages and conditions throughout 2023, with many non-traditional industries forming unions and existing ones joining alliances. As we closed out the year, half a million people in Quebec went on strike in December, making it among the largest in Canadian history. As four unions joined forces to win a successful resolution, the public stood behind them throughout.

No doubt, the fight for fairness is making a comeback and union support along with it. Workers have endured significant erosions when it comes to healthcare, equality, security, and job standards. Public approval for unions is reaching the highest point in seven decades, and the tide continues to rise.

Our industry is witnessing this in huge ways.  

Performers have seen an extraordinary shift in their work, as studios and streamers try to find every avenue to pay performers less and make their jobs less secure. What’s standing in the way of billion-dollar studios and media giants running roughshod over creators? Their unions. ACTRA and its sibling organizations around the world are standing shoulder to shoulder to protect the most important piece of the entertainment industry – the artists. Unions and their loud and proud members will always stand firm in demanding fair treatment, equitable compensation, and preservation of their craft despite the threats of union-busting, artificial intelligence (AI) and automation.

Of course, the battle for labour fairness and equity isn’t our industry’s alone. The struggle of the artist is one that intersects with the fight for universal guaranteed income, tenant rights, environmental protections, and so many causes that shape the fabric of our society. But once again, despite the diverse tapestry of concerns, a common thread emerges — the power of collective action.

Look around, and you’ll witness the monumental strides taken by the global labour movement. At least 150 North American union contracts expired this past year with workers walking the line for more than 7.4 million days of missed work – the most in nearly a quarter of a century. Workers are coming together to fight for common goals. Greedy corporations can’t simply choose to ignore that power.

The “why” behind this rejuvenated enthusiasm for collective action isn’t a mystery: inflation driven by corporate greed has forced this generation to reassess how they can fight back. Food bank lines are growing, families are losing homes, and people everywhere have had enough.

Enough to walk off the job and onto picket lines. Enough to raise their voices in the halls of power. Enough to start movements into tidal waves that ripple across nations.

A common front and tenacious grit give this new generation of workers more bargaining power compared to the ones before them. It’s clear that our fight transcends studio lots and soundstages. It’s about ACTRA membership solidarity and engagement across our country.  It’s about visible, sustainable support throughout the bargaining process and full support of our team at the bargaining table.

When workers are treated fairly, when their voices are heard and respected, societies flourish, economies thrive, and the human spirit soars.

In solidarity,
Marie Kelly

Regardless, ACTRA continues to persevere. We will never stop fighting in pursuit of a fair deal and to regain and secure our commercial jurisdiction. More than ever, our membership is engaged in standing up for our rights. We continue to push the boycott of the brands who are using advertising agencies that have locked us out. The boycott has stretched from coast to coast to coast with the help of the Canadian Labour Congress (CLC). And this past September, the Federation of International Actors (FIA) and its affiliates in 70 countries around the world agreed to support and highlight our boycott at an international level. FIA’s Executive Committee passed a resolution to support ACTRA’s expanding boycott of union busting brands. Coming together with all our sibling union leaders who stood in solidarity with us while donning ACTRA T-shirts, was an immensely proud moment.

FIA’s worldwide membership is calling out the unscrupulous corporations who are working with the ICA – refusing to negotiate fairly with performers – to maximize their own profits. “This attack on ACTRA in Canada is an attack on all of us.” said Gabrielle Carteris, FIA President.

We have also strengthened our alliances with the WGC, DGC, IATSE, and UDA, who fully back and support us as we do them.

Meanwhile, the Writer’s Guild of America (WGA) and SAG-AFTRA went on strike and walked the picket line in solidarity for days that turned into weeks, that turned into months, making history as the longest simultaneous strike in our industry.

ACTRA stood shoulder to shoulder with them and their plight. We held rallies in Toronto and came together across the country on a National Day of Solidarity in support of the strikes and our lockout. Their issues are our issues. Their fight is our fight.

In the end, both the WGA and SAG-AFTRA successfully ratified their agreements.

Building a solid coalition with our sibling unions will help us in the coming year as we prepare to bargain the new Independent Production Agreement (IPA) with Canadian Producers. As with the WGA and SAG-AFTRA, Artificial Intelligence (AI) is a major threat and we are determined to build strong fences around protecting ACTRA member’s face, voice, image and likeness. We will also focus on a new business model, ensuring we earn our fair share of the massive profits media giants make through streaming.

We need protections at the federal level, so we are taking a hardline in our lobbying of the government. Marie Kelly and I have recently spent a lot of time in Ottawa working with Heritage Minister Pascale St-Onge and the CRTC on establishing the requirements implementing Bill C-11. Nothing highlighted better the lack of Canadian production in Canada in 2023 than when the strikes halted U.S. studio production in Canada. We unnecessarily suffered the consequences. We are pushing for greater support in Canadian storytelling created and performed by Canadians. It’s our time to shine on the global stage.

As well, we are tackling AI and copyright issues at a high government level.

We will be engaging you all in these fights. This is about our livelihood and the future of our industry.

Our Strength is our Resilience. Our Resilience comes from our Solidarity. Our Solidarity brings Power. And we use this Power to build a better Union.

In Solidarity,
Eleanor Noble
ACTRA National President