For many years, Canada has mostly been a service industry for US film and TV productions. Vancouver, Montreal, and Toronto would constantly be dressed to play New York, Boston, Chicago, Seattle, San Francisco, and even Maine.
Right now the tide is turning, and there are some wonderful movies like Nirvana, The Band, The Show, The Movie, and Mile End Kicks where Toronto and Montreal are not just playing themselves but are essential for the plot.
The most popular TV show in the world right now is the very Canadian Heated Rivalry. Vancouver was constantly showing off its beauty on Family Law. Surrey, BC is featured in Allegiance. Vancouver is also the setting for Wild Cards. There is a Law and Order: Toronto. Canada’s biggest city is also the home to Kim’s Convenience. Private Eyes was set in Toronto, and the new series, Private Eyes: West Coast, will be set in Victoria, BC. Sullivan’s Crossing will inspire you to visit Nova Scotia, perhaps a bit more than Trailer Park Boys. Even though the town is fictional, Letterkenny is absolutely rural Ontario. Which can also be said for Schitt’s Creek. Of course, the international hit that started back in 2004, Corner Gas, proved that audiences around the world would be interested in life in Saskatchewan, as long as it was funny.
Unfortunately, most Canadian actors can’t make a living yet, only performing in productions set in Canada. We have to master the standard American accent and try to get cast in US productions that are mostly shot here to save money.
A Day Player is typically a local actor who is brought in for one day of work to deliver one to five lines of dialogue.
With a monthly installment called Day Players, we will examine that very experience.
Here is our next conversation with Bronwen about working as a local film and TV actor in Vancouver.
HNMAG: Can you recall a unique experience working on a US production?
Bronwen Smith: Well, one of my first non-independent productions I worked on was Da Vinci’s Inquest. I feel really lucky that one of my first gigs was doing something Canadian with a Canadian director, the wonderful Anne Wheeler. It was all Canadian…
HNMAG: Set in Vancouver. Not just a Canadian show, but it was about Vancouver.
Bronwen Smith: Exactly.
HNMAG: That was extremely rare.
Bronwen Smith: Yeah, and Chris Haddock’s shows were great. They’re awesome.
HNMAG: Very real.
Bronwen Smith: Absolutely. It was very grounded. I have a funny story about working with the director, Ron Underwood, who I first worked with on Reaper.
HNMAG: That was a fun show. It aired in 2007.
Bronwen Smith: I was happy be to on be it. It was just a tiny little role, “female customer”.
Years later, I got the opportunity to audition for Once Upon A Time. Ron Underwood was directing the episode and he was in the audition room.
HNMAG: So he recognized you?
Bronwen Smith: He recognized me, but I didn’t recognize him.
I’m in the audition, and he’s so friendly. He points out that we’ve worked together, but I reply that I don’t think we have. It was only afterwards when I looked over my resume and realized he was right. I got the job anyways.
HNMAG: That’s good.
Bronwen Smith: I made a point when I was wrapped on the episode, to get a selfie with him so I would never again forget working together. I also asked him to accept my apology for not cluing in.
HNMAG: That’s a good lesson for actors. Check the information on the audition notice and double-check the producers’ and directors’ work on IMDB.
Bronwen Smith: 100%. The thing is that I am usually very diligent about that stuff!
HNMAG: He didn’t hold it against you, which is nice.
Bronwen Smith: Another director I feel very lucky to have worked with is Jonathan Demme on an episode of the TV series, The Killing. It was during their final season, and they were getting all the heavy hitters to direct.
HNMAG: Cool.
Bronwen Smith: He was there for both the audition and the callback. He made a point of quickly meeting everyone before we went in for the audition. We went in one at a time for introductions and he made me feel so welcome and comfortable.
I booked the gig! Cut to my day on set. I got up that morning and on my way to set, I’m just thinking I’m going to work with the Oscar-winning director, Jonathan Demme.
So, I get to crew park nice and early. I park, I find the Assistant Director (3rd AD). They said, “ Oh, you’re really early.” I was a bit early, but nothing to be too surprised by. My trailer’s not quite ready. Some time passes, then some more time passes. Something feels off. It turns out, I was at the wrong circus!!
It turned out that the crew park I was supposed to be at was the next circus over.
HNMAG: Was your agent calling in a panic?
Bronwen Smith: No. I was early for my call time, which helped. Once I realized what happened, I found the number for the locations person to speak with on The Killing. I let them know I was close, just at the wrong circus. They were lovely and understanding. For clarification, these stories of my mistakes are true anomalies – I was absolutely mortified. The person from The Killing said, “Here’s what you’re going to do. Come to the production office, park in my spot, and leave your car keys with us in case we have to move it later. This will speed up your time getting to set.” That made things so much quicker and more efficient. I then quickly got dressed in my trailer and waited to go into hair and makeup. It all worked out in the end and only this very kind crew member and I knew how close I came to being late.
HNMAG: You were also so fortunate to work with Jonathan Demme, who gives so much attention and consideration to the performers. Most people don’t realize that’s not always the case.
Bronwen Smith: Absolutely. Another role I played was Mrs. Jefferson, Rowley’s mom on Diary of a Wimpy Kid: Dog Days.
HNMAG: Iconic!
Bronwen Smith: One day we were shooting in Richmond and our fictional family is sharing an ice cream. Anyway, there was this long discussion between the director, the AD, camera, sound, and a lot of the crew. There was a lot going on, so it took a while to set up the shot. All of sudden they were getting ready to call action, but us actors had no idea what was expected from us. Sometimes there can be a lot of talk about how to get the shot, but nobody has spoken to the people in front of the camera. The camera department in these situations can be such great collaborators and advocates for us because they see our panicked faces. “What’s happening? Is anyone going to talk to us?”
HNMAG: Was your part principal?
Bronwen Smith: Yes, it was a nice gig, a few weeks work. I teach acting and occasionally when students find out I was Rowley’s Mom, there’s this great connection and surprise of “No way, that’s awesome.”
HNMAG: Overall, your experiences have been more positive.
Bronwen Smith: Yes, I’ve been pretty lucky that I haven’t experienced any real disasters. I have had a wonderful career so far as an actor.
Bronwen Smith is a wonderful actor and instructor in Vancouver. Bronwen is very experienced, and besides her performances in US productions, she has played roles in many terrific Canadian independent films as well. Bronwen is one of many very talented performers based in Vancouver. We need our industry to grow so we can tell our own stories that showcase Canadian talent. The work in film and TV through the US service industry is nice, but we can do so much more.