Romuald Hivert graduated from the VFS Acting for Film & Television program in 2011. In between acting gigs, including an upcoming stint on the Vancouver-shot science fiction series Continuum, Romuald is a Teaching Assistant in the Entertainment Business Management program.
You may also recognize him from his role in Captive, the first ever VFS feature-length film. We recently spoke with Romuald about what led him to acting, the VFS community, and life since graduation.
Have you always wanted to be an actor? How did you come about choosing it as a career?
Romuald: No. I always knew I loved performing but didn’t know I wanted to be an actor. I was working at a bank and very unhappy. I decided that I would do something that I had always wanted to do. I immediately enrolled in a two-year theatre program in Ontario. After the first year, I wasn’t sure if it was for me, but the Director of the Adult Acting program wouldn’t let me go. He said I was a gem. That second year, it finally clicked that I wanted to pursue this as a career. After the program ended, I decided to move to Vancouver and go to Vancouver Film School. I wanted to take my acting to the next level and VFS is one of the best schools in Canada for that.
As Naseem in Captive.
What was your experience like in the VFS Acting program?
Romuald: Learning how to act is a lifelong thing. I received a great skill base at VFS but I also got access to the VFS community as a bonus. The network I was able to build at VFS is not something you can put a price on. I wouldn’t have known anyone otherwise. I do have to cultivate it but it truly is one of the most valuable things I took away from the school. The community that I became a part of, including teachers, alumni, classmates, students from other programs, producers, directors, photographers – it’s a pool of resources. It’s better than the yellow pages.
What was life like after graduation? What were the first steps?
Romuald: I went back to the real world. I took a flexible job that I could do while I went on auditions. I found an agent right away and booked my first gig out of school, The Arrangement, a film that comes out next year.
After a year, I changed agents. This was when I started getting a lot more auditions, sometimes three a day! I realized how important it is to find the right agent, one that fits you, someone you can work with and create a partnership. My advice is to find the person who can help you maximize your talent and your uniqueness – almost like a soul mate.
With my new agent, I was able to take a bit of control and make an action plan together, as opposed to leaving it all to chance. I shared with her my three strongest characters – thug, professional man/love interest, and high school student. That’s what I excel at. Obviously I still audition for other types of characters but I think it’s fair to say those three are my current base and where I am strongest.
Romuald (second from left) in an ad for Vancouver Actor's Guide.
Tell us about your experience on Continuum.
Romuald: I filmed an episode of Continuum in February which airs Sunday, May 12. I thought it would be intimidating and I was really worried about having to show them I could act but it was very comfortable and the atmosphere was great. I was so used to being on camera at VFS that I felt like I was at home. At the same time, it was also scary because I thought I should be freaking out. I got really good feedback on set, especially for one of my lines in particular. It felt great and I was happy. I was even more convinced that acting is what I really want to do for a living.
Simon Barry, the creator of Continuum, recently visited VFS as a guest speaker and spoke about the road he took that led him to his success. I sat up front, ready to hand him a thank you card for having me on the show since I didn’t get a chance to meet him on the day. When the talk was over, I nervously walked over in his direction. Before I could say anything he said, “I know you! You did an awesome job on Continuum!” He also told me that it was great that my character didn’t die – so you never know what could happen, fingers crossed!
Meeting Simon Barry.
What are you working on now?
Romuald: I am currently a TA in the Entertainment Business Management program. I am also auditing some of the classes, learning more about how to use social media to market myself, how to create a personal brand, and more.
I also took part in Evermore, a short film and personal project. It was produced by Ian Berg, a Foundation Visual Art & Design and Digital Design grad. He is a now a post-production specialist and wanted to use his visual effects skills in the short. It was written by Bobby Henwood, a Writing for Film & Television grad. In fact, about 99% of the people involved in the film are VFS grads. It’s a great example of how the VFS network can come together. It was a great experience and I am very excited for the final product. Ian is hoping to release it this fall.
On the set of Evermore.
What are you goals for the future? Where do you see yourself in five years?
Romuald: Five years from now I want to be working as an actor, mainly in Vancouver but also throughout Canada and the United States. I want to be a lead character on a hit TV show. I would like to be in at least one action film – doing stunts, fighting, using guns, etc. I want to be in at least one blockbuster movie as well – and stay alive throughout the movie! My characters always die! (Laughs) Now that I’ve said all these things, I really have to do it!
It is important to continue taking classes. I know that I will always need to keep training to get to the next level. I received some great advice about who I am as an actor – I need to understand my stereotypical hit. I love the fact that I look dangerous and have a strong presence. The man within – the actor – is a humble kid, full of wonder and play. I like to be bold, fierce, daring, and loving. I just want to share with the world stories that they will never forget. For that, I am willing to share generously the essence of what makes me, me.
I hope people can relate to my characters and that will make them want to learn more about them and their circumstances.
Thanks for sharing this with us, Romuald!
For more information on what Romuald is up to, check out his Facebook Page. You can also catch him on this Sunday’s episode of Continuum, airing on Showcase.
Jennifer Mackie, Raine Anderson, and Brad Pitre of Pixar Canada recently visited VFS to share their thoughts and experiences with our students from 3D Animation & Visual Effects, Classical Animation, and Digital Character Animation. Pixar Canada produces animated shorts and television specials featuring characters from Pixar’s prior films. Those who saw Finding Nemo 3D in theatres last Fall will remember Partysaurus Rex, the animated short featuring characters from Toy Story that ran before the film. That was produced at Pixar Canada, right here in Vancouver, BC. Pixar has the creative chops to make things great and they employ talented artists and animators to bring their stories and characters to life on-screen. From idea generation to completion, the team operates by the following adage – “It looks good but can we make it better?” Brad, Raine, and Jennifer were kind enough to provide some further insight on their success. Brad, a Modeler/Rigger previously with Digital Domain, suggested that keeping it simple is key. He also advised that you should always have your work reviewed and be open to constructive criticism. “You learn from failure. Success is great but you don’t learn from it,” said Raine, an Artist previously at Weta Digital. Jennifer, a Lead Layout Artist formerly at Axis Animation, maintained that story was paramount. “Everything leads back to the story – it’s the most important thing. The animation can be beautiful but if the story isn’t good then people aren’t interested.” Jennifer, Katie, Brad, and Raine pose for a quick photo. VFS Animation student Katie Williams was at the presentation and has some highlights to share. Guest Post by Katie Williams Listening to Pixar Canada team members Brad Pitre, Raine Anderson, and Jennifer Mackie was truly an excellent and inspirational experience. Not only were we able to learn about their specific positions at the studio and the hugely cooperative Pixar pipeline, but we were privileged to witness genuine humility. It is the latter detail that is perhaps the most impressive and encouraging. In so many ways, Pixar is the dream studio of any 3D artist. We look at the work that they do and hope that one day we can be a part of it. Meeting three individuals who live that reality and realizing they still feel the same was wonderful. Pixar, as all three mentioned and as we can easily observe, is about quality over quantity. In their talk, Brad, Raine, and Jennifer brought up the idea of plussing, making the most of their allotted time, perpetually iterating on assets, and progressing as a collective and holistic creative force as opposed to working in separate departments. It was this concept that was maybe the most valuable to acknowledge, at least for me, because it makes you realize how truly cooperative the industry is, and how interdependence and constancy are vital to success. Another invaluable practice they touched on was that of referencing in order to stylize reality, maintaining true cinematic language while bringing every part of a world to life, and taking the time to tell a story and to tell it well. It is that last point that proves the most inspirational and the most motivational. To know that the story is alive at every stage of their process, and to know that it can be, makes everything we are doing now as students so worthwhile and on course. A huge thank you to Brad, Raine, and Jennifer for taking the time to speak with our students and to Katie for sharing her thoughts about the presentation.
VFS Advisory Board Member Matthew Lillard (The Descendants, Scream), was in Vancouver recently for a special workshop with our Acting for Film & Television students. Student Emma Brandrup-Wognsen was there and shared some of the highlights with us. Guest Post by Emma Brandrup-Wognsen Two days have gone by since the workshop with Matthew Lillard ended, and I am feeling what I can most accurately describe as a sense of loss. I went in to the weekend very apprehensive about being face to face with someone so successful, but one of the first things Matt talked about was his belief that he is not more talented than anyone else. He is just a normal person with a very strong work ethic and an endless passion for the craft who just absolutely refuses to give up. He said that if we are all willing to put in the time, each hour another rung on the ladder, we are all enough. I experienced so much that I feel like I spent a week in that room rather than just two days. When it comes down to it, the most significant thing that I learned was the importance of community – having a place to come back to when the industry is getting the best of you. A place where you can let your light shine when there’s no other outlet, where people thrive and live off of that light, instead of trying to cover it up. Where you get a chance to inspire and be inspired. A place where you are safe to give up all pretensions of who you need to be and where you need get to and just play again, have fun, and be reminded of why you are in this business in the first place – for those simple magical moments of real contact. However, it is very easy to get caught up in the romantic side of acting, and reading through what I just wrote I realize that I’ve let myself get swept away yet again. The reality is that this is a hard business and the only way to survive it is to keep working, keep collecting those long hours. So let it be this time. Let it be my time, let it be your time, let it be our time. To quote Matthew Lillard, “All of this is very Kumbaya but tomorrow I want you to actually do stuff.” Thanks for sharing this with us, Emma. For more photos from the workshop, check out the Acting for Film & Television Facebook Page.
Simon Barry, creator of the science-fiction television series Continuum, recently visited VFS to share his insights with our Acting for Film & Television students. Student Rebecca Reid gives us an inside look at the event. Guest post by Rebecca Reid Amidst filming Continuum at CBC Studios, Simon Barry managed 90 minutes for a Q&A with VFS students. Simon is the creator, executive producer, and writer of the hit TV series, and will also be directing a few episodes during the upcoming season. With his insane schedule and long work days, plus the fact that the series was filming during his visit, it was deeply generous of him to make time for us. It was inspiring to hear about his career, his ups and his downs, and his current struggles. It was a reality check for many people, with such truths as: “If you can’t handle rejection then get out now. Don’t waste another minute of your time. You will be rejected 90% of the time, and those are the successful ones.” “You have to love it. You have to love everything about the business. Even the parts that aren’t so great.” “You will always spend five times longer prepping than shooting. If you don’t over prepare and plan ahead for possible problems, you’re done.” Simon gave us the business as straight-fact reality. He openly admitted that you will always spend more time not working than working. He said the only way you can survive is if you love everything about the business so much that you are willing to do it for free. He admits that it’s hard when you’re not being paid, but you will be eaten alive if you’re in it for the money and not the joy. I am deeply grateful that he set aside this time for us, even on his crazy schedule. I hope the others in the audience learned and took away as much as I did.
Last week, makeup artist and VFS Advisory Board Member Gail Kennedy dropped by to share her experience and perform some demos for an audience of Makeup Design for Film & Television students. One of those students, Amber Fox, was there to report on the event. Guest post by Amber Fox In this business of turning fantasy into reality, “if it works, it works.” These simple yet sage words were delivered several times over by Emmy Award-winning makeup artist Gail Kennedy at her workshop last Friday afternoon. This MacGyver-type attitude has been honed over 36 years in Alberta’s film industry, with titles like Hell on Wheels, Bury My Heart at Wounded Knee, and her personal favourite, Passchendaele. She encouraged us to garner experience in smaller markets like Alberta, where we’ll be exposed to all facets of makeup. We were also reminded there is always more than a single method to achieve any given look or effect. Experimentation is where we grow, but what if we make a mistake? Gail shrugged, smiled, and told us, “That’s why they invented Q-tips.” Gail is a rarity among her generation of makeup artists in that she sought out formal training in her field. After studying under Vincent Kehoe, she ended up in Calgary on the set of Superman III where she was mentored by the late, great Stuart Freeborn – the very same man who brought us the likes of Yoda, Chewbacca, and Jabba the Hutt. Gail revealed she learned more from Stuart on that set than any of her training could have provided alone. It was here that she had to think and learn on her feet, and she loved it. Gail’s commitment to learning translated into a passionate advocacy for education. In addition to heading up makeup departments on numerous projects, running workshops, sitting on the Advisory Board for VFS’s Makeup Design program, and operating as Vice President for IATSE Local 212, she adjudicates the union entrance exams in Calgary. Here, Gail witnesses the same weak spots time and again; Aging and Hairlace Application. During our five hours with this smart and engaging lady, she easily could have spent the entirety of her time showing slides and talking about her countless adventures on set. Instead, Gail did what Makeup Artists do best: Work. We were walked through two demonstrations on our model, Armando. He was aged and bearded, with many of us furiously scribbling notes and snapping pictures. Interestingly, Gail encountered and overcame many of the very same pitfalls we Makeup Design students struggle with as we attempt to navigate these techniques, exemplifying that being at the top of your game has little to do with perfection, but rather perseverance. The expertise will develop, so long as we’re dedicated to our craft. After all, what good are the jobs we’re rallying to save if we don’t have the skills to perform them? Thank you, Gail. You became the teacher you knew you were destined to be. Check out this slideshow of Gail’s visit and demo:
Guest post by Philip Smallwood On February 26, 2013, we had the pleasure of receiving a guest lecture on production sound from Millar Montgomery, a graduate from Sound Design for Visual Media Class 1, who, since graduating, has worked on productions such as The Vampire Diaries, Fringe, Sucker Punch, and Percy Jackson & the Olympians: The Lightning Thief, to name a few. He spoke about his experiences and passed on his knowledge from over 10 years working in the film and TV industry. Like many VFS Sound Design students, Millar Montgomery had studied an audio-related course previously, transitioning from Communications at Simon Frasier University to Sound Design for Visual Media at Vancouver Film School. It was towards the end of his time at VFS when Millar decided to pursue a career in production sound. After graduating from VFS, Millar worked on set as much as possible, on student projects and independent films. After making connections with boom operators, production sound mixers, and various crew members, Millar began to receive paid opportunities to work on corporate videos, movies of the week, and electronic press kits. Taking a page out of his own book, he stressed that in order to become successful you must first work for free, work hard, learn from your mistakes and network. Moreover, he went on to say, “Try to find someone who will take you under their wing,” and learn as much as you can from them. With over 10 years experience in production sound, Millar was kind enough to share a few tricks of the trade that enabled him to initiate and maintain a successful career in production sound. 1. Invest in equipment When buying sound equipment, buy the very best your budget will allow. This will save you money in the long run. Why buy cheap equipment, which will inevitably fail, break, and have to be replaced when you can invest in good, solid, and reliable equipment, which will last and retain value? Having good equipment is also a great way to get work. Advise you will work for free, but that your equipment rental if $X amount a day. This is a fast way to see a return on your investment and pave the way for future paid jobs. 2. Help the lighting guys A great way to secure future opportunities is to simply be a nice guy to work with. Most often people are not hired because they are the best in their field but because people like to work with you. Offer to help when you’re not busy. People will remember the favors you have given and will return them in kind. 3. Loyalty counts You will not get far in the TV/film industry without demonstrating a certain degree of loyalty. If a professional is willing to take you under their wing, pass on their knowledge and provide you with further opportunities you must be dependable and consistent to that person. If you are not, you can easily be replaced. With the wide spectrum of disciplines within sound Millar was asked why he chose to establish a career in production sound. Millar answered this by reminiscing about a recent job. He was tasked with recording sound whilst skiing down the side of a mountain. Millar stated “what other job has that kind of variation…” This combined with working in great locations and with great people makes working in production sound extremely appealing. Finally, at the end of the lecture Millar, was kind enough to give us hand- on look at his sound equipment and run through its functionality: Some choice shots from Millar’s visit:
It almost goes without saying that one of the big reasons students uproot their entire lives and travel from all over the world to VFS as opposed to, say, learning from tutorials in the corner of their bedroom is the chance to interact with the industry. It’s a hallmark of a year at VFS. Case in point? Last week, two classes of 3D Animation & Visual Effects students heard from Ken Maruyama, VP of Recruiting & Academic Relations/Animation Artist Management at Sony Pictures Imageworks. He spoke with students about what the Vancouver studio is up to, what they’re recruiting for, and the things they look for in reels, portfolios, and resumes: the bread and butter of any career prep class. Thanks for stopping by, Ken!
Film and television actor Doug Jones visited VFS last week to give a special presentation to Makeup Design for Film & Television and Acting for Film & Television students. Known for wearing heavy makeup in his films, you probably know him best as Abe Sapien in Hellboy and Hellboy 2, The Faun and The Pale Man in Pan’s Labyrinth, and the Silver Surfer in Fantastic 4: Rise of the Silver Surfer. Doug had a lot of interesting stories to share about his time spent in both the makeup chair and in front of the camera. Doug originally wanted to be a supporting actor on a sitcom, but after joining his university’s mime troupe, discovered that he loved the art form and telling stories with his body. Doug also spent two years as the basketball team’s mascot – an interesting introduction to the kinds of characters and acting he would soon be doing. After graduation, Doug headed for Hollywood and began looking for work in sitcoms – not realizing that you could be a monster in movies. He began doing commercials and did 27 Mcdonald’s commercials in three years. Remember the moon-headed guy from the Mac Tonight commercials in the 80′s? That was Doug! That role established him in the industry and his career soon took off. With his animated personality and incredible physicality, it is no surprise that he transitioned smoothly into the world of expressive and elaborate characters. So how do characters like The Pale Man or Abe Sapien transition from a character on the page to the living, breathing monster we see on screen? Doug works closely with the director of the films, utilizes his own imagination, and visits the design shops where the makeup and prosthetics are being created. He likens taking on a role as taking the character in your chest cavity. He also believes that the director must create a playground that is safe to play in to get the best work from the actors. You must be able to trust the director 100%. This seems especially important when taking on such extreme and larger-than-life characters. Doug has had to spend many hours in the makeup chair to allow the artists the opportunity to achieve the incredible and award-winning looks we see on screen. In the case of HellBoy, Doug spent seven hours a day in makeup, having 12 prosthetic pieces applied. In Pan’s Labyrinth, Doug spent five hours a day getting made up, was covered in foam latex, and had to speak Spanish dialogue as the Faun. The Pale Man makeup required another five hours and the application of silicone to get the correct look. The hours paid off. Pan’s Labyrinth makeup artists David Martí and Montse Ribé won the Best Makeup Oscar in 2007 for their work on the film. Doug’s unique perspective, as an actor who has spent more than his share of time working with makeup artists, means that he was able to offer some great tips and lessons to those starting out in the film and television industry. One important piece of advice is that the makeup should enhance, not hinder, what the director wants and what the story requires. The actor must be able to move, see, and act while wearing the makeup. Doug has become close to his makeup artists over the years and shared the fact that these artists must wear many hats during a film production. From therapist to nurse to confidante, there is much a makeup artist can offer the actor who is sitting in their chair, often for hours a day. Ultimately, the actor and the makeup artist have each other to lean on and support throughout the shoot and can help each other achieve their best work. A big thank you to Doug Jones for visiting VFS and sharing his incredible industry knowledge with our students. Doug is currently in Vancouver shooting the third season of TNT’s Falling Skies. The series will return in the US with new episodes in 2013. In Canada, the first season is currently airing Monday nights on Space. See more photos from the event on our Flickr page.
Early this year, Game Design Expo - an industry event and open house hosted by the one-year VFS Game Design program – assembled a lineup of game industry luminaries. That roster included Bruce Nesmith, Director of Design at Bethesda, who shed light to a full house on dynamic content in the juggernaut RPG The Elder Scrolls V: Skyrim. Today we’re pleased to share video of Nesmith’s Skyrim presentation in its entirety, for free. Watch it now! And what timing, with news of Skyrim‘s next DLC doing the rounds and another Game Design Expo on the horizon (January 19 and 20, 2013)! We’ll have more video from this year’s event very soon, and some exciting announcements of a new speaker schedule. Stay tuned!
The 3D Animation & Visual Effects program recently welcomed Mat Krentz and Jelmer Boskma, both from LOOK! Effects, into their studio to answer questions from current students. Mat, a Digital Effects Supervisor and Jelmer, an Art Lead/Modeler and VFS grad, were able to offer some great advice and insight based on their years working in the animation industry. Since graduating from the 3D Animation & Visual Effects program six years ago, Jelmer has gone on to work on numerous films, including Nim’s Island, Journey to the Center of the Earth, District 9, SuckerPunch, Thor, and the 2013 release Jack the Giant Killer. Our animation students were very excited to connect with Jelmer and Mat, including Benjamin Erdt who had this to say about meeting Jelmer: “I’ve admired Jelmer since he graduated from VFS. Meeting him was a pleasure and a fantastic moment. His work was actually one of the reasons I wanted to focus on character and creature creation, which I have since become passionate about. Getting Jelmer’s constructive feedback showed me that I’m well on my way and also what I can do to improve my skills. I really hope to work with him some time.” Thanks for the visit, Mat and Jelmer!
Pixar Canada Pays a Visit to VFS
A Weekend With Matthew Lillard
Continuum’s Simon Barry Visits VFS
Guest Post: Makeup Artist Gail Kennedy Brings Her Insight to VFS
Guest Post: 3 Keys to a Career in Production Sound, and More from Millar Montgomery
How do you get started in production sound?
3 tricks of the trade
Why do you do it?
Equipment
Sony Pictures Imageworks VP Visits 3D
Actor Doug Jones Visits VFS
Inside the Game: Skyrim’s Bruce Nesmith
LOOK! Effects Pays a Visit to VFS
Mat has moved up the ranks since beginning his career at Rainmaker Entertainment in 2003. Some of his credits include Moonrise Kingdom, Transformers: Dark of the Moon, Alice in Wonderland, Star Trek, Indiana Jones and the Kingdom of the Crystal Skull, and The Da Vinci Code.
