This black-and-white theatrical trailer initially plays like a modest version of The Actors Studio—that Bravo cable TV network series in which famous actors, directors and producers discuss their craft. Except in this case, the actor is hardly well known, and the setting isn’t a stage, but rather a booth in a dimly lit restaurant. Tinkly piano music plays softly in the background, and the shots are tightly framed.
The young actor begins to pontificate. "It’s an interesting question," he says introspectively, between thoughtful drags on a cigarette. "See, as an actor you have to be prepared to ask yourself questions—tough questions: Where do I find my motivation? I can tell you this: It’s not a cliché.
"OK, it is a cliché," he corrects himself intensely. "But you know what I’m saying. You have to find that abyss that you’re afraid to cross—and cross it. Find it. Cross it."
Stoically listening to this primer on performance is an older man—also seated in the booth—who appears dumbfounded. "Have you seen Scarface?" the actor demands. The man shakes his head "no," murmuring a barely audible, "Uh-uh."
"I haven’t seen it either," interjects the actor—"but I’ve seen clips. You think [Al] Pacino was a nice guy when he was filming that picture?" The young man repeats some expletive-filled dialogue from the movie’s title character, portrayed by Pacino.
The actor declares that there’s no way Pacino could turn this characterization on and off—switching from the profanity of Scarface to real-life pleasantries like "Excuse me, sir," and, "Thank you, sir."
At this point we begin to feel for the older man, who’s been subjected to these reflections ad nauseam. Is he listening because he’s the performer’s agent? After all, you can’t alienate your 10-percent-commission meal ticket. Or maybe he’s a film critic who has to be attentive no matter what this windbag says?
But now the camera reveals a young girl who is also seated in the booth. And she reveals the true scenario: "All I asked for was some ketchup," she responds.
The actor takes one more puff on his cigarette. Altering neither rhythm nor intensity, he replies, "I can get you some ketchup."
The screen goes black for a moment, and a supered query reads, "What’s so great about documentaries?"
The actor stands up to leave the booth. We see that he’s wearing an apron, and it dawns on us that he’s a waiter here. "I can get you some mustard, too," he adds with a clichéd hand gesture, and a mumble that would do Brando proud.
Again the picture goes black, giving us the supered answer to what’s so great about documentaries: "No actors."
Next a supered tag appears, heralding Hot Docs, the Canadian International Documentary Film Festival held from April 30 to May 6. Subsequent supers list sponsors and benefactors who have made the fest possible.
This one-minute, 45-second trailer titled "Everyone Loves an Actor"—with a :30 lift—was part of a campaign directed by Martin Shewchuk via Toronto-based Radke Films for Young & Rubicam, Toronto. Shewchuk is represented in the U.S. by Santa Monica-based Tropix Films, which is a satellite of Atlas Pictures, Santa Monica.
The creative team at Young & Rubicam consisted of president/ executive creative director John Farquhar, VP/group creative director/writer Brett Channer, associate creative director/art director Doug Bramah, and producer Melanie Palmer.
For Radke Films, Krista Marshall and Jon Banack served as executive producer and producer, respectively. "Everyone Loves an Actor" was shot on location in Toronto by DP Paul Tolton.
The spot was edited by Andy Ames of Panic & Bob Editing, Toronto. Online editor was Joel Saunders of Axyz, Toronto. Adam Miasik of Eyes Post Group, Toronto, served as colorist. Audio engineer was Richard Bennett of D.A.V.E. Audio, Toronto.
