Tag Archives: Ottawa

Supporting Actors

Today we’re interviewing two Ottawa-area actors to get a little insight into what it’s like to dip your toes into the Ottawa film industry. They’re both fresh faces on the scene and have their own perspectives on what it’s like to shill for work around these parts.

Meet “Annie”, a 36 year old aspiring actor. She’s just recently enrolled in Acting for TV & Film – Level 1 at The Acting Company and has been putting in time at The Actor’s Gym. Annie is finding the courage to pursue a dream she’s long had, and is excited about learning as much about her new craft as possible.

 

donlee

Photo Credit: Dalene Gallo, Picture It Studio

Don Lee considers himself to be a late bloomer as far as acting is concerned, having stepped on a stage for the first time since elementary school as recently as 2008. It was a one-line walk-on part in an amateur production of Cole Porter’s Anything Goes (for the Mississippi Mudds in Carleton Place), but he was hooked. 

 

Annie’s answers will look like plain old text while Don’s will be distinguished by Italics. I am, obviously, the bold one. 🙂

What is the audition process like for you?

Annie: To date I have only submitted responses to casting calls via video audition. After indicating my interest to audition, I would receive the sides. Prior to recording and submitting my audition, I would take the time necessary to practice and experience the lines in various ways.

Don: It’s not too stressful and I think the worst part is not getting any significant direction to understand fully what is wanted in the role. However, I read a quote recently from a big-name star (so big that I’ve forgotten his name!) and I try to keep his advice in mind: don’t go in with a mindset of “I hope I get the part.” Go in knowing that the Director and Producer have a problem: they have to find the right person to fill the role, and YOU are that right person!

What unique ways have you used to get noticed?

Annie: To start out I started posting questions in online forums, including Facebook. I got a lot of positive feedback following expressing my desire to get into acting. I have also taken head shots and posted them in public forums online. In doing this, I made a connection with a local filmmaker/director/videographer that helped me with my first cold read as well as recorded my first response to an audition.

Don: I have joined all the relevant Facebook pages that I’ve found, established relationships by making comments, etc. I’m also quite willing to do freebies for small independents in order to meet and be seen by more people and spread my name around as much as possible. I also think the basics of all working relationships are important: show up on time, do what you’re told, keep quiet on set, etc.

I had no concept of how much Facebook was playing a role in getting people noticed, and I hadn’t considered, but clearly should have, how the internet is helping casting producers cast a wider net in terms of seeing people for auditions from all over the world.

How do you prepare for a role?

Don:  I try not to make too many assumptions about how to portray my character until I learn what the Director wants; there seems little point in getting a certain persona down pat and then finding out that the Director wants a totally different interpretation. I guess my main goal is to get the lines flowing smoothly and then try to follow direction.

Do you think it’s more important to have brilliant writing or strong direction, and why?

Annie: I think that both are equally important and that they complement one another. Strong writing is important as it enables the actor to envision what the writer’s idea of the character is. It provides context for the development and the actor’s presentation of the character. Strong direction is important because it sets the parameters, the boundaries for the director’s vision of the character, in which the actor has the freedom of creativity to operate within.

Don: Both are important of course, and there are undoubtedly directors who can make an acceptable product from the worst script. However, the old saying is that you can’t make a silk purse from a sow’s ear, and there’s also the biblical thing about a house built on a foundation of sand. Thus I have to say the writing is the more important.

It does seem to me that you could give the same script to two directors, and one end product might be vastly better than the other, depending on the talent of the directors. But no director can save a film if the story’s just not there. Unfortunately, I can think of a few movies of late that seem to agree with your hypothesis, Don. What’s the point of a great cast if the characters are underdeveloped? Or the point of breathtaking cinematography if the story is lacking? It seems like such a waste.

What, in your opinion, is the juiciest role you’ve seen in a movie?: I think that the scene from the movie Monster’s Ball where the characters played by Halle Berry and Billy Bob Thornton make love for the first time is the juiciest role that I have seen in a movie. In the context of the movie it was just so totally unexpected and incredibly raw. It was ultimately a moment that made history as it followed that Halle Berry became the first black woman to win an Oscar for best actress for the role she played.

Don: Boy, that’s a tough one, especially at my advanced age and remembering movies that go back to the 50s! The first one that comes to mind is Lee Marvin in Cat Balou, and also in The Dirty Dozen. And I can’t dismiss images of Harrison Ford as Indiana Jones!

Is it more fun to play the hero or the villain, and why?

Annie: I think that it would be more fun to play the villain. For me, I try to be the best person that I can be, whether it’s for my family, my friends, my colleagues etc. As a society we are expected to follow certain moral codes and standards and of course the law! I think that playing the villain would be much more fun as it allows the actor to explore a totally different realities and mindsets that they may not otherwise have a chance to experience.

Don: I have no strong feelings either way, and in any case I have no relevant movie experience. I have done a number of live dinner-theatre murder-mysteries with the Mudds and I seem always to play the villain. I do enjoy that role, especially when the plot is such that you are not revealed as being the villain until very near the end.

What movies or theatre productions made you fall in love with acting?

Annie: The movies that made me fall in love with acting include The Color Purple, Not Without My Daughter, and Pretty Woman. The one that stands out the most for me out of the three would have to be is Not Without My Daughter. I could not have been more than twelve the first time that I saw that movie and I still remember, as if it were yesterday, how completely moved I felt by the heroism and the emotion that was depicted throughout that movie. It was the first time that I had seen anything like it.

Don: I don’t think it happened that way for me, and again, considering my age I had seen a hell of a lot of movies and plays before giving any serious thought to doing any such thing myself. Two one-man shows come to mind though: Henry Fonda as Clarence Darrow and Hal Holbrook as Mark Twain.

Acting seems to necessarily involve a certain amount of rejection. How do you keep motivated?

Annie: Being as new as I am, all experiences, good and bad, including rejection, are opportunities to learn more about myself and the art. My desire to develop the skills as an actor as well to learn as much as I can about the craft are what motivate me to keep trying new things.

Don: I think the first thing is to remember that there IS a lot of rejection, and even the biggest stars have experienced it at some point; it’s an integral part of the process. Also, I try to remember the statement attributed to Thomas Edison when asked how he kept going with his attempt to invent the electric light bulb after failing literally thousands of times. His reply was that he hadn’t failed thousands of times; he had successfully discovered thousands of ways that wouldn’t work!!

In discussing one of your previous answers, Don, Matt mentioned that both Bill Murray and Chevy Chase had been considered for the part of Indiana Jones. It’s hard, maybe impossible, in retrospect, to see the role as theirs. And both went on to have highly successful careers – it just highlights the fact that the director will find ONE right person for the part (okay, maybe a second when the first drops out due to “scheduling conflicts” (cough-rehab-cough) but you get my drift). Tom Selleck, Jack Nicholson, Jeff Bridges, and Steve Martin were also considered, but it’s hard to picture any of them holding the ole bullwhip quite so convincingly.

Whose film career do you most admire, and why?

Annie: I would have to say that I admire Will Smith. This would have to be because he is so incredibly versatile. He began his career as a rapper, which led to his first TV role, on the Fresh Prince of Bel-Air. Following that, he crossed over to movies and has been starring in blockbuster films in a variety of genres since.

Don: The first name to come to mind is Henry Fonda, and I guess the next would be Gregory Peck. To the best of my knowledge, both had long successful careers without a lot of the notoriety so common in the industry. Neither was super splashy, they simply gave highly credible performances in a quietly-competent way. Afterthought: also Meryl Streep.

What is the movie industry like in Ottawa?

Don: As an outsider moving in, I would say surprising! Until I got involved myself, I had no idea of the amount of on-going activity that exists here. To be sure it’s not Hollywood or even Toronto, but I think a lot of people would be surprised by the amount of movie activity that takes place here on a regular basis.

How do you, as an actor, define success?

Annie: As an aspiring actor, being successful would entail learning the art of acting and being able to embody virtues of the craft and perform either on stage or in front of a camera with competence and confidence.

Don: For me in my specific set of circumstances, success would be getting reasonably steady paying work as an actor. On further reflection, that would be astronomical success!

A big Asshole thank you to both Annie and Don for submitting themselves to our questions. If anyone’s got any questions for them or anything to add to the conversation (have any of you got any acting experience???), please feel free to let us know in the comments!

Where Talent Blooms

I recently had the good fortune to come across an interesting Kickstarter campaign (Kickstarter is a site for crowd funding – where people can pitch their bright ideas, and their projected budget, and you can choose to back them with your own hard-earned dollars, or not). The campaign was launched by a local film maker who already has a couple of well-received short films under her belt, and, having toured the festival circuit and left with awards, is eager to do her next film up right. And did I mention she’s only 16?

Matt, Sean and I are blown away by the obvious potential in her work. There’s a lot of insight and maturity that’s evident already, especially in a short entitled Gifts, and we’re so excited to see where she takes her work next. Kickstarter allows us to throw even just a couple of dollars her way and feel like we’re contributing to her vision. A long time ago, wealthy patrons would back artists with their support, encouragement, and financial aid, which allowed those artists to concentrate on their work without worrying about supporting themselves by other means. The Renaissance was famous for its patrons – the Medici family alone gave patronage to the Ninja Turtles among others (Michelangelo, Leonardo, Raphael – well, you get the picture). Today, we’re able to offer our support as a community (assuming none of you are from an elite political dynasty) and actually help foster the things we claim to support: young talent, creativity, and a strong female voice for the next generation that the movie industry so desperately needs. And isn’t it kind of cool to get in on the ground floor. I mean, we could be talking about the next Tarantino here, and wouldn’t you like to be able to say that you spotted her first? If you’re interested in contributing, every little bit helps, and her campaign can be found here. And without further ado, let’s hear from this talented film maker herself, Ms. Morgana McKenzie: director, editor, cinematographer, voice of tomorrow.

Ms. McKenzie took some time out of her busy schedule (she’s already in rehearsals for her upcoming film, Ellie) to answer some of our questions. In this particular interview we’ll be discussing a previous short film of hers called Gifts that you can watch by visiting this link. Ms. McKenzie made this film when she was 14 years old and garnered her tonnes of well-deserved awards, among them best thriller at CineYouth, best editing at ASK Film Festival, and best emerging female filmmaker at NFFTY (which also came with a scholarship to prodigy camp). You’ll be blown away by Gifts, and the rest of her catalogue is even more intriguing though they aren’t available for public viewing yet because they’re still making the festival rounds. You might want to use that link now to watch it before reading the interview because it does contain some spoilers.

Matt: Gifts is an engaging short film that features, among other things, a very well-executed murder scene that literally made me jump. Your POV approach kept the tension high as I was always a little afraid of what might be lurking just outside the character’s field of vision. What can you tell us about where the idea for this story came from? How do you go about building suspense with such a limited budget and non-professional actors?

Ms. McKenzie: I originally had the idea for two much more complicated shorts; one involving two worlds joined by water, and the other involving a POV sequence. These were too complex and not doable, so the idea came to mix the two shorts, making one. Writing and scrapping drafts ensued, and eventually I was left with GIFTS!

Suspense was important to me given that I didn’t have professional actors or equipment. I worked hard to do the best that I could with what I had for equipment, but I knew the suspense would be what would carry the story. I really tried to tackle that in the writing process, making sure that every bit of information being put out was for a reason and would ultimately move the story forward.

Matt: Most of us don’t take the time to commit to a two-hour movie without learning a little something about it first. Either they’ve seen a preview or they’ve read a review or at least looked at the poster. Short films are unique in that it’s quite common to go into it with no idea what we’re in for. For me, this made witnessing an ambush within the first few seconds of Gifts
even more disarming. Are you eager for the chance to make feature-length films or are you enjoying the unique storytelling opportunities offered by short films?

Ms. McKenzie: I am definitely interested to make feature-length films! I think it would be interesting to explore a longer form of storytelling and be able to experiment with expanding some of my current ideas. At the same time, I enjoy making short films, and am not in any sort of hurry to make my first feature. I see a lot of youth filmmakers in a rush to make their first feature, and while I understand the worry of getting it out there, I would rather take my time exploring short form storytelling while I can. I’m more interested in building a portfolio of work I’m proud of, while planning out my ideas for a feature.

Matt: Most of the short films I’ve seen fall into the category of either the Animated or the Arty. Is there a whole sub-genre of horror\thrill shorts that I’m not aware of?

Ms. McKenzie: Definitely! Some of the festivals I’ve attended like NFFTY and CineYouth have film screenings solely dedicated to the horror/thriller genre, and CineYouth even has a junior and senior award for “Best Thriller”. There’s a large network of filmmakers within that as well. Gigi Saul Guerrero for example has had a short in NFFTY’s “Edge of Your Seat” screening for years, and she’s now working on developing a feature based on her short “El Gigante”. It’s a cool genre to be a part of, and you definitely meet some cool people within it.

Jay: Is film something you want to pursue as a career, or more of a passion? How did this fascination with making your own movies start? What films\filmmakers have influenced you the most? 

Ms. McKenzie: Film is something I will pursue as a career. It started as an interest after watching JJ Abrams’ film “Super 8”, but then as I explored making short films and became more experienced, I knew it was something I wanted to pursue long-term. Shows like Breaking Bad and True Detective that have an ongoing feeling of suspense and wonder have strongly influenced my work. I gravitate towards suspense and non linear storytelling. Individual people that have influenced me range from Ray Bradbury, Reed Morano, David Lynch, Vince Gilligan, Roger Deakins and the Coen Brothers.

Matt: You’ve had your films screened at several festivals around the world and have been fortunate enough to attend at least a few of them. What’s it been like to meet so many other young filmmakers and how do you think it’s influenced the way you make movies?

Ms. McKenzie: Meeting other youth filmmakers has been amazing. I’m able to network with other people my age that have the same interests as me, have someone to bounce ideas off of, and have a friendship at the same time. It allows you to have someone you can count on in filmmaking and in life.

Matt: What can you tell us about Ellie, which you begin shooting at the end of the month?

Ms. McKenzie: Ellie was originally meant to be done a year ago at Prodigy Camp, a camp based just outside of Seattle. I wrote it working with Emmy award-winning script mentor John Jacobsen, and had cast Nathan Gamble (The Mist, The Dark Knight) as the lead. Because the script was too long to shoot in the three-hour block given, complications with my DP, and almost everything else going wrong, I wasn’t able to finish shooting.

Now, I can start over with Ellie, here in Ottawa. It’s the first time I’ve hired union actors. ACTRA has been really supportive, and Ilona Smyth (Smyth Casting) made the casting process really enjoyable. I’ve also increased the quality of my equipment, and I’m ready to take a step forward with my filmmaking. This film can do that.

Matt: Earlier this year at the National Film Festival for Talented Youth (NFFTY), you got the
chance to speak about your experience as a female filmmaker. What’s it been like for you as a female filmmaker?

Ms. McKenzie: I get asked this question a lot and have a hard time answering it because it’s not
something I often think about. I’m aware it’s an issue and a big problem in the industry, but I haven’t felt the effect personally (probably because I haven’t worked professionally yet). I do get frustrated with the label of a female filmmaker. You don’t see females in other professions being labeled “female doctor” or “female fireman”, it seems ridiculous, doesn’t it?

I frequently see people surprised about the amount of dark material in my work. Maybe people expect to see themes from a teenage female filmmaker that involve  romance, or butterflies and fairies. But those themes don’t interest me, unless of course the fairy is out to murder wolves, then we’re talking.

Jay: Last year you were able to attend prodigy camp thanks to a scholarship from NFFTY. What did you learn while at camp, and how do you see your education in film making continuing?

Ms. McKenzie: I learned so much at Prodigy Camp. I loved playing different crew roles on other campers films. You end up learning so much from the other kids and DP’s while on set. I as well learned the value of being able to connect with your crew. In this case, I was not able to connect with my DP, so decision-making was very difficult, especially under the tight three hour shooting window we were given. This was one of the reasons I wasn’t able to complete Ellie at Prodigy Camp, but it was a good learning experience for me on the importance of being able to connect with your crew.

I want to continue expanding my knowledge in film. For post high school, my current plan is to apply to the Canadian Film Centre (CFC) for their six month intensive directing or editing program. But, my plan for after high school changes often. My backup plan is to take a gap year to work and build more of my portfolio.

Jay: How do you perceive the film making culture here in Ottawa? Do you think Canadians have to be in Hollywood in order to be successful in the movie industry?

Ms. McKenzie: The filmmaking culture in Ottawa is good! Not as major as other places in Canada like Toronto, but we definitely have great local production companies like Zed Filmworks and Affinity, as well as resources like SAW Video for training and equipment rentals.

The youth indie film culture in Ottawa is what’s lacking. There are fewer opportunities for teenage or youth filmmakers to collaborate because it’s a smaller community, so you end up working alone on most things.

At the same time, I don’t think we as Canadians need to be in Hollywood to be successful. Indie filmmaking is such a big thing nowadays, and there are so many other resources you can go to that aren’t related to Hollywood.

Jay: Who are your biggest champions and supports as you pursue your dream?

Ms. McKenzie: I’m extremely fortunate to be able to have some extremely supportive parents. They are definitely one of my biggest supporters in film, assisting me in any way possible. We joke that they only do it so I’m obligated to put them in a nice home later.

Aside from immediate family, I’ve met some really amazing people through film in places like Seattle and New Jersey. These are the people that I can go to for read over of my latest script, but I also consider them to be close friends and seek their advice on life in general. We are all trying to reach the same goal, and all support each other in any way possible to make sure we can get there. I like that a lot.

As you can see, Morgana McKenzie is not only a talented film maker, but a thoughtful and well-spoken young woman too. We’re really proud to have gotten to know her a bit and hope you’ve enjoyed it as well. Her Kickstarter campaign is still in high gear, and I urge you again to think about giving. I know we are a community of film lovers, and this is a great way to express it and contribute to it.

If you have any questions for Ms. McKenzie, leave them in the comments. Let us know what you thought of her work. Do you admire any other film makers in the short-film oeuvre? Do you know any other “prodigies”? We look forward to hearing from all of you, and we hope to bring you more news of Ms. McKenzie’s as her career continues.

On the Other Hand, it’s Drive-In Season!

Matt’s been belly-aching about his favourite movie rental place biting the dust while the rest of us saw it coming for – what? – the past 15 years or so? Only teasing, Matt. Elgin Street Video was THE place; it managed to be a neighbourhood fixture and also a city-wide go-to for its eclectic catalogue that was worth getting your knees dusty for. The original owner was a bit of Luddite, like Matt, unwilling to believe that new technologies could topple his empire, having famously quoted to the Ottawa Citizen in 1994 “We certainly know the value of this so-called information highway has been grossly exaggerated in the media” but alas the internet finally caught up with his legacy (he died in 2008, his video store outliving him an impressive 7 years thanks to friendsdrivein and family who vowed to keep it going). The store will shutter for good at the end of the month, and in the meantime, the store’s contents are on sale and everything must go. Everything? Even the wacky memorabilia? Even John Candy’s pants? Well, that remains to be seen.

So while Matt’s throwing a funeral for the crumbs of his nostalgia, I’m still indulging in mine.

The drive in. Oddly enough, the drive-in was almost done in by videotape. It nearly vanished when people could simply rent a tape at Blockbuster and take it home to their living rooms instead. They’ve been going extinct for 40 years now, but here’s the thing: they’re not dead yet. And unlike DVD (or VHS!) rentals, there seems to be a throwback factor that’s keeping their faint hearts beating.

Why do I love the drive-in? What’s not to love about seeing a movie under the stars? About the sense of community involved in pointing our cars in the same direction, tuning in to the same radio station, honking our horns in unison to tell the projectionist we’re ready, flashing smiles along the way as we make the dark stumble towards the bathrooms, greet each other over popcorn, walk our dogs during intermission.

By the late 1950s, one-third of theaters in the US were drive-ins. It was an affordable way to see a movie (and often two or three), the drive-ins relying more heavily on concessions and the ticket prices staying quite low, often a set price for a whole carful of movie goers. Turns out that wasn’t a super sustainable business model and today there are fewer than 350 operating drive-ins in the US (there are about 40 000 indoor screens, by contrast). But there are some things that deserve a resurgence, and like vinyl records currently enjoying a comeback, so are drive-in theatres.

This weekend, our local (the only local) drive-in theatre showed its first double bill of the season (drive-in season in snowy Canada is tragically short). It never matters what they’re showing; concessionSean and I go every other weekend, which is as often as they bring in new movies. The movies are almost always movies we’ve already seen paired with a movie we had no intention of seeing, but we go. We bring blankets and pillows and mosquito netting and a picnic, and a bottle of champagne. We watch the movies with varying degrees of interest, sometimes with rapt attention from the edge of our captain’s chairs, other times stretched out in the backseat, half an eye on the screen and someone’s hand up someone else’s shirt. Being at the drive-in reminds us old married fuddy-duddies of the art of making out. It inspires us to learn new ways of doing old tricks so that the Volkswagen doesn’t get to a-rocking. It gives us a new appreciation of the suburbs – the night sky, the fresh air, the full moon, the fireflies. I can’t say exactly why we love to go, but we do.

Maybe it is a form of reminiscing. As kids, Mom would have us all put on our jammies before piling into the van. We’d negotiate amongst ourselves for who would sit in the middle seats, and who would go way back. There’d be cheesies and juice boxes during the first film, the family one, and during the second we were expected to sleep. I remember sneaking surreptitious peaks at the screen during Crocodile Dundee 2, a movie only tantalizing to someone who’d been told it was off-limits, “too grown-up” (it was rated PG).

Now we have the luxury of leaving if we don’t like the second feature, but we rarely do. The movie is secondary at the Templeton Cineparc. Foremost is the holding of hands, the nuzzling, the ability to talk through the movie without being shushed, smuggling in a whole pizza if the mood strikes, and having privacy but still enjoying the communal aspect of watching a movie with your neighbours. We’ve only just been and I’m already itching to go back.

 

 

 

Do you have childhood memories of the drive-in? Do you still go? Do you have one near by?

My Own Little Piece of Nostalgia

Back in December, I posted one of my first ever reviews on this site of George Lucas’ classic of nostalgia American Graffiti. This is how I closed my review.

“I can’t think of many teen party movies that were made by such a celebrated and talented filmmaker. Rent it.”

In response, fellow Asshole Jay couldn’t resist leaving one of my favourite comments ever on one of my posts.

“I think “renting it” is your own little piece of nostalgia, Matt. Apart from you, I’m not sure I know anyone who rents movies anymore.”

Apparently she’s right. Truelginth is, I still do rent movies. Or did. Until Elgin Video announced on Thrusday that it was closing its doors after 25 years in business. I can’t say it came as a surprise. What small business that charges five dollars for a three-day rental could ever hope to compete with a more convenient and less expensive Netflix subscription. Even if every fourteenth rental is free. (Trust me, 14 comes quick when you’re an Asshole). Stores like this have been fighting a losing battle with the internet for years.

The first thing I do when I rent a DVD is assess the damage. Without even thinking, I immediately turn it over to see just how cracked it is and before inserting it into my player, I usually can’t help thinking about where else it’s been. Worse even, who among us hasn’t felt the disappointment that follows the elation of finally having tracked down You Only Live Twice only to have it start skipping just when it’s getting to the good part.

Maybe what comes too easily isn’t fully appreciated. When I was sixteen, I waited months for Supercop to come to video and- when it finally did- my video store (now long gone, barely even making it through the nineties) only had one copy. After weeks of feeling behind empty cases to find nothing there, you’d better believe I relish every kick, stunt, and badly dubbed line of dialogue when I finally went to the store at exactly the right time. I’ll even miss crawling around on my hands and knees because I know From Here To Eternity’s got to be down there somewhere.

When Elgin Video closes at the end of May, there won’t be many- if any- places like it left in Ottawa. It really is a shame. Last month when I discovered that they had Heathers in stock, it was nice to have a friendly staff of fellow cinephiles to share my excitement with. Like the girl behind the counter who, going above and beyond the call of duty, presented me with a list of 25 Movies Based on Young Adult Novels to help me with a particularly challenging Thursday Movie Picks. Or the guy behind the counter who knew more and had seen more than I did (something I rarely encounter and will even less rarely admit). I vowed that one day I would stump him. Now I never will.

I can’t help feeling an end of an era- one that I seem to have clung to longer than most. I’m a resourceful guy and- if I’m in the mood to watch Blood Simple- I’m sure I’ll find a way and may not even have to crawl around on all fours to do it. I’ll love watching the movie’s I love and hate watching the movies I hate as much as ever. It’s just finding them won’t be as fun as it used to be.

Get Hard at Cineplex VIP Cinemas

Get Hard
The days of sneaking rum into my Coke and worrying that everyone in the theater can smell it are over. Not only will the friendly staff at Cineplex VIP Cinemas not judge you for having a drink with your movie, they’ll bring it to your seat with a smile and a debit machine. If there are three things in life I enjoy they’d be movies, going out for drinks with Jay and Sean, and being called a VIP and on Saturday I got to enjoy them all at once.

There are a lot of drinks to choose from on the menu and it has me thinking about the perfect pairing of drink and movie the way sommeliers talk about food and wine pairings. I know beer makes me ready to laugh, wine makes me sentimental, and martinis make me feel smart. I also know that margaritas that are mixed by Sean sometimes make me throw up so it’s a good thing that I didn’t see any of those on the menu. So for Get Hard- the new Will Ferrell and Kevin Hart comedy- I thought a Heineken would help get me in the right mood.

I’m not sure if I chose the wrong drink or the wrong movie but Get Hard didn’t make me laugh nearly as consistently as its trailer did. We saw Focus at a packed pre-screening a few weeks ago and the preview seemed to be a big hit with the entire crowd, with many of us laughing well into the next preview. All of those same jokes got worked on Saturday’s crowd (although maybe not as well) but there weren’t many new ones in the finished film.

Watching Movies Like A Boss

This weekend saw the grand opening of a new theatre in Ottawa: a VIP Cineplex at Lansdowne. As Matt reminded me, the city was pretty thirsty for a downtown movie theatre, two having closed pretty recently, and the only one remaining, the estimable Bytowne Cinema, is more art-house, prone to running foreign films, and while we absolutely love it (and are card-carrying members), it leaves you shit out of luck if you’re hoping to catch the new Will Ferrell comedy.20150328_190537

This new theatre isn’t just any theatre. It’s a VIP theatre, which means for the privilege of double the price of admission, you can also buy beer for twice the normal price. Ostensibly we made our pilgrimage for the sake of reviewing the place but honestly, just between you and me, we were all pretty psyched about the alcohol option.

We reserved our seats the day before and had no problem doing so, even on a busy opening weekend. We wanted to exercise the menu option, and the website warned us that waiters only take orders until the previews start, so we weren’t sure how early to arrive. I also wasn’t sure how I would manage to eat food on a tray table smaller than those on an airplane, and in the dark, and while wearing a white blazer, but what the hell. Live it up!

So we went about an hour early to tour the new facilities. We parked in the underground parking, which can be validated by the theatre for up to 3 hours (it was $1.50 for an additional 20150328_192815half hour) by the kid ripping tickets as you head in. The first floor has a frozen yogurt place that’s pretty impressive – serve yourself, with a huge buffet of topping options. There’s also a sizable arcade (that was reasonably busy) and a prize booth, and some single-stall washrooms that were still neat. One escalator ride up brings you to the “regular” theatres, where you can sit and watch a movie the way you always have, with a coke the size of your head, and an even bigger popcorn. Another elevator ride up, however, takes you to the luxurious second floor, where they have the VIP theatres (must be legal drinking age, 19+), as well as Ultra AVX theatres (immersive audio-visual experience with Dolby Atmos and massive screens) and D-Box theatres (seats that move and rumble with the sound and images of the movie – not recommended for the pregnant or elderly).

20150328_192307There’s a slick lounge on the second floor, with beers on tap, a wine list, and some decent cocktails. Matt recommends the rusty nail; I enjoyed the whiskey punch. There’s a pub-style menu as well, with selections including burgers, wraps, salads, and lots of finger foods. We tried a sampler platter – boneless wings, mac and cheese bites, deep-fried pickles, and tortilla chips. It wasn’t exactly generous for the $15 price tag, but all items were tasty, and I especially enjoyed the pickles.

Inside the theatre, an usher brings you to the seats you’ve reserved. Every seat is a comfortable recliner. Arm rests with movable tray tables divide you from strangers, but each couple of seats can be made more cozy by lifting up the arm rest between them. Menus are at every station, 20150328_191807pretty much behind your head. They call the menus in here “specialty” which means not quite as many options as in the lounge, but yes, you can still order popcorn or candy in addition to the california burger that I enjoyed, and the jalapeno one that Sean gulped down (Matt found his shrimp cocktail to be good, but insubstantial). Shortly a waiter will be by to take your order, and will continue to circulate until the previews start to run (they ran them with the lights still up, so you can inspect your food upon arrival – I appreciated this). By the time the movie begins, you’re munching away, and I have to say, it wasn’t any noisier than any other theatre. The food is delivered in little cardboard baskets but the alcoholic beverages are in real glasses, garnished and everything! The waiters all have portable debit machines so you can pay in your seat (and tip – a new experience for theatre goers).

The rows are spaced quite generously apart, with oodles of leg room even for Sean, who is 6’6 20150328_195049and used to much more cramped quarters. The waiters slide easily down the aisles with food, but once the movie’s on, they retreat, which is good because you don’t want a lot of distraction, but bad because I could have used 2-3 more drinks. Lesson learned: order a couple up front, enough to last you the film. But do remember that bladders are quite vulnerable to beer!

The chairs are the comfiest you’ll find in a movie theatre, and you’ll want to play with the button while the light’s still on, because these chairs recline. In fact, if you sit in the first row, you have premium foot rests and you can go all the way back – a trade-off, I suppose, because sitting that close to the screen, you’d pretty much need to.

My one criticism was that for a truly VIP experience, I would have appreciated a coat rack of some sort. Don’t put saucy wings on your menu and expect that to go well (they do, I noticed, provide wet naps with every order). So Matt helpfully pointed out that in fact they’re missing TWO things: the coat rack, and a suggestion box.

All in all, we agreed that we’d had a great experience and that for us, it was worth the double ticket price. There was tonnes of staff around (keeping in mind it was opening weekend, so lansdowne-cineplex-theatre-05-500x375likely to be overstaffed). We didn’t wait long for anything, and Matt commented that he’d hardly been so satisfied with service. I liked having better options for snacking, and I’ve never been so comfortable. Sean loved the leg room. The personal space is also a bonus. We’d all willingly pay for it again, and agree that this will change the way we watch movies. But with the high ticket prices, it won’t be for everyone. And if you don’t have my back problems, you might not be as tempted by the recliners, and if you’re a traditional popcorn kind of guy, then the calamari may not appeal. And that’s okay, because you can still enjoy a movie at this theatre either way.

General Admission: $11.99

3D: $14.99

Ultra AVX 3D: $16.99

D-Box Ultra AVX 3D: $22.99

VIP (19+): $21.99

Have you had a VIP experience? Let us know if you think it’s worth the price!

Exciting New Development at Kanata Landmark Cinemas

Sean and I were recently out at Landmark Cinemas in Kanata to see Big Hero 6. It was a super sweet movie, surprisingly action-packed, with some awesome animation and a bunch of slick characters, including inventors\scientists (always a refreshing change from the ubiquitous princesses) who have endearingly quirky superhero alter-egos, and a snuggly inflatable robot named Baymax who steals the show and your heart.

We had a lot of fun at this movie and if you want to find out why, you can read Sean’s review here. Me? I’m not here to talk about the movie. I’m here to talk about the soda fountain.

There’s been a change at the Kanata theater since we were there last month to see Gone Girl, a big one. Now for the low, low price of twelve-freakin-bucks-and-change you can pour your own drinks! But not just any drinks! You can choose to vanilla Coke, or maybe you’re more in the mood for grape Sprite, or even (Jesus!) cherry Mr. Pibb!

Coca-Cola Freestyle is a touch-screen drink fountain that means you can have the option to over one hundred drinks and none of them are my beloved Diet Pepsi. It also means that there are long, long lines of thirsty people because though they’re fairly easy to operate, they’ll never be easy enough for old people, and there’s also an annoying browsing opportunity that newbies will take advantage of, people behind them late for their movies be damned.

Embracing the spirit of the big scary Coke robot, I opted for a cherry Sprite . Sean? Sean just had a coke.