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Slasher’s latest suspect/victim: Erin Karpluk’s Heather Peterson

You can’t help but feel badly for Slasher‘s Heather Peterson (Erin Karpluk). Waterbury’s residents may dismiss her as a crazy lady, but she’s been through a lot. Her daughter went missing five years ago and her husband isn’t around (we’ll discover more about him later this season), but does that mean she’s the killer? Clearly not. Though Chief Iain Vaughn hauled her in for the deaths of Justin Faysal and Verna McBride, she didn’t do it and was released.

But she could very well become The Executioner’s next victim. In our third instalment, we spoke to Karpluk about the homework she did in preparing to play such a tragic figure.

How did you get involved with Slasher? You’ve worked with Aaron Martin before on Being Erica.
Erin Karpluk: It’s always been the most natural thing with him. Anything he writes just falls out of my mouth and we get along well. So when he called me up about this show … it’s funny because on Being Erica I played quirky and funny and a girl that people could relate to. I got the call from my manager who said, ‘Aaron is doing this miniseries and he’s wondering if you’re interested in this role.’ I said, ‘Great! What’s the role?’ And he said, ‘Well, Heather Peterson was once beautiful and is now haggard and crazed.’ I said, ‘What!?! My how things have changed!’ [Laughs.]

I read the part and immediately got really nervous because this is very different from what I’ve done with Aaron in the past. But, to be honest, I fell in love with the character.

Did you fall in love because the role scared you?
I get excited about anything. Riftworld was completely in my wheelhouse. Tahmoh hated me because I didn’t even have to look at my lines. Obviously, I’m not a mother in real life, but I just find her story so devastating. She’s written on paper who people might think is crazed but it all comes from this place. I find telling that story is so interesting and scary because I, Erin Karpluk, like to be happy. If there is something shitty going on in the world I like to try and put a funny spin on it to find a way to shift it around. And sometimes you just have to sit in the ugliness of it. A breakup, the loss of a job. And then there’s the big stuff like the death of a loved one or a child abduction, which I can’t think of anything being worse.

I got nervous and I knew I had to do this. I was very honoured that Aaron asked me to do it. I’ve never put so much research into a part in my life.

What kind of research did you do?
I have different coaches for different parts of acting. Being in a half-hour multi-cam comedy is very different from this, so I did a tête-à-tête with David Rotenberg, who teaches at York University, and we talked about the character and where she might be coming from, the types of music she might listen to. If I don’t need to do the work, I just use what I have, but for this I watched a lot of Hoarders because I think Heather does hoard. I didn’t realize there were different types of hoarders. I talked to a psychiatrist about post traumatic stress disorder. We’re supposed to go before our children, so if something happens to your child and you have a body, at least you have closure. But to never find them would drive anyone completely crazy.

I’ve been reading some of the quotes from parents that have gone through this. One mother said, ‘You don’t have rational thoughts. It feels like you’re going crazy and you have to take each second of each hour of each day at a time.’ For Heather, it’s been five years since her daughter was taken.

Of course, I’ve done all of this research and I could go to the set and they could say, ‘Nope, you suck Erin. We’re not going that way with it!’ [Laughs.]

Will it be tough to shake a character like this once you’re done filming?
Yeah, it sits in you, but I’m not a method actor. I joke around with the crew and right before we film I’ll get into it. For me that works better. You still have to stay focused, but at the end of the day I’ll do a shake-off checkout and think about what Erin likes.

Slasher airs Fridays at 9 p.m. ET on Super Channel.

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TV Eh B Cs podcast 45 – Helen Shaver’s Longship Journey

HelenShaverThe career of Helen Shaver is really a story of three careers, two in front of and one behind the camera. Shaver has had acting roles in such films as Who Has Seen the Wind, In Praise of Older Women, Amityville Horror, The Osterman Weekend, Desert Hearts, The Color of Money, and Bethune: The Making of a Hero, to television roles in the series United States, Jessica Novak, WIOU, Poltergeist: The Legacy, and The Education of Max Bickford.

It was for Poltergeist that she stepped behind the camera to direct several episodes. She has become an in-demand director and has helmed series such as The Outer Limits, The O.C., Judging Amy, Flashpoint, Law & Order: Special Victims Unit, Combat Hospital, Revolution, Person of Interest, and Orphan Black.

Her first television movie, Summer’s End (1999), a family film starring James Earl Jones and Wendy Crewson, was nominated for a Daytime Emmy Award for outstanding directing in a children’s special.

She continues her television directing efforts on this season’s Vikings which will kick off our conversation, before exploring some of the art and craft of storytelling with Helen Shaver.

Listen or download below, or subscribe via iTunes or any other podcast catcher with the TV, eh? podcast feed.

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Motive’s massive Episode 5 twist

Motive is all about the complicated twists and turns on the road to discovering the link between victim and killer. And while there have been four season’s worth of stories, I honestly can’t remember one that was so unexpected. If you want to do a little bit of homework before “The Scorpion and the Frog”—written by Jennica Harper—airs Tuesday night, check out Aesop’s Fable, the inspiration for the storyline:

A scorpion and a frog meet on the bank of a stream and the scorpion asks the frog to carry him across on its back. The frog asks, “How do I know you won’t sting me?” The scorpion says, “Because if I do, I will die too.”

The frog is satisfied, and they set out, but in midstream, the scorpion stings the frog. The frog feels the onset of paralysis and starts to sink, knowing they both will drown, but has just enough time to gasp “Why?”

Replies the scorpion: “It’s my nature…”

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A matter of trust
The power of those who work in the mental health industry is explored, as the killer—a psychiatrist—manipulates a situation for his benefit. The result is the plot biggest twist I’ve seen on Motive and one of the most disturbing crime scenes I’ve witnessed in network TV.

Mazur’s past haunts her
Three years ago Mazur had a similar case that send a killer to prison. But the details surrounding this murder causes not only Angie to question whether Mazur did the right thing but Mazur herself.

Vega looks amazing behind the Staff Sergeant desk
I didn’t think I’d like seeing him in the station so much, but he’s been great. That said, there is an excuse for him to hit the streets on Tuesday alongside Lucas.

Motive airs Tuesdays at 10 p.m. ET on CTV.

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Gunslingers kits out the cops (and killers) in Canadian TV

Seth Rossman’s IMDB page lists high-profile television projects like Slasher, Man Seeking Woman and Republic of Doyle, but it takes a keen eye to spot his work. If he does things right, you never see him at all. That’s because Rossman and his staff at Gunslingers supply the firearms, police and military wardrobe and vehicles, and fabricate items to be used by the men and ladies in the cast.

But Rossman (on the right in the top photo) didn’t start out in the industry working with real and fake firearms. After a gig in web development, he switched over to a career in make-up artistry, then as a private makeup artist to Seth Green, Eva Longoria, Cary Elwes, Kim Coates and more before a horrible accident sent him on this path.

Tell me about the accident that lead to you beginning Gunslingers.
Seth Rossman: I was down in the Dominican Republic working with Eva Longoria and I was struck down by a drunk driver. I was headed back to base camp and riding quads because we were working in the jungle. I was sitting at a red light and then advanced into the intersection and a local on a motorcycle took me out. He shattered my right leg from hip to ankle and it was a couple of days before they were able to get me out of the country. A couple of surgeries and a year and a half later I was walking. I was going through the surgeries and the rehab and was being told by the doctors that I needed to be realistic. They originally told me I might lose the leg. Then it was I’d keep the leg but it would never work. Then it was that the leg would work, but never properly. Then they said it would work properly, but I’d never get 15 hours a day on it. They were right about that.

As a makeup artist, the ability for me to chase an actor around a film set for 14 a day was gone. I was sitting on my couch trying to figure out what to do. I had a friend in the industry that was an armourer and I had been on set with him—we were both working on the same project—and he’d been asking if anyone could help him because he was short-staffed. I had wrapped my work and was just hanging out. He needed someone with a firearms license to help him and I did. I helped him through the night and at the end of it he handed me an envelope with cash in it. Fast-forward a year and a half and I realized maybe there was something to that. I looked at the industry and started asking around and was told there was room for another armaments company because everyone was using the same houses.

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What were some challenges you faced?
We had to obtain all of the licenses, so there were a lot of hoops to jump through with the government to get those. That took a little over a year. Once that was done, we were sitting with an empty warehouse. We needed to figure out what to house to be able to service the industry. We did market research and figured out what the most popular firearms are and went to the Internet Movie Firearms Database. Then we went out and invested in the firearms and then modified them for film and TV. Then we needed to train everyone on how to work with them, take them to set, service them on set and send them out.

Then people started to ask about police belts, police uniforms. To do a scene with a police officer you need a gun, a uniform and a car. We had to expand to cover all of that. We have a vast firearms collection, a huge wardrobe selection, a massive props selection, all revolving around law enforcement, military and tactical stuff.

When you’re on-set, you need to educate these folks.
When we get to set, we introduce ourselves to the powers-that-be and check in. We explain we’re the armourer for the day and, if possible, can speak to the actor or actress for half an hour so that you get the performance you want. We meet whoever that is and go over the safety and protocol procedures. That always leads into education with regard to how they’re holding the gun and then they start picking our brain.

Let’s talk about specific projects; what did you do for the folks at Slasher?
Slasher brought us in to handle their armaments solution, so we came in to work with Dean McDermott for the pistol work on the show and provided all the firearms. We provided the gunfire effects on the show and all of the weapons that you see. You’ll see a scene involving cinderblocks and we made those, there’s a scene with a baseball bat and we made that; we manufactured all of those in-house.

What are the cinderblocks made out of?
Foam. We have moulds and produced them.

How has HDTV presented a challenge when it comes to making something look realistic?
When it comes to making props, what we make is really high-end. The cost isn’t cheap, but you’re paying for a prop that can be put two feet in front of a camera and you can’t tell the difference.

What other projects have you got on the go?
We just provided the wardrobe solution for Wolf Cop 2 and the entire law enforcement solution for CTV’s Cardinal.

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Wynonna Earp advances the plot in Episode 3

Monday’s episode of Wynonna Earp on CHCH—entitled “Leavin’ on Your Mind” and written by Brendon Yorke—is described thusly: three revenants go into the city to cut off an innocent murderer’s hand, and then steal a diary belonging to a deaf-mute poet. Wynonna and Xavier soon realize that they’re preparing to cast a spell … which will let them go over the line. And yes, that is what happens in the A-story, but the rest of the instalment goes a long way to revealing the machinations of at least one character.

Here’s what we can tell you without giving too much away.

Waverly and Wynonna are roomies
Yes, the sisters Earp have moved in together, though I’m assuming that’s after some home renos are done to patch the shotgun holes Waverly made in the walls in Episode 1.

Waverly has done her research
We already knew Waverly did some major digging into the Earp curse, but a key scene in the police station reveals more: there is a triangle shaped spot called The Ghost River Triangle that goes through Purgatory and the city, and keeps the revenants contained within it. While rifling through some old photos, Waverly finds a picture that sends her on a dangerous mission. So dangerous, in fact, she should have put her cell phone in airplane mode.

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Is Agent Dolls really who he says he is?
Sure, Dolls refers to his superiors and he has that badge, but we have yet to see him call any superior’s back at the office. Is he really under orders from someone else, or is her a lone wolf with his own agenda?

Who (or what) the heck is Doc Holliday?
Doc has done two favours for Bobo Del Rey so far but doesn’t appear to be a revenant or under Bobo’s command. He’s searching for someone, and we finally find out who. Not that being given a name is all that helpful, though we’re given a tantalizing hint in the episode’s closing moments. While we’re talking about Doc and wondering about him, I’ve got a question: where does he get his money for booze?

Wynonna shows her soft side
We’re used to the snarky, physical Wynonna, but a family reunion reveals the vulnerable side to our heroine, a woman holding deep hurt, guilt … and revenge. But this being Wynonna Earp, the moment doesn’t last long.

Wynonna Earp airs Mondays at 9 p.m. ET on CHCH and at the network’s website via live streaming.

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