When I was twelve I joined a theatre group called Children’s Creations, and decided I was going to make acting my destiny. So alongside four years of home-brew youth theatre, I got subscriptions to a couple of trade magazines, Cinema Canada and Film World, and as each issue arrived I flipped to the ‘In Production’ section at the end and made cold calls. I’ve never been great with cold calls. But back then, I reframed that stressful ritual as a regular opportunity to perform the role of a confident person.
Eventually I got work, secured an agent and union memberships, and started making a bit of a living while still in high school. The nuns who ran the place knew I sometimes missed class for work, but tolerated it because I managed to keep my marks respectable. I’ve supported myself as an actor since then, until branching into screenwriting and directing later on.
To name a few favourite roles: Ian Holm's traveling companion and confidante in Atom Egoyan’s The Sweet Hereafter. It was a serious honour when the cast was taken New York City for the National Board of Review awards, where we had won for Best Ensemble Acting. I also enjoyed working with Denis Villeneuve on Maelstrom, as the lead’s Norwegian motormouth academic best friend… Denis even let me sneak some of my Masters thesis into the dialogue. In recurring TV roles, my favourites were Gerta, the former East German Olympic athlete turned Head of Housekeeping, in At the Hotel — and Lesley Clark, Crown Attorney in This is Wonderland.
Some of my proudest stage moments were playing Hermia, opposite Sheila McCarthy’s Helena, in A Midsummer Night’s Dream at the Stratford Festival, and Juliet in Romeo and Juliet at the Globe Theatre… Though overall it’s possible the most enduring claim to my fame remains that I was the voice of Sailor Venus in the cult anime series Sailor Moon.