Sugith Varughese is an actor, teacher and winning screenwriter and a working member of the Canadian film/ tv industry. He first cut his teeth working on Jim Henson’s Fraggle Rock (!!!) which he claims was never intended as a children’s show. This sounds weird but I guess makes sense since I remember it being aired evenings during TV primetime on CBC, in a time when the station still produced shows in-house. Sugith’s also had a number of fun and interesting parts over the decades, having made a slow of appearances on mid-90s classics like the Robocop tv show (boss!), Earth: Final Conflict (Rodddenberry whaaat!) Kung Fu: The Legend Continues (Can this guy can get any cooler?). He also had a recurring role as Faisal on Little Mosque On The Prairie, and has made appearances on Degrassi: The Next Generation as Dr. Moragoda.
His writing credits also include the IMAX documentary “Lost Worlds: Life in the balance” narrated by Harrison Ford, episodes of the kids show “Blobheads”, and the play “Entitlement” which showed at Summerworks in 2013 and was named one of the Top Shows of the year. He currently holds the position of Governor with ACTRA Fratneral Benefit Society, representing the Writers Guild of Canada.
I had the true pleasure of hearing him talk at the 2014 ACTRA Winter conference where he gave us a crash course in Screenwriting 101. You can read his quips and thoughts on popular films at his blog, Building The Iceberg.
Actors, writers, directors all have the same job. That is, STORYTELLING. Writing is storytelling before the camera rolls, directing is storytelling behind the camera, acting is storytelling in front of the camera, (and editing is storytelling after the camera stops).
The Four Essential Elements of Story Template, extrapolated via Aristotle’s Poetics
NB: Changes to template change entire story.
- circumstances and,
- or, personality
- difficult struggle
3. Actual Goal
- life/death or equivalent, e.g., love
4. Adversary with worthy qualities
- Should be worthy, in that they are at least stronger, if not apparently invincible compared to character. E.g., David vs. Goliath.
- Avoid one dimensional character. They must have at least *something* for the audience to relate to.
Specific and Unique Story Elements
At this point, Sugith played us his short film Tongue Tied, which he says he wrote based on the silly idea of two men professing their love for one another.
Some of my favourite lines, for field use, of course.
“Has anyone ever told you that you have freckled eyes?
I bet you say that to everyone.
No, just the ones I want to kiss.”
“I went cold turkey vegan one time for five months but I stopped because I liked honey too much.”
Lesson: The two headed character nature must
- 1) drive plot
- 2) change
Story Template in Tongue Tied
- Characters: Howard and Cathy
- Action: Matchmaker
- Goal: Control
- Adversary: Gerry and Emma
- Characters: Gerry and Emma
- Action: Resist
- Goal: Safety
- Adversary: Howard and Cathy
Can also do this analysis for EACH character, depending on how you plan on writing the story. Or as actors, you can do the same analysis for your character to flesh out their story for yourself.
Series TV vs. Movie/Short Film
The series requires a FRANCHISE. Something that the viewer will recognize when watching any episode.
The Series’ Franchise
- 1) characters
- 2) situation/circumstances
- 3) tone eg, gritty realism, black comedy, sweet laidback fantasy
- 4) defined by structure
- Usually precedes opening credits
- “Viewer: I’m in the world of the show that I love and I wont change channel”
- Beginning, middle and end, but not necessarily in chronological order.
- Beginning=setup – 1/4
- Middle=complication – 1/2
- End=resolution – 1/4
- The story MUST build in intensity
- tv/film are temporal media, seen over time, unlike a painting, for example, which can be seen immediately or at the pace set by the viewer. Viewer has no choice how the story unfolds beyond stopping or starting it or changing the channel.
- Writer must must increase interest in the story as time passes to keep the viewer engaged by making things get worse for the character
- clear set up for audience so you can complicate events for audiences interest
- complications intensify
- Last scene, comes in after commercial
- resolves early set up
- doesnt have to be climax
Phase 1 - Template
- 3-5 pages for 1 hr long show
- ¾-1 page for 30 min
- But if you sell the pitch, you receive 10% on signing contract. Then you have to deliver:
Phase 2 – Outline (Contractual)
- A scene by scene description of the story written in screenplay format without dialogue (inferred/implied)
- Paid on delivery, but can be fired or green lit to deliver:
Phase 3 – Script
- sitcom format vs drama format
- single camera comedy uses screenplay format, multi-cam comedy uses sitcom format
- Two drafts in contract – first draft & final draft (plus possible unpaid extra drafts)
- Production bonus, pending production actually gets shot
- TOTAL amount received by writer for script and production is roughly 4% of budget
AND THERE YOU HAVE IT FOLKS, THIS IS ALL YOU NEED TO KNOW TO MAKE YOUR VERY OWN TELEVISION SCREENPLAY!
Ok, just kidding, you also need imagination, passion, perseverance, professionalism and follow through, generally things that nobody can teach you but yourself.
For more information specfically on Sugith’s screenwriting techniques, you can read blog posts from the time he held a position as a Screenwriter In Residence at the Toronto Public Library. Keep your ear to the ground for Sugith’s next appearance!
It’s Juno season and this year, the Electronic category will turn four years young. It’s kind of hard to believe since the section speaks to one of the top performing musical categories in Canada, especially when it comes to the artists’ successes abroad. With past victories from Montreal’s beloved Grimes, the outlandish and ambient techno of Tim Hecker and infectious rhythms of Dan Snaith, aka, Caribou, there seems to be no rhyme or reason to where the jury’s weight might fall.
This year, it seems like taking up a residency in Berlin or appearing on a Boiler Room showcase was almost a mandatory requirement for making it on the short list. Let’s break things down and discover this year’s range of artists.
Graze is what happens when two unrelated Torontonian producers independently take off for the Berlin experience, meet at a club, and realize they both harbor secret crushes on each other’s music. Adam Marshall was a regular in Toronto’s techno community, while Christian Anderson, aka XI, carved a name out for himself in the dubstep, drum n bass playing fields. Their powers combined lead to an atmospheric, cinematic, and groovy experience that’s making big waves under the New Kanada label.
This Montreal duo skirts the border of traditional dream pop band and experimental techno act, powered by the ethereal vocals of Raph Standell-Preston and abstract currents of her lover, Agor Cowan. The shivery instrumentation seems to bask in the afterglow of a complex electro-shock therapy session that may, or may not, have driven out the demons.
Noah’s name was familiar in Toronto’s rave scene from the late 90s and onwards as the founder of the legendary Fukhouse parties. Hell, he deserves an award just for that name alone. The album also features a couple deep and sultry house tunes featuring Toronto tenor, Rosina Kazi of Lal, and other guests moaning, oohing and aahhing seductively over fluid beats. Released under his own label, Thoughtless, like the bawse that he is.
Possibly sick and tired of the rest of hipsterdom appropriating headdresses and tribal battle cries, Canadian DMC champ, DJ Shub, with DJ NDN and Bear Witness (that’s a double entendre for y’all) emerged. They’ve not only risen as one of the only electronic acts to heavily sample their heritage and do it well, but they’ve even penned their own genre called moombahwow, or powwow-step, derived from First Nations pow-wow parties.
Unofficially born in Canada and officially born on the Internet, Ryan Hemsworth aka Bad Gyal Ry Ry, is Canada’s unofficial MASTER Pokémon Trainer, having successfully ensnared 99.67% of all roaming beasts. When he’s not busy training, he’s tearing up dance floors with clever hip-hop, trap and Internet culture mash ups. This debut album was however a surprising curveball, featuring all new original content. Aside from a couple rap bangers, the album is mostly made of introspective ballads and floaty oddities, copyright
Frank Kozik’s cute, pack-a-day smoking animals have now become iconic in the vinyl toy scene. But before anyone had even dreamt of the possibility of a thriving toy collectors market, Frank was one of the most in-demand rock poster illustrators in the world. Making the jump from rock and roll freak to plastic toy geek may seem like a stretch, but Frank has been a collector his entire life. Read on to find out the origins of his incredible powers.
“I have no claim to know what I’m doing, but I know that it is contrary to what everyone said I should do.”
Format: How was it making the transition from poster art to vinyl art? Was there some kind of stepping stone between the two industries?
Frank Kozik: Yeah, maybe six or seven years ago, I was approached by these advertising guys to do some work for them. They came to my apartment and saw all these toys, so I explained that it was something up-and-coming that I was trying to get off the ground, but there was not much access to China at that point. And the people that I knew in Japan weren’t ready to divulge their sources. So they told me that they actually wanted me to design some toys for them for their vending machines. I did that for about two years. Basically it was a combination of Kubrick mixed with other kind of stuff. It was nothing to be proud of, like it was strictly commercial work, but what I did was learn the process of finding contacts in China, and how not to do stuff. It was a pretty good learning experience.
After that I hooked up with Kid Robot. At that point, I already had the ability to design toys cinched. It made making toys with Kid Robot and other companies that were much more successful because there werenâ€™t a lot of mistakes or problems. I had almost zero manufacturing problems because I already knew how to make my own toys. A lot of guys take a 2-D idea and don’t really understand the limitation of making a 3-D item. I would just send the files over and they were correct. That really commercial gig was my training ground, if you will.
Format: So are you working in the music industry anymore?
Frank Kozik: No, I did that for almost twenty years. I did a million posters and got involved in every level and even had a record label, but life goes on. I stopped enjoying it. We did manage to launch a new genre of music with a somewhat successful label, but nobody wanted to hear it really. We were the first guys to do the whole stoner, psychedelic rock thing, like Queen of the Stone Age and High on Fire. I did all the first records.
The label was interesting, but I had about fifteen employees, and it just became an insane hassle. We had distribution problems and stuff like that. By that time I was forty. It’s like, you know, it’s time to get out of the music scene when you’re forty. That’s a young person’s gig.
Format: Have any bands come to you to make a vinyl toy for them?
Frank Kozik: I’ve dealt with tons of bands and it’s not the most pleasant experience. It’s complicated. Unless you want to be a total rampant asshole, you have no control over things in that business because you’re dealing with so many different parties. You have to take in the fact that you’re dealing with other peoples’ intellectual copyrights, other people, their public image, their management, their record label, their promoters etc. When you deal with a band, you’re dealing with fifty people and they all have colliding interests. It can be a major pain in the ass. I like doing my own toys because the only person I have to deal with is me, and I never argue with myself, so there’s no reason for me to go and do a band toy. They should just do their own toys. I do my own stuff; I like to do my own stuff.
Format: Do you have toys that do better in one market than in others?
Frank Kozik: Yeah, sure. I play the field. I have a wide range of interests. Basically what I do is offer four kinds of toys. I offer cute animal toys that are a little weird, like smoking rabbits. Those are popular pretty much everywhere, except for the hardcore kaiju collector scene which comprises about a hundred people. So that’s what I consider my mainstream toys, the kind that cost about $6.00–the little bunnies, and the mongers. I love them because I collect that kind of stuff myself. I’m a big Hello Kitty collector, and I like weird little animals, so I like them a lot. They’re also easily the most popular because they’re accessible to everybody, mentally and economically. Everyone likes a cute little animal, and everyone’s got $6.00.
So then there are the Western toys, which are the things that cost you $20-$80–the 8″ size. They seem popular everywhere. I do a lot of stuff with Kid Robot, Qee, Adfunture, Muttpop, etc. Those are smaller editions, and a lot of them tend to retain after market value. I do all the colorways for all those companies, stuff like the 10â€ Labbits, full sized Dunnies, and the Dr. Bombs. Once again, those sell well everywhere because I do the exclusive thing.
The next level up is a really different genre. I do the made-in-Japan kaiju influenced toys with Wonderwall. Stuff like the Ika-Gilas: squid monster in the business suit. That’s me riffing off of classic kaiju. Those do ok everywhere. They don’t do outstanding, maybe because they’re little expensive; they cost $200 and up. There are more collectors for those in the US or Europe because the Japanese collectors want the authentic stuff. I will also occasionally collaborate with guys like Real X Head but those also do better in the US.
And then I do the high-end stuff, like art pieces They draw on the techniques of the toy thing. I’ll deal with really expensive high-end bronzes, rabbit furniture chairs, busts, etc. I would consider all the clothing part of that, because most of that is at a pretty high price point. That stuff tends to sell well too with the higher end toy collectors and real art collectors. I sell more and more of my political busts to people that own actual art galleries and boutique stores, rather than toy collectors. The hardcore Kozik collectors of course want them all, but those pieces were really intended for the art people. That was my purpose for them; I wanted to introduce my work to another world. I like to hedge my bets and see my stuff everywhere. By and large, everything I have done has done really well. I’ve probably made over 300 or 400 releases since 2001 and they’ve all sold through on a store level. Most of them have retained after market value, with the exception of a few, but maybe that was because they made too many of them. I have no claim to know what Iâ€™m doing, but I know that it is contrary to what everyone said I should do.
I do tons of stuff, and they sell all over the place. Just go to the Kozik Flicker pool and you can see tons of photos. There’s no real statement involved. I like toys, I thought it would be a cool thing to get in to, and it ended up being successful. I get more offers to do toys than I can fill. I get to select what tickles my fancy. There’s a certain level of forethought, but it’s more of me going with my gut instincts in the different genres. I like mixing genres over too. Cohesively, if you collect my toys, a $5 toy looks pretty good next to a $2000 one. Itâ€™s a world unto its self.
Format: In the future, are you planning to make your toys more interactive, like the Bob the Slug from Kid Robot?
Frank Kozik: I’ve been trying to push that but nobody’s really gotten down with it. Kid Robot has some stuff like that, and they do a full series like the chumps with twelve different characters, but they didn’t make, like, the jail. I keep trying to push that kind of thing, like a piece of furniture, but it’s so complicated, so I thought maybe we could do it by cross platforming, like you could swap parts with a Kid Robot toy. It’s kind of happening a little bit. Someday I hope to sell an inclusive circus theme or something, where you could get a tent and all the characters. I’m interested in doing things like little toys for collectors, but at the same time, I’m not making representations of my paintings or my weird clothing line. It’s a reverse; I’m trying to design these things to just be their own things, like a collectible toy. I do want to have as much play value as possible. I want people to pose it and take interesting pictures, and be like, â€œoh I can put it in my Castle Gray Skullâ€ kind of thing. That is the long-term goal, but financially, it’s huge: a ten million dollar investment. The one guy that’s been able to pull it off is Patrick Ma from the Insurgents Wilderness Gruppo (IWG). He’s done a rocket ship, UFO, and all the animals. That guy is doing it.
- See more at: http://www.formatmag.com/features/frank-kozik/#sthash.iTpfwa16.dpuf
Peter Gatien Dunny release for CIRCA, Toronto
You might remember his movie portrayal as Michael Alig’s mentor in the biopic Party Monster, or maybe you’ve been one of his New York megaclubs like Limelight or Tunnel. In order to celebrate the new Kidrobot designed room at Gatien’s latest megaclub in Toronto, Kidrobot has eternally idolized his image in Dunny likeness. He doesn’t actually wear the eye patch anymore, but according to a close friend, the lips are pure Peter.
Kidrobot minishop/bar at CIRCA Club
Kidrobot is spreading its vinyl wings and delving in to new territory with their first club design at Circa. The story goes that Peter Gatien’s son is a big fan of Kidrobot and bugged his dad forever to have him get Paul Budnitz, founder of Kidrobot, in on his nightclub empire. Aside from the minishop, the Kidrobot bar features a smorkin labbit conveyor belt, dunny projections on the tables, wall murals and more. According to Paul, the best way to describe the room is that â€œitâ€™s like Lucky Charms come to life.
Keiko, the Director, from Junko Mizunoâ€™s Pure Trance
Pure Trance was a revolutionary manga for being one of the first to openly challenge female body image by tackling issues like anorexia and bulimia, illustrated through the use of the Pure Trance life Sustaining Pill which causes a condition called hyperorexia or severe over eating. Keiko is the director of the Over Eaters Treatment Center 102 and her origins are unknown. This is probably the hottest figure I’ve ever set my eyes on and no doubt it will sell like wildfire, for its challenging societal values of course.
Coot, by Wilfrid Wood
Coot gets in on shock value and evens the score for those who might be critical of unrealistic female proportion like the anime styled figures on the above-mentioned Director. He’s so big, naked and hairless, that he could possibly come in peace, except the ray gun he’s toting looks like it could possibly fry your balls off, or maybe it just makes your clothes disappear. Who knows? Ask artist Wilfrid Wood, at www.Wilfridwood.com for an answer. The figure stands 7″ high and is available only in 400 pieces.
Toys Are Us: A Revolution in Plastic
Toys Are Us is one of the first of a new wave of vinyl toy docs. The first part is a shortish half hour introduction to the toy scene set at the San Diego Comic Con. It provides some nice eye candy for those who might have never been to a toy/comic convention, while the real meat of the doc is made up with a kick ass extended interviews. Highlights include Mars-1 divulging on his theories of alien life, a look at Patrick M’s (Rocketworld) lesser known FBI and CIA approved Kevlar studio, and a not to be missed tour of Frank Kozik’s private toy collection. Also featured in the extended interview section is Brian Flynn from Super7. Toys Are Us is available for $19.99 through Filmbaby (http://www.filmbaby.com/films/2030)
It’s moments like these that confirm that my life is on the right track. Brad Pitt was spotted in some of my favourite Palladium kicks (Pallabrouse baggy), at THE SHIPWRECKED SEAFOOD BAR & GRILL in Airlie Beach. Hell to the yes! Who ever knew all these great things could merge into one massive piece of awesome? I hope I still have this much style when I’m 50. I also hope they got better service than Trip Advisor “Lauraloo” who slammed the grubby grill house with this shocking review. Or maybe she was just miffed that she missed a chance to catch Brangelina.
Let me start off by saying that the waitstaff here are lovely & rather good at their jobs & the atmosphere is great. It’s such a shame that the food is abysmal.
I had the sizzling prawns & the ‘Bugs Coral Sea’. Prawns were an underwhelming bowl of butter with some prawns but OK. Bugs Coral Sea was atrocious, overcooked, dry bugs with no ‘citrus butter sauce’ to moisten them up, rice was sticky & overcooked (a theme perhaps) mandarin & semidried tomato salad reminded me of a Sizzler salad bar.
My partner had the reef & beef, which was ‘alright’, though for $36.5 you expect a little more than ‘alright’.
Cocktails overpriced, the mojitos are pretty poor, also they took forever to come out from the bar. Nobody offered to refill our water.
Left completely unsatisfied & $140.00 poorer. There are so many great places to eat in Airlie, this isn’t one of them. Such a shame, as it’s in a great place & has a lot of potential.
Just in time to for a post-Grammys victory sweep, the limited Daft Punk Random Access Memories Box Set is now available for order for a price just shy of 300 dollarydoos.
Here’s what’s included:
A. The Deluxe Box Set Edition is presented in a cloth-bound box (333mm x 333mm / 13” x 13”) stamped with the Random Access Memories logo in gold foil on the cover. All individual contents are separated by vellum dividers printed with a circuit pattern texture inspired by the gloves of the Daft Punk Robots.
B. A special edition 180 gram double vinyl with gold and silver foil labels. Includes an 8 page saddle stitched booklet containing album artwork, credits and lyric sheets.
C. A 56 page cloth-bound, hardcover photo book of images from the RAM recording sessions and film shoots, featuring a foreword by Paul Williams.
D. A special edition 10” collector’s vinyl containing an extended interview with Giorgio Moroder taken from the original session recordings for the song, “Giorgio by Moroder”.
E. Two sets of Robot helmet design schematics with individual components separated onto 8 layers of unbounded transparencies. Each set is contained in a clear presentation pouch.
F. A pair of full body Robot design schematic posters (304mm x 608mm / 12” x 24”) printed on heavy weight matte finish poster paper.
G. A 70mm motion picture film strip containing 5 sequential frames from the “Lose Yourself to Dance” original production dailies, mounted in a heavy weight matte stock with an open back. Each film strip is one of a kind.
H. A pair of gold and silver plated, metal encased, reusable USB drives containing the following*:
Does anyone remember these trashy international spy series by Gerard De Villers, that were actually sponsored by gun and mercenary companies with their ads in the back pages?
My friend flashed me one the other day and it brought back deep memories of grade 4 in Paris where we had this dimwitted caretaker at EAB (Ecole Active Bilingue), who was sort of like a lunch lady/babysitter who would escort us to and from class and the park where we had recess in the Parc Monceau. I don’t know why he thought it was a good idea to tote around books with scantily clad gun toting babes around grade schoolers. I never understood it back then, but for some reason the memory of this title stuck with me, and I probably asked my mom what it meant, which probably received blank stares from her but revealed that ‘manip’ in French means uhhh, some sort of coup? and Zagreb is, well, a place in Croatia.
From the back of the book jacket, taken from Amazon where this, and many of his titles are still available!
The CIA can be curious and extravagant. Why would they move Malko, who is in the midst of a weekend his juicy lover Alexandra, and turn her into a super spy weapons dealer…. OVER LUNCH!
Arms purchasers are not often chill citizens, and if they realize that SOS is actually one of the best agents in the CIA, they’ll risk unloading their primary ammo…ON HIM!!!
The Serbs and Croats have hated each other throughout antiquity, and Malko has been tasked with engaging in the most EXTREMIST of the Croats, those who still remember Ante Pavelic, and the secret society of the Oustachi, created and directed by the Croat state who from 1941 and 1944, worked for Nazi Germany!
It is precisely these Oustachi that he is in charge of infiltrating. He must infiltrate their ransk, identify members of this dusky clan, discover their sponsors… But, who says secret society implies absolute savagery and an absolute hate for the life of your eventual enemy?!
La CIA a parfois de bien curieuses extravagances : pourquoi donc avoir ainsi dérangé Malko en plein week-end amoureux avec la pulpeuse Alexandra, pour le transformer, l’espace d’un déjeuner en … marchand d’armes ?
Ceux qui achètent et vendent des armes sont rarement des citoyens de tout repos et si ses interlocuteurs découvrent que SAS est en réalité l’un des meilleurs agents de la CIA, ils risquent fort de dépenser leurs premières munitions … sur lui !
De toute antiquité, les communautés Serbes et Croates se vouent une haine farouche. Et Malko a été chargé d’entrer en contact avec les plus extrémistes des Croates, ceux qui se réclament de la mémoire d’Ante Pavelic, qui, avec le soutien de la société secrète des Oustachi, créa et dirigea l’Etat croate indépendant qui, de 1941 à 1944, collabora avec l’Allemagne nazie.
Ce sont précisément ces Oustachi qu’il est chargé d’infiltrer. Il doit remonter la filière, identifier les membres de ce groupuscule clandestin, découvrir leurs planques, leurs sponsors … Mais, qui dit société secrète implique une totale sauvagerie et un absolu mépris de la vie d’un éventuel ennemi.
411 – Do You Need Information?
Smartphones emerged from the failures and impracticalities of the PDA market, like the epically failed Newton, ironically developed by Apple during their dark ages. Further evolutions like the Palm Treo didn’t really pick up in Canada until the beloved Crackberrybestowed execs with glowing screens, tactile keyboards, and the ability to work on Microsoft Office docs all day and night.
As a business owner, the choice of smartphones is becoming a matter of personal preference, with screen size, resolution, camera quality and the ability to customize the display being deciding factors.
611 – Do You Need Help?
According to a study by the email marketing service, Constant Contact, 66% of small business owners currently use mobile devices, including smartphones and tablets, to run their businesses. Mobile apps are playing a large role in how small businesses manage their operations, with 82% using built-in or downloadable calendar and time management apps, and with 74% using apps like Intercom or Zendesk. And if you’re in a pinch, they even make phone calls!
911 – Or Do You Need A Ride To Rehab?
In a study of 1,600 managers and professionals, Leslie Perlow, PhD, a Konosuke Matsushita Professor of Leadership at the Harvard Business School, found that 44% of participants said they would experience a great deal of anxiety if their phones were lost and not replaced within a week. Within a week? Geez. Peak anxiety hits at stage two of the grieving process, once you get over the mountain of denial, which could take between an hour or a day, depending on how badly you need your baby back in your life.
For power users, technosis will sometimes set in. That’s a noticeable dependency on a steady flow of information and technology. Symptoms include imagined buzzing in the pants, sometimes in the wrong pocket, or even when your phone is not even on your person, like Phantom Limb Syndrome. Authors like David Greenfield, PhD, say that computer technologies can be addictive because they’re psychoactive. That is, they alter mood and often trigger enjoyable feelings.
Like any addiction, there are the terrible lows. Like the crushing blow of waking up fully dressed in bed with the lights on after a wild night and discovering you’ve lost your precious, and you realize it’s your phone you love more than anything in life.
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Are you addicted to your mobile phone? Do you set boundaries about how and when you use it? Share your comments below – or write a blog about it here.
I’ll sometimes catch BBC 1XTRA’s UKG show but the beats they play sound nothing like those of the golden age gangstas in the video above. Step back to a time when Artful Dodger and So Solid Crew were doing something radically different from the House and Drum ‘n Bass sounds that were dominating the charts.
I volunteered my Saturday morning to help out with an ACTRA Co-op production the other day being shot for the Reel World Film Festival. I did it to support the team, but the real hook, I must admit, was to get a crack at exploring the generally off limits areas of our location for the morning — Leslieville’s notorious Jilly’s Gentlemen’s Club.
I can’t say it was my first time inside (not that I remember being there lol, but I’m sure my curiosity’s been piqued over my few decades of living in TO), but it was definitely my first time exploring the basement and change rooms. We all have this idea that a strip club’s, ahem, gentlemen’s establishment, rear ends, might be a little rough around the edges, but nothing could have prepared me for the raw and dingy unfinished spaces, save for the change room space, that is every bit as grimy as you would expect.