September 16, 2023 • 30 mins
In this video, Chengis Javeri sits down with actor, voice actor and audio book narrator, Stuart Bentley. Stuart is a Calgary local artist with many talents and even more credits to his name. Be sure to check out this episode! Like, comment and subscribe.
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(00:00):
So I got cast as Edward,the irishman in the play, who is
a journalist from Dublin, and soI'm going to Dublin with my fake Irish
accent. I've worked with David Larrainey, great dialect coach, and listened to
lots of materials every day on theway to and from rehearsals. Our assistant
director was born and raised in Dublin, and I think it was about two
(00:23):
weeks out before we flew out thatI went up to him and said,
Mike, I'm really concerned about this. I've been doing this rehearsals now for
like six seven weeks and I'm notsure what I'm saying how it sounds,
and he goes, all I canhear is Irish. Just keep doing what
you're doing. Talent Talk is sponsoredby Company of Rogues Actors Studio, New
(00:44):
York style training for actors at allstages of their journey. With our part
time classes and full time masterclass program, Rhogues provides a unique post secondary option
under the guidance of working professionals,mentoring and developing professional film and theater artists
Since nineteen ninety three, Calgary's longestrunning independent studio offers practical hands on classes
in a positive, supportive environment.Check us out at co rogues dot com.
(01:07):
Company of Rogues Passionate about the artof acting. Hey, guys,
(01:36):
welcome to Talent Talk. I'm yourhost, Chin Gays. Before we start
the show, let's get all theums out of the way. No,
what we should do is we shouldthank our sponsors, of which there are
plenty. We've got Company of Rogues, six Degrees, Workflow Films, RJ
Talent, heard of one counting CoupIndigenous Film accam to me and last but
(02:00):
not least, Actra Alberta. Thanksfor sporting the arts. Guys. Also,
please like and subscribe. That's athing you can do. So today,
we've got a hell of a guest. I haven't spoken to him yet,
but I know he's a hell ofa guest. Why stop it because
I actually respect the man. Now, I'd never say that for film,
(02:22):
but I have a lot of respectfor this guy. And let's just see
what happens. So please help me. Welcome in a two shot mister Stewart
Dentley. Thanks Stuart. Hate youguys. How are you doing. I'm
well, man, I'm well,well. I didn't know you'd be asking
me questions. Oh that's turn ofbows, fair player, right? Oh
yes, listen man. First ofall, what do you think of the
(02:45):
sweater? No, thank you fortaking the time to join us. Thank
you, Oh, thank you.Thanks for asking me. Yeah, I
didn't ask you, Gary, myboss did. Let's get to the questions.
No, are you doing well?I'm doing great? Good man?
How am I doing? Listen?Stewart, briefly, tell us what you
(03:07):
do in this? Uh? Whydo I have so much respect for you?
God? Tell us what are youdoing this? It's a good question.
I don't know where you got therespect part from. There's that.
Yeah, you had more hair,so all over. Yeah, it's good.
I've been I've been acting, iguess now for fifty years. So
(03:27):
started in high school and did ahell of a lot of shows back then,
and I've done mostly stage work,lots of community theaters, some semi
pro. I've done TV and radiocommercials over the years. Probably did my
first short film when I was seventeen, and in the last three or four
(03:50):
years I've started doing the audiobook narrationtoo. Yeah. I feel that's a
bit newer because I always thought ifyou was a stage actor. When I
think of you, which is often, I think if you was a stage
actor first an nfilm actor and thenwhatever. But what about some of the
Yeah, what about some of thecommercials that were audio? Like is that?
What? How did you go fromaudio commercials to doing books? Jeez,
(04:15):
that's good question. You know what, Really the two are so different.
I've always thought that I love Ilove listening to great narration, like
in Nature films and Disney films.You know, when I was a kid
and I thought, I want todo that. I want to be that
guy that's describing what's going on inthe show. I always wanted to do
that. You want to be theguy pushing the lemons off in the end
of the ocean, because lemons don'tlemmons don't actually jump off. You want
(04:39):
to be that guy. No,that's a let a grip do that just
talking about it? No? Yeah. A friend of mine, Don Harvey,
is an accomplished audiobook narrator, awardwinning and she's been teaching the art
and business of a audiobook narration fortwelve thirteen years. I think, okay,
(05:00):
and the hell of a Dame too, I can say that. Yeah,
yeah, she's amazing. So Ialways wanted to take her course,
and she would offer it once ortwice a year. It would be in
person for a whole weekend, andevery time she did it, I was
on stage or in rehearsals and itwasn't available. So COVID came around and
I wasn't on stage anywhere as nobodywas, and she offered her course online
(05:23):
for the first time, and Ijumped at it. Oh, very nice.
Shout out to the voice of Dawn. I believe is the name.
Isn't that right? Yeah? Ibelieve that's correct. Yeah, I'm on
a mailing list or the dawn avoice. Damn it, I'm not I
tried to sorry, Dawn. Yeah, anyway, she's not one of our
sponsors. Yeah, whatever. Youdo you remember the first couple of like
(05:46):
not I'm not high school stage gigs? Do you remember the first couple of
gig gigs like film and stuff.I'm going to take a drink out of
this romically. Yeah. Well,the first film gig I got was right
after high school. Well, Iactually got approached just before graduation to shoot
a film in the summer, andit was for Adak. I don't even
(06:08):
know if ADAK existed Alberta Alcohol andDrug Abuse Commission, that's what they were
called, and it was they weredoing a short film written by Warren Graves
and starring Warren Graves about teenage alcoholism. And yeah, I was like a
country boy who got in trouble crashinga truck when he had drank too much
(06:30):
with his buddy. And so weshot all that stuff out in Canmore and
we're running motorcycles across train trustles.This first time I had ever ridden on
motorbikes. So yeah, that scaredthe hell out of me. And it
wasn't accomplished. Motorcycle rider was likein the eighties or something where they could
get eighties. Do you think I'mmuch younger than I am? That was
right out of high school. Iwas nineteen seventy five. Seventy five,
(06:54):
Wow, okay, yeah, allright. Cool. Know some some stories
I've heard about the older films andthings, I'm just like, and they
were you're holding on to the sideof a horse, but you're not a
stunt man. Yeah, there was. There was no stunt man safety of
gear or nothing. We were hopingthe train wouldn't come. It was like,
(07:14):
yeah, these days that's a reallegitimate work because of course, yeah,
of course I was going to makea stand by me joke, but
I won't do that. Maybe not. We'll cut that out, thanks,
workflow films, all right, solet me see what Yeah, yeah,
you've been You've been at this forI mean fifty years, so you started
when I was one. We bettercut that out, Cut that out?
(07:36):
Yeah, you cut that out rightnow? How do you still stay stay
excited and stuff? Man? Howdo you? How do you? How
do you get up for this work? Every chance I get to, you
know, work with a new director. I love working with you know,
all the different crew that are available. You know, if it's on stage,
I'm you know, working with thecostumers, it's in everybody stage management.
(08:00):
I learned something every time I dosomething, so it's always an opportunity
to find a new way to approachsomething or see how other people do jobs.
You know. I'd like to thinkthat maybe sometimes I serve as a
mentor for maybe how to behave onset. I don't know. I certainly
think I do a good job ofthat, and I've seen people that maybe
(08:22):
don't behave so nice at times.But I mean I think we've all seen
that in public. I think we'veall done that. We have all done
that at time. None of usis perfect. Yeah, apologies to any
salespeople I may ever have abused verbally. I'm better now. That's not on
set. That's just life, that'sjust life. We're not talking about life,
man, We're talking about acting andsuch. I'm not going to come
(08:46):
up here and apologize for all theterrible things I did to teachers and things.
Yeah. No, I really feellike blest when I get an opportunity
to do any kind of work,whether it's on stage, you know,
film in a studio, recording acommercial, you name it. It's that's
that's an honor to be able tobe asked to do that, and it's
you know, stay humble, enjoyyourself, and listen a lot. M
(09:11):
I do remember early on when youwhen when when you were lucky enough to
go on a set, every singleperson there had some information that you could
use. Every single person. Andthen a couple of years later it became,
oh, fifty percent of the peoplehad information that that would actually be
useful to you, you know,And I don't know, seventeen years in
(09:33):
or something, now I kind offeel like the grand old I mean,
obviously not looking directly at your face, but I do feel like the girl.
Why am I being mean to thisman? He helped me find my
house. And I don't mean ona drunken spree. You're like, it's
that one. I mean, thisman helped me find our house. Yeah,
I mean, not too many peoplecan afford to just be an actor,
so oh yeah, yeah, yeah, absolutely, so I sell the
(09:54):
out house. I heard sell theouthouse, which maybe that could be Yeah
yeah, put that on a businesscard. Yeah, it's funny. I
thought I enunciated better than that.But thanks for, you know, increasing
my concern about that. Look,you're a professional professional, you know what.
I need my help. I'm justI would be part of that.
I would be part of that.You don't have to listen to this person
(10:16):
on set. Yeah, crossed intothat section. Okay, okay, anyway,
I hope you didn't think anyone everlistened to you, honestly, but
I don't know what. One ofmy greatest fears, let's make this about
me. One of my greatest fearsis when a young actor or a young
person comes up to me and hegoes, oh, man, you know
that advice you gave me I AndI'm like, was it advice or was
I making a joke? I mean, it's my biggest fear when someone comes
(10:39):
up me, oh boy, Ireally acted on that thing and you're like,
okay, yeah, so you've beenfired. Is that what you're telling
me? You did what I saidand you're still here all crowded. Oh
man, hey, have you haveyou traveled for work? Johnny Hm?
(11:00):
Work? I mean other than likedriving from Red Dirt at Calgary for film
work when I was living in RedDert did that, but I did get
an opportunity to be cast in ashow, a stage show called Someone Who
Watch Over Me. It's an incrediblestage play written by Frank McGinnis. It's
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about three men, an Englishman andirishman, are an American who are chained
to a wall in a cell inLebanon. It sounds like the start of
a joke, but it's the startof a play based on the hostage takings
that happened in Lebanon back in thelate seventies early eighties. And like most
Irish theater, it's very dark andyou know, very darkly funny audiences here
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when we performed it here didn't seeas much of the humor because they just
you know, took in the gravityof the situation. The reason I really
auditioned for this play I really lovedthe play. My wife had directed it
a few years earlier. I wasn'tin it, and I always wanted to
have a shot at it, andso when Liffy Players was doing it,
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I decided I would audition. Thebig draw for me was they were going
to be performing it at the ActingIrish International Theater Festival, which is a
festival of expat Irish theater companies allaround different parts of North America, and
for the first time the festival wasgoing to be held in Dublin, Ireland.
(12:31):
So I got cast as Edward,the irishman in the play, who's
a journalist from Dublin. And soI'm going to Dublin with my fake Irish
accent. I've worked with David Larrainey, great dialect coach, and listened to
lots of materials every day on theway to and from rehearsals. Our assistant
(12:52):
director was born and raised in Dublin, and I think it was about two
weeks out before we flew out thatI went up to him and said,
like, I'm really, you know, concerned about this, Like I've been
doing this rehearsals now for like sixseven weeks and I'm not sure with what
I'm saying how it sounds. Andhe goes, all I can hear is
(13:13):
Irish. Just keep doing what you'redoing. And we went there the night
we performed it. I got offstage, walked out in front of the
lobby where there's lots of local peopleenjoying Guinnis and Jamison, and the few
of them had more than one beverageby the time I got there, and
this big irishman with a big redface come up and he had a huge
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smile on his face, grabbed myhand and started shaking my hand. Said,
oh boy, oh, you hadthe best fake Irish accent of all
of them, all of them,which I guess is high praise. I
don't know that. Our plan endedup winning the festival, and yeah,
we had a lot of fun.Yeah man, oh man, I traveled
to Dublin. Yeah that was thatwas once. Yeah. Wow, that's
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so cool and so daunting just todo an accent. I know, like,
you know, someone like Michael Kaneis not interested in doing accents because
he's like, well, fifty percentat the time you're considered thinking about the
accent, and fifty percent at thetime you're thinking about acting just doesn't like
doing it. But he's done areally credible Texas accent. Well, I
do find I think the English actorsnow are better at doing American accents,
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because for twenty yacht hot years,every English actor doing an American accent will
southern, and you're like, comeon, man, did you not notice
everyone had a twang. Everyone wasa little bit western, sounded like he
was from New York and you knowhe's from northern England. Okay, But
I do feel they're they're better nownow when I'm watching it. You know,
(14:43):
you're watching The Walking Dead, You'relike, half of this cast is
not from here. Okay, cool, whatever, But doing it in front
of that audience I think would bevery difficult and very daunting. So when
you're approaching an accent, let's say, let's go off on that for a
second. Do you find trying tomimic a person, a real live person,
(15:05):
any benefit versus mimicking an accent?How do you feel about that?
For me? I mimic a person, and I'm like, I don't care
if they got a broken Irish accent. I don't care if that Irish accent
has been filtered through an American audience. They've been here for five years.
I'm going to mimic a person becausethey're real. Yeah, I mean,
I'm looking for two things. AndI've had the great fortune to work with
(15:26):
a few different dialect coaches on howto learn dialects as well as on specific
coaching for shows. And I wantto know, like what are the differences
in the continant and certain vowel soundsand vowel combinations. So I sort of
have a good notion of what thoseare, and that's nice to have.
But beyond that, you got togo out and find video or audio of
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native speakers who are reading or justtalking like man on the Street, interviews,
you name it, and really listenedit over and over again so you
get the musicality of the way theyspeak, because that's a good lard.
It's a really huge part of it. Yeah. Absolutely, when you're listening
to and watching somebody just naturally speakingas they have their whole life, you
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get used to the pace, therhythm, and you know it makes everything
else easier, and you just startto hear and just feel the way they
you know, everything is pronounced,it comes out. It makes it a
lot easier. Some accents are alot harder than others. And yeah,
yeah, I've done an Egyptian onefor I'm very difficult. I'm certainly not
(16:33):
a pro at it. But youknow I played one on TV. Okay,
wow, very good, that's adoctor line. I know it's terrible.
Yeah, oh my goodness, howdoes this? Does this feel natural?
Sure? It was? Yeah?Good, it's good. Yeah,
yeah, it feels pretty natural.Yeah. Yeah, okay, you can't
tell that. I had like threehits a night quall just before, just
(16:55):
to smooth me out a little bit, just to calm me down. That's
fair. Yeah, Well man,what I wonder how you how you build
up character? Let's let's let's getthe hard questions now. Jeez, now
we're at the tough questions building acharacter. Yeah, is it costume sort
of whatever? Or do you tryand find a hook? What is the
what is the deal? Well?I mean everything like when you get on
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stage or on a film set,all of your props, the people around
you, the atmosphere that's been setfor you, costume, all of that
aids to support the building that characterbegins with the script. I mean you're
reading this, you read the wholescript, you find out, you know,
what is the story arc my charactergoes through, try to answer the
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questions about him, like who ishe? What makes him tick? And
try to figure out, you know, everything you can about the character.
And you know, most most scriptsyou're going to handle are gonna be fictional
characters, so really you only havewhat's in that you know, ninety pages
to work with, and from that, you know, seeing Holly interact with
everybody, you try to figure alltheir motivations and that really informs your decisions
(18:07):
of the character. And the reallyexciting thing is you know the writer will
have had a certain idea, andevery actor that approaches that role and every
director that directs that role will haveslightly different ideas. So you can see
the same play, you know,fifty times by fifty different actors, and
you're going to see fifty completely differentperformances. And that's what I freaking love
about live theater. Every now andagain, you get to play a historic
(18:32):
character. Probably my best memory onstage was playing Richard Nixon and Frost Nixon,
and you know, to be ableto research who he was growing up,
what happened to his family, thathis death of his brother, how
his mother took care of sick peopleas he was growing up, and she
was like she was sainted. Hetalked about that later in a speech when
(18:55):
he was really drunk, about hissainted mother, and in learning how he
became so bitter and so paranoid,and it really informed how I performed the
role because you know, he isthe villain of the piece, but you
know, all characters view themselves asthe hero in their own story. So
(19:18):
to be able to crawl inside hischaracter, his persona, it was just
an absolute joy to perform. Verycool. I do feel I'm the hero
of this piece. Time will tellanyway, It's not for me to decide.
Ask Mel later. Yeah, Ohinteresting man, interesting stuff. Yeah,
(19:42):
I was wondered about. You know, sometimes music or there's some hook,
or just read something on the pageand you're like, it's just a
little but I actually further than thefurther than the page. I like working
with a director who will also justbecause often they didn't write it and they
like it to a certain extent.They don't love it. They don't love
(20:03):
the script, they like it.And you know, I've had a director
kind of turned to me and you'rehaving a scene where you're really fighting with
someone, You're really passionate about yourside of the thing, and then he
just turns to you and he goes, you're lying. I'm like, what
what do you mean? Everything Isay is untrue? Now, oh my
god? All right. Absolutely,the eyes of the director can make huge
(20:30):
differences in your performance. And that'sI mean, you start in one place
and then everything else builds on it. Not Ultimately, our job is to
be there and perform the words underthe direction of you know that that one
person who sees all and they've gottheir idea of what they want. Right
but right, right, Well,I am learning things. You read the
(20:51):
full script. You read the fullscript. If I mean, if it's
if it's a film audition or somethinglike that, you typically don't get it.
Yeah, but no, I meanonce you get it, they're like,
hey, man, you did it, you did it. You got
the callback. You're doing fourteen pagesof this ninety page script. You read
the whole script. Absolutely, Wow. I want to know the full arc
of the story. I want toknow where I fit into it, understand
(21:15):
how my relationship with the other peopleand each scene I'm in. I want
to know how they talk about meand scenes I'm not in, so I
if there is lines like that.So you really have to understand the full
arc of the story. Okay,I generally don't read the full fourteen pages
that I'm on, but we'll see. This is a breath of fresh air.
(21:36):
Man, I'm learning so much.So how about some tips for the
kids? Man, how about sometips. Let's let's let's shake you and
see what comes out knowledge wise?How do you approach auditioning? We don't
have to do that. Auditioning isthe job. I mean, it's I
think one of the nice I wishI knew who made the quote, But
(21:57):
my favorite quote about acting is weare paid to audition. We get on
set or on stage and we actfor free. We're paid to audition.
Okay, that's the hard work.That's where you do. You know,
you create a fully fleshed character whoseperformance ready and give it your very best
(22:18):
interpretation for the camera. If you'redoing a self tape or in the room
with a casting director, or ifit's for stage, you're probably just in
the room with a director and stagemanager and producer and you're auditioning for them,
and if they're giving you feedback,to try it a different way,
to do your very best, toreally listen to the instruction you're giving and
(22:40):
redo it. And when it's done, you're done. Your job is done.
Don't sweat it. Don't leave going, oh, I screwed that up.
I'm never getting this job, becausethat's just because you've done your job.
But I've also left rehearsals. Ileft audition rooms going oh, I
screwed that up. I'm messed thatup. I'm never I should have done
(23:02):
this. And as soon as Istopped doing that and said no, I
the job's done. I've finished myjob. I'm going to leave now.
And I'm really happy that I hadthat opportunity, because that's the whole thing.
You're gonna hear no way more thanyou hear yes. So don't sweat
the nose and don't sweat I wonderif I'm going to get a yes after
(23:23):
the audition. Just do your bestand it's next you check your email for
your next audition, or you know, go shopping, take the dogs for
a lock. There's a lot ofpower in being like this is it this
one minute, this two minutes,and as soon as I say thank you
(23:44):
and goodbye, I'm out the door. That's the job. Be confident in
that and be happy with whatever itis you do right start while I still
have you here because I know whenthe cameras aren't on, he doesn't talk
to me. But but let me, let me, let me ask you
about some of the audio books.Now, I do remember hearing you do
uh the red tag commercials, likelike commercials tag days And it's a joy
(24:10):
when you're just driving the car andyou're like, you know, like when
you hear a friend doing it's Ilove it. I absolutely love it.
Then instantly after then I'm jealous andI hate them. But yeah, yeah,
what are you? What are youworking on now? Audio book?
Was? I've got a fairly largesort of murder mystery that I'm currently narrating.
It's called The Old Town Horror andit's set in Alexandria, just a
(24:36):
few miles outside of Washington, DC. Very historic city, historic streets and
buildings. And the author and he'sgoing to kill me because I can't remember
his name, Well, forget him. Just tell us the last page of
the book. I'm not going todo that. But so the book is,
it's about a murder murder that hashappened and some other interesting events that
(25:02):
happen in the city, and it'sset sort of during the COVID and post
COVID era. So he's taken sixtythree. Yeah, the author has taken
a lot of the events that happenedall over the United States over about a
three year period and compress them downand put them all in Alexandria over like
(25:22):
a six week period. So it'syou know, you sort of see the
spill over of protests and statues beingtaken down and terrorism and everything is sort
of all coming together. And ofcourse he is an expert on the city.
He does history tours of the city. In his real life, he's
also a writer. He has writtenspeeches for presidents, he wrote for a
(25:45):
Jay Leno show, he's been aneditor for Time magazine, and he's got
a fifteen or seventeen books, fictionand nonfiction. Note, so the book
reads almost like half travelog, halfmurder mystery. It's but it's it's it's
a very dance and tremendously interesting read. The characters are great. Nice,
we'll have his name go by andkudos to this guy. Yeah, no,
(26:11):
don't no, I don't worry Moser, Ed Moser. I think,
Yeah, my brain is really reallygood. Ed Moser. Okay, when
you're doing the audiobooks and you're doingall the characters and you're doing the actions
and stuff, when you're doing likea lady's voice, you go up higher,
you change the voices a little bit. For what do you do?
(26:32):
Sure? I mean, just whetherit's a lady or a child, you
know, you don't affect it huge. I mean, you don't go.
You don't go I'm a lady now, because that's just Monty Python and it's
stupid. Can we just use thatclip? Gary? Can we for the
advertising of this particular show? No, you just you pitch it up slightly,
(26:56):
put a little more air behind thevoice. Okay, So can you
give me two voices just slipped fromone to another, and just give me
one sentence. It doesn't have tobe a sentence from Ed Moser's book.
Sure, but yeah yeah, andI'll just hold on. I'm going to
close my eyes, pretend like I'mlistening. Go for it. So I
was walking down the street and shesaid to me, well, what do
you want to do that for?Yeah, that's just it's little things.
(27:22):
There's not a lot that works.And you know, if it's a child's
voice, it's it's similar. Youjust pitch it there that the listener knows
they're listening to the voice of atwelve year old boy or an eighteen year
old girl, and there they're justlike when you read a book, you
inhabit the characters of the book andthere they live in your mind and you
(27:44):
paint the whole story. Listening toaudiobooks is much the same, and a
good narrator will allow you to justcreate the picture as they're narrating it.
I love audiobooks. I listen tothem all the time and I drive.
It's the best prevention for road ragebecause you're just focused on this wonderful story
and I'm just getting where I'm going, and traffic happens around me and I
(28:07):
get there and it's like, yeah, it's really great. But listening to
audiobooks also gives you a tremendous insightfor performance because you listen to how many
different narrators and how they approach characterizationand the narration part and if it's first
person or third person, narration ornon fiction. Nice. And you get
(28:30):
to write it all off too,which is excellent. Write it all off.
Yeah, you're buying the things you'redoing the things you write it off.
Don't tell me how. I don'tneed to tell you how to do
that. Yeah, it's all partof the learning of courses. It's well
actors, you know, if you'rewatching a movie, you know the cost
of that entertainment because it's not justentertainment, you're learning from everything you see.
(28:53):
Absolutely, I wrote off this hairearlier. Whatever. Listen, Stewart,
you know a fountain if not ayouth of certain knowledge, That's what
I made. Stewart said, everybody, Uh, this has been a delight
man. I'm so happy you asyou can tell, we're done with you.
We've gotten to that portion. Fantastic. Yeah, but no, no,
(29:15):
I thank you so much for takingthe time and coming out here and
dropping some information bombs on us.Thanks for your interest and the questions.
I really enjoyed myself today. Cooland uh, yeah, it's been great.
Thank you. That sounded loaded.Oh yeah, I really enjoyed myself
today. I'll discussed after the showlisten. Uh yeah, we're getting We're
(29:37):
getting to it. So so thankyou. I'm gonna throw back to this
camera and do that thing that Ido. I'll even adjust myself. Hey,
guys, thank you so much forwatching talent I've changed my voice.
Thank you so much for watching TalentTalk. I was Chin Gays, that
was Stuart. Next week we're gonnahave some one else and that's it.
(30:02):
So like and subscribe even if youdidn't. There you go. Thanks,
see you should I tell slip doesanyone need that? Don't read my notes?
Uh Chan Gays
So I got cast as Edward,the irishman in the play, who is
a journalist from Dublin, and soI'm going to Dublin with my fake Irish
accent. I've worked with David Larrainey, great dialect coach, and listened to
lots of materials every day on theway to and from rehearsals. Our assistant
director was born and raised in Dublin, and I think it was about two
(00:23):
weeks out before we flew out thatI went up to him and said,
Mike, I'm really concerned about this. I've been doing this rehearsals now for
like six seven weeks and I'm notsure what I'm saying how it sounds,
and he goes, all I canhear is Irish. Just keep doing what
you're doing. Talent Talk is sponsoredby Company of Rogues Actors Studio, New
(00:44):
York style training for actors at allstages of their journey. With our part
time classes and full time masterclass program, Rhogues provides a unique post secondary option
under the guidance of working professionals,mentoring and developing professional film and theater artists
Since nineteen ninety three, Calgary's longestrunning independent studio offers practical hands on classes
in a positive, supportive environment.Check us out at co rogues dot com.
(01:07):
Company of Rogues Passionate about the artof acting. Hey, guys,
(01:36):
welcome to Talent Talk. I'm yourhost, Chin Gays. Before we start
the show, let's get all theums out of the way. No,
what we should do is we shouldthank our sponsors, of which there are
plenty. We've got Company of Rogues, six Degrees, Workflow Films, RJ
Talent, heard of one counting CoupIndigenous Film accam to me and last but
(02:00):
not least, Actra Alberta. Thanksfor sporting the arts. Guys. Also,
please like and subscribe. That's athing you can do. So today,
we've got a hell of a guest. I haven't spoken to him yet,
but I know he's a hell ofa guest. Why stop it because
I actually respect the man. Now, I'd never say that for film,
(02:22):
but I have a lot of respectfor this guy. And let's just see
what happens. So please help me. Welcome in a two shot mister Stewart
Dentley. Thanks Stuart. Hate youguys. How are you doing. I'm
well, man, I'm well,well. I didn't know you'd be asking
me questions. Oh that's turn ofbows, fair player, right? Oh
yes, listen man. First ofall, what do you think of the
(02:45):
sweater? No, thank you fortaking the time to join us. Thank
you, Oh, thank you.Thanks for asking me. Yeah, I
didn't ask you, Gary, myboss did. Let's get to the questions.
No, are you doing well?I'm doing great? Good man?
How am I doing? Listen?Stewart, briefly, tell us what you
(03:07):
do in this? Uh? Whydo I have so much respect for you?
God? Tell us what are youdoing this? It's a good question.
I don't know where you got therespect part from. There's that.
Yeah, you had more hair,so all over. Yeah, it's good.
I've been I've been acting, iguess now for fifty years. So
(03:27):
started in high school and did ahell of a lot of shows back then,
and I've done mostly stage work,lots of community theaters, some semi
pro. I've done TV and radiocommercials over the years. Probably did my
first short film when I was seventeen, and in the last three or four
(03:50):
years I've started doing the audiobook narrationtoo. Yeah. I feel that's a
bit newer because I always thought ifyou was a stage actor. When I
think of you, which is often, I think if you was a stage
actor first an nfilm actor and thenwhatever. But what about some of the
Yeah, what about some of thecommercials that were audio? Like is that?
What? How did you go fromaudio commercials to doing books? Jeez,
(04:15):
that's good question. You know what, Really the two are so different.
I've always thought that I love Ilove listening to great narration, like
in Nature films and Disney films.You know, when I was a kid
and I thought, I want todo that. I want to be that
guy that's describing what's going on inthe show. I always wanted to do
that. You want to be theguy pushing the lemons off in the end
of the ocean, because lemons don'tlemmons don't actually jump off. You want
(04:39):
to be that guy. No,that's a let a grip do that just
talking about it? No? Yeah. A friend of mine, Don Harvey,
is an accomplished audiobook narrator, awardwinning and she's been teaching the art
and business of a audiobook narration fortwelve thirteen years. I think, okay,
(05:00):
and the hell of a Dame too, I can say that. Yeah,
yeah, she's amazing. So Ialways wanted to take her course,
and she would offer it once ortwice a year. It would be in
person for a whole weekend, andevery time she did it, I was
on stage or in rehearsals and itwasn't available. So COVID came around and
I wasn't on stage anywhere as nobodywas, and she offered her course online
(05:23):
for the first time, and Ijumped at it. Oh, very nice.
Shout out to the voice of Dawn. I believe is the name.
Isn't that right? Yeah? Ibelieve that's correct. Yeah, I'm on
a mailing list or the dawn avoice. Damn it, I'm not I
tried to sorry, Dawn. Yeah, anyway, she's not one of our
sponsors. Yeah, whatever. Youdo you remember the first couple of like
(05:46):
not I'm not high school stage gigs? Do you remember the first couple of
gig gigs like film and stuff.I'm going to take a drink out of
this romically. Yeah. Well,the first film gig I got was right
after high school. Well, Iactually got approached just before graduation to shoot
a film in the summer, andit was for Adak. I don't even
(06:08):
know if ADAK existed Alberta Alcohol andDrug Abuse Commission, that's what they were
called, and it was they weredoing a short film written by Warren Graves
and starring Warren Graves about teenage alcoholism. And yeah, I was like a
country boy who got in trouble crashinga truck when he had drank too much
(06:30):
with his buddy. And so weshot all that stuff out in Canmore and
we're running motorcycles across train trustles.This first time I had ever ridden on
motorbikes. So yeah, that scaredthe hell out of me. And it
wasn't accomplished. Motorcycle rider was likein the eighties or something where they could
get eighties. Do you think I'mmuch younger than I am? That was
right out of high school. Iwas nineteen seventy five. Seventy five,
(06:54):
Wow, okay, yeah, allright. Cool. Know some some stories
I've heard about the older films andthings, I'm just like, and they
were you're holding on to the sideof a horse, but you're not a
stunt man. Yeah, there was. There was no stunt man safety of
gear or nothing. We were hopingthe train wouldn't come. It was like,
(07:14):
yeah, these days that's a reallegitimate work because of course, yeah,
of course I was going to makea stand by me joke, but
I won't do that. Maybe not. We'll cut that out, thanks,
workflow films, all right, solet me see what Yeah, yeah,
you've been You've been at this forI mean fifty years, so you started
when I was one. We bettercut that out, Cut that out?
(07:36):
Yeah, you cut that out rightnow? How do you still stay stay
excited and stuff? Man? Howdo you? How do you? How
do you get up for this work? Every chance I get to, you
know, work with a new director. I love working with you know,
all the different crew that are available. You know, if it's on stage,
I'm you know, working with thecostumers, it's in everybody stage management.
(08:00):
I learned something every time I dosomething, so it's always an opportunity
to find a new way to approachsomething or see how other people do jobs.
You know. I'd like to thinkthat maybe sometimes I serve as a
mentor for maybe how to behave onset. I don't know. I certainly
think I do a good job ofthat, and I've seen people that maybe
(08:22):
don't behave so nice at times.But I mean I think we've all seen
that in public. I think we'veall done that. We have all done
that at time. None of usis perfect. Yeah, apologies to any
salespeople I may ever have abused verbally. I'm better now. That's not on
set. That's just life, that'sjust life. We're not talking about life,
man, We're talking about acting andsuch. I'm not going to come
(08:46):
up here and apologize for all theterrible things I did to teachers and things.
Yeah. No, I really feellike blest when I get an opportunity
to do any kind of work,whether it's on stage, you know,
film in a studio, recording acommercial, you name it. It's that's
that's an honor to be able tobe asked to do that, and it's
you know, stay humble, enjoyyourself, and listen a lot. M
(09:11):
I do remember early on when youwhen when when you were lucky enough to
go on a set, every singleperson there had some information that you could
use. Every single person. Andthen a couple of years later it became,
oh, fifty percent of the peoplehad information that that would actually be
useful to you, you know,And I don't know, seventeen years in
(09:33):
or something, now I kind offeel like the grand old I mean,
obviously not looking directly at your face, but I do feel like the girl.
Why am I being mean to thisman? He helped me find my
house. And I don't mean ona drunken spree. You're like, it's
that one. I mean, thisman helped me find our house. Yeah,
I mean, not too many peoplecan afford to just be an actor,
so oh yeah, yeah, yeah, absolutely, so I sell the
(09:54):
out house. I heard sell theouthouse, which maybe that could be Yeah
yeah, put that on a businesscard. Yeah, it's funny. I
thought I enunciated better than that.But thanks for, you know, increasing
my concern about that. Look,you're a professional professional, you know what.
I need my help. I'm justI would be part of that.
I would be part of that.You don't have to listen to this person
(10:16):
on set. Yeah, crossed intothat section. Okay, okay, anyway,
I hope you didn't think anyone everlistened to you, honestly, but
I don't know what. One ofmy greatest fears, let's make this about
me. One of my greatest fearsis when a young actor or a young
person comes up to me and hegoes, oh, man, you know
that advice you gave me I AndI'm like, was it advice or was
I making a joke? I mean, it's my biggest fear when someone comes
(10:39):
up me, oh boy, Ireally acted on that thing and you're like,
okay, yeah, so you've beenfired. Is that what you're telling
me? You did what I saidand you're still here all crowded. Oh
man, hey, have you haveyou traveled for work? Johnny Hm?
(11:00):
Work? I mean other than likedriving from Red Dirt at Calgary for film
work when I was living in RedDert did that, but I did get
an opportunity to be cast in ashow, a stage show called Someone Who
Watch Over Me. It's an incrediblestage play written by Frank McGinnis. It's
(11:20):
about three men, an Englishman andirishman, are an American who are chained
to a wall in a cell inLebanon. It sounds like the start of
a joke, but it's the startof a play based on the hostage takings
that happened in Lebanon back in thelate seventies early eighties. And like most
Irish theater, it's very dark andyou know, very darkly funny audiences here
(11:48):
when we performed it here didn't seeas much of the humor because they just
you know, took in the gravityof the situation. The reason I really
auditioned for this play I really lovedthe play. My wife had directed it
a few years earlier. I wasn'tin it, and I always wanted to
have a shot at it, andso when Liffy Players was doing it,
(12:11):
I decided I would audition. Thebig draw for me was they were going
to be performing it at the ActingIrish International Theater Festival, which is a
festival of expat Irish theater companies allaround different parts of North America, and
for the first time the festival wasgoing to be held in Dublin, Ireland.
(12:31):
So I got cast as Edward,the irishman in the play, who's
a journalist from Dublin. And soI'm going to Dublin with my fake Irish
accent. I've worked with David Larrainey, great dialect coach, and listened to
lots of materials every day on theway to and from rehearsals. Our assistant
(12:52):
director was born and raised in Dublin, and I think it was about two
weeks out before we flew out thatI went up to him and said,
like, I'm really, you know, concerned about this, Like I've been
doing this rehearsals now for like sixseven weeks and I'm not sure with what
I'm saying how it sounds. Andhe goes, all I can hear is
(13:13):
Irish. Just keep doing what you'redoing. And we went there the night
we performed it. I got offstage, walked out in front of the
lobby where there's lots of local peopleenjoying Guinnis and Jamison, and the few
of them had more than one beverageby the time I got there, and
this big irishman with a big redface come up and he had a huge
(13:35):
smile on his face, grabbed myhand and started shaking my hand. Said,
oh boy, oh, you hadthe best fake Irish accent of all
of them, all of them,which I guess is high praise. I
don't know that. Our plan endedup winning the festival, and yeah,
we had a lot of fun.Yeah man, oh man, I traveled
to Dublin. Yeah that was thatwas once. Yeah. Wow, that's
(13:58):
so cool and so daunting just todo an accent. I know, like,
you know, someone like Michael Kaneis not interested in doing accents because
he's like, well, fifty percentat the time you're considered thinking about the
accent, and fifty percent at thetime you're thinking about acting just doesn't like
doing it. But he's done areally credible Texas accent. Well, I
do find I think the English actorsnow are better at doing American accents,
(14:20):
because for twenty yacht hot years,every English actor doing an American accent will
southern, and you're like, comeon, man, did you not notice
everyone had a twang. Everyone wasa little bit western, sounded like he
was from New York and you knowhe's from northern England. Okay, But
I do feel they're they're better nownow when I'm watching it. You know,
(14:43):
you're watching The Walking Dead, You'relike, half of this cast is
not from here. Okay, cool, whatever, But doing it in front
of that audience I think would bevery difficult and very daunting. So when
you're approaching an accent, let's say, let's go off on that for a
second. Do you find trying tomimic a person, a real live person,
(15:05):
any benefit versus mimicking an accent?How do you feel about that?
For me? I mimic a person, and I'm like, I don't care
if they got a broken Irish accent. I don't care if that Irish accent
has been filtered through an American audience. They've been here for five years.
I'm going to mimic a person becausethey're real. Yeah, I mean,
I'm looking for two things. AndI've had the great fortune to work with
(15:26):
a few different dialect coaches on howto learn dialects as well as on specific
coaching for shows. And I wantto know, like what are the differences
in the continant and certain vowel soundsand vowel combinations. So I sort of
have a good notion of what thoseare, and that's nice to have.
But beyond that, you got togo out and find video or audio of
(15:50):
native speakers who are reading or justtalking like man on the Street, interviews,
you name it, and really listenedit over and over again so you
get the musicality of the way theyspeak, because that's a good lard.
It's a really huge part of it. Yeah. Absolutely, when you're listening
to and watching somebody just naturally speakingas they have their whole life, you
(16:12):
get used to the pace, therhythm, and you know it makes everything
else easier, and you just startto hear and just feel the way they
you know, everything is pronounced,it comes out. It makes it a
lot easier. Some accents are alot harder than others. And yeah,
yeah, I've done an Egyptian onefor I'm very difficult. I'm certainly not
(16:33):
a pro at it. But youknow I played one on TV. Okay,
wow, very good, that's adoctor line. I know it's terrible.
Yeah, oh my goodness, howdoes this? Does this feel natural?
Sure? It was? Yeah?Good, it's good. Yeah,
yeah, it feels pretty natural.Yeah. Yeah, okay, you can't
tell that. I had like threehits a night quall just before, just
(16:55):
to smooth me out a little bit, just to calm me down. That's
fair. Yeah, Well man,what I wonder how you how you build
up character? Let's let's let's getthe hard questions now. Jeez, now
we're at the tough questions building acharacter. Yeah, is it costume sort
of whatever? Or do you tryand find a hook? What is the
what is the deal? Well?I mean everything like when you get on
(17:18):
stage or on a film set,all of your props, the people around
you, the atmosphere that's been setfor you, costume, all of that
aids to support the building that characterbegins with the script. I mean you're
reading this, you read the wholescript, you find out, you know,
what is the story arc my charactergoes through, try to answer the
(17:41):
questions about him, like who ishe? What makes him tick? And
try to figure out, you know, everything you can about the character.
And you know, most most scriptsyou're going to handle are gonna be fictional
characters, so really you only havewhat's in that you know, ninety pages
to work with, and from that, you know, seeing Holly interact with
everybody, you try to figure alltheir motivations and that really informs your decisions
(18:07):
of the character. And the reallyexciting thing is you know the writer will
have had a certain idea, andevery actor that approaches that role and every
director that directs that role will haveslightly different ideas. So you can see
the same play, you know,fifty times by fifty different actors, and
you're going to see fifty completely differentperformances. And that's what I freaking love
about live theater. Every now andagain, you get to play a historic
(18:32):
character. Probably my best memory onstage was playing Richard Nixon and Frost Nixon,
and you know, to be ableto research who he was growing up,
what happened to his family, thathis death of his brother, how
his mother took care of sick peopleas he was growing up, and she
was like she was sainted. Hetalked about that later in a speech when
(18:55):
he was really drunk, about hissainted mother, and in learning how he
became so bitter and so paranoid,and it really informed how I performed the
role because you know, he isthe villain of the piece, but you
know, all characters view themselves asthe hero in their own story. So
(19:18):
to be able to crawl inside hischaracter, his persona, it was just
an absolute joy to perform. Verycool. I do feel I'm the hero
of this piece. Time will tellanyway, It's not for me to decide.
Ask Mel later. Yeah, Ohinteresting man, interesting stuff. Yeah,
(19:42):
I was wondered about. You know, sometimes music or there's some hook,
or just read something on the pageand you're like, it's just a
little but I actually further than thefurther than the page. I like working
with a director who will also justbecause often they didn't write it and they
like it to a certain extent.They don't love it. They don't love
(20:03):
the script, they like it.And you know, I've had a director
kind of turned to me and you'rehaving a scene where you're really fighting with
someone, You're really passionate about yourside of the thing, and then he
just turns to you and he goes, you're lying. I'm like, what
what do you mean? Everything Isay is untrue? Now, oh my
god? All right. Absolutely,the eyes of the director can make huge
(20:30):
differences in your performance. And that'sI mean, you start in one place
and then everything else builds on it. Not Ultimately, our job is to
be there and perform the words underthe direction of you know that that one
person who sees all and they've gottheir idea of what they want. Right
but right, right, Well,I am learning things. You read the
(20:51):
full script. You read the fullscript. If I mean, if it's
if it's a film audition or somethinglike that, you typically don't get it.
Yeah, but no, I meanonce you get it, they're like,
hey, man, you did it, you did it. You got
the callback. You're doing fourteen pagesof this ninety page script. You read
the whole script. Absolutely, Wow. I want to know the full arc
of the story. I want toknow where I fit into it, understand
(21:15):
how my relationship with the other peopleand each scene I'm in. I want
to know how they talk about meand scenes I'm not in, so I
if there is lines like that.So you really have to understand the full
arc of the story. Okay,I generally don't read the full fourteen pages
that I'm on, but we'll see. This is a breath of fresh air.
(21:36):
Man, I'm learning so much.So how about some tips for the
kids? Man, how about sometips. Let's let's let's shake you and
see what comes out knowledge wise?How do you approach auditioning? We don't
have to do that. Auditioning isthe job. I mean, it's I
think one of the nice I wishI knew who made the quote, But
(21:57):
my favorite quote about acting is weare paid to audition. We get on
set or on stage and we actfor free. We're paid to audition.
Okay, that's the hard work.That's where you do. You know,
you create a fully fleshed character whoseperformance ready and give it your very best
(22:18):
interpretation for the camera. If you'redoing a self tape or in the room
with a casting director, or ifit's for stage, you're probably just in
the room with a director and stagemanager and producer and you're auditioning for them,
and if they're giving you feedback,to try it a different way,
to do your very best, toreally listen to the instruction you're giving and
(22:40):
redo it. And when it's done, you're done. Your job is done.
Don't sweat it. Don't leave going, oh, I screwed that up.
I'm never getting this job, becausethat's just because you've done your job.
But I've also left rehearsals. Ileft audition rooms going oh, I
screwed that up. I'm messed thatup. I'm never I should have done
(23:02):
this. And as soon as Istopped doing that and said no, I
the job's done. I've finished myjob. I'm going to leave now.
And I'm really happy that I hadthat opportunity, because that's the whole thing.
You're gonna hear no way more thanyou hear yes. So don't sweat
the nose and don't sweat I wonderif I'm going to get a yes after
(23:23):
the audition. Just do your bestand it's next you check your email for
your next audition, or you know, go shopping, take the dogs for
a lock. There's a lot ofpower in being like this is it this
one minute, this two minutes,and as soon as I say thank you
(23:44):
and goodbye, I'm out the door. That's the job. Be confident in
that and be happy with whatever itis you do right start while I still
have you here because I know whenthe cameras aren't on, he doesn't talk
to me. But but let me, let me, let me ask you
about some of the audio books.Now, I do remember hearing you do
uh the red tag commercials, likelike commercials tag days And it's a joy
(24:10):
when you're just driving the car andyou're like, you know, like when
you hear a friend doing it's Ilove it. I absolutely love it.
Then instantly after then I'm jealous andI hate them. But yeah, yeah,
what are you? What are youworking on now? Audio book?
Was? I've got a fairly largesort of murder mystery that I'm currently narrating.
It's called The Old Town Horror andit's set in Alexandria, just a
(24:36):
few miles outside of Washington, DC. Very historic city, historic streets and
buildings. And the author and he'sgoing to kill me because I can't remember
his name, Well, forget him. Just tell us the last page of
the book. I'm not going todo that. But so the book is,
it's about a murder murder that hashappened and some other interesting events that
(25:02):
happen in the city, and it'sset sort of during the COVID and post
COVID era. So he's taken sixtythree. Yeah, the author has taken
a lot of the events that happenedall over the United States over about a
three year period and compress them downand put them all in Alexandria over like
(25:22):
a six week period. So it'syou know, you sort of see the
spill over of protests and statues beingtaken down and terrorism and everything is sort
of all coming together. And ofcourse he is an expert on the city.
He does history tours of the city. In his real life, he's
also a writer. He has writtenspeeches for presidents, he wrote for a
(25:45):
Jay Leno show, he's been aneditor for Time magazine, and he's got
a fifteen or seventeen books, fictionand nonfiction. Note, so the book
reads almost like half travelog, halfmurder mystery. It's but it's it's it's
a very dance and tremendously interesting read. The characters are great. Nice,
we'll have his name go by andkudos to this guy. Yeah, no,
(26:11):
don't no, I don't worry Moser, Ed Moser. I think,
Yeah, my brain is really reallygood. Ed Moser. Okay, when
you're doing the audiobooks and you're doingall the characters and you're doing the actions
and stuff, when you're doing likea lady's voice, you go up higher,
you change the voices a little bit. For what do you do?
(26:32):
Sure? I mean, just whetherit's a lady or a child, you
know, you don't affect it huge. I mean, you don't go.
You don't go I'm a lady now, because that's just Monty Python and it's
stupid. Can we just use thatclip? Gary? Can we for the
advertising of this particular show? No, you just you pitch it up slightly,
(26:56):
put a little more air behind thevoice. Okay, So can you
give me two voices just slipped fromone to another, and just give me
one sentence. It doesn't have tobe a sentence from Ed Moser's book.
Sure, but yeah yeah, andI'll just hold on. I'm going to
close my eyes, pretend like I'mlistening. Go for it. So I
was walking down the street and shesaid to me, well, what do
you want to do that for?Yeah, that's just it's little things.
(27:22):
There's not a lot that works.And you know, if it's a child's
voice, it's it's similar. Youjust pitch it there that the listener knows
they're listening to the voice of atwelve year old boy or an eighteen year
old girl, and there they're justlike when you read a book, you
inhabit the characters of the book andthere they live in your mind and you
(27:44):
paint the whole story. Listening toaudiobooks is much the same, and a
good narrator will allow you to justcreate the picture as they're narrating it.
I love audiobooks. I listen tothem all the time and I drive.
It's the best prevention for road ragebecause you're just focused on this wonderful story
and I'm just getting where I'm going, and traffic happens around me and I
(28:07):
get there and it's like, yeah, it's really great. But listening to
audiobooks also gives you a tremendous insightfor performance because you listen to how many
different narrators and how they approach characterizationand the narration part and if it's first
person or third person, narration ornon fiction. Nice. And you get
(28:30):
to write it all off too,which is excellent. Write it all off.
Yeah, you're buying the things you'redoing the things you write it off.
Don't tell me how. I don'tneed to tell you how to do
that. Yeah, it's all partof the learning of courses. It's well
actors, you know, if you'rewatching a movie, you know the cost
of that entertainment because it's not justentertainment, you're learning from everything you see.
(28:53):
Absolutely, I wrote off this hairearlier. Whatever. Listen, Stewart,
you know a fountain if not ayouth of certain knowledge, That's what
I made. Stewart said, everybody, Uh, this has been a delight
man. I'm so happy you asyou can tell, we're done with you.
We've gotten to that portion. Fantastic. Yeah, but no, no,
(29:15):
I thank you so much for takingthe time and coming out here and
dropping some information bombs on us.Thanks for your interest and the questions.
I really enjoyed myself today. Cooland uh, yeah, it's been great.
Thank you. That sounded loaded.Oh yeah, I really enjoyed myself
today. I'll discussed after the showlisten. Uh yeah, we're getting We're
(29:37):
getting to it. So so thankyou. I'm gonna throw back to this
camera and do that thing that Ido. I'll even adjust myself. Hey,
guys, thank you so much forwatching talent I've changed my voice.
Thank you so much for watching TalentTalk. I was Chin Gays, that
was Stuart. Next week we're gonnahave some one else and that's it.
(30:02):
So like and subscribe even if youdidn't. There you go. Thanks,
see you should I tell slip doesanyone need that? Don't read my notes?
Uh Chan Gays
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