Tammy Stone (Programming Manager, Film Circuit) had a chance to interview actor Robert Joy about his role in Jordan Canning's The Bedroom, and his thoughts on working in the short film form.

1) How did you come to work on this film and what attracted you to
the project?

These days, when I visit St. John's, I stay at my friend Pam Hall's house.
Jordan Canning is Pam's daughter, so in the natural course of things Jordan
found out that I was in town, and asked if I'd like to act in BEDROOM, which she and her partner Jody Richardson were planning to make. I was impressed both by the script and by the intelligence of Jordan and Jody, so it was a no-brainer for me to say "yes".

2) In the context of your large body of work, how would you describe the
experience of working on a short film, both in terms of your approach to the filmmaking process and your projections on how the film will eventually be received?

In my experience, working on a short film is never "business as usual."
Features and television shows typically have a huge apparatus attached to
them, and (if you're lucky) that apparatus takes care of a lot of the logistics --
in other words, it supports and protects you, and in the process can "pad"
your experience, isolate you from the nitty-gritty moment-to-moment stuff. Short films put the actor in the middle of the jumble. It's a much more intimate
and engaged experience.

Plus, makers of short films seem to be willing to take risks with
actors. The role I play in BEDROOM is unlike any role I've ever played before. In Hollywood, I'd never get a crack at a feature role like that.

As for the reception of the film, I honestly don't think about that when
I get involved in a short film. For one thing, you're never sure whether the
thing will get seen! You get involved for the fun of it, for the creativity of
it, for the social contact of it. That's the meal; succeeding with an
audience is the gravy.


3) Were there any particular challenges you looked forward to facing while working on this film, being such a seasoned and experienced actor? For instance, the fact that it was all done in one take, or that you were dealing with such intimate, difficult subject matter?

Actually, the original intention was to use several shots from different
angles -- you know, more or less regular coverage. But during the shoot, this
one particular take was just more alive than the others; it was one of those
rare takes when, after "cut", everyone in the room says "wow". Still, it took
some gumption for Jordan to abandon her earlier editing plan and go with this
one long take.

For me, the material was the big challenge. My character is holding on
to a lot of guilt and longing and passion, but the scene must be very still and
quiet. I'd never done a scene even remotely like it, so it didn't feel as if
my acting experience counted for much, on the emotional front at least. Megan
and I were like the two shipwreck victims on a desert island -- to survive we
had to listen to each other, feel each other's signals, and proceed cautiously
into the future.

4) Is it important for you to be a part of the Canadian film industry, having
done so much work in the US?

St. John's is where I come from, creatively speaking, and in that sense
is still very much home. CODCO and The Adventure of Faustus Bidgood were --  are -- seminal experiences for me. So, while I love working in the dream factory of American popular entertainment, my ultimate goal is to be a valuable part of the community that produced me.

It seems to me that the Canadian film industry is still inventing
itself. Its destiny is not set. Its fate is not sealed. Making an original Canadian
film still feels like pioneering -- you know, striking out into new territory.
I want very much to be part of that.