04/26/2016   Miss Faith   Leave A Comment

The ‘Orphan Black’ star bundled up with electric long underwear and other low-temperature gear to star with Dane DeHaan in ‘Two Lovers and a Bear,’ which is set to premiere in Cannes.

Cannes festgoers are promised a spectacular color and light show from Canada’s Arctic skies when Kim Nguyen’s small-town romance Two Lovers and a Bear, starring Tatiana Maslany and Dane DeHaan, screens next month as part of the just-announced Directors’ Fortnight lineup.

But capturing golden and blue lights for a movie set in an eerie North Pole landscape had a cost: the Amazing Spider-Man 2 and Orphan Black stars had to bundle up or get frostbite when filming in Canada’s Nunavut province. That was especially so when Maslany was pulled by a Ski-Doo on skis and Nguyen and director of photography Nicolas Bolduc had only 15 to 30 seconds to shoot her before frostbite might literally burn and discolor Maslany’s face.

But don’t expect the Hollywood actress, who grew up in Saskatchewan, where wintry temperatures routinely fall to 40 degrees and lower, to complain about dangerously frigid conditions. “It was no super shock to the system,” Maslany told The Hollywood Reporter as she gets set to bring the Canadian indie about two young lovers fighting the elements and their inner-demons in an Arctic town to Cannes.

“We weren’t pretending it was California. We had electric long underwear. Honestly, I felt more cold in Toronto, where it’s humid,” she added. The Canadian film from Oscar-nominated Nguyen (War Witch) filmed partly in Iqaluit in Canada’s Arctic, where Maslany helped build an igloo.

“It’s an insanely difficult process, and requires strength and engineering knowledge to keep the structure up,” she recalled of the experience while in Boston to star opposite Jake Gyllenhaal in the film Stronger, based on a memoir by a Boston Marathon bombing survivor.

After being spared frostbite and other dangers from frigid conditions in Canada’s north, Maslany found the two-month movie shoot for Two Lovers and a Bear “spiritual” and calming.

“There’s a lot of sky and snow and space. You can look out for days and see very little. There’s very little noise and chaos, and there’s a real simplicity for the senses that you’re taking in,” she recalled. “And it leaves an enormous room for breath and space. That’s nice after being in Toronto, where it’s chaos, and on Orphan Black, where there’s so much sensorial stimulation. Just thinking of Iqaliut again makes me very calm,” Maslany added.

TF1 International picked up the worldwide distribution rights to Two Lovers and a Bear and will start shopping the indie to international buyers in Cannes. Entertainment One will release the film in Canada.

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04/18/2016   Miss Faith   Leave A Comment

Tatiana was out yesterday at the Boston Boston Medical Center Marathon Annual Pasta Dinner with castmate Jake Gyllenhaal. Thanks to our lovely friend Stephanie we have a photo of her at the event as well as videos of her appearance. You can see them here, here, and here. Enjoy.

2016: April 17 – Boston Medical Center Marathon Annual Pasta Dinner
2016: April 17 – Channel 5 Boston News – Caps
2016: April 17 – Fox 25 News – Caps
2016: April 17 – New England Cable News – Caps


04/15/2016   Miss Faith   Leave A Comment

Phew. I’ve been busy updating the site with the abundance of Tatiana press and photos. I *think* I am all caught up with the press articles and I’ve added a bunch of photos to the site including new photo session additions and Orphan Black related images.

Also, the first episode of After The Black aired yesterday after Orphan Black. If you missed it, you can watch it online here!

Orphan Black: 4×01 – The Collapse of Nature – Screencaps
Orphan Black: 4×01 – The Collapse of Nature – Stills
Orphan Black: After The Black: 401 – Screencaps
Orphan Black: After The Black: 401 – Stills – additions
Orphan Black: Season 4 – Behind the Scenes – additions
Orphan Black: Season 4 – Posters & Art – additions
Orphan Black: Special Event – Tatiana’s Birthday Read On Set – additions
Two Lovers And A Bear – Stills – additions
Photo Session 63 – additions
Photo Session 58 – additions
Unknown And Unsorted – additions


04/15/2016   Miss Faith   Leave A Comment

Think you’re busy? Tatiana Maslany can relate. She’s played 11 characters to date on her BBC America series, “Orphan Black.” The crazy part? She can recall an earlier time when she was juggling just as much.

“There was a time in Toronto like 10 years ago where I did three jobs at the same time,” she said in a recent interview. “I was filming this improvised film all day. That night I did a night shoot on a TV series and after an hour’s sleep went straight to the improv film, and I was doing a miniseries at the same time.

“I love working. I’ve learned to not do that much. But ‘Orphan Black’ is no different, but for four months.”

“Orphan Black,” now in its fourth season on BBC America (Thursdays at 10 p.m. EDT), is about a dozen or so women, played by Maslany, who are clones. Each multiple has her own personality, physicality and accent. One is a housewife, another is a scientist (and so on). The series follows Sarah, who is trying to get to the bottom of the conspiracy that creates the clones.

Jordan Gavaris, who plays Felix, Sarah’s adopted brother, says watching Maslany in between takes is as interesting as when the cameras are rolling.

“There’s no drama with her. She takes notes so graciously, just as if like her personal trainer were to say, ‘OK, now give me 25 sets of this. OK, great, OK.’ There’s no part of her that’s defensive. She’s totally artistic all the time,” he said.

Maslany, 30, is quick to credit her acting double, Kathryn Alexandre, with helping her pull off scenes with multiple clones. Together they block out movements to make it work.

“She’s just so incredible. She shows up every day having prepared the scene to such a detailed degree, and she always asks me questions while we’re rehearsing or while we’re shooting about intention or something that I’ve never kind of looked at. … We’ve got a really good collaborative relationship,” Maslany said.

For a show with such technical work, Kristian Bruun, who plays straight-laced husband, Donnie, to his uptight (clone) wife, Alison, says there’s a lot of room for improvisation.

“They let us improv quite a bit. Tat and I like to improvise up until we say action. We never quite know what they’re gonna keep or use. It’s always a fun day for us. I always love to see what ends up making it on scene.”

“Orphan Black” hasn’t been renewed yet for a fifth season, but Maslany’s full schedule continues. She’s about to begin production on a film opposite Jake Gyllenhaal.

Maslany says she’s dedicated to finding a work-life balance.

The “first season (of ‘Orphan Black’) was really bad. I lost contact with every person in my life and that was not good. I’ve sort of learned to not do that and still be a part of the world. You can’t, I need that balance. I need to see people and be social and be not social and not always be going, going, going.”
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04/15/2016   Miss Faith   Leave A Comment

From the moment it gained traction in America, the Toronto-shot science-fiction series Orphan Black has been hailed as a touchstone of modern feminism.

In particular, critics have praised the show — which reconstructs the nature vs. nurture debate as a secret bio war — for its portrayal of multiple female clones, all played by Canadian actress Tatiana Maslany. As a recent New York Times profile of Maslany put it, “The cast and crew of Orphan Black labour painstakingly over minutiae, in the service of a much grander contemplation (or, perhaps, demolition) of female televisual archetypes.”

On a recent visit to the set, Orphan Black’s creators, Graeme Manson and John Fawcett, admitted somewhat sheepishly that, while the praise has been both overwhelming and flattering, the choices that led them there were more practical than political. In fact, until a female colleague pointed it out, they were ignorant of the impact altogether.

“Biologically and scientifically it made more sense to have a female clone as the lead, but we’re the first to admit that we didn’t really realize that a family of clone sisters…what a feminist statement it was going to become,” Fawcett says. “That’s been a really interesting journey.”

Sensing a pause, Mason jumps in. “I guess we weren’t thinking about it in a feminist mindset,” he adds. “For us it was to make deeply interesting characters. That was the beginning of our feminist vision for Orphan Black, I guess. It was the women we work with that were quick to point out ‘You guys better stay on top of this, because you’re playing with fire.’”

It doesn’t take Maslany, herself, long to bring up the topic. As the public face(s) of the series, the actress has been an outspoken proponent of breaking what she refers to as the “boxes” that “strong female characters” have been written into. She’s clearly been thinking about the subject, glossing over Mason and Fawcett’s assertion that she’s the hardest working actor in show business, she lights up when a question about her moral boundaries allows her an opening to discuss the topic.

“There are weird things as a woman in this industry that you sort of have to do,” she says, putting down a chamomile tea she’s been nursing to lean forward and look me in the eye. “I feel like we’re so politicized right now, in terms of our mere existence on television being political. Whether we’re there a little bit or we’re there a lot it all factors into the politics of being a woman right now. So I think the things I choose to do, the ways I choose to present myself or the roles I choose to follow, the limits I set, feel relevant right now because we’re in this big era of visibility and of progress and change.”

On the series, Maslany portrays up to 10 characters that coexist, and are as diverse in their physicality and mannerisms as they are similar. She likens the experience to working on a variety show, which occasionally means being asked to expose character traits she’s struggled with.

“There are things like nudity or the kind of part you’d take on or the way you’d portray somebody. I constantly negotiate defending the character versus my own political interests, which I’m just trying to discover right now,” she says. “I think that’ll be a constant struggle — whether playing this part says something negative about women or if it shows women in a weak light, but what if that’s the character? And what if that’s the story we’re telling and what if that gives us empathy and sympathy towards a person we might otherwise dismiss?”

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04/15/2016   Miss Faith   Leave A Comment

In the lower east end of Toronto, half a dozen technicians are easing a 3500-pound camera contraption onto ramps in order to elevate it just enough to capture the scene that will soon take place below. Stand-ins are in place as the technicians secure this “Technodolly” to stop it from vibrating when director David Frazee eventually yells “action” on episode 409 of “Orphan Black,” and all five camera operators work in sync to create Tatiana Maslany’s famous clones.

It’s business as usual for the crew, who have had four seasons to perfect the art of capturing the intricate layers used to bring the BBC America/Space co-production to life. In the top-secret scene of the season’s penultimate episode, Maslany, Ari Millen and Jordan Gavaris work around stand-in Kathryn Alexandre and eventually a mounted tennis ball in order to keep the eyelines even and fluid. Once they have the original take wrapped, however, the Technodolly takes over and the magic of film is unleashed.

At this point in the process, the camera — which was a relatively new technology in 2012 when the series began filming — is a standard tool the show has come to rely on despite its hefty cost. According to co-creator, co-showrunner and director John Fawcett, there are only three available to them in the area: in Toronto, New York and Vancouver. And with more productions (such as “Heroes Reborn”) exploring the tech in Toronto’s sci-fi heavy filming district, the producer has found himself having to call in a machine from out of town on days when he hasn’t been able to book it in time. It’s the same scenario when a Technodolly breaks down, which happened back in Season 2. Too heavy for a flight — it’s essentially “a silent crane with a 10-foot reach” — a machine was driven the 40-odd hours from Vancouver in order to shoot the integral scene instead. Given that there’s only one Maslany and more than 10 clones for her to portray at this point in the show, it’s the only way to keep the Leda universe intact.

“It gets easier every time you do it, but John always wants to push the limits of what we’re able to do with the technology,” Maslany explains. “No part of it is natural, but the great thing is we always rehearse the scenes a lot with people in there so I’ve got a good sense of just what it would be like if there was another person there.”

Behind-the-scenes, that rehearsal is even greater. Visual effects supervisor Geoff Scott reveals that some of the bigger, trademark “Orphan Black” scenes, such as the Season 3 dinner party or the infamous sophomore season dance party, can take up to 1500 man hours to assemble, and often come with at least 20 hours of meetings. Even then, an idea isn’t always guaranteed to work. Most recently for the show’s fourth season finale, Fawcett had to put his original idea for the execution of a clone-heavy scene on hold and go with a back-up plan instead.

“We just couldn’t pull it off, but I don’t want to say what it is because I like it too much and I want to use it someplace,” he says. “Maybe I’ll do it in the season premiere next year.” In the end, Fawcett and co. found another way to convey the emotional scene, which he promises will be unlike anything ever featured on the show.

“That scene was a mix of an emotional challenge and a technical one,” Maslany teases. “The scene is a climactic scene in the episode and in the season, actually. It’s definitely complicated when you do a heavy emotional scene in that context. It was a real test, for sure.”

In terms of Season 4 itself, it seems as though there will be plenty of emotions to go around. Now that the controversial Castor storyline has come to a close, the series will experience a return to its roots. That includes revisiting Neolution — the scientific organization obsessed with genetic meddling that viewers encountered in the first season — and more of an exploration into Beth’s tragic past. It also features the introduction of new clone M.K., a hacker sort, who lives on the outskirts of society and comes into contact with Sarah in a new, unexplored way.

“I don’t want to repeat what I’ve done, so I’m always trying to come up with different clever ways to make a camera move or different and unique ways to make clones interact — all the directors do,” Fawcett says. “We’ve done some really cool stuff this year and we push the boundaries a lot with them trying to actually touch each other.”

At this point in the series, it can be easy for viewers and even the producers to sometimes forget that it’s a visual effect they’re watching — and not just several Maslany clones performing the various roles — as seamless as she makes it feel. It’s a feat Fawcett and his team have been attempting for years, and one they hope has taken this fictional world to the next level. At the very least, it’s helped to garner considerable critical acclaim and awards buzz for Maslany.

“It doesn’t even really look like a visual effect shot anymore, it just looks like two people in the same space so you don’t really question it,” Fawcett says. “But it is complicated — obviously there aren’t two Tatianas, but it’s easy to forget that because she’s so good.”

“Orphan Black” Season 4 premieres Thursday, April 14 at 10 p.m. on BBC America in the U.S. and Space in Canada.
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