Episode Transcript
[00:00:00] Speaker A: Hello, and welcome to Storyteller in depth, a podcast where we go behind the scenes to learn more about the school of communications, meet arts and designs, people, places, and things. I'm your host, Pat Quigley. In today's episode, we have Tinaz Keshavarez. A 2017 graduate of this script to screen advanced television and film program. Tenaz has experience in both screenwriting and casting, which brings an array of experience in this industry. Most recently, she has been selected to join the 23rd edition of the Real World Emerging 20 program, which is tailored to support writers in developing screenplays into a final draft. This is an incredible six month experience, and she's currently working on her own series. This episode will give you a behind the scenes look at some of the responsibilities of a casting director, what being a screenwriter entails, advice for those entering either of these fields, and so much more. Let's dive into the Internet.
[00:00:55] Speaker B: Thank you so much, Tonaz, for being on the podcast today.
[00:00:58] Speaker C: Thank you for having me.
[00:01:00] Speaker B: Yeah, it's gonna be a lot of fun. We're gonna dive into a lot of really cool stuff. But before we begin, can you share a little bit about your journey in the film and television industry and how you became a screenwriter and casting director?
[00:01:11] Speaker C: Totally. So I came into this industry, like, right after, like, right after centennial, and I, like, I had no idea, like, kind of where to start, where to get to know people. I was, like, kind of, like, in this new world. And one of the first things I did was, like, I just need to go meet people. So I decided to, like, volunteer on, like, every canadian film center production that I could find. And I had volunteered on five different productions. And, like, I think it was, like, in the span of two weeks, but they were shorts, right? Like, it was for their program, but it was, like, a great way to, like, meet new people, figure out, like, what I'm into, because I still. I knew I wanted to be a writer, but I was like, I knew that that career path is, like, a very long term thing, and I just need to go meet people and see how the industry kind of works. And at that point, my motto was, I just want to learn anything. I can get to know people and just grasp every learning opportunity I can grab. So I met a lot of people on the film center. I got to read screen. I got to meet, like, these directors or writers who were kind of up and coming, got to meet people on the crew. I was transport, I was catering assistant. I was Pa. I was, like, everything.
And it was at that point where I realized, oh, my God, I love this. I love this collaborative connection. I love how we're making something that has meaning to it and it's going to be on scene, on screen. So that's kind of where I kind of started. And then I found the casting through, like, just like, kind of like a, like a working culture career ad. And the irony in all of that was that the person who was the casting director I was applying for a casting assistant. She had known, like, steve, the program coordinator at script to screen. And it was kind of this, like, coincidental thing where I was like, oh, my God, they know each other. Like, so I immediately messaged Steve because I was, like, corresponding with him throughout, like, literally at the end of graduation, like, continuously corresponding with him. And he ended up recommending me to the casting director because I had come in with a kind of, like, no experience, but this still, this drive and dedication to, like, get into the industry. So he kind of, like, pitched me to her, in a sense, after I did my interview, and then she gave me the chance and I became casting, casting assistant, and where I worked there for two years, and then from there, I kind of wanted to transition into screenwriting. And then the pandemic hit, then I went back into casting, so, and then I worked as a casting associate for another casting director and worked on, like, all these different brushes. Like, I worked on working moms, the porter sort of. So I got a really good grasp of, like, pre production and how to pick actors, scrimps. I kept seeing incoming scripts, dealing with execs. So it was a great learning experience for me. And then now I'm kind of fully transitioned into more the creative aspect and focusing on writing and also working as a literary associate for play management has been great, too, because it's, like, part of that, like, screenwriting creative aspect. Yeah, that's a little bit. I feel like I ran not at all.
[00:04:45] Speaker B: I mean, it's so cool to find out just kind of, like, your background and everything that you, you're doing, because that's, you're, you're doing a lot of stuff when it gets down to it. And, like, of all the projects that you've worked on, what has been one of the most memorable moments that sticks out to you?
[00:04:59] Speaker C: So, um, when I, so when the pit, when the pandemic hit and then after I did, I was, I was a casting associate for a couple of, for like, a year or two to, I ended up, unfortunately, getting laid off and then got into, I've had an opportunity to be a casting director myself. Climb, like, a digital series. And that was a great experience. And that was kind of memorable because when I had gone laid off, I was like, oh, my God, where am I going to find my other job? It's still kind of the heat of the pandemic. Like, what am I, how am I going to, like, connect with people without being in person? So what I decided to do was like, I'm just going to cold email a bunch of production companies and see which one hits. And this one woman called me and she was like, hey, look, I know you want to get into the creative side and stuff like that, but you have a lot of casting experience.
Would you like to, like, you know, be a casting director for one of these visual series that we're working on? And at that point, I was like, I don't know, like, do I have any experience? Do I have enough knowledge? Like, can I do, can I take on a project on my own? And she was able to kind of, you know, give me the confidence and to be like, no, like, you can do it. Like, you, you've worked under all these casting directors. You've learned the ropes. And I think this would be a great opportunity for you. And that's, and that, and then she gave me that what, the first opportunity as a casting director. And then from that specific project, it kind of, I kind of, like, got recommended for all my other projects. Like, it was kind of like a word of mouth. And if it wasn't for her vouching for me, I wouldn't have gotten so many of these different opportunities. And then to kind of piggyback, on that note, when I, so I had casted recently, I casted Brea Macketz alive, one of the best comedy series for CSA.
I had cast in the two leads for that show, but prior to it, it was, again, my first time, kind of, like, doing a big series.
And the team was so amazing. Like, I've never met such an amazing group of women and group of people that really didn't really, they didn't really weren't worried so much about how much experience I had. But if I was, like, connected to the project, if I was someone that they wanted to work with and immediately, like, there was a point where, like, there was some, there was some pushback. It's like, oh, can she really do it? Like, can she? Because she doesn't have that much experience. Are we taking a risk? It's always this conversation of, are we taking a risk? And the team on Brie Mac, one thing that they did for me was they went to bat for me. They vouched for me. They were like, no, she can do it.
We want to take the risk on her.
We met with her. We think that she's the best fit to find these leads. And again, if it wasn't for them giving me that opportunity, opening that door for me, I wouldn't have gotten this opportunity of casting the two leads. And that's kind of, those are two memorable experiences that always kind of keep in my head of, like, the only, the opportunities that I've got in have been for where people have vouched for me and have opened doors for me and really thought that, like, I could do it even when I thought I couldn't do it. And that to me, is what, like, I've taken from now that I've kind of gained some sort of gain some experience that I never want to not give someone an opportunity just because they don't have a specific amount of experience. Like, you know, it's always about vouching for those, vouching for people, because then how are we going to open the doors? Right? Like, that's kind of like something that stood out for me.
[00:09:03] Speaker B: Well, for sure, I know that I don't think I'd have the career I do now if somebody didn't vouch for me way back down the road to where I am now. It was the same thing, was a, it was a professor from Centennial College who reached out to a supervisor with, with a company that I was working with. And they're like, you need to give him a chance. Like, honestly, he's one of the best at doing this kind of stuff, so please, please give him a chance. And, you know, the supervisor later down the road came back and was like, you know what? That was one of the reasons why we did hire you is because this professor, this person vouched for you.
[00:09:38] Speaker C: Yeah, exactly.
[00:09:38] Speaker B: So it's definitely one of the greatest lessons that I impart. And I, you know, it's wonderful to hear that you do, too, that, you know, make those connections when you're going to these places because they're just so valuable.
[00:09:50] Speaker C: Right, exactly. And you never know. Right? Like, you, you know, you, I think most, most of the jobs I've gotten have been just showing and kind of showing how dedicated and how driven I am to get the work done. Like, even if I don't necessarily know it, I'll do anything and everything to figure out how to do it, learn from other people, you know, and do my own research. And I think that hunger and drive can take you far.
[00:10:18] Speaker B: Oh, for sure. So we're going to continue talking about the casting side of your career. Can you walk us through your approach to casting and give us an inside look on the day to day responsibilities of a casting director when you're working on a project?
[00:10:32] Speaker C: Totally. So one of the biggest things that you start when you're doing casting is if you get a show, the first thing you do, you want to talk to, like, the producers, writers and the creatives about, like, okay, so what are you looking for in this role? Like, what is something that you really need to stand out? And then from there, you kind of take that. And then when you start kind of creating your, like, what we do is, like, we create our character breakdowns, right? Where we kind of just, like, we do different descriptions or specifics that are important to this character. And then we take that and we put it on, like, our casting software, whether it's breakdown express is one of them, casting workbook is one of them. Or we also love to, like, put it on social media, because, again, like, there's, like, a huge, vast of talent that is untapped. And not, not everyone is necessarily in these programs. So you want to really kind of look everywhere, especially if you're doing, especially if you're casting for a show and you're looking for series leads, because these series, these are the ones that gonna take you throughout the show. So you really want to see it. You really want to look everywhere. So basically, how we started is, again, collaborate with the, we find out what the creatives are looking for, implement that when we're looking at different actors submissions, whether that's on social media or any of these casting software. And then what I would do is I would make a short list of who I think might be right for this role. And for me, my thing is, I don't necessarily like how we were just talking about. I don't necessarily look at how much experience this person has. Oh, they've been on this show. They've been on natural, they've been on Bachelor. I do look at that. But I also love to leave room to give opportunity to people who are new and fresh, who are just coming, maybe out of film school or maybe coming out of acting school and then coming out of different workshops and this and that, because it gives what, it gives them the opportunity to really get into a character that they've never done, and it gives them training. And it also gives me the opportunity to see fresh voices, and you never know, it might hit.
And then from there, like, I will basically request. Nowadays it's all self tapes. Not really, like, in person audition, unfortunately, but they both work well. Like, self tapes and auditions. They work well for me since because of the pandemic, all I've done really is self tapes that just been the most accessible to me.
But basically, like, I would request self tapes. They would submit them. I'd look at probably sometimes I've looked at three to 500 tapes and kind of make a short list of my own to send to the creator and directors or producers. And then what I would do is I create a link for them, and then I'll submit that link, and then they'll look at it, and then we'll kind of have a meeting about, like, okay, so these are the people that they loved. Maybe if they didn't like any, if they didn't necessarily hit with any of these actors, then we'll go back and we look for these characters, or we'll add, like, maybe notes for the actors, or maybe we'll start doing callbacks. So it's like, that's kind of how the early stages of how the process kind of logistically works.
[00:14:00] Speaker B: Wow. So it's really, it's a really full process when it gets down to it.
[00:14:05] Speaker C: Yeah, it's full fit, a creative process. And both also, like, a logistic process. Like, it's very, like, intertwined. And one thing, because you're getting so many tapes at once, it's sometimes so hard to keep track. What I love to do is, like, the good thing about these softwares is that it's like, easily, like, for actors to upload them and then you kind of get a whole link for yourself and then you kind of go through them.
But then, like, with the social media, when you're going for like a, like a big casting call, it's always so good to have, like, one email dedicated to all those takes so you don't miss anything.
And, yeah, so it's like, it can be, it can be a long process. And usually you got to give yourself, like, a couple of days to really look at these tapes and really kind of take in, especially when you're dealing with, like, main characters or series leads, because you really got to look at, like, okay, can this, can this, like, actor, is this actor really getting what the creators are looking for in this role? Can we push them further, maybe? Right? Like, you want to find. What I love to find in these tapes is, like, authenticity. What do they bring that I necessarily didn't see in this character?
And that's what really kind of makes you stand out as an actor, right? Like, if you, if you really bring in something unique or you did your own character analysis of the character and you bring something around. Oh, I didn't catch that. Oh, that's actually really interesting that they added. So that's kind of like, yeah, so.
[00:15:42] Speaker B: What'S something somebody might not expect about casting somebody for a role?
[00:15:46] Speaker C: Um, that's it. So I would say, am I only basically, just to piggyback again on what I was saying was, like, basically one thing that people, people sometimes are, can be intimidated if they don't have that much experience.
And I always say, don't feel intimidated, like, auditioning for that role because you never know what might come out of it. I think that was one thing that not a lot of people know is that it's, for me specifically, I don't want to speak to other cast, but for me specifically, it's not about how many shows you've been on or how many movies you've been on or even how much training is making. But, like, basically does it. It's not necessarily that. It's about what you bring to this character that really brings that character alive, whether it's like a little.
The way you kind of deliver your lines or whether it's like doing a little bit of a kind of ad lib on your own. Sometimes people do that in comedy. So it's so never feel like, oh, I don't know if I'm right for this role because it's like, you know, it's really big. Or like, I don't know if this is like, you know, necessarily. Maybe I need more time. No, like, there's. There's all there. There's always room with room for people who don't necessarily have the linear acting experience and stuff like that. Like, for example, I'll give an example. Actually, I was this one actor, I just did a feature film, was it that's going to come out about, like, music in music in Toronto. And it's really about showcasing Toronto in all of its kind of way lately. It's about these two characters who kind of go through a little journey around Toronto, can't get to much away.
But there was this one character it was very hard to find. Like, we were looking everywhere and then we were like, okay, no, let's just post this on social media. Like, that's kind of like, I think we'll find there. Post it on social media. We put it on different, like, job post job boards, college, different college programs and put it everywhere.
And there was this one guy. He fresh out of, like, George Brown. And he did an audition, like, in, like, I think it was like, in a study room of, like, George Brown.
And I watched this tape and I was like, oh, my God, this is fantastic. Like, the way he just delivered his lies that Kirito was supposed to be, like somebody who is like.
Like, he's kind of gonna be like the villain technically in the show, in the movie. And he's like, kind of like somebody who, like, will mooch off you, if you know what I mean. Like, you would be somebody who's kind of white manipulating people. And this. This guy did such an amazing job of enhancing that manipulation, enhancing that, like, kind of character, of like how this person would react to certain things, whether that be through the facial expression, whether that be the way he delivers lines or uses kind of like his body in the acting hells. And, oh, my God, like, this guy is good. So we sent that. And I was like, you. I was, like, telling. Telling the crazy, you gotta look at this guy. He's so good. And, like, I immediately. We immediately brought him in a callback. He. He just brought, like, a spark to that character, a unit of freshness to that character. It was. It was raw but, like, authentic but, like, real at the same time, if you get what I mean.
And it was like, out of the blue. And then we were talking to him and he was just like, yeah, like, just came out of George Brown. Like, I'm about to graduate. Like, he hadn't graduated yet. Like, he was going to graduate that June or something.
And it was one of those, like, one of those, like, amazing experience of finding someone that is talented but not necessarily would have been seen. Right. And the first thing I did was I. I talked to him and I was like, you need to get yourself an agent. Like, you know, you have something so interesting, so unique and, like, want that be. I want that to be shown throughout. And it's about. And then, you know, he got the role and he was a supporting lead role. What, his 1st.
1st role in a feature just out of George Brown.
[00:20:34] Speaker B: And, yeah, that's gonna be exciting when it comes out. I can't wait to see it and get to know, hey, I got to talk to you and got to know the process behind this guy before he got there. That's so cool.
[00:20:46] Speaker C: Oh, I can't wait. I can't wait.
[00:20:48] Speaker B: Yeah, switching. Oh, sorry.
[00:20:50] Speaker C: It should be coming out soon. I'll let you know. I'll let you know. Okay. All right.
[00:20:54] Speaker B: All right, so we're going to switch gears to the screenwriting side of your career. Can you explain a bit about your creative process and how you approach writing?
[00:21:01] Speaker C: Um, yeah, totally. So, um, with my writing, like, I kind of. I feel like I'm a. I'm one of those writers who, like, are just, like, having notebook in their hands whenever an idea comes to me. So I usually start with. My biggest thing is, like, I love to start with characters. Like, if I have an idea of some sort, I really want to first focus on the characters. I mean, some people would say, you know, don't do that, but I feel like the first thing that draws attention to me creatively are characters, and I love to flesh them out prior to even, like, figuring out what the. What the story of this pilot is going to look like, what the series is going to look like. I'm like, what characters do I feel that I want to talk about? Because nowadays, a lot of things are character good, and everyone relates to characters that are human eye, and you really want to make sure that your characters are not just characters that are just there or not active. Like, you really want to make them feel real. You want to make them feel like they're coming off the page. So I love to focus on that first. So what I do is, like, I I have, like, for example, like, I'll give a little bit of, like, a stuff that I'm working on now or working on. I'm working on a new thing, and I'm, like, going through that process right now. So I had an idea, and I was like, okay, what is this idea gonna look like? Who are my characters going to be? What are their flaws gonna be? What are their perspectives on the world gonna be? How are they gonna act? How are they gonna react?
Are these two, like, best friends? Are they not like, is this gonna be, like, someone who's gonna be a villain throughout the show? Like, I kind of go through all these different obstacles of what my characters are gonna look like. I flesh that out, and then from there, I think, okay, then I put them aside. I put them aside and I look, okay, what is gonna be my. What is. What's the story that I want to tell? I want to tell a story about? Let's say, um, I'm trying to think. I, like, tell a story about two best friends and on a journey together. Okay. So then I kind of go and, like, nuance that, and I figure out first series, for example, like, I figure out what is going to be my pilot storyline, what is. What are we first going to see and what is the hook of this show? And then once I figure out all those different layers, then I kind of go into what I wouldn't say, like, a structured outline because I'm not really somebody who loves to outline. It's not really a process, but what I will do is, like, I'll be beat, sheet it out and see, like, how was my first, what are the beats in my pilot? And, though, do people see where the show's gonna go? Then from there, I kind of maneuver and kind of start looking at writing a script. And I would call it, like, my vomit script script. Like, what is that kind of gonna look like? And then I give it a few days, and then I go back and I kind of finesse it. And the biggest things that I want to make sure I have is, like, I have my character splashed out. I have a conflict that's going to drive the show. What is the pilot of the story? What's the story of the pilot? And then what is that question that I'm trying to. What's that thematic question that I want the audiences to look for? And that's kind of my messy process as a writer.
[00:24:36] Speaker B: So where do you get, like, your, your inspiration from? Do you get it from, like, experience for yourself or do you kind of have scenarios that you're thinking of? Like, how do you get that experience? How do you get that, that thought process?
[00:24:49] Speaker C: I do a little mixture. Like, I get my.
I get a lot of it. I get a. I get a lot of it from my personal experience.
But at the same time, I don't necessarily, and this is just me. I don't necessarily want it to be, like, full on my, like, story, life story if I just take little glimpses of my experience. So, for example, right now, the voice that I'm kind of tailored to right now is, like, coming of age stories about being 18 or 19 and being in that transitional period of, like, you're out of high school, but you're also not an adult. And how does that look like? So those, that, and so that's kind of where my focus is at right now. So I kind of go back to my own experience of being 18, how I felt, or certain scenarios that I've encountered. So, and then I'll take that and go, okay, how do I kind of put that into a story? And sometimes my, my inspiration sometimes comes from different shows, right? Like, I'll watch different shows and be like, wow, he did this so good. Like, I need to read that script. I need to see how they did it and. Or sometimes my inspiration comes from watching I'm dog sometimes, like, you know, depending on, like, what genre I'm looking at. So it's kind of a mixture, like, it's a mixture of, like, my own experience, but also a mixture of, like, watching different shows and what kind of connected with me, how they did it, and what can I do in a similar genre but through a different lens, and how do I kind of finesse that? So, yeah, that's kind of where my inspiration stems from.
[00:26:36] Speaker B: Is there something you wish you would have known when you first started writing scripts that you know, now?
[00:26:42] Speaker C: Um, I'm trying to think there's. So, um, I. Okay, yeah, I think one thing that I wish I knew when I read, when I first, like, wrote one of my very first scripts out of, like, out of school, was that every scene needs an intention. Every scene matters. You cannot just, like, throw in a scene for the sake of, like, oh, this scene, like, feel looks good, or there's something that's, like, it has to happen. You have to say something of the scene because the scene has to move the story forward. So what I love to do now is, like, I look at a scene and do we need, really need this scene and being open to cutting that scene for the sake of the story? And I think that was something I didn't really take in when I was initially writing before, I was just kind of writing, and I was kind of writing from a life, from a plot point rather than a story point.
And that's something now I'm really, like, focus on doing every little thing has to mean something, and it has to somehow bring us to the end.
[00:28:02] Speaker B: Wow. So, okay. I think. I think I understand, like, where it's going, and, yeah, screenwriting is so cool. Honestly, it was not something that I could get into when I went to, into the broadcasting and film section with centennial, but, you know, hearing other people just be so.
It's their passion, like yourself, it's your passion to do this kind of stuff. So it's cool to hear that.
[00:28:27] Speaker C: Thank you. Yeah, it's like, it's interesting because sometimes we think it's, oh, like, I want to tell this story, and then when you write it into a screenplay, it's very, it's very difficult to navigate. There's so many challenges that come with it. But one thing that I've learned is that watch all the shows that you love, watch all of that, and really and analyze it. Like, every scene is so it's filled with so much intention, and it's. And it's there for a reason. And that's something I didn't really, I kind of brushed off at first early on until. Until now when I, until now when I've, like, read. I read. I've written, like, a lot of bad scripts and then ready and then read good scripts, and I was like, oh, okay, so this means something. That means something. That means something. And the best example of that is, like, so many, like, there is, like, yellow jackets, for example. I'll use that because I love that show. Every scene, there was a reason. In the pilot. There was a reason for every scene. There was a reason why we needed to see the girls in a specific way, because it mattered to this overall story, because we get little breadcrumbs of what's about to happen. Then by the end, you're like, oh, yeah. Like, oh, this is why. And it's all about answering that, why? Scenes have to answer that, why? And it's like, if you can, if you. And the only way to really do that is to write that botnet script and then go back and really be intentional and really look at your scenes with, is this. And asking yourself, is this moving the story forward?
Can I explain this scene to someone and say why it matters? If not, take it out?
[00:30:18] Speaker B: Some good advice. Some really good advice. And one, something that's really, really cool, and we've got to bring it up, is you've been selected to join the 23rd edition of the Real World E 20 program. This is a six month program to help those selected polished screenplays into a final draft, either for film or series. And you're among the series group. So can you first share your thoughts on being selected back in April? And can you share a little bit, a little of the details behind the series you're developing and what you're most looking forward to at the end of the day?
[00:30:48] Speaker C: Yeah, totally. So I was so excited when I got accepted. I was.
I'd been applying for this specific program. I think I'd apply four to five times.
And this was the time I actually, like, bought my alcohol successfully, like, into the program. And I was so excited. I was like, yes. Like, you know, I've always wanted to be in this program. I used to follow this program for. I followed this program for a while, but one thing I did was like, I'm gonna apply. I'm gonna make sure that I have my script in a first draft ready to go before I apply. So there were a couple of times where I'm like, so I wanted to make sure I did that. And then it gave myself two to three months to really focus on, like, a tie into this program. So I was really excited.
And it's been. It's been a great experience. I've been in it for a couple of.
I've been in it since it's been two months now, and it's been amazing. Great experience. I feel like my script is getting there.
And to tell you a little bit about the series I'm trying developing, I'll say this, it's a, it's promising young woman meets pretty little liar in the world of sororities and fraternity, and that's. I'll leave it at that. And it's a. And it's like a murder mystery thriller. Okay.
[00:32:16] Speaker B: Wow, that's. That's going to be interesting. How. How long is it going to be a series? Is it going to be a film?
[00:32:21] Speaker C: It's going to be a series. It's going to be 1 hour.
Yeah. And there's. Yeah, and I've always loved the genre. I love horror, so, um, and I love murder mystery.
So I kind of wanted to incorporate that when I was writing it. So, um, yeah, I'm gonna leave it at that for now because it's not fully done.
[00:32:47] Speaker B: Well, I'm sure that all those listening are gonna keep an eye on that and keep an eye on your name for, for when it does come out. And they're like, hey, listen, that podcast. And now we got to see the final, the final work of that, so.
[00:32:58] Speaker C: Yeah, totally. Let's put it in the universe.
[00:33:01] Speaker B: Yeah. So you're a 2017 graduate of the centennial script to screen advanced television film program, which is now entering its 10th year, which is incredible. How has the program helped you, propel you? How has the program helped propel you into your career? And what was your favorite part?
[00:33:18] Speaker C: Yeah, so there's so many things that helped me. Like, that program helped me. One thing was the fact that we were able to do our own shorts. I think that was an amazing experience because you really got a little glimpse of, like, what it takes to make any, like, a short film or because all of that can apply to feature series. There's always so many elements to it. It's not as easy as, like, you know, when people watch on screen, when they watch film and tv, they're like, oh, wow, this is so great. It, like, you know, feels so polished, but, like, there's so many mechanics that go into it, and I feel like the one thing that the program had taught me was about those mechanics and about how you have to work as a team. It's not like a one person job. It's not a one person project. It's a group of people coming together and making a project come to light. And these little short films that we did kind of allowed me to, like, experience that and being like, okay, I need to adapt in a way where I'm, I have to be collaborative with people. I have to be open to communication. There's a lot of, there is a lot of things that go into making a project. And one thing that I took from that was like, I need to know every aspect of this industry, that when I do become a writer, a working writer, that I understand these different departments, that I'm not just, like, in one world and you like, oh, no, no, I don't need to know like these or no, no. What I wanted to do was I wanted to learn all these different aspects. So that's what I kind of made sure I did when I was in the program, and that's what it taught me, to really understand all these different departments and how they all play a role. And then another thing that, one thing that the program taught me is that, so we have this short film that we do one short film. We all do our little short films for our program, for our directing course. We have that one big final short film where we take a script, and then that's the script that we're going to make. And I was initially, when I was in the program, I was so excited for that. I was like, oh, I want to be big. I want my screen for pick. I'm pretty sure everybody had the same kind of thought, but I was at that point, I really knew that I wanted to be a writer. I want to be a writer in this industry. I want to really be in that creative world. And then when my script didn't get picked in the program, it was, like, heartbreaking for me a little bit. I find something, like, emotionally. But one thing it taught me, though, and I'll never, and I'll take this throughout my entire. I think that was the best thing that ever happened to me because it taught me rejection. It taught me that as a writer, you are going to be constantly thrown rejection, and you have to have a thick skin for it. You have to be able to understand that it's not you, it's not necessarily you. It's not necessarily your experience, not necessarily your story. There's sometimes this just happens, and that doesn't mean that you stop doing it. That doesn't mean you take it emotionally. You have to be in a fix, kid, and keep moving, keep going. You know, someday, somewhere, we'll take your stuff. Or maybe you just have to put that aside and keep working. It's about consistency, right? So the biggest thing that this program has taught me is how to deal with Russia and how to keep going and keep dedicated to the craft. And it's all about consistency, because after that, I went in and realized there was a lot of rejection. And I always come back to that one moment in. In. In the program where I experienced that firsthand. And it was. It was. And thankfully I did, because I experienced that in a program and I experienced how to deal with it, and I was able to still be very collaborative. I still was, like. I was still very supportive of the short film. I was willing to make sure that this short film comes to light, but it really taught me that you need to have a thick skin. And I was like, that was the best thing that ever happened. I'm actually so happy my script never got picked because it wouldn't have. I wouldn't have been where I am today, because every single day, it's fueled with rejection, and you have to be able to take it, like, with a smile on your face, and you have to be positive about it. And I think that was the biggest thing. And if you want to be a writer, that's what you're going to be dealing with George for time.
And then when that one being hicks, it's, like, such a humbling experience, such a great experience. You really feel that?
So, yeah. So that's one thing. That's one of the biggest things I took from the program was how to deal with rejection and still keeping to the craft and still being driven and dedicated.
[00:38:24] Speaker B: You mentioned at the beginning of the podcast about how you stayed in contact with Steve Lucas, and, you know, how valuable was that for you to continue making the connections with instructors and peers? And do you still stay connected with these people today?
[00:38:38] Speaker C: Yeah. So I still speak to Steve. He. And he actually attended my wedding.
I kept in contact with him because I felt like he really understood me as a writer, and I really wanted to keep in touch with him and, like, still learn from him and, like, be able to, like, keep that open conversation going and still keep me connected. I still say that, like, whatever that program means, I'll totally come and help.
And it was a valuable experience because building that connect with Steve was. Helped me get my first job in the industry. Like, he vouched for me, recommended me, basically. And if it wasn't for that, I honestly don't think I would have gotten in that position because, again, like, I didn't have that much experience. So that was amazing. And I still keep in contact with, I tell him, you know, I tell him, like, what I'm working, like, what I'm going, what I'm doing, any projects that I'm working on, because he really helped guide my career and he really helped me understand this industry. I learned how to write a story from him first. You know, I learned how to understand directing from George. Right.
I learned a lot about editing. Like, it was just things that were such valuable experiences to me and skills that I don't think I would have learned without them. And I wanted to make sure I kept in contact with them because there are people who are also working in the industry. Right. You want to keep connect with other people, even if they're your program coordinators, because they're still working, you know, and they still have connects. And you want to make sure that, you know, if someone had asked them, oh, do you know somebody that could do this or that that, you know, they can recommend you.
In terms of peers, I do keep in contact with, like, one of my best friends came out of that program, and, but she's not in the industry. But, you know, we kept in contact another friend of mine, too.
You know, we keep in contact as well. Not necessarily in the industry, but, yeah, like, you know, I still keep in contact with some people. There's one that has a podcast as well. And so I've been on his podcast and came on the program as well.
[00:41:03] Speaker B: I still have a couple notes from Steve from way back when I took screenwriting classes at centennial, and every so often I find them and I go, oh, yeah, that's how I was. Write a story. And although I'm not in that side of the field anymore, there's still things that translate into my work today that help me still tell stories in a different way. So, you know, Steve was an awesome teacher, and I'm glad that you still have an amazing relationship with him. And that's so cool.
[00:41:37] Speaker C: Thank you. Thank you.
[00:41:39] Speaker B: Yeah. So looking ahead, what genres or storylines are you most interested in one day exploring that you haven't yet?
[00:41:46] Speaker C: Oh, that's a good one.
Like I said, I love horror. Love, love horror. So my biggest thing that I really want to do is I want to do a genre horror slasher feature, and that's my next.
Right now, I'm focused on series writing, but one thing. I want to get that horror film out. Like I really, I love for and I really want to go into that world at one point, like hopefully I won't play. So that's, that's my next, like I'm going to get that slasher or out.
[00:42:28] Speaker B: Awesome. Well, Tanaz, it was wonderful to meet you and chat with you today. So thank you so much for being on the podcast.
[00:42:33] Speaker C: Thank you. Thank you for having me. It was great.
[00:42:42] Speaker A: Thank you so much thanas for being on the podcast. It was so great hearing your experience and all the amazing advice you had as well. We're also so glad that we could celebrate the ten year anniversary of the script to screen program with Tonaz. If you liked this episode, be sure to catch up on all the other ones if you haven't already. Until next time, I'm your host, Pat Quigley, and this is storyteller in depth.
