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Short interview · August 2013 · Toronto

Laura Vandervoort, Greyston Holt & Greg Bryk

Actors Laura Vandervoort (Bitten, Smallville) Greyston Holt (Bitten, Durham County) and Greg Bryk (Bitten, Saw V) chat with Matt Schichter in Toronto.

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Laura Vandervoort, Greyston Holt & Greg Bryk InterviewShort interview · 3:57 · 24,000 views

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Episode #582 · Laura Vandervoort, Greyston Holt & Greg BrykAugust 2013 · 00:03:53

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0:06Alright, Bitten, what can you tell me? All I know is there's a book, it's werewolves, that's what I got. I've done a little more research than that, but we'll start there. Yeah, I know we've... Yeah, I know, I show it's called Bitten, it's adapted from the novel series by Kelly Armstrong, the Canadian author, and it's about the only known female werewolf, this lovely lady, and her struggle to kind of live a life, a normal life in the city, and her obligations to her pack. And you're her pack? Yeah, two members of it. Jeremy is sort of the pack alpha, and Clay, who is her pack love interest, and there's just a lot of tension and violence and excitement. As Snoopy, you'd understand that, you're like an honorary pack member right now, Snoopy runs with the wolves. I would love to, you should get me an episode and I'll just run by in the background, people are like, how the hell was that?

0:54That would be much different from our stand-in dog that we have, it's like a big stuffed husky. Oh really? We'd just replace it, we'd actually be better. Do you have real dogs on set, are there actual animals? Yeah. So everyone always says don't work with animals and children, what's it like? Well, we as a child, and a nurse. So it's not too bad for us. Thank Laura. No, we actually, the VFX team, we use our line producers dog Chewy. Be a beautiful German Shepherd. Big German Shepherd, and just, we run them through the take at the end of the shot, and just so they can see how the fur plays and the lighting on the fur, so we actually do use dogs, they're not going to film it and use it in the show, but just so the VFX guys can see how the fur plays or wood play in that lighting. So what's it like working with, like looking at nothing? Is that, you feel like the biggest idiot, when you're, when you, I do this scene where this wolf,

1:40only when you're working with on our show you feel like you're not. I always feel like the biggest idiot. You see it's very gentle, you get a life jacket on the whole time. No, like I did this one scene where, where there's a mutt in wolf form running at me, and obviously he's not there, and then Elena's character wolf saves me last minute, jumps out of the fur, bruises, hits the wolf and swipes out of the frame, and I got to watch this stuff and it's not there, but it's, I mean it's here, you feel like an idiot, you just got to sell it, but. The best part of that story was you smacking her, not even noticing you did that. Not even smacking her? Not even smacking her? Look at that bruise, you just gave her, that was crazy. My face. So do you guys go back and forth to the book to get back into character, like are you, do you consistently go back to the novel to find your characters, or did you just do the one read through, figure things out? Yeah, I think we generally just all sort of reviewed the men of the other world, and bitten to get to know what it was all about in the fan base,

2:30and I mean that's what I did, and I think after the first couple of episodes we all just sort of developed the characters in a way that worked for us and brought our own thing to it, and developed our relationships, and then there was no real need to go back to the books, because I felt like we sort of all felt comfortable and sort of slid into our roles. Yeah, and it's like a source, it's a good source to have, and to refer to, but I mean as actors we kind of have to take artistic license to make it our own, and so yeah, that's that. Snoopy, I have to stop this interview, I just realized we match. Oh yeah we do. I bet it's so important to comment on right now. Does it? And you know what, we're actually framed perfectly with the two black in between. Right?

3:15That is, wow, we didn't even explain it. No. I think that's where we should end it. It's fantastic. High paw. High paw. High paw. I'm going to pause for a moment before we do aww. That's good. Do we get some applause? This might be a little more. A plot? A plot? Yeah. I'm going to go with it. Nice. Thanks guys. Thank you very much. Wait, when can we see it? January on space. January on space. And in space. And you. Yes, for your next visit to the moon. I don't know if that part got caught on camera before. Yeah, I just look crazy. He goes, sound bites. Yeah. I still don't eat here. I just. No. No. No. No. I'm going to eat. No. No. No. No. No. No. No.

4:00No. No. No. No. No. Yes. No. No. No. No. No. No. No. No.

Machine-generated transcript; names and words may contain errors.

ABOUTThe archive

This interview is part of the Matt Schichter Interviews archive: more than 700 conversations with musicians, actors and filmmakers recorded between 2003 and 2014, beginning with The BackStage Pass. The archive also became Matt's short documentary Lennon or McCartney. Matt Schichter is now a Glasgow-based film producer and director. His films → · More about Matt →

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