- il y a 2 minutes
In this Duanju interview, actress, writer, director and producer Carin Smolinski shares her journey into short drama and her vision for the industry's future. She discusses improving working conditions on set, creating stronger female characters, promoting diversity, and telling stories that reflect different audiences, including mature love stories.
Interview by WENWEN HAN.
Interview by WENWEN HAN.
Catégorie
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AmusantTranscription
00:00My name is Karen Smolinski and my background is as an entrepreneur in Asia, ironically,
00:07but mostly in Japan. I built a seven-figure company there, so I bring my experience in
00:14business and entrepreneurship over to the film industry. I started in microdrama, verticals,
00:23short dramas. I don't know what term we're going to end up on, but we all know what I'm talking
00:29about as an actress a year and a half ago. And the first set I got on, I had no
00:35idea what a vertical
00:37was. It took me five days to figure out the camera was sideways. And now I just completed my 26th
00:45series. So I'm still actively acting in them. And there were a lot of values that didn't align with
00:57me. And so I believe in showing up and being the change that you want to see. So I decided
01:05to step
01:06into producing and directing and writing. So put it all together. Well, in my heart, I'm an actress,
01:15but all of the other things that I'm doing in order to have something elevated that I can act in,
01:24that I can feel proud of. So it's all tied together. But also my son is a director of photography,
01:33Indiana Wilson. So we work as a team, director DP, duo. So it's also amazing because I get to work
01:41with my son. How was that experience? How? It's changed a lot in a year and a half. From the
01:49sets,
01:49from when I first started to now, there was no intimacy coordinator, no stunt coordinator.
01:56They had guns on set. And I was like, whoa, let's just stop a minute. Can we have a safety
02:03meeting?
02:03It was very different. They were not real guns. We didn't know. It's just the guns came out. And it
02:12was
02:14extremely chaotic. We would get our call sheets at three in the morning for the next day.
02:20And, you know, you have to go to sleep and you don't know what time to wake up and all
02:25of that.
02:25So things have come so far in the Vancouver space, where now sets are very professional.
02:33They have stunt coordinators. We have turnaround times. Children, actors have tutors. It's really
02:41come a long way. Why do you think it changed so much?
02:44There was a lot of backlash. I think at the start, we all just fell into it and didn't really
02:52know what
02:52was going on. But once it kind of started to solidify and we saw that this is here to stay,
02:59then it was people speaking up little by little saying, we need this, we need that.
03:05But this is kind of the bare minimum that we need to have. And I think that we have more
03:14talent
03:15from every area. We've had more experienced people come over and also bridging the gap
03:24because originally it was a, it was more of an unknown here.
03:30How would you define short drama? And what do you think it's their essence?
03:34I would define short dramas as bite-sized little soap operas that keep you hooked and keep you
03:45watching, but are in little, little snippets. So you can watch it, uh, as you walk from your desk,
03:52or if you're taking a break from the kids and those little things. Um, but that they hook you
03:58because the drama and the escapism. So that's, that's how I would define it.
04:04What's its essence?
04:05I think the essence is drama. I would say at the essence, it's, it's over the top.
04:12And I think that's what makes it so appealing to people is because they're stepping outside of
04:18their own world. You don't finish one and you're not crying and feeling all depressed. You escape
04:26for that short period of time. You can drop out, watch a little bit one day, a little bit another
04:32day. So I would say drama.
04:34What are the differences between short drama and long-form series like films or TV?
04:40Ooh, I would say one of the biggest thing is the hooks and the short episodes because so much is
04:49evolving in the genre right now that I think that there's coming this point where we differentiate
04:56with the format of 916 from the genre of micro drama. So now the format is going to evolve to
05:07have
05:07all different manner of things being shown on it. But the micro drama or the vertical web series or the
05:15micro shorts, that format with every two minutes, one to two minutes, having a new episode and ending on a
05:24hook, I think is the biggest difference because you're on this adrenaline dopamine
05:31ride the whole time because you can't click out. So traditional film can be a
05:37slow burn and things can unfold and evolve like an onion peeling back the layers. But this is right in
05:46your face. It keeps you hooked and it keeps you from the moment you start to the moment you end.
05:53Well, as an actress, when you receive short drama scripts, it's already, most things are already set.
05:59So how do you bring extra depth or appeal to the story or your character?
06:03Well, actually, what a lot of actors are now appreciating a lot is that at our table reads,
06:11we are getting a little bit of input now. So before, not so much, but now we're able to say,
06:20could I say it this way? Because it feels more natural, but it has the same meaning or essence.
06:27So I do think we're getting a little more input. But how I was trained by a student of Meisner.
06:37And so we're bringing reality to unrealistic situations. So for me, I find what the key
06:46emotion is for the scene. And I go inward and I find that emotion. And then I bring it to
06:55the scene.
06:55And that, I hope, brings some authenticity and realism into the unrealistic situation.
07:03Because if you're doing acting that is unrealistic with an unrealistic situation,
07:10then it just becomes too much. But I think by putting that realism and bringing real emotion
07:18to these crazy scenes is where it pulls the viewer in.
07:23What kind of emotional connection do you think your audience gained from your character
07:28or from the short drama story? Can you share an example?
07:33I think that we see a lot of good versus evil, love stories, underdogs. And I think that people
07:43can throw themselves in and root for that person who's down a little bit. And I think that is something
07:51that is hard to understand with some of the tropes and that because it feels so sometimes it's so hard
07:59to understand where the numbers are coming from, where these viewers are, when the target demographic
08:05is middle aged women, which is me. And I don't want to see women getting degraded. And I don't want
08:13to see
08:14them getting abused. And yet the viewership is so high. So I've dug deep into a lot of that. And
08:21I think that
08:21some, maybe the emotional connection comes from perhaps people are seeing a connection with being the
08:31underdog or being in a situation where they don't have control and then somehow coming out ahead in the end.
08:38So I think the connection is by having extreme empathy for these underdogs. But I also think that
08:46when you've watched a series, and for 40 episodes, the same thing is happening. And you think, why are
08:55people still watching? Obviously, that that's the same man that was blind. And just because he had a
09:02little strip of white over his head, that's who got you pregnant. But that the audience is yelling,
09:08of course, it's them. So I think sometimes it's this, that they can't stop watching because it's so
09:15ludicrous. And they're like, obviously, that's where you're going to end up. But it takes so long to get
09:22there that they keep watching.
09:24If someone new wants to start acting in short dramas, what advice would you give them?
09:30My advice would be to have started them a year and a half when I did. Because back then,
09:37nobody wanted to do them. It was kind of looked down upon. But there's this core of us in
09:44Vancouver and LA that jumped on board and saw the potential in them. And so we've been doing it so
09:51long now. So when I started the competition wasn't a lot. But now it's big stakes. Sometimes for one
09:59part, they might have 1500 submissions. So to get down to the top person is like, whoa, it's really
10:09hard. Whereas when I started, I think I was just really lucky that I dropped into it. Now you have
10:17to
10:17know your craft, you need to do your homework, you need to have quality self tapes, you need to
10:24market yourself on social media, and keep a pulse, you have to be professional, show up on time,
10:34know your lines. These are basics for acting. But sometimes in the vertical industry,
10:40actors might show up and not take it as seriously. But everyone there were taking it seriously. So show up,
10:48do a great job, do your homework and and be good at your craft, and find that sweet spot of
10:55bringing
10:57realness to the character. But also knowing that it is very like a telenovela. So you have to find
11:04that it's a kind of its own genre of acting. So finding those sweet spots.
11:09You mentioned it's very competitive. And is there still a chance for people to come join in this
11:17industry?
11:18Always. And if the more beautiful you have, I'm not talking for my roles. But for young,
11:26they're always looking for new young, beautiful people.
11:30So so of course, everyone give it a shot and and do that. And what I also like now is
11:39we are having
11:40more diversity. So it's not just the perfect, beautiful people who are getting parts now that
11:47we're seeing diversity in a lot of ways. So I encourage everyone to to apply because and to
11:56audition because you never know. When you mentioned about diversity,
12:00could you explain more? What kind of diversity you mentioned?
12:04So when I started, everybody on screen was Caucasian. And that was just the way it is. But now
12:13and first, then we saw some backgrounds that were non Caucasian. And then it was some day player roles,
12:19and then some supporting roles. And every once in a while, there's a lead that's not Caucasian. And we all
12:25go, Yay, this is amazing. But also different sizes, different looks, all of those things,
12:32whereas at the start, it was very stereotypical. Yeah, one day, we might even see differing abilities
12:39and all of those great things. So that's something that we try to do at we see films, my production
12:46company is have inclusion and diversity. We have people that speak with accents, we have different
12:52color skin. We have different ages. What's some common script issues that you often need to fix when
13:00you receive a script from the platform? Well, until now, I am only directing things that I have only
13:09directed things that I wrote. And I wrote them myself because I was tired of having things that needed to
13:17be
13:17corrected, or that didn't align with my values. So I've said about to write scripts that I believe in,
13:28and that are quality roles for actors. So what kind of correct when you design the story? How do you
13:36get
13:36the inspiration from? My mind is a very busy place. I have so many ideas in my head. And so
13:44often,
13:45it starts from pretty much everybody that I cast, it are people that I know, or that I've worked with,
13:53and then I'll give some new newcomers, some opportunities. So with the key players, I generally
14:00have someone in mind when I'm writing it. So I already have the actors in mind. And then for example,
14:08with Tides of Desire, I've traveled all around the world. And such a common theme in tropical places is
14:17that the rich developer comes in, they buy up all the beach, the local people can't afford to be there,
14:24they're pushed to do things that they don't want to do for their family to survive. So that kind of
14:31was where that started. Also, the sea turtle population in Nicaragua was jeopardized with that.
14:41So I brought a little bit of the environmentalism in, but also baby turtles are really cute.
14:47But I have so many scripts in development in my head. And the one that we just filmed
14:52as a spec this weekend is a second chance in love at the ranch one. And I wrote that so
15:03that I could
15:04play a lead that I felt good about that was not getting degraded or abused, or all of those things.
15:14But there's still drama and family dynamics and a big secret. But she goes back to the ranch,
15:20and her first love is there. And so then the sparks fly.
15:25So how do you get people hooked in the first five or 10 seconds?
15:30Beautiful imagery is very important, but also getting the drama right in. When you start with
15:37tides of desire, we start with a gorgeous panorama on a tropical beach with a good looking surfer on
15:46there. And then we have the love interest come in within the first 15 seconds that they meet. So
15:53that's important in writing the script. And then in the one that I just wrote, my character, she's a movie
16:02star. And it opens with her on the red carpet and the paparazzi are all taking pictures. And then they
16:08say, tell us about the baby and her big secret comes out and she runs off the red carpet dramatically.
16:16And then she ends up then she goes back to her hometown and drives up to the ranch.
16:22How do you write your hooks and what makes a good hook?
16:25That's been the hardest thing as a writer for sure to keep continuity and keep a good story
16:35because it does feel counterintuitive. Be doing this so often. So finding a natural break where
16:44it's a moment of what are they going to say next? What are they going to do next? And then
16:49pairing that
16:49with a visual and then cutting there. So that's been my biggest challenge for sure is the hooks.
16:57You mentioned about some people, people get abused, those violence in short dramas.
17:02One of them is treated like shock value. How do you view shock value? And when you write those stories,
17:08do you balance shock value and the quality of the content?
17:12So I don't believe in it. It goes against my beliefs. And that's where I believe the next
17:23generation of micro dramas. And I believe that it is evolving right now. On Candy Jar, there's one show
17:32called Stillwell Cowboys. And if you watch it, it watches like a hallmark. And you're there. It's this
17:41beautiful unfolding love story. It's not in your face. There's not horrible things happening to women.
17:48All of the things, but you're still gripped. And I believe that there are more apps starting and newer
17:58apps that will potentially, I believe the Asian market and the Western market, I believe that different
18:09things are going to resonate, will get views and everything. So I'm playing the long game.
18:16So I'm not doing it. It might hurt me in the end. But I also, the reason I'm producing and
18:23writing and
18:24directing is because I want to see change. Because I believe as women, we have fought so hard to get
18:31where we are with equality and women's rights. And to see us going backwards and to seeing a younger
18:38generation see these things normalized hurts my soul as a mother, as a woman, and as a human. So I
18:48don't believe in it.
18:49And so I'm choosing to create projects that don't have those. So fair dues to anyone who chooses to, but
19:01that's why I'm doing what I do.
19:03As a woman yourself, do you see short drama giving you opportunities?
19:08Absolutely, absolutely. I think that this is the wild west right now. I think there are so many opportunities for
19:16people that are going out and taking it. And I do see that the opportunity for the next phase. So
19:25I know of
19:26three different women led platforms that are in development right now. Nochera TV is about to launch and
19:35all the values that I just spoke about are things that are aligned with them. And I'm excited to see
19:41if
19:41you listen to the fans, and the fan pages, they want to see some evolution. So I'm really hoping that
19:50these these evolved platforms succeed. So women, have you encountered any challenges?
19:56For me, because of my demographic, there's a lot less intimacy.
20:02But intimacy isn't just sexuality. Intimacy is interrelationship. And as I've said before,
20:13it's it's really hard to get hit over and over and over and get slapped or slap people or stick
20:25nails in my
20:26shoes or put bags over their heads, you know, like, it's soul crushing as a woman to be doing that.
20:35And
20:35as an actress, but also I am vocal about it in my producing. But as an actress, I have some
20:44lines,
20:44I will not participate in anything that has violence against children. Just won't do it. But I do portray
20:52those villain roles. And they're very fun to portray. I love being the villain. But I think ultimately,
21:00there are times when you have to say something. And it's very hard to stand up and say something.
21:10Sometimes I'm advocating for a younger woman on set. It's not always for me. But it could impact us getting
21:17hired or me getting future jobs, if I'm more vocal, or if I refuse to do something. You know,
21:26recently, I said that there was a cover photograph that I didn't want to be on if they portrayed a
21:35certain thing in it. And will I get hired by them again? Probably not. So as a woman, that's hard.
21:42You already mentioned there are some female leads or female correctors are portrayed badly in short
21:48drama. If you were create a female corrective for a short drama or a vertical, what kind of women
21:55should she be? Well, the women that I have created, they're smart, they're strong, they're educated,
22:03they don't need to be saved by a man, which all the women that I know are like, hell, yes,
22:08yes, you know, like, yeah, we want to fight for those women that are doing those things. But they
22:14still want love. They still want a knight in shining armor. Because, you know, everyone wants love,
22:21right. But yes, women that that are strong, independent, but still soft and tender, and have
22:31layers to them. So and I do think that viewers will want to watch that. And I think that it
22:38just takes
22:38time for apps to take a chance and for the viewers to evolve along with the genre.
22:46In North American, right now, I find out short drama still dominated by CEO stories. So what other
22:52types of stories do you think should be explored? And why? Well, if you look at me, I think mature
22:59love,
23:00you know, that's the one that I just did. The one that I just produced is, I think mature love,
23:09because
23:10in China, that has been extremely popular. And I'm the demographic, right. So I know that I want to see,
23:21I want to step into someone else. And also someone that actually is 50. You know, I'm 52. But you
23:30know,
23:30I don't want to see a 30 year old pretending to be a 50 year old, you know, I want
23:36to see myself,
23:37right? It's someone where I can see myself with that happening. So and something magical happening to
23:45them. And it doesn't have to be being rescued. But love is love. Love is beautiful. So I want to
23:51see
23:52more mature love stories. I would like to see more fantasy. I have a script in development that is
24:01fantasy based. And I think that will be really well received as well. So those are kind of my two
24:09ones. I'm co executive producer on another vertical that is a pirate vertical. And huge response.
24:21Same thing, the first 10 episodes are done. And people are going crazy, because they want to see
24:28something different. A pirate for female audience or male audience? Both. Everyone loves pirates. And
24:35the female lead, she's this strong pirate woman. And she's gorgeous and strong. And you know, she
24:43stands up against the male lead pirate. But of course, she swoons as well. So you know,
24:50everyone loves a good pirate story. How do you see the future of short dramas?
24:54Oh, I think I've already said it a lot. I think that we will always keep the traditional.
25:03And it has its place. But I think it's going to evolve to resonate maybe more with different audiences.
25:12And I hope that we can see the negative tropes fade a little bit into the background and start having
25:22things that people can still lose themselves in, but feel good about it after after they're done.