.. a Tom McCamus interview copy-and-pasted from the Globe and Mail on the internet.. Hanno Raudsepp: ..".. aww.. Tom McCamus is a truly decent person..I'm gonna have to eat crow about Tom McCamus.. I was a worthless shit about Tom McCamus.." .. .. .. $3.. stochastic disturbance terms.. issue #823 paul dini / joe benitez poison ivy pamela isley kate moss megan d. iseult.. stochastic disturbance terms.. $3..

Actor Tom McCamus on the power of tyrants, on and off the stage J. KELLY NESTRUCK PUBLISHED NOVEMBER 5, 2015 This article was published more than 8 years ago. Some information may no longer be current. Tom McCamus and Grace Lynn Kung star in the play in Seminar. DYLAN HEWLETT COMMENTS SHARE With his raccoon eyes and deep, seductive voice, Tom McCamus has turned in many memorable portraits of charming tyrants – from Richard III to Captain Hook – during his seasons at the Stratford Festival. But now the 60-year-old actor is trying a contemporary one. He's playing Leonard, a harsh but charismatic writing teacher in Theresa Rebeck's Broadway comedy, Seminar – currently at Winnipeg's Royal Manitoba Theatre Centre, then in Toronto as part of the Off-Mirvish Season in November. McCamus – also co-starring in the film adaptation of Emma Donoghue's Room, now in theatres – talked to The Globe and Mail over the phone from Winnipeg. Leonard is described as a tyrannical teacher – are there ones you've had that you're drawing on for this part? Not necessarily teachers. But some of the directors that I've had over the years, I've sort of used some of their tactics, because there's a lot of similarities there. Which directors? I don't think I'd actually like to say. Can you tell me about an experience that you've had with a director that maybe crossed the line? I've been in a room where a director is taking a bead on one particular person – and then just gone to town on them to the point where it was quite unnecessary. The other interesting thing that happens in a situation like that is everybody in the room watches it happen and rarely does anybody step in and say, "Hey, that's enough." In an interview with you I read, you mentioned brutish British directors that used to come over to Canada. Yeah, that's right. I don't know if it was a style of British directing – but there's always been a lot of stories about that. MORE STORIES BELOW ADVERTISEMENT 00:12 / 00:15 I get the feeling from talking to actors that that era is fading. Are you finding that directors are more friendly in the rehearsal room these days? I definitely find that. Definitely more collaborative. People have problems in a rehearsal hall, but it's not that kind of thing. So the director of Seminar, Stewart Arnott, hasn't been shouting at you? No. I've known Stewart for a long time. We acted together back in the eighties. We've both had experience with those directors I've referenced, so I talk about one person and he says, "Oh yes, I know who you're talking about." But you won't name names. A lot of them aren't around any more. People in the theatre community know who we're talking about. In Seminar, it's you – playing a novelist turned teacher – and four younger actors playing your students. Has that relationship been mirrored in the rehearsal room? I love working with young actors and this group is a great group of people, but I'm not a great teacher by any means. The five of us are basically working as peers. There's no sense of trying to mentor or anything – I just have to make sure when I am brutal to them as the teacher, I'm not brutal to them as a human being. Does Winnipeg still feel like home to you? I was born here and I lived here until I was 10 years old, so my memories are childhood memories. But when I'm here, I feel like this is where I'm from. It's not as cold as it was the last time I was here. That was Gone With the Wind – and Winnipeg in January. It was minus 30. But if you're in Winnipeg, you should experience the cold. I enjoy it. Because you know the cold in Ontario gets in your bones, but in Winnipeg, it's just cold you can stop by wearing the right clothes. Ah! So, you are a real Winnipegger then – propagating that old myth about the "dry cold." It's not a myth, it's the truth! I remember the cold when I was younger. It was fantastic. I should ask you about Room too – which won the audience award at the Toronto International Film Festival and now is generating a lot of Oscar buzz. Did you expect it to take off like this? I certainly didn't. I saw it for the first time at TIFF and it was a beautiful film. I was, really, not surprised exactly … It was just lovely to have it work the way you thought it was going to work, because that doesn't always happen. I enjoyed being in the movie: I got to work with Joan Allen most of time and that was a fantastic experience. She's an extraordinary woman. I guess that leaves your TV career to ask about. Your character Dr. Nealon has been killed on Orphan Black, right? I was killed off. The deal is you get a bottle of whisky if you're killed off at the read-through. But are you really dead? Fake deaths seem to be a thing now – and the show's full of clones. I have no idea. Actually, when I was filming it, it was so secretive, I didn't even know if I was a bad guy. As the scripts come along, you go: Oh, I guess I am a bad guy. What about Leonard in Seminar: Do you know if he's a bad guy yet? He's a flawed guy, I guess. He's just searching for the truth – and he's a bit of a scarred individual, so the way he tries to get to the truth is not necessarily pleasant. Seminar continues at the Royal Manitoba Theatre Centre (mtc.mb.ca) to Nov. 7, and plays at Toronto's Panasonic Theatre (mirvish.com) from Nov. 14 to Dec. 6.