Tania Verafield (The Queen) began her career as a Ford model at age 10.  Tania made her feature film debut in 2005 opposite Christian Bale in Harsh Times, the directorial debut of David Ayer, screenwriter of Academy Award-winning Training Day. Since then, she has had the pleasure of playing opposite Tilda Swinton in the foreign film Julia, getting in touch with her comedy side in The First Time and has appeared in two Sundance Film Festival films – Short Term 12 (Winner Best Short 2009) & I Am Not A Hipster (currently available on Hulu). Television credits include 24, The Ghost Whisperer, Standoff, and Strong Medicine.  Theatre credits include Lobby Hero, The Little Dog Laughed (NY) & originating the role of Bug in the now published Treefall (LA).  Currently, Tania resides in her hometown Los Angeles and is plotting her bi-coastal future.

How did you get involved in modeling? Do you still model? If not, what made you transition from modeling to acting?

As a child, I wanted to act.  My parents didn’t have the means to make that a reality but when we were approached by an agent in an elevator, he recommended starting with modeling to test the waters.  I signed with Ford & did a couple print jobs before my parents realized I was much more excited to be acting (which I had started doing in community theatre & school plays) and the modeling just tapered off.

What do you consider your “big break” into acting? Was it making a movie with an A-lister like Christian Bale? Was it tackling a specific role?

I don’t think I’ve had it yet!  Actually, “Harsh Times” opposite Christian Bale was my first film role & it definitely felt like a break at the time.  Christian had just finished shooting Batman so he wasn’t a household name yet but we all knew he was about to be.   For me, that project also meant tackling a very specific role so that felt like a coup as well.  Each job feels like a tiny break & then you hope they all add up to something of a “big break” – I am still working on my “little breaks”.  🙂

You’ve done drama and comedy. What is your preference? What is a role you’d love to play? Who is someone you’d love to work with – actor, writer, director, all of the above?

I really enjoy the depth of work that comes with dramatic roles – just getting to play in these dark worlds & then leaving them behind to go back to my real life.  However, as anyone who has seen me with my little siblings can attest, I love to make people laugh.  I don’t think I have a preference – my favorite roles are those that are dramatic & have that tinge of humor (be it dark, embarrassing or just silly) – that is just like life in my opinion & I believe the best pieces hold a mirror up to real life.  I’d love to play a seemingly strong, confident, intelligent female role – something of a badass be it physical in nature or career-wise but who lacks that key to holding her personal life together, someone broken on the inside.  I’d love to work with Sofia Coppola, Claire Danes, Richard Linklater – there are so many people I want to work with!

You’ve done film, TV, and theatre. What is your preference? How do you decide what project to tackle?

Theatre is something I have done since I was a little girl – it feels like home to me.  As I’ve gotten older, I’ve transitioned into TV & film as well & now feel strongly that I must continue working in all 3.  Ideally, I would love to be on a series, do films during hiatus & squeeze in a play at least twice a year.  I take the roles that move me, that I’m passionate about or that will challenge me the most.  Right now, I’m learning to speak Urdu to play a Pakistani girl – the role isn’t large but I was excited about testing my language skills.

What does a day-in-the-life of Tania Verafield look like?

Hectic fun!  No, really, I’m a simple girl.  I was born & raised in a small town part of LA, where I’m living now, so my days are full of seeing my local mailman, coffee shop barista, etc., all of whom have known me since I was a child.  I spend a great deal of time with my family (especially my kid siblings) and all my childhood friends – I am so grateful that my career is pursuable in the city I grew up in.  I run around going to acting class, auditions, rehearsals & always make time to be outdoors with my dog – we love the LA weather!

What is something fun or surprising about you that is not in your bio?

As a result of tremendous divorce & remarriage, I am one of 8 siblings – we are all half or step but I consider each of them family.  I wouldn’t change my blended family for the world – I am blessed to have so many incredible people in my life.

What’s next for you?

I am currently in the show “Suburbia” at Pacific Resident Theatre in Venice, CA (http://www.pacificresidenttheatre.com/suburbia/) running the month of June.  I am looking forward to the episodic TV season starting up after that & seeing what’s in the cards for me.

How can people keep in touch and learn about your next projects?

Check out my website www.tania-verafield.com.  I am not the greatest at updating it, but this will inspire me to!

I attended an informative writers panel sponsored by the Asian affinity group, A3, at Time Inc. It featured Lisa Takeuchi Cullen, Author of the novel Pastor’s Wives and the CBS pilot The Ordained and former TIME writer; Alison Singh Gee, Author of the memoir Where the Peacocks Sing and former PEOPLE writer; and Kirby Kim, Literary Agent, William Morris Endeavor. It was moderated by Julie Dam, Assistant Managing Editor of PEOPLE and Author of novel Some Like it Haute.

Some of my favorite Tweetable moments:

• Alison Singh Gee – I wrote one scene at a time while teaching (CCL’s note: there is no excuse about not having the time!)
• Kirby Kim (on what he looks for as an agent) – I want to be moved
• Lisa Takeuchi Cullen – you can’t have spirits and ghosts in a Chirstian-published novel (CCL’s note: ok, that’s not a business tip, but a super fun fact)
• Alison Singh Gee (on what it took to get published) – I decided it’s going to happen. I’m going to do whatever I have to do. Make your life about this process
• Lisa Takeuchi Cullen – workshops and conferences are tremendously helpful
• Lisa Takeuchi Cullen – Getting ideas isn’t difficult. The difficulty is in figuring out which are books and which are great ideas
• Kirby Kim – Don’t wait to be done (before trying to get published)
• Kirby Kim – Is what you have commercially viable?
• Alison Singh Gee – you have to take the reins on publicity. Who are you going to contact? How will you get the word out? (Gee asked 50 influential friends to post on their Facebook!)
• Lisa Takeuchi Cullen – your agent is the primary editor. Your book editor acquires

Overall, I loved how scrappy, non-linear and different the paths were to getting started and getting published. Julie Dam talked about doing her own publicity and not relying on the publisher – she blogged as her character for months leading up to book launch. Lisa Takeuchi Cullen talked about how she pitched her now agent multiple times before finally gaining interest. Alison Singh Gee talked about telling everyone she knew about her book to keep the momentum going. Helen Wan, an author/ journalist not on the panel, lobbed in that she worked on her upcoming book, The Partner Track, for 12 years alongside a full-time job.

These sentiments echo my earlier interview with Trevor Shane, author of thriller trilogy, Children of Paranoia, who still works as a lawyer at a financial firm by day, while writing his books at night.

What are you going to write (or film or create) now that there is no excuse?

I had the privilege of hearing Judy Gold interview George Lopez at the 92^nd Street Y. Full disclosure: I am a BIG George Lopez fan. I discovered his TV show in reruns because my 11-year old watched it on Nick, and it became our family show. When my 11-year old had to get an MRI (for luckily nothing serious), I calmed her down by pointing out if she were George Lopez she might get her head stuck in the machine. She laughed throughout her procedure thinking of that. The MRI technician said she was the first kid who laughed during an MRI. Thank you, George Lopez!

He said a lot of funny and memorable things, many of which I Tweeted:

• On turning 50: AARP wished me Happy Birthday before any of my family members
• On taking 4-5 showers per day: I have more epsom salts than colognes
• The George Lopez Show was the greatest thing that happened to me (CCL’s note: I love it when people appreciate their success!)
• To the audience member who is still an aspiring comic at age 46 with no agent yet: You’re never too old. Continue to write and go to clubs

He talked about looking up to Freddie Prinze, Sr., and how important Prinze was to encouraging him into comedy. How’s that for another reason we need diversity in entertainment!

But my favorite line was when he answered an audience question about his driving force. Lopez grew up in a tractor house with no air conditioning – they would bring the TV outside because it was cooler to watch there. His first job paid $2/hr. He grew up around people with no drive. How then did he motivate himself and keep on motivating himself despite the slow start?

I wanted to be somebody more than I wanted to be nobody. – George Lopez

Trevor Shane is a lawyer by day and author by night. He is behind the thriller trilogy, Children of Paranoia, and its second book, Children of the Underground, has just been released. Both books are excellent (dark and sad, but thrilling), and I’m excited for the final installment in fall 2013, Children of the Uprising.

In this 20-minute audio, I talk to Shane about his four-year journey to first-time published author, about his writing process (and why he doesn’t believe in writer’s block), and how he balances a demanding day job with the creative demands of writing with being married with two young sons:

Children of Paranoia has just been optioned by CBS Films, and you can follow Trevor Shane on Twitter, Facebook, or his website.

In my latest efforts to watch at least one science fiction or horror movie a week, I picked out The New Daughter with Kevin Costner and Intruders with Clive Owen. I enjoyed both horror films and would have given both higher scores than their average 5’s in IMDB (I’m an easy scare!). Both Costner and Owen did a fine job, and I can see why each would want to play their sympathetic leading roles. But it got me thinking about celebrities in horror movies. I couldn’t lose myself in the story with such familiar faces on the screen. Should celebrities ever star in horror movies?

The producer side of me wants the celebrity. It would be such an easier sell to investors and audience. People might see your film just because Kevin Costner is in it. Or investors will fund you just because you got Clive Owen so you’re obviously serious about getting the film done.

But the creative side of me wants the unfamiliar face to go with the unfamiliar story. How creepy can it get when Dances With Wolves is in the house? As Costner unravels the mystery of what is happening to his daughter, I find myself rooting for him to use his military training from No Way Out!

Sometimes it works to have a celebrity decoy – I loved seeing Samuel L. Jackson die prematurely in Deep Blue Sea, mid-monologue no less.

But mostly it’s distracting – I would have loved War of the Worlds so much more if Tom Cruise were just Tom Doe. Of course, nobody would bankroll a $MM film with Tom DoeL

So what’s the best compromise? The New Daughter and Intruders got close, putting these charismatic stars in subdued parts. These movies also came out in 2009 and 2011 respectively, so well after the peak of either celebrity. Toning down the flash definitely helps.

A sad ending helps too. I won’t spoil it but sometimes the celebrity doesn’t save the day.

Finally, a supporting cast that I at least didn’t recognize helps to counter-balance the familiarity of the star.

What’s your preference on celebrity in horror movies? Can you get into the story with a marquee name in the lead?

I attended the 5^th Annual Film Finance Forum East today, presented by Winston Baker with Variety magazine and chock full of key players in film production, distribution, sales and financing. There was so much information, and I highly recommend catching an upcoming conference like this if you can. It was encouraging to hear the different ways movies are getting produced and funded. It was also daunting to hear how much there is to learn! There was 10 hours of substantive information and networking so too much to summarize, but here are some Tweetable quotes and highlights:

Brian de Cenzo, VP at Goldman, Sachs & Co and James Moore, CEO of Vine Alternative Investments shared an overview of the film business as an asset class:

• Brian – how do you get people to show up for stationery content in a non-stationery world? (on the challenge of theatrical releases in a world of downloadable content)
• Brian – there is a permanent structural shift from buying to renting content
• Brian – money is moving to licensing content which means more options for consumers J but lots of it is going to original programming, not moviesL
• Brian – industry dynamics should cause introspection, especially in light of increasing production costs
• Brian – getting the word out has never been less expensive
• Brian – audiences continue to show that if you give them a reason, they will come
• James – the benefits of film as an asset class: cash flow, low correlation, large opportunity
• James – lower volatility can generate higher compound returns over time

Eileen Burke, Founder of West End Capital and Advisory, James Janowitz, Partner at Pryor Cashman, Andy Kim, CFO of The Weinstein Company, and Stephen Stites, VP of Goldman, Sachs & Co talked about hybrid companies (companies who started with one service and now are offering multiple, such as producing AND distributing):

• Eileen – everyone looks at the same data, but there are so many different business models
• Andy – The Weinstein Company has moved into TV development and is looking to grow this area
• Jim – slate deals do much better with active management
• Jim – you really need to monetize with a bigger company/ studio release (though he did acknowledge some self-releases go viral)

Margaret Chu, founder of Tangram Advisors, Terrence Dugan, partner at Morgan, Lewis & Bockius, Michael Katzenstein, senior managing director of FTI Consulting, and Peter Ma, Associate at Colbeck Capital Management talked about distressed investing (referring to either financial or operational distress):

• Margaret – tentpole films have larger share and are driving box office
• Margaret – opening weekend is an increasing % of total box office. The theatrical windo is shrinking
• Mike – there is an adverse impact in physical dollars being replaced by digital dimes
• Mike – the film business is not an investment space for interlopers; it is incredibly personal, relationship-driven
• Peter – we are not investing in individuals, not one product, not just one guy; there’s a management team, a series of contracts
• Mike – growth is almost all digital, all mobile; folks will sacrifice quality of experience to watch content that their device happens to give them
• Terry – passion cuases people to hold on till it’s too late
• Peter – for the investor, take the time to understand film accounting

Vicki Cherkas of Cherkas Strategic Consulting, Jonathan Deckter, President – International Sales and Distribution  of IM Global, William French, President of Film Production Capital, Dominic Ianno, CEO of Indomitable Entertainment, Celine Rattray, Partner of Maven Pictures, Dan Steinman, Agent – Film Finance Group at CAA, and Christopher Woodrow, Chairman and CEO of Worldview Entertainment talked about single-picture financing:

• Celine – developing a film is tough; the bar is higher
• Celine – anything you take on for development needs to be easy to be made
• Dominic – if you invest in 10 films, you’ll get 1 hit, 2 break-even, and 7 will lose
• William – some films sell of international rights to pay for production and keep domestic as the upside
• Dan – if a film is using an unknown foreign sales company, it means better known companies probably passed
• Celine – on casting the lead actors: it’s so easy to make the wrong call
• Dominic – the movie starts to get made the moment you get a star
• Jonathan – under $10MM, studios won’t get involved early; for $20MM+, you want US distribution on board before production
• Dominic – production costs are higher, distribution costs are higher, there are 10 new releases each weekend
• Celine – steps to making a film: set script, director and casting; get foreign estimates (multiple bids); decide where to shoot, looking at tax rebates; look at domestic value as 10-20% of total film budget; given the budget, figure out how to produce at this amount; get a financing plan (sales advances, loans, equity), then raise the rest of the dollars needed
• Celine – foreign sales forecasts are typically accurate; domestic is much harder to estimate

John Hadity, EVP at Entertainment Partners, Aaron Gilbert, MD at Media House Capital, Keith Kjarval, Founder of United Pictures, John Logigian of consulting firm The Logigian Company, Lucy Mulloy, writer, director and producer of Mulloy Productions, and Donna Smith, President of Persnickety Productions talked about how to capitalize on the independent film business:

• Aaron – festival costs of promoting the film are covered by domestic agents
• John L. – surround yourself with people who know the business, work with quality people
• John L. – how to succeed in indie films? Be practical, nimble and tough at times
• Keith – wrangling always falls on the producer; you have the relationships with investors and the filmmakers
• John L. – the producer must sell – tell the story, share the vision
• Keith – as a producer, your job is to network – make it your business to know who people are
• Aaron – as producers, our job is to find the commercially viable project
• Aaron – the producer’s job is to educate the investor
• John H. – fundraising is so hard, sometimes people are afraid to say No to a potential investor
• Keith – post-production budget has to fit with pre-production raise
• Donna – we’re all very fortunate to work in the movie business

We are all fortunate to work in the film business. Amen to Donna’s closing words.

The Battle Below follows Derek, now a college professor, coming back to his old neighborhood. The projects are giving way to Whole Foods, the rents are insane and kids are fighting in dungeons with swords and axes for money, because there are no jobs.

Written and directed by Bruce Faulk. Produced by Caroline Ceniza-Levine and Bruce Faulk. This episode features Anton Briones, Jimmy Burke, Jasmine Carmichael, Jamahl Garrison-Lowe, Benton Greene, Carl Ka-Ho Li, Leo Kubota, Jennifer Loring, and Tania Verafield.

Did you miss an episode? Catch them all here – https://fbcfilms.com/the-battle-below/

Perhaps FBC Films is named for Bruce’s Fat Black Cat, Eba. But she’s also a Foxy Black Cat:

Why are we called FBC Films? Maybe because Bruce Faulk has a Fat Black Cat. Meet Eba: