“Orange Is The New Black” is one of the hottest shows on folks’ radar these days. Viewers love to watch the inmate-characters like Janae Watson, played by actress Vicky Jeudy. The Queens native and Bachelor of Arts in Theater recipient feels right at home with the rest of the stellar cast as they play one-time straitlaced girls who went wrong.

Jeudy previously had roles on the TV series “Law and Order”, and has completed filming of Romeo and Juliet in Harlem, a retelling of William Shakespeare’s celebrated play, directed by Alette Chapelle.

K. St. Fort: Is acting pretty much your first love, or did you start off loving another profession?
Vicky Jeudy: Acting is and always was, my first love. I knew I wanted to pursue it when I was in my early teens. However, as I grow older I am realizing that there are other interests that I love too—like fitness, holistic health, building the confidence in teen girls and much more. I have one life on planet Earth so why not do it all?

K. St. Fort: Good point…How did you get the part in “Orange in the New Black”?
Vicky Jeudy: I went to the audition and booked the part. It’s a lot of work studying a character your tasked to embody. I left Vicky at the door and was really able to climb into character, and truly dig deep inside Janae’s core.

K. St. Fort: Does it take you a long time to get into character?
Vicky Jeudy: Not really. I have a great acting teacher by the name of Anthony Abeson who teaches his students to “think thoughts of the character.” It gets me away from myself and focused on what is happening in the scene.

K. St. Fort: Did you get your parents’ blessing from the get-go about your career choice, or was that something that came with time?
Vicky Jeudy: It’s something my dad is learning to accept. He is very excited and one of my biggest fans. Both my parents are Caribbean—from the country of Haiti. They wanted me to become a lawyer or doctor, receive great benefits and buy a house. Most Caribbean parents think this way. Parents should be a guidance but leave their children to make their own decisions. I’m glad I made the decision to pursue entertainment. I never want to look back on life and say, “I wish I did this or that”.

K. St. Fort: What’s the most inspirational book you’ve read ever, not only in terms of how it’s helped you in terms of personal development, and career direction?
Vicky Jeudy: I have a few. Three to be exact. One, The Measure of a Man by Sidney Poitier. Two, The Alchemist by Paulo Coelho. Three, Produced by Faith by Devon Franklin. I’m reading Produced by Faith now! If you are pursuing a career in entertainment or any other career please pick this book up. The foundation of his book is God, faith, integrity and character building while working in your career. I am not interested in only becoming a great working actress, but a human being who walks with integrity, and who fulfills all the duties God has ordained for my life. I’m not perfect and I do make mistakes. However, I am always looking to improve and learn from past situations.

K. St. Fort: I think we all like to use our little imaginations when it comes to picturing Tinseltown. What is life really, really like in Hollywood and in the entertainment industry?
Vicky Jeudy: I am still getting acclimated to the business! Trust me, I haven’t arrived yet but I’m learning about the nature of the business and continuing to learn my craft. I ask people I admire for advice. I don’t live in Hollywood or Los Angeles. As a New York actor, the entertainment industry is hard work like any other profession. The red carpet, parties and handling the media is a small fraction of a long math formula. The entertainment industry to me is about discipline, patience, being a good team player, accepting rejecting and embracing trust and faith. Believe me, if you need development in any of those areas, the entertainment industry is a great training ground.

K. St. Fort: As a young actress in Hollywood, bombarded with all sorts of pressures….how do you keep out of harmful temptations’ way?
Vicky Jeudy: I answer to a higher power at the end of the day. I have a heightened reality regarding death. I’m not a pessimistic. Someone very close to me was involved in a fatal accident and was taken away from me in an instant. I miss that person daily but know they are in heaven with Jesus. That person lived their life for God because at the end we all will die. It doesn’t matter if I’m the most famous person, a politician, an athlete, we all have to answer to God at the end of this life. Whether you believe in him or not. This to me is the greatest reality check and keeps me grounded.

Having people who really care for me in my life is really important. People who are not afraid to tell me the truth. That’s what my family is for. They are constantly checking me in a positive way.

K. St. Fort: Do you visit Haiti often?
Vicky Jeudy: No. I would love to visit more often. The last time I was there was in August 2010. I hope to visit soon. I love Haiti.

K. St. Fort: Okay, a young actress fresh off acting school has her bags packed and is ready to move to L.A. What advice would you offer her in terms of the road ahead?
Vicky Jeudy: I would say learn everything you can about this industry. This is called show business. Do internships with casting offices, talent agents and managers while in school. Build your resume with theatre and film credits. Learn how to manage your money. Have a life outside of this business, which will only add to your life experience. Be persistence, keep the faith, and never stop learning.

K. St. Fort: Regarding the second season of the show…Do you feel a whole lot comfortable in your role?
Vicky Jeudy: I feel very comfortable because I’m surrounded with an amazing cast and crew.

[ Photographer Credits: Justin Ifill Forbes and Matt Conrads]

Vicky Jeudy is on Twitter. CLICK HERE to check out actress Vicky Jeudy on Twitter |

The youngest of five siblings, Diana Gaitirira was born in New York but moved with her family to Florida when she was a pre-teen. Then, it was Maryland for college and cactus-friendly, stucco architecture-filled New Mexico, following graduation. Gaitirira plays Tammy Fraser on the breakout show “The Night Shift” on NBC. One of her next projects is Hate from A Distance, a short that has the Civil Rights Movement as its backdrop. She’s also had roles in the films Not On Board, and Terrible Angels.

The daughter of Haitian parents, Gaitirira is the CEO of her own film production company Cheza Jouer Films. Its first production is Sandals Worn Backwards, a documentary about Kenya’s history.

K. St. Fort: Were you the type of kid who did monologues when you were home alone?

I was always performing for my family and friends…singing—even though I have a horrible voice—and dancing. From pretending to be Michael Jackson to mimicking actors I saw on television.

K. St. Fort: Were you in any theater or stage plays in high school or in college? If so, how did that go?

I did a few performances at my local church and school and I loved it but I never thought I would participate in acting at this level or pursue acting as a career.

K. St. Fort: What’s the best thing about being an actress?

I get to portray a variety of characters and create my own back-story for each role I play.

K. St. Fort: You recently made the transition from a chemically-straightened style to a natural style. When you first made the transition, what are some challenges that you had to face?

This is actually my second attempt at being natural. I did the “Big Chop” around 8 or 9 years ago and had no clue on how to take of my hair. The most frustrating part was finding and using the right products. Hair companies weren’t accommodating back then as they are now, so I was at a loss. However, I took the plunge again around 2 1/2 years ago and I am really enjoying my decision.

K. St. Fort: What have you learned from taking care of your hair that you’d like to pass to others who are considering doing the same, or who have already made the transition?

I think it’s important to know your curl pattern and type—low porosity vs high porosity—in order to know which products and routine will help you manage your hair.

K. St. Fort: What’s it like being on the show “The Night Shift”?

Although the hours were long, it felt like a dream! It was ironic we actually filmed during the graveyard shift/night shift hours.

K. St. Fort: When you first auditioned, were you nervous? Did you think you would cop the role?

Yes! I like to take deep breaths and try to stretch out my jaw muscles before I enter the room. I didn’t think I got the role at the time of my audition. Because I’m fluent in American Sign Language, I tend to pick up on a lot of facial expressions and non-verbal cues, from others, but this skill is wasted in auditioning rooms. Most directors audition people for several hours until the point of exhaustion so usually when I enter the room, I most often get cold expressionless stares.

K. St. Fort: You were always on the thespian track, or have you explored or considered other careers prior?

I have only started pursing acting professionally for the last 7 years. Before then, I originally wanted to go into sports medicine, but fell in love with Deaf Culture and American Sign Language and strayed off into the interpreting track.

K. St. Fort: Do you ever wonder about the roads not taken?

No. I only do things that I am passionate about and I have no regrets.

K. St. Fort: Do you visit Haiti often?

Unfortunately, I have never been to Haiti but plan to go. I would love to go and volunteer with the Deaf community in Haiti. I know they use a derivative of American Sign Language and I would definitely be able to pick up their dialect with some time and exposure.

K. St. Fort: That’s an awesome plan!…If the Oxford people were putting a dictionary together, and they came up to Diana Gaitirira to ask for her input on what the definition should be…what would you answer?

Beauty means different things to each of us but for me, it’s the things that I see that take my breath away. It’s the wrinkles around the eyes of an elderly woman whose seen so much of life and is forgotten. It’s the toothless grin of a mischievous toddler that’s giggling at the funny faces I’m making. It’s the sun coming out after it’s rained all day. Beauty is in all of these things for me because in those rare, brief moments I realize that simplicity is the most beautiful thing of all.

K. St. Fort: And if Diana Gaitirira was one of the entries in the dictionary?

I like to say that I am an enigma, wrapped in a riddle, but I’m not. I am an open book with an interesting cover that invites you to flip through the pages. I will draw you in from the first few pages, take you on an emotional roller coaster, then leave you breathless at the end of my story.

K. St. Fort: Ooh, ah! What’s it really like in Hollywood?

The entertainment industry is difficult, unfair, and competitive. It is also fun, exciting, and beautiful–as is everything in life.

K. St. Fort: Do you eventually want to explore films? Or do you see yourself doing mostly television?

I have already done some independent films and I enjoy doing both television and film. My goal would be to get a recurring role on a television series.

CLICK HERE To Follow Diana Gaitirira On Twitter | CLICK HERE To Visit Her Production Company’s Website | CLICK HERE To Visit Her Website |

Like the early bird that catches the worm and is the envy of all the fowl in the forest, Fabienne Colas was the “It Girl” of the Haitian cinema movement of the early 2000s. Colas starred in director Richard Sénécal’s film Barikad in 2002, followed by a role in Jean-Gardy Bien-Aimé’s Protège Moi. The impact that she made as the leading actress in two back-to-back Haitian films at the height of the movement was sensational. All over sudden, every director wanted Colas as their lead actress, and screenwriters who were going hard at their screenplays were writing roles for her, or could think of no one else who could play the characters they had crafted to their satisfaction.

In Barikad, Colas played a self-assertive young maid who travels miles from her remote town to work in the home of the Palmiers, a middle-class family in Port-au-Prince. She filmed Protège Moi first, but Barikad was the first of the two films to be released. Playing a homely housemaid in the Sénécal film, followed by the role in the Bien-Aimé film as Sandra—a sophisticated girlfriend of a popular radio personality in the town of Les Cayes—more than proved to observers that she was versatile, and could make any role her own.

In years following her entrance into Haitian cinema, Colas starred in a string of series on Canadian television and founded the Montreal Black Film Festival. At this point, she is launching a new phase in her career as a television mogul.

While she’s gearing up for the next edition of the Montreal Black Film Festival, which is scheduled to take place in September, she responded to a request for an interview with Kreyolicious.com.

Q&A

You founded the Montreal Black Film Festival.
Actually, it all started as the Montreal Haitian Film Festival. As we were receiving tons of films on other black realities from all over the world, we decided to open it to the world and renamed it the Montreal International Black Film Festival. The 2011 edition welcomed over 125 films, 80 premieres, from 35 countries. Today, I am so proud of the team behind the festival and totally grateful to our partners, the filmmakers, the audience and themedia that support this wonderful event year after year. We’ve been so happy and proud to welcome celebrities like Legendary Souleymane Cissé—One of Martin’s Scorcese favorite African directors—Bobby Brown, Jimmy Jean-Louis—our Haitian hero; award-winning author Dany Laferrière, actor Réginald Lubin and soooooo many others.

We want to keep on offering this excellent platform to great films on the realities of black people from all over the world. We want to continue to give a voice to people who otherwise wouldn’t have been heard and a window to films that otherwise wouldn’t have been seen.

How did you get your start in the Haitian movie industry?
I met this director called Raphael Stines one day. At the time, he was directed the TV series “Pè Toma” at the Haitian National Television. He gave me my very first chance. I played in “Pè Toma” [a TV series filmed in Haiti] for one year and later on he created arole for me in Bouki Nan Paradi where I played next to legendary actor Piram. And thanks to Raphael, I met Richard Sénécal, director of Barikad; Jean-Gardy Bien-Aimé, director of Protège-Moi.I owe my carreer to Raphael Stines—rest in Peace Raphael. Raphael really wanted me to go forward. He never at any time, expressed jealousy or else over my success…He would always congratulate me and express how proud he was of me. I miss him all the time.

Minuit was your debut in the film world as director and producer.
First of all, let me thank again Sophia Désir who wrote the script and submitted it to me to direct. I am so honored she put her trust in me. You know, I’ve been a fan of Sophia for the longest time and actually I was a bit sad she did not offer me a part in the radio series VIP at the time in Haiti—while every Haitian actor had a chance to take part in it [smiles]. And when she moved here in Montreal, she wanted me to be part of the project as an actress…and as we were struggling to find a director to do it at the right time…she ended up telling me,”Fabienne, I believe you can and should direct it.” I was in shock! I had to play the lead, produce it and now direct? That was a major thing for me. But without Sophia, there wouldn’t have been any Minuit. Now, because of her generosity I can proudly say my film Minuit.

Working with Sophia was really easy and a pleasure. Sophia doesn’t take herself too seriously, so we were constantly joking about everything about the movie on set. Of course we disagreed sometimes on some things, but in the end, someone had to call the shots and it was me, the director, who carries all the responsibilities of the film. But to this day, Sophia remains one of the most open-minded person artistically I know.

How you prepared as a first-time director?
To prepare as a first-time director, I used all I learned from several directors I’ve worked with as an actress overthe years in Canada, the US and Haiti. On the set, I was opened to advice and suggestions as well and I surrounded myself with a great crew, especially a very good DOP—Director of Photography. He had to translate my vision into film.

What advice would you give to someone undertaking such a task?
After having directed just one feature film, I don’t believe I’m qualified to give advice to aspiring filmmakers. But some things I learned though: surround yourself with people that really know what they are doing. Make sure they understand your vision for the film Don’t just explain the story to them, but also thei ntention of the film and of each scene…and especially what we don’t want the film to become. Have a clear vision of what you want to do. Know where you are going with the film because in order to lead a story, a cast and a crew, you need to show you know what you’re doing and where you’re going. Make sure you listen to everyone and treat them with respect, they are all there to help fulfill your vision,they need to feel validated and respected; but also, they need to feel you know what you’re doing; Lastly and most important, make sure everyone knows who is the boss on the set, the one that has thelast word on the set and in the editing room: it’s the director.

Would you do it again?
Sure, I want to do it again. I love directing. I wish I was not acting and directing at the same time as we were a very small team—and a first experience as a director for me. But I enjoyed the process so much and the actors were fabulous: Sophia Désir, Ralph Prophète, Yanick Dutelly, Natacha Noël, Rony Bastien, Sara Rénélik…Great, generous actors.

What are your movie career plans for the next couple of years?
I do not have any movie carreer plans for the next couple of years. I decided to commit to my Foundation: the Fabienne Colas Foundation which handles the Montreal International Black Film Festival; The Festival Haiti en Folie; The Festival Fade to Black; the Quebec Film Festival in Haiti and many more. I really find lots of pleasure in showcasing other people’s films and shows. Also, I just obtained two TV licences from the Canadian Radio-Television and Telecomunications Commission to create Diversité TV and Bon Goût TV. Lots of work ahead. And also working on several other projects in the entertainment industry, but not as an actress.

Why do you think your name frequently comes up in conversations about Haitian movies, when Haitian movie fans and critics are discussing the best in the business?
Well, I’m honored. I’m happy when people are telling me how they loved something I did or how they appreciate what I do in order to promote other artists and their work…that pushes me forward. Although I don’t have ananswer to that, I believe it’s a bit because I had the privilege to play the lead roles in films that had strong messages that tried to raise awareness. I’m always honored to know how much people let me in their living rooms—by watching films I starred in.

Many people who admire the actress Fabienne Colas, constantly wonder about the real woman, and what she’s like away from the cameras and prying eyes.
In real life, I’m a very blessed housewife, daughter and sister who happens to be running a foundation and several festivals and who is soon to be the owner of 2 TV networks. I’m a passionate fun girl who loves dancing, going out. I love speaking my mind about things and issues that some other people find hard to defend: Affirmative Action, diversity on the big and small screens in North America, Voodoo, homosexuality, immigration, HIV prevention. I believe we have to lend our voices to causes we believe in and causes that are worth fighting for. I also love wearing jeans; I don’t own a lot of skirts. I really think I own less than 5 skirts. I read a lot. I believe in the law of attraction and I pray a lot too.

Is there anyone in particular that you’ve modeled your career after?
Growing up, I looked up to several role models but my career is so unconventional when you consider all I do. I deeply admire and respect Oprah Winfrey. For me, she is the ultimate aspiration and inspiration outside my family. Oprah had a very sad childhood. Her grandmother was a maid. She’d been raped and pregnant at age 14—the baby died at birth. She did not grow up in a house full of love by both parents and beside she was black in Mississipi, at a time when there was big segregation in the USA. She grew up very poor and all she believed in was having aneducation and working hard. During the journey, she kept the faith. Today, the rest is history. I have nothing but tremendous respect for her. She is the most powerful woman in the world!

Would you consider it, if Nollywood of Ghanawood called your name?
If the project is cool, fun and meaningful: absolutely. I love discovering new markets and new great projects.

Based on some of the things that you know now, if you could give advice to the Fabienne from years ago, what would you tell her?
Don’t be so naïve girlfriend, the world is even friendlier than you would ever imagine! Keep working hard and don’t you worry about what other people say, because “other people`s opinion of you is none of your business”.

When you’re offered a movie script, what factors do you usually use to decide whether to accept the role or not?
My gut feeling! I gotta fall in love with the story and the character I have to play and completely trust the director I’m gonna be having to work with for days, weeks and sometimes months. Then comes all the rest.

There’s this perception from some that the Haitian movie industry is on the decline.
I heard it and think the Haitian Film Industry is having a rough time indeed. Too many bad, poor quality films; too many bootlegs; not enough private investments. People that can do great films are totally discouraged by all this. So they stop working and soon enough you get a bunch of terrible products also called Haitian films. That’s too bad. I believe one day, it will get back on its feet, but it starts [with] the people that should ask for original versions of the film and stop supporting bootlegs. I’m now currently working on a project that could, perhaps, give a hand…we’ll talk about it at the appropriate time.

You’ve gotten formal training in acting in Canada as well as Los Angeles, correct? Do you think that formal training is an absolute must for actors?
Indeed, I took several acting workshops both in Montreal and Los Angeles. I believe it gives you more tools to conquer the field and a better chance at mastering the art. The movie industry is very competitive; you have one chance to give your first and very best impression. You better be prepared. I believe workshops and acting classes cannot teach you how to act, but they can help you know how to effectively use this natural talent and give you some techniques. I even suggest that people go to theater schools—which I did not attend—if they can. It doesn’t guarantee a career—and it’s not a must—but it will surely give you advantage, confidence and the necessary techniques you need to make it.

We know you’ve worked on several Haitian films/series in Canada. Are you going to ever star in a Haitian movie filmed in Haiti anytime soon?
I wish I had the answer to this question! I am open to any great project that could come my way. I keep great memories of those ties when I used to play in Haitian films in Haiti. It was fun and I felt I was there for a purpose.

Barikad, Protège Moi, Profonds Regrets were the first three movies that you starred in.
Actually, no. The very first movie I played in was Bouki nan Paradi, directed by Raphael Stines, in which I had the privilege to star with Pyram [late actor Roland Dorfeuille], a true legend. I loved Raphael so much but he was really not fun to work with on set. He would yell, scream, curse. We spent over 30 minutes arguing over the fact that I should be naked in the river—while he said the contrary when we first discussed the project. But at the end, that was the very best experience I have ever had on a set. We became best friends and I owe him every other project I’ve been able to work on afterthat. May he rest in peace.

Barikad was a great challenge, I felt I had to impress Richard Sénécal the director who took a chance on me. I wanted that part so much. And to do so, I had to know what I was doing. It was no joke, every day I would go to the street market to observe young girls coming from the countryside; I would go to some friends just to observe how their maids would act. I would talk to maids all the time about everything. I quickly picked up their way of speaking, their shy way of almost never looking at you in the eyes out of respect and humility. On set, everything was well organized; we had a very prepared cast and crew. Everyone knew his or her lines and everyone was on time. Pretty impressive! Besides, my father was part of the cast—Mr Palmier—which was so much fun.

The chemistry between the actors was breathtaking and Richard Sénécal has his own way to make you feel comfortable on [a] set. He is a very rigorous director. He comes on set very prepared and knows when to stop pushing.

I remember one day, we were ahead of schedule and I spontaneously offered to shoot another scene that was scheduled for the next day. Richard was opened to the idea. As we went along, nothing could work as anticipated. I was literally struggling with the scene. Richard stopped and said, “I believe we’re not ready for this scene today, let’s keep it for tomorrow.” Great working experience! Protège-moi was directed by Jean-Gardy Bien-Aimé. I wanted to be part of a project with him for the longest time and here he came offering me the part at the premiere of Bouki nan Paradi by Raphael Stines. Wow.

The most interesting part was that the movie was going to be shot in Les Cayes, Haiti which I had never been to before. Just love the countryside. The set was way less serious than in Barikad. We were laughing all the time and most of the time it resulted in us being behind schedule and [being] so not organized. Jean-Gardy is a very relaxed and spontaneous director that does not necessarily comes onset with a clear plan in mind; he would look at the environment and decide to use things around him. He doesn’t rely on the script. He wants us to let it out the way it comes. The experience in Protège moi was enriching as I got to meet people from Les Cayes. One night, we were searching for something crazy to do. One of the actors proposed jokingly that we should all go swim at midnight. Next thing I know, we drove to Cavaillon and took a memorable “midnight sea bath” with part of the cast. We did some crazy and fun stuff.

Profonds Regrets was directed by Mora Junior Etienne and was shot in Miami. I had some doubts about the project at first as I was not the biggest fan of Le Choix de ma Vie, Mora’s previous film…But Mora could sell you any idea. So he convinced me into getting [a] part [in] it. Mora sent me 30 script pages—which was more of a detailed and long synopsis than a script…The real script was in his head. One day, we spent two hours on the phone as he was trying to explain [to] me the whole script. The problem when you don’t have a complete script is that no one knows exactly what’s coming and everyone on the set is trying to complete the script after each scene, which can be chaotic at times. At the end of the day, we completed the shooting and Profonds Regrets was born. Mora was opened to some changes.

I had a blast in Miami with the cast and crew. We were partying at night. And my sister was with me for the duration of the shooting, which was lots of fun. I really did not have to do anything to prepare for the role; it was a tough choice to make as I always want to be prepared and safe before entering a set. But Mora said he wanted this character to be the closest to me as possible. Which was fun too, because not all directors will allow you this kind of freedom on set.

What’s your biggest regret in life thus far?
I don’t regret experiences I have had in life so far—good or bad. They are the very reason I am who I am today. As Oprah always says it, there is something to be learned in everything you go through in
life—good or bad. You just got to pay attention and get the lesson so you can be wiser and do better the next time. Someone rips you off?Well, it hurts, but you learn not to be so naïve the next time. The closest example I could refer to is my parents. They got divorced over 20 years ago, and at times, I still remember how bad they would argue. That was very painful to witness as a kid. However, they are so grateful to have gotten married, because from that union, 3 wonderful kids were born—my brother, my sister and I. But also, their divorce taught me what not to do in a relationship if you want it to last.

What actors, actresses, and directors would you like to work with in the future?
So many of them! The list would be way too long. But now, I also think of which one I’d like to invite to the Montreal International Black Film Festival.

Out of all the movies you’ve starred in, which one do you single-out as your favorite?
Too tough to answer as each one is a part of me. But the one I believe had a stronger inspirational message was definitely Barikad. I really believe it changed the way people in Haiti see maids.

Since you’ve been on movie sets in three different countries, what’s the difference between filming a movie in Haiti, in Canada, and in the USA?
I believe the country doesn’t matter too much; The only difference, besides the weather, is the means and teambehind each project. It’s fun to get to travel and work in different environments. When working in a city or countrythere is a natural curiosity. I get to be in constant discovery. When filming in a city or country I know very well, there is an ease and comfort that can go beyond imagination.

Photos: Jean-Jacques Augustin, Radio Canada Internatiaonal, HPN Haiti

Ever seen that movie Nora’s Salon II? Actress Claudine Oriol has a role in that film. She’s also appeared in such films as Pluie d’Espoir, The Death and Life of Bobby Z, As Good as Dead, and Blonde Ambition . Now, instead of playing scenes for directors, she’s sitting in the director’s chair, helming Resilient Hearts, a documentary about the 2010 Haiti earthquake. One of the few documented accounts told from a female point-of-view, the doc was an official selection at the 2014 DC Caribbean Festival. It was also screened at the United Nations.

Kreyolicious: Would you mind telling the readers about yourself.

I’m Haitian-American. I grew-up in New York. At first, we lived in Brooklyn, on Ocean Parkway, which was at the time a Hasidic Jewish, Italian, Irish, Russian neighborhood. That mosaic of various ethnicities played a large part in my early life. Afterwards, my parents moved to Long Island. While attending college, I moved to the City—Manhattan. I am an actor and I guess you can now add filmmaker as well.

Kreyolicious: Sometimes a creative mind will ponder on something for months, and years, before it’s brought to fruition. How long did it take you to conceptualize this documentary?

I have always wanted to share the Haiti I know with others. I left Port-au-Prince one hour before the earthquake. During the aftermath of the earthquake I realized that the rest of the world knew very little about Haiti and it’s people. I felt that the Haitian voices were silent and that we were being defined by outsiders who knew little about our history and culture. Three short weeks after the earthquak,e I returned to Haiti to make the documentary. While making the documentary I witnessed the unity that existed among Haitians at that time and realized that this film can also serve as reminder to us all about the accomplishments we can realize when we come together. I also wanted to make a film about Haiti from a Haitian perspective and give a voice to the voiceless. Thus the conceptualization didn’t take long, the realization however took longer I’ve been working on this project for the past five years.

Kreyolicious: Was this the first project you’ve written and directed?

This is the first project that I’ve written and directed.

Above: Claudine Oriol surveys the damage done by the 2010 earthquake in Port-au-Prince.

Kreyolicious: Now that the experience is over, what would you have done differently?

It’s difficult to answer that question because I was a novice and didn’t know much about directing and producing a film. Thus for me it has bee a learning process from which I gained a lot of experience. An unconventional schooling if you will which will definitely enrich my next project. I guess I wouldn’t change anything! But I’ve definitely learned how to make the process easier.

Kreyolicious: If you were mentoring a first-time female director, what would you tell her?

Directing a documentary and a film are two different things. With a documentary, you have to be patient and let the story unfold and guide you. You also have to be pliable; you can’t be rigid about the outcome while maintaining a clear a precise idea about the story you wish to tell. Directing a movie can be more forgiving because you get to play and color within the lines. The story is already there. You have to gain the trust of the actors so that they become fearless with their performances. In both cases, the director should get the best cast, crew and post-production professionals the budget allows.

Above: Claudine Oriol (center) poses with some supporters after a screening of Resilient Hearts.

Kreyolicious: What’s the cinema scene looking like right now in Haiti?

Progress has been made. I still believe there is a lot of work to be done. It’s an industry with great potential and opportunities for those who are willing to do it properly.

Kreyolicious: What’s next for you?

Now that the documentary is complete, I have to ensure that it is seen. We are scheduling premieres in Montreal, New York, Miami and Chicago. These premieres will be fundraisers to support free screenings of the documentary throughout Haiti. The documentary will be available for streaming online on July first. A special edition DVD will be available on January 12, 2016. I love storytelling, so I’m also working on directing my first fiction feature. Social responsibility and education are important to me. I would like to merge them both together to create awareness amongst Haitians about our duties and obligations towards this beautiful land called Ayiti.

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Briana Roy wants to have a career like her favorite actress Angelina Jolie. Surely, she’s already half-way there. With roles in such movies as Reclaim, and more recently in the TV series Recovery Road, and the upcoming Coffee & Baggage, and Bendu Williams’ The Forgiven, the ten-year-old is bound to match, if not surpass, Jolie in a matter of years.

Born and currently being raised in Hollywood, Florida, Briana has also worked in commercials for Old Navy, Walmart, and other international brands.

Let’s get to know her better in this Kreyolicious interview.

Kreyolicious: What do you like most about acting?
Acting is where I can express my feelings. I like the fact that I can jump into different characters and emotions from sad to happy to angry to scared to being shy.

Kreyolicious: Do you have an acting coach?
Yes I do have a coach, but most of the time they want me to be me all natural.

Kreyolicious: You have a lot of friends?
I wouldn’t say I have lots of friends because I met lots of people on the daily basis especially on set at auditions and at the park. I like to socialize with people, but I do have a few people I can call friends since daycare.

Kreyolicious: What does friendship mean to you?
Friendship means that someone who can have each other’s back. Someone who enjoys the company of the other. Someone who is not jealous of what the other has and supports you no matter what. Friendship means someone who is there for you.

Kreyolicious: That’s good…When I was ten, I really liked dolls, teacups sets, and getting on the computer, and listening to music. Is that the case with you?
I still play with my dolls. As a matter of fact I have an American girl doll Isabella, which I nicknamed Bella. I play with Isabella a lot. I also bring it with me on set and play with her when I am on break in my R.V. Also, I love using the computer for research and to listen to music too. Why not?

Kreyolicious: You have a lot of accomplishments for someone who’s ten. What do you plan on accomplishing when you’re 11, and so on?
I am working on being on a major TV show which can help me get one step closer towards my goal on becoming a kid ambassador .

Kreyolicious: Have you been to Haiti yet?
I was about to go to Haiti and also to Belize exactly on my birthday August 14th. I was about to go to Belize on August 14 spend a week and go visit Haiti, but due to busy schedule, I just cancelled my vacations. But I would love to go to Haiti someday, which is my beautiful background country.

Kreyolicious: Angelina Jolie is the actress you admire.
She’s an awesome actress, first of all, and she’s also a humanitarian. I would love to play roles similar to hers in the future.

Kreyolicious: Of all her roles, which ones do you feel most typify you as the actress you’d like to become?​
So far, I have played in three features films: Reclaim, and two upcoming ones: Coffee and Cabbage and The Forgiven. My character in all three are just innocent little girls. I am really looking forward to playing Angelina Jolie/Zoe Saldana action-type movies .

Kreyolicious: If you could play a role in a fairy tale, would you want to be Cinderella or Little Red Riding Hood?
Cinderella. Duh

Kreyolicious: [Laughter] Like duh, for real. What is it about Cinderella…
I like the way Cinderella had hope and believe even through all the obstacles she was going through. She is such a strong princess. Cinderella never let the word of others get her down. Cinderella have an amazing heart. I can say me and Cinderella have lots in common.

What was it like working as an actress in the movie Reclaim?
[Laughter] Working as an actress in the movie Reclaim was fun. I felt related to my role Nina especially Haiti is really my background and the movie is about Haiti and the earthquake which happened in 2010. I felt the part. I felt connected, especially hearing stories about Haiti from my mom so often. I felt that the character Nina could have been me in real life. Also, it was a great experience working with those awesome experience Hollywood actors such as John Cusack, Ryan Phillippe, Rachelle Lefevre, Luis Guzman and Jacki Weaver.

This concludes PART ONE of the interview with Briana Roy. Watch out for PART TWO!

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Sagine Palmier, Nina, Jessica Gentil are all roles that have contributed to the success of actress Gessica Géneus, considered as one of the most talented thespians of Haitian cinema. In the beginning of her career, Géneus could be likened to a being thrown in a new planet, but who by cleverly using her instincts, survives. She brought fire to the role of Sagine Palmier in Richard Sénécal’s first feature film Barikad, spicing up the part of the spoiled, ruthless teenager of a middle-class Haitian family, into the role of a lifetime.

In 2005, she was in Cousines, playing Jessica Gentil—a schoolgirl, whose life turns upside down when her father—and sole benefactor—living abroad dies, leaving her to fend for herself on the streets. The difference between Barikad and Cousines was that in the latter film, the role was crafted by Sénécal with Géneus in mind. “I knew upfront that she had the talent and ability to emphasize both the character’s weaknesses and strengths—Which she did wonderfully”, the director recalls. Many observers have noted that in addition to reflecting the tough realities for many young Haitian girls in Haiti, Cousines pushed the envelope on the realism aspect of Haiti’s cinema and brought renewed hope that more realistic stories would be told.

Géneus has gone on to do several movies after Cousines, including Le President a t-il Le Sida, a film about HIV and AIDS in Haiti. But Cousines is the movie some will more than likely will associate with her. The film was about the important economic link between Haitians living in Haiti and those abroad. But it was also about friendship, sacrifice and personal survival.

In 2009, Géneus had the opportunity to play a role in Moloch Tropical—Raoul Peck’s first feature film in years to be shot in Haiti. Less than two years later, the actress—wanting to broaden her horizons beyond Haiti and wanting to seriously study acting—left her homeland for France, where she currently lives.

In three separate conversations, we chatted about everything from acting methods, to fame, and her life beyond the cameras.

Q & A

How did you get started in the Haitian film industry?
I was 16 years-old when I started modeling. I met Richard Sénécal during a casting for a commercial. Then he invited me to come to another casting for Barikad.

The commercial was for what?
A cellphone.

How did the casting go? Going in, did you think you had a chance of being cast?
First, I didn’t even take it seriously, because I didn’t know there was a movie industry in Haiti. So, it was more like a game for me. I followed all the directions he gave me and I got the part.

Were you given the script prior to the casting audition? Or did you just improvise?
They gave me a scene and a few minutes to know it quickly. Then, I played with another girl who was also there for the casting.

Do you remember which scene?
Yes! The one when I wanted my friend to introduce me to a guy. In exchange, she asked me to bring Thierry over to the party.

Once you got the part, did you do any sort of preparation to flesh out the character?
No, not at all…because I didn’t see it as a—it wasn’t that important for me at this time. I wanted to do well of course, but as I told you before, it was more like something fun—that I’m gonna get paid for—on top of it.

Once the movie wrapped up, and premiered, what was the reaction of your friends and family?
I think it was a bit confusing for them, because they said that I was too good [in playing the role], so maybe I was that kind of person, but my close family was really happy to see that I could become an actress.

So at this point, you felt that it was no longer a game. You started taking it seriously?
Not yet, but I felt like I wanted to go further with it.

So you went from being a typical teenager to a movie star. How was that? Suddenly, your friend circle increased by a thousand fold I’m sure.
Well, I think it was too much for me because Haiti is very small. I had a movie in the theater, but I didn’t even have a car. I had the same life but people’s [perception of] me changed.

Changed…how?
Well, I was kind of popular, so everybody thought that they could have an opinion on my life…and also a lot of them couldn’t [discern] the difference between the movie and real life. So sometimes, people would say that I hated the housekeeper. They would hate me for things that I did in the movie. So it was hard for me to accept that fact [being confused with the character].

You were kinda popular…as in prior to the movie, in your own personal life?
No way. It was the complete opposite.

In other words, the movie made you popular?
Well, I guess that’s one of the things that came along with it.

Did you find yourself feeling really afraid, suspicious even, when somebody tried to befriend you?
Sometimes yes—especially when I first started. First, but now I just make sure that I do the right choices when I can.

Do you have a role model in mind in terms of who you carve your career after?
Well, it’s hard to say. In Haiti, it’s an industry that is still growing. I really loved Toto Bissainte in L’homme sur les Quais by Raoul Peck. I love her as a singer and as an actress. It’s impossible for me to say that I have a role model because I’ve learned from so many people in my life.

You saw Bissainthe in starring roles before you starred in Barikad or after?
After.

You have a starring role in We Love You Anne, the sequel to the movie I Love You Anne.
Edner Jean, the movie producer asked me to play the part. I accepted because I wanted to play a comedy—especially with Tonton Bicha [who] I really like.

And the character you play?
It’s one of Pè Déméran’s daugthers. She is like an older Sagine. [Laughter]

You currently live in France. How is life in Europe different from life in Haiti?
I love Paris, but Haiti is something else. I have a special connection with it. A mother is a mother and will always be.

You’re receiving actor training. What are you learning about your craft?
I just finished with [the] school.

What are some of the biggest things you learned while at the school?
That there are so many different methods in acting. I’m glad that I know most of them now and I can use them whenever needed. I’m wayyyyyyyyyy more comfortable because I have tools. This is something that really gives you confidence in your work—from my point of view.

Knowing what you know of acting now, do you think that you unconsciously applied some techniques in the past without realizing it?
Yes, but I don’t think that it was a good idea that I used the method Stanislavsky when I was playing Cousines.

You don’t think it was a good idea? What do you mean?
Because, it’s a method that tells you bottom line to use your past experiences to play any emotional scene. Today, I realize that it can be really dangerous to get out of the mess that you gonna create in yourself and difficult to get out.

In other words, you plunge into those emotions of the past, and after you’re done playing the role, it’s hard to shake things off?
Exactly. It became too personal and it can be hard to [discern the] difference between you and the character.

Now, that you are finished with your acting school in France, do you envision yourself returning to Haiti to star in more Haitian movies? What are your plans?
I’m currently living between Paris and Haiti. I have an agent and project that I’m working on in Paris. It’s been two years since I have been working on a script. I’m now translating it in English.

At this point, would you change anything about the way you played Sagine, Nina, and Jessica?
Yes, for sure. Definitely, but I’m happy with what I did without any kind of training or learning. As an actor an artist and a human, I will be in a learning process until the end of my life on Earth.

What do you think about the current state of the Haitian movie industry?
I think it’s just a bad period. Because a lot of people are working to restart the movie industry in Haiti, so I don’t have the right to say that it doesn’t exist anymore.

What do you think can be done to help things along?
Well, first we need [movie] theaters in Haiti. It’s a must. And then there is a lot to do. Protect the movies. If you have people ready to invest in rebuilding the theaters in Haiti, the rest will come because I know a lot of professionals who are ready to produce movies, but you need a real market.

You made your debut in the Haitian movie industry at 16, and your career has flourished ever since. What is the difference between you and other young actresses who made promising debuts only never to be heard from again?
I don’t like to talk for other people. I also know that it is really hard for any person to be “just” an artist if you are living in Haiti. It was also very hard for me. I had to fight against the society and all the prejudices. But I found my strength in the fact that [film] is a deep passion. It’s in my bones, my veins…it’s everywhere. I didn’t only want to be an actress. I love every single part of the movie industry. I’m talking about the artistic part. I’m alive every time I’m on a movie set, and I know that I will fight against anything or anybody who wants to take me away from that happiness.

“I had to fight against the society and all the prejudices”. In what sense?
First, when you are a woman in Haiti and you want to have an artistic career, people will give you all the bad names that you know [of]. It’s a long debate. And a complicated subject. Eighty percent of the population of Haiti is not educated, so it’s hard for them to understand that when you play a role, it’s not necessary who you are. Even for those who are “educated”. But I had a lot of support from people who believed in me. Slowly, I started to clean my environment and only kept real people around me.

Out of all the movies you’ve starred in, do you have a particular favorite?
So far, Cousines. It’s a very profound story, but I was also happy to be in a historical movie such as Toussaint Louverture. Not only happy, but proud. Very proud.

How was it working on that movie?
I just arrived at the right moment in Paris. Jimmy Jean-Louis was already cast for Toussaint, so he introduced me to the producers. Then I did the casting two months later. My character’s name is Vertueuse. She is always with Biassou [a fighter and leader in the Haitian Revolution of 1791] in the movie. She is very spiritual. I only worked in Paris. It was a very cool adventure. They created a whole decor outside of Paris.

This Vertueuse person was not a historical figure of the Haitian Revolution, correct?
As you know, they only talk about the heroes in Haitian history, but not the women. It’s a sickness because it’s not only in Haitian history, but that’s another subject. So, I won’t say that she didn’t exist; I will say that nobody knew about her. And I’m happy that they brought her alive in that movie.

So in playing her, you basically combined all your ideas about what a woman from that revolutionary period would be like? Like a composite?
Exactly. And also what I’ve heard from Bahina Belot. She is a historian. She never talked about Vertueuse herself but she is fighting a lot to keep people informed about the women in Haitian history.

You mentioned that the Stavlinsky method is too emotionally draining for an actor. Which method do you feel is the best, and the most conducive to putting on a great performance, that at the same time, will not be mentally detrimental to an actor—or actress?
It’s still early for me to make any kind of deduction because I need to experiment [with] more than one to make a conclusion that will surely only engage myself. But I can tell you about a method that they teach me at school. It’s called spatialization. It’s a way of studying your text while visualizing every object in the real world. You situate them like they really exist: persons, objects, houses, everything. You recreate the world that is the script. The more precise you are, the more you’ll feel like it’s really true.

In the movie Barikad, there is a scene when your character Sagine barges in the maid Odenie’s room. For some reason, this scene stands out in the minds of many who’ve seen the film. How did you prepare for it? Did you have to go through a lot of takes to achieve the scene?
No. It was a one take. I improvised. Richard told me what he wanted, and I did my best. But, it’s easy to do it with the team that I was working with: Haendel Dorfeuille, Handy Tibert, Fabienne [Colas]. They are all very good.

You mentioned criteria. When you’re offered a movie role, or given a movie script, what factors do you usually use to decide whether to accept the role or not?
I only have this privilege in Haiti, because usually when somebody asks me to play in a movie it’s because he knows that I will be good in the part. In France, I can’t really choose for now. It has to be first [of all] well-written. Then it depends on what is it about. The story.

Imagine an actress of about 18 years of age, who has been cast in a movie. Filming has concluded and everyone who has seen the movie is sure it’s going to be a sensation. Now, before the public premiere, you have the chance to sit down with this actress. What would you tell her, what advice would you give to her, in terms of how to handle fame, about how to handle media, how to map out a career, and what other counsel would you give her on the road that lies ahead?
I think if she wants to hear any advice [in the] first [place], I would tell her the exact same thing I say to my little sister every day…to make sure that she always has a clear idea about what she wants to do with her life. And once you know, you’ve got to be sure that it is something that you could die for. That being said, you have to fight for it ’til the end because the only gift we have from life is that we can choose the way we want to live it. Everything like fame or money or anything else is a bonus. The joy is in the journey. People you meet. Fights you lose. Fights you win. Pain, suffering, laughs, cries. You have to be aware of the journey because success’ sensation only lasts for a few seconds. What will be left is a lifetime that you shared with amazing people doing something that you loved. [Long pause]

Are you done with your thought?
No, but yes.

Please continue if you have more to add.
No, no it’s okay. It’s just emotional—too much for me because I know what it is to be 18 years-old in this world. They are showing so many things that are keeping you so far away from the real beauty of life. I think when I was 17, I was so lost. I wish I had symbols that could actually be some kind of guide for me. I just want them to really look for who they really are; to clean their mind and to make sure that every time they take a decision that it is what they really want to do and not what somebody else makes them think that would be good for them ’cause he wants to take advantage of their lack of information or naiveté.

In terms of fame? And the media?
In general; they are showing so many things that are keeping you so far away from the real beauty of life.

Who is “they” in this case?
Society; the star system. When you see famous people [that’s no] reason to be [in awe]…it’s not that it’s bad but a lot of young people decide to do the same because they think that they will have the same success. But they don’t realize that we are all different; so are our lives. The result you have doesn’t guarantee that I will have the same one if I do what you did. It’s just that you don’t have to be embarrassed in front of somebody that you see as someone one that is famous and think that it is the right thing to do to have a beautiful life. Each of us has [a gift]. And even if everybody doesn’t know about it, it doesn’t matter. What really matters is if you feel like it’s what makes you happy. If you feel like it was the right thing to do—because we are all different and our mission in life is also different so we are not all here to do the same thing.

You say “success’ sensation only lasts for a few seconds. That may be the case in some other countries of the world where so many movies come out at a time. The impression that I’ve gotten about Haiti is that once someone is in a movie, or better yet a string of 2-3 films, they’re able to sustain their fame for life based on that.
I was talking in general. I don’t want to talk about fame in my case. I don’t wanna talk about fame at all. But you can’t deny that once people see you on TV or theater, if you had an impact they will remember you for the rest of their lives. I don’t think that is fame or anything. It’s just that they recognize you.

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KREYOLICIOUSLY YOURS…GESSICA

Three words that describe me…No words can describe me or you or anybody else. We are not stereotypes. I don’t think humans will ever be able to create words to describe another human. We are too complex and simple at the same time.

If there’s one thing I can’t tolerate, it’s…extremists. I think this is what is killing us slowly. Everybody thinks—they all believe that the truth is held by them. We are now right in the middle of a conflict that proves it.

The last time I cried...I’m always crying. I have so many reasons to do it. Most of the time, I do it when I feel useless, and it’s a feeling that I usually have when I go to Haiti, because its seems like it’s always worse than the last time I came.

My biggest regret in life so far…that they didn’t ask me if I wanted to come on Earth or not.

In my spare time, I like to…be productive.

Among members of my family, I am closest to…I’m just doing my best to be there for any of them.

If I could give instructions to my future husband, I would say…I’ll never do something like that. I can’t ask someone to take me as I am and not do the same.

To me, friendship means…another way of saying family member.

The book that I read that has made the biggest impression on me has got to be... I have to mention two books so far. One, Nan Dòmi by Manzè Beaubrun. Two, 100 Ans de Solitude by Gabriel García Márquez.

To me, beauty is…invisible

Award-winning thespian Alexandra Foucard is what some might call a quad threat. You read correctly. She is a singer, a theater and film actress, and a writer—having written two short films.

Nathan Butera, who has directed Foucard on the TV show “OFFSEASON” especially appreciates her dual experience on the stage and on film. “That’s a rare thing to find these days. As many of the actors on my production are stage-trained and have limited film and TV experience, Alexandra has a language and presence she uses to help some of the other actors who are less experienced in film and TV translate their stage techniques to the screen.”

Foucard played Fantine in a production of Victor Hugo’s classic Les Miserables. In embodying the character, Foucard captured the vulnerability of the prostitute in 19th Century France, who is lax in her morals but who is abundant in motherly love and selflessness.

Its her dedication to capturing the essence of characters like Fantine that has earned her the admiration of directors like Butera. “She understands the power of a subtle gesture or a simple look of the eyes and has the confidence and timing to know when to use them in place of bigger, more affected movements and speech,” he says. “But make no mistake, when it’s appropriate, Alex will ‘let ‘er rip’ with a cut-you-to-the-bone performance that’ll make the hairs on your neck stand up an pay attention.”

Based in Los Angeles, Foucard was honored with a NAACP Award for Outstanding Lead Actress in a Play, for the role of Adelaide in the musical “Guys and Dolls” and was nominated for the prestigious Helen Hayes Award for her turn as Vy in Sheldon Epps’ “Play On”. She played Beneatha in an off-Broadway production of Lorraine Hansberry’s A Raisin in the Sun. She holds a Bachelor of Fine Arts degree from Howard University.

Q & A

Tell us about yourself.
I was born in Haiti. As in most Haitian families, we are on big melting pot. One of my grandmothers was Domincan and Spaniard, one grandfather was French, and my other set of grandparents were Haitian and Caribe. This has played a great role in shaping who I am. I have a great love of Haitian art and storytelling–it’s in my DNA. It’s opened my creative mind to embrace all art forms throughout the world.

So you were born in Haiti. At which point did you leave?
Yes, I was born in Gonaives and we lived in Petion-Ville. However, political reasons forced my parents to leave Haiti when I was four. We first moved to Chevy Chase, Maryland but my maman couldn’t handle the cold, so we moved to Miami, Florida where I grew up.

Have you always been in love with acting?
Yes! My parents told me when I’d go to the movies with them in Haiti, I would make them sit and I’d reenact the entire movie when we got home. I’ve been interested in fashion design, interior design, advertising, even the law. But I adore acting and singing.

You played Fantine, in Victor Hugo’s Les Miserables. How was that experience?
It was a dream come true, I remember seeing Debbie Gibson singing “On My Own” on some morning talk show, and I thought,” I want to do that…I want to be in that show!” When I auditioned for Les Miserable I was was living in Miami. I went to a general call at the Theater of Performing Arts, [and] 386 people showed up and two of us were cast. I was with the Les Miz touring company for six weeks and then joined the Broadway Company. When you’re doing 8 shows a week you spend a lot of time together. We all had a great love and respect for the show, it was a great experience for me. The cast was and still is part of my theater family. In fact, those of us who are in New York went to see Les Miserables—the film—together in January, some of a crew also came along. We had a blast! One time, I remember being on stage singing my solo and realizing at that moment “Oh my God! I am actually on a Broadway stage singing! My dream is now my reality”, I started to cry.

Now, you’ve done theater, television and film. In which setting do you feel most comfortable?
I am comfortable with all three. However, if I had to choose, I would say the theater. It’s my foundation. There’s something about being on a stage that make me feel grounded. Maybe it’s the familiarity.

Your performance in “Guys and Dolls” earned you a NAACP Award. How did you feel when your name was announced?
It’s pretty funny because I didn’t know I had been nominated. A friend of mine called me to congratulate me on the nomination, I totally thought he was kidding. I was working in New York and was unable to fly to L.A. for the NAACP Awards. The night of the awards during the show I got a call from Maurice Hines, who played Nathan Detroit to my Adelaide and he told me I won. I was in my dressing room totally freaking out!

How much asowosi and vèvenn did your parents drink when you told them you were going to pursue acting?
That’s really funny…I haven’t heard that in a long time. My parents were cool with me taking voice lessons, acting and dance lessons — My mother even drove me to all my activities. But, when I announced that I was going to get my BFA in Musical Theater my mother just didn’t get it. She told me, “No respectable Haitian woman acted as a profession. It ‘s considered one step up from a prostitute.” Pitit mwen te choke, men mwen pa t kite sa estope m. I told her: “Maman, I’m sorry you feel that way, but this is my passion.” She had a change of heart after I booked Les Miserables!

Are Hollywood people are ruthless as they’re portrayed?
I think people are the same everywhere, it depends on what’s going on inside of them, I mean how they feel about themselves. This will indicate how they choose to react to certain situations.

Do you have a dream role?
One written for me! [Laughter] I think that all actors would like someone to write something just for them. Although if I had to be more specific, I would like to star in a French film where I would play la fanm fatal. The idea of doing an entire film in French or Creole is exciting because it provides several challenges — not letting the words get in the way for one. I mean, I’ve only acted in English!

When was the last time you went to Haiti?
It’s been too long! I was back in 1998. I would like to go back this year, I think Haiti has the most amazing people and it’s a beautiful country.

If you were graduating high school right now, and knowing all you know now, would you still get a degree in acting?
Hmmm, interesting question. Honestly, I’m torn — on one hand there’s much to be said about having a BFA, I did get the conservatory experience, which was a great way to learn my craft. Yet, I think learning marketing and business is such an advantage because at least 90% of the industry is about those two things. But the thought of those majors bore me. Although, If I had majored in either I could have minored in Acting and Musical Theater. Frankly, I did learn a lot in college, but I don’t think it could have prepared me for all I’ve encountered professionally. Sometimes experience is the best teacher, provided you learn from it.

Do you think it’s essential to keep Haitian culture and customs alive?
Absolutely! We have such an inspiring history which has bled into our culture and customs, it makes us unique. We’ve also had a great influence throughout other cultures as well through our music and art.

You’ve studied acting with David Sisco, Roz Coleman, Bruce Kolb, and Allan Louis, among others. What have you learned about your craft through these distinguished teachers?
Very loaded question! They are all amazing acting and vocal coaches. They taught me to improve my technique and hone my craft as an artist. But, what I’ve taken from all my experience with them is how to make all the technique and coaching my own; in other words make it organic, because when you’re on stage or in front of the camera it’s just you. I’ve also learned an artist never stops growing, so I continue to coach with both my voice and acting coach.

When you bounce from role to role, how do you manage to create a new character from scratch?
Well, I create a biography for each character: where I grew up, my likes and dislikes, profession, etc., in other words I get as detailed as I possibly can for each character down to my zodiac sign. This foundation makes it possible for me to be my character.

Is there a challenge in being yourself again, after you’re done playing a role?
Yes, yes, yes! When I played Adelaide I would catch myself slipping into a Bronx accent while my voice became high pitched on certain words during conversations…crazy!

What can you tell us about “OFFSEASON”?
“OFFSEASON”, well, I spend a lot of time in Provincetown, Massachusetts on Cape Cod. It’s a beautiful place with a huge artist and LGBT community. Some local writers, actors and a cinematographer got together and decided to create a miniseries. It is a quirky little town, people work hard during “the Season”, which is the summer, usually having two or more jobs. Then during the off-season, the winter, the town is deserted except for the townies and almost every business closes its doors. The show is based on what happens in Provincetown when the tourists go home. I’m Maya Wholly, a general contractor and yoga instructor who manages to get myself into a bit of trouble.

What are you working on currently?
I’m currently working on “OFFSEASON”, we’re shooting five more episodes. I’m slated to do a science-fiction short this month, entitled Memorama, by Peter Normandia. I’m a president of major bank who doesn’t take no for an answer. Also in July, I’ll be working on a feature written and directed by Leon Raymond Mitchell entitled, Drinking From Satan’s Cup, I’m a French business woman with a twist.

You sing too.
I’ve been singing my whole life. One day, I was about seven, I was singing in the hallway of our house in Miami and my papi said to me, “San, se radyo an kap jwe ?” Well that did it for me, I thought, “I can sing because my papi thought it was the radio.” I’ve been taking lessons since I was eleven. My stage work has consisted mostly of musicals, which is great. I’d love to do a television show or film where my character had to sing.

If you could talk to a room full of new graduates, who’ve just earned their BFAs from Howard University, actually from any university, what would you say to them about the road ahead?
Hmmm, you ask some provocative questions. [Laughter] The first thing I would say is know who you are, accept and love yourself, know your talent and self-worth, be kind to yourself and trust yourself. When you leave the comforts of your universities where you’ve been incubating for the past four years you may find that people appear unimpressed or maybe even dismissive of your talent. But, if you hold on to all of these things I’ve mentioned, find good coaches, continue to hone your craft and maintain a clear vision of where you want to go, you will without a doubt get there.

OFFSEASON SIZZLE REEL from Alexandra Foucard on Vimeo.

Numa Perrier typifies what versatility really is. Perrier has acted in theatre, on television shows and films. She also has an active career on web series. She played the character of Lisa on Issa Rae’s fan-adored “The Misadventures of Awkward Black Girl”, and is a regular on “The Couple”, another web series with a huge fan base.

Perrier says she had been wanting to be an actress since she was eight years old. A whole two years later, she voiced her desire to get into the field to her mother, and to her surprise, her mother agreed. Since then, she has been on the acting grind, starring in everything from short films to having a regular role on the television soap opera “General Hospital” for five years.

Starting in the mid-2000s, Perrier began writing projects, most notably a short film project entitled Judi: A Series of Memories. She is a regular writer on “The Couple”—which was nominated for Best Web Series at this year’s edition of the American Black Film Festival. Perrier also produced nine projects, including “Hello Cupid”, a comedy series.

Q & A

Do you think that web shows and series are going to make standard television obsolete one of these days?
I dont think standard television will become obsolete in terms of half-hour and one-hour programming. It’s about distribution and how we ingest content. Television as a device will evolve though—perhaps to the point of only viewing through ipads and phones and whatever else is around the corner on the tech side. That’s the exciting part. It’s moving so quickly.

It turns out that you also design gloves. Is there no end to your creativity?
Yes, I also design couture gloves. That started with an affinity for wearing gloves and evolved into designing my own line and creating gloves for Rihanna, Vogue, Ellen Degeneres and other celebrities and their stylists. As an artist all of these worlds collide and I’ve always been interested in theatre, music, fashion, film, photography—so I will always find a way to be involved with all of those things.

What inspired your web series “The Couple”?
“The Couple” was inspired by events in our creator—Jeanine Daniels—personal life and that developed even further to include Dennis Dortch—our director—and my personal life together as well. Ultimately we all were very excited about having a series that shows the every day humorous things about the intimacy of living together. We are really committed to the reality of that so every episode is either based on real life completely or just enough that we can grab on to it and run from there.

Are you going to be producing a lot more?
I will be producing a lot more. Ive been producing for quite awhile actually. Currently, I supervise and am a hands-on producer for all of the Blackandsexytv programming – The Couple The Number – Roomieloverfriends—which I also created and write—and two new shows -Hello Cupid and The Choir which are coming soon. Not to mention film projects… Yes I am busy!

Are you inspired by anyone in particular?
I’m inspired by Lucille Ball who was a TV maverick. One of the first women producers and had her own production company with her husband and co- star desi arnaz. I love “I love Lucy”—I can watch it any time and I am constantly inspired by Lucille Ball as a true trailblazer.

You act, you write, you produce a web series and art work. How do these different parts of your artistic self come together?
The acting writing producing and art may seem separate but they are all tied together. Many stars are producing because thats where important decisions are made and you are not so passive inthe process. Writing—I’ve been doing since I was 8. Writing was my first love. My art work is often a form of writing and is where my more serious or darker aspects of myself are lanfding right now. Its a very good balance when i dont worry about what it looks like to others.

When was the last time you went to Haiti?
I was in Haiti ten days after the earthquake. So, it’s been three years. I was devastated by that trip, but I think I’m ready to return this summer.

What are you working on right now?
I just signed on to do a feature film project Beautiful Destroyer; it’s an action-filled love story and I’m training to really shape up for it. Also shooting The Couple Movie very soon.

How do you perfect your craft as an actress? Do you work with a coach?
I’ve studied with Milton Katselas which was scene study—David Farkas for voice and Polina Klimotskaya for kinetic work. Polina also does animal work which is very very useful. Animals are—feral ones at least—never fake—they are absolutely in the moment and highly expressive. Anthony Hopkins does animal work and he’s brilliant. Voice and body work are also really important. I’d like to take some improv classes—which I’ve never done—so im looking into that. Even though “The Couple” is largely improvised im learning on the job.

Nadege Telfort has played more than a dozen women, and all of them have been strong women like herself. One of the leading actresses based in Haiti, the Cap Haitien-born Telfort says she got her start in the entertainment business as a model. Claire Ronalde, a cousin of hers, had a clothing store and she modeled that store’s offerings. This led to other gigs modeling for designers in Port-au-Prince. After flirting with the banking and corporate industry, Telfort says she auditioned for a hosting gig for a show called “CrazyMax” on one of Haiti’s leading television networks Telemax.

While working at the television station, Telfort was cast in La Face de L’Ombre [The Face of Darkness], then earned roles in movies like Le President a-t-il Le Sida [Does The President Have AIDS?], Player 1/2, and Vocation.

Today, in addition to being an actress, she’s also an entrepreneur, having gotten off the ground Hisbicus International Agency, a firm she calls “an alternative talent agency with a new artistic philosophy”. The agency most recently took part in the second annual edition of Haiti Fashion Week.

How did you get interested in acting?
As a child watching the film Le Governeur de la Rosee [based on] Jacques Roumain’s novel. I was amazed by the simplicity of the actress Jessy Alphonse. My mother used to hide my eyes when there were adult scenes [Laughter], while explaining only the parts that I could understand. Then there was another click with Anita from a director named Rassoul Labuchin. Seeing Marjorie playing her role so perfectly—I saw myself in her [place]. I knew the majority of her [lines] by heart…but when I told my mother that I wanted to be an actress when I grew up, she simply told me: “I’d rather you be a doctor.” And the conversation stopped there. Now, years later when I was working at Telemax, I met Catherine Hubert who just asked me if I wanted to play an important character in her movie. I was chosen because of my shocking resemblance with one of her paintings, and that painting would end up being the movie poster. So, I agreed and went to the casting and the adventure begun.

So, in La Face de L’Ombre, you played a young woman who resorts to supernatural means to get what she wants.
I was in front of professionals during the shooting for La Face de L’Ombre—my very first time on a movie set. After the shoot, [the Director of Photography] Richard Senecal looked at me and told me: “Congratulations Nadege, you are a one-take girl”, and I will never forget that day.

What’s your latest project?
My Latest project is the movie: Mon Dieu, Mon Amour, the story of two friends who are prostitutes and who are aware of their lifestyle of debauchery and decide to convert [to Christianity].

Can you tell us how you came to be involved with this film?
The main casting was already completed, but from the first scenes, the team was not satisfied with the actress who was interpreting the role of Jeannette, so Edner Jean—who was the producer—began looking for someone else for this role…a very important role. I was invited to audition by the lead actress, who is also a friend. I must say that Edner was more than satisfied.

Which actresses do you look up to?
Jessy Alphonse from Le Gouverneur de la Rosée; Toto Bissainthe—she was a true and pure goddess to me. And I used to love Sophia Loren, Charlize Theron and, of course, the legendary Joan Collins.

What advice do you have for aspiring actresses?
Stay positive and know that it takes time to achieve your goals. Take your craft seriously. Find acting classes to take. Study other actors/actress that you admire; stay in shape and stay positive.

What are your thoughts on the current state of Haitian movies?
Personally, I think that The Haitian movie industry is fighting to be reborn from its ashes. But since the earthquake, we’ve lost all the movie theaters that we had. Production in Haiti could be better. We have good actors, producers, directors. We have good actors who have studied abroad and are back to work in their country. We have good students at Cine Institut in Jacmel. But in spite of all that hard work in filmmaking in Haiti, people are leaving their feature film [scripts] in a drawer because of the fact that we don’t have any movie theaters. This worsens the already sickly state of our film industry.

When you’re presented with a script, and you decide that you like it, and you decide to take on the role…how do you approach the whole process of bringing the character to life?
The actor must discover the essence of the character and project that essence to the audience. I always use the script to help me [gather] all types of information about the character and fabricate what the script does not tell me. When an actor is playing a character in theater, TV or film, they should know their character as well as they know themselves, so they can just exist and live. As an actor you have to plant those memories, anecdotes and back stories. And sometimes I use the Stanislavsky method.

How do you handle fame?
To me, fame is not the most important thing in life. I have fans everywhere, and I love it. If you are a true Haitian who really supports Haitian artist there’s a bunch of good actors and actresses, singers, musicians that you really cannot miss anywhere they go…But I wanna take advantage of my little “fame power” to draw attention to causes I feel strongly about. That’s why I decided to support women at L’Acul du Nord through the Nadege Telfort Foundation. We will work on health and education. The foundation will be operational at the end of this year.

And what should we expect from Nadege Telfort in the future?
I will play lead in a 3D movie project Pour l’Amour d’un Caco. And I will also work on a movie called The Lights of the Forgotten, a 99 Ways Entertainment production, and of course, Hibiscus will have a lot of beautiful surprises.

Check out the actress Nadege Telfort on her YouTube channel and be sure to check out her website.