Congratulations Diva! Diva was written and directed by Chris Mack, starring Joanna Pickering and Valery Schatz. It was shot in Paris, in 2022. See full cast list here.
Diva is a well-written, funny script about an actress working in the toxic climate of the entertainment industry. Since Diva’s first screening in Paris, December 2022, the team have won a notable number of awards on the independent festival circuit, including Best Director twice, Best Comedy Short twice and Pickering has been awarded Best Actress Six times, as well as awards for Outstanding Performance, weighing in alongside feature performances. Awards include The 7th Annual Actors Awards 2024, LA Film awards, and NY International Women Festival (full list here).
Pickering’s performance is every bit compelling as the awards suggest, but it’s hardly a surprise. She is an accomplished stage and film actress represented at major level with 3 Arts Entertainment in US and Talented in Paris in France.
Diva Reel The Wait Scene no 3
Pickering fills the role of Audrey with an effortless depth and richness that elevates the film beyond its indie budget and ensures, with the cast, that the message lands. Audrey is an actress determined to make her career work, but faced with her director’s obsessions—played by an equally committed Valery Schwartz, Audrey finds herself humiliated.
Diva Reel The Rose Hotel
Pickering’s performance is masterful and layered. In each scene, as Mack ensures the stakes rise, so does the masked anguish Pickering brings to screen. Pickering portrays her internal debate with extraordinary craftsmanship. We are privy to the undying hope of the movie star contrasted with her despair as Pickering pulls us along with her into the harsh reality of acting.
The film has wonderful cinematography by Payam Azadi and this indie short is an all-round gem deserving of its attention.
We are honored to speak with Miss Pickering on performing her role as Audrey, The Diva.
indieactivity: First question up—are you a diva?
Joanna Pickering (JP): Females who stand up and call shit out are always divas! So hell yeah! I’m queen diva!
How did you get the script?
Joanna Pickering (JP): I was hiring directors for my own plays going to stage in Paris, in 2021. I usually hire female directors because of my themes. I’ve put ten productions to stage and chosen eight female directors. However, in Paris, I knew less people. Everyone in pre-production said two words: Chris Mack. I met this wonderful, passionate director. We exchanged scripts. We were both hitting the same notes regarding female narratives. I knew from the Diva script that Chris would fulfill the message of my play, Cat and Mouse, which is controversial and needs precision in direction. He did a magnificent job. It was my love of his script Diva that launched us on our journey for stage and film.
What was it like being directed by Chris Mack?
Joanna Pickering (JP): It’s never going to be easy to direct the playwright, but he navigated it amazingly. Then the roles reversed for Diva and I found myself portraying this poor actress. We made two stories —one for stage and one for film, and both resonated with their medium and audiences. Chris gave me specificity in direction for Audrey. He gained my trust that we were able to drive the storyline for the female while showing a submissive situation. Chris and our DP, Payam, made sure to leave the camera on my reactions. We conveyed a whole world of emotion with less dialogue for Audrey’s character.
Any surprises in the direction he needed you to go?
Joanna Pickering (JP): Chris reminded me and my co-star Valery that these characters want this movie to work. They’re on the same side. They are both in this together and there is a bond of trust and hope. There is much more to power dynamics than only the exploitation. When Audrey keeps battling, not quitting, her director is proud of her. Audrey feels that warmth and keeps going for him, and that’s how we get to the insane finale of the film. Chris made sure we hit these notes. I doubt we would have arrived there on our own.
There is a scene, when Valery’s character goes to stroke your cheek. You’re so raw and impulsive, its beautiful work?
Joanna Pickering (JP): Thank you. I know when you mean. It’s organic. It’s exactly what we are talking about—she’s angry, she’s being exploited, she flinches from him—don’t touch me, but this determination in her eyes says move out the way and let me deliver what you have the audacity to ask me.
Did you do an audition?
Joanna Pickering (JP): No. My three weeks rehearsal for stage to finale night and applause was my successful audition. The play went so well we wanted to shoot my play as the film, but my script wasn’t ready. Chris had a cast and crew ready to go. Diva was written. I turned up back in Paris, he turned his house upside down, found some cliffs for me to hang off and then we were green-lit.
Do you have a certain way you like to work together as director and actor?
Joanna Pickering (JP): Chris was great as he let me lead with my intuition for both my roles on stage and the film and then sculpted my performance. We got the freedom of performance first. Then, he refined the work to the precise mood and story we needed to tell. This is the hallmark of a great director. Not all directors are going to let you do that.
What was most challenging and most rewarding factors— aside the awards?
Joanna Pickering (JP): It’s not awards that matter, but we give big thanks to the festivals and juries who screened us to an audience, as that does matter. The real rewards are overcoming the challenges. You become a family on a film set and you all share this crazy belief the impossible is possible. On an independent low-budget movie everything can go wrong. There’s no finance to solve anything. There’s no tomorrow to fix things on an indie budget. If a rain storm threatens a shoot location, you don’t postpone it, your leg up a rock like a maniac before the rain comes. It’s somewhere in this maddening thrill, which big sets lose, that makes us most alive as artists.
What did you enjoy most about performing your character and what did you dislike?
Joanna Pickering (JP): I loved the final scene. Like a true diva, my only note on the script was Audrey needed more lines where she was in-charge and not to end on the defeat of our female hero. I consult on major scripts with female narrative and a lot of my clients win awards, but Chris was already on it. He had written a monologue during the shoot that nailed the character arc. As writers, we loved it. I loved performing the shift in power – but as an actor, on the day, I had a last minute monologue to learn. To be honest, reading the whole script, I only swapped hats from writer to actor days before shooting. It dawned on me, oh shit. I’m going to be portraying the hell female actors are put through. I’m going to be down on my knees, in the mud, every take for real. I know comedy is a huge vehicle to help audiences resonate with serious messages, so off I went committed to the mud and cliffs. We had laughter, tears and a few bruises but I was fully supported. I had the superpower AD, Tori Johnston at my side, who was pinnacle in putting my plays to stage, as well as our second AD Emily Gonnet, who sent me a message after a tough scene to say you will win an award for this.
I am not surprised on the awards, your performance is outstanding. You’re a wonderful actor. How much did you prepare to create the nuances and conflicting motivations?
Joanna Pickering (JP): Thank you. I brought my organic self and let Chris worry about the rest. He’s worked with actors all his life so he gets the drive to please your director, no matter what the suffering is. Actors are trained never to cut their scene. Audrey, is determined to be a good actress, and that’s the harrowing juxtaposition we see.
I know you are a method actor. Did you use the technique of sense memory for your performance?
Joanna Pickering (JP): No. I was using physicality and I connected to the moments with the fantastic performances of my fellow actors. Co-star Valery Schatz is a talented and experienced actor. Also, watch the three actors in the opening cameo scene and the sheer commitment of Sabine Crossen, Elena Luoto and Elly Norris. They are France’s highly acclaimed film actors turning up for Chris’ movie. It’s that commitment that sets up the film’s stakes, not my work. A good movie needs every team player to be of same standard and commitment. I only use method acting when I get stuck in a challenging moment I can’t access organically. This was not the case on this role.
So working in the industry made it easier for you to perform the role organically?
Joanna Pickering (JP): We shot in pandemic times. I was going through tough situations as an artist, as we all were. I felt close to the highs and lows, which is the same for Audrey. It was this need to express—I am here doing what I love, but do you realize I’ve nearly died for it. There was a real drive for me to express this. This crazy judgment we get as actors about the glamor, versus the sheer hell and hard work that people outside the industry miss. The emotion was raw. Rather than use sense memory to access it or dig it up, I was thinking I need to keep it inside so I can do my job and function. I was working to hide emotion. That’s the master class the greats always teach—you don’t try to cry when you’re upset, you try not to cry.
Any other technical tips for actors who want to deliver a rich authentic performance?
Joanna Pickering (JP): Prepare your character so fully you’re not afraid to throw it away on action. Work hard in preparation so you trust your character, their motivations, needs, backstory, why they’re saying those lines. Then let it fly out the window. Be in the moment to moment, where you can react impulsively. The most important technique is relaxation of the mind and body. This helps to be an open vessel for your energy and to be alive and responding anew on each take. Oh, and listen to the director. They like that!
Best moment on set?
Joanna Pickering (JP): Working with Valery. The flow of performance energy and professional connectivity on set was real, so we liked working together. He’s a super talent and that makes the talent around him shine. If he hadn’t nailed the movie director, there would be nothing to respond with. So, thank you Valery!
Best moment off set?
Joanna Pickering (JP): Paris. My first movie in France. The first day of shooting was my birthday. A friend reserved this restaurant called Lily Wangs. A group of friends took me in a horse and carriage along Boulevard des Invalides to get there. I had flowers arriving to set. 100 percent diva. Then you realize you are in your favorite city to do the work you adore, which is making a tiny movie for no reason other than the love of the people. If anyone told me at Lily Wangs that it would screen 27 times, win 12 awards so far, from USA to Prague, while exposing the flaws of the industry, I would have said, hey we got this and stayed out all night for my birthday.
Is it true you learnt to rock climb for your stunts as seen on social media?
Joanna Pickering (JP): Yes. Absolutely. For an hour.
What’s next for acting, any new films?
Joanna Pickering (JP): I’ve been cast in a new TV show, but it’s not time to mention. So I probably cursed it. I’ve a 90 min one woman commission with a Broadway team I perform in, and a brand new play started development, which everyone is super excited about. Chris made two more films Burn That Trash, with Tiffany Hofstetter, and Sauvez Moi with Marine Tuja and acclaimed casts, who I know and love, and are already nominated. Watch out for them.
Any last sentiment?
Joanna Pickering (JP): Shout out to our second AD Lois de Keraute! On the day of the dreaded monologue, which was the final shoot that would wrap the entire cast and crew to go home and sleep, we all wondered how many takes was it going to take? He was on my side of the camera and felt the pressure. He said uplifting words.
If you had to sum up the film in three words?
Joanna Pickering (JP): What a diva!
Thank you Miss Pickering!
Joanna Pickering (JP): Thank you for all your support of independent film! Look out for Diva at film festivals worldwide as it completes its festival circuit.
Photographs taken from movie press package and the movie’s social media. Location Paris.
Tell us what you think of the interview. What do you think of it? What ideas did you get? Do you have any suggestions? Or did it help you? Let’s have your comments below and/or on Facebook or Instagram! Or join me on Twitter.
Socials
Website
IMDb
Facebook
LinkedIn
Instagram
ACTOR INTERVIEWS
