Leather vest and pants, both by Pence 1979; fishnet sleeveless cape from Showroom Seven vintage collection; leather belt by N.D.V. Project; sunglasses by Tom Ford Eyewear; archival leather boots by Dolce & Gabbana; all jewelry, Jacob’s own
Photographer: Naoki Fukuda
Styling: John Tan for Visual Tales
Hair/Grooming: Mitsuru Aota
Rib muscle fit long sleeve t-shirt and waxed canvas jeans both by Pierre Antonio Gaspari
Herringbone print single breasted blazer, waistcoat, pleated shorts, dress shirt and checkered print tie, all by Wangda; leather belt by N.D.V. Project; easy Larson weejun penny loafers by GH Bass
Jacket by COMME des GARÇONS SHIRT; royal blue tailored drawstring pants and vintage neon stripe jersey polo, both by Sanderlak; Bjorn clog by NAOT
Shirt and trouser, both by COMME des GARÇONS SHIRT; archival sneakers by COMME des GARÇONS Homme Plus
Off white blur wool jacket, pants, bag and non production gloves, all by IM Men; suede laceup sneakers by L.B.M. 1911
Poppy print printed s/s button shirt and multi print utility flare jean, both by Sanderlak
Painted details and signature design prints short sleeve shirt and denim flare jeans, both by Carolina Sarria; easy Larson weejun penny loafers by GH Bass
Beverly pink hammered coach jacket, poppy print printed s/s button shirt and multi print utility flare jean, all by Sanderlak; leather belt by N.D.V. Project; easy weejun penny loafers by GH Bass
Meet Jacob Whiteduck-Lavoie: From a chance casting call to rising star of Sterling Point.
For many young adults, 23 is still an age of figuring out what they want to do with the rest of their lives. For Quebec-born Indigenous actor Jacob Whiteduck-Lavoie, however, that path began taking shape when he was just 14.
For many young adults, 23 is still an age of figuring out what they want to do with the rest of their lives. For Quebec-born Indigenous actor Jacob Whiteduck-Lavoie, however, that path began taking shape when he was just 14.
Now, at 23, the rising star is stepping into the defining role of his career, reflecting on the teenage years when his mother spotted a casting call for an independent film seeking a French-speaking Indigenous teenager. What began by chance quickly grew into a passion and eventually, a career.
After working primarily in French-language productions, Whiteduck-Lavoie is now reaching a global audience as Ellis in Sterling Point, a coming-of-age series set against the backdrop of Muskoka. The role marks a major new chapter for the young actor, bringing his work to an international audience while allowing him to explore themes of family, identity, belonging, and love.
From his first experiences on set to his hopes of breaking into English-language film and television, Whiteduck-Lavoie spoke with Visual Tales about discovering his calling, the importance of Indigenous representation, the lessons he learned behind the camera, and what comes next.
Visual Tales: How would you like the world to know you? What would you like your legacy to be?
Jacob Whiteduck-Lavoie: I hope people resonate with my interests and the things they love. I’m not super flashy or outgoing, and I’m kind of dipping my toes into this whole other world and industry with the show coming out in the States. It’s kind of crazy.
At the end of the day, I hope people accept me and see me for who I am. My plan is to never let this industry change me. I’m still the same guy. I still feel like I’m 16. Obviously, I’m a young adult and I’m learning every day about life and about myself. I’m discovering new things, learning new hobbies, and I’m still a little boy inside.
I just hope people like me and see me for who I am.
VT: Do you remember the moment you realized acting was something you wanted to do for the rest of your life?
JWL: I got into acting when I was 14, and I kind of got my first job by chance. My mom found a Facebook post for an independent film in Quebec looking for a 14-year-old boy who was Indigenous and spoke French. There aren’t billions of those in Quebec, so it kind of fell into place.
I got into the industry by chance, but I fell in love with acting throughout the years. I think I was probably 16 or 17 when I started questioning whether I actually wanted to do this. I was beginning to book more roles in French, things were becoming more serious, and I was graduating high school. I had to decide whether acting was just going to be a side thing or whether I wanted to go 100% into it.
Then I booked a hockey show in Quebec called First Line. It was a YA hockey series, and I played the captain of my team. It was my first time being a lead in a project, and I learned so much on that set. That’s when I thought, “Yeah, I really want to do this for the rest of my life.”
You fall in love with it more with every project, every person you meet and every set you work on. I fell in love with the entire journey from pre-production and preparing at home to shooting and everything that comes afterward.
When I graduated high school, I went into a film and television program. I knew I wanted to work on a set, but I wasn’t sure whether that would be in front of the camera or behind it. When I booked First Line, I had so much work and realized, “You know what? I really want to do this.” Since then, I’ve been focusing 100% on acting.
VT: Was there a defining moment or core memory that made filming special for you?
JWL: There were so many moments. Being the male lead and having a bigger part in a 26-episode show was a lot of work, so I knew I had to go all in.
When you’re a young actor, especially when you have no prior experience, it can be intimidating. I was 14 when I got my first job. It was my first time learning lines and performing in front of a camera. You have to get used to it, and I completely fell in love with it.
I’m really glad I made that decision because I have no idea where I’d be right now if I had told my agent a few years ago that I didn’t want to act.
VT: How has the transition been from teen actor to young adult roles?
JWL: Obviously, my mindset has changed since those first projects. When you’re new to being on a set and learning lines, your focus is mostly on your performance. You don’t really know what everyone else does. You’re just thinking, “There are so many people here. Who does what?”
Then I went to college for film, and I learned about everyone’s role on a television and film set. It was a one-year program where we touched everything—editing, lighting, camera work, the art department, writing scripts. We basically experienced every part of the process.
That completely changed how I approached acting. I understood everyone’s role during pre-production, production, and post-production, and it made me appreciate the work on a deeper level.
A project is really just a huge team effort. As an actor, you’re the person the audience sees, but there’s an entire world behind the camera where all the magic happens. I think coming out of that program made me a better actor.
I’m still learning every day. I don’t think you ever finish a project and think, “I know everything now.” Every job gives you new experiences and teaches you something you didn’t know before. You’re constantly learning and evaluating yourself as an actor.
VT: Has the industry changed in meaningful ways since you first began acting, particularly in the kinds of Indigenous stories and performers being given space?
JWL: Definitely, and in a good way. When I was younger, my mom showed me Indigenous films and introduced me to some of the first Indigenous actors I knew.
But I don’t remember watching a big mainstream movie or show as a kid and really relating to a character because they were Indigenous. There were a couple, but I don’t remember pointing at the screen and saying, “Hey, Mom, that’s me.”
That has definitely changed over the years, and I think it’s inspiring. It’s beautiful to see that we’re growing as a society and becoming more accepting. I’m super proud of where I’m from, and it’s a huge part of me.
I’ve realized over the years that it’s important to embrace that. It feels good to be seen for who you truly are.
My first few roles were Indigenous roles, and that was also part of why I questioned whether I wanted to pursue acting. I wondered, “Am I the Indigenous actor? Am I only going to get Indigenous roles for the rest of my life?”
Obviously, I’m proud to portray those characters, but I also want to explore different things. You dream big when you’re a kid, and I’m still dreaming big now. You think about what kind of roles you want to play and what you want your career to become.
But to come back to your question, it’s a really good feeling to know that you can inspire the younger generation. Every generation inspires the one that comes after it. I’m super proud and very happy to be seen.
VT: Do you feel a responsibility to take on roles that create greater visibility for Indigenous actors, or do you approach acting primarily as an artist rather than carrying that responsibility?
JWL: A bit of both. In a way, I have to feel that responsibility because it’s who I am.
I do feel the need to inspire the younger generation and show kids that it is possible to make it in this industry while being Indigenous and being proud of it. That’s a big part of it for me.
But I also approach it as an artist. I think it’s important to show that representation and embrace it, and hopefully inspire the younger generation.
VT: At first glance, Sterling Point looks like a coming-of-age romance set against a beautiful Canadian backdrop. But underneath that, it’s really a story about family, identity and figuring out where you belong. What do you think Ellis understands about belonging that Annie is still trying to figure out?
JWL: I think what’s interesting about the love triangle is that it’s different from what you might expect. There isn’t really a bad guy. Both romantic leads are good guys, and both characters make Annie reflect on her life decisions, her choices and what she wants.
Ellis, because he’s from Sterling Point, really brings that sense of vulnerability and belonging to Annie, something she didn’t know she needed. She’s from New York and comes to Sterling Point, where she meets this local kid. As the show goes on, we get to know Ellis more, and he’s very grounding for her.
He’s kind of like the warm hug she didn’t know she needed. He makes her question herself and reflect on what she actually wants in life, who she wants to be and who she is. I think he has a very strong impact on her decision about whether to stay or leave at the end of the show.
VT: Without spoiling anything, is there a moment in Ellis’ journey that completely changes how audiences should understand him?
JWL: There’s one that comes to mind. One of the subplots is his relationship with his dad, and there’s a scene where his dad confronts him because Ellis got caught doing something wrong. I won’t say what he did, but that scene definitely changes the audience’s point of view on Ellis.
It shows what he’s truly capable of and how far he’d go for his family’s business. It shows how hardworking he is and how much he cares—not just about Annie, but about his dad and keeping the family business running.
VT: Was there a day on set you wish you could relive, not necessarily because it was the biggest scene, but because something unexpectedly special happened?
JWL: There were so many. The group scenes and the scenes on the water are definitely memorable. Whenever we were on the water and I was driving the boat, I remember feeling very present. You don’t feel like you’re working when you’re driving a boat, even though there’s a drone following you and you have lines.
But one particularly memorable scene was when we were all lying in the work boat watching the fireworks. It was toward the end of filming, and it was a very emotional time for everyone because people were finishing their last days. We were losing soldiers by the day.
We were all lying on the floor of this big boat, and the scene was actually shot on a stage. I remember watching it afterward and thinking, “What? That looks so real!” They used lights to create the fireworks.
That scene was memorable because of everything happening around us. Every scene felt like one of the last scenes of the show, so we were really taking everything in. We were all so happy, but it was emotional.
And honestly, when we were up in Muskoka, every scene felt memorable. Muskoka is almost the main character of the show. When we first started shooting in the studio and then arrived in Muskoka, it was like, “Oh, this is what the show is going to look like.” It was absolutely insane.
VT: What’s your response to the inevitable Ellis-versus-Rory debate?
JWL: It’s wild. I don’t know what I was expecting, but this much attention in a week and a half is kind of crazy. I’m pinching myself every morning.
I’m really happy that people are debating whose side to pick and that everyone has different opinions. Like I said, there’s no villain in the story. Both characters are good guys, so you can really pick whoever you want.
But if I’m picking a side, I’m picking Team Annie. Team Annie and Team Sterling Point, hell yeah!
It’s definitely crazy and a little overwhelming. There are some wild fans in the comments. I really didn’t know what to expect, but it’s kind of wild.
VT: You’re entering a new chapter with Sterling Point putting your work in front of a global audience. If this is the beginning of the next chapter of Jacob Whiteduck-Lavoie’s career, what do you want that chapter to be about?
JWL: It’s definitely a big new chapter for me, not just professionally but in my life in general.
You learn so much on every new set. Every job feels like a different chapter of your life, and this is the biggest thing I’ve ever shot. Now that it’s coming out and there’s all this new attention, it’s definitely the biggest chapter of my life so far.
My mindset has changed, not only in terms of work but in life. I’m still 23 and I’m super young, but I’m learning every day to become a better person, to take care of myself and others, and to understand what’s most important in life—family and friends.
Of course, I really hope we get a second season. I’m hoping we’ll know in the next few weeks. I’d be so excited to go back to Muskoka and Toronto and find out what’s next for Ellis.
I’m still dipping my toes into the U.S. industry, and it’s definitely a whole other world. The industry in Quebec is much smaller, with smaller budgets, because we’re essentially the only French-speaking province in North America. So this is a very different experience, but it’s incredibly exciting.
I really hope I get some exciting new roles and maybe get to shoot my first movie, especially an English-language movie. I want to keep learning, grow as an actor and grow as a person through all of it.
I’m super excited.
Gamble addiction painted details and signature design prints belted trench coat by Carolina Sarria; graphic checkered print double breasted tailored suit by Vestium; t-shirt by Wangda; nails cross with chain by Blackjack jewelry
Embroidered roses and metal studs single breasted blazer by 1 0f One; leather vest and pants, both by Pence 1979; leather belt by N.D.V. Project; sunglasses by Tom Ford Eyewear; archival leather boots by Dolce & Gabbana; all jewelry, Jacob’s own
Blazer, shirt, shorts, all by COMME des GARÇONS SHIRT; archival sneakers by COMME des GARÇONS Homme Plus
Embroidered roses and metal studs single breasted blazer by 1 0f One; leather vest and pants, both by Pence 1979; leather belt by N.D.V. Project; sunglasses by Tom Ford Eyewear; archival leather boots by Dolce & Gabbana; all jewelry, Jacob’s own
Graphic checkered print double breasted tailored suit by Vestium; t-shirt by Wangda; brass/glass crystal signature eagle head motif hardware cocktail ring by Kurt Geiger
Leather vest and pants, both by Pence 1979; fishnet sleeveless cape from Showroom Seven vintage collection; leather belt by N.D.V. Project; sunglasses by Tom Ford Eyewear; archival leather boots by Dolce & Gabbana; all jewelry, Jacob’s own
Gamble addiction painted details and signature design prints belted trench coat by Carolina Sarria; graphic checkered print double breasted tailored suit by Vestium; t-shirt by Wangda; archival leather boots by Dolce & Gabbana; nails cross with chain by Blackjack jewelry
Graphic checkered print double breasted tailored suit by Vestium; t-shirt by Wangda; archival leather boots by Dolce & Gabbana; chain by Blackjack jewelry; all jewelry, Jacob’s own
Gamble addiction painted details and signature design prints belted trench coat by Carolina Sarria; graphic checkered print double breasted tailored suit by Vestium; chain by Blackjack jewelry
Special thanks to:
Jacob, Naoki and Mitsuru for their time and creative collaboration. Siri Garber and the team at Platform Public Relations; Adrian Joffe, Eve Marie Kuijstermans and Courtney Xu at Comme des Garçons; Lauren Baby, Charlotte Desplan and Sophia Bonanni at Issey Miyake; Sander Lak at Sanderlak; Kayla Tan, Emily Selena Chavarin, Alfonso Badillo and Gia Kuan at Gia Kuan consulting; Matvey Cherry and Carolina Sarria; Kurt Geiger and Blackjack jewelry; Vestium; I of One; Pence 1979; Pierre Antonio Gaspari; Wangda and N.D.V. Project; L.B.M. 1911 and Cristiano Magni PR; Mandie and Karen Erickson and the team at Seventh House PR for their generous support.
Focal Point