ANSWER PRINT SUMMER 2012
PROCESS
CSIF Board of Directors: President Melody Jacobson | Vice President Karla Carcamo | Treasurer Michelle Wong | Treasurer Caitlind Brown | Directors David Jones, Sara Walde, Rolf Stengl
STAFF Operations Director Bobbie Todd operations@csif.org Programming Director Nicola Waugh programming@csif.org Communications Director Nicola Waugh communications@csif.org Production Director Yvonne Abusow production@csif.org Designed and Compiled by Dave Reynolds + Nicola Waugh Editors Erin Sneath + Nicola Waugh Cover Photo by: Azriel Knight | Striker music video crew Advertising Inquiries: communications@csif.org The Calgary Society of Independent Filmmakers (CSIF) is a non-profit, member-driven media arts cooperative that encourages the production and exhibition of independent film. Suite 103-223 12 Avenue SW Calgary, AB Canada T2R 0G9 Phone: 403.205.4747 Hours: Tues-Sat, 10am – 5pm Web csif.org facebook.com/CalgarySocietyofIndependentFimmakers Twitter @CSIF
IN THIS ISSUE QUARTERLY MANIFESTO
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MEMBER’S MISSIVES
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SCREENWRITING TIPS
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FLAME THROWER GUITARS AND CAR CHASES
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COWTOWN TO CANNES
ON THE SLATE
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CSIF is grateful for the involvement of its members, the network of artist-run cooperatives throughout Canada and for the financial assistance of its funders: The Alberta Foundation for the Arts, The Canada Council for the Arts, Calgary Arts Development, and from its donors, members and individuals.
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QUARTERLY MANIFESTO When I returned to Calgary after six years away, I could hardly recognize what used to be my home. I discovered the booming East Village, the burgeoning food scene, the influx of public art, and the rising number of people living in the inner city and felt a refreshing sense of newness, rather than the pang of nostalgia I was expecting. This is not the Calgary I left, and after nearly a month here, I am still just scratching the surface. I am not the only one that has landed in Calgary to find a new and exciting landscape. Many artists, filmmakers, actors, and designers—the ones that once felt they needed to find greener pastures to build their career—are realizing that there is most definitely something here worth returning to. With 2012 marking the centennial anniversaries of the Calgary Stampede, City of Calgary Recreation and the Calgary Public Library as well as the Theatre Junction GRAND and the Pumphouse Theatres, this is truly a year of cultural reflection and reinvention. What started as a hum is now a boom, and finally it is in arts and culture, not oil. We are a strong, passionate community that is being recognized as one- not only in our own city, but nationally and internationally. When I joined the CSIF at the end of June, I was excited to find that its evolutionary process was as striking as the city’s. A new location, new staff and board members have revitalized the organization and brought exciting new production and programming initiatives. Upcoming collaborations with TRUCK Gallery, Images Festival, Sled Island, M:ST Performative Arts Festival, Choose Yer Own Festival and ImagiNATIVE Festival will broaden our reach, while staying true to our mission to encourage, support and endorse the production and exhibition of independent film. 4
This issue’s theme is process. I felt a draw to this term after encountering all the urban and cultural processes that have been set into motion since I left Calgary. These cultural processes are indeed made up of smaller, personal processes that individual artists live and breathe to realize their visions. This issue visits the complex evolution of making of a film—from scriptwriting to shooting to distribution—all of which change and evolve into something that we rarely expect. By Nicola Waugh - CSIF Programming + Communications Director
MEMBER’S MISSIVES “That’s A Wrap!” HTMF 5-Month Intensive Program Ends On A Positive Note Images + text by Norbert Many Grey Horses Students who participated in CSIF’s five-month intensive “How-To-Make-A-Film” film program this spring successfully ended on a positive high. Five students from different walks of life participated in courses such as from film idea to script/ screenwriting, camera, grip, producing, directing, script breakdown and pre-production, editing, post production, grant writing and shooting their student-made films. Each student was required to work individually on their own film, but were
encourage to seek participation from other students or the local film community. Eilish Hiebert, a student, said the reason she wanted to take the course in the first place because she was “fascinated by the whole process of filmmaking.” Student Javier Santoro said that back in the 1990’s he studied film making and was actively involved, “I stopped doing film stuff when I left Argentina,” and added, “I thought it was time to get back into it” meet some people in the independent film community in Calgary. Another student, Candice Creelman said “I’ve been waiting to make films since I was fifteen years old.” She went on to say, “I worked in the film industry in Toronto for about 5 years in several different capacities.” During a two-month break, the students went on their own ways to shot their films in the Calgary area or on out-of-town locations. The students either chose dramas, comedy, experimental or documentary films. Each student film was unique in it’s own ways and varied greatly. Hiebert said that what she learned from this course was screenwriting and how to do a shooting script, “I had no idea what shooting a movie involved, now I do. I watch movies with a completely different understanding.”
Adam Payne at the HTMAF workshop
Javier Santoro + Adam Payne shooting on location Creelman said what she learned was how to delegate more and that she was doing too many jobs during pre-production and during her shoot, when she should have been “just focusing on directing the actors” not dealing with the background performers or props. “I will not do that next time.” Her advice for anyone who is just getting into directing and producing is never under estimate how many people are required to help. The one thing that stood out to her the most is, “I absolutely love my own films. I can’t wait until the next time. I am totally hooked,” Creelman said. This film course was taught using traditional 16mm film making techniques and equipment, not digital filmmaking. Santoro said this was the main reason he wanted to take this course. “I like the 16mm technology, camera, look of the film and the challenge of not knowing. It makes every shot unique and important.” “It drove me nuts but I was amazed at it’s quality when I saw it,” said Hiebert, who was one of the first students who completed her shoot and paid extra to receive the film back early from developing, processing and transfers. She added, she 6
wanted to thank a fellow classmate for being her cameraman. “Thanks Javier,” she added. “Digital is quick and easy,” compared to the incredibly cumbersome, awkward, scary and time consuming medium of 16mm film she stressed. She said “shooting blind” in terms of having no idea whether it would turn even out. Creelman said that shooting on film was one of her favorite parts. “I had a lot of people asking me why I was shooting on film.” She replied, “My response has always been, this is where film came from. Why would you NOT want to learn to shoot on film?” She said because when you shoot on film you only have a limited amount, “So, you really have to know your shots and rehearse like crazy, so you don’t waste film.” Whereas shooting a film digitally that there is a tendency to be sloppy and do take after take cause you can, she said. “Spending time working with film, makes you a better film maker.” Creelman said, “If you want to become a great film maker, learn film.” In the Good vs. Bad of shooting on film, Santoro said “trusting yourself with the exposure settings and the lens.” Hiebert said she found using 16mm
film “prohibitive the weight of archaic equipment and lack of ease working with it. I am hoping digital will come out with a 16mm equivalent.” The most difficult part of shooting on film was, said Creelman, was “the finite amount of film stock and the constant voice in your head that’s always really conscious of how much film is whizzing through the camera.” Hiebert said that she thought the instructors were top-notch and each had “unique skills, creativity, willing to share and at the same time helping the us immeasurably to develop our own projects.” Of the instructors, Creelman said that they all were amazing and that the instructors were able to help us a lot within a impossible time line. “One day for each of the subjects we covered is nowhere near enough time to really understand film making.” The course instructors also served as mentors for the student-made films and attending shooting on some days and locations, which inspired and moved the students. Hiebert said of her mentor that “he was able to draw out the best from a bunch of people with somewhat confused film ideas, tirelessly helping us all pull the whole content together.” Creelman said that the biggest thing she learned from her mentor was, “Don’t underestimate what you’re capable of.” She said she didn’t think she was ready to direct. “I was terrified that I was going to totally mess everything up and make the worse movie ever.” But it was her mentor that calmed her and boosted her confidence. “The other thing I learned from her is to listen to your own gut feelings on what you’ve written. I have had a lot of people telling me I was nuts for trying to pull off such a complex film for what I had to work with. But there were certain things I knew I needed to stick to my gun on and I am glad I did,” said Creelman. What part of all the courses taught were their favorites? “Hard to choose, I liked them all,” said Hiebert. She wanted more time spent on the Camera and Editing courses. The Producing and Directing were Creelman’s favorites. And that she enjoyed the Editing class, “It was amazing to see how much power the editor has,” and how an editor can change the story by a reaction shot or cutting a scene she explained. “You
can totally change the meaning of a scene and the whole film, from just one moment.” As for her fellow students, Creelman said that she thought were great and had bonded with them. “I missed them while we were on break from classes,” and continued, “I definitely got support, even if it was just emotional support. Everyone was cheering for everyone else.” She thought her classmates were a great bunch mentioned Hiebert, “I feel privileged to have been in the class with them.” They both said that they would do it again. Santoro said, “Yes, but next time I’d like more help in the pre-production and organizing side of things.” Creelman added, she would do it all over again. “Hell ya. In a heartbeat! It was awesome,” she said. Both she, Santoro and Hiebert said that they both would highly recommend this course to any aspiring film maker or CSIF member. Creelman stated, “If you can find it in your budget to take the course, do it!” and said that it was the best investment that she has ever made. Some of the student’s film include a comedy “The Guru”, a documentary music jam session “Homemade Jam” and “Dorothy” shot near Drumheller, in the ghost town of Dorothy, as well as two other student-made films. As the students now move into finishing their films in editing, sound, music, titles and promoting their student-made films they are proud of, this is not the end of their journey. Already eager budding film makers, and with this experience, they all have more ideas for more movies and are excited in discussing, planning, writing and producing for years to come. Santoro said he has more short stories to tell, Eilish said she had a few more ideas and Creelman said she had tons of ideas. “I have enough film ideas for 10-15 years of film making, and that is without coming up with more.” Norbert Many Grey Horses is a member of the Kainai tribe from the Blackfoot nations in southern Alberta and has lived in Calgary for 25 years. His interests focus on First Nation themes, issues and storytelling. He is currently busy researching and writing his next documentary film.
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Azriel Knight: Striker music video dir. Michael Peterson
SCREENWRITING TIPS
“Economy of Language” By Neil Champagne I talk to many aspiring and professional writers and the same question comes up over and over again: how do I write proper description? Well, like everything else in screenwriting, there are no hard and fast rules. I am not here to preach a rigid formula but I can pass on a tip I have acquired over the years. Reading script after script can be daunting and sometimes even painful for development teams. You want to be able to read through the text in an efficient and pleasurable way. Putting on my development hat I have learned the importance of “Economy of Language.” In simpler terms this means to be sparing with your words in the description.You want the description to flow and be easy to read. If you have unnecessary words in your description this will only slow down the pacing for the reader.You can be economical with language by simply loosing extra ANDs and THEs, or it can be more complex where each sentence is 10
constructed around efficient and concise descriptions. No reader, especially any executive or anyone who has the power to get your project made, wants to read a saturated page. The last thing you want is to have your reader put down the script after four pages because of excess wordage. Being economical is important, but also be cognizant that you are using enough language to describe your ideas correctly. Every word counts so be calculated with your choices! Above is a scene from Adaptation written by Charlie Kaufman. This is great example of using “Economy of Language.” Neil Champagne is a recent addition to Calgary’s film scene. He has spent the past six years working as a commercial treatment writer and story editor in New York, LA, Toronto and Calgary.
FLAME THROWER GUITARS AND CAR CHASES The Process of a Heavy Metal Indie Music Video By Michael Peterson Music videos are hard to make. Sorry, let me rephrase that: Music videos are hard to make good. First, you’ve got the problem of working with musicians. As a general rule, this group of artists has to be the most unreliable of the bunch, and not only that, there are usually a group of them to multiply that flakiness. Second, there’s the song. The song has to speak to you. The song and you have to connect, not necessarily in a long-term-monogamousyou’re-the-only-one-kismet kind of way but at least in a I’d-really-like-to-spend-a-few-dozen-playswith-you-fling-and-then-we-can-go-our-separateways-like-a-European-travel-romance kind of way. Thirdly, and the reason for this connection, is because you both need to write and direct something that the song inspires and almost always there is little or no money to make that inspiration happen. If you don’t like the song, what’s the point? The Edmonton metal band Striker asked me if I’d make them a music video. I was flattered and I owed them, as they did an original song for my feature film “Lloyd the Conqueror.” The band had a tiny bit of money, the band was extremely reliable, and the song was strong. All good, so far. Now came the next problem: making a good music video using very limited resources.
Let me say right off the bat that I have no interest in making what you might consider the ‘standard issue’ music video. You know the type; the one that intercuts some sort of stagey live band performance with a weak narrative (or ‘life-pose’) illustrating the literal or metaphoric meaning of the song. This might be lovers on the run from the law intercut with the band performing inside a bar, or whatever. You’ve seen them. These sorts of things are not ‘good’ or ‘interesting’, as far as I’m concerned. Of course, if it were that easy to make good and interesting music videos then everyone would be doing it. This is the reason people make a big deal about Spike Jonze, Michel Gondry or whoever can step out of that ‘standard issue’ trope. It is no easy thing to do. (I did that once, made a music video for band that was ‘standard issue’ and it haunts me to this day. Never again, never again…) With a limited budget and some severe limits on my own time (single father, other projects on the go, Stampede Breakfasts, life, whatever, you know what I mean) I had to come up with an idea that met my own criteria of ‘good.’ I had a basic idea of a heist film, but they steal beer instead of jewels or cash. Not earth shattering on its own but enough of a skeleton to potentially build something interesting from. The best way to do this, I felt, was to get the production designer (Bobby Vanonen, also a metal head and therefore qualified from a genre connoisseur standpoint, as well as having done some features and music videos. He knows what’s really involved) to co-write the treatment with me. So, when he talks about the flamethrower guitars – yes, plural – it’s a group commitment to the point where no one can curse anyone but themselves. When they ask who the idiot was that called for the flame thrower guitars they say, “oh, yeah. That was me!” That’s pretty much how it happened: he added the flamethrower guitars, I added the wire stunts and we moved on from there into car stunts. Then Tron (Andy Sparacino) from FUBAR was the security guard and so forth, making this the most metal of all metal music videos ever filmed (in Alberta… In Canada… In Hyperborea?) and not being even close to what we might need in terms of budget to actually pull this off. Being independent filmmakers, this is nothing new so we moved forward and
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began scheduling the shoot with these elements as problems that would just need to be solved. We could not shake a certain material reality, no matter what our treatment said we were planning to shoot. This meant the majority of the teeny, tiny budget would go towards flame thrower guitars, insurance and feeding people. It would inform how we shot the piece because there was less available for everything else we needed for it to happen. It really is a zero sum game. My basic idea is that creativity is born from how you work within given limitations. It was time to get creative. In this instance it meant that our camera, grip and electrics package was going to be severely limited, as was the labour. We shot mostly on DSLRs which have their own set of issues but are cheap to borrow or rent and it is pretty easy to get good lenses for them because they can use stills camera lenses. We also went with natural light, an easy choice when the budget of that line item was just a touch above zero. There were car chases, bangers throwing kegs of beer from a moving car at a security chase car, and so forth and we had to capture this on film in a way that worked with the content. Oh yes, and did I mention flame thrower 12
guitars? They are as awesome as they sound; worth every penny. If anyone ever offers to sell you one, buy it. It is often easier to move down from a large concept to a small one, the same way that you generally shoot out the wide shots and work your way down to tighter, closer shots. The two ideas for the music video feel were a 70s/80s cop/action TV show (TJ Hooker, A Team, etc) and a Tony Scott film. With the gear and crew we had we were able to accomplish this. It had lots of angles and choppy edits but from mostly stationary cameras, and the right colour correction. I think you get the idea we had in mind. We are in post-production right now, so it is hard to say what will happen exactly. I think we were able to achieve something really close to that original concept. Of course, one of the cars didn’t work for part of the 2-day shoot and we lost a location and started running out daylight. There was definitely some rewriting on the fly, but nothing that isn’t part of every shoot. For the most part I’d say we pulled it off, maybe it even turned out better than if everything had gone perfect and we were somehow given an unlimited amount of time and money. In fact, I guarantee it
will turn out better, if it were different circumstances we would never have bought the stock footage of the 70s car flying off the California-looking cliff and exploding in to fiery wreckage. This was a brilliant addition by the other producer Trevor Alberts. I’m not the hero of this story. The heroes are the great, small production team of dedicated people that made this happen. I think we were able to make a good music video, one I’d want to watch. There is no band performance in it at all. It will be out very soon, if it isn’t already available by the time this article gets printed. Then you can tell me if you think it was a success by however you want to measure success. Keep making films. It’s the indies that get to say what they want in their art, it’s up to us to make sure we get heard by making it ‘good’ and ‘interesting.’ Michael was raised in Calgary and was a member of the CSIF going back to when they rented out of the basement of a church on 16th Avenue NW. He has written, directed and produced short films, commercials, music videos, documentary and feature films, including his upcoming comedy “Lloyd The Conqueror.
COWTOWN TO CANNES Reflections on distribution By Kyle Thomas Sharing a film with audiences in a professional context inevitably begins with the costly and daunting task of submitting your work to festivals for consideration. Always wishing to give my films
the best shot of premiering at a major Canadian festival during the September/October season, I aim to finish new works in April or May to be prepared for early deadlines-and after shelling out a few hundred dollars and filling out a bunch of similar entry forms, the waiting game begins. This standard procedure for Canadian short filmmakers was precisely the process I undertook with Not Far From The Abattoir (2011) to begin the project’s distribution phase. I had the considerable fortune of winning the awards for best short format work by an Albertabased director at both the Calgary and Edmonton International Film Festivals in September 2011. But this success did not seem to translate outside of Alberta. Rejection letters poured in from Toronto, Vancouver, Atlantic, and others. Is my film destined to remain a regional success? Why does my work only seem to resonate with Alberta audiences? These questions weighed on my mind as the end of 2011 approached and my film had yet to transcend provincial boundaries. A large amount of patience and a very thick skin are essential traits required to survive this process year after year. It’s hard not to take it badly when a festival sends you a respectful but impersonal rejection letter informing you that your film has no place in this year’s program. And in my experience, lots of good films get rejected from not-so-great festivals all the time. Also, the support of peers and colleagues cannot be underestimated as a key tool in enduring this process. I am a founding member of the North Country Cinema media arts collective, a director-driven organization based here in Calgary. My partner Alexander (Sandy) Carson, a filmmaker based in Montreal/Toronto, was equally submitting his film “We Refuse To Be Cold” (2011) to festivals at the same time. We spoke often on the phone throughout this process, weighing the value of each prospective festival, comparing results from earlier submissions, and always encouraging each other to continue. The first leg of Sandy’s run was quite successful, playing several major festivals across Canada, as well as international festivals in Reykjavik and San Francisco. I was very pleased with his success, but disappointed that Abattoir was not reaching broad audiences in a similar way. There was no greater surprise in my professional career than the phone call I received from SXSW’s 13
Kyle Thomas, Sandy Carson and Cameron Macgowan in Cannes shorts programmer in January 2012. Having Abattoir selected for official competition at one of the world’s most respected film events was thrilling and incredibly validating. We were fortunate to receive financial support from the Alberta Foundation for the Arts to facilitate the trip down to Austin for my partner Cameron Macgowan (Abattoir’s producer) and myself. SXSW was a wonderful experience, and we forged many strong friendships with other filmmakers and media artists in a truly international context. The next fantastic revelation arrived in April with confirmation from programmer Danny Lennon that both my film and Sandy’s film had been selected for Telefilm Canada’s showcase at Cannes 2012. Apart from the Edmonton International Film Festival (which neither Sandy nor I were able to attend), this was the first time that both of our films would be part of the same festival - incidentally, the biggest film event in the world. Sandy, Cameron, and I headed to the south of France with suitcases full of dvds, business cards, and formal wear. The people from Telefilm were very helpful and gracious, and we had many great opportunities to make meaningful connections with other filmmakers and producers. This trip also offered an incredible look at the truly massive scale of the global film industry. 14
Overall, a very positive experience and a great venue to promote North Country Cinema’s brand as an auteur-driven company known for delivering quality original content with consistency. In the wake of SXSW and Cannes, many festivals have begun requesting copies of the film for consideration, and we are currently negotiating a deal with CBC television for the sale of the film’s Canadian broadcast rights. Abattoir’s steady increase in momentum has been very encouraging, providing ample evidence that dedication and perseverance can yield remarkable results. It’s a great pleasure to be making work in Alberta, and I am incredibly proud to be part of this province’s vibrant film community. For more information about North Country Cinema’s work, see: www.northcountrycinema.com
ON THE SLATE PROGRAMMING
July 24: Secret Cinema @Old Y Courtyard 9:00 pm Curated by Caitlind Brown + Juan Delagado Aug 21: Secret Cinema @ Old Y Courtyard 9:00 pm Curated By Gillian McKercher Sep 18: Secret Cinema @ Old Y Courtyard 8:00 pm Curated by Denise Vaile
WORKSHOPS Shooting with the Scarlet Saturday September 15 10am-5pm Cost Members $80 Non Members $130
Instructor Aaron Bernakevitch Enrollment is limited to 8 Participants
Editing Film and Video with Final Cut Pro Date: TBD (This Fall) Cost Members $135 Non Members $180
Enrollment is limited to 8 Participants
Super 8 Transfer Workshop Fall – TBD Instructor Yvonne Abusow Cost Members $45 Non Members $90 Enrollment is limited to 8 participants
CALL FOR SUBMISSIONS CSIF is always looking for engaging stories by new and experienced members for upcoming issues of Answer Print. We welcome critical work, film reviews, personal reflections as well as visual works. The theme for our fall issue will be “Harvest”. Please send any articles, stories, images and proposals to Erin Sneath answerprint@csif.org