ANSWER PRINT SPRING 2013
A SHOT IN THE DARK
CSIF Board of Directors: President Karla Carcamo | Vice President Sara Walde | Treasurer Michelle Wong | Directors Caitlind Brown, Rolf Stengl
STAFF Operations Director Melody Jacobson 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 $100FF Visiting Artist Paul Clipson Another Void (2012) 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
IN THIS ISSUE QUARTERLY MANIFESTO 4 MEMBER’S MISSIVES 5 $100 FILM FESTIVAL VISITING ARTIST
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LITTLELIGHT IN NYC
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FILMMAKER PROFILE: KYLE THOMAS
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ON THE SLATE 15
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 by Erin Sneath
This issue’s theme is A Shot In The Dark, an idiom that has been used in a number of ways. Traditionally speakers use it to refer to a blind guess or an attempt at a challenge with little hope of success. While those definitions give it a negative connotation, in the arts a blind guess or a seemingly hopeless attempt can yield surprising results and happy accidents. What was that old platitude? “Shoot for the moon. Even if you miss you’ll lend among the stars.” In actual space travel, there is enough space between stars that it’s doubtful a traveller would land anywhere if they missed their target, making it a weak analogy. A more accurate phrase might be: “Shoot that ten year epic based on Romani folklore. If it doesn’t come together, you might have a great documentary,” or “Shoot that series of tricky and delicate experimental films. If it doesn’t make it into your ideal festivals, you could at least have some cool YouTube videos.” It is always possible that the new project will be better than the original idea could have been. The resilient filmmaker welcomes serendipity. Shot In The Dark is also the name of a 1964 comedy, the sequel to The Pink Panther and the second of Peter Sellers’ Inspector Clouseau movies. It wasn’t supposed to be part of the Pink Panther series at all. It was supposed to be the American film adaptation of a French play called L’Idiote. They shot for L’Idiote and ended up with the film that gave the original Inspector Clouseau most of his trademark quirks. Whether they reached the proverbial moon or not, serendipity was still on their side. 4
Of course, films are usually comprised of shots of a different sort. Shadows add dimension to a shot and definition to the shapes therein. Light means very little on screen on its own without its absence here and there. That said, shooting in a dark environment can be an enormous challenge. Darkness in a screening room, however, keeps the image clear. From March 7th to 9th, CSIF held the 21st annual $100 Film Festival. Three nights in the dark, watching shot after celluloid shot. Many of the articles in this issue are about this year’s successful festival, which took place at The Globe. Calgary Underground Film Festival also hits the darkened Globe from April 15-21, and as the days grow warmer more filmmakers will be dusting their cameras off and shooting something new. It seems that the Calgary film scene will keep having memorable and highly active springtimes, and that is not a shot in the dark.
MEMBER’S MISSIVES
by Ron Devitt
I had been living in Vancouver for several years chasing the film dream. I was a Calgary kid who had gone to film school in Vancouver and decided to stay because it seemed the natural place to be for a filmmaker. But the film industry there started to decline with less American TV and film productions coming to B.C. for myriad of reasons. Then I was hired to be the producer of the Calgary 24 Hour Film Race in 2010. I came back to Calgary to put that competition on for the next two years. I had missed Calgary (not the weather) and the third year
back for the Film Race, I decided to make a film here after the film competition had ended. I shot a 12-minute short called Fifty-Eight using local cast and crew. It was a fun project and, as they always do, it became a labour of love. I decided to stick around Calgary and finish the film. As with most films, it had its challenges. Not the least of which was despite having grown up in Calgary, I knew very few people in the film industry here. In Vancouver putting together a team was pretty straightforward.You just called up the people you had helped on their films and they would come out and help out with yours. At the indie film level everything is very collaborative. I thought that same level of collaboration must exist here in Calgary, but I just didn’t know too many people here and hadn’t worked on anyone else’s film. One of the big considerations of my returning to my hometown was news that there was a plan for a multifaceted creative hub slated for construction at C.O.P. I remember Googling stories on the Alberta Creative Hub because
Ron Devitt Fifty-Eight (2011)
I felt this was exactly what the city – province – was in dire need of. And it provided a glimmer of hope Alberta recognized the need for diversification. I can’t say how many times I ran into creative people from Alberta living in Vancouver who had moved there to work in the film/theatre/ video game industry. I called it Alberta’s creative brain drain. Why would a creative person stick around Cowtown? It seemed here was very little incentive to do so. The proposed $32-million creative hub seemed like a beacon beckoning me to return to my roots. Fifty-Eight had been shipped to a few festivals and it won for best sound at the Prairie State Festival - and after a few months of commuting back and forth between Calgary and Vancouver, I made the full-time move back to this city in late 2011. So, it was with some horror that I learned earlier this year that the Alberta government was talking about reneging on its proposed $13.2 million in funding over three years for the creative hub. The deal in place called for the provincial money, $10 million
from the City of Calgary, $5 million from the Federal government and $7 million from the private sector. I was not alone in my dismay. Film workers in the city were shocked to hear the province was making noises about not following through with the promised money. Calgary actor Paul Kaufman decided to do something about it. Working closely with people in the film industry, Kaufmann created a Facebook page called Support the Alberta Creative Hub and initiated a letter-writing campaign to Premier Allison Redford and Culture Minister Heather Klimchuk. More than 460 people joined the Facebook page and more than 260 letters were sent to the government. “I would say a majority of them are industry folks, crew and actors,” said Kaufmann. “These are people who make their living in the industry and have a vested interest.” Kaufmann strongly believes in the need for the Hub in Alberta.
“First and foremost it will be infrastructure to attract films to come to the jurisdiction and it creates economic diversity and helps keep jobs in Alberta,” said Kaufmann. “There are lots of resources here, including the scenery and the people in the industry.” He said the Hub will be where all different areas of arts and culture and congregate and create. The province was balking over there not being enough private sector funding, but Kaufmann rationalizes that the private sector is likely waiting to be sure the provincial money was in place first. “If I’m a private investor I want to see that the province has skin in the game,” said Kaufmann. “Everyone is just waiting for the provincial government to take action.” Action – or more correctly, no action – came in the form of the March 7 provincial budget. There was no mention in the budget about funding for the Creative Hub, and, in fact, the $20-million Alberta Multimedia Development Fund will actually see an increase of $370,000 in 2013-2014. The development fund is used
to offer incentives for both foreign and local film production. “To everybody’s shock, culture came through untouched,” said Kaufmann. “So maybe that’s a good sign that the project will go through. There’s nothing in the budget that would say it’s dead in the water.” Minister Klimchuk has met with film industry stakeholders and is supposed to meet with Calgary Mayor Naheed Nenshi to discuss the future of the project. Kaufmann is quick to point out that this issue is not over and said it’s important the matter stay in the public eye until all the funding is in place and the project continues to move forward. There certainly is a need for diversity in this province and there is a need to give the indigenous film industry a place and a reason to survive and thrive. With the Hub in place there is no reason for Alberta’s creative brain drain. Perhaps one day Calgary will be known as Hollywood North.
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Paul Clipson Another Void (2012)
$100 FILM FESTIVAL: Visiting Artist Paul Clipson by Julien Testa
Paul Clipson is a man in love. Every action, every gesture overflows with a sensuous affection for the cinema. For most, speaking for two hours on any subject is quite the challenge, but for Clipson it seems effortless. Although the talk was mainly surrounding Clipson’s unique creative process of making films almost entirely in camera, he did often venture into more theoretical topics. Specifically, on the relationship between image and sound. This question plays an enormous part in Clipson’s work, being mostly collaborative efforts with musicians from the experimental music scene in San Francisco. His workshop/talk was part of the $100 Film Festival, fitting since Clipson is a champion of celluloid, especially the Super 8mm format. His talk was structured around screenings of five of his films, interspersed with Clipson giving technical and theoretical notes on each text. This style of show and tell gave his talk a nice variety. Before one could begin to feel bored of hearing him speak, he switches to a film screening, renewing your interest once more. First, his ideas on the relationship between the images of his cinema and music, and his almost therapeutic views on filmmaking itself. What separates Clipson from what are more canonical avant-garde filmmakers like Brakhage, Anger, and Deren is music. Although his work clearly draws on all of them (especially Brakhage), Clipson shows more sensitivity to music and specifically to the spontaneous element of a live show than his predecessors. While Anger does use music in his film, sometimes directly impacting the imagery of his films, (I’m thinking of Eaux D’artifice in particular) the 10
relationship is often casual or at the very least incidental. Clipson’s relationship to music is far more complex than an after thought. His work explores music’s affinity with the cinema in a purely formal way, and surprisingly, in an unplanned way. Clipson tells that he doesn’t make music videos: not a film planned for a song. Instead, he is interested in the seemingly spontaneous relationships that develops between a song (or a live performance) and his film, drawing upon “happy accidents” that musicians often experience during a live set. This interest in spontaneity, in “accidental” relationships between image and sound are direct products of Clipson’s view on the filmmaking process. What is immediately endearing about Clipson is his humility. When explaining that he had a period in which he continuously featured human figures in his films, he smiled, shrugged his shoulders and told us “I really don’t know why.” His charm only grows from there when he tells us that since he started making films in a more conventional and narrative way, he has a tendency to be a control freak, a need to plan every move and every shot.Yet, his films are made without any rigorous planning, most times Clipson says he has no idea what they’ll end up looking like till he gets the print back from the lab. Filmmaking becomes a cathartic experience for Clipson, allowing him to “let go” and allow the moment to reveal itself, allowing the mysteries of the process to unfold unhindered. It’s a very romantic idea, but also echoes Brakhage’s views on creating an “untutored vision” through the cinema. Overall, Clipson spoke passionately, clearly and more importantly personally about his amazing work. I hope to see his films on the experimental festival circuit for many years.
LITTLELIGHT IN NYC: Reflections on Film School by Kevin Littlelight
I wake up to sirens and automobile honks of the busy New York City streets and realize “we ain’t in Kansas anymore Toto”! I’m a Calgary kid at the age of forty-two, pursing my film career at the New York Film Academy. I am a father of three- my most recent was born in March. I took leave from a successful senior position to follow my passion. Nuts eh? Sure I don’t have the financial resources I once had as a full-time employee, and I am separated from all the people I love, but you say to yourself, “it’s all worth the sacrifice”. I’m embarking on the second trimester of life, well I’m nine years in, but who’s counting anyways. The second trimester for me is about doing what I want to do, and basically doing something I love, filmmaking. Once bitten, I became a film vampire and like most of you, filmmaking became the coveted life-blood that causes the constant craving of self deprivation to achieve the goal of making film. I found myself searching for others like me, found CSIF, and to be very honest, found my home and others like me. I enrolled in the “How to make a film” workshop offered by CSIF. The workshop gave me my filmmaking foundation, and because of that training at CSIF, it has helped me stay in the middle of the pack here in New York among the greatest talent the world has to offer. I’m enrolled in the “one year intensive filmmaking program” at NYFA, in which you have to complete eight films of various lengths. The pace is very different to what I was used tomaking a short film maybe every two years. The one year program is equal to a three year program jam packed into one year, which is custom suited for someone like me. Of
course I would like the option of a three year program at a school like NYU, Columbia, or NYFA, but my age and my financial situation dictates what program is best suited for me. I often think that even if I did have the resources, I would still chose to get going making a feature film, and believe this is the route I would take regardless.You can’t stay in school forever, you need to take your shot! Like CSIF workshops, the program began with essential hands-on approaches to all the aspects of the filmmaking process. We started off working with 16mm for our first three films allowing me to utilize what I learned at CSIF. I was fortunate to be trained in all the areas of filmmaking process at CSIF on film. many say film would die out because of digital five years ago, but guess what? They still teach the fundamentals of working with film at all the larger institutions. I’m ten years older than my colleagues, but do enjoy running down the streets of New York with a camera and a plot. All part of the end result: our thesis films. That is what I’ll be making in the very short while. And while I’m with students from all parts of the globe, I realize three things; you’re never too old, don’t forget where you come from (Calgary film community), and that film is a true universal language. So, as your self declared unofficial Canadian/Calgary ambassador of independent filmmakers, I bid you adieu. Kind of funny when all my classmates think I can speak French. I ain’t so lucky.
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FILMMAKER PROFILE: KYLE THOMAS by Dan Zimmerman
Kyle Thomas is a filmmaker and musician from Calgary, alum of the Mel Hoppenheim School of Cinema at Concordia University in Montreal, and co-founder of Calgary based film company North Country Cinema. His latest film, Not Far From The Abattoir (2011), was awarded top prizes at the Calgary and Edmonton International Film Festivals for short format work by an Alberta-based director. NFFTA has also reached international audiences through screenings at SXSW 2012 and the Telefilm Canada program at Cannes 2012. Most recently Thomas’ feature film project, Down in the Valley, has been awarded financial support through Telefilm Canada’s Micro-Budget Production Program. Dan - How was North Country Cinema founded? Kyle - I was accepted into Concordia University after high school and so right after graduation I moved to Montréal. That’s where I made a lot of my connections and sort of formed North Country Cinema. I got a Bachelor of Fine Art in Specialization of Film Production, and met a few guys there who would later be my partners at North Country. Upon graduation we all applied for grants, and in that one year all three of us got those grants. Two were from Corus Entertainment and the other was a Canada Council grant. Originally the plan wasn’t to start a company but since we were already working together we thought this would be the perfect time to do it. From a monetary standpoint, we all jumped on this (starting a company) bandwagon so that we could all share the cost of equipment rentals. In order to do that we needed to incorporate a 12
company, and we thought that Calgary would be the best place to do that, even though we were still based in Montreal at the time, and the rest of my partners were from the east. But the decision to start the company in Calgary, was primarily because we knew it would be tough to start the company in Montréal, or in Toronto, because they have such saturated film scenes. Calgary was just sort of a natural fit. I still feel this way about Calgary, and Alberta in general in many respects, that it’s like the Wild West. If you can find a way to fund your movie and still make it your way, you can do that, where as it’s a little tougher to do that in places that have more established scenes. Our funding is still pretty much grant based, for example the AFA (Alberta Foundation for the Arts) has been really good to us. They are another reason to stay in Alberta. There’s just a lot more competition applying for Ontario Arts Council grants. D- Is there an intention to move to a bigger market? K- Well I think ultimately down the line that would be the goal, but I don’t think we can push it. It’s definitely a slow process and not something that can be rushed; I mean the past year for North Country has been fantastic. Sandy (Alexander Carson) who I started North Country with, is based out of Toronto, and so he’s making connections for us there, and although it would be nice to be together,we don’t need to be; we talk on the phone all the time, and when projects come along in this day and age, with technology, you’re able to work with each other. It’s just a matter of “Ok, here are the shooting dates, lets fly you out.” Sandy also just won best director at Air Canada En Route Film Festival,
which is huge. I didn’t think it was at first, “oh it’s just Air Canada” but they have a lot of money. D- I always thought they were going bankrupt. K- Well based on the after party, on the 60th floor, pre-drinks, etc… I don’t think so. Slowly as the projects go by we are slowly getting into the industry more. I mean going to Cannes, that’s just industry overload. I was only there for 4 days but while I was there I started to network with Telefilm, D- Do you like that side of things? K- No I despise it. I’m terrible at it. Networking is awful but it is absolutely essential, not only in film, but anything really, you need to network expand your contacts and to potentially meet new collaborators.You just never know who you’re going to meet. I’m trying to get better at it, because that part of the business of filmmaking they don’t teach you anywhere. But it was fun interacting with the people who are making the decisions for that next level of production. And I mean we love making shorts, but we’ve been doing it for 8 years, so its come to a point where there is a next step, and these are our options, and yeah
you are getting more into the industry, but there’s no real way around it. D- Your film Not Far From The Abattoir (2011), did very well at many festivals around the world. Is it still showing? K- Three months ago CBC bought, it and we sold it to Shorts International as well. So for the next year I’m not sure that there isn’t a country that doesn’t own the broadcast rights to it, so I cant really screen it at festivals, but I mean it’s had it’s run. It was a very strange festival run for Abattoir because it’s a little longer in length (16-17 minutes), which is really awkward to program sometimes. It was a very character driven piece and it’s unlike anything I had ever done before. I was more of a genre guy who made these sort of weird, dark, subconscious, borderline experimental, narratives, very David Lynch, with crazy sound design, that was my thing- I wanted to expand my portfolio and get back to something I love which is working with actors and working with characters, and not that I hadn’t done that before, but making these more technical pieces you have all of these amazing shots planned, and I wanted to get rid of that, I wanted to shoot this thing hand held, without any lights, I just wanted to be like if
Kyle Thomas and Sandy Carson on set
the actor wants to move, lets move, lets get in the zone and go with it, cinema verite. And people liked it. It translated. I can feel all of the experimental work I made filtering back in to the point where I want to go back to it again. I always looked up to Neil Young because I appreciated how he could bounce from this gritty Crazy Horse based stuff where he had 30 minute songs and then yet he could sit down with an acoustic guitar, or make a country album. I immediately identified with that. For me, it’s important to have these different outlets, for my own personal, artistic voice. And as the years go by I find I’m able to draw on those different experiences I’ve had. To find out more about Kyle please visit www. northcountrycinema.com/
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ON THE SLATE PROGRAMMING MEMBERS SCREENING “ON LOCATION” May 9th 7:00pm at the Old Y (223 12th Ave) Featuring recent works from CSIF’s best emerging and established filmmakers: Cameron McGowan, Javier Santoro, Nick Haywood, Kevin Littlelight and more
TRUCK CAMPER BIKE-IN CINEMA June 14th 10:00pm location TBA
Heart of the Continent: New Manitoba Shorts. Films by Deco Dawson, Leslie Supnet, Michelle Elrick and Mike Maryniuk
SECRET CINEMA MAY 21st 9:00 Curated by Kyle Whitehead JUNE 19TH 10:00 Sled Island Edition JULY 16TH 9:30 Curated by Scene & Heard Club AUG 20TH 9:00 Free outdoor screenings in the Old Y courtyard!
WORKSHOPS Grantwriting For Media Artists Date: April 20, 2013 Cost Members $65
Instructor Sandi Somers Non Members $110
Directing Workshop Sat April 27, Sun April 28 10am-5pm Cost: Members $135
Instructor: Robert Cuffley Non-members $180
Shooting with the Scarlet Saturday May 11 10am-5pm Cost Members $80
Instructor Aaron Bernakevitch Non Members $130
Approaching the Feature Film Saturday May 25, Saturday June 1 Cost: Members $135
Instructor: Corey Lee Non-members $180
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. Please send articles, stories, images and proposals to Erin Sneath answerprint@csif.org
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