Fall 2014 by Ron Harvey

2013 West ern Magazine Awards Finalist Fall 2014

$5.00

Film, TV, online and Digital Production IN Western Canada

viff ‘14 Black Fly Bye Bye Blues Preggoland Pristine Coast + more

Canadian Mail Publication Sales Agreement Number: 40006834

New editor New Look R e e l w est go es d i gital w e lco m es new team

A Co m m u n i t y R e v i s i t e d I n J u LI a Kwa n ’ s R e t u r n to V I F F

Co nte n ts

Vancouver International Film Festival Issue

21 11

Bye Bye Blues is Back

Anne Wheeler on the birth of Bye Bye Blues and its rebirth on the big screen.

4 Welcome Ron Harvey

Question & Answer

oger Larry and Sandra Tomc share the buzz on Citizen Marc — their new R documentary about Canada’s infamous marijuana martyr.

It’s Chinatown, Julia

ulia Kwan spent a year documenting the shifting spirit of Vancouver’s J Chinatown for her new NFB documentary. -Nathan Caddell

BC’s Not so Pristine Coasts

Scott Renyard talks about fishing for the truth about BC’s salmon in his new doc. -Tom Hawthorn

Corner Gas Returns for Christmas

ow fans primed the pump for the big screen return of Canada’s beloved H sitcom. -Katja De Bock

Sonja Bennett gives birth to Preggoland

BC actress/screenwriter teams up with director Jacob Tierney to bring her script to life. -Nathan Caddell

Filmmaker’s diary

Jason Bourque shares the dark secrets behind the making of Black Fly.

Western Tv, Eh? Diane Wild

8 Digitally Yours Erica Hargreave 9 Indie Scene Paul Armstrong 15 LEgal Briefs Lori Massini 30 The Window Mark Leiren-young

@reelwestmag coVer: Julia Kwan in Vancouver’s ChinaTown; Photo by Phil Chin contents: Director Scott Renyard behind the camera on The Pristine Coast; photo by Jonn Matsen Reel West Magazine is a wholly owned enterprise of Reel West Productions Inc. It exists and is managed to provide publicity and advertising that supports the growth of the Western Canadian Motion Picture Industry. Executive publisher: Sandy P. Flanagan. Editor: Mark Leiren-Young. Publisher: Ron Harvey. Sales: Randy Holmes, Adam Caddell

creative

Director: Andrew von

Rosen.

art director: Lindsey Ataya.

Photo Editor:

Phillip Chin.

Contributors: Nathan Caddell, Katja

De Bock,

Tom Hawthorn. Copy Editor: Caroline Dyck. Reel West Magazine is published Four times per year. Subscriptions Canada/US $35.00 per year (plus $10.00 postage to USA). Reel West Digest, The Directory for Western Canada’s Film, Video and Television Industry, is published annually. Subscription $35.00 per year (plus $10.00 postage to USA). Both Publications $60.00 (plus $10.00 postage to USA) Prices include GST. Copyright 2014 Reel West Productions Inc. Second Class Mail. Registration No. 0584002. ISSN 0831-5388. G.S.T. # R104445218. Reel West Productions Inc. 2221 Hartley Ave., Coquitlam, British Columbia, Canada, V3K 6W9. Phone: 604-553-1335 Toll Free: 1-888-291-7335 Fax: 604-451-7305 Email: info@reelwest.com URL: reelwest.com. Volume 29, Issue 4. Printed In Canada. To subscribe call 604-553-1335 or visit our website at reelwest.com. Reel West welcomes feedback from our readers, via email at editorial@reelwest.com. All correspondence must include your name, address, and Phone number.

Reel West Fall 2014

W e lco me

Reel West Welcomes New Team f r o m Re e l We st Pu b lis he r R o n Harve y

elcome

much as she loved promoting the

@reelwestmag.

Canadian tv scene, running a news-

As tv and film producers

letter and podcast series became a

face

bit too labourious. She canceled TV,

the challenges and benefits of an

Eh? late last year. This summer, Di-

increasingly digital universe, maga-

ane decided to take a shot at crowd-

zine publishers are moving forward

funding her publication on Indiego-

in a world where you’re more likely

go, setting $1500 as her target. She

to be reading this on your pad than

raised over $21,000 from tv creators

on paper. For us, that creates a fas-

and fans across Canada.

cinating new dynamic where read-

This issue, we’re launching the

ers are used to getting timely news

debut of Western TV, Eh? and Diane

instantly, but magazines might be

will be keeping us up to speed with

downloaded to your favourite de-

what’s happening in tv-land in our

vice forever.

part of the world.

At Reel West we‘ve decided to de-

If you’re not already subscribed

liver more timely news through our

to TV, Eh? visit her site at tv-eh.com

new e-newsletter, our Twitter feed

We’re also introducing a new

and Facebook page, and feature

contributor — one of BC’s best writ-

more timeless stories in our maga-

ers, Tom Hawthorn. Tom has writ-

zine, which will now be published

ten for a wide variety of newspapers

quarterly.

and magazines including the Globe

To move forward into our third

and Mail, Reader’s Digest, and Cana-

decade, I’m delighted to be intro-

dian Geographic. He’s the author of

ducing our new editor, who’s defi-

Deadlines: Obits of Notable British Co-

nitely not new to covering the west-

lumbians and was the 2014 Harvey S.

ern Canadian tv and movie scene.

Southam Lecturer at the University

Mark Leiren-Young

of Victoria.

has

written

about film and tv for The Hollywood

I’d like to take this opportunity

Reporter, TV Guide, TV Week, Canadian

to thank our outgoing editor Cheryl Binning for her hard work and dedi-

Screenwriter, The Georgia Straight and Cover-boy-turned-editor MARK LEIREN-YOUNG

The Vancouver Sun. He’s also a former Reel West Cover

cation to keeping Reel West rolling. I’d also like to take this oppor-

Boy — seen here alongside Battlestar

Whale That Changed the World, is up

things online in her column Digital-

tunity to ask you to follow us on

Galactica’s delightful Tricia Helfer.

for a Jack Webster Award, and he’s

ly Yours. The founder and creative

Twitter (@reelwestmag), like us on

His award-winning movie, The Green

earned a second consecutive nomi-

head of Ahimsa Media, Erica teach-

Facebook, enjoy us on Issuu, sub-

Chain, which played at VIFF in 2009,

nation for “best column” for his

es cross-platform storytelling and

scribe to our newsletter and stay

was profiled by Ian Caddell. The

work in backofthebook.ca. He won

digital media at BCIT and around

tuned as we move onto other so-

Green Chain’s screenplay earned

the award last year.

the world. This issue, she’s sharing

cial media platforms. And be sure

topical tips on crowdfunding.

to share your stories with us so we

Mark his third Writer’s Guild of Canada Award nomination. Mark is also a National and Western Magazine Award winning

In addition to launching Mark’s new column on our back page, I’m

Our second new columnist is one

can share them with the world be-

thrilled that he’s introducing two

of Canadian tv’s crowdfunding suc-

cause that’s what we’re here for —

new columnists to our magazine.

cess stories. Diane Wild created the

to celebrate the people behind the

writer. As we go to print, his CBC

Our new social media maven

online newsletter TV, Eh? over seven

scenes and on the screens in west-

radio documentary, Moby Doll: The

Erica Hargreave, will be covering all

years ago as a labour of love. But as

ern Canada. n

Reel West Fall 2014

GET READY THE PREMIER SCREEN BASED MEDIA CONFERENCE ON THE WEST COAST.

HIGHLIGHTS INCLUDE: POWER TO THE INDIE: DIRECT DISTRIBUTION, MARKETING AND ENGAGEMENT PROGRAM AND LAB

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Twitter

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Vancouver International Film Festival: September 25th - October 10th

SEED&SPARK WORKSHOP

Crowdfunding to build an audience

W e ste rn T V, EH ?

Kristin Lehman and Louis Ferreira in CTV’s Motive Photo by Kharen Hill

What’s Happening in the (Western) World of Television

By Diane W Ild

Who’s roaming the streets and studios of British Columbia and Alberta? You might spot zombies and superheroes, detectives and western-garbed women, a couple of former House stars, an Office alum or a Kid in the Hall. And fans of first class writing have double the chance of seeing writer/producers Marti Noxon or Greg Berlanti since they’re spearheading two series each. There are as many shows destined for The CW as there are homegrown Canadian series, helping Western Canada become a hotbed of hot young actors. Here’s the scoop on what’s shooting here: Backstrom

stars of the upcoming Bravo show

horse trainer Amy Fleming and

(Season 1)

based on Vicki Iovine’s Girlfriends’

executive producers are Tom Cox,

Backstrom will film Vancouver as

Guide book series. Edelstein plays a

Jordy Randall, Michael Weinberg

Portland until mid-November, with

self-help author trying to keep her

and Heather Conkie.

The Office’s Rainn Wilson in the lead

divorce a secret and relying on her

as a self-destructive detective. Exec-

divorced friends for advice.

iZombie

(Season 1)

Rose McIver (Masters of Sex, Once

utive produced by Hart Hanson, the Canadian-raised creator of Bones,

Developed by Marti Noxon (Buffy the

Upon a Time) heads the cast as a

Kevin

Vampire Slayer) and executive pro-

medical resident turned zombie

(Season 3)

Hooks, the one-hour drama is based

duced by Noxon, Meryl Poster, Vicki

who blends in with the not-undead

Canadian actor Stephen Amell re-

on a series of novels by Swedish

Iovine and Robbie McNeil, the se-

by taking a job at a morgue. Execu-

turns as Oliver Queen (aka “the Ar-

criminologist Leif G.W. Persson. FOX

ries marks the network’s first origi-

tive produced by Rob Thomas, Diane

row”) in the third season of CW’s hit

picked up the show for midseason

nal scripted series. Filming contin-

Ruggerio-Wright, Danielle Stokdyk

Arrow, executive produced by Gerg

after CBS passed.

ues in Vancouver until mid-October.

and Dan Etheridge, who all worked

Heartland (Season 8)

an adaptation of the comic book se-

DC Comics character Green Arrow.

Girlfriend’s Guide To Divorce (Season 1)

CBC’s family friendly western dra-

ries by Chris Roberson and Michael

Filming is scheduled to continue in

Lisa Edelstein (House) and come-

ma, Heartland, continues shooting

Allred. It will air on The CW and is

Vancouver (aka the fictional Star-

dian/actress

Garofalo

in the Calgary area until early De-

shooting in the Vancouver area until

ling City) until mid-April.

(Criminal Minds) are among the

cember. Amber Marshall is talented

the end of January.

Arrow

Berlanti, Marc Guggenheim and Andrew Kreisberg and based on the

and

director/writer/actor

Janeane

on Thomas’ Veronica Mars, iZombie is

Reel West Fall 2014

Motive (Season 3)

Singer, Jeremy Carver, Phil Sgriccia,

emy Sisto (Suburgatory) are among

CTV’s homegrown whydunnit, Mo-

McG and Adam Glass. This season,

the cast shooting in and around

tive,

mid-February,

which shoots around Vancouver

Vancouver until early October. The

Dennis

until mid-April, will include the se-

Returned features a small town

ries’ 200th episode.

rocked by the sudden reappearance

shoots

helmed

until

showrunner

Heaton and executive producers Rob Merilees and Louise Clark.

of some residents who were long

Kristin Lehman and Louis Ferreira

presumed dead.

play Vancouver homicide detectives

Some Assembly Required (Season 2)

The Whispers (Season 1)

while Lauren Holly is the coroner in this police procedural that starts

YTV’s youth oriented sitcom Some

Barry Sloane (Revenge) and Milo

with the reveal of the killer and the

Assembly Required films in front of a

Ventimiglia (Chosen) star in ABC’s

victim, then unspools to reveal the

live audience in Burnaby until mid-

sci-fi drama about aliens who have

motive.

December. Kolton Stewart stars as a

— yes, Vancouver is Vancouver —

Lily Rabe (American Horror Story),

invaded Earth by enlisting the help

teen who runs a toy factory with the

The 100 (Season 2)

help of his friends. Executive pro-

Featuring Eliza Taylor (Neighbours)

produced by Soo Hugh and Zack Es-

ducers are Alex Raffe, Dan Signer

and Paige Turco (Person of Interest),

trin, the series is set to film in Van-

and Howard Nemetz.

CW’s post-apocalyptic drama is

couver until mid-December.

of unwitting children. Executive

scheduled to shoot in and around

Strange Empire

Langley until mid-January. Execu-

Un-Real (Season 1)

(Season 1)

tive producers are Jason Rothen-

Shiri Appleby (Girls) headlines the

CBC takes a dark turn with this

berg and Les Morgenstein.

new dark comedy for Lifetime as a

western from writer Laurie Fins-

staffer on a reality dating compe-

tad (Durham County), executive pro-

tition program. Marti Noxon and

(Season 4)

duced by Tim Johnson and Finstad,

Robert Sertner are executive pro-

The Vancouver area morphs into

and starring Melissa Farman (Lost)

ducers with the Vancouver-based

Storybrooke again for the new sea-

and Tattiawna Jones (19-2). When

production, scheduled to shoot un-

son of ABC’s hit Once Upon a Time by

most of the men in the frontier

til mid-November.

executive producers Edward Kitsis,

town of Janestown are murdered,

Adam Horowitz and Steve Pearl-

the women are left to struggle for

man, shooting until early April.

survival. Strange Empire premieres

Ginnifer Goodwin (Big Love) and

October 6 and films until mid-Octo-

The Flash (Season 1)

Jennifer Morrison (House) are Snow

ber in Aldergrove.

Dr. Barry Allen was introduced in

Hall), this homegrown single-cam-

White and her daughter Emma

Arrow and gets his own series as the

era comedy for City is scheduled

Swan in this fairy tale mashup.

Flash in this CW spinoff by execu-

to film in Calgary from September

Olympus (Season 1)

tive producers Greg Berlanti, An-

25 – December 18. Set in Calgary in

drew Kreisberg, David Nutter and

the 1980s, Young Drunk Punk focuses

This mythological drama for Syfy

Sarah Schechter. Flash films in the

on two recent high school graduates

is executive produced by Nick Will-

Vancouver area until mid-October.

who don’t quite feel they belong.

ing, Matthew O’Connor and Grant

Grant Gustin (Glee) stars as the “the

Executive producers are McCulloch,

Rosenberg and stars Sonita Henry

fastest man alive.”

Susan Cavan, Jordy Randall and

Once Upon A Time

(Star Trek) as Medea. The series fol-

Young Drunk Punk (Season 1) From Bruce McCulloch (Kids in the

Tom Cox. n

lows young Hero as he transforms

Supernatural

The Returned (Season 1)

into a ruthless leader and a match

(Season 10)

A popular French suspense series

Diane Wild is the Vancouver-based

for the Gods themselves. The Van-

Jared Padalecki and Jensen Ackles

gets the American treatment by

founder of the TV, eh? website (www.

couver shoot is scheduled until ear-

return as the Winchester broth-

executive producers Carlton Cuse

tv-eh.com), covering news, reviews

ly November, before filming moves

ers in the long-running CW series

(Lost) and Raelle Tucker (True Blood)

and interviews about Canadian televi-

to London.

from executive producers Robert

for A&E. Carl Lumbly (Alias) and Jer-

sion shows.

the game has changed

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beba

D ig i tally yo u rs

Crowdfunding Turns the Audience into the Gatekeepers By E r ica Ha r gr eav e

id you hear the one about

ever raised was $900,000.

gap, and removes the middleman,

your goal clearly and then make a

the dude who jokingly

Rob raised $1 million in the first

so you don’t have to deal with net-

stellar video.”

posted about potato sal-

4 hours! By the twelve hour mark,

works or other publishers to reach

ad on Kickstarter? Here’s what he

he’d raised the $2 million he needed

your audience.

wrote. “I’m making potato salad.

to shoot. The campaign continued

Steve’s advice to others who want

For success you need to ask anyone

Basically, I’m just making potato

on to raise a total of $5,702,153, un-

to crowdfund their projects: “First,

who you can to take part. You need

salad. I haven’t decided what kind

locking a variety of the campaign’s

mature the product you are offer-

to sell yourself and your campaign

yet.” And here’s the punchline. He

stretch goals.

ing to the community. I think it’s

24/7 to ensure success. Also, build

Part-Time filmmaker Kemp Edmonds advises that, “It’s like politics.

raised $55,492. Whether you just

I hear a few mutters of “Well …

important to establish your brand

partnerships and have others fea-

laughed or exclaimed “WTF” maybe,

Veronica Mars is a big American enti-

before asking people to invest in

ture what you are doing. Think PR.

just maybe, you should be paying a

ty with a pre-existing fan base.” True

you. Also, I primed the pump. I did a

Think unique hook. Why does your

little more attention to this crowd-

enough, but our Canadian creators’

small private campaign to get some

story matter to the greater audi-

funding thing.

campaigns are nothing to scoff at.

activity in my account before asking

ence? How can you get a newspa-

What was Zack Danger Brown’s

Take Indie Game: the Movie, by Mani-

the general public to support me. I

per or radio reporter to jump on the

intention with his potato salad cam-

toba filmmakers James Swirsky and

think if people visit any online prod-

story? Then use every social media

paign - aside from a good chuckle?

Lisanne Pajot. With two Kickstarter

uct and hear crickets you will have

channel you can to reach, engage

He’d publicly hoped to raise $10.

campaigns, they raised $94,676 for

a difficult time converting them

and converse with folks, especially

Secretly his goal was $60. Never in

the documentary. Their goal had

into supporters.”

those with places to amplify your

his wildest dreams did he expect to

been $50,000. In the process, they’d

Sarah Keenlyside of Inkblot Media

raise over $50,000. Who would?

inadvertently marketed their docu-

has both crowdfunded her own films

And novelist Doreen Pendgracs

As a creator, this excites me.

mentary, creating a fan base and

and invested in the crowdfunding

suggests you study the algorithm

Whether you’ve long been a fan of

anticipation for its release. Win -

campaigns of others. From this ex-

of the crowdfunding platform you

crowdfunding or have been skepti-

Win!

perience, she thinks it’s important

are on so that you benefit from their

made

to ask yourself, “Why should people

help in marketing your campaign.

this past year has carried some

$285,840 on Kickstarter (see story

care about my project? What are

She also advises you keep the video

telling examples for creators. Such

on page 24).

investors getting out of the invest-

that you are using to promote your

cally watching from the sidelines,

examples

suggest

Corner

Gas: The

Movie

message about your campaign.”

crowdfunding

I interviewed a number of other

ment? Even $5 and the time it takes

campaign short. She learned this

may indeed be a viable alternative

Canadian creatives who have suc-

to donate $5 is a big ask based solely

the hard way, having created one

to play with in the Canadian film

cessfully crowdfunded their own

on your word that they will enjoy the

8-minute video that should have

and tv funding game, opening the

projects, and here’s what they

film when it’s finished.”

been two shorter videos.

playing field up to creators who

learned form their campaigns:

What got Sarah to invest in other

Final words: Don’t get greedy

are willing to put in the work to

Past radio and tv producer, host,

people’s campaigns? She was famil-

with your crowdfunding campaign,

experiment with a new model of

and now YouTube publisher, Steve

iar with the people behind the cam-

but do be realistic in your budget-

funding that sidesteps traditional

Dotto’s reasoning for crowdfund-

paign and admired their previous

ing. Make sure that you are not

gatekeepers.

ing is that it creates a direct con-

work. She cared about the subject

overselling and can deliver what

nection between his viewers and

matter featured in the film. She was

you’re promising.

himself, the content creator. He was

curious about the subject matter.

When you start your crowdfund-

2013 saw a revival of the cult tv

looking to recapture some revenue

She liked their technical approach

ing campaign be sure to tell us —

hit, Veronica Mars. After seven years

from his community. With 40,000

and wanted to see it realized. Or the

and tweet us — @reelwestmag. We

off network television, Director Rob

subscribers on his YouTube chan-

rewards were just so rewarding that

love seeing what our Canadian cre-

Thomas made one last ditch at-

nel, a small contribution from each

she couldn’t resist.

atives are up to! n

tempt to raise financing for a film

one would make for a very healthy

and started a Kickstarter campaign.

income. Community support allows

tal editor at Air Canada’s enRoute

Erica Hargreave gets her kicks out of

He was skeptical as to whether or

him to create more compelling con-

magazine) Daniel Baylis’ advice

weaving stories across platforms, and

not it would work. You see, he need-

tent that isn’t focused on pleasing

from crowdfunding his memoirs is,

teaching

ed $2 million to go to camera, and at

advertisers instead of viewers. Ul-

“Don’t rush into it. Take the time to

and digital media at BCIT and around

that time the most Kickstarter had

timately, crowdfunding closes the

plan out your attack, communicate

the world!

After all, it’s not just potato salad that’s getting funded.

Writer, adventurer

(and

digi-

cross-platform

storytelling

@reelwestmag 8

Reel West Fall 2014

I n di e S c e ne

Directors VIFF Knows Premiere Bedbugs, Billie’s Book, Caan job By Paul Arm st ro ng

ooks like another strong year

the Director’s Chair Feature Film

for BC films at the 2014 Van-

Award and is funded by Telefilm

couver

Film

Canada, Super Channel, The Har-

Festival, running September 25 to

old Greenberg Fund and tax credits.

October 10, with some past direc-

eOne is distributing.

International

tors returning and other filmmakers appearing in new roles. Matthew

Kowalchuk,

Kris Elgstrand is also back at VIFF with the feature Songs She Wrote

Immigration Law Group catherine a. Sas, Q.c. csas@millerthomson.com Registered Foreign Legal Consultant with the State Bar of California

Miller Thomson LLP

millerthomson.com vancouver calgary edmonton saskatoon regina london kitchener-waterloo guelph toronto markham montréal

screened the feature Lawrence & Hol-

miered at the Toronto International

loman last year, returns with a short

Film Festival. He screened DoppelMT_Reel West Digest Ad_v6.indd

written by Shauna Johanneson and

In Songs, which was shot on Super

based on her husband James Dan-

16mm, Carol learns how to lose

derfer’s real life misadventures with

friends and alienate people while

the pests. Danderfer also composed

somehow inspiring her boss. Elg-

the music for the film.

strand calls the film, “a ‘sort-of mu-

Bedbugs tells the story of love starved

Tracy

Polokowski,

who

5/5/2011 1:35:47 PM

is sort of one.” Elgstrand’s words of wisdom:

her hipster boyfriend dumps her,

“Make the movie you want to make.

she gets bedbugs and finds herself

If you want to make it you’ll find

ostracized by everyone she knows.

a way to fund it and do it. Oh, and

But the love she’s been looking for

maybe don’t write California into

just might be inside her mattress.

your script if you can’t afford it, or

after winning the Best BC Emerg-

sical.’ It’s not really a musical but it

thinks her ‘Yes’ day has come until

“It’s especially great to be back

• Business Applications: Entrepreneur and Self-Employed

added experience. added clarity. added value.

About People She Knows, which pre-

gänger Paul at VIFF four years ago.

• Permanent Resident Applications

For more information please call 604.687.2242

who

film Bedbugs: A Musical Love Story

• Work Permits

you may have to guerilla shoot it as we did.”

ing Director award last year at VIFF.

Another filmmaker who just did

Making Bedbugs was an exercise in

it is Sonja Bennett, a darling of the

pure joy - now what an honour it is

Festival known for her leading roles

to share another film with audienc-

in films like Punch and Random Acts of

es again at VIFF,” says Kowalchuk.

Romance. Bennett’s back at VIFF as the

The film was made through Van-

writer - and star - of Preggoland - di-

couver’s annual eight-day filmmak-

rected by Jacob Tierney (The Trotsky)

ing challenge, Crazy8s. “Without the

and produced by Kevin Eastwood.

support of Crazy8s we would never

The film, which debuted at TIFF,

have made it,” says Johanneson. “It’s

also stars screen legend James

incredible how the community ral-

Caan, who Bennett exclaims chal-

lies around the Crazy8s”.

lenged her story-wise, “which was

Director Ana Valine, who has

a great thing. And his character be-

screened several shorts at VIFF in-

came richer for it. As an actor he is

cluding How Eunice Got Her Baby,

warm, generous and spontaneous.”

returns with the feature Sitting On

Says Bennett, “I wrote the screen-

the Edge of Marlene. Adapted for the

play to play the lead character, a

screen by Valine, the movie is based

35-year-old woman-child who feels

on the novella by BC author Billie

alienated from her friends who are

Livingston. Marlene tells the story

all in various stages of parenthood.”

of mother and daughter con artists

When Ruth is mistakenly thought to

who struggle to survive as they wait

be pregnant she finds the perks of

for the father to return from prison.

pregnancy too seductive to pass up.

THE SCENES f o r m o r e t h a n 20 y e a r s

“VIFF have been kind enough to

“Writing Preggoland was my crack

screen all my short films so I feel like

at being proactive about my career

AERIAL LIFT & MATERIAL HANDLING SPECIALISTS:

this is a rite of passage,” says Valine.

and I fell in love with writing in the

Scissor lifts | Straight mast & telescoping forklifts

process.”

Personnel lifts | Telescoping & articulating boom lifts

Her advice for indie filmmakers?

Temporary heat & power | On-site diesel delivery

“Have support and mentors in place so you can ask for advice along the

Paul Armstrong is a film producer who

way. It’s a long journey.”

also produces The Celluloid Social Club

Marlene received the Women in

Reel West Fall 2014

Proud members of MPPIA | 24 hour service

604.945.5004 | WesternOne.ca

and the Crazy8s Film Event.

Photo by Phil Chin

Reel West Fall 2014

Op e ning R e e l

Canadian Classic Back on the Big Screen By Mar k Le ire n-yo u ng

Anne Wheeler Says Hello Again to Bye Bye Blues n an interview for a Reel

went a bit too far.’ She didn’t seem

West cover story just before

to be laughing and she sat really

the release of her movie Bye

still for the whole viewing. Then the

Bye Blues in 1989, Alberta

audience all cheered and wanted

director

Wheeler

us to both stand up and take a bow

told writer Ian Caddell, “it’s an epic

and she was very reluctant to get

feature that looks good on the big

up. I kind of pulled her up and said,

screen.” And that’s where audiences

‘Come on mom, everybody wants to

will get to see it for the first time in

see who you are.’ So we got her up

over a decade now that the original

on her feet and she looked around

35 mm print has been digitized just

and she sat down and she leaned

in time for a special silver anniver-

over to me and she said, ‘How did

sary screening at the 2014 Vancou-

you know all that?’” Wheeler still

ver International Film Festival.

laughs at the memory.

Anne

Even film fans who were around

The movie was nominated for 13 VIC SARIN with ANNE WHEELER on set of the original Bye Bye Blues.

for the movie’s debut may not have

File Photo

been able to catch it in theatres. “It

Genies and picked up three - best actress for Jenkins, best supporting

got quite huge distribution in the

going with children and find a way

While Wheeler was working on

actress for Stevan and best original

States, but in Canada it was pretty

to make a living is kind of boring.

her drafts she also did her home-

song for Bill Henderson for When I

typical,” says Wheeler. “It was in

Maybe you should dress it up a little

work. Intead of talking to her moth-

Sing. The film also scored nomina-

seven cities for a very short amount

bit.’ So I said, ‘okay if you don’t mind

er Wheeler interviewed dozens of

tions for Best Picture, Best Director

of time.”

I’ll do what’s called creative nonfic-

other women, “who had lived simi-

and Screenwriter for Wheeler and

Wheeler (who has been based

tion.’ And she said, ‘just make it en-

lar lives.”

Best Supporting Actor (for both Mi-

in BC since 1990) originally set out

tertaining.’ Because she was truly

to make a documentary about her

an entertainer.”

As the screenplay and then the

chael Ontkean and Wayne Robson).

movie came together, Wheeler’s

Digitizing the movie means that

parents, but found so much mate-

To set the movie in motion,

mom resisted becoming part of the

after it appears on big screens it will

rial about her father, a doctor who

Wheeler started by capturing her

development process. “She didn’t

finally be available on smaller ones.

was captured and imprisoned by

mother’s music. “The first thing I

want to see it until it was com-

The movie was never released on

the Japanese military during World

did was I took her into a studio with

pletely finished. She wanted to see

DVD and Wheeler jokes that any re-

War Two, that he became the sub-

some of her old musician friends.”

it with a big audience.”

maining VHS tapes that haven’t dis-

ject of A War Story. That doc was

Then Wheeler started the script.

Wheeler cast Rebecca Jenkins as

integrated are now collector’s items.

a critical favourite, picking up all

“I probably wrote twenty drafts be-

her mother’s cinematic avatar. “She

“I don’t think there’s a week that’s

sorts of prizes including a Blue Rib-

cause my parents met each other

has that wonderful spirit and love

gone by when somebody hasn’t got-

bon Award at the American Film

when they were young and there

of music.” Robyn Stevan was chosen

ten ahold of me and asked, ‘How

Festival.

were a lot of places to start the story

to capture the essence of Wheeler’s

do I get this film?’ And I’ve had no

Wheeler decided to follow up

and to end the story. I finally landed

free-spirited aunt.

way of getting it to the public,” says

with her mother’s story. But her

on her coming home from India

When opening night arrived and

mother - who’d played piano in

where they had been living. They’d

it was time for mom to attend the

a dance band - wasn’t interested

both been raised on the prairies, but

premiere at Edmonton’s Garneau

in getting the documentary treat-

ended up going to India.”

Theatre Wheeler says, “It was the

To read the original cover story from the

ultimate terrifying screening.”

August-September 1989 issue of Reel

ment. “She said to me, ‘well sweet-

So did Wheeler. Bye Bye Blues —

heart, waiting almost five years for

which was shot by Vic Sarin — was

your husband - not knowing if he’s alive - and trying to keep a home

Reel West Fall 2014

Wheeler. “It’s a great new beginning for an older film.” n

mother

West Magazine, visit www.reelwest.

the first Canadian feature to film in

watched the movie very quietly and

com/news/2014-09/bye-bye-blues-

India.

I thought, ‘oh my goodness. Maybe I

25-anniversary.

Says

Wheeler,

“My

Reel West Fall 2014

Roger larry and sandy tomc Photo by Phil Chin

Q u e stio n & Answe r

BC Buzz on Hot Pot Doc By Mar k Le ire n-yo u ng

Roger Larry and Sandra Tomc Explore the seeds of Canada’s Marijuana Martyr

n August 12th, Can-

Q: When I heard you were making

ada’s “Prince of Pot”,

this movie I assumed the goal was

Marc

was

to put “the Prince of Pot” on a ped-

released from US

estal. Not so much... Was this the

prison – at the same

story you thought you were going

time, his wife, Jodie Emery was look-

to tell, or did it shift as you dove

ing at running for the federal Liberal

into the research?

Party to take the fight for marijuana

ST & RL: I think that what we end-

legalization to Ottawa.

ed up with is a balanced portrait.

Emery,

On October 17th, Roger Larry and

Part of that comes from the fact

Sandra Tomc’s frank and funny doc-

that the two of us came at the story

umentary Citizen Marc, chronicling

with very different opinions about Emery. But in the end, we both came

the adventures and inspirations of the Emerys, will hit select theatres

Marc Emery at Bridge Studio in Vancouver Photo by jeffery Lando

The timing for both couples could

to agree that Emery deserves to be revered for his accomplishments as

across Canada. compelling and would remain so

an activist and founder of the legal-

sentially party.

over a period of years. Additionally,

Yet on another level, his situ-

ization fight. Simultaneously, he is

After talking to Larry about the

we were looking for a story that was

ation also revealed the degree to

not always a sympathetic character,

movie after the film’s screening at

politically charged in a way that in-

which our lives are controlled by

but who is?

the 2013 Whistler Film Festival, I did

trigued us. In Marc Emery we found

forces outside our control, forces

an email Q&A with Larry and Tomc

the perfect subject.

hardly be better.

government

and

We’re interested in his quirks

corpora-

because of his accomplishments. I

about their adventures with Emery

In 2006, when we started film-

tions heavily invested in promot-

think his massive ego, his abrasive-

and the challenges of spending half

ing, he was fighting extradition and

ing the drug war and the prison-

ness, his stubbornness, his atten-

a dozen years on a single story.

facing life imprisonment for what

industrial complex that feeds off

tion-getting are what make him one

They responded – like they cre-

was essentially a political crime.

it. This led us to interview Noam

of Canada’s greatest activists ever. I

ated this film (and their previous

We think of North America as place

Chomsky, who had some very per-

also believe that when you look at

movies Crossing and Tested) – as a

devoid of political prisoners, but

suasive arguments about how the

his childhood as we do, it’s no sur-

team. Says Tomc, “We write every-

Emery and others are proof to the

drug war is really just another way

prise that he has these traits as well

thing together. It should all say

contrary, a fact we thought impor-

for corporate America to make a

as a kind of boundless ambition.

“we.” Think of us as the Borg. Or Co-

tant to expose.

buck. There was also Emery’s out-

The conflict around legalization

sized personality. We were curious

Q: I was surprised by Marc’s earlier

was also interesting to us. Prohi-

whether his success as an activist

adventures in politics — especially

bition was so counter-productive

was linked to his seemingly bound-

his impact on Ontario’s Sunday

Q: What sparked this story for you?

when they tried it with booze that

less ego, something that the film

shopping laws. What surprised you

Sandra Tomc & Roger Larry:

we could not help but feel that Em-

suggests was the case.

most?

At the time that we began this film

ery was on the right side of history.

hen Brothers.” Here’s the buzz on Citizen Marc:

A number of people are willing to

ST & RL: What surprised us most

we were inspired by films like Hoop

Is marijuana legalization the

put themselves on the line for their

was that he was far from a single-

Dreams, Brother’s Keeper, and the 7UP

most important issue facing the

beliefs, but few are able to generate

issue activist. The range of issues

series, all classic documentary fea-

world? Of course not. But it made

the attention and political action

that he had tackled in his early

tures that follow characters over

Emery even more interesting to us

Emery has. All these reasons com-

days ranged from championing Two

many years. So we were looking for

in that he was willing to lay his life

bined to make Marc Emery an irre-

a character in a situation that was

on the line for others’ right to es-

sistible subject to us.

Reel West Fall 2014

Q&A | continued on next page

ST & RL: The access that Emery

Q: How do Marc and Jodie work to-

to telling an exciting character-

provided was really open to anyone.

gether?

driven story that was as suspense-

Live Crew’s banned record As Nasty

He made himself extremely avail-

ST & RL: They are a heck of a team.

ful and compelling as it was rich in

As We Wanna Be to fighting a minor

able to his public. Emery is a pro

Jodie is one of the few people Marc

meaning.

business improvement tax. In that

at this stuff and is used to being in

really listens to and takes advice

latter fight he spent twenty-five

front of the camera. We did have to

from. Jodie has really come a long

thousand dollars and lost. We were

stop filming for three months from

way and grown into a political role

of making this movie?

interested in what it was in Emery

April, 2006 to July, 2006 because

that is both separate from Marc’s

ST & RL: Digging deep. The expanse

that drove that kind of tenacity and

Emery signed an exclusivity agree-

but also entwined with his.

of time we took making it provided

commitment to what, in this case,

ment with the CBC while Nick Wil-

was a ridiculously tiny issue.

son was making his very fine Marc

Q: How do you two work together?

ties not normally available to docu-

The other surprise was that all

Emery film The Prince of Pot. Where

ST & RL: We have a great working

mentarians today. Having the abil-

these issues were driven by a com-

we differed from Nick and others

relationship, which doesn’t mean

ity to really work the material was

mitment to Ayn Rand’s philosophy

who have made films about Emery,

we don’t fight. We actually fought

a great privilege and tremendously

of “objectivism,” as she termed it –

is that we went in with a certain

about the film the whole time, but

rewarding.

which meant libertarianism with

critical perspective on Emery and

while sometimes that can lead to

a Nietzschean superman spin in

his politics and we were in it for the

tension after work we also think

Q: What do you think of Jodie’s as-

which the great enemy was the

long term. We shot for six years.

that the wrestling with the content

pirations to run for the Liberals?

that goes on ultimately makes the

ST & RL: We haven’t investigated

Q&A | continued from previous

government and the saviour was

Q: What was your favourite aspect

creative and conceptual opportuni-

the exceptional individual engaged

Q: Roger, when we spoke at Whis-

film stronger and more complex.

Jodie Emery’s platform as a candi-

in feats of capitalistic self-interest.

tler you said some of the Emery’s

Both of us changed our minds over

date, so we don’t know yet whether

So while we were very sympathetic

friends and supporters were upset

time, and the final film is a map of

she’s someone we would endorse.

to Emery’s anti-prohibition politics,

by aspects of the film – can you talk

where those struggles took us.

In general, her political views run

his underlying ideology could not

about that?

have been more at odds with our

We don’t recommend it for all

to the right of ours. We would only

ST & RL: Parts of the film are con-

couples or all films, but it works for

vote for her if she promised to work

own outlook, which is pro-welfare

troversial. As we said, while the film

us and we think it works better on

in favour of progressive policies.

state, something that comes out in

is pro legalization, it is not uncriti-

Citizen Marc than any of our previ-

the film.

cal of Emery and his politics.

ous works. It was never boring for

Q: Would you vote for her?

us and from the reaction of audi-

ST & RL: If she was the candidate

Q: It looked like you had phenome-

Q: Are the Emerys planning to pro-

ences it appears it’s never boring

in our riding with best chance of

nal access – can you talk about how

mote the film?

for them. For all our differences of

beating the Conservative candidate,

that happened.

ST & RL: We don’t know.

opinion, we were both committed

we would vote for her for sure. n

Reel West Fall 2014

L e ga l B r ie f s

The Impact of Cinar Corporation v. Robinson on Producers By Lo ri Mass i ni

CHANDLER FOGDEN L

lthough Kyle Fogden pre-

to the original expression in a work.

viously wrote a thorough

The second step involves discard-

Doran Chandler

Kyle Fogden

overview of the Supreme

ing anything not protected, such as

Court of Canada decision in Cinar

ideas and information in the pub-

Corporation v. Robinson, I wanted to

lic domain. The third step involves

revisit this case, given the impact it

comparing what remains to look for

has already had and will likely contin-

similarities. This test has proven to

ue to have on Canadian copyright law.

be quite successful in the US, and

Specifically, I wanted to focus on two

has been endorsed by courts in oth-

points of law that I feel are important

er jurisdictions, such as the UK and

and interesting clarifications in copy-

France. However, instead of adopting

Buckley DoDDs

right law in Canada.

this approach, the trial judge held,

chartereD accountants

The case concerns Claude Rob-

and Supreme Court judges affirmed,

inson, who, in 1982, created some

that dissecting Robinson’s case into

character sketches, script synopses,

component parts was problematic

and other materials for a children’s

and instead courts should favour a

television series he called Robinson

holistic approach to most infringe-

Curiosity, which was loosely based

ment claims. Specifically, the court

on the book Robinson Crusoe. After

felt that it was important to look at

attempting, and failing, to secure

the works as a whole, and to “not

financing with the Cinar Corpora-

conduct the substantiality analysis

tion, the project was abandoned.

by dealing with the copied features

However, in 1995 a show called

piecemeal.”

Robinson Sucroe, produced by Cinar,

Cinar also attempted to argue

was broadcast on television. Robin-

that expert evidence procured and

son felt the show was a copy of the

presented by Robinson should not

show he had created thirteen years

be relied upon, arguing that the in-

earlier, and commenced an action

fringement must be assessed from

for copyright infringement against

the perspective of a lay person.

Cinar. The case eventually landed in

The trial court agreed, and the Su-

the Supreme Court of Canada.

preme Court judges affirmed, that

One of the most important things

the perspective of the lay person

to come out of this case, in my opin-

in the intended audience may be a

ion, is the rejection of the so-called

useful tool, but since the question

“Altai” test for copyright infringe-

remains whether a substantial part

ment. At the trial level, counsel for

of the work was copied, the question

Cinar Corporation put forth an argu-

should be answered by someone

ment that Canadian courts should

whose knowledge base allows him or

adopt a three-part test in evaluat-

her to fully assess all of the relevant

ing copyright infringement claims,

aspects. In this case, the intended

much like the one employed by US

audience is children, and obviously

courts in American infringement

a more experienced perspective is

cases. This was rejected by the trial

crucial, and so the courts allowed

court judge in favour of a “substan-

expert testimony to be admitted.

tiality” test. The test proposed by

This case is important because,

Cinar’s counsel was very similar to

although it does not substantially

the Altai test, which looks at poten-

change the face of copyright law in

tial copyright infringement in three

Canada, it does offer some insight

separate steps: abstraction, filtra-

into how the SCC will treat copy-

tion, and comparison. Basically, this

right infringement cases in the film

test involves breaking the two works

and television industry. n

Lori Massini

Kim Roberts,

Of Counsel

Entertainment Law Film | Television | New Media | Music 201 - 120 We st 3r d Av enu e , V anc ouv er B C V 5Y 1E9 tel 604 684 63 77 fax 60 4 684 638 7 info@ cha ndl erfogd en .com | w w w .ch andl erfog de n.c om

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into smaller parts to identify which components constitute ideas and

Lori Massini is a lawyer with the en-

which are expressions of those ideas.

tertainment law boutique Chandler

As producers know all too well, ideas

Fogden. Lori’s practice focuses on en-

aren’t protected by the Copyright

tertainment law with an emphasis on

Act, which only affords protection

the film and television industry.

Reel West Fall 2014

JULIA KWAN in Vancouverâ&#x20AC;&#x2122;s Chinatown Photo by Phil Chin

Cove r Fe atu re

Everything Will Be Bows at VIFF 2014 Julia Kwan Captures the Shifting Spirits of Chinatown in Her New NFB Doc Sto ry By Nath an Cadde ll

ulia Kwan arrives early for our interview at the Cafe Brixton in Van-

year-old woman who knits hats on the street to Bob Rennie, the real estate

couver’s Chinatown and chooses a chair facing the window. Before

marketer. So that was my motivation.”

we even start our hour-long chat, I’ve already learned two things about Kwan that will be hammered home throughout the interview:

Ah, yes, Rennie. Some might see the synopsis for the film and assume he’s going to be

One: She’s extremely eager to discuss her work.

vilified - but he’s not. Kwan’s non-narrated doc sees Rennie as the kind of

Two: At heart she’s still the girl who used to visit Chinatown with

developer who will preserve the culture of Chinatown in the midst of inevi-

her parents, calling all the elders “auntie” and “uncle.” With Everything Will Be, Kwan is bringing her sixth film to VIFF — her first full-length movie since Eve and the Fire Horse debuted to rave reviews and nu-

table change. Kwan recites one of his quotes from the film: “As Bob Rennie says, ‘If you follow the artists and prostitutes you get a good sense of where the city is going.’” Then Kwan laughs.

merous awards in 2005. A documentary is new territory, but like everything

“It doesn’t worry me. I just ask that there’s respect for what was there

else she’s done, the material is familiar and close to her heart. Asked how

and for the elderly Chinese people to have a presence and to keep low in-

she came up with the idea for the film, which profiles the changing world of

come people in mind. In Chinatown, when you build condos they have to

Vancouver’s Chinatown, Kwan answers, “Just walking through Chinatown.”

have 20 percent non-market housing, so there are things in place to protect

The National Film Board’s David Christensen approached her about shooting a documentary. They just needed to choose a subject. “We came

the cultural integrity and also the low-income seniors, but there should be more of that.”

up with this idea because I was walking through Chinatown and I don’t

Although Kwan doesn’t dispute Rennie’s vision, it’s clear she’s nostalgic for

spend that much time here like a lot of people, but I noticed there’s a shift

the Chinatown of old, even as she acknowledges it’s no longer viable in the

here at this moment, a transition in the neighbourhood, so I wanted to

changing business climate. “I was born and raised in East Van, so I spent a lot

document that. And also I was feeling a bit nostalgic because I remember

of time in Chinatown because my parents worked here. So on the weekends

coming here with my parents and we had to address everybody as ‘“Aunts’”

my dad worked as the head waiter at the very successful Ming’s Restaurant

and ‘“Uncles’” even though they weren’t because there was this great sense

in the 70’s and 80’s and my mom worked right across the street as a seam-

of community and I really missed the vibrancy. So I really wanted to docu-

stress at Keefer Laundry,” says Kwan, pointing out the window at the differ-

ment this particular moment in time and not a few months after the con-

ent buildings. “So I had great ties to this community. But during the last few

dos have gone up,” says Kwan, who talks about the new developments with

years, every time you ask your friends, ‘Where do you go for good Chinese

a sense of regret.

food?’ it’s Richmond, right. Nobody thinks of Chinatown as a place with good

And yet she insists on looking out the window.

food, it’s more of a tourist destination now. It’s been exoticized in some ways.

”I think this is a very subtle change. It’s on the cusp of change, so I really

I remember walking down the street on Pender and within a two block radius

wanted to capture these subtle shifts and capture it through the eyes of

there were 15 shuttered shops. That was three years ago and just seeing the

people who live and work in the community. It’s very intrusive, it’s not like

difference now — it’s been astounding. The oyster bar down the street just

a (one) day interview, it’s following them over the span of a year. Everyone

opened and there are all these galleries. So that was my motivation and also

I talk to is either working here or lives here and it ranges from a ninety-

this sense of guilt that I hardly ever spend time in Chinatown anymore.”

Reel West Fall 2014

Kwan’s guilt is very apparent as she talks about the new generations of Chinatown families. It’s easy to see she’s nostalgic about the neighbourhood where she grew up. “A new city can’t sustain itself if new people don’t come in. You look at the first generation — the kids are educated, so they don’t want to carry on the tradition of the shops and stuff. I do have one subject in my film — she’s a second generation tea shop owner just across the street from where we’re sitting.” Kwan points down the road. “But that’s a rarity now. It seems like a lot of people in the Chinese community, they do embrace the change because they realize something’s not working. But everybody always talks about respect for the community. You know, it’s very important to get a sense of where we come from.” Though she was born and raised on the coast, Kwan studied film and psychology at Ryerson University in Toronto. The Chinatown that represents that city doesn’t seem to have the problems that Vancouver’s does. It remains a booming tourist attraction that isn’t suffering from closed storefronts or an unsightly neighbourhood. However, it also doesn’t have the culture or history that makes Vancouver’s Chinatown a tight-knit community - a fact that is not lost on Kwan. “It’s different here. People still go to Toronto’s Chinatown for food and stuff. It’s a self-sustaining community. When you think about this Chinatown having a very dark history — it was born out of the Depression. It was like a forced ghetto that became a safe haven. And I think people just want to preserve that sense of memory.” Kwan’s film opens with barely a noise for the first five minutes, just the sound of shopkeepers pulling down garage-style doors and flicking on switches in the early morning while an elderly woman softly sings. It’s a visually stunning and effective scene, but it was one of so many in this film that was challenging for Kwan to capture.

( Top to Bottom) Leun Cheung Lai, Chinese Herbs Enterprises. WAI CHEE LO, Vancouver Seniors Singing Club. KEN LUM, Gore Studios. PhotoS by MIchael David Hawley

Reel West Fall 2014

“A lot of people don’t understand the concept of filmmaking and they don’t want to be a part of it because they don’t understand and I didn’t want to interrupt their livelihood. It’s very intrusive,” says Kwan on how hard it was to get her subjects to let her follow their lives for a year. “There was a lot of begging involved and I realized my Cantonese was worse than I thought it was. So I had these great translators involved because I understood about 80 percent. A lot of people said the same thing: ‘Why do you want to shoot me? There’s nothing special about me.’ But I really felt I wanted to give a voice to the silent sort of minority in the neighbourhood.” The people in this tight-knit community have long memories and

“...they do embrace the change because they realize something’s not working. But everybody always talks about respect for the community... it’s very important to get a sense of where we come from.”

- J U li a Kwan

it makes sense that they wouldn’t trust

Kwan’s

camera

snooping

around their shops and homes. There’s a sense that they have been misled by the bright lights of Hollywood before. Year of the Dragon, the 1985 film starring Mickey Rourke and directed by Michael Cimino, was filmed partially in this neighbourhood, with Vancouver standing in for New York. The experience left the community camera-shy. “The film ended up shooting in one of the societies and using these pictures of some of the really respected society members and elders as gangsters. They really disrespected the memory, so there’s no trust.” Kwan spent six months convincing a husband and wife herbalist team to let her film them. “It took months of begging. My researcher and I went back and forth and we actually ended up hiring their daughter and he still said no until they finally relented.” Following up Eve and the Fire Horse

Photo by MIchael David Hawley

was never going to be easy. That film, about two young sisters going through family trauma, debuted to

“There were a lot of challenges.

rave reviews at both VIFF and TIFF.

This was my first documentary and

Kwan says she enjoys VIFF be-

that, people always called it ‘the

Kwan and her crew were invited to

I chose a really hard one. It’s an ob-

cause of the way it cultivates and

Canadian ghettos,’” she laughs. “But

Sundance and not long after, Eve

servational documentary, it’s not

respects local films. “Everything

just having that and having more of

and the Fire Horse walked away with

like a narrative film where you have

I’ve done has shown at VIFF,” she

a selection is good.”

the Special Jury Prize in the World

a script and you have a foundation.

says, before doing a mental check

Seeing the director in Vancouver,

Cinema – Dramatic category.

So that was really hard for me to

and making sure. “I always liked it

in her natural habitat, feels right.

structure of story and character.”

Canadian films but they got rid of

Kwan was a star. After shooting a

not have a script to follow. I actu-

because they really embrace the

From studying in Toronto and win-

couple of shorts and taking a break

ally tried writing one and my DP

Canadian films and there’s always

ning international awards in Park

for personal reasons, her return to

(Patrick McLaughlin) threw it across

a huge selection of Canadian docu-

City, Utah, Kwan has come a long

full-length in the form of a docu-

the room. He was just like ‘You

mentaries and films and they have

way from walking around a Chi-

mentary seems like an odd choice

know this is never going to hap-

a really good Asian selection too.

natown with aunts and uncles on

for the filmmaker/writer, who ad-

pen,’” laughs Kwan. “But you know,

They’ve managed to put together

every street corner. But that part of

mits she had some trouble with the

it’s made me a better storyteller be-

such a great selection of BC films.

her never left. It’s obvious from the

form at first.

cause I really had to think about the

TIFF used to have a program for

way she looks out the window. n

Reel West Fall 2014

Alexandra MORTON on the Get Out Migration march Photo by Anissa Reed

Fe atu re Sto ry

Director Fishes for Truth About BC’s Salmon Scott Renyard Combines Passions for Science and Storytelling in The Pristine Coast Sto ry By To m Hawth o rn

s a boy, Scott Renyard walked the wild creeks and rivers near

years ago, a 500-kilometre walk from Sointula on Malcolm Island to the

his Revelstoke home. The weekend treks were spent fishing

provincial legislature in Victoria. He also recorded 118 days of testimony at

for bull trout and Dolly Varden. Father told son about legal

the Cohen Commission, the federal government’s public inquiry into the

limits and why they were in place and the son indulged an

decline of sockeye salmon in the Fraser.

unquenchable curiosity about the natural world.

Fishing demands patience and the pair bonded as they waited for a nib-

As director and writer, he also includes the research of Dr. Trisha Atwood, an expert in the cycling and storage of carbon in aquatic ecosystems.

ble. Not that the trips were without adventure. Once, the boy’s dog, Prince,

Lest that all seem a mite serious, keep in mind the diseases attributed to

a short, white French basset hound-chihuahua cross, tried to sample a por-

the fish farms involve the words “lice,” “lesions,” “burn marks” and “bleed-

cupine as an hors d’oeuvre.

ing fins.” The Pristine Coast is a serious documentary whose subject matter

The wilderness adventures led Renyard to study botany at university, but

sounds like a horror movie.

it was a last-minute, fill-in job on a catering truck on location that brought

“I like to do investigative environmental projects,” Renyard said. “I like

the graduate student to the movies. That modest taste of the movie world

to look deep into what’s behind a problem and find out if what happened

convinced him to combine his love of science with a passion for storytelling.

actually happened and how it happened.”

He continued sport fishing in midlife, angling along the Vedder River in Chilliwack. He noticed fewer chum salmon with each passing year. Fewer

His formal science education made it possible for him to decipher the technical jargon found in the reams of fisheries reports on the subject.

coho salmon. Then, the government halved the number of hatchery steel-

“Why is disease a problem? How is it being transmitted? What diseases

head you were allowed to catch. He began to wonder if the decreased stocks

are here? What populations are being affected? In the end, what does that

in the Fraser River and its tributaries could be related to the diseases attrib-

mean in terms of the larger eco-system?”

uted to the open-net fish farms dotting British Columbia’s inlets.

The Pristine Coast took four years to produce, including an intense

The result of his inquiries is The Pristine Coast, a documentary that pre-

20-month period leading up to its completion on Labour Day. Renyard, who

mieres at the 2014 Vancouver International Film Festival. The doc highlights

is the kind of guy who prefers to memorize telephone numbers rather than

the controversial research of biologist Alexandra Morton, whose analysis of

rely on a cellphone’s memory, had a tough time calling an end to the re-

declining fish stocks in the Broughton Archipelago blames diseases intro-

search of an obviously complicated story.

duced into wild stock by farmed fish. The filmmaker recorded six days of her Get Out Migration march four

Reel West Fall 2014

He has been asking questions about nature for as long as he can remember. His family lived in an area north of the train tracks outside Revelstoke

and smelt and other small species. He also learned that a bit of salmon fishing took place on the North Shore at certain times of the year. “It was a nice way to connect back to what I had done as a child,” he said. While writing his thesis, he got a call from a high school friend who needed an extra hand aboard a catering truck. Renyard had been a cook at a hotel and a steakhouse, so preparing gourmet meals from a portable kitchen seemed a good way to replenish his dwindling stock of cash. The grad student was soon preparing meals for the cast and crew of The Boy Who Could Fly, a drama about an autistic boy featuring Jay Underwood and Lucy Deakins and such supporting cast as Colleen Dewhurst, Fred Savage, a teenaged Jason Priestley (in his first feature film role), and Fred (Herman Munster) Gwynne as a dipsomaniacal uncle. The shoot did not end well for the caterers, who were replaced for going overbudget, but the taste of celluloid glamour left Renyard hungry for more. “After I got the introduction to the film business, I liked it. I could see it was a sector that was growing. I suspect I was a bit naive in terms of where it would lead, but the pay was good.” He spent the next 15 years working crew positions on a number of productions. “Towards the end of it, I found the hours were getting to me. You work long, long hours. I wanted to still be a part of filmmaking, but I was yearning to go back to my science.” Renyard, whose credits include

(Top to Bottom) Alexandra MORTON surveys the Sockeye die-off. A disturbing look at the pre-spawn chum die-off. PhotoS by Anissa Reed / Jody Eriksson

writing the final episode of the Neon Rider series, began making annual

known as CPR Hill. “We grew up

sion as he matured even though his

ing of effluent into Kal Lake, as it

pilgrimages to what is now called

playing in the bush. We built forts,

peers were less interested in plants

is also known. He used those two

the Banff World Media Festival,

climbed trees, wandered around

than they were in the power plants

plants to grow red clover (Trifolium

where he learned more about the

and looked at plants,” he said. In

under the hoods of their hot rods.

pratense) to see which was the bet-

production of Canadian films, shift-

ter organic fertilizer.

ing his ambitions from larger pro-

Grade 4, his class project involved

After a few semesters at Okana-

collecting wild flowers. By the end

gan College, Renyard transferred to

He took a masters in resource

ductions to independent ones. He

of the school year, his scrapbook in-

the University of British Columbia

management and regional plan-

had in mind a documentary about

cluded about 400 different samples,

where he gained a science degree

ning, writing

the

the death of a killer whale in captiv-

the result of an obsessive pursuit

with a major in botany and a minor

sports fisheries of Burrard Inlet.

ity. While there was interest in the

indulged during weekend jaunts

in geography. An ambitious under-

Even though these fishing spots

project, his lack of experience as a

with his father and field trips with

grad thesis involved determining

were within close proximity to the

director was preventing a go-ahead.

his class.

whether a commercial use could

gleaming glass towers of Vancouver,

Then, by happenstance, a producer

A fascination with plants, espe-

be found for the milfoil threaten-

no scientist had ever bothered to do

suddenly needed a director for a

cially with ferns and the Queen’s

ing to choke lakes in the Okanagan.

even a basic survey to determine

one-hour documentary on cougar

Cup, which has a small, star-shaped

He took samples of milfoil (Myrio-

what the anglers were catching, or

attacks. Renyard got the job, Project

white flower and grows beneath co-

phyllum spicatum) from Kalamalka

how long they spent in the pursuit.

Cougar did well in the ratings for

niferous trees, inspired an interest

Lake. He also gathered samples of

He wandered the creeks and shore-

Discovery Canada, and his career

in botany. He moved to Vernon after

Potamogeton crispus, a curly-leafed

line around the inlet, interviewing

was on its way.

Grade 4 and maintained his pas-

pondweed thriving from the leech-

fishermen as they caught crabs

thesis

He directed a six-part educa-

Reel West Fall 2014

tional series called Check It Out before serving as a producer for the feature film The Green Chain and The Green Film, a five-minute eco-comedy. All the while he persisted in putting together his orca doc, which he financed himself. He was Ahab and a baby killer whale named Miracle was his Moby Dick. “What intrigued me about that story was I heard they suspected environmentalists had tried to free the whale,” he said. “That’s how it got tangled in the net and died. A lot of people were against the keeping of captive whales and that could have happened. I started to do research.”

“I like to look deep into what’s behind a problem and find out if what happened actually happened and how it happened.” - S cott R e n ya r d

The impetus for the documentary had come when his stepfather, Peter Termehr, told him he had reels of Super 8mm film of the rehabilitation of the whale. It had been rescued from the secluded cove of Menzies Bay before being transported to Victoria, where it was at first immersed in the swimming pool of the old Oak Bay Beach Hotel, a spectacle that drew crowds of onlookers. When he first screened his stepfather’s films, he thought: “This is amazing footage! Why hasn’t it seen the light of day?” It turned out several earlier projects had foundered and the film remained unseen by a wide audience. The resulting documentary told the story of the first juvenile cetacean to be rescued in British Columbia, a story ending when it got tangled in a net and drowned at Sealand of the Pacific, a Victoria aquarium that has since closed. (Spoiler alert: “It wasn’t environmentalists. Mistakes were made.”) Renyard’s

documentary

won

Golden Sheaf at Yorkton, Sask., for best nature doc, a special jury prize at the Houston International Film Festival, and an honourable mention at the Blue Ocean Film Festival. It aired in Canada on CBC and Nature. The

Pristine

Coast

has

again

caused Renyard to dive deep into a complicated mystery. A lifelong sport fisherman who has long enjoyed the bounty offered photo by Jonn Matsen

by British Columbia’s rivers and ocean, Renyard now finds the idea of consuming local fish to be unpalatable. Populations are in distress and disease is rampant. That’s no fish tale. n

Reel West Fall 2014

Fe atu re Sto ry

Executive Producers David Storey, Brent Butt and Virginia Thompson Photo by Steve Wilkie

Corner Gas: The Movie Primes the Pump for a Canadian Christmas Presence Sto ry By Katja de bo c k

ith a multi-platform release in December 2014, Cor-

CTV series. The last episode Good Night, You’ve Been Great, was viewed by a

ner Gas: The Movie is being packaged as a Christmas

record-breaking 3.02 million viewers, the largest audience ever for a Cana-

gift for fans who have stayed loyal since the finale

dian scripted television series.

of Canada’s most successful sitcom five years ago.

“Every day without fail, you could see fans of every age stopping by Dog

How loyal? When producers launched a 30-day

River to get a glimpse of the place their favourite show was filmed, only to

Kickstarter crowd-funding campaign last spring looking for $100,000 fans

be hugely surprised that the film was being shot and their favourite ac-

topped that request within 24 hours. By the time the Kickstarter campaign

tors were present,” says Russell Yuen – an actor who joined the Corner Gas

closed the Corner Gas crew raised $285,840 from around the world with the

ensemble for the feature.

iconic Canadian sitcom collecting cash from as far afield as Australia, Saudi Arabia, India, China, Japan and Kyrgyzstan.

“As we were filming the occasional Winnebago or tourist with camera in hand could be seen innocently lurking around in the background. They

Executive Producer Virginia Thompson told Reel West the Kickstarter

would sometimes, once again innocently, walk into base camp and start

campaign was about making the fans a part of the process. “Corner Gas is

taking pictures of the buildings they are so familiar with from the show.

one of the first movies to open its set to fans. It was a wonderful experi-

Without hesitation the actors would stop what they were doing, even if on

ence, but required a group of people to organize and run fan engagement

occasion in a bathrobe, and happily pose for various pictures with the fans.”

throughout our shoot period to do this well. The Kickstarter funds helped

The Province of Saskatchewan didn’t just give Corner Gas its own day, they

pay for this fan engagement. Funds were also used to produce and ship the

also helped kick start the $8.5 million inter-provincial coproduction with

Kickstarter rewards to fans as well as enhance the film itself.”

Ontario through a combination of tax credits and direct grants from public

The fans aren’t just a virtual presence in the film. Ten “backers” kicked in

agencies. Tourism Saskatchewan contributed $1.475 million and Creative

$2500 or more for the chance to be background performers in the feature. And

Saskatchewan added another $500,000, according to an Order-In-Council

one fan sent $6000 for a collection of perks that included a speaking role.

dated May 15, 2014. Other funds include $2.5 million from Telefilm Canada,

Then there are the Corner Gas pilgrims.

$800,000 in tax credits from the province of Ontario, $350,000 in federal tax

“Dog River” – aka Rouleau, Saskatchewan – is a major tourist destina-

credits and $1.6 million from Bell Media, which owns CTV.

tion. So much so that in 2009 Saskatchewan’s Premier Brad Wall declared

Corner Gas was originally developed by Brent Butt, Mark Farrell, David

April 13th “Corner Gas Day.” The annual event celebrates the finale of the

Storey, and Virginia Thompson for CTV and The Comedy Network. It pre-

Reel West Fall 2014

S ide re e l

miered January 22, 2004 on CTV with 1.15 million viewers and was a runaway hit, averaging 1.4 million viewers over its 107-episode run. The movie is set five years after the series wrapped. There’s still not much going on 40 kilometers from nowhere, but that’s about to change as the fine folks of Dog River, Saskatchewan face their biggest crisis ever. Brent Leroy (Brent Butt) and the gang discover their town has been mismanaged, leaving residents with little choice but to pack up and leave. As residents make one last rally to save Dog River, the small town folks are forced to take on a corporate giant. The entire cast has returned, in-

Sonja Bennett and James Caan in Preggoland

cluding Butt, Gabrielle Miller, Eric Peterson,

Fred

Ewanuick,

Janet

Wright, Lorne Cardinal, Tara Spencer-Nairn, and Nancy Robertson. Written by Butt, Andrew Carr, and

Jacob Tierney and Sonja Bennett Give Birth to Preggoland

Andrew Wreggitt, the movie was di-

Photo by Michael Hall

Sto ry by Natha n ca ddell

rected by David Storey, who served as key director on the series and

Calling Sonja Bennett superhuman might

and I loved its humour and I love the characters she

exec produced by Thompson, Butt

be a bit of an understatement. She’s at a park

created and I think she’s an amazing actor and so it was

and Storey. Saskatchewan producer

in Vancouver’s east side on the last day of filming

just a perfect storm where I just said, ‘I can see this, I

was Jack Tunnicliffe.

Preggoland (the comedy she penned), shooting her

can do this for you.’”

In addition to the original cast,

last scene (yes, she’s also the lead), while bouncing

Landing name actors Caan and Trejo for their low

the movie includes Yuen (Bulletproof

her baby (playing her baby) on her knee, all with a

budget production also came down to the script. “The

Monk) as the ever-present-but-pre-

smile on her face. In the last five years Bennett has

truth is that the script always gets someone,” says Tier-

viously never-seen Won Hu, owner

given birth to two children and a full-length feature

ney. “But generally I’ve been lucky in that in my films I’ve

of Dog River’s Foo Mart, the local

film. And if that wasn’t enough, her debut script at-

gotten the actors I’ve wanted and I was thrilled that Jim-

grocery store. The sign on the store

tracted director Jacob Tierney (The Trotsky) and lead-

my (Caan) wanted to do it because I knew it was good

reads “FOO _ MAR _ _ T.”

ing men James Caan (The Godfather) and Danny Trejo

material and there was stuff to play with. And when

(From Dusk to Dawn). Preggoland revolves around 35

you’ve got that you’ve got half the battle right there. I

troduced because the fans wanted to

year-old Ruth (Bennett), who fakes a pregnancy to fit

knew we were gonna get somebody good for that part.”

know the owner of the Foo Mar. “Rus-

in with her friends. Bennett, who’s been acting since

If Bennett had any choice in the matter, and clearly

sell is a wonderful actor and was

2002 and has starred in films like Random Acts of Ro-

she did, Preggoland was always going to be filmed in

perfect for the role. He understood

mance and Young People Fucking, started writing the

and around Vancouver. The bulk of the film was shot in

the Corner Gas brand of comedy and

script (her first) when she was pregnant with her first

Maple Ridge and Pitt Meadows, And nothing was going

we loved working with him.”

child. Once it was picked up, she wasn’t sure if she’d

to stop Tierney from representing BC once it was de-

Thompson says Won Hu was in-

Yuen jumped at the chance to

get to play the role she’d written for herself. “I didn’t

cided that the Lower Mainland would be the shooting

be in the movie, especially when

know if I was going to, I wanted to,” says Bennett ear-

location. “I think if I filmed a movie anywhere I would

he heard no Chinese accent was

nestly. “And then I needed the support of Kevin (East-

set it there,” says Tierney. “I don’t understand why peo-

required for the role. “Comedy, no

wood, one of the producers) and a lot of other people

ple feel the need to fake locations. You can tell stories

accent, and a piece of Canadian his-

along the way to make that dream happen, but yeah I

all over the place. And this is really exciting for me be-

tory? Yeah, I’m in,” he laughs, add-

very, very much wanted to. Always.”

ing he passed on American roles

Bennett describes her two duties on the film as “iso-

cause I’ve now made a feature film in Toronto, Montreal and Vancouver.”

because he didn’t want to miss the

lated” since she finished writing the script long before

For Bennett it would be hard to imagine Preggoland

opportunity to work on Corner Gas, a

she knew she would play Ruth: “When I’m on set I feel

happening anywhere else. “All the locations and every-

project he considers a true piece of

like an actor. I still have to memorize my lines and still

thing I had in mind. There’s a coffee shop in the movie

iconic Canadiana.

do my book work just like I always would. I feel like I

that has a children’s play area and it’s just two blocks

Corner Gas: The Movie opens with an exclusive Cineplex Front Row Centre

can’t do them both at the same time. They’re separate

from here. I live about four blocks from where we are

jobs - for me anyway.”

right now. All of these places I had in my head. Those

Events theatrical debut across Cana-

Tierney says it was his familiarity with Bennett, as

da, December 3rd through December

well as his love for the script, that brought him to the

weren’t the places we actually shot, but they represented those places.” n

7th. It will be on The Movie Network,

project. “Sonya and I have known each other for many

CTV and The Comedy Network later

years, not super well, but worked together,” says Tier-

Preggoland received its world premiere at the 2014

in December. A special DVD will be

ney. “She sent me this script and I got sent a lot of com-

Toronto International Film Festival before debuting in

released in time to be under Cana-

edy scripts after Trotsky and I was just not into them

front of the hometown crowd at the 2014 Vancouver

dian Christmas trees. n

and this one I was just into right away. I loved its spirit

International Film Festival.

Reel West Fall 2014

Filmma k e r’ s D iary

Jason BOURQUE directs DAKOTA DAULBY on set of Black Fly Photo by Chris Helcermanas-Benge

Filmmaker Tells the Story of the Real Life Serial Killer Next Door Dia ry By Jas o n B oUrqu e

When a writing teacher says “write what you know” it’s usually intended as a warning for students to avoid getting too ambitious. But filmmaker Jason Bourque knew a serial killer. The writer-director shares the challenges of bringing the story of a real life small town nightmare to the big screen in his new movie, Black Fly, which debuts at VIFF 2014. 1983 I’m living on the Kingston

kicks the snow off his boots. Noel

country community because my

an indelible mark on me, a thirteen-

Peninsula, a ferry ride away from

Winters, a neighbour I’ve seen only

parents thought it was the ideal

year old aspiring filmmaker.

Saint John, New Brunswick. On a

from a distance, throws me a smile

place to raise a family. Ironically, it’s

1996 While taking the one-year

grey January afternoon, I’m flip-

as he walks past me to the counter

now buzzing with the horrific tale of

film foundation course at Vancou-

ping through the pages of the latest

and buys a pack of cigarettes. I don’t

shotgunned neighbors and garbage

ver Film School, my writing instruc-

Uncanny X-Men in Edward’s Corner

know it yet, but I’ve just made eye

bags full of the hacked up bodies

tor tells our class, “Write what you

Store. A blast of cold air grabs my

contact with a serial killer.

discovered at the Browns Flat dump.

know.” I decide to write a thriller

attention. I look up as a customer

1984 We’re part of this small

It’s brutal and terrifying. It leaves

loosely inspired by Noel’s story and

Reel West Fall 2014

“I’m now “the apocalypse guy.” I love the work but I’m also craving the heavy realism of Black Fly, a story devoid of solar flares, tornadoes and earthquakes.”

my own experiences growing up on the Kingston Peninsula. It’s my first script and I make a few creative changes based on my recollections, deciding to tell the story through the eyes of a fictional teenager who gets pulled into the orbit of his hard drinking, small town brother, who also happens to be a killer. The first person who reads Black Fly is my VFS classmate Ken Frith.

2002 Ken and I have formed Gold Star Productions in Vancouver and we focus on music video, short film, and documentary production. I somehow skip making my first Canadian indie feature and jump straight into directing Movies of the

- Jaso n B o ur que

Week. Meanwhile, I use Black Fly as a writing sample, triggering a decent run of contracted scripts. I’m always pushing Black Fly, but the re-

tion I’m now “the apocalypse guy.” I

industry, we team up with local

February 7 2014 We plan the

jection letters from various broad-

love the work but I’m also craving

producer Robyn Wiener (Lawrence &

hell out of the shoot to maximize

casters and production companies

the heavy realism of Black Fly, a sto-

Holloman, American Mary). We all gel

our schedule and create a truly raw,

are mounting. A few indie produc-

ry devoid of solar flares, tornadoes

immediately and get to work, but

tense, cinematic experience. We de-

ers show interest, bogging down the

and earthquakes.

even with more production friendly

cide we’ll focus on more poetic vi-

project with options, shopping deals

August 2013 Success! We re-

rewrites and budget cuts the num-

suals to contrast the ugly side of the

and close calls with investors.

ceive the official letter from Telefilm

bers still aren’t working. We’re still

human spirit and the matter-of-fact

September 2012 The only way

confirming their commitment. Ex-

missing a piece of the pie.

violence. Along with a strong un-

I’m going to get this movie made

ecutive producer Tim Brown helps

January 2014 With a Telefilm

dercurrent of dread, there’s a mys-

is with Ken. Even though we don’t

us nail down a Super Channel pre-

deadline looming and no more fi-

tery element to Black Fly. We decide

have a feature film credit we apply

sale and we’re off to the races. Ken

nancing in sight, I’m offered a high-

long prime lenses and precise dolly

to the regional Telefilm office for

and I pursue private investors and

paying job on a reality show. The

moves through layers of foreground

funds to write a second draft. The

producing partners to complete our

day I need to make my decision

will be the order of the day for a

feedback I get is extremely positive.

financing. After a few close calls, it’s

we receive last minute salvation

large chunk of filming.

We’re approved!

obvious we need a “re-think.” Even

through the Roger’s Telefund. It’s a

Our battle plan includes natural

October 2012 For the first

with Telefilm and the pre-sale, clos-

close call. If I had taken the reality

and practical light sources when-

time, I start looking at Black Fly from

ing financing in a tight market is

job, Black Fly would still be on the

ever possible, allowing for a smaller

the perspective of a seasoned direc-

proving to be a nightmare. Several

back burner.

crew, less gear and a focus on the

tor. As the second draft progresses, I

potential sources turn up empty.

begin seeing the potential for a truly

Others

unique psychological thriller with a

Our financing is completed and

acting. The overall cinematographic

we’re officially green-lit.

vision is topped off with a healthy

friendly.” Options range from a crip-

February 3 2014 Prep official-

dose of texture by utilizing peeling

keen sense of character and place. I

pling 25% interest and personal

ly starts. Even with an industry in

paint, rotting walls and faded pho-

know Black Fly needs to be driven by

guarantees to a page one rewrite

production overdrive, the support is

tographs provided by production

gritty, unpredictable performances

in order to generate pre-sales. We

still staggering. We somehow cobble

designer Paul McCulloch. Our vi-

and I start a list of potential Cana-

politely decline the opportunity to

together a crew along with several

sual motifs are getting nailed down.

dian name actors I admire. There’s

turn Black Fly into a vehicle for a B

excellent production service deals.

Digital storyboards and shot lists

an opportunity for a combination

movie action star.

Some of the crew are industry vet-

are coming together. But what we

of both stunningly beautiful visu-

September 2013 Rather than

erans, a few have never been on a

truly need is an incredibly talented

als and terrifying sequences. Even

giving up ownership and creative

professional set.

cast to knock Black Fly out of the

though we have no financing, I start

control, Ken and I decide to make

February 5 2014 Location

ballpark…

initial talks with my old pal Mahlon

Black Fly on our home turf at half

Manager John Wittmayer shows me

February 8 2014 We cast

Todd Williams about being our cin-

our original budget. It makes the

a wonderfully decrepit house. I fall

through local agent Judy K. Lee and

ematographer. We worked togeth-

most sense – a 100% BC made indie

in love. It combines several mini-

see a wealth of Vancouver talent.

er for years on music videos and

thriller within a community that

moves and has the perfect look, but

Matthew MacCaull, the first person

MOWs, developing a wonderfully

supports its own. We also decide

the owner is in Hong Kong and we

we audition, nails the lead part for

creative relationship.

not to pursue name actors. Instead,

don’t know if he’ll sign off. Without

Noel. Christie Burke is cast as Pau-

January 2013 We apply for

it’s whoever is best for the role and

it, we’ll have a very difficult sched-

la. I’ve never met an actor who has

Telefilm regional production funds

Telefilm is sticking by us. At this

ule on our hands.

wanted a part so badly and her en-

while I continue directing and writ-

stage we know we need another

The creative lynch pin is having

thusiasm is contagious. But the cast-

ing - mostly Syfy disaster flicks. It’s

partner with a track record for these

Williams at the DOP helm. All our

ing of Jake proves far more difficult…

a strange niche to fall into, but after

lower budgets.

past

aren’t

very

“filmmaker

working on a dozen of these proj-

With her strong reputation and

ects where I unleash mass destruc-

knack for knowing everyone in the

Reel West Fall 2014

have

While in prep, we lose an actor

built towards one thing - making

who was attached since develop-

this movie.

ment. The actor landed a pilot. But

productions

together

there’s a happy ending. We have one final casting session with Matthew as the reader. Dakota Daulby (Sitting on the Edge of Marlene) is coming on board, our perfect Jake.

February 24 2014 It’s a snowy Monday on our first day of shooting. The flurries provide a magical quality to our visuals. It climaxes with a breathtaking wide shot in downtown Vancouver at night. Dakota walks across an empty soccer field covered in virgin snow. His footsteps fade in the distance. It’s epic in the context of the story.

March 7 2014 So far our shoot has had the usual production hiccups, technical glitches and creative curveballs, but the momentum is never lost. Matthew, Dakota and Christie all bravely go to some very dark places. There are a couple of times it feels like an insane asylum as we prepare for the next scene. Matthew breaks from the ‘80s heavy metal blasting in his ears to improv with Christie. It’s a wonderfully raw exchange with both of them in character. Screaming and sobbing ensues. Alec Willows stares vacantly out from the porch, still shaking off the previous setup, that in his own words was, “a little too intense.” Matty Finochio, not saying much and covered in fake blood, wanders around like a shell-shocked soldier. What I love about these actors is that there’s no place they would rather be. We know we’re making something special and the crew feels it. My awesome cast pulls out all the stops and our film community “thankyou” list continues to grow.

March 14 2014 Taillights fade on an old range rover as it passes a boarded up farmhouse. It’s our last shot, taken with a tiny splinter unit on Denman Island - another supportive community wanting to help out and share in our excitement. It’s a wrap and boy that comes with a whole lot of relief.

June 2014 Post is surprisingly smooth and again relies on some incredible favors and deals in order to deliver production value far greater than our budget. Rob Neil-

( Top to Bottom) Matthew MacCaull as Noel Henson and Dakota Daulby as Jake Henson. Dakota Daulby as Jake Henson. Christie Burke as Paula. PhotoS by Chris Helcermanas-Benge

Reel West Fall 2014

son, our editor and post-production

provides us with an original song in-

supervisor, proves an invaluable re-

spired by his viewing of our rough

source. His brother Michael Neilson

cut. He’s totally captured the mood

provides a beautifully eerie score

of Black Fly and I decide to use it

that surpasses expectations. The

over the final credits. It’s a rush to

only hindrance has been my sched-

master the song, but we manage to

ule. Since Black Fly, I’ve directed two

make it work.

MOWs and my feature documen-

August 5 2014 My favorite day

tary Music For Mandela is premiering

in the whole process, watching the

in London. It’s my busiest year ever

fully color-timed Black Fly as the

and I have a feature to finish.

sound mix is finalized. The theatre

July 28 2014 Stuck at the ho-

at DBC Sound is huge. The final vi-

tel in London, I’m desperately try-

suals, color-timed by Claudio Sepul-

ing to download final Black Fly VFX

veda at Encore, look beautiful. For

shots. It’s taking forever and eat-

myself, Ken and Robyn, we know

ing fish and chips with my hands

we’re delivering a truly cinematic

is doing a wonderful job of greas-

experience.

ing up my keyboard. Next, I need

Today. Looking back, this was

to type up sound design feedback

the most difficult and rewarding

for Miguel Nunes at Bionic Audio

shoot of my career. After eighteen

Ltd. Luckily his first pass rocks.

years, it feels so good finally getting

We’re on the right track, although

this story out of my head and onto

I suddenly get hit with this idea

the festival circuit. All the support

for a last minute audio motif. The

during this process allowed me to

memory fragments that Jake can’t

maintain creative control without

pin down need a hint of fly buzzing

the ties that sometimes hinder

in their sound design. I’m throwing

filmmakers answering to distribu-

him a last minute thematic tweak,

tors, broadcasters or private inves-

hoping it can be incorporated.

tors. It’s a privileged position to

August 2 2014 Wyckham Por-

be in and one that I’m extremely

teous, an award-winning folk singer,

thankful for.

Reel West Fall 2014

Providing a comprehensive overview of national and provincial funding bodies and engaging stories and words of wisdom by seasoned producers. Order your copy today!

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T h e W indow

Reeling West and REal Western Aliens By Mark Le ire n-Yo u ng

never felt like a westerner

Right

until I moved to Toronto.

before

the

ceremony

Wheeler told the Globe and Mail that

I worked as a writer for

while she was honoured to be nomi-

a national teen quiz show

nated the awards were “a popularity

and constantly found my-

contest.” She went on to point out

self explaining to the Toronto-

that films from provinces with a lot

based team that no one outside of

more voting members than Alberta

Hogtown knew or cared how long

in the then 1300 member Academy

Yonge Street was. There were days

were likely to be a smidge more

it seemed like every other question

popular.

was about something no kid in BC or

That’s why it’s no surprise that tv

Nova Scotia ever studied in school.

and film awards sprung up in BC, Al-

I watched from up-close as tv

berta, Saskatchewan and Manitoba.

shows featuring “the best talent in

Another person I used to discuss

Canada” were put together featuring the best talent in Canada that

this with was Ian Caddell. Mark Leiren-Young no longer suffers from “western alienation”

happened to be in Toronto that

Ian often talked about the importance of a magazine like Reel West

week. One afternoon I was walking

scene. I missed Alberta too - be-

BC performers separated from the

that showcased Western Canadian

through the halls of the CBC build-

cause I’d spent so much time there

national union (and not just because

film and tv creators on the cover.

ing when Roger Abbott and Don Fer-

as a performer and playwright.

I don’t remember all of them) - but

And he’d talk about why we had to

guson from the Air Farce approached

The more time I spent work-

I do remember it all came down to

celebrate our industry - and nurture

me and said, “you’re from Vancouver,

ing with national arts and cultural

math and the sense that deals being

our stars - to help it grow and thrive.

right?” Suddenly, my comedy duo

organizations the more I realized

made served Toronto actors better

Local Anxiety became the only west-

there was no conspiracy to exclude

than they served actors in BC.

ern Canadian content on Sketchcom.

western Canada - and most east-

Ontario and Quebec also have

decades I think he interviewed ev-

The eastern Canadian content for

erners weren’t that arrogant, just

the votes for national awards -

erybody about their first features

the show consisted of a troupe from

indifferent. To them it was all about

which is why it’s always impressive

and tv debuts. And almost every

Montreal that had recently relocated

math. It’s always about math. It’s

when films from outside central

time I write anything about some-

to somewhere near Yonge Street.

easy to hold Annual General Meet-

Canada made a dent at the Genie

one shooting something I wish he

And don’t even get me started

ings in Toronto - not only are most

and Gemini Awards, now the Cana-

was still with us so I could find out

on how tough it was to watch my

members within driving distance -

dian Screen Awards.

about their secret origins - because

beloved Canucks on Hockey Night in

but Ontario governments have tra-

This issue we’re looking back

he knew a lot more about the west-

Canada, which always seemed like

ditionally tended to be more gener-

at the 25th anniversary of Anne

ern screen scene than the Internet

the official broadcaster of the To-

ous about kicking in funds to help

Wheeler’s Bye Bye Blues - which re-

Movie Database. And he knew be-

ronto Maple Leafs.

these events happen.

ceived thirteen Genie nominations,

cause western Canadian movies

Ian’s knowledge of the local scene was unparalleled. For roughly three

Then there were the federal elec-

And Ontario and Quebec don’t

winning three. Pretty much every

mattered to him - and he thought

tions that were declared over before

just have the votes in federal elec-

other award that year went to De-

they should matter to everyone. Ian

they’d even closed the polls back

tions, they’ve also got the votes in

nys Arcand’s Jesus of Montreal. Argu-

covered the movie scene, kept run-

home in Vancouver.

all those national organizations.

ing over which film deserved more

ning this magazine, and swapped

One of the first people who talked

awards is like debating the merits

stories about the cinema right up

to me at length about how this af-

of poutine versus Prairie Oysters,

until his death two years ago.

The longer I lived in Toronto the

fected our creative culture out west

but if Vegas had been handicapping

I moved home to BC over a de-

more I found myself missing…

was John Juliani, when the dynamic

the event the shock of the night

cade ago. These days I don’t feel re-

pretty much everything about BC…

director (who died in 2003) led the

wouldn’t have been that Jesus rose

motely alienated. But I do feel very

from our beautiful landscapes to

fight to start the Union of BC Per-

with nine awards, but that Bye Bye

privileged to have this opportunity

our

formers. I won’t rehash the reasons

said hello to three.

to share our stories. n

Suddenly I got “western alienation.”

always-entertaining

political

Reel West Fall 2014

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