2 0 1 6 N AT I O N A L M A G A Z I N E AWA R D S F I N A L I S T FALL 2016
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18
CO NT E NTS
Fall 2016
OSCAR DENNIS runs his dogs across Tahltan Territory. PHOTO C/O CANADA WILD
6
DON’T CALL THIS HOCKEY MOVIE A HOCKEY MOVIE
Director Kevan Funk gives 110% on his debut feature. By Tom Hawthorn
8
THE ANIMATED LIFE OF ANN MARIE FLEMING
The innovative artist offers a window into the world of her latest feature. By Mark Leiren-Young
12 FROM SCRIPT TO SCREEN
4 ANGLE ON MARK LEIREN-YOUNG 11
LEGAL BRIEFS NATHANIEL LYMAN
14
STORY MONEY IMPACT TRACEY FRIESEN
15
WESTERN TV, EH? DIANE WILD
How an animated scene arrives on the big screen. By Ann Marie Fleming
25 INDIE SCENE PAUL ARMSTRONG
16 WHERE THE WILD THINGS ARE
29 DIGITALLY YOURS ERICA HARGREAVE
KONEL¯INE storms VIFF 2016. By Katja DeBock
18 THE BIRTH OF KON E L¯I NE
30 THE WINDOW MARK LEIREN-YOUNG
Nettie Wild shares the secrets of the creation of her latest hot doc.
24 AFTER THE AFTERMATH
On the set of BC's latest post-apocalyptic sci-fi series. By Nathan Caddell
26 A HALF CENTURY OF SHARING BC’S STORIES ON SCREEN
Wim Roozeboom documents the history of our documentaries. By Drew Tapley
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ON THE COVER: NETTIE WILD. PHOTO BY PHILLIP CHIN 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 (EDITORIAL): PAUL ARMSTRONG, NATHAN CADDELL, TRACEY FRIESEN, ERICA HARGREAVE, NATHANIEL LYMAN, DREW TAPLEY, DIANE WILD. ASSOCIATE EDITOR: JESS EDWARDS. 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 EMAIL: INFO@REELWEST.COM URL: REELWEST.COM. VOLUME 31, ISSUE 3. 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 2016
3
ANG LE O N
Celebrating VIFF 2016 and My Third Year With Reel West BY MA R K LEIR EN -YOU N G
T
he 2016 Vancouver Interna-
ning with Waving back in 1987)—also
VIFF: Take Four Giant Steps and Rog-
powerhouse, Tracey Friesen, offi-
tional Film Festival is cel-
reveals how she brought a key se-
ers Pass. We’re always happy to cel-
cially joins the Reel West team as our
ebrating female filmmakers
quence from the page to the screen.
ebrate our industry’s history and it’s
newest columnist. She’s offered to
this year with a major new award—
Filmmaker Kevan Funk, whose
a treat to be sharing this surprising
keep sharing lessons about funding
IGNITE—a $20,000 prize from Telus
new feature is featured at VIFF talks
story about 95-year-old filmmaker
(and creation) from her invaluable
to recognize “the outstanding work
to our writer, Tom Hawthorn, about
Wim Roozeboom.
new book, Story Money Impact.
of a female key creative on a BC-
drawing a crowd to create Hello De-
Peripatetic producer, Paul Arm-
Meanwhile, I’m celebrating the
produced feature or short.”
stroyer in Prince George. Funk told
strong, gives us the lowdown on
start of my third year as editor of
VIFF’s shorts.
Reel West and, as always, I’m looking
And this issue we’re proud to be
Tom that one of the difficulties in
featuring two of BC’s best “female
filming a sports scene for a short or
Beyond the world of VIFF our so-
key creatives”—Nettie Wild and Ann
a feature is that viewers are accus-
cial media maven, Erica Hargreave,
Marie Fleming.
tomed to seeing the fast-paced action
offers advice to anyone looking to
I hope you’re as intrigued by the
Our cover model, Nettie Wild, di-
from television broadcasts. The solu-
explore social media with a snap-
idea of page to screen features as I
rected one of the most anticipated
tion for his short Destroyer—which
shot of Snapchat.
am. If so, please let us know—and
films at VIFF 2016—KONEL INE: our
gave birth to the feature—was includ-
–
Nathaniel Lyman unspools the
land beautiful—which already wowed audiences and juries at Hot Docs. Wild’s known for crafting documentaries that are beautiful, powerful and provocative. Her previous explorations of BC’s culture include Blockade (a look at BCs infamous and defining War in the Woods) and FIX: The Story of an Addicted City (a look at the birth of BC’s controversial and vital safe injection site). With –
KONEL INE (her fifth VIFF entry), Wild allows the beauty to tell her story and
for input into where you’d like us to shine our spotlight.
please let us know which types of scenes you’re most intrigued
...author and producer and powerhouse, Tracey Friesen, officially joins the Reel West team as our newest columnist.
she’s provided us with a diary track-
by—and we’ll ask more directors or cinematographers or designers or… whoever else you’d like to hear from… to reveal their secrets. Is there an aspect of filmmaking that you’d like to see us focus on? A behind the scenes hero you’d like to see featured? An area of filmmaking you feel deserves more attention? I know there are a million fantastic stories about the western Canadian scene and I wish we could
ing down some of the key moments
ing actual junior hockey players such
rules around stock footage.
in the movie’s development. And our
as Alex Ambrosio, Hari Vapheas and
longtime writer Katja De Bock offers
Ty Ronning, the son of the Vancouver
the
some insight into Wild’s world.
Canucks fan favourite Cliff Ronning.
drama, Aftermath.
Nathan Caddell visits the set of made-in-BC
post-apocalyptic
share all of them, but with only four issues a year we only get to focus on a fraction of them—so we are always looking for stories that will be
and
Jared Abrahamson, the star of both
Our TV columnist, Diane Wild,
force of nature, Ann Marie Fleming,
the short and the feature, hails from
was planning on taking a break
debuts her latest full-length anima-
Flin Flon, a Manitoba hockey hotbed.
from writing about the TV biz but
What would you like to know?
tion creation at VIFF 2016 and she
Alas, he might be the poorest skater
couldn’t walk away without com-
Please, let us know.
shares the stories of conquering
the mining town has ever produced.
menting on the recent CRTC de-
Contact me at editor@reelwest.
Animator-author-illustrator
the most interesting and informative for our readers.
Toon Town and wooing Sandra Oh
Writer Drew Tapley delivered a
cision that Canadian writers and
com or Tweet us @reelwest and be
with Window Horses. Fleming—who
feature about a western Canadian
directors are warning could be
sure to follow us on Facebook and
has had over a dozen of her shorts
filmmaking veteran who had a pair
apocalyptic.
Twitter and share your news with
and features screen at VIFF (begin-
of films screen at early editions of
4
And author and producer and
us. n
REEL WEST FALL 2016
REEL WEST FALL 2016
5
O PE NING RE E L
Play that Funky Movie: Hello Destroyer BY TO M H AW T H O RN
Hello Destroyer director KEVAN FUNK (right) with lead actor JARED ABRAHAMSON.
T
he crowd roared as
public plea on a Facebook page. The
capacity of the CN Centre, an in-
Kevan Funk stepped
George,
early
story got picked up by local CKPG-
credible turnout under the circum-
onto the ice, one step
March, when the arena’s bright
TV. The day of the event the Face-
stances.
gingerly following an-
lights offered a respite from the
book page had 846 interested, 678
They filled one side of the are-
other.
dark, howling cold of a northern
going. The filmmakers figured they
na—a braying, raucous, clapping,
British Columbian evening.
could move clumps of fans around
shouting crowd roaring at the vio-
to fill up the seats closest to the ice,
lence on ice, just as you’d expect at
as needed.
a junior hockey game. Security even
In his head, he was planning the
It was hockey night in Prince a
Wednesday
in
next shot of his first feature film,
The makers of Hello Destroyer,
but he allowed himself a moment to
billed as a hockey movie, though
bask in the cheers. In the coolness
the drama is much more than what
When Funk noticed a line form-
had to remove three drunken men
of the arena, the writer-director
that implies, were to shoot an ac-
ing more than two hours before the
who were spoiling for a fistfight in
wore dark boots, black pants, and a
tion scene involving a central event
doors opened, he knew he’d have
the stands. Prince George knows
black sweater rolled to the sleeves,
in the plot. They needed an arena
enough people. They came dressed
hockey.
the stick figure a stark contrast
of screaming fans. One problem: no
in team colours of red, white and
After the shoot, Funk, who wrote
to the gleaming whiteness of the
money for extras, no money to ca-
blue for the fictional Warriors. They
and directed the movie, noticed
painted ice. The intoxicating roar
ter food for extras, no money to cast
painted their faces. They waved
some fans sitting near the penalty
enveloped him. So, this is what it’s
a Hollywood name to lure the star
homemade signs. Some 2,000 an-
box had devised their own shtick to
like to be a hockey player, he thought.
struck to the arena. They issued a
swered the call, about one-third
celebrate the movie’s lead charac-
6
REEL WEST FALL 2016
ter, a troubled young player named
Abrahamson hails from Flin Flon,
troupe performing original produc-
a childhood filled with opportu-
Tyson Burr (played by Jared Abraha-
a Manitoba mining town known
tions designed to spread a message
nity and loving parental support,
mson). As he left the penalty box,
for its junior Bombers hockey team
about being in harmony with na-
his mother empathetic, his father
about to administer punishment on
and as the hometown of hockey star
ture. “Doing environmental theatre
teaching critical thinking, the chil-
an unwitting opponent, some fans
Bobby Clarke, who once deliberately
in Alberta in the ’90s is not a way to
dren encouraged to follow their
hugged their own shoulders and
broke a Russian opponent’s ankle
make money,” Funk said. Needless
muse. “In our family it would be
rubbed their arms as if to say, “B-r-
with a vicious slash of his stick.
to say, it was nonprofit.
weird to be a dentist,” Funk said.
r-r-r,” a tribute to the fictional tough
The movie is informed both by
Funk had an upbringing like few
Indeed, his siblings are all pur-
guy and a chilling premonition for
the real-life Todd Bertuzzi incident
others since the days of vaudeville.
suing funkadelic working lives—
what is about to come. “That’s why
(about which more in a moment)
“I was born into theatre,” he said.
younger brother Tyler is a Victoria
you need real hockey fans,” Funk
and the Errol Morris documen-
“When they toured the kids had to
filmmaker, sister Kelsey a standup
exalted afterwards.
tary Standard Operating Procedure, in
come along, so you might as well
comic in Calgary, and baby brother
Looking back months later, Funk,
which unspeakably vile behaviour
write them into the script.”
Trevor an aspiring writer in Victoria.
a boyish figure with more than a
by guards at Abu Ghraib is a prod-
In the summer after Grade 4,
Funk, who studied film at the Em-
glancing resemblance to Ryan Gos-
uct of a corrupt and corrosive mili-
young Kevan had a prominent role
ily Carr University of Art + Design,
ling, regards stepping on the ice in
tary occupation.
in Nature Bats Last, a 90-minute play
graduating in 2011, first won atten-
that moment, about to execute a
The writer-director sees acts of
melding baseball with the plight of
tion with a series of short films, re-
three-hour shoot with hundreds of
violence being performed as a result
songbirds migrating between bo-
sumé builders which he considered
unpaid extras and a cinematogra-
of social conditioning. Junior hockey
real and tropical forests. The boy
his calling cards in the business. A
pher on skates for a few minutes of
certainly creates an expectation of
performed 55 shows in Alberta and
short character study, Weight, was
movie action as “a life-defining mo-
violence, as fans cheer teenagers
British Columbia. Though acting
shown at VIFF in 2009, followed
ment.”
beating on one another as long as
was his first love, he did not par-
the next year by A Fine Young Man,
they follow certain unwritten, so-
ticularly care for the memorizing of
a Cold War satire that claimed four
cially acceptable codes.
lines. By about age 12, he was deter-
Leo Awards—best actor for Paul Mc-
mined to be a film director.
Gillion, and best short, writing and
When your first feature premieres at the Toronto International Film Festival a week before you turn
Those familiar with NHL hockey
30, you can expect a filmmaker to
will remember that Bertuzzi, a be-
He clipped a copy of the Ameri-
have plenty more such moments.
loved Vancouver Canucks tough
can Film Institute’s list of 100 great-
He returned to the festival in
Hello Destroyer, which makes its
guy, was expected to exact revenge
est movies on its release in 1998,
2013 with Destroyer, the understated
western Canadian debut at the Van-
on an opposing player for having
methodically ticking each off as he
short featuring Abrahamson who is
couver International Film Festival,
earlier injured a star teammate.
worked his way through the shelves
told to ignore an unsettling crime.
tells the story of a young hockey
Funk remembers a “palpable blood-
of the local (and excellent) video
player who performs a transgres-
lust in the city for retribution.”
store.
sive act of violence on the ice. Just
When Bertuzzi’s expected attack re-
Funk is among a cohort whose
midst of a midlife crisis on tour in
don’t call it a hockey movie. “A
sulted in a devastating injury to his
knowledge of film comes from
“Yellowhead.” In Bison, Funk takes
hockey movie to me is like the worst
target, he became a pariah.
watching big screen productions
the simple narrative of a branding
directing for Funk.
McGillion played an alcoholic, alienated safety inspector in the
kind of English Canadian movie you
Funk spent the late summer jet-
on a little screen. Of course older
weekend on a family cattle ranch to
can make,” Funk said. He is eager to
ting across the continent, triangu-
directors came to classic movies
explore lingering questions of the
subvert expectations.
lating Vancouver (more or less his
either through television, in which
legacy of settler violence on First
In the feature, hockey serves as
home), Toronto (Hollywood North)
the pacing was hacked by commer-
Nations. While others might treat
the backdrop of a cutthroat sub-
and Los Angeles (Hollywood South).
cials and controversial scenes ex-
shorts as extended movie trailers,
culture in which the pettiest of
In the last days of August, he could
cised, or by painstakingly waiting
Funk’s 12-minute films are brilliant
disputes is settled by fisticuffs, or
be found after dawn in a standalone
for a movie to arrive at the local
exercises in storytelling in compact
worse. “We construct a villain de-
Vancouver home in which the base-
repertory house.An eye for image
form.
fined by the people around him,”
ment and main floor have been con-
was honed by taking part in the
His Vancouver-based North of
Funk said. “Tyson, our lead charac-
verted into a sound studio, where
“Through the Lens” program run
Now production company has also
ter, doesn’t really know who he is
he was completing the mix for Hello
by the Whyte Museum of the Ca-
made
as a person.” There are expectations
Destroyer.While he’s comfortable in
nadian Rockies, in which children
for Ford, Band-Aid, and Coca-Cola.
for a brooding young man of limited
all three cities, and found in Prince
were encouraged to take black-
Funk’s music videos, including piec-
skill who is expected to defend his
George
(six-week)
and-white photographs for public
es for ODESZA’s “All We Need” and
teammates from the ruffians on
home where good food, craft beer
display. He also served on a jury
Whilk & Misky’s “Clap Your Hands,”
the other side. It is a fraternity of
and friendly folks were all in hearty
for young filmmakers, providing
are gorgeous storytelling incorpo-
unwritten rules and unspoken as-
supply, his real home, where his
an inside look at the tedious pro-
rating Funk’s telltale twists.
sumptions.
heart resides, is Banff.
cess of filmmaking, the kind of op-
Funk has won many prizes for his
a
temporary
broadcast
advertisements
in
His parents, Colin Funk and
portunity only likely in a place like
shorts with more awards and hon-
Funk’s devastating short, Destroyer,
Connie Brill, moved to the Rocky
Banff. Even high school, typically
ours certain to come. Though now
in which he feels compelled to con-
Mountain idyll when Kevan was
a daytime incarceration at an age
30, he has been directing for well
fess to seeing teammates commit
aged two, seeking a more natural
given to alienation and isolation, is
over a decade. He won his first film
an atrocious act of violence only to
environment in which to base a
remembered as a place where he
prize as a high school student. The
be told by his coach that he is never
theatre company. They belonged to
could be artsy, a jock, and a brain.
ceremony was held at a bar. At 17,
to speak of the incident again. The
the Happy Trails Theatre Collective
The school body was too small to
he had to wait outside, gaining tem-
young actor is a study of pained
before his birth, which came in Van-
force students into one clique or
porary admission to accept his tro-
confusion, his burgeoning identity
couver in the waning days of Expo
another.
phy before being ushered back out-
entirely tied up in his fellowship
86. In the mountains, they found-
While some come to art through
of hockey players. By coincidence,
ed Precipice Theatre, a grassroots
pain and dysfunction, Funk claims
Abrahamson
REEL WEST FALL 2016
also
starred
side, an underage filmmaker who was overachieving even then. n
7
PHOTO BY PHIL CHIN
8
REEL WEST FALL 2016
Q & A
Opening the Door to Window Horses BY MARK LE IRE N-YO U NG
Ann Marie Fleming is one of western Canada’s most unique and engaging artists. An award-winning filmmaker and an award-winning graphic novelist, Fleming’s creations are whimsical, charming and, most of all, affecting. Her graphic novel, The Magical Life of Long Tack Sam, was a finalist for two Eisner Awards. Her feature length animated documentary adaption of the story of her grandfather – a legendary magician – was a festival favourite and racked up numerous awards. Her new animated feature, Window Horses, a father-daughter story that involves poetry and immigrants, based in Shiraz, Iran is being featured this fall at the Vancouver International Film Festival. I asked Ann Marie to talk about her latest feature, her career and her inspirations. Q: What was the spark for the
and stories that you can’t know just
to Vancouver and hearing stories
myself into the story, and made my
movie?
by looking. You have to ask. Even
about the Iranian diaspora here, a
avatar Stickgirl the heroine—so it
As a writer, I am a vampire, and
though I am an immigrant, my fam-
community I wasn’t really that aware
became a father-daughter story.
I am always taking snippets from
ily came to Canada when I was a
of and I moved my story forward a
Stickgirl is a mixed-raced gesture,
other people’s lives and blending
young child, and it wasn’t until my
generation to make it more contem-
and I made her half-Iranian. I was ap-
them with my own experiences and
experience in Germany that I really
porary and used the Islamic Revolu-
plying for production funding in 2009
felt what it was like to live outside
tion of 1979 as the defining moment.
when Canada cut off all diplomatic relations with Iran. It was suggested
putting them in my stories.
my own culture. Honestly, it was
When I changed the focus and cul-
Stuggart—The
the first time I felt really Canadian,
ture to Iran, the message of the film
to me that I rewrite the story and set
Akademie Schloss Solitude. For the
and not just Canadian but west
also changed. It was always about
it in China, a country that I actually
first few months I was in a writer’s
coast. Learning German opened me
being open to the stories of others
have some ties to. I tried for a year but
studio and met poets from all over
up to a new way of thinking about
for greater understanding between
felt it had to be Iran. I made a short
the world. It was a Chinese poet’s
culture and language. There were
people, but now it became about
animated karaoke video in 2009 with
story that held my imagination and
three horses outside my window. I
something bigger, about presenting a
a grant from BC Arts Awards. The
I wanted to tell this story about fa-
was also introduced to Iranian cin-
response to the increasingly complex
song is at the end of the film.
thers and sons after the trauma of
ema, music and the poetry of Rumi,
world out there, filled with images of
In 2011, I made an animatic of
the Second World War (or any war),
which Rilke had championed in Ger-
fear. This is not a political film at all,
the storyboard, thinking that would
where people were moving all over
many back in the day.
but it is impossible to say anything
get some interest and attention. Not
about Iran without being seen as po-
really.
In 1996, I was invited to an artist
residency
in
the place for new opportunities and cultures were coming together
Q: When did you get the spark—
litical. I set it in a slightly futuristic,
like never before, yet there was this
and what was the timeline like af-
pluralistic Islamic society.
stark gap between generations, es-
ter that?
In 2012, I decided to make a graphic novel out of the preliminary
Of course, it took me so long to
storyboard we had made from the
pecially old world versus new world.
I wrote a book, Breathless: the Book
make the film that the future is
film, thinking I could maybe get that
I wanted to explore the relation-
of Ann, a memoir, when I was in soli-
already the past! I applied to the
published and get some attention
ship between men, who maybe talk
tude and in that I wrote a cowboy
Canada Council to make a very
for the film. Nope.
less directly, but can come together
song, “Window Horses,” about the
low-budget animated film with my
through poetry.
horses and all the things they re-
many-time
collabora-
this film made if it killed me and told
animation
In 2014, I decided I was going to get
It seemed to me like poetry was
minded me of: family, history, the
tor, Kevin Langdale. I didn’t get the
Kevin to make a trailer. Telefilm had
everywhere in Germany. I am mixed
freedom they represent mythically,
grant, so I approached Telefilm for
so little money that I thought it was
race and I have always been inter-
their domestic reality.
development money, where I wrote
an excellent time for me to apply, as I
the script and decided to embed
make extremely low-budget projects.
ested in other people’s histories
REEL WEST FALL 2016
Jump ahead to 2007. Coming back
9
I decided to try crowd funding and
Q: You’ve got a cultural consul-
manded. This film was always sup-
Q: What’s your favourite part of
started an Indiegogo campaign.
tant—can you talk about your dis-
posed to happen in negative space,
making a movie?
coveries in crossing cultures with
visually blooming as Rosie’s world
Making a film is so hard and there
this story?
view expanded, but if you have seen
are so many bits that are no fun and
I called up Sandra Oh, who I had almost made a film with 20 years earlier and had kept in touch with,
As I mentioned, I am a vampire.
any of my other Stickgirl films…
animation is a long haul, but I love
and asked her if she would give me a
But this story is an act of imagina-
nothing fancy! When Kevin saw
actors. I loved those recording ses-
couple of her hours and be the voice
tion. I have never been to Iran. I don’t
Sandra talking on ET Canada about
sions. I love writing. I love the script
of the lead character, Rosie. This was
want to sound too twinkie but I re-
How to Train Your Dragon, Frozen and
phase. I love the research—the ex-
a big deal for me, because Stickgirl
ally do believe that sometimes as a
our little trailer playing behind her,
cuse to go on a treasure hunt of cul-
is me, and I have made many little
writer you are just channeling stuff
he cranked it up to 11, so to speak.
ture. I love coming up with design
projects with her, with my voice. But I
from the universe. It was very impor-
All the design work became more
ideas. I love seeing what the other
really needed people to see this film,
tant to me that I be respectful and
elaborate. We had to get more ani-
artists I work with can come up with
and I knew that Sandra could amplify
authentic to the people and cultures
mators on board and we needed a
that makes what was in my own
the reach of its message. And she is
I was portraying in the film. This is
more industrial pipeline.
head even better. I love the music
such a great actor. Lucky for me, she
not any different than how I ap-
had just left Grey's Anatomy and was
proach the cultures of China, magic
Q: It looks stunning—and unique—
gether. I love watching the finished
actually in Toronto at TIFF when I
and acrobatics in The Magical Life of
how did the look and style evolve?
film, and I love being able to talk
got in touch with her. She loved the
Long Tack Sam. Over the years it took,
The big questions for people were,
about ideas. For this film, I really
graphic novel so much that she want-
I had many cultural consultants who
“How will all these different styles
wanted it to make a difference—to
ed to come on board as executive
all vetted the script and the imagery.
go together?” and “How can Stick-
anybody. I want to open some minds
producer and help me get this thing
Of course, there were differences of
girl be the central character in a
and hearts.
funded. She responded to the story of
opinion, but everyone was satisfied
more traditional animated world?” I
a family torn apart and its represen-
that I did my due diligence and it
never really worried about this. I’ve
Q: How did the crowd funding cam-
tation of diversity and women.
came from the heart. Some Iranians
always made hybrid films, collaging
paign work?
I can’t tell you how helpful San-
were perplexed by someone outside
styles. I feel it is like preparing a fu-
Indiegogo was very helpful with
dra was. It was her first project af-
of their culture spending all this time
sion meal or anything else about my
helping us manage our campaign.
ter Grey's and all the press wanted
and lovingly portraying it.
process. I love seeing it all come to-
life. I’m very eclectic and I like mix-
I’ve learned a lot from it and realize
to hear about it. We got to talk about
I went down a lot of roads just from
ing it up. As for Stickgirl, she is an
I should have listened more. But it
our message of peace and tolerance
my own personal interests and how
open gesture. She is pointedly Asian
was a lot of work. I hired people full
and openness and poetry to people
they intersected with Persian history.
and she is the most fully drawn in
time to keep the social media end of
all over the world, and we didn’t
I had to take quite a bit out, unaware
terms of character. Chris Kuser, who
things going.
even have a film yet! She was also
of how political my references were.
is a creative executive at Dream-
I am still working on deliverables
instrumental in a lot of wonderful
I thought it was just all about poetry.
works, thought she was so gestural
two years later. It was the hardest
actors coming on board the project
In the end I had many cultural con-
because her mind was still growing;
thing! I thought I could raise all the
for scale.
sultants, but the first was Mehrdad
she was still forming. I thought that
financing on IGG, but the real ben-
Farbod, who was extremely helpful
was such a lovely image.
efit was to be able to raise the pro-
Q: How did the story and script
sharing his own experiences, con-
evolve?
necting me to the Iranian community
Q: Can you talk a bit more about what
that, yes, people are interested in
and helping with translations. He re-
Sandra Oh brought to the party?
this project. And it is so humbling
The story was an evolution but the style of the animation—although
ally wanted this story told.
maybe unrecognizable in the final
file of the project—to show funders
Like I said, I’ve known Sandra for
to think that complete strangers
many years, and she brought on a lot
take money out of their own pocket
film—was inspired by the Edo pe-
Q: What are the challenges of creat-
of actors who knew her personally or
to support your project. I take that
riod prints I saw at the Los Angeles
ing an animated feature like this?
admired her work. Sandra was in the
very seriously.
County Museum of Art Japan pa-
I started this project thinking it
room doing scenes with everybody.
vilion. This was a brief time when
was just going to be Kevin and me
We shot in L.A., Vancouver and To-
Q: Any preferences between anima-
Japan was open to the outside, as
working in an artisan, episodic way,
ronto, wherever the actors were.
tion, live action, graphic novels and
was Persia, and Chinese Tang style
stringing a bunch of little pieces to-
Ellen Page popped in and did her
influenced everybody. I was read-
gether until they made a feature. I
character, Kelly, while we were re-
I like to move between different
ing Orhun Pamuk’s My Name is Red,
knew I wanted to work with differ-
cording at Bad Robot Studios. She
media. There are so many different
which was lost in the world of Turk-
ent artists, each creating a section of
had just come off a couple of her
ways to tell a story. I’m hoping my
ish miniatures, which was based
poetry or history, to show that this is
own projects, and luckily the timing
next project will be able to incorpo-
on Persian miniatures who in turn
a film about different points of view,
worked for her.
rate all three. Oh, and the Broadway
were influenced heavily by Chinese
and how they can all coexist beauti-
The big surprise in my casting
art. This style lends itself so well to
fully together. When Sandra and the
was when I reached out to Nancy
My childhood dream - one of
animation, and in fact, so many of
other actors got on board, it created
Kwan, who broke Hollywood’s ra-
them - was to be a comic artist, and
Disney’s horses reference Tang. The
a lot of excitement and expecta-
cial barriers when she starred in
I have so much respect for the indie
design carries all that culture with
tions grew. Telefilm came on board
The World of Suzy Wong. She plays
comic world. It was very intimidat-
it—China, Japan, Persia, open bor-
and the NFB became co-producers.
Rosie’s
in
ing for me when I was asked to adapt
ders, closed borders, the history of
Mongrel Media came on as Canadi-
Window Horses. It turns out she
The Magical Life into a graphic novel.
animation. This period of opening
an distributors. But this was still an
and her brother were looked after
I choked because it was a dream
also encompassed the golden age of
incredibly low-budget film.
by my grandmother during the
come true. I feel very self-conscious
grandmother,
Gloria,
all the other work you do?
musical, too.
poetry in so many lands… the works
With single-person workflow, we
Second World War in Hong Kong.
about my own artistic abilities, but
of Basho, Li Bai, Du Fu, Rumi, Hafez…
were used to creating assets as we
I knew then that everything about
it doesn’t stop me. I love doing it. I
a time of great unrest and great art.
needed them, and as whimsy de-
this film was meant to be.
think that comes through. n
10
REEL WEST FALL 2016
LE G AL B RIE FS
Taking Stock of Stock Shots BY N ATHA N IEL LYMA N
M
licensor should further indemnify
ple, many licenses prohibit the use
allow others to freely use and share
to
the licensee against all claims re-
of the materials in a pornographic,
the production under the same
help tell their stories.
lating to these representations and
libelous, defamatory, or unlawful
terms and conditions. In addition,
warranties.
any filmmakers rely on stock
photography
manner. Other licenses disallow the
Creative Commons licenses do not
cessible through a variety of online
Waiver of Injunctive Relief: Stock
use of materials in connection with
contain sufficient representations,
services that license stock images
photography websites should waive
political issues, health and medical
warranties, and indemnities as pre-
and footage on a non-exclusive ba-
their right to seek injunctive relief in
products, and otherwise “controver-
viously mentioned.
sis. These licenses, however, must
the event of a breach of the license
sial” matters. Always ensure there
Lastly, if you find that a stock
be carefully reviewed to ensure that
agreement. This language prevents
are no restrictions that could im-
photography website does not have
the terms and conditions fit with
the licensor from obtaining a court
pact your intended usage.
all the sufficient items covered in
the production’s requirements. Pro-
order to stop the release or broad-
Other Conditions: Many stock
the license agreements, you should
ducers should be further mindful
cast of the production and is es-
photography licenses will require
try and contact them directly and
that the terms and conditions of
sential for most broadcasters and
that appropriate credit is given to
inquire whether they offer specific
each license must meet the delivery
distributors. Unfortunately many
the licensor in the end credits of
film and television riders to the li-
requirements of the production’s
stock photography websites do not
the production. In certain cases,
censes. While there may be an ad-
broadcaster and distributor, and the
contain this provision. Producers
specific language is provided in the
ditional fee, these riders often in-
standards for its Errors & Omissions
should also ensure that there are no
license agreement for how to prop-
clude the clauses required to satisfy
insurer. In this regard, some stock
clauses that permit the license to be
erly credit the material. Failure to
the broadcasters, distributors, and
photography websites offer better
terminated.
give such credit may be a breach of
insurers. It is recommended that
the license.
you consult with your production
Such materials are made easily ac-
licensing conditions than others.
Third Party Releases: It is often
The following are six of the most
the responsibility of the licensee to
Stock photography websites of-
important items you should review
review the content of the stock pho-
ten offer different types of licenses
in a stock photography license be-
tography to identify all individuals,
depending on the intended usage of
fore using the materials in your film
copyrights, trade-marks, or other
the material. Typically licenses with
Nathaniel Lyman is an associate at
or television production:
third party materials. It is impor-
fewer restrictions tend to be more
Chandler Fogden Aldous Law Corpora-
The Term: Most stock photogra-
tant to have the materials cleared
expensive. It is always important to
tion. He practices in the areas of film,
phy websites offer perpetual terms
prior to licensing them to ensure
ensure that you are obtaining the
television, digital media and music.
in the licenses. Limited terms can
that all necessary releases from the
appropriate license for use in your
be problematic, as after its expiry,
individuals have been obtained, or
production.
continued exploitation of the pro-
permissions granted to display art-
There are many websites that of-
duction may invite a claim for copy-
work, logos, and business names. It
fer “free” images or apply licenses
right infringement.
is also important to distinguish li-
created by organizations like Cre-
censes that are for commercial use,
ative Commons, or the GNU Project.
Representations, Warranties, and photography
and licenses for “editorial use.” For
These licenses are problematic for
websites (the licensor), need to have
materials labelled as “editorial use,”
most commercial productions. Cer-
the right to grant a license to the
it may be the case that no third
tain Creative Commons licenses,
end user (the licensee). The licensor
party materials are cleared, and the
for example, contain restrictions
should represent and warrant that
uses are typically limited to news
that are impractical to producers,
it owns and controls the materials
reporting and documentaries.
like requiring the productions be
Indemnities:
Stock
and that the licensee’s use of the
Restrictions: Most licenses con-
“non-commercial” or “share alike”—
materials will not infringe on the
tain restrictions against certain
meaning that the production incor-
copyright of any third parties. The
uses of the photography. For exam-
porating the licensed material must
REEL WEST FALL 2016
lawyer in advance of licensing stock photography. n
Missed an issue? Previous editions of Reel West Magazine are available online at reelwest.com
11
FRO M PAG E TO S CRE E N
The Poetry Reading WE ASKED ANN MARIE FLEMING TO SHOW US A SCENE FROM HER SCRIPT FOR WINDOW HORSES AND SHARE THE CHALLENGES BEHIND BRINGING IT TO THE BIG SCREEN. BY ANN MARIE FLE MING
T
his is where Mehrnaz
from the graphic novel I’ve made
were given the overall design of the
poem for her. I wrote the poem at
introduces Rosie for her
from the final images of the film.
film and a colour palette of where
Solitude in 1996 as well. It is from
Kevin still designed the charac-
they were coming in and out from.
my time in the writer’s room. The
ters for the main story, and he did
They also got to see the storyboard
horses are outside the window. Was
the transition work in and out of the
but were told they did not necessar-
that Edgar Allen Poe’s actual house
who made the storyboard. The first
poem, which is now animated by Ja-
ily have to adhere to it. In this case,
or the house of Usher I was refer-
pages are from the graphic novel I
net Perlman.
because the words of the poem are
ring to? (the French love Poe, by the
first poetry reading. The script has the vi-
sual directions for Kevin Langdale,
made from the original storyboard
I gave the segment animators
quite visual, Janet really wanted
way) The picket fence is something I
images. The second set of pages is
free reign in terms of style, but they
me to dissect the references in the
said in an interview with Gary Popo-
12
REEL WEST FALL 2016
vich around 1990 about how I was really just a bourgeois creature having an experimental life. The garden gnomes are pure Janet. When Kevin was drawing the storyboard, it was just to my words. By the time the other animators came on board, they were animating all the wonderful voices. I like the image of Rosie at the microphone. There is a complex discussion around the chador and what it represents, especially when presented by “western eyes” as an image of the “east.” But I think having Rosie having the stage, singing her little poem about her love of all things French (France, a place she has never been) in Iran (a place she is visiting for the first time) is lovely and subversive in a goofy way. The poem is actually an extraction from the longer original, which is just jammed with literary and media references because the writer doesn’t have her own voice yet; she is still struggling to find it. n
(Opposite page) An excerpt from the graphic novel created using the original storyboard images vs. (this page) one made using the final images of the film.
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13
B O O K E XCE RPT
MOTIVATION – Who Will You Make Change With? BY TR ACEY FR IESEN
T
he cab pulls up to a lovely
not into simply writing checks for
house on a hilly road in San
galas and fundraisers and non-
Francisco, in the middle of
profits anymore, but want to be in-
a sunny afternoon. This is the lo-
volved in projects in a more mean-
cation of a rough cut focus group
ingful way.
screening about to get underway
Others are dedicated to the spe-
for the documentary The Genius of
cific causes highlighted in the films
Marian (dir: Banker White). As an in-
being produced. They understand
vestor in the film, Impact Partners
the power of media to spark change
has put together the gathering at
and would prefer to give their fi-
the home of one of their members,
nancial support to a film that will
a co-founder of Chicken and Egg
have a multiplier effect, increas-
Pictures, which empowers women
ing awareness through reach, than
filmmakers. I am invited, a loose
straight to a charity. Whether the
connection from up in Canada, be-
topic is climate change, or crimi-
cause I am in town for Good Pitch
nal justice reform, or gender equity,
and beginning to get acquainted
these people are driven by the need
with this network of social issue
to have direct impact.
media supporters.
On this day, the documentary is
The living room is turned into
about Alzheimer’s disease, a very
a makeshift theatre, with kitch-
personal story based on the film-
en chairs pulled in and curtains
maker’s mother. Banker is gracious
drawn. In the dining room are cana-
and appreciative accepting feed-
pés, sweets and tea. I look around
back during the discussion that
and wonder about the dozen or so
follows the screening itself. These
people milling about. Who are they
people care. They have money in
and what has landed them in this
the film yes, but beyond that they
world? What motivates them to
are already becoming champions of
give money to these projects? As
project. Like the producers and the
I fill my plate, I smile at the man
creators and the NGOs that form a
next to me.
part of the outreach network, these
After an ice-breaker, I ask: ‘So you’ve invested money in this film?’ ‘Yeah.’
impact investors and donors pasTracey Friesen's STORY MONEY IMPACT: Funding Media for Social Change is available to purchase at www.routledge.com
The Genius of Marian was selected by this particular collection of sup-
‘And you don’t necessarily expect lists, and come to feedback screen-
I learn that others are excited to
porters precisely because the topic
‘Well… perhaps…we’ll see…’
ings like this one. It’s one way of
have the chance to meet filmmak-
matters to them. They are MOTI-
‘Why do you do it?’
looking under the curtain of the
ers, to learn about their motivations
VATED by the belief that this piece
‘See that young woman over
filmmaking process, without regis-
and creative lives and sources of
of art will make a difference in this
tering for film school.
artistic inspiration. It’s deeply re-
world. n
to see it again?’
there, that’s my daughter. She’s always wanted to be in media…’
Impact Partners holds its An-
warding to deconstruct a film that
And so it begins. Perhaps it’s ob-
nual General Meeting during the
is still in process, directly with its
vious to others, but for me this is
Sundance Film Festival, so the
creator. Working through what’s
an ‘aha moment’. The start of my
table of investors gets to meet in
flagging, what’s singing, what’s bor-
education around money and moti-
and around one of the world’s pre-
ing, what’s riveting; offering sug-
vation. Learning that there are mul-
miere events for independent film.
gestions and then later seeing some
tiple, complex, nuanced, purposeful
There’s not only the potential for
of those ideas attempted or even
and sometimes even irrational rea-
financial and social returns with
implemented. So many people are
sons why people will part with their
this membership, but red carpets
capable of adding such value, but
dollars.
and receptions and one’s name in
simply not in a convenient position
This partner is interested in the
the credits. This is a vibrant and
to do so.
documentary industry at a high-
dynamic community to be a part
This is a form of philanthropy
er level, through a passion of his
of, particularly motivating when
that’s hands-on. I meet people who
daughter’s. By becoming involved
the films on the roster have a so-
were semi-retired and yet vital and
as a funder in this film, they both
cial change vision. Most members
intelligent with much to contribute,
have the opportunity to learn more.
invest, but some also donate either
beyond resources. They have ideas
They get to read treatments, review
personally or through foundations
and contacts, in both business and
budgets, scan schedules and crew
they may be affiliated with.
cultural spheres. They say they’re
14
sionately want the film to succeed.
Check out the next issue of Reel West Magazine for another excerpt from Tracey Friesen's STORY MONEY IMPACT: Funding Media for Social Change.
REEL WEST FALL 2016
W E ST E RN T V, E H ?
Bracing for a CRTC Storm BY DIA N E WILD
T
he sky is falling in the Ca-
and Happy Valley.
ects for programs that would be
quality shows with some of the
Diluting the Canadian voice is
certified as Canadian even if they
highest profiles stars (Call Me Fitz
not the way to strengthen Cana-
don’t qualify under the general
with Jason Priestley and Sensitive
dian culture.
guidelines: adaptations of success-
Skin with Kim Cattrall to name just
nadian TV industry. In late August, the Cana-
dian Radio-television and Telecommunications Commission (CRTC)
Some (aka I) would argue that
ful Canadian novels, and programs
a couple) have languished on little-
released a new policy framework
the point of having Canadian con-
with budgets over $2 million. Again,
accessed channels, so the problem
for Certified Independent Produc-
tent regulations should be to proj-
those pilot projects would not qual-
there is discoverability and distri-
tion Funds (CIPF), changing some
ect a Canadian voice to Canadians.
ify for CMF funding or tax credits,
bution rather than the passports of
of the rules around funds such as
Besides, Canadian creators and
so there isn’t yet much evidence
their writers and stars.
the Shaw Rocket Fund, Bell Broad-
actors have proven they can be at-
of a mad stampede to create pro-
cast and New Media Fund and Har-
tractive and visible in international
grams under their aegis.
old Greenberg Fund.
markets when provided with the
Talk TV seems increasingly like
sky to come crashing down on the
Among those changes is one that
right opportunities. Taking away
it was a smokescreen to allow the
homegrown industry, the federal
has much of the industry’s creative
those opportunities in their home
CRTC to make decisions and say,
government’s
community raising their umbrel-
country doesn’t seem like the best
“We consulted! We’re doing what
content
las and their outrage: reducing the
way to strengthen visibility.
people asked for!” when the evi-
down the slope of reducing Cana-
Even though the CRTC’s recent decision likely won’t cause the
current
review
could
Canadian continue
number of CAVCO points a produc-
The new CIPF rules on their own
dence that these changes are really
dian involvement in projects con-
tion needs to qualify for CIPF funds
don’t spell disaster. For Canadian
what anyone asked for, nevermind
sidered for funding. Whatever your
to 6 out of 10. This would allow,
Media Fund and tax credit pur-
an informed majority, is sketchy.
position, now is the time to make
according to the CRTC in their de-
poses, productions still need 8 to
There’s an insidious snobbery
your thoughts known to your Mem-
cision, “hiring by production com-
10 points, meaning most will likely
to many discussions around what
ber of Parliament and Heritage
panies of non-Canadian actors or
still aim for that. But is this deci-
success looks like for Canadian
Minister Mélanie Joly.
creators, who may increase a proj-
sion a slippery slope toward reduc-
TV. Shows with large fanbases and
ect’s attractiveness and visibility in
ing those requirements as well?
international sales such as Mur-
Letters to the House of Commons
The new CIPF policy does sig-
doch Mysteries, Degrassi and Heart-
can be sent postage free:
But the sky’s been falling for de-
nify the breathtaking arrogance of
land—not to mention the plethora
cades. The Canadian TV industry
the CRTC and its chairman Jean-
of genre programming exported
House of Commons
seems to be in a constant state of
Pierre Blais, to roll out significant
around the world, including Or-
Ottawa, Ontario
tension between forces who believe
changes to how Canadian content
phan Black and Killjoys—aren’t sexy
Canada
the primary goal of the industry is
is defined in the midst of the fed-
enough, apparently.
K1A 0A6
to create a product that will sell to
eral government’s review of Cana-
Blais has looked towards liter-
foreign markets, and those who be-
dian content. That review’s stated
ary adaptations and big budget
Or send your comments by email
lieve the primary goal is to tell sto-
purpose is to strengthen our cul-
dramas, yet Flashpoint, Saving Hope,
to: Melanie.Joly@parl.gc.ca. n
ries by Canadians.
international markets.”
tural industries, and according to
and Motive have been among the
The two goals aren’t mutually
Heritage Minister Mélanie Joly, will
most watched Canadian shows
exclusive, of course, but try telling
consider potential changes to the
in recent years. Is it possible the
that to the CRTC these days. Apart
Broadcast Act and the mandate of
CRTC is trying to solve the wrong
from the US shows we’re inun-
the CRTC. It began with web-based
problem? Maybe it’s not that we
dated with, buzzed about foreign
polling in April and continues with
don’t make shows people want to
Diane Wild is the founder of the TV,
shows tend to have a very specific
public hearings this fall.
watch, but we don’t value them
eh? website (www.tv-eh.com), cov-
when we do.
ering news, reviews and interviews
voice and sense of place: Downton
Last year after the Talk TV hear-
Abbey, The Bridge, Borgen, Wallander
ing, Blais introduced two pilot proj-
I’d argue some of our highest
about Canadian television shows.
Buckley DoDDs chartereD accountants 1140-1185 W. Georgia St., Vancouver, B.C., V6E 4E6
• Provincial and Federal film tax credits • Auditing and accounting services • Cross boarder transactions • HST filings • Corporate restructuring • Financial statement preparations • Personal tax planning and tax returns prepared 30 years experience
REEL WEST FALL 2016
Con Buckley 604.688.7227
www.buckleydodds.com 15
PHOTO BY PHIL CHIN
16
REEL WEST FALL 2016
COVE R FE AT U RE
Nettie Wild Finds Beauty in the Bush THE COOLEST DOC AT HOT DOCS 2016 BY KATJA DE B O CK
F
photography Van
“Betsy is a complete magician,”
Lisa Kolisnyk, additional cinema-
pected places is the leit-
Royko and his camera department
says Wild. “We pulled off a huge
tography by Wild, Vince Arvidson,
motiv of Nettie Wild’s
shot surprising and remarkable
film on a not-so-huge budget and
Athan Merrick and Michael McKin-
new feature documen-
imagery, including a guide outfitter
that meant every single person who
lay, supervising re-recording mixing
tary KONEL INE: our land
who has her horses swim across
was involved in this production
by Daniel Pellerin and colourist An-
beautiful, which was named Best
the vast Stikine River and walk
went many extra miles to make this
drea Chlebak.
Canadian
Documentary
over a glacier (lensed by Royko),
happen.”
Award at Hot Docs earlier this year
the world’s biggest chopper flying
Without the initial support from
tribution system, “which blends
and shared Best Canadian Film
16,000-pound transmission tow-
the NFB, Creative BC and the CMF
broadcast television and theatrical
Honours (with Fractured Land) at
ers over mountaintops, and the
pre-development fund, this film
screenings in cinemas with com-
the Yukon’s Available Light Film
linemen on the ground fixating
would not have been made, says
munity based forums in order to
Festival.
them (by Patrick McLaughlin) and
Carson. “I can’t stress how impor-
bring these stories to the Canadian
Filmed in northwestern BC, the
magnificent drone footage looking
tant these agencies are to the devel-
public.”
film – which receives its BC festi-
down at the Earth (by Grant Bald-
opment of documentaries in British
val premiere at the 2016 Vancouver
win).
Columbia and nationally.”
inding beauty in unex-
–
Feature
Director
of
The company has a unique dis-
Wild admits her approach is complicated but, in a nutshell, it means
International Film Festival - is a cin-
One of the tools Royko used was a
“We managed to get financing,
grassroots distribution in the Cana-
ematic homage to one of the world’s
DJI Ronin camera stabilization plat-
thanks to high heavens, from Su-
dian market, which she and Carson
last stretches of true wilderness
form “combining dolly and Stea-
per Channel to get the ball rolling,”
have done for 25 years.
and the people who live there. Rath-
dicam,” visible in scenes such as a
says Wild, who acknowledges Super
Their theatrical rollout is typical-
er than using a thematic or chrono-
spectacular dog sled sequence.
Channel Exec Maureen Levitt’s sup-
ly at least two years and often up to
–
logical storyline, KONEL INE uses a
Wild is familiar with northwest-
port for the approach. “She’s our
three years of ongoing and intensive
series of vignette-like sequences
ern BC through extensive traveling
own secret weapon, she’s our own
work, including screenings at festi-
revealing, but not commenting on,
on horseback and she is wildly pas-
National Film Board.”
vals, but also in remote areas where
an unexpected array of characters
sionate about the land. But as the
After Super Channel’s commit-
the filming has taken place, as well
and places.
granddaughter of a miner, she’s not
ment, Canal D and the Knowledge
as in smaller cities and communi-
Wild says she assumes there is a
judgmental about people who make
Network came on board as French
ties in regular and art house cine-
heart that beats and beauty in every
a living of local resources. This
language
window
mas, followed by a panel discussion
human being she talked to, whether
helped her convince locals as well
broadcasters
Addi-
or Q&A. They also make DVDs and
it’s a diamond driller or a First Na-
as companies and even her crew of
tional funding came through the
tions family fishing in the river.
her artistic approach.
CMF English POV program, Rogers
KONEL INE: our land beautiful will
and
second
respectively.
Blu-rays available for purchase. –
Says Wild, “What happened, was
“When you say to them, ‘you
Documentary Fund, the Shaw Me-
be accompanied by a digital media
magic. We got surprised, over and
know what, we’re going to make a
dia/Hot Docs Fund and the Telefilm
component, North through South,
over again.”
piece of art this time out,' they re-
Theatrical Documentary Program
which was financed by Super Chan-
The film includes a lot of iconic
ally respond,” she says. “I found this
(Rogers participates in this program
nel, the CMF and the Bell New Me-
images, but also stereotypes that
throughout my entire career. The
as well). The provincial and federal
dia Fund, adding another layer to
go crushing down. It’s not a sacred
best way to treat a crew is to ac-
tax credits filled out the rest of the
the promotion of the broadcast.
movie,” says Wild. “One of the rules
knowledge that they’re real artists.”
budget.
that we had when we were shooting
Wild credits Betsy Carson, her
Crew included editor Michael
will get to experience KONEL INE in
was that if it looks like a shot from
production partner at their compa-
Brockington, sound designer Mark
a theatre. “I want people to see it
Beautiful British Columbia magazine,
ny Canada Wild Productions, with
Lazeski, original music by Jesse
in Cinemascope with 5.1 surround
we cut. And if it looks like an ab-
finding the money to bring the film
Zubot and Hildegard Westerkamp,
sound. It is a whole different experi-
stract oil, we’d roll.”
to life.
location sound by Kyle Petty and
ence.” n
REEL WEST FALL 2016
However, Wild hopes audiences –
17
18
REEL WEST FALL 2016
OSCAR DENNIS runs his dogs across Tahltan Territory. PHOTO C/O CANADA WILD
DIARY FE AT U RE
Running Wild BRINGING KONEL¯INE TO THE BIG SCREEN DIARY BY NE T T IE W ILD
–
KONEL INE: our land beautiful takes place deep in the mountains of Northwest British Columbia. It is a place so full of wildlife the hunters call it the Serengeti of the North. Because of massive gold and copper deposits, the miners call it The Golden Triangle. The Tahltan First Nation calls it home. – KONEL INE took four years to make and formally, it is a major departure from my previous work. It is not a character driven story but rather is shot in the abstract and edited associatively. We sought to find the poetry in every one of the people in front of our lens – from diamond drillers to elders who protest against them. We endeavored to bring a curious eye rather than a judgmental heart to one of the greatest debates of our time. What we found surprised us. We hope to surprise our audiences too. These – are some of the stories behind the scenes of the making of KONEL INE: our land beautiful. JULY 17, 2012: (Development) Capturing the face of Ecstasy
Panasonic 170 and Canon 5D. I am
this way. Anthropologists have been
the second band cannot be found.
dubious. The Red is a big beast for
trying to describe it for years. You’ve
Then the music starts again. I look
The Kaska First Nation is facing off
documentary and seems like over-
nailed it.” And then he smiles for the
up at the stage and see my Jordan,
kill for what is a research and devel-
kicker, “And I don’t think you have
wailing away on the drum set. Stick
opment trip.
any idea what you’ve filmed.” He’s
Gamblers two-step and jive to the
with the Tahltan – two days of Stick Gambling in the tiny reserve of Iskut. The Kaska drummers are so
But as often happens, as soon as I
right. All Jordan and I are doing is
tunes of Jordan and the Tahltans,
kick ass good that the Tahltan ask
am on location, something extraor-
reacting to the sound and image
and we dance our way through a
them to play throughout the entire
dinary demands to be shot. This
and transcendent joy all around us.
night to remember in mountains of
tournament. Non stop. For both
time it’s the magic of Stick Gam-
Mary tries again to set us right:
the northwest.
days. The drums drive the play-
bling. We shoot the first day of the
“You follow your intuition. You are
ers—making them bend and weave
competition on the Canon 5D run-
just guided. You go against your mind.
to a driving beat that bounces off
ning the camera at regular speed.
If you keep getting 'out' do different
the canyon which hangs above the
The footage is too high contrast in
than what your mind is telling you—it’s
festival grounds. Elder Mary Dennis
the brutal overhead sun and shot at
coming from your heart.”
is one of the players and a pal. She
24fps, it’s not capturing that tran-
On the final night, after the last
Early in principal photography, an
explains how the game works and I
scendent vibe I am getting from the
raucous round, the Kaska drum-
extraordinary event helped shape
still don’t get it. But what I do un-
players. The next day Jordan hauls
ming stops and the players clear
our cinematic language. Our cam-
derstand is that this is a bunch of
out the Red to shoot in slow motion
the outside basketball court to
era was focused on the linemen
people transported by the spirit of
– and films some of the most beau-
make way for a closing night dance.
constructing the Northwest Trans-
the game.
tiful footage I have ever had the
A tiny stage is strung with white
mission Line (NTL).
APRIL 17, 2014: (Principal photography begins) Flying towers and finding our frame.
It’s early days in the development
pleasure of capturing. The frame
Christmas lights, the stars equally
To environmentalists, the NTL
of KONEL INE: our land beautiful. Pro-
is full of players, many of them
bright hanging between the moun-
is the edge of an industrial wedge
ducer Betsy Carson has thankfully
women, their heads thrown back
tains and the village. The musicians
threatening to carve up pristine val-
commandeered
cinematographer
with the sheer ecstasy of it all. Os-
are Tahltan this time, playing coun-
leys and watersheds. To industry,
Jordan Patterson to fly north to help
car Dennis, Mary’s son, takes a look
try and western licks sometimes in
the line is a heartbeat for mines and
me out. He arrives with a Red 4K
at the footage and says, “I’ve never
tune, sometimes not. But there is a
power projects and jobs.
camera to augment my borrowed
seen Stick Gambling ever portrayed
momentary hitch. The drummer for
–
REEL WEST FALL 2016
For our film crew, the challenge
19
MOOSE ORVILLE and ELLIOT WIDE, Moose hunt on Tahltan Territory. PHOTO C/O CANADA WILD
was to frame this massive opera-
We are shooting with a long lens
towers a day. It requires military
the beauty and contradictions are in
tion with art not judgment, and do
and in slow motion. The telephoto
precision with linemen crews and
one frame. There is no need for voice
so while facing the complicated lo-
keeps our camera and crew away
backup ambulances hopscotching
over. The image says it all.
gistics of filming with 4K gear in the
from the flying shrapnel of debris
from location to location…and our
bush. Behind our lens was cinema-
and compresses the image into an
crew racing from one staging area
tographer Patrick McLaughlin (who
extraordinary frame of slow motion
to the next to keep ahead to line up
combined his formidable talents
choreography.
the next shot.
JULY 6, 2014: Chasing Light and Horses through Gunsight Pass
The chopper starts to lower its
At the end of the first day we hold
Echo Gutfrucht calls out to her
gleaming load, the chopper blades
the first of what we came to call
mother, Heidi. “Do you want me to
On location, the first day starts
roar, and the backwash from its
“tailgate screenings.” The linemen
hold back the horses?” True to her
with the thud of the blades of the
blades is so intense it rips up moss
crowd around our monitor on the
name, Echo’s voice bounces off
biggest chopper in the world. A
and picks up small trees and turns
back of our truck to see our footage.
mountain rock and glaciers. It re-
16,000 lb. transmission tower flies
them into spears. The men are dou-
They see their work as they have
peats and doubles back on itself.
into frame suspended in the sky
bled over to resist the wind, their
never imagined it before—a dance
Heidi is at the front of her string
below the chopper. The tower is be-
hands shielding their eyes; their
with the towers, shot in slow motion,
of 21 packhorses. Echo at the back.
ing towed through the air like a gi-
clothes flapping like wings. The bot-
compressed by our long lens. And
They are approaching a glacier, the
ant silver cross flying across moun-
tom end of the tower swings like a
in that moment we realize that if
last hurdle before winding their
tain tops, glinting as its steel struts
huge pendulum making the team of
we let it, KONEL INE could find cine-
way through Gunsight Pass to get
turn and catch the sun. A team of
ten men seem puny by comparison.
matic poetry that could speak much
to their summer base camp. Once
linemen waits on the ground. They
The men take turns grabbing and
louder than words. In shot after shot
they get going, the pack train does
are dressed like modern day gladi-
guiding the lethal tower and letting
on the line, there was an elegance
not want to stop, but both Heidi and
ators – hard hats buckled under
it go when its weight is too impossi-
of engineering, the magnificence of
Echo know that if the horses at-
their chins, protective glasses tied
ble. Back and forth they dance—the
the mountain backdrop, the brawn
tempt to cross the glacier on their
to their helmets, the men always
men and the tower.
and dexterity of the linemen and the
own they will flounder.
with our lead cinematographer, Van Royko.)
looking up.
20
The chopper is placing up to 30
–
raw gash of a massive clear cut. All
There are only two extra saddle
REEL WEST FALL 2016
horses available, so cinematogra-
choppers today.
Finally, the glacier stops the pack
years ago. Guide outfitters—native
train and we have a chance to get
and white—and their pack trains
ahead of the horses.
have wended their way through the
pher Van Royko and I are the only
The vertical drop makes the rocks
crew allowed on the ride. Heidi’s
fall away under our feet. I have long
story as one of the toughest and
ago dismounted. I am supposed to
Heidi takes out her axe and starts
most intriguing guide outfitters in
be recording sound. It’s all I can do to
hacking at the ice, chiselling a path,
A dangerous movement catches
North America has quickly become
keep up. Instead of holding a boom
stamping the snow into a firm sur-
my eye. Van is cradling the F55, ly-
a central thread in KONEL INE. Ev-
mic, I am clutching my horse’s tail as
face. The horses and wranglers wait.
ing back on the ice, turning him-
ery summer Heidi and Echo trail in
he pulls me up the incline - my feet
Flanks and chests heave, happy to
self into a human tripod. But he is
their string to their hunting territo-
are flying over the loose rock. I feel
rest. Heidi explains that she has had
slipping. First a little, then a lot. His
ry deep in northwestern British Co-
like I am floating up hill.
horses topple right over backwards
hands are tied up holding the cam-
–
history of the northwest.
lumbia – between the Stikine River
Van has abandoned his horse en-
and “snowball” down the glacier. “I
era, so he begins furiously digging
and Mount Edziza or Ice Mountain
tirely. Instead, he is running up the
hope it doesn’t happen today”, she
in his feet to stop the momentum.
as the Tahltan call it. Home to
shale carrying a Sony F55 camera.
says. Me too. Her dog bites at the
He hits a slick of ice and picks up
mountain goat, big horned sheep
Even stripped down to basics, with
snow and slips and slides as if to
speed. The world goes tilt in that
and grizzly, it just may be one of
lens and batteries, it’s a heavy awk-
make the point. Van hikes up high
sickening way when everything
the most sought after, and hard-
ward box of a computer. It’s meant
on the glacier to get his shot. I strug-
can go wrong in a split second. And
est, hunts on the continent. A new
to be on a tripod in a studio. Instead
gle to keep up with him so I can
then it goes right. His feet hit rock
challenge has entered Heidi’s wil-
Van runs with the camera cradled
get out of the frame. We are miles
instead of smooth ice and Van and
derness – exploration mining has
under one arm. We are shooting in
above tree line, every horse and
the camera stop.
sent choppers full of prospecting
4K and wide screen to capture the
rider in stark relief. There is no hid-
The horses make their way
crews over her hunting grounds,
extraordinary vastness of the land.
ing from the camera. I look back at
across the snow. Because Van is
driving game into the trees and dis-
Usually Van has a vehicle and an
the pack train. There is nothing like
not just strong as a mule but has
rupting her hunts. Recently how-
assistant, a dolly and other tools
it – this line of horses dotting a vast
the eye of an artist, he catches
ever, the market has plummeted
of the trade. But out here he is on
mountain slope. It’s an image that
the horses in one extraordinary
taking mining stocks with it. No
his own scrambling to get his shot.
could have been taken a hundred
frame after another—their heads
REEL WEST FALL 2016
21
stretched down, their feet tentatively testing the icy packed path. One by one their bay and pinto colours make their way across the ice, following Heidi until they all disappear over Gunsight Pass. We are left behind. There is no stopping the horses as they sense pasture in the next valley. Van and I walk down the mountainside, me carrying the useless boom pole and Van still labouring under the weight of the F55. But the light is magic and we have got our shot—many of them. Our muscles hurt but all is good.
JANUARY 31, 2016: (Distribution) Bringing KONEL¯INE home Andrew Connors and the Available Light Film Festival asked if –
KONEL INE: our land beautiful could have its world premiere in White–
horse. For KONEL INE – this jewel of a northern festival was a perfect fit. Except I had to explain to Andrew that the real premiere had to happen first in the communities where it was shot in Tahltan Territory in northern BC. Andrew and the festival are veterans at taking movies out to far flung northern communities. So together we started to plot. The festival offered a 14’ collapsible screen, a 4-speaker sound system and negotiated a sweet deal on a one-ton four-wheel drive truck. I rented a 4K projector from Vancouver. Word was then spread throughout the north that I needed someone to help me drive 2000 kilometres and tech three shows in Telegraph Creek, Dease Lake and the village of Iskut in Northern BC. The plan was we would drive back to Whitehorse in time to open the Available Light Film Festival. At the last minute we find a tech. And at the very last minute he has a heart attack. So 24 hours before I am set to leave Whitehorse, Andrew sets up all the gear in a vacant storefront in downtown Whitehorse and starts the formidable task of teaching me the tech set up. It’s not an easy job. I am all thumbs. Andrew keeps making encouraging noises like, “Don’t worry the collapsible screen is easy to set up—just like playing with Mechano.” My father and I were hopeless at Mechano and only managed to build one contraption— a catapult for my hamster. This
22
REEL WEST FALL 2016
previous
brush
with
technology
didn’t help with the bits and pieces of the collapsible screen which laid like pick-up sticks at my feet. But because Andrew has the patience of Job and an uncanny belief that where there is a will there is a way, 24 hours later I am on the road with a satellite phone, a truck full of projection gear and Meaghan Dueling, a young reporter for CBC radio who is a real trooper and offers to cook and help drive as well as file her story. It’s minus 20. The sky is a dazzling blue, the air dances with hoar frost. We see two herds of caribou and four transport trucks in 8 hours of driving to our first destination. It’s so cold that we have to travel with the vinyl screen and projector with us in the cab of the truck. Otherwise the vinyl won’t have time to thaw and the projector bulb will burst. This is about as Canadian as independent film distribution can get. Driving
into
Telegraph
Creek
is heart stoppingly beautiful and steep. We are riding a ridge with a 2000-foot drop on either side. One side plummets down to meet the Stikine River, on the other is the Tahltan River. Elliott Brown, who is featured –
with his uncle Orville in KONEL INE, also runs the youth program at the Telegraph Creek community centre. We get to work and within 8 hours transform the basketball court into a cinema with surround sound. Elliot’s mother is the chief. Chief Terri Brown recommends we set up 40 chairs. It’s winter and people have
“The vertical drop makes the rocks fall away under our feet... Instead of holding a boom mic, I am clutching my horse’s tail as he pulls me up the incline — my feet are flying over the loose rock. I feel like I am floating up hill."
to travel by skidoo. Funerals—the best attended events in Telegraph— only get 80 or so. Two hours before
whom we filmed help us load in and
the screening, I stand with a bunch
Docs. I am anxious to see if our
showtime, Elliott starts putting out
out in every community. When we
of our real life cast, including Elliott
movie and its story of the north
more chairs. By the time the pro-
head back to Whitehorse we have
and his uncle Orville, in front of the
can touch the hearts and minds of
jector rolls, the parking lot is full
an elder in the back seat along with
festival marquee. A group of home
a southern audience. It wins Best
of trucks and skidoos and 90 chairs
the projector and screen and 17
grown paparazzi of local media and
Canadian Documentary. And the
are filled with elders and kids and
other Tahltan following us in other
relatives with cell phones snap pho-
Northern Miner newspaper calls it
every age in between. The room
trucks. They are travelling 2000 kilo-
tos. Oscar Dennis leans over to me
fair and breathtakingly beautiful.
is electric and loud. There is the
meters round trip to see KONEL INE
and says, “This is fucking awesome.”
KONEL INE has come home, both to
laughter of recognition throughout.
again on the big screen.
–
–
Harvey is on his cell phone to his
its audiences in the north and now
Some people in the room work for
Harvey Tremblay flies into White-
business partner in Smithers. “I told
in the south. We open in cinemas
industry and others protest against
horse for the opening night pre-
him that if I had made this film I
across Canada throughout the fall
it. This is a thoroughly modern and
miere. He is the founder and presi-
would have hit people over the head
and winter. n
yet traditional community living a
dent of Hy-Tech Drilling and the
with a message, but you have snuck
contemporary issue that people in
first guy in the mining industry to
around behind us and surprised us
the south just talk about.
say yes instead of no to my cam-
all.” The next day Harvey accom-
Terri presents me with soft moc-
era. KONEL INE follows Harvey’s drill
panies me to the local Chamber of
casins lined with rabbit fur and an
crew into the Bruce Jack gold and
Mines and invites them to attend
eagle feather to help me on my trav-
copper mine and he has come to
our second screening.
els. The next two days we set up in
Whitehorse to check out if his gam-
Several months later we bring
Dease Lake and Iskut, and people
ble to let us film has paid off. After
KONEL INE to Toronto to play at Hot
REEL WEST FALL 2016
–
–
(Opposite page, top to bottom): Inside the geometry of the North West Transmission line. The ecstasy of stick gambling, Tahltan Territory. Diamond driller and sunrise over Northwest BC. (Above) Horses travelling through Gunsight Pass. PHOTOS C/O CANADA WILD
23
FE AT U RE STO RY
Maximas Maximizes Potential for Aftermath BY NAT H AN CADDE LL
JAMES TUPPER (far left) and ANNE HECHE (far right) star in Aftermath.
I
f you take the correct turn
head up the Copeland clan, and
on the dusty roads of Lang-
in this sweltering summer day are
“Everybody is so excited that they
But Heche, a veteran of over 70
ley, chances are decent that
insistent that they are enjoying the
can’t wait to get the script,” says
film and television roles, and the rest
you’ll find a film set. Today
experience.
ence fiction realm—are high.
them down.
Heche. “Shelley, our hairdresser,
of the cast, including rising Canadian
the right turn leads to a cav-
“One of the reasons we took the
just said to me the other day that
actress Julia Sarah Stone (Wet Bum)
alcade of cars double-parking be-
job is that it was shooting in Van-
it’s the only time she’s seen a crew
aren’t the only stars on set today.
side each other, surrounding a sin-
couver during the summer and I
scramble for a script and try to get
The Artemis Maxima is a 225-mil-
gle, massive trailer. Scores of people
literally think it might be one of the
it from another person so that they
limetre camera stabilizer that re-
come in and out of the vehicle,
best places on Earth during these
could read it first. And that’s amaz-
tails for $45,000 and promises to
which is covered with a giant tarp.
four months,” Tupper says with a
ing, that’s rare.”
reshape the future of filming.
Inside is the Copeland family, a fic-
smile. “I’m well aware of what you
Aftermath catches the Copelands
When director of photography
tional clan of five that is at the heart
guys suffer during the rainy season,
right as a massive earthquake has
Jon Joffin first laid hands on it after
of Aftermath, a new series from Syfy
but we love it up here. It’s our spiri-
split the earth and awakened cen-
it was shipped from Germany for
and Bell Media.
tual homeland.”
turies-old monsters.
the start of the shoot, he quickly
Much of the action takes place in
Apart from the scenery, the other
The traditional familial roles are
ordered a second one. Aftermath
the RV, as the Copelands deal with
major reason Tupper and Heche
flipped, as Joshua is an archaeolo-
doesn’t have near the budget of
the start of the apocalypse, an event
chose to take on the project was
gist, who is, in Tupper’s words, “less
many high-profile shows you see to-
that has the family scrambling for
fairly obvious: the script. In the sup-
of a doer.” Heche’s Karen, on the oth-
day, but Joffin believed it was essen-
greener pastures.
posed golden age of television, the
er hand, is an ex-Marine who knows
tial for the look of the show that the
Joshua (James Tupper) and Karen
standards for any new show—let
how to handle firearms and doesn’t
producers and directors wanted.
(Anne Heche)—a real-life couple—
alone one that dabbles in the sci-
so much walk through doors as kick
24
“When I met with Will [Laurin,
REEL WEST FALL 2016
INDIE S CE NE
the show’s co-creator with Glenn
The Short Story at VIFF 2016
Davis] and Jason Stone, the pilot director, they wanted to have this loose kind of look that felt really
BY PAU L A R MSTR ON G
real and was kind of happening in front of you,” recalls Joffin over the
ically what something like that calls
E
new filmmaking talent, VIFF returns
Ali’s mantra inspired Ratner .
Gaston will be “happy if audi-
for, or what you end up with, so this
this year with another strong crop of
“Don’t give up on yourself. Don’t give
ences came away with a lasting
has allowed us this look, but to keep
BC feature and short films.
up on each other. I think most people
emotional reaction in their gut as
phone. “I said ‘yeah I’m totally down with that, but I don’t want it to be handheld and bumpy,’ which is typ-
ver supportive of past Vancou-
was to prove to myself I can still get
ver International Film Festival
in front of the camera and carry a
inheriting their father’s Hunting-
alumni yet also introducing
film,” states Ratner.
ton’s Disease.
that they have a 50/50 chance of
it very elegant and very smooth.
Peter Benson, a well-known Van-
can relate to that. That’s why boxing
opposed to some sort of message or
I think it works very well, because
couver actor currently seen in Dis-
films keep getting made—the classic
moral. As long as they don’t throw
we're trying to make this show look
ney’s Mech-X-4, brings the feature
story of fighting, literally fighting, for
tomatoes at the screen then I’m
very beautiful, we’re trying to show
Marrying the Family. The film, which
what you believe in is universal and
happy. Actually, I’d be okay with
this world that they’re trying to
Benson directs and acts in, explores
irresistible, when done well.”
that too. Actually, I’d love that”.
save, that’s going to hell, but it’s just
the question that arises after find-
Ratner is developing Ganjy into
Making her VIFF debut is Sophie
gorgeous and we’re trying to keep it
ing the person you want to spend
a feature as well as developing an-
Romvary with the short Nine Be-
smooth and beautiful.”
the rest of your life with: do you also
other feature, Original 6. He contin-
hind in which a young girl, alone
want to spend the rest of your life
ues to teach at his Haven Studios
in her Vancouver apartment, calls
with each other’s families?
and to act, currently in a support-
her estranged grandfather in Bu-
ing role in Wonder.
dapest to try to connect with him
Joffin gives credit to Game of Thrones (“some of the best filmmaking I’ve ever seen, anywhere”) and
The film grew out of his experi-
has been paying close attention to
ence acting in Leap for Your Life, by
Another VIFF alumni is Sophie
the ways different shows do things,
Taylor Hill, which won the Audience
Jarvis, whose latest short film is
Romvary was motivated to make
which led to his specific vision
Choice BC Spotlight Award at VIFF
Homesick, in which the lead char-
the film “to prove to myself that I
for Aftermath:
for the first time.
three years ago. “When they sent
acter comes home early from an
could make something outside of
“On some shows, the camera is
me the Marrying script and asked
overseas internship to find that her
the safe structure of film school and
always moving. Even when the shot
me to direct it, I jumped at the
sublettor has taken over not only
to experiment directing in another
is static there’s a bumpy, handheld
chance to work with this great team
her room, but her life.
language.”
feel, I don’t think it really does any-
and many of the great cast that had
thing, it’s sort of like a white wash,
been a part of Leap,” says Benson.
and you get numb to it because it’s
In the film Jarvis “wanted to ex-
She adds, “I hope viewers recog-
plore the duplicitous nature of envy,
nize the distance and alienation
He explains that Vancouver “has
and also to present female charac-
people around them can feel from
such an amazingly talented pool of
ters who, though not conventionally
their history. For those born in
Maxi-
comedic actors, but we don’t actu-
likeable, are relatable.”
Canada with estranged families in
mas into the trailer with the cast of
ally shoot a lot of comedies here.
Jarvis is excited to premiere
different parts of the world, it can
five and numerous crewmembers
This film provides a showcase for
Homesick at VIFF because “they
be hard to define yourself or under-
has forced the crew to get creative.
these actors and I hope the audi-
hold a true commitment to foster-
stand where you came from”.
ence takes notice of all the talent in
ing emerging Canadian talent and
And Romvary is especially grate-
this hilarious ensemble.”
there’s something for everybody in
ful for screening at VIFF because
every short film program”.
“having a short screen at a festival
what they’re doing all the time.” Stuffing
both Artemis
“That’s one of the biggest challenges. It’s so tight… when that thing gets going, it’s summer, it’s hot, and
Up next for Benson is a comedic
everyone’s baking inside there. And
TV series that he and his actress
the Maxima has totally saved us
wife Julia Benson are pitching.
In addition to her career as an art
has incredible value to a filmmaker
director, Jarvis is also in develop-
just starting out. Once you have
ment on a stop motion film, among
been screened publicly, you qualify
other projects.
to apply for government grants to
in there,” says Joffin about the ma-
Another filmmaker and leading
chine’s wireless capability and small
actor who’s no stranger to VIFF is
size. “We put them inside the RV, and
Benjamin Ratner, whose latest short
Victoria-based Connor Gaston,
make more films. And it’s a won-
we’ll be following it with another van
Ganjy is screening. Ganjy is a hard-
who received the BC Emerging Film-
derful boost of confidence, to share
with operators spanning and tilting
hitting short about a former boxer
maker Award at VIFF last year for
your work with a community that
it, so that helps us as a space saver
suffering from demitia pugilistica
his feature The Devout, crosses over
really cares about cinema.” n
kind of thing. But it’s tight for sure.”
and what happens when his for-
the water this year with his short
Heche and Tupper agree.
mer-boxer friends try to come to his
The Cameraman, based on the 1994
Paul Armstrong is a film producer who
“We’re in each others faces a lot,”
aide—before it’s too late. As with his
novel of the same name by his fa-
also produces The Celluloid Social Club
says Heche. “Especially when ten
first feature, Moving Malcolm, Ratner
ther Bill Gaston.
and the Crazy8s Film Event.
crew members get in there.”
wrote, directed and stars.
Gaston adapted the novel into a
“It’s like, I’m not sure you show-
The impetaus to make the film
feature film script first, then carved
ered today, dude,” jokes Tupper, be-
goes back to 2009 when he and
out a short script through the Harold
fore getting serious. “My cousin once
Ganjy co-star Aleks Paunovic spent
Greenberg Fund’s Shorts-to-Features
told me that in a great relationship,
several hours with Muhammad Ali
Program. “The short stands alone,
adversity makes you stronger. In a
when he visited Vancouver. Just as
but it’s really just started out as a
poor relationship, adversity breaks
Ratner was finishing post this past
means to get to the larger version of
you up. In this crew, and this big
June, Ali passed away. “This made
the story,” says Gaston. He continues
family, the adversity is stuffing our-
the film even more resonant for all
to develop the feature version.
selves inside that trailer. And we’re
of us. But underneath it all, I think
In the story two young brothers
much stronger.” n
the impetus for making the film
must come to terms with the fact
REEL WEST FALL 2016
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25
FE AT U RE STO RY
The History of Documenting BC’s History for Over Fifty Years THE EXPLOSIVE CAREER OF WIM ROOZEBOOM BY DRE W TAPLE Y
“I
’ve made over a hundred
in the southern hemisphere, on a
films,” veteran documentary
series called The Challenging Seas,
filmmaker Wim Roozeboom
which covered the shrimp industry
told me a few weeks after his
in the strait between New Guinea
95th birthday.
and Australia. The other film I did
For almost fifty years, Henrik Wil-
exposed the unconscionable hu-
lem Bakhaus Roozeboom, or Bill
man destruction of the Great Bar-
Roozeboom as he is known in his
rier Reef."
film credits, made documentary
Roozeboom chose to focus his at-
films in some of the most extreme
tention on environmental subject
climates and locations on Earth. His
matter, which often meant putting
first big contract was in the wilder-
his health and even his life at risk. The Ripple Rock explosion in the
ness of Canada’s Yukon Territory. “That first film was Take Four Gi-
Seymour Narrows channel in Brit-
ant Steps, made to document the
ish Columbia on April 5, 1958, was
oil exploration efforts in the Yukon.
the largest non-nuclear peacetime
It won best picture of the year in
explosion up to that time. It was
its category at the Canadian Film
the biggest project Canada’s De-
Awards in 1961,” he said. “I was the crew—me, period – and when the
partment of Public Works had ever undertaken and it hired engineering
WIM ROOZEBOOM in the editing room.
geologist Victor Dolmage to run it.
temperatures dropped to minus 35
A documentary was subsequently
degrees Celsius I could only work portunities.
commissioned on the preparation,
for ten minutes before having to
film shatters and leaves a bunch of
put the camera under my clothes to
chips at the bottom of your camera.
He went from the arctic cold to
testing, and the big bang itself. Roo-
keep it warm. I spent four months
I stripped my camera and cleaned
the tropical heat of the Australian
zeboom was hired as a cameramen.
up there to shoot it. That was an
off the oil with solvent so that it was
desert on a subsequent film as-
Roozeboom says he was the clos-
experience. I had never worked at
running metal to metal. But even
signment to Coober Pedy, where
est person to the blast, in a small
minus 56 before," said Roozeboom.
then, it would still seize up.”
the above-ground temperature can
bunker cut into the rock face of
reach 50°C.
Quadra Island. He failed to get the
“Using a camera at minus 50 gives
The success of Take Four Giant
you about two minutes before it
Steps helped jumpstart his career
“I contributed a lot of film foot-
shot he wanted from there, but
is frozen solid… When it’s frozen,
and opened up a stack of work op-
age for two half-hour movies made
managed to capture it via a remote
26
REEL WEST FALL 2016
“Fresh, authentic, and experiential, this book is an asset to every filmmaker who wants to make media that matters.” —Patricia Aufderheide, Professor, American University and founder of the Center for Media & Social Impact “Not all docs can or should ignite social impact, but a good many do. Friesen provides the essential research, roadmap and tools for this transformative and exciting new space. A compelling read.” —Chris McDonald, President, Hot Docs “A new metaphor for looking at the relationship between Story, Money (funding), and Impact. This book is a valuable resource with many concrete stories of real projects.” —Gordon Quinn, Kartemquin Films (Hoop Dreams, Life Itself, Stevie)
“BILL” ROOZEBOOM, shooting in the Arctic.
camera he had set up a mile down projects,” said Roozeboom. “I also —Ross McMillan, President & CEO Tides Canada
STORY MONEY IMPACT Scissor lifts | Straight mast & telescoping forklifts
Personnel lifts | Telescoping & articulating boom lifts
FUNDING MEDIA FOR SOCIAL CHANGE
Temporary heat & power | On-site diesel delivery
Proud members of MPPIA | 24 hour service
604.945.5004 | WesternOne.ca
“This is a remarkable book. Tracey Friesen deftly guides a meditation on the transformative influence that film can play in steering and affirming positive change in the world, and on the financial support and narrative grounding requisite to this shift.” —Ross McMillan, President & CEO Tides Canada
that matters.”
• Twenty-one stories from people behind suchAmerican powerfulUniversity works as and CITIZENFOUR, The Corporation, Aufderheide, founder of the Center for Media & Social cause they were desperate to fill the He notes how—Patricia it was hisProfessor, most Virunga, Being Caribou, Age of Stupid, and Food Inc. Impact •
Six key story ingredients for creating compelling content.
• • •
research,goals roadmap and tools this transformative Six impact outcome to further yourforreach. —Chris McDonald, President, Docs Seven practical worksheets for your own Hot projects. “Not all docs can or should ignite social impact, but a good many do. Friesen provides the essential A companion website located at www.routledge.com/cw/friesen containing research, roadmap andup-to-date tools for this transformative and exciting new space. A compelling read.” “Athose new metaphor at the relationship between Story, Money (funding), —Chris McDonald, President, Hot Docs and Impact. This information for seeking for thelooking tools and inspiration to use media for social change.
“Fresh, authentic, and experiential, this book is an asset to every filmmaker who wants to make media that matters.” —Patricia Aufderheide, Professor, American University and founder of the Center for Media & Social and exciting new space. A compelling read.” Impact
hours. I worked from one film to the challenging film,money for several rea• Six possible yoursocial work. “Not allsources docs canfor orfinancing should ignite impact, but a good many do. Friesen provides the essential next and seemed to be busy every
TRACEY FRIESEN
sons.
AERIAL LIFT & MATERIAL HANDLING SPECIALISTS:
a five-and-a-halfday. In those days, the budget for a “We were in book is a valuable resource with many concrete stories of real projects.”
“A new metaphor for looking at the relationship between Story, Money (funding), and Impact. This
—Gordon Quinn, Kartemquin Films (Hoop Dreams, Life Stevie) book Itself, is a valuable resource with many concrete stories of real projects.”
Tracey Friesen is a media strategist, committed to supporting storytellers and social innovators in foot diameter tunnel and I was six half-hour film was maybe $25,000.” the creation of impactful content. Formerly an Executive Producer at the National Film Board of —Gordon Quinn, Kartemquin Films (Hoop Dreams, Life Itself, Stevie)
Story Money Impact: Funding Media for Social Change by Tracey Friesen is a practical guide for
Story Money Impact: Funding Media Social local Change by Tracey Friesen is a practical guide for Canada, Friesen ismedia-makers, now Directorfunders, of Programming forwho Roundhouse Radio 98.3 Vancouver, a for hyper and activists share the common goal of creating an impact with theirgoal of creating an impact with their media-makers, funders, and activists who share the common commercial station withToday, a community focus. Today, social-issues storytellers are sharpening their craft, while funders with finite resources work. social-issues storytellers are sharpeningwork. their craft, while funders with finite resources
foot one at that time. Our lights had
He produced a film for a group of
on reach, and strategic innovators bring more robust evaluation tools. Friesen illuminates focus on reach, and strategic innovators bring more focus robust evaluation tools. Friesen illuminates the spark at the core of these three pursuits. Structured around stories from the front lines, Story
500-watt bulbs, and ifat the one drop ofpursuits.lawyers who suing a medical the spark core of these three Structured around stories were from the front lines, Story
Money Impact reveals best practices in the areas of documentary, digital content, and independent
journalism. digital content, and independent DOCUMENTARY Money Impact reveals best practices in the areas of documentary,
journalism. Coverthem images: © they Thinkstockwould burst. water hit
company in the thalidomide case.“I
you will find: It was miserable Here down there. But it
did the film for them to take into
•
Here you will find: • •
Twenty-one stories from people behind such powerful works as CITIZENFOUR, The Corporation, Virunga, Being Caribou, Age of Stupid, and Food Inc. Six key story ingredients for creating compelling content.
court and plead their case. And they
sound with the explosion because
won.”
the water muffled the boom to a rumble.”
Despite a prolific and formidable
career as a filmmaker, Roozeboom
DOCUMENTARY Tracey Friesen is a media strategist, committed to supporting storytellers and social innovators in Cover images: © Thinkstock the creation of impactful content. Formerly an Executive Producer at the National Film Board of Canada, Friesen is now Director of Programming for Roundhouse Radio 98.3 Vancouver, a hyper local commercial station with a community focus.
The explosion was televised live
has no formal training. His entry
on CBC as more than 635,000 tonnes
into the world of documentary film-
of rock and water was thrown 300
making came about simply because 9 781138 859975
metres skyward.
he wanted it to. But even before
DOCUMENTARY Cover images: © Thinkstock
www.storymoneyimpact.com
www.routledge.com/focalpress
STORY MONEY IMPACT FUNDING MEDIA FOR SOCIAL CHANGE STORY MONEY IMPACT FUNDING MEDIA FORFriesen SOCIAL CHANGE by Tracey
A practical guide for media-makers, funders and activists who share the common goal of creating a social impact with their work TRACEY FRIESEN
was an adventure. There was little
TRACEY FRIESEN
• Six possible sources for financing yourCorporation, work. Twenty-one stories from people behind such powerful worksmoney as CITIZENFOUR, The • Six impact outcome goals to further your reach. www.storymoneyimpact.com Virunga, Being Caribou, Age of Stupid, and Food Inc. ISBN 978-1-138-85997-5 • Seven practical worksheets for your own projects. • Six key story ingredients for creating compelling• content. A companion website located at www.routledge.com/cw/friesen containing up-to-date • Six possible money sources for financing your work.information for those seeking the tools and inspiration to use media for social change. www.routledge.com/focalpress • Six impact outcome goals to further your reach.Tracey Friesen is a media strategist, committed to supporting storytellers and social innovators in www.routledge.com/cw/friesen • Seven practical worksheets for your own projects. the creation of impactful content. Formerly an Executive Producer at the National Film Board of Routledge titles are available as eBook editions in a range of digital formats 781138 859975 Canada, Friesen9 is now Director of Programming for Roundhouse Radio 98.3 Vancouver, a hyper local • A companion website located at www.routledge.com/cw/friesen containing up-to-date A commercial station with a community focus. information for those seeking the tools and inspiration to use media for social change.
STORY MONEY IMPACT
Here you will find: the channel. did a lot offilmmaker work for tothe CBC be“Fresh, authentic, and experiential, this book is an asset to every who wants make media
f o r m o r e t h a n 20 y e a r s
STORY MONEY IMPACT
Story Money Impact: Funding Media for Social Change by Tracey Friesen is a practical guide for media-makers, funders, and activists who share the common goal of creating an impact with their work. Today, social-issues storytellers are sharpening their craft, while funders with finite resources focus on reach, and strategic innovators bring more robust evaluation tools. Friesen illuminates “This a remarkable book. Tracey Friesenaround deftly guides meditation on the transformative influence the spark at the core ofisthese three pursuits. Structured storiesa from the front lines, Story that film can play in steering and affirming positive change the world, and on the financial support Money Impact reveals best practices in the areas of documentary, digitalincontent, and independent and narrative grounding requisite to this shift.” journalism.
THE SCENES
STORY MONEY IMPACT
“This is a remarkable book. Tracey Friesen deftly guides a meditation on the transformative influence that film can play in steering and affirming positive change in the world, and on the financial support and narrative grounding requisite to this shift.” —Ross McMillan, President & CEO Tides Canada
Focal Press Book
www.storymoneyimpact.com TRACEY FRIESEN
ISBN 978-1-138-85997-5
www.routledge.com/cw/friesen
Routledge titles are available as eBook editions in a range of digital formats
A Focal Press Book
TRACEY FRIESEN
www.storymoneyimpact.com he started on this career path, his Roozeboom worked with his wife ISBN 978-1-138-85997-5 www.routledge.com/focalpress Marguerite, a commercial artist and
young life prior to this was a worwww.routledge.com/cw/friesen
Join Reel West Magazine’s Digitally Yours columnist A Focal Press Book TRACEY FRIESEN Erica Hargreave for her online course in cross-media strategy and storytelling at BCIT.
titles are available as eBook editions in a range of digital formats 781138 859975 thy subject for a 9documentary in its film animator onRoutledge the majority of
had children because they were not at home often enough.
own right. Born in Holland, Willem or ‘Wim’ as he now prefers to be called, im-
They did a lot of engineering
migrated to Alberta with his par-
films for the governments of Cana-
ents at the age of five. He moved to
da and British Columbia—particu-
Vancouver during the Great Depres-
larly hydro projects.
sion and joined the Air Force at the
“I think we probably did ten or
age of 21, serving as a fighter pilot
fifteen films just on the BC hydro
during the Second World War. On
REEL WEST FALL 2016
BCST 1073: Photo: Liz KearsLey
films he made and says they never
Building & Engaging Communities Social Media Storytelling
BCST 1193:
#StoryToGo @AhimsaMedia
bcit.ca | storytogo.ca 27
August 1, 1945, two weeks before
telephone department was putting
the end of the Pacific War, he was
in a line across the province, site to
shot down off the northern coast of
site, I was on top of a derrick, film-
New Guinea.
ing another beam coming in, three
“I had to ditch my plane in the
hundred feet up in a strong wind,
ocean. As I hit the water, I was
standing on the edge of a foot-wide
thrown forward and smashed my
beam.”
head on the gun sight. It scalped me
Roozeboom imagines how much
to the bone. I climbed into my sur-
easier it would be to be a filmmaker
vival dingy with a large flap of skin
now and work with digital equip-
hanging over my right eye.”
ment and drones, especially in the
He heard news of the atom bomb
frigid conditions of the High Arctic.
while recovering in a hospital in
Today, at the age 95, he says he can’t
Sydney, Australia, and knew im-
stop working because “an idle mind
mediately that the war was over.
is a small mind, and I can’t be a
Afterwards, he returned to Canada
small mind. I’ve got too much in it.”
to help his dad run his struggling poultry and agriculture business. “It was completely and utterly
his lifelong passion for storytelling
bankrupt. Forty thousand dollars in
through authoring books. His au-
the hole in 1945 is like half a mil-
tobiography, Through My Viewfinder,
lion dollars today,” Roozeboom said.
was published in 2011 and recounts
“It took me seven years to dig it out
his fond memories of the indig-
of debt and two weeks after I sold it
enous peoples of the world. His sec-
I was hired as a staff photographer
ond book, The Camera and the Brush,
at Parry Films Ltd. That’s where it
published the following year, details
all starts. I had never before been
the many worldwide expeditions he
in the movie business. I got some
embarked on with Marguerite.
books, started to read and shot some film.”
What’s up in Canadian television
www.tv-eh.com /CanadianTV @tv_eh
TV, eh? covers news, reviews and interviews about Canadian television shows, with the odd foray into the odd industry that produces them.
Providing a comprehensive overview of national and provincial funding bodies and engaging stories and words of wisdom by seasoned producers.
At Pacifica Retirement Residence in Surrey, BC, Roozeboom continues
“I’ve met some great people. I once sat next to Pierre Trudeau. I
Books weren’t enough.
also did a couple of trans-Canada
“You have to have an instinct to
royal tours and that went straight
be a filmmaker and learn to tell
to the TV stations. By the time her
the story,” said Roozeboom. “I did a
Majesty the Queen of England ar-
half-hour film on clouds because I
rived in Newfoundland or Vancou-
had studied clouds in the Air Force.
ver, my camera had been under her
I developed stories and told stories.
nose for two weeks. We got quite
If a crane was moving something,
familiar with one another and often
I could anticipate where they were
had a little chat if we got a moment
going to pick it up, where they were
of downtime.”
going to put it down, and how they
Despite all his accomplishments,
were going to maneuver it. I could
no one has yet written a book about
see it in my head, and always ar-
him. This doesn’t stop him from
rived at the spot where they would
writing about other people though.
end the sequence.”
He recently penned and published
An oil exploration consortium
a book of memoirs on fellow resi-
was drilling a test well a hundred
dents at Pacifica Retirement Resi-
miles south of the Arctic Ocean,
dence entitled Welcome to Walkerville
and they contracted Roozeboom to
and he has already started work on
make a documentary about it. The
a sequel.
expedition was the first major in-
“The book I am writing now is
vestigation into oil and gas poten-
called The Sunset Years and includes
tial along the entire North Ameri-
the story of a 90-year-old former
can continental Arctic coast. For the
fighter pilot in the German Luft-
next four months he travelled by
waffe who was also shot down.
plane, train, boat, helicopter, truck,
When two pilots meet, the conver-
snowmobile, tundra vehicle, dog
sation always progresses to aircraft,
sled, and snowshoes—in blinding
and we both claim our plane was
snowstorms and whiteouts.
the better one.” n
This sort of experience became
Order your copy today!
his new normal and paved the way
604.451.7335
for dozens of films working as a
info@reelwest.com 28
construction cinematographer. “When the Alberta government
REEL WEST FALL 2016
DIG ITALLY YO U RS
Snapchat: Disruptor of Traditional and Social Media? Should We Care? BY ER ICA HA R GR EAVE
I
’ll admit it—initially, I did not
which allowed users to make their
ing with different lenses and snap-
you’ve watched it once, it provides
care about Snapchat. In its early
snaps viewable over a 24-hour pe-
ping Snapchat selfies with the cast.
a great platform for sharing teasers
days, it was known as the sex-
riod with all their friends or even
In asking friends who are avid
during filming, and now (thanks to
ting app—mainly because the text
with everyone on Snapchat. Then in
Snapchatters what appeals to them,
the addition of the ‘Memories’ fea-
and drawing editable photo and
2015, Snapchat released two major
here is what I was told:
ture) previously shot content can
video messages disappeared after
game changers. The first was the
“It’s storytelling for the sake
be shared leading up to broadcast
viewing them. Call me a prude, but
addition of Discover—Snapchat’s
of storytelling. It’s more real, not
of your web series, TV series or film.
the idea of someone sending me
version of broadcasters with broad-
making photos look perfect like on
As cast and crew are already en-
homemade porn was far from ap-
cast partners like MTV, National
Instagram, or composing happy
tertaining themselves with Snap-
pealing. And in the event that the
Geographic, Comedy Central, Food
looking or possibly staged shots for
chat in their downtime on set, it
guy wanted to send me flirtatious
Network, and VICE; magazines like
Facebook. Its nature is more play-
could be a great way to engage fans
messages, my romantic side would
Cosmopolitan and People; and digital
ful,” says Digital Storyteller Lori
more organically from set with be-
question why I’d want to use an app
media sources like BuzzFeed and
Yearwood.
hind the scenes fun from the cast
in which our playful banter disap-
Mashable, all hosting their own
peared.
Snapchat broadcast channel.
So why then am I now brain-
These broadcast partners provide
storming ways of using Snapchat on
content and even mini-series that
our future projects and experiment-
people can only watch on Snap-
ARG strategist Steve Peters says,
and
crew,
purposefully
sharing
“I love the ephemerality of every-
some hints and rumours from film-
thing.”
ing.
So what does this mean in terms of your productions and projects?
Thanks to the temporary nature of the content it restricts the
ing with different forms of storytell-
spread of spoilers—which so many
ing content on it?
productions worry about with cast
Well, in case you hadn’t heard, Snapchat has become mainstream. The same reason Snapchat became popular as a sexting app has also made it popular with teens experimenting with social media, and provides parents with a safer environment for their teens and preteens to ease into social sharing. Because
Audiences expect what they find on Snapchat to be raw and unscripted... it feels more real.
the pictures and videos disappear,
and crew content shared on other social media platforms. I can also see it being used for creating extra features that compliment a web series, TV series or film, but which are not a direct part of the production— mini-web series on the periphery, with a rawer, more reality based feel. These should be something viewers can only get on Snapchat.
what you share in the moment re-
It also holds potential as a great
mains in the moment, and is not
chat. Interestingly enough, the fact
How can Snapchat be used in
platform for creating and releasing
something you have to worry about
that viewers can only watch the
your web series, TV series or film
gaming or contest related content—
other people interpreting later in
content once—much like old-time
endeavours? According to Market-
in which fleeting clues are released
life or discovering elsewhere on the
television, is why Snapchat users
ing Strategist and writer Abda-
daily, encouraging the community
web. Also refreshingly, it’s an app
are tuning in daily, so as to avoid
raouf Zouai, “Fans adore behind the
to view daily, before the clue disap-
with no competition for likes or fol-
the ever scary millennial FOMO
scenes, teasers and sneak peaks.
pears forever.
lowers.
(Fear Of Missing Out). Snapchat’s
Always leave them wanting more!”
Whichever way you decide to use
Why should we care about any
second big move in 2015 was the
While Peters is “interested in it
Snapchat, the key is to have fun, as
of this? Well, because Snapchat has
release of lenses that turned self-
from a storytelling perspective, if it’s
that is ultimately what Snapchat
become THE platform for connect-
ies into selfie pooches, bumblebees,
used organically within a fiction.”
is all about! We’d love to hear how
ing with teens and millennials—
made you spew rainbow vomit, and
Ultimately, I think the key is div-
you are using Snapchat on your
even more so than Instagram. Cur-
the like. Admittedly, this is when I
ing in and having fun playing with it.
projects. Tweet us about it at @Reel-
rently, it’s the fastest growing social
started paying more attention to
Audiences expect what they find on
WestMag! n
network of millennials.
Snapchat as my colleagues started
Snapchat to be raw and unscripted.
What caused this increase in
sharing crazy fun Snapchat selfies
In fact, that is part of what they like
Erica Hargreave gets her kicks out of
popularity? A few things. First
and I watched the hair, makeup and
about Snapchat—it feels more real.
weaving stories across platforms, and
was the release of ‘stories’ in 2013,
wardrobe team on set experiment-
And as the content disappears after
teaching at BCIT.
REEL WEST FALL 2016
29
T H E W INDOW
Chasing Great White Whales and Documentaries BY MA R K LEIR EN -YOU N G
H
ow long have you been
But I kept chasing him and, fi-
working on this?
nally, three years ago, Newman
For a writer—or a film-
allowed me to film him. My Green
maker—this always feels like a trick
Chain producer, Tony Wosk, offered
question.
to find some money for me to hire
In 1996, I interviewed Sea Shep-
veteran camera crews. We filmed
herd founder and proud eco-pirate
Newman and some of the other
Paul Watson about whales in cap-
players from the era. I finally had
tivity and he told me the story of
the story on film.
the Vancouver Aquarium’s acciden-
came out and we realized we’d just
tal capture of Moby Doll—the first
shot the prequel.
Then Blackfish
orca ever displayed to the public.
A friend and I started editing and
The plan was to kill a killer whale—
that’s when I learned that all that
because everyone knew they were
amazing historical footage in the
too dangerous to capture—and use
CBC and NFB archives costs a lot of
the corpse as the model for a life-
money if you want to include it in a
sized sculpture that would be dis-
movie. So I had the interviews, but
played in the aquarium’s foyer. The
we still needed money to bring the
harpooner missed and accidentally
story to the screen.
hooked the whale instead of killing
We’ve had lots of close calls,
it. The aquarium decided to save
we’re waiting to hear from several
the whale, named it Moby Doll, and
funding agencies and we keep flirt-
the world would never be the same.
ing
with
Indiegogo.
Meanwhile,
After meeting the man who
while we’ve been waiting, I wrote a
launched the expedition, Dr. Mur-
book about Moby… The Killer Whale
ray Newman, I knew that some-
Who Changed the World… published
one needed to film his story while
by Greystone with the David Suzuki
he was still entertaining and lucid.
Institute.
At the time Newman was a young
How long will it take to bring the
sprite of 72. I wasn’t going to film him. I was a journalist and playwright and had
story to a theatre near you? No idea. The Killer Whale Who Changed the World is available to purchase from www.greystonebooks.com
I’ve been chasing this whale tale for a lot longer than crazy captain
no clue how to make a documen-
ed my first feature, The Green Chain,
the wind was blowing and wasn’t
Ahab chased Moby Dick, work-
tary. But I kept telling other people
I realized I could hire someone with
interested in spending his remain-
ing with no budget, with a team
a camera and film Newman. He still
ing years being vilified for launch-
of friends volunteering to turn this
had a better memory than I do. I ar-
ing the captivity era.
into a movie. Apparently this makes
this story had to be told and some of them suggested I learn how to direct a doc. But this was the era of
ranged to hire a cameraman on my
I said my main interest wasn’t
Free Willy and the story of an orca in
own nickel because I believed some-
captivity; it was the shift in global
One day, hopefully at VIFF 2017,
captivity captivated several produc-
body had to get his story on film.
attitudes. I wanted to show how this
I’ll have a documentary to share
event helped humans fall in love
with you.
tion companies, but no broadcasters or funding agents. Over a decade later, after I direct-
30
Just before we were set to shoot, Newman decided he didn’t want to be interviewed. He knew the way
with whales. He wasn’t sold.
me a documentary filmmaker.
In the meantime, I hope you’ll check out the book. n
REEL WEST FALL 2016
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