Reel West Magazine Spring 2016 by Ron Harvey

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 SUMMER 2016

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Summer 2016

JESSICA and CYNDE HARMON analyzing the local media scene on the couch. PHOTO BY PHIL CHIN

THE CHALLENGES OF A CASTING DIRECTOR

How Michelle Allen helped find the perfect performers for The Revenant.

4 ANGLE ON MARK LEIREN-YOUNG

SPARKING MEDIA THAT MATTERS

LEGAL BRIEFS HEATHER WATT

n excerpt from the new book STORY MONEY IMPACT: Funding Media for Social Change. A By Tracey Friesen

WESTERN TV, EH? DIANE WILD

THE FIRST FAMILY OF THE LEO AWARDS

The Harmons find family — and create it — on every set. By Mark Leiren-Young

ANIMAL LOGIC FLIES

An Australian company migrates to BC. By Nathan Caddell

THUNDERBIRD’S TICKET TO RIDE

Producers get animated about a new toon featuring classic Beatles tunes. By Nathan Caddell

A RIVER RUNS THROUGH

Petie Chlifoux shares the personal tragedy that inspired her debut feature.

23 INDIE SCENE PAUL ARMSTRONG 29 DIGITALLY YOURS ERICA HARGREAVE 30 THE WINDOW MARK LEIREN-YOUNG

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ON THE COVER: THE HARMON FAMILY. 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

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SALES: RANDY HOLMES, ADAM CADDELL CREATIVE DIRECTOR: ANDREW VON ROSEN. ART DIRECTOR: LINDSEY ATAYA. PHOTO EDITOR: PHILLIP CHIN. CONTRIBUTORS (EDITORIAL): PAUL ARMSTRONG, NATHAN CADDELL, ERICA HARGREAVE, HEATHER WATT, DIANE WILD. COPY 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 2. 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 SUMMER 2016

ANG LE O N

Reel West’s Longtime Photog Shoots for the Stars PHILLIP CHIN’S CLASSIC PHOTOS CAPTURE NATIONAL MAGAZINE AWARD NOMINATION BY MA R K LEIR EN -YOU N G

s soon as Phillip

Fall 2015

$5.00

nomination. The nomination in

Chin started talk-

the category of Portrait Photog-

ing about his plans

raphy put Phillip up against the top photogs at Canadian Art, Flare,

for our fall 2015 cover I knew he

Film, TV, online and digiTal ProducTion in WesTern canada

was going to deliver something

Globe Style Advisor, Toronto Life, The Walrus, S/ magazine and Vancouver

special. Our idea was to feature

Magazine - and the team at Reel

one of Canada’s most protean ac-

West couldn’t be happier for him.

tors, Michael Eklund, and some

Phillip shot his wet plate series

of the make-up artists who have

on a Deardorff 8x10 wooden cam-

helped

himself.

era from the 1950s and used the

Eklund was starring in Eadweard,

same photography process Muy-

playing the title role in the made-

bridge used. Phillip first started

in-Vancouver movie about Ameri-

experimenting

can filmmaking pioneer Eadweard

work for fun about four years

him

reinvent

viff ‘15

Muybridge. What I love about working with Reel West’s editorial ironman is that even after more than twenty years with the magazine he’s always looking to do something unique to showcase the spirit of his subjects. Phillip was so in-

Eadweard Charlotte’s Song Haida Gwaii Rock the box

the origins of Eadweard that, in addition to the digital image he took for our cover, he used a vintage camera and a truly antique approach

images—the

processing same

other

technique

Canadian Mail PubliCation SaleS agreeMent nuMber: 40006834

spired by the idea of honouring

wet

plate

ago.“For me it is going old school where photography was an art. Each image is unique. You have to work on each image, think of each detail.” Hair stylist, Wendy Keown (one of our cover models) described the shoot as, “the coolest thing ever. To see somebody actually using that camera and the process - this was crazy, next level stuff.” I’m delighted that the National Magazine

T h e M a n y Fa c e s o F M i c h a e l e k l u n d a n d The Many arTisTs Who help TransForM hiM

with

Awards

nominating

committee agreed. I’m also delighted that this issue features Phillip’s exceptional photos of the

Muybridge used to process his Phil’s award-nominated photos were featured in the Fall 2015 issue of Reel West.

Harmon family.

ultimately up to our art director,

online at our site on Issuu.com.

response from the National Maga-

amazing photos for Reel West and,

Lindsey Ataya, to select her faves.

The reader response to the images

zine Awards jurors that honoured

as always, I’m looking forward to

You can still see the entire issue

was phenomenal - and so was the

Reel West with our first ever NMA

seeing the next ones. n

photos. Phillip delivered a series

Thank you Phillip, for all your

of stunning photos and it was

REEL WEST SUMMER 2016

PHOTO BY MAGGI WOO

REEL WEST SUMMER 2016

O PE NING RE E L

Michelle Allen Reviews The Revenant’s Casting Coups The Revenant was renowned as a project that tested the limits of everyone involved and the casting process of the Oscar darling was no exception. Michelle Allen was hired to handle Canadian casting for director Alejandro G. Iñárritu’s epic and part of her job was finding North America’s finest First Nations talent to bring the old west to life. Allen launched her first background casting company in Vancouver in 1983. For the last 30 years she has been finding the right faces for some of the biggest projects in BC beginning with The Accused in 1986. Since then her favorite credits have included casting Watchmen, Man of Steel, Fringe, Dead Like Me, The Twilight Zone and 21 Jump Street. A member of the Casting Society of America, a professional organization of accredited Casting Directors in North America, Allen received a 2009-2010 Casting Society of America Artios Award for Outstanding Achievement in Television Pilot Casting for helping to assemble one of the finest casts of any show of the last decade — the CBS hit The Good Wife. Allen shared the story of finding the First Nations performers for The Revenant with Reel West.

e started with the most conventional method of cast-

tage, and their present circumstances. Then I respectfully asked each per-

ing by sending a breakdown to talent agents across

son if they’d be willing to answer a very specific question. In that moment,

Canada with a brief description of the characters we

for those who were willing to open up (most were), I was able to access the

were seeking. Agents representing First Nations per-

unique and raw essential nature – the soul - of each person. It was about

formers made electronic submissions and we com-

gaining access to who they were as human beings, so to speak.

menced with auditions in Vancouver while performers from other parts of Canada were asked to submit self-tapes.

At the request of executives, my associate Emma Day and I later traveled to Alberta to attend auditions for local First Nations candidates set up by

During the process, we discovered that Alejandro was most focused on

extras casting representative, Alyson Lockwood. We used the same process

First Nations people who looked and felt believably old-world – not contem-

there, and selected a number of candidates for presentation to Alejandro

porary or modern. Acting experience was secondary to authenticity both in

and executives, several of whom they met, auditioned, and approved for

personal tone and appearance.

roles in the film.

We weren’t authorized by executives to use any scripted material for

Of most concern was the role of Powaqa – the Arikara Female Warrior.

First Nations roles, so we put together a summary for each role with details

Rene Haynes (an American CSA member who specializes in First Nations

about the events, other characters, and emotional content of the scene.

casting) had been looking all across the US and Canada for months - but

Another component of the audition was a video-taped interview with

we were still collectively looking for someone that Alejandro and the execu-

each potential candidate. We talked about their ancestral and cultural heri-

tives would be satisfied with. Production flew one female actress that Ale-

REEL WEST SUMMER 2016

“Over 100 First Nations women showed up to apply for the role...”

jandro liked in from BC. She went through a series of hair, makeup and wardrobe tests, but ultimately, Alejandro decided that she wasn’t the best visual fit with the rest of the Arikara ensemble, which was evolving from moment to moment. Following that test, Alejandro asked if we could look up North for Powaqa. We were running out of time so chose to target Yellowknife, NWT, which has an active film commission. We knew that portions of the TV series Arctic Air had been

eled her and her infant son to Cal-

shot there, so there was an infra-

gary to meet with me, and subse-

In Canada, First Nations com-

ideas and instructions as to what

structure in place that we could ac-

quently with the hair, makeup and

munities are very spread out. In

the content should be. The best

cess quickly. Within a week, Emma

wardrobe deptartments on set. Two

order to access families from far-

candidates for the role were those

and Andrea Brown (BC Extras Cast-

days later Alejandro and the execu-

flung areas, I made contact with

boys who were emotionally acces-

ing) set up and held an open call.

tives approved Melaw to play the

the executive director of the Ab-

sible. We compiled a video link for

The word got out quickly, not only

role of Powaqa.

original Friendship Centre Society.

Alejandro with candidates from

tial candidates from there.

Guardians to self-tape them with

through the film commission and

Early in 2015 we were asked to

We sent her a flyer with the perti-

Alyson Lockwood and the best self-

word of mouth, but via radio in-

seek candidates for two additional

nent details about what we were

tapes from across Canada. Of those,

terviews. Over 100 First Nations

First Nations roles: Glass’ Wife and

looking for along with an invitation

Alejandro chose one boy from a re-

women showed up to apply for the

Young Hawk. Alejandro chose an

for First Nations families to apply

mote community in Northern BC,

role. Of those, twelve were selected

actress from BC to play Glass’ Wife

to a dedicated email address. She

and one boy in Alberta. Both boys

and asked to come back for tap-

(Grace Dove) – but we had yet to

sent it out through her network.

were flown to set for testing. Ulti-

ing the following day. We reviewed

mount a far-reaching search to find

We got over 200 applications from

mately, and months later, it was

the tape back in Alberta and chose

a young version of Forrest Good-

across Canada. We went through

Isaiah

three women for video presentation

luck (lead version of Hawk). Andrea

the photos and selected a number

who landed the role.

to Alejandro. He chose one woman,

Brown and I attended a powow in

of boys who resembled a younger

It was a challenging, exciting, and

Melaw Nekehk’o. Production trav-

Vancouver and chose some poten-

version of Forrest and asked their

extraordinary experience! Magical. n

Tootosis

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The Art of Raw REEL WEST SUMMER 2016

LE G AL B RIE FS

Working Safely with WorkSafe BC on Loanout Companies BY HEATHER WATT

n important consideration

Following a 2012 decision of the

rated. Therefore, to avoid confusion

producers who hire them, may con-

when hiring cast and crew

BC Workers’ Compensation Appeal

around whether a loanout will be

sider registering with WorkSafeBC

on a film or television pro-

Tribunal (“WCAT”) finding that an

considered a personal service cor-

to ensure coverage, or to confirm

duction in BC is whether the indi-

actor, Gabrielle Carteris, who pro-

poration or an independent firm, it

that it is not necessary to register if

vidual members of such cast and

vided her services on a production

is highly recommended that indi-

the production in question has ex-

crew will be included under the

through a loanout was not a worker,

viduals planning to provide services

tended coverage.

production’s WorkSafeBC coverage.

WorkSafeBC put out a call for feed-

to a production company through

Extended coverage was Work-

Generally speaking, individuals who

back in order to address concerns

a loanout confirm the loanout’s

SafeBC’s answer to the concerns that

contract directly with a production

regarding workers’ compensation

status with WorkSafeBC. It is also

arose following the WCAT decision.

company will be considered “work-

coverage for individuals working in

highly recommended that produc-

Extended coverage is optional cover-

ers” (as that term is defined under

the film and television industry. This

tion companies obtain proof of cast

age that is available to productions

the British Columbia Workers Com-

call for feedback noted that, prior

and crew members’ loanout regis-

that engage unionized workers; in

pensation Act, and therefore includ-

to the WCAT decision, the under-

tration with WorkSafeBC (by way of

other words, productions that have

ed under the production company’s

standing in the industry was that a

a clearance letter), or alternatively,

signed a collective agreement with

WorkSafeBC coverage, subject to an

production company’s WorkSafeBC

proof that the loanout is deemed to

an applicable union or guild. Extend-

exception for “independent opera-

coverage extended to all individuals

be a worker and therefore included

ed coverage includes individuals en-

tors” that will be discussed below).

working on a production, including

under the production company’s

gaged by the production company

Things may become complicated

those providing services through lo-

WorkSafeBC coverage (by way of an

through loanouts, and independent

when it comes to individuals who

anouts, if the production company

exemption letter).

operators that are not already reg-

provide their services by way of a

paid workers’ compensation premi-

Another issue that complicates

istered with WorkSafeBC. However,

personal service corporation, com-

ums for those individuals. However,

matters is that of “independent op-

extended coverage is not available to

monly known in the entertainment

the WCAT decision determined that

erators” (as more fully set out under

non-union productions.

industry as a “loanout” company.

the relationship between the pro-

WorkSafeBC’s Assessment Manual

Incomplete workers’ compensa-

The BC workers’ compensation

duction company and the loanout

Practice Directive 1-1-3). These are

tion coverage can lead to serious

system is a no fault system, mean-

was that of a relationship between

individuals who, despite contract-

harm and liability, both for cast

ing that a worker injured in the

independent

than

ing with a production company

and crew, and the companies that

course of his or her employment is

an employment relationship, and

directly rather than through a lo-

employ them. Because of the vari-

compensated regardless of whether

therefore Carteris was not included

anout, will nonetheless be excluded

ety of factors involved in determin-

the worker or employer is at fault.

under the producer’s WorkSafeBC

from a production company’s Work-

ing which individuals engaged on

What this also means is that a

coverage.

SafeBC coverage. As communicated

a particular production will be in-

firms,

rather

worker injured in the course of his

WorkSafeBC’s Assessment Man-

by WorkSafeBC to the CMPA, inde-

cluded under the production com-

or her employment is prevented

ual states that although incor-

pendent operators are, practically

pany’s WorkSafeBC coverage, it is

from bringing a lawsuit against the

porated companies are generally

speaking,

television

always advisable to contact Work-

employer. Of course there are ex-

considered independent firms, a

stars: people who have established

SafeBC and obtain legal advice if

ceptions to the foregoing, but in a

common situation where this is not

a profile for starring and leading

there is any question about who

case where all parties involved in

the case is when the corporation is

roles, have influence over the cre-

will be covered. n

a workplace injury are part of the

a personal service corporation (i.e.

ative management of a produc-

workers’

system,

a loanout) where no worker other

tion, are recognized as marketable

Heather Watt, of Chandler Fogden Al-

compensation will be provided to

than a principal active sharehold-

commodities, and command public

dous, assists clients with all aspects of

the injured party without the need

er is employed, and which share-

interest. Individuals fitting this de-

entertainment law, including film and

to establish that another party was

holder would clearly be a worker

scription that do not provide ser-

television production, financing, and in-

at fault.

if the company was not incorpo-

vices through a loanout, and the

tellectual property issues.

compensation

REEL WEST SUMMER 2016

movie

and

B O O K E XCE RPT

Story Money Impact: Funding Media For Social Change BY T RACE Y FRIE S E N

Tracey Friesen has been making media that matters for over 25 years. The former executive producer at the National Film Board co-leads an annual four day conference called Media That Matters: Story Money Impact at Hollyhock on Cortes Island. We asked Friesen to share a chapter from her first book: STORY MONEY IMPACT: Funding Media for Social Change which was just released by Routledge / Focal Press. INTR O D UC T I ON : MY S PAR K

Making social issues content, with independent directors, with govern-

I’m not even sure of his name. But he is tall and rugged and somehow per-

ment money, has been a real privilege. I mean, really – I said ‘pinch me’ for

fectly fits the bill. Apparently he’s spent hours combing the Cortes Island

about two years after I got the job. But 10 years anywhere is a long time,

beach for just the right goodies – some rope, a small flat piece of driftwood,

and especially so in a publicly funded bureaucracy. I’ve had the chance to

dried seaweed (or some such fragile clump). The only item he brought to the

produce powerful films with talented filmmakers, and even on some beau-

enterprise was his single blade army knife.

tiful occasions, I’ve seen glimmers of how they’ve impacted lives. But they

After 20 minutes of crouching over the precious bundle, whittling and notching and spinning and gently blowing – oh, so gently – he straightens

could do so much more. Documentary film can spark real societal change. I know it.

his back to stretch and take a nourishing breath. Trying to coax fire out of

So does this group. We’re not simply naïve do-gooders, waiting for this

nature takes not only patience, but stamina. If it was me, I’d be flummoxed

swarthy dude to make magic in the campfire-ring. We’re international pro-

by the dozen pairs of eyes around the circle, watching intently, silent. He

ducers, and creators, and entrepreneurs, and we believe in the power of

seems quietly self-assured and leans forward again to resume.

media. We know that a compelling story, expertly told and financially sup-

I gaze up at these on-lookers. Of course any number of them may have

ported, can have impact.

a lighter in their pocket. But that’s not the point. Although this isn’t billed

His deft hand movements continue and then there’s a small puff of

as a summer camp for adults, it can sure feel like it. We’re at the Hollyhock

smoke at the centre of the bundle. Again he blows, slow and steady. I’m sur-

Leadership Institute for a conference called Media That Matters. It’s a rath-

prised to find I’m holding my breath and have one hand across my mouth.

er analog affair in a digital world. Facilitated sessions in circular wooden

In my mind I’m chanting ‘c’mon, c’mon, c’mon’, like my actual survival

buildings, deep conversations during forest walks, shared vegetarian meals,

might depend on this flame. It’s catches. There’s a spark! But we’re not out

and time spent in the solar-powered ocean-view hot tubs.

of the woods yet... He fans it, adds a small stick, and then another in Teepee

There are about 40 of us in total from across the US and Canada, and over

formation, and gives it more air. Finally a more substantial piece of drift-

the four days we talk for hours. Top of mind are new business models and

wood is gently placed on top and the small flames lick its sides and grow.

the current challenges of media financing. Most are documentary filmmak-

We have a fire! People burst into applause and hug each other. It’s like the

ers, wanting to make a difference in the world and they’re having a harder

climax of a powerful film. I’m actually fighting back tears.

time than ever finding money for their work. Hollyhock is meant to be a no-

Though I’ve enjoyed a number of bonfires on Cortes Island, something

pitch zone, so broadcasters and funders can come as peer participants, but

about the one that night tasted different. The songs were sweeter, the sto-

it generally evolves into a ‘slow-pitch’ zone. Attendees tend to be generous

rytelling more meaningful. Was that the night we saw the massive shooting

with their knowledge and networks.

star while splashing in the phosphorescence at the shore – or am I just

As part of my job with the National Film Board of Canada, I’ve been com-

getting carried away now?? But honestly, witnessing a man offering his in-

ing to this annual gathering for years. It’s a chance to meet new filmmakers,

genuity, strength and human breath to scavenged objects to create fire, had

absorb fresh trends, and personally slow down some – take time to reflect

a real impact on me. It’s so elemental.

on what we produce and what it all means, to the artists and to the public.

Like fire, stories are deeply transformative. They have the power to

I wonder though if this might be my last Media That Matters in this capacity.

change that which they touch. Turn one thing into another. And like fire

It’s been nearly 10 years at the NFB and I’m growing restless.

media needs the right combination of ingredients to create the spark. Sto-

REEL WEST SUMMER 2016

ge.c www.routled

lpress

.com/foca

are available

ns in a range

as eBook editio

IESEN

n om/cw/friese

Routledge titles

FUNDIN

IESEN

7-5

-1-138-8599

ISBN 978

mpact.com

neyi www.storymo

www.routledge

CT Y IMCPHA E N O GE N M A Y STORG MEDIA FOR SOCIAL

TRACEY FR

ARY DOCUMENT : © Thinkstock ges Cover ima

PACT ONEY IM STORY M

ence mative influ the transfor ncial support itation on fina guides a med world, and on the sen deftly in the k. Tracey Frie g positive change arkable boo min rem affir a is and is ring “Th .” play in stee to this shift ia that film can g requisite s Canada to make med e groundin who wants t & CEO Tide and narrativ filmmaker illan, Presiden t to every —Ross McM k is an asse ia & Social ter for Med ntial, this boo of the Cen and experie der c, enti foun and “Fresh, auth University .” American ntial that matters , Professor, ides the esse Aufderheide —Patricia Friesen prov ing read.” many do. A compell but a good Impact new space. al impact, ignite soci and exciting ive uld sho mat transfor s can or “Not all doc map and tools for this s This act. Imp Doc ding), and research, road ld, President, Hot y, Money (fun ona between Stor —Chris McD .” relationship real projects ing at the e stories of lf, Stevie) aphor for look with many concret “A new met ams, Life Itse for able resource tical guide s (Hoop Dre is book is a valu nn, Kartemquin Film sen a prac act with their Tracey Frie Qui —Gordon Change by goal of creating an imp e resources ia for Social mon with finit es Funding Med who share the com e funders ey Impact: r craft, whil sen illuminat y vists Story Mon pening thei evaluation tools. Frie Stor ers, and acti s, shar fund line are t rs, the fron s storytellers rs bring more robust media-make pendent stories from social-issue tent, and inde ed around c innovato work. Today, and strategi three pursuits. Structur umentary, digital con h, reac on s of doc these focus the core of t practices in the area the spark at bes act reveals Money Imp n, journalism. Corporatio FOUR, The as CITIZEN : find erful works Here you will ind such pow Inc. people beh d id, and Foo stories from . Stup one of tent nty, Age ing con • Twe g Caribou ting compell work. Virunga, Bein nts for crea your story ingredie rces for financing h. sou • Six key er your reac o-date sible money taining up-t goals to furth r own projects. • Six pos friesen con act outcome you change. ge.com/cw/ ksheets for • Six imp ia for social tled wor l .rou tica to use med at www prac in inspiration • Seven site located and s web ion tool innovators pan king the and social • A com for those see storytellers ional Film Board of tion ting rma por info local Nat to sup ucer at the ver, a hyper committed ia strategist, erly an Executive Prod e Radio 98.3 Vancou sen is a med ndhous . Form Rou tent for con Tracey Frie g ul of impactf Programmin Director of the creation sen is now ity focus. Canada, Frie ion with a commun stat commercial

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859975 9 781138

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TRACEY FR

TRACEY FRIESEN (pictured second from left) with other attendees at the Media that Matters conference, STEPHEN SILHA (left) BILL WEAVER (right) and SUE BIELY (far right).

ry. Money. Impact. Beginning that

the greater it grows. Stories gener-

that said, “We’ll give this film an

commit myself to. I reasoned that I

weekend, fusing these three ele-

ate emotion; like fires, no two are

award this week if it’s the last thing

could achieve more on its behalf as

ments together has grown into my

alike - and they can be devastating,

I do!” (We did.)

an independent, working to ignite

mission. This book is a part of fan-

as well as illuminating.

Not all documentary films seek

the flames of impact by bridging

to change the world. I truly appreci-

gaps between creators, financiers

MO N E Y is the wind, air that

ate that and have enjoyed working

and activists.

STORY M O N EY I M PAC T: F UND I N G M E D I A FO R SOC IA L C HA N G E

stimulates combustion. Ephemeral

with artists on other genres too, like

Once I made the nail-biting deci-

yet necessary and even life-giving

experimental, educational, musical

sion in 2013 to resign my Executive

from the perspective of the fire-

and animated films. But Spoil was

Producer position at the NFB, I start-

STORY

Funding

maker. Directing intentional breath

unapologetic in its explicit goals to

ed concentrating more heavily on

Media for Social Change is a tale of

toward embers allows them to

provoke change. Right before the

this three-legged stool: Story, Mon-

opportunity. The world contains

spark into actual flames, with the

production credit roll, viewers are

ey, Impact. (Or some days it was:

highly talented storytellers, highly

potential for an inferno. Without it,

told to take out their cell phones.

Media, Means, Mission, or Art, Cash,

principled financiers, and highly

the embers fizzle.

The next screen gives the phone

Activism...) And then, like when you

number of the Canadian Prime

buy a Volkswagen and suddenly

ning those flames…

MONEY

IMPACT:

motivated activists. The goal here is to bring them together, to better un-

I MPAC T is the fire itself, fusing

Minister, which stays up for the du-

start seeing them on every road,

derstand each other, to spark alli-

the other two elements to generate

ration of the credits. We see by the

as soon as this triad was given an

ances. What are the practical needs,

intense heat. Dynamic and power-

logos that the film is financed by a

official name I began to notice the

professional stakes and personal

ful, it alters whatever it comes into

consortium of alternative players –

needs and the opportunities every-

motivations of each?

contact with. By bringing together

like a corporate brand and a couple

where. Skilled filmmakers lacking

We can all benefit from this ex-

the fuel of story and the winds of

of non-profits. But the story is com-

access to resources, mission-driven

ploration: filmmakers, funders, and

financial resources, the potential is

pelling (the pursuit of an elusive

foundations lacking relationships

social innovators, working so hard

heightened for the flames of impact

white Spirit Bear by a National Geo-

with strong storytellers, and those

to solve seemingly intractable soci-

to burn brighter.

graphic photographer); it grabs peo-

working for social change search-

ple’s hearts on an emotional level.

ing for compelling tools to amplify

etal and environmental problems. Plus, of course we welcome people

When the lights came on after

This was a big week for me be-

impact. In STORY MONEY IMPACT:

who defy definition by straddling

Spoil (dir: Trip Jennings), a short

cause while there, screening 72

Funding Media for Social Change such

multiple pursuits, those modern

documentary about the threat of oil

adventure and nature films of vari-

gaps will be addressed. n

hybrid practitioners. The bottom

tankers to the Great Bear Rainfor-

ous lengths over a five-day period, I

line is that our need for each other

est’s waterways, I’d have signed any

had an epiphany. Something about

STORY MONEY IMPACT: Funding Me-

is mutual and our collective work

petition put in front of me. I’d have

watching back-to-back documen-

dia for Social Change was published in

will be that much stronger if done

whipped out my wallet to donate

taries of people really ‘givin-er’,

March 2016 by Routledge/Focal Press

in collaboration.

to the cause. But instead I was wip-

living their lives full-out in pursuit

and can be purchased at www.rout-

ing tears from my cheeks, stealing

of what they believe in, can’t help

ledge.com. Visit Tracey’s blog at www.

STORY is fuel for the fire. The

glances at the four other jurors in

but be a bit of a life-changer. It’s a

storymoneyimpact.com

substance of story is like the physi-

the private screening room at the

true occupational hazard. There, in

to the mini-blog at www.storymoney-

cality of firewood. Both are beauti-

2012 Banff Mountain Film and Book

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den history. The more fuel we add,

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cial issues media ecosystem I would

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REEL WEST SUMMER 2016

W E ST E RN T V, E H ?

The Age of Abundant Consultation BY DIA N E WILD

e live in a time of abun-

though I created a website ten years

- identical to those asked of stake-

you waste it on questions better

dance. So says the Ca-

ago to help Canadians hear about

holders including “What are the

answered through a competitive

nadian Radio-television

Canadian content, I didn’t manage

most urgent challenges facing the

analysis?

and Telecommunications Commis-

to hear about the event taking place

culture sector in the creation, dis-

Not that anyone has asked, but

sion (CRTC), and apparently they

here in Vancouver. The main event

covery and export of Canadian con-

I discover new shows through rec-

don’t mean an abundance of public

took place in Toronto in mid-May

tent in a digital world?” and “What

ommendations by real-life and so-

consultations that have little hope

and looking at the list of speakers,

are the most significant barriers fac-

cial-media friends, newspaper and

of engaging the public.

seems to have been another ex-

ing the culture sector in the creation,

web-based critics, and Netflix’s rec-

From 2014’s Talk TV hearing to

ample of industry people talking

discovery and export of Canadian

ommendation engine. I have ideas

this year’s Discoverability Summit by

to industry people about how to

content in a digital world?” I have a

on how those might be leveraged

the CRTC, plus the current federal

reach the audience, the same kind

question: in governmentese, what is

to better serve Canadian content,

government review on how to bring

of groupthink that has led to futile

the difference between “urgent chal-

and I sent them to the Discoverabil-

Canada’s cultural industries into

branding exercises ignored by the

lenges” and “significant barriers”?

ity Summit blog, where they entered

the digital age, everyone wants to

public such as eyeoncanada.ca.

In any case, the provided respons-

the black hole that is the Canadian

know how best to get Canadian con-

This summer, Minister of Cana-

es assume a level of knowledge of

television and film industry public

tent in front of consumers. The task

dian Heritage Mélanie Joly will lead

the industry that average Canadian

consultation process.

would be easier if the CRTC and the

...it could strengthen our industries and job market and make it easier for audiences to watch our content.

government could speak the same language as consumers. Talk TV proved to be a disastrous miscommunication between what the public wanted and what the CRTC mandated in terms of skinny basic. Cable companies are offering packages that conform to the letter

The focus of these consultations is important. The outcomes could change the definition of Canadian content, the funding models, the mandates of the CBC and the CRTC. It could create new laws and agencies governing our cultural industries. Done right, it could strengthen our industries and job market and

of the law, with extra fees that go

public, stakeholder and online con-

doesn’t have – tax credits, how fund-

make it easier for audiences to

beyond the $25 irate consumers feel

sultations on “Strengthening Cana-

ing is allocated, co-production trea-

watch our content. Done wrong, it

they were promised. Now the CRTC

dian Content Creation, Discovery

ties -- leading me to believe the gov-

could put the Canadian industry

is examining the offerings prior to

and Export in a Digital World.” If

ernment is not actually trying to get

further behind in a Netflix world.

renewing broadcaster licenses, but

you work in the television and film

the opinions of average Canadians.

given that the regulations specify

industry, hopefully you completed

One of the response choices was

Canadian content regulations was

a very limited number of channels

the pre-consultation questionnaire

“dealing with disruptive digital in-

in 1991, the dawn of the world wide

and did not specify that cable boxes

which will be used to frame the

termediaries.” If anyone can even

web, it’s time. But if public consulta-

or package discounts needed to be

consultations on possibly overhaul-

parse what they’re talking about

tion is just lip service – with those

part of the deal, the result will likely

ing the Broadcast Act and the CRTC,

(hi Netflix), how is that not a biased

lips speaking jargon – there’s little

be a public relations exercise that

among others. Important work, long

way to describe the concept? Two

hope that the needs of the industry

has no hope of placating the public.

overdue, but ...

questions asked what other coun-

will meet the needs of the public.

Given the last major overhaul of

Film

The first question was whether

tries are doing that could help with

Board Discoverability Summit events

you were a consumer or a stake-

content creation and discovery, and

Diane Wild is the founder of the TV,

aimed to find ways to help con-

holder.

two of my answers had to be “I have

eh? website (www.tv-eh.com), cov-

Recent

CRTC/National

sumers discover Canadian content

If you answered as a consumer,

no idea.” If you have the attention

ering news, reviews and interviews

in this “age of abundance.” Even

the questions were - in many cases

of Canadian consumers, why would

about Canadian television shows.

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REEL WEST SUMMER 2016

The Harmon Family PHOTO BY PHIL CHIN

FE AT U RE STO RY

Four Part Harmonizing LIFE, LOSS AND LOVE ON SET AND BEHIND THE SCENES WITH THE HARMON FAMILY BY MARK LE IRE N-YO U NG

tanding on the stage at the ballroom in the Bayshore hotel in

roles include working with the Alliance of Aboriginal Media Producers men-

the summer of 2013, glammed up in a vintage mint green gown,

toring aboriginal filmmakers and serving on committees and boards for the

Jessica Harmon picked up her Leo Award for best supporting

MMPIA, the CMPA and the Leos.

actress and laughed as she thanked “nepotism.”

During the course of our two-hour interview, Allan, Richard and Jessica

Jessica received the Award for Best Supporting Performance

all had to take calls, all for work and all were unfailingly polite when they

by a Female in a Television Movie for Anything but Christmas — a Hallmark

had to step away for a few minutes. It didn’t matter who was in the room

MOW executive produced by both her parents and directed by her dad.

though – none of them had any trouble finishing each other’s sentences.

While Jessica cheerfully acknowledged the family ties almost everyone

Asked about working with his wife, Allan grinned and explained, “I al-

in the audience was aware of, her younger brother Richard once stormed

ways refer to myself as the pretty one. Cynde puts together some deals for

out of an audition after being asked, “Are you Al Harmon’s son?” He didn’t

us to work on as a team.”

want to be known for who his parents were. That night Richard also took to the stage to accept an award for his role for Best Supporting Performance in Continuum.

One of the deals they knew they wanted to develop as a team was If I Had Wings. As soon as Cynde read the story of a blind teenager with dreams of be-

The following year both brother and sister were Leo nominees for their

coming a long distance runner, she saw it as a perfect family movie – both

performances in If I had Wings, which was directed by their dad Allan and

for audiences and her family. She and Allan felt like they’d not only found a

produced by their mom, Cynde Harmon. The movie was nominated for sev-

story they loved, but a story their kids were perfect for.

en Leos in total, including Best Motion Picture.

The catch… It took five years to get Wings off the ground. “We just

When I asked if I could interview the entire Harmon family at the same

wouldn’t let go,” says Cynde. “It was a story that resonated with us because

time, Cynde told me it had to be at their house – a modern split level condo

we all ran cross country and the story was about cross country. “When the

in downtown Vancouver. The location was easy. The scheduling was a night-

Shaw Rocket Fund finally kick-started the project for Superchannel, Jessica

mare that required her skills as a producer. Everyone in the family was jug-

was no longer old enough to play one of the kids and was cast as the coach.

gling multiple major projects.

Richard was cast as the blind runner.

Jessica had just returned from a brief vacation in Mexico and had be-

Says Cynde, “It’s not that we do all projects where we’re looking for things

gun her day recording dialogue for iZombie, the CW series where she has

but you can’t help imagining either your own family or your friends or peo-

a regular role as an FBI agent who doesn’t realize she’s chasing killers in

ple you’ve worked with and it’s a small community in Vancouver so we

a town full of zombies. On her days off iZombie, she was shooting Dead Ris-

know pretty much everybody, so it’s always heartbreaking not to be able to

ing Endgame – another adventure in zombieland. She plays an investigative

hire everybody.”

journalist attempting to break open the story on a company that started a zombie outbreak. “I fight the corporate war on zombies.” Richard was scheming away on The 100 as one of the lead villains.

Jessica looks at her dad and says, “I’ve auditioned for him and not gotten the part.” So much for nepotism. Although family connections did land Jessica one of her first real roles.

Allan and Cynde were in prep for a Christmas TV movie they were set to

At age nine she was cast in a country and western video for the song, With

shoot in Victoria in less than two months. Allan was also juggling his duties

All My Heart. The singer was Cynde’s sister, Julie Scott. “She just loved that

as Chairman of the DGC BC District Council, a position he’s held for the

experience so much,” says Cynde, “but the rule was they had to be ten years

past three years.

old before they had an agent or anything else.”

As we tried to set a date and time, Cynde repeatedly apologized explaining that her family had never been this busy. I didn’t believe her. I’ve known Allan and Cynde for almost twenty years and I don’t think I’ve ever met them when they weren’t managing multiple gigs and boasting about the myriad of impressive projects their kids were working on. Cynde’s volunteer

REEL WEST SUMMER 2016

Says Allan, “You have to earn your way in this business.” And mom and dad Harmon says that’s one reason they didn’t allow their kids to start auditioning until they’d turned ten. Jessica laughs. “That always sounds so funny to me. Couldn’t go to work till you were ten!”

JESSICA HARMON. PHOTO BY PHIL CHIN

Then Allan continues. “Around

because he wasn’t just the star, his

set, I know he’s going to do what he

ter graduating from high school,

ten they can understand the con-

character was blind so he couldn’t

needs to do.”

Jessica spent a year working as a

cept of rejection. And our business

suddenly

sunglasses.

The word “family” comes up a lot

stand-in. Allan sounds as proud of

is more about rejection than accep-

“When your family is there you

in conversations with the Harmons

that as he does of her Leo love. “She

tance.”

know they have your back,” says Jes-

and not just when they’re talk-

saw that side of how crews relate

Working with family creates its

sica, who says that being on set to-

ing about each other. They all talk

to actors and learned about light-

own challenges as Richard and Al-

gether made a terrible day bearable.

about sets feeling like home.

ing as well.”

lan discovered when they were on

Allan adds that it’s always a gift

“I didn’t fall in love with acting

Says Jessica, “I think every actor

working with an actor you’re fa-

first. I fell in love with set. Set is my

should have to be a stand in or work

the set of Wings.

switch

“Me and my dad have a great re-

miliar with, which makes it tough

Disneyland,” says Richard. “When I

in a behind the camera position. For

lationship,” says Richard, “but father

to beat working with family. “From

step on set something clicks inside

starters it curbs any attitude you

and son and director and actor are

a director’s perspective one of the

of me.”

might have and you’ll never miss

very very very very different things.

best ingredients you can bake into

Jessica enjoyed life on set so

your mark. Without the crew there’s

I was kind of curious to see how

a project is a shorthand with actors.

much that when she was ten, she

not much an actor can do and it’s

we’d do with that and him having to

One of the shorthands I used with

and her friend Sybil (the daughter

important to not only know that,

treat me as an equal and listen to

actors is that I was an actor myself,

of producer, Alan Eastman) came

but to act like it. Respect the people

my opinions and we did really well.”

but you can’t have a tighter short-

up with their own business – de-

you work with always.”

Jessica chimes in again, “A great

hand than your own family, your

livering everyone’s favourite treats

I mention that an actor who

director knows how to make an ac-

own kids. That extra shorthand

from the craft service table to the

had a small guest spot on the last

tor feel like an equal.”

makes my job easier.”

set in exchange for tips. “It was such

movie they shot in Victoria, Stranger

a scam,” says Allan with a grin.

in the House, told me how shocked

Everyone laughs as Allan adds, “I couldn’t have said that better.”

That shorthand works for the director-producer relationship too.

Says Jessica, “I was always on

she was when her director and pro-

Jessica recalls a challenging day

“What’s great for me as a producer

set and I wanted to go back to set.

ducer offered her a lift home. Cynde

on Wings when the family dog,

is that Allan and I work really well

I didn’t particularly want to act. I

and Allan are thrilled to hear this.

Clough, a 15-year-old Yorkshire Ter-

together,” says Cynde. “we cast

just wanted to be back on film sets,

“We try to be the same as everybody

rier. died in her arms just before she

together, we choose the projects

because that’s where I felt com-

else,” says Cynde.

was supposed to arrive on set. Jes-

together, we edit together. We go

fortable… As a ten-year-old there

Without a moment’s pause, Allan

sica cried so hard that she had to

right through to the final delivery

aren’t too many grip jobs floating

adds, “We are the same as every-

wear sunglasses in her scenes that

– both of us. What’s great is that

around, so acting seemed like only

body else.”

day. Richard had to hold it together

when Allan’s directing I can leave

the way to get myself back on.” Af-

Richard says his parents are

REEL WEST SUMMER 2016

RICHARD HARMON. PHOTO BY PHIL CHIN

“I didn’t fall in love with acting first. I fell in love with set. Set is my Disneyland. When I step on set something clicks inside of me.”

known for making people feel like family. Says Allan, “The film community is a wonderful and a warm community not unlike the circus or the carnival community in that we all have a little trick that we do and we all know that we each of us have tricks that we do and we appreciate each other for it.” Then Cynde continues, “That’s what we hope we bring to every project when somebody goes ‘they gave me a drive’ or ‘they were cleaning the bathroom’ – because every job is all of our jobs to get it done. So I think that’s kind of why we still

- R ICHA R D HA R MON

are in the business because we love what we do. Every job is important to us and everybody is important to us. There’s no class levels in our

everybody cooks or whatever… ev-

her sisters, Debra Scott (now Debra

two weeks later for three nights

erybody’s part of the team.”

Scott Fairhead), wanted to know

of shooting. After the third night,

Naturally, Allan and Cynde met

what it was like to be on a film set.

Cynde says, “Allan asked me out on

people have to put their heart and

on set or, you could say, they met by

Cynde made a few calls and ar-

a date and we’ve been out on a date

soul into it and they’re away from

Accident.

ranged for herself and her sister to

ever since that time.” She smiles at

work as extras on The Accident. Allan

Allan and he grins back.

films. Everybody is a team. And I think that’s what makes it bearable when it’s really long hours and

home. You hope that you’re their family. So we get together with the

Allan was working as Second AD on The Accident.

signed them in.

“We went on that first date, I went

cast all the time and do the Friday

Cynde was working as an ac-

The sisters were needed for

home with her and I’ve never left,”

night dinners at the Harmons and

countant on a TV series and one of

continuity and were called back

says Allan. “We never had a second

REEL WEST SUMMER 2016

ALLAN HARMON. PHOTO BY PHIL CHIN

date. The first time I saw Cynde,

ond AD, for his first job as a first AD.

Cynde was working on. Then the

part led to his role as a rebel leader

she was coming out the doors of

But what Cynde really wanted to

two go back and forth about how

on Continuum and likely didn’t hurt

they both love life on set, the world

when he was cast as a nameless

a church.” That’s where the extras

do was produce.

were staying to keep warm. “There

Two and a half years later they

of film and TV and champagne.

henchman on The 100. Instead of

was Cynde with her sister. A year

produced Jessica. Says Jessica,” I

Says Cynde, “It’s been great because

being discouraged by scoring a role

later we got married and that sister

spent a lot of my time on film sets

we’ve always had the same dreams.”

that was supposed to end with his

was her Maid of Honour.”

when I was young. And when Rick

Richard chimes in deadpan, “It’s

death in episode three, Richard

came along dad took a series and

wild you ever found each other.” For

decided to make a meal of it and

we moved to Vancouver in ’94.”

Richard the part that helped make

played every scene like he had his

Says Cynde, “We went from strangers to being together for 37 years.” Not long after that Cynde

Allan says it wasn’t his series

him at least as famous as his par-

own master plan. “I just want to

was working as a production man-

– Sliders (where he was originally

ents was as a suspect on season

have fun.” Instead of killing him

ager on the movie That’s My Baby

working as a first AD) – that took

one of The Killing. “The Killing was a

off, Richard got a name – John Mur-

and hired her baby – a longtime sec-

them to Vancouver. It was a movie

game changer,” says Richard. The

phy – and became a series regular.

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TV, eh? covers news, reviews and interviews about Canadian television shows, with the odd foray into the odd industry that produces them.

REEL WEST SUMMER 2016

CYNDE HARMON. PHOTO BY PHIL CHIN

“I never thought I’d be a series lead

be hired in part because sharing a

er and he’s already done the sched-

to the other guests at a celebratory

on a CW show in my life and now

room made it cheaper to take them

uling because he was an assistant

dinner in Los Angeles as “Al Har-

I am.”

on the road. And part of how they

director for so many years. I’m also

mon’s wife,” then “Richard’s mom,”

Jessica says she’s had plenty of

get their own passion projects off

the post production supervisor.”

then “Jessica’s mom.” When she got

game-changing gigs, but it’s tough

the ground is that they still try to

to top her current recurring role on

work cheaper than everyone else.

iZombie. “Spending almost an entire

Says Cynde, “We develop projects

Last year at the Daytime Emmy

hit feature, Shana: The Wolf’s Music,

season on such a great show has

together and we won’t hire any-

Awards, the pretty one was nomi-

and was gearing up to produce sev-

taught me more than I could have

body else until about three weeks

nated for a shared award for Out-

eral other projects including a fol-

imagined and opened a lot of doors.”

before we start shooting. We’ll have

standing Directing in a Children’s

low-up to Wings, threw a fake tem-

Cynde says that when she and

done all the location scouts togeth-

or Pre-School Children’s Series for

per tantrum in front of her family.

Allan were starting out they’d

er, I’ve already done the budgets

his work on R. L. Stine’s The Haunt-

“I want to be known for me.”

pitch themselves as a couple and

because I was a production manag-

ing Hour and Cynde was introduced

Allan laughs again, then adds, “I direct and I’m the pretty one.”

home at the next family dinner Cynde – who had just produced a

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SHARON TAYLOR. PHOTO SUBMITTED

FE AT U RE STO RY

Penguins Help Animal Logic Take Flight in Vancouver BY NAT H AN CADDE LL

or Sharon Taylor it start-

the years. Vancouver stood out to us

films than ever before and that fact

new employees coming into the

ed, as many things do,

because of the incredible growth in

wasn’t lost on Taylor and company.

Vancouver office, there will be a lot

with dancing penguins.

artists and technicians over the last

Indeed, it was a big reason for Ani-

of traffic. “Our recruiting teams are

In 2006, the Australian

five years. The city has such a rich

mal Logic’s three-picture deal with

working very hard to find the right

studio Animal Logic was

and diverse talent pool and is cul-

Warner Bros., the first of which will

candidates for the different roles,”

one of the primary producers on

says Taylor. “We are striving to in-

Happy Feet. The animated film about

still the same creative, fun, friendly

those

prancing,

flightless

birds

was one of the first movies Taylor worked on with Animal Logic. Call her the company’s good luck charm, because both she and the studio have been flying high since Happy Feet snared Best Animated Feature Film of the Year at the Academy Awards. Taylor worked on Happy Feet as an assistant to the financial controller, but since then her role within the company has steadily increased in responsibility.

Three

promotions

and nine years later, when the studio was looking to expand its reach across the Pacific Ocean, Taylor became executive VP and general manager of Animal Logic’s Vancouver branch. One flight across the Pacific

“We are striving to instill the same creative, fun, friendly culture that has existed in Sydney for many years over to Vancouver, but with a Canadian twist.” - SHA R ON TAYLOR

Ocean and she was walking the turally similar to Sydney.”

but with a Canadian twist.” It’s a far cry from the studio’s beginnings when there were ten people employed by the company in 1991. “Those guys cut their teeth on television commercials before expanding into feature film postproduction,” says Taylor, noting that early forays into feature-length films for the company involved movies like Babe, Mouse Hunt, Face Off and The Matrix. “While TV commercials have historically been part of Animal Logic, in the last few years I think we’ve shifted our focus more to the feature side of our business.” If the early returns are any indication, it seems as though Vancouver will make a suitable second home for Animal Logic. Taylor, for

be a sequel to The Lego Movie, which

“It’s a very creative area, buzzing

will be assembled in the new Van-

with activity, so it feels like the ideal

couver studios.

spot for us.” There aren’t any pen-

just made perfect business sense,”

Of course, the tax credits and low

says Taylor. “We’ve had many great

dollar also made Vancouver a sen-

Canadian artists coming to Ani-

sible destination for expansion. In

Those new digs aren’t anything

mal Logic in Sydney to work over

2015, the city was the host to more

to sneeze at either. With over 300

REEL WEST SUMMER 2016

for many years over to Vancouver,

one, is definitely getting used to it:

stony streets of Gastown. “For us, opening a new studio in Vancouver

culture that has existed in Sydney

guins here, but there does seem to be a large amount of happy. n

FE AT U RE STO RY

Thunderbird Flies with Beatles Toons BY NAT H AN CADDE LL

IMAGE C/O THUNDERBIRD ANIMATION

hen it came

“So I said, ‘well we’re not going to

tant to note because, though Wakely

quality over quantity. That approach

time to cast

get Seth Rogen.’ But I knew that he

is Australian, and the ubiquitous Net-

is one of the reasons why the studio

Beat Bugs, a

was in town doing Sausage Party so

flix has distribution rights, Beat Bugs

landed Beat Bugs and also why it was

new

Netlifx

I have some friends who are anima-

is chock-full of Canadian content.

able to get Netflix to distribute it. It

pre-

tors over there [Nitrogen Studios]

“It’s all Canadian grown,” says Mc-

took Wakely several years to get the

miering this summer about a group

and I called them and said ‘Hey next

Carron in the Thunderbird studios

rights to the songs, but Thunderbird

of insects that sing Beatles songs,

time you’re in dailies or a viewing

office in Vancouver’s Mount Pleasant.

never thought about quitting on the

creator Josh Wakely had someone

session with Seth, ask him who the

“Right from the voices to the story-

project.

in mind for the role of a fat slug

next kind of up-and-coming stand-

boards to the final rendering.”

named Walter. The problem was

up comic that he likes to follow is.’

Indeed, in a city like Vancouver

finding an angel investor to get him

that his ideal choice was a little

And he said ‘well, Charlie Demers is

where the animation business is

the money to back him to get the

busy. And costly.

hilarious, I love that guy, I follow his

flourishing, Thunderbird has had to

rights from Sony,” says McCarron.

“He said ‘you know, I would like

stuff online.’ And we reached out to

be careful about how much they take

“They’ve never given the rights for

somebody like Seth Rogen for Wal-

Charlie and his voice is perfect for

on. The studio currently has about

television before.”

ter,’” says Jennifer McCarron, head

it. It was his first time doing voice

250 employees, but would probably

The result is 52 11-minute epi-

of production at Thunderbird Ani-

acting but we kind of uncovered

have more like 600 if they said yes to

sodes, each featuring a song from

mation, the Vancouver company

him indirectly through Seth.”

everything that comes their way, Mc-

the Beatles, with five bugs that live

Carron estimates, as she preaches

in a backyard and go on little adven-

series

which is co-producing Beat Bugs.

The casting of Demers is impor-

“He spent three or four years

REEL WEST SUMMER 2016

INDIE S CE NE

tures.” Each story revolves around a

BC Films Catch Fire at Hot Docs

song,” says McCarron. “So the first episode is called Help. One of the main characters, Jay, gets stuck in

BY PAU L A R MSTR ON G

a jar and calls out ‘Help!’ and the rest of the bugs start to help him.

recently had the opportunity to

creating a visceral and sensual ex-

attend the Hot Docs Canadian

perience of the north, rather than a

It appears the boom in the narra-

International

Documentary

character- and content-driven sto-

tive world is positively affecting the

in the digital age, the shorter epi-

Festival in Toronto for the first time.

ry. We wanted to see if southerners

documentary one as well.

sodes were a must. The traditional

I was there as a producer, to pitch a

would understand the poetry that

John Bolton, whose film, Aim for

television season of 24 half-hour

documentary, Cool Daddy, currently

we found in the north. If our Hot

the Roses, was also in the festival,

episodes is a model that is under-

in development with the CBC Docu-

Docs audiences are proof, it would

attributes this strong BC presence

going some flux, certainly with re-

mentary Channel with the film’s

seem that KONELI NE is going to fly

to supportive BC institutions such

gard to children’s shows. “It seems

other producer and director, Roger

down south – and beyond.”

as “Knowledge Network, BC Arts

to be that as kids take content in

Larry.

So it’s a similar format for all the other episodes.” As attention spans get shorter

both in narrative and non-fiction.”

Another successful BC filmmaker

Council, Telus and others, such that

all different ways now, increasingly

Our film follows jazz singer Ken-

screening at Hot Docs was Nimisha

there’s as much funding available

a lot of the content that is created

ny Colman as he tries desperately

Mukerji with Tempest Storm, a con-

in BC as there is anywhere in Cana-

is shorter,” says McCarron. “It used

to be a good father after a lifetime

troversial life story of an 85-year-

da. DOC BC also does a lot to create

to be 22-minute episodes and now,

spent trying to be a great star. We

old American sex icon who, after

a sense of community.”

you know, kids watch stuff on their

had

twenty-five

decades of estrangement from her

And then, of course, there is

parents’ phones, iPads, really quick

meetings with broadcast commis-

family, is ready to set the record

DOXA -BC’s documentary film fes-

snippets, YouTube. So 11 minutes

sioning editors, funders and other

straight. “While the film is a cel-

tival, for which Bolton left Hot Docs

is more the norm now, whereas 10

producers, all keen to see more of

ebration of Storm’s remarkable ca-

early as his film was kicking off fes-

years ago that was almost unheard

the film.

reer – she was a self-made career

tival.

approximately

of. We would always do 22 minutes

This year British Columbia was

woman at a time when women had

His film is “a ‘musical docu-

or a half hour with commercials,

well represented at Hot Docs with

very limited options – at the heart

drama’ about the utterly amazing

now we’ll do an 11-minute episode.

many BC films screening and one

of the film is the struggle for self-

and complete ridiculous album by

And on Netflix we don’t need to

even winning the Best Canadian

forgiveness and acceptance,” says

Canadian composer-double bassist

worry about commercial breaks or

Feature

Mukerji.

Mark Haney, about an epic dare-

anything, they’re going to be batch

KONELI NE: our land beautiful by Net-

She selected Hot Docs to pre-

releasing 26 of those 11 minutes

tie Wild. The film is a poetic ride

miere at because the festival “grabs

on July 27 and then the other 26 in

into one of the last and vast wilder-

the attention of other key festivals

Bolton also chose Hot Docs for

2017.

nesses in North America as the land

and because filmmakers are able to

his premiere because “it’s one of the

and its extraordinary people face

make connections with internation-

best festivals for any filmmaker to

inexorable change.

al distributors and buyers. Festival

screen their film at - great venues,

attendance is massive and it grows

great audiences, great network-

every year.”

ing opportunities, and Toronto is

With the Beatles music the stakes were high and so some big names

Documentary

Award

–

devil stunt by Canadian stuntman Ken Carter.

were brought on board, with talent

KONELI NE had its world premier

like Eddie Vedder (Magical Mystery

in the tiny communities in northern

Tour) and Pink (Lucy In The Sky With

BC where it was shot. “I loaded a half

“Our objective,” Mukerji says,

lovely in May!” Not surprisingly,

Diamonds) taking on classic tunes.

ton truck full of projection equip-

“was to create buzz since we are

he feels happy with that decision,

The hope is that the artists will

ment and drove 2000 kilometres in

releasing theatrically in Toronto

as “our objectives were to get as

bring a new generation of fans to

minus 20 degrees to bring KONE-

and Vancouver on June 17. We’ve

many good reviews, as much press,

the music. And to the show.

LI NE home to Iskut, Telegraph Creek

received amazing reviews and audi-

and as much buzz, as possible, and

“Parents really choose the con-

and Dease Lake” says Wild. “Then

ence reactions have been awesome

we’ve definitely met those objec-

tent at that age and so hopefully

with 20 Tahltan elders in tow, we

with standing ovations for both

tives.”

they’ll click on it and be enam-

travelled north to the Available

screenings.”

oured with it,” says McCarron. “The

Lights Film Festival in Whitehorse

She is also happy about the in-

big question is, you know, will that

where KONELI NE had its world festi-

creasing role of women in creat-

Paul Armstrong is a film producer who

iconic music translate? I think it

val premiere and opened festivities

ing these documentaries, both as

also produces The Celluloid Social Club

will, I have kids in that age bracket

with a packed opening night gala.”

the filmmaker and the subject.

and the Crazy8s Film Event.

and I’ve noticed my younger daugh-

Wild was then thrilled to have its

“Funders and distributors invest in

ter who is six is starting to walk

southern premier at Hot Docs as –

films that are marketable and right

around singing I Am The Walrus. It’s

the biggest documentary film festi-

now we’re seeing a lot of films get-

timeless. That music is catchy. Josh

val in North America and the sec-

ting made that are about women.”

tells a story that he was driving

ond biggest in the world. “If a film is

Mukerji thinks there is such good

around listening to The Wiggles,

programmed at Hot Docs, other fes-

BC representation at Hot Docs be-

which is a famous Australian kids

tivals, broadcasters and distributors

cause, “BC really is a hub for de-

band and he said that he was going

notice,” says Wild. “We also needed

veloping documentary filmmakers,

to kill himself, no offense to The

a big festival to kick off the theatri-

and part of that is the incredible

Wiggles. But he thought ‘why isn’t

cal release of our film in the spring.”

mentorship and support offered

there better music for kids? Why

And notice they did, as her award

within the local film community.

don’t we re-introduce some of this

indicates. But she feels she also

There is such a wealth of talent

iconic, timeless music to kids of to-

connected with the audience. “We

in BC, from cinematographers to

day’s era?’” n

took a big artistic leap with the film

composers to editors, who work

REEL WEST SUMMER 2016

Missed an issue? Previous editions of Reel West Magazine are available online at reelwest.com

DIARY FE AT U RE

The Real Life Storm that Launched the River of Silence BY PE T IE CH ALIFO UX

STAN ISADORE, PETIE CHALIFOUX, MARIEL BELANGER and MICHAEL AUGER. PHOTO BY ANTONY PACKER

Petie Chalifoux turned a personal tragedy - the mysterious death of her grandmother - into the inspiration for a thriller with a mission. “I wrote this feature film script to do our part to help stop violence against indigenous women, and indeed all women everywhere”. We asked Chalifoux to share how her personal experiences inspired her debut feature and how she made the leap from film student to filmmaker. AUGUST 8, 2001 A time in my life I will never forget. August 8th be-

sees me and parks her truck just in front of me. I get out of my car and

gan as a typical day on the Driftpile Cree Nation where I grew up. When

walk to her driver’s window. Her face looks flush with fear and anger but

I stopped in to see my ‘kookum’ (grandmother) Angeline Willier, I never

she’s trying to hide her emotions behind a forced smile. I ask if she’s okay,

imagined that would be the last day I would ever see her alive.

she looks out the window and over my shoulder and then replies, “yeah.”

I remember pulling into the driveway. I see my grandmother rush out of

I look behind to see George walking over from the house. I ask my

the house, jump into her truck and quickly pull out in reverse then race

grandmother where she’s going. She says, “I’m going to Edmonton and

forward toward me in the driveway. So I stop my car to wait for her. She

Hinton. I’ll be gone for a while.”

REEL WEST SUMMER 2016

As George gets closer he approaches the truck and pleads with my grandmother to stay. My grandmother looks at me then begins speaking to him in the Cree language, knowing that I don’t fully understand. She and George argue for a few minutes, then she pushes him away from her truck. George turns and walks away. My grandmother looks at me then says, “Noosim, Kookum loves you.” I tell my Kookum that I love her too. I reach my arms into her truck and give her a big hug. She squeezes and kisses me on the cheek then says, “see you.” I stand on the gravel road as I watch my grandmother smile and wave to me as she drives off. I watch her white Ford pick-up turn onto Highway 2 and head east. My grandmother would often travel to the town of Hinton and then to Edmonton to visit family. She was a tough lady at the ripe old age of 72. She was never afraid to speak up for herself. I always ad-

“I still clearly remember the last time I saw my grandmother, so full of life and love. I also remember the day we found her body cold and lifeless. These are two very strong and unforgettable moments in my life that drove me to write River of Silence.”

mired her strength. I don’t recall the day my mother called me, but I’ll never forget her voice. I had never heard her with

Highway 33. Her whereabouts are

dependent

Filmmaking’

tinue to do my research on the

that tone of fear before. “When was

still unknown.

(IIDF) Program at Capilano Univer-

Digital

hundreds of murdered and missing

the last time you saw your koo-

AUGUST 31, 2001 A body is dis-

sity in North Vancouver I enter the

indigenous women of Canada and

kum?”

covered three kilometers north of

third year in the university’s Mo-

the affected families. The more I

My heart jumped into my throat

where my grandmother’s truck was

tion Picture Arts bachelor’s degree.

read the more angered I become. I

and I could barely answer. I said

found. It is so badly decomposed

One day Micheal Auger and I

have no idea I had all this built up

“last week.” My mom says, “are you

the RCMP can’t confirm the iden-

were out on one of our regular

anger inside. Reading these stories

sure it was a week ago?” I think

tity without checking medical and

walks along a north shore trail.

makes me realize how much pain I

about it again and begin counting

dental records. We finally get an

This time our topic of discussion

am carrying at the loss of my own

the days and soon realize that it

answer: yes, this is Angeline Willi-

was indigenous women in film.

grandmother.

has been more than one week, it

er, a 72-year-old Aboriginal woman.

might be more like two weeks. My

Cause of death: “natural causes.”

I was telling Micheal that I was

My family and I believe my

finding it a struggle to have my

grandmother was murdered but

mother says, “Okay, if you see her

My family knew from the mo-

words acknowledged in one of my

the RCMP wrote her off as “a myste-

anywhere let me know.” The rest

ment that my grandmother’s truck

classes. As Micheal and I spoke

rious death” that was “due to natu-

of that day I replayed my grand-

was found that something hap-

about representation of indigenous

ral causes.” I still clearly remember

mother’s expressions, what she

pened to her and we knew that

people and indigenous women in

the last time I saw my grandmoth-

was wearing and what she said to

whatever happened to her, it was

film we came to the realization

er, so full of life and love. I also

me the last time I saw her.

not “natural causes.”

that if we wanted to see a change

remember the day we found her

Later that evening my mother

We found her truck keys buried

and to see films that carried the

body cold and lifeless. These are

called again. “You need to know

in the ground beside her body. Her

kind of substance and meaning

two very strong and unforgettable

that no one has seen your grand-

body was found 5 meters down a

that reflected accurate portrayals

moments in my life that drove me

mother for weeks now, we don’t

ravine. Police say, “perhaps she was

of women (particularly indigenous

to write River Of Silence.

know where she is and we called

lost, got tired and laid down.”

women) then we had to write, produce and direct our own stories.

There are many people from

the police. There is a missing per-

For me this was the beginning

sons report filed and it will be on

of River Of Silence. From that day

As we walked I realized that

the mysterious death of a family

the news tonight,” I try to clear

onward I held a very deep-seated

what happened to my grandmoth-

member where the murderer is still

the lump in my throat as I answer.

pain and anger inside - not know-

er Angeline Willier and all the en-

out there and in a lot of cases fami-

“Okay.”

ing what I could or wanted to do

suing feelings that I carried all

lies have not yet found the body of

AUGUST 20, 2001 My grand-

about my feelings. I just knew that

these years would form the basis

their lost loved one. It feels weird

mother’s white Ford pickup truck

I had to do something.

for River Of Silence.

to say my family was fortunate to

is found on an unserviced dirt

SEPTEMBER, 2014 After com-

OCTOBER, 2014 As we work on

find my grandmother’s body, but

road about a three hour drive from

pleting the 2-year ‘Indigenous In-

our application for Telefilm I con-

we really do feel extremely grate-

REEL WEST SUMMER 2016

across Canada who are affected by

ful. I wish for all missing people to be found and I wish the future of all women to be safe. I wish to help put an end to violence against all women. It makes me wonder though, with such a high volume of missing people in Canada alone, why isn’t anyone helping? Why is the indigenous women’s death toll being ignored while the mainstream media focuses on the “at risk” women. Why can’t this be accepted as an epidemic that has to stop?

NOVEMBER, 2014 A year ago today I slammed into reality. It’s like I woke up and realized what I need to do and why I am here. I sat at the kitchen table writing my first feature film and all I can say is WOW! Three years ago I never imagined writing a short story, let alone a feature. but here I am. Page thirty of River Of Silence. How many pages do you need for a feature? Oh yeah and don’t forget there is still that 2500 word essay due tomorrow (the one I started last week), the two mid-terms and that final 3500 word essay. No problem. Just wake up at 5 a.m., write a partial essay, then switch over to write a page of River Of Silence, then go to school, come home, finish the essay, write another page or two of the screenplay and repeat tomorrow. No problem. I’ve got this! Its moments like these when I feel tested. It’s the universe asking me if I really want a Bachelor’s Degree in Motion Picture Arts and if I really want to write a feature film. Of course my answer is Yes and YES! Do you think successful people became successful by sitting around waiting for something? Hell no! Back to work!!

DECEMBER,

2014

December

is an interesting and frustrating month. Prime Minister Stephen Harper comments on the high volume of murdered and missing Indigenous women in Canada in an interview and he says, “Um it, it isn’t really high on our radar, to be honest…” Wow! This is the country that we live in, a country that doesn’t care about the indigenous people, the

(TOP) The cast and crew of River of Silence. (MIDDLE) The search scene. (BOTTOM) A Pow Wow dancer performs. PHOTOS BY ANTONY PACKER

REEL WEST SUMMER 2016

FIRST people of the land. River Of

a completed copy of River Of Silence

APRIL 1, 2016 Here we are, only

mountain air cools us off. Fresh

Silence needs to be told! This is fuel

by July 2, 2016. On the positive side

days away from my final project,

air!! This feels more like a holiday. I

for the fire!

that gives me more time to touch

my final assignments, my final

take one more deep breath and re-

up the script. Yay!

presentation, my final exam and

turn to unloading equipment from

Capilano University, a partner that

NOVEMBER, 2015 Met our new

production of my first ever feature

the back of my pickup truck.

is required to apply to Telefilm

line producer, Patti Poskitt, she is

film. Day one of principal photogra-

Canada’s Micro-Budget Program.

amazing! She loves the script and

phy begins April 16.

They love our story and we have

is happy to help us out. I feel re-

I have fifteen days to complete

my right shoulder and see a yellow

been moved onto the next round of

lieved to have her on board with us.

all assignments, create my final

and red hummingbird that came

the selection process. We had our

She brings so much experience.

project, write an essay and study

to welcome me. What a beautiful

doubts and we had our difficulties

DECEMBER, 2015 Finally! The

for the final - all while keeping the

sight! Our 2nd AD yells out “SAFE-

but we did it. Now we sit and wait

new Canadian government an-

script up-to-date and producing.

TY MEETING” with her loud boom-

for a response.

nounces a national inquiry for

Seems like a lot, but I am start-

ing voice, the hummingbird leaves.

JULY, 2015 Great news! Just found

missing and murdered indigenous

ing to feel excited. It’s only sixteen

I look over at her with a smile. I

out we were successful in our ap-

women. Right on Justin Trudeau!

days until I hear my script come to

love this already!

plication to Telefilm Canada, WE

This epidemic is finally starting to

life. Living breathing people, actual

Micheal and I stand in a large

ARE MAKING A FEATURE!!!! Cur-

be recognized. P.S. Three months

people speaking the lines I wrote,

circle with our cast and crew, ap-

rently in Alberta on a video shoot,

to go until we are making a feature

not just me saying the words out

proximately 35 people. I light some

so much to do when we get back

film!

loud at the kitchen table in differ-

smudge as we stand and speak to

home to Vancouver.

MARCH, 2016 We started off the

ent voices.

everyone, a real mixture of nation-

SEPTEMBER, 2015 Day one of

month of March with a live event

APRIL 16, 2016 Today is the start

alities. We explain the importance

my fourth year begins now. Micheal

called “A Night Of Strong Indigenous

of principal photography and this

of starting each day out with clean

(who is directing) and I had origi-

Women” - a night to honor and re-

is truly a once in a lifetime rush.

energy, we explain how to smudge

nally wanted to begin principal

spect our women. This night was a

Here we are out in the middle of

and that everyone is welcome to

photography this month. However,

success in raising awareness about

nowhere as some might say, no cell

smudge if they like. I walk around

as a lot of our gear comes from

the growing concerns over Missing

phone reception, no WiFi, no TV,

the circle and smudge everyone

our partner organization, Capilano

and Murdered Indigenous Women

but I love this!! Just pure natural

one by one as Micheal continues to

University, we cannot begin pro-

(MMIW) as well as informing our

beauty of the land, our base camp

explain the importance of River Of

duction until after the school year

audience of the upcoming feature

is surrounded by mountains, the

Silence, why we are here and how

in April, 2016. That makes it a bit of

film. I turn 32 and prep starts now.

sun shines bright, it’s both hot and

the making of this film may trigger

a challenge for us as Telefilm wants

Crewing and casting begins.

cold as the sun heats us up and the

people and how we are all here for

We submit our application to

As I unload gear I hear a buzzing sound flying around me, I look over

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REEL WEST SUMMER 2016

each other. By the time I make my

want to do something to help pro-

full round the energy of everyone

tect her.

has changed. They are no longer

MAY 3, 2016 Today is the last day

stressed, no longer have fear, they

of principal photography, and I

are calm and happy. This sight

feel something, not sure what ex-

brings tears to my eyes. I love how

actly. I think I feel a bit sad. I am

we are all connected.

going to miss every single cast and

Later that day we are set up and

crewmember. We “roughed” it out

ready to shoot the first scene. It is

together, we laughed together, we

a fascinating experience to watch

cried together and we came back

River Of Silence come to life behind

together with our own perspectives

the monitors while I sit next to Mi-

changed. Thirteen days together

cheal. I sit with the same lump in

and I feel like family, we have a

my throat as the day I learnt of my

strong bond and a lifetime memory.

grandmother’s death. I’m proud of

Our last scene is at the Vancouver

this story as the silence stops now.

Friendship center’s Pow Wow night.

Indigenous voice will rise. Equality

I am excited to see how the crew

will begin amongst all people.

will be at such an event. I think a

Every day and every scene we

lot of them have never been there

shoot brings me heaviness as I

before. I am also super excited to

remember my grandmother, and

dance between takes and every

all other families who have lost

chance I get. I missed the beating

someone. I hope this film will help

of the drum, the singers singing,

to release any built up anger they

and the hoops moving through my

might have. For others who have

hands. Yes I might have forgotten

never lost someone I hope this

to mention I am a hoop dancer. I

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their daughter, their sister, their

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auntie, their grandmother, and

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info@reelwest.com 28

REEL WEST SUMMER 2016

DIG ITALLY YO U RS

How to Hire the Right Social Media Team for Your Project BY ER ICA HA R GR EAVE

he ‘Social Media Expert’ or

• has previously done social me-

4) They are passionate about your

‘Consultant’ has become a

dia for other film, television or

project and are willing to put in

media work - creating content, en-

web series

the research time to be able to

gaging the audience and building

represent your project’s ‘voice’

community. Limit these reports to

with authority and authenticity.

every month or two, unless you are

This is particularly important for

just looking for a bare basics email

factual projects, science fiction

update, rather than a full report.

shingle that too many people

are hanging on their door, and I have seen too many productions miss an opportunity by hiring the wrong social media team. Here are a few of the

• own or work in a marketing or PR firm • has social media accounts of their own

common questions I run into from

Now don’t get me wrong, any of the

with a hardcore fan base and pe-

media makers trying to decide how

above individuals or teams could

riod pieces.

to handle their social media.

make for great social media story-

5) They are creative, self-sufficient

tellers, but they are not reasons for

and motivated - so they can

Why does it really matter? Why

hiring someone for the job.

our social media for us? Well, in case you haven’t noticed,

Also a few things to remember:

build on their own when neces-

can’t we just use a free intern to do

at the expense of the actual social

i) Connecting

with

your

ideal

community is more important than mass numbers.

sary - and understand that so-

ii) Actually look at the stats. I once

What does make for a good social

cial media storytelling is not a

saw some so-called ‘social media

media storyteller, then?

9-5 job.

experts’ compare the stats from a

the media landscape has changed.

1) Someone who understands that

6) They know how to build and cre-

Social media has become increas-

they are augmenting your sto-

ate community - not just audi-

a ‘1-week period’ to show an in-

ingly popular with our audiences

rytelling for the film, television

ence - shining a spotlight on the

crease to the undiscerning eye.

and with brands.

or web series, and not simply

community, making them feel a

More importantly, do a check of

marketing the show time or re-

part of the project, so that they

your own to make sure the social

Why does this matter?

gurgitating exactly what has

take a personal stake in it.

media team is actually connect-

1) The film and television funding

been said in the show. Our au-

7) They can demonstrate social

ing with your desired community

model is changing. Brands are

diences are more sophisticated

media storytelling strategy and

and not just their friends and spam

increasingly moving their ad-

than we give them credit for and

community

through

accounts. To do this look at the ac-

vertising dollars away from tra-

they don’t enjoy being blatantly

past projects and their own so-

counts they are following on Insta-

ditional television to digital and

marketed to on social media. It

cial media accounts. They don’t

gram and Twitter. If they are mainly

social media.

is important that those show

need to be social media influ-

film industry, follow4follow, and

times are shared, but in a clever

encers themselves, but that is a

major player and or news accounts,

way, and not where it is the pre-

benefit, as long as they put your

then you have a problem - they are

If you are creating quality social

dominant message being shared

project first and not as an after-

not actually connecting with your

media storytelling that is unique

on social media.

thought to their own social me-

desired audience.

2) The audience has an increasing number of options.

from your film, television or web

2) They

understand

who

your

building

dia storytelling. 8) They know how to engage influ-

‘2-week period’ to the stats from

Ultimately at the end of the day,

series and have built an engaged

audience is, how to develop a

audience on social media you are

‘voice’ on social media that will

opening up your storytelling to

appeal to that audience, where

9) They are not afraid of a chal-

or web series. By doing the social

other opportunities - both in terms

to find that audience online and

lenge and being pushed outside

media storytelling right, you can

of alternate sources of funding and

how to engage that audience so

their comfort zone as they find

create opportunities for your proj-

alternate platforms for delivery.

that they become invested in

new and creative ways to build

ect, and increase your leverage with

the film, television or web series.

and engage community around

brand sponsors and broadcasters.

the project.

Treat it with value.

Did we hire the right social media team?

3) They are capable of building and

encers and build a storyworld.

remember that your social media is an extension of your film, television

For more of Reel West’s story and

engaging an audience on social

First, let’s look at what are not

media organically, and are not

How do you know if your Social

stories from our community, con-

the key qualifications to look for in

dependent on advertising dol-

Media Team is doing the job?

nect with us on Twitter at @Reel-

choosing a good social media team:

lars. Advertising dollars help,

While it is great to have your so-

• grew up with social media

but your social media team

cial media team evaluating and re-

• cheap (or expensive, for that

needs to be able to grow and

porting the social media stats to you

Erica Hargreave gets her kicks out of

build an audience without ad-

on a regular basis, this is time-con-

weaving stories across platforms, and

vertising dollars.

suming work and shouldn’t come

teaching at BCIT.

matter) • friends with the broadcaster

REEL WEST SUMMER 2016

WestMag. n

T H E W INDOW

Chiming in on the Future of Canadian Content BY MA R K LEIR EN -YOU N G

The Tories knew they had a win-

ally living in. The current consensus

ernment is inviting us to weigh in

floated

ning wedge issue though. According

seems to be that content in the True

on the future of Canadian culture.

the spectre of the Liberals

to an Angus Reid survey released in

North is neither free, but not par-

And it looks like everything is on the

or the NDP implementing a tax on

June, a majority of my fellow citi-

ticularly strong and neither is the

table. Joly is looking at the broad-

Netflix to terrify Canadian voters.

zens agree with the idea of regulat-

existing network model.

casting act, the copyright act, the

Canadians ultimately decided we

ing our cable providers, but they’re

Networks around the world are

CRTC act, the CBC, the NFB, Telefilm

were more frightened by the pros-

cool if the only Canadian content

racing to become streaming servic-

and the Canada Council for the Arts.

pect of four more years of the Ste-

online consists of pirated hockey

es before their viewers unplug their

According to the official release on

phen Harper GovernmentTM — but

fights on YouTube, Bieber Tweets

last TV. CBC and BBC are switch-

the Government of Canada’s web-

as someone old enough to remem-

and Justin Trudeau selfies. The poll

ing focus and mandates to online

site

ber when there was nothing wrong

showed 56 percent of Canadians

content, the best programming in

culture/consultations), “The con-

with paying for content, not only

were opposed to the CRTC regulat-

the US is being developed by on-

sultations will encompass informa-

was I not horrified by the idea of

ing streaming services like Netflix

line-only outlets like Netflix, Hulu,

tion and entertainment content as

a tax on streaming House of Cards,

and Spotify, with the highest oppo-

YouTube and Amazon, while CBS

presented in television, radio, film,

I was shocked to realize Netflix

sition coming from Canadians aged

(the American network most likely

digital media and platforms, video

uring the federal election, Stephen

Harper

wasn’t already taxed. Legally watching Canadian Netflix (which I realize is an old-fashioned idea) costs just over half as much as catching Batman fighting Superman on the big screen in 3-D and nearly four million Canadians are currently clogging their web connections binging Orange is The New Black. The Globe and Mail crunched the numbers during the election and based on a 13 percent tax (the amount of Ontario’s HST), “Revenue on such a tax could account for more than $55-million a year – almost 85 per cent of the CRTC’s entire annual expense bud-

“The current model is broken and we need to have a conversation to bring it up to date and make sure we harness its full potential.” - MÉLA N IE JOLY

get.” Meanwhile, made-in-Canada,

(www.canada.ca/en/services/

games, music, books, newspapers and magazines. Working together, our objective is to begin identifying the tools and policy levers that will guide the work of Canadian Heritage over the course of the government’s mandate to foster a leading, resilient and innovative cultural sector that meets the needs of Canadians and Canadian creators.” A “pre-consultation period” is officially over – and some participants felt the questions were skewed toward an ideal outcome — but, “Next steps will be announced during summer 2016. In the upcoming months, you will have further opportunities

streamed from Canada services like

18-34 who were 63 percent opposed

to reboot Murder She Wrote to serve

to contribute to the consultation

shomi and CraveTV have to charge

to the idea. Although I think the

the dying demographic) has threat-

process and express your views. Stay

Canadian taxes.

survey would be more interesting if

ened to release their upcoming Star

tuned!” And if you’re working in the

I also thought it was shortsight-

it also included data on how many

Trek TV online only, so you’ll have to

world of content creation in Canada,

ed when the Liberals and the NDP

of the Canadians aged 18-34 who

beam it down or bust.

don’t just stay tuned, tune in and

quickly denied they had any plans

were surveyed were actually paying

So Joly knows that existing meth-

become part of the conversation

to tax Netflix — not because I’m

anything for their Netflix subscrip-

ods of supporting Canadian content

on the future of Canadian content

keen on paying extra for Daredevil,

tions or watching Canadian Netflix

creation are looking as dated as the

in the age of Netflix, Spotify, You-

but because it seemed odd to de-

instead of hacking into a US feed.

special effects in the original Star Trek.

Tube and Periscope. And remind our

clare that they would exempt what

Meanwhile, our federal Heritage

“I think the current model is broken

politicians that streaming isn’t the

is arguably Canada’s most popular

Minister, Mélanie Joly, is trying to

and we need to have a conversation

future, it’s the present, so Canada

broadcaster from tossing some loo-

come up with Canadian content

to bring it up to date and make sure

needs to develop policies that are

nies towards Canadian content like

rules that have some relationship

we harness its full potential.”

agile enough to deal with whatever

their competitors.

to the digital universe we’re actu-

This summer, the Canadian gov-

is coming next. n

REEL WEST SUMMER 2016

Producers. Agents. Pioneers. VFX Artists. Editors. Animators. Sound Engineers. Composers. Stylists. Filmmakers. You. For over 35 years Reel West has been covering the people, places and events that shape our industry in Western Canada.

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GET READY. THE PREMIER SCREEN-BASED MEDIA CONFERENCE ON THE WEST COAST Stay tuned for exciting announcements!

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