Reel West Magazine Winter 2015-2016 Issue by Ron Harvey

Winter 2015/16

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Film, TV, online and Digital Production IN Western Canada

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Whistler Film Festival 2015

Birdwatcher FSM Love in the sixth numb pattersonâ&#x20AC;&#x2122;s wager suspension

Shawn Williamson S p o t l i g h t o n t h e b o ss o f B r i g h t l i g h t

CO NT E NTS

Winter 2015/16

10 6

NEAL CLARANCE and SHAWN WILLIAMSON accept honours from SHAUNA HARDY MISHAW, executive director of the Whistler Film Festival Society, at the Celebrate WFF - Vancouver Benefit event on August 28, 2015. PHOTO BY KIM EIJDENBERG / WFF

A TAXING Q&A WITH NEAL CLARANCE

ANGLE ON MARK LEIREN-YOUNG

LEGAL BRIEFS NATE LYMAN

Shawn Williamson shares his lifelong love of making magic from behind the scenes. By Tom Hawthorne

WESTERN TV, EH? DIANE WILD

CINEMATOGRAPHERS IN FOCUS

INDIE SCENE PAUL ARMSTRONG

DIGITALLY YOURS ERICA HARGREAVE

THE WINDOW MARK LEIREN-YOUNG

Chartered Accountant charts the course for Canadian production funding.

BRIGHTLIGHT’S BOSS IN THE SPOTLIGHT

The stories behind the looks of some of this year’s featured features at WFF 2015.

ZEROING IN ON ZOIC Andrew Orloff on the ‘Eh’ to Z of Zoic’s BC boom. By Nathan Caddell

PRODUCTION DIARY: LOVE IN THE SIXTH BC’s Jude Klassen takes her West Coast wit to Toronto.

PRODUCTION DIARY: FSM

@REELWESTMAG

Melanie M. Jones wrestles with the 10K Challenge.

FACEBOOK.COM/REELWESTMAG

ON THE COVER: SHAWN WILLIAMSON, president of Brightlight Pictures. PHOTO BY PHILLIP CHIN REEL WEST MAGAZINE IS A WHOLLY OWNED ENTERPRISE OF REEL WEST PRODUCTIONS INC. IT EXISTS AND IS MANAGED TO PROVIDE PUBLICITY AND ADVERTISING THAT SUPPORTS THE GROWTH OF THE WESTERN CANADIAN MOTION PICTURE INDUSTRY.

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ADAM CADDELL CREATIVE DIRECTOR: ANDREW VON ROSEN. ART DIRECTOR: LINDSEY ATAYA. PHOTO EDITOR: PHILLIP CHIN. CONTRIBUTORS (EDITORIAL): PAUL ARMSTRONG, NATHAN CADDELL, ERICA HARGREAVE, TOM HAWTHORN, NATE LYMAN, DIANE WILD. COPY EDITORS: CAROLINE DYCK, HAYLEY COPPERTHWAITE. 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

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REEL WEST WINTER 2015/16

ANG LE ON

Canadians Do the Cannes Can-Can BY MA R K LEIR EN -YOU N G

alking along the wa-

give the show so much of that Scan-

terfront at Cannes I

dinavian atmosphere.” This was Or-

never expected to ex-

chard’s tenth trip to the market. “It’s

perience hometown pride, but when

like speed dating with much higher

I saw the huge poster for CBC’s new

stakes. It’s so good and so weird to go

made-in-BC series, The Romeo Sec-

from Ireland to Australia to England

tion, covering the front of a posh

in one morning.”

hotel I couldn’t help grinning. Chris

Canadian powerhouse eOne had

Haddock’s latest CBC series was

their own big booth at Cannes to

looking very glam.

showcase their ever-growing Can-

This

was

MIPCOM

2015—the

con catalogue.

world’s major TV marketplace—and

I used to cover trade shows, so

producers from Albania to Zimba-

I’ve attended hundreds of them,

bwe were shopping their shows and

CBC’s new series woos the world at MIPCOM 2015

looking for the next big thing. Okay,

and I’ve never seen a trade show like this. Countries, organizations

I’m not sure if anyone was there

Telefilm Canada hosted a party

countries are making, watching

and production companies don’t

from Zimbabwe, but with almost

for the Canadian contingent at

and, of course, buying.”

have displays, they have desks

15,000 delegates drifting between

MIPCOM—and anyone wanting to

He said his first market with his

where they can hold meetings and

sales tables it’s a fairly safe bet.

meet the Canadian contingent—

company, Reunion, flying the Thun-

talk turkey or talk with Turkey—the

Despite the crowds featuring

and people with dozens of exotic

derbird flag was a definite success.

festival’s featured country this year.

pretty much everyone from every-

accents ordered their free drinks

“It was Thunderbird’s first market

Other than TV screens showing

where, the western Canadian con-

in English, French or via clever sign

with all the new companies there—

highlight reels, and one-sheets fea-

tingent at Cannes was impressive.

language and caught glimpses of

Atomic Cartoons, that unsurpris-

turing shows for sale, this was all

And if you add the made-in-BC

the Canadian shows screening in

ingly, makes cartoons, Great Pacific

about meeting, greeting and mak-

presence, we stole the show with

the background.

Media that does factual program-

ing deals. I met a man from England

the world premiere screening of The X-Files that transformed thousands of TV pros from around the world into a gaggle of grinning X-Philes. The lineup to watch the screening in the Grand Auditorium began an hour before the doors opened and greeters were outfitted like FBI agents, complete with fake Fox Mulder ID badges (which were presented to everyone who attended the

I used to cover trade shows, so I’ve attended hundreds of them, and I’ve never seen a trade show like this.

packed screening that featured a post show Q&A with series creator,

whose job was playing matchmaker and introducing potential partners. I actually overheard someone with a Bay Area accent tell the person he was meeting, “next time you’re in LA call me.” I was a bit disappointed he didn’t call his new buddy “babe,” but it still felt awesomely Hollywood. The first time I stopped by the Telefilm Canada booth—which was big enough to house a Tim Horton’s franchise, always packed with

Veteran

Vancouver

producer

ming and us, doing drama.”

people doing deals, and looked a bit

Chris Carter). The X that marked

Tom Rowe told me he was up to

Fellow BC producer Nick Orchard

like a Canada Day cake—a producer

the spot in Vancouver (and then

about twenty visits to MIPTV and

flew to France to pitch a new series by

from Germany’s public network

broke our hearts when it left to LA)

MIPCOM and that it’s always worth

BC writer Rick Drew. “We were work-

was at the front desk asking how

returned with local actor William B.

the flight. “It’s a great way to stay

ing our CBC series in development, A

she could track down a wildlife cin-

Davis back as the unstoppable ciga-

connected and get a sense of where

Fine Line and got lots of interest from

ematographer from BC for a project

rette-smoking super villain and the

the marketplace is moving. The

US, Canadian, UK and Australian

she’s working on. I introduced my-

lower mainland playing the parts of

breadth of the programming on

distributors,” said Orchard. “In the

self and after we talked about pos-

locales around the world.

offer is remarkable and it’s great

end it looks like we might have a co-

sibilities, I arranged to send her the

to get a chance to see what other

pro deal with Sweden, which would

latest copy of Reel West Digest. n

Just before the X-Files launch,

REEL WEST WINTER 2015/16

PHOTO BY PHILLIP CHIN

REEL WEST WINTER 2015/16

O PE NING RE E L

Accounting for Changes in the Development of Canadian Film & TV BY MARK LE IRE N-YO U NG

The Canadian film and TV industry was created by artists and accountants. Producers don’t just have to raise funds, they have to navigate tax laws, tax credits and regional incentives. In 2015, the Whistler Film Festival honoured long-time board member, chartered accountant Neal Clarance (President of NG Clarance Inc.) for his contributions to the fest’s success. An expert on media money, Clarance works with government and industry and was a lead consultant and architect of the BC and Federal Film tax credit programs. In 2011, Clarance was honoured with a lifetime achievement Leo Award for his work with the BC film and television industry. Reel West asked Clarance to answer a few taxing questions about the past, present and future of the industry. REEL WEST: How did you end

wanted to get involved in some as-

es and sobering voice of reason on

also wasn’t easy to determine, or

up working in the film world?

pect of the entertainment industry

the board

correlate what the real impact was

NEAL CLARANCE: I was al-

and I saw that film in particular

RW: Tell me about the origins of

in industry growth and jobs creat-

ways interested in working in the

could use the skill set I had. Financ-

the tax credit program.

ed, to the cost of lost tax revenues.

entertainment industry. I got my

ing film and TV can be quite a cre-

NC: The tax credit program came

So the tax credit program was de-

CA degree primarily to have a good

ative undertaking and I think work-

about as an alternative to the film

veloped on the theory that films

business and finance base to fall

ing in an industry that I enjoy and

tax shelters of the ‘80s and ‘90s.

created employment for cast and

back on if things didn’t work out in

getting to be creative with what is

The government wanted to see a

crew and in turn generated taxes

the entertainment industry. While

typically viewed as a pretty mun-

program that provided incentives

to the government that would oth-

working towards my CA, I noticed

dane activity was exciting to me.

on a basis more directly related to

erwise not be collected if the film

that there was a great need for busi-

RW: How did you become involved

economic impact, industry growth

wasn’t made. Therefore, it was rea-

ness skills and particularly finance

with the WFF and how has your in-

and job creation. The tax shelter

sonable to effectively refund a por-

skills in the industry. So I decided

volvement shifted over the years?

structures that preceded tax cred-

tion of those taxes collected back

that was the way to get involved.

NC: Shauna (Hardy Mishaw) ap-

its were seen as structures that

to the producers/studio.

RW: What appeals to you about

proached me to join the board

resulted in financial benefits to

RW: How is the film/TV world

the film world?

ten years ago. She was looking for

brokers, lawyers, accountants and

unique in terms of its relationship

NC: I have always had a strong in-

someone with business skills to

bankers and provided tax breaks

to tax law?

terest in all things entertainment

compliment

creative

to wealthy taxpayers. However,

NC: It isn’t. Many industries have

(film/music/theatre). I’m a good

component of the existing board

it wasn’t felt that enough of the

tax legislation that benefits them

choice for anyone’s trivia team

members. I don’t think my role has

funds raised were actually ending

in one way or another.

when it comes to entertainment

really changed. I’ve always tried to

up in the hands of the producers

RW: What are some of the film/

questions! So it wasn’t only film. I

be at least one of the business voic-

and ultimately in the industry. It

TV related projects you’ve had the

REEL WEST WINTER 2015/16

the

heavy

most fun working with (and why)?

backfire because they are taking

NC: I don’t think my involvement

advantage of an unintended gap

in film falls into the “fun” category,

or error in the legislation. Develop-

really. I enjoy what I do and the

ing mechanisms to exploit loop-

challenge of trying to figure out

holes has rarely led to the making

how to get films financed and in

of quality films or any sustainable

the most efficient way. I’ve worked

growth to the industry.

on lots of films and TV series and

RW: What advice would you give

with companies that I am proud

to a new producer?

to have been associated with. But

NC: If you can’t sell it, don’t make

probably the most enjoyment and

it! There is no such thing as a film

satisfaction I have had in my career

that “needs” to be made, or a story

was working on the report and rec-

that “needs” to be told. If you can’t

ommendations that led to the cre-

sell it and very few people will ac-

ation of the BC tax credit program

tually see it, will you really achieve

and the subsequent DAVE credit

your goal?

addition because I knew what the

RW: What advice do you find

impact of these legislations could

yourself giving repeatedly to more

mean to the industry in BC.

seasoned producers?

RW: How do you think tax laws

NC: An extension of the above

have shaped the Canadian film in-

advice... budgeting and financing

dustry?

a film should never be a compro-

NC: Tax-related incentives have

mise, or fall back to a budget that

been instrumental in the growth

matches the funds available. Keep

of the film and TV industry in this

asking yourself, do I really have

country. They have been the prima-

enough money to make the film

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facilities, infrastructure and the

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expertise needed to not only at-

RW: How has the film industry

tract more US based production,

evolved over the last 25 years?

but also create the talent and ex-

How have festivals like WFF con-

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perience needed to grow our indig-

tributed to these changes?

CHARTERED ACCOUNTANTS

enous industry.

NC: This is far too big a question to

RW: Is there any law or loophole

answer in a paragraph or two. The

1140-1185 W. Georgia St., Vancouver, B.C., V6E 4E6

you think worked particularly well?

industry and how films are made,

• Provincial and Federal film tax credits • Auditing and accounting services • Cross boarder transactions • HST filings • Corporate restructuring • Financial statement preparations • Personal tax planning and tax returns prepared

NC: I won’t comment on “loop-

marketed and sold has completely

holes.” I believe that the federal

changed over the past 25 years,

and provincial tax credit programs

as technology and public needs

have been the largest contributors

and demands have changed and I

to the industry’s growth. The fact

expect that will only continue to

that this basic structure has been

evolve and change even more rap-

copied all over the world is a testa-

idly and dramatically in the future.

ment to that fact.

Festivals will need to constantly

RW: Is there any law or loophole

stay on top of those changes and

that completely backfired?

adapt to stay relevant in the years

NC: “Loopholes” always ultimately

ahead. n

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REEL WEST WINTER 2015/16

L E GAL B R I E F S

Collaboration and Joint Authors BY NATE LYM AN

ing its own copyright (e.g. a page of

sion project is a collabora-

dialogue) might be sufficient. If the

tive process. Bringing an

contribution is found to be signifi-

original idea to reality often begins

cant, a court will look at whether the

with a small group of committed in-

parties intended that the contribu-

dividuals who combine their skills

tion be merged into the screenplay,

and lend their creativity. With any

and whether the parties intended the

luck, the first draft of a script is writ-

other to be a joint author.

ten and used to generate further in-

On a practical level, a participant

terest in the project. Unfortunately,

in the creative process of a screen-

sometimes a project becomes de-

play could claim to have an interest

layed indefinitely and never realizes

in the copyright of the material. As

its full potential due to the conflicts

a result, the threat of a copyright

between those first collaborators.

infringement claim by a disaffect-

Differences in artistic vision and

ed contributor or collaborator can

business control can prompt each

block the development or produc-

person to claim they have sole own-

tion of the project because that kind

ership over the script. In reality, it

of liability exposure is unacceptable

is likely the individuals are in a co-

to most distributors, broadcasters,

owner relationship and the script is

financiers and insurers.

a work of joint authorship.

In absence of going through a

Under the Canadian Copyright

court proceeding to have a judge rule

Act, a “work of joint authorship”

on whether someone’s creative con-

means “a work produced by the col-

tribution amounts to a co-author-

laboration of two or more authors in

ship, it is prudent for all contributors

which the contribution of one author

to enter into a written agreement

is not distinct from the contribution

clarifying the nature of the project

of the other author or authors.” Mo-

and their respective contributions.

tion pictures have contributions from

This can be done in several ways.

many distinct authors (i.e. literary,

It is recommended that the con-

dramatic, cinematographic, musi-

tributors enter into a collaboration

cal, etc.). Typically, each assign their

agreement that outlines each con-

distinct copyright to the producer

tributor’s proportional share in the

who becomes the single owner of

work. If such proportions are not

the copyright in the film. However,

indicated, the copyright would be

joint authors of a screenplay share

shared equally. Such an agreement

the same copyright, making each

can also assist in defining the roles

contributor a co-owner. How can you

and responsibilities of each contribu-

determine whether someone’s con-

tor for the project and indicate which

tribution deems them a joint author?

party has creative control, business

It is not a matter of who registers the

control, and how any revenue is split.

script with the Canadian Intellec-

Collaborators who delay clarifying

tual Property Office, which in itself

their copyright in the joint work do so

does not determine authorship. One

at their own peril. Over time, the rec-

of the leading authorities in defin-

ollection of individual contributions

ing joint authorship is the British

can differ and opposing yet honestly

Columbia Supreme Court decision

held positions as to each person’s

in Neudorf v. Nettwerk Productions Ltd.,

contribution can halt the project.

where the court stated that the con-

Writers and producers ought to be

tribution of each joint author must

mindful of the individuals whom

be “significant or substantial.” How-

they engage to assist in the develop-

ever, the court stated that there is no

ment of an idea, as the threshold of

“bright line test” for what constitutes

co-authorship can be easily crossed. n

a significant or substantial contribution. Mere suggestions to the writer

Nathaniel Lyman is an associate at

of a screenplay will likely fall below

Chandler Fogden Aldous Law Corpora-

that threshold; however, any form of

tion. He practices in the areas of film,

contribution that is capable of hav-

television, digital media and music.

REEL WEST WINTER 2015/16

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eveloping a film or televi-

PHOTO BY PHILLIP CHIN

REEL WEST WINTER 2015/16

PRO FILE

Shining a Brightlight on Shawn Williamson BEHIND THE SCENES WITH ONE OF CANADA’S MOST PRODUCTIVE PRODUCERS BY TO M HAW T H O RN

hawn Williamson was still a teenager when he got his dream

be taped (fat good that will do, with my dog barking and an incessant buzz-

job working behind the scenes at the Arts Club Theatre on

ing on the line), the conversation begins. Told I have ten minutes, I begin a

Granville Island. A dream job except for one provision—his

rapid-fire scattershot of questions — Where are you calling from? What are

apprenticeship meant he had to appear onstage. Tread the

you doing today? What’s on the walls of your office? What mementos are

boards? He only wanted to build them.

on your desk?

“I was petrified,” he says three decades later, the anxiety not difficult to

recall.

I want to set the scene, the important background for the story to be told, when Williamson takes the opportunity of a deep inhalation of breath from

He was cast as a waiter in Passion, a play about adultery and betrayal.

his interlocutor to ask, firmly but with genuine puzzlement in his voice,

A part without dialogue. (Phew.) His duty was to merely offer red wine to

“Just what is this story about?” Why the hell are you asking me, one of the

the actors. Easy peasy. At one performance, the 19-year-old shuffled out on

Canadian filmmaking poobahs, a busy guy of the kind who has someone

cue, wine delicately balanced, when—disaster—he spilled the contents on

place his calls so as to not waste valuable time, what is on my desk? Oh,

actress Kim Horsman.

sorry, I explain. A profile. A look at your career. I’d like to see you in the

It was live theatre. She played off the incident, her annoyance with a stum-

natural habitat of your office, but I can’t, so please tell me about yourself

blebum teenaged waiter expressed in most heartfelt and believable fashion.

through what you’ve got on your (gulp) desk. The air cleared, he couldn’t

“She was less than happy,” Williamson said. “I’m sure I looked mortified.”

be nicer, or more helpful. The minutes roll by long past the allotted time.

The tyro actor survived the stage debacle on his way to becoming a wun-

That’s the kind of guy he is. Halt a production mid-disaster, garner

derkind of his industry. In 2001, he co-founded Brightlight Pictures, which

enough information to identify the problem, reset course. All done in ami-

develops, finances and produces countless feature films and television se-

able fashion. No wonder he’s been called “one heck of a nice guy” by scene

ries for the national and international market. He’s on the phone and he’s

chronicler Lynne McNamara.

in meetings. He’s finding scripts and he’s raising money, a challenge in a

Born at Vancouver General Hospital, he grew up in the Lynn Valley neigh-

country where capital is happier to cut something down or dig something

bourhood of North Vancouver. His father was a ship’s captain who was of-

up than to make art (even if the art is entertaining as hell).

ten at sea working in the Arctic. Like many of his generation, the boy en-

When projects are in production, “I spend my time putting out small

joyed light American situation comedies (Happy Days, Three’s Company, Mork

fires,” he said. Resources are finite while demands seem infinite, so it is his

and Mindy) on television and blockbusters (Jaws, Star Wars, Close Encounters of

duty to allocate resources while multi-tasking, making Williamson a juggler

the Third Kind) at the cinema. One movie that made an impression was John

with balls in the air that are each worth millions of dollars.

Huston’s The Man Who Would be King, a swashbuckler starring Michael Caine

On occasion, he gets away from his office at the Bridge Studios in Burnaby

and Sean Connery.

to be present at an exotic shooting locale. Often, he gets to attend industry

Young Shawn was in grade six when he helped stage his elementary

events, such as the Whistler Film Festival, on whose board of directors he

school’s production of Joseph and the Amazing Technicolor Dreamcoat. He did

sat for a decade. Williamson, 50, who with his well-cut suits and omnipres-

the same backstage at Argyle Secondary, finding he liked working switches

ent smile looks a bit like a front-office Trevor Linden, also plays host at red-

and making things happen behind the scenes, an Ozian wizard who, in his

carpet parties for both the Vancouver International and Whistler festivals.

own words, otherwise “had no identifiable talent.”

He’s so successful—more than 90 productions to his credit—that he has

A brief, unhappy stint at university was followed by the Arts Club gig.

a publicist with whom one negotiates before the telephone rings one day

While still living at home with his parents, he traveled from North Vancou-

with an assured “Mr. Williamson on the line,” and after a few confused “hel-

ver to Granville Island by bus six days a week for a job that paid the princely

los” at both ends and an awkward explanation that the conversation is to

sum of $40 per week.

REEL WEST WINTER 2015/16

He had been an apprentice stage

forward with Lewis, admitting to

tor Stephen Hegyes. Their industry

out to be a dud, and the only cof-

manager only to be pushed aside

her when he needed to get more

debut was to be a splash at the To-

fee available had been brewed the

for being too young for a job in

information to complete a job. He

ronto International Film Festival in

previous evening. Suffice to say life

which he was expected to corral

asked questions and then he asked

2001, which opened on September 6.

as a Hollywood North mogul is not

much older and more experienced

more questions. To this day, even

Of course, business was put aside in

all red carpets and black ties, not all

actors. Meanwhile, he learned the

as he handles multi-million-dollar

horror and mourning five days later.

hobnobbing with Nicholas Cage and

basics of backstage operations from

budgets instead of sock puppets, he

That inauspicious launch was

painting to electrical, from being a

makes a point of not pretending to

overcome in time with success in

Last year, Williamson was induct-

stagehand to a spotlight operator.

know what he doesn’t know. He be-

matching financing with projects.

ed into the Star Walk on Granville

lieves in fessing up instead of offer-

He’s been responsible for shoots in

Street, an achievement for someone

ing bafflegab.

places as far afield as Australia, Sin-

who had at the time yet to reach

At age 23, he was hired to be production manager of the Variety Club

Anne Hathaway.

Telethon, a 22-hour live broadcast

Producing the children’s show

gapore, and South Africa, as well as

the half-century mark, though he

on Vancouver station BCTV. Next

gave him the background he needed

Croatia and Romania. One Balkan

had spent more than half his life in

came a stint with Shari Lewis, the

as he began working on productions

adventure involved a pre-dawn ex-

show biz.

ventriloquist and puppeteer who

in Vancouver.

pedition to find a faux Irish pub at

He’s a globetrotter, but in his

was returning to television in 1991

He eventually joined Shavick En-

which it was believed a satellite sig-

office you will find a mix of per-

with Lamb Chop’s Play-Along, a chil-

tertainment, becoming president.

nal for some sporting event would

sonal objects and business papers,

dren’s show produced in Vancouver

Williamson and company chairman

be available. Instead, the hapless

photographs of his son and of his

and Los Angeles and airing on YTV

James Shavick were in Los Angeles

crew wound up in an unwanted

girlfriend and knick-knacks from

in Canada and PBS in the United

on June 25, 2000, when the com-

confrontation with Bulgarian police

his different projects. Pinned to a

States. While the children’s enter-

pany’s False Creek studios burned

after being pulled over. A demand

board are tickets to Whitecaps soc-

tainer had a reputation as a harsh

down in a spectacular fire. Sets, cos-

for passports did not seem to as-

cer and Canucks hockey games.

taskmaster, Williamson found her

tumes and a video library of stock

suage the gendarme’s suspicions.

He helped develop, package and

to be more of a straight shooter

shots were lost in the three-alarm

As tensions thickened, Williamson’s

produce Mr. Hockey: The Gordie Howe

than a tyrant.

fire in the warehouse district at

director, accustomed to relying on

Story, a biopic that aired on Hall-

“She wasn’t tough at all,” he in-

Second Avenue and Quebec Street.

his troubleshooting executive pro-

mark and CBC. The drama tells

sists. “If you knew what you were

Among the losses were entertain-

ducer ordered, “Shawn, make them

the story of an ageless player who

doing, you were fine. If you didn’t,

ment souvenirs, including photo-

go away.” A stint in a Sofia cell was

survives devastating setbacks and

you were okay if you didn’t pretend

graphs and memorabilia from his

avoided though, in the end, the ex-

remains at the top of his game long

to know something you didn’t know.”

time with Shari Lewis.

pedition was a failure, as the café

after others predict his inevitable

Still a novice at television pro-

A little over a year later, William-

refused to serve even a single pint

downfall. The attraction of the sto-

duction, Williamson was straight-

son launched Brightlight with direc-

of Guinness, the match turned

ry is obvious. n

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The Art of Raw REEL WEST WINTER 2015/16

W E ST E RN T V, E H ?

Quality, Quantity and Creative Questions for the CRTC BY D IA N E WILD

f Jean-Pierre Blais were a televi-

Wire, one of the best TV shows of all

odds rule: “the relationship be-

tions. Blais proposes making more

sion writer instead of the chair-

time, or are we talking high-rated

tween the number of hits and the

adaptations of Canadian literary

man of the Canadian Radio-

NCIS that appears on few “best” lists?

total number of works produced in

hits, because you can never go

television and Telecommunications

However you define it, it seems

a given time period is positive, lin-

wrong with a literary adaptation,

Commission (CRTC), every show he

evident that quality TV is a by-prod-

ear, stochastic, and stable.”

apparently. Should we break it to

wrote would be gold. Apparently.

uct of the mass production of TV.

The people with the best ideas

Since it’s not evident to Blais, for one,

have the most ideas... as well as

that garners huge ratings is a Best

science can provide the evidence.

some of the worst ideas. Deadwood

Laid Plans that doesn’t? Another Talk

Earlier this year Blais summarized the findings of the Talk TV

him that for every Book of Negroes

hearing in an “Age of Abundance”—

Writer Jonah Lehrer—whose in-

and John From Cincinnati came from

TV pilot project is to prioritize high-

his more charitable description

terests lie in the areas of psychol-

the same brain. Pablo Picasso cre-

budget dramas—high enough to

of today’s “peak TV,” FX CEO John

ogy, neuroscience and the rela-

ated more than 20,000 works of art.

exceed Downton Abbey and Borgen’s

Landgraf’s epithet for what he sees

tionship between science and the

Hollywood’s Golden Age was also

budgets.

as a content bubble where “this is

humanities—pointed to a recent

one of the most prolific periods for

As Canada’s broadcasters merge,

simply too much television.”

experiment published in Frontiers in

studios, who created a lot of dross

we have a smaller quantity of

Psychology: “Quantity yields quality

along with the gold.

broadcasters buying shows and

Blais is nothing if not optimistic though. He thinks he has found a

when it comes to creativity.”

The CRTC’s Blais points to suc-

way to make less, better. From his

therefore a smaller quantity of shows. As CBC cuts their season or-

The people with the best ideas have the most ideas...

speech to the Canadian Club of Ottawa as released to the media: “We want creators and distributors to choose quality over quantity. Such an approach creates a virtuous cycle where the industry invests to create better programs, which in turn bring more value into the sys-

ders we have a smaller quantity of episodes of each show. Never mind that the Canadian content quotas currently in existence already allow Global to have no scripted Canadian shows for half the year. How can our regulator think quantity is even a factor in our industry?

tem, which in turn generates more

The psychologists and neurosci-

cessful international dramas such

Lehrer sums up the research on

money to re-invest in content made

entists involved gave their subjects

as Australia’s The Code, the UK’s

creativity like this: “high levels of

by Canadians. More importantly,

a graphic and told them to write

Downton Abbey and Denmark’s Bor-

creative output are often a prereq-

it creates an environment where

down as many things as they could

gen and The Killing as proof that bril-

uisite for creative success. Put an-

Canadians want to watch content

that the drawing suggested to them,

liant content could happen here. He

other way, throwing shit at the wall

made by our creators—not because

with the answers scored for their

doesn’t mention the terrible shows

is how you figure out what sticks.

it is forced upon them, but because

creativity. The

gave

those countries produce because,

More shit, more sticks.”

it’s good. Indeed, because it is great.”

each subject intelligence and per-

being terrible, they haven’t made

There’s a strange arrogance to

Isn’t that cute? It’s like it never

sonality tests and measured their

their way to Canada. He does men-

the Talk TV conclusions: Blais seems

occurred to him that you don’t get

cortex and, after all their sciencing,

tion, but doesn’t connect dots, that

to think Canadian TV can beat the

quality without quantity. That if you

they concluded that the quantity of

Canadian shows such as Slings and

quality odds that plague every other

look at the most successful televi-

ideas was related to the creativity

Arrows, Rookie Blue and Murdoch Mys-

creative endeavour. He’s wrong. n

sion industry in the world, an aver-

of the ideas—those who came up

teries are mentioned worldwide as

age of about 65 percent of new shows

with the most ideas also had better

quality shows.

are cancelled in their first year.

ideas.

researchers

Diane Wild is the founder of the TV,

Just as the quality problem as

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

Plus, how do you measure qual-

Earlier, psychologist Dean Keith

identified by Blais misses the mark,

ering news, reviews and interviews

ity? Are we talking low-rated The

Simonton had proposed the equal

so too do the CRTC’s Talk TV solu-

about Canadian television shows.

REEL WEST WINTER 2015/16

S PE CIAL F E AT U RE

Behind the Scenes on Shooting the Scenes for Six WFF Features How does a cinematographer make a movie cinematic? How does a Director of Photography work with a director? What are the creative challenges—and artistic advantages—of creating a unique look with no budget? Reel West asked the eyes behind the images at some of the films featured at the 2015 Whistler Film Festival to take us behind the scenes for an inside look at how they brought their fest features to the big screen.

PATTERSON’S WAGER “It was very challenging to shoot a feature film in twelve days with only one camera. Our approach to the film was to focus on what was essential to the scene, without any excessive camera movements. This more simplified style supported the performance of the actors. In general, that led us to use soft bounced light, with hard hits of sunlight to help build a natural look.”

- Graham Talbot Patterson’s Wager is the second “To achieve the late 1800s look, we stretched nylon across the lens to create a softer image

collaboration between writer/

with blooming highlights. We decided to create the effect practically, rather than digitally,

director O. Corbin Saleken and

because of the texture the nylon created. We utilized unmotivated light and backlight to

twin cinematographers Nelson and

develop the whimsy and fantasy of the flashbacks.”

Graham Talbot. The Talbot twins’

- Nelson Talbot 14

other credits include indie hit, Lawrence & Holloman.

REEL WEST WINTER 2015/16

FSM “With a budget smaller than most short films, I wasn’t sure how we were going to pull it off. But somehow we did and I’m so ecstatic with what we created. For me the script always called for a natural feel in the cinematography. I didn’t want it too polished and sleek, nor too gritty and dark. So I strove to keep the lighting natural and motivated by reality. Due to our limited budget, tools such as Steadicam and dollies were not available to us, so PHOTO BY SHAWN SEIFERT

the director and I worked closely during the blocking to find creative and interesting angles to help tell the story, without relying on heavy camera movement. Other filmmakers in this circumstance might have chosen to go all handheld, but I felt that would feel too crude for a dialogue heavy film. I really wanted the camera to get out of the way and just find the right place to tell the story from. In fact, I believe there are only three dolly moves in the whole film and only the underground party scenes are handheld. The rest was done just on a tripod. Perhaps the biggest single shooting challenge were the underground party scenes, where Sam would be DJing. In the script these were all PHOTO BY DEE GRAPHIQUES

supposed to be different locations and to take place at different times throughout Sam’s journey, but in our schedule we only had one location and had to shoot all four scenes on the same day. That was over ten pages of partying to shoot in a twelve hour day! So each different party was given a different colour palette and we changed up as much of the practical lights as we could. We got very creative during that day. For instance, we hung bare bulb kinos along one wall and to create the party lasers I took a digital projector that we just happened to have on set and Shawn Seifert’s a cinematographer who prefers to operate

pointed it towards camera. After adding a bit of smoke, we ended up with

his own camera whenever possible. Recent credits include

a very exciting underground party.”

TV movies Dying to Be Loved, Newlywed and Dead and another feature debuting at Whistler 2015 - FSM.

- Shawn Seifert

SUSPENSION “The look of Suspension was heavily guided by the two distinct worlds of the film: the reality the characters lived in and the comic book world that Emily escapes into. The director (Jeffery Lando) and I set out to start the film with these two worlds looking as different as possible; however, as the story progresses and the two worlds started to blend together, so did the styles. This resulted in creating a third distinct look for the ending of the film. Needless to say, when shooting a movie out of order, it wasn’t uncommon for everyone on set to struggle to figure out which world any particular scene resided in. To achieve the distinct looks, I used different styles of lighting and framing. The real world was kept mostly natural, with softer lighting and more traditional framing and lensing. For the comic book world, I made the lighting much harsher and heightened the contrast, while trying to make the framing mimic the style of a comic book. During the colour correction stage, it became evident that these two worlds needed to be pushed even farther apart and so the comic book world was taken in an even more stylized direction, with heavy desaturation and an unnatural colour tone.”

- Shawn Seifert PHOTO BY GEOFF WEBB

REEL WEST WINTER 2015/16

PHOTO BY JEREMY GILBERT

BIRDWATCHER

Rob McGee was a BCbased fashion and wedding

“The title Birdwatcher suggested that a lot of the story would be told within the Pacific Northwest environ-

photographer before

ment so that lush forest greenery would be a given. However, the deterioration of Saffron’s condition, Lucy

moving to Toronto where

and Jona’s loss of a safe and loving home and Birdy’s isolated environment would pose other challenges.

he shot Jude Klassen’s talk

A challenge that worked in our favour was the relatively low budget that forced us to come up with simple solutions that were much more grounded and in keeping with the authenticity of the characters. Gratuitous crane shots, long Steadicam sequences and other obtrusive camera technology would have drawn attention

shows and music videos. Love in the Sixth is his feature debut.

to the camera and possibly have served to distract viewers from the story. We used a relatively small, but very capable Canon C300 Camera and Zeiss prime lenses which allowed us to fit into tight spots such as mobile homes, tents and cramped apartments. The lenses were crisp and sharp and no diffusion filtration was used to enhance or tone down the reality of faces or environments. Throughout, the colour palette changes slightly with Saffron’s deterioration. In the beginning Saffron’s home is warm, colourful and inviting, sunlight streams through windows and she looks vibrant at work and elsewhere. As the end nears, cool bluish overhead lights are used and lower contrast is employed. Luck played a role as well. On the day we shot the scene where Birdy opens up to Saffron and tells her why she gave her up for adoption, Mother Nature served up a cool cloudy and dreary day, allowing us to place the characters in a grand setting of ocean and mountains that dwarfed them, yet seemed to bring them intimately together.

PHOTO BY STEPHANIE NILES

- Peter F. Woeste

Peter F. Woeste (csc) has worked on countless projects for TV and film. He was Director of Photography (and a director) on the made-in-BC TV sensation, Stargate SG-1. 16

REEL WEST WINTER 2015/16

LOVE IN THE SIXTH “My initial plan was to shoot using almost exclusively natural light. As the story evolved, it became clear that the film would require night shoots and interiors ranging from freight elevators to cramped bathrooms. I used a combination of natural and artificial light that included anything from handheld LED lamps to larger stand-mounted halogens. I captured the images I wanted—although sometimes I had to implement unorthodox methods. For the musical numbers we ended up using saturated colour to delineate the departure from the black and white storyline. One song sequence, Up Late Talking, was the toughest to shoot and the most “produced” part of the film. As each character appears the camera slowly travels towards PHOTO BY JEREMY GILBERT

them. I used a tripod-mounted tracking device, but opted for a shallow depth of field to capture a certain onscreen intimacy. The down side was I had to adjust the camera’s focus while rolling—that was a bit brutal—but worth it.”

- Rob McGee

Jan E. Kiesser (csc, asc) is a freelance cinematographer with over thirty years experience in motion pictures, television, commercials and music videos. An Emmy nominee for Door to Door, other credits include Such a Long Journey, Choose Me and Fido.

NUMB “Story is always the principle motivator in the decisions I make to develop the look of a movie. Numb’s four principle characters are driven by greed to find millions of dollars in gold by battling a snowy, cold and very rugged environment. This environment is very much the fifth principle character in Numb. That was not unlike what we were facing in trying to visually tell this story. Given the shooting schedule of only eighteen days and the difficult environment, I found the handheld camera to be very organic. This would provide a subtle energy to the visuals while making the logistics of moving crew and equipment more manageable. I used wide-angle lenses to incorporate the environment as much as possible. To accentuate the cold, I chose a cooler colour palette for the exterior scenes searching for the gold. This was contrasted by a warmer palette used for the interior and less threatening scenes at the beginning of the story. Making a motion picture is a very collaborative exercise. I strive to support and partner with the director on each project I do. The basic elements I employ in visually telling a story are light and shadow, composition, camera movement and texture (all of the other technical tools available for visual enhancement). I find managing these elements manifests itself differently on each project, as each project is unique in its story, personnel and financial requirements. My overriding touchstone is to stay positive.”

- Jan E. Kiesser REEL WEST WINTER 2015/16

FE AT U RE STO RY

Included in Zoic’s long list of credits is ABC’s Once Upon a Time.

ZEUS Helps Zoic Zoom in BC Post Boom

BY NAT H AN CADDE LL emon Island was re-

visual effects were being done. Back

ingham, Washington, just south

the virtual walls weren’t giving our

leased in 2002 to

then it sounded like a monumental

of the Canadian border. “We’ve all

clients the creative feedback they

limited fanfare. It

task, but slowly and surely it began

evolved from being artists to being

needed to really make a production

was a horror film

to happen. That same year that saw

creative directors and managers,

work,” says Orloff, explaining why

starring

bikini-

Pressly prance away from a childen’s

which is a different thing. And now

ZEUS became necessary. “Virtual

clad Jaime Pressly about teens

party game, Orloff and his crew at

we’ve transformed into a company

production is all about integration of

trapped on a haunted island that is

Zoic became involved in the special

that can spread that vision among

the virtual environment with actors

inhabited by a demon hidden inside

effects production for both Firefly

a large group of people, so we’ve

and the blocking and the lighting,

a piñata. It was a sort of Sharknado,

and Buffy the Vampire Slayer.

become much more organized and

so we decided that it was important

without the irony. The film was criti-

Originating in a small studio in

spent a lot of time on upgrading and

to design a system that was sort of

cally panned and didn’t make any

California, Zoic made the move to

being really creative with our tech-

a start-to-finish workflow for virtual

sort of mark at the box office. It

Vancouver in 2006 and also holds

nology.”

sets, particularly for television. In

was, however, the first feature film

an office in New York. The boom in

Ah yes, the technology. Because

the planning process, we developed

to have Andrew Orloff as its special

post-production in Vancouver has

Zoic works between two different

our own program which allows our

effects supervisor. So, in some ways,

necessitated that Orloff, who is both

studios, developing a way to work

clients to load in their own virtual

the film helped launch a multi-mil-

a co-owner and co-founder, work

together between the two became

environments and basically do a tech

lion dollar studio that is now home

out of the Canadian office. Today

imperative. Enter ZEUS (Zoic Environ-

scout inside of that environment.”

to some of the biggest film and tele-

Orloff is working from home. “We

mental Unification System). “What

The Zoic team is able to take

vision projects in the world.

were doing it with a core group of

we found is that we were being asked

sets from the art department and

Thirteen years ago, Zoic Studios

dedicated artists and technicians,”

to do a lot of this work in a traditional

quickly generate them as 3-D assets

had twelve employees. The idea in

says Orloff, on the phone with Reel

way in shooting green screen and

so the studio’s clients can get a feel

the beginning was to change the way

West from his home office in Bell-

marking areas on the ground where

for what the sets are going to be be-

REEL WEST WINTER 2015/16

fore they get into them. This allows for shots that wouldn’t be possible without ZEUS, says Orloff: “We can make really cool camera moves that can come off castle towers and dive down into ballrooms, stuff that you could never do with traditional virtual set methodologies. So that was really helpful on set and on the back end, we’re capturing all that camera data, organizing it and linking it to the editorial process in a way that’s special for ZEUS.” In an industry that’s continually evolving, having a leg up on the competition is huge. Building from their original success with shows

“We developed our own program which allows our clients to load in their own virtual environments and basically do a tech scout inside of that environment.”

like Battlestar Galactica and the aforementioned Firefly, Zoic keeps

the hot spots on both sides of the

shows have communication on the

the innovative camera work and

adding to their collection of high-

border doesn’t hurt either. “We’ve

LA side, some of them don’t and

people really saying ‘Wow, you can

end fantasy hits with programs like

spent a lot of time and investment

all of those are in BC. A lot of the

do this for TV,’ put us on the map

The 100, Once Upon A Time and Arrow.

in communications software that

production work is being done in

as the go-to-place for our television

The studio is also gearing up for

lets us view everything on all of our

BC and it really varies from show to

department,” says Orloff. “Those

some highly anticipated feature

servers simultaneously,” explains

show.”

were really defining and we’ve con-

films including the Jon Hamm ve-

Orloff. “Working at Zoic, it’s almost

It’s clear that Zoic has carved out

tinued to work on those types of

hicle Keeping Up with the Joneses and

like, between our New York, BC

a spot for itself in an ultra-com-

shows. Once Upon A Time is one of

Crouching Tiger, Hidden Dragon II: The

and LA offices, it’s more like you’re

petitive market. Orloff gives credit

those shows, CSI was one of those

Green Legend. There are also some

in the next room rather than in a

to the early work he and his core

shows… when you need a unique

“super double top secret new pilots

separate office. You can pick up the

crew did in order to get them to this

visual style for your TV show, you

that I can’t talk to you about,” ac-

phone and dial anybody’s worksta-

spot where they are personally now

come to Zoic. What we’re really

cording to Orloff.

tion, screen share, synchronize dai-

overseeing more than creating. “Bat-

about is pushing the limits of what

lies and all that stuff. A lot of our

tlestar and Firefly, those shows, with

can be done.” n

Of course, having studios in

REEL WEST WINTER 2015/16

PRO DU CT IO N DIARY

Jude Makes Love on a Microbudget DIARY BY JU DE KLASSE N

Jude Klassen is a Canadian indie Queen. Since the former Reel West correspondent’s recent move east to Toronto, she’s showcased Canadian talent through events like Judecast Live and Jude’s Martini Thinktank and appeared in numerous satirical viral videos as her alter ego Tasha James. After helming the hit BravoFact short Do Not Bend (starring Anna Silk and Peter Keleghan), it was inevitable that the writer-director would take her small-scale approach to the big screen. In her production diary for her musical comedy Love in the Sixth, which is bringing her home to BC, Klassen shares some of the secrets of movie making on a microbudget. JANUARY 24TH, 2014: THE INCITING INCIDENT

gen above my head. I dog paddle to

I’m on the College streetcar in Toronto, heading to the Royal Cinema

JANUARY 26, 2014: THE FIRST RECRUIT

to watch the Butler Brothers latest

My DOP Robert McGee has the same

flick, Mourning Has Broken. They’ve

reaction to the Brother’s flick. He’s

made it for a grand and I’m think-

on the phone to me as soon as he

ing about the myriad of ways I have

leaves the theatre, “They shot the

pissed a thousand clams away in

whole thing on a Canon 5D!”

the top of the barrel and suck it in.

my life. Imagine if you had a film

That’s the same camera Rob’s

after slapping down such relatively

been using to shoot my popular po-

small coin? A feature film with no

litical satire videos, Tasha James &

interference. The exact film you

Fast Ford Nation. We decide within

wanted to make. One thousand loo-

seconds to shoot a feature film. No

nies.

funding applications, no permission

I’m surprised to feel ambition

to move forward, we are just going

slicing through the melancholy be-

to leap in—the exact method we’ve

cause lately my brain imagery has

been applying to the Tasha songs.

been pretty bleak. I’m a nature-lov-

At this point neither of us intends

ing west coast girl in an icy mono-

to make a musical… that happens

chrome city. It’s stupidly cold, the

organically on week two of shooting

TV writing gigs are being scooped

when we have our first and only dis-

by the usual suspects, the magazine

agreement. Rob is worried it’s going

I’ve been writing for has been swal-

to become a feature length Tasha

lowed up in a corporate merger, and

video—like that’s a bad thing!

despite my cool new film & TV col-

Rob, a successful fashion pho-

umn it’s only a matter of time be-

tographer, has been filming my ce-

fore I become “redundant.”

lebrity interviews and live Judecast shows since we met in 2011. Also a

And… I’ve just broken up with my boyfriend.

T.C FOLKPUNK and JUDE KLASSEN on set of Love in the Sixth.

my pocket as he texts me from the

Vancouver expat, Rob has the easy energy I like to be around. He also

I feel the sad buzz of the phone in make it work.

are slimy and I can’t climb out. The

has an extremely forgiving and to-

Toronto Pearson tarmac in the final

I’ve been indulging my secret sad-

phone buzzes again as we pull up in

tally sarcastic British wife, Emma,

moments before his plane takes off

girl and running this internal foot-

front of the theatre—I put my hand

who is willing to look after their ba-

for Germany. It’s not forever, just a

age that’s basically the opposite of

on it, and almost pick up, but sud-

bies while Rob works his arse off on

two week gig with his band, but it

an affirmation. I’m inside of a bar-

denly the thought of making a movie

the film for no financial return.

has the heft of finality. We just can’t

rel that’s filling with water, the sides

presents itself like a pocket of oxy-

Where do I find a wife?

REEL WEST WINTER 2015/16

“I have learned that if you give an intelligent person an interesting challenge they will always rise to it.”

APRIL 29TH, 2014: BATGIRL BEGINS I decide to tart up an original TV series pilot I’ve had no luck in getting made—hell, I’m only forty pages short of a movie—how hard could it be? The series is called Mancation and the concept is this: a frustrated entertainment journalist/single mom decides to get off the mancrack and finally embrace her potential. Each episode has her falling off the Mancation wagon and getting involved with the wrong man: “A last chance for no romance.” So I’m at an Easter party/jam session at my musical collaborator Asher Ettinger’s house and I’m recruiting people for my movie. This hunting ground is rife with possibility—it’s the scene in Toronto that most resembles Vancouver’s Commercial Drive. The painters, the singers, the composers, the freak-flag fliers—these are the people who have rescued me from begging for scraps beneath the Upper Canadian round table. These people are my west coast spirit mammals. If they lived in Vancouver they’d be building giant lanterns and dancing the conga line around Trout Lake, and

WENDY SINCLAIR and JUDE KLASSEN on set of Love in the Sixth.

not surprisingly they love the idea of be a false start. The script was com-

story and picture editors. Oh, and

Since we have no money what-

pletely reimagined by the following

co-producers with their company

soever I decide to cast people as

week (and it wouldn’t be the last

Subprod.

slightly

spontaneously making a film.

time). But for that first shooting day,

themselves, and the fact that I wrote

Asher wrote an incredible song that

my Mancation characters with some

was to be the title track, Mancation.

heightened

versions

Here’s the main cast breakdown/ dynamic:

Wendy isn’t an asshole… I also wrangled my awesome, kooky designer pal, Shay Steinberg to play a lesbian version of herself, the cell-phone addicted Qalie. And

My character, an over-thinking

another Vancouver expat, (former

of these folks as models makes that

I asked for a tune that smacked

single mom/entertainment journal-

editor of Taxi) Lisa Santonato to play

a snap. At this party I meet singer/

of feminist pioneer, Lesley Gore’s

ist named Dani, leans heavily on

Shay’s cunning, corporate girlfriend.

songwriter T.C. Folkpunk. T.C. gigs

fab hit, You Don’t Own Me-- an em-

her young bestie, Mavis.

around town and has a Billy Bragg/

powering grown-ass lady song with

Mavis is a cheeky, polyamorous

equipment makes up about half

Elvis Costello vibe that’s very cool.

wicked back-ups. Asher, as always,

feminist who’s always calling BS

the budget of the film. My long-

We jam on a couple of tunes togeth-

delivered large. He’s… you know…

on Dani’s whinging and justifying.

time West Coast pal, Mitch Swan-

er and discover our voices mix nicely.

Phil Spector without the creepy.

Mavis is having a deeply shallow

son, flew to Toronto to become my

I should mention that the sound

We talk about T.C. contributing a

After Asher delivered that incred-

relationship with both of the But-

sound man and tech advisor… and

few songs to the soundtrack—long

ible tune, I couldn’t help but beg for

ler Brothers that Dani just doesn’t

shrink, and grip, and driver. Mitch

short—he ends up being my co-star

more. I started watching musical

grasp.

had never done sound before, but I

and we write several songs together

numbers on YouTube and wistfully

I discovered the woman who

have learned that if you give an in-

for the movie that range from punk

mentioning ideas to him. Within

plays Mavis, the astonishingly tal-

telligent person an interesting chal-

to surf to heart-breaking ballads.

three days we had our second tune

ented Wendy Sinclair, in the school

lenge they will always rise to it.

Oh, have I mentioned that I cast

for the film, a sweetly cynical Grease

yard. She was dressed as a for-

Two days before we shoot the

myself as the main character and

parody called Fucking Love. The ear

tune teller at the school fair and

second song and two other pivotal

my politically-minded eleven year-

worm on this one is crazy.

she looked badass beautiful, like a

scenes from the film at Asher’s,

tiny gorgeous rabbit: She has great

Mitch and T.C. figure out the new

chompers. But I digress…

gear and formulate a plan that in-

old daughter as my character’s

By the time we gathered to per-

politically-minded eleven year-old

form the kicky tune on Asher’s

daughter? Hey, I can afford me—and

back patio, I had my phenomenally

We started hanging out and I

cludes T.C. taking over as my main

Mika is brilliant beyond her years.

talented cast in place. Jason and

discovered that Wendy had studied

sound person when Mitch returns to

Seriously, sometimes I feel like Jodie

Brett

bros

acting, dance, writing and she could

his real life on the west coast. Since

Foster in Little Man Tate.

who inspired me to make what

wield a make-up brush. Perfect! A

T.C. is in most of the scenes this oc-

JUNE 28TH, 2014: MY INNER ANDY WARHOL

would eventually be called, Love in

very important element in making

casionally proves challenging—but

the Sixth—had come in for a cameo

a successful indie film is finding

what are neighbours for if not for

Our first day of shooting was actu-

and stayed on as main characters.

brilliant people who can multi-task.

holding boom poles and diffusers?

ally June 21st, but that turned out to

They also ended up being both my

And they can’t be assholes. Mostly,

REEL WEST WINTER 2015/16

Butler—the

talented

The

recruitment

talented

friends who have never actually

write about the other one until cer-

worked in film continues. For sec-

tain people are dead. Me included…)

ond cameraman I put in a call to incredible stills photographer who

AUGUST 29, 2014: GETTING THINK TANKED WITH JOHN DOYLE & MIKELA JAY

has captured famous images used

Since author and Globe and Mail col-

by major newspapers including

umnist John Doyle has been sup-

Terry Fox running in the streets of

portive of my alternative style in

1980s Toronto. I have collaborated

the past, I ask him if he’s possibly

with Jeremy before and know that

up for playing himself in a Mar-

he will capture amazing angles and

tini Think Tank scene in my film. He

moments. Between Rob and Jer the

agrees to read his scene and think

look of the film evolves gorgeously.

about it. I quickly hammer out a

Flikr star Jeremy Gilbert, another

Because we shot the major scenes

scene that involves an angry publi-

on June 28th in the afternoon, and at

cist, an “actorvist” and Doyle. Doyle

a real party in the evening, the actors

digs it and suggests a couple of lines

who participated that night included

that I integrate into the script.

several local musicians like the lovevard ended up being integral to the

OCTOBER 2014: THERE’S A LITTLE PROBLEM WITH THE MANCATION THING…

project, her haunting song, Up Late

To be honest, I’m not sure of the

Talking, became an amazing mon-

exact date here because I went

tage in the film and she also plays a

into a bit of a spiral. My steadfast

punk chick hurling in the gutter in

editors the Butler Brothers have

the opening credit sequence.

pointed out a problem with the lat-

ly and talented Collette Savard. Sa-

WHAT’S UP IN CANADIAN TELEVISION

www.tv-eh.com /CanadianTV @tv_eh

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

A random party-goer from Calgary

est script—my character doesn’t go

was recruited on the spot to play my

on a Mancation until the very end of

character’s ex-lover—who flirts with

the film. Oops. Also, the term Man-

Dani outside of the bathroom. He

cation has been co-opted by internet

was fantastic - great eyebrows.

dudes who go on manly, chick-free

JULY 1, 2014: SURVIVING CANADA DAY

vacations that involve head-butting

Without the coin to go ACTRA, I

to the cards.

search out celebrities who can add

The heart of the story—raising a

a little glam to my picture. Because

climate activist twelve year-old girl

the story revolves around an enter-

in the Sixth Extinction while negoti-

tainment journalist who shoots in-

ating a dysfunctional romance—

terviews at home, I decide to recre-

pops to the surface. I’ve had this ti-

ate a few real life experiences. Since

tle kicking around in my brain since

I interviewed Survivorman for one of

I read Elizabeth Kolbert’s alarming

my 10 Questions spreads in Movie En-

book, The Sixth Extinction: An Unnatu-

tertainment Magazine, I decide to ask

ral History, on the bio diversity crisis

Les Stroud if he’d be up for doing

we humans have caused.

the same thing—but as part of an

So we have a cast and crew title

indie film. Les is totally up for it and

debate between Love in the Sixth Ex-

I have to say, it’s one of my favourite

tinction and Fucking Love. It’s almost

parts of the movie.

a tie, but the former wins. Brett sug-

I tell Les I basically want a per-

Join Reel West Magazine’s Digitally Yours columnist Erica Hargreave for her online course in cross-media strategy and storytelling at BCIT.

Building & Engaging Communities BCST 1193: Social Media Storytelling

PHOTO: LIZ KEARSLEY

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bcit.ca | storytogo.ca

and peeing in the sink. We go back

gests we drop extinction and call it

formance that would not be out of

Love in the Sixth. There you have it.

place on The Larry Sanders Show—he

THE PRESENT

gets my analogy and plays it to-

Not surprisingly the first enthusias-

tally deadpan. Stroud keeps it real

tic call I get from a programmer is

throughout a pretty surreal scene.

for a BC festival. I’m being offered a

Dennis Trainor, as a Survivorman

premiere at the Whistler Film Fes-

super-fan, pops out of the foliage

tival! It’s a heady experience. I had

to pepper Les with questions. Then

discussed festivals at length with

Les has to deal with my character’s

the Butlers, T.C. and Rob, and Whis-

boyfriend showing up with a decid-

tler was our fantasy get. The one I

edly hostile vibe. As usual, we all go

could picture clearly when I closed

off-road from the script by the third

my eyes after a day of churning out

take and find terrific and complete-

applications. A kooky musical about

ly unexpected moments.

the Sixth Extinction set against a

Most memorable Canada Day ever… (OK, that’s a lie, but I can’t

backdrop of BC beauty. Sometimes, life works out. n

REEL WEST WINTER 2015/16

INDIE S CE NE

Devine Birdwatching, Carlyle’s Legend and Getting Comfortably Numb at WFF 2015 BY PAU L AR MSTR ON G

elebrating its fifteenth year,

try. Plus, I always eat very well at the

Devine is looking forward to pre-

the Whistler Film Festi-

Festival. The Legend of Barney Thom-

miering at Whistler as “The Birdwatch-

Numb was written by Andre Hard-

val has once again pro-

son will fit right in.”

er is a small, intimate film which will

en and produced by Dylan Jenkinson

ness and recover the coins.

Another film finding a home at the

be better suited to a smaller intimate

and Robyn Wiener, who says the big-

Festival this year is The Birdwatcher

festival as there is a better chance of

gest challenge was “when shooting a

The Legend of Barney Thomson, a

written by Roslyn Muir, directed by

getting noticed.”

film where the weather is as much a

black comedy about a Scottish bar-

Siobhan Devine and produced by

ber who accidentally becomes a se-

Crazy8s producer Ines Eisses.

grammed a strong selection of independent BC films.

For Numb, directed by Jason R.

character as the ones scripted, you

Goode, WFF is also an ideal choice. “It

have little to no control over those

rial killer, directed by and starring

The film is the story of a single

fits the ethos of Whistler: Numb is an

elements.” Nothing that a little bit of

Robert Carlyle as well as Emma

mother played by Camille Sullivan,

outdoor survival thriller, shot in the

movie magic and a strong team can’t

Thompson, is no exception.

with terminal cancer on a quest to

Okanagan. It just feels like a Whistler

overcome.

The producer, Kaleena Kiff, start-

find her birth mother played by Ga-

Film Festival Film” explains Goode.

ed development almost five years

brielle Rose. Garwin Sanford, Jakob

ago when Canadian Rich Cowan

Davies and Matreya Fedor also star.

In Suspension, directed by Jeffrey

“It’s an industry-driven festival

Lando and produced by Sage Brock-

which is more helpful in terms of

lebank, a highschooler and her little

adapted the screenplay based on a

brother are terrorized by a psychotic

series of Scottish novels. Kiff and fel-

killer who is more than meets the eye.

low producer John Lenic had worked with Carlyle on Stargate Universe and “this seemed like the perfect chance for us to collaborate with him,” says Kiff. She got Carlyle on board by “encouraging” (aka pestering) him to read Cowan’s version and hinted that maybe he should make it his feature directing debut. Luckily, Carlyle was game.

“Canadian films are really well highlighted... helping a small film like ours get attention and find an audience.”

Once Carlyle was on board, Emma

Financed through equity investors and a generous crew, the film was about to go to camera on 35mm a decade ago when their lead actress was bought out by 20th Century Fox. But Lando was determined to tell this story and revived the project last year. The film is getting a theatrical release in eleven cities across the US through 8 Films To Die For and then on VOD and Netflix soon after. “There is no waiting period any longer and

Thompson signed on within three

For Devine the appeal of the script

sales for a film like ours. And because

days of reading the script. Kiff then

was personal. “Having survived my

of the Borsos prize, Canadian films

The deciding factor in screening

had to quickly finance the film with

own brush with cancer I was struck

are really well highlighted at Whistler,

at Whistler? “As a Vancouver-based

a mixture of private equity, Telefilm

by how pervasive the illness is and

again helping a small film like ours

filmmaker Whistler is sort of our big

Canada, Creative Scotland, and pre-

how it seems so random who sur-

get attention and find an audience.”

Christmas party, a great way to share

sales. Filmed in Glasgow, Scotland

vives and who doesn’t.”

we love that” says Lando.

The film, starring James Bamber,

the movie with our community.

last year, the film was the opening

The film was financed through

Marie Avgeropoulos, Aleks Paunovic

There’s also a strong industry pres-

gala film at the Edinburgh Festival

the Women in the Director’s Chair

and Stefanie von Pfetten is about a

ence which makes screening there

followed by a seventy screen UK the-

Feature Film Fund, Telefilm and Indi-

couple in financial distress who dis-

all the more valuable.” n

atrical release.

egogo, with many of the crew coming

cover GPS coordinates that promise

Kiff choose to screen at Whistler

from Capilano University’s Indige-

to lead to stolen gold. They partner

Paul Armstrong is a film producer who

because “it has such a cool vibe and

nous Independent Digital Filmmak-

with a pair of mysterious hitchhikers

also produces The Celluloid Social Club

it’s a great mix of both art and indus-

ing Program.

to enter the remote winter wilder-

and the Crazy8s Film Event.

REEL WEST WINTER 2015/16

PRO DU CT IO N DIARY

MELANIE JONES (right) directs SEAN AIKEN and VANESSA CROUCH on set of FSM. PHOTO BY JOSHUA WRIGHT

Melanie Jones Conquers the 10K Challenge DIARY BY ME LANIE M. JO NE S

The behind-the-scenes story of Melanie M. Jones’ debut feature, the indie romance, FSM (Female Seeking Male) is an action-packed tale of PSM (Producer Seeking Money). The shocking plot twist—the movie had to be completed with a maximum budget of $10,000. Jones was the first BC filmmaker selected to compete in Avi Federgreen’s 2014 Indiecan 10K Challenge—an event designed to help launch and mentor eight new filmmakers. The writer-director-producer shares the challenges of raising $10,000— and making a micro-budget feature—as she prepares for FSM to seek out its audience when it debuts at the 2015 Whistler Film Festival. it would be hard. The word challenge

something

appears in the title of the competi-

by the pressure. It’s part of what

tion. I have always felt that limits

makes the journey worth it – know-

This initiative is aimed spe-

t’s not impossible to make a

create opportunities to problem-

ing that you persevered, faced your

cifically at emerging filmmakers

feature film for 10K.

solve and discover better ideas.

fears and got it done. Looking back

embarking on their first feature

Not impossible, just hel-

There is a special kind of crucible

at the path that brought me here,

film and comes with mentors and

la challenging. When my

involved in pushing past obstacles,

I am proud of the milestones and

sponsors I wouldn’t have access

film, FSM, was selected to

re-imagining

ideas,

obstacles I’ve met and faced. Like a

to otherwise. So let’s call it limi-

represent BC in the inaugural INDI-

trusting your gut and your team to

good protagonist, I had a clear goal

tations with a security blanket.

ECAN10K Challenge, I never doubted

come through the other side with

(make the movie) and faced my ob-

Here’s a peek into the process of

“The enemy of art is the absence of limitations.” – Orson Welles

I 24

your

initial

that

transformed

stacles to arrive at the resolution of the story of making this film.

REEL WEST WINTER 2015/16

making an indie feature for 10K in just over a year.

WRITING THE SCRIPT JAN 19, 2014 I’m currently in the throes of writing a new feature script titled FSM (translation: Female Seeking Male.) It feels as though it’s writing itself at the moment. I’m drawing a lot from my personal experiences, observations of friends and musings I’ve had about the modern dating environment. I want it to be a sort of “anti-romantic comedy”—definitely funny but also raw and honest. I’m already at the forty page mark and I’ve only been putting it down for about two weeks. I’m excited about it because it feels like “the one,” the script that could be my first feature as a director. It’s designed to be shootable, set in Van-

“It certainly resonates with my experience as a thirty-something trying to navigate love, relationships and heartache in modern society with all the games, confusion and technology in the way.”

couver locations that I am certain I can get access to, no stunts, just a lot of character work, scenes between two people. It feels like I am saying something important with this one. It certainly resonates with my experience as a thirty-something trying to navigate love, relationships and heartache in modern society with all the games, confusion and technology in the way.

MARCH 9, 2014 Writing update: I finished the first draft on Feb 10th— 103 pages in just 38 days! Submitted it to the Indiecan10K Challenge on Feb 16th. It always helps to have an external deadline pushing you to finish. I think I’ve written almost every day for the past month. Discipline is far better than waiting for inspiration or

Hatchback-turned-police-car on set of FSM. PHOTO BY JOSHUA WRIGHT

motivation to strike at random. I’m heading into draft two right away.

tapped some incredible support for us to make our first features. Every

INDIECAN10K CHALLENGE

the sponsorship is priceless.

and to properly thank your contributors.

team benefits from a local mentor

CROWDFUNDING

and production and post sponsors –

JUNE 2, 2014 We launched our

thank-you on Facebook for every

I decided to post an individual

APR 1, 2014 BIG NEWS. This cra-

ours are Trish Dolman (mentor) Wil-

crowd-funding campaign today. It’s a

donation—that means on a good

zy little movie is going to be made

liam F. White, Finalè Editworks and

brash thing, unabashedly asking for

day, with lots of contributions com-

this year! I met with Trish Dolman

The Mix Room.

cash and support from your circle of

ing in, I might be creating personalized thank yous every hour.

this week and she and Avi Feder-

In addition we all have sponsor-

friends. All of INDIECAN’s winners

green selected me as the BC win-

ship from Indiegogo (helping us

are campaigning at the same time,

Coming up with unique perks is a

ner of the INDIECAN10K Challenge!

crowd-fund), Front Row Insurance

so there’s the added stress of watch-

challenge, but absolutely essential

(seven films from across Canada

(production insurance), The Rights

ing other teams do well while yours

to a good campaign. Some people

have been selected in total).

Company (script clearance), Bren-

potentially does not.

will want the film or soundtrack,

Now begins the exciting and terri-

da Blake (legal counsel), Agency 71

It’s way more work than anyone

but these perks can get tired - es-

fying prospect of actually making the

Inc. (trailer and marketing consult-

can imagine if they’ve never done it.

pecially when people know they

film. This begins first and foremost

ing), Instinct Entertainment (music

Practically a full-time job!

could be waiting several years to

with rewrites to the script, but before

supervision), Juice (online distri-

Every morning I get up and start

you know it we’ll be casting, location

bution), The Media Concierge and

posting and this continues through-

More immediate perk gratifica-

scouting and crowd-funding.

Red Square Motion (deliverables

out the day. It’s the only way to keep

tion is needed. You want them to be

INDIECAN10K

including DCP.) We may be making

your campaign fresh in people’s

fun, interesting, worth the money

means mega resources—Avi has

this film with just $10k cash, but

minds, to get shares and re-tweets

you’re asking people to donate, but

Winning

the

REEL WEST WINTER 2015/16

get their perk.

there is no sense in raising 10K to

of our smaller roles right away, but

of the big Underground Party scenes

AUG 24, 2014 BMX bikers on set

make a film and then spending 10K

still haven’t found Sam.

today. Fifteen numbered cast on the

today, yet again the power of Face-

to fulfill your perks.

AUG 7, 2014 Who is Samantha?

call sheet, plus extras. Lasers, pro-

book comes to our rescue. Also,

JULY 10, 2014 Heading into our

The protagonist of my film—the “fe-

jections, DJ Gear, lots of important

can’t afford to rent a picture car for

last week of crowd-funding, we’ve

male” who is seeking a male, the girl

emotional beats for Sam. One of

your police station exterior? Rent

raised $6670.00 so far. Still pretty

who is both an up-and-coming DJ

the days I was most worried about

the police light bar from HollyNorth

shy of the goal of $10k. I can’t say

and a fragile soul trying to under-

carrying off. We shot six and 7/8

and put it on top of your tiny Mazda

I’m not worried. Convincing strang-

stand what she wants and why the

pages (three separate parties, seven

hatchback. If you only show the top

ers to invest in your film before its

world keeps throwing her curve balls

dialogue sections) and we wrapped

of the car driving through frame, no

even made is not easy. Getting your

when it comes to love and dating.

ON TIME. On top of that the shots

one can tell.

project in the spotlight, raising your

The film hinges on this girl, on the

looked absolutely stunning and

AUG 25, 2014 Filming in my be-

voice above the constant hum of

audience understanding and empa-

Shawn Seifert (DOP) made twelve

loved Clark Park today—some re-

crowd-funding, is not easy. Espe-

thizing with her and her believable

extras somehow look like a hundred

ally fun scenes between Sam and

cially in BC where so many talented

relationships. And brutally, honestly,

party-goers! Kasey Riot and Howl

her best friend. Also our first night

filmmakers are clamoring for sup-

on her ability to carry this film. This

Sound are on set today and both

shoot. To save money we didn’t or-

port from the same tight film com-

is not a decision to be made lightly.

will be providing music for the film.

der a port-a-potty—we’ve sacrificed

munity.

AUG 10, 2014 I found her! The

After today, nothing else on this

some scheduling to drive people to

Even if we don’t raise any more

universe brought me the gorgeous

shoot fazes me. The authenticity

the closest gas station instead.

money, it’s still more than I’ve ever

Vanessa Crouch. Now to squeeze in a

and production value of this film

AUG 26, 2014 Second day at

had before to make a film. With the

table read and a teensy bit of rehears-

just rose exponentially.

the park and we have my ‘trekkies’

talents and tenacity of my team,

al this week so she can meet her cast

AUG 18, 2014 Filming in the

on set as well as Déjà Vu Couple.

I’m confident we will find a solu-

mates and get into the role of Sam.

King’s Head Pub. Indie Tip to save

Shawn let me operate the camera

tion to the problem of our “missing”

We start filming in just five days.

on location fees—pick a pub that

for one shot today. And he even

4K. We will just have to be more creative, more daring, have smaller

THE DAY BEFORE THE FIRST DAY

isn’t too busy during the morning

liked my shot.

(but already open for business) and

AUG 27, 2014 Filming in two East

don’t ask them to close for your

Van houses provided by friends to

cause this is my first feature. And

AUG 14, 2014 It’s 24 hours till

shoot. What you lose in a little back-

get our ‘band house.’ Excited to fi-

I’m going to fight for it, to make a

we start principal photography and

ground noise you gain in production

nally film the song South of Bloor

film no matter the obstacles.

already I can’t sleep. Today was a

value without spending a dime.

generously gave us for the film. Our

JULY 12, 2014 We have a crowd-

whirlwind of prep—from props and

AUG 19, 2014 Filming at the

Martini shot is a night pickup of Sam

funding Angel! Someone donated

wardrobe shopping and equipment

beach and my first day with one

and before I know it IT’S A WRAP.

$2500 today and took us to our goal.

pickups to printing and even last

of our child actors. Audrey Alvarez

AUG 28, 2014 The actors and

Still a few days left and I can’t be-

minute rehearsals. Since we are

plays Sam’s niece in her first-ever

crew have gone home, the fridge is

lieve it, but we may actually end up

filming the majority of the movie

speaking role. Shooting the “sister-

empty, the grip and lighting gear

exceeding our 10K goal. With our

inside my apartment, I will liter-

fight” this afternoon with the in-

have been returned and the truck

cash goal met, and several local

ally be living and breathing the film.

comparable Jessica Heafey.

keys handed in. I’m alone in my

businesses sponsoring us with items

Most days I will be going to sleep

AUG 20, 2014 Summer Camp!

apartment—the hub of so much

for props, wardrobe and set dec, we

and waking up in the set.

Pugs! Running in Kitsilano! Pickups!

activity for the last fourteen days—

might just be able to pull this off!

AUG 15, 2014 First day jitters, a

At the end of today we’re halfway

now quiet again. I lost count of how

few missing props meant we had to

done the shoot - wow. Granville Is-

many times I called “Action” and

crews, shoot faster and dirtier. Be-

CASTING JULY 2, 2014 The casting process on this project is a challenging one for us. With a forty-plus characters cast (why oh why did I write so many!), including a lead role that has to carry the entire film (Samantha is in every scene). We have to be strategic about our process, allowing us to see as many people as possible

“I’m no casting director and it certainly would have been a huge help to have one...”

in an efficient way. My alma mater Langara College Film Arts stepped in

shuffle some scenes around so we

land Tea Company surprised us on

“Cut,” but every single time I was

to provide us a casting space free of

could still make a full day’s shoot.

set with Iced Chai Lattes and Iced

living my dream, holding my breath,

charge and we powered through sev-

Falling in LOVE with my lead, Van-

Tea Lemonade for the entire crew. I

focused on this story I wanted to tell

eral days of tight auditions. The char-

essa and her face on camera, em-

love this town.

and the people who came together

acter breakdowns went out to agents,

bodying this very personal story.

AUG 22, 2014 First day back af-

to help me tell it. Budget is irrele-

Vancouver Actors Guide, and on our

Can’t wait for day two!

ter our break. Heavy scenes today

vant. There is no greater validation

Facebook feeds. I’m no casting direc-

AUG 16, 2014 Filming our ‘awk-

for Sam and the climax of the film.

for a creative person than seeing

tor and it certainly would have been

ward online date’ scene this morn-

Also one of my favorite shots of the

their ideas resonate with others—to

a huge help to have one, especially in

ing and moving to Culprit Coffee

entire film. I’ve been dreaming of

feel that the ideas or experiences

finding our leads, but I do know what

this afternoon. Daniel Arnold is a

this shot for eight months.

that they are drawing from might

I’m looking for. I tend to cast by in-

gem—he’s brought a ton to his char-

AUG 23, 2014 Four days left on

mean something to someone else.

stinct and try not to bring preconcep-

acter—one of Sam’s online matches.

the shoot. Hard to believe it’s al-

Truly, having big dreams isn’t stu-

tions into the room. We cast several

AUG 17, 2014 We’re shooting all

most over!

pid. It’s life-changing. n

REEL WEST WINTER 2015/16

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Letting Go and Empowering Your Crew to Become the Social Media Storytellers BY ER ICA HA R GR EAVE

n observing the approach tra-

ton. Ed is a keen observer and ex-

Up. He encouraged his crew to share

and content coming from Ed and his

ditional broadcasters and pro-

perimenter who was working in post

their polar bear photos and side

crew that I watch for and wistfully

ducers take to social media sto-

production on the TV series Dust Up,

videos with their online audience

taunt myself with daily, as these posts

rytelling around their films and TV

when he realized he’d missed out

with the hashtag #PolarBearTown.

share the real enthusiasm and quirky

series, it’s clear they often lack cre-

on a social media win by empower-

He didn’t tell them how or what to

humour of the storytellers involved.

ativity and personality in the social

ing his crew to help share the tales

say, just to occasionally mention the

media content they share.

of the farmers and harrowing crop

broadcast time and channel.

While you may not be so lucky as to have the privilege of working with

Much of this disconnect in their

duster pilots of the Canadian Prai-

He reached beyond social media

polar bears, the same rings true on

online storytelling is the result of

ries. In his defence, digital media

to digital niche communities of po-

non-fiction, scripted series and mov-

them trying to control it and every

around TV shows was still relatively

lar bear and Northern Canada fans,

ies. I was impressed when I saw Strange

single message that goes out, usually

unchartered territory and producers

as well as to blogs, and he reached

Empire send out a memo to their cast

putting it into marketing speak. Un-

and broadcasters were still feeling

out to online influencers. He did this

and crew inviting them to share their

fortunately, while this may be what

out what to share and when.

above and beyond the planned mar-

photos online with the series’ hashtag.

they are used to in marketing their

In the case of Dust Up, that was

keting around the series, as he knew

There were certain things they did not

projects offline, it is not received as

next to nothing before the series

that his crew would be the most en-

want shared online—potential spoil-

well on social media. It comes across as inauthentic, insincere and as marketing spam. On social media, people want to feel like they are getting more than just the controlled marketing materials that the powers-that-be decide that they should have. They want to engage with the story and have the story engage with them—knowing the storytellers are as passionate about the content as they are. They want to have fun with

This was their opportunity to share snippets of their experience with their community

it and to feel a part of the story. What does this mean to the broad-

ers—and they were very clear on that in a memo to their team. After watching the cast and crew in the filming of a recent movie share stories online, I’d suggest that such a memo be shared at the beginning of production - to begin building a buzz slowly and allow cast and crew to share snippets of the work that they are excited about, while avoiding any spoilers from being released. Then as the cast and crew are able to share more, closer to broadcast, additional

launched, forcing Ed to build a buzz

thusiastic storytellers around the

memos can go out, inviting the show’s

of anticipation by engaging people

series, as they’d just gotten to spend

team to be a part of the digital story—

Firstly, that you need to stop being

around pre-existing content on crop

a year shooting polar bears and a

creating a win-win for both produc-

so precious about who is sharing the

dusters, Saskatchewan, and farming

Northern Canadian community!

tion and the cast and crew.

content around your film or TV series.

on the social media platform and

This was their opportunity to

It is amazing how much further

Secondly, you need to be passion-

in digital niche communities. As it

share snippets of their experience

stories spread when you empower

ate about your content and share

turned out this was a win, as it cre-

with their community, and really

others to share them

that passion around the stories you

ated a community of super fans that

who wouldn’t want to brag about

On that note, we’d love for you to

tell on social media. This second

felt connected to the series and in-

hanging out with polar bears or

be a part of our story by connecting

point sounds like a given, but when

vested in it. Ed took note.

share their polar bear selfies. It’s the

with us at @reelwestmag. n

caster or the producer?

controlled marketing speak drives

So when Ed was hired as the Su-

the social media, this passion is often

pervising Producer for Polar Bear

Despite there being Facebook, Twit-

Erica Hargreave gets her kicks out of

lost in translation.

Town, a new series on OLN, he re-

ter and Instagram feeds for Polar Bear

weaving stories across platforms, and

membered his experience from Dust

Town, it’s the #PolarBearTown hashtag

teaching at BCIT.

Enter my good buddy Ed Hat-

cool Canadian thing to do, eh!

@reelwestmag REEL WEST WINTER 2015/16

T H E W INDOW

Sci-Fi Producers Share the Trick to Making First Contact with Millennial Audiences BY MA R K LEIR EN -YOU N G

hat convinces millen-

views with hockey players. Instead

coming plot lines. “We’re going to

as actors we can engage with them

nial audiences to tune

of “we gave it 110 percent,” the stan-

be a lot more engaged on set now

truthfully instead of, ‘We were told

in to a TV show? One

dard actor repertoire includes, “this

that we know we’ve got people who

just to say these talking points.’ Peo-

of the answers is what happens off-

is the best cast/crew/director I’ve

want that.” He turned to his cast on-

ple can see right through that now.”

screen or, since they’re likely not

ever worked with,” and a variation

stage and added, “We’re going to be

His Killjoys co-star Hannah John-

watching your show on a TV, on

on, “I knew I had to do this as soon

encouraging these guys to do a lot

Kamen (@hannahjk1), who spends a

the same screen. And what’s hook-

as I read the script” which, almost

of teasing and photos.”

lot of time Facebooking fans, chimed

ing them may not be an official, or

without fail, they were unable to

even officially sanctioned, part of

put down.

One of his stars, Jennette Mc-

in: “Trust us… We live Tweet with our

Curdy streamed her own commen-

show and it’s just wonderful because

But in the Twitterverse, cast and

tary during episodes. “I loved do-

it’s very conversational with our

The Allure of Escapism: Engaging

crew aren’t just set free to talk

ing Periscopes during commercial

fans. It’s a nice forum for them to

Millennials, a panel discussion at

about their work, their process and

breaks as a way to engage fans, keep

engage with each other and for us to

MIPCOM 2015 hosted in October by

their lives, but urged to do so. Cast-

them interested and keep the con-

have a conversational connection.”

Telefilm Canada and the Canadian

ing and acting agents admit the size

versation going.”

the show.

Media Fund, suggested that genre was a big hook for younger viewers. But when the teams behind made-in-Canada sci-fi sensations Between and Killjoys shared the secrets of their success, they kept coming back to the same theme: the way their shows engage with the audience. “We’re very much in a recommendation economy,” explained John Young, Managing Director of Temple Street Productions, which produces Killjoys. “The stats are showing that sci-fi has a bigger reach to millennials, but that may

“The fans want to hear from these guys in terms of character and in terms of who they are and you couldn’t police that if you tried.”

go beyond content into the marketing approach.”

John Young agreed. “I think in this day and age that authenticity is huge to the group of people that we’re appealing to.” Asked about the shift away from traditional interviews with pre-approved talking points, Young dismissed the concept as outdated. “It doesn’t work anymore. The fans want to hear from these guys in terms of character and in terms of who they are and you couldn’t police that if you tried. The writers and the stars of the show are the ones the fans really want to hear from.” Young also wants to see storytelling evolve so the focus shifts

of a social media following is now a

After the panel discussion was

from the medium to the messages

The best marketing has always

factor in landing roles. With actors,

over, actor Aaron Ashmore told Reel

and building the brand beyond the

been word of mouth, but an audi-

writers and other creative crew be-

West, “I think if you want the best

broadcasts. Says Young, “I’d love

ence getting their word of mouth

ing encouraged to live Tweet shows

out of actors you can’t treat us like

to see us move into a world where

from the many-mouthed beast that

and produce endless behind-the-

children. That’s not the world that

we’re dropping story ideas and sto-

is social media requires unleashing

scenes B-roll, social media savvy

we live in anymore.” A Canadian

rylines and new characters in a

cast and crew to share selfies on In-

is likely becoming an ever-growing

Comicon icon courtesy of roles in

very non-traditional way, perhaps

stagram and Tweeting about what’s

factor too.

fantasy phenoms like Smallville, Ash-

in a comic, perhaps getting into a

David Cormican, producer of

more (who has over 30,000 followers

little bit of a storyline that diverts

Between, described his show’s fans

@AaronRAshmore) says the trick to

a bit from the main story. I’d love

Having interviewed thousands

as “great detectives” and was im-

fan engagement is engaging without

a new character to emerge on a t-

of actors over the years, their com-

pressed with how followers created

a nervous publicist looking over his

shirt. That’s where I see this brand-

ments have traditionally been as

their own trailers and memes based

shoulder. “I think that’s why there’s

building and world-building hap-

predictable

on what little they knew about up-

so much fan engagement, because

pening.” n

happening on screen and behind the scenes.

post-game

inter-

REEL WEST WINTER 2015/16