Reel West Magazine Fall 2016

2 0 1 6 N AT I O N A L M A G A Z I N E AWA R D S F I N A L I S T FALL 2016

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CO NT E NTS

Fall 2016

OSCAR DENNIS runs his dogs across Tahltan Territory.

PHOTO C/O CANADA WILD

6

DON’T CALL THIS HOCKEY MOVIE A HOCKEY MOVIE

Director Kevan Funk gives 110% on his debut feature.

By Tom Hawthorn

8

THE ANIMATED LIFE OF ANN MARIE FLEMING

The innovative artist offers a window into the world of her latest feature.

By Mark Leiren-Young

12 FROM SCRIPT TO SCREEN

4 ANGLE ON

MARK LEIREN-YOUNG 11

LEGAL BRIEFS NATHANIEL LYMAN

14

STORY MONEY IMPACT TRACEY FRIESEN

15

WESTERN TV, EH? DIANE WILD

How an animated scene arrives on the big screen.

By Ann Marie Fleming

25 INDIE SCENE

PAUL ARMSTRONG

16 WHERE THE WILD THINGS ARE

29 DIGITALLY YOURS

ERICA HARGREAVE

KONEL¯INE storms VIFF 2016.

By Katja DeBock

18 THE BIRTH OF KON E L¯I NE

30 THE WINDOW

MARK LEIREN-YOUNG

Nettie Wild shares the secrets of the creation of her latest hot doc.

24 AFTER THE AFTERMATH

On the set of BC's latest post-apocalyptic sci-fi series.

By Nathan Caddell

26 A HALF CENTURY OF SHARING BC’S STORIES ON SCREEN

Wim Roozeboom documents the history of our documentaries.

By Drew Tapley

@REELWESTMAG FACEBOOK.COM/REELWESTMAG

ON THE COVER: NETTIE WILD. PHOTO BY PHILLIP CHIN REEL WEST MAGAZINE IS A WHOLLY OWNED ENTERPRISE OF REEL WEST PRODUCTIONS INC. IT EXISTS AND IS MANAGED TO PROVIDE PUBLICITY AND ADVERTISING THAT SUPPORTS THE GROWTH OF THE WESTERN CANADIAN MOTION PICTURE INDUSTRY. EXECUTIVE PUBLISHER: SANDY P. FLANAGAN. EDITOR: MARK LEIREN-YOUNG. PUBLISHER: RON HARVEY. SALES: RANDY HOLMES, ADAM CADDELL. CREATIVE DIRECTOR: ANDREW VON ROSEN. ART DIRECTOR: LINDSEY ATAYA. PHOTO EDITOR: PHILLIP CHIN. CONTRIBUTORS (EDITORIAL): PAUL ARMSTRONG, NATHAN CADDELL, TRACEY FRIESEN, ERICA HARGREAVE, NATHANIEL LYMAN, DREW TAPLEY, DIANE WILD. ASSOCIATE EDITOR: JESS EDWARDS. REEL WEST MAGAZINE IS PUBLISHED FOUR TIMES PER YEAR. SUBSCRIPTIONS CANADA/US $35.00 PER YEAR (PLUS $10.00 POSTAGE TO USA). REEL WEST DIGEST, THE DIRECTORY FOR WESTERN CANADA’S FILM, VIDEO AND TELEVISION INDUSTRY, IS PUBLISHED ANNUALLY. SUBSCRIPTION $35.00 PER YEAR (PLUS $10.00 POSTAGE TO USA). BOTH PUBLICATIONS $60.00 (PLUS $10.00 POSTAGE TO USA) PRICES INCLUDE GST. COPYRIGHT 2014 REEL WEST PRODUCTIONS INC. SECOND CLASS MAIL. REGISTRATION NO. 0584002. ISSN 0831-5388. G.S.T. # R104445218. REEL WEST PRODUCTIONS INC. 2221 HARTLEY AVE., COQUITLAM, BRITISH COLUMBIA, CANADA, V3K 6W9. PHONE: 604-553-1335 TOLL FREE: 1-888-291-7335 EMAIL: INFO@REELWEST.COM URL: REELWEST.COM. VOLUME 31, ISSUE 3. PRINTED IN CANADA. TO SUBSCRIBE CALL 604-553-1335 OR VISIT OUR WEBSITE AT REELWEST.COM. REEL WEST WELCOMES FEEDBACK FROM OUR READERS, VIA EMAIL AT EDITORIAL@REELWEST.COM. ALL CORRESPONDENCE MUST INCLUDE YOUR NAME, ADDRESS, AND PHONE NUMBER.

REEL WEST FALL 2016

3

ANG LE O N

Celebrating VIFF 2016 and My Third Year With Reel West

BY MA R K LEIR EN -YOU N G

T

he 2016 Vancouver Interna-

ning with Waving back in 1987)—also

VIFF: Take Four Giant Steps and Rog-

powerhouse, Tracey Friesen, offi-

tional Film Festival is cel-

reveals how she brought a key se-

ers Pass. We’re always happy to cel-

cially joins the Reel West team as our

ebrating female filmmakers

quence from the page to the screen.

ebrate our industry’s history and it’s

newest columnist. She’s offered to

this year with a major new award—

Filmmaker Kevan Funk, whose

a treat to be sharing this surprising

keep sharing lessons about funding

IGNITE—a $20,000 prize from Telus

new feature is featured at VIFF talks

story about 95-year-old filmmaker

(and creation) from her invaluable

to recognize “the outstanding work

to our writer, Tom Hawthorn, about

Wim Roozeboom.

new book, Story Money Impact.

of a female key creative on a BC-

drawing a crowd to create Hello De-

Peripatetic producer, Paul Arm-

Meanwhile, I’m celebrating the

produced feature or short.”

stroyer in Prince George. Funk told

strong, gives us the lowdown on

start of my third year as editor of

VIFF’s shorts.

Reel West and, as always, I’m looking

And this issue we’re proud to be

Tom that one of the difficulties in

featuring two of BC’s best “female

filming a sports scene for a short or

Beyond the world of VIFF our so-

key creatives”—Nettie Wild and Ann

a feature is that viewers are accus-

cial media maven, Erica Hargreave,

Marie Fleming.

tomed to seeing the fast-paced action

offers advice to anyone looking to

I hope you’re as intrigued by the

Our cover model, Nettie Wild, di-

from television broadcasts. The solu-

explore social media with a snap-

idea of page to screen features as I

rected one of the most anticipated

tion for his short Destroyer—which

shot of Snapchat.

am. If so, please let us know—and

films at VIFF 2016—KONEL INE: our

gave birth to the feature—was includ-

–

Nathaniel Lyman unspools the

land beautiful—which already wowed audiences and juries at Hot Docs.

Wild’s known for crafting documentaries that are beautiful, powerful and provocative. Her previous explorations of BC’s culture include Blockade (a look at BCs infamous and defining War in the Woods) and FIX: The Story of an Addicted City (a look at the birth of BC’s controversial and vital safe injection site). With –

KONEL INE (her fifth VIFF entry), Wild allows the beauty to tell her story and

for input into where you’d like us to shine our spotlight.

please let us know which types of scenes you’re most intrigued

...author and producer and powerhouse, Tracey Friesen, officially joins the Reel West team as our newest columnist.

she’s provided us with a diary track-

by—and we’ll ask more directors or cinematographers or designers or… whoever else you’d like to hear from… to reveal their secrets.

Is there an aspect of filmmaking that you’d like to see us focus on?

A behind the scenes hero you’d like to see featured?

An area of filmmaking you feel deserves more attention?

I know there are a million fantastic stories about the western Canadian scene and I wish we could

ing down some of the key moments

ing actual junior hockey players such

rules around stock footage.

in the movie’s development. And our

as Alex Ambrosio, Hari Vapheas and

longtime writer Katja De Bock offers

Ty Ronning, the son of the Vancouver

the

some insight into Wild’s world.

Canucks fan favourite Cliff Ronning.

drama, Aftermath.

Nathan Caddell visits the set of made-in-BC

post-apocalyptic

share all of them, but with only four issues a year we only get to focus on a fraction of them—so we are always looking for stories that will be

and

Jared Abrahamson, the star of both

Our TV columnist, Diane Wild,

force of nature, Ann Marie Fleming,

the short and the feature, hails from

was planning on taking a break

debuts her latest full-length anima-

Flin Flon, a Manitoba hockey hotbed.

from writing about the TV biz but

What would you like to know?

tion creation at VIFF 2016 and she

Alas, he might be the poorest skater

couldn’t walk away without com-

Please, let us know.

shares the stories of conquering

the mining town has ever produced.

menting on the recent CRTC de-

Contact me at editor@reelwest.

Animator-author-illustrator

the most interesting and informative for our readers.

Toon Town and wooing Sandra Oh

Writer Drew Tapley delivered a

cision that Canadian writers and

com or Tweet us @reelwest and be

with Window Horses. Fleming—who

feature about a western Canadian

directors are warning could be

sure to follow us on Facebook and

has had over a dozen of her shorts

filmmaking veteran who had a pair

apocalyptic.

Twitter and share your news with

and features screen at VIFF (begin-

of films screen at early editions of

4

And author and producer and

us. n

REEL WEST FALL 2016

REEL WEST FALL 2016

5

O PE NING RE E L

Play that Funky Movie: Hello Destroyer

BY TO M H AW T H O RN

Hello Destroyer director KEVAN FUNK (right) with lead actor JARED ABRAHAMSON.

T

he crowd roared as

public plea on a Facebook page. The

capacity of the CN Centre, an in-

Kevan Funk stepped

George,

early

story got picked up by local CKPG-

credible turnout under the circum-

onto the ice, one step

March, when the arena’s bright

TV. The day of the event the Face-

stances.

gingerly following an-

lights offered a respite from the

book page had 846 interested, 678

They filled one side of the are-

other.

dark, howling cold of a northern

going. The filmmakers figured they

na—a braying, raucous, clapping,

British Columbian evening.

could move clumps of fans around

shouting crowd roaring at the vio-

to fill up the seats closest to the ice,

lence on ice, just as you’d expect at

as needed.

a junior hockey game. Security even

In his head, he was planning the

It was hockey night in Prince a

Wednesday

in

next shot of his first feature film,

The makers of Hello Destroyer,

but he allowed himself a moment to

billed as a hockey movie, though

bask in the cheers. In the coolness

the drama is much more than what

When Funk noticed a line form-

had to remove three drunken men

of the arena, the writer-director

that implies, were to shoot an ac-

ing more than two hours before the

who were spoiling for a fistfight in

wore dark boots, black pants, and a

tion scene involving a central event

doors opened, he knew he’d have

the stands. Prince George knows

black sweater rolled to the sleeves,

in the plot. They needed an arena

enough people. They came dressed

hockey.

the stick figure a stark contrast

of screaming fans. One problem: no

in team colours of red, white and

After the shoot, Funk, who wrote

to the gleaming whiteness of the

money for extras, no money to ca-

blue for the fictional Warriors. They

and directed the movie, noticed

painted ice. The intoxicating roar

ter food for extras, no money to cast

painted their faces. They waved

some fans sitting near the penalty

enveloped him. So, this is what it’s

a Hollywood name to lure the star

homemade signs. Some 2,000 an-

box had devised their own shtick to

like to be a hockey player, he thought.

struck to the arena. They issued a

swered the call, about one-third

celebrate the movie’s lead charac-

6

REEL WEST FALL 2016

ter, a troubled young player named

Abrahamson hails from Flin Flon,

troupe performing original produc-

a childhood filled with opportu-

Tyson Burr (played by Jared Abraha-

a Manitoba mining town known

tions designed to spread a message

nity and loving parental support,

mson). As he left the penalty box,

for its junior Bombers hockey team

about being in harmony with na-

his mother empathetic, his father

about to administer punishment on

and as the hometown of hockey star

ture. “Doing environmental theatre

teaching critical thinking, the chil-

an unwitting opponent, some fans

Bobby Clarke, who once deliberately

in Alberta in the ’90s is not a way to

dren encouraged to follow their

hugged their own shoulders and

broke a Russian opponent’s ankle

make money,” Funk said. Needless

muse. “In our family it would be

rubbed their arms as if to say, “B-r-

with a vicious slash of his stick.

to say, it was nonprofit.

weird to be a dentist,” Funk said.

r-r-r,” a tribute to the fictional tough

The movie is informed both by

Funk had an upbringing like few

Indeed, his siblings are all pur-

guy and a chilling premonition for

the real-life Todd Bertuzzi incident

others since the days of vaudeville.

suing funkadelic working lives—

what is about to come. “That’s why

(about which more in a moment)

“I was born into theatre,” he said.

younger brother Tyler is a Victoria

you need real hockey fans,” Funk

and the Errol Morris documen-

“When they toured the kids had to

filmmaker, sister Kelsey a standup

exalted afterwards.

tary Standard Operating Procedure, in

come along, so you might as well

comic in Calgary, and baby brother

Looking back months later, Funk,

which unspeakably vile behaviour

write them into the script.”

Trevor an aspiring writer in Victoria.

a boyish figure with more than a

by guards at Abu Ghraib is a prod-

In the summer after Grade 4,

Funk, who studied film at the Em-

glancing resemblance to Ryan Gos-

uct of a corrupt and corrosive mili-

young Kevan had a prominent role

ily Carr University of Art + Design,

ling, regards stepping on the ice in

tary occupation.

in Nature Bats Last, a 90-minute play

graduating in 2011, first won atten-

that moment, about to execute a

The writer-director sees acts of

melding baseball with the plight of

tion with a series of short films, re-

three-hour shoot with hundreds of

violence being performed as a result

songbirds migrating between bo-

sumé builders which he considered

unpaid extras and a cinematogra-

of social conditioning. Junior hockey

real and tropical forests. The boy

his calling cards in the business. A

pher on skates for a few minutes of

certainly creates an expectation of

performed 55 shows in Alberta and

short character study, Weight, was

movie action as “a life-defining mo-

violence, as fans cheer teenagers

British Columbia. Though acting

shown at VIFF in 2009, followed

ment.”

beating on one another as long as

was his first love, he did not par-

the next year by A Fine Young Man,

they follow certain unwritten, so-

ticularly care for the memorizing of

a Cold War satire that claimed four

cially acceptable codes.

lines. By about age 12, he was deter-

Leo Awards—best actor for Paul Mc-

mined to be a film director.

Gillion, and best short, writing and

When your first feature premieres at the Toronto International Film Festival a week before you turn

Those familiar with NHL hockey

30, you can expect a filmmaker to

will remember that Bertuzzi, a be-

He clipped a copy of the Ameri-

have plenty more such moments.

loved Vancouver Canucks tough

can Film Institute’s list of 100 great-

He returned to the festival in

Hello Destroyer, which makes its

guy, was expected to exact revenge

est movies on its release in 1998,

2013 with Destroyer, the understated

western Canadian debut at the Van-

on an opposing player for having

methodically ticking each off as he

short featuring Abrahamson who is

couver International Film Festival,

earlier injured a star teammate.

worked his way through the shelves

told to ignore an unsettling crime.

tells the story of a young hockey

Funk remembers a “palpable blood-

of the local (and excellent) video

player who performs a transgres-

lust in the city for retribution.”

store.

sive act of violence on the ice. Just

When Bertuzzi’s expected attack re-

Funk is among a cohort whose

midst of a midlife crisis on tour in

don’t call it a hockey movie. “A

sulted in a devastating injury to his

knowledge of film comes from

“Yellowhead.” In Bison, Funk takes

hockey movie to me is like the worst

target, he became a pariah.

watching big screen productions

the simple narrative of a branding

directing for Funk.

McGillion played an alcoholic, alienated safety inspector in the

kind of English Canadian movie you

Funk spent the late summer jet-

on a little screen. Of course older

weekend on a family cattle ranch to

can make,” Funk said. He is eager to

ting across the continent, triangu-

directors came to classic movies

explore lingering questions of the

subvert expectations.

lating Vancouver (more or less his

either through television, in which

legacy of settler violence on First

In the feature, hockey serves as

home), Toronto (Hollywood North)

the pacing was hacked by commer-

Nations. While others might treat

the backdrop of a cutthroat sub-

and Los Angeles (Hollywood South).

cials and controversial scenes ex-

shorts as extended movie trailers,

culture in which the pettiest of

In the last days of August, he could

cised, or by painstakingly waiting

Funk’s 12-minute films are brilliant

disputes is settled by fisticuffs, or

be found after dawn in a standalone

for a movie to arrive at the local

exercises in storytelling in compact

worse. “We construct a villain de-

Vancouver home in which the base-

repertory house.An eye for image

form.

fined by the people around him,”

ment and main floor have been con-

was honed by taking part in the

His Vancouver-based North of

Funk said. “Tyson, our lead charac-

verted into a sound studio, where

“Through the Lens” program run

Now production company has also

ter, doesn’t really know who he is

he was completing the mix for Hello

by the Whyte Museum of the Ca-

made

as a person.” There are expectations

Destroyer.While he’s comfortable in

nadian Rockies, in which children

for Ford, Band-Aid, and Coca-Cola.

for a brooding young man of limited

all three cities, and found in Prince

were encouraged to take black-

Funk’s music videos, including piec-

skill who is expected to defend his

George

(six-week)

and-white photographs for public

es for ODESZA’s “All We Need” and

teammates from the ruffians on

home where good food, craft beer

display. He also served on a jury

Whilk & Misky’s “Clap Your Hands,”

the other side. It is a fraternity of

and friendly folks were all in hearty

for young filmmakers, providing

are gorgeous storytelling incorpo-

unwritten rules and unspoken as-

supply, his real home, where his

an inside look at the tedious pro-

rating Funk’s telltale twists.

sumptions.

heart resides, is Banff.

cess of filmmaking, the kind of op-

Funk has won many prizes for his

a

temporary

broadcast

advertisements

in

His parents, Colin Funk and

portunity only likely in a place like

shorts with more awards and hon-

Funk’s devastating short, Destroyer,

Connie Brill, moved to the Rocky

Banff. Even high school, typically

ours certain to come. Though now

in which he feels compelled to con-

Mountain idyll when Kevan was

a daytime incarceration at an age

30, he has been directing for well

fess to seeing teammates commit

aged two, seeking a more natural

given to alienation and isolation, is

over a decade. He won his first film

an atrocious act of violence only to

environment in which to base a

remembered as a place where he

prize as a high school student. The

be told by his coach that he is never

theatre company. They belonged to

could be artsy, a jock, and a brain.

ceremony was held at a bar. At 17,

to speak of the incident again. The

the Happy Trails Theatre Collective

The school body was too small to

he had to wait outside, gaining tem-

young actor is a study of pained

before his birth, which came in Van-

force students into one clique or

porary admission to accept his tro-

confusion, his burgeoning identity

couver in the waning days of Expo

another.

phy before being ushered back out-

entirely tied up in his fellowship

86. In the mountains, they found-

While some come to art through

of hockey players. By coincidence,

ed Precipice Theatre, a grassroots

pain and dysfunction, Funk claims

Abrahamson

REEL WEST FALL 2016

also

starred

side, an underage filmmaker who was overachieving even then. n

7

PHOTO BY PHIL CHIN

8

REEL WEST FALL 2016

Q & A

Opening the Door to Window Horses

BY MARK LE IRE N-YO U NG

Ann Marie Fleming is one of western Canada’s most unique and engaging artists. An award-winning filmmaker and an award-winning graphic novelist, Fleming’s creations are whimsical, charming and, most of all, affecting. Her graphic novel, The Magical Life of Long Tack Sam, was a finalist for two Eisner Awards. Her feature length animated documentary adaption of the story of her grandfather – a legendary magician – was a festival favourite and racked up numerous awards.

Her new animated feature, Window Horses, a father-daughter story that involves poetry and immigrants, based in Shiraz, Iran is being featured this fall at the Vancouver International Film Festival. I asked Ann Marie to talk about her latest feature, her career and her inspirations.

Q: What was the spark for the

and stories that you can’t know just

to Vancouver and hearing stories

myself into the story, and made my

movie?

by looking. You have to ask. Even

about the Iranian diaspora here, a

avatar Stickgirl the heroine—so it

As a writer, I am a vampire, and

though I am an immigrant, my fam-

community I wasn’t really that aware

became a father-daughter story.

I am always taking snippets from

ily came to Canada when I was a

of and I moved my story forward a

Stickgirl is a mixed-raced gesture,

other people’s lives and blending

young child, and it wasn’t until my

generation to make it more contem-

and I made her half-Iranian. I was ap-

them with my own experiences and

experience in Germany that I really

porary and used the Islamic Revolu-

plying for production funding in 2009

felt what it was like to live outside

tion of 1979 as the defining moment.

when Canada cut off all diplomatic relations with Iran. It was suggested

putting them in my stories.

my own culture. Honestly, it was

When I changed the focus and cul-

Stuggart—The

the first time I felt really Canadian,

ture to Iran, the message of the film

to me that I rewrite the story and set

Akademie Schloss Solitude. For the

and not just Canadian but west

also changed. It was always about

it in China, a country that I actually

first few months I was in a writer’s

coast. Learning German opened me

being open to the stories of others

have some ties to. I tried for a year but

studio and met poets from all over

up to a new way of thinking about

for greater understanding between

felt it had to be Iran. I made a short

the world. It was a Chinese poet’s

culture and language. There were

people, but now it became about

animated karaoke video in 2009 with

story that held my imagination and

three horses outside my window. I

something bigger, about presenting a

a grant from BC Arts Awards. The

I wanted to tell this story about fa-

was also introduced to Iranian cin-

response to the increasingly complex

song is at the end of the film.

thers and sons after the trauma of

ema, music and the poetry of Rumi,

world out there, filled with images of

In 2011, I made an animatic of

the Second World War (or any war),

which Rilke had championed in Ger-

fear. This is not a political film at all,

the storyboard, thinking that would

where people were moving all over

many back in the day.

but it is impossible to say anything

get some interest and attention. Not

about Iran without being seen as po-

really.

In 1996, I was invited to an artist

residency

in

the place for new opportunities and cultures were coming together

Q: When did you get the spark—

litical. I set it in a slightly futuristic,

like never before, yet there was this

and what was the timeline like af-

pluralistic Islamic society.

stark gap between generations, es-

ter that?

In 2012, I decided to make a graphic novel out of the preliminary

Of course, it took me so long to

storyboard we had made from the

pecially old world versus new world.

I wrote a book, Breathless: the Book

make the film that the future is

film, thinking I could maybe get that

I wanted to explore the relation-

of Ann, a memoir, when I was in soli-

already the past! I applied to the

published and get some attention

ship between men, who maybe talk

tude and in that I wrote a cowboy

Canada Council to make a very

for the film. Nope.

less directly, but can come together

song, “Window Horses,” about the

low-budget animated film with my

through poetry.

horses and all the things they re-

many-time

collabora-

this film made if it killed me and told

animation

In 2014, I decided I was going to get

It seemed to me like poetry was

minded me of: family, history, the

tor, Kevin Langdale. I didn’t get the

Kevin to make a trailer. Telefilm had

everywhere in Germany. I am mixed

freedom they represent mythically,

grant, so I approached Telefilm for

so little money that I thought it was

race and I have always been inter-

their domestic reality.

development money, where I wrote

an excellent time for me to apply, as I

the script and decided to embed

make extremely low-budget projects.

ested in other people’s histories

REEL WEST FALL 2016

Jump ahead to 2007. Coming back

9

I decided to try crowd funding and

Q: You’ve got a cultural consul-

manded. This film was always sup-

Q: What’s your favourite part of

started an Indiegogo campaign.

tant—can you talk about your dis-

posed to happen in negative space,

making a movie?

coveries in crossing cultures with

visually blooming as Rosie’s world

Making a film is so hard and there

this story?

view expanded, but if you have seen

are so many bits that are no fun and

I called up Sandra Oh, who I had almost made a film with 20 years earlier and had kept in touch with,

As I mentioned, I am a vampire.

any of my other Stickgirl films…

animation is a long haul, but I love

and asked her if she would give me a

But this story is an act of imagina-

nothing fancy! When Kevin saw

actors. I loved those recording ses-

couple of her hours and be the voice

tion. I have never been to Iran. I don’t

Sandra talking on ET Canada about

sions. I love writing. I love the script

of the lead character, Rosie. This was

want to sound too twinkie but I re-

How to Train Your Dragon, Frozen and

phase. I love the research—the ex-

a big deal for me, because Stickgirl

ally do believe that sometimes as a

our little trailer playing behind her,

cuse to go on a treasure hunt of cul-

is me, and I have made many little

writer you are just channeling stuff

he cranked it up to 11, so to speak.

ture. I love coming up with design

projects with her, with my voice. But I

from the universe. It was very impor-

All the design work became more

ideas. I love seeing what the other

really needed people to see this film,

tant to me that I be respectful and

elaborate. We had to get more ani-

artists I work with can come up with

and I knew that Sandra could amplify

authentic to the people and cultures

mators on board and we needed a

that makes what was in my own

the reach of its message. And she is

I was portraying in the film. This is

more industrial pipeline.

head even better. I love the music

such a great actor. Lucky for me, she

not any different than how I ap-

had just left Grey's Anatomy and was

proach the cultures of China, magic

Q: It looks stunning—and unique—

gether. I love watching the finished

actually in Toronto at TIFF when I

and acrobatics in The Magical Life of

how did the look and style evolve?

film, and I love being able to talk

got in touch with her. She loved the

Long Tack Sam. Over the years it took,

The big questions for people were,

about ideas. For this film, I really

graphic novel so much that she want-

I had many cultural consultants who

“How will all these different styles

wanted it to make a difference—to

ed to come on board as executive

all vetted the script and the imagery.

go together?” and “How can Stick-

anybody. I want to open some minds

producer and help me get this thing

Of course, there were differences of

girl be the central character in a

and hearts.

funded. She responded to the story of

opinion, but everyone was satisfied

more traditional animated world?” I

a family torn apart and its represen-

that I did my due diligence and it

never really worried about this. I’ve

Q: How did the crowd funding cam-

tation of diversity and women.

came from the heart. Some Iranians

always made hybrid films, collaging

paign work?

I can’t tell you how helpful San-

were perplexed by someone outside

styles. I feel it is like preparing a fu-

Indiegogo was very helpful with

dra was. It was her first project af-

of their culture spending all this time

sion meal or anything else about my

helping us manage our campaign.

ter Grey's and all the press wanted

and lovingly portraying it.

process. I love seeing it all come to-

life. I’m very eclectic and I like mix-

I’ve learned a lot from it and realize

to hear about it. We got to talk about

I went down a lot of roads just from

ing it up. As for Stickgirl, she is an

I should have listened more. But it

our message of peace and tolerance

my own personal interests and how

open gesture. She is pointedly Asian

was a lot of work. I hired people full

and openness and poetry to people

they intersected with Persian history.

and she is the most fully drawn in

time to keep the social media end of

all over the world, and we didn’t

I had to take quite a bit out, unaware

terms of character. Chris Kuser, who

things going.

even have a film yet! She was also

of how political my references were.

is a creative executive at Dream-

I am still working on deliverables

instrumental in a lot of wonderful

I thought it was just all about poetry.

works, thought she was so gestural

two years later. It was the hardest

actors coming on board the project

In the end I had many cultural con-

because her mind was still growing;

thing! I thought I could raise all the

for scale.

sultants, but the first was Mehrdad

she was still forming. I thought that

financing on IGG, but the real ben-

Farbod, who was extremely helpful

was such a lovely image.

efit was to be able to raise the pro-

Q: How did the story and script

sharing his own experiences, con-

evolve?

necting me to the Iranian community

Q: Can you talk a bit more about what

that, yes, people are interested in

and helping with translations. He re-

Sandra Oh brought to the party?

this project. And it is so humbling

The story was an evolution but the style of the animation—although

ally wanted this story told.

maybe unrecognizable in the final

file of the project—to show funders

Like I said, I’ve known Sandra for

to think that complete strangers

many years, and she brought on a lot

take money out of their own pocket

film—was inspired by the Edo pe-

Q: What are the challenges of creat-

of actors who knew her personally or

to support your project. I take that

riod prints I saw at the Los Angeles

ing an animated feature like this?

admired her work. Sandra was in the

very seriously.

County Museum of Art Japan pa-

I started this project thinking it

room doing scenes with everybody.

vilion. This was a brief time when

was just going to be Kevin and me

We shot in L.A., Vancouver and To-

Q: Any preferences between anima-

Japan was open to the outside, as

working in an artisan, episodic way,

ronto, wherever the actors were.

tion, live action, graphic novels and

was Persia, and Chinese Tang style

stringing a bunch of little pieces to-

Ellen Page popped in and did her

influenced everybody. I was read-

gether until they made a feature. I

character, Kelly, while we were re-

I like to move between different

ing Orhun Pamuk’s My Name is Red,

knew I wanted to work with differ-

cording at Bad Robot Studios. She

media. There are so many different

which was lost in the world of Turk-

ent artists, each creating a section of

had just come off a couple of her

ways to tell a story. I’m hoping my

ish miniatures, which was based

poetry or history, to show that this is

own projects, and luckily the timing

next project will be able to incorpo-

on Persian miniatures who in turn

a film about different points of view,

worked for her.

rate all three. Oh, and the Broadway

were influenced heavily by Chinese

and how they can all coexist beauti-

The big surprise in my casting

art. This style lends itself so well to

fully together. When Sandra and the

was when I reached out to Nancy

My childhood dream - one of

animation, and in fact, so many of

other actors got on board, it created

Kwan, who broke Hollywood’s ra-

them - was to be a comic artist, and

Disney’s horses reference Tang. The

a lot of excitement and expecta-

cial barriers when she starred in

I have so much respect for the indie

design carries all that culture with

tions grew. Telefilm came on board

The World of Suzy Wong. She plays

comic world. It was very intimidat-

it—China, Japan, Persia, open bor-

and the NFB became co-producers.

Rosie’s

in

ing for me when I was asked to adapt

ders, closed borders, the history of

Mongrel Media came on as Canadi-

Window Horses. It turns out she

The Magical Life into a graphic novel.

animation. This period of opening

an distributors. But this was still an

and her brother were looked after

I choked because it was a dream

also encompassed the golden age of

incredibly low-budget film.

by my grandmother during the

come true. I feel very self-conscious

grandmother,

Gloria,

all the other work you do?

musical, too.

poetry in so many lands… the works

With single-person workflow, we

Second World War in Hong Kong.

about my own artistic abilities, but

of Basho, Li Bai, Du Fu, Rumi, Hafez…

were used to creating assets as we

I knew then that everything about

it doesn’t stop me. I love doing it. I

a time of great unrest and great art.

needed them, and as whimsy de-

this film was meant to be.

think that comes through. n

10

REEL WEST FALL 2016

LE G AL B RIE FS

Taking Stock of Stock Shots

BY N ATHA N IEL LYMA N

M

licensor should further indemnify

ple, many licenses prohibit the use

allow others to freely use and share

to

the licensee against all claims re-

of the materials in a pornographic,

the production under the same

help tell their stories.

lating to these representations and

libelous, defamatory, or unlawful

terms and conditions. In addition,

warranties.

any filmmakers rely on stock

photography

manner. Other licenses disallow the

Creative Commons licenses do not

cessible through a variety of online

Waiver of Injunctive Relief: Stock

use of materials in connection with

contain sufficient representations,

services that license stock images

photography websites should waive

political issues, health and medical

warranties, and indemnities as pre-

and footage on a non-exclusive ba-

their right to seek injunctive relief in

products, and otherwise “controver-

viously mentioned.

sis. These licenses, however, must

the event of a breach of the license

sial” matters. Always ensure there

Lastly, if you find that a stock

be carefully reviewed to ensure that

agreement. This language prevents

are no restrictions that could im-

photography website does not have

the terms and conditions fit with

the licensor from obtaining a court

pact your intended usage.

all the sufficient items covered in

the production’s requirements. Pro-

order to stop the release or broad-

Other Conditions: Many stock

the license agreements, you should

ducers should be further mindful

cast of the production and is es-

photography licenses will require

try and contact them directly and

that the terms and conditions of

sential for most broadcasters and

that appropriate credit is given to

inquire whether they offer specific

each license must meet the delivery

distributors. Unfortunately many

the licensor in the end credits of

film and television riders to the li-

requirements of the production’s

stock photography websites do not

the production. In certain cases,

censes. While there may be an ad-

broadcaster and distributor, and the

contain this provision. Producers

specific language is provided in the

ditional fee, these riders often in-

standards for its Errors & Omissions

should also ensure that there are no

license agreement for how to prop-

clude the clauses required to satisfy

insurer. In this regard, some stock

clauses that permit the license to be

erly credit the material. Failure to

the broadcasters, distributors, and

photography websites offer better

terminated.

give such credit may be a breach of

insurers. It is recommended that

the license.

you consult with your production

Such materials are made easily ac-

licensing conditions than others.

Third Party Releases: It is often

The following are six of the most

the responsibility of the licensee to

Stock photography websites of-

important items you should review

review the content of the stock pho-

ten offer different types of licenses

in a stock photography license be-

tography to identify all individuals,

depending on the intended usage of

fore using the materials in your film

copyrights, trade-marks, or other

the material. Typically licenses with

Nathaniel Lyman is an associate at

or television production:

third party materials. It is impor-

fewer restrictions tend to be more

Chandler Fogden Aldous Law Corpora-

The Term: Most stock photogra-

tant to have the materials cleared

expensive. It is always important to

tion. He practices in the areas of film,

phy websites offer perpetual terms

prior to licensing them to ensure

ensure that you are obtaining the

television, digital media and music.

in the licenses. Limited terms can

that all necessary releases from the

appropriate license for use in your

be problematic, as after its expiry,

individuals have been obtained, or

production.

continued exploitation of the pro-

permissions granted to display art-

There are many websites that of-

duction may invite a claim for copy-

work, logos, and business names. It

fer “free” images or apply licenses

right infringement.

is also important to distinguish li-

created by organizations like Cre-

censes that are for commercial use,

ative Commons, or the GNU Project.

Representations, Warranties, and photography

and licenses for “editorial use.” For

These licenses are problematic for

websites (the licensor), need to have

materials labelled as “editorial use,”

most commercial productions. Cer-

the right to grant a license to the

it may be the case that no third

tain Creative Commons licenses,

end user (the licensee). The licensor

party materials are cleared, and the

for example, contain restrictions

should represent and warrant that

uses are typically limited to news

that are impractical to producers,

it owns and controls the materials

reporting and documentaries.

like requiring the productions be

Indemnities:

Stock

and that the licensee’s use of the

Restrictions: Most licenses con-

“non-commercial” or “share alike”—

materials will not infringe on the

tain restrictions against certain

meaning that the production incor-

copyright of any third parties. The

uses of the photography. For exam-

porating the licensed material must

REEL WEST FALL 2016

lawyer in advance of licensing stock photography. n

Missed an issue?

Previous editions of Reel West Magazine are available online at reelwest.com

11

FRO M PAG E TO S CRE E N

The Poetry Reading WE ASKED ANN MARIE FLEMING TO SHOW US A SCENE FROM HER SCRIPT FOR WINDOW HORSES AND SHARE THE CHALLENGES BEHIND BRINGING IT TO THE BIG SCREEN.

BY ANN MARIE FLE MING

T

his is where Mehrnaz

from the graphic novel I’ve made

were given the overall design of the

poem for her. I wrote the poem at

introduces Rosie for her

from the final images of the film.

film and a colour palette of where

Solitude in 1996 as well. It is from

Kevin still designed the charac-

they were coming in and out from.

my time in the writer’s room. The

ters for the main story, and he did

They also got to see the storyboard

horses are outside the window. Was

the transition work in and out of the

but were told they did not necessar-

that Edgar Allen Poe’s actual house

who made the storyboard. The first

poem, which is now animated by Ja-

ily have to adhere to it. In this case,

or the house of Usher I was refer-

pages are from the graphic novel I

net Perlman.

because the words of the poem are

ring to? (the French love Poe, by the

first poetry reading.

The script has the vi-

sual directions for Kevin Langdale,

made from the original storyboard

I gave the segment animators

quite visual, Janet really wanted

way) The picket fence is something I

images. The second set of pages is

free reign in terms of style, but they

me to dissect the references in the

said in an interview with Gary Popo-

12

REEL WEST FALL 2016

vich around 1990 about how I was really just a bourgeois creature having an experimental life. The garden gnomes are pure Janet.

When Kevin was drawing the storyboard, it was just to my words. By the time the other animators came on board, they were animating all the wonderful voices.

I like the image of Rosie at the microphone. There is a complex discussion around the chador and what it represents, especially when presented by “western eyes” as an image of the “east.” But I think having Rosie having the stage, singing her little poem about her love of all things French (France, a place she has never been) in Iran (a place she is visiting for the first time) is lovely and subversive in a goofy way. The poem is actually an extraction from the longer original, which is just jammed with literary and media references because the writer doesn’t have her own voice yet; she is still struggling to find it. n

(Opposite page) An excerpt from the graphic novel created using the original storyboard images vs. (this page) one made using the final images of the film.

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13

B O O K E XCE RPT

MOTIVATION – Who Will You Make Change With?

BY TR ACEY FR IESEN

T

he cab pulls up to a lovely

not into simply writing checks for

house on a hilly road in San

galas and fundraisers and non-

Francisco, in the middle of

profits anymore, but want to be in-

a sunny afternoon. This is the lo-

volved in projects in a more mean-

cation of a rough cut focus group

ingful way.

screening about to get underway

Others are dedicated to the spe-

for the documentary The Genius of

cific causes highlighted in the films

Marian (dir: Banker White). As an in-

being produced. They understand

vestor in the film, Impact Partners

the power of media to spark change

has put together the gathering at

and would prefer to give their fi-

the home of one of their members,

nancial support to a film that will

a co-founder of Chicken and Egg

have a multiplier effect, increas-

Pictures, which empowers women

ing awareness through reach, than

filmmakers. I am invited, a loose

straight to a charity. Whether the

connection from up in Canada, be-

topic is climate change, or crimi-

cause I am in town for Good Pitch

nal justice reform, or gender equity,

and beginning to get acquainted

these people are driven by the need

with this network of social issue

to have direct impact.

media supporters.

On this day, the documentary is

The living room is turned into

about Alzheimer’s disease, a very

a makeshift theatre, with kitch-

personal story based on the film-

en chairs pulled in and curtains

maker’s mother. Banker is gracious

drawn. In the dining room are cana-

and appreciative accepting feed-

pés, sweets and tea. I look around

back during the discussion that

and wonder about the dozen or so

follows the screening itself. These

people milling about. Who are they

people care. They have money in

and what has landed them in this

the film yes, but beyond that they

world? What motivates them to

are already becoming champions of

give money to these projects? As

project. Like the producers and the

I fill my plate, I smile at the man

creators and the NGOs that form a

next to me.

part of the outreach network, these

After an ice-breaker, I ask: ‘So you’ve invested money in this film?’

‘Yeah.’

impact investors and donors pasTracey Friesen's STORY MONEY IMPACT: Funding Media for Social Change is available to purchase at www.routledge.com

The Genius of Marian was selected by this particular collection of sup-

‘And you don’t necessarily expect lists, and come to feedback screen-

I learn that others are excited to

porters precisely because the topic

‘Well… perhaps…we’ll see…’

ings like this one. It’s one way of

have the chance to meet filmmak-

matters to them. They are MOTI-

‘Why do you do it?’

looking under the curtain of the

ers, to learn about their motivations

VATED by the belief that this piece

‘See that young woman over

filmmaking process, without regis-

and creative lives and sources of

of art will make a difference in this

tering for film school.

artistic inspiration. It’s deeply re-

world. n

to see it again?’

there, that’s my daughter. She’s always wanted to be in media…’

Impact Partners holds its An-

warding to deconstruct a film that

And so it begins. Perhaps it’s ob-

nual General Meeting during the

is still in process, directly with its

vious to others, but for me this is

Sundance Film Festival, so the

creator. Working through what’s

an ‘aha moment’. The start of my

table of investors gets to meet in

flagging, what’s singing, what’s bor-

education around money and moti-

and around one of the world’s pre-

ing, what’s riveting; offering sug-

vation. Learning that there are mul-

miere events for independent film.

gestions and then later seeing some

tiple, complex, nuanced, purposeful

There’s not only the potential for

of those ideas attempted or even

and sometimes even irrational rea-

financial and social returns with

implemented. So many people are

sons why people will part with their

this membership, but red carpets

capable of adding such value, but

dollars.

and receptions and one’s name in

simply not in a convenient position

This partner is interested in the

the credits. This is a vibrant and

to do so.

documentary industry at a high-

dynamic community to be a part

This is a form of philanthropy

er level, through a passion of his

of, particularly motivating when

that’s hands-on. I meet people who

daughter’s. By becoming involved

the films on the roster have a so-

were semi-retired and yet vital and

as a funder in this film, they both

cial change vision. Most members

intelligent with much to contribute,

have the opportunity to learn more.

invest, but some also donate either

beyond resources. They have ideas

They get to read treatments, review

personally or through foundations

and contacts, in both business and

budgets, scan schedules and crew

they may be affiliated with.

cultural spheres. They say they’re

14

sionately want the film to succeed.

Check out the next issue of Reel West Magazine for another excerpt from Tracey Friesen's STORY MONEY IMPACT: Funding Media for Social Change.

REEL WEST FALL 2016

W E ST E RN T V, E H ?

Bracing for a CRTC Storm

BY DIA N E WILD

T

he sky is falling in the Ca-

and Happy Valley.

ects for programs that would be

quality shows with some of the

Diluting the Canadian voice is

certified as Canadian even if they

highest profiles stars (Call Me Fitz

not the way to strengthen Cana-

don’t qualify under the general

with Jason Priestley and Sensitive

dian culture.

guidelines: adaptations of success-

Skin with Kim Cattrall to name just

nadian TV industry.

In late August, the Cana-

dian Radio-television and Telecommunications Commission (CRTC)

Some (aka I) would argue that

ful Canadian novels, and programs

a couple) have languished on little-

released a new policy framework

the point of having Canadian con-

with budgets over $2 million. Again,

accessed channels, so the problem

for Certified Independent Produc-

tent regulations should be to proj-

those pilot projects would not qual-

there is discoverability and distri-

tion Funds (CIPF), changing some

ect a Canadian voice to Canadians.

ify for CMF funding or tax credits,

bution rather than the passports of

of the rules around funds such as

Besides, Canadian creators and

so there isn’t yet much evidence

their writers and stars.

the Shaw Rocket Fund, Bell Broad-

actors have proven they can be at-

of a mad stampede to create pro-

cast and New Media Fund and Har-

tractive and visible in international

grams under their aegis.

old Greenberg Fund.

markets when provided with the

Talk TV seems increasingly like

sky to come crashing down on the

Among those changes is one that

right opportunities. Taking away

it was a smokescreen to allow the

homegrown industry, the federal

has much of the industry’s creative

those opportunities in their home

CRTC to make decisions and say,

government’s

community raising their umbrel-

country doesn’t seem like the best

“We consulted! We’re doing what

content

las and their outrage: reducing the

way to strengthen visibility.

people asked for!” when the evi-

down the slope of reducing Cana-

Even though the CRTC’s recent decision likely won’t cause the

current

review

could

Canadian continue

number of CAVCO points a produc-

The new CIPF rules on their own

dence that these changes are really

dian involvement in projects con-

tion needs to qualify for CIPF funds

don’t spell disaster. For Canadian

what anyone asked for, nevermind

sidered for funding. Whatever your

to 6 out of 10. This would allow,

Media Fund and tax credit pur-

an informed majority, is sketchy.

position, now is the time to make

according to the CRTC in their de-

poses, productions still need 8 to

There’s an insidious snobbery

your thoughts known to your Mem-

cision, “hiring by production com-

10 points, meaning most will likely

to many discussions around what

ber of Parliament and Heritage

panies of non-Canadian actors or

still aim for that. But is this deci-

success looks like for Canadian

Minister Mélanie Joly.

creators, who may increase a proj-

sion a slippery slope toward reduc-

TV. Shows with large fanbases and

ect’s attractiveness and visibility in

ing those requirements as well?

international sales such as Mur-

Letters to the House of Commons

The new CIPF policy does sig-

doch Mysteries, Degrassi and Heart-

can be sent postage free:

But the sky’s been falling for de-

nify the breathtaking arrogance of

land—not to mention the plethora

cades. The Canadian TV industry

the CRTC and its chairman Jean-

of genre programming exported

House of Commons

seems to be in a constant state of

Pierre Blais, to roll out significant

around the world, including Or-

Ottawa, Ontario

tension between forces who believe

changes to how Canadian content

phan Black and Killjoys—aren’t sexy

Canada

the primary goal of the industry is

is defined in the midst of the fed-

enough, apparently.

K1A 0A6

to create a product that will sell to

eral government’s review of Cana-

Blais has looked towards liter-

foreign markets, and those who be-

dian content. That review’s stated

ary adaptations and big budget

Or send your comments by email

lieve the primary goal is to tell sto-

purpose is to strengthen our cul-

dramas, yet Flashpoint, Saving Hope,

to: Melanie.Joly@parl.gc.ca. n

ries by Canadians.

international markets.”

tural industries, and according to

and Motive have been among the

The two goals aren’t mutually

Heritage Minister Mélanie Joly, will

most watched Canadian shows

exclusive, of course, but try telling

consider potential changes to the

in recent years. Is it possible the

that to the CRTC these days. Apart

Broadcast Act and the mandate of

CRTC is trying to solve the wrong

from the US shows we’re inun-

the CRTC. It began with web-based

problem? Maybe it’s not that we

dated with, buzzed about foreign

polling in April and continues with

don’t make shows people want to

Diane Wild is the founder of the TV,

shows tend to have a very specific

public hearings this fall.

watch, but we don’t value them

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

when we do.

ering news, reviews and interviews

voice and sense of place: Downton

Last year after the Talk TV hear-

Abbey, The Bridge, Borgen, Wallander

ing, Blais introduced two pilot proj-

I’d argue some of our highest

about Canadian television shows.

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REEL WEST FALL 2016

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www.buckleydodds.com 15

PHOTO BY PHIL CHIN

16

REEL WEST FALL 2016

COVE R FE AT U RE

Nettie Wild Finds Beauty in the Bush THE COOLEST DOC AT HOT DOCS 2016

BY KATJA DE B O CK

F

photography Van

“Betsy is a complete magician,”

Lisa Kolisnyk, additional cinema-

pected places is the leit-

Royko and his camera department

says Wild. “We pulled off a huge

tography by Wild, Vince Arvidson,

motiv of Nettie Wild’s

shot surprising and remarkable

film on a not-so-huge budget and

Athan Merrick and Michael McKin-

new feature documen-

imagery, including a guide outfitter

that meant every single person who

lay, supervising re-recording mixing

tary KONEL INE: our land

who has her horses swim across

was involved in this production

by Daniel Pellerin and colourist An-

beautiful, which was named Best

the vast Stikine River and walk

went many extra miles to make this

drea Chlebak.

Canadian

Documentary

over a glacier (lensed by Royko),

happen.”

Award at Hot Docs earlier this year

the world’s biggest chopper flying

Without the initial support from

tribution system, “which blends

and shared Best Canadian Film

16,000-pound transmission tow-

the NFB, Creative BC and the CMF

broadcast television and theatrical

Honours (with Fractured Land) at

ers over mountaintops, and the

pre-development fund, this film

screenings in cinemas with com-

the Yukon’s Available Light Film

linemen on the ground fixating

would not have been made, says

munity based forums in order to

Festival.

them (by Patrick McLaughlin) and

Carson. “I can’t stress how impor-

bring these stories to the Canadian

Filmed in northwestern BC, the

magnificent drone footage looking

tant these agencies are to the devel-

public.”

film – which receives its BC festi-

down at the Earth (by Grant Bald-

opment of documentaries in British

val premiere at the 2016 Vancouver

win).

Columbia and nationally.”

inding beauty in unex-

–

Feature

Director

of

The company has a unique dis-

Wild admits her approach is complicated but, in a nutshell, it means

International Film Festival - is a cin-

One of the tools Royko used was a

“We managed to get financing,

grassroots distribution in the Cana-

ematic homage to one of the world’s

DJI Ronin camera stabilization plat-

thanks to high heavens, from Su-

dian market, which she and Carson

last stretches of true wilderness

form “combining dolly and Stea-

per Channel to get the ball rolling,”

have done for 25 years.

and the people who live there. Rath-

dicam,” visible in scenes such as a

says Wild, who acknowledges Super

Their theatrical rollout is typical-

er than using a thematic or chrono-

spectacular dog sled sequence.

Channel Exec Maureen Levitt’s sup-

ly at least two years and often up to

–

logical storyline, KONEL INE uses a

Wild is familiar with northwest-

port for the approach. “She’s our

three years of ongoing and intensive

series of vignette-like sequences

ern BC through extensive traveling

own secret weapon, she’s our own

work, including screenings at festi-

revealing, but not commenting on,

on horseback and she is wildly pas-

National Film Board.”

vals, but also in remote areas where

an unexpected array of characters

sionate about the land. But as the

After Super Channel’s commit-

the filming has taken place, as well

and places.

granddaughter of a miner, she’s not

ment, Canal D and the Knowledge

as in smaller cities and communi-

Wild says she assumes there is a

judgmental about people who make

Network came on board as French

ties in regular and art house cine-

heart that beats and beauty in every

a living of local resources. This

language

window

mas, followed by a panel discussion

human being she talked to, whether

helped her convince locals as well

broadcasters

Addi-

or Q&A. They also make DVDs and

it’s a diamond driller or a First Na-

as companies and even her crew of

tional funding came through the

tions family fishing in the river.

her artistic approach.

CMF English POV program, Rogers

KONEL INE: our land beautiful will

and

second

respectively.

Blu-rays available for purchase.

–

Says Wild, “What happened, was

“When you say to them, ‘you

Documentary Fund, the Shaw Me-

be accompanied by a digital media

magic. We got surprised, over and

know what, we’re going to make a

dia/Hot Docs Fund and the Telefilm

component, North through South,

over again.”

piece of art this time out,' they re-

Theatrical Documentary Program

which was financed by Super Chan-

The film includes a lot of iconic

ally respond,” she says. “I found this

(Rogers participates in this program

nel, the CMF and the Bell New Me-

images, but also stereotypes that

throughout my entire career. The

as well). The provincial and federal

dia Fund, adding another layer to

go crushing down. It’s not a sacred

best way to treat a crew is to ac-

tax credits filled out the rest of the

the promotion of the broadcast.

movie,” says Wild. “One of the rules

knowledge that they’re real artists.”

budget.

that we had when we were shooting

Wild credits Betsy Carson, her

Crew included editor Michael

will get to experience KONEL INE in

was that if it looks like a shot from

production partner at their compa-

Brockington, sound designer Mark

a theatre. “I want people to see it

Beautiful British Columbia magazine,

ny Canada Wild Productions, with

Lazeski, original music by Jesse

in Cinemascope with 5.1 surround

we cut. And if it looks like an ab-

finding the money to bring the film

Zubot and Hildegard Westerkamp,

sound. It is a whole different experi-

stract oil, we’d roll.”

to life.

location sound by Kyle Petty and

ence.” n

REEL WEST FALL 2016

However, Wild hopes audiences –

17

18

REEL WEST FALL 2016

OSCAR DENNIS runs his dogs across Tahltan Territory. PHOTO C/O CANADA WILD

DIARY FE AT U RE

Running Wild BRINGING KONEL¯INE TO THE BIG SCREEN DIARY BY NE T T IE W ILD

–

KONEL INE: our land beautiful takes place deep in the mountains of Northwest British Columbia. It is a place so full of wildlife the hunters call it the Serengeti of the North. Because of massive gold and copper deposits, the miners call it The Golden Triangle. The Tahltan First Nation calls it home.

– KONEL INE took four years to make and formally, it is a major departure from my previous work. It is not a character driven story but rather is shot in the abstract and edited associatively. We sought to find the poetry in every one of the people in front of our lens – from diamond drillers to elders who protest against them. We endeavored to bring a curious eye rather than a judgmental heart to one of the greatest debates of our time. What we found surprised us. We hope to surprise our audiences too. These – are some of the stories behind the scenes of the making of KONEL INE: our land beautiful.

JULY 17, 2012: (Development) Capturing the face of Ecstasy

Panasonic 170 and Canon 5D. I am

this way. Anthropologists have been

the second band cannot be found.

dubious. The Red is a big beast for

trying to describe it for years. You’ve

Then the music starts again. I look

The Kaska First Nation is facing off

documentary and seems like over-

nailed it.” And then he smiles for the

up at the stage and see my Jordan,

kill for what is a research and devel-

kicker, “And I don’t think you have

wailing away on the drum set. Stick

opment trip.

any idea what you’ve filmed.” He’s

Gamblers two-step and jive to the

with the Tahltan – two days of Stick Gambling in the tiny reserve of Iskut. The Kaska drummers are so

But as often happens, as soon as I

right. All Jordan and I are doing is

tunes of Jordan and the Tahltans,

kick ass good that the Tahltan ask

am on location, something extraor-

reacting to the sound and image

and we dance our way through a

them to play throughout the entire

dinary demands to be shot. This

and transcendent joy all around us.

night to remember in mountains of

tournament. Non stop. For both

time it’s the magic of Stick Gam-

Mary tries again to set us right:

the northwest.

days. The drums drive the play-

bling. We shoot the first day of the

“You follow your intuition. You are

ers—making them bend and weave

competition on the Canon 5D run-

just guided. You go against your mind.

to a driving beat that bounces off

ning the camera at regular speed.

If you keep getting 'out' do different

the canyon which hangs above the

The footage is too high contrast in

than what your mind is telling you—it’s

festival grounds. Elder Mary Dennis

the brutal overhead sun and shot at

coming from your heart.”

is one of the players and a pal. She

24fps, it’s not capturing that tran-

On the final night, after the last

Early in principal photography, an

explains how the game works and I

scendent vibe I am getting from the

raucous round, the Kaska drum-

extraordinary event helped shape

still don’t get it. But what I do un-

players. The next day Jordan hauls

ming stops and the players clear

our cinematic language. Our cam-

derstand is that this is a bunch of

out the Red to shoot in slow motion

the outside basketball court to

era was focused on the linemen

people transported by the spirit of

– and films some of the most beau-

make way for a closing night dance.

constructing the Northwest Trans-

the game.

tiful footage I have ever had the

A tiny stage is strung with white

mission Line (NTL).

APRIL 17, 2014: (Principal photography begins) Flying towers and finding our frame.

It’s early days in the development

pleasure of capturing. The frame

Christmas lights, the stars equally

To environmentalists, the NTL

of KONEL INE: our land beautiful. Pro-

is full of players, many of them

bright hanging between the moun-

is the edge of an industrial wedge

ducer Betsy Carson has thankfully

women, their heads thrown back

tains and the village. The musicians

threatening to carve up pristine val-

commandeered

cinematographer

with the sheer ecstasy of it all. Os-

are Tahltan this time, playing coun-

leys and watersheds. To industry,

Jordan Patterson to fly north to help

car Dennis, Mary’s son, takes a look

try and western licks sometimes in

the line is a heartbeat for mines and

me out. He arrives with a Red 4K

at the footage and says, “I’ve never

tune, sometimes not. But there is a

power projects and jobs.

camera to augment my borrowed

seen Stick Gambling ever portrayed

momentary hitch. The drummer for

–

REEL WEST FALL 2016

For our film crew, the challenge

19

MOOSE ORVILLE and ELLIOT WIDE, Moose hunt on Tahltan Territory. PHOTO C/O CANADA WILD

was to frame this massive opera-

We are shooting with a long lens

towers a day. It requires military

the beauty and contradictions are in

tion with art not judgment, and do

and in slow motion. The telephoto

precision with linemen crews and

one frame. There is no need for voice

so while facing the complicated lo-

keeps our camera and crew away

backup ambulances hopscotching

over. The image says it all.

gistics of filming with 4K gear in the

from the flying shrapnel of debris

from location to location…and our

bush. Behind our lens was cinema-

and compresses the image into an

crew racing from one staging area

tographer Patrick McLaughlin (who

extraordinary frame of slow motion

to the next to keep ahead to line up

combined his formidable talents

choreography.

the next shot.

JULY 6, 2014: Chasing Light and Horses through Gunsight Pass

The chopper starts to lower its

At the end of the first day we hold

Echo Gutfrucht calls out to her

gleaming load, the chopper blades

the first of what we came to call

mother, Heidi. “Do you want me to

On location, the first day starts

roar, and the backwash from its

“tailgate screenings.” The linemen

hold back the horses?” True to her

with the thud of the blades of the

blades is so intense it rips up moss

crowd around our monitor on the

name, Echo’s voice bounces off

biggest chopper in the world. A

and picks up small trees and turns

back of our truck to see our footage.

mountain rock and glaciers. It re-

16,000 lb. transmission tower flies

them into spears. The men are dou-

They see their work as they have

peats and doubles back on itself.

into frame suspended in the sky

bled over to resist the wind, their

never imagined it before—a dance

Heidi is at the front of her string

below the chopper. The tower is be-

hands shielding their eyes; their

with the towers, shot in slow motion,

of 21 packhorses. Echo at the back.

ing towed through the air like a gi-

clothes flapping like wings. The bot-

compressed by our long lens. And

They are approaching a glacier, the

ant silver cross flying across moun-

tom end of the tower swings like a

in that moment we realize that if

last hurdle before winding their

tain tops, glinting as its steel struts

huge pendulum making the team of

we let it, KONEL INE could find cine-

way through Gunsight Pass to get

turn and catch the sun. A team of

ten men seem puny by comparison.

matic poetry that could speak much

to their summer base camp. Once

linemen waits on the ground. They

The men take turns grabbing and

louder than words. In shot after shot

they get going, the pack train does

are dressed like modern day gladi-

guiding the lethal tower and letting

on the line, there was an elegance

not want to stop, but both Heidi and

ators – hard hats buckled under

it go when its weight is too impossi-

of engineering, the magnificence of

Echo know that if the horses at-

their chins, protective glasses tied

ble. Back and forth they dance—the

the mountain backdrop, the brawn

tempt to cross the glacier on their

to their helmets, the men always

men and the tower.

and dexterity of the linemen and the

own they will flounder.

with our lead cinematographer, Van Royko.)

looking up.

20

The chopper is placing up to 30

–

raw gash of a massive clear cut. All

There are only two extra saddle

REEL WEST FALL 2016

horses available, so cinematogra-

choppers today.

Finally, the glacier stops the pack

years ago. Guide outfitters—native

train and we have a chance to get

and white—and their pack trains

ahead of the horses.

have wended their way through the

pher Van Royko and I are the only

The vertical drop makes the rocks

crew allowed on the ride. Heidi’s

fall away under our feet. I have long

story as one of the toughest and

ago dismounted. I am supposed to

Heidi takes out her axe and starts

most intriguing guide outfitters in

be recording sound. It’s all I can do to

hacking at the ice, chiselling a path,

A dangerous movement catches

North America has quickly become

keep up. Instead of holding a boom

stamping the snow into a firm sur-

my eye. Van is cradling the F55, ly-

a central thread in KONEL INE. Ev-

mic, I am clutching my horse’s tail as

face. The horses and wranglers wait.

ing back on the ice, turning him-

ery summer Heidi and Echo trail in

he pulls me up the incline - my feet

Flanks and chests heave, happy to

self into a human tripod. But he is

their string to their hunting territo-

are flying over the loose rock. I feel

rest. Heidi explains that she has had

slipping. First a little, then a lot. His

ry deep in northwestern British Co-

like I am floating up hill.

horses topple right over backwards

hands are tied up holding the cam-

–

history of the northwest.

lumbia – between the Stikine River

Van has abandoned his horse en-

and “snowball” down the glacier. “I

era, so he begins furiously digging

and Mount Edziza or Ice Mountain

tirely. Instead, he is running up the

hope it doesn’t happen today”, she

in his feet to stop the momentum.

as the Tahltan call it. Home to

shale carrying a Sony F55 camera.

says. Me too. Her dog bites at the

He hits a slick of ice and picks up

mountain goat, big horned sheep

Even stripped down to basics, with

snow and slips and slides as if to

speed. The world goes tilt in that

and grizzly, it just may be one of

lens and batteries, it’s a heavy awk-

make the point. Van hikes up high

sickening way when everything

the most sought after, and hard-

ward box of a computer. It’s meant

on the glacier to get his shot. I strug-

can go wrong in a split second. And

est, hunts on the continent. A new

to be on a tripod in a studio. Instead

gle to keep up with him so I can

then it goes right. His feet hit rock

challenge has entered Heidi’s wil-

Van runs with the camera cradled

get out of the frame. We are miles

instead of smooth ice and Van and

derness – exploration mining has

under one arm. We are shooting in

above tree line, every horse and

the camera stop.

sent choppers full of prospecting

4K and wide screen to capture the

rider in stark relief. There is no hid-

The horses make their way

crews over her hunting grounds,

extraordinary vastness of the land.

ing from the camera. I look back at

across the snow. Because Van is

driving game into the trees and dis-

Usually Van has a vehicle and an

the pack train. There is nothing like

not just strong as a mule but has

rupting her hunts. Recently how-

assistant, a dolly and other tools

it – this line of horses dotting a vast

the eye of an artist, he catches

ever, the market has plummeted

of the trade. But out here he is on

mountain slope. It’s an image that

the horses in one extraordinary

taking mining stocks with it. No

his own scrambling to get his shot.

could have been taken a hundred

frame after another—their heads

REEL WEST FALL 2016

21

stretched down, their feet tentatively testing the icy packed path.

One by one their bay and pinto colours make their way across the ice, following Heidi until they all disappear over Gunsight Pass.

We are left behind. There is no stopping the horses as they sense pasture in the next valley. Van and I walk down the mountainside, me carrying the useless boom pole and Van still labouring under the weight of the F55. But the light is magic and we have got our shot—many of them.

Our muscles hurt but all is good.

JANUARY 31, 2016: (Distribution) Bringing KONEL¯INE home Andrew Connors and the Available Light Film Festival asked if –

KONEL INE: our land beautiful could have its world premiere in White–

horse. For KONEL INE – this jewel of a northern festival was a perfect fit.

Except I had to explain to Andrew that the real premiere had to happen first in the communities where it was shot in Tahltan Territory in northern BC. Andrew and the festival are veterans at taking movies out to far flung northern communities. So together we started to plot.

The festival offered a 14’ collapsible screen, a 4-speaker sound system and negotiated a sweet deal on a one-ton four-wheel drive truck. I rented a 4K projector from Vancouver. Word was then spread throughout the north that I needed someone to help me drive 2000 kilometres and tech three shows in Telegraph Creek, Dease Lake and the village of Iskut in Northern BC. The plan was we would drive back to Whitehorse in time to open the Available Light Film Festival.

At the last minute we find a tech.

And at the very last minute he has a heart attack.

So 24 hours before I am set to leave Whitehorse, Andrew sets up all the gear in a vacant storefront in downtown Whitehorse and starts the formidable task of teaching me the tech set up. It’s not an easy job. I am all thumbs. Andrew keeps making encouraging noises like, “Don’t worry the collapsible screen is easy to set up—just like playing with Mechano.” My father and I were hopeless at Mechano and only managed to build one contraption— a catapult for my hamster. This

22

REEL WEST FALL 2016

previous

brush

with

technology

didn’t help with the bits and pieces of the collapsible screen which laid like pick-up sticks at my feet. But because Andrew has the patience of Job and an uncanny belief that where there is a will there is a way, 24 hours later I am on the road with a satellite phone, a truck full of projection gear and Meaghan Dueling, a young reporter for CBC radio who is a real trooper and offers to cook and help drive as well as file her story.

It’s minus 20. The sky is a dazzling blue, the air dances with hoar frost.

We see two herds of caribou and four transport trucks in 8 hours of driving to our first destination. It’s so cold that we have to travel with the vinyl screen and projector with us in the cab of the truck. Otherwise the vinyl won’t have time to thaw and the projector bulb will burst.

This is about as Canadian as independent film distribution can get.

Driving

into

Telegraph

Creek

is heart stoppingly beautiful and steep. We are riding a ridge with a 2000-foot drop on either side. One side plummets down to meet the Stikine River, on the other is the Tahltan River.

Elliott Brown, who is featured –

with his uncle Orville in KONEL INE, also runs the youth program at the Telegraph Creek community centre.

We get to work and within 8 hours transform the basketball court into a cinema with surround sound. Elliot’s mother is the chief. Chief Terri Brown recommends we set up 40 chairs. It’s winter and people have

“The vertical drop makes the rocks fall away under our feet... Instead of holding a boom mic, I am clutching my horse’s tail as he pulls me up the incline — my feet are flying over the loose rock. I feel like I am floating up hill."

to travel by skidoo. Funerals—the best attended events in Telegraph— only get 80 or so. Two hours before

whom we filmed help us load in and

the screening, I stand with a bunch

Docs. I am anxious to see if our

showtime, Elliott starts putting out

out in every community. When we

of our real life cast, including Elliott

movie and its story of the north

more chairs. By the time the pro-

head back to Whitehorse we have

and his uncle Orville, in front of the

can touch the hearts and minds of

jector rolls, the parking lot is full

an elder in the back seat along with

festival marquee. A group of home

a southern audience. It wins Best

of trucks and skidoos and 90 chairs

the projector and screen and 17

grown paparazzi of local media and

Canadian Documentary. And the

are filled with elders and kids and

other Tahltan following us in other

relatives with cell phones snap pho-

Northern Miner newspaper calls it

every age in between. The room

trucks. They are travelling 2000 kilo-

tos. Oscar Dennis leans over to me

fair and breathtakingly beautiful.

is electric and loud. There is the

meters round trip to see KONEL INE

and says, “This is fucking awesome.”

KONEL INE has come home, both to

laughter of recognition throughout.

again on the big screen.

–

–

Harvey is on his cell phone to his

its audiences in the north and now

Some people in the room work for

Harvey Tremblay flies into White-

business partner in Smithers. “I told

in the south. We open in cinemas

industry and others protest against

horse for the opening night pre-

him that if I had made this film I

across Canada throughout the fall

it. This is a thoroughly modern and

miere. He is the founder and presi-

would have hit people over the head

and winter. n

yet traditional community living a

dent of Hy-Tech Drilling and the

with a message, but you have snuck

contemporary issue that people in

first guy in the mining industry to

around behind us and surprised us

the south just talk about.

say yes instead of no to my cam-

all.” The next day Harvey accom-

Terri presents me with soft moc-

era. KONEL INE follows Harvey’s drill

panies me to the local Chamber of

casins lined with rabbit fur and an

crew into the Bruce Jack gold and

Mines and invites them to attend

eagle feather to help me on my trav-

copper mine and he has come to

our second screening.

els. The next two days we set up in

Whitehorse to check out if his gam-

Several months later we bring

Dease Lake and Iskut, and people

ble to let us film has paid off. After

KONEL INE to Toronto to play at Hot

REEL WEST FALL 2016

–

–

(Opposite page, top to bottom): Inside the geometry of the North West Transmission line. The ecstasy of stick gambling, Tahltan Territory. Diamond driller and sunrise over Northwest BC. (Above) Horses travelling through Gunsight Pass.

PHOTOS C/O CANADA WILD

23

FE AT U RE STO RY

Maximas Maximizes Potential for Aftermath

BY NAT H AN CADDE LL

JAMES TUPPER (far left) and ANNE HECHE (far right) star in Aftermath.

I

f you take the correct turn

head up the Copeland clan, and

on the dusty roads of Lang-

in this sweltering summer day are

“Everybody is so excited that they

But Heche, a veteran of over 70

ley, chances are decent that

insistent that they are enjoying the

can’t wait to get the script,” says

film and television roles, and the rest

you’ll find a film set. Today

experience.

ence fiction realm—are high.

them down.

Heche. “Shelley, our hairdresser,

of the cast, including rising Canadian

the right turn leads to a cav-

“One of the reasons we took the

just said to me the other day that

actress Julia Sarah Stone (Wet Bum)

alcade of cars double-parking be-

job is that it was shooting in Van-

it’s the only time she’s seen a crew

aren’t the only stars on set today.

side each other, surrounding a sin-

couver during the summer and I

scramble for a script and try to get

The Artemis Maxima is a 225-mil-

gle, massive trailer. Scores of people

literally think it might be one of the

it from another person so that they

limetre camera stabilizer that re-

come in and out of the vehicle,

best places on Earth during these

could read it first. And that’s amaz-

tails for $45,000 and promises to

which is covered with a giant tarp.

four months,” Tupper says with a

ing, that’s rare.”

reshape the future of filming.

Inside is the Copeland family, a fic-

smile. “I’m well aware of what you

Aftermath catches the Copelands

When director of photography

tional clan of five that is at the heart

guys suffer during the rainy season,

right as a massive earthquake has

Jon Joffin first laid hands on it after

of Aftermath, a new series from Syfy

but we love it up here. It’s our spiri-

split the earth and awakened cen-

it was shipped from Germany for

and Bell Media.

tual homeland.”

turies-old monsters.

the start of the shoot, he quickly

Much of the action takes place in

Apart from the scenery, the other

The traditional familial roles are

ordered a second one. Aftermath

the RV, as the Copelands deal with

major reason Tupper and Heche

flipped, as Joshua is an archaeolo-

doesn’t have near the budget of

the start of the apocalypse, an event

chose to take on the project was

gist, who is, in Tupper’s words, “less

many high-profile shows you see to-

that has the family scrambling for

fairly obvious: the script. In the sup-

of a doer.” Heche’s Karen, on the oth-

day, but Joffin believed it was essen-

greener pastures.

posed golden age of television, the

er hand, is an ex-Marine who knows

tial for the look of the show that the

Joshua (James Tupper) and Karen

standards for any new show—let

how to handle firearms and doesn’t

producers and directors wanted.

(Anne Heche)—a real-life couple—

alone one that dabbles in the sci-

so much walk through doors as kick

24

“When I met with Will [Laurin,

REEL WEST FALL 2016

INDIE S CE NE

the show’s co-creator with Glenn

The Short Story at VIFF 2016

Davis] and Jason Stone, the pilot director, they wanted to have this loose kind of look that felt really

BY PAU L A R MSTR ON G

real and was kind of happening in front of you,” recalls Joffin over the

ically what something like that calls

E

new filmmaking talent, VIFF returns

Ali’s mantra inspired Ratner .

Gaston will be “happy if audi-

for, or what you end up with, so this

this year with another strong crop of

“Don’t give up on yourself. Don’t give

ences came away with a lasting

has allowed us this look, but to keep

BC feature and short films.

up on each other. I think most people

emotional reaction in their gut as

phone. “I said ‘yeah I’m totally down with that, but I don’t want it to be handheld and bumpy,’ which is typ-

ver supportive of past Vancou-

was to prove to myself I can still get

ver International Film Festival

in front of the camera and carry a

inheriting their father’s Hunting-

alumni yet also introducing

film,” states Ratner.

ton’s Disease.

that they have a 50/50 chance of

it very elegant and very smooth.

Peter Benson, a well-known Van-

can relate to that. That’s why boxing

opposed to some sort of message or

I think it works very well, because

couver actor currently seen in Dis-

films keep getting made—the classic

moral. As long as they don’t throw

we're trying to make this show look

ney’s Mech-X-4, brings the feature

story of fighting, literally fighting, for

tomatoes at the screen then I’m

very beautiful, we’re trying to show

Marrying the Family. The film, which

what you believe in is universal and

happy. Actually, I’d be okay with

this world that they’re trying to

Benson directs and acts in, explores

irresistible, when done well.”

that too. Actually, I’d love that”.

save, that’s going to hell, but it’s just

the question that arises after find-

Ratner is developing Ganjy into

Making her VIFF debut is Sophie

gorgeous and we’re trying to keep it

ing the person you want to spend

a feature as well as developing an-

Romvary with the short Nine Be-

smooth and beautiful.”

the rest of your life with: do you also

other feature, Original 6. He contin-

hind in which a young girl, alone

want to spend the rest of your life

ues to teach at his Haven Studios

in her Vancouver apartment, calls

with each other’s families?

and to act, currently in a support-

her estranged grandfather in Bu-

ing role in Wonder.

dapest to try to connect with him

Joffin gives credit to Game of Thrones (“some of the best filmmaking I’ve ever seen, anywhere”) and

The film grew out of his experi-

has been paying close attention to

ence acting in Leap for Your Life, by

Another VIFF alumni is Sophie

the ways different shows do things,

Taylor Hill, which won the Audience

Jarvis, whose latest short film is

Romvary was motivated to make

which led to his specific vision

Choice BC Spotlight Award at VIFF

Homesick, in which the lead char-

the film “to prove to myself that I

for Aftermath:

for the first time.

three years ago. “When they sent

acter comes home early from an

could make something outside of

“On some shows, the camera is

me the Marrying script and asked

overseas internship to find that her

the safe structure of film school and

always moving. Even when the shot

me to direct it, I jumped at the

sublettor has taken over not only

to experiment directing in another

is static there’s a bumpy, handheld

chance to work with this great team

her room, but her life.

language.”

feel, I don’t think it really does any-

and many of the great cast that had

thing, it’s sort of like a white wash,

been a part of Leap,” says Benson.

and you get numb to it because it’s

In the film Jarvis “wanted to ex-

She adds, “I hope viewers recog-

plore the duplicitous nature of envy,

nize the distance and alienation

He explains that Vancouver “has

and also to present female charac-

people around them can feel from

such an amazingly talented pool of

ters who, though not conventionally

their history. For those born in

Maxi-

comedic actors, but we don’t actu-

likeable, are relatable.”

Canada with estranged families in

mas into the trailer with the cast of

ally shoot a lot of comedies here.

Jarvis is excited to premiere

different parts of the world, it can

five and numerous crewmembers

This film provides a showcase for

Homesick at VIFF because “they

be hard to define yourself or under-

has forced the crew to get creative.

these actors and I hope the audi-

hold a true commitment to foster-

stand where you came from”.

ence takes notice of all the talent in

ing emerging Canadian talent and

And Romvary is especially grate-

this hilarious ensemble.”

there’s something for everybody in

ful for screening at VIFF because

every short film program”.

“having a short screen at a festival

what they’re doing all the time.”

Stuffing

both Artemis

“That’s one of the biggest challenges. It’s so tight… when that thing gets going, it’s summer, it’s hot, and

Up next for Benson is a comedic

everyone’s baking inside there. And

TV series that he and his actress

the Maxima has totally saved us

wife Julia Benson are pitching.

In addition to her career as an art

has incredible value to a filmmaker

director, Jarvis is also in develop-

just starting out. Once you have

ment on a stop motion film, among

been screened publicly, you qualify

other projects.

to apply for government grants to

in there,” says Joffin about the ma-

Another filmmaker and leading

chine’s wireless capability and small

actor who’s no stranger to VIFF is

size. “We put them inside the RV, and

Benjamin Ratner, whose latest short

Victoria-based Connor Gaston,

make more films. And it’s a won-

we’ll be following it with another van

Ganjy is screening. Ganjy is a hard-

who received the BC Emerging Film-

derful boost of confidence, to share

with operators spanning and tilting

hitting short about a former boxer

maker Award at VIFF last year for

your work with a community that

it, so that helps us as a space saver

suffering from demitia pugilistica

his feature The Devout, crosses over

really cares about cinema.” n

kind of thing. But it’s tight for sure.”

and what happens when his for-

the water this year with his short

Heche and Tupper agree.

mer-boxer friends try to come to his

The Cameraman, based on the 1994

Paul Armstrong is a film producer who

“We’re in each others faces a lot,”

aide—before it’s too late. As with his

novel of the same name by his fa-

also produces The Celluloid Social Club

says Heche. “Especially when ten

first feature, Moving Malcolm, Ratner

ther Bill Gaston.

and the Crazy8s Film Event.

crew members get in there.”

wrote, directed and stars.

Gaston adapted the novel into a

“It’s like, I’m not sure you show-

The impetaus to make the film

feature film script first, then carved

ered today, dude,” jokes Tupper, be-

goes back to 2009 when he and

out a short script through the Harold

fore getting serious. “My cousin once

Ganjy co-star Aleks Paunovic spent

Greenberg Fund’s Shorts-to-Features

told me that in a great relationship,

several hours with Muhammad Ali

Program. “The short stands alone,

adversity makes you stronger. In a

when he visited Vancouver. Just as

but it’s really just started out as a

poor relationship, adversity breaks

Ratner was finishing post this past

means to get to the larger version of

you up. In this crew, and this big

June, Ali passed away. “This made

the story,” says Gaston. He continues

family, the adversity is stuffing our-

the film even more resonant for all

to develop the feature version.

selves inside that trailer. And we’re

of us. But underneath it all, I think

In the story two young brothers

much stronger.” n

the impetus for making the film

must come to terms with the fact

REEL WEST FALL 2016

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25

FE AT U RE STO RY

The History of Documenting BC’s History for Over Fifty Years THE EXPLOSIVE CAREER OF WIM ROOZEBOOM

BY DRE W TAPLE Y

“I

’ve made over a hundred

in the southern hemisphere, on a

films,” veteran documentary

series called The Challenging Seas,

filmmaker Wim Roozeboom

which covered the shrimp industry

told me a few weeks after his

in the strait between New Guinea

95th birthday.

and Australia. The other film I did

For almost fifty years, Henrik Wil-

exposed the unconscionable hu-

lem Bakhaus Roozeboom, or Bill

man destruction of the Great Bar-

Roozeboom as he is known in his

rier Reef."

film credits, made documentary

Roozeboom chose to focus his at-

films in some of the most extreme

tention on environmental subject

climates and locations on Earth. His

matter, which often meant putting

first big contract was in the wilder-

his health and even his life at risk.

The Ripple Rock explosion in the

ness of Canada’s Yukon Territory.

“That first film was Take Four Gi-

Seymour Narrows channel in Brit-

ant Steps, made to document the

ish Columbia on April 5, 1958, was

oil exploration efforts in the Yukon.

the largest non-nuclear peacetime

It won best picture of the year in

explosion up to that time. It was

its category at the Canadian Film

the biggest project Canada’s De-

Awards in 1961,” he said. “I was the crew—me, period – and when the

partment of Public Works had ever undertaken and it hired engineering

WIM ROOZEBOOM in the editing room.

geologist Victor Dolmage to run it.

temperatures dropped to minus 35

A documentary was subsequently

degrees Celsius I could only work portunities.

commissioned on the preparation,

for ten minutes before having to

film shatters and leaves a bunch of

put the camera under my clothes to

chips at the bottom of your camera.

He went from the arctic cold to

testing, and the big bang itself. Roo-

keep it warm. I spent four months

I stripped my camera and cleaned

the tropical heat of the Australian

zeboom was hired as a cameramen.

up there to shoot it. That was an

off the oil with solvent so that it was

desert on a subsequent film as-

Roozeboom says he was the clos-

experience. I had never worked at

running metal to metal. But even

signment to Coober Pedy, where

est person to the blast, in a small

minus 56 before," said Roozeboom.

then, it would still seize up.”

the above-ground temperature can

bunker cut into the rock face of

reach 50°C.

Quadra Island. He failed to get the

“Using a camera at minus 50 gives

The success of Take Four Giant

you about two minutes before it

Steps helped jumpstart his career

“I contributed a lot of film foot-

shot he wanted from there, but

is frozen solid… When it’s frozen,

and opened up a stack of work op-

age for two half-hour movies made

managed to capture it via a remote

26

REEL WEST FALL 2016

“Fresh, authentic, and experiential, this book is an asset to every filmmaker who wants to make media that matters.”

—Patricia Aufderheide, Professor, American University and founder of the Center for Media & Social Impact “Not all docs can or should ignite social impact, but a good many do. Friesen provides the essential research, roadmap and tools for this transformative and exciting new space. A compelling read.”

—Chris McDonald, President, Hot Docs “A new metaphor for looking at the relationship between Story, Money (funding), and Impact. This book is a valuable resource with many concrete stories of real projects.”

—Gordon Quinn, Kartemquin Films (Hoop Dreams, Life Itself, Stevie)

“BILL” ROOZEBOOM, shooting in the Arctic.

camera he had set up a mile down projects,” said Roozeboom. “I also —Ross McMillan, President & CEO Tides Canada

STORY MONEY IMPACT Scissor lifts | Straight mast & telescoping forklifts

Personnel lifts | Telescoping & articulating boom lifts

FUNDING MEDIA FOR SOCIAL CHANGE

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“This is a remarkable book. Tracey Friesen deftly guides a meditation on the transformative influence that film can play in steering and affirming positive change in the world, and on the financial support and narrative grounding requisite to this shift.”

—Ross McMillan, President & CEO Tides Canada

that matters.”

• Twenty-one stories from people behind suchAmerican powerfulUniversity works as and CITIZENFOUR, The Corporation, Aufderheide, founder of the Center for Media & Social cause they were desperate to fill the He notes how—Patricia it was hisProfessor, most Virunga, Being Caribou, Age of Stupid, and Food Inc. Impact •

Six key story ingredients for creating compelling content.

• • •

research,goals roadmap and tools this transformative Six impact outcome to further yourforreach.

—Chris McDonald, President, Docs Seven practical worksheets for your own Hot projects.

“Not all docs can or should ignite social impact, but a good many do. Friesen provides the essential A companion website located at www.routledge.com/cw/friesen containing research, roadmap andup-to-date tools for this transformative and exciting new space. A compelling read.”

“Athose new metaphor at the relationship between Story, Money (funding), —Chris McDonald, President, Hot Docs and Impact. This information for seeking for thelooking tools and inspiration to use media for social change.

“Fresh, authentic, and experiential, this book is an asset to every filmmaker who wants to make media that matters.”

—Patricia Aufderheide, Professor, American University and founder of the Center for Media & Social and exciting new space. A compelling read.”

Impact

hours.

I worked from one film to the challenging film,money for several rea• Six possible yoursocial work.

“Not allsources docs canfor orfinancing should ignite impact, but a good many do. Friesen provides the essential next and seemed to be busy every

TRACEY FRIESEN

sons.

AERIAL LIFT & MATERIAL HANDLING SPECIALISTS:

a five-and-a-halfday. In those days, the budget for a “We were in book is a valuable resource with many concrete stories of real projects.”

“A new metaphor for looking at the relationship between Story, Money (funding), and Impact. This

—Gordon Quinn, Kartemquin Films (Hoop Dreams, Life Stevie) book Itself, is a valuable resource with many concrete stories of real projects.”

Tracey Friesen is a media strategist, committed to supporting storytellers and social innovators in foot diameter tunnel and I was six half-hour film was maybe $25,000.” the creation of impactful content. Formerly an Executive Producer at the National Film Board of —Gordon Quinn, Kartemquin Films (Hoop Dreams, Life Itself, Stevie)

Story Money Impact: Funding Media for Social Change by Tracey Friesen is a practical guide for

Story Money Impact: Funding Media Social local Change by Tracey Friesen is a practical guide for Canada, Friesen ismedia-makers, now Directorfunders, of Programming forwho Roundhouse Radio 98.3 Vancouver, a for hyper and activists share the common goal of creating an impact with theirgoal of creating an impact with their media-makers, funders, and activists who share the common commercial station withToday, a community focus.

Today, social-issues storytellers are sharpening their craft, while funders with finite resources work. social-issues storytellers are sharpeningwork. their craft, while funders with finite resources

foot one at that time. Our lights had

He produced a film for a group of

on reach, and strategic innovators bring more robust evaluation tools. Friesen illuminates focus on reach, and strategic innovators bring more focus robust evaluation tools. Friesen illuminates the spark at the core of these three pursuits. Structured around stories from the front lines, Story

500-watt bulbs, and ifat the one drop ofpursuits.lawyers who suing a medical the spark core of these three Structured around stories were from the front lines, Story

Money Impact reveals best practices in the areas of documentary, digital content, and independent

journalism. digital content, and independent DOCUMENTARY Money Impact reveals best practices in the areas of documentary,

journalism.

Coverthem images: © they Thinkstockwould burst. water hit

company in the thalidomide case.“I

you will find: It was miserable Here down there. But it

did the film for them to take into

•

Here you will find: • •

Twenty-one stories from people behind such powerful works as CITIZENFOUR, The Corporation, Virunga, Being Caribou, Age of Stupid, and Food Inc. Six key story ingredients for creating compelling content.

court and plead their case. And they

sound with the explosion because

won.”

the water muffled the boom to a rumble.”

Despite a prolific and formidable

career as a filmmaker, Roozeboom

DOCUMENTARY Tracey Friesen is a media strategist, committed to supporting storytellers and social innovators in Cover images: © Thinkstock the creation of impactful content. Formerly an Executive Producer at the National Film Board of Canada, Friesen is now Director of Programming for Roundhouse Radio 98.3 Vancouver, a hyper local commercial station with a community focus.

The explosion was televised live

has no formal training. His entry

on CBC as more than 635,000 tonnes

into the world of documentary film-

of rock and water was thrown 300

making came about simply because 9 781138 859975

metres skyward.

he wanted it to. But even before

DOCUMENTARY Cover images: © Thinkstock

www.storymoneyimpact.com

www.routledge.com/focalpress

STORY MONEY IMPACT FUNDING MEDIA FOR SOCIAL CHANGE STORY MONEY IMPACT FUNDING MEDIA FORFriesen SOCIAL CHANGE

by Tracey

A practical guide for media-makers, funders and activists who share the common goal of creating a social impact with their work TRACEY FRIESEN

was an adventure. There was little

TRACEY FRIESEN

• Six possible sources for financing yourCorporation, work.

Twenty-one stories from people behind such powerful worksmoney as CITIZENFOUR, The • Six impact outcome goals to further your reach. www.storymoneyimpact.com Virunga, Being Caribou, Age of Stupid, and Food Inc. ISBN 978-1-138-85997-5 • Seven practical worksheets for your own projects.

• Six key story ingredients for creating compelling• content.

A companion website located at www.routledge.com/cw/friesen containing up-to-date • Six possible money sources for financing your work.information for those seeking the tools and inspiration to use media for social change. www.routledge.com/focalpress • Six impact outcome goals to further your reach.Tracey Friesen is a media strategist, committed to supporting storytellers and social innovators in www.routledge.com/cw/friesen • Seven practical worksheets for your own projects. the creation of impactful content. Formerly an Executive Producer at the National Film Board of Routledge titles are available as eBook editions in a range of digital formats 781138 859975 Canada, Friesen9 is now Director of Programming for Roundhouse Radio 98.3 Vancouver, a hyper local • A companion website located at www.routledge.com/cw/friesen containing up-to-date A commercial station with a community focus. information for those seeking the tools and inspiration to use media for social change.

STORY MONEY IMPACT

Here you will find: the channel. did a lot offilmmaker work for tothe CBC be“Fresh, authentic, and experiential, this book is an asset to every who wants make media

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

STORY MONEY IMPACT

Story Money Impact: Funding Media for Social Change by Tracey Friesen is a practical guide for media-makers, funders, and activists who share the common goal of creating an impact with their work. Today, social-issues storytellers are sharpening their craft, while funders with finite resources focus on reach, and strategic innovators bring more robust evaluation tools. Friesen illuminates “This a remarkable book. Tracey Friesenaround deftly guides meditation on the transformative influence the spark at the core ofisthese three pursuits.

Structured storiesa from the front lines, Story that film can play in steering and affirming positive change the world, and on the financial support Money Impact reveals best practices in the areas of documentary, digitalincontent, and independent and narrative grounding requisite to this shift.” journalism.

THE SCENES

STORY MONEY IMPACT

“This is a remarkable book. Tracey Friesen deftly guides a meditation on the transformative influence that film can play in steering and affirming positive change in the world, and on the financial support and narrative grounding requisite to this shift.”

—Ross McMillan, President & CEO Tides Canada

Focal Press Book

www.storymoneyimpact.com TRACEY FRIESEN

ISBN 978-1-138-85997-5

www.routledge.com/cw/friesen

Routledge titles are available as eBook editions in a range of digital formats

A Focal Press Book

TRACEY FRIESEN

www.storymoneyimpact.com he started on this career path, his Roozeboom worked with his wife ISBN 978-1-138-85997-5 www.routledge.com/focalpress Marguerite, a commercial artist and

young life prior to this was a worwww.routledge.com/cw/friesen

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

titles are available as eBook editions in a range of digital formats 781138 859975 thy subject for a 9documentary in its film animator onRoutledge the majority of

had children because they were not at home often enough.

own right.

Born in Holland, Willem or ‘Wim’ as he now prefers to be called, im-

They did a lot of engineering

migrated to Alberta with his par-

films for the governments of Cana-

ents at the age of five. He moved to

da and British Columbia—particu-

Vancouver during the Great Depres-

larly hydro projects.

sion and joined the Air Force at the

“I think we probably did ten or

age of 21, serving as a fighter pilot

fifteen films just on the BC hydro

during the Second World War. On

REEL WEST FALL 2016

BCST 1073: Photo: Liz KearsLey

films he made and says they never

Building & Engaging Communities Social Media Storytelling

BCST 1193:

#StoryToGo @AhimsaMedia

bcit.ca | storytogo.ca 27

August 1, 1945, two weeks before

telephone department was putting

the end of the Pacific War, he was

in a line across the province, site to

shot down off the northern coast of

site, I was on top of a derrick, film-

New Guinea.

ing another beam coming in, three

“I had to ditch my plane in the

hundred feet up in a strong wind,

ocean. As I hit the water, I was

standing on the edge of a foot-wide

thrown forward and smashed my

beam.”

head on the gun sight. It scalped me

Roozeboom imagines how much

to the bone. I climbed into my sur-

easier it would be to be a filmmaker

vival dingy with a large flap of skin

now and work with digital equip-

hanging over my right eye.”

ment and drones, especially in the

He heard news of the atom bomb

frigid conditions of the High Arctic.

while recovering in a hospital in

Today, at the age 95, he says he can’t

Sydney, Australia, and knew im-

stop working because “an idle mind

mediately that the war was over.

is a small mind, and I can’t be a

Afterwards, he returned to Canada

small mind. I’ve got too much in it.”

to help his dad run his struggling poultry and agriculture business.

“It was completely and utterly

his lifelong passion for storytelling

bankrupt. Forty thousand dollars in

through authoring books. His au-

the hole in 1945 is like half a mil-

tobiography, Through My Viewfinder,

lion dollars today,” Roozeboom said.

was published in 2011 and recounts

“It took me seven years to dig it out

his fond memories of the indig-

of debt and two weeks after I sold it

enous peoples of the world. His sec-

I was hired as a staff photographer

ond book, The Camera and the Brush,

at Parry Films Ltd. That’s where it

published the following year, details

all starts. I had never before been

the many worldwide expeditions he

in the movie business. I got some

embarked on with Marguerite.

books, started to read and shot some film.”

What’s up in Canadian television

www.tv-eh.com /CanadianTV @tv_eh

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

Providing a comprehensive overview of national and provincial funding bodies and engaging stories and words of wisdom by seasoned producers.

At Pacifica Retirement Residence in Surrey, BC, Roozeboom continues

“I’ve met some great people. I once sat next to Pierre Trudeau. I

Books weren’t enough.

also did a couple of trans-Canada

“You have to have an instinct to

royal tours and that went straight

be a filmmaker and learn to tell

to the TV stations. By the time her

the story,” said Roozeboom. “I did a

Majesty the Queen of England ar-

half-hour film on clouds because I

rived in Newfoundland or Vancou-

had studied clouds in the Air Force.

ver, my camera had been under her

I developed stories and told stories.

nose for two weeks. We got quite

If a crane was moving something,

familiar with one another and often

I could anticipate where they were

had a little chat if we got a moment

going to pick it up, where they were

of downtime.”

going to put it down, and how they

Despite all his accomplishments,

were going to maneuver it. I could

no one has yet written a book about

see it in my head, and always ar-

him. This doesn’t stop him from

rived at the spot where they would

writing about other people though.

end the sequence.”

He recently penned and published

An oil exploration consortium

a book of memoirs on fellow resi-

was drilling a test well a hundred

dents at Pacifica Retirement Resi-

miles south of the Arctic Ocean,

dence entitled Welcome to Walkerville

and they contracted Roozeboom to

and he has already started work on

make a documentary about it. The

a sequel.

expedition was the first major in-

“The book I am writing now is

vestigation into oil and gas poten-

called The Sunset Years and includes

tial along the entire North Ameri-

the story of a 90-year-old former

can continental Arctic coast. For the

fighter pilot in the German Luft-

next four months he travelled by

waffe who was also shot down.

plane, train, boat, helicopter, truck,

When two pilots meet, the conver-

snowmobile, tundra vehicle, dog

sation always progresses to aircraft,

sled, and snowshoes—in blinding

and we both claim our plane was

snowstorms and whiteouts.

the better one.” n

This sort of experience became

Order your copy today!

his new normal and paved the way

604.451.7335

for dozens of films working as a

info@reelwest.com 28

construction cinematographer.

“When the Alberta government

REEL WEST FALL 2016

DIG ITALLY YO U RS

Snapchat: Disruptor of Traditional and Social Media? Should We Care?

BY ER ICA HA R GR EAVE

I

’ll admit it—initially, I did not

which allowed users to make their

ing with different lenses and snap-

you’ve watched it once, it provides

care about Snapchat. In its early

snaps viewable over a 24-hour pe-

ping Snapchat selfies with the cast.

a great platform for sharing teasers

days, it was known as the sex-

riod with all their friends or even

In asking friends who are avid

during filming, and now (thanks to

ting app—mainly because the text

with everyone on Snapchat. Then in

Snapchatters what appeals to them,

the addition of the ‘Memories’ fea-

and drawing editable photo and

2015, Snapchat released two major

here is what I was told:

ture) previously shot content can

video messages disappeared after

game changers. The first was the

“It’s storytelling for the sake

be shared leading up to broadcast

viewing them. Call me a prude, but

addition of Discover—Snapchat’s

of storytelling. It’s more real, not

of your web series, TV series or film.

the idea of someone sending me

version of broadcasters with broad-

making photos look perfect like on

As cast and crew are already en-

homemade porn was far from ap-

cast partners like MTV, National

Instagram, or composing happy

tertaining themselves with Snap-

pealing. And in the event that the

Geographic, Comedy Central, Food

looking or possibly staged shots for

chat in their downtime on set, it

guy wanted to send me flirtatious

Network, and VICE; magazines like

Facebook. Its nature is more play-

could be a great way to engage fans

messages, my romantic side would

Cosmopolitan and People; and digital

ful,” says Digital Storyteller Lori

more organically from set with be-

question why I’d want to use an app

media sources like BuzzFeed and

Yearwood.

hind the scenes fun from the cast

in which our playful banter disap-

Mashable, all hosting their own

peared.

Snapchat broadcast channel.

So why then am I now brain-

These broadcast partners provide

storming ways of using Snapchat on

content and even mini-series that

our future projects and experiment-

people can only watch on Snap-

ARG strategist Steve Peters says,

and

crew,

purposefully

sharing

“I love the ephemerality of every-

some hints and rumours from film-

thing.”

ing.

So what does this mean in terms of your productions and projects?

Thanks to the temporary nature of the content it restricts the

ing with different forms of storytell-

spread of spoilers—which so many

ing content on it?

productions worry about with cast

Well, in case you hadn’t heard, Snapchat has become mainstream.

The same reason Snapchat became popular as a sexting app has also made it popular with teens experimenting with social media, and provides parents with a safer environment for their teens and preteens to ease into social sharing. Because

Audiences expect what they find on Snapchat to be raw and unscripted... it feels more real.

the pictures and videos disappear,

and crew content shared on other social media platforms. I can also see it being used for creating extra features that compliment a web series, TV series or film, but which are not a direct part of the production— mini-web series on the periphery, with a rawer, more reality based feel. These should be something viewers can only get on Snapchat.

what you share in the moment re-

It also holds potential as a great

mains in the moment, and is not

chat. Interestingly enough, the fact

How can Snapchat be used in

platform for creating and releasing

something you have to worry about

that viewers can only watch the

your web series, TV series or film

gaming or contest related content—

other people interpreting later in

content once—much like old-time

endeavours? According to Market-

in which fleeting clues are released

life or discovering elsewhere on the

television, is why Snapchat users

ing Strategist and writer Abda-

daily, encouraging the community

web. Also refreshingly, it’s an app

are tuning in daily, so as to avoid

raouf Zouai, “Fans adore behind the

to view daily, before the clue disap-

with no competition for likes or fol-

the ever scary millennial FOMO

scenes, teasers and sneak peaks.

pears forever.

lowers.

(Fear Of Missing Out). Snapchat’s

Always leave them wanting more!”

Whichever way you decide to use

Why should we care about any

second big move in 2015 was the

While Peters is “interested in it

Snapchat, the key is to have fun, as

of this? Well, because Snapchat has

release of lenses that turned self-

from a storytelling perspective, if it’s

that is ultimately what Snapchat

become THE platform for connect-

ies into selfie pooches, bumblebees,

used organically within a fiction.”

is all about! We’d love to hear how

ing with teens and millennials—

made you spew rainbow vomit, and

Ultimately, I think the key is div-

you are using Snapchat on your

even more so than Instagram. Cur-

the like. Admittedly, this is when I

ing in and having fun playing with it.

projects. Tweet us about it at @Reel-

rently, it’s the fastest growing social

started paying more attention to

Audiences expect what they find on

WestMag! n

network of millennials.

Snapchat as my colleagues started

Snapchat to be raw and unscripted.

What caused this increase in

sharing crazy fun Snapchat selfies

In fact, that is part of what they like

Erica Hargreave gets her kicks out of

popularity? A few things. First

and I watched the hair, makeup and

about Snapchat—it feels more real.

weaving stories across platforms, and

was the release of ‘stories’ in 2013,

wardrobe team on set experiment-

And as the content disappears after

teaching at BCIT.

REEL WEST FALL 2016

29

T H E W INDOW

Chasing Great White Whales and Documentaries

BY MA R K LEIR EN -YOU N G

H

ow long have you been

But I kept chasing him and, fi-

working on this?

nally, three years ago, Newman

For a writer—or a film-

allowed me to film him. My Green

maker—this always feels like a trick

Chain producer, Tony Wosk, offered

question.

to find some money for me to hire

In 1996, I interviewed Sea Shep-

veteran camera crews. We filmed

herd founder and proud eco-pirate

Newman and some of the other

Paul Watson about whales in cap-

players from the era. I finally had

tivity and he told me the story of

the story on film.

the Vancouver Aquarium’s acciden-

came out and we realized we’d just

tal capture of Moby Doll—the first

shot the prequel.

Then Blackfish

orca ever displayed to the public.

A friend and I started editing and

The plan was to kill a killer whale—

that’s when I learned that all that

because everyone knew they were

amazing historical footage in the

too dangerous to capture—and use

CBC and NFB archives costs a lot of

the corpse as the model for a life-

money if you want to include it in a

sized sculpture that would be dis-

movie. So I had the interviews, but

played in the aquarium’s foyer. The

we still needed money to bring the

harpooner missed and accidentally

story to the screen.

hooked the whale instead of killing

We’ve had lots of close calls,

it. The aquarium decided to save

we’re waiting to hear from several

the whale, named it Moby Doll, and

funding agencies and we keep flirt-

the world would never be the same.

ing

with

Indiegogo.

Meanwhile,

After meeting the man who

while we’ve been waiting, I wrote a

launched the expedition, Dr. Mur-

book about Moby… The Killer Whale

ray Newman, I knew that some-

Who Changed the World… published

one needed to film his story while

by Greystone with the David Suzuki

he was still entertaining and lucid.

Institute.

At the time Newman was a young

How long will it take to bring the

sprite of 72.

I wasn’t going to film him. I was a journalist and playwright and had

story to a theatre near you? No idea.

The Killer Whale Who Changed the World is available to purchase from www.greystonebooks.com

I’ve been chasing this whale tale for a lot longer than crazy captain

no clue how to make a documen-

ed my first feature, The Green Chain,

the wind was blowing and wasn’t

Ahab chased Moby Dick, work-

tary. But I kept telling other people

I realized I could hire someone with

interested in spending his remain-

ing with no budget, with a team

a camera and film Newman. He still

ing years being vilified for launch-

of friends volunteering to turn this

had a better memory than I do. I ar-

ing the captivity era.

into a movie. Apparently this makes

this story had to be told and some of them suggested I learn how to direct a doc. But this was the era of

ranged to hire a cameraman on my

I said my main interest wasn’t

Free Willy and the story of an orca in

own nickel because I believed some-

captivity; it was the shift in global

One day, hopefully at VIFF 2017,

captivity captivated several produc-

body had to get his story on film.

attitudes. I wanted to show how this

I’ll have a documentary to share

event helped humans fall in love

with you.

tion companies, but no broadcasters or funding agents.

Over a decade later, after I direct-

30

Just before we were set to shoot, Newman decided he didn’t want to be interviewed. He knew the way

with whales.

He wasn’t sold.

me a documentary filmmaker.

In the meantime, I hope you’ll check out the book. n

REEL WEST FALL 2016

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