The Peak
By Nick Pannu
**Interview** with CBC's DNTO Sook-Yin Lee
Sometimes, with foreboding trepidation, people are reluctant to pursue a courting that could potentially become a serious relationship. Trust may be one of the barriers, but low self-image and esteem maybe the other issue preventing a commitment. Also, if one partner is less experienced, then non-compatibly becomes too much of a burden. The zeal and conviction of one partner to overcome their inexperience and resolve their identity crisis often manifests through various foreplay.
In Year of the Carnivore, this dynamic is exposed and put on display through the main character, 21-year-old store detective, Sammy Smalls. Sammy is very self-conscious about her looks, but strives to overcome her insecurities as well as get better at sex. Often unjustly criticized for her storylines revolving around bohemian-like characters, Sook-Yin Lee in her directorial debut uses her candid and authentic style to communicate specific issues through the turmoil of her characters. Recently, I got the opportunity to speak with accomplished filmmaker and media personality Sook-Yin Lee and delve further into her film, Year of the Carnivore.
Nick Pannu: Your main character Sammy Smalls has low self-image and a lot of insecurities, but it’s interesting how a lot of her issues in the film can relate to everyone else as well as the viewers.
Sook-Yin Lee: You can relate to this idea of an awkward love story where people make tons of mistakes. I certainly can relate to it. I have a feeling that a lot of people have been more than awkward in matters of love.
*N:* Sammy Smalls has this physical scar, we all have our own hidden scars. There’s unique ways that she deals with her insecurities and other characters do including her boyfriend by delving into these alter egos as a means to work through their insecurities and find their true identities. Could you tell us a little more about that?
SL: Sammy goes through a transformation because she’s kind of confused. It’s difficult sometimes being a chick in the world . . . when you’re surrounded by all these images of what a woman should be and you fit into none of them. Sammy tries to become that person by wearing the high heels, some slinky negliche, and blond wig. It becomes one of her alter egos and serves her in some respect, but also becomes kind of a pain in the butt, too.
*N:* What was your decision behind casting Cristin Milioti in the role, whose previous credits include The Sopranos? Did it have anything to do with having that confidence in an actress that can portray the character who is obviously insecure, but who also shows empathy for other characters in the film?
SL: That’s the trick of it. I tend to cast actors who remind me of their characters and it was really tough finding Sammy. It’s really tough to find someone who can do the comedy but also has the ability to go to a very deep emotional place where you feel something. Also, a lot of actors want to look good and put their best face forward just like everyone else . . . lighting from this angle . . . “this is my good side.” I needed to work with actors who didn’t really care about that stuff and were brave enough to portray someone who feels less than a human being. Cristin Milioti is someone special and I was lucky to find somebody who reminded me very much of the character: bold and shy at the same time.
Sunday, July 11, 2010
Mothers and Daughters
The Peak
Mothers and Daughters and Improv
By Nick Pannu
**Interview** with Gabrielle Rose
Mothers and Daughters opened at Tinseltown and other theatres on May 8. Greater attendance during its first week will grant the film a longer run in theatres.
Canadian cinema’s diamond-in-the-ruff director, Carl Bessai, once again demonstrates his innovative and versatile approach towards Filmmaking in his latest film, Mothers and Daughters. As a tribute to both the birth of his only daughter and also to his mother (who raised four boys after the death of his father), Carl Bessai chose to venture into a realm that would require the perspective of his almost exclusive female cast. Bessai features not one, not two, but three separate storylines that thoroughly examine the unique dynamic experienced between mothers and their daughters. Bessai lured three of B.C.’s veteran actors, Babz Chula, Tantoo Cardinal, and Gabriel Rose into developing their own respective storylines. Additionally, the experienced trio provided guidance and made the process more creative and less daunting for their younger co-stars.
Actress Gabrielle Rose confirmed that Bessai had not even presented a script, but instead a mere outline of the basic premise and overall theme, to cast members. After taking Chula, Cardinal, and Rose out to dinner, Bessai coaxed them into developing their own storylines, a challenge which would occupy them for the next three to four months. According to Rose, “I was initially at a loss of what to do, but within 24 hours I was able to come up with my storyline of my character.” Overnight, Rose managed to conceive Brenda, the quintessential invisible middle-aged woman eclipsed by her more successful and beautiful daughter who no longer needs her mother. The cast rehearsed for the following four to five months and put the script together in scene format. The film was then shot within just five days. Rose further explained that the actors would start each scene only knowing its plot arc, left to improvise and construct the script within three to four takes. She found the experience quite enriching and liberating because improv allows the actor to develope their characters to an even greater extent. As the days of rehearsal progressed, even actors such as Camille Sullivan, who had far less experience with improv, found the experience enriching.
Prior to Mother & Daughters’ western Canadian premiere, the film has had several screenings in film festivals across Canada where many audience members have responded well and connected to the film. The content and scenarios addressed are genuine issues that women deal with: as a woman ages and becomes less visible as a result of our shallow society, will her inner beauty and substance also be overlooked?
The improvisational nature of the script gave a rawness and edge to the acting that made the intensity of the mother-daughter interactions very real. Bessai forced the actors to dig a little deeper into their own experiences in order to build up the realism of each separate storyline. Tantoo Cardinal explored a specific perspective within the aboriginal community which emphasizes that parents and children can become estranged from one another, making it clear that there was no way that that could have been written into the script from someone else’s perspective.
Carl Bessai’s experiment of delving into the connection between mothers and their daughters through improvisation will perhaps provide insight for other mothers and daughters in their own relationships. In one scene, Babz Chula, who plays a famous author, defends her on-screen daughter’s mediocrity, “in spite of everything you always have that feeling that there is something great about your children.” Gabrielle Rose ends the final act by uttering, “forgive your mothers, they didn’t know what they were getting into.”
Mothers and Daughters and Improv
By Nick Pannu
**Interview** with Gabrielle Rose
Mothers and Daughters opened at Tinseltown and other theatres on May 8. Greater attendance during its first week will grant the film a longer run in theatres.
Canadian cinema’s diamond-in-the-ruff director, Carl Bessai, once again demonstrates his innovative and versatile approach towards Filmmaking in his latest film, Mothers and Daughters. As a tribute to both the birth of his only daughter and also to his mother (who raised four boys after the death of his father), Carl Bessai chose to venture into a realm that would require the perspective of his almost exclusive female cast. Bessai features not one, not two, but three separate storylines that thoroughly examine the unique dynamic experienced between mothers and their daughters. Bessai lured three of B.C.’s veteran actors, Babz Chula, Tantoo Cardinal, and Gabriel Rose into developing their own respective storylines. Additionally, the experienced trio provided guidance and made the process more creative and less daunting for their younger co-stars.
Actress Gabrielle Rose confirmed that Bessai had not even presented a script, but instead a mere outline of the basic premise and overall theme, to cast members. After taking Chula, Cardinal, and Rose out to dinner, Bessai coaxed them into developing their own storylines, a challenge which would occupy them for the next three to four months. According to Rose, “I was initially at a loss of what to do, but within 24 hours I was able to come up with my storyline of my character.” Overnight, Rose managed to conceive Brenda, the quintessential invisible middle-aged woman eclipsed by her more successful and beautiful daughter who no longer needs her mother. The cast rehearsed for the following four to five months and put the script together in scene format. The film was then shot within just five days. Rose further explained that the actors would start each scene only knowing its plot arc, left to improvise and construct the script within three to four takes. She found the experience quite enriching and liberating because improv allows the actor to develope their characters to an even greater extent. As the days of rehearsal progressed, even actors such as Camille Sullivan, who had far less experience with improv, found the experience enriching.
Prior to Mother & Daughters’ western Canadian premiere, the film has had several screenings in film festivals across Canada where many audience members have responded well and connected to the film. The content and scenarios addressed are genuine issues that women deal with: as a woman ages and becomes less visible as a result of our shallow society, will her inner beauty and substance also be overlooked?
The improvisational nature of the script gave a rawness and edge to the acting that made the intensity of the mother-daughter interactions very real. Bessai forced the actors to dig a little deeper into their own experiences in order to build up the realism of each separate storyline. Tantoo Cardinal explored a specific perspective within the aboriginal community which emphasizes that parents and children can become estranged from one another, making it clear that there was no way that that could have been written into the script from someone else’s perspective.
Carl Bessai’s experiment of delving into the connection between mothers and their daughters through improvisation will perhaps provide insight for other mothers and daughters in their own relationships. In one scene, Babz Chula, who plays a famous author, defends her on-screen daughter’s mediocrity, “in spite of everything you always have that feeling that there is something great about your children.” Gabrielle Rose ends the final act by uttering, “forgive your mothers, they didn’t know what they were getting into.”
I Served The King of England
by Nick Pannu
Writer/Director Jiri Menzel’s I served the King of England had its western Canadian Screening at 5th Ave Cinemas on Sept 9th. CJSF’s Nick Pannu reviews…
Director, Jiri Menzel returns in a grand fashion…giving movie goers a utopia-like escape as he brilliantly uses satire reflecting back on one’s character’s pursuit of wealth amidst the unavoidable dangling carrots. The story revolves around Jan Dite, a Charlie Chaplain like character who seldom talks, but uses ecencentric gestures to express himself. Coming from humble beginnings as a hotdog vendor from a small Czechoslovakian town does little to limit the resourcefulness of Jan Dite. He listens, learns and seeks out opportunities eventually achieving his short-lived goal.
Working as a mere hot dog vendor does not stop the young Jan Dite from dreaming of becoming millionaire one day. Slowly destiny seems to reflect his ambition. He is hired as a waiter at a reputable town pub. Serving wealthy customers is where is the young Dite witnesses the many perks of the rich, which includes beautiful women and lavish dishes. He then leaves the pub and finds work in one of Prague’s finest brothels. Yet it is later working in one of Prague’s most elegant hotels where Dite is able to take advantage of every opportunity that presents itself.
Writer/Director Jiri Menzel does little to hide his contempt towards the Nazis. Although the plot revolves around the titillating escapades of wealth-mostly beautiful scantily clad women- the master race doctrine of the Nazis is fully exploited by Menzel. It is shown how once the Nazis took over, Czechs were treated with repugnance. Anyone not agreeing to hail the furer was taken away by the SS guards. A Prague brothel is converted into breeding lab where young German girls are impregnated by soldiers on their way to the front. Yet, it is admirable how Menzel eloquently combines different elements which involve a farce of the Aryan quest and a young waiter’s naïve pursuit of wealth. Also, the realism of the film is suprisely not compromised by not showing any explicit bloodshed during the substantial World War II sequence of the film.
Overall an entertaining film that is funny and is able to show how some pursuits could ultimately end up being a farce once achieved. In this film Nazis take over Prague, then shortly after the war, the socialists confiscate all the wealth. Oldrich Kaiser, who plays the young ambitious waiter, Jan Dite, played the character very well. Without Kaiser’s performance the film would lack a big chunk of its substance-which is comedy.
Writer/Director Jiri Menzel’s I served the King of England had its western Canadian Screening at 5th Ave Cinemas on Sept 9th. CJSF’s Nick Pannu reviews…
Director, Jiri Menzel returns in a grand fashion…giving movie goers a utopia-like escape as he brilliantly uses satire reflecting back on one’s character’s pursuit of wealth amidst the unavoidable dangling carrots. The story revolves around Jan Dite, a Charlie Chaplain like character who seldom talks, but uses ecencentric gestures to express himself. Coming from humble beginnings as a hotdog vendor from a small Czechoslovakian town does little to limit the resourcefulness of Jan Dite. He listens, learns and seeks out opportunities eventually achieving his short-lived goal.
Working as a mere hot dog vendor does not stop the young Jan Dite from dreaming of becoming millionaire one day. Slowly destiny seems to reflect his ambition. He is hired as a waiter at a reputable town pub. Serving wealthy customers is where is the young Dite witnesses the many perks of the rich, which includes beautiful women and lavish dishes. He then leaves the pub and finds work in one of Prague’s finest brothels. Yet it is later working in one of Prague’s most elegant hotels where Dite is able to take advantage of every opportunity that presents itself.
Writer/Director Jiri Menzel does little to hide his contempt towards the Nazis. Although the plot revolves around the titillating escapades of wealth-mostly beautiful scantily clad women- the master race doctrine of the Nazis is fully exploited by Menzel. It is shown how once the Nazis took over, Czechs were treated with repugnance. Anyone not agreeing to hail the furer was taken away by the SS guards. A Prague brothel is converted into breeding lab where young German girls are impregnated by soldiers on their way to the front. Yet, it is admirable how Menzel eloquently combines different elements which involve a farce of the Aryan quest and a young waiter’s naïve pursuit of wealth. Also, the realism of the film is suprisely not compromised by not showing any explicit bloodshed during the substantial World War II sequence of the film.
Overall an entertaining film that is funny and is able to show how some pursuits could ultimately end up being a farce once achieved. In this film Nazis take over Prague, then shortly after the war, the socialists confiscate all the wealth. Oldrich Kaiser, who plays the young ambitious waiter, Jan Dite, played the character very well. Without Kaiser’s performance the film would lack a big chunk of its substance-which is comedy.
Jack Brooks: Monster Slayer
by Nick Pannu
CJSF 90.1FM
A monster flick with gore? Yes, Nick Pannu, was there to see it with his own eyes...
Perpetual guts, gore and decapitations can easily jade the contemporary horror fan. Usually raising the bar with… well… with more mutilations, blood spurts screams can succeed in maintaining the niche horror film groupies/enthusiasts. Director, Jon Knautz ventures outside the realm and doses his film with a mix of comedy, crafted special effects and a storyline.
Relative newcomer- in a starring role- Trevor Mathews stars as Robert. As small boy he witnessed the murder of his parents at the hands of some werewolf-like mutant monster while out camping. Robert is scared up into his 20s and never gets over the guilt of running away when his parents were being mauled. This guilt has manifested into serious anger management issues...until he is given the chance to confront his past demons by slaying monsters!
The script is brilliantly crafted by John Ainslie. Ainslie cohesively strings together graphic horror scenes with comedy and suspense. Unexpectedly Robert’s night class teacher turns into a monster and attacks the class. Just an average Joe, a plumber by trade, Robert steps forward and rises to the occasion. Pivotal characters in the film, which include the slapstick monsters, enhances the plot.
The script perhaps wouldn’t have taken life if it were not for characters such as the eccentric professor played by Robert Englund. Seen without his Freddy Gruger makeup, Englands is successful is illustrating the dynamics of his acting repertoire. Animation and special effects were given as a prelude to the rest of the film early on in the opening scene. Combining all the different elements of the film director, Jon Knautz shall face no challenge in engaging moviegoers even beyond… to an anticipated sequel.
CJSF 90.1FM
A monster flick with gore? Yes, Nick Pannu, was there to see it with his own eyes...
Perpetual guts, gore and decapitations can easily jade the contemporary horror fan. Usually raising the bar with… well… with more mutilations, blood spurts screams can succeed in maintaining the niche horror film groupies/enthusiasts. Director, Jon Knautz ventures outside the realm and doses his film with a mix of comedy, crafted special effects and a storyline.
Relative newcomer- in a starring role- Trevor Mathews stars as Robert. As small boy he witnessed the murder of his parents at the hands of some werewolf-like mutant monster while out camping. Robert is scared up into his 20s and never gets over the guilt of running away when his parents were being mauled. This guilt has manifested into serious anger management issues...until he is given the chance to confront his past demons by slaying monsters!
The script is brilliantly crafted by John Ainslie. Ainslie cohesively strings together graphic horror scenes with comedy and suspense. Unexpectedly Robert’s night class teacher turns into a monster and attacks the class. Just an average Joe, a plumber by trade, Robert steps forward and rises to the occasion. Pivotal characters in the film, which include the slapstick monsters, enhances the plot.
The script perhaps wouldn’t have taken life if it were not for characters such as the eccentric professor played by Robert Englund. Seen without his Freddy Gruger makeup, Englands is successful is illustrating the dynamics of his acting repertoire. Animation and special effects were given as a prelude to the rest of the film early on in the opening scene. Combining all the different elements of the film director, Jon Knautz shall face no challenge in engaging moviegoers even beyond… to an anticipated sequel.
Martin Garo's Young People
The Peak
Young People the last of the sexy films
By Nick Pannu
Young People Fucking opened in theatres on Friday, June 13.
**Interview** with Director Martin Garo and Cast Aaron Abram & Kristin Booth
Martin Garo, writer and director of the recently released film Young People Fucking, says his film is a perfect example of the type of films that will have no chance of receiving funding and ultimately cease to reach the production stage if Bill C-10 is passed in Canadian law.
Bill C-10 is an amendment to the Income Tax Act that is currently under review by the Canadian federal Senate. If Bill C-10 is passed, Ottawa’s Heritage Ministry will be granted the right to deny funding for Canadian films in the form of tax credits if the film’s content is identified as “questionable.” Some people say that Bill C-10 threatens to undermine a promising domestic Canadian film industry that already faces many challenges, especially those of finances.
Garo argues that while Young People Fucking does have an objectionable title, the film still manages to enlighten and serve a wide demographic, which is something that would be entirely overlooked if Bill C-10 is enacted. Moreover, Garo says that Bill C-10 goes against common sense and that anyone can see that it is poor legislation. If the bill is read thoroughly, Garo says, “people will see all the things that are wrong with the bill — creatively and business-wise.”
Young People Fucking is a unique and authentic film if you consider its originality, candidness, and good acting. Even for those offended by the content, the brilliant script will still engage and often surprise the audience through its witty and comedic scenes. The responsibility for this ingenious script lies solely in the hands of two people: Martin Garo and Aaron Abram. Abram, who also acted in the film, communicated with Garo via the internet over the time span of one year to write the script.
Garo admitted that there was an advantage to keeping the writing exclusive to two people rather than a group of writers. Garo said it was more the sense of humour and dialogue that he shared with Abram that allowed the creative process to occur naturally, as well as to be gratifying. Being frank though, Abram admits “when you’re writing about sex, things come together easily because it’s an easy subject — it’s all about conflict and a universal subject that everyone can relate to”
The film thoroughly examines the various dynamics of sex in the context of different relationships, played out during the course of one night. There is the foreplay between roommates, ex-partners, grade school friends, a first date, and a married couple. The opening scene starts with friends being quite candid and blunt on how sex is necessary. Carly Pope, who plays opposite to Aaron Abram in this scene, coaxes Abram to have sex with her in a very straightforward and profane manner regardless of the fact that they are not romantically involved.
The scene immediately foreshadows the nature of the content in the rest of the film. A lot happens, actually a lot of unexpected things respectively with each couple. As these bizarre things happen the viewer can’t help but mentally create their own barometer for which scene is most or least unusual and strange. The dialogue is contemporary with minimal cheesy lines; the audience is treated to implied themes that conclude each segment for the different couples.
As well written as the script is, it would not have taken life if not for the talented cast. Actors delivered the script marvelously, managing to stay focused in suggestive scenes that often included nudity. Actress Kristin Booth seemed to have a very challenging role considering the foreplay she had to deliver in her final scene. On remaining focused and not cringing, Booth explained that in the scene, “You become that character, you are that character . . . [you are] living the character, not looking from an outside perspective. [I] don’t think about certain circumstances, don’t cringe in very suggestive scenes because at that moment . . . I am that character as truthfully and as honestly as I can be.”
Both Abram and Booth added that characters also evolve substantially through takes and feedback from scene partners. Aaron Abram did co-write the script, but he was adamant that “you need input from other people. It helps to have new ideas, to keep the character fresh.” Also, Abram confesses that he would have no choice but to improvise, considering the curve balls that two time Leo award-winning actress Carly Pope is known for throwing.
As has been demonstrated by this and other Canadian films, the Canadian film industry has unlimited potential to develop further and thrive. Bill C-10 will further burden Canadian filmmakers that already deal with financial pressures, and perhaps discourage some from ever taking the initiative to make film. Filmmaker Martin Garo makes a good point when he says that the virtue of democracy is giving people the right to see what they want to see, and choose not to buy a ticket for film that offends them.
Young People the last of the sexy films
By Nick Pannu
Young People Fucking opened in theatres on Friday, June 13.
**Interview** with Director Martin Garo and Cast Aaron Abram & Kristin Booth
Martin Garo, writer and director of the recently released film Young People Fucking, says his film is a perfect example of the type of films that will have no chance of receiving funding and ultimately cease to reach the production stage if Bill C-10 is passed in Canadian law.
Bill C-10 is an amendment to the Income Tax Act that is currently under review by the Canadian federal Senate. If Bill C-10 is passed, Ottawa’s Heritage Ministry will be granted the right to deny funding for Canadian films in the form of tax credits if the film’s content is identified as “questionable.” Some people say that Bill C-10 threatens to undermine a promising domestic Canadian film industry that already faces many challenges, especially those of finances.
Garo argues that while Young People Fucking does have an objectionable title, the film still manages to enlighten and serve a wide demographic, which is something that would be entirely overlooked if Bill C-10 is enacted. Moreover, Garo says that Bill C-10 goes against common sense and that anyone can see that it is poor legislation. If the bill is read thoroughly, Garo says, “people will see all the things that are wrong with the bill — creatively and business-wise.”
Young People Fucking is a unique and authentic film if you consider its originality, candidness, and good acting. Even for those offended by the content, the brilliant script will still engage and often surprise the audience through its witty and comedic scenes. The responsibility for this ingenious script lies solely in the hands of two people: Martin Garo and Aaron Abram. Abram, who also acted in the film, communicated with Garo via the internet over the time span of one year to write the script.
Garo admitted that there was an advantage to keeping the writing exclusive to two people rather than a group of writers. Garo said it was more the sense of humour and dialogue that he shared with Abram that allowed the creative process to occur naturally, as well as to be gratifying. Being frank though, Abram admits “when you’re writing about sex, things come together easily because it’s an easy subject — it’s all about conflict and a universal subject that everyone can relate to”
The film thoroughly examines the various dynamics of sex in the context of different relationships, played out during the course of one night. There is the foreplay between roommates, ex-partners, grade school friends, a first date, and a married couple. The opening scene starts with friends being quite candid and blunt on how sex is necessary. Carly Pope, who plays opposite to Aaron Abram in this scene, coaxes Abram to have sex with her in a very straightforward and profane manner regardless of the fact that they are not romantically involved.
The scene immediately foreshadows the nature of the content in the rest of the film. A lot happens, actually a lot of unexpected things respectively with each couple. As these bizarre things happen the viewer can’t help but mentally create their own barometer for which scene is most or least unusual and strange. The dialogue is contemporary with minimal cheesy lines; the audience is treated to implied themes that conclude each segment for the different couples.
As well written as the script is, it would not have taken life if not for the talented cast. Actors delivered the script marvelously, managing to stay focused in suggestive scenes that often included nudity. Actress Kristin Booth seemed to have a very challenging role considering the foreplay she had to deliver in her final scene. On remaining focused and not cringing, Booth explained that in the scene, “You become that character, you are that character . . . [you are] living the character, not looking from an outside perspective. [I] don’t think about certain circumstances, don’t cringe in very suggestive scenes because at that moment . . . I am that character as truthfully and as honestly as I can be.”
Both Abram and Booth added that characters also evolve substantially through takes and feedback from scene partners. Aaron Abram did co-write the script, but he was adamant that “you need input from other people. It helps to have new ideas, to keep the character fresh.” Also, Abram confesses that he would have no choice but to improvise, considering the curve balls that two time Leo award-winning actress Carly Pope is known for throwing.
As has been demonstrated by this and other Canadian films, the Canadian film industry has unlimited potential to develop further and thrive. Bill C-10 will further burden Canadian filmmakers that already deal with financial pressures, and perhaps discourage some from ever taking the initiative to make film. Filmmaker Martin Garo makes a good point when he says that the virtue of democracy is giving people the right to see what they want to see, and choose not to buy a ticket for film that offends them.
Vancouver 24hr Film Race
The Peak
On your marks, get set, action!
By Nick Pannu
Lights, camera, action. Movie sets, flashing strobe lights, and roadblocks have become a fixture almost as permanent in Vancouver as the mountains surrounding the city. On Saturday, June 21, local filmmakers committed themselves to a challenging and arduous task — filmmakers created an original short film in just 24 hours. The films had to revolve around two themes: greed and action. Twenty-nine of the 30 enrolled teams managed to make the ominous deadline and were screened at the Vancouver Film Race on June 25 at the Ridge Theatre.
Over 300 people in attendance witnessed some very creative and unique short films. Competition director Charlie Wysman commented that “Vancouver is the ninth city in the film race, and Vancouver has had the strongest group of films so far.” The film race is on a tour of 17 cities in North America, and is only inclusive to two Canadian cities: Vancouver and Toronto. Starting the event from New York in 2002, Wysman had no real motive other than to put on a fun event. According to Wysman, “the first event went well in 2002, so we decided to keep doing it. It’s a great opportunity for first-time filmmakers, as well as people in the industry who’d like more creative control.” He also stressed that the film race is a great learning experience that filmmakers can apply to future projects.
According to recent film school grad, Diane Donaldson a team mindset is very important when working in desperation within the 24-hour deadline. Donaldson said, “Overall, when you do something like this, it is such a [team] bonding thing when you totally push your body to the extreme. You don’t eat, you don’t sleep, and you just go and film, and film, and edit, and edit, and at the end you just kind of collapse together, and it’s like, oh my God, we did it.”
In spite of having only two themes to work with, the films were quite diverse. Farce door-knocking charities were featured, as well as robots and rocks that look like Elvis, which often engaged the 300 audience members at the final screening in bouts of laughter. Local filmmaker and judge, Kryshan Randal, felt the event was well-organized, high quality, creative, and entertaining. Randal has judged other film events, and commented that this event is unique because the tight 24-hour deadline means filmmakers must survive on creativity and instinct alone.
Local producer for the event, Paul Armstrong, had less than a month to put the whole event together. Armstrong had full confidence in the local film community, and that it could be pulled off successfully. Armstrong articulated that “there are a lot of people in town who want to make film, and this is a great opportunity for them.” A lot of film grads signed up for the competition, as well as filmmakers from Vancouver’s film industry. According to Armstrong, one reason why the local film community is substantial and talented is because of all the exclusive film schools in town, as well post-secondary institutions that have reputable film departments.
One finalist will be selected from Vancouver to compete with other North American cities in the film race. Vancouver’s top 10 finalists will have their films screened at the Celluloid Social Club’s monthly screening at the Anza Club on July 23.
On your marks, get set, action!
By Nick Pannu
Lights, camera, action. Movie sets, flashing strobe lights, and roadblocks have become a fixture almost as permanent in Vancouver as the mountains surrounding the city. On Saturday, June 21, local filmmakers committed themselves to a challenging and arduous task — filmmakers created an original short film in just 24 hours. The films had to revolve around two themes: greed and action. Twenty-nine of the 30 enrolled teams managed to make the ominous deadline and were screened at the Vancouver Film Race on June 25 at the Ridge Theatre.
Over 300 people in attendance witnessed some very creative and unique short films. Competition director Charlie Wysman commented that “Vancouver is the ninth city in the film race, and Vancouver has had the strongest group of films so far.” The film race is on a tour of 17 cities in North America, and is only inclusive to two Canadian cities: Vancouver and Toronto. Starting the event from New York in 2002, Wysman had no real motive other than to put on a fun event. According to Wysman, “the first event went well in 2002, so we decided to keep doing it. It’s a great opportunity for first-time filmmakers, as well as people in the industry who’d like more creative control.” He also stressed that the film race is a great learning experience that filmmakers can apply to future projects.
According to recent film school grad, Diane Donaldson a team mindset is very important when working in desperation within the 24-hour deadline. Donaldson said, “Overall, when you do something like this, it is such a [team] bonding thing when you totally push your body to the extreme. You don’t eat, you don’t sleep, and you just go and film, and film, and edit, and edit, and at the end you just kind of collapse together, and it’s like, oh my God, we did it.”
In spite of having only two themes to work with, the films were quite diverse. Farce door-knocking charities were featured, as well as robots and rocks that look like Elvis, which often engaged the 300 audience members at the final screening in bouts of laughter. Local filmmaker and judge, Kryshan Randal, felt the event was well-organized, high quality, creative, and entertaining. Randal has judged other film events, and commented that this event is unique because the tight 24-hour deadline means filmmakers must survive on creativity and instinct alone.
Local producer for the event, Paul Armstrong, had less than a month to put the whole event together. Armstrong had full confidence in the local film community, and that it could be pulled off successfully. Armstrong articulated that “there are a lot of people in town who want to make film, and this is a great opportunity for them.” A lot of film grads signed up for the competition, as well as filmmakers from Vancouver’s film industry. According to Armstrong, one reason why the local film community is substantial and talented is because of all the exclusive film schools in town, as well post-secondary institutions that have reputable film departments.
One finalist will be selected from Vancouver to compete with other North American cities in the film race. Vancouver’s top 10 finalists will have their films screened at the Celluloid Social Club’s monthly screening at the Anza Club on July 23.
Everything's Gone Green
by Nick Pannu
Paul Fox’s and Douglas Coupland’s Leo Award Winning Everything’s Gone Green, premiered on Thursday, April 24th at Cinema 319 in Vancouver. CJSF’s Nick Pannu reviews…
Locally and internationally acclaimed writer, Douglas Coupland once again works his magic. The dialogue is often persuasive because of Coupland’s ability to give depth to scenes through meaning that links back to the main theme.
The film begins with a twenty-something budding anarchist, Ryan being kicked out by his girlfriend. Abruptly, thereafter, he is suspended from work after his blog exposes his apathetic commitment. Feeling betrayed and mislead by the dangling carrots of yuppiedom, Ryan seeks out a new path. An engaging journey that treats audience members to unexpected comedic scenes tweaked with brilliant satire.
The film never delves into issues directly related to the environment. Occasionally there are swerves within the plot implying that it ultimately will. In one scene Ryan is on his way to a job interview abruptly makes a u-turn to the beach so he can check out a beached whale. In this strategic and defining scene Ryan befriends a girl telling her that the Whale’s circumstance “has purpose and meaning implying that their own lives having more meaning beyond fax machines, cubicles and bill payments. The film explores capitalism on a more subjective micro level - “the environment of the soul”.
Paulo Costanzo who is recognizable from his previous work on the sitcom “Joey”, showcased his versatility as an actor by convincingly playing out Ryan’s angst of being burdened with societal materialistic expectations. Playing Ryan’s love interest, actress Steph Song seems to have genuine chemistry with Costanzo. Furthermore, the music scores - exclusively from Canadian bands - are fundamental in setting the tone of the film. Although the script is flawless, without the upbeat psychedelic music, the dynamics of the film would have panned out differently. Vancouver’s urban and rural scenery also complemented the ‘green’ aspects of the film, which is actually set in Vancouver.
Everything’s Gone Green was presented by the First Weekend Club, a non-profit organization that aims to build audiences for Canadian films. Their mandate is to keep films in theatres longer by building awareness and strong box office for great Canadian cinema on opening weekends. Find out more at www.firstweekendclub.ca
Paul Fox’s and Douglas Coupland’s Leo Award Winning Everything’s Gone Green, premiered on Thursday, April 24th at Cinema 319 in Vancouver. CJSF’s Nick Pannu reviews…
Locally and internationally acclaimed writer, Douglas Coupland once again works his magic. The dialogue is often persuasive because of Coupland’s ability to give depth to scenes through meaning that links back to the main theme.
The film begins with a twenty-something budding anarchist, Ryan being kicked out by his girlfriend. Abruptly, thereafter, he is suspended from work after his blog exposes his apathetic commitment. Feeling betrayed and mislead by the dangling carrots of yuppiedom, Ryan seeks out a new path. An engaging journey that treats audience members to unexpected comedic scenes tweaked with brilliant satire.
The film never delves into issues directly related to the environment. Occasionally there are swerves within the plot implying that it ultimately will. In one scene Ryan is on his way to a job interview abruptly makes a u-turn to the beach so he can check out a beached whale. In this strategic and defining scene Ryan befriends a girl telling her that the Whale’s circumstance “has purpose and meaning implying that their own lives having more meaning beyond fax machines, cubicles and bill payments. The film explores capitalism on a more subjective micro level - “the environment of the soul”.
Paulo Costanzo who is recognizable from his previous work on the sitcom “Joey”, showcased his versatility as an actor by convincingly playing out Ryan’s angst of being burdened with societal materialistic expectations. Playing Ryan’s love interest, actress Steph Song seems to have genuine chemistry with Costanzo. Furthermore, the music scores - exclusively from Canadian bands - are fundamental in setting the tone of the film. Although the script is flawless, without the upbeat psychedelic music, the dynamics of the film would have panned out differently. Vancouver’s urban and rural scenery also complemented the ‘green’ aspects of the film, which is actually set in Vancouver.
Everything’s Gone Green was presented by the First Weekend Club, a non-profit organization that aims to build audiences for Canadian films. Their mandate is to keep films in theatres longer by building awareness and strong box office for great Canadian cinema on opening weekends. Find out more at www.firstweekendclub.ca
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