Celluoid Exposed

The Indie Shorts of Sean MacPherson

by Nick Pannu, The Discorder

Lights, camera, action. Movie sets, flashing strobe lights and roadblocks have become almost as permanent fixture in Vancouver as the mountains surrounding the city. So much a part of the landscape have they become that Vancouver is often labeled ‘the Hollywood of the North.’ Yet, if one is to venture outside the context of corporate media and film, a new frontier can be discovered: the realm of independent movies. In seeking out this entity one can find venues such as the Fifth Avenue Cinemas, Pacific Cinematheque and Vancity Theatre, which showcase mostly—and sometimes exclusively—indie film. Around town, in cafes and post-secondary campuses, small-budget indie entrepreneurs can also be spotted shooting scenes in crooks and crannies. There is little glitz and glamour for these filmmakers. Recognition and hopes of ultimate fame are not the major reasons behind their struggles. Indie film makers have passion and a specific premise for what they are doing. According to local indie writer/director Sean MacPherson, “Although it is the hardest road I decided to take, there is no way to describe the feeling of giving birth to ideas for a film.”

This past summer, on July 31, Sean MacPherson screened three short films: Mannequin Romance Novel, Unicorn Ragazo and Marion Bigsby: Prince of Darkness at Pacific Cinematheque. The films were only about 30 minutes each, but the process of making the films took over a year. MacPherson wrote the first script for Mannequin Romance Novel over the course of a month, while working nights at a drop-in centre in Calgary. He admits that preparing these films was one of the toughest undertakings and challenges he ever dealt with. Getting the money for the project and then booking the location took some time. MacPherson confessed the irony of disclosing to others that you have a very small budget has its perks: “When people realize that you don’t have a lot of money, they are willing to help out.” Many businesses along Main Street helped out with the pivotal scenes of his first film, Mannequin Romance Novel, where various scenes were shot in cafes and clothing stores.

Moreover, having a tight budget often coerces filmmakers to bear the burden of wearing many hats during production. MacPherson not only wrote, directed and produced all three films, but also starred in the first two. According to MacPherson, multitasking for the many positions requires that you “have faith in every decision you’re making.” Characters have to be found on the spot because of the time constraint. Several approaches can be taken to find actors; for example, ads can be put in the paper. Around the Lower Mainland, there are also several agencies to help find actors. MacPherson was fortunate to find child actors for his film, Marion Bigsby, from a talent agency in Surrey. Quite a few actors were found shortly before production started, but everyone managed to get into character and perform.

In spite of the many challenges, MacPherson confesses the rewards are ultimately reaped once the films are completed. “There is a sense of gratitude for family and friends who supported each stage of production, and are finally able see the end product.” Also, being able to initiate the thought processes within audience members is rewarding. MacPherson took an open-ended approach in his writing. Props, scenes and characters constructed implied themes that allowed the audience to derive their own meanings. Mannequin Romance Novel, Unicorn Ragazo and Marion Bigsby: Prince of Darkness screened on July 31 and Aug. 14. For information on screenings contact Sean Macpherson at winterpictures@gmail.com. There is also a webpage for Mannequin Romance Novel at www.myspace.com/mannequinromance.