A year and a half later and We’re All Gonna Die Season 2 has officially launched on CraveTV. Being a part of a team and reflecting on all the work that went into the final product are some of my favourite and most rewarding parts of this job. The fact that I get to MAKE FILMS… for a living? Is a privilege and honour that never fails to awe and inspire me.
I had the pleasure of joining the team behind the film THE BOY IN THE WOODS this year with editor Robert Swartz, CCE.
We are SO thrilled and delighted and grateful to the Canadian Academy for honouring WE’RE ALL GONNA DIE (EVEN JAY BARUCHEL) with four Screen Awards:
A put-upon worker snaps out of her passive path thanks to a chance encounter with a charismatic busker…
From Nostradamus to the Book of Revelations, we are a species obsessed with our potential extinction. We're perpetually paranoid about cataclysmic events, and yet we're still here—for now. Jay Baruchel dives into our collective fears to dispel (or in some cases verify) the hype and calculate the odds of apocalyptic events, from nuclear Armageddon to a massive asteroid impact.
Hot Docs, you are spoiling me WAY too much. Patricia Rozema - Alethea Arnaquq-Baril - Christina Jennings - and now Rama Rau!
Rama directed THE REHTEAH PARSONS STORY, MARKET, and most recently LEAGUE OF EXOTIQUE DANCERS.
A friend of mine pointed me in the direction to a new and amazing filmmakers series at Hot Docs. She was most excited to see Patricia Rozema, and I instantly signed up - feeling her excitement and mine grow! The series is moderated by Linda Barnard, a journalist / writer who previously championed another series focusing on gender.
One of the many people I got to spend time with at TIFF 2015 this year was a woman named Angela Barnhardt Thomas.
Angela Barnhardt Thomas and Me at TIFF 2015
She is the producer of Waiting for Mamu (2013), a doc that travelled world wide to raise money for Mamu's school.
Social issues docs have the power to educate, demystify, and bring awareness to an otherwise ignorant viewer. This doc has since successfully raised over 1 million dollars.
This is the power of cinema! And it is achievable when hard working / passionate people like Angela are a part of the team.
Being fairly new to the industry and using TIFF as a platform to meet with established film professionals, I was blown away at how approachable and knowledgable Angela was. Not only did she patiently answer all my questions, but she even made script suggestions and helped me understand the industry better.
It was a true pleasure attending TIFF programming with her and we were able to discuss a variety of topics on break. Angela and I also talked about her current project, a doc about Charles James, and I am so thrilled to see that subject bloom into a feature length video.
Click HERE for more info from the MET exhibit from 2014.
Sometimes it is about these chance meetings in life that really provide us the support and inspiration we need to be successful. And it is the people we surround ourselves with that help us define who we are and where we are headed.
I am happy to call Angela a friend and look forward to future meetings together. NYC here I come!
- Jenn
Today I was looking through my subscriptions online, TIFF / MUFF / DOC / WIFT / CCE / Criterion Collection. I love getting e-newsletters.
In the MUFF letter, particularly, I came across an article in The Times, about Women Directors.
The article was laid out beautifully, with portrait photography on a clean white backdrop of many Hollywood directors who are indeed women. The writing is clear, concise, and positive. It is not about condemning society or men for that matter, it is about recognizing the gap and bridging it through discussion, recognition, and change. We have to be the change to see the change!
Here is my favourite part:
"Leslye Headland is a 34-year-old writer and director who was in the same 2012 Sundance class as Trevorrow, with the movie version of her scorching Off Broadway play, ‘‘Bachelorette.’’ She bristles with ambition to do everything he is doing. Sitting in a red leather banquette at the Monkey Bar in New York, Headland told me she wants to be a Martin Scorsese, and ‘‘not just the female Martin Scorsese.’’ She wants to direct a James Bond movie, ‘‘even if I have to marry someone to get British citizenship.’’ She wants to make films in which women behave badly and are not held to a higher moral standard or seen as ‘‘less than.’’ She wants to look cool in magazine pictures so that ‘‘little girls will put female filmmakers on their Pinterest boards.’’ (Maureen Dowd, Nov. 20th, 2015, NY Times Magazine)
Can you imagine a society where a women in a power position is COOL. Man, I am on cloud 9 right now just thinking about it.
I shall end this with shock value, here re the blaring stats:
"In both 2013 and 2014, women were only 1.9 percent of the directors for the 100 top-grossing films. Excluding their art-house divisions, the six major studios released only three movies last year with a female director." (Maureen Dowd, Nov. 20th, 2015, NY Times Magazine)
Let's start championing directors equally. Not because they are men and not because they are women. But equally. By talent. Then we are levelling the playing field and creating a society that values success over gender. Film for thought!
- Jenn
This past Thursday I attended a panel discussion at The Gladstone Hotel. Hosted by the CCE, with the DGC and CFC as friendly supporters, this event invited five talented women on stage for a discussion about women in post-production roles. Here is the panel
The moderator for the evening, Marla, has 20 years experience in the industry. She is a passionate woman who lead an interesting and evoking conversation about success in the post-production world.
"If you want to get something different, you have to do something different" - Marla
Each women in the panel came from a different background, but agreed on several topics of interest. The first was that early on in your career, there is a large amount of luck that plays into knowing people and having the confidence to put yourself forward for work.
"Getting a job is a campaign" - laughed Gillian.
She waited two months to hear back from Temple Street Productions before she was asked to be an editor on Orphan Black.
Sandy discussed the merits of starting at the bottom. Most of the women in the panel created short films in school and PA'd on set before they settled into their role. All agreed how important mentorship is and how difficult it is sometimes as a women to find someone who "hires" women. Gillian finds this very backwards as she believes the greater the diversity in the editing room, therefore the better the work.
"I hate wasted potential" - Gillian
No one should be judged for their gender, age, sexual orientation, or culture.
"I hate wasted potential" - Gillian.
Susan was adamant that people should be judged based on their skill and to refrain from marketing yourself as a good "female" editor. You are an editor. As soon as we point out our gender, it is easier for the world to point it out too.
"Work hard, be creative, smart, and you will overcome obstacles" - Susan.
Marla brought up some alarming stats in Canada, wherein 17% of the film industry are female editors, 4% cinematographers, and 25% producers. Yet women make up 50% of the population.
Another point of discussion was surround assistant editing vs. editing. Everyone was quick to agree that assistant editors play an ENORMOUS role in the editing room. Michele particularly said she always has an assistant editor helping her edit the docs. You can't do it by yourself. You need a team to bounce ideas off of to create a fluid and organic storyline. Question each other and the storyline to strengthen it.
"a documentary editor is the filmmaker in the editing room" - Michele.
Editors in the DOC industry have greater creative input.
The conversation ended by talking about possible ways to get more women involved in post. Jane mentioned that when the industry switched over to digital, more young males who were computer savvy jumped on board, leaving women far behind and not trained for the new landscape. Jane regrets that she knows so few women sound designers and mixers.
Women in Post | CCE | The Gladstone Hotel | Toronto | 2015
Women in Post | CCE | The Gladstone Hotel | Toronto | 2015
Michele and Gillian both suggested that you make obstacles work for you. If you are interested in having a family, but are worried about the hours and time commitments post-production requires, you confidently set your hours with the producer. Explain why you need to be home between 5-8 every night and that you are willing to return to the editing room after you have settled with your family. This creates a standard system that others can understand and makes your life, career, and family happy by eliminating stress of always missing out on the personal side of life.
"What people really want from an editor is a point of view" - Sandy.
"No one will take your career as seriously as you will. [Prove your] tenacity and staying power" - Gillian.
If there are more women in higher positions, then more women feel confident applying to positions underneath and more women are inevitably hired. It is a cycle that needs to be standardized without making it obvious that it is a gender thing. All people deserve equal opportunity.
Michele ended the discussion powerfully by saying, "talk loudly. Take our space" as creators and post production experts in the film industry.
Truly a passionate and inspiring discussion!
Back to the cutting room for me,
- Jenn
The theatre is a unique space. It plays out in real time, without editing or cutting to improve the narrative flow. Stuff can happen (Murphy's law), and you have to role with the punches.
The world can feel so large and yet so small at times. Here's what I mean. One of my favourite English professors from undergrad met up with a fellow classmate in Ottawa for a seminar talk. They conversed and he mentioned his daughter's and her partner's theatre company, Coal Mine Theatre, and their need to build a website before the new 2015 / 2016 season. And presto, through fate and good fortune, my name got thrown into the mix and I got to go on an amazing journey with Diana Bentley and Ted Dykstra this past summer.
Working with two graphic designers, Catherine Erkinger and Kostis Pedritis, the three of us constructed and fashioned a website that is simple, easy to navigate, and rich in colour.
What is Coal Mine Theatre? It is a company that produces off-off broadway plays. Very indie, with large name actors occupying intimate spaces and creating an experience like no other for the audience.
"If you sit in the front row of the Coal Mine’s tiny theatre, a storefront venue on Toronto’s Danforth Avenue, you’ll get a close-up view of Ferry as he nimbly beheads and eviscerates a glistening silver trout while an instrumental version of Cole Porter’s I’ve Got You Under My Skin plays wryly in the background." - The Globe and Mail
The 2015 / 2016 theatre season is comprised of four plays: The River, The Winter's Tale, Killer Joe, and Instructions (to any future socialist government proposing to abolish Christmas).
The 2015 / 2016 season at Coal Mine Theatre
I watched "The River" (Jez Butterworth) this past weekend and I was mesmerized. My partner and I were struck with the mystique, the open ended plot, the brilliant stage direction (ahem Ted Dykstra) and the intense emotion evoked by each actor on stage.
"Butterworth’s style easily moves between mundane exchanges and a heightened poetic prose." - Stage Door
Post City captures "the man" (David Ferry) in the narrative hauntingly beautiful, showcasing the intricate and detailed set design and the uncomfortable and open ended story.
Truly a work that will haunt me moving forward. I canno wait for the rest of the season.
This is an experience like no other!
After the 2015 DGC Awards Film Festival, TIFF hosted "Meet the Directors." This event featured three Canadian film directors: Jacob Tierney (Preggoland, 2014), Deanne Foley (Relative Happiness, 2014) and Vic Sarin (The Boy From Geita, 2014).
What delights me thoroughly at events such as this, is that they highlight Canadian talent, proving that we are indeed creative, strong, and innovative in the film industry.
Furthermore, when events ring FREE, industry people should flock to them... even if the Jays are in a playoff game.
What blows me away (still) with the three keynote speakers, is the diversity of talent on stage, and proving how creativity can play a major role in filming when the budget is small. Deane Foley admitted that they had 16 days to shoot the entire film.
I really felt attracted to each director in a different way. Jacob was at once personable, funny, and witty. Deanne was a major advocate for showing strong female characters in lead roles, and characters we don't normally see on screen. Vic Sarin was a WISE WISE man, offering philosophical advise that still resonates with me weeks later.
These are just a few of some of the words I heard:
"Gathering moments" in the editing room - Deanne Foley
"documentaries show, not tell" - Vic Sarin
"telling stories with unconventional female leads" - Deanne Foley
"documentary has to be as pure as possible. No narration. As is" - Vic Sarin
"I enjoy the journey of discovery. The idea has to grab me." - Vic Sarin
"each film takes me to a new place." - Vic Sarin
From dramedy, to strong female leads (who are flawed - yes, women ARE flawed too), to a powerful story, Canada sure seems to have it all.
Thank you DGC for organizing this event. I look forward to many more to come.
- Jenn
Looking through the schedule before TIFF 2015, is daunting, to say the least. I found this pattern though when I read the descriptions and potentially checked out the trailer. If I felt some sort of connection to the story - like an energy coming off the page asking me to go to this screening - then it made my comprehensive agenda and I endeavoured to see it.
The greatest energy I received is from Pan Nalim's Angry Indian Goddesses (2015). A tale about a group of modern women in India all faced with issues of femininity. From gay marriage, to divorce, to being respected in the work place, being a mother, and finding happiness in life, this movie is truly packed to the brim.
Angry Indian Goddesses is India's first female buddy movie with a fresh, realistic portrait of women in India today. Frieda, a fashion-commercial photographer trying to find her own art, gathers her closest girlfriends from all over India to travel to Goa for a surprise announcement: she's getting married!
"this is not a film, it is a platform of truths for various women" - Su (Sandhya Mridul), TIFF 2015
Within the first ten minutes, the whole theatre was shouting "YEAA" at the screen, as the girls fought back against gender stigmas and stood up for themselves in their daily lives. Onto my analysis:
1. This film took me to many places. A city, a rural and beautiful country side, a home, and an exciting night life. What struck me so much about this film is how modern it was. It did away with stereotypes and actually addressed real issues that are facing women today in India - not 50 years ago. There is a lack of male presence in this film, making the women strong protagonists on screen. Therefore this film took me through a truly unique and female perspective.
2. How did this film make me feel? WOW. I think the easier question is what emotion did I NOT feel. This was a rollercoaster ride. I was shouting for them, then I was feeling anxious for them, I was with them in the club dancing, and then I was vengeful and frankly sobbing by the end. These women, only bonded by their individual friendship with Frieda (Sarah Jane Dias), navigate their way through one wild week together on the coast of Goa. It is their friend's mysterious bachelorette party, of which, non of the women have seen her "fiance." The film is riddled with a powerful undercurrent, and it is electric. When the story takes a dark turn - and I mean stomach clenching, white knuckle, breathless turn - how do these women rectify the situation? How does the community stand together against bureaucracy, and how do we as audience members resolve the horrible events on screen?
3. How did this film educated me? Well I learned a lot about women on the other side of the world who face very similar issues that women here in Canada face. There is pressure to marry and pressure to have a family. I also learned that women in India face completely different issues: issue of rape and how frequently it happens (one every minute of the day), pressures on women to stay home and be a mother versus having a career of their own too, arranged marriage, what it means to be successful / a failure, and finally that India has not made it legal for homosexuals to marry. All these issues, complex matters, were addressed cinematically and truthfully in the film. The actors on stage after said that most of the acting was in fact improvised and real emotions all the women felt during each scene. Sometimes the director would give each women individual different instructions and put them all together in the scene and film the one take. That take showed real emotions as the women and their characters navigate through a complex and cruel world. The end, however, showed me something truly powerful and emotional: when the whole community stood up together, collectively as one, they were standing up for a cause greater than their village. It is something the world as a whole needs to do to protect its people and offer everyone equal opportunity.
4. Was the film fun? OF COURSE! It was not always focused on serious social issues. There were exciting friendship moments and heart warming moments as the characters began to change and accept themselves, their surroundings, their situations, and the need for change. When Su discovers her daughters loneliness and talent for drawing, when Frieda rescues Lakshmi and hires her back, when Jo inspires Mad to continue her work and creates a viral video of her singing. Indeed, Jo's character transcends the entire film, living on after her cruel death. Her beauty, charm, and wisdom becomes something of an ideology. Something worth fighting for. Something worth killing for. It is here that the film is so brilliant and delivers such an intense and engaging life TRUTH.
5. The transformative experience is prevalent throughout the narrative. And again I return to Jo's character as the catalyst: she convinces Lakshmi to end her bitter vengeance against the killer of her brother and to live life to the fullest everyday without hate; the group of traditional friends accept Frieda's love and marriage to Nargis, a socialist and protester; Jo films Mad singing one night and posts the video on youtube. This turns out to be the biggest break ever for Mad and propels her once meagre singing career into the spotlight and what we can only assume as success: Jo shows Nu a different side to her daughter, bringing mother and daughter closer together and tightening their familial bond: Jo talks to Pammy about fulfilling her entrepreneurial dreams as a business owner, against her husband's wishes and family desires. What Jo proves is that one moment of positive enforcement, one conversation that is meaningful is enough to enact change. And this change is strengthened through community. Coming together as one to fight for a just cause.
"I hope society grows up, and society will be equal in all possible ways" - Lakshmi (Rajshri Deshpande)
PLEASE PLEASE PLEASE go see this film. You will not be left unfulfilled. It is truly a turn of the century film. A female centred cast, a cast riddled with improvisations and real emotions captured eloquently on camera, a film that discusses REAL social issues that need to be addressed now. There is no turning back after seeing Angry Indian Goddesses.
"it was just us laid bare" - Mad (Anushka Manchanda)
READ MORE HERE:
FACEBOOK: Angry Indian Goddesses
OFFICIAL TIFF FESTIVAL: Angry Indian Goddesses
- Jenn
Set and filmed in contemporary Toronto, Deepa Mehta's newest feature film Beeba Boys is a smash hit. It had its World Premiere at the 2015 Toronto International Film Festival.
Some of her earlier films, Water, Earth, Fire, and Bollywood Hollywood, have placed her securely in Canada's canon of filmmakers. This feature however, is a bit different.
The city was alive last week with the International Toronto Film Festival.
King street was a buzzin' from University to John street. The Hyatt was full of industry delegates and filmmakers from all over the world.
Here I found a home amongst other cinephiles - dare I say cinefilles.
From entertainment, to networking, dining out, and watching a selection of 300 hundred, it's no wonder why Cameron Bailey loves his job so much:
"I invite everybody to 300 birthday parties and show movies" - Cameron Bailey, Twitter.
As an industry member, I was fortunate enough to witness keynote speakers from across the creative spectrum:
Stay tuned the next few weeks where I will be highlighting the major speakers and my most memorable moments.
The movies were spectacular. At least the select few I was able to see (12). ANGRY INDIAN GODDESS shook the ground and wrenched out my heart. A movie everyone needs to see. LEGEND, a gritty tale based on the true story of the gangster Kray twins, East Enders in 1960s London. One close to home, BEEBA BOYS by the brilliant Deepa Mehta, also had be rivetted to my seat!
An unforgettable time with the best people!
- Jenn
In my final week Bootcamp Producer course with the DOC Institute, Toronto, I had the privilege to hear the story of Noah Bingham's extraordinary journey. Noah Bingham is the producer of The Secret Trial 5, a documentary that had its festival premiere at Hot Docs 2014 and a theatre premiere the following year.
I had a rare honour of sharing a few hours one evening with Women on Screen. This month's salon event was hosted by Tassie Cameron. Tassie Cameron is an award winning screenwriter and producer. She has worked on Degrassi: Next Generation (TV), Cake (2005, film), Flashpoint (TV), and my personal favourite, Rookie Blue (TV).
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