This past summer, I made a pledge to up my anti and get into scripted content. I took a course a year before at LIFT for Web Series writing. I have written any number of pilot scripts - some which have never seen the light and others that are still in development. I thought tackling the world of short-form writing was a good way for me to stay connected to one story and didn’t tax me too much with my full time job.
A Day with Ricardo Acosta
Two weekends ago I had the privilege to spend the day with a small group of editors and Ricardo Acosta. Ricardo Acosta was born in Cuba and moved to Canada to pursue his passions for storytelling and art.
"I was born into an ideology and punished by an ideology" - Ricardo
He is one of the few who are born with the gift of storytelling. He shared detailed philosophies with us and screened his feature length documentary, Marmato.
Beeba Boys, A Contemporary Toronto Gangster Film
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.
In an interview, Deepa was asked why she wanted to suddenly create a gangster themed film. Her reply: "I just want to create something that is bad ass."
Let's take a look at in greater detail:
1. Where does this film take us? Well it is actually a very familiar landscape. Toronto. Today. But there is something unique and cinematic about its approach. The contemporary film uses floating steadicam movements to tell the story. Its ideologies are presented using clashing images: vibrant suits of the gang members set against simple shaded backdrops, violent dialogue and beautiful scenery, city life (penthouse) and suburbia, gang loyalty and family love.
2. How did the film make me feel? I was completed glued to my seat. I bought into the filmic world instantly and was taken on a whirlwind journey. Emotionally, there was some sympathy and admiration for the gang members, almost sadness when they died. Deepa's attention to detail, while drawing on a contemporary and clean aesthetic, was a pleasure to behold.
3. How did this help me understand the world a little better? It was another window into a world very different from my own yet only next door and within reach. Deepa's subject matter always touches on her culture (Indian). Therefore, the film was a breath of fresh air because it features few male or female white leads. Further, it presents strong and intelligent men and women of colour. More films of this nature should be main stream to prove how diversity on screen can be equally successful at telling a compelling story. The main figures who are white were presented as empty caricatures. It's about time someone fought back against the prejudice on screen. Thank you Deepa for showcasing different perspectives and cultures.
4. Did it deliver fun and surprises? SURE. It was a gangster film. Maybe we all secretly wish we could evade the law like those characters on screen and live a high-risk life. Reckless behaviour, clubbing, romancing, brotherhood and sisterhood. Wealth, riches, and respect!
5. Was there a transformative experience? I think the film did a great job at delivering on the gangster genre. It set up a network of brotherhood. It contrasted this with several emotion scenes: several romances and family drama. Then, the main hero/villain has a moment of clarity and strays from his path of gangster-hood to do the right thing and dies for it. Therefore it met my fullest expectations.
A must see movie that is hitting theatres very shortly. And of course I got to see the whole cast at the Women in Film and Television gala night. Quite a handsome group!
- Jenn
A Night with Nickolas De Pencier: DOC Masters' Series Class
One of the many organizations I have joined this year is the Documentary Organization of Canada. I came across this gem at Hot Docs Film Festival 2015.
DOC offers programming to emerging film professionals for a variety of roles.
This month's masters series class was on cinematography and lead by Nickolas De Pencier. He is known for his TIFF success, Watermark (2013).
Nickolas graduated from school with a BA' in English Lit. and Art History. Growing up as a photographer who developed b / w photos from film, he carried this love over to working on set in a variety of roles.
Laughing to himself, he says he never chose film as a career. Especially not documentary. He started working on feature film sets for drama and fiction. From PA'ing to grip, he tried out every role to get a good sense of the entire process.
"Start small and be excited about everything" - Nickolas.
On his spare time, he worked on dance films. His roommate at the time knew a group of dancers and Nickolas developed his cinematographic eye through fun experimentation.
After deciding that fiction film was not a long term career for him, he jumped ship to documentary filmmaking. Not only did he change subject matter, but he made the leap from film to digital.
My favourite part about De Pencier's talk was his philosophies, some of which I will share with you below:
"Rare link between subject and what you are reporting"
"Authentic subject = unobtrusive cameraman"
"Use what is there, the mechanics of production. The smaller the better"
"creatively owning camera is better"
"Ask yourself what can this camera do..."
"ethics of DOC filmmaking: good practice leading to stronger material"
"there is a difference between an authentic relationship in film and an expose film"
He then shared two of his personal mantras that I shall carry forward with me for life:
"never move until it improves on stillness"
"something human is more dear to me than all the world"
Nickolas ended his talk by addressing questions from the audience, one of which asked about the future of DOC filmmaking in terms of finding funding. He suggested that the current model of sponsorship may change in five years. Most DOC full length films attract a niche audience, meaning it is hard to make a solid living off of it. He has, though, and is living proof. Perhaps that generation is dying out slowly but it is good to see someone who is able to make it while still inhabiting the outskirts of the filmmaking industry. Further, as a filmmaking you might have to weigh in whether your sponsor has the same agenda as you or is looking to improve business through product placement and ads. This can affect the authenticity of your film and whether your film receives funding or not. It is always a delicate line to balance on.
Thank you DOC for such a great evening spent at Technicolour (Toronto) and the chance to play around with top gear sponsored by Vistek.
- Jenn
Far From the Madding Crowd: A Feminist Text
The newly adapted Thomas Hardy novel, Far From the Madding Crowd, came to theaters two months ago. Directed by Thomas Vinterberg and starring Carey Mulligan (Bathsheba Everdene), Matthias Schoenaerts (Mr. Gabriel Oak), and Tom Sturridge (Sergeant Francis Troy).
Written in 1874, this book exemplifies a feminist text with a strong female protagonist who is in a unique position of owning a business, estate, life and all without a husband by her side. Three different men vie for her attention. As a Victorian woman, she is able to choose a romantic attachment without anyone's opinion. Her father and any living male relative has passed away and her choices are entirely her own.
- Where did this film take me? To a romantic and rustic country side. Unlike Jane Austen's novels which used the countryside as a stark contrast to a bustling London city and the gossipers at bath, this film is truly a breath of fresh air. No mention of the city, no gossip, just pure small time England living. What makes this film particularly unique is that the protagonist is not only female, but she is in control of her choices, mind, and life. Uninfluenced by any male character, and willing to stand up for her beliefs, Bathesheda (Carry) inherits a farm and builds a stable business. As an entrepreneur she forces the county to accept and respect her as an equal individual. She challenges male authority without overstepping her feminine boundaries and carefully navigates her way into a position of respect.
How did this make me feel? There were moments of sadness, happiness, romance, and humour. The film was paced in a way that balanced all the emotions together. If you are familiar with Thomas Hardy's work, you can emotionally prepare yourself for a story filled with unrequited love, blossoming friendships, love triangles, and couples that get together at the very last second. Most Hardy stories are also difficult to swallow at times. In Far From the Madding Crowd, the primary example that sticks out is the death of all the sheep at the beginning. Mr. Oak, saddened by the loss of his fortune, herd, potential eligibility to marry Bathesheda, and livelihood, shoots the dog responsible for sending the sheep over the cliff. At the same time, Bathesheda loses her uncle and inherits a fortune. The tables have turned completely. Once a poor farm girl, though charming and beautiful and educated, now she an heiress and eligible to make a solid match in the country. Mr. Oak's chances of marriage plumate and he becomes her shepard, unable to buy her the piano she wanted. Hardy is also good at writing in realistic characters that are both frustrating, and prone to erroring. However, the usual male judgement that is present in most Victorian novels and stories was absent. "I know I did something I thought I would never do. I married a red coat and I believe I made a mistake. And I don't want your opinion," Bathesheda to Gabriel Oak in observation of her drunk husband. The protagonist is able to discover her feelings in an unadulterated world. Jane Austen's Anne Elliot (Persuasion, 1814) made two impactful errors in her early twenties: one is allowing someone to give her an opinion, and the other was to take the advice of her friend and ignore her true feelings. Gabriel Oak wanted to leave the farm much earlier, but stuck to Bathesheda's side out of protection of her estate and fortune when she married. She did not ask or want his judgement, knowing full well she had chosen a poor match. BUT it was clear how grateful she was of his attachment. This made me feel that finally I can relate to a woman in a lead position who is strong, educated, and NORMAL. Thank you Vinterberg for preserving this uniqueness in a Hardy text.
Did it help me understand a new world better? It was not so much a new world, but a way of life I believe in was finally realized on screen. A world that exists but is constantly ignored or romanticized on screen. Far From the Madding Crowd is a normal female fantasy come true: a woman decides her own destiny and supports her own life. This does not mean she is without a heart or feelings, and that she is not interested in marriage. It just means she doesn't "have" to get married to make something of herself.
Did the movie deliver fun and surprises? The biggest surprise and gratification came in the scriptwriting and Carry Mulligan's exception performance. One part in particular really epitomizes this film for me at the forefront of feminism and celebrating strong females onscreen. When Bathesheda visits WIlliam Boldwood (Michael Sean) for the second time to hear his marriage proposal, he demands that she chose what she feels for him at that moment.
"Well is it respect or like?" William Boldwood. "It is hard to express myself in language constructed by men to express their emotions," Bathesheda.
She asserts her dominance and equality and sets the stakes high. She will not be defined or controlled. She even tells Mr. Oak at the beginning he would never be able to tame her. She is an uncontrollable force. This was the biggest surprise and the most fun and enjoyment I have had at a movie in a long time.
5. Did the characters have a transformative experience and / or did I? I think the main character has a very simple transformative experience. She finally realizes her true feelings and is able to express them. The film is after all an outward expression of an inner self. What is said through dialogue becomes less important than what is NOT said. Bathesheda tells Mr. Oak her issues but clarifies by saying, "And I don't want your opinion." We never hear what Mr. Oak actually has to say and this is the tension that mounts and builds throughout the narrative. We are never even truly relieved of this tension at the end as Bathesheda still dictates the drama.
Overall I think this film is unique, strongly feminist while honouring the historical drama genre. The adaptation of Hardy's novel was extremely well done and had me smiling throughout. IF you have NOT read a Hardy text you are in for a treat. Do not fret, for things do seem unbearably bleak at the best of times. Hardy always pulls through and gives you the satisfaction you deserve. Also a good read: The Guardian: Far From the Madding Crowd.
- Jenn
Women in Film and Television: My First WIFT-T Meeting in Toronto
I attended an AGM event this past Monday with WIFT. Hosted downtown Toronto at Goodman LP, I found myself immersed in a group of talented and career driven women.
| What WIFT-T excels at is creating a supportive community where women can meet, network, voice our concerns, face common challenges, and celebrate our triumphs. No other organization does this for women filmmakers - Stephanie Law, WIFT website.
What an organization like this does for women is provide a platform for women to discuss challenges, issues, and everyday career obstacles together in a non-judgmental atmosphere. From entry level industry members to members with 30+ years of experience, WIFT-T excitedly invites anyone and everyone who is interested.
Membership Flexibility
Membership is flexible and based on your industry experience. This is important because some of their networking events and professional development courses are catered to level of expertise in the industry.
The thing I am looking forward to the most as a new member with WIFT is the educational opportunities and course modules they organize and host. These intuitive courses are catered directly to industry professionals and offered for a fraction of the price of other development courses.
Media Business: Marketing and Distribution
The landscape for our industry is changing. Digital media is going to take over TV distribution sooner or later. We have to stay at the forefront and be a part of the box that pushes the boundaries for content creation. WIFT provides incubator programs for emerging talent that go through the entire production and business end of media creation. They offer a Digital Media Bootcamp course:
| Content creators will learn about the technical environments available to them to tell their stories and distribute their work – plus manage projects on deadline and on budget. Participants will leave confident with the understanding of what it takes to get their original or digital extension project executed. This program was formerly called the Convergent Media Program - WIFT website.
Other exciting events to look forward to: a short film festival championing member work, a TIFF reception party, and networking opportunities.
At the AGM I met the Chair, Joanna Webb. She approached me with a smile and personally welcomed me to the event. I felt instantly warm and at home. I also got to talk to a new board member, Andra Sheffer, who has such an inspiring career tract: from working at festivals to being the CEO of the Independent Production Fund and other Canadian film industry companies. This was enough for me. I felt included, excited, and on board with their mission statement.
If you are interested in joining, visit their website and check out all the flexible membership options.
- Jenn
*Stay tuned for our blog tomorrow: In Conversation with Andrea Ziedenberg, Far From the Madding Crowd.