Podcasts about canadian cinema

Amanda De Freitas, is a certified sex, love and relationships coach who graduated from the VITA Coaching Certification program founded and led by Layla Martin at the Tantric Institute of Integrated Sexuality! She has undergone 3 years of extensive training in ancient practices, and science-backed tools and techniques that she shares 1:1 and in group settings. Her passion for coaching is deep and stems from a desire to “help others feel, heal & expand the ways they love.” She believes that it's never too late to have the best sex or epic intimacy or your life…never too late to attract a soulmate, or learn to date more consciously and effectively. In addition to her coaching certification, Amanda Is an initiated Priestess in the 13 Moon Mystery Sacred Lineage is a certified Rocket Yoga Instructor, a multi disciplined dance instructor, certified at Canada's National Ballet School.Is an ACTRA (Alliance of Canadian Cinema, Television and Radio Artists) and CAEA (Canadian Actors Equity Association) member (unions that support professional singer/dancer/actors) performer who has performed on stages and screens world-wideHas facilitated inner healing workshops abroad (at the BELOVED women's retreat in Morocco)Has judged on the hit TV show Dance Moms, and was a finalist on Canadian Idol. It is Amanda's mission to help the world begin or continue their journey into emotional healing, conscious dating and empowerment.#amandadefreitas #sexloverelationshipscoach #livewithcdp #chrispomay #barrycullenchevrolet https://linktr.ee/amanda_the_love_war...  / amanda_the_love_warrior https://beacons.ai/chrisdpomayhttps://www.cameo.com/chrispomayhttps://www.paypal.com/paypalme/chrishttps://podcasts.apple.com/ca/podcast...

We discuss The King of Canadian Cinema once more, Mr. David Cronenberg, but this time we are joined by Violet Lucca, the author of the excellent new book DAVID CRONENBERG: CLINICAL TRIALS. Go buy her book now at your local independent bookseller! Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as Will's MICHAEL AND US (@michael-and-us).

We discuss The King of Canadian Cinema once more, Mr. David Cronenberg, but this time we are joined by Violet Lucca, the author of the excellent new book DAVID CRONENBERG: CLINICAL TRIALS. Go buy her book now at your local independent bookseller! Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as Will's MICHAEL AND US (@michael-and-us).

We might be foaming at the mouth over this one, but David Cronenberg, you all right. We enjoyed this, and it's contrast to the more high-minded material of the time.  (and no, that's not a READ)SUPPORT THE SHOW: PATREONFOLLOW THE SHOW: INSTAGRAM // TWITTER // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com  SHOP THE SHOW: TEE PUBLIC 

There's an art to doing sci-fi and action on an indie budget...On this special episode we're diving into two of our favourite things, Science Fiction and Canadian cinema with the new film 'Levels' that opens in theatres tomorrow!Levels is the story of a young man (Peter Mooney) who after witnessing his girlfriend (Cara Gee) get murdered in front of his eyes goes on a journey where he has to risk it all; including his grasp on reality in order to discover the truth.It's a great entry into a very thoughtful off shoot of the genre as we get roped into it all via some excellent execution in storytelling and some great performances.In advance of the films release we had the pleasure of sitting down with one of the stars of the film David Hewlitt about how he got the job, the joys of science-fiction and so very much more.

This week, rabble editor Nick Seebruch sits down with Alistair Hepburn, executive director of ACTRA Toronto. The two discuss the do-not-work notice placed on Mr. Beast's Beast Games in Toronto and other actions ACTRA is taking to protect Canadian performers.  About our guests  Alistair Hepburn is the executive director of ACTRA Toronto, the largest branch of ACTRA (the Alliance of Canadian Cinema, Television and Radio Artists), the union representing performers in the film, radio, television, and new media industries. If you like the show please consider subscribing on Apple Podcasts, Spotify, Youtube or wherever you find your podcasts. And please, rate, review, share rabble radio with your friends — it takes two seconds to support independent media like rabble. Follow us on social media across channels @rabbleca. 

EPISODE #424-- We continue to celebrate Pride Month by going to. . . Canada? Huh. That can't be right. Anyways, we talk the Hitchcockian thriller THE SILENT PARTNER from Daryl Duke and Curtis Hanson, starring Elliot Gould and Christopher Plummer. It's properly sleezy-- just like us! We also talk the BAD BOYS saga (including the latest feature RIDE OR DIE), the BEVERLY HILLS COP saga (including the latest film, AXEL F), as well as the documentary GOODNIGHT, OPPY (2022), the Oscar-nominated AMERICAN FICTION (2023), MURIEL'S WEDDING (1994), and, finally, the insane and illegal RAP WORLD (2024). Big week for movies. And queer people. And Canada. Something for everybody. Join the cause at Patreon.com/Quality. Follow the us on Twitter @kislingtwits, on Bluesky at kislingconnection.bsky, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

Distinguished Canadian journalist, Paul Workman, joins Evan to reflect on his career and accomplishments -- and the world events of today -- after being named the recipient of the Gordon Sinclair award by the Academy of Canadian Cinema and Television.

The Academy of Canadian Cinema & Television is recognizing broadcast veteran Marilyn Denis with a Lifetime Achievement Award, honouring a Canadian for a lifetime of work that has had a profound impact on the media industry at home or abroad.Currently the long-running co-host of mornings on Toronto's CHUM 104.5, Marilyn Denis joins Broadcast Dialogue - The Podcast to talk about her career, her feelings on the end of Cityline, changing consumer habits, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hello and bonjour! Welcome to The Movie Passport, a podcast series about world cinema. In this episode, Duncan (Valkyrist), Scott (skywaltzer), Abby (Daceymormont), and Steven (SJLee) travel to the country of Canada to discuss the following films: 34:06 – Scott Pilgrim … Continue reading →

Hello and bonjour! Welcome to The Movie Passport, a podcast series about world cinema. In this episode, Duncan (Valkyrist), Scott (skywaltzer), Abby (Daceymormont), and Steven (SJLee) travel to the country of Canada to discuss the following films: 34:06 – Scott Pilgrim … Continue reading →

Join Pete in a solo rant about the best first time watches so far this year. It's September 17th at the time if this recording, and there are 407 films watched so far on the list, many of which are first time viewings. What are YOUR first time watches? Write in, or leave us a voce message to let us know. We will see you all with the full gang next week!http://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsAndrew Martin https://andrewwatchesmovies.libsyn.com/Dallas Terry Joseph Navarro     Pete Abeyta  and Tyler Noe      

The gang busts up the Jukebox Jamboree this week, as they review John Waters' first major Studio feature, Cry-Baby (1990). Starring Johny Depp as the title character, Wade "Cry-Baby" Walker, the golden boy of the roughneck group of juvenile delinquent greasers known as the Drapes, a departure from the teen wholesome heart-throb characters he was known for playing prior to 1990. Anyone who knows John Waters' reputation may find Cry-Baby a surprisingly easy watch, due its distinct lack of filth and debauchery. Did that decision make it a winner, or a punishment for Pete, Tyler, and Joseph? Listen in to find out! Thank you to Patreon member, and Cool-Ass Yard Duty, Chris, for this selectionhttp://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsAndrew Martin https://andrewwatchesmovies.libsyn.com/Dallas Terry Joseph Navarro     Pete Abeyta  and Tyler Noe      

The gang begs for water this week, as they review one of the final movies from director Gore Verbinski, Rango. With an all star case, this animated movie from Paramount and Nickelodeon Studios, Rango tells the story of a pet chameleon lost from his owners, and stranded in a deserted town of Dirt. A thespian at heart, Rango (a stage name) assimilates to the classic western characters found in this small town, and quickly becomes the hero they need, and finds the purpose in his own life. Watch on Paramount+ to discover this forgotten gem for yourself, and find out what all the fuss is about. http://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsAndrew Martin https://andrewwatchesmovies.libsyn.com/DallasJoseph Navarro     Pete Abeyta  and Tyler Noe      

This week's episode was streamed live in Twitch through Sacramento's own STAB comedy theater. Watch the VOD here--> https://www.twitch.tv/videos/1909276233The gang has a rumble to end all rumbles this week, as they review a seminole coming of age story from the wrong side of the tracks. This week, Pete and Tyler review The Outsiders. Joseph is celebrating his birthday away from the show this week, so Tyler and Pete represent the greasers and the Socs, with their reviews of the Francis Ford Coppola adaptation of the classic S.E. Hinton novel of the same name. Does this movie earn its status of classic, http://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsAndrew Martin https://andrewwatchesmovies.libsyn.com/Joseph Navarro     Pete Abeyta  and Tyler Noe      

The gang goes to Morocco to save their marriage this week, as they review the third movie in "The Death Trilogy" or "Babel Trilogy" from 2004, they are reviewing Alejandro G. Iñárritu's Babel. Follow Brad Pitt, Cate Blanchett in Morocco, along with their children in San Diego/Mexico, and Rinko Kikcuhi in Tokyo, and a family of goat herders, and find out how their stories are intertwined, and what it all means. Streaming on Amazon Prime right now, so watch it first, then listen along to hear how Pete, Joseph, and Tyler felt about Babel. http://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsAndrew Martin https://andrewwatchesmovies.libsyn.com/Joseph Navarro     Pete Abeyta  and Tyler Noe      

The gang sells their daughter off to LAZAR WOLF this week, as they review an all-time classic musical about life at the turn of the century in remote Russia, Fiddler on The Roof (1971). Based on the smash hit Broadway musical of the same name, the Norman Jewison directed film tells the story of Tevye, the Jewish milk man, and father of 5 daughters. Tevye must wrestle with tradition and the happiness of his family, while dealing with the sad reality of the spreading anti-Semitic sentiment of the local Authoritarian government. Even if you haven't seen this movie, you undoubtedly know some of the catchy songs: If I were a Rich Man, Matchmaker Matchmaker, Tradition, L'chaim (to life), Sunrise Sunset, Do You Love Me... I can go on. Watch it if you haven't, don't let the runtime scare you... then listen along. http://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsAndrew Martin https://andrewwatchesmovies.libsyn.com/Joseph Navarro     Pete Abeyta  and Tyler Noe      

This week on The Tinsel Factory, a brief look into the history of Canadian Cinema.  Support This Podcast: https://anchor.fm/tinselfactorypod  Merch: https://shop.spreadshirt.com/the-tinsel-factory/all Venmo: @tinselfactorypod Buy Me a Coffee: buymeacoffee.com/tinselpod Letterboxd: https://letterboxd.com/tinselfactory/ Sources: https://www.thecanadianencyclopedia.ca/en/article/the-history-of-film-in-canada https://www.thecanadianencyclopedia.ca/en/article/the-cinema-of-quebec --- Support this podcast: https://podcasters.spotify.com/pod/show/tinselfactorypod/support

The gang puts the lotion in the basket this week as they review one of the all-time greats, Silence of The Lambs. Follow along with Clarice Starling as she helps find the elusive and murderous killer, Buffalo Bill, with a little help from the imprisoned Dr. Hannibal Lecter. One of the prototype movies for crime drama thrillers, Silence of the Lambs is considered one of the greats for a good reason. Considered by many to be a perfect film. How do you feel about it? Let us know and your thoughts on this episode at MCFCpodcast@gmail.com http://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsAndrew Martin https://andrewwatchesmovies.libsyn.com/Joseph Navarro     Pete Abeyta  and Tyler Noe      

The Hamilton Today Podcast with Scott Radley: Hamilton is one of the central cities being affected by the ongoing writers and actors strikes in the U.S. MP Karina Gould, the new House Leader for the Federal Liberals, wants question period to be something Canadians will be proud to see. Global Affairs Canada (GAC) says it has detected an “information operation” targeting Conservative MP Michael Chong and it is “highly probable” — but not conclusive — that came from China. Developers in Ontario had direct influence over the province's decision to extract lands from the Greenbelt and received “preferential treatment,” Ontario's auditor general found in a blistering special report that showed the Ford government began working to remove protected land as soon as it won re-election. Writing in the Globe and Mail, Professor Michael Veal says that “amid Canada's housing crisis, immigration needs to be slower, more focused.” What does the Greenbelt report from Ontario's Auditor General mean for the Doug Ford government, and how concerned should Ontarians be by it? It is all coming up on the Hamilton Today Podcast! Guests: Eleanor Noble, National president, ACTRA (Alliance of Canadian Cinema, Television and Radio Artists). Dan McTeague, President of Canadians for AffordableEnergy, Former Liberal MP. Karina gould, Member of Parliament for Burlington, Ontario; Leader of the Government in the House of Commons. Christian Leuprecht, Professor at both the Royal Military College of Canada and Queen's University, and a Fellow at the Macdonald Laurier Institute. Andrea Horwath, Mayor, City of Hamilton. Michael Veall, Professor Economics at McMaster University, Academic Director, Statistics Canada Research Data Centre. Brayden Akers, Associate Principal with Navigator. Duff Conacher, Co-Founder of Democracy Watch. Host – Scott Radley Content Producer – William Erskine Technical/Podcast Producer – Tom McKay Podcast Co-Producer – Ben Straughan News Anchor – Dave Woodard Want to keep up with what happened in Hamilton Today? Subscribe to the podcast! https://megaphone.link/CORU8835115919

Have you ever regarded Canadian actors, TV & film negatively now or in the past? Tammy Frick is a Canadian film industry executive, who was appointed as chief executive officer of the Academy of Canadian Cinema and Television in October 2022. Previously, she was executive director of the Cinéfest Sudbury International Film Festival from 1995 to 2022, and an associate director of Cultural Industries Ontario North. In 2019, she won an award from the Toronto chapter of Women in Film and Television International in honor of her achievements in the film industry. In 2021 she sought the nomination to be the Liberal Party of Canada candidate for Sudbury in the 2021 Canadian federal election, losing to Viviane Lapointe.   Now Tammy's advocating for Canadian talent. I caught up with her on two different days and red carpets at this year's Canadian Screen Actors Awards to talk about Canada's TV & Film Industry and the trends lead by Ryan Reynolds and Other Famous Canadians that are sure impact how you consider and consume Canadian content. Sign up to become a member of Janette's TV Youtube Channel!https://www.youtube.com/@JanettesTV/videos Support the show

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

The gang cuts each other open this week, as they review a listener pick from Brendan, one of our longest listeners, today we review Crimes of the Future (2022) written and directed by David Cronenberg. Set in an future of unknown year where pain has all but vanished, and surgery is the new sex. The next stage of human evolution is on the precipice but the evils of capitalism mean to put a stop to the revolutionaries trying to show the world what is in store for them. How did Pete and Tyler enjoy this on rewatch? Did this make Joseph's Top 5 Movies Missed from 2022 list? Tune in to find out. http://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsJoseph Navarro     Pete Abeyta  and Tyler Noe      

Check out last week's episode:https://youtu.be/34fPSfzCQw8Comment your suggestions for episode topics.Send us an email:dukesnukespod@gmail.comShoutout to Will for editing the episode!Please subscribe and leave a review on Apple, Spotify, or wherever you are currently listening/viewing and let us know what you want to see next.We can always add a theme based on what you send us so let us know what you want to hear next!Duke's Nukes ranges on topics with all different things in Pop Culture ranging from movies, television, games, and more. Join Blaine, Jack, Will, and Duke the Corgi every week for a new episode.Send us an email:dukesnukespod@gmail.com

You ever had something small and inconsequential happen in your life that you disagreed with and just can't let go?On this episode we dive into those little things that drive us nuts.  It's time for 'Retrograde'.It's the story of a young woman, involved in a minor traffic incident and gets cited for it.  Where most people would just pay the ticket, she can't move on as she can't understand how she did anything wrong and goes down a rabbit hole of obsession trying to prove that she was right.We've all be there....and we can all relate which is why this film is so funny and so truly relatable.  We had the unique pleasure of sitting down with writer/director Adrian Murray to talk about the origins of the story and so very much more.

Greetings programs!  We're back after a brief hiatus, and this week we're covering Canadian Screen Award Best Picture nominee Falcon Lake and the new indie thriller How To Blow Up A Pipeline.  Spoiler alert: it's two good movies on this week's show!BONUS CONTENTThis week on our patron bonus chat, we talked about A24 films and our journeys with them.  Join the Patreon to hear it!EPISODE HOMEPAGE: Find our ratings, JustWatch powered streaming links, and all of our other content on this episode's homepage. CONNECT WITH US:      Matthew on Twitter: @SmatthewAF Simon on Twitter: @TemporaryPen Home:   AwesomeFriday.ca Awesome Friday on Twitter: @AwesomeFridayCa    Awesome Friday on Facebook: Awesome Friday Awesome Friday on Instagram: @AwesomeFridayCa AwesomeFriday on YouTube: Awesome Friday Email Awesome Friday: Contact Us SHOW LINKS: Awesome Friday on Apple Podcasts Awesome Friday on Amazon Music Awesome Friday on Deezer Awesome Friday on Goodpods Awesome Friday on Google Podcasts Awesome Friday on iHeartRadio Awesome Friday on JioSaavn Awesome Friday on Overcast Awesome Friday on Spotify Awesome Friday on Stitcher Awesome Friday on TuneIn Meanwhile, relax and enjoy your flight. 

It's been a few years since the Canadian Screen Awards took place in front of a live audience, but in a few weeks Canadian Screen Week makes its in-person return with seven awards shows celebrating Canada's screen media and the talent behind it, culminating in a star-studded broadcast special on CBC on April 16, hosted by comedian Samantha Bee.Tammy Frick, CEO of the Academy of Canadian Cinema & Television (the Canadian Academy), joins us on this episode of Broadcast Dialogue - The Podcast to talk about taking leadership of the organization, the Academy's move to gender-neutral performance categories, and the importance of coming together to celebrate Canadian content. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Brian interviews Erin Weir, a consulting economist and former Member of Parliament. Erin Weir grew up in Saskatchewan and completed university degrees at Regina, Calgary and Queen's. Erin went on to work as a trade union economist with the Canadian Labour Congress, the United Steelworkers and the International Trade Union Confederation in Brussels, Belgium. He campaigned to win election as the MP for Regina–Lewvan. Since completing his term in office, he work for the Government of Nunavut and the Alliance of Canadian Cinema, Television and Radio Artists. We discuss the Bank of Canada's recent spree of interest rate hikes and the latest job numbers.

Andrea Vera, actress and writer, discusses enrolling in drama class to overcome an unfortunate battle with depression during high school, vastly expanding her opportunities in acting from her union membership into the Alliance of Canadian Cinema, Television and Radio Artists (ACTRA), and fully channeling her own vulnerability to ultimately achieve optimal creativity in her poetry writing and character portrayals. YouTube Channel: Daniel Calderone Instagram: @d.calderone All Rights Reserved - NinetyFour Productions Inc.

Thu, 23 Feb 2023 15:00:00 +0000 https://efm-industry-insights.podigee.io/33-making-a-mark-in-unstable-environments-an-encouraging-conversation 17eab58a6e3d9c3cc7d69c0b303423a0 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. In this episode movers & shakers within the international film landscape Amra Bakšić Ćamo, Hania Mroué and Sadaf Foroughi talk about their personal approaches as filmmakers living in unstable environments – all three with an immense motivation to shape change in the film industry and to move forward. They share what drives them and how they are able to navigate and overcome challenges, and reflect on sustainable leadership and humanity in our film industry. Hania Mroué is an established film programmer, distributor, and industry professional. She founded and became the director of Metropolis Cinema, the only art house movie theatre in Lebanon, in 2006, and in 2010, she established MC Distribution, a company dedicated to distributing Arab and international independent titles in the MENA region. Mroué is a founding member of the Beirut DC association, which supports and promotes independent Arab films, and she has served as the Managing Director of the organization's Arab film festival, Ayam Beirut Al Cinema'iya, for the past decade. From 2010 to 2012, she also served as Chief Arab Programmer at the Doha Tribeca Film Festival. She's currently a programming consultant for the Marrakesh International Film Festival. Mroué has been a jury member at a number of prestigious film festivals, including Cannes, Berlinale, Adelaide and Malatya International Film Festival. Amra Bakšić Ćamo is one of the founders of SCCA/pro.ba, an independent production company from Sarajevo, Bosnia and Herzegovina. She has produced and coproduced award-winning feature films, TV programs, shorts and documentaries,. Since it's inception in 2003, she is Head of the CineLink, a regional co-production market, work in progress and project development workshop for feature films and drama series at the Sarajevo Film Festival and one of the curators of Torino Film Lab. She is a member of the European Film Academy as well as ACE and EAVE producer networks. She has been a longtime collaborator of Berlinale Coproduction Market and Biennale College. Amra teaches Producing at the Academy of Preforming Arts in Sarajevo. Sadaf Foroughi is an award-winning Iranian-Canadian filmmaker and Berlinale Talents alumni. She directed a short documentary episode of The Why Democracy? Project, which was nominated for Best Non-European Film at the Grand Off-European Off Film Awards in Warsaw and won Best Short Film at the annual Oxford Brooks University Film and Music Festival. In 2009, Foroughi founded Sweet Delight Pictures (SDP) with fellow filmmaker Kiarash Anvari. SDP was nominated as one of the top five emerging Canadian production companies at the 2017 Indie Screen Awards. Sadaf Foroughi's debut feature as writer/director/producer AVA premiered at the 2017 Toronto International Film Festival, winning the FIPRESCI award in the Discovery section and earning several nominations. Her second film, Summer With Hope, won the Crystal Globe Grand Prix for Best Film at the Karlovy Vary International Film Festival 2022. Sadaf has also served as a juror for various festivals and awards, including the Academy of Canadian Cinema and Television's annual awards in 2019 and most recently the Tibilisi International Film Festival in Georgia in 2022. The host Nadia Denton is a film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood. Nadia is also an official V&A African Heritage Tour Guide. This podcast episode has been developed in collaboration with Berlinale Talents. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Filmindustry,EFM,Flim Market,Sadaf Foroughi,Hania Mroué,Amra Bakšić Ćamo,Nadia Denton,Filmmaker,challenge,Industry Insights European Film Market

The images contained in decaying film stock tell incredible Canadian stories and they're at risk of extinction. Teams of dedicated preservationists and archivists at organizations like the Toronto International Film Festival and the Canadian Filmmakers Distribution Centre are bringing new life to endangered films. In this episode of Cinema Reignited, we will be speaking with Natania Sherman, Collections and Services Manager, Film Reference Library at the Toronto International Film Festival and Jesse Brossoit, Distribution & Collections Manager, Canadian Filmmakers Distribution Centre to discuss the current state of our endangered cinematic heritage. We'll learn about the preservation process, how films are being digitized for new audiences and why it is so important to preserve films of all types from Canada's past.Visit http://telefilm.ca to learn about more films being digitized as part of the Canadian Cinema - Reignited initiative.Cinema Reignited is a podcast by the Academy of Canadian Cinema & Television, powered by Telefilm Canada.If you found this episode interesting, please share it with your network and tag @TheCDNAcademy and @sistersamah. Rate and review the podcast to help us connect with other Canadian film lovers. This podcast episode was produced by Quill

On this edition of In Focus with Melanie Risdon, Tina Alford — branch representative for The Alliance of Canadian Cinema, Television and Radio Artists (ACTRA) — discusses the booming film and television industry in the province along with the opportunities and challenges the boom present.

First released in 1988, Guy Maddin's Tales From the Gimli Hospital has now been restored in 4K. The new release premiered at the Toronto International Film Festival in September 2022. Set in the idyllic town of Gimli on the shores of Lake Winnipeg in the late 19th century, it's a tale of jealousy, revenge, and peculiar erotic fixations. Shot in black and white on 16mm film and paying homage to both old Hollywood and surrealism, the feature draws on Maddin's family heritage and the Icelandic immigrants that settled in the small Manitoba fishing town. Now labeled a cult classic, it marked the beginning of Maddin's critically acclaimed, 30 year career in film. In this episode of Cinema Reignited, we go one-on-one with filmmaker Guy Maddin about the making of Tales From the Gimli Hospital, how he became a filmmaker, and the changes he made to the film during the 4K digitization.Tales From the Gimli Hospital is currently playing at select theatres. Cinema Reignited is a podcast by the Academy of Canadian Cinema & Television, powered by Telefilm Canada.If you found this episode interesting, please share it with your network and tag @TheCDNAcademy and @sistersamah. Rate and review the podcast to help us connect with other Canadian film lovers. This podcast episode was produced by Quill

The coming-of-age story is one that is often explored in film, television, and other art forms, and one that captures a specific and unique time. For filmmakers Henry Bernadet and Myriam Verreault, making a film about teenage life in suburban Quebec City was about more than just capturing the drama of daily high school life. In their 2008 film À l'ouest de Pluton, they present teenage characters in an impressively uncensored and hyper realistic way, often leaving the audience wondering if they're watching a documentary instead of a fictional drama. In this episode of Cinema Reignited, we hear from filmmaker Henry Bernadet about the making of À l'ouest de Pluton and actor David Bouchard about his experience as a teen actor in the film. Cinema Reignited is a podcast by the Academy of Canadian Cinema & Television, powered by Telefilm Canada.If you found this episode interesting, please share it with your network and tag @TheCDNAcademy and @sistersamah. Rate and review the podcast to help us connect with other Canadian film lovers. This podcast episode was produced by Quill

In 1966, at nine years old, Zacharias Kunuk was no longer able to live on the land with his family—the only way of life he'd known. Like many other Inuit and indigenous children, he and his siblings were required to go to school in larger communities like Igloolik in the territory of Nunavut. The community was a place of transition, where the old ways of Inuit life were being replaced by the culture and traditions introduced by christian religion and government policy. Zacharias Kunuk's 1985 documentary From Inuk Point of View tells the story of Igloolik, its people and the changing ways of Inuit life. The film broke the race barrier by becoming the first ever Inuit or indigenous film to receive a Canada Council for the Arts grant. In this episode of Cinema Reignited, host Samah Ali speaks with Zacharias Kunuk about the creation of From Inuk Point of View and Blandina Makkik from the Inuit Art Foundation.From Inuk Point of View is currently available to stream online on Hot Docs at Home until December 29, 2022. Visit https://hotdocs.ca/whats-on/films/from-inuk .Isuma was co-founded by Zacharias Kunuk, Paul Apak, Pauloosie Qulitalik and Norman Cohn. To learn more about Isuma visit http://www.isuma.tv/isuma . To learn more about the Inuit Art Foundation visit https://www.inuitartfoundation.org/ . Cinema Reignited is a podcast by the Academy of Canadian Cinema & Television, powered by Telefilm Canada.If you found this episode interesting, please share it with your network and tag @TheCDNAcademy and @sistersamah. Rate and review the podcast to help us connect with other Canadian film lovers. This podcast episode was produced by Quill

In 1984, filmmakers Janis Cole and Holly Dale turned their lens towards a marginalized group that had been the focus of a short film they had made as students at Sheridan College. The groundbreaking documentary film, Hookers on Davie, follows the lives of sex workers in Vancouver's downtown West End during 1983 and the complex challenges they face including violence, prejudice, and poverty. The film was groundbreaking and controversial when it premiered in 1984 and it highlights a conversation surrounding sex work law reform that echoes to this day. In this episode, host Samah Ali sits down with filmmaker Janis Cole to discuss the creation of Hookers on Davie, and Susan Davis, a Director at the BC Coalition of Experiential Communities, to discuss the film's historical and cultural relevance to sex work in Canada. Hookers on Davie was selected by Hot Docs for the Canadian Cinema - Reignited project, and will be available to watch in Canada on Rogers VOD on October 1 and Apple TV and Vimeo on October 18.Cinema Reignited is a podcast by the Academy of Canadian Cinema & Television, powered by Telefilm Canada.If you found this episode interesting, please share it with your network and tag @TheCDNAcademy and @sistersamah. Rate and review the podcast to help us connect with other Canadian film lovers. This podcast episode was produced by Quill

For decades, Canadian films have been making us laugh, cry, learn, and come together as a nation united by our differences. Now, it's time to revisit some of the films that have shaped our cultural identity. Welcome to Cinema Reignited, a new podcast by the Academy of Canadian Cinema & Television, powered by Telefilm Canada. In each episode, host Samah Ali explores a different Canadian film that's been digitized as part of the Canadian Cinema - Reignited initiative. By taking you on a journey through the time period during which each film was made, the historical and social context at the time, and how the film relates to broader themes in society, Cinema Reignited will help us look at the history of Canadian cinema through a modern-day lens. We hope you'll tune in for our first episode of Cinema Reignited, dropping this October.

I love stories of Latin creatives who are telling the stories of our community and getting heard and seen. My friend Patricia is an amazing example of this. I met her at SXSW where one of her most recent films was shown, and I knew I needed her to come on the show.Everything Patricia Chica directs wins multiple awards, gets selected at numerous film festivals and generates rave reviews. This daring, vivid and non-conforming Canadian-Latina director, writer, producer, editor and acting coach has created over 50 hours of content and garnered over 60 awards in her 20-year career.Besides her personal independent film work, Chica has also directed and/or worked as a producer on world-class primetime broadcast content for networks such as National Geographic, Showcase, Bravo!, MTV, Oxygen, ARTV, CBC, CBS, UniMás, and El Rey Network just to name a few. ​Patricia Chica was born in war-torn El Salvador, grew up in Montreal, did her internship in Paris and has had professional residencies in New York, Orlando, Toronto and London. She is presently in production of her feature film Montréal Girls.  Since 2014, Chica divides her time between Montreal and Los Angeles. She is represented by MoJo Management in Hollywood.Patricia Chica is a member of the Directors Guild of Canada, the Academy of Canadian Cinema and Television, Women In Film, FCTNM, Canadian Cinema Editors Association and Film Fatales.You will want to hear this episode if you are interested in...How Patricia's film came to South by Southwest through Telefilm Canada (2:37)The importance of working three levels higher, deeper, and further (9:21)Why the higher realm is the key to functioning in the physical realm (14:35)How her family managed their emigration to Montreal (20:16)Why the supportive immigrant experience to Canada was so impactful on her life (26:20)The importance of telling your story of who you are today (31:27)Connect with PatriciaTheir websiteOn InstagramOn TwitterOn LinkedinOn FacebookOn YouTubeConnect With Peter O. Estévezwww.peteroestevezshow.com Follow on Facebook https://www.facebook.com/PeterOEstevezShow/Follow Peter O. Estevéz Show on Instagram https://www.instagram.com/peteroestevezshow/Follow Peter on Instagram https://www.instagram.com/peteroestevez/

So, we tried to like this, but mostly we didn't.Theme Music "A Movie I'd Like to See" by Al Harley. Show Art: Cecily Brown Follow the Show @freshmoviepod YouTube Channel abreathoffreshmovie@gmail.com

The third Wednesday of every year is National Canadian Film Day, a nationwide event that celebrates the best in Canadian cinema. This year is no different, and tomorrow's event promises to be one of the best yet, with screening events in every province and territory and around the world. This morning I sat down with Jack Blum, executive director of Reel Canada (the organisation that puts National Canadian Film Day on), to speak about this year's event, the tribute to the late Jean-Mac Vallée, and the focus on indigenous filmmaking.To learn more about National Canadian Film Day and find a screening event near you, head to their website, CanFilmDay.ca (or their Twitter, @CanFilmDay).You can find more information and all of our other content on this episode's homepage. CONNECT WITH US:        Homepage:         Twitter:             Facebook:             Instagram:             YouTube:             Email:             SUPPORT:             Patreon:             Ko-Fi:      Meanwhile, relax and enjoy your flight. 

It's important to celebrate our own....On this very special episode we have the pleasure of sitting down with Jack Blum and Sharon Corder who are respectively the executive director and artistic director over at REEL Canada to talk about their work, the origins of 'National Canadian Film Day' how our home grown cinema has evolved in recent years, what makes a film Canadian and so very much more.Visit the website here for more details on the many in-person or online events that are taking place for 'National Canadian Film Day' this coming Wednesday April 20th.

When life confronts you with change, don't fight it, embrace it.On this episode we are getting into the nuts and bolts of film festival life and how it is ever evolving as we look at the Canadian Film Festival which is playing on the Super Channel up here in Canada nightly until April 2nd.It is a fantastic platform for the wide array of truly diverse and unique Canadian cinema that is being produced in our country.While the festival used to exist primarily in theatres, in 2020 they obviously had to "pivot" (that word will come up a lot today) and go to the Super Channel.  While they do obviously hope to return to theatres one day, the benefits of being in a more virtual space are simply to hard to ignore.We had the unique pleasure of sitting down and talking with Bern Euler; the founder and executive director along with Festival Director Ashleigh Reins about the nature of evolving during these unique times, how Canadian cinema has evolved over the years, the necessity for growth and how the necessity of building a better mousetrap and not just going back to the way it was, just might be how the festival experience survives.To learn more about the Canadian Film Festival, you can visit their website right here.

It's so important to give Canadian cinema some love...On this episode we dive into one of Canada's Top Ten films of the year at TIFF and a Canadian Screen Award Nominee that is hitting the Virtual Cinema side of TIFF this coming Friday; The White FortressLife, post war can be complex and when a chance encounter brings together two teens from opposite sides of life in post-war Sarajevo, a blossoming romance conceals their desperate and disturbing motives.We talked with writer/director Igor Drljaca about the origins of the story, working with non-actors, the evolving nature of Canadian cinema and so very much more

Anniversaries tend to sneak up on you...especially big ones like this...On this episode we have the unique pleasure of sitting down with writer/director Patricia Rozema as her film 'I've Heard The Mermaids Singing' has just had a brand new 4K restoration as is having a theatrical run at the Metrograph in New York starting on March 11th and the Alamo Drafthouse in LA on March 18th before expanding out across North America during the spring.I've Heard The Mermaids Singing is a charming and whimsical story about a daydreamer with artistic aspirations, Patricia Rozema's fanciful character study follows an amateur photographer Polly (Sheila McCarthy) as she lands a temp job at a Toronto art gallery run by elegant and sophisticated Gabrielle (Paule Baillargeon), who is also a painter. Polly is impressed with Gabrielle's paintings, but as Polly gets to know Gabrielle's lover, Mary (Ann-Marie MacDonald), and becomes entangled in their lives, she realizes that Gabrielle isn't exactly who she appears to be. Winner of the Prix de la Jeunesse at the 1987 Cannes Film Festival, it's hard to believe that this charming Queer character study is celebrating it's 35th anniversary.I had the distinct pleasure of sitting down with Patricia to talk about how a restoration like this gets kicked off, the legacy of the film, the brilliance of Shelia McCarthy, how the film has aged and the evolution of Canadian cinema on the world stage.

We love talking about Canadian films so much we teamed up with Thom Ernst to create a podcast where we invite Canadian filmmakers to talk about their artistic influences past and present.  For more information on the filmography of Deepa Mehta, visit: http://www.hamiltonmehta.com For more information on KCFF, please check us out at kingcanfilmfest.com or @kingcanfilmfest Hosted by Thom Ernst  Produced by Moira Demorest Support for this podcast comes from the Kingston Canadian Film Festival which is situated on the traditional homeland of the Anishinaabe, Haudenosaunee and Huron-Wendat. This podcast is generously funded by the Canada Council for the Arts.  Thanks for listening! 

We love talking about Canadian films so much we teamed up with Thom Ernst to create a podcast where we invite Canadian filmmakers to talk about their artistic influences past and present.  For more information on the filmography of Valerie Buhagiar, visit: http://valeriebuhagiar.com For more information on KCFF, please check us out at kingcanfilmfest.com or @kingcanfilmfest   Hosted by Thom Ernst  Produced by Moira Demorest Support for this podcast comes from the Kingston Canadian Film Festival which is situated on the traditional homeland of the Anishinaabe, Haudenosaunee and Huron-Wendat. This podcast is generously funded by the Canada Council for the Arts.  Thanks for listening!

We love talking about Canadian films so much we teamed up with Thom Ernst to create a podcast where we invite Canadian filmmakers to talk about their artistic influences past and present.  For more information on Patricia Rozema's filmography, visit: https://patriciarozema.com For more information on KCFF, please check us out at kingcanfilmfest.com or @kingcanfilmfest Hosted by Thom Ernst  Produced by Moira Demorest Support for this podcast comes from the Kingston Canadian Film Festival which is situated on the traditional homeland of the Anishinaabe, Haudenosaunee and Huron-Wendat. This podcast is generously funded by the Canada Council for the Arts.  Thanks for listening!

Teri Hart is my first guest of 2022 and I really appreciate how candid she was about all sorts of difficult subjects; like losing jobs and why she decided to share her painful experience about trying to get pregnant. One of Canada's most recognized and sought-after media personalities, Teri Hart is a multi-talented host, interviewer, critic and producer. With an encyclopedic knowledge of film and television, she has been covering entertainment and culture for over 25 years and has conducted thousands of interviews with some of the world's biggest super stars including Oprah Winfrey, Meryl Streep, Robert Redford, Steven Spielberg, Denzel Washington, Brad Pitt, Tom Cruise and Jennifer Lopez, to name just a few.She is currently the face of Super Channel Superpicks. These weekly segments provide viewers with guidance and insight into what to watch and why.Teri has been seen reporting live from red carpets around the world including the Cannes Film Festival, the Grammy Awards and The Toronto International Film Festival in addition to hosting public events for The Walt Disney Company, Warner Brothers, Paramount Pictures, Entertainment One, Sony Pictures, MK2 Films, The Toronto Film Critics Association and Landmark Cinemas.An ardent supporter of Canadian film and television, Teri has never missed an opportunity to champion the work of directors and actors from across the country and has regularly appeared on behalf of the Academy of Canadian Cinema and Television, ShowCanada and The Canadian Picture Pioneers.Prior to joining Super Channel, Teri was a Senior Entertainment Reporter and Supervising Producer at CITY TV responsible for producing stories for CITY News and Breakfast Television in addition to filling in as co-host for the Toronto morning show. She received a Canadian Screen Award nomination in 2018 for Best Local Newscast and her coverage of Canadian icon Gord Downie.For 19 years Teri was the producer and host of The Movie Network (currently Crave) and has also appeared on The Morning Show (Global), E-Talk, The Social (CTV). and as a regular contributor on CBC Radio One's internationally syndicated arts and entertainment show, “q”. She is a member of the Broadcast Film Critics Association.In addition to her media work, Teri is a respected public speaking and presentation skills coach. You can contact her at this address for more information: teri@tbhcommunications.caFollow Teri on Twitter @TeriHartFollow Teri on Instagram @TeriHartFollow Superchannel Superpicks on Instagram @superchanneltv

 This is a special bonus episode of season 6 of Flicks XRayed, this week we are live at The Calgary International Film Festival and talking about the movie Drinkwater. Host, Tony is joined by co-hosts Natasha and Sarah and a very special guest director Stephen Campanelli. So tune in as we discuss at length with Stephen about Making Drinkwater, Working with Clint Eastwood, Canadian Cinema, and sooo much more

Patrick Sabongui is a talented actor with a long list of impressive credits. He's been in Netflix's wildly popular shows Virgin River and Firefly Lane. You've also seen him CW's The Flash and Showtime's Homeland and Shameless.He has a great body of work but throughout his career he has faced the challenges of being labeled and he's struggled with playing and perpetuating stereotypes on screen.Because of that, Patrick is a fierce advocate for anti-racism and representation in the arts, Patrick is co-chair of the Diversity & Inclusion Committee for the Union of British Columbia Performers and the Alliance of Canadian Cinema, TV and Radio Artists (UBCP/ACTRA) and on the Diversity Committee for the Jessie Richardson Awards (British Columbia's Theatre Recognition Awards). Patrick talks about the constant balancing act of keeping with his sense of integrity, being a good example to his community and his son with the practical needs of getting projects to provide for his family. His shares how he navigates this universal challenge and how he's giving back. Patrick's Twitter: https://twitter.com/PatrickSabonguiPatrick's instagram: https://www.instagram.com/patricksabongui/?hl=en

This episode of Breaking Brave is brought to you by: https://soulsnacks.ca/ (SOULSNACKS! )Soul snacks are single ingredient, eco conscious dog and cat treats! Sourced directly from farms in Ontario and wrapped in fully compostable packaging. Treating your pets never felt so good. Head to https://soulsnacks.ca/ and use coupon code BREAKINGBRAVE for 15% off your purchase!!! ​ & https://shop.nealbrothersfoods.com/collections/crank%C2%AE-coffee-co (CRANK COFFEE) the newest member of the Neal Brothers family. Crank Coffee is a new Canadian whole bean coffee brand that is certified organic and fair trade. Founded by the Neal Brothers Peter and Chris. This brand was influenced by cycling, coffee lovers, and experts! Check it out at the Neal brothers online shop here: https://shop.nealbrothersfoods.com/collections/crank%C2%AE-coffee-co and USE COUPON CODE BRAVE for 20% OFF Your first Crank Coffee purchase! -- Producer, Director, Journalist, and Writer, Peter Raymont has produced and directed over 100 films and TV series during a 50-year career. Raymont's films have been honoured with 52 international awards including 13 Geminis (45 nominations), Gold and Silver Hugos and The Sesterce d'Argent, among others. His documentary feature, Shake Hands with the Devil: The Journey of Roméo Dallaire received the 2007 Emmy for Best Documentary and the 2006 Sundance Film Festival Audience Award. Raymont is the Executive Producer and co-creator of the award-winning TV drama series The Border (38 X 1 hr), produced for the CBC, sold to over 25 broadcasters. And the highly-rated CBC drama series Cracked (21 X 1 hr) was broadcast in 30 countries. Raymont's films are often provocative investigations of “hidden worlds” in politics, the media, and big business. His films are informed with a passion for human rights and social justice. A Promise to the Dead: The Exile Journey of Ariel Dorfman (2007) and Genius Within: The Inner Life of Glenn Gould (2009) were shortlisted for the Academy Award for Best Long Form Documentary. They both premiered at the Toronto International Film Festival. A Promise to the Dead won 9 awards, including the DGC Award for Best Documentary and the 2008 Academy of Canadian Cinema's Donald Brittain Award for Best Social Political Documentary. Genius Within, co-directed by long-time collaborator Michèle Hozer, was released theatrically in Canada, USA, Germany and Australia. Raymont recently co-directed and co-produced Margaret Atwood: A Word after a Word after a Word is Power and was Executive Producer on Once Were Brothers: Robbie Robertson and The Band, selected as the opening night film at the 2019 Toronto International Film Festival and 2019 DOCNYC. Once Were Brothers was nominated for a Canadian Screen Award, and Margaret Atwood: A Word after a Word after a Word is Power and Toxic Beauty (2019) screened to sold out audiences worldwide. In 2019, Peter was honoured with the Don Haig Award at Hot Docs Film Festival which recognizes a Canadian filmmaker with a significant body of work and a history of mentoring Canadian filmmakers. For more from Marilyn Barefoot or to get in touch with her directly, please connect via: Marilyn's website: https://marilynbarefoot.com/ (https://marilynbarefoot.com/ ) LinkedIn: https://www.linkedin.com/in/marilynbarefootbigideas/ (https://www.linkedin.com/in/marilynbarefootbigideas/ ) Twitter: @MarilynBarefoot Instagram: @marilynbarefoot ABOUT Marilyn Barefoot, the Host of Breaking Brave: https://breaking-brave-with-mar.captivate.fm/listen (Breaking Brave) is Hosted byhttps://marilynbarefoot.com/ ( Marilyn Barefoot), one of the foremost business coaches & creative ideators in North America - Marilyn gets hired by several of the world's biggest brands, companies, and organizations (the NHL, McDonald's, Deloitte, Coca-Cola, MTV, Viacom, The CFL, Forbes Magazine; to name just a few) to help them get unstuck and generate big, creative ideas.

Indian-American music artist Saahil Bhargava speaks to host Janeane Bernstein about competing in the LA Shorts International Film Festival for ‘Best Music Video' Award Animated short film award winner becomes qualified for Oscars 2022 Music artist and writer Saahil Bhargava jolted awake to news of being an official selection in two categories at the LA Shorts International Film Festival, one of the world's most prestigious and largest international short film festivals. Nominated in two key categories (Animation, Music Video) for the video of his song Kohima, Saahil finds himself in stellar company. The list of nominations includes Paul McCartney's latest music video ‘When Winter Comes' and Yo-Yo Ma's concert ‘See Me'. In its 25th year, LA Shorts International Film Festival is accredited by the Academy of Motion Pictures Arts & Sciences (Oscar®), the British Academy of Film and Television Arts (BAFTA), and the Academy of Canadian Cinema and Television (Canadian Screen Awards). Throughout the fest's history, 60 LA Shorts filmmakers have earned Academy Award® nominations, with 16 taking home the Oscar. In other words, if Saahil Bhargava's Kohima wins best animated short film, then it will be qualified to compete for the Oscars in 2022. LA Shorts International Film Festival founder/director Robert Arentz said, "It is such a high honor for the LA Shorts International Film Festival to welcome Kohima into the competition this year, which is our 25th anniversary. Only a handful of films were accepted into the brand new Music/Dance category, and Kohima is one of those elite few. In fact, we created the special Music/Dance program due to high-quality content from exceptional artists, such as Paul McCartney, Yo-Yo Ma, and of course, India's own Saahil Bhargava!" Saahil's music has always been about telling great stories, especially through his companion screen content. For the innovative and groundbreaking Kohima, Saahil collaborated with Big Bang Music and co-directed the music video with Harmeet Rahal to bring his vision to life. With Kohima, Saahil Bhargava addresses the plethora of emotions - from panic to despair - of a combat soldier. Kohima is set during the infamous World War II battle in the northeast of India.

It's important to support the home grown talent...On this episode of the Critic's Corner we sit down with old friend of the show, one Teri Hart.  We wax philosophical about Canadian cinema, include the dearth of the ones available over on the Super Channel (where she now works) including the brilliant 'From The Vine' but also appreciate the nostalgia of something like 'Dirty Dancing' which still holds up today.

Marisa and Aric are joined by Spencer Churchill from Endangered Streaming to celebrate the expansive world of cult cinema. They each bring three films that scatter across genres, as well as across the globe.The list of films include the Japanese cult classic HOUSE (1977), Martin Scorsese's beloved midnight classic AFTER HOURS (1985), the star studded not-so superhero film MYSTERY MEN (1999), the surrealist, self-destructive Czech New Wave film DAISIES (1966), Vincent Gallo's semi-autobiographical gem BUFFALO '66 (1998), Andrzej Żuławski's horrific marriage story POSSESSION (1981), Alejandro Jodorowsky's Mexican spiritual fantasy THE HOLY MOUNTAIN (1973), Stephanie Rothman's slyly subversive exploitation film TERMINAL ISLAND (1973), and David Cronenberg's challenging psychological thriller, CRASH (1996).Please consider supporting this show through our Patreon!Keep up with us on Instagram and Twitter: @filmchatterpod.Check out the films mentioned in this episode on our Letterboxd.Follow Spencer and Endangered Streaming on Instagram: @endangeredstreamingThanks for tuning in!Powered and distributed by Simplecast

The 2021 Canadian Screen Awards — featuring a curated selection of prominent awards — took place on Thursday, May 20 at 8:00 PM ET, streamed live on Academy.ca along with the Academy's YouTube and Twitter channels.  The awards were presented documentary-style, with narration by Karine Vanasse and Stephan James, to allow the nominated work to speak for itself and be the centerpiece of our presentations. The show also honoured a selection of 2020 Special Award recipients, all of whom were unfortunately unable to be awarded last year due to the cancellation of all in-person events:  Earle Grey Award recipient Tina Keeper Radius Award (presented by MADE | NOUS) recipient Dan Levy Lifetime Achievement Award recipient David Suzuki Margaret Collier Award recipient David Shore Academy Icon Award recipient Alex Trebek   Beth Janson is the Chief Executive Officer of the Academy of Canadian Cinema & Television. With over two decades of experience in the film, television and cultural sectors in both Canada and the United States, Beth has been the creative force behind some of the most innovative and meaningful developmental programs in the industry today. The Academy of Canadian Cinema & Television is the largest non-profit professional arts organization in Canada. We are dedicated to recognizing, advocating for, and celebrating Canadian talent in the film, television, and digital media sectors. Our more than 4,000 members encompass industry icons and professionals, emerging artists, and students. Collectively, we deliver professional development programs and networking opportunities that foster industry growth, inclusion, and mentorship.  The Canadian Academy produces the Canadian Screen Awards, bringing together the screen-based industry annually to celebrate the country's top talent in the film, television, and digital sectors at Canadian Screen Week. The Academy of Canadian Cinema & Television proudly acknowledges the support of its Premier Partner, Telefilm Canada; Platinum Partners, CBC and CTV; Principal Partner, Netflix; and its Lead Partners, the Canada Media Fund, Cineplex, and the Cogeco Fund. - - - - - Catherine: Welcome everyone to the WestVancouver.com podcast. We are back, and today we are going glam with a salute to the Canadian way. In this case, it means television, cinema, film, and digital arts. We have somebody very sparkly and very spectacular on the phone with us. It is the CEO of the Academy of Canadian Cinema and Television. It is Beth Jansen. Welcome, Beth. Beth Jansen: Thank you for having me. Catherine: Well, it is a delight to have you here because our association with the Academy goes back a long, long way. Needless to say, we are massive fans of television, cinema, and film. Everybody loves the glamour and seeing our favourite actors, but for me, it goes deeper than that, and I'm guessing that is the case with you as well. So, Beth, lead us off. Tell us a little bit about yourself and how you got involved with the Academy. Beth Jansen: I believe it's relevant, so I will start by telling you that I did a year of university at UBC in the mid-'90s. I've always had family living in Vancouver, so I feel like I'm an honorary West Coaster. I grew up in Montreal, and after university, moved down to New York City. I spent 20 years in New York, working in theatre, then in television, and helping launch the Tribeca Film Institute, which is the non-profit arm of the Tribeca Film Festival. I got married, had three kids, and decided that I would like my kids to have some Canadian culture. We moved back in 2016, before the election, but needless to say, we were very relieved to be in Canada during that crazy era. The opportunity at the Academy was really interesting for me because I felt like there was so much talent in Canada that was on par with the talent that I was seeing in the US. I felt like there was an opportunity to have a real impact,

This month for our Canadian Cinema Series, Ryan and Mike take a look at a pivotal landmark in the career of Canada's own father of body horror, David Cronenberg. "Dead Ringers" (1988) is a film that is sure to catch you off guard, whether you're a die-hard Cronenberg fan, or checking out his work for the first time. Intro Music by WATERCAT from Fugue Outro Music Fucking Funk - Royalty-Free Music by https://audiohub.com License: CC BY (https://creativecommons.org/licenses/by/4.0/)

We're back to the Canadian Cinema Series with Incendies (2010), a film directed by one of the more commercially successful Canadian directors working today, Denis Villeneuve. Intro Music by WATERCAT from Fugue Outro Music Fucking Funk - Royalty-Free Music by https://audiohub.com License: CC BY (https://creativecommons.org/licenses/by/4.0/)

We welcome Peter Keleghan. Peter played Lloyd Braun, in the Season 5 episode of "Seinfeld," "The Non-Fat Yogurt." Peter is a Canadian actor and writer. In 2009 he was awarded the Alliance of Canadian Cinema, Television and Radio Artists Award of Excellence in recognition of his body of work. He played, Ben Bellow in the comedy series "18 to Life." (2010 -2011) You know him from "The Red Green Show," "Made in Canada," and "Cheers." Social: https://linktr.ee/ThisThirsty Peter: Instagram: @ppktoronto "This Podcast Is Making Me Thirsty" is The Place to Be for "Seinfeld" fans. We are the #1 destination for all things "Seinfeld," the last, great sitcom of our time.

John Young is the CEO of Boat Rocker Media, Chairman of the Board of the Academy of Canadian Cinema and Television and a graduate of the Director’s Governance College at Rotman. He also is the Chair of the Board & Co-founder of the Board of Feeding Canadian Kids as well as a board member of SIR Corp and Caldwell Partners. Born and raised in Scotland before moving to Canada, he is a shining example of what business leaders from abroad can accomplish in the entertainment and media space here in Toronto.

Ryan and Mike kick off the first of a new series of episodes exploring Canadian made cinema, with episodes in the series releasing the third week of every month. This week, we take a look at an iconic film and filmmaker, Atom Egoyan's The Sweet Hereafter (1997). Intro Music by WATERCAT from Fugue Outro Music Fucking Funk - Royalty-Free Music by https://audiohub.com License: CC BY (https://creativecommons.org/licenses/by/4.0/)

In the Spooky Screen's first ever blind poster pick, the group discuss Turbo Kid (2015), a Canadian small budget apocalyptic thriller that is like the kiddie version of Mad max, but somehow more violent.

Are Canadian movies glossed over? Is Jake Gyellnhaal the most handsome man on earth? What do the spiders mean!!!  Grab your Loonies and Toonies for this weeks show folks as answer all these questions and begin our dive into Canadian Cinema. You ain't gonna wanna miss it. eh. Featuring special guest Tim Barnett 

In this episode the boys talk about, Canadian Cinema, the following days after Corona is over and the fear of being mistaken for a woman by a serial stabber.

Alanis Obomsawin and Face2Face host David Peck talk about reconciliation, leaving a legacy, Jordan’s Principles, passion, commitment, advocacy, fighting back and why every child matters.TrailerMore Info HereSynopsis:It took one little boy, Jordan River Anderson, to ensure that thousands of First Nations and Inuit children can today receive the same standard of social, health and education services as the rest of the Canadian population. In Jordan River Anderson, The Messenger, Alanis Obomsawin’s latest film (her 52nd), the renowned documentary filmmaker chronicles the long legal fight against a health care system that operated on two disconnected levels, causing injustices and suffering—a situation that has since been significantly improved. The Abenaki filmmaker traces the parallels between the lives of two First Nations children, Jordan River Anderson and Noah Buffalo-Jackson.A member of the Norway House Cree Nation of Manitoba, Jordan River Anderson had very serious health problems, for which he was being treated at a Winnipeg hospital. He could have ended his life in adapted housing close to his family, but because of his Indian status a dispute arose between the governments of Canada and Manitoba over who should pay the costs of his relocation to home-based care. Jordan died in hospital in 2005. Jordan’s Principle, which states that the first government agency to be contacted is the one responsible for this phase of a child’s care, was unanimously adopted by the House of Commons in 2007, and a ruling by the Canadian Human Rights Tribunal resolved the issue of jurisdiction.Many people and organizations worked hard for this outcome, but despite the judgment and the funding that was allocated for Jordan’s Principle, many First Nations and Inuit parents are still faced with a refusal of social, health and educational services. For example, when Carolyn Buffalo and Richard Jackson needed specialized transportation for their teenage son, Noah Buffalo-Jackson, who suffers from cerebral palsy, they had to pay for it themselves. Similarly, the First Nation of Wapakeka in Ontario appealed for assistance in combating a wave of suicides in their community, but received no help. “We hear a lot about universal health care in Canada,” says Aimée Craft, a law professor at the University of Ottawa who is interviewed in the film, “but why is it universal for everyone except First Nations children?”Numerous binding government orders and the goodwill of several Canadian government officials, both Indigenous and non-Indigenous, were required before First Nations and Inuit parents and children were finally able to enjoy appropriate support. “The law is a shield that protects this generation of children,” observes Cindy Blackstock, director general of the First Nations Child and Family Caring Society, and one of the protagonists of the documentary. “It restores their dignity, and allows them to grow up within their own families. Justice is possible.”Filmed in centres of political power, in First Nations communities, and at public demonstrations, Jordan River Anderson, The Messenger provides a forum in which the voices of parents, caregivers, and their legal representatives can all be heard. Alanis Obomsawin’s latest documentary completes, on a note of optimism, the cycle of films devoted to the rights of children and Indigenous peoples that she began with The People of the Kattawapiskak River.About the Director:Alanis Obomsawin, a member of the Abenaki Nation, is one of Canada’s most distinguished documentary filmmakers. As a prolific director with the National Film Board, she has created an extensive body or work focusing on the lives and concerns of Canada’s First Nations.She began her professional career in 1960 as a singer in New York City. In 1967, producers Joe Koenig and Bob Verrall invited her to join the NFB as an adviser on a film about Indigenous peoples. She has not put down her camera since.An activist as well as a filmmaker, Obomsawin is driven to provide a forum for the country’s First Peoples. Her entire filmography is a testament to that desire. Her documentaries have always sought to show the importance of roots and strong intergenerational bonds for the preservation of Indigenous cultures—from Christmas at Moose Factory (1971), in which she used children’s drawings to tell the story of a Cree village on the shore of James Bay, Ontario, to Jordan River Anderson, The Messenger (2019), her most recent film (her 52nd), which documents the long struggle to establish the right of Indigenous children to receive, in their own communities, the same high standard of health care as the rest of the Canadian population.Obomsawin is a director who knows how to film conflict, as demonstrated by her four films about the Oka Crisis of 1990: Kanehsatake: 270 Years of Resistance (1993), winner of 18 international awards; My Name Is Kahentiiosta (1995); Spudwrench: Kahnawake Man (1997); and Rocks at Whiskey Trench (2000).Alanis Obomsawin has received numerous awards and honours throughout her career. She was inducted into the Canadian Film and Television Hall of Fame in 2010, and in 2014 she received the Academy of Canadian Cinema and Television Humanitarian Award, an honour given in recognition of exceptional contributions to the community and the public sector. In 2015, the Valdivia International Film Festival (Chile) recognized her body of work with its Lifetime Achievement Award, and she received an Honorary Life Member Award from the Directors’ Guild of Canada in 2018.Obomsawin has received honorary doctorates from many universities, including Dalhousie University in 2016 and McGill University in 2017. In 2016, she also received two of the highest civilian honours conferred by the Province of Quebec when she was named a Grand Officer of the National Order of Quebec and awarded the Prix Albert-Tessier. In 2019, she became a Companion of the Order of Canada.Image Copyright: Alanis Obomsawin and NFB. Used with permission.F2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck’s podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Let's close out or first ever CANADA VS AUSTRALIA month in style with the greatest Australian movie to ever be an Australian movie and put it straight to the pool room as we recap the 1997 classic that is The Castle! Why is Ben nervous again as to what Colin thinks of this film? Does Colin get all the Australian humour? Why does Colin get angry that they don't take the money? How good is Anne Tenney? How good is Tiriel Mora? What subtle moments in this movie has Ben never picked up on despite having seen this movie countless times? Should this movie have been a bit longer and delved into the legal story more? And how will this movie rank against all the other movies we've covered this month? It's a moving you won't be dreamin' about and will want to watch when in Bonnie Doon, so get to listening and feel the vibe of it!★ Support this podcast on Patreon ★

In today's episode Sarah Taylor sit down with Kimberlee McTaggart, CCE. Kimberlee has been working in the Canadian film industry for over 30 years. She graduated from York University with a BFA in film, where she won the Dean's Prize for Excellence and a national prize from the Academy of Canadian Cinema and TV. More importantly, she met a bunch of cool people who inspired her then and continue to do so today. Despite spending her university years in Toronto, a city she loves, she was immediately drawn back to her home province of Nova Scotia where she has carved out a varied and successful career. Kimberlee produced, directed, and/or edited several award-winning documentaries before beginning to work exclusively in post production in 1994. She also began to work exclusively on non-linear systems, glad to leave the Moviolas and Steenbecks behind! Kimberlee has edited several dramatic series such as Lexx, Gullages, Made in Canada, This Hour has 22 Minutes, Call Me Fitz, Studio Black, Seed, Pure and Diggstown. Her work on the Call Me Fitz pilot brought her one of the last Gemini Awards. She was also nominated for a Canadian Screen Award for her work on both Call Me Fitz and Seed, as well as the feature film Blackbird. Kim took a break from editing for a few years to run a production company where she and her business partner produced several documentaries and two documentary series. She also worked as a business affairs consultant for other companies during this time, and executive produced several short dramatic films. And now, after being back in the editor's chair for 10 years, she is dipping her toes back in to the producing waters, beginning with the award-winning short film Pearls. In addition to serving on the Board of the CCE, Kimberlee serves as the Chair of Women in Film and Television – Atlantic as well as the Editing Caucus Representative of the Atlantic Regional Council of the DGC.

We've done one Canadian movie in our CANADA VS AUSTRALIA month and it was about ice hockey, so what perfect way to do our second Canadian movie of the month on the subject of curling as we look at the 2002 movie Men With Brooms. How much of a big deal is this movie in Canada? Who is Paul Gross and why is he such a big deal? Why can't Ben tell the difference between the sisters? Did Jamie appreciate naked curlers? Which actor is the Canadian Pierce Brosnan in this movie? Why are there so many beavers and is that a normal thing for Canada? Does Colin finally understand the difference between sex and fighting? Do we need a 'Gross Cut' of this movie to maybe make it make more sense? And is this really the greatest curling movie ever made? Sweep yourself into gear and into listening to this episode right now!★ Support this podcast on Patreon ★

It's time to get all Australian up in here as we continue our CANADA VS AUSTRALIA month with our first Australian movie and one that you're going to have a super fun time watching, the 2006 gem that is BoyTown. How long has Ben been waiting to talk about this movie? Did Colin appreciate this for what this is or did he not like it? Was this movie ahead of its time? Does Colin get all the Australian humour? How catchy are the songs and why do we want to keep listening to the soundtrack? Does Colin now understand what a lollipop lady is? Are there some random moments with the editing that doesn't really make sense? What storyline really doesn't fit in this movie? Is there such thing as an iconic Australian boyband? Do Australian artists really care about the ARIAs? And is the ending a little bit too strange? It's an episode that will have you singing, dancing and wondering what you have gotten yourself into as we bring you our first Australian movie recap in style!★ Support this podcast on Patreon ★

It's time to kick off our first ever CANADA VS AUSTRALIA month and start things with our first Canadian movie as we take a closer look at the biggest Canadian film to ever be a Canadian film, Bon Cop, Bad Cop from 2006. How did Ben feel about having to read subtitles and listen to French? Why is it so obvious that this movie would have to be about ice hockey? Can either Ben or Colin do a decent enough French accent throughout this episode? How great is Colm Feore? How great is Patrick Huard? Does Ben understand all the stereotypes in this movie or is he confused? Why does Colin turn into Arnold Schwarzenegger once again in this episode? Why are all the women so horny in this movie? Do Canadians always not wear their pants around the house? What other movies and TV shows have bodies on borders? Do we like discount Don Cherry? What is the joke about New Brunswick? Why doesn't Colin know what a sex scene looks like? Why does everyone have a name that involves a bum? And who does the evil killer remind of us? Get your pucks and sticks out and learn swearing in French and get yourself entertained by listening!★ Support this podcast on Patreon ★

François Girard and Face2Face host David Peck talk about his new film The Song of Names, history, remembrance, choices, mystery and discovery, film as music, the paradox of technology and musical, archeological digs. Trailer Synopsis: Martin Simmonds (Tim Roth) has been haunted throughout his life by the mysterious disappearance of his “brother” and extraordinary best friend, a Polish Jewish virtuoso violinist, Dovidl Rapaport, who vanished shortly before the 1951 London debut concert that would have launched his brilliant career. Thirty-five years later, Martin discovers that Dovidl (Clive Owen) may still be alive, and sets out on an obsessive intercontinental search to find him and learn why he left. Shortly before World War II, Martin’s music publisher father, Gilbert (Stanley Townsend), invites young Dovidl Rapoport (Luke Doyle), a ten-year-old Jewish violin prodigy from Poland, to live in their London home. Gilbert’s intent is to help the boy achieve his musical potential and protect him from the imminent German invasion of Poland. Martin (Misha Handley), also ten, initially sees Dovidl as an invader in his house, but Dovidl’s worries about the plight of his family in Warsaw elicits Martin’s compassion, and he is won over by the young genius’s charisma and rebelliousness. Soon they are as close as brothers. Having the extraordinary Dovidl as his best friend and confidante opens up Martin’s narrow world, and enhances his selfconfidence. Over several years as the boys grow up, Gilbert lavishes all his attention and the money he has on developing Dovidl’s (now Jonah Hauer-King) talent, a process that elicits jealousy from Martin (now Gerran Howell), despite his love for Dovidl. Eventually, Gilbert stages an extravagant London debut for Dovidl at age 21. Unfortunately, as the audience and orchestra await Dovidl’s arrival on stage, Dovidl fails to appear. The cancellation of the concert bankrupts and devastates Gilbert, who dies soon after. It also leaves Martin with the loss of the “brother” he loved, the lingering question of what happened, and a growing bitterness over Dovidl’s responsibility for Martin’s father’s death. Almost four decades later, Martin follows the clues that lead him ever closer to his friend, until he learns the meaning of ‘The Song of Names,’ a profoundly moving piece of music that holds the answer to why his brother vanished so suddenly from his life.About the Director: François Girard gained notoriety as much for his filmmaking as for his staging of operas and theater plays. In 1993, his feature film Thirty Two Short Films About Glenn Gould would go on to garner international success including four top Genie Awards. Five years later he directed The Red Violin, featuring Samuel L. Jackson, which received an Academy Award for best original score and enshrined Girard as an important player on the international movie scene. The film also won eight Genie Awards and nine Jutra Awards. Silk, which he later directed, was adapted from Alessandro Baricco’s best-selling book, and was released worldwide in 2007. The cast includes Michael Pitt, Keira Knightley, Alfred Molina, Miki Nakatani and Koji Yakusho. SILK received four Jutra Awards. His film Boychoir, released in 2015, features Dustin Hoffman, Kathy Bates and Eddie Izzard among others. Most recently, Hochelaga, Land of Souls, was presented at the Toronto Film Festival, and represented Canada in the race for Best Foreign Language Film Oscar at the 90th Academy Awards. It was released in September 2017 and was greatly acclaimed by the Academy of Canadian Cinema & Television. Girard’s 1994 concert film Peter Gabriel’s Secret World, became a best-selling film and earned him a Grammy Award. A few years later he directed one of the six episodes of the internationally acclaimed series “Yo-Yo Ma Inspired By Bach.” In 1997, François Girard made his opera directorial debut with Oedipus Rex/Symphony of Psalms by Stravinsky and Cocteau, which received numerous awards and was named by The Guardian as ‘the best theatrical show of the year.’ His other opera works include Lost Objects, for the Brooklyn Academy of Music; Wagner’s Siegfried; The Flight of Lindbergh/Seven Deadly Sins by Kurt Weill and Bertolt Brecht; as well as Kaija Saariaho's Émilie. In recent years, Cirque du Soleil’s commissioned Girard to write and direct Zed, their first permanent show in Tokyo; and Zarkana, which opened at Radio City Music Hall, played at the Kremlin Theatre and has become a resident show in Las Vegas. To date, François Girard’s accomplishments have earned him over one hundred international awards and public acclaim the world over. Image Copyright: Serendipity Point Films and François Girard. Used with permission. F2F Music and Image Copyright: David Peck and Face2Face. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Jaie Laplante Since 2010, Jaie Laplante has led MDC’s Miami Film Festival and Tower Theater Miami as Executive Director & Director of Programming, growing the Festival’s international influence and the Tower as one of the USA’s most celebrated independent art cinemas. In 2018, Mr. Laplante received the decoration Knight’s Cross of the Order of Isabel la Católica from Felipe VI, King of Spain, for his career work in bringing contemporary Spanish cinema to the state of Florida. In 2017, he was named one of 25 Knight Champions, honoring passionate individuals in Miami who love the arts, by The John S. & James L. Knight Foundation. Mr. Laplante has served on numerous international juries and film panels, and written over 400 pieces of analysis and criticism on cinema. In Toronto and Los Angeles in the 1990s, Laplante worked on numerous independent productions and developed screenplays, and received an Academy of Canadian Cinema & Television nomination for co-writing the made-in-Toronto film Sugar. Screen Heat Miami Screen Heat Miami (SHM) is hosted by veteran Miami based producers Kevin Sharpley and JL Martinez and each week covers the latest trends in the film, tv, and entertainment industry, including interviews with global and local industry leaders, all told from a "Miami" point of view.

John Walker and Aaron James and Face2Face host David Peck talk about their new film Assholes: A Theory, the public good, economics and indifference, activism and authoritarianism, capitalism and greed, public spaces and shared prosperity. Trailer You Can Buy the Book here. Synopsis:Ever get the feeling that assholes are taking over the world?Bad behaviour is as old as human history, something we all encounter at some point—whether on the playground, in the workplace or in public life. But the phenomenon seems to be amplified in an age of venomous social media and resurgent authoritarian politics.With rampant narcissism threatening to trash civilization as we know it, the time has come for Assholes: A Theory, an entertaining and oh-so-timely new doc from acclaimed director John Walker. Built around a lively conversation with philosopher Aaron James, author of the New York Times bestseller of the same name, Assholes: A Theory investigates the breeding grounds of contemporary “asshole culture”—and locates a few hopeful signs of civility in an otherwise rude-’n-nasty universe.Venturing into a predominantly male domain, Walker moves from the frat clubs of elite colleges to the bratty princedoms of Silicon Valley and bear pits of international finance. Why do entitled assholes thrive in certain environments? What explains their perverse appeal and success? And how do they keep getting elected!Weighing in with pungent commentary are observers like actor John Cleese, referring sweetly to the hedge-fund trade as an “arsehole factory”—echoing law professor Saule Omarova’s tart appraisal of financial services as “a quintessential asshole industry.” While Leslie Miley, one of the few African-Americans to rise through Silicon Valley’s ranks, assesses the damage done by the move-fast-and-break-things mantra, and former police officer Sherry Lee Benson-Podolchuk shatters the clichéd image of the courteous Mountie with Women Not Wanted, her exposé of misogynistic assholery within the Royal Canadian Mounted Police.Other featured interviews include policy consultant Robert Hockett, who worked for both Occupy Wall Street and the US Federal Reserve in the wake of the 2008 crash; banker Paul Purcell, who has pioneered a novel “no asshole rule” at his company; and Italian LGBTQ activist Vladimir Luxuria, a former parliamentarian who famously locked horns with Silvio Berlusconi, the p***y-grabbing prototype of the 21st-century demagogue.About the Guests: John Walker is one of Canada’s most prolific and respected documentary filmmakers. His films have been widely broadcast and have appeared at major international film festivals in Toronto, Vancouver, New York, Los Angeles, Berlin, London and Tokyo. From the Academy of Canadian Cinema & Television, he has received 19 nominations and awards, including the coveted Donald Brittain Award for best social/political documentary, for Utshimassits: Place of the Boss. Walker also received a Gemini for best documentary director (The Hand of Stalin) and a Genie for best feature documentary (Strand – Under the Dark Cloth), a personal portrait of his mentor, the photographer and filmmaker Paul Strand. His film on the Cape Breton coal miners’ choir, Men of the Deeps, won three Gemini Awards, including best performing arts, best documentary photography and best sound, as well as a best director nomination. Walker’s directorial credits on Great Britain’s Channel 4 include Hidden Children, a film about children who concealed their Jewish identity to survive the Holocaust; Orphans of Manchuria, also nominated for the Donald Brittain Award; and the groundbreaking Distress Signals, based on the communication theories of Canadian scholar Harold Innis, which also received a nomination for a Donald Brittain Award. With Utshimassits: Place of the Boss, he turned his attention to a tragedy on Canadian soil – juxtaposing the powerful testimony of the Mushuau Innu of Davis Inlet with the vast Labrador landscape. Walker’s feature-length films include the Genie-nominated The Fairy Faith, Tough Assignment, Strand – Under the Dark Cloth, and the critically acclaimed feature drama A Winter Tan, starring Jackie Burroughs, which received seven Genie nominations including best motion picture and best director, and won best actress. Walker also co-produced, wrote and directed the provocative feature film Passage, a fiction/documentary for BBC and History Television about the search for the fabled Northwest Passage. The Toronto Star called it “One of the great triumphs in Canadian documentary film history.” His feature documentary A Drummer’s Dream was described by the Globe and Mail as “Beautifully shot and recorded with a lovely sound … (it) isn’t really about drumming, but about joy and self-expression.” His passionate commitment to the documentary form led him to co-found DOC, Documentary Organization of Canada (formerly Canadian Independent Film Caucus). Now based in Halifax, Walker conducts master classes across the country and mentors numerous emerging filmmakers. He served as guest programmer for Hot Docs, the Canadian International Documentary Festival, and has been a board member since 2011. Aaron James holds a PhD from Harvard and is professor of philosophy at the University of California, Irvine. He is the author of Assholes: A Theory, Assholes: A Theory of Donald Trump, and Fairness in Practice: A Social Contract for a Global Economy and numerous academic articles. He was awarded a Burkhardt Fellowship from the American Council of Learned Societies, and spent the 2009-10 academic year at the Center for Advanced Study in the Behavioral Sciences at Stanford University. He’s a skilled, lifelong surfer and lives in Irvine, California. Image Copyright: John Walker Productions Ltd. and the National Film Board of Canada. Used with permission. F2F Music and Image Copyright: David Peck and Face2Face. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

On our recap of 2018 Canadian Cinema (episodes 8 & 9), Alex, Orla, and Brett all selected Patrica Rozema's Mouthpiece as their favourite Canadian film of the year. To coincide with Mouthpiece's theatrical release, theatre artist and Seventh Row staff writer Laura Anne Harris (@lauraanneharri1) joins editor-in-chief Alex Heeney (@bwestcineaste) and associate editor Brett Pardy (@antiqueipod)to discuss the film's adaptation from stage to screen, Rozema's visual genius, complex character relationships, and more. This episode was edited by Edward von Aderkas. For show notes, visit: https://seventh-row.com/2019/06/07/ep-13-mouthpiece/ Follow Seventh Row on Twitter, Instagram, and Facebook, and read our articles at seventh-row.com.

Tantoo Cardinal is ready for her close-up. At 68 years old, and after 48 years as an actress on stage and screen

This episode concludes our discussion on the best of 2018 Canadian Cinema, through the lens of Canada's Top Ten Film List. In this episode, we discuss Genesis, Giant Little Ones, Mouthpiece, Roads in February, and What Walaa Wants Each year, the Toronto International Film Festival releases a list of Canada's ten best films. Using this list to guide discussion, Editor-in-Chief Alex Heeney, Executive Editor Orla Smith, Associate Editor Brett Pardy, and Contributing Writer Justine Smith discuss each film. To purchase our eBook on Lean on Pete, visit: seventh-row.com/ebooks/lean-on-pete/ For show notes, visit: https://seventh-row.com/2019/03/15/ep-9:-best-of-2018-canadian-cinema,-part-ii/ Follow Seventh Row on Twitter, Instagram, and Facebook, and read our articles at seventh-row.com.

This episode begins our discussion on the best of 2018 Canadian Cinema, through the lens of Canada's Top Ten Film List. In this episode, we discuss Anthropocene, Edge of the Knife, Firecrackers, The Fireflies are Gone, and Freaks. Each year, the Toronto International Film Festival releases a list of Canada's ten best films. Using this list to guide discussion, Editor-in-Chief Alex Heeney, Executive Editor Orla Smith, Associate Editor Brett Pardy, and Contributing Writer Justine Smith discuss each film. To purchase our eBook on Lean on Pete, visit: seventh-row.com/ebooks/lean-on-pete/ For show notes, visit: https://seventh-row.com/2019/03/08/ep-8-best-of-2018-canadian-cinema-part-1/ Follow Seventh Row on Twitter, Instagram, and Facebook, and read our articles at seventh-row.com.

ANDREW BARNSLEY PRESIDENT & EXECUTIVE PRODUCER at PROJECT 10 Andrew Barnsley is a Canadian Screen Award winning Executive Producer (Best Comedy Series) based out of Toronto and Los Angeles. Barnsley is currently the Executive Producer on CBC/PopTV’s 52 x 1/2 hour series Schitt’s Creek starring Eugene Levy and Catherine O’Hara, the TMN/Movie Central documentary series Sports On Fire and the TMN documentary feature Spirit Unforgettable. His 2017 development and production slate includes series with CTV, CBC, Family Channel and 20th Century Fox. He previously was the Executive Producer on CTV’s 26 x 1/2 hour sitcom Spun Out starring Dave Foley. Prior to joining Project 10, Barnsley was the Development Executive/Producer at S&S Productions, an independent television production company based in Toronto that produced such international hits as The Red Green Show, Jeff Ltd., History Bites, Sons of Butcher, and Listen Missy. Since 2001, Barnsley has produced television series across multiple genres including comedy, animation, puppetry, live-action, children’s, one-off documentaries, feature films and a number of live concert specials. He is a member of the CMPA, the Television Academy (US), the Academy of Canadian Cinema & Television and holds an MA in Communications and Culture from Ryerson and York Universities, a BAA from Ryerson University’s Radio and Television Arts Program and a BEd from St. Thomas University in Fredericton, New Brunswick.

Conversation with Kelly Morris over his 25 years as a film and TV editor, and his role as Canada's president of the Cinema Editors association.

EPISODE 09 Beth Janson CEO Academy of Canadian Cinema & Television "There is great storytelling in this country that we are not talking about!" – Beth Janson providing an overview on what we need to do to elevate the profile of Canadian content. Canada Crush episode 09 is with Beth Janson, the CEO of the Academy of Canadian Cinema and Television. This is a feel good Canadian story on so many levels. Beth had spent close to 20 years in New York City where she rose to prominence as the Executive Director of the Tribeca Film Institute. But now she’s back in Canada leading the charge to revamp and revitalize the academy. We sat down in Beth’s offices and I start this interview talking to Beth about her work in the US and how she plans to use that experience in the development of new and exciting programing here in Canada. We then dive into topics around gender equality and expanding the opportunities for Canadians in all forms of media. This is an exciting time for Canadians in the arts as we drive for better recognition and more viewing of Canadian Content. And having Beth’s voice as a significant contributor is spectacular. Welcome home Beth! Here are some inspiring and informative moments from the Beth Janson interview: • What took Beth to New York City (4:30) • Business skills evolving (5:40) • Wants to apologize to all former bosses for impatience in wanting to make change (8:00) • Tribeca Film Festival was formed as a reaction to 9/11 (10:00) • How does it feel to be back in Canada (13:30) • How do we get people to watch more Canadian content (15:30) • Ideas for change and taking action (16:35) • Programming for mentorship is being looked at (21:40) • You wouldn’t have had a Weekend or Drake anywhere else in the world (23:00) • We are not doing well in diversity but positive change is happening (24:45) Keep Crushing it Canada, Dave Morris, Host HOW CAN YOU SUPPORT THE PODCAST? • Tell your friends and family • Share online • Subscribe on iTunes and Soundcloud • Rate and review this episode

Justin and Will tackle the eternal question through the work of Canada's golden boy director/writer/actor/country singer Paul Gross. They watch Men with Brooms, Passchendaele and Hyena Road. Plus, they talk about the past cinematic exploits of the great white north and argue what its future could be. NOTE: If you are Canadian, this is required listening enforced by federal law.