Podcasts about Telefilm Canada

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Play Episode Listen Later Aug 2, 2024 51:13

In this episode, host Marriska Fernandes explores the prominent career of Canadian actress, comedian, writer, and director Mary Walsh. From her early days with the Newfoundland Travelling Theatre Company to co-founding CODCO, Mary has left an unforgettable mark on Canadian comedy. Her sharp wit and memorable characters, including Marg Delahunty on "This Hour Has 22 Minutes," have established her status as a comedic force, seamlessly blending humour with sharp political commentary. Beyond entertainment, Mary Walsh is a dedicated advocate for social causes, lending her voice to campaigns supporting human rights and poverty eradication through organizations like Oxfam-Canada. As a director, she has overseen acclaimed films such as "Young Triffie" and showcased her acting talents in “Happy Days”, "Mambo Italiano", and "The Grand Seduction”. Mary will next be seen in Sam McGlynn's “Deaner ‘89”, the sequel to the cult classic “FUBAR”. Join Marriska Fernandes as she speaks to Mary Walsh about how a haircut led to her character Marg Delahunty, her time as Princess Warrior, using comedy to deliver hard truths, changing the country's perception of Newfoundland and much more! A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. Follow Telefilm Canada on Instagram Follow The Brand is Female on Instagram Watch the video of this episode

Unbridled talent behind and in front of the camera: a conversation with Mark O'Brien

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Play Episode Listen Later Jul 23, 2024 48:11

In this episode, host Marriska Fernandes explores the fascinating career of Canadian actor and director Mark O'Brien. From his memorable roles in "Republic of Doyle," “Ready or Not,” and "Halt and Catch Fire" to his award-winning portrayal as Terry Sawchuk in the biopic "Goalie," which earned him the Canadian Screen Award for Best Actor, Mark has consistently demonstrated his versatility as a performer. However, his talents extend beyond acting; he has also proven his skill behind the camera, notably in projects like "The Righteous," where he took on the roles of writer, director, and star. Join Marriska as she explores Mark's creative journey in this conversation, where he talks about embracing inspiration from the classics, how being an actor made him a better director, and his enduring passion for captivating storytelling that resonates with audiences worldwide. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. Follow Telefilm Canada on Instagram Follow The Brand is Female on Instagram Watch the video of this episode

A master storyteller who pushes cinematic boundaries: a conversation with Atom Egoyan

Play Episode Listen Later Jul 16, 2024 67:55

In this episode, host Marriska Fernandes uncovers the story of Canadian filmmaker Atom Egoyan, celebrated for his diverse contributions to cinema. With internationally acclaimed films like "Exotica," "The Sweet Hereafter," and the upcoming film, "Seven Veils," Egoyan has consistently pushed cinematic boundaries, focusing on themes such as memory, isolation, identity, and more. His work has earned accolades at Cannes, TIFF, and the Oscars, solidifying his reputation as a master storyteller. Beyond filmmaking, Egoyan has also directed several operas, including Salome, Così fan tutte, and Jenůfa, for the Canadian Opera, Vancouver Opera, Pacific Opera Victoria, and elsewhere. Join Marriska in conversation with Atom Egoyan, where they discuss his creative process and recall when Atom and Bruce McDonald screened their short films on a wall during TIFF. They also talk about the best ending he's ever written, and more insights into his incredible journey. ***TW: Atom Egoyan's films often explore the universality of trauma, and in discussing his work, there are mentions of sexual assault, child abuse and violence. Listener discretion is advised. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. Follow Telefilm Canada on Instagram Follow The Brand is Female on Instagram Watch the video of this episode

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From child actor to mockumentary star and award-winning director: a conversation with Cody Lightning

Play Episode Listen Later Jul 9, 2024 46:38

In this episode, host Marriska Fernandes explores the dynamic career of Cree actor and filmmaker Cody Lightning. Originating from Edmonton, Alberta, Cody gained recognition with standout performances in "Smoke Signals," "Four Sheets to the Wind,” “Brick,” and “Manic.” “Hey, Viktor!,” his 2023 directorial debut showcased his talents as writer, director, and star, earning him nominations for Best Lead Performance in a Comedy Film and Best Original Screenplay, at the 12th Canadian Screen Awards. Recently, he was seen as Cousin Biscuits, one of the leads of the Marvel Studios series “Echo” for Hulu/Disney+. Aside from filmmaking, Lighting is a competitive skateboarder and snowboarder. Join Cody Lightning and host Marriska Fernandes they discuss how losing a short film pitch led him to “Hey, Viktor!,” the art of meta joke writing, finding inspiration from kids and elders, and more! A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. Follow Telefilm Canada on Instagram Follow The Brand is Female on Instagram Watch the video of this episode

From the stage to the screen: a conversation with Karen LeBlanc

Play Episode Listen Later Jul 2, 2024 40:02

In this episode, Canadian Screen Award-nominated actor, singer, and performer Karen LeBlanc joins host Marriska Fernandes to talk about her multifaceted career. Karen's passion for performing led her to the renowned musical theatre program at Sheridan College. After graduating, she sang with several bands such as Glass Tiger and her own R&B band, Midnight Hour. On stage, she's performed in shows such as "Rent" and "Outrageous," and toured the world with the Legends In Concert series channelling Tina Turner. Her career spans film and television, with standout roles in "Nurse.Fighter.Boy," and series like "Trailer Park Boys," "Producing Parker" and "The Playboy Club." Recently, she starred as Vanessa King in Oprah Winfrey's TV Series "The Kings of Napa," took on the role of Dr. Lilly Crawford, in CBS's "Fire Country," and plays Lynette Miller in "Ginny & Georgia." Karen and Marriska chat about chasing craft rather than fame, feeling seen by Charles Officer when filming "Nurse.Fighter.Boy," and how sometimes being your best self means saying no. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. Follow Telefilm Canada on Instagram Follow The Brand is Female on Instagram Watch the video of this episode

Elevating women in the film industry: a conversation with Kari Skogland

Play Episode Listen Later Jun 25, 2024 59:12

Welcome to Season 3 of Maple Popcorn! In this season's inaugural episode, host Marriska Fernandes sits down with filmmaker and showrunner Kari Skogland, known for her Emmy-nominated and BAFTA-winning directorial work on "The Handmaid's Tale". Originally from Ottawa, Kari's journey in the industry has been nothing short of remarkable. Transitioning from editing to directing, her portfolio includes an array of projects such as television commercials, music videos, films such as “Fifty Dead Men Walking” and acclaimed TV series including "The Walking Dead", “Boardwalk Empire”, “The Americans”, Marvel's “The Falcon and the Winter Soldier” and more. Beyond her on-screen contributions, Kari is also the founder and CEO of Mad Rabbit, a film and television production company. Kari talks to Marriska about what she learned from her days editing commercials, her leadership approach on set, and her continued commitment to elevating women in the industry. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. Follow Telefilm Canada on Instagram Follow The Brand is Female on Instagram Watch the video of this episode

Welcome to Season 3 of Maple Popcorn

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Play Episode Listen Later Jun 24, 2024 1:02

Lights, camera, action! Welcome to the Maple Popcorn Podcast hosted by Marriska Fernandes, where we take you behind the scenes of Canada's vibrant entertainment industry. This new season will bring you exclusive interviews, behind-the-scenes scoops, and unforgettable moments with your favourite Canadian stars and emerging talents. From blockbuster hits to indie gems, we're turning up the excitement meter and sharing candid moments, untold anecdotes, and insider secrets that will leave you wanting more. Proudly powered by Telefilm Canada, the Maple Popcorn Podcast is your ultimate destination for all things Canadian entertainment. So grab your popcorn, settle in, and subscribe now on your favourite podcast app. Don't miss a single episode packed with exclusive content you won't find anywhere else! A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. Follow Telefilm Canada on Instagram Follow The Brand is Female on Instagram Watch Season 3 on video

Arctic Indigenous Filmmakers on Climate Change: First-Hand Perspectives

Industry Insights - The EFM Podcast

Play Episode Listen Later Jun 21, 2024 43:17

Fri, 21 Jun 2024 07:00:00 +0000 https://efm-industry-insights.podigee.io/60-arctic-indigenous-filmmakers-on-climate-change-first-hand-perspectives 7eb108c5f6a3f70277b8b738215e9757 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. Featuring the insights from film creatives and professionals from Sápmi, Canada and Yakutia, this episode will shine a light on the ground-breaking work of the Witness Program, a film training and mentorship programme for emerging Indigenous filmmakers from the Circumpolar Arctic that is the fruit of a collaboration between Telefilm Canada and the Arctic Indigenous Film Fund (AIFF). Designed as a professional development opportunity that allows Arctic Indigenous filmmakers to share their authentic perspectives on how climate change is affecting their communities through their own storytelling and in their own filmic and spoken languages, the programme supported a first cohort of 6 filmmakers who produced 5 films and were mentored by 3 Indigenous long-feature film producers and filmmakers, under the guidance of Liisa Holmberg, CEO of the AIFF. These conversations unpack the way in which these first-hand narratives convey the sense of urgency of climate change which Arctic Indigenous communities have been witnessing for decades and the ways in which their filmmaking practices can embody acts of resistance, resilience and language revitalisation. Key to understanding these films is the notion of a worldview. The speakers, Liisa Holmberg, filmmakers Sadetło Scott and Svetlana Romanova and mentor Danis Goulet, all share their experiences of how their communities' worldview, connection and deep relationship to the land are expressed in these and other films, which they made in a context of challenges to the land and Indigenous storytelling through the compounded effects of climate change and colonization. Film commissioner Liisa Holmberg (she/her) is working in International Sámi Film Institute (ISFI) in Norway. Liisa Holmberg is a Sámi film maker originally from Finnish side of the Saamiland. She has worked in the film business as a producer, production manager and film consultant from the year 1994. Big part of her work as a film commissioner is working internationally with Indigenous film makers in Alaska, Canada, Greenland, Sápmi and Russia to establish an Arctic Indigenous Film Fund (AIFF). Holmberg is a member of European Film Academy from the year 2018. Sadetło Scott (she/her) is a Tłı̨chǫ Dene filmmaker, who grew up and lives in Sǫǫ̀mbak'è, Denendeh (Yellowknife, Northwest Territories, Canada). Sadetło has a B.A. in Indigenous Governance and a Certificate in Heritage and Culture from Yukon University, and Certificates in Motion Picture Production and Cinematography from Capilano University. Sadetło's work, such as “Edaxàdets'eetè” aims to educate on the importance of Indigenous language and the Indigenous experience. Svetlana Romanova (Sakha/Even) is an artist and filmmaker born in Yakutsk, the capital city of the Sakha Republic, Russia, located south of the Arctic Circle. Her practice centers on the importance of Indigenous visual language, particularly in the Arctic regions and gravitates towards critical self historization. Writer/director Danis Goulet's films have screened at festivals around the world including Berlinale, Sundance, MoMA and the Toronto International Film Festival (TIFF). Her award-winning feature NIGHT RAIDERS premiered in the Panorama section at Berlinale and also screened at TIFF in 2021. For television, Danis has recently directed for the acclaimed FX series RESERVATION DOGS. She is Cree/Metis, originally from northern Saskatchewan. 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. As a Partner of Choice, Telefilm Canada is a Crown corporation dedicated to the success of Canada's audiovisual industry, fostering access and excellence by delivering programs that support cultural resonance and audience engagement. With a lens of equity, inclusivity and sustainability, Telefilm bolsters dynamic companies and a range of creative talent at home and around the world. Telefilm also makes recommendations regarding the certification of audiovisual coproduction treaties to the Minister of Canadian Heritage, and administers the programs of the Canada Media Fund. Launched in 2012, the Talent Fund raises private donations which principally support emerging talent. AIFF is a film fund dedicated to films and filmmakers with Arctic Indigenous origins. We believe it's vital to spread knowledge about Indigenous cultures, climate change, the environment, and land rights by the means of art. That's why we are committed to building capacity for Arctic filmmaking. We advance filmmakers' possibilities to produce and distribute their films by funding productions and offering training programs. Our aim is to promote high-quality film projects that enhance the cultures, languages and societies of arctic Indigenous peoples. Part of our mission is also to support cooperation among Indigenous filmmakers. We bring together the most talented filmmakers, help them to achieve the best possible production terms and encourage co-production and exchange of expertise. The Witness Program is a professional development opportunity that allows Arctic Indigenous filmmakers to share how climate change is affecting their communities, to tell their own stories, and to meet and work with an international network of Indigenous filmmakers. This initiative aims to empower Indigenous filmmakers across the Arctic through training and workshops. 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. This episode has been developed in partnership with Telefilm Canada. full no Indigenous Filmmakers,Climate Change,Film Business,Entertainment Industry,Future Trends,Berlinale,European Film Market,Collaboration Film Industry,Media Industry European Film Ma

Nine years after #OscarsSoWhite, a look at what's changed

Don’t Call Me Resilient

Play Episode Listen Later Mar 14, 2024 30:52

On Sunday, nine years after #OscarsSoWhite, millions of us tuned in to the 96th annual Academy Awards — some to simply take in the spectacle. And some to see how much had changed.The hashtag #OscarsSoWhite started after many people noticed that, for a second year in a row, all nominees for four of five major categories were white. The movement called on Hollywood to do better: to better reflect America's demographic realities and also to expand its depiction of our histories.The reason: representation in Hollywood matters. What gets put on screens and by whom has reverberating impacts on how all of us see each other and see ourselves.So .... how did the Oscars do this year? And how is the entertainment industry in general faring when it comes to diversity and inclusion?It's a mixed bag. Despite some recent wins, a report from Telefilm Canada revealed that Black women have the least representation in TV and film. They also lead the fewest projects and receive the least funding overall.In today's episode, Vinita breaks down the progress made and the challenges still present especially for women of colour. She is joined by Naila Keleta-Mae, the Canada Research Chair in Race, Gender and Performance and associate professor of communication arts at the University of Waterloo and Mariah Inger, an actor and director and chair of ACTRA National's Diversity, Equity, Inclusion & Belonging Committee.

Miramax Films: Part Three

The 80s Movies Podcast

Play Episode Listen Later Aug 4, 2023 30:24

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.

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Miramax Films: Part Three

The 80s Movie Podcast

Play Episode Listen Later Aug 4, 2023 30:24

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.

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Crimes of the Future (2022)

Reel Film Chronicles

Play Episode Listen Later Feb 24, 2023 67:36

Do you enjoy deconstructing hierarchies of sexual, political, and artistic power within our society? Have you ever depicted stunning imagery blurring the lines between pleasure and pain? Have you ever found yourself described as "body horror?" Do you find yourself consistently having to work on a very tight budget, often with support from Telefilm Canada? Have you ever had to have your violence toned down by some kind of ratings board? Well then, you might be a David Cronenberg film. One of Canada's favourite sons is back with his latest and greatest, Crimes of the Future. Fully encapsulating all phases of his earlier work, Cronenberg's newest endeavour is as much an ode to his own repertoire as it is a movie in its own right. Set in a dystopic future where humanity is forced to face - or deny - the next stage in our evolution, Crimes of the Future dares to ask questions about how future generations will adapt to an environment increasingly darkened by the shadow of the byproducts of our industrialized society. It also asks questions about the artistic relevance of a mutant man covered in human ears and many other pressing social and political issues. Crimes of the Future has all of the hallmarks of a David Cronenberg joint, but does it stack up to his earlier work? And if it does, is Cronenberg even your particular cup of tea? Listen in to the latest episode of the Reel Film Chronicles as we dissect Crimes of the Future, and decide whether you've found your next hidden gem you won't shut up about to family and friends or you'd rather sit in a bathroom eating a garbage can before being suffocated by your own mother. Either way, welcome to the wonderful world of David Cronenberg. CRIMES OF THE FUTURE (2022) | directed by David Cronenberg | starring: Viggo Mortensen - Lea Seydoux - Scott Speedman - Kristen Stewart | horror - drama - sci-fi | 107 min -- CHAPTERS -- 00:00 - Introduction, Overview and Cronenberg 12:04 - Feature Film Discussion 56:12 - Ratings 59:42 - Final Thoughts and Closing -- AROUND THE WEB -- Be sure to check out our site for more reviews and thoughts on films here: The Reel Film Chronicles Comments? Suggestions? Email them to ReelFilmChronicles@outlook.com, or head over to our Facebook page for regular updates! Facebook | Instagram Web: Reel Film Chronicles | Feed the Voices Letterboxd: Brian | Nathan Twitter: Brian | Nathan | Reel Film Chronicles -- Credit -- Opening Music by Twisterium from Pixabay Closing Music by Lexin_Music from Pixabay

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Infinity Pool (How Much of His Father's Weird Filmmaking Genes Did Brandon Cronenberg Inherit?)

The Dead Harvey Podcast - For Indie Horror Filmmakers and Fans

Play Episode Listen Later Feb 4, 2023 10:31

If you have the money, you can pay to have your clones executed for your crimes in this bizarre new outing from Brandon Cronenberg. Infinity Pool trailer: https://youtu.be/PVnIMvVEkrAIntro and outro music by Tony Longworth.*Indie filmmakers: visit this website for free music for your projects: http://tonylongworth.com/freemusic/.

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One for the Archives - Caring for Canada's Film Heritage

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Play Episode Listen Later Dec 6, 2022 28:02

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

It Must be Surreal - 34 Years Later with Guy Maddin's Tales From the Gimli Hospital

Play Episode Listen Later Nov 22, 2022 38:47

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

A Teenage Piece of the Planet in À l'ouest de Pluton (West of Pluto)

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Play Episode Listen Later Nov 1, 2022 30:57

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

Where We Are. What's Happened to Us. Zacharias Kunuk on From Inuk Point of View

Play Episode Listen Later Oct 18, 2022 39:13

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

Sex Work, Now and Then: Revisiting the 1984 Film, Hookers on Davie

Play Episode Listen Later Oct 4, 2022 38:37

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

Cinema Reignited: Coming Soon

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Play Episode Listen Later Sep 17, 2022 1:30

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.

Content Ownership Advocacy: a Conversation with Joshua Jackson

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Play Episode Listen Later Sep 12, 2022 40:18

In this episode, host Marriska Fernandes sits down with Joshua Jackson. You may have first discovered Joshua in his iconic role as Pacey Witter in the 90's sitcom series Dawson's Creek, but today, he is Chairman at Liquid Media Group, a business solutions company that offers end-to-end solution for film, TV, and video creators. He is also currently portraying Dr. Christopher Duntsch on the TV series Dr. Death, a chilling dramatization of the real-life story of former neurosurgeon Christopher Duntsch. In this pod episode, we travel back to Joshua's early acting days, chat about the future of the film industry, and talk about perhaps his most important role to date — father to his two-year-old daughter. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.

Embracing Your Roots, and the Never-Ending Journey Towards Authenticity: a Conversation with Hamza Haq

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Play Episode Listen Later Sep 5, 2022 53:11

In this episode, host Marriska Fernandes sits down with Hamza Haq. You likely know Hamza from CTV's hit medical drama Transplant, now in its second season, where Hamza plays the lead role of Bash, a doctor who comes to Canada as a Syrian refugee during the ongoing Syrian civil war. The role earned him a Canadian Screen Award for ‘Best Lead Actor' in 2021. At the age of nine, Hamza himself immigrated to Canada from Saudi Arabia with his Pakistani family. Today, he shares with us his continued journey towards authenticity, his message to all immigrants and the importance of staying true to yourself. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.

Small Town Alberta Teen to Schitt's Creek Success: a Conversation with Karen Robinson

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Play Episode Listen Later Aug 29, 2022 46:35

In this episode, host Marriska Fernandes sits down with Karen Robinson. Famously known for her role of Ronnie Lee in the award-winning smash hit comedy and global phenomenon Schitt's Creek, Karen is currently starring in the budding female cop series Pretty Hard Cases, and in a leading role in Echoes, the Netflix mystery thriller miniseries from 13 Reasons Why showrunner Brian Yorkey. Join us for this conversation as we chat about Karen's contrasting teenage years growing up in Jamaica and then small town Alberta, her love of performance from a young age and what it's like being able to work close to home in Toronto. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.

Indigenous Excellence, Joy and Character Empowerment: a Conversation with Michael Greyeyes

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Play Episode Listen Later Aug 22, 2022 35:25

In this episode, host Marriska Fernandes sits down with Michael Greyeyes, actor, director, scholar, educator, choreographer and graduate from Canada's National School of Ballet. Michael is Plains Cree from the Muskeg Lake First Nation in Saskatchewan, and you may know him for his iconic roles in award-winning Canadian horror film Blood Quantum, Canadian cult classic, Dance Me Outside, and more recently for his roles as Terry Thomas in the new hit TV series Rutherford Falls and as Makwa in the thriller Wild Indian. Both have garnered much media attention and recognition, with Michael twice nominated at the Gotham Awards! Tune in to the conversation and discover Michael's self-proclaimed "most Indigenous quality" and his love of both Indigenous joy and Indigenous creator Sierra Ornelas, showrunner of Rutherford Falls. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.

From Republic of Doyle to Son of A Critch: a Conversation with Allan Hawco

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Play Episode Listen Later Aug 15, 2022 52:19

In this episode, host Marriska Fernandes sits down with Newfoundland's sweetheart, Allan Hawco! Allan is no stranger to the Canadian film and television scene. You likely know Allan as private investigator Jake Doyle from the hit TV show Republic of Doyle. Filmed in St. John's, NL, the comedy-drama fast became a Canadian weekly favourite, airing for six seasons. Over the years, Allan managed to create work for himself and others on his beloved island with his production company Take The Shot Productions, and to this day, continues to devote his time to writing, producing, and acting. Currently, Allan is executive producer on the new CBC comedy series Son of A Critch, based on comedian Mark Critch's life. Tune in for an inspiring conversation and catch a few laughs as we surprise Allan with a blast from the past. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.

Filipino-Diasporic Communities in Canadian Films: a Conversation with Shasha Nakhai, Martin Edralin and Priscilla Galvez

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Play Episode Listen Later Aug 8, 2022 51:19

In this episode, host Marriska Fernandes sits down with three up-and-coming Canadian filmmakers: Shasha Nakhai, Martin Edralin, and Priscilla Galvez. Shasha co-directed and co-produced Scarborough with fellow filmmaker Rich Williamson. The film won the Canadian Screen Award for Best Picture, and Nakhai and Williamson won the award for Best Director, at the 10th Canadian Screen Awards in 2022. The feature drama follows the stories of three children and their surrounding community as their lives collide at a community reading club all while navigating their own personal challenges. Islands is Martin Edralin's directorial feature debut on which Priscilla Galvez worked on as producer. The feature centres around Joshua, a shy middle-aged Filipino man who takes on the role of caretaker for his father. Join us as we navigate the Filipino-Canadian diaspora represented in contrasting narratives — one on growing up in Scarborough and the other on growing old in Islands - and the importance of diasporic communities' representation in Canadian film and television. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.

Maple Popcorn Season 2 Trailer

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Play Episode Listen Later Aug 7, 2022 1:04

Ever wonder what goes on behind the scenes of your favourite homegrown films and TV shows? It's time for season 2 of Maple Popcorn! Discover exclusive interviews with Canadian icons and hear them talk about Canadian flicks and even break the fifth wall to share set anecdotes. Subscribe now and don't miss an episode; Maple Popcorn season launches August 8! A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.

Your Energy Is Your Most Valuable Currency with Patricia Chica - Director, Producer & Author, Ep #129

Coming Clean Podcast

Play Episode Listen Later Jun 17, 2022 36:47

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/

Women Innovators in Film LIVE from Cannes '22

The Movie Marketing & Distribution Podcast

Play Episode Listen Later May 31, 2022 47:39

Recorded live on stage at the Cannes Film Festival 2022, this special conversation features a stellar lineup of senior leaders from national film organisations from across the world: Kjersti Mo, Director of the Norwegian Film Institute (NFI) Teresa McGrane, Deputy Chief Executive at Screen Ireland Francesca Accinelli, VP Promotion, Communications & International Relations at Telefilm Canada Annette Novak, CEO at Swedish Film Institute (SFI) In a wide ranging conversation, the guests discuss how film can respond to an entertainment ecosystem massively disrupted and transformed in recent years - and consider how innovation can play a pivotal part in this process. This episode is broought to you in partnership with Cannes NEXT, Marché du Film and Creative Europe. Speakers Bios Kjersti Mo, Director of the Norwegian Film Institute Kjersti Mo is CEO of the Norwegian Film Institute. She has a background as a media executive from broadcast and print. She has extensive experience with change management and organisational development in the evolving media industry, most recently from Egmont Publishing, a leading Nordic media company. She has also worked as a journalist, program host and PM for Norway's national broadcaster NRK and as editor in chief for a large portfolio of lifestyle magazines. She holds a degree in political science from the University of Oslo. Since assuming the role as CEO in 2019, Mo has spearheaded the Norwegian Film Institute's new strategy to position the Norwegian audiovisual sector for growth in an ever-changing media landscape. Teresa McGrane, Deputy Chief Executive at Screen Ireland Teresa McGrane is the Deputy CEO of Fís Éireann/Screen Ireland. She works across all aspects of the agency's activities, from the commercial and financial aspects of projects that Screen Ireland invests in, to the marketing and promotion of Irish films and the Irish film sector, domestically and internationally. She also works closely across the agency's strategy for the future of the audio-visual industry, in particular skills development, to increase the creative and business capacity of the sector. Prior to working in Screen Ireland, Teresa was an independent producer and also a production accountant on many large-scale feature films that shot in Ireland. She also worked for many years in the UK television sector. She is a qualified Certified Accountant and has a Masters' degree in Business Administration. Francesca Accinelli, VP Promotion, Communications & International Relations at Telefilm Canada. Francesca Accinelli joined Telefilm Canada in 2006 as the Deputy Director, English Market for the Canadian Television Fund by 2008 she was promoted to Director of that team and helped to implement the Canada Media Fund at the organisation. In 2014 Francesca took a leadership role as the Director of National Promotions and Communications and is currently in her role of Vice-President, Promotion. Communication and International Relations leads a team of 30 passionate employees across Canada dedicated to amplifying Canadian talent at home and abroad and ensuring the sustainability of the ecosystem through the financing of festivals, training, discoverability and international presence. She began her career as a cultural administrator and producer of theatre and then spent a number of years working on big budget TV series and MOW in Ontario. She has a B.A in Fine Arts from York University where she focused on film studies. Annette Novak, CEO at Swedish Film Institute (SFI) CEO of the Swedish Film Institute since April 2022, Anette Novak was previously the Director-General of the Swedish Media Council, a government agency in charge of film classification. Former CEO of RISE Interactive, a research institute conducting applied research on interaction design, with expertise in sound design and big data visualisations. With her background as a journalist, she has specialised herself on change management and building innovation culture as a media executive.

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Christa Dickenson, CEO of Telefilm Canada

The CEO Series with McGill's Karl Moore

Play Episode Listen Later Apr 18, 2022 40:16

On this week of the CEO Series, Karl Moore sits down with Christa Dickenson, CEO of Telefilm Canada, Canada's premier financing partner for films across all stages of production and marketing. Tune in to hear about Christa's perspective on leadership, the future of the film industry, and the future of work.

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Movie Monday: Flashback

Solo Nerd Bird

Play Episode Listen Later Nov 29, 2021 6:50

My review of the film, Flashback I watched on Amazon Prime. Original theme music Neon Drive composed by Tim Roven on www.tabletopaudio.com. All rights reserved to Christopher MacBride, Resolute Films and Entertainment, Addictive Pictures, Trinity Media Financing, Telefilm Canada, and Lionsgate Home Studio, the original promotional artist(s). - Thank you to BetterHelp for sponsoring this episode. Special offer for Solo Nerd Bird listeners, get 10% off your first month at betterhelp.com/solonerdbird #sponsored - - - Socials: IG: solonerdbirdpodcast Twitter: solonerdbirdpod FB: solonerdbirdpod Tumblr: solonerdbird Fanbase: solonerdbird WordPress: solonerdbird.wordpress.com Twitch: solo_nerd_bird Tiktok: solonerdbirdpodcast Email: solonerdbird@gmail.com

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Mark Fennessy, Simon Crawford Collins, Lionel Uzan, Magda Grace and Christa Dickenson

C21Podcast

Play Episode Listen Later Oct 8, 2021 69:50

Former Endemol Shine Australia topper Mark Fennessy talks about the launch of his new production outfit Helium; Slim Film + Television's Simon Crawford Collins and Federation Entertainment's Lionel Uzan discuss Around the World in 80 Days; and Amazon Prime Video Canada's Magda Grace in conversation with Telefilm Canada's Christa Dickenson.

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Adeline Bird: removing the white lens in media

Matriarch Movement

Play Episode Listen Later Aug 16, 2021 48:04

This week's episode is about finding self-love and learning to love yourself. Adeline Bird is an Afro-Anishnabe Author, Filmmaker, and Producer. She grew up in Winnipeg, Manitoba, Canada, but is a proud member of Treaty #4 Rolling River First Nations. Adeline currently works as a writer and freelance producer, producing segments for daytime television hit shows such as CTV's The Social & Etalk. A graduate of the National Screen Institute's CBC New Indigenous Voices program, Adeline made her directorial debut with the short film Nappy Hair and Eagle Feather, now featured on CBC Gem. Adeline was one of the 2018 ImagiNative-APTN pitch winners, with her web series entitled iNdigiThreads (currently in pre-development), and part of the 2019 cohort of Telefilm Canada's Talent To Watch. She wrote her first book in 2016, Be Unapologetically You: A Self-Love Guide for Women of Color and currently sits in the Visioning Committee of BIPOC TV & Film, and is a regular speaker for various organizations, as an advocate and thought leader on the ongoing discussions on equity & inclusion in the Canadian media industry. Listen to this episode to hear Adeline speak of the power of Indigenous women, how people treat her and label her as intimidating, about the white gaze and how media often tells BIPOC stories through a white lens, her hometown of Winnipeg, performative activism, and how quickly our society commodifies Indigenous and Black trauma. ... Follow Adeline Bird on Instagram Follow Shayla Oulette Stonechild on Instagram Visit thebrandisfemale.com.

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Canada's Gentleman - A Conversation with Colm Feore

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Play Episode Listen Later Jul 12, 2021 43:02

From the stages of Stratford to Hollywood, all Canadians have watched Colm Feore in one of his extraordinary roles. You may have seen him on the big screen in films like Thor, or the hilarious 2006 buddy cop flick Bon Cop Bad Cop, alongside Patrick Huard. You've noticed him on your TV screen if you've watched 24, The Borgias, and The Umbrella Academy. From playing King Lear to playing former Prime Minister Pierre Elliot Trudeau, time after again, Colm has proved his reflexiveness as an actor and his ability to take on difficult roles and make them his own. Colm has been nominated for numerous awards, and won two for his performance in Trudeau, both for Best Actor in a Mini-Series; he has also been awarded a Governor General Award. Throughout his success, Colm has remained a down-to-earth Canadian, beaming with pride at the development of his country's contemporary film scene. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. ... Learn more about Maple Popcorn

Cult Films

Film Chatter Podcast

Play Episode Listen Later Jul 12, 2021 130:00

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 6ix is calling: a conversation with Clement Virgo and Thyrone Tommy

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Play Episode Listen Later Jul 5, 2021 45:12

In this episode, host Marriska Fernandes sits down with two Toronto-made filmmakers, Clement Virgo and Thyrone Tommy. Clement moved to Toronto from Jamaica as a young man and in 2015, he directed and co-wrote a six-part miniseries adaptation of The Book of Negroes, which captivated audiences across Canada and the US, winning a grand total of 12 Canadian Screen Awards. Clement is also behind the foundation of the Black Screen Office, created to expand the reach of stories and works by Black filmmakers in Canada. Thyrone Tommy has seen his films celebrated internationally at over 30 festivals. His 2016 short film Mariner was named one of the TIFF Canada's Top Ten shorts of the year and saw him awarded the Lindalee Tracey Award at Hot Docs the same year, In 2017, Mariner won him the Audience Award at the Scenic City Film Festival. Tune in to this episode to hear the duo discuss what drives them to make movies, the importance of Black representation in the film industry -- both in front and behind the camera -- and how they view the future of Canadian cinema. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. ... Learn more about Maple Popcorn

Some Chilling Matter: A Conversation with Adam MacDonald and Katharine Isabelle

Play Episode Listen Later Jun 28, 2021 41:24

If you love a good scare, this episode is for you! This week on the podcast, our host chats with Adam MacDonald and Katharine Isabelle, two veterans of the horror genre, who call Canada home. Since he was a little boy, Adam MacDonald was captivated by the horror genre. The thrills and chills from classics like The Exorcist and Evil Dead had him wondering how directors figured out the perfect scares. Fast forward to today, Adam is a filmmaker with two features under his belt, his 2015 film Backcountry and his 2017 film Pyewacket. He is also a director on the Netflix series Slasher Solstice. Katherine Isabelle grew up on the gloomy film sets of Vancouver, as she watched her father work as an art director on shows like the X-Files. Since then, her acting career has blown up, and you can catch her in major films like American Mary, Freddy vs. Jason, and in television shows such as Hannibal and The Order on Netflix. Perhaps Katharine is best known for her role as Ginger in the 2000 horror film Ginger Snaps, which is now hailed as a feminist horror classic. So sit down, kick back, and get comfortable (but not too comfortable, because you never know what's lurking in the shadows) and get a behind-the-scenes look at Canadian horror! A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. ... Learn more about Maple Popcorn

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Jew Talkin' To Me? with YidLife Crisis (Eli Batalion & Jamie Elman)

Jew Talkin' To Me?

Play Episode Listen Later Jun 25, 2021 48:56

Join Jewish Comedians Rachel Creeger & Philip Simon for their comedy podcast, a chat show about all things Jewish, produced by Russell Balkind. This week's guests are Eli Batalion and Jamie Elman best known as Leizer and Chaimie from the cult hit web series Yidlife Crisis. Follow them on social media, follow US on social media and don't forget to let us know what you think about the show.Facebook: @JewTalkinTwitter: @JewTalkinInstagram: @JewTalkinLots more fantastic episodes waiting to be released every Friday morning, so don't forget to subscribe and leave us a 5* review - it really helps other people find the show. Go on… it's what your mother would want!--------------------------------------------------------------------- Yidlife CrisisTwitter: @YidLifeCrisisInstagram: @yidlifecrisisWebsite: www.yidlifecrisis.comCreated by Eli Batalion & Jamie Elman, YidLife Crisis is the world's first 18 and over/Chai+ Yiddish web series. It's won numerous awards and been described* as “One of the Top 1000 Things to Happen to the Yiddish Language in the Last 1000 Years”. (*By Eli and Jamie) They will be appearing at JW3 in London as part of “Oy Canada: A Celebration of Canadian Jews” on 1st July 2021, here is the link https://www.jw3.org.uk/whats-on/oy-canada-celebration-canadian-jewsWanting to pay homage to the yiddishkayt in their upbringing and the Jewish comedic lens on life with which they were raised, Eli and Jamie developed the YidLife Crisis web series and cultural brand. They describe YidLife Crisis as a love letter about modern Jewish identity, set mostly in Yiddish, making Jewish identity inclusive to all through the ice-breaking power of comedy. What started as a passion project turned into a hit with over 3,000,000 video views and 30,000 subscribers, global press, awards and accolades, the collaboration of talent such as Mayim Bialik and Howie Mandel, and a chance to work with various organizations from Jewish community centers through academic institutions through comedy festivals. Jamie ElmanTwitter: @JamieElmanJamie has appeared on many of television's most acclaimed series including Mad Men, Curb Your Enthusiasm, House M.D., Criminal Minds, Without A Trace, CSI: NY, The Closer and The Young and the Restless. He also played Luke, the resident piano-playing record store guy and boyfriend, for three seasons on NBC's award winning and critically lauded drama American Dreams. His breakout role was Cody on the FOX/YTV hit teen sitcom Student Bodies. Jamie has starred in "California Dreamin'" (Grand Prix, Un Certain Regard, 2007 Cannes Film Festival), "When Nietzsche Wept", "Shattered Glass", "The Chicago 8", "Saving Lincoln", and "Random Encounters". He has done extensive voice work for video games such as Star Wars: The Old Republic and animated films including Disney's Wreck-It Ralph and the blockbuster Frozen. He also wrote and starred in the web series "crazy/sexy/awkward," produced by Howie Mandel, and "YidLife Crisis," the world's first 18+ Yiddish comedy series. He recently appeared in the finale of Canadian series "Bomb Girls." Jamie is also an accomplished blues and jazz pianist and singer.Eli Batalion Twitter: @EliBatalionInstagram: @elibatalionEli Batalion is a writer, producer, director, actor and composer for film, TV, the web and the stage who has taken his love of the arts into the realm of social entrepreneurship. Hei began his career in musical theatre with the award-winning internationally touring play "JOB: The Hip-Hop Musical." He and partner Jerome Sable evolved their work to the screen with the musical horror comedy short "The Legend of Beaver Dam" selected to TIFF, Sundance, Berlinale and over 75 global film festivals. From there, they evolved to feature horror musical comedy Stage Fright featuring Minne Driver and Meat Loaf. "YidLife Crisis," Eli's project done with partner Jamie Elman, uses the disarming power of comedy to be able to build bridges within and between communities. In a short period of time, it has grown from an award-winning fictional web series to an unscripted digital docu-series "Global Shtetl," the award-winning documentary feature "CHEWDAISM: A Taste of Jewish Montreal" and a global live touring phenomenon. Eli's writing/directing feature film debut, Appiness, supported by Telefilm Canada and the Talent Fund, was released by distributor Gravitas Ventures in 2020.--------------------------------------------------------------------- *This episode was recorded under lockdown conditions. See acast.com/privacy for privacy and opt-out information.

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A Conversation with Filmmakers Tracey Deer and Elle-Máijá Tailfeathers

The Brand is Female

Play Episode Listen Later Jun 22, 2021 45:13

The Brand is Female Studios just launched a new podcast called Maple Popcorn, and this episode features a conversation our host, Marriska Fernandes, had with Canadian Indigenous filmmakers Tracey Deer and Elle-Máijá Tailfeathers.In this episode of Maple Popcorn, the two women bravely sharing their vulnerabilities, addressing both their careers and the personal struggles they continue to experience as Indigenous women in Canada. Tracey was born and raised in the Mohawk community of Kahnawake, Quebec. She is an award-winning television director and filmmaker, and her television show Mohawk Girls was nominated for four Canadian Screen Awards. Her recent coming-of-age feature-length film Beans debuted at TIFF and screened at the Berlin Film Festival, and picked up the John Dunning Best First Feature Film Award and Best Motion Picture at this year's Canadian Screen Awards. Elle-Máijá is a member of the Kainai First Nation (Blood Tribe, Blackfoot Confederacy) as well as Sámi from Norway. In 2020, Elle-Máijá and co-director Katherine Hepburn won the Canadian Screen Award for Directorial Achievement and Best Original Screenplay for The Body Remembers When the World Broke Open. Her recent documentary Kímmapiiyipitssini – the Meaning of Empathy, won her the Colin Low Award for Best Canadian Director. Tune in to this episode and hear the duo discuss the importance of truth in their filmmaking, and the duty they feel they have to tell stories that reflect their communities' unique experiences.Trigger warning: this episode was recorded just a few days after the tragic discovery of a mass grave containing children's remains at the site of a former Residential School in Kamloops, British Columbia.Maple Popcorn is a podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.This season of the Brand is Female is brought to you by TD Women Entrepreneurs.————Visit: TBIF: thebrandisfemale.com //TD Women Entrepreneurs: td.com/ca/en/business-banking/small-business/women-in-business //Follow us on Instagram: instagram.com/thebrandisfemale

Standing Tall and Proud: A Conversation with Filmmakers Tracey Deer and Elle-Máijá Tailfeathers

Play Episode Listen Later Jun 21, 2021 43:54

In this episode, we are joined by two impressive filmmakers, Tracey Deer and Elle-Máijá Tailfeathers. This conversation has them bravely sharing their vulnerabilities, addressing both their careers and the personal struggles they continue to experience as Indigenous women in Canada. Tracey was born and raised in the Mohawk community of Kahnawake, Quebec. She is an award-winning television director and filmmaker, and her television show Mohawk Girls was nominated for four Canadian Screen Awards. Her recent coming-of-age feature-length film Beans debuted at TIFF and screened at the Berlin Film Festival, and picked up the John Dunning Best First Feature Film Award and Best Motion Picture at this year's Canadian Screen Awards. Elle-Máijá is a member of the Kainai First Nation (Blood Tribe, Blackfoot Confederacy) as well as Sámi from Norway. In 2020, Elle-Máijá and co-director Katherine Hepburn won the Canadian Screen Award for Directorial Achievement and Best Original Screenplay for The Body Remembers When the World Broke Open. Her recent documentary Kímmapiiyipitssini – the Meaning of Empathy, won her the Colin Low Award for Best Canadian Director. Tune in to this episode and hear the duo discuss the importance of truth in their filmmaking, and the duty they feel they have to tell stories that reflect their communities' unique experiences. Trigger warning: this episode was recorded just a few days after the tragic discovery of a mass grave containing children's remains at the site of a former Residential School in Kamloops, British Columbia. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. ... Learn more about Maple Popcorn

You Ain't Seen Nothing Yet: The Women Changing Canadian Film

Play Episode Listen Later Jun 14, 2021 39:49

The landscape of Canadian cinema has changed drastically over the years, with our homegrown talent getting more international recognition for their unique and impactful work. In this episode, we sit down with three women who are changing the rules of the game in Canadian cinema and advocating for representation of diverse voices in today's film and TV industry. Gloria Kim, Supinder Wraich, and Mary Galloway are all graduates from the Canadian Film Centre and have been making waves with their recent projects. In 2019, Gloria Kim released her feature film Queen of the Morning Calm, which garnered rave reviews for its stylistic and aesthetic excellence. Supinder Wraich won an international Emmy in 2013 for her web series Guidestones, since then, she has released another web series, The 410. Mary Galloway made her directorial debut in 2017 with her film Unintentional Mother. Since then, she has worked on numerous projects, with an Indigi-Queer focus, and in 2019 The Hollywood Reporter listed her as one of 15 “Breakouts Making an Impact on Hollywood”. Don't miss this insightful conversation, and join us in celebrating our homegrown Canadian talent! A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. ... Learn more about Maple Popcorn

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Kim Coates: A Canadian Goon with a Whole Lotta Heart

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Play Episode Listen Later Jun 7, 2021 37:08

You know him for his roles as the quintessential bad boy in both Canadian and American films and TV series, but behind Kim Coates' tough guy exterior is a proud Canuck, with humble roots in the Canadian Prairies. Growing up playing hockey on the rinks in Saskatchewan, Kim dreamt of making it into the NHL. That is, before he took a drama course that changed the trajectory of his adult life, and he fell in love with the art of acting. Coates has appeared in over 100 titles, but his most iconic Canadian role was his part as Coach Ronnie Hortense in the 2011 film Goon. Highly decorated as an actor, he has a long list of prestigious awards and nominations for his performances. Kim was awarded best lead actor of a drama series by the Canadian Screen awards in 2017 for his work on Bad Blood, Best Actor and the Half-Life Award from the Action On Film (AOF) festival for his work on King of Sorrow in 2009, as well as the 2017 ACTRA National Award of Excellence. Listen to the very first episode of Maple Popcorn to hear host Marriska Fernandes and Kim Coates discuss his extensive body of work, why he believes it's so important to stay true to one's roots, and the love he has for Hollywood North and its community. A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada. ... Learn more about Maple Popcorn

Introducing Maple Popcorn

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Play Episode Listen Later Jun 1, 2021 0:53

Ever wonder what goes on behind the scenes of your favourite homegrown films and TV shows? It's time to pop the Maple Popcorn, go behind the camera and meet the people who are making it happen. Discover exclusive interviews with Canadian icons and hear them talk about Canadian flicks and even break the fifth wall to share set anecdotes. Subscribe now and don't miss an episode; Maple Popcorn launches soon! A podcast hosted by Marriska Fernandes, produced by The Brand is Female and powered by Telefilm Canada.

Canadian Screen Awards 2021 – Interview with CEO Beth Jansen

West Vancouver Magazine

Play Episode Listen Later May 31, 2021 27:33

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,

Word With Ty Brownlow Ep.#45 Frances-Anne Solomon

Word With Ty Brownlow

Play Episode Listen Later May 28, 2021 22:45

The Windrush Caribbean Film Festival, www.windrushfilmfestival.com is produced by a nationwide community of business and creative arts organizations and leaders. The goal is to educate audiences on the contributions of the Windrush generation and their impact. Key Dates: Media Launch June 22nd, Opening Night - July 23, Closing Night - August 29th The CaribbeanTales International Film Festival (CTFF), www.caribbeantales.org. Celebrating its sixteenth anniversary this year, CTFF continues its focus on promoting outstanding filmmakers who practice their craft across the Caribbean Diaspora including Canada, the Caribbean, Europe, the Americas, Africa, China, India and the Middle East. Attendees can join our hosts, special guests and filmmakers for live screenings, panel discussions and talkbacks with the filmmakers. CTFF 2021 programming includes 50% Caribbean-Canadian content. CTFF 2021 is proudly supported by Telefilm Canada and The Government of Canada. Key Dates: Media Launch - July 8th, Opening Night - September 8th, Closing Night - September 24th CineFAM, www.cinefam.ca is a Haitian Creole word meaning “films by women.” The festival's mandate is to support bold, original stories by Women of Color Creators around the globe. Annual initiatives include, the film festival, a short film challenge for emerging filmmakers and a partnership with the Durban Filmmart to develop South Africa/Canada co-productions led by African women. 2021 is an exciting year for CineFAM, with the launch of an interactive e-portal, showcasing & connecting 150+ Canadian Women of Color creators. Key Dates: Media Launch - August 31, Opening Night - September 15, CineFAM Networking Mixer - October 23, Closing Night - October 24. Attendees can purchase a pass for each festival, pay to view select films, or even take advantage of some free content. For more information, or to stay updated on our upcoming activities, please visit https://caribbeantales-tv.com. About us: CaribbeanTales Media Group (CTMG) produces, markets, and sells culturally diverse film and television content. Founded by award-winning filmmaker, sitting jury member for the Oscars, and member of the Directors' Guild of Canada, Frances-Anne Solomon, CTMG includes: CaribbeanTales Inc, a registered Canadian Charity; CaribbeanTales Worldwide Distribution, a film distribution entity; the CaribbeanTales International Film Festival, now celebrating 16 years; Caribbeantales-TV a VOD streaming service; the Creators of Colour Incubator (CCI), a year-round development and production hub for Creatives of Colour; and CaribbeanTalesFlix, our production arm. Follow CaribbeanTales: www.facebook.com/CaribbeanTalesInternationalFilmFestival www.instagram.com/caribbeantales/ www.twitter.com/CaribbeanTales_ www.caribbeantalesfestival.com/ www.youtube.com/user/caribbeantales --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/tyrideius-brownlow/support

Thomas Robert Lee - Director

The Film Podcast

Play Episode Listen Later May 25, 2021 37:05

We talk to Thomas Robert Lee, an emerging Canadian writer and director. His debut feature Empyrean (2016) is a science-fiction drama, told in black-and-white, about a man who experiences a psychic awakening after emerging from a coma. His sophomore feature was The Ballad of Audrey Earnshaw (2020), a folk horror tale about a mother and daughter suspected of witchcraft by their devout rural community. The Ballad of Audrey Earnshaw was produced with the participation of Telefilm Canada. Follow to receive every new episode: https://www.podbean.com/podcast-pbblog-8zDNGRf2NIOG-follower Download the Podbean Player App: https://www.podbean.com/podcast-app-iphone-android-mobile 2020 The Curse of Audrey Earnshaw 2016 Empyrean The Film Podcast Facebook: https://www.facebook.com/Shoot-it-Now-105337104805218 The Film Podcast YouTube: https://www.youtube.com/channel/UCo95_Quaast5vCQZtbCTjzA Please send feedback or questions to: indiefilmpodcast@gmail.com Show your support and please rate and review us on iTunes: https://podcasts.apple.com/us/podcast/shoot-it-now/id1545805946 Romain Dagnan | The Film Podcast Theme Composer www.romaindagnan.com Every week 'The Film Podcast' interviews award winning and indie-film directors, cinematographers (DOP) film editors, actors and other cast and crew members to learn from their unique stories.

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#54 | Annelise Larson | Storytelling and Creating an Audience For Film

Publishing For Profit By Ghostwriters & Co

Play Episode Listen Later May 21, 2021 58:56

Annelise comes from a background as an independent producer, with training at such prestigious institutions at the Canadian Film Centre (Producer's Lab) and Banff Centre for the Arts (Electronic and Film Media). Since 1995 she has been working in the field of online marketing and has always been an avid gamer and consumer of digital content. She works extensively with government organizations and production companies in the film, television and interactive industries in North America. Her focus is helping content creators and storytellers to use the power of online language and data to define, find, attract and engage their audiences and work toward strategic and sustainable digital business models. She has sat on the Interactive Fund jury for BC Film + Media, the Experimental Stream jury for the CMF has taught across the country on behalf of such organizations as Telefilm Canada, the Canadian Film Centre, Women in Film, and the National Screen Institute, and is a highly sought after speaker for media festivals and conferences. Annelise has developed and implemented marketing strategies and gathered and analyzed online data for digital and screen media products as diverse as social TV apps, transmedia experiences, webisode series, feature films, television series and production companies themselves. She has worked with over 30 filmmaking teams as an instructor or Digital Marketing Expert for the Telefilm Talent to Watch Program (formerly Micro-Budget Production Program). Her ground-breaking online course Becoming a Storypreneur has been taught to media storytellers across Canada and in conjunction with Boost Hbg in Sweden. Websites: https://www.storypreneursunite.com https://veria.ca Follow Annelise on these social media platforms: Twitter Facebook Instagram LinkedIn

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Episode 02. Permission to grieve (with Catherine Hernandez)

Finders Grievers

Play Episode Listen Later May 20, 2021 50:46

This week, Shohana sits down with award-winning author and screenwriter Catherine Hernandez to discuss embracing failure, tuning into our #Scorpio senses, and allowing ourselves to grieve. Follow Finders Grievers on Instagram & Twitter @findersgrievers and write to us at findersgrievers@gmail.com About Catherine Hernandez: Catherine Hernandez (she/her) is an award-winning author and screenwriter. She is a proud queer woman who is of Filipino, Spanish, Chinese and Indian descent and married into the Navajo Nation. Her first novel, Scarborough, won the Jim Wong-Chu Award for the unpublished manuscript; was a finalist for the Toronto Book Awards, the Evergreen Forest of Reading Award, the Edmund White Award, and the Trillium Book Award; and was longlisted for Canada Reads. She has written the critically acclaimed plays Singkil, The Femme Playlist and Eating with Lola and the children's books M Is for Mustache: A Pride ABC Book and I Promise. She recently wrote the screenplay for the film adaptation of Scarborough, which is currently in post-production by Compy Films with support from Telefilm Canada and Reel Asian Film Festival. She is the creator of Audible Original's audio sketch comedy series Imminent Disaster. Her second novel, Crosshairs, published simultaneously in Canada and the US and the UK this spring, made the CBC’s Best Canadian Fiction, NOW Magazine’s 10 Best Books, Indigo Best Book, Audible Best Audiobooks and NBC 20 Best LGBTQ Books list of 2020. Her third children’s book, Where Do Your Feelings Live? which is a guide for kids living through these scary times, has been commissioned by HarperCollins Canada and will be published in winter 2022. Instagram: @findersgrievers Twitter: @findersgrievers Email: findersgrievers@gmail.com Hosted by: Shohana Sharmin Instagram: @soleahm Twitter: @soleahm Guest: Catherine Hernandez Instagram: @legshernandez Twitter: @theloudlady Brought to you By: The Sonar Network

Resistance, Art & Sonic Highways

Play Episode Listen Later Oct 28, 2020 46:49

Shane Belcourt and Face2Face host David Peck talk about Amplify, resistance, Metis history and voice, interpretation and interconnectedness, sonic highways, identity politics, music and art and what it reveals about culture and us.TrailerMore info here.Synopsis:Our Endless Resistance featuring songwriter Shane Belcourt author Maria Campbell and Métis Rights Advocate Tony Belcourt.Métis songwriter Shane Belcourt, finds inspiration looking back on interviews he did with celebrated Métis author Maria Campbell, and his father, an acclaimed Métis Rights leader Tony Belcourt.What are lessons we can learn from the 1960-1980 Métis Rights movement?About Shane:Shane Belcourt is a two-time CSA-nominated Director, with award-winning narrative and documentary works in both film and TV. His debut feature film Tkaronto, had a theatrical release, was sold to SuperChannel and Air Canada, and was showcased in both the TIFF Indigenous Cinema Retrospective and the UCLA Film & Television Archive traveling exhibition, “Through Indian Eyes: Native American Cinema”. Shane also directed Chanie Wenjack which Walrus Magazine noted as “The Heritage Minute Canada needs to see”.His most recent feature film, Red Rover, premiered at the Whistler Film Festival, opened the Canadian Film Festival, and was released in March 2020 to glowing reviews.On the documentary side of things, Shane directed Kaha:wi, which features dancer and choreographer Santee Smith. It premiered at the imagineNATIVE Film + Media Arts Festival, aired on APTN and CBC Docs, and won a CSC award for Best Cinematography in 2016, along with a CSA Best Director nomination.Most recently, Shane is in post-production on a new 13-part music documentary series, Amplify, which he created and will air on APTN in the Fall of 2020. And was a Consulting Producer (writing room story editor) on CBC”s new drama series, The Trickster, set to air Fall 2020.Currently Shane is in development to direct a feature documentary, Beautiful Scars, for TVO and Sky Network on internationally acclaimed songwriter Tom Wilson, and a feature narrative based around a family tale entitled Dumbbell, which received development funding from Telefilm Canada. Shane is an alumna of the TIFF Talent Lab and NSI’s Totally Television programs, and a member of the DGC.Image Copyright and Credit: Shane Belcourt and APTN.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.

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Echo Chamber - Fantasia 2020: Day 13

Echoes From The Void

Play Episode Listen Later Sep 1, 2020 47:11

It's 'Day 13' of the 24th Fantasia International Film Festival Today's #EchoChamber which was yesterday's, but computer issues and all that. Well, we had a couple of films, both very different, but both asking questions. First, Dorota Swies & John C Lyons the directors of 'Unearth' starring Adrienne Barbeau, P.J. Marshall, Allison McAtee, Rachel McKeon, Monica Wyche, Brooke Sorenson and Marc Blucas, which is about farming, fracking and neighbourly relationships. Then we looked at 'Bleed With Me', the directorial debut from Amelia Moses starring Lee Marshall, Lauren Beatty & Aris Tyros a psychological horror about paranoia, friendship, obsession and the ramifications of where it could lead. Today's films: Unearth Fantasia Release Date: 25th August 2020 Director: John C. Lyons & Dorota Swies Cast: Adrienne Barbeau, P.J. Marshall, Allison McAtee, Rachel McKeon, Monica Wyche, Brooke Sorenson and Marc Blucas Credit: Lyons Den Productions, Unearth Film, AK47 Presents, Big Vision Empty Wallet Genre: Drama, Horror Running Time: 94 min Cert: 15 Website: Here. Facebook: Here. Instagram: @unearthmovie ------------------ Bleed With Me Fantasia Release Date: 26th August 2020 Director: Amelia Moses Cast: Lee Marshall, Lauren Beatty, Aris Tyros Credit: Epic Pictures, Screen Time, TeleFilm Canada, Talent Fund Genre: Horror, Thriller Running Time: 79 min Cert: 18 Trailer: Here. Website: Here. Facebook: Here. Twitter: @bleedwithmefilm Instagram: @bleedwithmefilm ------------------ *(Music) 'Intergalactic' by Beastie Boys – 1998

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"...Alice wasn't always in Wonderland."

Behind the Horror Movie

Play Episode Listen Later May 17, 2020 17:18

Hello my beautiful sickos, welcome back to Behind the Horror Movie. This episode may be a trigger for some, so listener discretion is advised. This week we’ll be talking about the true events behind Lenny Abrahamson’s creation of Emma Donoghue's 2010 novel, Room. As always, a big thank you to our incredibly helpful and knowledgeable sources for this week: https://www.who.com.au/josef-fritzl-10-years-on-conversations-with-a-monster https://www.telegraph.co.uk/news/newstopics/joseffritzl/4991581/Josef-Fritzl-trial-how-he-was-finally-caught.html https://www.theguardian.com/world/2008/apr/28/austria.internationalcrime1 https://www.telegraph.co.uk/news/1913953/Lawyer-Fritzl-denies-rape-and-abduction.html https://www.theguardian.com/world/2008/may/04/austria.internationalcrime1 https://extra.ie/2017/04/13/news/world-news/these-were-josef-fritzls-daughter-first-words-uttered-on-release https://www.smh.com.au/world/a-fathers-despicable-obsession-20080510-gdsd2x.html https://www.apa.org/monitor/2019/05/ce-corner-isolation https://www.theguardian.com/world/2008/nov/14/josef-fritzl-austria https://en.wikipedia.org/wiki/Techniques_of_neutralization https://www.youtube.com/watch?v=TmV-lPsCL6Q Room. Filmnation Entertainment; Telefilm Canada; Film4; Bórd Scannán na hÉireann/Irish Film Board; Ontario Media Development Corporation; Element Pictures; No Trace Camping; Duperele Films. Canada; et al. 150 West 22nd Street 9th Floor, New York, 10017 United States.

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Episode 489 - Pat Collins and Henry Glassie - Field Work

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Play Episode Listen Later Feb 12, 2020 44:06

Pat Collins and Henry Glassie and Face2Face host David Peck talk about Field Work, beauty, non-verbal cues, silence and listening, eliminating prejudice, and why art is always rooted in community. Trailer Synopsis: Following the success of Song of Granite, Irish Director Pat Collins returns with his new documentary feature, Henry Glassie: Field Work, which will have its world premiere at the upcoming Toronto International Film Festival.Over the last 50 years the celebrated American Folklorist Henry Glassie has been writing in-depth studies of communities and their art. Inspired by the writings and ideas of Glassie – Field Work is an immersive and meditative documentary set among the rituals and rhythms of working artists across Brazil, Turkey, North Carolina and Ireland. Glassie’s subject is folklore but his deep abiding love for the people who create it resonates throughout the film: 'I don’t study people. I stand with people and I study the things they create.'Collins’ achievement with Henry Glassie: Field Work is to bring these makers of art, in wood, fabric, yarn, paint, clay, metal, in song and story to our attention through their work, through the raw materials they shape into art objects and through the undeniable passion they carry in to their work.In this way the work is accorded profound meaning for the societies out of which it is generated an aesthetic value which is transcendent. And under Collins’ ever mindful direction, the process of making something out of raw materials is luminously manifested in sequences which reflect their measured and focused approach. The actual real time process of making works, such as hands, of the physicality of that work, and the close attention the artist is bringing to the work. For more info about the film head here.About Pat and Henry: Since 1999, Pat Collins has made over 30 films. His latest release Song of Granite, funded by the Irish Film Board, BAI, SODEC and Telefilm Canada, received its world premiere at SXSW 2017 and was the Irish nomination for best Foreign Language Oscar 2018. His other credits include Silence, which had its international premiere at London International Film Festival and the 3-part series 1916 (co-director), which aired on networks including the BBC and PBS. In 2012, the Irish Film Institute curated a mid-career retrospective of his work.Henry Glassie is one of the most celebrated folklorists across the world. He has spent the last 50 years making in-depth studies of communities and their art. Henry, College Professor Emeritus at Indiana University Bloomington, has done fieldwork on five continents and written books on the full range of folkloristic interest, from drama, song, and story to craft, art, and architecture. Glassie began teaching in the Folklore Institute at Indiana University in 1970. In 1976, he became the chairman of the Department of Folklore and Folklife at the University of Pennsylvania. In 1988, he returned as a College Professor to Indiana University, where he had appointments in Folklore and Ethnomusicology, American Studies, Central Eurasian Studies, Near Eastern Languages and Cultures, and India Studies. He retired in 2008.Glassie has served as president of the American Folklore Society, the Vernacular Architecture Forum, and his local historic preservation organization, Bloomington Restorations Incorporated. He is married to fellow folklorist Pravina Shukla, a professor at Indiana University, who is an award-winning teacher and the author of two major books on dress and adornment: The Grace of Four Moons and Costume. Glassie and Shukla co-authored Sacred Art, an ethnographic account of creativity in northeastern Brazil. Glassie has four children and four grandchildren.He published his first scholarly paper, an article on the Appalachian log cabin, in 1963. Since then, he has published over 100 articles and a steady stream of books.Image Copyright: Harvest Films and Pat Collins. 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.

university song north carolina ireland pennsylvania brazil silence irish bbc turkey pbs cultures sxsw folklore indiana university appalachian costume american studies toronto international film festival granite college professors fieldwork bai indiana university bloomington shukla sacred art ethnomusicology near eastern languages folklife face2face pat collins american folklore society telefilm canada irish film institute sodec irish film board vernacular architecture forum henry glassie foreign language oscar

David Usher & Catherine Warren on the future of AI in the Creative Industries

Broadcast Dialogue

Play Episode Listen Later Dec 7, 2019 17:30

Telefilm Canada and the Canada Media Fund (CMF) brought their Analog conference for audiovisual professionals to Vancouver this week exploring the theme of creativity and artificial intelligence. The conference featured David Usher, Moist frontman and founder of Reimagine.AI, a creative studio specializing in AI, and Catherine Warren, CEO of the Vancouver Economic Commission, which works across the Tech, Digital Entertainment and Green Economy sectors. On this episode of Broadcast Dialogue - The Podcast, editor Connie Thiessen speaks with Usher and Warren on the potential and future of AI in the Creative Industries. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Catherine Hernandez

The Richard Crouse Show Podcast

Play Episode Listen Later Nov 25, 2019 36:16

This week on The Richard Crouse Show Podcast: Catherine Hernandez is the author of Scarborough and the upcoming Crosshairs, her second novel which will be published in 2020 by Harper Collins Canada. Soon, Scarborough will be adapted into a film by Compy Films, Telefilm Canada and Reel Asian Film Festival. Her plays The Femme Playlist / I Cannot Lie to the Stars That Made Me, Singkil, and Kilt Pins were published by Playwrights Canada Press, and she is the Artistic Director of b current. Today we're here to talk about I Promise, a children's picture book about how all queer families start with the promise to love a child, with illustrations by activist and scholar Syrus Marcus Ware.

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Catherine Hernandez

House of Crouse

Play Episode Listen Later Oct 24, 2019 36:15

This week on the Richard Crouse Show Podcast: Catherine Hernandez is the author of Scarborough and the upcoming Crosshairs, her second novel which will be published in 2020 by Harper Collins Canada. Soon, Scarborough will be adapted into a film by Compy Films, Telefilm Canada and Reel Asian Film Festival. Her plays The Femme Playlist / I Cannot Lie to the Stars That Made Me, Singkil, and Kilt Pins were published by Playwrights Canada Press, and she is the Artistic Director of b current. Today we’re here to talk about I Promise, a children's picture book about how all queer families start with the promise to love a child, with illustrations by activist and scholar Syrus Marcus Ware.

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4/29/19 @9am pst - Producer Alison Reid and Dr. Anne Innis Dagg joined host Janeane Bernstein to talk about their new documentary The Woman Who Loves Giraffes - screening at the Newport Beach Film Festival

KUCI: Get the Funk Out

Play Episode Listen Later Apr 29, 2019

Paul Zimic and Alison Reid are the producers of the new documentary THE WOMAN WHO LOVES GIRAFFES is screening at The Newport Beach FF ABOUT Our award-winning film is about a trailblazing scientist who overcame every obstacle she faced on her pioneering journey to study giraffes in South Africa in the ’50’s - but was unable to overcome gender discrimination in academia. This is the uplifting story of her re-discovery. They just won Best Documentary and the Audience Award at the Sonoma International FF and the Audience Award at the Sebastopol Documentary FF. The Woman Who Loves Giraffes - Trailer The Woman Who Loves Giraffes - Website TheWomanWhoLovesGiraffes.com Twitter.com/AnneDaggMovie – Poignant documentary about pioneering zoologist, women’s activist, and author Dr. Anne Innis Dagg – “…fine storytelling, combining ecology and social-justice issues while focusing on a woman ahead of her times” – Toronto Star “A must-see doc about one of Canada’s greatest scientists” – POV Magazine (Anne Innis Dagg and giraffe at Brookfield Zoo, Chicago 2016. Photo: Elaisa Vargas) TORONTO (April 2, 2019) – Following a successful theatrical run and sold-out film festival screenings across Canada –the critically acclaimed feature documentary THE WOMAN WHO LOVES GIRAFFES bowed at the Sonoma International Film Festival taking home Best Documentary Feature and the Audience Award for Best Documentary. Just prior to winning these awards, the filmmakers signed an exclusive distribution agreement with leading worldwide distributer, Off the Fence. THE WOMAN WHO LOVES GIRAFFES re-traces the trail-blazing journey of Dr. Anne Innis Dagg, who in 1956, at only 23 years old, became the first person in the world to scientifically research the behaviour of an animal in the wilds of Africa, four years before Jane Goodall ventured into the world of chimpanzees and seven years before Dian Fossey left to work with mountain gorillas. The documentary offers an intimate account of her life as a young woman through personal correspondence and original 16mm film, juxtaposed with a first-hand look at the devastating reality that giraffes are facing today. The film explores the insurmountable barriers Dagg faced as a female biologist whose research findings ultimately became the foundation for many scientists following in her footsteps. Though her pioneering efforts were groundbreaking, upon her return to Canada, her career as a professor was destroyed when she applied for tenure at the University of Guelph in the 1970s and was denied. It was the catalyst that transformed Dagg into a feminist activist. The film’s impact on audiences led to the University issuing a rare apology to Dagg last month, delivered by Dr. Jonathan Newman, Dean of the College of Biological Science (CBS), which “recognized and confronted errors of the past” and confirmed that the University of Guelph has become a “more respectful, diverse, and equitable place to work” since that time. Dr. Newman announced the creation of the Dr. Anne Innis Dagg Summer Research Scholarship in “recognition of her pioneering research on, and significant contributions to, the study of giraffe,” to be awarded annually to one female undergraduate student majoring in either Zoology or Biodoversity. The exclusive worldwide distribution deal was negotiated by the film’s Executive Producer, Paul Zimic and Off the Fence Head of Acquisitions, Loren Syer-Willoughby. Off the Fence will launch the film at the upcoming MIPTV market in Cannes later this month. Syer-Willoughby says, "We have been tracking this project for quite some time now. The overall story was a perfect fit for Off the Fence. The team worked so hard to deliver such a beautiful documentary with not only heart, humour but also a strong conservation message. Anne Dagg is an absolute inspiration, which I think will resonate with audiences around the world. Her pioneering work in the early days of giraffe research makes her one of the key players we will always turn to when we think of giraffes. " THE WOMAN WHO LOVES GIRAFFES is directed and written by Alison Reid and produced by Joanne Jackson and Alison Reid. Executive Producer is Paul Zimic. The documentary features the voices of Tatiana Maslany, Victor Garber, David Chinchilla, and Lindsay Leese who read letters written by young Anne, Anne’s husband, Ian Dagg, and Anne’s mother, Mary Quayle Innis. The film was made with the participation of Ontario Creates Film Fund, Telefilm Canada and the Rogers Group of Funds through the Theatrical Documentary Program, the Rogers Documentary Fund, KinoSmith Inc., and Rogers Telefund. It is a Bell Media/Crave Original Documentary. SOCIAL MEDIA LINKS: Twitter Facebook Instagram

Episode 431 - Jack Blum & Sharon Corder - Reel Canada

Play Episode Listen Later Apr 16, 2019 39:31

Jack Blum, Sharon Corder and Face2Face host David Peck talk about Thom Thomson, the power of film, and the importance of literature, lack of access, National Film Day and why immigrants make the best Canadians.REEL CANADA is pleased to present the sixth annual National Canadian Film Day (NCFD) on Wednesday, April 17, 2019. NCFD is the world’s largest film festival, with more than 800 Canadian film screenings and events expected across the country and around the world.REEL CANADA is a non-profit, charitable organization that promotes the diversity of Canadian film and its power to spark important conversations about what it means to be Canadian. This year will mark six years of celebrating the incredible achievements of our nation’s filmmakers. More significantly, it marks an important milestone: the centennial of Canada’s first genuine blockbuster — and oldest surviving feature film — Nell Shipman’s Back to God’s Country, a sassy, snowy adventure story that remains Canada’s most successful silent film. We will celebrate by looking back on the past 100 years of Canadian cinema, offering a selection of films that are equally chock-full of snow and sass!Our screening hosts include every kind of organization, from libraries, community centres, and retirement residences, to film festivals, cinemas, and art galleries, to military bases and embassies.NCFD is a huge endeavour that’s made possible through the efforts of dedicated sponsors and partners who continue to support us year after year. We’re thrilled that so many of our partners are returning in 2019, including the Government of Canada, Telefilm Canada, Cineplex, TD, Netflix, encore+, and Landmark Cinemas.For those who want to watch a great Canadian film in the comfort of their home, a wealth of programming will be available on TV and online.Biography:Jack Blum and Sharon Corder spent many years working as a team in the film and television industry, with dozens of hours of television drama to their credit as writer-producers and/or directors. In addition to work on many Canadian and American series, highlights include the co-creation of the award-winning series TRADERS, and their feature film, BABYFACE, which had its world premiere in the Directors’ Fortnight section of the Cannes Film Festival. In 2005, after years of advocating for the Canadian voice in film, they founded REEL CANADA, a groundbreaking programme aimed at making Canadian film more accessible to new audiences. Since then, the organization has presented screenings and introduced Canadian film artists to hundreds of thousands of high school students in all provinces and territories and in both French and English. In 2010, they expanded the programme to serve adult newcomers to Canada through their English classes, and in 2014, they created National Canadian Film Day, which has become an annual celebration of Canadian film across the country and around the world. The 2019 edition of National Canadian Film Day features more than 1000 screenings in Canada and internationally in 23 countries outside of Canada.Image Copyright: Reel Canada. Used with permission.Music 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.

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MAN RUNNING Interview with Producer Avi Federgreen; Starring Gord Rand, Playing In Calgary & Edmonton This April 12th-21

I'm Here With

Play Episode Listen Later Apr 10, 2019 11:19

MAN RUNNING starring Gord Rand, Playing In Calgary & Edmonton This April 12th-21 Metro Cinema Garneau (Edmonton, AB) Friday, April 26, 2019 @ 7:00 PM Director Gary Burns will be doing a Q & A after the film. Calgary and Edmonton Theatrical Release Indiecan Entertainment is excited to announce the Canadian theatrical release of MAN RUNNING MAN RUNNING is directed by Gary Burns and His Wife (Waydowntown), written by Donna Brunsdale (A Problem with Fear) and produced by Avi Federgreen (Kiss and Cry, One Week) in association with Telefilm Canada and with the participation of the CBC. The film stars Gord Rand (An Audience of Chairs), Ivana Shein (Meadowland) and Milli Wilkinson (Riverdale). Avi Federgreen is a Producer and production manager, known for One Week (2008), Still Mine (2012) and Score: A Hockey Musical (2010). OPENING DATES Globe Theatre (Calgary, AB) Friday, April 12, 2019- Sunday, April 21, 2019 Tuesday, April 30, 2019 Wednesday, May 1, 2019 Thursday, May 2 , 2019 Metro Cinema Garneau (Edmonton, AB) Friday, April 26, 2019 @ 7:00 PM Director Gary Burns will be doing a Q & A after the film SYNOPSIS OF MAN RUNNING A doctor runs in a grueling 24-hour, 100-mile ultra-marathon over rugged mountain terrain as he avoids the aftermath of a recent incident in his medical practice. Over the course of the race, as physical and mental exhaustion turns to fantasies and hallucinations, race-related dramas intertwine with the details of his current crisis. He’s tormented by his decision to assist in the death of a terminally-ill teenager, against both the parents’ wishes and the legal parameters of assisted suicide. https://www.imherewithmag.com/blog-1/man-running https://www.facebook.com/manrunningmovie/ TaroPR and I'm Here With

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Gail Harvey and Marina Cordoni Discuss Films

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Play Episode Listen Later Aug 15, 2018 44:10

Filming in difficult conditions led producer Marina Cordoni to comment that she faced, …one of the most important days of her life. This was on the set of the new film Never Saw It Coming. This is a feminist drama starring her and director Gail Harvey.Keisha Ceylon is a psychic. At least, that’s what she passes herself off as. She watches the news for stories of missing family members and by the way, she charges for this service, and likes to see the money up front. Keisha’s latest mark is a man whose wife disappeared a week ago. So she pays a visit to our troubled husband and tells him her vision. The trouble is her vision just happens to be close enough to the truth that it leaves this man rattled. And it may very well leave Keisha dead.Please check out the new Trailer here.This led Gail Harvey and Marina Cordoni and Face2face host David Peck to talk about the cement ceiling for women, hope, communication and hard work, people management and collaboration, pushing boundaries, and why women in the industry have faced so many different challenges than men and why sometimes we need permission to laugh.BiographyMarina Cordoni is the Founder and Producer of MCE Inc. a Toronto based production company and film sales agency. In the nineties, Cordoni worked for various entertainment companies including the film division of PolyGram Filmed Entertainment, where she handled pre-sales and completed picture sales in various foreign territories on major independent hits including '4 Weddings and a Funeral', 'Dead Man Walking', 'Fargo' and 'Sleepers'.She was also instrumental in building a feature film production and foreign sales division at Toronto based Breakthrough Entertainment between 2008- 2013. Recent Producer credits include the latest feature from Gail Harvey ‘Never Saw It Coming’ (based on the Linwood Barclay novel) and The Butler Brothers: ‘First Round Down’ (which hit number 5 at the Canadian Box Office).Her Executive Producer roles include ‘Blood Honey’ from filmmaker Jeff Kopas (released in fall 2017) and Jason Priestley’s feature directorial debut: ‘Cas and Dylan’.Gail Harvey is an award-winning film director who has studied under Norman Jewison, Wim Wenders, Arthur Penn and Daniel Petrie.Harvey has a 25-year history in the feature film industry, starting as a stills photographer on more than 100 films undertaken by all major studios in the United States and Canada. She won an international reputation by creating deep and insightful work that helped her transcend the traditional role of the on-set stills photographer. Her appeal stems from an ability to capture, in a single frame, the enduring presence and complex personalities of her subjects. Among them are Shirley MacLaine, Diane Keaton, Clint Eastwood, Elizabeth Taylor, Faye Dunaway, Martin Sheen, Mel Gibson, Robert Mitchum and Tony Curtis.It was through her years of photographing actors, and understanding their creative processes that she became fascinated with the moving image. "After many years of developing my artistic vision through photography, I try to put all the life I've captured on the street and my studio into the performance on the screen." Harvey's first short film, Uphill in a Wheelchair (1987), premiered at the Toronto International Film Festival in 1987. That film earned her acceptance in 1989 as a director resident at The Film Centre founded by Norman Jewison. Harvey's first feature film, The Shower (1992), was nominated for three Genie Awards. Her film Striking Poses (1999), starring Shannen Doherty, premiered on Sky TV in Britain and aired on HBO and TMN. Cold Sweat (1993), starring Ben Cross, was shown at the Montreal Film Festival and has been seen around the world. Harvey also has directed several short films, and various episodic for CBC, BBC, Fox, Channel 4, Showcase, History Channel, YTV and Warner Brothers.Other film titles include: Some Things That Stay produced by Don Carmody and Catherine Gourdier and Looking is the Original Sin (available on iTunes) which Harvey wrote, produced and directed. Her next project Never Saw It Coming is based on the bestselling novel of same name by Linwood Barclay and will star Hollywood actress Rosanna Arquette (Pulp Fiction).Produced By: Marina Cordoni & Gail HarveyExecutive Producers: Linwood Barclay, Jay Firestone, Steven Pasternak, Danny Webber, Michael ForseyProduced with the Financial Participation of TELEFILM CANADA, THE NORTHERN ONTARIO HERITAGE FUND, PRODIGY PICTURES and ROLLING PICTURES.Image Copyright: Marina Cordoni & Gail Harvey. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to producer Josh Snethlage and Mixed Media Sound See acast.com/privacy for privacy and opt-out information.

Episode 17 - What is Shadeism?

Cha Da Cup with KayRay

Play Episode Listen Later Jul 10, 2018 39:11

This week, our guest is director/ producer/writer V.T. Nayani (pron. 9'knee). Her first feature documentary SHADEISM: DIGGING DEEPER (2015) has been traveling around the world for the past few years, starting difficult conversations in our own diasporas. Nayani's long list of accomplishments includes being an alum of the Canadian Broadcasting Corporation's Workshop for Diverse Creators, the HotDocs Festival's Doc Accelerator Program, and the 2017 ReelWorld Film Festival's Emerging 20 Program, and the recipient of the 2017 UN Women Yvonne M. Hebert Award. In 2018, Nayani's first feature drama film, THIS PLACE, was selected as a recipient of Telefilm Canada's inaugural Talent to Watch Program. Nayani is also a Co-Founder and Executive at 43°North Productions, a production company that she runs with her producing partners Camaro West and Simone Ince. Through their work together, they are focused on centering stories from the margins, featuring Black, Indigenous, and other people of colour. In this episode, we talk about the deep-rooted racism within our own communities, why it's important to acknowledge the anti-blackness and shadeism in our diasporas in a healthy way and how to use media as a way to break these stigmas. If you enjoy this episode, you know what to do!!! Hit that comment, like and rate! FOLLOW: instagram // twitter: @_9knee film: shadeism.com FOLLOW KAYRAY: instagram // twitter: @kay__ray youtube: youtube.com/kayrayco snapchat: @kiranrai

Shasha Nakhai talks about her film "Take Light"

Left Behind Game Club: A Video Game Podcast

Play Episode Listen Later Apr 20, 2018 36:24

Shasha and I talk about her new film Take Light, the power crisis in Nigeria, poverty, corruption, Illegal electricians, suffering and smiling, hope and the legacy of colonialism. Watch the Trailer here. Synopsis Over 50 per cent of Nigeria's nearly 200 million citizens don't have access to electricity. For Africa's largest energy producer and most populous nation, that number is shocking. Those dependent on the unreliable grid are limited to a few hours of power a day at best. Taking matters into their own hands, many households illegally and dangerously wire their homes by tampering with transformers. While a bungling bureaucracy attempts to privatize the electrical system, an electrician risks his life on power poles, trying to provide for his daughter's education. His colleague in customer service has the more difficult task of going door to door collecting fees from disgruntled customers. The problems are complex and systemic, but director Shasha Nakhai delicately balances the big picture of a country trying to advance its development with the compelling stories of blue-collar workers attempting to make better lives for their families. Biography Shasha Nakhai is a filmmaker based out of Toronto with Compy Films and Storyline Entertainment. Her award-winning films have screened at festivals and aired on TV worldwide, been released on iTunes, gone viral and been awarded Vimeo Staff Pick and Short of the Week. Her last film with partner Rich Williamson, Frame 394, was shortlisted for the 2017 Academy Award for Best Documentary Short and was part of the CBC’s new Digital Doc Shorts initiative. It had its world premiere at the 2016 Hot Docs Film Festival, and went on to win Best Canadian Short at NorthwestFest, Best Documentary Short at the Rhode Island Int’l Film Festival, Best Documentary Short at the Sidewalk Film Festival, the Audience Award for Best Documentary Short at the New Orleans Film Festival, and Best Documentary at the Charleston Film Festival. It was named one of TIFF’s Top 10 Films of 2016, and was nominated for 2 Canadian Screen Awards. Shasha was 1 of 8 emerging producers selected for the DOC Institute’s Breakthrough Program in 2015, and was awarded Telefilm Canada’s Pay It Forward Prize as part of the Hot Docs Film Festival’s Don Haig Award. Take Light is her first feature documentary. She also has a deep love for interactive storytelling, working as a brand ambassador for PlayStation for 8 years, and having been selected as the inaugural recipient of WIFT's Ubisoft Toronto Producer Mentorship program. She recently collaborated with DimensionGate on her first virtual reality project, Take Light VR. Having graduated from Ryerson University's Broadcast Journalism program, Shasha was born in the Philippines, grew up in Nigeria and came to Canada as an international student in 2003 To learn more about the film visit the site here. ---------- Image Copyright: Storyline and Shasha Nakhai. Used with permission. For more information about my podcasting, writing and public speaking please visit my site here. With thanks to producer Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

021: Guacamelee!

Play Episode Listen Later Jan 10, 2018 53:52

We deliver lucha-style piledrivers to skeletons in Guacamelee. Developer: Drinkbox Studios | Publisher: Drinkbox Games | Release Date: April 9, 2013 Jacob, Mike and Moe talk about chickens and their "easter" eggs, mix-max'ing your character, the PlayStation Vita and Mexico by way of Japan. "This game is more present day WWE and less attitude era WWF." Our next episode drops on January 24th, 2017 and we are playing Warhammer: End Times - Vermintide! You can now e-mail us your questions! Send questions about past episodes or questions about us to questions@leftbehindgame.club! Players: Jacob McCourt (@JacobMcCourt), Michael Ruffolo (@ruffolom) and Moe Murtadi (@mmurtadi) Website: LeftBehindGame.Club | Twitter: @LeftBehindClub Show Notes (spoilers): 1:15 What is Guacamelee? 2:22 What is your experience with Guacamelee? 3:46 Super Turbo Championship Edition and what fight about pronunciation of "Melee" 5:25 Standard vs. Gold Edition vs. Super Turbo Championship Edition 5:47 We talk about The PlayStation Vita and 6:40 "The Vita is still hype in Japan" & Jacob learns about Waifu and Weeaboo 8:38 Guacamelee 2 9:12 The "Drinkbox Aesthetic" 10:36 Juan Aguacate and the start of the game 12:35 Tostada and costume changes 14:27 Homages to other games and easter eggs 17:55 Your encounter with Alebrije, the adorable pet dragon 19:35 Getting new moves through Choozo statues and level design 21:30 Uay Chivo (Goat Man), Flame Face and great written dialogue 23:40 The "combat flow" 24:35 Bringing it back to professional wrestling 26:45 How we upgraded our character 27:15 Moe's biggest gripe with Guacamelee 29:00 The twist at the end 29:55 Completing the game and our "rates of play" 33:00 El Trio De La Muerte 34:20 The El Diablo's Domain DLC and The Devil 36:58 More on combat chess and enemy variation 40:20 Ontario Media Development Corporation and Telefilm Canada 41:50 The rest of the bosses: Jaguar Javier and Calaca 44:45 INTENSO! 46:38 Our final thoughts 50:20 Jacob asks an extremely important question

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Wicked Horror Show Presents Gavin Michael Booth

Wicked Horror Show

Play Episode Listen Later Dec 5, 2017 68:55

Wicked Horror Show Presents Gavin Michael Booth talks about his latest movie ScareHousePOWERED BY THE DORKENING PODCAST NETWORKWatch us LIVE EVERY Sunday | Tuesday | Thursday Streaming LIVE on Facebook - Youtube - Periscope - Twitch Dorkening Apparel NOW AVAILABLE on Amazon! Watch Scarehouse on Amazon VOD http://amzn.to/2v2MjJ6Buy Scarehouse on DVD/BluRay http://amzn.to/2imAA1YWe talk with Gavin Michael Booth about his latest movie ScareHouse. Two years after a tragic accident, six college girls are invited to a party inside an elaborate Halloween funhouse. Once inside, the girls realize their hosts' intentions are not all fun and games.Follow Gavin Director Reel: http://gavinmichaelbooth.com/ IMDB: http://www.imdb.me/gavinmichaelbooth https://twitter.com/GAVINBOOTH https://www.instagram.com/GAVINMICHAELBOOTH/Director: Gavin Michael Booth Writers: Gavin Michael Booth, Sarah Booth (story) Stars: Sarah Booth, Kimberly-Sue Murray, Katherine Barrell Gavin Michael Booth is an award winning filmmaker. He works as a writer, director, producer, cinematographer and editor in the entertainment industry. He is an extremely driven and creative artist who has over fifteen years experience working within the film medium. His latest film "The Scarehouse" was distributed by NBC/Universal (USA) and D Films (Canada) in early 2015 with international releasing starting August 2015. The Scarehouse was funded in part by Telefilm Canada and the film won Best Feature at the New York City Horror Film Festival in 2014. Booth was runner-up as Director of the Year via Toronto's NOW Magazine. Last month Booth broke new filmmaking ground teaming up with power producer Jason Blum (Paranormal Activity series, The Purge, and Oscar winning Whiplash) to create the world's first movie broadcast live using Twitter's Periscope App. The film was a success with worldwide media coverage. Gavin is also responsible for The Scarehouse and other film/music videos projects' marketing - including producing and editing trailers, soundtracks, promotional videos, EPKs, behind the scenes and other advertising material.Booth has worked with some of the top entertainers in the music industry including Music Videos and documentary projects for Eminem's D-12, Third Eye Blind, The Tea Party, Our Lady Peace, Vanessa Carlton and The Afters. Some of these projects have aired on national television in Canada and the U.S. as well as appeared on best-selling DVDs and Enhanced CDs released by major record labels. Gavin has created music videos as writer / director / producer /cinematographer / editor for over 50 artists including: The Afters, Bleu, The Blue Stones, Emma-Lee, Scotty James, Gavin Slate and so on. Several of these projects are award winning, festival screened, having aired in international markets and have been funded in part by MuchFACT.His work has always maximized every dollar on lower budget projects to raise the production value of the finished film / video. Gavin also has extensive experience in the realm of commercials, reality television and web content. Gavin is represented as a writer and director by Daniel Ortega at Pantheon Talent and managed by Gina Rugolo in Los Angeles. Patrick Yang at Oldfield represents Gavin in Canada. Subscribe to The Dorkening on YoutubeFollow The Dorkening Facebook - Twitter - Instagram - Join our mailing list!The Dorkening: Leo Pond @TheDorkening Kevin Crook @Aknuckle Regular co-hosts: Wolfie @The13thWOlfman Tony @TonyHas9Fingers James @LongTimeStorm YoYo @BoyMeetsPhone Vlad @NECCReviews Cee Pee @WILIreviewsFind out more at https://wicked-horror-show.pinecast.coSend us your feedback online: https://pinecast.com/feedback/wicked-horror-show/70d1b37b-11c6-44da-b047-385f4bc3c6b8

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Gerry Flahive