May June 2010

Q+A with directorLOUIS LETTERIER

The most rewarding jobat the Olympics: SHARING THE TORCH

Vancouver is WEB CITY

CALLUM KEITH RENNIE is

SHATTERED

CELEBRATING TWENTY-FIVE YEARS: 1985-2010

3 REEL WEST MAY / JUNE 2010

4 PRODUCTION UPDATE

5 BITS AND BYTES

10 BEGINNINGS

12 BEHIND THE SCENES

14 QUESTION AND ANSWER

15 EXPERT WITNESS

28 LEGAL BRIEFS

30 FINAL EDIT

16 UNCONVENTIONAL WISDOM Most producers of cop shows expect to sell their traditional show with a pilot in which the

cops solve the crimes and jail the bad guys. Hugh and Debra Beard decided to make a show about a cop whose partners include his multiple personalities. After they showed the pilot to their broadcast partners it was decided to keep the cop and his personalities but to go back to the drawing board for everything else.

20 SHARING THE TORCH Vancouver-based Image Media Farm was given one of the toughest but, arguably, most

rewarding jobs at the Olympics. The company shot the torch relay as it crossed the country. In a diary, they look back at the corporate innovations, the daunting logistics and the excitement of traveling through tiny towns that came to life when the torch passed through.

24 WEB CITY Internet-based series are fi nding a home in Vancouver, a town that has a solid infrastruc-

ture when it comes to the producing of television shows. Some of the series were created to give their producers a place to show off their acting or writing talents while others were looking to follow the Vancouver-shot web-series Sanctuary to broadcast television.

CONTENTS

COVER & CONTENTS PHOTOS: CALLUM KEITH RENNIE AS BEN SULLIVAN IN SHATTERED; PHOTOS BY CAROLE SEGAL.

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PRODUCTION UPDATE

What’s coming. What’s shooting. What’s wrapped.

‘Tis the season of the pilot and BC

is still getting its share with several

calling Vancouver home in March

and April. Th e list was led by Wilde

Kingdom, the proposed NBC com-

edy from Arrested Development cre-

ator Mitch Hurwitz. It will star that

show’s Will Arnett as a Hollywood

show-off and Felicity’s Keri Russell

as an environmentalist. It has Pe-

ter Burrell producing, Joe Russo

directing, Jim Hawkinson as DOP,

Eric Fraser as production designer,

Tracey Jeff rey as production man-

ager, Crystal Remmey as produc-

tion coordinator and Kirk Johns as

location manager. Brant McIlroy is

in charge of special eff ects.

Sisterhood of the Traveling Pants

screenwriter Elizabeth Chandler is

one of the executive producers of Be-

twixt, the story of mythological fairies

who pose as humans to protect them.

Th e other executive producers are

Paul Stupin and Carol Barbee while:

Grace Gilroy is the line producer,

Christian Duguay is the director,

Rob Mclachlan is the DOP, David

Wilson is the production designer,

Yvonne Melville is the production

manager, Adrienne Sol is the pro-

duction coordinator and Michael

Roberts is the location manager.

Th e Damn Th orpes stars Sean

Faris and ex-Spin City co-star Alan

Ruck as rival ranchers in Wyoming.

It has Daniel Palladino and Amy

Sherman-Palladino as executive

producers with the latter also di-

recting. Matthew Nodellas is the

producer, Wayne Bennett is the

production manager, Eva Morgan is

the production coordinator and Ken

Brooker is the location manager.

High School Musical co-star

Ashley Tisdale plays a competitive

cheerleader in Hellcats, which has

Kevin Murphy and Smallville’s Tom

Welling as executive producers with

Jae Marchant producing, Colleen

Mitchell as location manager, Allan

Arkush directing, Glen Winter as

DOP, David Wilson as production

manager, Salia Edl as production

coordinator and Neil Robertson as

location manager.

Veteran TV actors Poppy Mont-

gomery (Without a Trace), Malcolm

Jamal-Warner (Th e Cosby Show)

and Anna Ortiz (Ugly Betty) star in

True Blue, the story of a police pre-

cinct out to solve the murder of one

of its offi cers. Its executive producers

are Chris Brancato, Jon Feldman,

Bert Salke and Peter Horton with

Horton directing, Justis Greene

producing, Matthew Budgeon as

production designer, Heather Mee-

han as production manager, Jennifer

Metcalf as production coordinator,

Kendra Upton as location manager

and Alex Burdett as special eff ects

coordinator.

KERI RUSSELL STARS IN WILDE KINGDOM

Arnett, Russell Gone Wilde

continued on next page


Vaugier Sees Double Vancouver actor Emanuelle Vaugier will be doing

double duty this fall. According to spokesperson Lesley

Diana she is set to reprise her role as Charlie Sheen’s

girlfriend on Two and a Half Men and was recently cast

in the Showcase series Lost Girl. Diana said Vaugier

will play a supernatural being who feeds on the energy

of humans.

“Th e series takes place in a secretive world of drama

and intrigue that occurs in the shadows, just out of our

sight,” says Diana. “In

this world lives Bo,

a supernatural be-

ing who feeds on the

energy of humans,

sometimes with fatal

results. Bo is a rene-

gade who takes up the

fi ght for the underdog

while searching for the

truth about her own

mysterious origins.”

Diana said that in

addition to the two se-

ries, Vaugier has been

cast in the upcoming

feature fi lm Mirrors 2,

a sequel to the hit 2008 fi lm that starred Keifer Suther-

land. Th e sequel stars Nick Stahl as a night time

security guard at a department store who becomes a

suspect in the murder of employees after he sees vi-

sions of a young woman in the store’s mirrors. Diana

says Vaugier plays a woman who joins Stahl’s character

in an eff ort to solve the mystery.

Th e Cartoon Network has its

fi rst live-action series with Tower

Prep, which will be calling Vancou-

ver home from April to August.

Th e show, about a rebellious teen

who wakes up one day trapped in a

mysterious, inescapable prep school

is being produced by Peter Lhotka

with Philip Linzey the DOP, Mark

Freeborn the production designer,

Jim O’Grady the production man-

ager, Rhonda Legge the production

coordinator, Greg Astop the loca-

tion manager and Dan Keeler the

special eff ects coordinator.

Two series returned to BC in

March. Both Sanctuary and Eureka

will be here until November. Eureka

has Jamie Paglia, Bruce Miller and

Robert Petrovicz as executive pro-

ducers, Rick Maguire as DOP, Brad

Jubenville as production manager,

Jared Howitt as production coor-

dinator, John Alexander as location

manager and Tim Storvick as spe-

cial eff ects coordinator.

Sanctuary has Damian Kindler,

Amanda Tapping and Martin

Wood as executive producers, Lily

Hui producing, Gillian Horvath as

supervising producer, Gord Ver-

heul as DOP, Bridget McGuire as

production designer, Elaine Flem-

ing as production coordinator and

Darren Marcoux as special eff ects

supervisor.

BITS AND BYTES

Ben Hur Rides Again A TV remake of the classic fi lm Ben Hur recently completed all of its visual effects at Montre-

al’s Oblique FX. According to a spokesperson, Oblique was responsible for over 140 visual

effects for the two-part miniseries. The series, an international co-production of Montreal’s

Muse Entertainment, Spain’s Drimtim Entertainment in association with Zak Productions of

Morocco, Akkord Film of Germany and FishCorb Films of Spain, aired in April on ABC Televi-

sion in the U.S., CBC in Canada, Antenna 3 in Spain and ProSieben in Germany.

“I couldn’t have been more pleased with the work that Oblique did on this project,”

said director Steve Shill, whose work includes the mini-series Rome, Deadwood and

The Tudors. “I wanted to put the money on the screen where the audience could see

it.” Along with period costumes and historical settings, Ben Hur features a sea battle,

gladiator fi ghts, and a chariot race.

Oblique, formerly the fi lm division of Buzz Image Group, handled all of the shots in-house.

Shill said the facility did not attempt to replicate the look of the earlier fi lm. He said the envi-

ronment and the script were designed more “to refl ect life as it was in ancient times.”

Dialect Dial-UpTony Alcantar has had a good year so far. The Vancouver-based dialect coach ad-

mits that his phone hasn’t stopped ringing since the year began. In addition, his clients

are winning awards. According to Alcantar, he was hired by Harper’s Island producer

Grace Gilroy to dialect coach Ireland’s Elaine Cassidy, who starred as series lead

character Abby Mills and to make her sound American. Last month Cassidy won the

Irish Film & Television Award for Best Actress in a Lead Role for the series.

“While the saying, ‘Success has many fathers, failure is an orphan’ comes to mind”,

says Alcantar, “ I can’t help but think I had a small part in her success. For 13 episodes

Elaine had to convince millions of viewers that she was American. She pulled it off.”

More recently Alcantar was on the set of the series Human Target working with series

lead Mark Valley as well as Kim Coates, Christopher Heyerdahl, Kavan Smith and Erick

Avari. Concurrent with his work on Harper’s Island, he was the dialect coach for Halle

Berry and Stellan Skarsgard on the Brightlight Pictures feature Frankie & Alice. In addition

to on-set work, Alcantar conducts dialect workshops at the Union of B.C. Performers and

is resident dialect and improvisation coach at the Vancouver Academy of Dramatic Arts.

Toon Boom Animation BoonMontreal-based Toon Boom Animate Pro recently announced the upcoming release of Toon

Boom Animate Pro 2, a new version that a spokesperson, Karina Bessoudo, says “propels

professional animators into a new world of creative freedom.” Bessoudo says Pro 2 is “the

most complete professional animation software, offering superior content creation, animation

and compositing toolset for any style of animation, all within a single desktop application.”

Chris Georgenes agrees. The art and animation director and author and owner of

the Keyframer.com blog, says he felt compelled to know how to use the Pro 2. “I’m lov-

ing Toon Boom Animate Pro 2. Every once in a while a tool comes along that you just

know you have to learn how to use because it just feels right. As an animator, Animate

Pro 2 lives up to its name pure and simple. It’s a tool that oozes the technique of ani-

mating because it is developed that way. As you become comfortable with the Animate

Pro workfl ow it becomes clear that this tool was designed by animators for animators. It

boasts features that I always wanted and in some cases wish I had thought of.”

Bessoudo says Toon Boom Animate Pro can be used to create all styles of anima-

tion, traditional, Flash-style, cut-out or paperless and enables pros to draw digitally,

scan paper drawings, colour, animate and synchronize sound.

Update continued from previous page

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Alumni Gas Opposition Two series whose stars are Corner Gas alumni fared

well with their March debuts. Hiccups, which stars Cor-

ner Gas’s Brent Butt and Nancy Robertson recorded

the biggest launch for a Canadian fi lm this season with

2.06 million viewers. Dan For Mayor, which has Corner

Gas’s Fred Ewanuick in the title role, did almost as

well, attracting 1,995,0000 viewers a half hour later.

Th e Saskatchewan-shot Corner Gas was considered

to be the most successful Canadian comedy of all time,

averaging over 1.5 million viewers a week. It was cre-

ated by Butt who starred in the show. Ewanuick and

Robertson were two of the show’s co-stars. Hiccups,

which is shot in Vancouver, was also created by Butt

and stars Robertson as a children’s author with anger

management issues.

Two other Canadian series also debuted with over

one million viewers in March. CTV’s Th e Bridge drew

1,220,000 million viewers while CBC’s Th e Republic of

Doyle recorded an audience of 1,009,000.

Catherine A. Sas, [email protected] Foreign Legal Consultant with the State Bar of California

Phebe [email protected]

Robson Court1000-840 Howe Street Vancouver BC V6Z 2M1Telephone: 604.687.2242www.canadian-visa-lawyer.comwww.millerthomson.com

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IMMIGRATION LAW GROUP

Logo A GoFourteen years after the release of

Canadian punk rock mockumentary

Hard Core Logo, cameras rolled in Sas-

katchewan on the sequel. According to

a spokesperson, the bulk of fi lming was

to be done in the small communities of

Watrous and Manitou Beach, about

120 kilometres southeast of Saskatoon.

Th e original Hard Core Logo starred

Callum Keith Rennie, Julian Rich-

ings, John Pyper-Ferguson, Hugh

Dillon and Bernie Coulson and told

the story of a famous punk band as

they reunite for a fi nal tour.

Th e fi lm won critical acclaim and

a cult following when it was released

in 1996. Director Bruce MacDon-

ald said the sequel will feature Rich-

ings’ character and that he hopes the

schedules of Rennie, the star of the

upcoming series Shattered and Dil-

lon, the star of Flashpoint will allow

them to make appearances in the

new fi lm. MacDonald said Richings’

character, Bucky Haight, is “a kind of

rock and roll royalty. He’s like a Ron

Wood from the Rolling Stones or a

Johnny Th under,” McDonald said.

He said Logo 2 also stars real-life

rocker Care Failure and her band

Die Mannequin.

Th e fi lm is being produced by

Foundation Features, the Vancouver-

based company that is home to for-

mer Infi nity Features Entertainment

partners Dave Valleau and Rob

Merilees. Th e producers are Meri-

lees and Holly Baird while Valleau

and Lindsay MacAdam are the ex-

ecutive producers. It was written by

MacDonald and Dave Griffi th.

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Leaving Laughing Leave Th em Laughing, a fi lm about

Vancouver comedienne Carla Zilber-

smith’s battle with Lou Gehrig’s Dis-

ease (ALS) premiered at the recent Hot

Docs Festival in Toronto. Th e movie,

by Oscar-winning documentary fi lm-

maker John Zaritsky (Just Another

Missing Kid,) follows Zilbersmith from

the time she was given less than four

years to live and is described by spokes-

person, Ingrid Hamilton, as “a 90-

minute pre-mortem of a life lived fully,

but far too fast.” Hamilton says that the

fi lm has Zilbersmith vowing to exit the

stage with “songs about life, quips about

death, and a smile on her face.”

Hamilton says Zaritsky‘s previous

documentary, Th e Suicide Tourist,

inspired “heated debate” worldwide.

Th e fi lm followed the last moments

of an assisted suicide and the case of

a Canadian couple looking to legal-

ize their suicide pact. Zaritsky says

he met Zilbersmith in 2008, and im-

mediately saw the fi lm in his head.

“I jumped into high gear, knowing

my time was limited to do justice to

the canvas of Carla’s life,” says Za-

ritsky. “Th ere was no time to wait

for the usual funding process. For

the fi rst time in my career, I used my

own money. Th at’s how strongly I felt

about telling her story.”

Th e fi lm was directed by Zaritsky

with Zaritsky and Montana Berg the

executive producers. Th e director of

photography was Ed Matney while

Scott Doniger and Justin Cous-

ineau edited the fi lm. Th e associate

producers were Kelley Busby, Liz

Karlsmark and Sandy Handsher.

Evil Doers Done A 13 episode SPACE Channel show about a teenager

who will do anything to be a heavy metal star wrapped

recently. Todd & Th e Book Of Pure Evil was shot over a

ten week period on location in Winnipeg.

“Getting to make this series is proof that Th e Book

Of Pure Evil is real and actually works,” says co-creator

Craig David Wallace. “We’re super excited that SPACE

is supporting our belief that ‘80s fl avoured Heavy Metal

and Black Magic are back, and more evil than ever.”

Th e series is based on a short fi lm of the same title

written by Wallace and Max Reid, and directed by

Wallace. It was produced through the Canadian Film

Centre’s Short Dramatic Film Programme, and pre-

miered at the Toronto International Film Festival in

2003. Th e series was created for television by Anthony

Leo, Charles Picco, and Craig David Wallace. Execu-

tive producers are Wallace, Leo and Andrew Rosen.

Leo, Rosen and Shawn Watson are the producers.

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JOHN P.H. NICOLLSENTERTAINMENT & BUSINESS LAW

West Wins Four Th e BC production Fifty Dead Men Walking won two

trophies at the recent Genie Awards, held in Toronto.

Th e fi lm, which was produced by Vancouver-based

Brightlight Pictures won Genies for adapted screenplay

(Kari Skogland) and art direction (Eve Stewart.) Van-

couver native Joshua Jackson won the Genie for best

actor for One Week while Winnipeg’s Cordell Barker,

Derek Mazur and Michael Scott won the best animat-

ed short Genie for Runaway.

Th e evening was dominated by Quebec’s Polytech-

nique. Th e fi lm, which tells the story of the infamous

1989 murders at Montreal’s École Polytechnique, won

nine Genies, including best picture, director (Denis

Villeneuve) actress (Karin Vanasse) and screenplay

(Jacques Davidts.) It was followed by Quebec’s Th e

Master Key with two awards (original score, makeup.)

Other fi lms winning Genies included Before Tomor-

row (costume design), Nurse.Fighter.Boy (song), Love

and Savagery (best supporting actress, Martha Burns),

A Hard Name (best documentary), Th e Delian Mode

(best documentary short), Danse Macabre (best live

action short), I Killed My Mother (Claude Jutra Award,

Xavier Dolan) and De père en fl ic (Golden Reel Award.)


Carroll No FoolVancouver fi lmmaker Patrick Car-

roll’s I’m Th at Fool was the most recent

winner of the A&E Short Filmmakers

Award in the NSI Online Short Film

Festival. A spokesperson said Worked

For Me by Ken Simpson of Toronto

received an Honourable Mention.

Jury members said they were

unanimous in their choice of I’m

Th at Fool as the winning fi lm, calling

it “engaging from beginning to end.”

“It stayed with us, a true testament to

its impact,” said jury members Kellie

Ann Benz, Mark Montefi ore and

Anna Tsoulogiannis.

Th e documentary tells the story

of Steve and Roxanne, rockers who

have played in bands for over a quar-

ter century and follows their current

band Th e Irises as they go back on

the road. A spokesperson said NSI is

currently accepting fi lms for upcom-

ing festivals.

Keating Wins PrizeFilmmaker Lulu Keating is the 2010 recipient of the

Women In the Director’s Chair Feature Film Award.

Th e award was presented in Vancouver at the recent

Creative Women Workshops Association at the Open-

ing Gala of the 2010 Women In Film Festival.

Valued at nearly $100,000, the prize includes in-kind

rentals for one week at North Shore Studios or Th e

Bridge Studios; production equipment rentals from Wil-

liam F. White Intl. and post production support from

Post Modern Sound

and Deluxe Vancouver.

Th e award will support

Keating’s romantic

adventure comedy

feature fi lm Based On

A True Fantasy.

“Th e whole design

of this fi lm was devel-

oped with this award

in mind - a studio

shoot to create a high

concept, low-budget

fi lm. It will incorpo-

rate creative anima-

tion techniques with

live action,” said Keat-

ing, “Th is award is absolutely the most thrilling thing

that could have happened.”

Spokesperson Carol Whiteman said Creative

Women Workshops Association works in partnership

with a host of companies, individuals and agencies

including Th e Banff Centre, ACTRA, Telefi lm Cana-

da, CTV, the Quebecor Fund, Actra Fraternal Benefi t

Society, the Independent Production Fund, IATSE

669, IATSE 891, and the Directors Guild of Canada,

BC District among others, “to help level the playing

fi eld for women screen directors in Canada” through

the training program Women In the Director’s Chair

and other WIDC initiatives.

LULU

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BEGINNINGS

Dan Shea“I always wanted to be a hockey player.

Stunts were the next best thing...”

I remember watching Hockey Night in Canada as a kid. My brothers and I

each had to take turns standing on the roof holding the antenna so we could

get the reception. Luckily there were three brothers, one for each period. I

always wanted to be a hockey player. Stunts were the next best thing.

My career began when I crashed an audition for a beer commercial. Next

thing I knew I was in Hawaii blasting around in shark-infested waters on a

wet-bike. Can you say residual cheques?

It was defi nitely downhill from there. I tried stand-up comedy. I opened for

Jose Feliciano and did an Olympic sit-up bit involving a handful of whipped

cream. Jose, the blind guy, slipped on the whipped cream when he came on-

stage. Th e predominately middle-aged, cardigan wearing audience booed me

off stage. I slipped into the back alley carrying my props and tripping over

homeless dudes. Th ere I said it. I was a props comic.

I tried extra work but I found myself in extra’s holding, which was nothing

more than an unheated tool-shed with 50 extras jammed in there like POWS.

We would shield our eyes from the light whenever the door opened. Our ulti-

mate goal was to get on set and hope the director would say one word to us, so

we could grieve for an upgrade. Every day at lunch we had to watch and wait

as the entire cast and crew and offi ce staff slowly fi led past us in the meal line.

By the time it was our turn to eat, the Teamsters had devoured everything.

I fi nally got a job on a hockey-driven episode of MacGyver. Th at’s the rea-

son I’d gotten into the biz in the fi rst place. Remember the movie Ice Castles?

Actor Robbie Benson, 140 lbs soaking wet , skated down the ice on his ankles,

in an NHL game, wearing a toque. So wrong.

I met Richard Dean Anderson, a Minnesota boy/hockey freak. I was from

Hespeler, a small town in Ontario which made the best hockey sticks in the

world. It was a match made in heaven. I became RDA’s stand-in. I didn’t even

know what a stand-in was. Th e other stand-ins called themselves “worthless

refl ectors of light.” Part Time Pete, a male stand-in, was aff ectionately known

as the “40 year old loser stand-in.” It was something to aspire to. RDA’s driver

was Billy the Dogwalker. I became Coattail.

I began to notice that if I set up RDA for a goal, the next episode I would

be magically upgraded to Actor. Two goals: Principle. One episode after set-

ting him up for a hat trick, I was elevated to the status of his stunt double. (It

wasn’t quite like that, but close.) It was another hockey episode and his regu-

lar double was from California and couldn’t skate. Unfortunately, just before

we were about to shoot I injured my ankle. It blew up so big I couldn’t fi t it

inside my skate. Th is was my Chuck Yeager moment. I grabbed another skate

that was two sizes bigger, jammed my foot in it and took the pain.

Th e fi rst time I donned the infamous MacGyver mullet, with the pins dig-

ging into my skull and skated around the ice, was one of the proudest mo-

ments of my life. I got clothes-lined by Dick Butkus at center ice! I got thrown

through tempered glass by Lyle Alzado, all under the watchful eye of Vince

Deadrick Jr, the Stunt Coordinator and Godfather to us all.

RDA’s stunt double had shoulder-length, bleached-blond hair. He drove a

black Mercedes convertible and spent as much time in the gym and under the

sun lamp as he did on set. He was beautiful! And he made more money from

residual cheques alone than all three of us stand-ins combined!

So I started training! We would rent cars and go up to Cypress Mountain

and practice slides and 180s in the parking lot. You would have about 10 min-

utes before security would chase you out of there! Th en you’d return the rental

with absolutely no tread left on the tires, reeking of burnt rubber!

We’d practise high-falls in abandoned construction sites downtown but

we’d have to bolt before the cops got there because we’d always attract crowds

of onlookers thinking there was a “jumper.” I would work on set for 14 hours

and then get the crap beat out of me at karate. Th en I would play hockey with

RDA until 2am. Six years later I got my black belt.

I would concentrate on learning about all the departments. I would bug the

camera department about lenses, continuity about screen direction and props

about guns, all the while writing screenplays that were always rejected or sent

back unopened because they were unsolicited. Th ey were always about hock-

ey. Sometimes they were returned with scathing readers reports: “He shoots!

He scores! Th e crowd yawns.” (I still have that one.)

I fi nally became RDA’s offi cial stunt double after MacGyver was cancelled. It

was on a television movie called Eyes of a Stranger in Toronto. Luckily I got my

fi rst stunt-related injury. My foot was almost crushed by enormous industrial

textile rollers. I say lucky because, like on Reservoir Dogs, every stunt person

must have a stunt story. It’s completely mandatory! Stunt people spend hours

regaling us with anecdotes about how they lost a digit or a testicle and how

hilarious it was. It’s kind of like the shtick Billy Crystal and Christopher Guest’s

characters Frankie and Willie did on Saturday Night Live. “You know what I re-

ally hate? Getting fi re retardant gel mixed up with the accelerant.” “Hate it when

that happens!” I made more money on disability than I had in my entire life!

And it led to more work. Months later, after my foot had completely healed,

I pretended to limp into an audition for the same director who had felt re-

sponsible for my injury. I got the part! I was working on Call of the Wild in BC

with my own room and a TV that worked, sporting a beard. Th en I’d shave,

fl y to Toronto for the hockey movie Gross Misconduct, which was directed by

Atom Egoyan in Maple Leaf Gardens. Th en I would fl y back to BC for Call of

the Wild, hoping the beard would grow back in time.

Whenever I acted I always got looped. My voice was always replaced by

that of a trained Shakespearian actor or a dude with a deep southern drawl. I

guess that’s why I do stunts.

I spent the next 10 years paying my dues: coordinating, acting and stunt

performing on various features, television movies and series with the list in-

cluding Net Worth, Hat Squad, Cobra, Outer Limits, Dead Man’s Gun, First

Wave and Andromeda.

Th en the gravy train came back to town! Richard Dean Anderson and

(MacGyver producer) Michael Greenburg were back with a new series

called Stargate SG-1. I spent the next decade working as the show’s stunt

coordinator and RDA’s stunt double with a recurring role as a character

named Sgt. Siler.

I also worked on other shows: Smallville, Supernatural, Fantastic Four, I, Ro-

bot, Th e X-Men 2, Shooter, Th e Incredible Hulk, Watchmen, 2012, Th e A-Team

etc. Career highlights include doubling for Steve Martin in Th e Pink Panther

and listening to him play the banjo for the crew; carrying Danny Virtue’s porta

pits (mats) on my back on Hawkeye; working with my two daughters Stephanie

and Joey; doing a high fall as a gunslinger at the Bordertown set on a west-

ern episode of Pscych and totally missing my pad; double dipping on Stargate

continued on page 28


PH

OT

O P

HIL

LIP

CH

IN


BEHIND THE SCENES

What do Brent Butt, Isaac Hayes and Halle Barry have in com-

mon? As diverse as their names may look on a list, the three

actors have all called out food orders to the staff of Tivoli Ca-

terers. Th e company, like all on-set catering companies, isn’t

concerned about who is in a fi lm or even where it is located. If they can get there

they will take the job. However, it hasn’t always been easy to get there.

Michael Levy, who co-founded the company in 1996 with his wife Aase

and Amanda Richards, says that there have been times when he wondered

whether the catering trucks would make it to the set.

“When we were shooting in Prince George and working in temperatures

of -35C all four wheels of the catering truck froze fast in the ground,” he

says. “We had to have the Teamsters come to dig us out so we could free the

truck to change locations. Th e vegetables had to be stored in hot food carriers

in order to keep them from being destroyed by the freezing temperatures in

the trucks. Our buff et tables were set up in a heated tent. Th e fruit salad still

had to be put in a heated chafi ng dish to keep it from becoming a diff erent

type of dessert.”

Th e company was Richards’ idea. Levy says she brought it to the Levys and

they could see its potential “Th e company name came from a poster of Copen-

hagen’s Tivoli Gardens hanging in Amanda’s kitchen,” says Levy. “We started

with one catering truck and our garage as the ‘warehouse’ for storage and deliv-

eries. We got our second truck before the fi rst year was out and the third truck

18 months after that. Th ere were no shortcuts to success. We worked hard.

Amanda and I were cooking on the trucks and Aase, a CGA, was doing the

bookkeeping and smiling convincingly at the bank’s loan offi cers.”

Richards left the company after four years. Aase Levy continued to oversee

the company’s accounting programs and Michael Levy took on the respon-

sibility of running the business on a day to day basis. He says that it’s not

the easiest job in the business. “It means long days. You are responsible for

laundry, purchasing, restocking the warehouse, administration and, of course,

you have to go out and get the business. I worked on the catering trucks for

the fi rst seven years. I was cooking all day for the show I was working on and

overseeing the operation of the other trucks. Eventually I stepped back from

cooking and now I devote most of my time to supporting the chefs, liaising

with production, picking up specialty items, keeping the warehouse stocked

and overseeing truck maintenance.”

It’s never going to be simple. Levy says that you can’t control every aspect of

any shoot. He says that you can feel like a high school student banished to the

principal’s offi ce when you receive a call from the production manager.

“I remember a few years ago when we were just starting a huge show, X-

Men 2, for (production manager) Stewart Bethune, whom we hadn’t worked

for in the past. It was summer and all three trucks were working. Th e fi rst

two weeks we were shooting in Victoria and I had gone there to oversee the

project and to help the crew. Everything seemed to be going great and then

we got this call that there was a problem with the catering and I needed to go

into the production offi ce asap. I got the call right before I went into a little

shop to get my passport photo. I looked like a deer in the headlights for fi ve

years. Immediately after the photo was taken I got a second call. Th ere had

been a misunderstanding. Stewart thought the producer was unhappy about

the catering but it was actually a problem with a limo driver.”

Levy believes that while there have been some diffi cult days, the company’s

infrastructure has been solid and Tivoli has managed to hire the best people avail-

able. “Th e good news for us is that we have been able to attract great chefs and

cooks. Chefs are artists and fi lm catering allows them to practice their art. Th ey

have to create new and varied menus daily for a captive audience that works long

hours. But things have really worked out well. We have good, healthy food beauti-

fully presented by happy talented people in modern clean trucks. Th ose elements

have gone a long way in making us competitive and successful.”

Side dish (Things you learn while catering fi lms):1. Chocolate fountains do not do well in the wind.

2. Actresses on very special diets will still eat bacon and help themselves to

the center of the chocolate cake.

3. Five star food tastes just as great in a one star parking lot.

4. When buying pallets of bottled water it is entertaining to make other Costco

patrons believe that fi lm producers use only bottled water to fi ll their hot tubs.

Tivoli CaterersAppetite for learning key to success


The next great action fi lm

director could be the son

of a French philosopher

who was encouraged, by

his parents, to leave Paris and at-

tend the prestigious Tisch school of

Performing Arts in New York. Louis

Leterrier returned to Paris and

worked with fi lmmaker Luc Besson

who was producing a movie called

Th e Transporter. Leterrier moved

from assistant director (AD) to the

top job within a matter of hours.

From there he went on to direct

Transporter 2, the Jet Li fi lm Un-

leashed, the comic book movie Hulk

and, most recently, the remake of the

classic B-movie Clash of the Titans.

In March, Reel West’s Ian Caddell

talked to him about trying to get

away from labels and his desire to

take a movie from the early stages to

completion.

You went to the Tisch School to be a

director but you ended up working

in almost every other area before you

got to direct. How did that happen?

“I went to NYU and the fi rst day they

said ‘who wants to be a fi lmmaker?’

and everyone raised their hand. I

looked around and thought ‘I will

never become a director’ so I decided

to learn everything. I learned to be

an editor and a director of photog-

raphy and all that stuff . Th en I went

back to France because my visa had

run out with all this knowledge and

I became an assistant director and a

Steadicam operator.”

How did you go from being an as-

sistant director to making your di-

recting debut?

“Th e weekend before principal pho-

tography began on Th e Transporter

(director) Cory Yuen came to my

room and said ‘I am exhausted. You

have to start the movie and I will pick

it up afterwards.’ I said ‘Cory, I have

never directed anything like this and

I don’t know anything about cars or

karate. I don’t have a car. I have a bi-

cycle. I am not that guy.’ He said ‘no,

you have to start tomorrow.’ Th e next

day at 7am I went to set and said ‘let’s

put the camera there.’ I was still hop-

ing he would show up. I said ‘let’s do

a tracking shot and wait.’ At 10:15 the

other AD said ‘you have to go.’ I said

my fi rst ‘action’ and I was forced to

direct the movie.”

But you didn’t get the credit for it,

did you?

“I got the credit for Japan and France

and Cory got the credit in the US and

most other markets. Suddenly I was

considered to be an action director

and the fi lm had done pretty well so

for three years I was getting Trans-

porter on a bike and Transporter on

a plane and I said ‘guys, I don’t want

to do that stuff .’ I like to create uni-

verses. I draw, I paint, I am a musi-

cian, I am a renaissance man but I

wasn’t the action guy. Luc Besson

was very nice to me. He said to me

‘I am producing this little fi lm called

Danny the Dog’ (which is now called

Unleashed in America.)’ He said ‘it is

a weird movie, set in a weird poetic

universe. But if I do this for you, you

have to do Transporter 2.’ He under-

stood me. Suddenly I was working

with actors like Morgan Freeman

and Bob Hoskins and Jet Li and I was

really directing. I was directing them

and it was fantastic. It was a personal

movie to me. Th ere was karate be-

cause of Jet Li but I thought ‘I will

do the karate thing’ because the rest

of the story was good and the mu-

sic was great. So then Transporter 2

happened and I thought ‘what can I

QUESTION AND ANSWER

Louis Letterier Director... and artist, musician and renaissance man


EXPERT WITNESS

“I have people in LA who work their asses off to make sure that I can make movies at

home. My agents have said to me ‘if you are doing an independent fi lm it is going to

be in Canada. You do big movies here and small movies in Canada. You are not going

to do independent fi lms in America. That is what Canada is for.’ What is amazing is

that they are just as psyched as I am. They all make their way to the Toronto festival

or to (the Sundance alternative festival) Slam Dance or wherever the fi lms premiere

to show their support. They take those fi lms just as seriously as the American fi lms

because they know they are just as important to me as something like Tropic Thunder.

If people keep hiring me I will keep going back to make fi lms in Canada.” Montrealer

Jay Baruchel on how he is able to move easily between small Canadian fi lms

and larger American movies.

“In French jails there are Corsicans and Arabs but the idea was to have a battle for

power between different communities. It could be Chicanos or blacks which is quite

universal but after that the specifi cs of the groups are interesting because the more

local you get the more universal you become, which is the theory of American fi lms.

‘The more they are about us, the more they talk to the world.’ There was some worry

that our choice might be controversial and when we were at Cannes (where the fi lm

won the Grand Jury Prize) one of the Corsican leaders said we had put them in a

bad light. But he hadn’t seen it. Since it opened in France we haven’t heard anything

so I think they (Corsicans) are fi ne with it.” A Prophet’s Oscar-nominated director

Jacques Audiard on making a prison movie that both European and American

audiences could relate to.

“Up in the north of Scotland a lot of villages have Viking names. They took plenty of us

with them, mostly the chicks. They say that 50% of Iceland is Celtic blood because of all

the females they stole from us which is probably why our country only has dogs left. By

the way, that’s a joke.” Actor Gerard Butler on why it made sense that the animated

fi lm How to Train Your Dragon had Scottish actors voicing the main roles.

“I was on the cusp of 30 and I woke up and looked in the mirror and I didn’t like what

I saw. I sold the mirror and everything else. I call it ‘control delete’ where you just

reboot yourself because you can be defi ned by what you own. I had a great career

in Australia. I worked fourteen years solidly but I didn’t like the position I was in. So I

sold everything at auction to my friends at my house. I even sold the gavel in the end.

It is like the Rudyard Kipling poem. If you can risk it all in pitch and toss, then you are

a man. I got in the car and drove and thought ‘something has got to give, something

has got to crack.’” Avatar star Sam Worthington on taking risks.

do now? I want to make a movie that

is personal.’ I had read all these comic

books so I went to Marvel and I said

to them ‘I know that on my resume

there was nothing that says I can do

this but I would like to direct Hulk’.”

Are you the kind of director who

makes the movie in the editing

room or are you a storyboard guy.

“I come in with a plan saying ‘I

have a storyboard and a shot here’

but maybe the actor off ers me some-

thing else or the prop explodes so

you have to change that direction.

I am really excited. I love camera

moves and actors and when some-

thing snowballs into an avalanche of

ideas I love those ideas.. But the plan

is covered and I have lots of cover-

age, which makes the studio crazy. I

tell them ‘if you like the plan I have

one but I can make six diff erent mov-

ies in the (editing) room if you want.”

You are unique in that you have both

a technical and creative background.

“Actually, I feel like I am the norm

now. It is rare that you have people

who come in as directors for hire

and say ‘give me the screenplay and

I will put my camera over here.’ Th ey

are rare these people. I am the new

norm. I guess the directors of the

1990s were told ‘this is the screen-

play. Don’t touch it. Th at is someone

else’s job.’ I like to be hands on.”

You want to be organic but you

haven’t really had the opportunity

yet, have you?

“Well, I feel like I kind of did that

with Clash because I went through

the whole script and just went for it

and started all over. But I am young.

Most directors start making movies

at my age and I have already done

fi ve of them in my career. I have to

take a break. If I keep going from

one movie to another I won’t get the

chance to be creative or write. So

what I need to do is take a break and

start to write and fi nish something.”

Clash of the Titans is your fi fth

movie but it could be the one that

gives you the kind of cachet you

need to have a long career in the in-

dustry. Are you happy with the di-

rection it will probably take you in?

“Yes, I am. Th e Transporter mov-

ies are great but they aren’t mine. Th is

movie is more my vision. But I am still

not at the point that I can bring all the

ideas that I have for movies to the stu-

dios. Maybe Clash will change that or

maybe it won’t and I will have to do

Transporter 7. If you say ‘Louis Leter-

rier’ people don’t know who I am. But

I am hoping that if they see my movies

they might think ‘they were all suc-

cessful in the US and he comes from

France and he is only 36.’ Th at would

interest them a little. But I know I have

to be proactive if I am going to get to

where I would like to end up.”

Is there a perfect movie for you to

direct?

“I have two of them in the back of

my mind and they are great because

they are stories I want to tell. I love

genre but I feel it doesn’t suffi ce for

me as an audience member. Th ere

are stories and characters I want to

explore and there are new things

and also on top of that there is a

technology that hasn’t been used or

seen that goes with these two par-

ticular stories. It’s something new.

It’s the addition of all the stuff that

has been done and it’s almost like

you wait ten years for the technol-

ogy to arrive and to be right and

it is right now. It was a projecting

problem because of reels but now

I have something that will solve

that.” What do you think you are

going to be off ered after Clash?

“Well, I realize that you can’t wait on

your couch asking ‘when will they

call me? ‘When are they off ering me

my Oscar?’ I knew after Hulk that I

had to be proactive about my career

so I am actually writing tons of stuff

that is quite diff erent from anything

that you are seeing out there.” Excerpted from interviews done by Reel West editor Ian Caddell.

“I love camera moves and actors and when something snowballs into an avalanche of ideas I love those ideas...”

Jay

Bar

uche

l with

Kat

Den

ning

s in

Nic

k &

Nor

ah’s

Infi n

ite P

layl

ist


PH

OT

OS

CO

UR

TES

Y O

F M

OV

IES

ET.

CO

M


Story by Ian Caddell

Of course, sometimes it’s slightly more complicat-

ed. Hugh and Debra Beard’s two year journey to

get a show called Shattered on the air began with

a brief conversation. It in turn became a concept

that was made into a pilot for a series that is now

ready to air on Canwest Global. While it sounds

somewhat traditional, the road has been bumpy,

which makes sense given the original premise, an

unlikely combination of Sybil and the traditional

police drama.

Th e show almost never got made. Beard recalls

that he and his wife and longtime partner in Force

Four Entertainment were organizing the pitches

they were taking to the 2008 Banff Television Festi-

val when he remembered a conversation he had had

with a Vancouver writer named Rick Drew.

“I had run into him and he said ‘I have this idea

about a cop who has multiple personality disorder’

and I said ‘I like that. Give me a one pager on it.’ Th at

was in March or April and Debra and I went away

for a while and came back just before Banff . We were

getting ready for it and setting up meetings but in the

back of my mind I was thinking ‘there was something I

liked that I don’t have.’ Th at was on Friday and we were

leaving for Banff on Sunday. So I phoned Rick and said

‘where is that one pager. I need it by Saturday night.’ He

sent me one page and I reworked it and pitched it and

it was bought by Canwest right there at Banff .”

Th at turned out to be one of the easier stops on

the odyssey. Almost as easy was the choice of an

actor to take on the lead role. Callum Keith Rennie

was the Beards’ fi rst and only choice to play the part

of the cop. Fortunately, he had just wrapped arcs on

the TV shows Californication and Battlestar Gal-

lactica and was impressed by the pilot script that

Drew had supplied. Th en things changed. Th e net-

work and the co-producing company, Toronto’s E1

Entertainment, felt that the pilot didn’t deliver the

potential of the concept. Th ey wanted the Beards

to go back to the drawing board and create a series

that kept Rennie and his multiple personalities but

abandoned almost everything else.

”We shot the original pilot and we discovered

that Dissociative Identity Disorder (DID) was really

tricky,” says Beard. “It was an interesting approach

but we had crippled the character too much in

the original pilot. In it, he was a guy who had wit-

nessed his wife and child being murdered and he

snapped. He was locked in that place and yet when

he changed to his alters (alternative identities) and

went out he was a diff erent person. However, as a

day to day character we had taken him too far. We

said ‘okay let’s change it so that the DID happened

a long time ago when his son was kidnapped.’ Now

he (the son) is still alive and the stress thing is not

as severe as losing his wife and child.

“He is still a cop but one who came back to work

because that had been the best way to fi nd his son.

Th at is his driving force. When we went to pitch the

network to pick it up as a series they bought that

and we ended up just optioning Callum and not the

rest of the cast because Canwest didn’t want us to

be locked into the (original) characters. We had a

fresh start and we came to it from a diff erent direc-

tion that wasn’t encumbered by the back history of

the pilot which had never been shown and won’t be

shown. At that point we started moving forward.”

While the network and the Beards were happy,

they had given Rennie new challenges with a char-

acter that was already one of the more complicated

cops in the history of the genre. He would now have

to play each alter individually on screen which took

the challenges to another level. Rennie, who also has

a producer credit on the show, says he was ready

and willing to make the leap but admits it turned

out to be one of the more intimidating experiences

in his lengthy career.

“Th e only way the show would work is if your

lead actor was playing all these characters,” he says.

“It has been daunting. It has been hard fi guring it

out on your feet with as much history as you can

put on it. You are depending on the writers to elab-

orate and fi nd devices because it is an exploration

of the question ‘how does he exist?’ because the

conceit of the show is that it takes place in a police

station. So how far can you go? I can’t start speak-

ing Slovakian without drawing too much attention

and so you have to think about how it fi ts into his

normal behavior. We are all diff erent people in dif-

ferent situations so what locks in place for any par-

ticular alter? If it appears during a moment of ac-

tion, Ben may not appear to be any diff erent than

he was before the change. If it comes as a moment

of intelligence how do you portray that and make

it seem real? So it has been hard. Th e great thing

about it for an actor is that you like to do diff er-

ent things. Usually if you are locked into a series

where you play the same thing over and over again

you think ‘that is going to kill me’ but this gives me

a diff erent kid of opportunity. Th e energy chang-

es for diff erent alters whether they are lighter or

smarter so that is a relief because you think ‘well,

at least I don’t always have to be the same guy.’”

By the fourth episode, it became obvious to ev-

eryone involved that some help was needed. E1 and

the Beards brought in one of Canada’s more distin-

guished show runners, Jeff King, to write scripts

and fi ne-tune the original concept. King, who had

worked on shows like Stargate SG-1, Th e Black

Donnellys and Relic Hunter, says that he could see

the show’s potential but also knew that its reach

might have exceeded its grasp.

“I saw a fabulous cast with Callum and the

physical thing was great and I responded to all that

but what I had seen was that the heart of the show

hadn’t been located. Th at often happens on series.

I have been on things where you shoot a bunch

and everyone sits down and refl ects on things that

have been done and they say ‘it wouldn’t have oc-

curred to us at the beginning but we need to make

a few adjustments.’ So what I did was to focus in on

a few story line threads that had been pulled and

teased but weren’t part of the main rope. I wanted

to focus on Ben as being a cop who is trying to

manage his problem. Any profession requires re-

sponsibility and in this case he has a personal re-

The conventional wisdom is that the making of a television pilot is the best way to get a series on the air. If a network feels comfortable with the concept, the show is green-lit, the cast returns and episodes are shot that follow the hypothesis introduced in the pilot.

UnconventionalWisdom


sponsibility to his partner (Camille

Sullivan) and others. Now try put-

ting a gun in one hand and a badge in

the other and a rule book to impose

on people. You have challenges. You

have alter egos that might emerge at

any given time depending on the sit-

uations and the stress you are under.

How do you manage coming back

from what appear to you to be black-

outs and dealing with that? Th ere

were a lot of ideas and infl uences

that had been brought into the series

and I said ‘that (recovering from the

blackouts) is the focus. Th is is what

interests me and what I would like to

write about.’”

King was also interested in the

reaction of those who were work-

ing around the lead character. If he

shows up at work as himself and be-

comes diff erent people throughout

the day, what is the consensus of his

fellow offi cers? How does he keep his

job when he is continually blacking

out? Do the people around him no-

tice or do they rationalize their way

through his episodes? He says that he

tried to fi nd ways of allowing Ben to

be aware of his problems while keep-

ing his colleagues in the dark.

“A lot of the research I did pointed

me to diff erent conclusions. One of

the conclusions was that for the most

part multiple personality disorder is

not easily discernable. You could

look at a blackout or see someone

who snaps too easily and might say,

as some of his colleagues do, ‘that’s

drinking’ because the behaviour (of

an alcoholic) is very consistent with

the various clinical and homeopathic

approaches to people with multiple

personality disorder. You are prob-

ably going to fi nd many other things

that it could be before you get close

enough to the person to fi gure out

that it is actually an alter ego that you

are dealing with. So I thought that

was a key to making the show inter-

esting and wanted to focus on it.”

Th ere is no airing date as yet but

it is expected that it will be on Can-

west’s specialty network Showcase

this summer. King says not having an

airdate has been a boon to the show.

Having been involved in the series

late in the process, he says that he

has never felt he missed too much

because he has been able to move

episodes around and even to change

things within individual episodes

that had already been shot.

“Th ere are small changes within

the greater universe of the choices

that were made that I might diff er

with but overall I am very proud of

the work we have done. I am very

happy with it. I have no regrets in

the rear view mirror. Th e best thing

about dealing with this particular

premise is the opportunity to con-

stantly change it because it is so un-

usual and complex. I also know that

if we get green-lit for a second sea-

son I will have no problem coming

up with more ideas. He is so many

people and there are so many aspects

of his character that can be discov-

ered and uncovered. It is a big trailer

that we haven’t fi lled. So there is lots

of room to grow.”

According to Beard, the addition

of King to the process has turned

things around for the series. “It has

been an interesting ride,” says Beard.

“I just screened an episode I wasn’t

supposed to see. I accidentally saw a

majority of one episode that he did.

It is absolutely terrifi c and he did a

fantastic job. It was written by Frank

Borg but Jeff ’s hand was on it. We

gave him a mandate to look at the

show and say ‘let’s sweep away what

is not working and fi x it’ so we are

making changes to the individual

episodes. We are airing the shows

out of order now so we had to put

a jigsaw puzzle together. But the

process of doing that is making the

“ The best thing about dealing with this particular premise is the opportunity to constantly change it because it is so unusual and complex... ”

- Shattered writer, Jeff King

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show stronger. If you are rolling and

something is not working you can’t

go back and fi x it if you are establish-

ing something. So the fact that we

could shoot a few episodes and go

back and re-jig it has been an inter-

esting exercise.”

When E1’s Noreen Halpern saw

the pilot for the series, she liked

it as a stand-alone show, but she

was concerned that it would not be

something that would inspire loyalty

with viewers. She says that while it

had merit and Rennie was well cast,

she didn’t feel it would be must-see

television.

“Th ere is a reason why pilots can

be made but series are hard to cre-

ate. It’s not just about one hour on

television. It is about setting out on

a journey that will hopefully last sev-

eral years. A show like this is, by its

nature is very sophisticated and com-

plicated and challenging. When we

saw the pilot we all realized we had

a great concept and a stunning actor

in Callum but there was still work to

be done. So we began the process of

a re-envisioning the show. What hap-

pened at that point was that everyone

recognized that there needed to be a

holistic approach to the material and

that this idea was so high concept the

way to make it work was to be very

grounded. Th e show that has resulted

through time and the involvement of

very smart minds is something that is

extraordinary and powerful and very

diff erent. Everyone has always asked

‘what is the new take on a cop fran-

chise?’ and I think this is it.”

If it does work for an audience on

a long term basis, it will be because

Rennie managed to take an unlikely

character and make viewers care

about him. Much of the potential

for success for Shattered is reliant on

Rennie’s ability to take the script and

make it work for the audience. Halp-

ern says that she could see his poten-

tial from the fi rst time she saw him on

screen, in 1994’s Double Happiness.

“Getting him was a huge break for

the show. Anything he is in he ele-

vates hugely. He is a stunning actor.

I remember watching him on Double

Happiness and thinking ‘I would

like to work with him someday.’ It

is extraordinary how much he cares

about the people who work with him

and having him as a producer is great

because he questions things, he chal-

lenges things and he understands the

character better than anyone. He is

a brilliant force of nature. From the

minute he started working on this

show he immersed himself in the

world of DID and worked with doc-

tors and read books. He has such a

passion and commitment to the role

and to the show.”

Th at commitment has been nec-

essary. Rennie admits that had he

not felt completely enthused about

the concept and its potential as a se-

ries it would have been hard for him

to make it work. He says that the key

to getting the role right was to make

sure that each of the character’s al-

ters had a personality of their own.

“I created the alters out of diff erent

places,” he says. “For one guy, ‘Harry,’

I picked someone I knew who had

qualities that fi t the idea. However,

it is only one idea on paper and the

character could have a multitude of

alters. So you have to ask ‘how do we

fi gure out a couple and play those

out and have them work within the

storylines?’ Another alter was based

on another person I knew. I think all

of them have something that I rec-

ognize. Sometimes it is a cinematic

quality. For instance, one could be

Clint Eastwood, an alter who is in-

volved in action. He has little to say

but does great damage and there is

another one who tries to over-speak

and fi nd clever solutions to things.

Th ey are all part and parcel of how

he is able to function as a cop. I try

to solve it from an intellectual place

because you can say what you think

you can do to people but eventually

you have to play it.

“Hopefully the audience will pick

up the intention of what you are

playing. In some ways it is easier for

me because I am reading the script

and it says ‘an alter appears’ and

then I just have to fi gure out how I

want to play it. I am fi ne with that

as long as he is given a good reason

for his appearance and he isn’t there

to solve the plot of the show. Th at

could happen at some point but we

are not there yet. Th e other thing

the writers are trying to do is to fi nd

authentic triggers. Th e question that

keeps coming up is ‘is this believable

as someone acting out qualities of

himself?’ which makes sense but it

could take away from the mystery of

it which is the question ‘are we con-

nected, some of us, to a collective

unconscious that just fl oats in diff er-

ent information depending on how

your brain is operating or not oper-

ating?’ So it isn’t easy but I think we

have made a lot of progress.”

Broadcast Evolution.

123 W 7th Ave., Vancouver, BC (604) 875-6301 www.matrixvideo.ca

The Imagemaker’s One Stop Shop

A DIVISION OF

XDCAM PDW-700 PDW-HD1500 PDW-U1


JANUARY, 2009 VANOC selects IMF to docu-

ment the Torch Relay in digital stills and HD video.

Furlong had said he wanted the Torch to “come

within a one-hour drive of 90 percent of Canadi-

ans.” To achieve this, planning for the Relay had

begun in 2003, when Vancouver was selected to

host the 2010 Winter Games. Th e Relay evolved

dramatically during the ensuing six years to eventu-

ally become the longest ever staged within a single

country. To rise to the logistical challenges of such

a monumental event, IMF must devise innovative

solutions to generate the necessary deliverables for

VANOC and the Relay’s presentation partners, Th e

Royal Bank of Canada and Coca-Cola.

IMF must shoot the runs of each of the thousands

of individual Torchbearers, while covering special

Torch celebration events in hundreds of communi-

ties all across the country along a route that has not

yet been fi nalized. Each and every day, its traveling

production team must acquire, capture, log, store,

and process thousands of still images and hours

of HD video footage. Beyond this, the IMF team,

both on the road and back at the production offi ce,

must work continuously to cull the thousands of

digital stills shot daily to just 60 daily highlights and

produce a daily regional video highlight packages

of 30 seconds to fi ve minutes. Daily B-roll footage

and weekly Torch featurettes must also be cata-

logued and produced. All of this media must then

be transmitted from remote locations and made ac-

cessible to accredited international media through

the Flame section of the Vancouver 2010 website.

As well, imagery of designated Torchbearers repre-

senting Relay sponsors; RBC and Coca-Cola must

be transmitted to each respective company and

their social media outlets.

With no ready, off -the-shelf solutions available,

IMF executive producer Roger Williams immedi-

ately begins to develop the means by which IMF

will meet the production, transmission and distri-

bution challenges required to share the magic of the

Flame and feed the voracious appetite of thousands

of broadcasters from around the world.

MARCH VANOC releases its Olympic Torch Relay

route. To this point, production planning for the cov-

erage of the Relay has been premised on a westward

cross-Canada journey, more or less parallel to the

Canadian-US border, beginning in St. John’s, New-

foundland and passing through all the provinces and

territories en route to Vancouver. However, the route

map issued by VANOC calls for the Olympic Flame

to begin its journey in Victoria, travel up Vancouver

Island, then hop-skip-and-jump by air to northern

EARLY IN HIS TENURE as CEO of the Vancouver 2010 Organizing Com-

mittee (VANOC) John Furlong said of the Torch Relay: “We want these

Games to be about the entire nation – to let everybody in…. to bring Ca-

nadians together, igniting something in our hearts and souls that makes us

better. Somehow, the Olympic Flame has the power to do this.”

In January of 2009, when VANOC selected Roger Williams and his Image

Media Farm (IMF) team to chronicle the 2010 Olympic and Paralympic Torch

Relays, it became obvious to IMF that it would be up to them to share this vision

with the world. In what would become an emotionally charged, transformative

journey, the IMF team traveled over 45,000-kilometres shooting nearly 15,000

Torchbearers over 116 days under every winter weather condition imaginable.

Meanwhile, the remaining members of the IMF team completed fi ve

overlapping and interlaced Olympic Games-related productions, includ-

ing 14 short features for the Canadian Tourism Commission and CTV and

30 profi les of over 100 British Columbia communities for the BC Olym-

pic Secretariat. During the Games, IMF also shot Stephen Colbert’s special,

Vancouver 2010 - Defeat the World, for the Comedy Network. IMF’s Regan

Blakesley says the spirit of the Games swept up the entire team. Th e follow-

ing is a diary of the 2010 Olympic and Paralympic Games Torch Relays writ-

ten on behalf of IMF by Blair Shakell (with Regan Blakesley.)

A diary from Image Media Farm

Sharing the Torch


communities in Haida Gwaii, Yukon, NWT, Alberta,

Saskatchewan, Manitoba, Nunavut, Quebec and

Newfoundland-Labrador, before setting out on a 90-

day trek to Vancouver. IMF must now contend with

the many additional, unanticipated logistical chal-

lenges created by the expanded route.

MAY IMF partners with Banis Media to manage the

web-based distribution of the daily digital stills and

HD video highlights of the Torch Relays to the world

media. A track record of six years of successful col-

laborations with Banis Media gives Roger Williams

the confi dence to sit down once again with Banis

principal Ford Sinclair to work out how the huge

amount of data that will comprise the Torch Relays

Chronicle can be made accessible through VANOC.

Since the HD video will be uncompressed, rather

than employing a traditional FTP solution, a new,

on-demand, web-based application must be devel-

oped to facilitate downloads, without delivery delay,

to over 10,000 users simultaneously. Sinclair tells

Williams that Server DAM, his company’s digital

asset management and distribution software can

meet the challenge.

AUGUST IMF fabricates a Mobile Media Editing

Vehicle. Roger Williams purchases a 30-foot motor

home large enough to accommodate the personnel

capacity and power requirements of IMF’s traveling

editing studio. Western Bus undertakes the physical

conversion in North Vancouver and IMF’s techni-

cians install four Final Cut Digital HD Editing sta-

tions with solid state drives that enable editing while

the vehicle is moving. Finally, a CalDigit Raid Array

Server with 16-terabyte storage capacity is installed

to store every moment recorded in digital still and

HD video assets.

On top of this, Williams comes up with the idea of

installing a robotic camera to shoot backward from

the VANOC vehicle that will precede the Torch-

bearers, a safety measure to insure that not a single

moment of the Relay is missed. Fortuitously, a solid

working partnership is established with the Aborigi-

nal Peoples Television Network (APTN), which of-

fers the use of its state-of-the art uplink facilities for

the satellite transmission of Relay stills and video

during the northern Canada phase of the Relay.

IMF, however, is still looking for a mobile satel-

lite uplink partner capable of providing SD and HD

video feeds across North America, as well as high-

speed data transmission, while up-linking from

diff erent transmission sites twice daily during a Ca-

nadian winter. Williams fi nds the guaranteed con-

nectivity he’s looking for with SIS LIVE, Europe’s

largest independent uplink provider. SIS LIVE’s

fully automated, uPod uplink system enables IMF

to push a huge amount of Relay still and video data

over a satellite link to Intelsat’s Mountainside tele-

port in Maryland and on to Server DAM in Van-

couver via fi ber optics.

SEPTEMBER A full Olympic Relay test run is con-

ducted from the 21st to the 24th, between Hope

and Abbotsford. During this 80-kilometre dress re-

hearsal, IMF’s equipment and production processes

perform admirably. Th e robotic camera installed to

insure that no Relay activity is missed performs so

eff ectively, in fact, that CTV decides to “run with it.”

IMF agrees to supply the camera, while CTV per-

sonnel manage the shoot and direct a continuous

feed of the Torch’s journey for web access via CP24.

com and CTV.ca. Th is connection will enable any-

one, anywhere in the world, to experience the Relay

online in real time.

OCTOBER, 2009 Th e Olympic Flame is ignited

and begins its journey from Olympia, Greece.

IMF’s production team heads to Olympia, the an-

cestral home of the Olympic Games. Th ey record

the offi cial Lighting Ceremony where the Olympic

Flame is ignited by focusing the sunlight with a

parabolic mirror. Th is Lighting initiates the 8-day,

2,180 kilometre Greek leg of the Torch Relay, which

involves 600 Torchbearers and 36 community cer-

emonies. On October 29th, IMF and the Torch ar-

rive at Panathinaiko Stadium in Athens where the

Flame, safeguarded within a lantern, is handed-over

offi cially to John Furlong. A 30-hour journey to

CLOCKWISE FROM TOP LEFT: DAY 33 – TORCHBEARER 18A PATRICK TREMBLAY CARRYING THE FLAME IN RAGUENEAU, QUEBEC.

PHOTOS CARE OF IMAGE MEDIA FARM


Victoria ensues aboard a Department of National

Defense aircraft.

OCTOBER 30 (Day 1) When the Canadian leg of

the Relay commences in Victoria on October 30th,

the IMF team realizes immediately that the full-on

chaos of the actual Relay is well beyond what the

September test run in the Fraser Valley had led

everyone to expect. Th ousands upon thousands

of fl ag-waving, cheering Canadians crowd the In-

ner Harbour as Chiefs from the Four Host First

Nations—Lil’wat, Musqueam, Squamish and Tsleil

Waututh—along with the Esquimalt and Songhees

peoples, arrive bearing the Flame in a fl otilla of

hand-carved cedar canoes. Th e Olympic Caul-

dron on the lawn of the Provincial Legislature is set

ablaze and Olympic medalists Catrina Lemay Doan

and Simon Whitfi eld hand off the Torch to Silken

Laumann and Alexandre Despatie, inaugurating the

4-day leg of the Relay up Vancouver Island. As the

Torchbearers move out through the throngs lining

Government Street, every media outlet imagin-

able has their crews on site. Amid this chaos, shoot

planning will prove to be a continual challenge. By

improvising on the fl y and focusing squarely on the

task at hand, the IMF team successfully weathers

this “baptism by fi re.”

NOVEMBER 4 (Day 5) When the Torch arrives in

Campbell River IMF’s production team divides to

go, temporarily, their separate ways. Th e North-

ern Production Unit fl ies to Haida Gwaii, and on

to Whitehorse. Th e rest of the team travels in the

Mobile Media Studio to Comox where they disas-

semble and steel-case all the electronic equipment

while on board the ferry for the mainland. Following

yet another characteristically long day they arrive at

the CP Rail freight depot in Coquitlam at 4:00 AM,

just in time to load the vehicle onto a rail car for im-

mediate transport to Halifax, Nova Scotia.

IMF’s six person Northern Unit travels by plane

from one remote northern community to another.

Comprised of a producer, two videographers with

SONY XDHD cameras, two still photographers

with Canon 5D Mark II cameras, and an edi-

tor with a portable HD video editing system, they

work untiringly under extremely challenging winter

shooting conditions, editing as they go. Th e media

is fi nally transmitted to Server DAM from APTN

facilities in Whitehorse, Yellowknife and Iqaluit.

Flanked by a 45-member VANOC Torch Relay Or-

ganizing Team, the Northern Unit is able to capture

the glowing Olympic Spirit that is warming the hearts

of the isolated populations of these arctic communi-

ties. Th e intimate images of the Torch’s journey across

the North, shown throughout Canada and around the

world, ignite growing excitement and bring a sense of

participation to Canadians everywhere.

NOVEMBER 5 (Day 6) T What IMF discovers in the

remote hamlet of Kuglutuk on Nunavut’s Coronation

Gulf, 600 kilometres north of Yellowknife is a world

apart, in many more ways than one. It is a perfect,

-35 degree (C) day. Th e Relay of just four Torchbear-

ers is trailed every step of the way by hundreds of

boys and girls wearing handmade gold medals hung

around their necks on string. Th e Torch is carried

fi rst on a dog sled and then handed off to a young

Inuit mother, Helena Bolt, who joyfully passes it on

to her neighbor, a young Inuit father surrounded

by a cheering section of his own children. Th e fi nal

Torchbearer, Terry Kuliktana, is the Cauldron Light-

er for this community of 1,400. Visually impaired,

Terry’s upturned face is radiant, as he proudly holds

the Torch aloft. Th ere is none of the pomp and cir-

cumstance that attends the Torch in the cities of the

south; this is a simple celebration shared among fam-

ily. What makes the day so memorable and such an

eye-opener for the IMF team is how they are so read-

ily welcomed, accepted, and immediately swept into

the swirling exuberance of a community dance. It is

impossible for them to remain detached observers;

no one can resist becoming a participant. Something

of the magic of the Olympic Flame and the vision of

the Relays is revealed here, in this unique place, in

this shared moment.

NOVEMBER 6 (Day 7) Th e Torch, the VANOC

team and IMF’s Northern Production Unit puddle-

jump across the Northwest Territories, through

northern Alberta, Saskatchewan and Manitoba

touching down briefl y on the tip of Ellesmere Is-

land, where the arrival of the Torch is celebrated by

the entire population of Alert Bay: the 56 “Frozen

Chosen”. From Iqaluit on Baffi n Island (Qikiqtaaluk)

in Nunavut, the Relay touches down in Quebec’s

Gaspé Bay and Labrador’s Happy Valley-Goose Bay,

before fi nally arriving in St. John’s Newfoundland,

where IMF’s Northern Unit is reunited with the

other members of their Mobile Media Team.

NOVEMBER 16 (Day 18) Meeting under the Gi-

ant Fiddle in Sydney, Nova Scotia, IMF’s entire team

comes together for the fi rst time with the arrival of

SIS LIVE’s uPod mobile uplink. On the westward

journey of the Torch, the IMF team travels in con-

voy with VANOC’s complete 260-member Relay

Organizing Team, which includes offi cials, trans-

portation personnel, advance and accommodation

teams, logistics crews, communications offi cers,

a physician, Flame attendants and security. Th is

“traveling circus” works to a precise cadence, within

a detailed schedule that holds everything together.

NOVEMBER 18 (Day 20) Th e pressures and chal-

lenges faced by IMF come into clear focus when

the chaos of an exuberant crowd of 60,000 Nova

Scotians is stirred to frenzy in anticipation of the

appearance of hockey hero and favorite son, Sidney

Crosby. As IMF shooters and producers position


themselves to capture Sidney lighting his Torch

from the one held out by the young, wheelchair-

bound Kirk Boudreau, enthusiastic fans press in

from all sides, engulfi ng the two Torchbearers and

the IMF crew at the lighted centre of a swirling

vortex of unrestrained adulation. While VANOC

vehicles cautiously advance the Relay through the

throng, Roger Williams dodges through the mael-

strom with the tape of the Torch exchange and

races it to the Mobile Media studio, parked near the

docks. Here, a crash edit is executed and the Crosby

footage is satellite up-linked within thirty minutes

to waiting news and sportscasters. And so it goes…

one day closer to Vancouver.

DECEMBER As the Torch winds its way through

populous Quebec and southwestern Ontario and

onto the prairies, the IMF crew is by now a seasoned

team, working daily in a well-oiled routine. Rising

each morning at 4:00 AM to prepare for their shoot-

ing and production day; they often edit until 2:00 AM

the next morning to fulfi ll their daily responsibilities.

One shooting team focuses on the Torchbearers and

the handoff s, while another captures the excitement

of the crowds lining the road. Th is second team also

records the vibrant community celebrations and

conducts candid interviews with participants, cap-

turing serendipitous magic moments and incredible

stories along the way. Th e still photographers rove

about, fi lling their cameras with thousands of daz-

zling images every day. Th e video editors, stills edi-

tor and data technicians begin processing material as

soon as it is received from the fi eld, working toward

the deadline for the fi rst daily satellite uplink through

SIS LIVE to Server DAM, which is scheduled to

meet the Eastern news media’s 6:00 PM broadcast

time. Sixty stills highlights, updated video features

and B-roll packages incorporating new footage shot

each afternoon are up-linked around 10:00 PM each

evening. IMF’s Mobile Media Crew works 16 - 22

hours every day, seven days a week, without a break

throughout the Relay.

JANUARY 3, 2010 (Day 66) Th under Bay Torch-

bearer Kaillie Kernaghan-Keast is a cancer survivor.

She has beaten the same kind of cancer that took

the right leg and eventually the life of Terry Fox.

Unbeknownst to her, VANOC has planned a sur-

prise by changing the length of terrain she is to run

with the Torch. As she slowly climbs to the crest of

a long hill, she catches sight of the next Torchbearer

waiting for her—in front of the monument to her

hero, Terry Fox. Neither Kaillie nor the assembled

crowd and crew can hold back the tears.

JANUARY 9 (Day 72) Many months of diplomacy

and planning by VANOC come to fruition at 4:00

PM on January 9th, when, on the road between

Brandon and Regina, the Olympic Flame creates a

bridge of brotherhood between three neighbour-

ing First Nations. Long estranged, the three com-

munities have had little contact in recent times. In

the Spirit of the Flame, Elders from the Moosomin,

Saulteaux and Cochin First Nations bless the Torch-

es of their respective, representative Torchbearers:

Cody Kahpeaysewat, Tasyonna Tipewan and Dione

Kardynalin. Th en in a ceremonious sign of unity,

the three Torch Bearers come together and, for the

only time in the Relay, three Flames merge. Th is

long-awaited mutual gesture of harmony marks a

new era of cooperation and healing between the

three Nations.

FEBRUARY 2 (Day 96) During a rare moment of re-

spite and refl ection on the sea voyage to Bella Bella,

the IMF team suddenly realizes that this is the calm-

before-the-storm. Th e hoopla and celebration they

will soon face in BC’s Lower Mainland will mark the

beginning of their home stretch. Th e Team members

have naturally come to have a certain sense of attach-

ment, even possessiveness around the entire Torch

experience, despite having already shared the Flame

with millions around the world. Now, they must face,

with decidedly mixed emotions, the imminent end

to their long and winding road together. Once in

Campbell River, their journey comes full circle.

FEBRUARY 12 (Day 106) Th e fi nal Torch sets

continued on page 28

CLOCKWISE FROM TOP LEFT: THE VANCOUVER 2010 OLYMPIC TORCH RELAY ROUTE. DAY 5 – COMMUNITY CANOE TORCHBEARER 3 PERCY WILLIAMS. DAY 75 – FLAME BLESSING IN MOOSOMIN, SASKATCHEWAN. DAY 66 – TORCH-BEARER 53 KAILIE KERNAGHAN-KEAST AND TORCHBEARER 54 DAKOTA SAGUTCH AT THE TERRY FOX MONUMENT IN THUNDER BAY, ONTARIO. DAY 20 – TORCHBEARER 186 SIDNEY CROSBY RECEIVES THE FLAME IN HALIFAX, NOVA SCOTIA.

PHOTOS CARE OF IMAGE MEDIA FARM


ON THE EVE of the 31st annual Banff Televi-

sion Festival, which has been recognizing web-

series work with Rockie Awards since 2007, there

are almost a dozen Internet-hosted shows calling

Vancouver home. Th ey range from low-budget

comedies like Th e Jim and Rise n Shine Og to the ac-

claimed science fi ction series Riese which recently

won four nominations at the Streamy Awards, the

web series equivalent of TV’s Emmys.

Since there is no broadcast license involved

and few funding options, the smaller series heav-

ily depend on volunteers and the benevolence of

equipment suppliers. Fortunately, they have been

successful in procuring both. Anita Smith, who

created the fi ve-part Og and stars as the lead char-

acter, a British immigrant with self esteem issues,

says that when she went looking for a way of fi nd-

ing work for herself, she had an idea and a lot of

support but no money.

“We rented most of the equipment from (Vancou-

ver-based) Cineworks (Independent Filmmakers So-

ciety) and our DOP had a camera that we could use.

But it was all-consuming. I would work on it from

the time I woke up until the time I went to bed. My

career as an actor became secondary to it. I would

think ‘I could go to this audition but I also have this

other huge thing on the go.’ I am really proud of the

way it came out but I was most proud that I was able

to get such an awesome cast and crew. Everyone vol-

unteered their time. Th at was the best part. We were

able to take something that was my crazy idea and,

working together, we managed to make something

we could all be proud of.”

Th e Jim’s Ryan Cowie and Nelson Carter-Leis

also found a lot of support in the production and

acting communities. Th eir series about an ex-ath-

lete who runs a gymnasium was self-funded. Th e

two men are the co-stars and executive produce

the show with Elfi na Luk.

“We have had tons of help,” says Cowie “We got

lucky in that a lot of people came on board. Our

director, Jon Morris, brought crew side and he was

affi liated with a fi lm supply company that had been

looking to shoot something. Th ey shoot commer-

cials and music videos and they wanted an episodic.

Th ey liked the material and it was great because we

had green screen and bumper shots that tied the

show together and a full crew and then we actually

developed the website ourselves with a lot of help.

From gaff er to grip it was all volunteer.”

Taryn O’Neill is working on her second web-

series, the Vancouver-shot Hurtling Th rough Space

at an Alarming Rate. Th e fi rst, After Judgment,

was nominated for six Streamy Awards. O’Neill

was a co-producer and co-star of After Judgment

and says it was inspired by Vancouver’s longest-

running web series, Tiki Bar TV, which made its

debut in 2005. O’Neill’s fi rst series told the story

of a world where no-one dies and everyone is in

search of the entrance to paradise.

“One of my partners, Michael Davies, had re-

written a feature length script into a fi ve season

web-series after becoming friends with (Tiki Bar

TV creator) Jeff MacPherson. I was aware of the

growing popularity of video podcasts and also

interested in the opportunities that the space al-

lowed for indie original content. Mike and I were

co-writing a project that had gotten too big for us

to shoot on our own (on an indie budget) so Mike

sent me the scripts for After Judgment. After read-

ing the fi rst 30 episodes in one sitting I threw my-

self into learning as much as I possibly could about

the players in the web-series world and the web as

a platform for content in general. We shot the fi rst

season three months after that.”

When they had wrapped After Judgment they took

what they had learned from it and started to work on

a second show. Hurtling Th rough Space stars Davies

and Stuart Papp as two men who realize that their

apartment has become a spacecraft. O’Neill says that

she and Davies and a third After Judgment partner,

Stephanie Th orpe, learned a lot about making a web

series from their earlier experience.

“I think the two most important things we learned

were the power of a passionate online fan base and

identifying your niche. If you have the time to build

Story by Ian Caddell

WEB CITYTwo years after the Vancouver-shot web series Sanctuary used its Internet

popularity to move to the US science fi ction channel Syfy, Vancouver has

become a leading centre for the production of webisodes. It makes sense.

Th e city has a large cast and crew talent pool, a production structure fash-

ioned by more than a quarter century of hosting and producing broadcast

television and a collaborative relationship between local fi lm and television

producers and supply companies that has always been signifi cant.


a site (and the fi nances) that fi rst introduces your

show’s ‘world’ and off ers a community platform

to bond with before its release, you have a built-in

word-of-mouth marketing system. For Hurtling,

we had less than four weeks from the time we were

green-lit to deliver the fi rst episode. Being a skeleton

crew, Michael and Stephanie and I didn’t have the

time to do the sci-fi community outreach that we

would have liked, but with the show launching on

(distributor) Babelgum, there was already a fantastic

online audience that traffi cked the site and that found

the show. We’re looking forward to re-launching the

show on a home site that really refl ects ‘the world’

and can be a place for the audience to interact.”

Th ey were also able to fi nd funding through Babel-

gum, a British internet video platform company with

offi ces in the US. Th e budget allowed them to shoot

six episodes on multiple cameras and incorporate a

number of VFX shots into each episode. “We shot

six episodes in six days,” she says. “It was a gruelling

schedule. We were shooting ten to 13 pages a day.”

Damon Vignale had been writing and directing TV

series and fi lms for several years when he decided to

look for fi nancing for a web series. Th e result is Th e

Vetala, a show about a mythological spirit who inhab-

its several people. Vignale didn’t quit his day job. He

continued to write episodes of the APTN series Mixed

Blessings but says that he wanted to get into new me-

dia and saw the opportunity with Th e Vetala. He man-

aged to fi nd private fi nancing for it and says that he is

beginning to see opportunities for fi lmmakers to make

the move to the web.

“I am really excited about this medium,” he says. “I

think we are going to see more and more of it. Th ere

are companies who are looking to partner with it and

to use the shows as part of their brand. When we start-

ed we went into it with expectations because we saw

that things were happening and that there was a move

to watching shows on mobile phones and content on

smaller screens. I think ultimately TV is going to come

to the Internet and that there will be no diff erence be-

tween a computer and TV. Th e web content creators

will be there beside the old media creators so building

content now is a good investment in the genre.”

Th ere are also an increasing number of ways to

drive traffi c to the new medium. Cowie says that

American web-series that are prospering are us-

ing social networks to bring people to their shows.

Th at in turn has encouraged web sites and soft-

ware companies like Simio Simulation to move

into the medium.

“We are following the American model and using

Twitter and MySpace and Facebook and emailing peo-

ple in order to promote the show, which is broadcast

on blip.tv using Simio software. You upload to their

site and they will set up advertising and the web site

company makes money and so does the show, based

on the number of hits and advertisers. However, you

have to get in the high hundreds of thousands of hits

before you can get any revenue. We get about 20,000

hits but there is the potential to make money.”

If there are diff erent ways of fi nancing web series,

there are an equal number of ways of getting into

the medium. Anita Smith was looking for a way of

getting exposure for her acting talents, while Th e

Jim’s producers felt that their own acting experi-

ence would be an asset to the making of their show.

Riese’s Ryan Copple and Damon Vignale had the

same mindset but needed an outlet for their writing

while Th wacker’s Geoff Richardson was an anima-

tor who liked video games and saw the web as a way

of melding the two together.

“As a writer/director I still get to exercise the

muscles and tell a story,” says Vignale. “Th ere are

just more places available for me to do that now. I

am really happy with the feedback and the reviews

have been great but it’s a lot of work to get a show

out there and build an audience. You have to be

active in forums to get bloggers to write about the

show and you have to provide things in your web-

site to make the impressions stick, and try to link

through (to social networks) and become interac-

tive within the show.”

Smith moved to Vancouver from her native Sas-

katchewan to fi nd work in 2008 after appearing on

several locally shot shows including Corner Gas

and Rabbit Fall. At an acting class she was told by

one of the students to check out a web series that

he was involved with.

“I checked out the site and I thought ‘I could do

that.’ I think I wrote the fi rst script two days later. I

thought ‘this is a good chance to show people what

I can do’ because I was having problems getting

people to see me act. So rather than telling them

to see me in a play I thought this would be a good

way of approaching it. We made all fi ve episodes

and sent it out to casting. No one has said to me

‘they are bringing you in because of the show’ yet

but I’m optimistic.”

It was also no accident that the creators of Th e

Jim are also its co-stars. Like Smith, Cowie and

Carter-Leis are actors by trade. Carter-Leis had

moved to Toronto and was spending most of his

time in auditions when Cowie asked him if he

wanted to combine talents and produce a show.

Th ey just had to come up with an idea.

“We thought ‘why don’t we do something for the

web?’ So we came up with the idea of having this

guy own a gym,” says Cowie. “We are both athletes

and you would just need one location and stories

walk in the door. We started with a boxing gym but

there are so many diff erent characters (there) and

we wanted to do a show that everyone could relate

to. We wanted to blend the humour in with the gym

but make it fun and easier to watch. All the charac-

ters have their individual idiosyncrasies. We came

up with ideas that we have seen in the gym over the

years. We knew they existed so it felt comfortable.”

Th wackers, which tells the story of two young

men who dream of playing video games for a liv-

SCENES FROM WEBISODES OF (FROM LEFT TO RIGHT) VATELLA, THE JIM AND RIESE


ing, came from the minds of Geoff

Richardson and Ryan Pears. Richard-

son says that while he himself was as

dedicated to video games as the char-

acters in the show, Pears had never

been involved in the culture. Th ey did

make one mistake. Th ey thought they

could fi nd the actors for the pilot on

Craig’s List and soon discovered that

if they were going to make the series

watchable and worth the investment

they were going to have to make the

characters more believable.

“I corrupted Ryan’s mind with

games,” says Richardson. “I took

him to the PAX Gaming Conven-

tion in Seattle which attracts about

70,000 people each year so that he

would know our market. He learned

it quickly and we felt we were ready

to shoot the pilot. We had these kids

show up but when we were fi nished

I was ashamed to put it on the web.

We revamped it and rewrote it and

got actors from agencies. We like the

shows we have now but we are wait-

ing to see what the reaction from the

gamers is before we commit money

to the next seven episodes.”

Sanctuary, which is set in a futur-

istic world in which monsters roam

the earth, became the inspiration for

Riese’s Ryan Copple. His show about

a woman hunted by a religious cult

needed to fi nd early support from

science fi ction afi cionados if it was

going to have a chance to emulate

Sanctuary’s success. He says that he

and co-producer Kalena Kiff wanted

to take it to broadcast television but

realized that, as the producers of

Sanctuary had before them, that sci

fans are just as apt to watch a web-

series as they are a television show.

“It started off with a short,” he says.

“I wrote a fun vignette of this anach-

ronistic world and I showed it to

(producer) Kalena Kiff . We decided

to take it from that concept to broad-

cast television. We went through the

usual process and made a bible of the

show. Th en, when it came time to

shoot it we thought ‘science fi ction

fans live on line, so why not take it

directly to them.’ Sanctuary was the

model for that because it was before

its time. I mean, it was out before

YouTube was popular! So we felt we

had options. We could keep making

web shows and have complete con-

trol of the creative, or we could even-

tually go to television. Th e fi nancing

wasn’t the hardest part. Once we laid

out the model people bought into it.

I think maintenance is tough because

it becomes all consuming. It requires

being connected and creating a com-

munity. Generally, when you have

a web series you can’t aff ord a huge

staff . We take on a lot of roles and

learn 100 things a day.”

Vignale wants to go where most

web-series have yet to venture. He

says that once a series fi nds an audi-

ence on the web, it has the potential

to follow the route taken by broad-

cast shows and movies. “Some of the

things I am currently in talks about

include having the series play in some

fashion on television. Equally impor-

tant is an eventual move to fi lms, to

gaming, and perhaps a graphic novel.

I think the web is just creating new

opportunities for content creators to

reach a broader audience.”

O’Neill says that greater oppor-

tunities will occur if respect comes

from advertisers. Th at would come

with an increase in both the quality of

web shows and their audience. “Th ere

are a number of web-series out there

that are fantastic,” says O’Neill, “both

in the look and quality of storytelling.

Some of the series are more high-end

than others because they have either

brand sponsors or studio fi nancing

behind them. But the more strong

shows there are that get high viewing

numbers the better it is for everyone

who wants to get involved.”

“We are following the American model and using Twitter and MySpace and Facebook and emailing people in order to promote the show...”

- The Jim’s Ryan Cowie on using social networks to promote their web series

FOR ALL YOUR TRANSPORTATION NEEDSIN WESTERN CANADA CALL

604-668-7233


SG-1 and Paycheck and picking up

both paycheques at 4 pm on Th urs-

days; getting ringside seats in Vegas

for championship fi ghts with Michael

Greenburg and his brother Ross, the

president of HBO Sports, and fl ying

all over the world appearing at Star-

gate conventions. I even had an op-

portunity to dust off bits from the old

stand-up routine to entertain the sci-

ence fi ction freaks. But no props.

I’m presently starting my fi fth

season as the Stunt Coordinator on

Psych. I now watch Hockey Night in

Canada on a fl at screen with 400

channels in HD! (No more going up

on the roof unless it’s to do a high fall

with lots and lots of pads.)

Beginnings continued from page 11LEGAL BRIEFS

Music can be the element that turns

a good movie into a great movie.

However, music can often be the

trickiest part of clearing rights for a

production. Whether you are pro-

ducing a low-budget documentary, a

sitcom, or a theatrical fi lm, there will

likely be at least one piece of music

that fi ts perfectly. Unfortunately,

it is usually a piece of music that is

well-known and hard to get. Make

sure you are aware of the basic issues

involved in acquiring music rights

before you fi nish the production

or hang your hopes on a particular

song; otherwise, you could be facing

disappointment or even a lawsuit.

Generally speaking, unless you

have hired a composer to create mu-

sic specifi cally for your production,

music cannot be used unless you

obtain at least two licenses. First of

all, you will require a “Master Use”

license. Th is will be licensed to you

by the owner of a particular record-

ing (or master) of the song you have

in mind. Usually this will be the com-

poser or the composer’s record label.

Second, you will require a “Synch”

license. Th is license will come from

the publisher of the music, and gives

you the right to use the actual musical

composition (i.e. music and lyrics) in

synchronization with your produc-

tion. Where a composer has retained

publishing rights to their music, they

will generally assign their publishing

rights to a publishing house, so you

will have to track down the publisher

or publishers who handle the music

written.

Each song may, however, require

you to deal with multiple parties,

and can include the composer, the

performer, the record producer,

the record label, the publisher, and,

if a soundtrack is being produced,

the record company releasing the

soundtrack. Th e rights in and to a

musical work or recording could

potentially have multiple owners,

each of whom must agree to grant

the necessary rights before the music

can be included in your production.

Producers, especially of docu-

mentary fi lms, can fi nd themselves

in situations where a subject of a

documentary or a cast member just

starts singing a few bars of a well-

known song. Although it is often

assumed that this music doesn’t

need to be cleared, since it is not the

original artist, nor is the whole song

being sung, it is important for fi lm-

makers to understand that the music

still needs to be properly licensed.

You wouldn’t have to worry about a

master use license because it’s your

own recording, but you still require

a performance release from the per-

son singing the song, and a synchro-

nization license from the publisher

for the use of the actual song. De-

spite the popular misconceptions

out there, you will need licenses for

all music that can be heard in a fi lm,

with only a couple of exceptions.

Th ese include: incidental inclusion;

music in the public domain; and mu-

sic owned by the producer.

Incidental inclusion is a very nar-

row exclusion under the Copyright

Act that allows for the incidental and

not deliberate inclusion of one work

in another work. Th is does not, how-

ever, necessarily protect you against a

claim where you can hear background

music or where you have included

only small excerpts of musical com-

positions. Music in the public domain

consists of music that is not “owned”

by anyone (i.e. the copyright has ex-

pired, or the songs never had a copy-

right owner), and music owned by the

producer consists of music specifi cal-

ly commissioned by or created by the

producer for use in the fi lm.

It is important to note that these

exclusions are narrow, and caution

should be exercised when relying on

an exclusion to include music in your

fi lm. When in doubt, consult your

favourite entertainment lawyer.

Lori Massini’s practice focuses on

the entertainment industry, assisting

clients with all aspects of entertain-

ment law from drafting agreements

and negotiating the hiring of actors,

writers, and directors to advising

musicians and recording artists.

Lori is actively involved in the arts,

and is an accomplished dancer and

musician.

Music crucial to movies but licensing can be complicated

ablaze the cauldron at the Aboriginal

Pavilion of the Four Host First Nations,

and IMF’s coverage of the Torch Relay

comes to an end. In this culminating

moment, members of both the IMF

and VANOC Torch Relay Organizing

Teams, who during their time together

have come to see each other as a band

of brothers and sisters, realize that they

will not be greeting each other the next

morning. Tomorrow will not be “busi-

ness as usual.” It is a diffi cult moment,

one that every production inevitably

faces. Th e project and their time to-

gether is over.

During the Canadian journey

of the Olympic Torch, IMF gener-

ated over 1.2 million digital still im-

ages and over 800 hours of HD video,

capturing the participation of every

single Torchbearer. Th e commemora-

tive publication, A Path of Northern

Lights: Th e Story of the Vancouver

2010 Olympic Torch Relay is de-

signed around and assembled from

IMF images, while the Event is still

unfolding. It is published on Febru-

ary 18th; just six days after the Winter

Games begin.

MARCH While the successful 2010

Olympic Winter Games is folding

its tent and the athletes of the world

are beginning to turn their attention

to 2014 in Soichi, Russia, IMF is fl y-

ing east to document the 2010 Para-

lympic Winter Games Torch Relay, a

dramatically smaller event compared

to the long trek of the Olympic Torch.

Organized around concentrated

community celebrations, this Torch

Relay begins on March 3rd in Ottawa

and over the next 10 days visits Que-

bec City, Toronto, Esquimalt and Vic-

toria, Squamish, Whistler, Lytton and

Hope, and fi nally tours throughout

Greater Vancouver. Two IMF crews

comprised of a videographer, still

photographer, editor and producer,

leap-frog each other as they travel

west covering the celebrations on al-

ternate days.

Celebrating the vision of bring-

ing all Canadians together set out by

Furlong before the beginning of the

Relays, the Paralympic Torch Re-

lay refl ects the diversity that makes

Canada what it is. For instance, the

Torch is lit each day by representa-

tives of Canada’s Aboriginal peoples.

For instance, in Ottawa, the Paralym-

pic Games Cauldron on Parliament

Hill is ignited from the fi re lit by the

Algonquins of Pikwàkanagàn and

Kitigan Zibi Anishina. And the fi rst

thirteen Torchbearers in the Capital

represent all of Canada’s provinces

and territories. Subsequently, Com-

munity Torchbearers are designated

in diff erent communities each day,

the biggest of which sees 250 Torch-

bearers participate in the Relay. On

the fi nal day in Vancouver, a 24-hour

Relay that begins in Robson Square fi -

nally carries the Torch to BC Place for

the Opening Ceremonies of the Para-

lympic Winter Games to showcase

yet again Canada’s immense strength

in diversity.

EPILOGUE Perhaps the most objec-

tive measure of the impact of IMF’s

work in chronicling the Torch Relays

is revealed by the records of Server

DAM, which show that the global

media accessed over 357,000 online

previews of videos and stills during the

116 days of the Relays and, as a result,

initiated over 17,860 downloads for

newspapers, television, radio and news

media forums. But, the true legacy of

the 2010 Torch Relays may ultimately

be unquantifi able. In the end, the most

profound eff ects of the Flame may well

be felt in the deep and private hearts

of those touched by the Torch Relays,

their vision and their ultimate legacy.

As IMF executive producer Roger Wil-

liams asserts: “Every member of our

teams agrees on what a deeply gratify-

ing and intensely rewarding personal

experience it has been to contribute to

the success of a global event that has

left such a lasting impression on so

many Canadians. Tempered in a cru-

cible of fi re, we have come of age as a

national broadcast production partner

and look forward to doing so many

more great things.”

Torch continued from page 23

JOIN HOLLYWOOD’SPROFESSIONALS IN

2010June 4-5, Expo and Premier SeminarsJune 3-5, The Film Series & CompetitionJune 6, Master Class Seminars

The Studios at Paramount, Hollywood, CA

phone: 310.472.0809 fax: 310.471.8973 email: [email protected]


Year of the BlockbusterFinal numbers from the BC govern-

ment show that the fi lm and televi-

sion industry worked on less produc-

tions but increased revenues by more

than $100 million. Th e fi nal total of

$1.3 billion that the provincial gov-

ernment announced in March includ-

ed 239 productions. Th e breakdown

was 84 foreign productions with 37

feature fi lms, 14 television series, 24

television projects and nine animated

series or projects. Th ere were 155

domestic productions including 19

feature fi lms, 34 television series, 90

television projects and 12 animated

series or projects.

A spokesperson said that the in-

crease came from foreign feature fi lm

production. He said that while there

were 260 productions in 2008, the

total of 2009 expenditures was $640

million, an increase of $200 million

over 2008. Features shot in 2009 in-

cluded the big budget movies Th e

A-Team, Tron 2, Twilight Saga: New

Moon and Eclipse, Percy Jackson and

the Olympians and Sucker Punch.

Th e government announced

that 2009 also saw the Services Tax

Credit on labour costs for foreign

productions increase to 33 per cent

from 25 per cent, the Digital Anima-

tion or Visual Eff ects tax credit bo-

nus increased to 17.5 per cent from

15 per cent and the cap on qualifi ed

B.C. labour expenditures increase to

60 per cent from 48 per cent of pro-

duction costs.

Manitoba Hits HeightsManitoba recently announced it has

introduced a new tax credit that will

give producers the option to take ei-

ther a 30% tax credit on all eligible lo-

cal expenditures, including labour, or

use the existing 65% labour tax credit.

According to Carole Vivier, the

CEO of Manitoba Film and Sound, the

option will be available for productions

that start principal photography after

March 2010. In addition to the intro-

duction of Manitoba’s new tax credit

which she says, is the highest “all-

spend” credit in Canada, the province

also renewed the existing labour credit

which was set to expire March 1, 2011

for another three years.

“Manitoba was the fi rst in Canada

to introduce a Frequent Filming Bo-

nus, along with a labour tax credit

that is the best in Canada,” said Vivier.

“As the world’s economic situation

continues to shift; we have to be read-

ily competitive with other jurisdic-

tions that have amended or added

all-spend incentives. As proven in the

past, this new spend incentive will

stimulate further growth in Manito-

ba’s fi lm industry and infrastructure.

With this increase, the provincial gov-

ernment has demonstrated that the

fi lm and television sectors are worth

continued investment. We are very

excited of what’s to come as a result

and very thankful for the continued

support from the province.”

According to Tara Walker, the ex-

ecutive director of On Screen Mani-

toba, the industry contributed $365

million to the province’s economy

from 2003/04 to 2007/08.

Yorkton Announces Jury Th e Yorkton Film Festival recently

announced the makeup of its 2010

Golden Sheaf Awards adjudication

jury. Th e 13 jurors will preside over

the awards selection for fi lms in offi -

cial competition, deciding the nomi-

nees and winners in 21 genre and

three craft categories and the recipi-

ents of four special awards.

Western Canadians include Win-

nipeg’s Jeff Newman, Regina’s Mark

Bardley Edmonton’s Eva Colmers,

Saskatoon’s Mike Gossedin, Van-

couver’s Anita Adams, Ileana Pi-

etrobruno and Charles Wilkinson

and Calgary’s Brent Kawchuk

Th e remaining members are

Halifax’s Kent Nason, Montreal’s

Germaine Ying Gee Wong and To-

ronto’s Donna Dudinsky, Hillary

Armstrong and Alberta Nokes.

Th e Festival, which celebrates its

63rd year, is the longest running fi lm

festival in North America. It runs

from May 27-30.

FINAL EDITTW

ILIG

HT

SA

GA

: NEW

MO

ON

Announcements and AppointmentsVancouver fi lmmaker Vic Sarin was recently honoured with the Kodak New Century Award. He was chosen by his

peers at the Canadian Society of Cinematographers to receive the award at the 2009 CSC Awards Celebration in

Toronto on March 27. Sarin’s latest fi lm, A Shine of Rainbows premiered April 9… SCN, the Saskatchewan Commu-

nications Network, has been shut down after 20 years. SCN’s assets will be transferred to SaskTel this spring, with

the SCN Corporation expected, at press time, to cease broadcast operations by May… Susan Millican, the CEO of

the National Screen Institute - Canada (NSI) since 2002, recently advised the organization’s board of directors of her

intention to step down from the position. Th e NSI said Millican will remain CEO until a committee completes a na-

tional search for her successor…Th e 2010 edition of the Vancouver Short Film Festival will run from October 28-29,

2010 at the VIFC Vancity Th eatre. It will feature shorts by students, professional fi lmmakers, award-winning inter-

national fi lms, an industry panel, and a showcase of the best fi ve years of the festival. Accepted are fi lms by post-

secondary students and professional fi lmmakers from across BC. Films must be under 15 minutes, including credits.

Th e deadline is Sunday, August 1, 6:00pm. For further information contact www.vsff .com/Docs/vsff 2010faqs.pdf

ONFILMDAV I D M OX N E S S , c s c

“As a boy, I saw film as an opportunity to explore and escape into my own world. In many ways, film has become a part of me. It offers the ability to create emotion and a feeling of escape. Film can be so complex, and yet so simple; it can be soft and subtle, or hard and dark. That versatility is important. On a recent episode of Fringe, we used an old adapted Mitchell camera in which the film actually wanders loose through the gate, creating a blurred imaged. We are using a camera from many years ago and combining it with the latest post technology for a modern television show with lots of production value. I think that’s wonderful! You couldn’t do that with some of the newer technologies. Film is also archival and very valuable to us as history. I can still go to my parents’ basement and dig out the 8 mm movies I made as a kid, and they are going to be pretty much just as they were when we first shot them.”

David Moxness, CSC was born in Jasper, Alberta, and raised in a small town in British Columbia. When he was still a teenager, a stop-motion film he made with friends won first prize at the British Col-umbia Student Film Festival. He studied theater and film at Brock University in St. Catharines, Ontario, and started as a production assistant at a commercial house. He became a gaffer for Rene Ohashi, ASC, CSC and eventually earned his first narrative credit as a director of photography on the television series Earth: Final Conflict. His credits include the feature film Alien Trespass, and the television productions Witchblade, Veritas: The Quest, Tru Calling, Reunion, The Listener and Fringe. He was nominated for a CSC Award for his work on the series Kevin Hill and Smallville, and a Gemini for his work on Earth: Final Conflict. He won an ASC Award for Smallville in 2006.

For an extended interview with David Moxness, visit www.kodak.com/go/onfilm.

To order Kodak motion picture film, call (800) 621 - FILM (3456). www.kodak.ca © Kodak Canada Inc., 2010.

May June 2010

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