, • N A I o N A L c I N E M A •

Norman Jewison and Canada's new generation of filmmakers

During the cultural exodus abroad of the late '50s, the departure ofsome of the brightestfilmmakers from Canada was, in part, responsible for the various pieces of legislation that make up Canadian film pOlicy tOday. When the Ted Kotcheffs, Norman jewisons, Arthur Hillers, Sylvio Narizzanos and Sydney Newmans left, it was feared that Canada's talent would naturally continue to move away unless a vigorous, supportive and creative climate was developed. Twenty-five years later, after the creation of the Canadian Film Develop­ ment Corporation which became Telefilm, after the capital-cost allowance and the introduction ofpay -Tv, after the coproduction treaties and the coven­ ture permissions, young Canadian filmmakers are still concerned that the cli­ mate in which they work is as forbidding as ever Filmmaker Bruce McDonald, who drives a cab for a living and chauffeured Norman jewison during the Toron to production ofAgnes of God, is one of the­ se young, concerned filmmakers. Below, as Agnes has its world-premiere at the Montreal World Film Festival, he writes to jewison, asking just what it takes before he and others of the new generation can get on with the business of makingfilms. Once a Toronto cabbie in his own right,jewison was different from the other emigres. In the early 70s, he was part of the Canadianfilm lobby. In 1976ata meeting with Toronto's mayor along with other film nationalists that inclu­ ded Peter Pearson and producer Bill Marshall, jewison, the spOkesman, gave an impassioned speech in support of quotas and levies on Us. films in Cana­ da. If tOday jewison, with his years of experience, 26 Oscars and Canadian­ based projects, no longer sees the need for quotas and levies, it is because he feels that things have gotten better over the years for Canadian filmmakers. He points to the ownership of Odeon which is now in Canadian hands, and the seed money that is available through Telefilm. Seven years ago, jewison moved back to Canada, and now lives on a f arrn near Toronto. He has remained involved in the pOlitics of the Canadian situa­ tion. Twice he arranged for successive Canadian ministers to meet with jack Valenti of the Motion Picture Association of America to hammer out elements ofa film policy. In 1981, in a letter to the CRTC about the introduction ofpay­ Tv, he commented, '7 understand that over half the films made last year haue not yet receiued distribution. This has been not only a shocking waste of investors' capital but has discouraged further development of man)' talented young Canadians. The Canadian feature film industry tOday, perhaps, has the talent but not yet the vision. " jewison has often been perceived as one who had vision. It was because youngfilmmakers like Bruce McDonald turned tOjell'isonfor l'ision that the following eXChange, editedfrom an interview withjewison by Cinema Cana­ da editor Connie Tadros, took place.

September 1985 - Cinema CanadaJ9 , • N A I o N A L c I N E M A •

Dear Normanl What is to be done?

by Bruce McDonald

hen I got the j~)b as your driver, were no smiles at your farm that morning, ish too, surrounded by all those jelly­ knew that you knew that you had won during the shooting of Agnes of God and later, back home on College St., things donuts. It was nice the joke was shared, them over. WI thought myself very luck")" yet I were not much better, as Rob, returning because the laughter helped clear away the Lesser directors and producers seem to soon realized that the responsibility of home from whatever debauchery had fil­ pillars and Cecil D. De Mille. In retrospect, be in the business out of an adolescent making this simple twist of fate work out led his last three days_ stumbled into the I think it was your dogs l1arnaby and l1ar­ need to wield power for its own sake, to properly was mine, and mine alone. My large snowdrift in the upstairs hall. rington that kept me grounded enough to make themselves feel important by con­ imagination took off into the stratosphere Anyway, just thOUght I'd drop you a line relate to all of the cinematic mythology. trolling others. However, I sec you operate because of who 1 would be working with to keep in touch. I know it's been a few Seeing this organization at work; the in a way where you instill a sense of pride on this film, but the bottom-line was that I months, but I'd like to thank you again for precision and dedication of the crew; wat­ and importance in everyone who works had to get you to the set on-time, and all your kindness on Agnes and for allowing ching you move and be moved by it was with you, from the actors to the grips and anything less clearly meant losing the trust me to share in the making of the film. (can't find a better word) very moving, as even to the (toot, toot) drivers. I haven't that you and these awe-inspiring people Agnes was an incredible eye-opening well as great education. During the takes it worked on too many big features, but the had invested in me; and it also meant losing experience for me in many respects, and I was magical to see this odd collection of sense that I got from some of the hard-core the job if I was late. am honoured to have had you as my gUide, professional gypsies simmer to a hush, veterans was that we were all involved in It takes exactly 47 minutes to get from storyteller and mentor. The hardest thing while the director and actors passed their something pretty special and out of that my place to your kitchen-door. but. of to get over initially was being 'just a driver' secrets, them giving so much and you 'united we stand, divided we fall ' attitude course, that is under optimum conditions: and being the bottom-guy on the ladder embracing those gifts with compassion, that you nurtured, everyone was willing to no traffic, clear roads, foot to the floor, a again, knOCking about with people who control and heartfelt appreciation. Stand­ give that little bit extra. I guess that is what backbeat on the radio and a cup of steely were the very best in their field: Ken (Dr. ing in the shade of the Arriflex, you I came to appreciate most. black Java to sharpen reaction time after Strangelove, Ban)' Lyndon. James Bond) mirrored the same emotional struggles I'm glad you decided to stay at your farm only a few hours of sleep. I might also aclcl Acbms; Meg (The Big Chill) Tilly; Dick (.4. your actors were going through in the soft rather than the nearby Holiday Inn or your that this critical 47 minutes includes Soldier'S StOl),) Reseigne; Ralph (111 the bounce of Sven's light, yet you were right friend's Mill House, because that gave me picking up The GloiJe & Mail and the time Heat of the Night, Little Big Man, The there to catch them as soon as the take was 45 minutes to an hour each night to ask it takes me to find the keys to the Capri. COl1l'ersatiol1, GodfatherII. 2(10) Girling; over. It finally hit home to me that in order questions, listen to stories and talk politiCS There were more close calls than you Bonnie (Best Friends, A Soldier's Story>) for a director to genuinely give the actors but, of course, that depended on how know about, and the most vivid in my mind PaId-Woolf; Tony (Tomjol1es, Fiddler 011 what they need, to gain their trust, he must many shaken travellers we had to rescue was the time I snapped to consciousness the Roo/. Dune) Gibbs; Richard (The Ter­ clearly define his role in that relationship on the icy backroads of Caledon. Do you just under the 47-minute limit, where eve­ minator, Louestreams) Lightstone; Paul and it must be intrinsic to them both. remember the Volvo that spun out in front ry second ticking by became a few hun­ (.4.madelts) Leblanc; Patrick (everything) I t was fascinating to see you begin to win of us and flipped upside down into the dred yards lost on that fragile trajectory Palmer; and on and on through living them over, each in a different way; with ditch? It was only my second day on the from my place in downtown Toronto to movie- hiStory. Meg, (Tilly), you became her understand­ job. This sudden jolt of reality did clear me your place in the county. Dressing myself, Over time, I figured that the best way to ing father; with Anne (l1ancroft), you got of the one and only real fear I had before running at a full gallop along College St., I communicate with these cinematic along famously as her wise-guy, soul starting on the shoot: "Renowned Film realized that I'd locked the damn keys to legends was to listen, ask questions and brother; but Jane (Fonda) was a little more Director Dies in Car Crash; Punk Driver the Capri in my apartment, along with keys whenever the banalities of everyday life difficult. It looked to me like you set the Survives Unscathed." It would have been a to my apartment. Knowing that, at 6:30 in were dealt with, try to throw in my two stage to play her long-lost boyfriend, trying little hard to explain to our fellow cab-dri­ the morning, Nick the slumlord was not cents' worth about where to find the best to rekindle the shared passion she had cho­ vers, because, after all, you arc one of the going to be too keen on coming across the goulash in town, or offer home-grown sen to sacrifice for her professional life of rare drivers that made it. roof to open up for one of his frothing solutions on how to beat the cold, It unner­ serious business. You cursed at their games I've always been a pretty good listener tenants, and Rob. my roommate, had not ved me at first, when I heard d,o.p. Sven and facades, twinkled at the little victories, and you're a great talker so I wasn't about be seen for several days, I was left to my Nyk-vist talk, because I had always expec­ and chuckled at the easy success of your to stop you when you were on a roll. I instincts. Scaling the back fire-escape, I ted him to sound like John Simon writes in bag of tricks. could hear the real scoop on Hal Ashby's managed to swing over and kick in my Bergman Directs. So when he told the sto­ It was between rehearsals of one of the editing binges; manoeuvering McQueen bedroom window, climb in, scoop the keys ries, in his shy way, about his brother the Steadicam shots that the moment of truth and Dunaway in The Thomas Crown ancl race back to the street, leaving an ugly doctor discovering strange microscopiC finally came. You had just come upstairs Affair; Pacino's addiction to infinite takes; bloom of shattered glass and a thunder­ animals thilt only lived on the skins of peo­ after going through the scene again, and sat the early days at the Cl1C; the wired crazi­ head of snowclouds approaching omi­ ple who lived together, I laughed; we all down beside Sven, in front of the video ness of live television at NnC; the difIcr<.-n­ nously from the west. laughed because Sven was so amazed by it feed. Steadiman Dave Crone and the actors ce in acting technique between Doris Day I came to truly appreciate the power and all, so befuddled, yet so sincere. The jolt were downstairs preparing for the next and Rod Steiger; your involvement with the traction of the eight-cylinder wagon from god-status to human was always so take, and suddenly the radio mikes blosso­ 110bby Kennedy and the Civil Rights Move­ that morning, screaming up the Gore Road, unexpected, like the time I backed into med into an innocent eavesdropping devi­ ment; the 'unusual' recording sessions on passing the more cautious demons who this lady in the craft services' room, the ce. You were sitting there with the headset Superstar; dinner conversations with Tru­ were slowing up for the drifting snow and first day of shooting. We both turned on and obviously couldn't help but hear deau and Lalonde; bizarre accounts of the treacherous patches of black ice. There around and she stuck out her hand and Jane and Anne, who were whispering English and their dogs; what makes a good said, "Hi, I'm Jane." Feeling a little foolish secrets to each other like two chatty red wine; Rollerball, and the exchanges for having to quickly switch my raisin toast schoolgirls: "Well, do you think he's got it?" with Sly onF.IS. T.; Tony Curtis leadingyou Toronto filmmaker Bruce McDonald and cheese-whiz from my right hand to my "What?" ''You know, a vision" (pause). around by the hand, on your first clay as drives a cab for a living as Norman left in order to return the greeting, I did "Yes," "Oh, I think so too_" You turned to director on a film set; the hardships and Jewison once did_ notice that Jane Foncla looked a little sheep- Sven with that impish grin of yours and I ultimate acclaim at getting A Soldier's Sto-

10/Cinema Canada - September 1985 N A I N E M A • 1)'• to the screen; the politics at Columbia, and on and on. And on and on we would slowly drive up the winding road to the farmhouse, the snow falling thick and quiet, while Damon Runyon's wise guys played on the radio. After seeing you in with Barnaby and Barrington. I began the long leisurely drive back to the city, replaying our conversation in my mind but this time coming up with lots of witty remarks and insights of sheer brilliance. On a much smaller scale, I think I can rclate to a lot of the things that you talked about over those many nights, and if you' II allow me to be so bold. that's the other point to writing you this letter. I'd like to tell you a little bit about the world I make films in; who we are; why we, as a filmmaking community, connect, and the struggles we face with identifying our­ selves. Toronto independent film is begin­ ning to dance, yet I start to tread on shak1' ground the minute I attempt to define just what it is that makes our particular collec­ tion of filmmakers a group. A lot of us have had our formal training in film-schools (Ryerson, in particular) and having been out for a few years, we have managed to support ourselves in the industry by working as editors, Cinematographers, production managers, assistant this-and­ that, or on staff at various production hou­ ses in the City. What makes us still vital is that we are continuing to produce our own films; drawing on the money we make from our jobs; the late night freebies from the production houses, courtesy of the goodwill of some of the veteran staffers; sporadic arts grants; post-production assis­ tance from the NFll; and the intense loyalty generated by this network of friends and cohorts. Stylistically, we range from the lyrical, somewhat perverse, mysticism of Peter Mettler'S Scissere and Henry Jesionka's surviving the ordeal. After long months in working for someone else; some are having Stay with me Norman, I'll get there yet. Resurrected Fields to the straight-ahead the cutting room I'm beginning to see that difficulty justifying their involvement in Meanwhile. Canadian filmmakers are documentation of untouchable subjects as proficiency or confidence in just one schlock/rock videos and prefer to cut still faced with that infantile double-nega­ seen in Dale and Cole's Hookers On Davie aspect of the production may expand tho­ themselves off from those who question tive; a system that is hesitant, if not resis­ and Ron Mann'sPoetfJ' in Motion. se particular creative parameters to com­ their motivations and aspirations; some are tant, in its support for artists. and a cultural There is a growing political conscious­ pensate for the lack of attention in the finding it hard, after a hard day's work. to identity as nebulous and elusive as the ness in the group most apparent in some other areas. But next time around I would put in the occasional all- nighter. to consis­ American Goliath is overwhelming. The recent works such as Gomes and Kolum­ prefer to hook up with someone who uses tently miss the fringe parties and the once­ constant difficulties of production and dis­ par's Downside Adjustments, Luis Garcia's their typewriter the way I use a Steenbeck. only events that can be such a tease. Others tribution can be worked on at a practical The Earth Eater, Janis Lundman's Los Am­ I don't know about Hollywood, but inay­ are disappearing out of utter frustration at level, through whatever means necessary. dos and Judith Doyle's Eye of the Mask. be you can remember your first days dri­ having years of work slip by unnoticed and with tips from the Germans, Australians The flip side of the social platter is exposed ving a cab: going out on the streets the first unseen. The group is vital, yet also fragile and others, but the latter element is going in Jeremy Podeswa's Neon and in Amnon couple of nights, Pearly's street elirectory enough to dissolve unless an urgency of to require some serious soul-searching. I3uchbinder's Oroboros which takes us on clutched in one hand. radio in the other purpose is maintained. There is no douht Some have offered that it is that very search the mythical journey of the modern-day and a coffee between the knees, trying to in my mind that these filmmakers are wil­ that comprises the Canadian experience. hero. book a position or grab a run amidst all the ling to make the necessary sacrifices in hut I feel that the quest. whatevL[, has got All of these films invest well in the libe­ static-chopped chatter, getting lost at the ord<:T to continue with their work, but to lead us someplace. and if that takes us ration of the cinematic form, but none so same time and finally pulling into the gara­ how do you fight the pathetic apathy ofthe right back to the heginning. at least we explosively as Adrienne Mitchell's Pots­ ge after twelve hours of crazed weasels in all-consuming television junkie' Convert knowwe've been someplace anel returned. dammer Platz. Even films that fall within your brain only to discover that you owe him with more of the same' Not a chance. The Germans have the Second World War the most classical narrative construction, them ten bucks. But after putting in some We need to get our work shown. The· to thank for their cinematic angst, but w ho such as Patricia Simms' Freezer BUrIl, Patri­ time. you find that you're beginning to solution is that simple. It is only by public do we have to thank for our very own cia Rozema's Passion and Atom Egoyan's cruise, plotting outrageous shortcuts of and critical response that we can even cultural vacuum and resultant identity cri­ Next of Kin, use direct references to the your own, knowing how to play the mood hegin to see our strengths and shortcom­ sis? My bet is that it's someone who likes to medium as essential metaphors in their of the dispatcher. anel enjoying the conver­ ings, and then, to act accordingly. The pro­ twang 'Ain't that America' a lot. stories, with curious and delightfully effec­ sations of all kinds of straights and freaks. fessional execution of these films has llut as I thumb through my Pearlys. I see tive results. Instincts take over from experience and improved dramatically over the past two that filmmakers in Canada have a strong Shooting schedules range from a few you can stick the Pearlys uneler the seat years, as we all begin to hone the skill s and cinematic tradition in social documenta- weeks, with Colin I3runton's A Trip with the tire iron, enjoy the ride. and make crafts we do best. Yet the public still has no . ries, the landscapes of our country, the Around Lake Ontario, to a few years as some cash to boot. Only experience will idea that there is a fresh, raw alternative. landscapes of our chosen medium. and in With Robert Shoub's Snou'screen. As far as help us make our way. We must convince a culture that is American movies. A closer look :It these methods of production go, we all get We are all working on our next films, mainlining on Dallas and Ooncaster Medi­ four guiding dements reveals. in my eyes. through it with varying degrees offear and each in different stages of production. and cal commercials that our films (perhaps that network news and its Pravda contem­ loathing, but aiming, always aiming. for I can begin to feel something very good not as slick anel polished as their favorite poraries have easily usurped the NFl3I happening. Even thOUgh we do not share a efficient profeSSionalism. This efficiency is cartoons) need not he seen as a terrifying Grierson initiative of the documentary as a often dictated by our lack of funds and singular ideology insofar as method, style' withdrawal from prime-time, hut as hrid­ social antenna; the barren comfort o-f our or content are concerned, we do share an limited shooting schedules and the film­ ges to discovering the rhythms of their landscapes is being challenged hy the exit­ intense dedication to our work. a very makers often find themselves trying to cut own particular heartbeats. We have learn­ ing influx of people from cultures all over the entire pie. As young individuals, we arc potent communal spirit and a desire to ed to crawl, and now. tottering on our the worlel. The explorations into the essen­ usually tuned to a particular area, whether communicate our personal, cinematic and feet, we are wondering which directions ce of the medium itself. charted hy Snow. it be editing, writing, shooting or produ­ social concerns beyond the realm of our we should take and which connections we McL'Iren. Elder anel others, have tu;ned the cing, and we bring this skill to the produc­ immediate support systems. This is tre­ should cut. It is 1985 and this group of film­ 24 fps inside out, and their discoveries arc tion, relying on it, at the expense of the mendously encouraging. makers is determined to express their internationally acclaimed and heatedly other areas. My own film, Knock! Knock! But we are reaching a critical turning personal, social and cinematic identities discussed - el'efJ'wbere but here. The CllC is one of the best examples of the shoot­ point. Some of us are realizing just how within the flaccid holding-pattern of the should at least make a token gesture and first-and ask-questions-later-method, yet much money can be made in film by popular media. have llruce Elder direct an episode of The

September 1985 - Cinema CanadaJ11 N A T I o N A L c I N E M A •

Beachcombers. With his salary Bruce at all. Some have never returned. but I've called "America's Telescreens" in the April tbere watching you-not because there could finance his next three films and Bru­ heard criL'S and whispers that they arc alive '85 issue of Harpers' magazine explains, is isn't a lJigBrother, because Big Brother no would be a smash at the llerlin Film Fes­ and well and living in Canada's fifth largest quite frightening; isyou- watching. tival. city, Los Angeles. We are, strangely. refu­ The fourth, and surely the most populist gees in our own country; so why feel the Thus, even as its programs push the of the influenc<."S on us, is our love 'of Ame­ restraints of a right and a wrong way to jargon of 'honesty' and tolerance, for­ Still with me, Norman? rican movies. No one can film better musi­ make a film? We might as well do it our ever counselling you to 'be yourself,' I hope so, because to me you have been cals, can choreograph the action of a chase, way, steal what we want from the four IV shames you ruthlessly for every' an education, a point of clear focus and build suspense, or concoct the most outra­ tombs of our cinematic tradition, patch symptom ofresidual morality, w;ging most important. an inspiration as a man geous heroes from the common-man than them together with the tools we arc be· you to tllm yourself into an object and as an artist. You continue to make films the Americans. But that spirit today seems coming quite handy with, backed up by whol(v inoffensive, lIseful and adulte­ that you believe in, that speak to us to be dead too, having eliminated the indi­ our shared experience and then run with rated, a,product of, and for other pro­ through characters caught in dilemmas vidual from both sides of the camera, and them, kicking and screaming. After all, it's ducts. Wbile Winston Smith is forced essential to our own lives, balancing the grinding out pimply spectacles in two sha­ life during wartime, and the films will only to watch himself in literal self-defence, cinematic stylishness of Sliperstar with a des, cartoon flesh and space-opera pale. get better as long as we can remember our trying to keep bis individuality a bard­ point-blank shot between the eyes in .-l. Where bave you gone, Mrs. Robinson) own history. Uecause, as we all know, the WO/1 secret, we bave been forced to Soldier's Stor),. You still like to think of The Toronto independents have watch­ struggle against power is coincidental with u'atcb ollrselves, lest u'e del'e/op selves yourself as a punk from the shadier side of ed the souring of their influences with bit­ the struggle against forgetting. too bard and secretive for tbe open the street, giving the big boys a good run terness and remorse. \\fe are angered at the Which reminds me, we've got a poten­ market. III A.merica, tbere is no need for the money. You know, better than cultural band·aids the government promo· tial audience to contend with. Ueing film­ for an o1:Jjectil'e apparatus of sUI"IJeil­ most. Fascists can't dance. tes with such nearsighted pride, in their makers. we must realize that if we are to lance (wllic/J is not to say tllat none I appreciate you taking the time from feeble attempt to maintain the facade c.1l· progress in our work, we must make a exists) because, gllided by IV; we your busy schedule to listen to my shy side Jed the Canadian Film Industry. Making the concentrated effort to understand who we watcb o/lrsel/les as if already telel'ised, of the conversation. and I hope some of it best of all they offer, we take part in the arts are talking to. and make an effort to estab­ checking ourselves both inu,ardZl' and makes sense to YOU. All my best to your council's semi-annual lottery, but, win or lish a dialogue that will fire our imagina­ outwardly for allY sign of IIntidiness family. and give ~ big hello to I3arnab): ami lose. it is only a fraction of a more holistic tions and resuscitate the heartbeats of the of gloom, moment by moment, as Barrington. Thanks for letting me drive. equation to generate gooe! films. W'e have viewer. As far as I understand it, though, guarded and self-conscious as Wins­ s('nt out scouts to find out where the mys· everyone seems to be watching TV. And ton Smitb under the Thought Police. As Most Sincerely, terious 'private sector' is located, if it exists that. as the following quote from an article YOll watch, there is no Big Brotber-rmt Bruce -

121Cinema Canada - September 1985