~cir

The director's fear of the blank screen

by Michael Dorland

photos: LoisSiegel "On est toujours son seul Being proud, Forcier felt full of discri­ et propre referent" - Forcier mination. Journalists were neither proud nor discriminating, so you could tell them anything. That was what made Andre Forcier, 35 and a filmmaker, stared dealing with them such a mixture of morosely at the bottle of Brador before pleasure and revulsion - pleasure at the him. That morning he'd woken up feeling enormity of one's lies, followed by revul­ down. Now the down sat perched upon sion before one's own connerie. his shoulder like a pet monkey, nibbling Forcier sipped his beer and rehearsed. at his mind. Forcier would have liked to "These days I'm studied in colleges. drink himself into the comfortable Marc-Andre Forcier, born in '47 of a stupor where existential concerns no policeman father and a mother who longer obtrude. Instead, he had to do an was an operator for Bell Telephone. It interview, yet another interview, and was a Saturday during a heat-wave. force himself to answer all those stupid Baptised the next day at St-Edouard questions, that cannot be answered, like Church. At the age of one I fell in my f-. "'Why do you make films ?" and ""How do walker down two flights of stairs. The you situate yourself vis-a-vis Quebecois next day I was taken to the doctor for an filmmaking ?" examination. They found nothing wrong "Que/ con!"' Forcier muttered, in­ apparently. cluding himself in the expletive as well "It was just after the war. I have mem­ as the interviewer who would assail ories of myself at six months, at eight him with impossible questions. months, at a year-and-a-half Nobody Journalists, a collection of cons : not believes me. I can remember parades only impertinent but ignorant to boot. - in Montreal after the war there were a One, on television, after a long expose slew of marching bands. I remember on laxatives, had called Forcier "Mr. the Queens visit in 1952, on St-Denis Fortier," then had referred to Frank, one Street. I remember... getting plastered in of the central characters in Forcier"s Plattsburgh. I was born con, I" II die fourth feature Au c/air de la lune, as con." "Franck." Forcier impatiently brushed the hair Another, in print this time, had gone out of his eyes, and looked at the time. on about Forciers "instability"' or some "Theres no interview here," he such off-the-rack psychoanalytic key as thought, "because the basis of it all is the explanation of Forcier and his films whimsy. Why does one make films? To How can you explain life '" Forcier he loved? Because we hate ourselves? wondered. "Short of being con. you All that is just stupidity. There is nothing dont sit down before a blank piece of fundamental in the development of a paper or an empty screen and announce work of art. There is nothing that is that you wish to demonstrate some­ being shown. AU these pretentions at thing. Me, I don't want to explain any­ explanation are just things that are said thing. It's all just bullshit." afterwards."

April 1983 - Cinema Canada/19 CLOStMrZ Forcier stared out the window. What were all kinds of rumors going around : from the film I wanted to make. what kind of bargaining power does was he doing sitting by a window, with that we were too young, and it was time "I wanted to make a film that escaped that give me? You English say, "You're the sun streaming in ? Forcier hated the we were taught a lesson. There were time. I didn't want to situate the film in only as good as your last film." This light. He'd always preferred the gloom "rumors that we'd run up debts, that it 'Quebecitude' or Canadianity - it was as morning I don't want to continue, and the rain. When he was four, he'd lie was a bad production, that we weren't if I'd intuited the worst blows. I wanted ""I didn"t want any of this. I wanted the to his mother just to be able to stay serious people. thefilm not tobeframedbyreality.I wanted film to come out in a small theatre ; they longer outside in the rain walking alone "Bar Salon was shot for $58,000 - the costumes to be beyond time, beyond said it could take a large theatre. They around the block, around and around. under budget; Nightcap ~ under budget, fashion. And Montreal not to be that of'69 put me before a fait accompli. So now I That was why he invented the character the only one of that NFB series ; L'eau any more than that of'80. I-wanted the give interviews, I go on TV. of Frank, an Albino, a person with a chaude l'eau frette. budgelted at $373,000 film outside of time - to protect it from "As for where it leaves me, it leaves horror of light. Was that really why ? Or came in at $368,000 - under budget; Le something I feared, as though 1 was ex­ me in the middle-income bracket of was it because he'd liked what Cioran the retour de Timmaculee Conception and pecting a catastrophe. Film Board directors, earning just under philosopher had written about the fear Chroniques labradoriennes I paid for "So I wanted a film shot entirely in $36,000 a year. Roughly whatafirst-class of light in his Precis de decomposition? out of my own pocket ; Au clair de la artificial decors, in which each natural police officer gets after four years. But Forcier didn't know: he didn't know tune - $912,000 : under budget. element of the decor would be trans­ that's importaht. Before, I didn't have anything, didn't know why he was here, "The wait lasted three years - three formed into artifice ; that's why I used credit cards. Now I've got a whole hand­ didn"l know why he'd agreed to this years during which it was impossible to colored lighting, that's why the fake ful and Mastercardhas called wantinglo interview. do anything. I was able to assemble the snowstorm, that's why the roman can­ boost my credit limit." '"It"s all whim. ,A11 that interests me, film but it was unfinished - there were dles in the wheel-rims, that's why the Forcier ordered another beer, slyly everything I live, are emotions. I wanted none of the special effects. In the mean­ aurora borealis. But these aren't effects', pleased with himself to start from scratch on a blank screen. time I got hired on as a director at the they're integral." "There is in Au clair de la lune a Yeah, that's it: I tell myself I'm mentally National Film Board. Tm very proud to Forcier laughed bitterly. certain lightness of tone that is taken for ill. I'm not normal. I was six years old be with the National Film Board of "So we played the lighting card, and the film's thesis when it isn't. There is and they were telling me I wasn't normal. Canada - it's a haven of freedom. we played the color card, we played all the tone of the film and there is its I'm sick. And I want to express myself "I've tried to forget all that; I've for­ the cards. Out of whimsy. It's all vanity. content; and the tone irritates because And I say there's nothing to say." gotten the time it took : I haven't count­ Why make films? For nothing. 1 don't , it is contradictory to the content. It's a Obsessions. Forcier obsessively ed the days. I suffered. Au clair de la know why I make films. light film ; you laugh a lot. The laughter emptied his beer and obsessively order­ lune is a film that I vomit forth. It was a "Yes, I know. I learned to make films is light, or rather it lightens, but is not ed another and continued to remember. nightmare. at school. I was good at it. At the itself light. It's a hypocritical film because I was fascinated by the idea of some­ "I didn't want to go back to it. I didn't Longueuil classical college, there was the tone does not fit with the content. one allergic to the light. And I had want to know anything about that film, an experimental course on filmmaking. II"s a snide film ; but then being is snide. another character who kept going Bernard Lalonde, one of my producers, Me, I was always last in my class in "There is cynicism in the special through my mind - someone with ar­ was tremendously supportive. When I method and I wasn't intelligent enough effects; that I admit. I don't know if thritis, with fingers so swollen they did get back to it, I'd almost lost all to learn Greek. Just as stupid as always. you"d call it a wink, I hope so. But I think could no longer fit into a bowling-ball. I contact with the film. I saw it as a They stuck me in a plastic arts and cine­ the courage of the characters surpasses wanted to do something in the tone of challenge : after all that had happened, ma major, and I showed talent at it ; all that. To me it"s a film about coura­ commedia dell' arte, a comical film was it still possible to have fun with this I learned how to make a script really geous people. I like the courage of Berfs where the situations would turn ' on film ? It still seemed to contain emo­ tight; I caught on right away ; I picked comeback; I like the courage of L6opol- emotions. I didn't want the characters tions, ideas that were worth putting up the language of film like that. And as I dine Dieumegarde who is-a veritable to be cynical, across, there was still something to be was learning that, I started to write little Mother Courage. I like Frank's "I must have begun writing ,-\u clair done with that film. I decided to orient it about films since they made me write cowardliness - it takes guts to live like a de la tune sometime in '77.'I took my in the direction of its emotions. I decided film reviews. So I learned to write. And I coward in a welfare society. I think time with it. Subsequently, I attended, to fuck the chronology. I took the idea of was very good in French and film. You they"re all courageous. an actors' workshop in Ottawa - there the voice-over from another film I'll make films because you were good at it ""But then Tra always the first spectator was Guy L'Ecuyer and Michel Cote, then never shoot. I drew on elements from in school. It's stupid, but that's how it is. of my films. How can one be in the heads appearing in a play in Ottawa. With that film to tell the story of this one. Au "So I've made this film, and I'm certain of others ? One is always alone andone"s them it really exploded." clair de la lune is completely different that it works, that it"ll touch people. But own reference point. The Other is an Forcier hesitated. The sun was gone ; imaginary referent. The fact of being slowly the nightmare memories ad­ "it was 40 beiow, and we were cold; Au clair de la lune is a film! vomit forth." one and of not being born two is the fact vanced upon him, and the sinking real­ of solitude. It"s the fact of Au clair de la ization that he would have to talk about lune, which is the symbiosis of solitude, them during the interview. Later. Forcier the osmosis of solitude. And the cynicism forced his mind to stick to the chiT)nplog\'. of the film is the hallucination brought "Au clair de la lune is full of the about by hope - that provokes the image generosity of its actors. It's an immense of the difference of the Other. Au c/a/r conspiracy of complicity. If I've worked de la lune is about two separate beings: largely with the same people, it's be­ anintellectuaKFranklandanai/IBertl.l cause I haven't made very many films. am the Albino. I would rather have been To work with some one like L'Ecuyer is Bert, I would have liked to be able to a privilege. He's an actor of extraordinary believe. divcrsitv : the owner of a bar-salon (Bar "'I would have rather not been an Salon), a homosexual chef fL'eau chaude artist, I would have rather lacked in I'eau frette), or a human billboard (Au nothing. I would like to fade out when I clair de la lune). I steal his richness. I'm come home in the evening and not drag just a thief" my job around in my head 24 hours a Forcier stared morosely at his beer, day. I would have liked to have a stamp then he plunged into the memories of collection and been happy collecting that terrible winter of '79 '80. stamps. I would have liked to be a bee­ "It's awful to talk about the produc­ keeper, a prime-minister, an aviator, a tion of a film ; it only makes the film that waiter in a tavern with lots of tips, j much more vulnerable. The shoot was a would have liked to admire... Instead nightmare. It was 40 below zero, and we I"m a sick individual who makes films were cold. One after the other the prin­ just to get it on with women. Theres cipal players fell ill. There was no room only Bergman who doesn't make films in which to manoeuvre. We had to pay to get it on with women. He's a sincere the technicians nonetheless ; they were human being. Qfjel con !" under contract, I work from a very tight Forcier looked up from his reverie to script. I don't shoot like a master - I see the interviewer heading towards shoot in one shot. So even if one lead him, tape-recorder slung over his shoul­ player was ill, I could shoot the other. der, eyes shifting with treachery. "As far as I knew, we had the money Oh merde, Forcier thought, now it for principal photography and for post would begin... production. With that money we shot "Are you Andre Fortier, the film­ the film, but there was nothing left for maker?" post-production. We had a little money left, $2,000, but not enough to complete 1/ The word "con" literally, signifies Ihe visible the film. portion of the female sex organs. However, toim '"The producers prett)- rapidly came Cartesian mind, its meaning extends to encompass a general condemnation of the fleshly. To be con^ up with a financing solufion, but then finally, is lo be human. Thus the wide usage ol there was a lobby against us. There word as a universal expression of conleropi

20/Cinema Canada-April 1983 REVIEWS racket do gleam, as do the characters' nity, life becomes a corruption. Behind Bienvenue's mocking musical score Andre Forcier's eyes when they light up with manic the magical illusions of Au clair de la adds just the right touch of persiflage. inspiration. lune a soundless scream points to the Au clair de la lune is a film of immense Here - even here - hope springs horrors of impossible existence. sadness. For in the absence of the Res­ Au Clair de la lune eternal and fantasies have their own In Forcier's horror-filled vision these urrection is the Life : this life, such as necessity as that cynical myth-maker diminished human beings shit and piss, it is. Frank knows as he schemes to cure bleed and pustulate. They are not the Appropriately then, Au clair de la Bert's arthritis and so allow him to make living dead but, worse, the rotting living, lune was plagued with completion "Mon pays ce n'est pas un pays c'est a comeback at the Moonshine tourna­ tumbling towards a meaningless death problems, yet another example of the I'hiver," sings Gilles Vigneault in a ment. buoyed upon the froth of their illusions. kinds of crucifixions that chronically famous song. Since Voltaire's curt dis­ Au clair de la lune is an ascension - Forcier (who always slips himself into keep Canadian art from Canadians. missal of Canada as some arpents of from the lower depths to those peaks of his films as either retarded, mute or an Along the lines of the same principle, it snow, winter has been this country's experience from where, in the words of idiot), because he cannot bear to articu­ is equally unlikely that ,^u clair de la curse just as it has been its fate. Not Frank's wonderfully cynical voice-over, late the truth, contents himself with lune will receive the wide distribution it surprisingly it is a Quebecois, Andre "at last you can savor the miracle of life" dumb-struck descriptions of the opium deserves outside Quebec. In Quebec, Forcier, who has made the definitive and recall ""the follies of our winters.'" of the people that are the people them­ however, thanks to the heroic effort-s of film about our country, winter. Frank "cures' Bert's arthritis and Bert selves. the independent distributor Cinema In Bar Salon (1975), Forcier's second makes a comeback beyond his wildest Yet in the face of the anti-humanism Libre, of which Forcier is one of the co- feature film, winter was in appropriately dreams. But, as Frank narrates, "the last of winter, Forcier, much like the society founders, the film will get what he calls desolate shades of grey and dirty white, folly is always the one you must expiate." the inhabits, can only reach for another a ""normal"' distribution. the mud-caked desperation of filthy After the initial violence of the shock anti-humanism, that of technology. In a sense the timing is perfect. In Au Februarys, bleak and relentless, an of mortality, the fall back into the depths Perhaps in (literally) animating the clair de la lune, this Wunderkind of infinity of grey tomorrows in which js as gentle as the flutter of the surround­ depths of the delusions of his characters, Quebec cinema (who began making" twice-marginalized human beings ing snow. All of a sudden Bert's hair is as it was his way of drawing attention to films at 19) has effected a fascinating (marginalized first by nature then by the white as Frank's who had upon this day them. Instead, the animation technology synthesis of his two earlier features. Bar economy) still managed to sparkle in promised to take Bert to Albinie. only produces their gross manipulation. Salon and L'eau chaude l'eau frette the incandescence of their futility. Huddled in their car as the great cold In this sense, Au clair de la lune is For­ 11976). If the former film was bleak to the Au clair de la lune returns to winter sets in, at last out of fire except for one cier's most cynical film : for nothing, not point of despair (though balanced but now, in 3Smm colour, it is winter as final bottle of tournament champagne, even art, can save these wretched crea­ against the hard pretention of its realism) magic, as a carnival of swirling cotton the two friends, now purified as Albert tures. And the price we pay for winter the latter was too much of a sitcom, puffs, the candy-cotton stuff of dreams and Frangois, prepare to discover that (for living in the techno-state) is an sacrificing its cutting edge for the respite in the silences of eternity. This is winter Albinie is Death. As the Moonshine eternal condemnation to colorful futility. of a mid-summer's eve. Not for nothing as a sacred space, a mantle for the crea­ parking lot echoes with their hilarity at WhileAu clair de la lune is manifestly was L'eau chaude acclaimed in Italy tion of life-myths in technicolor. the thought they will be ""congealed like Forcier's vision, many people helped where its spirit was recognized as Medi­ Here in the quiet of the snow-bound Walt Disney", the snow, falls softly realize it. Voltaire, of course, and EM. terranean. But this says more about the back alleys of Montreal, Au clair de la covering the roof of the green Chev. Cioran, the Roumanian Nietzsche, get climactic schizophrenia of Canada lune tells the story of the friendship of Hiberna vinci^omnia. screen credits for providing philoso­ where summer is the illusion and winter two men who live inside the frozen hulk To die congealed is to die in a state of phical inspiration. The screenplay is the reality. of a green 1971 Chev in a parking lot suspended animation. This posits re­ shared between producers Louis Laver- Au clair de la lune confirms Forcier- behind the Moonshine Bowling alley. surrection - but only as in the case of diere and Bernard Lalonde, L'Ecuyer, now 35 - in his true stature as the bard of Francois "Frank" (Michel Cote) is an Disney, whose body was cryonized, as a Forcier, Cote, long-time collaborator these winters of our discontent. Yet Albino from the mythic land of Albinie. technological intervention. When Frank Jacques Marcotte and Forcier's neigh­ though rooted in this quintessentially Albert "Bert" Bolduc (Guy L'Ecuyer) is a says, "At least the worms won't eat us bor, filmmaker Michel Pratt. Other Canadian context, Au clair de la lune former bowling champion, reduced by until summer," this denotes the residue veterans of the Forcier equipe include also transcends it to achieve a superior arthritis to a human billboard for the of a belief in resurrection as myth ("sum­ regular DOP Frangois Gill who is also universality through its concentration Moonshine. Chased through the alleys mer") and as a process of natural teleo­ the editor of the film. Au clair de la on what Hannah Arendt, in a comment by the Dragons, the local authority logy (worms) that is at the same time lune was co-produced with the Na­ on Chaplin, called "the entrancing charm figures who drive their souped-up cars implicity denied by the locus of death tional Film Board who lent the unmis- of the little people." on tireless rims as sparks stream forth (inside a car, moveable technology). For takeable signature of Sidney Goldsmith Forcier, as reclusive as Howard like roman candles, Bert finds Frank without resurrection, life is simply a for the special animation effects and Hughes, had skipped town for the press seemingly frozen to death and brings story of progressive putrefaction. made it possible for Au clair to be proper­ screening of the film over which he has him back to life. Already under the weight of winter, ly completed. In Bert, Guy L'Ecuyer has labored since 1979. He left in his wake ",Au clair de la lune" is also a French life is stunted, frozen and immobilized ; delivered a diamond-hard performance one sentence, like the tail of a comet: "I children's song, the second and third and life myths are not certainties, merely of brilliant bathos and Michel Cote's sought in the time of a life a sort of space lines of which go ; "Pretes-moi ta plume delusions. Against winter's frozen eter­ Frank has all the sorrow of Stardust. Joel that would contain the smallness of the pour ecrire un mot, ma chandelle est century." He did not need to add that morte, je n'ai plus de feu" (Lend me your that space could only be a coffin ; appro­ pen so that I can write, my candle has priately a North American car. died and I'm out of fire). The film Au clair de la lune, then, would seem to be Michael Dorland • about the role of art in the service of the Resurrection. AU CLAIR DE LA LUNE d. Andre Forcier In this space between life and death, exec. p. Bernard Lalonde. Loujs Laverdiere p. dir. Forcier deploys the characters that Laverdiere, Marihe Pelletier p. r«-ord. tdouard inhabit his obsessions. Under the wink­ Davidovici p. asst. Rene Deniger, Roland Carrier, Jean-PaulLebourhy.s, Michel Toutan.FabriceGabil- ing lights of the nighttime neons of the land loc. man. Suzanne Girard, Michel Siry sc. urban neant, the shuffling shadows of Furcier.JacquesMarcotte, Michel Pratt, Guy L'Ecuyer. the lumpen proletariat dissolve to take Michel Cote, Bernard Lalonde assl. sc. Michele on human form : Ti-Kid Radio (Gaston Leduc, Marthe Pellelier a.d. Pierre Gendron, M;irie. Andre Brouillard art d. Gilles Airdtech. dir. Forcier. Lepage) in his fringed leather jacket Francois Gill d.o.p. Frangois Gill, Andre Gagnon delivering smoked-meat sandwiches on asst. cam. Michel Caron, Daniel Vincelelte kc> his bike for the Rainbow Sweets restau­ grip Marc de Ernsled grip Jean-IWaurice de Ernsled rant, riding on tireless rims and talking gaffer Richer Francoeur, head : Jean Courteau. only in English CB dialect as he dreams Denis ,Menard, Jacques Girard sd. ed. Mathieu Decary sd. asst. Alain Corneau, Marcel Fraser of becoming a Dragon; Leopoldine props Patrice Bengle, Louis Craig sp. ct\. Louis Dieumegarde (Lucie Miville), another of l.a\erdiere, Sidne\ Goldsmith cost. des. Francois Forcier's precocious girl-women, as The Uplanle ward. Diane J>aquet malie-up Mickie Maniac who goes around puncturing Hamilton set des. Gilles Aird neg. cut. Dagmar car tires in a desperate, loving bid to Gueissaz stunt dir. Mai-cel Fournier sd. cfx. Ken Page opt. efx. sup. Louis Laverdiere opt. eix. save her father's recycled-tire business prep. Walter Howard, Susan Gourley mixer Jean- from bankruptcy ; or Alfred, custodian Pierre Joutel, Adrian Groli music com p. jofel Bien- of the Moonshine, who shares his Valium vcnue mus. sup. Catherine Gadouas mus. rec. with Ti-Beu, his dog and companion in Louis Hone, Joel Bienvenue lab. Bellevue-Path6, NFB color comp. Gundrun Kanz, Andr* Gagnon senility. cast. cons. Lise Abastados un it pub. .Marie Decary It is a world seen through the frozen dlsL (word-wide) Cinema Libre, 35mm color, runninglime: 90 min. p.c. Les Productions Albinie bottom of an empty bottle of Benylin Ip. Guy L'Ecuyer,MicheI Cole, Lucie Miville, Robert cough syrup, the local champagne. If it Gravel, .Michel Gagnon, Gaslon Lepage. J.-Lto is a world where all that glitters is not Gagnon, Ti-beu, mie \'aro, Louise Gagnon, Pierre gold, at least the pile of quarters that Girard, Marcel Fournier, Gilles UHeur, Vvon Le- Franks earns running a tire-protection comple, Charlie Beauchamp, Stephane L Ecuyer, Dino des Latirentides, Gros-Louis,

April 1983 - Cinema Canada/21 wwwwwi

The 1983 Genies: Looking back upon tomorrow

by Connie Tadros

The 1983 Genie awards were the indus­ ly, that is virtually unparalleled in most Cesar for Best Film in France really not must have felt pleased with the recogni­ try's swan song for the film boom that other countries. measure up to The Grey Fox ? And did tion but sorry that it had come for an was. The five films in nomination for O'Brian reflected the satisfaction of Les fleurs sauvages, which won the unsubstantial film like If You Could Ste Best Picture had all been made in 1981, seeing a creative producer steal the FIPRESCI award at Cannes, not even What 1 Hear. The Best Supporting the last year for films pieced together thunder from those tax-shelter produ­ deserve to get in the running? As in awards would have been just as appro­ with private investments. Several of cers who have regrouped in the ACMPC* 1981, when Les bans debarras won over priate for Clare Coulter for her uncanny them - The Grey Fox, 0,uest for Fire and and have made so much noise in recent Atlantic City for best picture, is there a portrayal ofa social worker infly Design Une journee en taxi - had production years. O'Brian, and many of his CAMPP hidden agenda on which it is written and for Wayne Robson in The GreyFof. stories more dramatic than anything colleagues, have been around longer that the indigenous underdog gets the Of the Best Original Song, let it suffice that got on the screen. These were the than the Drabinskys, Cooper-Cohens, benefit of the doubt when the votes are to say that if votes had been cast the films that almost didn't get made, caught and Slans of this world. And though the cast 7 evening of the Genies, when eveiyone as they were in an industry fast coming latter have made their own important There were a few anomalies. Both had had a chance to hear RaoulDuguay apart as investors scrambled off the contributions to Canadian film, their Jackie Burroughs and R.H. Thomson sing "Le quSteux d'amour" from Les ship. But if these films mark the end of association has sufficiently bad-rhouthed seemed uncomfortable with their fleurs sauvages. Burton Cummings Canada's tax-shelter production boom, other producers until it seemed that the awards for Best Supporting Actress and would have gone home empty-handed. they also point to the future and the O'Brians might not make it in the current _ Actor, as well they should have been. divergent paths Canadian production climate. For those who remember titles She was in the wrong category, obvious­ The question of Quebec will take. like Me and Love at First Sight, the satis­ ly having held the lead role next to Which does indirectly bring up Ihe The critics were unanimous in stating faction was palpable. Famsworth in Grey Fox. As for Thom­ question of Quebec. And among the that this year's nominees were the best There does seem to be in the Academy,, son, his was a career award, honoring Quebecois, there is real and reasonable ever presented iw the Academy to its a certain perversity about rejecting the his considerable work in interesting doubt as to whether their films are seen members. In fact, it's more like a draw. opinions of others concerning our films. films like Tyler, Surfacing and Ticket to and understood by the members of the In 1982, the Genies offered us The Year Did Qpest for Fire, which beat out ever)' Heaven. Like Kate Lynch before him, Academy. of the Director in which Balph Thomas, other French film this vear to win the who won for her role in Meatballs, he While the Academy boasts 600 paying Don Shebib, Gilles Carle, Eric Till and Allan King were responsible for the films which were honored. It seemed that the boom was finally throwing up Ihe directors everyone felt could give Canada a distinctive film vision. Cer­ tainly Ticket to Heaven, Heartaches and Les Plouffe still look ver\ good. This vear, the best films were of two sorts. With The Grey Fox and Une journee en taxi, Phil Borsos and Robert Menard proved that young directors with first feature films could get support to make the best of films. With Threshold, O.uestfor Fire and Harry Tracy, the pro­ ducers showed that proven internation­ al directors, surrounded by Canadian talent, can bring home respectable films tailored for the uorld market. In both years, the films were fine indeed, though this year surely Jean- Pierre Lefebvre's delicate Lesfleurs sau- vages should have replaced the light- weighl Harry Tracy in the Best Motion Picture categor}'.

The aivards It was reassuring to see most of the awards go to the right people ; there is alwavs a latent fear that the Academy voting system, asking the industry to vote for its oun, will turn up bizarre, inappropriate choices. Most gratif\'ing of all was to see Peter O'Brian and Phil Borsos honored for The Grey Fox. Borsos, in graciously thanking the Canada Council for its support through years of making shorts and documentaries, underlined once again the exceptional help the Council does give young filmmakers : help, incidental­

22/Cinema Canada - April 1983 AWARDS members, with about 160 from Quebec, a head-count in that province shows francophones and anglophones about evenly split, and the two solitudes are every bit as estranged there as else­ where. Gaffes over the years - like confusing Micheline Lanctot and Julie Vincent in Silent Scream in 1981, and omitting Lesfleurs sauvages this year - have lead to paranoia. With seven nominations for Une journee en taxi, Robert Menard is clearly heard as he wonders what happened on the way to the Genies. To some extent, the Quebecois are singularly off-handed in the way they approach these awards. Every year, they send French prints to Academy screen­ ings , without sub-titles ; the National Film Board did so withMour/ra tue-tete (Silent Scream) and Menard did it with Ta,<:(. A film like The Great Chess Movie, which got rave reviews at the Toronto festival and might well have walked off with the prize this year in the documen­ tary category, was entered by the NFB under its French title, Jouersa vie. How many Academy members knew it was the same film ? • In the limelight: Charlaine Woodard (Hard Feelings) and Best Actress Rae Dawn Chong (Quest for Fire) The Academy has a board of directors of 21 people, of that number, only one- Louise Carre - is a francophone, and she is an "honorary member." The rest seem absolutely insensitive to the need to res­ pond to the French. Dave Thomas' joke about being unilingual - and the very fact that the host could not speak French - is one measure of the distance the Academy must still travel. Paul Hof- fert's effort to compensate, though brave, was so stressful for him that at the end of a long paragraph in French, he welcomed us all to the Junos instead of the Genies ! There was singular irony, lost on the Toronto crowd, in giving the only Quebec a ward toE/vis Gratfon, a short about the bastardization of Quebec society. Al though Julien Poulin's acceptance speech was funny for about three seconds and then swiftly deteriorated into an exercise in bad taste, a point was made. There is a political element lo the goings-on at the Genies. The Academy can surely understand that the entire Genie exercise is not just a gathering of the clan to share in-jokes and old stories. It is the industry's once-a-year chance to do something about the consciousness TheCFDC's Andr6 Lamy gets in the mood with Denise Mulvey —celebrating his new wealth? of the people who watch the show at home, the people who are being offered a chance to see a Canadian film.

And how about the public? To suggest that there was a real problem of "tone" this year would be to put things mildly, and the CBC must largely be held to account for this. The evening before the ceremony. The Journal promoted a special in- depth look at the Genies. Earlier on The National, clips repeatedly urged us to stay-tuned-to-Tbe-Journal-and-see-why- winning-a-Genie-doesn't-amount-to-a- hill-of-beans. When The Journal report was aired, it was deplorable. The Genies were used to make a point about the distribution of features in Canada, It was one of the worst examples of mani­ pulative journalism I've seen in a while, and industry people who participated felt sorely used. Marcia Couelle, for instance, was inteniewed on film for4S minutes ; she is an ardent supporter of the Genies ever since Les bons ddbarras won two years ago. The clip mentioned only that the film had not yet made its money back. Peter O'Brian and Jay Scott were also appalled by the editing done ElvisGrattonhimsell—Julien Poulin by day—with Cinema Canada's Del Mehes

April 1983 - Cinema Canada/23 t983 PRIX GENIE AWARDS Congratulations — Felicitations!

The following is a complete list of the 1983 Genie Award winners in all categories: Voici la liste des laureats dans chacune des categories:

Best Motion Picture Best Achievement in Sound Editing Meilleur film Meilleur monteur — son THE GREY FOX - Peter aBrlan QUEST FOR FIRE - Ken Heeley-Ray, Martin Ashbee, David Evans, Kevin Ward Best Performance by an Actor in a Leading Role Meilleure interpretation masculine dans un role principal Best Music Score Donald Sutherland - THRESHOLD Meilleure musique THE GREY FOX - Michael Conway Baker Best Performance by an Actress in a Leading Role Meilleure interpretation feminine dans un role principal Best Original Song Rae Dawn Chong - QUEST FOR FIRE Meilleure chanson originate MELANIE "Save My Soul" — Burton Cummings Best Performance by an Actor in a Supporting Role Meilleure interpretation masculine dans un role secondaire Best Original Screenplay R.H. Thomson - IF YOU COULD SEE WHAT I HEAR Meilleur scenario original THE GREY FOX - John Hunter Best Performance by an Actress in a Supporting Role Meilleure interpretation feminine dans un role secondaire Best Screenplay Adapted from Another Medium Jackie Burroughs - THE GREY FOX Meilleur scenario — adaptation d'un autre medium MELANIE - Richard Paluck Best Performance by a Foreign Actor Meilleur acteur etranger Best Achievement in Overall Sound Richard Farnsworth - THE GREY FOX Meilleur son d'ensemble QUEST FOR FIRE - Ken Heeley-Ray, Joe Grimaldi, Austin Crimaldl, Best Performance by a Foreign Actress Claude Hazanavicius, Don White Meilleure actrice etrangere Clynnis O'Connor — MELANIE Best Theatrical Short Meilleur court metrage Best Achievement in Art Direction ELVIS GRATTON - Pierre Falardeau, Julien Poulin Meilleur directeur artistique THE GREY FOX - Bill Brodie Best Theatrical Documentary Meilleur documentaire Best Achievement in Costume Design THE DEVIL AT YOUR HEELS- Bill Brind, Robert Fortier, Meilleurs costumes Adam Symansky QUEST FOR FIRE - John Hay The Academy's special annual award, the Air Canada Award, was Best Achievement in Cinematography presented to Fin Quinn for outstanding contributions to the business of Meilleur directeur de la photographie filmmaking in Canada by Michel Fournier, Vice President, Public THRESHOLD - Michel Brault Affairs, Air Canada.

Best Achievement in Direction Meilleur realisateur L'Academic du cinema Canadien a egalement remis le Prix de I'industrie THE GREY FOX - Phillip Borsos cinematographique canadienne d'Air Canada a Fin Quinn en reconnaissance de sa longue carriere au service des aspects techniques Best Achievement in Film Editing du septieme art au Canada; le Prix d'Air Canada a ete presente a Fin Meilleur monteur Quinn par M. Michel Fournier, vice-president aux affaires publiques QUEST FOR FIRE - Yves Langlois d'Air Canada. ill Academy of Canadian Cinema/Academic du cinema canadien 653 Yonge St, 2nd Floor, Toronto, Ont.ario M4Y 1Z9 (416) %7-0315 331, avenue Clarke, App. 41, Montreal, Quebec H3Z 2E7 (514) 937-3619

AIR CANADA (§)

24/Cinema Canada - April 1 983 AWARDS to their comments. As for Academy As for the others, the Heroux and head Andra Sheffer, she didn't even Cohens, their equations now include make it into the piece. Certainly, after the promise of television and the gua­ listening to The Journal and hearing all rantees of pre-sales. In theorv', this should the bad news about the Genies and the give us more popular and substantial industry, the public would hardly feel films than those of the past. Certainh', tempted to stay tuned the following experience will pla_\ its part in creating evening;' quality. As for the Genies and the As for the actual Genie show, produced .Academy, the task falls to it to help make by the CBC, its budget was showing. Suf­ that connection between the filmmakers fering cut-'backs, the presentation was and their public. It's a risky and difficult drab in comparison to the previous time, but in this often colorless countrv' year's stylish production, and technical of compromise, the risk should be taken. problems involving the synchronization of the clips and the sound persisted. Bruce Malloch called the evening a "recession Genie," and it was. The house 111 Voting for the Genies awarded to feature films is limited to the active members of the Academy of was not sold out, and fewer people were C:anadian Cinema Candidates for membership dressed to the hilt. Thomas got laughs have to ha\ e a credit on a feature fihii to be eligible : from the audience by underlining the this results in eliminating, for instance, all the industry's fragility and dependence on documentan filmmakers, most of the younj; makers of short films, the past direclorof the Canadian Film the Americans. "I haven't seen this Awards and all of Canada's film critics and com •^ many people from the industry' together mcntators. since the morning flight from Los Although all active membei-s ran nominate in the Angeles." The put-down jokes got laughs Best Molion Piclure categon, onK' craft members can nominate in the various crafts : composers from the audience, but I doubt whether nominate best song, actors nominate actors, editors the public tuning in had any idea why nominale editors, etc. In some crafts, like com­ that was supposed to be funny- Thomas posers, the numbers of people are small, and the was a good, comic host except for the numbers who actually get to the screenings are even smaller. There is always the danger, therefore, fact that the situation in the industry is that the final ncmiination or vote will go b\ defaull not really very funny at all. to a well-known name and may not necessarily What he and his humor did serve to reflect the qualitv of the particular work. For exam­ ple, two years ago, when Julie \ inceni went un- point up was that the entire affair is mentioned for her lead.role in Mouhr a (ue-tele, predicated on the American experience. Micheline Lanctbt recei\ed a nomination for hrsi His jokes - "Don't worry ; this won't be leading aclress in the same film, though her speaking seen in L.A. and no reputations will be role lasted less than five minutes. _^ I'uined" - make no sense unless this (Z) The idea of creating the Academy of Canadian assumption of a carbon-copy industry is Cinema originated among the producers of the accepted, and Canadians' set role as Canadian Association of Motion Picture Producers ICAMPPI m 1979, when, spear-headed by Bill Mar­ MacKenzie-lype bumpkins corresponds shall, producers threatened lo boycott the (Canadian to the industry's image of itself. No Film Awards ICF.Ai unless Ihey were given a bigger wonder there seems to be a problem in sa>' in the proceedings, (The CFA had been run by a reaching the Canadian public. committee made up of representatives of all the various associations and guilds.I The new \Ct;, on a Denis Heroux couldn't resist compar­ S50,000 grant from Ihe CFDC, replaced Ihe CFA. ing his evening at the Genies to the • Fin Quinn was awarded the AirCanada prize for tils outstanding contribution to the industry CAMPP itself was a splinter group of feature reception he got at the Cesars with filmmakers which broke from the Canadian Film Quest for Fire. "The English-Canadian lunch, be knew that a point had to be require a maturity which the Quebecois and Television Association. Several memliers of Quebec's Association des producteurs de films public is simply disconnected to what is made : that a Genie award was an occa­ film community may not yet have. lAFPQl joined CAMPP though retaining member­ going on here," he commented, seeing sion for gratitude, and that only when In 1973, the Canadian Film Awards ship in the APFQ as well. While the CFTA and Ihe no crowds of curious people standing the players take the awards seriously were scheduled in Montreal. CBC/ ,APFQ had proper organizations, with permanent by the doors of the theatre. Indeed. will the public also come to do so. He Radio-Canada were ready to do the first- staff, offices, well-defined membership criteria, and the like, c::.AMPP seemed more fluid, accepting The Genies are a once-a-year chance did more in three minutes to communi­ ever bilingual show^ with Lise Payette producers, line-producers, production managers, for the Canadian film community to cate a sense of pride and excitement in i now a former minister from the Levesque etc. as full members, and running affairs out of the touch the Canadian public. The staffers the idea of winning a Canadian award government) as hostess. But Quebec offices i)f the president. CAMPP membership,s\\elled al the Academy are doing their best. The than did Dave Thomas in an entire even­ filmmakers got cold feet and decided to to over 50. numbers of nominees they were able to ing of hosting. boycott the affair, bringing the whole By 1981. the nine producers of feature films who had been most active during the boom )jeriod wci t^ drum out this year was impressive, and So the real question is how does one event dow^n like a house of cards. Today, being oul-voted by the others in CAMPP, and decided the organization can hardly be faulted. organize a Genie ceremony that reaches according to staffers at the Academy, to split once again, creating the Association of But it's up to the film community itself to out to the public and creates excite­ the situation is similar. The Quebecois Canadian Movie Production Companies (ACMPC), shake its depression - and a very real ment ? want the event to stay in Toronto ; they and leaving the "line-producers" at CAMPP to fend for themsel\es. The former group ^vas soon referred ambivalence about its own work. For those who thought the films were need the media exposure in English to as the "gang of nine" ; its Quebec members also During the film boom, the only model the best ever this year, just wait. English Canada, they say ; it would be better for severed their relations with the APFQ was the American theatrical feature, production next year should include the Academy, and so on. In 1981-1982, Ihe ACMPC: and execuli\e director and too many tried to make copies, only The Terry Fopc Story, Videodrome and That's all very well, but the Academy Martin Bockner became one of the most effective lobbies in Ottawa, joining Ihe CFTA and the APFQ in to find they didn't - and couldn't - The Wars, not to mention the lower- needs Quebec more. It needs to catch the Producers Council of Canada, a paper organiza­ best the original. The ambivalence felt budgetted The Deserters and That's My that enthusiasm which only the Quebe­ tion \^'hich has ne^er had any actual, structural by the filmmaker centered on whether Baby. From Quebec will come Maria cois public can generate, and it needs, existence. The by-producl of this lobbying activity this model was the right one or whether Chapdelaine, The Tin Flute (inexcusably for once, to put on a ^enume/y bilingual was a conscious attempt to eliminate CAMPP as a viable voice in the political process Todav, tlAMPP he should refuse the model and look retitled For the Rest of Our Lives), Au show, out of respect for and in fairness is seriously debilitated, inward for inspiration. This is the same clair de la lune, Rien qu'unjeu (which is to francophone filmmakers. Moreover, Inl983, the ranks of the XCMPC are reduced, the dilemma which presents itself to the on its Way to the Directors Fortnight), it needs to articulate the kind of fun­ executive director and the office are gone Several Genie ceremony. With the end of the tax Sonatine and Lucien Brouillard. damental respect which the Quebecois of the original members have not been active for shelter production comes, coincidental- have for the making of films : the in­ smeral \ ears, others are producing in the ti S , and If the Academy and its members are still others have grown disinterested. Rumor has il ly, the end of the theatrical feature and trul\' ready to risk getting an appreciative grained, culturally biased, gut reaction that the remaining membei-s are negotiating re­ the rise of the "program production in­ public, then the show should be moved to film as a way of communicating to the integration wilh the CFTA. dustry ' with its bewildering mix of to Montreal next year. The crowds would public, and not - as Garth Drabinsky series, mini-series, TV movies and be in the streets, and the local media once said - to film "as an asset which 13) i\(^M vear, the CBC could do another piece about theatrical spin-offs. Certainly the Aca­ coverage would be dazzling. Even the generates receivables." the •insignificant" win of T/je Grey Fo.\ and its sub­ demy will soon be confronted with the sequent distribution. In fad. L'niled Artists Classics, international press which the .Acadeni)' The 1983 Genies bid farewell to the tax an American company which has held distiibution need to adapt its own structures to these might wish to !!> in would be bowled- shelter dealers. The coast is now clear rights on the film for many months, and which had changes and, with that chance, another over by the enthusiasm of the province for new and different efforts. If the been forewarned that in .ill probabihlv the fdm one lo carve out a more appropriate and for its filmmakers and stars. Borsos and Menards are to continue, would win strongly, had onh one print of the film in meaningful ceremony. The context must Such a decision, however, just might then the much-awaited federal film Canada in the week following the Genies Despite cease to present Canadian filmmakers polic\ must make allowance for film efforts on the part of all the Canadians in\olvedlo have to be made in spite of the Quebe­ make hay wiih the Ccnie pubiicitv. and the willing­ as the dim reflection of their American cois... and that s the problem. directors, ready to tr>' their hand at a counterparts. ness of the exhibitor to fn>e up scn-c ns.it will lakethe Going to Toronto and picking up an first feature ; for starting out is alu a\'s \ew York based distributor another two weeks be­ Donald Sutherland, for one, under­ award is a bit like going to New York or tough. In that context, an evening at the fore 19 prints -and appropriate publicity-support stood the implications of the current Chicago. Having the party come home Genies should go a long wav to allow maieriat- are made availahh- across Canada. iCom- situation. In his acceptance speech, and and being seen picking up a prize for the those filmmakers to enter the main­ pare this to Aslrals approach to Maria Chapdelaine Best Canadian Motion Picture would stream. v\'hich will open in April with 30 prints in Quebec in his gracious presence at the press alone.I

April 1983 - Cinema Canada/25 POCUME HTARirr

Documentary's dynamic duo

by Alan Herscovici

Daniel BertoUno, and Frangois Floquet, exclusively for television. Youth film prize in June 1982, and an LP for his series Camera-Stop I, before set­ thrive on doing the impossible. Via Le The key to their success - apart from recording based on the series was tling down in Montreal. Mond« Inc., which the dynamic duo the apparently boundless energy of the awarded the European Audio-Visual "From the begining, CTV and Radio- began in 1967, has produced films about 40-year-old Bertolino and 43-year-old Grand Prize by I'Academie des disques Canada were ready to work with us some of the most isolated and litlle- Floquet - has been a well-orchestrated frangais, in November. because we had experience making known peoples of the globe - an as­ programme of co-productions, and ag­ "We understood quickly that if you try films in remote parts of the world... and tounding output of more than 140 docu­ gressive exploitation of the European to depend only on Canadian money, we had the advantage of being multi- mentaries, most of them shot in extre­ market. Most recently, Bertolino's Indian you're dead!" says Bertolino. "That disciplinary, we could research and mely difficult conditions. But one could Legends of Canada, (a series of 14 half- meant looking for subjects that could write our own projects — we weren t say that their most remarkable achieve­ hour episodes co-produced by Via Le interest an international audience - not dependent on what a producer said we ment has been Via Le Monde itself: the Monde, with Radio-Canada, CBC, The just staring into your own navel hke so could or couldn't do. Our goal was survival and growth of an independent Department of Indian Affairs, and the many Canadians were doing. My own always to work towards autonomy, not Canadian company making films almost Quebec Film Institute), was followed by travels had made me very sensitive to dependence," Bertolino says. some 12 million viewers on France's the international dimension." But the secret to their swrvival was a Alan Herscovici is a Montreal-based Antenne 2, and the series has been While still in his early twenties, Ber­ talent for luring the industry giants into purchased by networks from Sweden to writer and traveller. His novel about tolino set off to tour the world with a joint-ventures : Algeria and the Ivory Coast. One of the Tibet will be published this year by camera and $100 in his pocket, and in "Radio-Canada might not haveenough legends won the UNESCO International Simon & Pierre in Toronto. two years filmed 2G half-hour episodes money for a new series, but what they

26/Cinema Canada - April 1983 D o cirwrf irrAHTEy did have to spend was for us an effec­ ment formula characterizes the aggres­ tive 'declencheur', a catalyst," says Ber­ sive marketing tactics Via Le Monde tolino. "And of course, cooperation with employs to crack competitive overseas Radio-Canada assured us distribution - markets. For the launching of Indian it guaranteed that our work would be Legends of Canada, Bertolino brought seen. Sometimes we could bring unlikely to Paris four of the Indians who played partners together; in 1972 we brought in the series, in full regalia (one of the CTV and Radio-Canada together for a men was dressed as a corncob), to meet project - that was something. And we the press. For a week-long children's were the first to bring Radio-Quebec festival, native carvers produced a and Radio-Canada together!" totem-pole, on the spot, and donated it Other government agencies, like the to the city, and Canadian embassy offi­ Canadian University Students Overseas cials, even minister of Communications (CUSO) and the Canadian International Francis Fox, were recruited for the gala Development Agency (CIDA), were co- celebrations. opted whenever possible, as for the "You must remembr that this was 1976-77 series. Challenge, about Cana­ literally the first time a Canadian series dians working in difficult conditions in was aired on prime-time European tele­ remote parts of the world. More often vision, so the Canadian government was than not when Via Le Monde went very cooperative," says Bertolino. on location abroad, it was to film two or Cooperative indeed. Under the skill­ three projects at once, to keep down ful coordination of Bertolino, a carefully expenses. Ironically, now that the com­ organized media-blitz was unleashed : pany is relatively established in the Air Canada provided 11 tickets to fly industry, the problem of balancing the French media editors to visit Indian ledger seems harder than ever. communities in Canada, to see the real­ "Costs are up terribly, but the net­ ities of Indian life in the tvventieth works don't have much to spend," says century, so they could write about the associate producer Carle Delaroche- TV series in the proper perspective - Vernet, who's been with the company and avoid the cjiarge that Bertolino had since 1969. "We compensate by trying to exploited the image of the Indians. do much more preparatory work here in Montreal than we used to. It's absolu "We didn't want to be accused of tely essential now that we find partners mystifying the situation of the Indians ; who can cover most of our expenses 'in on the contrary, our goal was to break kind'. If we're shooting a legend in through the stereotypes and give people Portugal, for instance, we'll try to work a glimpse at the real Indian culture, out a deal with the tourist bureau there. which has a great deal to teach us " They might be able to arrange plane French youngsters have been invited tickets and accommodation for our to write in their own stories and legends, crew, in exchange for which we give and this summer four of them will be them a print of the film that they can use flown (again courtesy of Air Canada) to to promote tourism. Our goal, ideally, is visit one of the villages where the series to have no expenses at all to pay once was filmed. A satellite hook-up will we leave Montreal to start shooting. It's allow children in France to ask ques­ the only way you can survive today." • A warrior's quest for his wife tal

28/Cinema Canada - April 1983 sufficient quality to play theatrically in After the screenings, the hotel eleva­ the west coast, would do well for its by Michael Douglas North America, perhaps some drive-ins, tors, hallways, bars and rooms buzz gutsy director-producer Len Kowale- but it sold as high action in other markets. with business. What would the minimum wich. At AFM, Sandy Howard, an expe­ For the video rights in England, $30,000. guarantee be ? Would the first payment rienced producer, had been impressed On television in Los Angeles that second Video and theatrical in France, $24,000. be the only payment ? Could tlie buyer by the look of the film related to its week of March you could watch the U.S. and Canada television, $140,000 do as well in all media as claimed ? budget and wanted to get into a deal neighborhood houses flying down the minimum guarantee plus 25% on the What would the currency be worth in with Len for a new movie. street. Downtown, a tornado nearly overage. six months or two years ? What other At the north end of the sixth-floor went unnoticed among the widespread Philippines, $15,000. Singapore-Malay­ films were they bidding on ? What would hallway, a proud cardboard Mountie damages from the wildest winter storms sia, $6,000. India, $12,000. Iceland, $2,000. the majors have as competition ? stands guard at the doorway to the in 20 years. Belgium-Luxemburg, $1,500. Holland, The AFM is primarily for the little CFDC suite. Inside, Anne Brown, Karen Landslides closed the highway, hun­ $2,000. Spain, $22,000. Ecuador-Colum­ guys, the independents. There are some Lawrence and Lorraine B. Good acted as dreds of families up and down the Cali­ bia, $2,500. exceptions ; Orion, Embassy, PSO, Jen­ liaison people, screening films without fornia coast were left homeless as tor­ Produced in 1980, the picture is still sen-Farley, Cannon... sales agents to prospective buyers and rential rains swept over the sandbags selling. Max retired for a year on the You never know what kind of ancil- helping to connect them with the Cana­ and washed beach-front into the Pacific. singles-bar circuit and then returned to laries your movie might open up for you. dian producers. Jack Darcus of Vancou­ The rain pounded on the windshield the distribution game he originally en­ Arista was at the market, promoting ver came with his film Deserters, fresh of my rented Chev as it surged through a joyed. Production had too many hassles, their new video games, based on the from a deal with First Choice. He was great pond that spread across the busy he said. popular movies Halloween and Texas looking forward to initiating foreign highway. On the car radio, a news flash The American Film Market is a must. Chainsaw Massacre. In the former, the sales. One of the most quixotic figures blended with the commercials - a young Launching the sales pattern there will baby-sitter must keep the madman from was Montreal director Rafal Zielinsky. policeman had shot and killed a five- get the production off to an equal or killing the babies and in "T.C.M.' you He pleasantly hustled his proposed TV year-old boy presuming he was armed, better start with the rest of the new battle to keep your family from being series while chatting up the two films and the Queen had moved her tour year's output and set up sales activity for cut in half, complete with electronic he directed, Babe and Screwballs. north to Reagan's ranch. MIFED and Cannes. The AFM provides a blood. From 9 a.m. till 5 ;30 every day, One of the most gung-ho buyers to Turning off the Hollywood freeway very business-like environment. Six floors two young idiots sit and demonstrate exit the CFDC suite was Bob Curtis of onto Vine Street, I aimed for the search­ of hotel suites are turned into office these games. The titles available can be AIP Video. He had purchased Scoring, lights over the Hollywood Palace. Though reception areas with adjoining screen­ depressing; 'Blood-Sucking Fi-eaks', Slipstream and This Time Forever, the legendary theatre has become a ing/deals room. The suites are generally "Blood Tide', Funeral Home', "Mauso­ Coming Out Alive from the CBC. It fashion-plate disco for disinterested lined with a variety of colorful posters leum", "Screwballs' and "Joystick'. These would do well for them on American for pictures the agent represents. One teenagers, tonight for a few hours it would titles represent three of the more popu­ cable, he smiled. (The star of Coming host the opening party for the third agent might represent one movie or five Out Alive was Helen Shaver, co-star of or 200. lar elements available - blood, horror annual American Film Market. and boobs or the mix. Ron Cohen's Harry Tracy). After drinks and hors d'oeuvres, the Admittance to these floors is tightly There are also big classy movies pro­ At the Cat and Fiddle Pub on Laurel buses appeared at nine to take the restricted. Only buyers and invited moted here, like The Far Pavilions and Canyon Boulevard, Helen Shaver sat in buyers back to the hotel. Big day to­ guests are permitted. Sales agents screen Gorky Park. But what seems most strik­ the chair vacated moments before by morrow. trailers, excerpts and completed films ing is the passion for gore ; as when one Beverly D'Angelo, and ordered a beer The foreign buyers had arrived to on 3/4" cassettes. The screenings are buyer turns to another and says "great for her handsome friend and waited, as purchase the rights to distribute hundreds complemented by information sheets shot" after a flyin g finger hits the floor in performers must do so much of their of English-language movies in theatres, with 8-1/2 X 11 inch color posters with a trailer. lives. Earlier that day, the waiting and on television or through home video, in cast, crew and synopsis on the reverse One of the most original trailers or working had paid off for another Cana­ any one of the 60 countries they repre­ side. promotional films came from Rob dian actress living in L.A. Lisa Langlois sented. For ten days the buyers and sellers Reiner, pictured busily editing his new had shot her first scene as the female Here is one slightly adulterated sales take a bus for half a mile to the sprawling rock "n roll movie Spinal Tap. The film lead in a Paramount comedy entitled story; Beverley Centre to the 14-screen Cine- isn't ready. So his promo' incredibly Under Pressure. plex. Every two hours from 9 to 5, After working for years distributing takes us to Denmark for a 10-minute Outside the pub, a Marilyn Munroe screenings begin on all fourteen screens, films for a Hollywood major, "Max" was documentary on making cheese. look-alike steps out of her car and pulls on the MIFED to Cannes road when he over 300 films for sale. The screenings There are dozens of Canadian movies prompt hope and despair. her tee-shirt down. It reads Hollywood met a writer-director with a script. It available here. One of the busiest and Reporter. A young man follows her The veteran distributor stands by the was a variant on the wolf-man story in perhaps best distributors handling down the hill as Neil Diamond drives by an isolated fishing village. Max put up door to the empty theatre with his Canadian pictures is Manson Interna­ promotional material. No one enters. in his Rolls, singing to himself. $45,000 as his half of the production and tional who are representing Spring Later that night, on a shuttlebus chug­ they shot it in English on a Greek island The buyers, chattering in their varied Fever, Utilities, The Funny Farm, Siege ging up a Hollywood hill, the bus comes in 35 mm. The various distributors would languages, pass by and enter the next and Garth Drabinsky's new American to a stop and a red-headed woman with provide subtitles. The film presented group of screening rooms. The distri­ film Losing It. (Paul Donovan's Siege, turquoise eyes steps on board and a lots of blood and guts. It didn't have butor shakes his head. His movie begins, a taut thriller set in Halifax during a man follows, probably a nice guy but "They can just smell it - a good film or a police strike did well at Manila and he's hard to remember. The woman is Michael Douglas is an Edmonton film­ dog," he says to no one in particular. The would do well here.) The Columbia Con­ hall is empty again. nection, a Canadian film produced on actress Tanya Roberts (Beastmaster and maker. "Chariie's Angels"). The man, her bus-

April 1983 - Cinema Canada/29 wjnnrEnnr band, is a writer. The blond, playboy leader of our mini-bus tour to the hillside party is a hustling producer with a script he wants Tanya to read. "She is worth a million now", her husband smiles. "Ah, a husband-manager, I've dealt with you before." The young pro­ ducer turns to Tanya. "Have you read the script ? I know you just got it yester­ day " Tanya . "No, not yet, I have a couple of other projects I have to read first." The producer ; "Well, there's not a whole lot of money, as you know, but this is a movie for you ; it's got definite Academy Award potential." Tanya: ""Well, I will read it." On the hillside in the roomy, pink villa, everyone chats to each other for 15 or 20 seconds. In the wet and crowded kitchen, a creative director (script reader) asks the young guy opposite to guess how old she is. He smiles, he can't guess. "80", she laughs out loud. He shrugs, ""Well I'd still take a run at you." She smirks back, "That's the point, isn't it ' " Their 20 seconds are up. As Robert Gulp dashes through for a glass of wine, he appears larger than on screen, but no less intense. After the party breaks up, an odd group of new friends appear to pour down the hillside to Sunset Boulevard. They have a chance to read their invita­ tions. A producer has met an actress at the market and 48 hours later, they are engaged and he is passing out printed invitations at the party to departing guests. Apparently his engagement will commemorate both this odd couple and the date on which the first film produced in Hollywood was begun. The five friends reach Sunset Blvd. and load into my car. Our guide would be Jonathan Barnett, a freelance writer. Sitting in the front seat is Stefan, the Swedish video-buyer who offers me $10,000 for video in Sweden of anything I produce based on the way I drive. In the back seat with Jonathan is Linda, a writer from New York and Allen, a suave movie-buyer from Florida. Fortunately they have decided to sober up the driver and find something to eat at the only all- night deli in Hollywood. On the way, Allen muses over his recent deal to buy attack occurred during a screening). Superman III for $35 million from the Patrick would wait to see how Slapstick Salkinds. He and his consortium would went and do some days as the gardener sell the rights to a major distributor and on Dynasty. go into profit at the $79 million dollar Later that night in Culver City, just mark. Later in the week he would buy down the road from MGM, Bruce Laird three more movies. Right now he couldn't Studios hosted the AFM's windup party. understand how four men had ended Visitors enter through a 747 mockup up with one woman after a Hollywood past the celebrity look-alike into the party. Linda smiled politely. She knew two giant sound stages made over into why. She just wished he'd stop talking international restaurant areas ; at the about it. far end a huge dance floor and orchestra. Daytime. Many of the buyers were These were once the Selznick Studios, gone. In the bar a few deals and a lot of and this was the home of Scarlett O'Hara. bullshitting about the business was in Those magnificent sunsets over Tara progress. were shot from the roof with fences Two new buddies around the piano mounted to mask the offending skyline bad discovered their exhausting com­ in the days before smog drained the mon knowledge of movie trivia. colour out. Since Gone With the Wind, "Who were all the Tarzans ?" the dreams have changed. They both know and rhyme them off. Over 2,000 guests mill about the res­ "Who were the Magnificent Seven ?" taurants and bars, many in tuxedos. "If I tell you. Brad Dexter, willyou give There are not ten black people in sight. me the rest ?" When this fact is mentioned, an L.A. "Oh, yeah, sure. I got a great Brad producer laughs and resumes his half­ Dexter story for you...", Steve Sloane hearted interest in the ass-kissers that continues. Steve disfributes karate films. flank him. He owned a couple of boxers for a while "Can I get you some more dessert ?", but you can't tallc to them so he's looking one asks, concerned. worry about the sharks. Sharks have to this spring at or Cannes or MIFED. for an off-Broadway play to produce. Suddenly, I was tired of all the people eat. They're hungry. You show them After screening so many films, meet­ "Just ego", he shrugs. who looked you in the eye and lied to how they can eat and they can be your ing lots of people, the good ones shine "Are you going to the party?" the you; these comfortable people who sharks." through clearly, and so do the scripts. other trivia expert asks. don't give a shit. Next day the veteran gypsies in the Me, I'd return to a desk in Edmonton to Patrick White acts and recently direct­ Steve Sloane grabs my arm and takes show-bizz caravan rolled up their ad­ work on a script I hoped would bacl(- ed Slapstick, the latest Jerry Lewis pic­ me for a walk. vertising and moved on. They'd renew bone a film to be sold, yeah, at the next ture (there's a rumour that Lewis' heart "Listen, preacher/' he starts, "don't acquaintances in Italy or France later market. •

30/Cinema Canada - April 1933