In PROCiREff... create something light enough to do no damage, yet strong enough to seem real Cries in the Night and not to break. He solved it by cast­ ing his shovels in urethane, a lightweight exec. p. Barry Allen, p. William Fruet, died. There's one guest already, the fiberglass. Since urethane can't be d. William Fruet, sc. Ida Nelson, ph. affable Mr. Davis, but two others painted, he created a realistic look by Mark Irwin, p. asst. Goff Martin, a.d. arrive, Harry and Florie. At first they coating the inside of the plaster mold with a mixture of black paint, latex Susan Longmire, wardrobe Mary Jane appear to be married but, in fact, they McCarty, ed. Ralph Bunjes, stills Rick rubber and aluminum. The resultant Porter, sound Ian Hendry, continuity are a salesman and his floozie on a hot weekend. They're murdered. Heather rough, dark, metallic finish looks quite Marie-Therese Boily. 1.0. Kay HawtreY, realistic. Barry Morse, Lesley Ann Donalson, begins to hear voices in the night. Dean Garbett, Harvey Atkin, Peggy Grandma denies that there's anyone in The look of the picture will be "On­ Mahon, Alfred Humphrys, Jack Van the cellar. More murders. Could it be tario Gothic." Mark Irwin is using lots Evera, Les Rubie, p.c. Incident at North­ Hibbs, the grotesque and horny handy­ of soft lights and no camera filters for hampton Production. man? Is Mr. Davis as affable as he an effect he describes as "Muted, mel­ Cries in the Night may be the seems? Finally, Heather becomes the low, contemporary low key." The mood smoothest, most serene of the more target and that leads to the shattering will be enhanced by a lot of motivated than a dozen shoots going in Toronto climax in the em balming room. tracking and deep focus. He adds that ,this summer. Despite weather that's the murders are receiving a lot of time, shuffled clear skies, cloud and rain The script is by Ida Nelson, whose energy and coverage. like the pea in the old shell game, the previous credits are in television and Cries in the Night boasts an all-Cana­ picture is on budget and on time. include A Cosmic Christmas, and pro­ dian cast. Grandma is played by Kay A good part of the credit for this ducer/director William Fruet is quite Hawtrey, Heather by newcomer Leslie must go to the crew, led by Dop Mark pleased with its traditional qualities. Donalson and Mr. Davis by Barry Morse. Irwin. Most of them have just finished He feels that audiences associate more Morse. five weeks together in Puerto Rico, with reality than with the science fic­ When I mentioned that Mr. Davis shooting Tanya's Island. They're thor­ tion/fan tasy of Alien or Hallowe'en, appears, in the script, to have little oughly used to each other and, judging making Cries in the Night a "market­ character, Barry Morse replied, "That's from the comments they made when I able commodity." The rumor on set is very interesting to an actor because it visited the set at Lakeshore Studios that he's going for a GP rating, a move provides a framework into which you (where they'd moved after three weeks that will enhance the film's marketabil­ can put almost everything. What I chose at the main location in Markham), ity in a season filled with Restricted to do, in conjunction with our director, they've become quite fond of one an­ horror movies. Bill Fruet, is to make him a seemingly other. They all seem to work together The special effects for the film are contradictory person, so that one says quite efficiently. being done by Dennis Pike and include at one moment, "Well, he's a very good­ However, legendary gaffer, Jock the shovels that, later that afternoon, natured and soft-hearted and sentimen­ Brandis tells me the efficiency is all are to bludgeon Barry Morse (as Mr. tal and rather befuddled old chap." illusion. He suggests that if I listen to Davis) to death. Pike's blem was to Then another time, one thinks, "Well, the same people communicating on the same subject five minutes later, I'll hear them being just as firm and sure about totally contradictory information. Jock Brandis, however, is a world-class cynic and three-times winner of the Liberal Party of Canada's Lying to the Press Competition. He may be right, but if he is, the chaos is eliciting panicky res­ ponses from no one and the work pro­ ceeds apace. The other major factor in the success of the shoot is the schedule itself. Seven weeks (from July 23rd to September 7th) seems a generous schedule for a traditional horror film that doesn't rely heavily on'special effects. Cries in the Night is a horror film of the madman-with-an-axe variety. Teen­ aged Heather arrives at her grand­ mother's funeral home to help tum it into a tourist home. It's the only way the old lady can hang onto the place A tense .moment between Hibbs (Stephen Miller) and Heather (Lesleh Donaldson) on the since her husband, the undertaker, set of Cnes III the Night photo: Rick Porter

6/Cinema Canada Nagra. Bent in the cold wind, he shuf­ fles the machine around, aware every­ one is waiting. Instead of curses, some­ one yells, "Don't look for water; look for oil." Soon, a pleased Fournier jigs atop a rented truck. Later, when stunning black newcomer, 6 ft. plus Maggie Crooks (Fast Annie) is prone on a patrol car front seat, one foot out the back window, the other out the front, she'll be asked for some foot expressions. Her curling and uncurling toes straighten the kinkiest hair of most male onlookers. Someone mutters her legs are so long they meet at her chest; it's a sight when 5 ft 4 in . Fournier stands before her. The Squad's budget is closer to $1 million than the rumoured $800,000, according to Irene Litinsky of Cinepix/ DAL films. They, the CFDC, L'lnsti­ tut Quebecois du Cinema, and Rose films are financing, though percen­ tages are confidential. Private investors are involved, too; all $5,000 units were snapped up within four days of the Grandma (Kay Hawtrey) and Mr. David (Barry Morse) on the Elora, Ontario set of Cries in offering. the Night Daniel Pilon (Prank, "a cop who gets paid to get laid") says the film is is he exactly what he seems?" The ducer Patrick Doyle wouldn't reveal the "bawdy but not dirty." Purportedly script, I think deliberately, leaves a lot budget, but other sources inside the a fast-paced comedy, it was co-authored for the actors to do and it's noticeable company put it at around 1.5 million. by Raymond and Fournier. Mr. Clean that a great many good scripts of this The film is also undergoing a little (Harry Reems) is invited to rid Mont­ kind, in this genre, also leave a lot for change, but that, too, remains and of­ real of sin, having done so to Toronto. the artist to do." ficial secret. The morality squad he heads is corrupt With distribution deals not com­ and inept. Each cop's misadventures pleted, William Fruet and associate pro- Andrew Dowler are depicted as he works under Clean's strait-laced supervision. In one sequence, Reems and Swan­ son clumsily search a skyscraper foyer for clues. Suddenly, Reems poin ts The Squad down. Reems: "Pick it up." p. Andre Link, Marie-Jose Raymond, d. Atop Mont Royale, against a "Giotto Swanson: "But it's only a piece of Claude Fournier, asst. d. Avde Chiriaess, Sky," soundman Richard Nichol delays lint, sir." Michele St-Arnaud sc. Claude Fournier, a take to find a "dead" spot for his Reems: "Pick it up. We've got to ~(rom an original idea of John Dunning start somewhere." and Andre Link ph. Daniel Fournier art. (Exasperated, Swanson wraps it in d. Anne Pritchard cost. Fran~ois Laplan­ an oversized plaid handkerchief.) te J.p. Harry Reems, Jeff Bowes, Daniel Reems (taking Swanson aside): "We Pilon, Jean Lapointe, Fiona Red, Gilles want the cold hand of the law in this LaTulippe, Nicole Morin, Monique Le­ man's pocket." page, p.c. Squad Film Ltd. The "man" is Harry the Flasher The Squad, due to wrap Sept. 7, (Gilles LaTulippe, praised by all). began shooting July 21. In the sequence prior, Deborah Wein­ : .. "We're on schedule," says veteran stein has fainted after slipping a hand :Quebec director, Claude Fournier. Then into the Flasher's pocket. The pocket he ,[,chortles, "And within budget - this has no pouch and everyone knows what's far anyway." under a flasher's Aquascutum. . Marie Josee Raymond, producer, Much research has been done, since 'production manager and Fournier's the authors originally had written a .partner in Rose Films and real life, serious vice-sq uad corruption drama . :[permits spontaneity to poke through It was DAL's John Dunning and Andre her cool, artful elegance to explain Link's suggestion that led to a trans­ their success. "We've got a great crew! formation into comedy, which Four­ It's a lot of hard work but a very plea­ nier has done before (Deux Femmes en sant shoot." Harry Reems stars in Claude Fournier's Or; La Pomme, la Queue et les Pepins; On set, crew and cast morale is high. latest comedy The Squad and Je Suis Loin de toi, Mignonne).

Cinema Canada/7 from porno star Reem's (Deep Throat, The Devil in Miss Jones) top billing. Pu blicists are claiming this is his first attempt at less horizontal cinema. "That's not quite true," Reems said in a mid-night telephone interview. "I've done relatively straight films in Italy, France, Sweden and, in Tokyo, a pirate film in Japanese." He claims to have appeared in 150 films. However, The Squad is his soft­ est in English, and his first since being tried under U.S . conspiracy laws after charges were laid in conjunction with Deep Th·roat. His successful defense nearly bankrupted him . Reems found Canadian crews really knew their craft. Not one day passed without 15 to 25 set-ups, compared to three or four elsewhere. This he said was because " they're not spoiled by lavish productions or unions." Both Reems and Pilon, when asked, were quite candid about Fournier's directing through the viewfinder, in­ stead of from beside the camera. Though fav ored even by Stanley Ku­ Actors Daniel Pilon and Harry Reems discuss the shooting of The Squad with director brick, Reems felt this style disturbs Claude Fournier actors, working with them is sacrificed The film is entirely in English, but release is planned, though this could for framing and camera wizardry. will be dubbed in French and released change suddenly, according to Ms. Pilon suggested actors are insecure; in that version in Quebec, before the Raymond. to do well they need the director's English is shown there. A Christmas Much publicity has been milked undivided a.ttention. "The director

The Largest Collection of Films on Canada • • • • • • • • • • • Witness of a country in the making, r the NFB celebrates this year its 40th anniversary of film service to Canadians. -J

• • • • • • • • • • ...... • National Office .. ..::::-:: . . . Film Board national du film .: ••• : I.: ...: : : of Canada du Canada ..... ! i·:.:::.: 1939·1979

8/Cinema Canada doesn't have time to take care of every­ box of breakfast cereal. When Four­ during the summer, she thinks the one and everything." nier shouts, "Cut!", Cheriaeff echoes, relationship will continue. But Francis First assistant director, Avde Chi­ "Coupe!" Although like bus drivers thinks he's gay. The pressures he feels riaeff, was less severe. "When Fournier shouting, "Rue Peel, Peel Street," from Judith and his macho father, Nick, does it all, he's anxious to work. It's not all cast or crew members are bi­ lead him to destroy his 21st birthday also faster than explaining things to lingual. The first cameraman, J ean­ party. Judith and her brother leave for 25 people, in two different languages. Marie Buquet, according to Ms. Ray­ California. Nick talks to Francis about Claude's old school: small budgets, mond, "the best focus-puller in the the need for friends. Francis chases small crews. Then, over-specialization business," doesn't know a word of Judith and her brother down and the was a liability." English. three of them go off with his sexual Fournier, 20 years a cameraman, Fournier said, "It causes a bit of identity still unresolved. The plot also explained, "It's the only way to see uneasiness in the actors. When crew involves Madeline Kahn as Bunny, the what the actors are doing, the only members speak French, the (mono­ neighbourhood glamour girl (somewhat way to get what you want." lingual English) actors think it concerns faded), her asthmatic son, Herschel Last year he tried the more tradi­ them, especially after a take when (Tim Jenkins) and Lucille, Nick's trad­ tional way of directing but found he they are looking for approval. But itional Catholic girlfriend, played by spent too much time explaining. Hel nothing drastic has arisen. It does mean Rita Moreno. was being surprised - not always plea­ explaining things two or three times." Francis is played by Alan Rosenberg, santly . "I'm after the story, not beau­ Nevertheless, on sked Harry reams who can be seen in The Wanderers. tiful pictures. The audience doesn't clean and Pilon piles on. But the last Sara Holcomb, who plays Judith has care about beauty, but what tells the quote belongs to Ms. Raymond, "The appeared in Animal House and Walk story." rushes are very nice. Proud. As for doing everything, "It's fun "We, and the actors, too, will have It may not sound like much on and it helps to 'decompress." to wait 'til Christmas or later for a paper, but Phil Akin, a bit player in the The production is as bilingual as a peek and hopefully a giggle." Doug Isaac film who has been involved with the play, says that something happens to it in performance that lifts it well beyond the thin plot line. Phil's had his own problems with the shoot. He's been Happy Birthday wrapped off the film twice and then called back for shots that had been simply forgotten. He thinks there are major organizational screw-ups and cites Gemini another bit player who's been through the same thing. p. Alan King, Rupert Hitzig co-po Bruce ner (Outrageous), who adapted Albert The scene is ready to rehearse. It's Colman d. Richard Benner ph. Jim Kel­ Innaurato's script for the screen. Francis telling Judith he's gay. While ly ed. Donald Ginsberg art. d. Ted Wat­ Release will be through United Artists. Benner runs his actors through blocking, kins sd. Ingrid Cusiel sc. Richard Benner The story, as recounted by Lisa based on the play Gemini by Albert In­ DoP Richard C. Brooks of New York, naurato J.p. Rita Moreno, Madeline Wilder, production manager John Quill lines up the shot. Brooks is not the Kahn, Robert Vih aro , Sara Holcomb, and others is this: Francis and Judith original DoP. He'd been called in two Tim Jenkins, David Grant, Alan Rosen­ were lovers in college. When she and her weeks previously to replace Jim Kelly berg. p.C. Birthday Productions. brother visit him in South Philadelphia who had shot Outrageous and who, Happy Birthday Gemini began shoot­ ing in Toronto on June 20th and should have wrapped on August 3rd. Thursday, August 9th, the crew is setting up to do a major scene in an alley just off King and Bathurst - a week behind schedule and so far over their two million dollar budget that nobody's keeping up the polite fiction of calling it "a little over" or "sligh tly over." There have been some problems. What they are depends on whom you listen to. Lisa Wilder, demon continuity woman, blames the weather. In a film with a lot of night exteriors, where every night brings its own blend of clear skies, cloud and rain, the need for matching backgrounds is served by standing and waiting. Gemini is a union film: waiting at night costs money. Happy Birthday Gemini is the prop­ erty of executive producers Alan King (the comedian) and Rupert Hitzig. They took the original play, a howling success on Broadway, to director Richard Ben- Happy Birthday Gemini: a coming-out party of sorts

Cinema Canada/9 according to John Quill, had become sound recordist Ingrid Cusiel has had sick and had to leave. According to her share of problems. But right now, others on the crew, he was fired; either Benner is more concerned with being as a scapegoat or because he actually able to match the noise in post-produc­ was responsible for the slow pace. No­ tion that went with a noise-free track, body knows, or will say, which. As so they roll sound. I'm writing this, Jim Kelly is said to Alan Rosenberg does his part basic­ be shooting in the States and, therefore, ally the same for every take, but Sarah not available for comment. Holcomb plays around with her timing Quill, himself, is a replacement for and delivery. Richard Benner watches, Barbara Laffey, the original production makes suggestions and encourages the manager who was fIred as a result of experimentation. They all three seem personality conflicts. She was said to involved and unhurried - lots of mutual be quite happy to leave the film. trust and respect here. An hour later, There is talk that there have been with the scene in the can, Benner will other firings, but John Quill won't take John Quill aside and scream at him discuss those. His big problem is that in the low earnest voice of a man on the some of his talented and experienced verge of murder about some third party crew members have left to fulfill other on the set who is consistently harrassing committments and that there just are him about time. not enough experienced replacements Despite these hassles, and more be­ around. An experienced crew is a sides, the crew is showing a lot of en­ speedy crew. He says that the Canadian thusiasm for the film. The rushes are government has done a fine job of at­ Rita Moreno, Sara Holcomb taking direc· well-attended and more than one hard­ tracting production, now he would like tion from Richard Benner on the Happy ened techie has praised Benner's hand­ to ' see them set up an apprentice pro­ Birthday Gemini set photo: Gary V. Holiff ling of- the actors and confIded that gram so there would be the craftsmen to there are at least four scenes in the pic­ meet the demand. Without them, he location is about a mile and a half due ture that will leave not a dry eye in the suggests, the boom for making features north of Toronto Island Airport. With house. in Canada could die. other locations in Kensington Market, And that makes it all worth while. They're ready to shoot, OT, they Beverley St. backyards, a trolley grave­ would be if the planes would leave. The yard and a banquet hall on Dufferin, Andrew Dowler

goes to student film festivals. It was at such a festival at Sir George (now Pinball Summer Concordia University) in Montreal that he first saw Pizza to Go in 1977. The p. Jack Murphy line p. Bob Presner asso. Presner explains, "I've been in the 24 minute color film, quite slick for p. Fred J. Fox d. George Milhalka sc. business 11 years, and I remember how a student production included an Richard Zelniker sd. Donald Cohen ph. difficult it was for me at that time impressive 30 locations, locations that Fodney Hibbons ed. Ion Webster J.p. when there was no feature film in­ Michael Zelniker, Carl Marotte, Karen were well chosen and well lit, with a Stephen, Helen U dy, Thomas Kovacs dustry. I graduated from Loyola in variety of mood and appearance. 1969 in Communications Arts with a pub. David Novek and Mary Trees p.c. The creators of this student film Criterion Film Productions. major in film. The doors didn't open were George Mihalka and Rodney It is rather unusual for business for me. It was a closed shop. My film Gibbons, two aspiring filmmakers. people in the feature film industry to background didn't help. I was coming take a chance on young filmmakers, up against people who had started in These same two filmmakers were but it is very commendable. the industry. That's why I try to listen approached by Presner as director The producers of Pinball Summer, to anyone who comes to me for a jo b. (Mihalka) and cameraman (Gibbons). Jack F. Murphy, president of Crite­ Presner, not unlike Roger Corman, Gibbons had only shot about 800' rion Films, a 16mm distribution com­ pany, and Bob Presner, line producer, have taken such a chance. In August, 1978, Murphy approached Presner with crHE EDITlrtCi ctIOUSE the idea, marketing concept and stra­ tegy for a low budget picture. Their $750,000 feature about high school - Large bright fully equipped rooms. students on the loose during summer break, is scheduled to appear in April. -16 and 35 Steen becks and Moviolas. It was shot in 29 days with a crew pri­ - Pleasant location right in Yorkville. marily composed of filmmakers only - Reasonable rates. a few years out of university. In fact, 37 of the 45 crew members had not - Mixing, screening and video facilities less than a minute away. worked in key positions on feature films previously. Pinball Summer THE EDITING HOUSE 119 ScollardSt. Toronto M5R 1G4 gave them their chance to prove them­ call (416) 964-8956 and ask for Judy selves. lO/Cinema Canada in 35mm prior to Pinball. decided to ignore this slight problem "School gave us the background we and to teach them to ride and move needed - the familiarity with film like bikers. Tow rigs were built for equipment and taught us how to do close-up shots, and stunt doubles were everything with nothing," Mihalka says. found for the long shots. Donald Cohen, soundman, Walter Another unique insert is that 7 of Klymkiw, lighting electrician, Chantal the main talent hadn't acted in film Ethier,make~up artist and Otta Hanus, before. And one actress, Joy Boushell, 2nd A.D. from the Pizza to Go crew was found by casting director Arden also worked ·· on Pinball. Altogether Ryshpan late one night at the disco about 20 former Sir George and Loyola 1234. students worked on the crew. It's not easy to cast roles in the 17-19 age bracket in English in Mont­ But how does a film like Pinball real. Contacts were established with go about saving money? high schools, CEGEPS, universities, "Someone ine~erienced will often Steve (Carl Marotte, left) and Greg (Mi chael amateur theatre groups - 160 people waste his time, ta~s longer to perform Zelniker, right) would like to order more auditioned for 8 leads. It would have a task or will ignore something impo­ than just hamburgers from waitress Sally cost three times as much if the produc­ :rtant," Mihalka adds. (Joy Boushell) tion had gone to Toronto to fill these "It was a trade-off;" Presner states, Lachine was transformed into "O.J.s," roles. "We did not have to pay the same an orange Julip-type restaurant. The "In Montreal, for prestige, they rates for our crew as we would have place was so convincing that people way 'Hey man, we've got all the heavy­ for people with 5-10 years experience. kept driving off the road to order duty folks from Toronto.' In Toronto In exchange, the inexperienced were food, thinking it was real and open for say 'Hey man, we've got all the heavy­ given the chance to prove their abili­ business. heavy-duty folks from New York.' ties . . We were discovering heavy-duty folks The spirit of the production seemed in Montreal," stresses Mihalka. "Instead of buying everything, such to be an incentive for everyone to pitch as $40,000 worth of motorcycles, in and help. The people at one old These young filmmakers are perhaps we contracted 4 bike owners to be age home liked the crew so much that a new breed. As Gibbons insists, "Film­ on the set when we needed them. they kept feeding them, and cops making is a process, not just a job where We paid a daily rental fee for the bikes. would come off duty to work on _ you pick up your check and run home." Therefore, we were able to secure hea­ Pinball. When he decided to make Pinball, vy-duty chrome-engined Harley-David­ Casting: It's not easy doing a picture Presner was personally told not to sons at $1500 a bike for 6 weeks. which involves actors who play bikers have anything to do with it. People thought he was crazy. "In addition we required water when the actors don't know how to front locations. Because of a union ride motorcycles. (The bikes for the "Uncle Bob believed in all of us," rule we had to shoot within a IS mile shoot were choppers weighing-in at a the crew says. radius of the Beaubien Metro Station. mere 800 lbs.) But the people were Perhaps he will prove something to Anything beyond this area would cost right for the parts, so the Pinball team the industry. more and include travel time and Lois Seigel meals." Trying to create a wide water coast­ al look would have been much easier if the crew could have taken off for Maine ... But the unit manager, John De­ sormaux, came to the rescue. Dressed in a suit and tie, he ap­ proached 12 municipalities and took the time to talk to the people in charge. The city managers were met formally with story outlines and details of all the requirements of the production. They were invited to the set prior to filming, and the result was full co­ operation and then some. "On big money pictures producers feel they can buy anything they need," ··Presner asserts. "Money replaces cour­ tesy and respect. "At one point during filming we were rained out with massive oceans on our locations. Within a half an hour the City of Dorval helped build us a new road. They brought in truck­ loads of gravel and a bulldozer." The filmmakers also proved adept at finding locations. One old broken­ The winner of this game of "strip pinball" between Sally (J oy Boushell) and WhiJnpy down house on St. Joseph Blvd. in (Joe McNamara, centre) will soon reveal herself - in more ways than one

Cinema Canada/11