CANADIAN CANADA $7 SPRING 2017 VOL.19, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA

Green Gables Re-Anne-imated

Canada’s Chilling TV Film Noir

Coaching Writers On Getting A Life

Kim’s Convenience Crowd Pleaser, Critical Darling PM40011669 tsc-2017-cs-ad-final.pdf 1 2017-02-21 12:13 AM

C

M

Y

CM

MY

CY

CMY

K

FOUNDING SPONSOR LEAD SPONSOR PRESENTING SPONSORS CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 19 No. 2 Spring 2017

ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Contents Publisher Maureen Parker Cover Editor Tom Villemaire [email protected] A Big Hit On The Small Screen 6 Ins Choi and Kevin White tell us about the challenges of Director of Communications Li Robbins adapting a hit stage comedy, Kim’s Convenience, Editorial Advisory Board to the small screen. Denis McGrath (Chair) By Matthew Hays Michael MacLennan Susin Nielsen Simon Racioppa Features Rachel Langer Green Gables Redhead On Fire 12 President Jill Golick (Central) A novel written over a century ago is being brought to our living rooms in not one, but several offerings. Susan Coyne Councillors Michael Amo (Atlantic) and John Kent Harrison tell us how they updated Mark Ellis (Central) the story for today’s audience. Dennis Heaton (Pacific) By Mark Dillon Denis McGrath (Central) Anne-Marie Perrotta (Quebec) Doing God’s Work With Film Noir Flair 16 Andrew Wreggitt (Western) Pure has captured the attention of viewing audiences with Design Studio Ours its gritty tale of drugs and the man of God who fights them Printing Ironstone Media in a Mennonite community. Are it and Cardinal the start of a Cover Photo: Christina Gapic chilling new Canadian TV Film Noir? By Diane Wild Canadian Screenwriter is published three times a year by the Writers Guild of Canada (WGC). Life Coaching Cool Cats 20 366 Adelaide Street West, Suite 401 Sure, screenwriters are savvy and smart, but even Toronto, Ontario M5V 1R9 they need to be supported and coached. TEL: (416) 979-7907 By Katherine Brodsky FAX: (416) 979-9273 WEBSITE: www.wgc.ca Subscriptions: WGC members receive a subscription as part of their membership. W-Files Non-member subscriptions: $20 for Tracey Deer — By Greg David 23 three issues. Ian MacIntyre — By Cameron Archer 25 Advertising policy: Readers should not assume that any products or services advertised in Canadian Screenwriter are Columns endorsed by the WGC. From the Editor/Contributors 2 Editorial Policy: The WGC neither implicitly Inside/Out — Jill Golick 3 nor explicitly endorses opinions or attitudes More Advice For The Scriptlorn — expressed in . Canadian Screenwriter Paul Mather 28 Submissions are subject to editing for length, style and content. Advertising Sales: News Visit www.wgc.ca or contact Li Robbins at Beat Sheet 4 [email protected] Spotlight 27 Letters to the editor are subject to editing Money for Missing Writers 26 for length. Not all letters are published. New Members 26 FROM THE EDITOR CONTRIBUTORS

The ecology of a Spring 2017 healthy writing environment

Cameron Archer runs the What the heck is going on with Canadian television? Canadian television/media Mennonites mired in drug-dealing? Korean shop owners website Gloryosky offering a “gay discount”? (www.sweetposer.com), and is There was a time in a Canadian context, when “pure” would have brought to mind snow-filled tropes. And Ins Choi’s play-based also a freelance arts writer. He series, Kim’s Convenience, offers darkly funny laughs that would not currently lives in Eastern Ontario. have made it off the Fringe-fest circuit just a few years ago. These are things that can only come to a country confident Katherine Brodsky is a in its maturity and liberal values. They can grow only in a healthy, Vancouver-based writer who has diverse environment. written for , And they can only be done well by screenwriters who are The Washington Post confident and supported. The Guardian, Variety, Esquire, A healthy “cultural ecology” is key, and the recent focus on Entertainment Weekly, and diversity — different voices and different viewpoints — is encouraging. even Playboy Magazine. She has Both Kim’s Convenience and Pure are products of long gestation interviewed a diverse range of periods and both required courageous souls to create, support and intriguing personalities including buy these projects. Not only do they offer a view of Canada that is not Oscar, Emmy, Tony, Pulitzer, and widely seen, but they also offer a view of Canada as something more complex than a “few acres of snow,” or a Mountie who always gets his Noble prize winners. Sometimes man, or really polite people who curl. she writes scripts, too. Find her Screenwriters can also find inspiration, as well as markets, on Twitter @mysteriouskat in genre diversity. Of course many screenwriters have based their work on books, plays, songs and paintings. And screenwriters don’t For over 15 years, Greg David just write screenplays. Some write plays and novels. Some also was a television critic for write blogs, write and illustrate graphic novels, play in bands, paint, TV direct, produce. They find additional outlets for their creativity and Guide Canada, the country’s their work. most trusted source for TV And those additional outlets are necessary. news. A former member of the Screenwriters need a strong cultural garden to succeed. A solid Television Critics Association, film and television industry, active publishing industry, a flourishing he is currently a partner at live theatre scene, all can help each other remain strong and healthy , a website (www.tv-eh. and to grow, adapt and innovate. When one falls ill, the others TV,Eh? should pay heed. com) devoted to covering the The success of Pure and Kim’s Convenience is reassuring. When Canadian television industry. shows like these do well, barriers are removed, opportunities open and the process feeds on itself (but not in a bad way, like a hungry Mark Dillon is a Toronto-based zombie). freelance journalist and former But we shouldn’t pat ourselves on the back. Yes, there have been editor of magazine. He accomplishments, but we need to keep raising the bar higher — and Playback exceeding it — both in terms of diverse voices and support for our is author of the award-winning screenwriters. Fifty Sides of The Beach Boys. If we want to maintain the ability to tell Canadian stories to Canadians and to the world, we have to ensure we exist in a place Matthew Hays is a Montreal- where it’s possible. based writer, author, and After all, cool things don’t happen in a vacuum. university and college instructor.

— Tom Villemaire

2 INSIDE/OUT Writing our truths with passion

His articles have appeared in the Globe and Mail, The New It’s been 10 days since the new American president took office. Three days after he signed his travel ban. The day after the shooting at the Quebec City York Times, Maclean’s, The mosque that left six dead and 19 more injured. I am standing before a uni- and many others. Toronto Star versity class of film students about to teach a lesson on half-hour comedy. His book, The View from Here: An experienced professor has advised me that the classroom should be Conversations with Gay and a safe place — a sanctuary free from the woes of reality. But I can’t stop my- Lesbian Filmmakers (Arsenal self, my mouth opens and something comes out about these troubled times. Pulp), won a 2008 Lambda Student eyes rise from laptops and phones to meet mine. Now I’ve Literary Award. done it. They think I have some wisdom to offer — and I don’t know where I’m going with this. Nonetheless, my mouth is open again and sounds are coming out. Words Paul Mather was showrunner on I have heard so often from the writers of many countries at the annual meet- Corner Gas and head writer on ings of the International Affiliation of Writers Guilds meetings. Words that Rick Mercer Report. He co-cre- always make me feel better. Our job as screenwriters is to speak truth to power. ated Dan for Mayor for CTV Maybe not the soundest of advice less than a week after the term “alter- native facts” was coined. Haven’t we just learned that a good lie is more effec- and created Men with Brooms tive than a million facts and figures? Then I remember screenwriter Bruce for CBC. Since moving to L.A., Smith’s words: “you can get to simple clear persuasive truths in fiction that you he’s developed with CBS and can’t get to purely through fact particularly about controversial issues…” written for The Michael J. Fox In a world that is deeply divided, where people have grown wary of any- Show, Cooper Barrett’s Guide to one who is not like them, story is a powerful way to help us understand each Surviving Life, and Powerless. He other. Not in a liberal media conspiracy kind of way. The world has many thinks every bio should have one different truths. Every writer’s truth is different. And there it is: the exit ramp from this ill-prepared ramble: Story is whimsical sentence at the end. the vessel into which we put our truths, our voice, our point of view. Yes it is very important to learn the craft, to hone your skill by writing, writing and Simon McNabb is in his fifth writing. But it is also important to nurture and protect your voice, to know season as a writer for CBC’s Mur- your truth and speak it without fear. doch Mysteries. His other credits And out! Was that inspiring? Do they feel better? I scan the classroom and notice there are more female faces than male, more skin tones than I include Package Deal and The have names for. Did I just lie to them? Afterall, the media landscape isn’t ex- . He is a graduate Kitchen Musical actly welcoming to women and/or diversity, will their truths ever get made? of the USC School of Cinematic But then I looked down at my notes for the actual lesson — the part Arts and completed the CFC I’d taken the time to prepare. We were about to take a deep dive into two Prime Time Television and NSI American half-hour series that these students love. One is Broad City, mind Totally Television programs. He blowing for its celebration of female friendship. The other is Atlanta, revolu- lives in Toronto. tionary in the way it takes us into the lives of ordinary American black men. And the trades are filled with stories about breakthrough series from Israel, Denmark, Turkey and Iceland. Diane Wild is a Vancouver-based The signs are here in Canada too: Baroness von Sketch, Kim’s writer, editor and health care Convenience, Shoot the Messenger, Mary Kills People, Pure, Cardinal. Series communicator who founded the that smash the prefab mold of American programming our broadcasters TV, eh? website and gallivants have long preferred. Series that boldly explore places and ideas that are to work on the Olympics every new to our screens. Series with voice. In these troubled times maybe the only thing we can do is write our couple of years. own truths — passionately and fearlessly.

— Jill Golick

3

BEAT SHEET

without regulation, and in 2015, Bell, Shaw, Corus, and Rogers spent over $300 million on PNI. That’s a very significant part of our industry. But in the licence renewal process last year, broadcasters came crying poor. Bell and Corus in particular argued that their spending minimum percentages had to be lowered due to the threats from Netflix and cable unbundling. In fact, PNI spending is determined as a percentage of broadcasting revenue, so any revenue declines would already be accommodated in this model — a reduction of the percentage itself would be a “double whammy” for the Canadian production sector, and a massive one at that.

Where It’s Going: The WGC made a strong, evidence-based The WGC Policy Decoder In 2010, the CRTC created the case for maintaining spending “group-based approach” to licence requirements where they are, The WGC’s “Policy Decoder” large, private English-language as a percentage of broadcasters’ looks at public policy issues that broadcasters. This approach revenues. The WGC made concern Canadian screenwriters/ recognized the reality of corporate detailed written submissions, and showrunners. This edition consolidation in the sector. The appeared in person before the decodes the “group-based CRTC also imposed group-based CRTC in Ottawa in November, to licensing” proceedings for private spending requirements for strenuously argue that spending broadcasters at the CRTC, which Canadian programming at that levels had been set at the low end of culminated in public hearings at time. The CRTC set the initial the spectrum in 2011, due to how the end of November 2016. conditions of licence under the they were calculated on historical group-based approach in 2011 for averages. The WGC laid out the What’s The Big Idea: The a five year term, which was later history of the policy decisions, and Canadian Radio-television extended by another year. The co-commissioned a report that and Telecommunications current licences are set to expire in quantified the impacts of Bell’s and Commission (CRTC) regulates 2017, and the regulatory process to Corus’s proposals — proposals that broadcasting in Canada under renew them began last summer. if projected out over a five-year the Broadcasting Act, and issues licence term could lead to spending licences to broadcasters, without Why Care: Spending requirements losses of over $200 million for PNI which they cannot legally operate. on Canadian programming are a alone. The WGC also argued for The Broadcasting Act includes crucial component of supporting a renewed focus on development, a number of policy objectives to Canadian content. This is for better data and broadcaster support Canadian content, and particularly true for “programs reporting, and for spending on new the CRTC implements many of national interest” (PNI), the production rather than library of them as a condition of these CRTC category that includes content. broadcast licences. Licences drama, comedy, much children’s As of press time, the results generally come up for renewal programming and animation, and of our efforts are not yet known. every five to seven years, which long-form documentary — the The CRTC is expected to issue its provides the opportunity see how main genres that WGC members decision some time in the spring, broadcasters are performing and to work in. Many of these kinds of well in advance of the new licences reset those conditions if necessary. productions simply wouldn’t exist taking effect on Sept. 1 of this year. OURS ILLUSTRATION:

4 The WGC in Ottawa

WGC Executive Director Maureen Parker and members of staff were in Ottawa in February to attend the Prime Time industry conference and to lobby government. The guild met with MPs and senior bureaucrats to discuss the future of Canadian content in the digital era. Key topics of conversation included the need to ensure that support continues for Canadian production, the central role that Canadian screenwriters hold in the sector, and the importance of more resources in the development phase. As always, the WGC continues to make sure that the voices of Canadian screenwriters are heard in the nation’s capital.

Writers Talking TV

The WGC continued the Writers Talking TV series with two recent events featuring WGC showrunners: Aubrey Nealon, showrunner of Cardinal, “Telling Canadian Stories, Telling Canadians Stories,” produced by the WGC; directed and animated by The Juggernaut. interviewed by Carol Hay, and Michael Amo, showrunner of Pure, interviewed by Cal Coons. Attended by WGC members and Telling Canadian Stories: Empire, Arctic Air, Heartland, non-members alike, both evenings WGC Videos Moccasin Flats) talks about the were filled with insights about importance of home and the north. screenwriting craft and about Canadian screenwriters play Simon Racioppa (Fangbone!, the Canadian industry. You can a crucial role in reflecting Spliced, Annedroids) recalls the listen to all editions of Writers a Canadian perspective for power of hearing Canadian stories Talking TV on the WGC website, audiences at home and around as a young person. Bruce Smith at http://www.wgc.ca/nolevel/ the globe — on all screens. As the (19-2, John A.: Birth of a Country, wgcpodcasts.html. WGC members Department of Canadian Heritage Cracked) relates his experience also shared their expertise at held its “Canadian Content in a of working in the U.S. — and Fan Expo Vancouver in a panel Digital World” consultations last choosing to return to write in called “Canadian Screenwriters: autumn, the WGC reinforced Canada. The “Telling Canadian Creating the Sci-Fi Nation.” The this home truth with the release Stories, Telling Canadians Stories” panel took a behind-the-scenes of three animated videos. They videos are about the desire to look at writing sci-fi, and featured feature screenwriters sharing create Canadian programing for Simon Barry (Van Helsing), Brad personal anecdotes about the benefit of our own citizens — Wright (Travelers), Ken Kabatoff their passion for what they do and the global audience. Watch (Travelers), Jonathan Walker (Van and where they live. Penny the videos on the WGC’s YouTube Helsing), Daegan Fryklind (Bitten), Gummerson, an award-winning channel: and moderator Dennis Heaton Métis screenwriter (Strange youtube.com/Writersguildofcanada (Motive).

5 COVER SHOP KEEPING

By Matthew Hays

The creative forces behind Kim’s Convenience on the burdens of success and heading into season two

7 COVER

“As a writer, it’s all about editing and tinkering — it’s never finished. Like a stand-up routine, they try bits out, then adjust, they figure out what works.”

It’s a strange memory for Ins Choi. It was 2011, performances at the Stratford Theatre Festival. He and he was mounting the first production ofKim’s had such high hopes for the play, he shopped it around Convenience, his play about the life of a Korean- to every major theatre company in Toronto only to Canadian family as they ran a corner store, at the face rejection. “They didn’t do it in a mean-spirited Toronto Fringe Theatre Festival. “There was this line way,” Choi insists. “But I was surprised.” I had put in, where the parents pronounce Kentucky Choi was left with a choice: give up or self- Fried Chicken as Kenturkey Fried Chicken,” he recalls. produce. He chose the latter, of course, and took his “I mean, I thought that was hilarious,” he says, act to the Fringe, where before it was even mounted laughing hard enough to indicate he still does. “But it won a best new play contest on the strength of the the audience at the Fringe? They didn’t laugh at all. script alone. I realized it was something only my sisters and I “The Fringe was instrumental to the success found funny.” of the play,” he says. “I learned so much. What is This was one of the bumps of writing Kim’s so important is to have that testing ground with Convenience, the show that would become a massive an audience. As a writer, it’s all about editing and Fringe hit, then go on a cross-Canadian tour (winning tinkering — it’s never finished. Like a stand-up over more audiences and critics) and then, last year, routine, they try bits out, then adjust, they figure out debut as a TV series. It’s a story actor, playwright what works.” and screenwriter Choi tells as a means of saying And oh what a difference a Fringe Festival something he can’t state emphatically enough: the makes: after the show sold out every performance writing process is never over, and there’s always room and got rave reviews, Choi was inundated with offers for improvement. As well as being part of the success from the very theatre companies that had once said story that is Canada’s Fringe Theatre fest circuit no. He decided to go with Soulpepper, which mounted (joining The Drowsy Chaperone and writers like Steve the play, where it again met with the success everyone Galluccio and Brad Fraser who cut their teeth there), yearns for. Kim’s Convenience has grown into one of those very Choi concedes the shift to a TV series was rare cases: the show is both a crowd pleaser and a daunting, and knew he would have to collaborate with critical darling. someone who had some greater experience in the Last October, when the series was first hitting medium. He was put on a “series of blind dates” with the airwaves, Maclean’s Adrian Lee identified the series writers and showrunners. When he met Kevin reason for success early on, “What makes Kim’s White, he got the strong sense that the seasoned Convenience work, though, goes beyond the Korean writer and producer — with credits on This Hour heritage that the show refuses to leave behind — it’s Has 22 Minutes, Corner Gas and Schitt’s Creek — had a because of the universality of its spirit.” passion for this play, which he had seen in its initial “Yes, we’ve been elated,” confirms Choi. “The run at the Fringe. show has been so successful, right from the beginning The play’s central narrative thrust comes in at the Fringe.” the form of real estate salesmen, who want to buy the Choi had in fact written the original script titular convenience store so they can build a condo for Kim’s Convenience as a series of vignettes that development. The other conflict is the unhealed would centre on a Korean-Canadian family that was wounds after a nasty falling out between father and experiencing some dysfunction amid their shop- son. “In the play, you don’t know if he’s going to keep it

keeping duties, doing so while taking breaks from or sell,” says White. “But we couldn’t have that as the INTRO SPREAD PHOTO: CHRISTINA GAPIC

8 The room at work including (from left) Anita Kapila, Nadiya Chettiar, Kevin White, and Amelia Haller.

“Writing in a group was a delight as well as a challenge ... Can I trust you with characters that I’ve loved for many years?”

central tension in the pilot, because then you’d know “I loved the play so much,” says White. “I didn’t right away he wasn’t going to sell. We had to come up want to have a hand in fucking up the TV adaptation.” with other plotlines for the various episodes.” There was also a significant shift for Choi in As well, the characters of the son and daughter terms of process: at the Fringe, the writing was his; were made seven or eight years younger. “If we rolled in a TV season, you enter a room full of writers, and back the clock,” says White, “we figured we could collaborate. “Writing in a group was a delight as build to various stories that had been compressed in well as a challenge,” he says. “Can I trust you with 90 minutes of the play.” characters that I’ve loved for many years? And I had But essentially, Choi says, “it had to be about to trust entire new characters. You enter the room many of the same situations, and the characters had thinking, ‘My idea is the best idea.’ Then it morphs, to be the same. We needed to expand the world of the and then the third idea is the best idea. You have to play, but keep what everyone loved about the play keep your ego in check. You have to listen, and you

PHOTO: CHRISTINA GAPIC intact. That was a big challenge.” have to hear the best idea.”

9 COVER

Back row: Garry Campbell, Anita Kapila, Nadiya Chettiar, Matt Kippen, Amelia Haller and Carly Stone. Front row: Ins Choi and Kevin White.

“You want other people to relate to it, but ultimately you have to write what’s true to you. I write what I know and what I find to be funny.”

Kim’s Convenience has drawn a lot of press for “That’s a really interesting point, and it’s its groundbreaking status: this is the first show very true,” says Choi. “It’s sort of counterintuitive. with an entirely Asian cast in Canadian TV history. You want other people to relate to it, but The show and play it was based on clearly have a lot ultimately you have to write what’s true to you. of fun with stereotypes, something that audiences I write what I know and what I find to be funny. of all backgrounds have enjoyed. Watching the People who aren’t Korean have loved it and found show, I’m struck by something Oscar-winning it funny.” filmmaker Denys Arcand told me about writing But in a sense, Choi and White feel that the about the Quebecois very specifically: the paradox, universalism of Kim’s Convenience is obvious, he pointed out, was that if a writer tries to be given the family as locus point, both for conflict universal, they almost certainly fail. It’s when they and humour. “In the play, Ins wrote thoughtfully are honest and very specific “that the material will and compassionately about people and a family that

actually be the most universal.” transcended where they were from or where I was PHOTO: CHRISTINA GAPIC

10 from as an audience member,” says White. “And at the end of the day, as the drag queen character in the pilot says, family is family. When I saw the play, in fact, it seemed more familiar to me than probably Steve Galluccio any play I’d seen.” “At the core, it’s about a family that’s struggling to be together and to survive,” says Choi. “People dishes on can relate. It’s always hard. The fact that so many Canadians are immigrants probably doesn’t hurt.” People are so eager to see diversity, and writing about Choi says he understands that, but he has his own reservations about his new status as a champion of the cause. “I’ve been desiring stories like his heritage this to be told, in a good way, like Moonlight or Fences, with creators of colour. I’m aware of how Kim’s Convenience is landing. But I don’t think about it too much. Sometimes it comes into the Fugeddabout holding back conversation. I will get invited to some function to be a guest speaker and it’s totally about diversity. I’m basically being asked to be the Diversity Guy. I Steve Galluccio has one word of advice for politely decline. writers who are worried about stepping over “I’m a writer, and I’m kind of an actor. But the line when musing about their ethnic there’s that desire to pigeonhole. My next play is heritage: fugeddaboutit. about being a bad parent, not about being Korean. “I’ve never held back or thought about it,” Being Korean is a part of me. But I’m a son, I’m an he says. “It’s about my experience.” uncle, I’m a bike rider. There are lots of things to And Galluccio is experienced in the art write about. But I know there’s money in writing of writing about being Italian. His hit play, about being Korean because it’s sold. Mambo Italiano, was eventually transformed “Obviously, I am so happy and grateful for the into a hit 2003 movie. He also wrote the 2004- success of Kim’s Convenience. The play and now the 05 TV series, Ciao Bella, which screened in show, and season two is going very well. If I’m only both English and French versions on CBC. In known for it, I’m grateful. But if I’m only known as 2013, he wrote The Saint Leonard Chronicles, the Korean-Canadian guy, that kind of bugs me. I’m all about the intricacies of being Italian in trying to do something else, but I’m also realistic Montreal. that there may be no demand for that. Failure is “It’s interesting, because it’s the critics great — it feels bad, but you learn so much from it. who take issue with the characters I write — Success feels good, but there are negative things that especially non-Italian critics. Italians, on the come with it, like being pigeonholed. other hand, will come up after a show and say, “I’m also well aware that if I can create more ‘This is exactly who we are!’ opportunities for actors and writers of colour “The non-Italian critics will say I’m being 11 and women, then that’s obviously a good thing. I silly, stereotypical, and will go on and on about have influence with Kim’s Convenience, which I how that’s not really how Italians behave or appreciate.” what they say. They will actually tell me I’m Choi adds that some of his most revelatory mistaken and that this is not my culture. moments came during failure. “I did a show called “I attribute it to a certain political Subway Stations of the Cross at Fringes across correctness. I know that I’m not the voice of the Canada a couple of years ago. It was inspired by Italian community, nor have I ever pretended a homeless person. Some people liked the show, to be, but I am writing what I know. others didn’t, while most didn’t know what to make “Rule number one: I never censor myself. of it. I felt crappy in the moment. But I knew I got I just always find it amusing that non-Italians something from it. It wasn’t a huge success like Kim’s say it’s an unreal stereotype, while Italian Convenience. I thought, ‘I’m still human, I don’t have Italians — the real thing — say it’s like being in the Midas touch. I have to work like anyone else.’ their living rooms.” That was important to realize. “It’s important to stay grounded.”

11 FEATURE

THIS GIRL IS ON FIRE

By Mark Dillon

Susan Coyne and John Kent Harrison find relevance adapting the century-old Anne of Green Gables novel into a TV-movie trilogy

Susan Coyne thinks it’s a perfect time to revive that of the author’s intellectual property. Breakthrough precocious red-headed orphan from P.E.I. convinced YTV a retelling was called for and PBS Coyne, who penned last year’s YTV movie L.M. agreed, picking up the movie for an airing during Montgomery’s Anne of Green Gables, sees the strong- American Thanksgiving. willed title character as an ideal heroine for this era Lambur reached out to Coyne, a multiple WGC of women’s marches and a presidential candidate Screenwriting Award and Gemini Award winner for who assured all the little girls they are powerful and her writing and acting on backstage comedy Slings & deserve every opportunity to pursue their dreams. Arrows. Coyne has an affinity for iconic literary works With the recent election in the U.S. spotlighting and characters, as displayed in The Man Who Invented women and the challenges they face, the role of Christmas, her adaptation of Les Standiford’s book girls and women in literature and other forms of about how Charles Dickens came to write A Christmas entertainment is especially meaningful. Carol. The Ireland/Canada copro featuring Dan “I hope this is the watershed moment in history Stevens (star of Disney’s forthcoming Beauty and the when we really think about these little girls and what Beast), Christopher Plummer and Jonathan Pryce is they’re seeing in the world and what they’re taking in expected to hit theatres this year. from the media,” Coyne says. “It’s no joke anymore. “Joan read my Dickens script and thought maybe We’ve got to stand up for them now and give them role there was a connection there because it’s period and models that shine a light on our times.” it’s about creative imagination,” Coyne says. “I think Anne’s story is not only meaningful in today’s of Anne as basically a writer-in-training, as we find out context, its backstory is also darker than readers of the later. You could see in this child a longing to tell a story 1908 novel might recall. about the world and make it make sense for people and “She was put to work when she was four or find fresh meaning outside of church and society.” five,” Coyne recounts. “She worked for a series of YTV wanted the production to stay true to the families, and in one the father would get drunk and much-beloved book that has reportedly sold more smash things. And she calls the orphanage where she than 50 million copies. was sent ‘the worst,’ because there was no scope for “It’s not about reinventing it, but new things imagination.” appear as you re-read the novel, such as the cruelty The creative Anne (played by Ella Ballentine) and setbacks Anne’s had to overcome,” Coyne says. is taken in by Matthew Cuthbert (Martin Sheen) and “All kids have moments — whether it’s bullying or his sister Marilla (Sara Botsford), farmers in their some other darkness or difficulty they have to face — 50s and 60s who were expecting to adopt a boy but and this girl speaks to them as a brave soul who’s hard are won over by the plucky girl — a little more slowly to keep down and whose good heart and imagination in Marilla’s case. With their love and support, Anne prevail. That’s what excited us in telling the story for flourishes in the town of Avonlea. this new generation.” The production was driven by Breakthrough Of course, this latest incarnation is not a response Entertainment EVP Joan Lambur, who happens to to recent events. The project was brewing since at least be friends with Kate Macdonald Butler, Lucy Maud 2012 when Breakthrough announced it as a 13-episode Montgomery’s granddaughter and overseer of much series. Instead, the TV movie was produced and based

12 “I hope this is the watershed moment in history when we really think about these little girls and what they’re seeing in the world and what they’re taking in from the media”

Top: Susan Coyne; Bottom: Ella Ballentine as Anne Shirley, shares a moment with

SUSAN COYNE PHOTO: TIM LEYES writer/director John Kent Harrison, on the set of The Good Stars.

13 FEATURE

on its positive reception two more are coming: The more episodic than plot-driven. Having raised two Good Stars (which aired in February) and Fire & Dew daughters, he was interested in Anne’s pubescent (airing, appropriately enough, on Canada Day). relationships with her peers, including frenemy But the story seems to capture something Gilbert Blythe (Drew Haytaoglu). very ‘now.’ Coincidentally, CBC has in the works its “I wanted to write about how that creates own Anne, an eight-part series adaptation produced conflict for her at 12 and 13 and how she’s not sure by Northwood Entertainment and showrun by Moira she even wants to be 13 with all that pressure. In Walley-Beckett, a Canadian-born, Los Angeles-based that sense I hope to connect with a contemporary Emmy Award winner for her work on Breaking Bad. audience of that age,” he says. Anne, due March 19, will be available in May on Netflix. Harrison describes YTV’s main directives for The YTV movies are directed by John Kent his script as “maintaining the tone we’d achieved in Harrison, a London, Ontario native and current the first one. It was a matter of staying inside Anne’s Portland resident. Harrison professes a partiality to mind and heart and not stepping outside and having strong female protagonists, evidenced by his CBS MOW her watch things go by.” Coyne, meanwhile, qualifies The Courageous Heart of Irena Sendler (2009), about the broadcaster’s notes as minor and helpful, a Polish Underground heroine during World War II. although they insisted there be no smoking. Not He wrote the script for The Good Stars while Coyne even pipes. handled Fire & Dew. Harrison feels the story’s main aspect that While Montgomery wrote sequels that take doesn’t reflect today’s Canada is the lily-white makeup Anne near the end of her life, the three movies all draw of Avonlea. But the way Anne is ostracized for her from the first novel, which sees her age from 11 to 16. orphan background and appearance — that carrot- The first movie explains how she came to stay with coloured hair — could resonate today with many the Cuthberts. Harrison describes The Good Stars as different kinds of people.

14 Opposite: Ella Ballentine, tends garden as Anne Shirley; Above: Ella Ballentine, as Anne Shirley and Martin Sheen, as Matthew Cuthbert star in Susan Coyne’s version of Anne of Green Gables

“I try to stick to universal themes, so it will Megan Follows. Coyne chose not to rewatch it. translate everywhere to everyone: making friends, “I saw it when it came out,” she says. “But I didn’t connecting with family, finding out who you are, want to start off thinking I couldn’t do any better than expressing your feelings. That’s why the book is that. I wanted to approach it in a fresh way and not be so successful and why it’s been translated into 20 influenced by what they had taken out of it because languages,” Harrison says. He adds that although he that’s a whole other team and sensibility. But mostly it devised a few incidents to lend his script some gravitas, was because it was so good and iconic that I thought I’d he kept to the book as much as possible. better not look at it.” Coyne came up with some funny business of her Harrison was of a similar mind. “When I got the own in keeping with 21st-century kids’ sense of humour call to direct, I thought it best to not see it,” he says. “I — such as Matthew face-planting on a pile of manure — saw the trailer for it after I made the first movie and and felt the dialogue also needed some updating. saw I had some of the same shots. But I didn’t see the “People spoke in paragraphs if novels from one story the same way. I wasn’t daunted by the fact that hundred or more years ago are to be believed,” she says. it had been made before and was so celebrated. I’m a “The rhythms of how we speak are very different, and theme-based filmmaker and saw it as an opportunity to that’s one way I modernized it.” At the same time, she explore the theme of imagination.” injected the script with local dialect of the day, referring What approach CBC’s Anne takes remains to be to a book of P.E.I. idioms that yielded such gems as seen. Coyne says news of the rival production didn’t “don’t be cobblesome.” factor into her thinking. Anne of Green Gables has been adapted for the big “Somebody probably had the same thought I had and small screens dating back to the silent era, and reading the book — that there’s a lot there that’s modern many Canadians are particularly fond of the 1985 and fresh, and maybe we should be revisiting it,” she CBC/Sullivan Entertainment miniseries starring says. “That’s how things go in terms of Zeitgeist.”

15 FEATURE

DOING GOD’S WORK

By Diane Wild

A certain dogged faith is required to work for nearly He credits True Detective and Fargo with a decade on an idea for a television show, optioning helping networks become converts to limited series and re-optioning the source material, despite years of and noir-ish series, meaning he finally got a yes. He rejection. Michael Amo’s vision for Pure, the six-part developed four of six Pure scripts with a Canadian CBC series that premiered in January 2017, stems broadcaster before they decided the series wasn’t for in part from a non-fiction magazine article about them after all, “so we were back on the street.” When the Mennonite mob in Canada and Mexico called he pitched again to CBC he was astonished and “The Wages of Sin,” by Andew Mitrovica and Susan grateful they picked it up this time. Bourette. Amo laughs when asked about development CBC saw the series as a distinctive and funds in those early days. This was a passion project. distinctively Canadian story. “We loved how “Whenever I feel sorry for myself as a writer, I Michael had created a rich, character-driven crime always console myself with the fact that we do have thriller set in a community we don’t see depicted the power to write whatever we want,” Amo said. “No on television every day,” said Tara Ellis, executive one’s stopping us.” director of scripted content. “The story tackles He wanted to write this particular story so on good versus evil in a community that, relative to his own time and own dime he used those omniscient mainstream society, feels pure and untouched by the powers to create a pitch document to go along with ills of contemporary society.” the article he’d optioned … and got no traction. Then Given the places to pitch a show in Canada are he wrote the Pure pilot and shopped that around to dwindling and network brands very mainstream, networks in Canada and the United States … “again, CBC’s recent focus on more cable-like dramas was crickets.” He knew others had tried and failed with the miracle Amo needed. “Pure, with its violence a similar concept — he was once scolded with “you and black humour — I’m not surprised it didn’t find can’t imagine how many times we’ve been pitched a home at the other networks,” he said. “We had four this story!” — but he had faith in the concept, so he out of six already written so in some ways it might kept writing, kept re-optioning that article, kept re- have been easier to pull the trigger on something pitching to networks after executive turnover. that was unproven, but kudos to them, and they were “It was such a unique story, I just loved it. I a joy to work with.” loved the characters, I loved the world, and I loved Amo pitched Pure as a “spiritual thriller.” The particularly the fact that I was mixing drama with plot revolves around Noah Funk, a family man and very black comedy,” is his explanation for persevering. newly minted pastor for an Old Colony Mennonite “That’s not something we do a lot of in Canada, though community forced to participate in the drug trade I think we’re wired that way.” but determined to work from within to destroy it, He was a true believer in a land of skeptics at joining forces with a cop who embodies much of the first. “I felt if I didn’t push it forward, nobody would. hedonism the Mennonites reject from auslanders And as I moved it forward, other people came on board (outsiders). “I always saw the engine of the whole who were just as enthusiastic as me, so that bolstered series as Noah’s spiritual journey. He’s trying to me as well. There were times when the project seemed get closer to God at the same time as he rids his well and truly dead and I had to take the paddles to it community of these evil incidences.” and start it up again. But if you talk to other writers, Mennonites, who eschew many of the trappings like the people who did Orphan Black, I don’t think of modern society, are not a likely audience for the that story is too dissimilar. Anything that is off the series, but Amo is aiming for a broader theme amid beaten path, there is going to be more resistance to it.” the specificity of his setting. “We all have a strong

16 Gord Rand as Abel Funk and Ryan Robbins as Noah Funk head to town in the television series, Pure. spiritual impulse within us, and all the characters grandfather had written a memoir of his life, and are looking for a sense of redemption and purpose an interest in the culture was handed down to Amo in their lives. I think that’s the universal impulse through his mother. The magazine article about behind the story that anybody, regardless of who they the drug trade become his “narrative Trojan horse” are, can relate to.” into a contemporary exploration of the culture that While the “Menno mob” is real, Pure offers he’d wanted to do for years, and he noted the crime a fictional representation that blends elements of drama element makes for a compelling television customs and clothing from various conservative story engine. Mennonite communities. “I felt it would have been Set in Ontario, Texas and Mexico, Pure was shot unfair to point a finger at a particular community on a no-U.S.-presale-sized budget in Nova Scotia, and say these are the drug dealers,” he explained. which bears little resemblance to at least two of those “Mennonite communities would say it’s not factual three settings — a production challenge overcome and I would agree. It’s not intended to be factual. with visual effects but also with the discovery of For me it was more interesting to get at the spiritual an abandoned, decrepit factory that became the journey of this one individual because that’s what Mexican drug compound and a gypsum mine that interested me most.” could fill in for a quarry in Texas. Besides, as he Amo used books and documents to research the laughed: “There’s green areas of Mexico, I swear.” tight-knit religious community that is determinedly Amo credits production designer Jennifer Stewart not outward-facing, and he hired a consultant with pulling off the visual style on a minimal budget, who had lived in one of the more conservative including the bucolic Ontario village that contrasts communities to review scripts and assist with the with the diabolical workings within it. Low German language that peppers the dialogue. Amo knows that audiences don’t grade on a He had a more personal advantage as well: curve so he and the rest of the creative team worked his grandparents were Mennonites who arrived in hard to ensure the show punched above its budgetary Canada after the Russian revolution. Though they weight. “You’re up against some very incredible raised their children outside of the community, his and well-financed shows, and audiences don’t care

17 FEATURE

“It was such a unique story, I just loved it. I loved the characters, I loved the world, and I loved particularly the fact that I was mixing drama with very black comedy”

how much a show cost to make, they just care if it’s six. With the sheer compression of taking the scope of entertaining or not. It was a challenge to make a a cable show and squeezing it into a network timeslot, show that would cut through the noise of all the other Amo feels an unintended consequence was to make shows.” Pure has been blessed, then: the premiere the show’s plotting more taut, though he mourns the cracked the Numeris top 30 for that week, with over a “personal moments we had to walk past, and quieter million viewers. moments we had to leave behind.” After working for so many years on the project, His original intention was to create a Mennonite on his own time and with his own money, Amo wanted pace and Mennonite sensibility through quiet scenes that to preserve his creative vision as much as possible once stood in stark contrast to the high adrenaline scenes, and the series was picked up. Working with production most viewers would likely think he succeeded. “I think partner David MacLeod helped allow creative those were the moments that got squeezed a bit, but for decisions to be made by a small group of people. “As people used to conventional TV I don’t think they’re a consequence there’s a fairly undiluted vision to the going to miss it. It just feels kind of normal.” show, and either you like it or you don’t,” said Amo. “But CBC has marketed the show as a limited run for me as a creator, writer and showrunner, it’s afforded series, though Amo has plans for three seasons if given me the kinds of freedoms I enjoy.” the chance. “If it is one and done, so be it, and the He worked with one director, Ken Girotti, ending provides a sense of closure to the journeys of the throughout the series, a partnership that also allowed characters, but I would describe it as a door for further for more streamlined creative decision-making. “Good seasons too.” things can happen when you have good people who After the years of struggle and rejection, the know what they’re doing empowered to do their jobs.” compromises made for time and budget, Amo asks the Perhaps most importantly in service of the question: “Is it the show I had in mind? It changed, it singular vision, Amo wrote all six episodes and was evolved, for a whole bunch of different reasons. Some on set every day to take advantage of opportunities in positive ways, some in ways that were frustrating and respond to challenges. He did have invaluable because we couldn’t do this or that, but I don’t think an assistance from Tassie Cameron as story consultant audience watching the show is going to notice all the and, when production was imminent, Andrew things that drive me crazy.” And he counts his blessings Wreggitt. Wreggitt, who served as creative consultant, in many ways — for instance the cast that includes Ryan is a screenwriter friend whose family came from the Robbins, Alex Paxton-Beesley, Peter Outerbridge, A.J. same Russian Mennonite diaspora as Amo’s, and who Buckley and Rosie Perez. “I would go on set and forget was recruited to help “wrestle the scripts down to a I was the person who wrote it, I’d get so drawn into it. suitable size and help focus the characters’ journeys.” Sometimes the stars align and you get lucky.” Pure was initially conceived as a cable show, “Funny thing is I don’t think getting a meaning Amo had planned for closer to 55 minutes ‘commercial idea’ into production would be any easier,” per episode rather than the 42 he had to work with on he says. “So if you’re going to pitch something, it might CBC. Plus he’d planned for eight episodes rather than as well be something you love.”

18 Canadian Noir

The next big thing?

Dark, and darkly funny, crime “In film noir, you never know Showrunner Nealon points dramas. Morally conflicted protago- who you can trust. Even the heroes to the show’s setting as well. “Film nists, malevolent antagonists. Stark have secrets and sins and ambig- noir also tends to have menac- worlds and world-views. Film noir- uous motives. In Cardinal, we see ing settings — usually dark cities like shows are currently in vogue, this in our two leads, Cardinal and with danger lurking around every and Scandinavian noir in particular Delorme — lying to each other from corner. In the case of Cardinal, that has become a brand with worldwide the moment they meet, suspicious menace takes the form of the bitter appeal. With CBC’s Pure and CTV’s of each other even as they grow to frozen north. It’s a landscape that Cardinal both launching this year to admire one another.” can kill you in a heartbeat, and that good reviews and ratings, is it pos- “The term noir seems to have threat hangs over the characters at sible Canadian noir could become a expanded since the forties and all times.” trend? fifties films it used to describe,” says Given Cardinal’s snowy Michael Amo’s influences Giles Blunt, the author whose book backdrop and Pure’s stark sunni- include the Coen brothers and Scan- Forty Words for Sorrow is the basis ness, the term film blanc might be dinavian crime dramas, and Tara for Cardinal. “I mean, you had the more apropos if the term weren’t Ellis, CBC’s executive director of troubled or haunted protagonist, already co-opted to mean feel-good scripted content, sees those influenc- and also a certain brutality and fantasies. But though this emerging es onscreen. “Pure shares elements cynicism of tone whether in the pro- Canadian noir might have better with Scandi-noir, including a journey tagonist or the narrator. Lately noir lighting, darkness shows up in plot for our characters that is rife with is used mostly to distinguish dark, and character. It’s a tone audiences moral dilemma and jeopardy,” she gritty stories from the more upbeat, are more used to seeing on cable, said. “Aesthetically, one can also even cozy, whodunits — which but Pure and Cardinal both air on compare the beautifully stark world leaves a lot of room.” broadcast networks. that director Ken Girotti created for “Cardinal is certainly haunt- Despite that, Amo has found the series, which plays the simplicity ed — at least in the first outing — that the audience for Pure is also of the Mennonite community’s rural and the murders he has to solve are CBC’s core audience. “It’s not setting off of the auslander and cop often brutal. But he himself is not alienating them and I think there’s world, with shows in the Scandina- brutal, nor are the cops he usually an appetite. Canadian viewers vian noir genre.” works with. And he isn’t cynical. are insanely sophisticated, so are Ellis is non-committal on CBC In fact, his own inner struggle they surprised it’s on CBC? Yes. actively seeking similar shows, but revolves around the high ideals he But now that it’s on there, they’re the door is open. “Canadian audi- maintains and his failure, in the already watching all these great ca- ences will continue to be enthralled past, to live up to them,” Blunt says ble shows so why can’t they watch and intrigued by a good mystery about the character he created in a it on CBC too?” story, and it is our responsibility as series of novels. “I certainly think “Luckily for me, TV viewers commissioners to find new ways to his guilt and his being, in a psycho- seem to love this sort of show right tell those stories, including but not logical sense, on the run, puts it in now,” said Blunt. “Novelists have limited to the noir genre.” the noir ball park. (Director) Dan- been turning out noir for a long “These elements make for iel Grou and (star) Billy Campbell, time — it’s just that now, with lim- satisfying TV [to watch and to in particular, are doing great work ited series being all the rage, such write] because they allow for genu- to put that across — all that frozen shows are in demand. Tastes go in ine unpredictability,” says Cardinal terrain, and Cardinal’s sense of phases — one year it’s car chases showrunner Aubrey Nealon. “In being trapped start to form a single and cool fashions, the next it’s cute a noir, it’s never certain the good geography. You only have to see a grannies and country houses. Right guys are going to prevail — and if few frames of those exteriors or a now it’s cops with psychological they do, it usually comes at a tre- closeup of Billy’s face to know we’re issues doing the best they can in a mendous cost.” deep in noir territory.” dark world.” FEATURE LIFE COACHING WRITERS

By Katherine Brodsky

Writer’s block. Procrastination. Self-sabotage. Fear of failure. Fear of exposing one’s self. Do any of those sound familiar? If so, you’re not alone. Writers may start with a blank page, but internally, there’s chaos in action. That’s why many of them are turning to life coaches.

Torontonian Jocelyn Cornforth was on a clear they grow up, they don’t know how to stay consistent, path. She went to law school, interned, and then got they don’t have discipline.” a job at a law firm. Except, one problem. She realized On top of that, she says in her experience that she wanted to be a writer. A path far less clear. “writers … don’t like to write, they don’t like to finish, She had no real knowledge of the industry and hadn’t and they hate everything they write.” so much as written a screenplay draft, let alone gotten So they seek counsel. an agent. All she knew is that she had “a burning “Usually some kind of block [brings creative desire in my soul to do it.” people to me],” says Toronto-based psychotherapist/life That’s when she met Barbara Deutsch, a top coach Bradley Foster, “Either they’ve gone as far as they creative career coach who started her career in front can, or they realize they’ve got some kind of writer’s of the camera doing over 100 commercials, appearing block, or … something is getting in the way of sitting in TV series like Taxi and on Broadway. Although down and finishing what they’ve started.” she lives in L.A., she frequently holds workshops in There are many factors that can get in the way of Vancouver and Toronto. writing. Whether it’s a relationship ending, or someone “If you’re going to strive for excellence, a coach close — like a parent — telling you that you’ll never be is never a bad idea, I’ve always believed that and any good or make any money writing. have been open to it…Barbara was kind of there and “Unfortunately it only takes one person saying validating that ‘yes you want to do this so let’s figure one thing like that to drown out all the positive out how to do it and get out of your own way and reviews, all the good things people say,” explains talk honestly about what’s going on with you,’” says Foster, “Sometimes we just hold on to that one negative Cornforth. comment, and it just keeps echoing.” As someone who has worked in Hollywood and That’s why Foster works with clients to rewire with a wide range of people within it, Deutsch was their internal dialogue by exploring their fears and able to share truths about the business and had a real examining their negative self-talk. One of the ways he understanding of how daunting it can be. She was like does this is by using ‘gratitude exercises’ whereby he a bridge between the creative and business world. She challenges them to write down three things that they also took a tailor-made, intuitive approach towards are grateful for, including one thing about themselves. Cornforth who’d call her before going into important “If someone can take that negative self-talk and turn meetings, or even while homesick working in London. it around and be grateful that they are creative, that “For me, she was kind of a touchstone…a steady they have done many things that have proven their person in [my] corner.” creativity and that they aren’t a failure, and that they “I can get away with saying anything,” boasts won’t be held up to ridicule — that tends to undermine Deutsch, who is about to enter the 7th decade of her the negative self-talk.” life. “Everyone’s kind of the same. Creative people One of the quickest ways to self-sabotage, he … no matter how old they are, they are filled with says, is taking on too much. That’s how writers set wonder and imagination, and if that’s too much when themselves up for failure, thereby reinforcing those

20 From left: Jocelyn Cornforth, Barbara Deutsch, Bradley Foster

negative voices that are constantly gnawing at them. right — it’s the sum of your insecurities and worries. Writers are frequently guilty of that. But you pretend it’s not there. Instead, says Cornforth, Deutsch agrees. “If they say that they are going to Deutsch has taught her that instead of ignoring the alien, write five hours a day every day, I know that’s never going you should recognize it, take a breath, and visualize it to happen. They just want it to happen. I say, how about crawling back down. “It frees you up again.” an hour, every other day? And when the hour is finished, Many screenwriters are prone to experiencing stop writing.” Otherwise, she says, feeling bad about elated highs when they are busy working, and extreme what they do wrong, often becomes a great excuse not to lows when they are in between projects. “I counsel them write. “Writers are really very special people, and there to have multiple projects going at once,” says Foster. are a million ways in which they sabotage themselves,” So when they are not working on paying projects, it says Deutsch: “Procrastination is a form of self-abuse.” becomes the perfect time to get excited about those Foster encourages writers to set realistic, dust-gathering screenplays and other writing projects. measurable goals and believes in getting them to “Something they have in their back pocket that they had write a certain number of words or pages, rather than to put in the back back-burner and now they can bring it distraction-filled hours. It’s best to underplay and then out, and it’s fresh.” exceed, he says. “If you overdo, you feel good. If you Spend enough time in a room with other creative underdo, you feel bad.” The choice is clear. people, and you quickly realize that you’re not alone in In some ways, Deutsch sees herself as a your fears or neuroses. Deutsch often hosts workshops professional champion of her writer clients. “Most and encourages roleplaying within groups. That means people just want to be understood and need someone having those difficult conversations about things to tell them ‘get off your ass and write,’ she says, “I’m writers rarely like to talk about, such as negotiations. a mentor that gets paid, but I will kick your ass. You’ll Or, says Cornforth, “When you’re talking to the get things done.” She often encourages clients to take showrunner, and you’re wondering if you’ve said practical steps to that end such as bringing their work something wrong, then you can have a conversation to an acting class to be read, or sending a funny note to with Barb about how to approach that person, and it a producer’s assistant in an attempt to get a script read opens up possibilities.” (rather than collect dust). Writing, for the most part, is a pretty solitary She also has several tools in her arsenal. ‘What’s activity. It’s easy to go for days, if not weeks, without your competitive edge’ and ‘your alien’ are two with speaking to a single person — lest we mention bathing. which Cornforth, who has known Deutsch since 1997, is “Writers can get pretty disconnected,” says Foster. quite familiar. “Something that you’re naturally better at That’s why he urges writers to go out for a beer with than anybody else — that’s your thing — your competitive a friend, or even just to a coffee shop: “Just to remind edge,” explains Cornforth, “Don’t do what works for yourself you’re not the only person left on earth.” someone else. It might be just that you are really nice.” Besides, when you’re stuck, often the moment you stop The alien, on the other hand, is that thing that comes thinking about something is exactly when you’ll get that and sits on your face when something isn’t going quite brilliant idea.

21 22 W-FILES — TRACEY DEER Deer’s dream gig

By Greg David

racey Deer’s dream has Mohawk Girls began as a How does the co-showrunner come true. When she was documentary. When did you partnership between yourself T12, she dreamed of being a realize it made sense as a and Cynthia work? fictional filmmaker but followed the scripted series? This is our first time, and we’re documentary genre in university. I was working on my first feature doing it as a team. We both bring Mohawk Girls, prepping for a poten- film in northern Quebec, and I different strengths to the table tial fifth season on APTN, was first was in a car in a blizzard in the and have very naturally fallen to created as a documentary film but middle of the night. It was during those strengths. Cynthia is very burnout caused Deer to revisit the this long ride that I reflected on ‘big picture,’ and I am a director, project as a scripted series. A chance my relationship at the time and so very much about the details. meeting with Cynthia Knight — my sister’s relationship. I started Instead of one brain balancing they were introduced at a Christmas making notes on the crazy things the two, you have two putting party hosted by Rezolution Pictures going on in our lives. That was at all of their energy into these two — cemented their friendship and the beginning of my documentary departments. partnership co-showrunning the career, and I did ten years of them. Canadian Screen Award-nominated When my last documentary, Club Series like Mohawk Girls really series about four women living on a Native, was done I was suffering spotlight real First Nations First Nations reserve. from emotional burnout. I couldn’t stories. How important is it to come up with another idea and tell those stories? Does everyone bring personal months had gone by. There needs to be a partnership stories into the writers’ room as When I was a child, I wanted between my people and this coun- inspiration for Bailey, Zoe, Cait- to be a fiction filmmaker, and I only try to make things better. Bridges lin and Anna’s adventures? fell in love with documentaries need to be built between the com- We definitely pull all of our sto- when I was in university. I thought, munities, and one of the things we rylines from personal experiences; ‘Let’s see if I can be a fiction wanted to do with Mohawk Girls hardships and relationship disas- filmmaker after all.’ I wrote a was, ‘Welcome to our world.’ Come ters are wonderful fodder for ideas. short film that was the context of in and get to know us. We are more We always want their stories to Mohawk Girls and filmed that. than the 30-second news bite that be as grounded and as realistic as is negative and depressing. Un- possible. Was it a bit of a mind twist going derstand the social issues we’re from documentary filmmaking facing. Once you understand, help Who is in the writers’ room for to scripted television? us with them. We have incredible season five? A total twist. I find fiction to be very stories of both joy and hardship, We have Heidi Foss and Penelope freeing, and you can do anything and it’s important that Canadians Laurence. And we have our story co- you want. With documentaries, a know that because they play a big ordinator, Emilie Arcand. We’re an lot of the storytelling happens in part in that story. all-female writers’ room. The show the editing room. It’s an entirely is about women and who better to different process to have the sky as Past seasons of Mohawk Girls can write about them than women? the limit, but very, very fun. be found on APTN.ca.

23 MEMBER ALERT! Unfair Engagers The Guild has declared the following engagers “unfair” for failing to abide by grievance procedures or the decision of a joint standing committee. The WGC’s working rules prohibit members from working with unfair engagers. Project1:Layout 1 10/25/12 2:26 PM Page 1

All I Want Productions Inc. Lester Beach Entertainment Principal: Kirk Shaw Principal: Jeff Lester Battered Productions Inc. Mikisew Keemiwan Productions, Ltd. Principal: Kirk Shaw Principal: Norman Champagne Christmas Town Productions Inc. Nikolai Productions Principal: Kirk Shaw Principal: Cindy Lamb FOTP Productions Inc. Norfolk International Ltd. Principal: Richard Rapkowski Principal: William Macadam Guardian Films Inc./ Numb Productions Inc. En Garge Films Inc. Principal: Kirk Shaw Principal: Kirk Shaw Perfect Stranger Productions Inc. H & S Films Principal: Kirk Shaw Principal: Nicolas Stiliadis Prospero Entertainment Group Inc. Hiding Productions Inc. Principal: John Lambert Principal: Kirk Shaw Richard Lowry Productions Inc. High Seas Rescue Productions Inc. Principal: Richard Lowry Principal: F. Whitman Trecartin She Productions Inc. Ice Planet (1) Canada Ltd. Principal: Kirk Shaw Principal: Philip Jackson Spiritual Productions Inc. Justice Productions Inc. Principal: Kirk Shaw Principal: Kirk Shaw System Productions Inc. Kangaroo Court Productions Ltd. Principal: KirkPl eShawase Help Us Find These Writers! Principal: Robin Payne The CSCS is holding foreign secondary authors’ levies for writers T Man Productions Inc. Les Productions les Plus Belles Routes du Monde Inc. Principal: Kirk Shaw Principal: Andre Belanger (not affiliated with Spectra Animation Inc.) Zolar Productionshe Ca Inc.nadian Screenwriters Collection Society (CSCS) is Principal: KirkT hShawolding foreign secondary authors’ levies for a number of writers and uncredited productions. As CSCS does not have a current address for these writers or the productions do not have complete credit information we have not been able to forward any monies to the entitled writers. The complete list of writers and productions is available on the CSCS website at: Please Help Us Find These Writers! The CSCS is holding foreign secondary authors’ levies for writerswww.wgc.ca/cscs/hot_news/index.html If you have any information that would allow us to contact any of these writers or their agents, or if you are a credited writer The Canadian Screenwriters Collection Society (CSCS) Marisa Kingo natt [email protected] listed production, please contact: is holding foreign secondary authors’ levies for a number or call (416) 979.7907 ext. 5231 or of writers and uncredited productions. As CSCS does not 1.800.567.9974Mari sext.a K i5231.ng at [email protected] or call (416) 979.7907 ext. 5231 or have a current address for these writers or the productions 1.800.567.9974 ext. 5231. do not have complete credit information we have not been Please note that CSCS may require writers to furnish able to forward any monies to the entitled writers. The contracts inPl esupportase no teof ttheirhat Cclaim.SCS mAccordingay requir etow CSCSriters to furnish complete list of writers and productions is available on the regulations,c oifn tara writercts in doessupp onotrt oclaimf the ihisr c loraim her. A cmoniescording to CSCS CSCS website at: within twor eyearsgulat iofon sbeing, if a postedwriter d oones ournot websiteclaim h itheses or h er monies www.wgc.ca/cscs/hot_news/index.html monies revertwith toin 2theye operatingars of bein expensesg posted oofn oCSCS.ur website these monies revert to the operating expenses of CSCS. If you have any information that would allow us to contact any of these writers or their agents, or if you are a credited writer on the listed production, please contact: W-FILES — IAN MACINTYRE More than a sketch

By Cameron Archer

ransitioning to after Kevin O’Leary insults a kid’s — your own comedy quickly screenwriting from a sketch lemonade stand, or what have you. dispels you of the notion that Tcomedy, improv and acting every joke you write on a page is background, Ian MacIntyre’s How do you adapt your comedy automatically funny. work currently appears on Family for different audiences? Most Channel and Netflix (Degrassi: of the shows you write for, How did you become established Next Class), The Comedy Network such as Inspector Gadget in screenwriting? What should (The Beaverton) and Teletoon and Winston Steinburger, the aspiring screenwriter (Winston Steinburger and Sir are children’s cartoons. The expect when transitioning from Dudley Ding Dong, George of the Beaverton aims for an adult stage to screen? Jungle). MacIntyre remains active audience familiar with Full I started doing sketch in Toronto in the Toronto sketch/improv Frontal with Samantha Bee after university, and eventually community as a member of sketch and The Daily Show. realized the writing part satisfied troupe Beggar’s Canyon. The Having done years of live — me more than acting. I met former Dartmouth, Nova Scotia often unpaid — sketch comedy plenty of sketch folks who were native’s upcoming work includes and improv helps to get in the working writers, and so many DHX Media’s Degrassi: Next headspace to write for kids. You of them were generous with Class and Inspector Gadget, and learn that jokes are disposable, their time. I owe a lot to my 9 Story Entertainment’s The 3 you’ve probably got a better joke friend and fellow sketch comedy Amigonauts. in you, and often the dumbest goof Mike Kiss, who gave me thing you can think of is the invaluable advice, feedback, How does The Beaverton, best way to go. I believe this and even my first opportunity based on the website of the pontificating translates to writing to pitch professionally. It was a same name, differ from more for adults as well. It’s important to fantastically bonkers cartoon established news parodies, like write something for kids that still called Grojband, about as ideal a This Hour Has 22 Minutes and makes you laugh as an adult. first gig as one could hope for. The Rick Mercer Report? What Going from acting to writing, challenges exist in adapting a You studied theatre at the it’s most important to put in the news satire website to television? Dalhousie University Acting time and produce solid samples, Most Canadians have heard of Program. What advantages whereas in acting you’re mainly 22 Minutes and RMR? The real exist in being a writer/ trying to “get seen.” In acting, difference is,22 Minutes and RMR performer, as opposed to the you need an agent pretty much react to the week’s news as it single-discipline approach? to get started, whereas in writing happens, whereas The Beaverton Every writer should try getting represented usually comes is written and shot months performing at some point, even if later. An acting background gives before it airs. This necessitates it’s just a class. It gives you much you advantages, like increased writing a lot more about trends more appreciation for how weird perspective on the entire industry and Canadian culture in general and unnatural working off a script and —hopefully —additional and is the hardest part about can be, particularly if you’re on confidence when networking. adapting the website. Online we set. You quickly learn the value of Bombing onstage and realizing it can be pretty nimble, making concise, “non-writery” dialogue. won’t kill you is a great way to get jokes the same day or even hours Writing — and then performing over the fear of pitching in a room.

25 WRITERS HELPING WRITERS

Money for Missing Writers

The Writers Guild of Canada is holding monies for the writers listed below. The WGC has been unable to locate the writers and forward the money to them. If you have any information that would help us reach these writers (or their agents or estates), please contact the staff member indicated below. These writers would thank you.

IPA - contact Aaron Unrau at [email protected] NFB - contact Aaron Unrau at [email protected] 1-800-567-9975 ext. 5270 1-800-567-9975 ext. 5270

Dawn Cumberbatch — Top Cops Laszlo Gefin — Revolution’s Orphans Elana Devine — Student Bodies Janos Szanyi — Revolution’s Orphans Warren Easton — Odyssey II Gilles Toupin — Cycling: Still the Greatest Gerald Fourier — Littlest Hobo Peter Vogler — Ernie’s Idea John Hollard — Littlest Hobo

MEMBERSHIP, APRIL 18, 2016 - OCTOBER 06, 2016 Welcome

Sam Acton King Vancouver BC Suki Kaiser Bowen Island BC Betty Ann Adam Saskatoon SK Emma Kassirer Toronto ON Jorge Aguirre Montclair NJ Neil LaBute Santa Monica CA Elise Allen Valley Glen CA Nick Murphy Sherman Oaks CA Lawren Bancroft-Wilson Vancouver BC Anjali Nayar Baie d’Urfe QC Mark Banker Westlake Village CA Dean Orion Santa Monica CA Derrick Beckles Toronto ON Ariella Pahlke Terrence Bay NS Sydney Calvert Toronto ON Mark Palansky Los Angeles CA Ins Choi Toronto ON Dominic Poliquin Saint-Jean-Sur-Richelieu QC Michael D’Ascenzo Stoney Creek ON Aisha Porter-Christie Toronto ON Petro Duszara Montreal QC Rebecca Raftus Toronto ON Stephanie Fabrizi Toronto ON Derek Robertson Toronto ON Matt Fleckenstein Tarzana CA Jeremy Smith Vancouver BC Shea Fontana Saugus CA Lisa Rose Snow Toronto ON Amelia Haller Toronto ON Renee St. Cyr Toronto ON Alison Hepburn Toronto ON Patrick Watson Montreal QC Allison Hogg Toronto ON

Our condolences

Dave Broadfoot Toronto ON John Mandel Los Angeles CA Jordan Christianson Toronto ON Alan Thicke Woodland Hills CA Michael Gleason Marina del Rey CA

26 SPOTLIGHT News from WGC Members

In addition to writing for the Corus Jacob Potashnik’s first collection Larry Bambrick has recently been series, Snow Snaps, Penelope Lau- of short stories will be launched in signed by L.A.-based talent agency rence just joined the story room Montreal in March. The Golem of APA. His small-town noir series The of Mohawk Girls season five. She is Hampstead and Other Stories is pub- Sweet Life has also been optioned excited to be writing and story edit- lished by Lawrence Jarvik’s Penny- by Canadian production company ing the final season of the show and A-Page Press. Jacob also completed Seven24. is especially enjoying mining her bad the first draft of his feature romantic relationships for fabulous Mohawk comedy, The Audit. After consulting with a brand Girls storylines. management firm, writing team Heka-Rose Publishing has published Josh Sager & Jerome Simpson Nathaniel Moher has just wrapped Doug Molitor’s third novel, Confes- changed their slogan from “Putting working as a writer/creative consul- sions of a Time Traveler, a sequel to the I back in TEAIM” to “Ampersand tant in the development room for his 2012 Memoirs of a Time Traveler. means team!” Their cheque to the season one of Smoke(d). An excerpt chapter will be featured brand management firm did not clear. in Nikki Finke’s fiction blog, Holly- Production has wrapped on season woodDementia.com. Elan Mastai’s debut novel All Our one of Kristal Clear, a web series Wrong Todays was published by about a beauty vlogger who turns in- Christina Ray has spent the last six Penguin Random House in February visible, written/created by Amanda months expanding her horizons as a 2017. The movie rights were sold to Fahey and starring Melanie Leish- writer on an undisclosed AAA game Paramount Pictures, with Amy Pascal man. Produced with the support of for Ubisoft Montreal. She’d love to producing and Elan writing the script IPF/OMDC, its ten-episode run will tell you all about it, but then she’d adaptation. premiere this spring. have to kill you. Carolyn Saunders first feature,The Tom Mason just sold an original Linsey Stewart and Dane Clark Wasting, starring Lauren McQueen, series to DHX and has signed for an were nominated for a WGA award in Alexz Johnson and Brendan Flynn, additional six books in his Ella & the “Shortform New Media - Original” sold to China on the first day of the Owen series for Little Bee Books. His category for their AwesomenessTV Berlinale. It is screening at festivals comic book, The Tinkers, has been web series The Commute, which has in Europe and the U.S. Carolyn is also picked up by Space Goat Publishing over 8 million views on YouTube. putting together her second feature, for release later this year. Island West. Barbara Radecki’s debut novel, The Allen Markuze is currently writing Darkhouse, a coming-of-age thriller, Todd Ireland is currently writing and on Snow Snaps, a new series based on was published in Canada through story editing on season one of ReBoot: the award-winning movie Snowtime!, Cormorant/DCB in Oct. 2016, and The Guardian Code, a live action/ the highest-grossing Canadian film will come out in the U.S. through CGI hybrid for Rainmaker/Wow of 2015. Orca Books in May 2017. Unlimited.

Our friend Jordan Christianson (1981-2017) was a talented screenwriter, a lover of basketball, and a staunch supporter of the bald community. Over the past four years he used his creativity and warmth to trick the audience of Murdoch Mysteries into enjoying his subversive, inimitable sense of humour. For those who had the chance to work with him, there was no kinder or more generous collaborator. He will be missed not only by his friends and colleagues, but by countless viewers, who, though they never had the chance to meet Jordan, will never get to experience the joy and laughter his work would have brought into their lives. - Simon McNabb ADVICE A primer for our American cousins

By Paul Mather

So, American TV or movie writer, you’ve taken the plunge and moved to Canada to escape Trump. Welcome to your new home! As a newcomer you should be aware of the subtle yet important differences in the Canadian industry. Let’s dig in!

Let’s go over some termin­ is this guy alienating CBC with a GARY ology. The WGC is the Writer’s gratuitous joke?” I just got in an offscreen car accident. Guild of Canada. They’re responsi- But let’s talk about produc- ble for the magazine you’re holding tion. As in the United States, Can- Also, remember your in your hands, Canadian Screen- ada has purpose-built soundstages Canadian spelling. Here “favour” writer, which they publish so that full of state-of-the-art technology. has a “u”, “defence” can be spelled when you don’t have a job you can As a Canadian writer, you won’t be with a “c,” and “residual check” is look at pictures of other writers getting near any of them. Instead, spelled “residual cheque” except who are working. you’ll be shooting in a repurposed it’s not because they don’t exist. The CRTC is the agency re- industrial building which may not As in the U.S., Canada sponsible for ensuring the integrity have the gyms, commissaries, and celebrates excellence. You have a of Canada’s airwaves by making frozen yogurt places you’re used to, walk of fame, honoring those who sure citizens have access to Amer- but which does have asbestos and, came to Hollywood and made a ican Super Bowl commercials. if you’re lucky, a forgotten room name for themselves in the arts. Periodically the CRTC holds public with a dead body! Toronto also has a walk of fame, hearings to determine the future of You should also be familiar which does the exact same thing. television. You might think these with a few key formatting dif- Trump often rails against are sort of like professional wres- ferences between Canadian and “Hollywood elites” and accuses tling: lots of posturing, people get American screenplays. In the U.S. them of living in a bubble. The hit with chairs, and the outcome’s one would script an action se- good news is as a TV professional worked out in advance. CRTC quence like this: in Canada, you will never hear a hearings would make a good game politician refer to you ever again. show, but the CRTC hasn’t mandat- EXT. CITY - NIGHT Yes, life as a screenwriter north ed a game show quota so Canadian of the 49th parallel may seem broadcasters don’t make any. GARY’S supercharged McClaren daunting. Yet, in spite of the The Canadian Broadcasting CAREENS through the crowd of su- obstacles, Canadians make TV Corporation, or CBC, is an permodels, JUMPS over a fountain, and film that’s enjoyed around important cultural institution. It was and CRASHES into a pile of money. the world. If you thought being a founded in 1936 to unite Canadians liberal in Trump’s America felt like coast-to-coast by providing them In Canada the same sequence being held hostage in a country with a common enemy. Note that would be scripted like this: that desperately needs you but it’s technically incorrect to refer to can at times feel indifferent or CBC as “the CBC.” Incorrect: “Did INT. ROOM - NIGHT even hostile, you will be well- you hear about the stupid godamn prepared for life as a Canadian arts thing the CBC did?” Correct: “Why Gary enters. professional.

28 CALENDAR

March

6-12 — Canadian Screen Week academy.ca 12 — Canadian Screen Awards Broadcast Gala, CBC academy.ca 17-19 — Vancouver Web Fest vancouverwebfest.com

April

19 — National Canadian Film Day canadianfilmday.ca 21-23 — Toronto Screenwriting Conference torontoscreenwritingconference.com 22-25 — Toronto Animation Arts Festival International taafi.com 24 — WGC Screenwriting Awards wgc.ca 27-May 7 — Hot Docs hotdocs.ca

May

TBA — TO WebFest towebfest.com 25-June 4 — Inside Out Toronto LGBT Film Festival insideout.ca

June

8 — The Writers Guild of Canada Presents Writers Talking TV wgc.ca 11-14 — Banff World Media Festival banffmediafestival.com CHiLdren’S tV COMedY Numb Chucks, Season 2 Kim’s Convenience, Season 1 “The Chucks Get Stuck in a Hole” “Ddong Chim” Written by Josh Gal Written by Garry Campbell Odd Squad, Season 2 Kim’s Convenience, Season 1 “Drop Gadget Repeat” “Janet’s Photos” Written by Tim McKeon Written by Ins Choi & Kevin White Odd Squad, Season 2 Letterkenny, Season 1 “Failure to Lunch” “Super Soft Birthday” Written by Mark De Angelis Written by Jared Keeso & Jacob Tierney dOCUMentArY Not Criminally Responsible: tV drAMA Wedding Secrets 19-2, Season 3 Written by John Kastner “Fall” Quebec My Country Mon Pays Written by Nikolijne Troubetzkoy Written by John Walker This Life, Season 2 “Destruction as Creation” FeAtUre FiLM Written by Celeste Parr ARQ Written by Tony Elliott X Company, Season 2 “August 19th” Maudie Written by Stephanie Morgenstern Written by Sherry White & Mark Ellis Two Lovers and a Bear Written by Kim Nguyen tWeenS & teenS Degrassi: Next Class, Season 2 WGC MOW And MiniSerieS “#CheckYourPrivilege” Bruno & Boots: Go Jump in the Pool Written by Cole Bastedo Written by Adam Barken Degrassi: Next Class, Season 1 SCreenWritinG Odd Squad: The Movie “#TeamFollowBack” Story by Mark De Angelis, Written by Ian MacIntyre AWArdS Tim McKeon/Teleplay by Degrassi: Next Class, Season 2 Mark De Angelis, Tim McKeon, “#TurntUp” Adam Peltzman Written by Courtney Jane Walker Unclaimed Degrassi: Next Class, Season 1 The Writers Guild of Canada Written by Dennis Foon “#YesMeansYes” Written by Alejandro Alcoba BeSt SCriPt FrOM congratulates the 2017 finalists A rOOKie SerieS Letterkenny, Season 1 THE 21ST ANNUAL “Ain’t No Reason to Get Excited” Written by Jared Keeso WGC & Jacob Tierney SCreenWritinG Private Eyes, Season 1 “Family Jewels” AWArdS Written by Shelley Eriksen Hosted by Laurie Elliott, Celebrating Second Jen, Season 1 written by Terry McGurrin Canada’s “Couch Surfing” Screenwriters Written by Amanda Joy Winners announced & Samantha Wan April 24, 2017 Wynonna Earp, Season 1 “Bury Me With My Guns On” at Koerner Hall in Toronto Written by Alexandra Zarowny Ticket information www.wgc.ca