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/'An Audience with Duke aryl Duke is an internationa:#st who draws on images from cultures around the world to expt'esS his fervent Canp4ian D. m;Jtionalism. His impt'esslve 30,,),ea,. ca,.~er in film;making and broadcasting here and in the U.S. has et;6lved partly from ~~ his insatiable curiosity a,bout life and his seemingly ceaseless t------...... energy, and partly from his stubborn unwillingness to he, categorized. Prom .his early days as a documtmtary filmmaker 'with the National Film Board, through heading CBe's Vancouvet" station (CBUT) at its inception in 1953, producing public a11i#rs , programs and dramas forCBC and directing several Canadian features, he built a reputation Jor protljic but exact· ing work in fI wide range ofgenres and subjects. He went to the by Kathryn Allison US. in the '60S, and spent many years producing maj~,. variety non-national productions is a really big shows and television dramas in New York and Los Angeles as he question, I don't see it proper that they Cinema : For 10 years you've pursued a directing career that ranged Jrom quiet reflective start diminishing Canadian content. had a unique perspective on Canadian pieces like I Heard the Owl Call My Name to big-budget spectacu­ content, being both a producer and a lars such as The Thoro Birds and the recently released Taipan. Cinema Canada: But how can an in· buyer of Canadian and US, programs, His low tolerance for slOPPiness has earned,him the.nickname ' dependent television station siay What is your perception of the require· "The Iron Duke" from some quarters, though few co-workers afloat financially with Canadian con· ments that the CRTC puts forth - too question his integrity or his personal capacity for excellence. He tent? stringent/too slack? describes his directing style as owing something to Zen philoso­ Daryl Duke: Well, your question as­ Daryl Duke: I don't think that the reg· phy. as be likes to work quietly and apply pressure as it is ' sumes that any Canadian content can ulations are too stringent because with· needed. As a broadcaster, he is tough and aggressive, and as a only be at a loss, which isn't true at all_ out them there probably wouldn't have critic of bureaucracies - putspoken. Personally, he is reserved, One of the most valuable parts of our been any Canadian content at all The though unfailingly gracious. inventory here, for instance, is First regulations have to be as strong as they CKVU, the independent television station, which he co-oWns News, It's a very strong newscast that are now and perhaps even stronger. If and has run with his partner Norman Klenman Since its creation ' draws 100,000 viewers, We couldn't buy anything to fill that slot that would you import programming, you're im­ in 1976, balances slick U.s.-style entertainment with earnestpub­ porting the values of another nation - give us that identity and sense of place whether you're talking Nicaragua or lic a11a~rs programs and local interest spots. Last spring, while and also give us a good rating, If we put land use or aid to farmers, you're often lzzy Asper'S takeover bid for CKVU was creating an impressive · another game show in there we'd be· importing an American show with proliferation ofpaper at the cRi2 hearings (the application is iti come another KVOS or another border much different concepts and percep· abeyance while Ike RCMP investigates almost 40 forged letters of station - we'd have no identity at all_ tions, So how long this country can go support lor Asper's Canwest company), Duke Was ~ juggling It could be, espeCially in the age of, on increasing the use of its airwaves by , directing duties in The People's Republic Of China with launch­ satellites and VCRs and all of that, that ing a new production arm for the station called Carnaval Pro­ Canadian content will be the only thing ductions. Carnaval has already completed two music and varl- that makes you unique and makes an au· ·based Kathryn A,llyson is elY-pilots and has seven dramas in development. ' dience aware that you're different than Cinema Canada's Western bureau chief any other station, That'll be your bre~d

10/Cinema Canada - January 1987 • a •

and butter - Canadian content. Perhaps Cinema Canada: What project are there'll be a day when some stations are you involved with Telefilm on now? Canadian content 24 hours a day. Daryl Duke: We - Norman Klenman and myself - have been involved in a Cinema Canada: But the big com­ four month circus of trying to launch a plaint from broadcasters is that it's project with a couple of local producers cheaper to buy American drama than called Life After Hockey. Telef1lm has make Canadian. given us four months of nothing but Daryl Duke: Well, yes. We run a lot of delay and the most unbusinesslike pro­ American programs, and we use the cedures that I've ever encountered. regulations as aggressively as we can They've kept these two independent with simulcast and so on to ma..ximize producers just dangling at the end of a the return. But everybody's got to take string, promiSing and promising, "Now, the responsibility for Canadian content if you give us this and give us that, we're and move towards having more of it. sure it'll be alright." Then when all of We've got to· keep alive the notion that that has been provided, somebody else there is really just one system in this comes along and invents another piece country comprised of public and pri­ of paper. They've even lost our me vate broadcasters. We don't have differ­ three times. Three times we had to ent responsibilities than the CBC, so we xerox all the corporate papers and can't suddenly say, "Oh well let the budgets and everything and send it to public broadcasters take care of all of them. And if we didn't have the power that and we'll go do Laverne & Shirley of the television station behind us, with and Miami Vice." Because then we xerox machines, fax machines, telex might as well be American stations, and machines, computers and then one of we're not. There's a quote from Gabriel the best lawyers in the country, Michael Garcia Marquez that, to my mind, ex­ Levine, who we happen to have used for presses something very essential about years, this project would never have Canadian content. "The interpretation stood a chance. It's still not going! of our reality through patterns not our I can't imagine what dealing with own serves only to make us ever more them must do to flrst and second-time unknown, ever less free, ever more sol­ producers. It must totally destroy their itary." I believe in that very strongly. self-confidence. And how many local producers have the resources that we Cinema Canada: How do you feel do? Norman and I are tough - we're ex­ about the cuts that have been hitting perienced in dealing with people in theCBe? New York and L.A. and we have the sta­ Daryl Duke: I think it's terrible. I'm about the forests or the neglect of In­ Nanaimo or Ladysmith or even down at tion behind us and I have a career. But not saying that their managerial prac­ dian children. The dramas they do the Heritage Hall on Main Street, if they they wouldn't even, in the end, recog­ tices or decision-making processes are should be ripping us apart, as well as live in Toronto? They're not going nize our status as broadcasters or that always right, but anything that weakens celebrating great things. I don't mean it to know a damn thing about it. we had any experience in this business. a strong national voice in broadcasting, all has to be negative, but if you do The reason to have a national CBC is We had to separate ourselves through especially in today's world, I think is a things that people care about, then so you can have people working with another one of our companies from tragedy. when a parliamentary committee gets local talent and issues that will interest CKVU, and we still had to go through The CBC has made itself susceptible going, they can't mess around with your people right across the country. But four months of delay. to cuts because it's moved away from budget because people care. you have to have people who get ex­ producing shows that people care cited and can act on what they see loc­ Cinema Canada: Many western pro­ about to acquiring buildings and huge Cinelfta Canada: What about the ally. ducers have been pushing to get Tele­ management staffs. I'd rather see them CBC's centralization? Isn't it a major fUm to allocate funds to the regions so in a bunch of tents or an old warehouse problem that there is so little decision­ that they can have fair access to the Cinema Canada: Does Telefilm Can­ using borrowed Betacams and bor­ making going on in the regions? Broadcast Fund. Do you see funding ada add to the centralization prob­ rowed videotape recorders than have Daryl Duke: Oh yes, it's a huge prob­ allocations as part of the solution? lem? these immense superstructures that re­ lem. They've got it set up like a railroad Daryl Duke: I think they've got to Daryl Duke: Telefilm is totally cen­ ally have nothing to do with program­ and Vancouver is the end of the line. start by being less bureaucratic and by tralized. I think the regional office here ming. Somehow they've got to get back Vancouver, or any other region, should being more honest, and by clearing out is a joke. to the vitality they once had and the have the vigour and the force and the with a hose half their systems of red support throughout the country that decision making process within itself to tape and delay and obfuscation and they once had. respond to its community and to re­ Cinema Canada: In a public meeting double-dealing. And I think they've got I remember very clearly in 1953 spond to its own writers and artists. You here in November, Ron Devion (execu­ to come to the regions and be able to when CBUT went on the air, there were can't make artistic decisions from 3,000 tive director of CBC, Vancouver) chal­ fund within those regions and respond still a lot of local and national groups in miles away. By the time people have the lenged TelefUm reps to join him in to what's going on in the regions. Right Canada who believed in the CBC. They stature of being known nationally, they fighting for decentralization of both now, Telefilm treats the region like a . believed in Grierson's idea that, may no longer need the public net­ the CBC and of TelefUm. But Peter colony - with absolute contempt. "through information a society is made work's help to get launched - and they Pearson responded by saying that :better." But the CBC has lost a lot of may no longer be the sort of revolutio­ Wayne SterloJ! of Telefilm already has Cinelfta Canada: Let's talk about : support because it's failing us as an in­ nary, inventive force that they were deCision-making power here. your dramas. You're going through strument of social change. when they were very young. Daryl Duke: Wayne Sterloff may as some programming changes at vu - You don't defend public broadcasting I think one of the great needs of the well be a xerox machine. He has about you've dropped The Vancouver Show by doing absolutely innocuous shows country in terms of founding of the arts as much power as Uthuania has in rela­ and are starting more drama and vari­ that nobody cares about. You've got to is to get power into the hands of young tion to Moscow. No matter what assur­ ety production. be difficult with your programming and people. If you centralize a thing like the ances the local office gives, they're just Daryl Duke: The Vancouver Show cause sparks and create challenges - CBC you're putting programming re­ cut in half as soon as they go to To­ was a very important part of our pro­ you've got to cause moments of great sources and decision-making just ronto. I think Telemm is incredibly cen­ gramming for 10 years because it was debate so people will depend on you. beyond the reach of young people - tralized and that it's like a bureaucratic part of what distinguished us from other You don't defend free speech with the whether they're writers or directors or swamp that's not only disrespectful to stations. When it started it was unique, weather - you defend it with a play or producers. And who's going to respond the artists but of the process of getting but after awhile a lot of magaZine type with a strong public opinion show to something that's happening in mms made in this country. shows started up on radio and televi-

January 1987 - Cinema Canada/11 , G = • F I L M I B R o A D c A 5 I N •

Daryl Duke: We're using The Van­ couver Show budget - and that's what we told the Commission - as seed money to buy the rights, develop screenplays and get certain shows and concepts underway. Then we'll go out to fund them one by one, with invest­ ment money and Teleftlm money and sion and it eventually seemed th~t the all of the rest. We'll be going through all Daryl Duke: Well, you do split your­ Cinema Canada: Isn't it true that the job that The Vancouver Show had the traditional routes for funding, trying self off in many pieces. This is not a final mood at the station is a little unsettled done for 10 years had now been taken to get presales maybe from a station in justification for just doing anything, and because of his application? There's un­ over by a whole lot of other shows. So the U.S. or England or a sale to other sta­ I don't mean it as a rationalization, but certainty about who's going to own it? we thought it was time to do something tions in Canada or to pay-television. We Love Me, Love Me Not is popular en­ Daryl Duke: Only those who chose to else with that studio and those facilities. wouldn't commit to doing 26 shows of tertainment. The producers of it are listen to the old maids who went cluck· We had thought we'd change that as­ Music to See, for instance, without a connected to MGM and it gives us ac­ ing around - which was a very small pect of our programming in 1984 when presale - that would be way beyond our cess to them and to co-productions and percentage of the staff, I think - might we were supposed to have our license means. It would tie up all the resources to a series that we can carry, and it's an have thought, "My God, what's going to renewal, but they postponed it to 1985 into that one thing. opportunity for our crews to continue happen in the future?" And that was and then to 1986 and it's now post­ The value of having seed money is it w.orking on a popular show. It's not simply because Asper was around town poned to 1987. So Norman Klenman gets things started. It's funny that when something that I would produce, per­ making grandiose ' statements as if he and I said to one another, "We can't you take a stance that you're going to sonally. But then you can't look down were already the owner, and indulging wait to do all this until there's a license do something, stuff starts happening. If your nose at all aspects of popular taste. in his favourite prac.tice of management renewal and everything is all neat and you don't take a stance and nobody Are you going to take everything off forward, you know, long before he had tidy. Now is the time to make the knows you're doing it, nothing happens. television that you personally wouldn't approval or even before he'd gone to a change." So we brought it to an end and We're just beginning all of this, but al­ watch? That's crazy. We make a whole hearing. So a few of the staff reacted to started doing dramas. ready exciting things are happening. series of judgments on these things. You that badly but that was minor. And the Already we've done a one-hour class­ We've also started a press conference don't want to ftll up your schedule with staff is in no doubt about who owns the ical concert with the Guildhall String series, and an interview series in which game shows, but if this one will pay for place or what our policies are or what Ensemble which we're hoping to have we can do things that have more depth our studio upkeep and crew costs and our guidelines are. Generally the mood as the for a series for 13 or 20 seg­ - maybe more impact than interviews keep that crew busy and active until is very good. I expect we're going to be ments called Music to See. We're in the that are mixed up with a lot of other they're free to do a chamber music there for a long, long time. But the final dub of a variety series called Black things in a magazine format show. We thing, it makes sense. question is before the Commission and Tie and Blues which is also with Bruce now can do exclusive interviews and Cinema Canada: How do you influ­ I wouldn't want to really comment Raymond, our distributor in Toronto. spend more time on concentrated re­ ence the philosophy and development more on it. So we've already started to use that search and development - and promote of the station in a general way? How studio in a different way. them individually. Just the other night do you see VU's image? At the same time, we've got seven we did an interview with Robert Noyes, Daryl Duke: In an overall way, you try Cinema Canada: Let's switch over to dramas in production. Some of these the convicted child molester; it's proba­ and make the station more compassion­ your directing career. Are there any will be films that we'll do as features bly one of the strongest interviews ate and fulftll more of an ombudsman films that you've made that you con­ and then bring them to television after that's been on prime time television role. At the same time, you try and make sider to be signature pieces? they've been released in the theatres. around here for a long time. Laurier it more irreverant or feisty - have it Daryl Duke: I feel that people always Others will be straight television pro­ LaPierre was both compassionate and take more chances than other stations. I kind of want to put a label on you, or duction. We're doing Kenneth Brown's tough with him, so it was a classic and know those are kind of big, vague con­ put a fence around you, and I react Life After Hockey as a 90-minute terrific interview. That one half-hour cepts but you can just indirectly push badly to that. The moment somebody video. We also have the rights to Kent got two pages of phone calls. With these toward those in a whole manner of tries to put a fence around me I jump Thompson's book Shacking Up , which big interviews, if you get the right sub­ areas - in promotion, in what you buy, over it. When I was with the CBC, the Charles Tidler is sCripting as a feature. ject, you can really illuminate some­ in how you package movies, or in what moment they would say I was doing And then John Lazarus is doing an adap­ thing. You change the audience's feel­ kind of shows you do, and how you pre­ mainly public affairs shows, I'd say, "No tation of a de Maupaussant short story ings about a person about whom they sent yourself. Are your performers I'm not, I'm doing rhythm and blues for us, that will be a feature set in turn­ could only form the most random young or old, are there many or more shows." So then they'd say, "Okay, of-the-century B.C. We're also in a rela­ judgements from newspapers or from a women hired - all of these things you're doing musical shows" and I'd go tionship with the New Play Centre and newsclip on a news show on television. change the mix. You can have a big in­ straight for a drama - I always kind of through them we're developing writers fluence on that, I think. Norman and I bounced around to keep a sense of free­ who have been stage writers. Cinema Canada: How do you bal­ right away brought over 50 % of dom. I want the sense that I can really ance producing hard-hitting public af­ women onto the staff when we started recreate for myself and for the audience Cinema Canada: John Gray (Billy fairs shows with producing your game the station, and that wasn't usual then. something that springs from my in­ Bishop, The King of Friday Night) is show Love Me, Love Me Not which re­ You try to make sure that there's a bal­ terests and what I'm doing. one of those, isn't he? ally is just pap. Doesn't it make you ance that leans towards compassion and If you ask me my favourites, I could Daryl Duke: Yes, we have a couple of feel schizophrenic? the populist view, towards the anti­ say that there are a few that represent things that we're talking to John about. status quo because, you see, the status One of them is an adaptation of a short quo is not right in many areas. story that we're negotiating the rights to with Columbia Pictures (which has Cinema Canada: Given that y ou've the rights to a book that has many of the now moved into producing more same characters). We also have drama and variety in-house, and are Woodsman of the West, which is a supporting independent projects with novel published about 1908 by M. AI­ letters of support and seed money and lerdale Grainger. It's a really classic B.C. so on, do y ou resent Izzy Asper'S repu­ novel about the small entrepreneurs tation as being the only broadcaster who were here before the big logging who does justice to Canadian content? companies moved in, back when the Daryl Duke: Well, I don't think he is. Coast was still pretty primitive. Norman I guess he gets written up in the finan­ Klenman is scripting that as a feature. cial pages but I think a lot of other broadcasters get a lot of press, too. He Cinema Canada: Where are you get­ doesn't seem to me to be very import­ ting the money for all of this? Is it old ant in a cultural or a filmmaking sense. money or new? So that doesn't really concern me.

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different sides of myself. I Heard the Owl Call My Name would certainly be one of them. That would be very ~u c h the more introspective, quieter, more poetic side - I'm not trying to be self­ congratulatory here - but it goes back to my childhood in B.C. up the coast. For instance, my grandparents knew a Church of England minister nan1ed boundary line arounri ourselves. you find you're making things up on the an observer. I made that remark that I'm Allan Green who worked up the coast, A young filmmaker asked me recently run, and always compromising. It's very a Zen director because I find it extraor­ and so the mission boat in Owl is if I thought it was a sellout to go to the satisfying to be that immediate and free dinarily wasteful to be always running named after him. There were many per­ States. or if Canada was failing its film­ with the material, but as you start to put around waving your arms, shouting and sonal aspects to that story for me - just makers because they had to consider greater demands on yourself and want yelling and creating havoc with the many Sights and sounds and the going south to grow in their careers. things to take on a more finished look, everyone else's mood and the work feeling of wandering into an Indian Certainly in the late '50s and '60s when you have to move beyond it. everybody else is trying to do simply to coast village was Yell' personal. we went down, there wasn't much here draw attention to yourself. I would Cinema Canada: You said in your re­ Payday is another favourite of mine. besides the CBC. You were definitely at rather be quiet and then apply the pres­ cent lecture at the New Play Centre that I was around musicians a lot in the '60s the mercy of one market. It's different sure where the pressure counts. I hate as a director, you have to impose your when I brought a lot of them onto tele­ now with tax incentives and Telefilm working with noisy people - and the view of a film on everyone else. How vision shows like Steve Allen's; and I and all of those things. But I don't think quiet ones generally get more done. do you do that without hiring yes men was out on the road with crews when I it's a tragedy to want to grow and have or getting into constant battles with did documentaries, too. It's a very a sense, of the world. If people can stay Cinema Canada: You were a student people? tough tale with a lot of male, macho im­ in a little village in Alberta and make of Earl Birney's wben you were in uni­ Daryl Duke: It's always a difficult task ages and language and violence. And I'd that their life's work, that's fine, if that's versity and it was some ofyour poetry to get anything done, and there's a joke experienced that kind of lifestyle. A lot what they want. But Canada has never that got you your first job at tbe NFB. in the film business that's there are no of people who worked on Payday really put to the test whether it could Do you still write poetry? easy shots. And it's true. The process of thought I was American. But I tried support a Fassbinder or a Bergman Daryl Duke: No, I wish I did. But I getting something on film is so difficult sometimes to explain to American re­ working just within it. That hasn't hap­ have a life that's very busy and my work it keeps you humble. I've always be­ porters or audiences that you could do pened yet. is very involved with people. I always lieved that you have to hire very strong . virtually the same film in Alberta or seem to be getting up early in the morn­ people - you don't throw yourself in Manitoba. You know, about an ambiti­ Cinema Canada: What about ing and working all day with actors and with weaklings. If you surround your­ ous country and western singer on the crews and a lot of people. Whether documentaries? Anne Wheeler said self with weakness, then you do get yes road who is grappling with the knowl­ you're doing live television or film, it's that after doing documentaries for sev­ men and it will be a kamikaze flight edge that he's getting old and will never eral years she started to feel like she sort of like a jazzed up high to work that right down into the sea. You really want reach the top. But I'll contradict myself was sucking off people's lives - that way. It's enormously satisfying, but it's everybody to do their jobs better than now and say that it's a very American she was asking them to expose them­ also like a kind of drug - it charges you you can do it. I hate it when an art di­ story. I guess that's what I liked about it. selves to the camera and she couldn't up and keeps you going. You seldom rector comes in and I say, "Well, I think It's a favourite. even pay them for doing that. allow yourself the privacy to come the stairs should come up here and the Daryl Duke: Yes, she's right. That's a down and just simply be patient and re­ fireplace back there .. ." and so on, and he Cinema Canada: You seem to share very good way of putting it. I felt that in flective enough to work with a pencil writes it all down and says "yes" to ev­ Normanjewison's experience ofbuild­ Egypt - exactly what she's talking and a piece of paper again. I've had the erything. I suddenly get a chill. I start to ing a career that spans Canada and the about. I did a documentary in Egypt, in urge to many times, but I didn't have wonder why I hired him. I want to Us. Although he loves many things a village where they hardly had any­ the patience. suggest a few things to him and then about Canada, he has commented thing to eat, no money - but we were Those things that you might describe walk away and have him take those sug­ many times that one thing we lack is royally treated by them. After all the as the poetic impulse have really been gestions and go me one better. I always welcoming business was over, there I transmuted into the way I see the world the generosity of the Americans. Do assume that the people I'm working was with a' camera, standing over the through a lens. So I guess you'd have to you agree? with are competent. So then it's my job Daryl Duke: Yes. I've never had one women of this household, getting them say that a lot of I Heard the Owl Call to give them permission to be their best note of chauvinistic feeling in the U.S. to show me how they put some corn My Name is poetry, really. The way you - to really go for it. that somehow I shouldn't be working husks together to make a little fire to light things, the way you observe a there. If you go there with a good idea cook a pathetic bit of meat, you know. I Cinema Canada: In that same lecture woman kissing a man, the way you get a or the ability to do something, they wel­ was shooting as one of the women tried you described yourself as a Zen direc­ performance out of an actress, the way come you - they care where you're to feed this poor kid and was flicking tor. What did you mean by that? you choose all of the visual and aural from. That's what used to annoy me flies off his face, and I asked them to do Daryl Duke: Well, to be able to be elements in a film - all of those choices about the , it again when I suddenly thought, "What part of a thing and yet be apart from it become an outlet for those impulses. excluding foreign artists and techni­ in God's name am I doing? This progr~m is perhaps the one way you can kind of You have to have time to reflect to cians. I thought it was appalling that doesn't do them any good. And it's keep your centre, your focus and your write poetry, and since I don't take that while other countries were welcoming going out to maybe instruct a North sense of rhythm for a scene. I try to bal­ time, my reflection comes out when I'm us, there we were trying to draw a American audience but it's also going to ance between being a participant and actually directing. _ take up some air time and amuse them in a kind of way." And I felt I was feed­ ing off these people's poverty. So you certainly have that element that you're using people. The other element is as a filmmaker, in the end, you get tired of working with amateurs. So you want somebody to cross the room, put the kettle on the stove, turn and speak to her husband and say whatever - very simple. And you'd never get it because she's too shy or the husband is too shy, and you can't take the time and they'll never be ac­ tors. Then you don't have the size of crew and the equipment and the budget to get the thing lit properly. So many elements are out of your control that

January 1987 - Cinema Canada/13 The Academy of Canadian Cinema & Television salutes the Canadian Television Industry and congratulates all of the winners of the 1986 .

Best Continuing Drama Series Best Picture Editing in a Dramatic Program/ Series Night Heat, Producer Andras Hamori Ralph Brunjes - Oak mount High Best Dramatic Mini-Series Best Pi cture Editing in a Documentary Program/ Series Anne of Green Gables - Producer Kevin Sullivan, Ian McDougall Les Harris - 444 Days To Fre edom Best TV Movie Best Sound in a Dramatic Program/ Series Love & larceny, Producer Robert Sh errin Ralph Brunjes, Andy Malcolm, Arnold Stewart, John McGill, Joe Grimaldi Best Short Drama - Bradbury Trilogy "Playground" Oak mount High - Producer Peter Lower Best Sound in a Comedy/Variety/ Entertainment/Performing Arts Best Comedy Series Program/ Series Seeing Things - "The Night Ha s A Thousand Ey es" Erik Hoppe, Aerlyn Weissman, Anthony Lancett, Hans-Peter Strobl - Producer David Barlow, Louis D el Grande, M artin Wiener -Magnificat Best Ente rtainment Special Best Sound in a Documentary Program/ Series The Canadian Conspiracy - Producer Bill House, Barbara Tranter Tom Hidderley, Brian Avery, Eric Goddard, James Porteous - Peter Ustinov's Russia "Catherine The Great" Best Information Program or Series The Fifth Estate - " Getting Clear/ Two Is Enough" Best Production Design/ Art Direction Producer Robin Taylor, Ron Hagga rt Carol Spier - Anne of Green Gables Best Documentary, Singl e Program or Se ries Best Costume Design Glenn Gould: A Portrait Parts 1 & 2 - Producer Eric Till, Vincent Tovell Martha Mann - Anne of Green Gables Best Performing Arts Program Best Music Composition for a Series (Dramatic Underscore) Pirates of Penzance - Pr9ducer Norman Campbell Glen Morley, Lawrence Shragge - The Campbells " Free and Clear" Best Animated Program, Single Program or Series Best Music Composition for a Single Program (Dramatic Underscore) The Bestest Present - Producer W. H. Stevens Jr. Hagood Hardy - Anne of Green Gables Best Children's Series Best Technical Achievement Fraggle Rock "The Perfect Blue Rollie" - Producer Larry Mirkin Ron Berti, Doug Koch - Deeper (Billie Newton-Davis) Best Children's Program Best Performance by a Lead Actor in a Continuing Dramatic Series Griff Gets A Hand - Producer Linda Schuyler, Kit Hood Robert Clothier - The Beachcombers " Blue Plate Special" Best Sports Pr ogram Best Pe rformance by a Lead Actress in a Continuing Dramatic Series Not Another Science Show - Producer Craig Moffat, David Stringer Mamie McPhail - The Edison Twins " Running on Empty" Best Pay TV Drama Best Performance by a Lead Actor in a Single Dramatic Bradbury Trilogy "Marionettes Inc." - Producer Seato n McLean Program/ Mini-Series - Th e Prodigal Best Music Vid eo Cryin' Over You - Platinum Blonde Producer Michael Rosen Best Pe rformance by a Lead Actress in a Single Dramatic Program/ Mini Series Best Direction in a Dramatic Program/ Series Megan Follows - Anne of Green Gables - Canada's Sweetheart - Th e Saga of Hal C Banks Best Pe rformance by a Lead Actor in a Comedy Program/ Series Best Direction in a Comedy/ Vari e ty / Ent e rtainme nt/ Pe rforming Arts Louis Del Grande - Seeing Things " Th e Night Has A Thousand Eyes" Program/ Series Robert Boyd - Th e Canadian Conspiracy Best Pe rformance by a Lead Actress in a Comedy Program/ Series Martha Gibson - Seeing Things " I'm Dancing with Stars In My Eyes" Best Direction in a Docume ntary Program/ Series Larry Weinstein - Making Overtures Best Pe rformance in a Variety/ Entertainment/ Performing Arts Program/ Series Best Writing in a Dramatic Program/ Series (Original Drama) Heath Lamberts - One For the Pot Donald Brittain, Richard Nielsen - Canada 's Sweetheart: Th e Saga of Hal C Banks Best Pe rformance by a Supporting Actor Richard Farnsworth - Anne of Green Gables Best Writing in a Dramatic Program/ Series (TV Adaptation) Kevin Sullivan, Joe Wiesenfeld - Anne of Green Gables Best Performance by a Supporting Actress - Anne of Green Gables Best Writing in a Comedy/ Variety/ Ente rtainment/ Pe rforming Arts Program/ Series Best Pe rformance by a Broadcast Journalist () David Cole - Seeing Things " Th e Night Has A Thousa nd Eyes " Eric Mailing - The Fifth Estate "Product of Canada" Jim Reed - W5 " Charter Special Edition" Best Writing in a Docume ntary Program/ Series Gwynne Dyer, Tina Viljoen -Defe nce of Canada " Th e Space Between" Best Pe rformance by a Host/Interviewer David Suzuki - Nature of Things "Open Heart" Best Photography in a Dramatic Program/ Series Rene Ohashi - Anne of Green Gables for an outstanding body of work by a television actor Ed McNamara Best Photography in a Comedy/ Variety/ Ent e rtainment/ Pe rforming Arts Program/ Series for an outstanding body of work by a Nicos Evdemon - Seeing Things " I'm Dancing with Stars in My Eyes" teleVISion writer Charles E. Israel Best Photography in a Docume ntary Program/ Series John Walker, Paul Van Der Linden - A Fragile Tree ._. Has JOHN DRAINIE AWARD for outstanding contribution to broadcasting Pat Patterson - Best Picture Editing in a Comedy/ Vari e ty/ Entertainment/ Performing Arts Program/ Series TV Guide Most Popular Program Award Andrew Brown - Floating Over Canada Anne of Green Gables Academy of Canadian Cinema & Television • 653 Yonge St., 2nd floor • 5211 Blowers St, Ste, 32 Toronto, M4Y 1Z9 1.1 Halifax, Nova Scotia B3) 2)2 • 1600 ave. De Lorimier Academie canadienne du • 163 West Hastings St., Ste. 338 , H2K 3W5 cinema et de la television Vancouver, V6B 1H5

14Jr.inl'!ma Canada - JanUanL 1987