2020 Highlights Executive Summary

Total Page:16

File Type:pdf, Size:1020Kb

2020 Highlights Executive Summary 2020 HIGHLIGHTS EXECUTIVE SUMMARY • Due to COVID-19, over 1000 live events were cancelled and a completely new plan for an all-online version of National Canadian Film Day was put into place in mid-March. • The centrepiece of our programming was CanFilmDay Live, a 4.5 hour livestream produced entirely in isolation which generated over1,600,000 impressions to date, and along with other NCFD-related webcasts attracted over 25,000 viewers. • The livestream featured guests such as Sandra Oh, Jay Baruchel, Colm Feore, Atom Egoyan, Don McKellar, Ethan Hawke, Megan Follows and many others. • More than 2,000,000 Canadians watched a Canadian film on broadcast or streaming. • Over 100 official online Watch Parties were mounted by our community partners across the country. • The day generated enormous social media engagement and buzz, and more than double the amount of media coverage we received in 2019. 2 National Canadian Film Day INTRODUCTION In mid-March of this year, we were getting ready to put We also created how-to guides to help our partners organize on over 1000 live screening events on April 22. When the their own online watch parties. Thanks to our network of entire world changed due to COVID-19, we had to make the grass-roots community organizations across the country, over unavoidable decision to cancel them all. However, we felt 100 organizations came on board to host online events, with certain that NCFD should go on. only three weeks of planning time. With only a month to go, we completely reinvented NCFD NCFD has always been about bringing Canadians together. from scratch. This year, we felt it was more important than ever to use it to boost our collective spirits and make us all feel closer to each We knew we couldn’t simply adapt the live-event model to other. a world in isolation. Instead, we came up with a way to turn NCFD into a national rallying point during a time when we all Given the fact that our livestream generated over 1.6M needed to feel that sense of connection more than ever. impressions, and over 2M people watched a Canadian film on TV or online on April 22, we believe the effort was We produced and executed a wildly ambitious 4.5 hour enormously successful. livestream, using innovative technologies and pushing against the boundaries of what was possible. With over 30 guests, our livestream bounced from couch to couch to couch, seamlessly connecting audiences with Canadian filmmakers and stars across the nation. “I believe in this country. I believe in its value system. I believe in the priorities that we place an emphasis The resulting livestream was so impressive that we have upon. This is where I want to be.” been contacted by multiple organizations, from Global — Jay Baruchel Affairs Canada to the NFB to the Vancouver Homeowners Association, asking for our advice on putting together their own similar online events. National Canadian Film Day 3 NCFD 2020 IMPRESSIONS viewers on all 2,000,000+ ON OUR 1.6M LIVESTREAM 25,000 NCFD livestreams WATCHED A CANADIAN FILM ON TV OR ONLINE 59 40.5 MILLION MILLION potential Twitter & views of our library Instagram impressions of Canadian film GIFs "Hats off to the REEL CANADA team, they are such an + + essential part of our industry." 89M 100+ —Vinay Virmani, filmmaker MEDIA IMPRESSIONS with a 100% increase in media official online stories over last year watch parties Embassies & 1.5 MILLION 50+ consulates filmmakers, stars views of our promotional videos participated online & special guests 4 National Canadian Film Day CANFILMDAY LIVE CanFilmDay Live generated over 1.6 million impressions and has been watched by over 25,000 Canadians. In addition to live appearances by stars and filmmakers, the 4.5-hour livestream included Can-con trivia challenges, NFB short films, video greetings from our community partners across the country, a cooking class and a singalong. CLICK HERE to watch the Hosted by Peter Keleghan and Ali Hassan, Livestream the livestream featured appearances by: • Sandra Oh • Sophie Deraspe • Jay Baruchel • Nahéma Ricci • Colm Feore • Tasha Hubbard • Ethan Hawke • Guillaume Cyr • Megan Follows • Patrice Laliberté • Yannick Bisson • Warren Sonoda • Atom Egoyan • Avi Federgreen • Don McKellar • Jeremy Lalonde • Mina Shum • Jesse Wente • Charles Officer • Cameron Bailey • Philippe • Jeff Chan Falardeau • Anna Lambe • Robbie Amell • Ike • Vinay Virmani • Choir! Choir! Choir! National Canadian Film Day 5 CanFilmDay Live hosts Peter Keleghan and Ali Hassan Colm Feore Jay Baruchel Ethan Hawke Tasha Hubbard “I got to Toronto and I saw that big leaf, and it’s something that struck me as so beautiful, it’s the only flag in the whole globe that doesn’t look like it’s trying to conquer anything.” Sandra Oh — Ethan Hawke 6 National Canadian Film Day Yannick Bisson Charles Officer In conversation with Atom Egoyan & Philippe Falardeau Mina Shum Robbie Amell Megan Follows National Canadian Film Day 7 THE FILMS When we pivoted NCFD to an all-online event, we had to very quickly curate a list of films available to watch from home. As in previous years, our broadcast and streaming partners programmed an expanded list of Canadian titles for NCFD. We winnowed down these offerings into an online catalogue that was meaningful, user-friendly, and searchable by various themes, genres, and by provider. We also put together two specialty lists: • Environmental films for those who wanted to honour Earth Day and CanFilmDay at the same time • Family-friendly films for kids and parents, or students and teachers, to enjoy together at home Here are just a few of the titles that were available to stream: 8 National Canadian Film Day 2 MILLION VIEWERS Over 2 million Canadians watched a Canadian film on NCFD thanks to the wealth of options available from our broadcast and streaming partners. CLICK HERE for more posts from broadcasters & partners National Canadian Film Day 9 WATCH PARTIES Over 100 official watch parties across the country! Here are a few highlights: Libraries across Canada presented Hockey Night and followed along on Twitter, where star Yannick Bisson live- tweeted a commentary. The Institute of Canadian Citizenship presented The Whale with directors Suzanne Chisholm and Michael Parfit. St. John’s International Women’s Film Festival (St. John’s, NL) presented Antigone, with director Sophie Deraspe and star Nahéma Ricci. Emerging Lens Cultural Film Festival (Halifax, NS) and the Watch party Canadian Film Centre co-presented Nurse.Fighter.Boy with Q&As were director Charles Officer. viewed by over 10,000 Netflix, Québec Cinéma and Voyeurs de Vues partnered up Canadians to present Jusqu’au Déclin with director Patrice Laliberté and actors Guillaume Cyr, Julie Groleau, Réal Bossé, Guillaume Laurin, and Marie-Evelyne Lessard. The Fantasia International Film Festival (Montreal, QC) cELLEuloid (Montreal, QC) presented Level 16 with director presented Last Night with director Don McKellar. Danishka Esterhazy. 10 National Canadian Film Day The Toronto International Film Festival (Toronto, ON) presented Anthropocene with co-directors Jennifer Baichwal and Nicholas de Pencier. The Revue Cinema (Toronto, ON) presented Zero Patience with director John Greyson and composer Glenn Schellenberg. The Toronto Motorcycle Film Festival (Toronto, ON) presented One Week with director Michael McGowan, as well as Marauder with director Brendon Rathbone and writer Jordan Scott, and Which Way is East with director Blake Sovdi. The Oakville Festival of Film and Arts (Oakville, ON) presented Maudie with writer Sherry White. The Calgary Underground Film Festival (Calgary, AB) presented the film Roadkill with director Bruce McDonald and star Don McKellar. The Dreamspeakers Film Festival (Edmonton, AB) partnered with the imagineNATIVE Film + Media Arts Festival (Toronto, ON) to present nîpawistamâsowin: We Will Stand Up with director Tasha Hubbard. The Vancouver International Film Festival and the Reel Asian International Film Festival co-presented Meditation Park with director Mina Shum and star Sandra Oh. VIFF also presented Last Night with director Don McKellar and star Sandra Oh. National Canadian Film Day 11 CANADIAN DISTRIBUTORS In honour of NCFD, 24 Canadian distribution companies joined forces, with the support of Telefilm Canada, to curate a list of homegrown titles on various platforms. Also, FilmsWeLike in association with Hollywood Suite used NCFD as a launching pad to premiere a restored version of the classic film The Grey Fox, through an innovative partnership with independent cinemas across Canada. Virtual tickets were sold, allowing Canadians to watch from home while supporting their local cinemas. These two initiatives showed an unprecedented level of enthusiasm and support from the distribution sector, proving that NCFD has truly become an important platform in the annual calendar for releasing and promoting Canadian films. These initiatives had a digital reach of over 39 million. 12 National Canadian Film Day ENCORE+ We were delighted to welcome the Canada Media Fund as a partner for the third year, who offered a fantastic array of Canadian content through the Encore+ YouTube channel, a destination for memorable and iconic Canadian movies and TV shows. A specially curated NCFD playlist of films in both English and French, and by Indigenous creators, was made available on Encore+, and was promoted on the Google and YouTube homepages on April 22. Encore+ also sponsored the trivia challenge on CanFilmDay Live, and provided prize packs to the trivia winners. Our partners at Encore+ saw a huge increase in viewership from April 21 to 25: • Over 240,000 views • 3.4 million impressions • A staggering 6 million minutes watched on the channel National Canadian Film Day 13 ADDITIONAL PROGRAMMING French-Language Programming Netflix provided the highlight of our French programming by hosting a national watch party, co-presented with Québec Cinéma and Voyeurs de vues, of Jusqu’au Declin (The Decline), the first French-language film made by Netflix as an original production.
Recommended publications
  • Presents a Film by TRACEY DEER 92 Mins, Canada, 2020 Language: English with Some French
    Presents a film by TRACEY DEER 92 mins, Canada, 2020 Language: English with some French Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com BEANS Festivals, Achievements and Awards Awards & Achievements DGC Discovery Award – 2020 WGC Screenwriting Award, Feature Film – 2021 Canadian Screen Awards – 2021 Best Motion Picture, Winner John Dunning Best First Feature Film Award, Winner Achievement in Casting, Nomination Achievement in Sound Mixing, Nomination Achievement in Cinematography, Nomination Vancouver Films Critics Circle – 2021 One to Watch: Kiawentiio Best Supporting Actress: Rainbow Dickerson Festivals Berlinale, Generation Kplus, Germany – 2021 Crystal Bear for Best Film Toronto International Film Festival, Canada – 2020 TIFF Emerging Talent Award: Tracey Deer TIFF Rising Stars: Rainbow Dickerson TIFF’s Canada’s Top Ten Vancouver International Film Festival, Canada – 2020 Best Canadian Film Yukon Available Light Film Festival, Canada – 2021 Made in the North Award for Best Canadian Feature Film Audience Choice Best Canadian Feature Fiction Kingston Canadian Film Festival, Canada – 2021 Limestone Financial People’s Choice Award Minneapolis St. Paul International Film Festival, USA – 2021 Audience Choice Award: Nextwave Global Features Provincetown Film Festival - 2021 NY Women in Film & Television Award for Excellence
    [Show full text]
  • Colm Feore Essais Et Bonheurs Marie-Claude Fortin
    Document generated on 09/28/2021 4:56 a.m. Entre les lignes Le magazine sur le plaisir de lire au Québec Colm Feore Essais et bonheurs Marie-Claude Fortin Traduire Volume 5, Number 2, Winter 2009 URI: https://id.erudit.org/iderudit/682ac See table of contents Publisher(s) Les éditions Entre les lignes ISSN 1710-8004 (print) 1923-211X (digital) Explore this journal Cite this article Fortin, M.-C. (2009). Colm Feore : essais et bonheurs. Entre les lignes, 5(2), 14–17. Tous droits réservés © Les éditions Entre les lignes, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ENTRE LES LIGNES Colm Feore Essais et bonheurs Il a incarné tour à tour, et toujours avec autant de talent, Glenn Gould, Pierre Elliott Trudeau, Macbeth et le stoïque Martin Ward, le «bon» de Bon Cop, Bad Cop. L'été prochain, à Stratford, Ontario, où il habite, il jouera Cyrano de Bergerac dans une production dirigée par son épouse, Donna Feore. Entre deux épisodes du tournage de la série « 24 », à L.A., et le tour­ nage à Montréal du film The Trotsky, de Jacos Tierney, Colm Feore nous parle des livres de sa vie.
    [Show full text]
  • Film Reference Guide
    REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
    [Show full text]
  • Mongrel Media Presents
    Mongrel Media Presents Language: English Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/preggoland LOGLINE A 35 year-old woman pretends to be pregnant to fit in with her friends. SHORT SYNOPSIS When 35-year-old Ruth ruins a baby shower with her juvenile antics, her old high school cronies- who are all mothers now-promptly de-friend her. But when she is later mistakenly thought to be ‘with child’ she is inexplicably welcomed back into the group. Although she initially tries to come clean, the many perks of pregnancy are far too seductive to ignore. Preggoland is a comedy about our societal obsession with babies and the lengths we’ll go to be part of a club. SYNOPSIS At 35, Ruth (Sonja Bennett) hasn’t changed much since high school. She’s still partying in parking lots, working as a cashier in a supermarket, and living in her father’s basement. When Ruth gets drunk at a friend’s baby shower and ruins it with her juvenile antics, her old high school cronies – who are now all married with children – suggest she might want to find some friends her own mental age. Ruth is devastated. Just when Ruth hits rock bottom, she runs into her friends who mistakenly think she’s pregnant.
    [Show full text]
  • Bureaucrats and Movie Czars: Canada's Feature Film Policy Since
    Media Industries 4.2 (2017) DOI: 10.3998/mij.15031809.0004.204 Bureaucrats and Movie Czars: Canada’s Feature Film Policy since 20001 Charles Tepperman2 UNIVERSITY OF CALGARY c.tepperman [AT] ucalgary.ca Abstract: This essay provides a case study of one nation’s efforts to defend its culture from the influx of Hollywood films through largely bureaucratic means and focused on the increasingly outdated metric of domestic box-office performance. Throughout the early 2000s, Canadian films accounted for only around 1 percent of Canada’s English-language market, and were seen by policy makers as a perpetual “problem” that needed to be fixed. Similar to challenges found in most film-producing countries, these issues were navigated very differently in Canada. This period saw the introduction of a new market-based but cultural “defense” oriented approach to Canadian film policy. Keywords: Film Policy, Production, Canada Introduction For over a century, nearly every film-producing nation has faced the challenge of competing with Hollywood for a share of its domestic box office. How to respond to the overwhelming flood of expensively produced and slickly marketed films that capture most of a nation’s eye- balls? One need not be a cultural elitist or anti-American to point out that the significant presence of Hollywood films (in most countries more than 80 percent) can severely restrict the range of films available and create barriers to the creation and dissemination of home- grown content.3 Diana Crane notes that even as individual nations employ cultural policies to develop their film industries, these efforts “do not provide the means for resisting American domination of the global film market.”4 In countries like Canada, where the government plays a significant role in supporting the domestic film industry, these challenges have political and Media Industries 4.2 (2017) policy implications.
    [Show full text]
  • Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr.
    [Show full text]
  • Annual Report 2019 – 20
    Annual report 2019 – 20 My Salinger Year © Philippe Bossé Babysitter Beans Maria Chapedelaine © Fred Gervais-Dupuis © Sebastien Raymond © Laurence Grandbois-Bernard 24-34 YEARS OF FULFILLING YOUR CREATIVE DREAMS TABLE OF CONTENTS English Language Program Message From our partner 4 From the Co-chair and the President 5 Management Board of directors and Committee members 7 Staff 10 Script Development Program Story Optioning 12 Treatment To First Draft 17 First To Second Draft 18 Second To Third Draft 22 Polish And Packaging 24 Short Film Shorts-To-Features Program 27 Manitoba Shorts Program 28 Newfoundland and Labrador Shorts Program 29 Territories Shorts Program 29 Financial Highlights Contributions 31 Financed projects 32 2 French Language Program Message From our partner 35 From the Co-chair and the President and Managing Director 36 Management Board of directors and Committee members 39 Staff 42 Feature Film Story Optioning 44 Script Development 50 Polishing 52 Equity Investment 53 Format Development/Television Concept 65 Television Series/Format Conversion 67 Financial Highlights Contributions 70 Financed Projects 71 3 ENGLISH-LANGUAGE PROGRAM Message FROM OUR PARTNER It’s been another remarkable year for the Harold Greenberg Fund’s English Language Program (Fund), which invested $ 1.5 million in 117 diverse Canadian projects. The end of this year also marks the beginning of an excit- ing new journey for the Fund as it transitions to a new funding model. The past seven years saw the Fund invest in a long list of incredibly rich films, from The Breadwinner and Maudie, to Closet Monster, Blood Quantum, and more. Over the years, many HGF-supported productions were met with international acclaim and accolades, and all demonstrated the strength and vitality of the Canadian film and television industry.
    [Show full text]
  • By Wyndham Wise with a Feature Film by the Same Director
    The brainchild of director Norman Jewison, the Canadian Film Centre has been a driving force behind the development of Canadian filmmaking talent over the past 10 years. Some of Canada's most celebrated filmmakers—John Greyson (Zero Patience, Uncut), David Wellington (I Love a Man in Uniform, Long Day's Journey Into Night), Mina Shum (Double Happiness, Drive, She Said), Don McKellar (Blue, Last Nlght)—have been trained at the Centre, along with over 300 other graduates currently working in the Canadian film, television or new media industries. To celebrate its 10th anniversary, the Centre has organized a coast-to-coast retrospective screening tour of 25 Centre shorts to be accompanied by a series of lectures and discussions with the filmmakers. Also, the Toronto International Film Festival will be screening a series of six Centre shorts— Don McKellar's Blue, Holly Dale's Dead Meat, Collen Murphy's The Feeler, Laurie Lynd's The Fairy Who Didn't Want to be a Fairy Anymore, Clement Virgo's Save My Lost Nigga' Soul—paired By Wyndham Wise with a feature film by the same director. Take One interviewed Canadian Film Centre director Wayne Clarkson in July. You have been at the centre of major changes in whole psychology to it. We did it There was a streamlining of the programs. the Canadian feature—film industry as the head of unbelievably successfully because the time the Toronto film festival, the OFDC and now the was right. It was at the height of the I think there was a certain rationalization of Canadian Film Centre.
    [Show full text]
  • Empire of Dirt
    Mongrel Media Presents EMPIRE OF DIRT A film by PETER STEBBINGS (99 min., Canada, 2013) Language: English Official Selection 2013 TORONTO INTERNATIONAL FILM FESTIVAL Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html LOGLINE Three generations of Native Canadian women discover that family can help them escape their past and provide a second chance. PITCH Going home was never an option for single mother Lena Mahikan (Cara Gee). But when her 13-year-old, Peeka (Shay Eyre) overdoses in the streets of Toronto, she is forced to return home to her estranged mother and face a life-long legacy of shame and resentment. Empire of Dirt is a story about second chances and summoning the power of family to soothe the pain of cyclical damage. SHORT SYNOPSIS As in many Native families, Lena Mahikan (Cara Gee) grew up in the cycle of abuse. Her father, a residential school survivor, was an alcoholic until he killed himself when Lena was 10. Her mother, only 14 years her senior, turned to the slots and was consumed. By the time Lena was 15, she was pregnant and, before giving birth, was kicked to the curb by her mom. For 13 years Lena has been living, poverty stricken in Toronto, struggling to make ends meet, being chased by her own demons.
    [Show full text]
  • Conversations with Two Canadian Film Artists
    Conversations with Two Canadian Film Artists By Gerald Pratley Spring 1994 Issue of KINEMA MICHELINE LANCTÔT AND COLM FEORE TALK TO GERALD PRATLEY (1) MICHELINE LANCTÔT wrote and directed wrote and directed wrote and directed Deux Actrices (Two Can Play), with Pascale Bussières, Pascale Paroissien, Louise Latraverse, François Delisle, Suzanne Garceau; a drama of re-conciliation between two estranged sisters, the charm and intrigue of which soon becomes a nightmare, with the actual narrative being interspersed with real-life scenes of the two actresses at work.(1) Pratley: Ms. Lanctôt, what inspired you to film this subject in a somewhat unusual way? Lanctôt: It came about from an idea I had a long time ago. I teach ”Directing Actors” at Concordia University in Montréal -- I always had trouble explaining what ”character” is on a screen to my students, and how actors approach a character. And I had long been tempted by the notion of doing something involving an actor and his character to try -- not to illustrate or demonstrate -- but just get the feeling of what the relationship is between an actor and a character. That was 10 years ago. And then in one of my classes I had this woman, who was a student of mine, whose face was very interesting, and the idea came to me that I should put her in the same film with Pascale Bussières and that I should involve them as actresses. It evolved pretty much from that woman and the idea of a character that she gave me and the situation that came out of it.
    [Show full text]
  • Download Download
    The Bon, the Bad and the Others By Christina Stojanova Spring 2008 Issue of KINEMA The Bon, the Bad and the Others: Some Remarks on the Phenomenal Success of Bon Cop, Bad Cop in Quebec This article discusses some aspects of the phenomenal box-office success in Quebec of Bon Cop, Bad Cop directed by Eric Canuel, released in 2006. Let me first refer to some statistics: within nine weeks or so from its release in early August of2006, Bon Cop, Bad Cop was a few thousand dollars short of equalling the box-office success of Porky’s, the all-time Canadian box office success from the early 1980s, a raunchy Florida-set sex-comedy that made 11.2 million in Canada. Ninety percent of the box-office, however, came from the home province ticket salesof Bon Cop, Bad Cop, leaving far behind such recent viewers’ darlings as Les Boys from 1997, La grande seduction and Les invasions barbares, both from 2003 and above all, Seraphin, the historical drama from 2002 about ”the man and his sin,” which had so far held first place as the most popular film in Quebec, grossing 9million and three hundred thousand dollars. However, Bon Cop, Bad Cop grossed only 1.4 million in the rest of Canada, a gain off-set to a considerable extent by the expensive promotional campaign run in the ROC.The box-office results outside Quebec were the strongest in Toronto and Ottawa, but the film found little support outside of Ontario. In any case, even at 1.4 million dollars, the bilingual action comedy shot in Montreal is a feat, achieved by few English Canadian films and even fewer Québecois films in English Canada.
    [Show full text]
  • INDEPENDENT PRODUCTION AGREEMENT (“AGREEMENT”) Between
    INDEPENDENT PRODUCTION AGREEMENT (“AGREEMENT”) between THE ALLIANCE OF CANADIAN CINEMA, TELEVISION AND RADIO ARTISTS (“ACTRA”) and THE CANADIAN MEDIA PRODUCERS ASSOCIATION (“CMPA”) and ASSOCIATION QUEBECOISE DE LA PRODUCTION MEDIATIQUE (“AQPM”) (COLLECTIVELY, “THE ASSOCIATIONS”) covering PERFORMERS IN INDEPENDENT PRODUCTION January 1, 2016, to December 31, 2018 © 2016 ACTRA, Canadian Media Producers Association, and Association Québécoise de la Production Médiatique IPA 1 January 2016 – 31 December 2018 ACTRA and the CMPA/AQPM CONTENTS PART A – ARTICLES OF GENERAL APPLICATION A1 Recognition and Application .................................................................................... 1 A101 Bargaining Unit ........................................................................................... 1 A104 Administration of Agreement ...................................................................... 2 A106 Rights of Producer ...................................................................................... 2 A107 Preservation of Bargaining Rights ............................................................... 2 A108 General Provisions ..................................................................................... 3 A2 Exclusions and Waivers ........................................................................................... 4 A201 Performer definition ................................................................................... 4 A205 Consent to Waive Minimum Fees ...............................................................
    [Show full text]