using a signal bell and walkie-talkies, ing title Acts of Love) deserves to be advised those on the premises to shut- seen in its entirety, and not just 'de­ Love up during shooting. At one point, while scribed' to potential distributors. filming took place in the stateroom, a This is clearly a writer's film, and few dozen crew members in the room Perlmutter feels it is important to be above had to eat their lunch and move true to the scripts: she is not worried when a film has nine separate stories around in total silence. about offending some movie-goers. ""If (each with a different cast), nine screen­ The setting two weeks later couldn't someone doesn't like the story by, say, writers, and four directors, things move have been more of a contrast. Filming of Gael Greene, thats okay," she says, elab­ quickly during production. If ever film­ Mai Zetterling's "Love From the Market orating that with nine scripts, it would making deserved to be described as place" (not all of the segments have yet probably be impossible to ensure that a 'collaborative art, it does in this in­ been titled) was taking place in the the film is all things to all people. A rare stance. ancient and notorious Wheat Sheaf and admirable attitude. The film in question is Love, the first Tavern. This was the fourth episode to feature to be produced by Renee Perl- be done. For the sake of convenience, Gerry Flahive • mutter, formerly a script developer at and because the same crew worked on Quadrant Films (and incidentally, wife all of the segments (except for director of its president David Perlmutter). Shot of photography Norman Leigh, who was Love in Toronto over nine weeks from October replaced part-way through production p.c. CoupFilmsfl980) p. ReneePerlmuttersuperv. to December, Love is an anthology film by Reg Morris), the nine stories were d. Annette Cohen assoc. d. Martin Walters p. man. William Zborowsky asst to p. Pamela Keary acdts consisting of nine segments, of eight to shot one at a time, in nine successive sup. Edythe Hall prod, acc't Penny Royce book­ fourteen minutes each, all of which five-day weeks. keeper Judy Roseberg coord. Alice Farrier off. examine some aspect or form of love. The scene being filmed was supposed p.a. Steve Marshall art d. Claude Bonniere asst • Keeping a hawk-like eye out for her art d- Barbara Tranter, Dan Davis p,a.-art Kathe- What makes this film most intriguing to take place in a smokey poolroo^ / rine Vansjttart loc/unit man. Michael Muller d. prey, Georgie Collins as the Ghostkeepei however, is that it represents probably tavern populated by some slightly seedy Annette Cohen, Nancy Dowd, Liv UUman, Mai the most concentrated and most signifi­ regulars. You would expect knowing Zetterling sc Nancy Dowd, Antonia Eraser, Penelope Gilliatt, Gael Greene, Germaine Greer, Joni Mitchell, cant utilization of female writing and the Wheat Sheaf, that this would be an Edna O'Brien, Liv Ullman, Mai Zetterling asst d. Ghostkeeper directing talent ever seen in a feature exercise in cinema verite. But no. Martin Walters (1st), Don Brough (2nd), Richard film production; each and every screen­ Smoke-generating devices, looking Flower (2nd), John Webb (3rd) script sup. Blanche Ghostkeeper, a low-budget thriller with writer and director is a well-known and something like medieval watering cans, McDermaid ward des. Linda Matheson assts. ward. Mary McCready (1st) make-up Valli Slutsky a small cast and crew, was filmed in Lake accomplished woman. were used to create the right atmo­ hairdresser David Beecroft set dec. Jacques Veil- Louise, Alberta, from November 30th to spheric 'look, necessitating the use of leux prop, master Cy Langevin props Denis Perlmutter read the script written by December 23 rd. A visit to the set re­ gas masks by some of the crew mem­ Kirkham d.o.p. Norman Leigh cam. op. Matt Nancy Dowd (Coming Home and Slap- vealed that the company (primarily Al bers. The extras looked correct, but Tundo 1st asst cam. (focus) Gordon Langevin shot), Lady Antonia Fraser, Germaine 2nd asst cam. (loader) Wendy Walgate gaffer bertan) was struggUng; to complete the when it came time to run through a Greer, Gael Greene, Joni Mitchell, Edna Chris Holmes best boy Tony Eldridge key grip project under arduous conditions - re­ billiards scene (doing something each Glen Goodchild grip Wayne Goodchild laborer O'Brien, Penelope Gilliatt (Sunday, cord low temperatures and record Bloody Sunday), Mai Zetterling and Liv of these guys had probably done every Brad Blackv^ood sd. Owen Langevin boom Randy Miltigan transp. capt Jim Kennedy head driver snowfalls, plus the limitations of a three- day after work for years), some of them Ullmann, at Cannes in 1979. She snapped Frank Tenaglio driver Gary Flanagan head car­ week shoot. were stilted - proving, it s hard to play penter Weits Jekel head painter Derek Stephen­ it up, and later convinced Ullmann, The $650,000 package was assembled Dowd, and Zetterling to direct their yourself Director Zetterling, seemingly son ed. Don Ginsberg observer d. Larry Moore p. sup. Elizabeth Bntterfield cast Claire Walker, by three Calgary-based men : Harry Cole a model of patience, finally Said after own segments (Zetterling also handled Deirdre Bowen extras Brent Meyer, Dwayne Mc­ as producer, Doug MacLeod as line pro­ about seven run-throughs "C'mon fellas, those by Mitchell and O'Brien): Canadian Lean (Computer Extra Casting) pub. David Mo- ducer and production manager, and this isn't Shakespeare." CaughnaLp. TonyKalem, Nicholas Campbell, Scott Annette Cohen served as director on the Jim Makichuk as director. MacLegd and Producer Perlmutter raised the pro­ Denton, Susan Fletcher, Sonja Smits, David Main, other four, and as supervising director Cindy Girling Robin Ward, Candace O'Connor, Makichuk also collaborated on the script duction money through the sale of thirty of the ovei^film. Patrick Brymer, Moses Znaimer, Marilyn Light- The story may sound familiar: three $90,000 units, and is aiming at a spring stone, Linda Renhoffer, Kathy Garran, Sally Higgins, A huge Toronto mansion, nearly the young people are terrorized in a desert­ size of a small European hotel, served as finish of ppstproduction work. Domestic Malcolm Smith, Daisy White, Louisia Martin, Barry and international sales of the film will Stevens, Joni Mitchell, Winston Rekert, Benjamin ed ski lodge by an old woman and her the production's base of operations Gordon, Lariy Dane, Elizabeth Sheppard, Janet- monstrous entourage, with lots of blood, not be attempted until it is completed - Laine Green, Charles JoUiffe, Rita Tuckett, Maureen (some costumes and sets were made gore, and other such scenic effects. there), and as the site of several seg­ Perlmutter feels that Love (originally Fitzgerald, Gordon Thomson. given the racier and perhaps mislead­ A chance look at the call sheet con­ ments. Upon stepping through the baro­ firmed this. Props required included a nial front door, one found a house chain saw and axe. A three-foot long T- furnished largely by cables, lights, fold­ • Mai Zetterling directs her^nooker players in one segment of Love bone in the kitchen of Deer Lodge (the ing tables and chairs, arid, in one room, hotel vkrhere the action was filmed) a full-size mock-up of an ocean liner turned out to be another vital prop. stateroom, complete with fake portholes However, when asked if this project is and low ceiling. It was filled with twenty the archetypical quick'n'gory horror or so technicians, assistants, and actors, flick, MacLeod (a thirtyish, golden-hair leaving only a little more space than the ed graduate of educational television, Marx Brothers had onboard ship in commercials and features) was quick to Monkey Business. The room had'forced defend its positive elements. perspective', achieved, as art director "This is not a shocker in the sense of Claude Bonniere told me, simply by being a blood-and-guts film," he said widening it at one end. "although there is a reasonable dash'of Scenes from Penelope Gilliatts screen­ that.-. But there is also very sensitive play - about an elderly couple's ro­ photography and an interesting story mance - directed by Annette Cohen, line." were being shot that day. Robin Ward and Candace O'Connor, looking terribly MacLeod praised d.o.p. John Holbrook British in their upper-class clothes, for experimenting with low lights and were perched precariously on a bed in a fast lenses in the use of natural light "to corner of the stateroom, doing their wonderful effect." He described the lo­ Thespian best to be comfortably intimate cation as "an art director's dream," the while the crew was hunched up near script having been written around the them. The near mob of technicians, how­ availability of Deer Lodge. ever, poUtely ignored Cohen's whispered MacLeod had remembered the rustic conferences with the actors between beauty of the Lodge from his student takes. days as a cook in the kitchen. Now, he had returned as a film producer, with The switch in this story is that, al­ the cooperation of Rick Crosby, whose though the characters are elderly, they family has owned the hotel for three appear to each other, because of their generations. intense love, as they were in their court­ ing days - hence, no 'age' make-up or "You can get up in the morning and plastic wrinkles on the actors. see the shoots!" enthused MacLeod and, certainly, the icy grandeur of th? The sensitive sound equipment snow-covered Rockies supported his which could easily pick up whispered comment He added that they were ex­ fines of dialogue, presented something ploiting the location to maximum ad' of a problem, for this particular house vantage in terms of lighting, - by using had extremely communicative and kerosene, candles and natural Ught forthright stairs, bannisters, floorboards, doors, and plumbing. A warning system. 42/Cinema Canada - April 81 Although this is MacLeod's jgid Cole's GregorZnd elec. Larry Johnson grip Ivan Hawkes, Collector; Anne Ditchbum, a dancer- an air of expectancy most appropriate first time in the feature arena as pro­ Lawrence Grfigor 12nd) props Barry Merrills, Les choreographer, formerly of the National to the scene; for the characters soon ducers, and the feature directorial de­ Kimber (2ndl sd. Rick Patten boom Andy Wilson discover that they are seated for a dinner make-up Kirstie McLellan ward. Jackie Merrills Ballet of Canada; and Lynne Griffin, a but for Makichuk, two of the leading ac- cont Marianne Mendzet p. sec Nives Lever p Canadian stage actress who appeared that will never be served. tjjjTS have major feature credits. Murray acct Linda Jeffery lot contract Rick Crosby p.a. in Black Christmas and Mr. Patman. Nearly ten percent of Curtains' $3.7 0rd and Georgie Collins, both of Calgary, David Campbell list), Lariy Dickie (2ndl Calgary- Starring as the unorthodox director, million budget has gone into the cons­ supplied their considerable skills to the Lake Louise Express Gord Thompson chef John truction and dressing of the set and Lacroix ed. Stan Cole, Rick Benwick (asst.) guard who finds that he's not the only one picture, to director Makichuk s delight dog Lobo Lp. Riva Spier, Murray Ord, Sheri McFad­ playing games at the audition, is John every penny has been exquisitely well Ord, in particular, with extensive the­ den, Billie Grove, John McMillian, Georgie Collins. Vernon, known for his countless roles as spent The mansion is lavish with ornate atrical and improvisational experience, a steely-eyed villain. woodwork, wrought iron staircases and and a stream of feature credits including, There are seven principals in the film silk-screened wallpaper. Each bedroom High Country [nee The First Hello) Am- — a fact that'has director Richard is designed with a specific art nouveau ber Waves, Ski-lift to Death, andBuffalo Ciupka just a little worried. As one of motif which is reproduced on the walls Bill and the Indians, was a positive Curtains Canada's foremost cinematographers, and in the furniture. Local artists were force on the set according to MacLeod: Ciupka has reaped praise and prizes — commissioned to produce carved art "There are people in this province who including this year's Film Craft Award glass panels and classical sculptures. are capable of assuming major roles in a Prom Afig/it producer, Peter Simpson (of for Louis Malle's Atlantic City, USA - Much of the art work is of female nudes movie and doing it well," he comment Canada's Simcom Ltd., and Simcom In­ but this is the first time he's ever directed to reflect the notorious director's ob­ ed ternational in the U.S.), is now into his a movie. "Its been difficult making a session with women. The general view, reiterated by Mac­ second psycho-thriller called Curtains. film with so many principals," he con­ What is ironic about this stunning Leod, Makichuk, and art direction con­ While Simpson is undoubtedly aiming fesses after wrapping a shot in Toronto's mansion is that it is the setting for a glut sultant Barry Anderson, was that the to capitalize on the terror trend [Prom Magder Studios. "Because there are of horrendous murders. One of the rilost crew and cast (lATSE, DGC and ACTRA) Nights domestic gross was $14 million seven major characters, its impossible spectacular bloodlettings takes place were pulling together to make the pro­ plus), his newfeature will not have teen­ to do psychological studies of all of around a massive carved fireplace ject successful, despite discouraging agers or disco music in it Curtains is them. But to have the suspense build, adorned with tragic and comic theatric­ odds. aimed at a more sophisticated audience there has to be some psychological al masks. Though it looks like sculp­ For example. Lake Louise suffered because bloodlust it seems, knows no exploration." , tured stone, the mantle is in fact rein­ record snowfalls, and record cold lows age or class boundaries. Ciupka may be grappling inwardly forced fibreglass, and the hearth is filled of minus forty degrees Celsius during It was on a jogging spree around with the dilemmas facing him, but he is with cement logs to accomodate the the shoot Not only were the highways Queen's Park in Toronto that Simpson relaxed and congenial on the set. And impact of an accellerating ski-doo closed on several occasions, but Louise first came up with the idea for Curtains. though he appears younger than his 34 which comes crashing through a set of Inn, where the company was lodged, As fate would have it his running part­ years, he has shot many miles of film for windows into the front of the fireplace. ran out of propane, and the pipes burst ner just happened to be screenwriter leading international directors, and has The stunt is not being faked either. A spilling icy water into the halls. Despite Robert Guza [Prom Night), so the two closely observed their methods. '[Of the ramp is being built in the studio so the this, the cast and crew managed the two immediately began mulling over an two French directors I have worked machine can build up full speed before mile ride up the hill to Deer Lodge. idea. What if six beautiful actresses, all closely with," he says, "I guess my aj> the crash, and set construction manager Blizzard conditions sent a car carrying competing for the ultimate role that will proach is closer to that of Claude Cha- Bill Harman has taken special care to actress Shari McFadden into the ditch... make one *f them very rich and very brol. He knows what he wants before he ensure that the fireplace will not disin­ But after a two-hour wait she was en famous, are called together for a week­ shoots, and goes about fitting the actors tegrate under the impact of the speed­ route to the set once more. The set itself end audition at the director's remote into the camera frame. Malle, on the ing vehicle. was so cold that the performers' breath New England mansion ? And what if the other hand, fits the camera around the In the second week of December, was visible in the rushes! And, as there director is a manipulating Svengali, an actors." Rather than playing it by ear, Ontario was hit with snow flurries and was no running water on location, cook obsessive man who will push an actor like Malle Ciupka's approach is precise plunging temperatures, but the cast and John LaCroix had "terminal dishpan over the psychic brink to get a total per­ and deliberate, and aside from a bit of crew considered the frigid weather a hands," as he put it from washing formance? What too, if the director's improvisation, all his direction is pre­ godsend. The search for rolling banks of dishes manually. Still, LaCroix, a gentle, vengeful ex-lover shows up to compete planned. snovir for a week of location shooting bespectacled man with one of the more for a part she's obviously too old for? With a background in cinematography, had centred around Vermont until a generous and kindhearted personali­ And what if, as the audition progresses, Ciupka is obviously sensitive to the couple of days of rain wiped out that ties on the set was much praised for his the competitors are eliminated one by visual aspects of the film, but he says he site. With the Muskoka region blanketed , culinary efforts under difficult condi­ one — not by the director, but by an has been careful not to overdo the clever in the white stuff. Curtains could look tions. "Best grub in the mountains," was unknown murderer who vies for the camera shots. The temptation must be forward to completing the shoot on the crew's claim. role of a lifetime with a deadly per­ hard to resist because all but one week schedule in Port Carling. After that The rushes were expressed to the formance ? of shooting is being done in Toronto's those who flew home for a Hollywood , Calgary airport on hazardous roads, In classic whodunnit style, the plot is Magder Studios, and the sets designed Christmas would have to console them­ i then flown to Film House in Toronto, riddled with ijiotives and alibis so that by Roy Forge Smith is a cinematic nii^ selves with a few bars from Bing Crosby. . and expressed back to the set where all six of the actresses are suspected of vana. The six-bedroom art nouveau editor Stan Cole assembled them with doing the dastardly deeds. If Curtains mansion is filled with twisting corridors Therese Beaupre • , the assistance of Rick Benwick of Cine- publicists play their cards right the and movable partitions so the camera ^ Edit This was about the fifteenth film secret identity of the killer may become can pull back through the walls. As well for award-winning Cole, who said, "t ve an international media event (consider as creating a flexible environment for Curtains never done a film with this small a a certain Texas 'oil opera'), and book­ the thriller. Smith has paid special at p.c. Curtains Productions Inc. (1980) p. Peter Simp­ , budget before, but I'm pleased to be makers may even calculate odds. Long tention to the creation of atmosphere son exec. p. Richard Simpson assoc. p. Gerry doing it." Brother to producer Harry shots and heavy favorites include Linda through lighting. In the opening scene, Arbeid sc. Robert Guza Jr d. Richard Ciupka, C.S.C. , Cole, editor Stan asserted, "I love editing. Thorson, who made her name on The which takes place in a dining room, lights p. design. Roy Forge Smith superv. ed. Henry [ I wouldn't want to do anything else." Avengers series solving murders; are placed behind opaque art glass pan­ Richardson d.o.p. Robert Paynter loc man. Ray Elias/Brian Ross pub. d. Helga Stephenson p. C€i- I As for the environmental problems, Samantha Eggar, who excelled as the els so that an unusual glow falls across the ord. Gaille LeOrew p. acct. Robert Duckworth p. MacLeod said cheerily, "There's nothing schizophrenic victim in the film The faces of the dinner guests. This creates man. asst. Phillipa Suskin unit pub. Linda Moyle , we haven't been able to resolve. Other asst ed. Michael MacLaverty (1st), Tim Eaton (2nd) ' people call them problems. Vie call • Putting on their best table manners are(teft to right) Anne Ditchburn, Lynne Griffin, Leslee p. acct. asst Roma Pancyzyszyn a.d. Tony That­ Donaldson, Linda Thorsen and Sandee Currie in Curtains ^^ cher (1st), Karen Pike (2nd), John Pace (3llD cam. ; them challenges. Our job is to over- op. Fred Guthe clapper/loader Bill Reeve focus i come them. And we're doing quite well" puller Yves Drapeau cam. trainee Curtis Brown Shooting ended on time and on bud- sd. mix. Doug Ganton boom John Thompson gaf. get to the vast relief of all concerned. John Berne best boy Richard Allen elec. Steve Danyluk, Jerome McCann key grip Norm Smith According to Makichuk, "It was nothing grip Michael O'Connor, Sean Ryerson genny op. short of a miracle that we got as much Greg Daniels ward. Mary Jane McCarty, Mary Ann done as we did." Wilson (asst.), Britanny Burr (asst.) make-up Shonagh Jabour, Christine Hart (asst.) hair Jenny Ghostkeeper is slated to open in May, Arbour, Maureen Mestan (asst) asst art d. Barbra and MacLeod promises, "Its going to be MatisZnd asst art d. Birgit Siber, Suzanna Smith, harrowing right up to the last moment." Debra Gjendem set dec Carol Lavoie, Linda McClel­ land (1st asst.), Paul Dreskin (2nd assU.Marleen Linda Kupecek • Puritt (trainee) props buyer Bai:ry Kemp props master Anthony Greco, Gordon Sim (asst.) cons­ true man. Bill Harman head painter Nick Koso- nic prosthetics Greg Cannom. Jeffrey Kinney (asst.l, Linda Preston (trainee) d. sp.efx. Colin Chilvers sc. superv. Pauline Harlow stills John Ghostkeeper Williamson, Pat Harbron, Dave Hill (asst.l transp. capt Michael Curran, Gof Martin (asst.) drivers 1 p-c Badland Pictures Ltd 119801 p. Harry Cole Nick Kosonick, John Ciccone, Simon Clery, Rick - line p./p. man. Doug MacLeod d. James Makichuk Moyle p.a. Carlo Sguassero craftperson James ad. Rick Thompson (1st), Lisa Barry (2nd) cLo.p. Tamblyn tp. John Vernon, Samantha Eggar, Linda '' John Holbrook o.p. Haryey Larocque, Dan Heather Thorson, Anne Ditchbum, Lynne Griffin, Sandee ? (1st asst.) genny op./sp. efx. Mel Merrills gaf. Jim Currie, Lesleh Donaldson, Deborah Burgess, Mi­ Gregor nd elea Larry Johnson grip Ivan Hawkes, chael VVincott, Richie Peirce, Paul Hubbard. Hawkes, Lavvlrtftllf .- .. . April 81 - Cinema Canada/43