CANADIAN CANADA $7 SPRING 2015 VOL.17, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA

Tracey Deer: Writing for a Wide Audience begins with “Sex and the City on the rez”

Laurie Finstad- Knizhnik’s Empire isn’t Strange but it’s eye-opening

Making History Lawrence Hill and Clement Virgo Put Book of Negroes on Screen PM40011669 TSC_WGC-ad_Inside-Front-Cover_2015.pdf 1 2015-01-27 12:13 PM

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K CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 17 No. 2 Spring 2015

ISSN 1481-6253 Contents Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Features Editor Tom Villemaire [email protected] Lawrence Hill and Clement Virgo: Making History 8 Director of Communications Li Robbins Lawrence Hill and Clement Virgo took Hill’s Editorial Advisory Board award-winning novel, The Book of Negroes, and spun it into Denis McGrath (Chair) a mini-series that captured the viewers. Canadian history Michael MacLennan Susin Nielsen makes for captivating television when everyone is on Simon Racioppa the same page with the writers. By Matthew Hays President Jill Golick (Central) Councillors Michael Amo (Atlantic) Laurie Finstad-Knizhnik Mark Ellis (Central) Rules her Strange Empire 14 Dennis Heaton (Pacific) Laurie Finstad-Knizhnik has taken the western and Denis McGrath (Central) turned it on its head in her Strange Empire, where the focus Anne-Marie Perrotta (Quebec) is on strong female characters. Andrew Wreggitt (Western) By Diane Wild Art Direction Studio Ours Design Studio Ours Mohawk Girls: Printing Ironstone Media A Deer in the Spotlight 18 Tracey Deer is breaking stereotypes with her APTN series. Cover Photo: Christina Gapic Deer had an idea that may have sounded too narrow to appeal Canadian Screenwriter is to a wider television audience, yet that was exactly what the published three times a year by broadcaster hoped to gain with her Mohawk Girls. the Writers Guild of Canada (WGC). 366 Adelaide Street West, Suite 401 By Katherine Brodsky Toronto, Ontario M5V 1R9 TEL: (416) 979-7907 Tribute to James Golick 7 FAX: (416) 979-9273 WGC President Jill Golick pays tribute WEBSITE: www.wgc.ca to her son James Golick. Subscriptions: WGC members receive a By Jill Golick subscription as part of their membership. Non-member subscriptions: $20 for W-Files three issues. Mike Kiss — By Cameron Archer 21 Advertising policy: Readers should not assume that any products or services Sandra Chwialkowska — By Mark Dillon 23 advertised in Canadian Screenwriter are endorsed by the WGC. Columns Editorial Policy: The WGC neither implicitly From the Editor/Contributors 2 nor explicitly endorses opinions or attitudes expressed in Canadian Screenwriter. Inside/Out — From the President 3 Submissions are subject to editing for “Oh Great Scribe...” — Advice for length, style and content. the Scriptlorn 28 Advertising Sales: Visit www.wgc.ca or contact Li Robbins at News [email protected] Beat Sheet 4 Letters to the editor are subject to editing for length. Not all letters are published. Spotlight 24 New Members 26 FROM THE EDITOR CONTRIBUTORS

Focus: It’s not just Spring 2015 for pictures! Cameron Archer runs the Canadian television/media website Gloryosky (www.sweetposer.com), and is also a freelance arts Distillation is the process of getting what you want by shedding writer. He currently lives in what you don’t, through heat. Tracey Deer had an idea for a series about aboriginal women. Eastern Ontario. Aboriginal People’s Television Network liked the pitch Deer and writing partner Cynthia Knight offered:Sex and the City on the rez. A freelance arts and entertain- In reality Mohawk Girls is more complicated than that, but ment writer, Katherine Brodsky that pitch gets you to the neighbourhood at the corner of humour has written for Variety, Enter- and drama and once there, well, you know, you can look around. , Perhaps it’s not surprising that a show on a network tainment Weekly USA Week- that tells you right up front who it represents would be fairly end, Mashable, Elle Canada, narrowly focused. MovieMaker Magazine, The But Deer and Knight know their stuff and have managed to Independent, Stage Directions, create something that resonates on and off the reserve, and with and many others. She has First Nations and others. interviewed a diverse range of And they did it through distillation. They didn’t try to intriguing personalities, includ- broaden their audience by diluting it — adding unnecessary “ingredients” to try to attract more viewers. This rarely works and ing Oscar, Emmy, Grammy, Tony, the end product is often offensive in its vagueness. and Pulitzer winners. In her Writing sharper, distilling, can result in the tastiest spare time she wears sunglasses television. But it requires the “heat” of support and investment. at night and runs her own cult, Mohawk Girls seems to have that backing and support. And that is Katherineology. Follow her on paying off for everyone. Twitter @mysteriouskat It’s encouraging to see a show that some might write off as aimed at a narrow audience attracting the attention of a broader viewership. Hopefully, it will make the decision-makers in our Mark Dillon is a Toronto-based industry see that tightening the focus doesn’t necessarily narrow freelance journalist and former the appeal. editor of Playback magazine. He Look at what’s in this issue and you’ll have an idea of just is author of the award-winning how sharp and distilled the writing on Canadian television has become. Strange Empire — how did anyone get approval for a Fifty Sides of The Beach Boys. western where the men are the second fiddles? Then there’s our cover story on Book of Negroes — to do that Christina Gapic is a Toronto- epic and do it right is encouraging from an industry that often based freelance photographer sticks with the safe and reliable. specializing in portrait, event And those are just a few examples of how focusing on the and documentary photography. story you need to tell can resonate with a larger audience. Our screenwriters are getting the stills cookin’ at just the right temperature. By focusing or distilling and not diluting, we’ll have Matthew Hays is a Montreal- better stories and stronger, sharper television. based writer, author, and Hopefully it won’t be long before we hear someone say in their university and college instructor. pitch: Mohawk Girls on Campus or Mohawk Girls meet Get Smart or His articles have appeared in Mohawk Girls in Borealis. Man, that would be awesome. The Globe and Mail, The New York Times, The Guardian, — Tom Villemaire Vice, Maclean’s, The Walrus,

2 INSIDE/OUT When Bad Things Happen to Good Cineaste, POV, and The Toronto Star. He teaches courses in film People studies at Marianopolis College and Concordia University. His book, The View from Here: Conversations with Gay and Bad things happen to good people. Sometimes it’s deliberate — as it was Lesbian Filmmakers (Arsenal recently in Paris at the French satirical newspaper, Charlie Hebdo — Pulp), won a 2008 Lambda and sometimes it’s random chance, as it was for our WGC President’s Literary Award and he received son James Golick who died in a car accident in Mexico in December. the Concordia President’s In either case, there is the terrible emptiness of personal loss and the Award for Teaching Excellence sadness at the lost talent, intelligence, warmth and humanity of the individuals. But there is something else. for 2013-14. We saw it on the streets of Paris when hundreds of thousands linked arms and walked through the streets of their city, not just in Diane Wild is a Vancouver- defiance of what had been done to them, but also in a spirit of commu- based writer and editor who nity at their shared loss. They shared their grief with each other, and runs the TV, eh? website (www. the rest of the world, and it gave us all strength. Ignorance and brutal tv-eh.com) about Canadian violence cannot extinguish ideas. The pencils being held in the air were a declaration of shared values — freedom of expression in the face of television. violent intimidation. A statement of community. Last December, writers and industry friends from all across the Andrew Wreggitt is an award- country were with Jill Golick and her family as they struggled with winning film and television their own tragic loss. screenwriter. Among his 16 The Writers Guild of Canada has been a big part of Jill’s life for movies or mini-series are many years — as a councillor and now as president. She’s given a lot of her time and energy to this organization and I think she would tell , Corner Gas: The Movie The you that she’s done it not just because the writers represented here are Phantoms for CBC television, connected by our business interest, but because we are a community. which won an International A community that looks out for each other, that celebrates our achieve- Emmy Award and the WGC ments together, fights for our common good and embraces each other’s Award, and Borealis, a multiple pain sometimes too. CSA award winner including This is a good time for WGC writers to remember that this kind of community exists because people like Jill have given their time and best movie and best writing. effort — that every one of us has a role to play in keeping this a strong, In all Andrew has won three unified, active membership. There are times when you need to step out Gemini/CSA awards for writing of that little office in your head, take someone’s arm and walk down the and has been nominated five street together — do something for your colleagues for our common other times. Andrew is also a good. Take action. Declare your values. Hold a pencil in the air. Be part multiple WGC award winner of a community. I don’t mean this in a theoretical way. I mean pick up a phone and and a six time AMPIA award call the WGC office and say “how can I help?” Or when a WGC staff winner for best screenplay. member calls you looking for help — find a way to say yes even though He has written for TV series you are busy. The ask will be small, the time you give will be small but, such as Flashpoint, Heartland, what you get in return is big. We all need to be part of a community — in and North of 60. Andrew is good times and bad. also a playwright and poet and lives just outside of Calgary — Andrew Wreggitt Alberta.

3 BEAT SHEET

Writer-to-Writer Talk TV” policy hearing, which wound up its public phase in September. The WGC spoke to writers’ concerns at the hearing on issues including the following: • The need for a healthy industry as the foundation for the production of quality Canadian programming • Mandated unbundling of cable channels, which could present consumers with fewer choices for the same monthly bill • Eliminating simultaneous substitution, which is how Canadian broadcasters protect their exclusivity — and associated revenues — on much non-Canadian programming • Regulating over-the-top The WGC’s Writer-to-Writer If you are a WGC member broadcasters welcome program for new and would like to get involved, The Commission released members, launched in the fall please contact Terry Mark: a minor decision related to “Let’s of 2013, continues to grow. The [email protected]. Talk TV” in November, when it program was created to provide announced that cable and satellite new members with important Tassie Cameron, Margaret providers could no longer require information about the guild, and Collier Award Recipient 30-day cancellation notices. At to give them access to experienced press time, however, no decisions writers for insight into both Tassie Cameron has been named as on the remainder of the issues have craft and the industry. The guild the recipient of this year’s Margaret been made. Our sources tell us that would like to thank the following Collier Award, to be presented the CRTC will likely announce the members who have volunteered during Canadian Screen Week (Feb. major outcomes in March or April. their valuable time through the 23-March 1, 2015). The Margaret Writer-to-Writer initiative. Collier Award is given to a writer WGC Members Pitch in Western Region: Dave for “a body of work in Canadian film with Bell Media Diverse Lawrence, Scott Morison and/or television, or for significant Screenwriters Pacific Region: Ken Craw, contribution to the international Susin Nielsen, Elizabeth Stewart, profile of Canadian film and/or WGC screenwriters’ generosity in Sarah Dodd television.” nurturing the next generation of Central Region: Adam Barken, Tassie has written a wide writers cannot pass unremarked Alex Levine, Bobby Theodore, range of television (from Flashpoint upon. As the Bell Media Diverse Elan Mastai, James Hurst, to Degrassi: The Next Generation) Screenwriters program heads into Jessie Gabe, Kate Barris, Larry and is currently showrunner of its final year, some of the guild’s Bambrick, Matt MacLennan, the hit series, Rookie Blue, aired on leading writers made time during a Michael Grassi, Mike Kiss, Nicole Global in Canada, and ABC in the busy week at the Canadian Screen Demerse, Noel Baker, Patrick United States. Awards in Toronto to make sure Tarr, Sandra Chwialkowska, Will they could also get to Vancouver to Pascoe Awaiting Outcomes of the lead workshop sessions with the pro- Quebec Region: Alex Epstein, CRTC’s “Let’s Talk TV” gram’s latest group of participants. Doug Taylor, Gerald Wexler, WGC guest speakers include: Lienne Sawatsky, Lisa Hunter The gears appear to still be turning David Barlow, Mark Farrell, Penny Atlantic Region: Deanne at the CRTC, as the regulator Gummerson, Jennica Harper,

Foley, Chaz Thorne, Gia Milani considers outcomes of the “Let’s Dennis Heaton, Jason Leaver, Susin OURS ILLUSTRATION:

4 Nielsen, Ron E. Scott, Bruce Smith, and Damon Vignale. Industry in- siders include Bell Media’s Michele McMahon , Carol Commisso from Rogers, Shaw’s Stephen Finney, local producer Rob Bromley from Force Four, and Lucas Talent agent, Anna Archer. The workshop also features alumni from the program, including Tricia Collins, Gorrman Lee, Todd Ireland (who writes for Continuum), and Tami Gabay, the program’s most recent intern on Motive. The program’s final workshop for eastern Canadian participants will be held at the end of April in Toronto. In early February Writers Talking TV was back in Toronto with Mark Ellis and Writers Talking TV Stephanie Morgenstern’s X Company, two weeks before it appeared on CBC.

Writers continue to talk TV place two weeks before the show general assembly of the AQPM, the with other writers (and fans, premiered on CBC TV. new collective agreement will set and industry members) at the Stay tuned for WTTV events the minimum terms of engagement guild’s Writers Talking TV (writers TBA) on March 12 and until the end of 2017. (WTTV) events. In November, June 30. You can listen to all WTTV featured Laurie Finstad- episodes of WTTV as they are Nova Scotia Tax Credit Knizhnik’s female-focussed posted on the WGC website. The and Writers western, Strange Empire. On that podcasts provide an excellent occasion, WTTV was part of the opportunity to hear what WGC The Nova Scotia Department Canadian International Television screenwriters have to say about the of Finance and Treasury Board Festival, and as well as Laurie’s art and craft of screenwriting. is reviewing the province’s in-depth interview by fellow regulatory and tax policies, writer Denis McGrath before a live WGC reaches Tentative including its film and television audience at TIFF Bell Lightbox, Agreement with Canadian production tax credit. The Film Laurie was also interviewed on Producers Industry Tax Credit (FITC) is one the festival’s red carpet. You can of Nova Scotia’s key production view the “red carpet” interview On Jan. 22, 2015 the WGC reached supports, so when the WGC heard at the WGC’s YouTube channel. a tentative agreement with the just over a year ago, in an apparent (www.youtube.com/user/ Canadian Media Production change of practice, that writers’ Writersguildofcanada) and hear Association (CMPA) and the fees were not being included as the WTTV podcast at the WGC Association Québécoise de la an eligible cost in calculating website or on iTunes. Production Médiatique (AQPM) the credit, there was cause for To kick off 2015, WGC on a new Independent Production concern. As a result, the guild councillor Anne-Marie Perrotta Agreement (IPA) for Canadian participated in Nova Scotia’s tax ran an edition of WTTV in screenwriters. and regulatory review, “Charting Montreal, featuring Mohawk Girls Jill Golick, WGC president, a Path for Growth,” arguing that showrunner, Cynthia Knight. said, “This proposed agreement Nova Scotia was an outlier among The conversation about the show, makes forward-thinking changes other Canadian tax credits, which sometimes billed as “Sex and the that include expanding our do include writers’ fees. A report City on the rez,” was moderated jurisdiction and puts Canadian on the review was released in Nov., by Leila Basen. In early February, screenwriters in a better position in 2014, and we were pleased to see WTTV came back to Toronto our evolving industry.” that it included a recommendation for a sneak peek at Mark Ellis At press time the deal had yet to align the FITC with the Ontario and Stephanie Morgenstern’s X to be ratified. Once ratified by WGC tax credit, including with respect Company. This WTTV event took members, the CMPA board and the to writers’ fees.

5 Meridian-WGC-ad_fullpage-2015.pdf 1 2015-01-29 10:16 AM

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James Golick 1985-2014

Jill Golick, the WGC’s president, whose tremendous contributions to the guild span over three decades, suffered an immeasurable loss in December with the death of her son, James Golick. James was a talented, passionate man whose life had, and continues to have, an impact on many. Jill wrote a beautiful tribute to her son, called The Adventurous Life of James Golick. With her permission we share the opening with you:

James was a rotten teenager. But like everything James did, he was spectacular at it. He was the most rotten rotten teenager that anyone could be. He took teenage rottenness to new heights. He crushed it. And he climbed so far since then… to become one of the world’s most spectacular human beings. You don’t have to believe his mother. There are many who will back me up on this. There were four constants in James’ life. Four threads that were ever present in the amazing tapestry that was his life: Music. Communication. Computers. People.

To read the entire tribute, go to: https://medium.com/@jill380/the-adventurous-life-of-james-golick-bda4a33137b6

To honour James Golick’s memory, please contribute to the James Golick Grant for Women in Computology at: jamesgolick.bitmakerlabs.com

7 FEATURE

MAKING HISTORY

By Matthew Hays

Author Lawrence Hill and filmmaker Clement Virgo on their collaboration, the critically-acclaimed miniseries The Book of Negroes

8 9 FEATURE

Novelist Lawrence Hill acknowledges it’s the After tripping over the title, Virgo, who was put kind of thing writers dream about. His critically- off by the word ‘Negroes,’ was encouraged by personal lauded, multiple award-winning 2007 novel, The friend and Canadian singer, Molly Johnson, to read Book of Negroes, was adapted into a six-part mini- the book. After starting, he couldn’t put it down and series (budget: $10 million) for the CBC and BET (the immediately saw the possibility of a film version. After American network Black Entertainment Television). meeting with Hill approximately five years ago, Virgo The cast included Oscar winners Cuba Gooding Jr. began shopping the idea around, knowing such an epic and Louis Gossett and was shot on two continents; project would require multiple sources of financial the director is one of Canada’s most experienced, backing and international broadcast platforms. Clement Virgo (Rude, The Wire). The series, which Virgo says he realized something early on: premiered in January, got solid reviews and ratings: The Book of Negroes was so complex it demanded 1.7 million viewers nationwide taking the top spot in something more than a feature-length film and was its time slot. better suited to be adapted to mini-series length. And it’s a Canadian project about Canadian He also knew he wanted Hill to be involved in the history. writing process even though he had no experience Virgo feels the show has attracted a lot of screenwriting. “Lawrence had done so much research,” attention because it’s a distinctly Canadian story but Virgo notes, “and I knew that would prove invaluable.” ties in to the larger, international issue of slavery. Virgo recalls asking some basic questions about “It’s a little-known story, a fascinating bit of history,” how to transform the book into a screenplay: “What he says. “The book really gets into historical places is the core of the story? What is the through line? we haven’t really been before.” For The Book of Negroes, it was clear to me: someone And the story itself is just the type of thing has been taken from her home and all she wants is critics have been urging Canadian broadcasters to get back home. How can you distill that and be to strive for. It’s a decidedly Canadian take on a economical about it? In a novel, you have lots of time; broader social issue. The book and series title is in cinema or TV, you often don’t.” taken from an actual manifest of African slaves While Hill describes the past five years who were guaranteed freedom from American working on The Book of Negroes as “an amazing slavery in Nova Scotia in return for pledging their experience,” he says it presented a steep learning allegiance to the king. For the most part, the slaves curve in terms of gear-switching from page to were freed when the British occupied New York screen. “It was tough to figure out issues around City during the American Revolution. They were economy. Clement would say that this 20-page permitted to flee to Nova Scotia in return for their section of the book, you have to limit that to one loyalty to the King. The story focuses on the plight page, which he explained was about a minute in of one slave, a fictional character Hill created, who screen time. [It was about] figuring out how to is abducted in West Africa, sold into slavery in telescope material down to its essential, to eliminate America, then promised freedom in Nova Scotia, material, but also to realize that a look between two but finding something quite different there before actors can encompass an entire paragraph or two on leaving for England. the page. Just the way people look at each other can

“In screenwriting, you have images and you can convey things in seconds. With a novel you have the internal life of the characters. With film and TV, you have to hear it or see it, that’s all you have. And it all comes back to that word: economical.” INTRO SPREAD PHOTO: CHRISTINA GAPIC

10 The Book of Negroes premiered on CBC, January 7.

convey so much. It was hard for me to see things in out every time your work is altered. So, I learned that kind of economical way. What really needs to be as a young journalist that there is no such thing as shown here? That was the hardest thing to imagine: sacred writing — nothing’s sacrosanct and you won’t how to look at a chapter and figure out the best way die if someone changes what you’ve done. The world to deliver that in a matter of minutes on the screen.” will go on and you can’t afford to let it get to you. So, “With a novel, you can spend five pages being at a daily newspaper and having to face that describing a feeling you had in the past,” explains repeatedly turned out to be very good training for Virgo. “In screenwriting, you have images and you the adaptation experience many years later. It’s best can convey things in seconds. With a novel you have not to take changes personally or to feel that your the internal life of the characters. With film and TV, work is being challenged in a bad way.” you have to hear it or see it, that’s all you have. And it Hill says Virgo’s extensive experience made all comes back to that word: economical.” the adaptation process fascinating, though he Hill says his sagest words of advice to novelists adds it was always intense work. “Clement has an who are about to take the leap into adapting for astounding notion of structure and how a story the screen is: Don’t be too married to your words. should play out on the screen. I was blown away by “The process posed no threat to my sanity, not how quickly he could envisage how a scene would because I’m particularly grounded, but because I felt work, how the beats would happen. I’d be trying to respected throughout the process and because I used figure out how it would work and we would have a to be a journalist. I was a reporter for The Winnipeg conversation about it and it was clear he’d already Free Press and The Globe and Mail in my twenties, worked it out, leaving me in the dust. He thinks like a and every day my work was often completely director and I was thinking more like a writer, which reworked, whether it was on the front page or back is understandable. He could so viscerally see how and you just had to deal with it. You can’t survive the scenes would play out in his head. I was truly

PHOTO: CBC.CA emotionally in the newsroom if you’re going to freak impressed with that.”

11 FEATURE

“Yes, there was a lot of material that had to go, but there was also a lot that had to be added to make things sing on the screen.”

Screenwriting, Hill learned, means “for the And that need for continuity and an emotional most part, you have to forget the inner voice. Yes, through line meant a major shift in the book’s there are a few voiceovers, but one of the richest narrative. “One of the things we changed was to parts of many novels, including The Book of Negroes, create a love story that runs right throughout the is the interiority of thought: That we’re allowed to series,” notes Virgo. “In the novel, her husband think deeply and see directly into how the character dies, never making it to Nova Scotia. For me it was thinks and feels. [You] can’t do that quite so directly important that he made it out of Africa to Nova on television. The main thing is to move away from Scotia. It was about an emotional continuity for the the interiority of thought and to try to find scenes series. Keeping those pieces of the story together was and images and sounds and dialogue that allow us to very important to me.” divine what her feelings are and thoughts are, even Hill says page-to-screen adaptation isn’t just though you don’t really hear them. That’s a huge about cutting — it’s about imagining new worlds and shift because this is a very interior novel.” new scenes and ideas. “It’s not just about what you For Virgo, the biggest challenge was avoiding cut, not just about what can survive, but about what an episodic feel despite it being a mini-series. “I you can add. There are things you can add, like a didn’t want it to feel like we were just going from one moment that might seem slow in the novel, you can scene to the next. The story had to feel connected. jazz the story up for the screen. Yes, there was a lot of Maybe because I’ve directed a lot of episodics, I material that had to go, but there was also a lot that wanted there to be a sense of continuity and a lot had to be added to make things sing on the screen. of tension that’s maintained throughout the six “I guess for me the one big revelation is that episodes. In the novel, she goes from Africa to South as much as there is to be taken out, new things Carolina to Nova Scotia to England — to fit all those needed to be added. There were a lot of new things parts in was really crucial.” to be imagined.” PHOTO: CHRISTINA GAPIC

12 A CRITIC’S PRESCRIPTION

Kate Taylor discusses her notorious 2012 Globe and Mail column about Canadian TV ‘thinking big,’ and what’s changed (and what hasn’t) since then.

While criticism of the CBC has become routine Taylor concedes the CBC is in a terrible catch-22: since last fall’s epic Jian Ghomeshi scandal, it was “We want the quality viewing and the chattering class- three years ago that Globe and Mail arts columnist es will complain when they see too much programming Kate Taylor took aim at both the Ceeb specifically like Battle of the Blades or Dragons’ Den. But many and Canadian TV execs in general. In a thoughtful people watch those shows, they’re popular. How can column, Taylor admonished Canadian TV producers you ask a broadcaster that’s supposed to be all things to and network execs for missing the rather gigantic boat all people … to do a cable drama? Our audience is very that was the renaissance in the TV medium — some- fractious. The Canadian audience outside of Quebec is thing she noted was happening almost exclusively in not a niche.” the U.S. and U.K., but not here. Taylor suggests two main things will have to And not for lack of writing talent, she duly not- happen to allow for more risks to be taken and for ed. She pointed out that Chris Haddock, who created Canadian TV to get better. “It’d be nice if CTV and Da Vinci’s Inquest, Da Vinci’s City Hall and Intelli- Global stepped up to the plate and did more program- gence, was working as a writer but for Boardwalk ming. If they did the shows like Battle of the Blades, that Empire, the Martin Scorsese-created show produced would free up the CBC to take more interesting risks. by HBO. Taylor reported “Canadian TV writers, In Australia, where the population is comparable, you directors and producers say the thing that is most have commercial channels that do the reality TV shows lacking here is the commitment to get behind indi- and the crowd-pleasers, and then that frees ABC [Aus- vidual creators and let them pursue their ideas the tralian Broadcasting Corporation] to do the historical way Matthew Weiner did with Mad Men and Julian dramas, documentaries and more serious program- Fellowes did with Downton Abbey.” ming,” said Taylor. Reached at her Globe office, Taylor says she sees “And the CBC then needs a bigger budget. People positive signs since penning that column, like The quote the CBC’s budget as if it’s a lot of money. In the Book of Negroes and Strange Empire in particular. grand scheme of things, it’s not. We complain about the “The CBC does seem to be more conscious of needing CBC but we don’t want to pay for it. It’s like someone to have more Canadian-identified writing and stories. complaining about not getting very good food at a restau- The Book of Negroes is such a fascinating bit of untold rant when they’re only willing to shell out $12 for a meal.” history; if anything, that series was a no-brainer to And given the latest round of cuts, Taylor adds, green light. I think Strange Empire is a gutsier risk “I can’t say I’m much more optimistic. You get what and a great feminist piece, but, unfortunately, it’s not you pay for. And you have to be willing to back up your

PHOTO: JAMES RAMSAY getting the ratings.” writers and creative teams.”

13 FEATURE LAURIE FINSTAD- KNIZHNIK RULES HER STRANGE EMPIRE

By Diane Wild

In the beginning, there was a logline: The men go hunting and they don’t come back to their women. Laurie Finstad-Knizhnik had tucked a western in her bottom drawer when she was busy with Durham County, so she was primed when producers Jeff Sagansky and Timothy O. Johnson approached her with an idea for a female-centred western.

Musing on the ripple effects of that seminal and books from that era. “There’s a kind of language event, Finstad-Knizhnik immersed herself in the that lodges itself in your ear and the characters start history and the art of the time to build the story, to speak it.” characters and voice of the show. She’d landed on She mentions inspirations such as John Ralston the time of 1869, just after Canadian confederation Saul’s A Fair Country to help her access “who we are and a place, just north of the Montana Territory. But as Canadians from our history, understanding the Strange Empire is no extended Heritage Minute. spirit of the adventurer and non-European power “Canada has an extremely interesting history if hierarchies.” She’s also fascinated and inspired by we can get over the fact of the railway going through the difference between Elmore Leonard, exploring and three cheers for John A. Macdonald,” said story through action and dialogue, versus Cormac Finstad-Knizhnik, likening the history her show is McCarthy in Blood Meridian — “one of my favourite steeped in to “a sex trafficking story.” books ever. Read one paragraph of description and it’s Finstad-Knizhnik wasn’t interested in the right there in front of your face. It lifts and puts you in stock Western characters either, except to toy with a wholly different place.” them. Her central women include a Metis sheriff, a Like Durham County, Strange Empire is highly half-black madam and wife, and an Asperger’s-like cinematic, using visual imagery to draw viewers into doctor, all women with a semblance of power in a the strange world. “I’m tight with the DP on Strange nascent town built around mining and prostitution, Empire,” she explains. “He and I were the continuity under the unstable rule of a tormented madman. through the 13 episodes. We looked at a lot of early co- She focused on the marginalized people, the lour photography, glass-plate photography and news- Chinese, native and black populations who were paper photography to get a sense of how we wanted often in conflict with or used by those arriving in the things to look. I like to be able to look at a picture and West to make their fortune: “The eccentrics, the cra- be able to see the narrative emerging from it.” zy people. Remarkable people who threw themselves She gives the answers you might expect about into the woods.” her television influences coming from shows such as They speak in stylized, poetic dialogue she The Sopranos, The Wire, and Homicide, but she also credits to her research that included reading journals mentions Bergman and Fellini as well as surrealist art,

14 Laurie Finstad-Knizhnik in her office.

including Joseph Cornell’s shadow boxes. “I feel that’s path.” She was confident, given their knowledge of what you’re doing when you’re writing a script — you’re Durham County, that CBC knew what they were signing trying to make a picture.” up for all along. It’s not hard to see why Katrina Onstad, the nov- “It was a perfect marriage,” says Helen Asimakis, elist and now a CBC executive in charge of production, CBC’s senior director, drama, commissioned and calls Finstad-Knizhnik “a walking library.” scripted programming. “The material was here and in “I felt like my job was sitting back and letting development already and when we made the decision to her work through her own process to shape all of this go a little more cable we didn’t have to shut it down or into the novel it really is,” says Onstad. “She’s really ask it to make a 180-degree turn.” the novelist. She has such a grand sense of scale and All three are baffled by questions about whether scope for what she’s trying to do with this show, and we the female focus was ever a point of discussion or respect that and wanted to make a safe space for her to concern. “The fact that it’s female-focused is what create this unique project.” sets it apart from every other show in the western Given the genre, complex serialization, violence genre, so it’s not something we shied away from,” says and sexuality, Strange Empire was not the most obvious Onstad. Finstad-Knizhnik points to the plethora of fit for the public broadcaster — unless you heard CBC female-led shows on television today, as well as the management’s declaration at last year’s Banff World strong male characters in Strange Empire, including Media Festival that they were changing course into Aaron Poole’s John Slotter and Tahmoh Penikett’s more premium cable waters. Marshal Caleb Mercredi. Strange Empire was originally pitched in early She says she wanted to explore gender and 2012 to a CBC that was about to go through a regime desire through these characters. Rebecca, the socially change. “We went through a lot of execs,” Finstad- awkward doctor played by Melissa Farman, has a love Knizhnik says. interest who’s revealed slowly — to the audience and to She credits its survival to the strength of the Rebecca — to be a woman dressed as a man. concept. “If the story works, then why not make it? If “It was really normal back then if you wanted to you’re thinking things like ‘TV landscape’ and what be safe to put on men’s clothes and support yourself

PHOTO: DAVE SIDAWAY/MONTREAL GAZETTE SIDAWAY/MONTREAL DAVE PHOTO: network execs like, you’re putting yourself on a wrong that way,” explains Finstad-Knizhnik. “If you needed

15 FEATURE

The female dominant cast of CBC’s Strange Empire. to work and make a decent wage that’s what you did — “I have a great lieutenant in Jackie May. She totally and you dressed as a man.” thoroughly sees what I’m seeing and carries that vision “I wanted to talk about desire and not have it forward. And she writes fast, she writes well and she politicized. I didn’t want to do the gay/straight/bi takes risks. I really admire writers who will do that. I politically-correct kind of stuff, or the gratuitous kind love writers who take risks. I like to see people who can of stuff — ‘oh look, girl on girl’. I wanted to feel my way do something I can’t do.” through what other things gender might be.” Now that the world of Strange Empire has been Asimakis refers to the “casual diversity” of the thoroughly set up, and now that Finstad-Knizhnik has show as opening up themes around race even further. survived the huge workload of season one, a second For example, she remembers Finstad-Knizhnik was season, if the show is granted one, would have more eager to mine new possibilities with Isabelle Slotter stand-alone elements, partly to preserve her sanity when Tattiawna Jones was cast. and be able to hand more off to other writers. However Finstad-Knizhnik says she uses writing as a many seasons it gets, CBC feels it successfully signaled process of discovery, meaning she isn’t big on outlines. its new direction. Nor is she interested in stand-alone stories. “I’m so proud of it,” says Onstad. “I can’t believe “I’m more interested in the epic feel of the thing. my good fortune that I came here to CBC and that was Why is this story worth telling? It must have a weight if the first show I worked on. I think it will have a place it’s 13 hours, some sort of meaning. To write a stand- in Canadian television history forever. There’s never alone seems counterintuitive.” been another show like it, with that strong female She wrote the six-episode seasons of Durham perspective, with a cast that’s so diverse serving the County but had to adjust to a more collaborative story, that’s so beautifully written and poetic. I watch it approach for the less manageable 13 of Strange Empire. and I’m so in awe of this thing that they made.” PHOTO: CBC.CA

16 A strong leAder. A creAtive force. A superlAtive writer.

2014: peter mitchell 2013: Stephanie morgenstern & mark ellis QuAlities worth celebrAting. QuAlities thAt define wgc showrunners. NomiNate a caNdidate for the 2012: mark mcKinney 2011: tassie cameron WGc ShoWruNNer aWard.

deadliNe: march 10, 2015, 5:30 p.m. eSt. Go to WWW.WGc.ca for full detailS.

2010: heather conkie 2009: mark farrell Celebrate the WGC Showrunner Award winner at the WGC Screenwriting Awards, April 27, 2015, TELUS Centre for Performance and Learning’s Koerner Hall.

2008: peter mohan 2007: Brad Wright Past WGC Showrunner Award Winners call for NomiNatioNS: WGc ShoWruNNer aWard

Showrunner_Fullpage_Ad.indd 1 1/22/15 7:04 AM FEATURE A DEER IN THE SPOTLIGHT

By Katherine Brodsky

Mohawk Girls, APTN’s critically-acclaimed series about four young Mohawk women trying to navigate life and love, was a long journey for Tracey Deer.

She came up with the idea for the show nearly a decade was on to package, pitch and write the pilot. ago, as a 26-year-old documentary filmmaker. A Cynthia Knight, who had previously collaborated Mohawk girl herself, at the time she was going through with Deer on an NFB short, was brought on board to help the same experiences that the characters on the show write the pilot. were – as were her cousins, friends and sister. In fact, “It was such a great, fun experience working Deer was witness to so much chaos going on around her with Cynthia,” recalls Deer. “When we were under that one day it led to a dangerous thought: “Oh my God, this big tight deadline, I called (her), told her what this is a television show.” was up — the concept … she was always very, very So Deer began taking notes and scribbling encouraging and interested in the concept — and [she] observations. During that time, she made several docs jumped right on board.” including 2005’s Mohawk Girls, and 2008’s Club Native, Once the series was given a green light, Knight an emotional experience. was to become head writer/showrunner and co- “When it was done, I could not fathom taking on executive producer alongside Deer, who would also another three-year documentary journey,” she recalls, “I direct. Together, the duo formed the creative backbone had hit a wall.” of the show. And there it was, Deer’s original dream staring “By the time we started working together on straight at her. As a 12-year-old girl she would often Mohawk Girls, it was fantastic because we already had fantasize about creating drama one day. Documentary sort of a language together,” recounts Knight. was a detour she fell in love with, and the films she made Together, they were able to come up with a pilot served as inspiration for the TV series she was thirsty pitch package, written in just two weeks. They submitted to make since they, too, dealt with themes of identity, it along with Deer’s short film to give the broadcaster a belonging, and the female perspective within Deer’s taste of what was to come. community. These were themes Deer was eager to tackle Their pitch strategy? Sex and the City on the rez. through a different lens. She found herself at a crossroads It was the ‘instant identifier’ that gave an immediate — with journals full of notes and observations in hand. sense of tone, while situating it in a very different Club Native won two Gemini Awards, but Deer was world from Carrie Bradshaw’s Manhattan. “For APTN, seen as solely a documentary filmmaker. With no track they’re really, really interested in grabbing a bigger record in drama, she had a big hurdle to overcome. So, audience,” explains Deer. “So, for them, I thought it was she decided to do it on her own by launching a production a very clear way to sell the project to them and then to company, Mohawk Princess Pictures, applying for a the bigger audience.” Canada Council for the Arts grant and producing a short Too often, Canadian audiences are weary of 15-minute film that she was then able to take back to aboriginal shows, associating them with being negative, companies and say: “Here is this idea that I think would dark or guilt-inflicting, she says. “So, the wholeSex and rock as a television show. What do you think?” the City pitch on our part is again to relax people and let Deer brought the project to Rezolution Pictures them know they’re in for a good time.” with whom she had previously collaborated and they There are many complicated issues surrounding loved the project. Timing is everything and, at that time, native people, but there’s more to them than just Aboriginal People’s Television Network (APTN) had a newspaper headlines. “That’s [only] one part of their request for proposals due in just a few weeks — the rush existence,” says Knight. “It’s like taking any group

18 Cynthia Knight (left) and Tracey Deer (right). of people. There’s so many layers and complexities partner to get the production budget to where it needed and different points of view.” To be able to show that to be. That broadcaster was OMNI. to people in a light, fun and entertaining way was an “They understood that it’s not just for native exciting opportunity and a chance to reach out to a wider people because it’s [about native people],” says Knight. audience, she says. “I mean look at My Big Fat Greek Wedding; it resonates Monika Ille, executive director of programming for everyone because it’s universal ideas and certainly at APTN, was excited about the prospects for Mohawk universal to any minority. Their journeys can resonate Girls and the subjects the series was poised to tackle with us all.” through humour and diverse female characters. This Deer agrees. “There still is this perception that was also a show that targeted an audience of young we’re very different from one another, that there is this women, something Ille felt was valuable for the net- big divide, but, really, we’re not that different at all.” work. So she said, “You know what? Let’s do a pilot.” “You know, other broadcasters out there don’t seem The network invested $250,000 in a half-hour to have an appetite for strong aboriginal content,” says broadcast pilot. Deer and Knight were determined Ille, who added OMNI saw beyond that and understood to make the limited budget work, pulling in numer- the universality of the series. ous favours. It worked — the pilot received a very And then it happened. “Then it was like OK … let’s positive response. make the show,” says Deer. “It’s been a ride ever since.” Mohawk Girls, however, sat in queue for about two In spring 2013, they made the first seven episodes. years. APTN already had a few successful shows on the The network loved them and decided to do six more, air and didn’t have the resources to add another. “We to release them as a series of 13. “We are now writing couldn’t just dump a show to pick up another one,” says another six,” says Deer. Ille. “So, you kind of had to wait.” Ille asked Deer and Deer considers the show to be a “dramedy.” Knight to stay patient: “I told them ‘Trust me. It’s going Although it has its share of dramatic moments, the to happen; it’s just going to take some time.’” series is also very funny, grounding its comedic chops “Cynthia and I — we were just like, oh my God, it in character-derived humour rather than superficial might happen or it might not. It might take 10 years,” set-ups. recalls Deer. They lived in what felt like perpetual limbo. “We always wanted things to feel true to the APTN also needed to secure a broadcasting character and have the comedy and the drama really

19 FEATURE

Cast of APTN’s Mohawk Girls. come from their experiences,” says Knight. “We spent Authenticity was also crucial to Deer. “There a long time figuring out what the internal conflict was are times when I think somebody can watch the show for each character that we see in every scene and every and be like ‘Oh my God, that’s crazy. That would never episode and every season.” The comedic approach helps happen,’” she says. “But anyone from Kahnawake, and make difficult issues accessible, she said. this is one of the best compliments I’ve been hearing, Although Deer feels particularly privileged to be everyone here who is watching, they’re all standing by able to tell stories about her own people that are very what is being shown. They’re all standing by [saying], close to her heart, she believes the stories could be a ‘Oh my God, that is so what it’s like here.’” part of any culture. “Cynthia is Jewish, and so a lot of Whether crazy or hilarious, Deer believes it’s the conversations we’ve had, we’ve really been able to important to look at yourself in the mirror to see relate with one another even though our worlds are so what is great and what needs to change. “But the one different,” explains Deer. “I grew up on a reserve, she thing that hasn’t happened is nobody has been able grew up in Westmount … but it’s interesting to see how to say like, ‘Oh that’s a lie. That’s a lie, that’s not true. we crossed. That’s not how it is.’” “We absolutely feel that we are tackling many Deer believes Mohawk Girls has the potential different issues and many nuances within the to find an audience on a more mainstream network, aboriginal world that are quite universal and extend too: “I’m still very hopeful a bigger network is going to within any minority culture.” come on board. I mean it’s our dream, all of us to get Deer and Knight made sure everything that went a show like this [that’s] centered around aboriginal into the show resonated with both of them. characters that is not depressing and dark on a “We always wanted the show to appeal not only national network. And it’s the goal of APTN as well. to an average audience, but to a non-average audience APTN wants Canadians to hear our story. I think as well,” says Knight. “So everything that goes into Canadians are totally ready for something like this.” the show is so true to [Tracey’s] experience and her To Deer, “aboriginal filmmaking is a brand new world as an aboriginal woman, a Mohawk woman. flower that’s blooming” with many stories to tell; she And, also, we made sure that it was true to me as a believes television, and comedy in particular, is a woman of another minority. powerful medium for building bridges between her “It just happens that this specific world has community and Canadian society. some of its own rules and challenges, but at its core, So is she using television, sweetened with issues of self-esteem, self-worth, family relations, comedy, as a Trojan horse? relationships with men, identity … they are things “I think it’s proving to be a great way to get into we’re all dealing with.” people’s hearts and minds.”

20 W-FILES Writing clever, not older

By Cameron Archer

elevision viewers are likely writing live-action? Which do figure out how you’re going to shape most familiar with Mike you find is more fun, and why? a season and craft characters. TKiss as the voice of dolphin/ I enjoy the actual writing a little Max and Shred had a very chimp/terrier mutant Mister Smarty more in animation simply because long writing schedule with plenty Smarts on Nelvana’s Spliced!, a show you can be pretty wacky most of of lead time, which was great. I’ve on which he also served as a writer. the time. Animation writers are written for animated series with Kiss’ career has progressed since a bunch of goofballs and writing adorably hopeful writing schedules then — he has been writer/executive goofball material is often a lot of that fall apart immediately. They story editor for Grojband, Max and fun. Production is done away from are replaced by something realistic Shred and My Babysitter’s a Vampire, your eyes and takes a very long once it becomes clear that not only and co-writer of the 2013 Fresh TV time. You have a bit more freedom can the story editor not deliver that telefilmBunks . Kiss is currently on the writing side, but it’s often quickly, but the network has no writer/co-executive producer on the an illusion because you don’t way of reading everything in time first season of Radical Sheep’sFang - know what will happen. to stay on top of things. Most of the bone!, to air in Canada on Disney XD. I prefer the overall process of time, everything is needed as soon live-action. You work in a room as possible. What was the avenue (animation, with other writers, make deci- live-action) you wished to pursue sions, then watch those decisions What attempts do you take as an aspiring television writer? play out. It’s more collaborative to appeal to a periphery How did you actually break into and when you see it shot, react on demographic in your shows? For the business? the floor and move on from there, instance, Spliced! was fond of When I first thought about writing it’s a lot more interesting. You find absurdist material. for television, I imagined I’d be a the strength of an actor, which I’ll aim for the fringes here and joke- or sketch-writer. I saw the changes how you write a character. there — a science-fiction joke or a kind of stuff [David] Letterman was You have production limitations, history reference — not for anyone doing and thought, “Man, I’d love which have to be accounted for specific, but just for anyone who to goof off like this for a living.” As without hurting the writing. It’s gets it. The rest of the time, you I studied screenwriting, stories be- more active. have to aim at your audience. The came more interesting to me than voice of the show tells you who that jokes, and I was pulled in several How hectic is the writing will be, more so than any logline. different directions. I had some ear- schedule for children’s I don’t think anyone truly ly work after getting out of school, television? knows where the target is, but you but I think I really “broke in” by Writing schedules vary from show should know where it isn’t. I just freelancing on a cartoon called to show and depend on a variety saw The Penguins of Madagascar Spliced! It was like The Island of Dr. of factors. Often, you jump right and I don’t think I recall any dia- Moreau for kids. Things kept rolling into the schedule with not a lot of logue that wasn’t directed at some- pretty quickly from there. lead time. This isn’t a great idea one my age who may have a young because it leaves everything up child with him. That seems like a What distinctions exist between to in-the-moment thinking. It’s huge mistake to me. Writing clever writing for animation and always better to have some time to doesn’t mean writing older.

21 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 Please Help Us Find These Writers! System ProductionsThe CSCS i sInc.hold ing foreign secondary authors’ levies for writers Kangaroo Court Productions Ltd. Principal: Kirk Shaw Principal: Robin Payne T Man Productionshe Ca nInc.adi an Screenwriters Collection Society (CSCS) is Les Productions les Plus Belles Routes du Monde Inc. Principal: Kirk hShawolding foreign secondary authors’ levies for a number of Principal: Andre Belanger T (not affiliated with Spectra Animation Inc.) Zolar Productionswriters a nInc.d un credited productions. As CSCS does not have a Principal: Kirkcur rShawent 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 A Lost Girl no more

By Mark Dillon

ost Girl, the supernatural your writing’s going to be better. better when the writer is putting drama about everybody’s The jokes were circled and in some element of themselves Lfavourite succubus, has protected in first drafts forLost or expressing a personal struggle wrapped production after five Girl. Often, on other shows, the through a character’s voice. seasons, but you won’t find writer/ jokes are the first to go. Creator supervising producer Sandra Michelle Lovretta, the producers You just went through a Chwialkowska sulking. In fact, this and showrunners take pride in successful round of pitching in year is shaping up to be the most making other people laugh and L.A. What is the best advice you exciting yet for the 32-year-old they look for that in writers. ever got on pitching? Yale University and Canadian Film Don’t tell them what the show Centre grad. On the other end of the spectrum is; just tell them the story. I’m so She’s developing a one- is the police procedural Cracked, excited and I go get my hair blown hour series with Temple Street for which you wrote the out and a manicure. It’s the big Productions for a U.S. broadcaster “Riverdale Rapist.” Does that event. But for the executives I’m and is attached to an as yet untitled kind of unsettling material stay pitching to, it’s one of 50 pitches CBC TV movie based on the true with you? they’re listening to that week. story of gun-toting, motorcycle- When you’re outlining and re- They must just want to claw their riding Canadian nurses in World searching and writing, it’s disturb- eyes out. But everyone loves a War I. She’s also working on ing because you have to live and great story. If you watch the body Rollercoaster, a passion-project breathe it. You’re in that headspace language when you hook them and feature inspired by her father, Urich almost constantly. As soon as it’s they begin to lean forward and stop Chwialkowski, a Polish immigrant done, it’s easier to walk away. taking notes and listen, you know who was master planner of the West you’ve got something. Edmonton Mall. Another cop drama you’ve She took a latte break recently worked on is Rookie Blue and Did you make a writerly New to talk to Canadian Screenwriter you’ve also written for the Year’s resolution? about cop and doctor shows, funny medical series Remedy. How I’ve had this problem where I’m business, and panic. do you ramp up before tackling trying to break an episode and I those milieus? can’t. I think, ‘I’ll never get this’ or Lost Girl combines fantasy, There are two main levels in ‘This sucks!’ People tell me I always horror, drama and sentiment, every episode. There’s whatever have that reaction. I forget how but also lots of laugh-out-loud case or procedure, and for that to write. I read somewhere that comedy. Do you gravitate I spend a long time researching despite that panic you feel, you have towards humour? online. I get inspired by any case to know you’re just a minute away Absolutely. It’s something I look I find that makes me go ‘That’s from finding a solution. That panic for in my work and shows I aspire crazy!’ or ‘How do they do that?’ is about holding on to an old idea as to be on. If there’s an opportunity The other level is what character opposed to letting go and letting a for a joke, I go that way. And story we want to tell and what’s a new idea come. So my resolution is when you’re more comfortable, personal way in for me? Scripts are to recognize the panic and let it go.

23 SPOTLIGHT News from WGC Members

Between seasons of Da Vinci’s development funding. The program Channel’s six-part biker gang Demons, Will Pascoe is developing is administered through the NSI, infiltration drama,Gangland Joe Benitez’s Lady Mechanika Movie Central and Corus. Undercover. The series premiered graphic novels into a series for on History in the U.S. on Feb. Endemol Studios. Sandor Stern’s screenplay, One 24, and on March 2 in Canada. A Eye Charley, was awarded first second season of the series is in the Aron Dunn goes from strength to place in the historical drama works. strength in 2015. He’s contributed category in the Table Read My multiple scripts to Camp Lakebottom Screenplay competition. Of the BD Young had a great year in (Teletoon), Trucktown (Treehouse) 1000 screenplays entered in the 2014. After a couple of feature and The Insectibles (KiKA). In competition, One Eye Charley was adaptations and a pilot order for a February he pitched his company one of only three that battled for the series, he’s hoping 2015 turns out to Treason Media’s new series concepts overall grand prize. be as good. at Kidscreen. Charles Dennis is writing and Johanna Stein’s sitcom pitch for Linsey Stewart and Dane Clark’s directing a popular web series, her book, How Not to Calm a Child feature film directorial debut,I Put Atwill, available for viewing on on a Plane, has been bought by A Hit On You, had a successful run YouTube. Based on Dennis’s award- CBS. Will Arnett is producing with at The Royal. It’s being distributed winning film of the same name, his Electric Avenue production by Mongrel Media and is now it stars Neil Dickson as a former company. Johanna is co-writing available to rent or buy on iTunes. MI5 assassin working in the seamy the script with sitcom writer, They’re currently developing several underbelly of Los Angeles. Adam Barr. features and a TV show. After an amazing year on season Gary Pearson is co-creator and Josh Sager and Jerome Simpson’s two of Bitten, Larry Bambrick is co-showrunner with Dan Redican recent successes include writing developing a one-hour conspiracy of the new sketch comedy series The Bagel Show with Radical Sheep, series for Rogers called Pandora. Sunnyside, running on City TV and Winston Steinburger with eOne, FX Canada. and developing two animated series Mark Leiren-Young received the with Yellow Bear Studios. Recent Jack Webster Award for Best Radio Laura J. Milliken is working failures include a playdate with Documentary for his CBC IDEAS in partnership with Jennifer their respective dogs, who were doc, Moby Doll: The Whale That Podemski to develop a one-hour unsinterested at best. Changed the World. He’s currently dramatic series, The North End, for writing and directing a feature doc APTN. Both will be writing along Chris Pozzebon saw two of his about his favourite whale for Middle with their team to generate 13 television projects premiere in Child Films. scripts for the first season. January 2015. He executive story edited and wrote three episodes of Karen Lagasse Struck co-wrote Tom Mason’s 13th Captain Schitt’s Creek (CBC, POP). He also a film calledA Girl’s Best Friend Awesome book was published in developed, co-produced and wrote with Jim Buck which aired on UP January by Simon & Schuster. three episodes of Open Heart (YTV, Television in the USA. The movie, He’s currently consulting on a TeenNick). directed by Terry Ingram, stars new series for Netflix, and writing James Denton, Lilah Fitzgerald and scripts for a not-yet-announced Kim Izzo’s original screenplay Laura Mennell. preschool show for Nickelodeon. idea, The Shame Sisters, was chosen as one of the projects for Noel Baker wrote four, and co- Céline LaFreniere recently the Script to Screen Program for wrote two, episodes of History published her debut novel. Glaston

24 Town, a rough neighbourhood in Vito Viscomi was nominated for Lindon, made the Black List of the a corner of London, is home to a a Canadian Screen Award in Best best screenplays of 2014. Money cast of motley characters whose Writing in an Animated Program Monster is currently in pre- lives, over a decade, are affected or Series for his Nerds and Monsters production directed by Jody Foster by everyday events and drama, script entitled Franken-Nerd. He’s and starring George Clooney and but turned upside down when one currently story editing and writing Julia Roberts. of them is brutally murdered. for the second season of Slap Happy Cartoons’ hit YTV series Nerds and Arne Olsen has finished the second B.C. writer Roslyn Muir is Monsters. draft of the feature, Captain Canuck, a recipient of first to second for producer Kevin DeWalt, adapted draft support from the Harold After successful runs at the Calgary from the comic book by Richard Greenberg Fund for her latest and Vancouver International Comely. The project is currently feature, Freeing Finnegan, with Film Festivals, Alex Pugsley’s out to directors. Arne is also producer Imperative Pictures. rom-com, Dirty Singles, had its developing the half-hour comedy Toronto homecoming and first series, Grandhaven Ghost, for 9 Story Writer/director Wanda Nolan’s theatrical release at Toronto’s Entertainment. short animation The Mystery Revue Cinema in February. Dirty of the Secret Room started Singles was nominated for Best Terry McGurrin wraps up the new production with The National Canadian Feature at the Vancouver Total Drama series, The Ridonculous Film Board in January. She is International Film Festival. Race, which he co-story edited with working with animator Claire Alex Ganetakos, and moves on to Blanchet and producer Annette Jill Girling and Lori Mather- join the Cloudy With A Chance Of Clarke. Welch, together with Breakthrough Meatballs writing team. Entertainment, have sold a series Sugith Varughese, WGC to Nickelodeon. It’s a half-hour Kate Barris is happily working governor on the board of AFBS, dramedy set at an exclusive in the world of puppets again, as has scripted a comic video that equestrian boarding school in Creative Producer of Hi Opie!, a live- will star fellow AFBS members the U.K. They are currently in action show that gives preschoolers Enrico Colantoni and Tantoo development. a heads-up about kindergarten. Cardinal as a pair of AFBS “cops” Airing on TVO, it can be seen in the interrogating a new member Matt MacLennan was enticed by U.S. and U.K. on Netflix. “suspect” (Michael Xavier) who the Dark Lord, Dennis Heaton, hasn’t filled out his form 18 to to carry out his bidding on season Donald Martin is writing the set up his AFBS RRSP. The video three of Motive. He has since feature filmCrescendo for producer will play on the updated AFBS roamed the globe looking for a place Gale Anne Hurd (The Terminator, website. to happen. The Walking Dead), based on actual events during World War Two, David A. Lee and Daniel Ari Posner is a writer and where Danes saved almost all of Vaillancourt’s Becoming Barbra, supervising producer on the FX Denmark’s Jews from the Nazis in a adapted from William J. Mann’s comedy, Married. He worked on the daring covert operation. 2013 best-seller Hello Gorgeous: hour-long drama Hart of Dixie for Becoming Barbra Streisand, is in The CW, and is also developing an Shernold Edwards was development with Los Angeles- hour-long medical dramedy with nominated for an NAACP Image based, New Zealander indie film Amaze Entertainment. Award in the writing category for producers Richard Akel and the television movie script he wrote Janice Hammond of Four Stars Money Monster, written by Alan for A Day Late and a Dollar Short, International. DiFiore, Jim Kouf and Jamie shot and edited in Toronto.

25 MEMBERSHIP, APRIL 8, 2014 - SEPTEMBER 24, 2014

Welcome

Aaron Abrams Toronto ON Damon Hill Los Angeles CA Kevin Abrams Los Angeles CA Susan Kent Dartmouth NS Jeff Barnaby Montreal QC Celery Kovinsky Toronto ON Dan Beirne Toronto ON Gerald Lunz Toronto ON Joshua Brandon North Hollywood CA Meredith MacNeill Pictou NS Aurora Browne Toronto ON Michael Milligan Ottawa ON Rosemary Contreras Los Angeles CA Adam Moore Los Angeles CA Barry Craigmyle Toronto ON Kathleen Phillips Toronto ON Erin Curtin Toronto ON Mark Purdy Toronto ON Sophie Deraspe Montreal QC David West Read New York NY James Gangl Toronto ON Patrick Rieger Van Nuys CA Tim Gilbert Toronto ON Graeme Stewart Waterloo ON Rick Groel Pacific Palisades CA Justin Varava Glendale CA Jason Grote Los Angeles CA Blain Watters Toronto ON David Handelman Los Angeles CA Matt Wayne Sherman Oaks CA Dave Hemstad Toronto ON Nina Weinman Los Angeles CA Sara Hennessey Toronto ON Megan Wennberg Dartmouth NS Our condolences

John Fasano Chatsworth CA Marlene Matthews La Jolla CA Donald Harron Toronto ON Richard Nielsen Toronto ON Janet Himelstein Van Nuys CA

Make SPACE for POSITIVE CHANGE

At times, the rigors, criticism and rejection we face from our work can become too much. Psychotherapy can make sense of what is, by examining what was and what might be, creating space for positive change. I approach each session with interest, curiosity and humour, creating a supportive and safe environment. If you feel stuck and want to move towards a richer life, please contact me.

Jenny Norush Psychotherapist, BA, CTP Dipl. [email protected]

www.torontopsychotherapygroup.com/therapists/jenny-norush/ 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 Paul Caston at [email protected] Paul Jodoin — Chez Helene 1-800-567-9974 ext 5248 Arthur Murphy — G.M. Theatre: The Death Around Us Dawn Cumberbatch — Top Cops Gordon Myers — Dr. Zonk and the Zunkins Elana Devine — Student Bodies Irving Gaynor Neiman (estate) — The Greatest Man in Warren Easton — Odyssey II the World Gerald Fourier — Littlest Hobo James Taylor — Man Alive John Hollard — Littlest Hobo Warner Troyer (estate) — Front Page Challenge Robert Windsor — King of Kensington Unknown writer — The Nature of Things (Dutch Elm Disease) NFB - contact Paul Caston at [email protected] Unknown writer — Hand & Eye (Glorious Mud) 1-800-567-9974 ext 5248 Five unknown writers — CAPAC 50th Anniversary Show

Peter Bierman — Twice Upon a Time Mariette Cooke — Happiness Is Loving Your Teacher CBC - RADIO - contact Mary Young at [email protected] Gordon Fisher — Wild in the City 1-800-567-9974 ext 5236 Ian Ferguson — Canada’s Capital — Behind the Scenes Laszlo Gefin — Revolution’s Orphans Andrew Allan (estate) — Snow Queen William Maylon — Journey of the Blob Ernst Behrendt — Quirks & Quarks Daniel Prouty — For Angela Tony Bell — Nightfall Josef Reeve — Canada Vignetes-NFLD Janet Bonellie — Nightfall Inger Smith — Wood Mountain Poems Martin Bronstein — Royal Canadian Air Farce Janos Szanyi — Revolution’s Orphans Neil Copeland — Between Ourselves: The Titanic- Gilles Toupin — Cycling: Still the Greatest Six Decades of Controversy Peter Vogler — Ernie’s Idea Norman Corwin — Theatre of Freedom Dorothy Davis — Sign Unseen Frank Deaville — Woodhouse & Hawkins CBC-TV - contact Mary Young at [email protected] Ira Dilworth (estate) — Rime of the Ancient Mariner 1-800-567-9974 ext 5236 Ted Ferguson — A Perfectly Happy Life Harry E. Foster (estate) — The German World Fred Adams — King of Kensington Howard Griffen — The Duel Peter R. Churchill — 20/20: Yorkville 1967 Hugh Kemp — Stage 47: Two Solitudes Robert Cooper — This Land Peter Lee — Nightfall Nancy Ryley Denovan (estate) — The Passionate Canadians: David Leicester — Nightfall Tom Thompson Joseph MacEastern — Much Ado about Ronnie Ronald Dunn — Wojeck Art McGregor — Woodhouse and Hawkins Donald Ettlinger — Billy Budd John McNaught (James Bannerman) — Wind in the Willows Mary Fowler — The Man at the Window Charles Rittenhouse — The Thirty-Nine Steps Lindsay Galloway — Wojeck Samuel Selvon (estate) — Vanishing Point Geoffrey Gilbert (estate) — Sidestreet Henry Sobotka (estate) — Johnny Chase David Harriman (Harasti) — Five Years in the Life Frederick Spoerly — The Cable Car Incident Robin Herman — King of Kensington

27 ADVICE

“Oh Great Scribe...” advice for the scriptlorn

By Harrington Gordonson

Noting that Canadian screenwriters were underserved despite the current proliferation in popular media of advice columns — and never one to let a bandwagon pass — Canadian Screenwriter has commissioned eminent screenwriter Harrington Gordonson as our own sage for seekers: sort of like Dan Savage for the folks who don’t get out as much.

Send questions to “Oh Great Scribe,” c/o Canadian Screenwriter ([email protected])

Harrison Gordonson is the only number was wrong, and instead of Creek. The savvy and recently living Canadian screenwriter ever describing the dog, he inserted a ambitious turn in their scripted to climb Stephen Harper’s hair, a description of a Norwegian forest programming isn’t a fluke. I’m 14-hour ordeal outlined in his Giller cat. Then, instead of a picture of pleased to announce that for the Prize-winning graphic novel, film Showrunner, he included a picture last several months you’ve all and videogame, “HELMUTFALL.” of Benji because, he felt, an image been witnessing my latest work A vial of his tears is encased in every of a well-known American dog unspool: the Living Pilot for a individual Canadian Screen Award. would attract more readers. I tried revolutionary new entertainment He once screamed at a departing to tell him that nobody under the concept. In Phase One, CBC Tsawwassen B.C. ferry — once — age of 50 remembered Benji and executives were all tagged and and the ferry turned around to pick he was better off using his own released into the wilds of the him up. He solves problems. dog. But he insisted Benji was as Toronto Broadcast Centre. Each famous a dog as he could afford morning, the Mail Robot releases Oh Great Scribe — I’m working and it would all work out. Anyway, a psychotropic mist that increases with a producer who insists that unsurprisingly, he got no calls, and, levels of paranoia and aggression. the show is “not a showrunner of course, blamed Showrunner In Phase Two, we’re going to give show.” But when I said, “OK, do for that. But he also withdrew the all the executives swords, a Big you have a Bible?” he handed me reward offer because he found out Ears teddy bear and copies of six napkins and a doodle of an he was mistaken about there being Richard Stursberg’s biography. alpaca lawyer. I should probably a Canadian Lost Dog Fund and Then, we eliminate one on-air- not take the gig, right? he didn’t want to raise the $100 personality and one exec each himself. But it all worked out. A week via a Battle of the Blades. This reminds me of a guy I knew year later, I ran into Showrunner in Wait until you see what happens years ago. An eccentric producer the Maple Leaf Lounge at LAX. He with Hubert. You’re going to Fall friend of mine named his dog seemed happy with his life partner, for CBC all over again. Showrunner. It was funny at first. Hobo. Turns out that one really did “Beg, showrunner,” he’d say. Lots settle down. Oh Great Scribe — Should I feel of jokes about how he could get guilty because I don’t Crave Showrunner to hump his leg by Oh Great Scribe — What is the Showmi? holding up a sausage roll. But then deal with the CBC? I mean, the stupid dog ran away. So, my really. My God. I mean, really? Originally, I had a Netflix joke producer friend wanted to put up Really? here, but it’s unfortunately been signs in the neighbourhood offering deleted and I’ve been instructed to a reward. He wouldn’t let me help Now it can finally be told. The say officially it never happened. Oh him write the signs, so the phone CBC isn’t just going up Schitt’s Canada. You so crazy.

28 CALENDAR

February

23-March 1 — Canadian Screen Week academy.ca 27-March 1 — Women Making Waves Conference wift-at.com

March

1 — Canadian Screen Awards Broadcast Gala, CBC academy.ca 3 — Deadline — Independent Production Fund, Webseries ipf.ca 3 — Deadline — Cogeco Fund, Development cogecofund.ca 3 — Deadline — Cogeco Fund, Production cogecofund.ca 4-6 — Prime Time in Ottawa primetimeinottawa.ca 6-8 — Vancouver Web Fest vancouverwebfest.com 12 — Writers Talking TV, TIFF Bell Lightbox wgc.ca

April

27 — WGC Screenwriting Awards wgc.ca

May

TBA — TO WebFest towebfest.com 21-31 — Inside Out Toronto, LGBT Film Festival insideout.ca

June

7-10 — Banff World Media Festival banffmediafestival.com 13-16 — Toronto Animation Arts Festival International taafi.com 30 — Writers Talking TV, TIFF Bell Lightbox wgc.ca THE 19TH ANNUAL WGC SCREENWRITING AWARDS CELEBRATING CANADA’S SCREENWRITERS

THE WRITERS GUILD OF CANADA CONGRATULATES THE 2015 FINALISTS ANIMATION SHORTS & WEBSERIES The Day My Butt Went Psycho, Season 1 “Everybooty Loves the Great White Bill & Sons Towing, Season 2 “Cleaning House” • Written by Mark De Angelis Butt” • Written by Craig Martin Darknet “Episode 3” • Written by Doug Taylor Fangbone, Season 1 “The Warbrute of Friendship” • Written by Simon Darknet “Episode 5” • Written by Randall Cole Racioppa & Richard Elliott Out With Dad, Season 3 “Outed” • Written by Jason Leaver Johnny Test, Season 6 “Johnny’s Junky Trunk” • Written by Sean Jara Ruby Skye P.I.: The Maltese Puppy “Everyone’s a Suspect” • Written by Jill Nerds and Monsters, Season 1 “Kaboom With a View” • Written by Greg Golick and Julie Strassman Sullivan CHILDREN & YOUTH TV COMEDY Mister D, Season 3 “Old School” • Written by Andrew De Angelis Annedroids, Season 1 “New Pals” • Written by J.J. Johnson & Christin Simms, Teleplay by J.J. Johnson Sensitive Skin, Season 1 “Not the Haitian Corpse” • Written by Bob Martin R.L. Stine’s The Haunting Hour, Season 4 “Goodwill Toward Men” • Written This Hour Has 22 Minutes, Season XXI “Episode 16” • Written by Mark by Dan Angel & Billy Brown Critch, Shaun Majumder, Mike Allison, Bob Kerr, Susan Kent, Greg Thomey, Jon Blair, Sonya Bell, Abdul Butt, Tim Polley, Heidi R.L. Stine’s The Haunting Hour, Season 4 “Mrs. Worthington” • Written by Brander, Adam Christie, Kevin Shustack, Jeremy Woodcock • Melody Fox Contributing Writers: Dean Jenkinson, Ron Sparks Some Assembly Required, Season 1 “Dance Crew Evolution” • Written by Trailer Park Boys, Season 8 “Episode 4” • Written by Mike Smith & Cole Bastedo & Jenny Siddle JP Tremblay & Robb Wells You & Me, Season 1 “Ninja Squirrel” • Written by Katherine Sandford TV DRAMA DOCUMENTARY 19-2, Season 1 “Partners” • Adapted by Bruce M. Smith The Cholesterol Question • Written by Michael McNamara Lost Girl, Season 4 “La Fae Époque” • Written by Michael Grassi Norman McLaren: Animated Musician • Written by Donald McWilliams Orphan Black, Season 2 “Ipsa Scientia Potestas Est” • Written by Tony Elliott Shameless Propaganda • Written by Robert Lower Saving Hope, Season 3 “The Way We Were” • Written by John Krizanc MOVIES & MINISERIES Strange Empire, Season 1 “The Oath” • Written by Jackie May

The Best Laid Plans “You Has An Option, Sir” • Written by Jason Sherman WINNERS OF THE 19TH ANNUAL WGC SCREENWRITING AWARDS and Susan Coyne WILL BE ANNOUNCED MONDAY, APRIL 27, 2015 Elephant Song • Written by Nicolas Billon RYAN BELLEVILLE WILL HOST THE 2015 WGC SCREENWRITING AWARDS Sex and Violence, Season 1 “Surface Scars” • Written by Thom Fitzgerald AWARDS TICKET INFORMATION COMING SOON TO WWW.WGC.CA

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