Just ahead of its screening at Reel Causes in Vancouver on November 23rd, we spoke with Justine Pimlott, the NFB Co-Producer on the film to find out more.

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Can you start by telling us a little bit more about you and the film? 

My name is Justine Pimlott and I am the NFB Co-Producer on the film. I have been working in the film industry for over 20 years with a very specific focus on bringing stories that are often marginalized into the mainstream. In terms of describing the film I’m going to quote from the synopsis here; “On a hot summer night 22 years ago, 18-year-old Attiya Khan ran through the streets, frightened for her life. She was fleeing her ex-boyfriend Steve, who’d been abusing her on a daily basis. Now, all these years later, Attiya has asked Steve to meet. She wants to know how he remembers their relationship and if he is willing to take responsibility for his violent actions. This emotionally raw first meeting, filmed by Attiya with Steve’s consent, is the starting point for A Better Man. The rough footage also marks a new beginning in Attiya’s own recovery process—as well as an important starting point for Steve. For the first time ever, he speaks of the abuse and cracks opens the door to dealing with the past. “

What was your most important goal in making this film?

As the NFB Producer my goal was to support bringing an incredibly powerful and important story to the screen and in doing so adding a key voice to the national and global conversation that is happening about violence against women. We are now seeing that the film is having great impact – both at festivals and at the incredible number of community screenings. And we hope that these screenings and conversations will help to bring about change by empowering audience members to play new roles in challenging domestic violence.

What’s the most rewarding element of being a documentary  producer?

Our work is such a privilege and we are lucky to be storytellers. To be able to work with a Director from the inception of a project and to then embark on a creative collaboration together is incredibly rewarding. In the case of long form feature docs you live with the project for such a long time and you are there through all of the phases and constantly working through the creative explorations, which is incredibly stimulating. Of course there are challenges too, but even working through those challenges has rewards. And then there is the amazing feeling when finally you launch the film and show it to an audience for the first time and they embrace it.

In the case of A Better Man I also worked with Co-Producer Christine Kleckner from Intervention Productions and it was Christine who approached the NFB with the project and invited me into the collaboration. It was incredibly rewarding to work with Christine and the team and for them to put their trust in me.

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“Find a project that you are passionate about. You will be living with the story for a long time so make sure it is something that you care deeply about and a story you need to tell.”
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Who are a few of the Canadian filmmakers and films that you appreciate the most?

There is such a rich collective of filmmakers in this country that it makes it hard to single out just a few. But if I think of those filmmakers who are pioneers and on whose shoulders we stand in terms of them either being the first to tell certain ground breaking stories, or the way they pushed the creative form, then certainly indigenous filmmaker Alanis Obamsawin is key for me. Alanis is celebrating the release of her 50th film this year! Also key for me is pioneer filmmaker Cynthia Scott who broke form with one of the first docu-fiction hybrid films The Company of Strangers. Incidentally they are both pioneering NFB filmmakers.

What advice do you have for aspiring documentary filmmakers?

Find a project that you are passionate about. You will be living with the story for a long time so make sure it is something that you care deeply about and a story you need to tell.

What film-related books and authors have been influential in your creative journey?

Throughout my career I have prioritized bringing marginalized voices to the screen, so early key books on cinema for me were those looking at issues of representation. Books that jump out are Molly Haskel’s From Reverance to Rape – although quite dated now in terms of the discourse, it was one of the first feminist film books to look at the depictions of women. Vito Russo’s The Celluloid Closet was groundbreaking in its deconstruction and critique of early representations of LGBTQ people in cinema. Reel to Real: Race, Sex and Class at the Movies by Bell Hooks is an important work for me. And there are several books on the filmmaking process that have inspired me including In the Blink of An Eye by Walter Murch, an incredible book about the art of editing.

Where can people find out more about you and your film? 

The film is currently travelling both the Canadian and international film festival circuits. And there are numerous community screenings that are happening. You can find out more about the film at nfb.ca & abettermanfilm.com. and find the listings of the screenings that are happening near you.

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Thanks to Justine Pimlott for speaking with us!

You can see A Better Man at Reel Causes on November 23rd at 7PM at the Djavad Mowafaghian Theatre at the Goldcorp Centre for the Arts (149 W. Hastings St.). Tickets are available through ReelCauses.org.

The post The Biz Interview: Justine Pimlott appeared first on Biz Books.

As Chokeslam is now playing in select Canadian theatres, we spoke to Robert Cuffley to find out more about this project.

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Can you start by telling us more about you and the film?

I am a Western Canadian Filmmaker, based in Calgary. I began making short films in junior high school and then, later in life, made music videos which gave me an outlet to explore drama. I would infuse as many of them as I could with storylines and this was very fulfilling for me at the time. A great way to get to know musicians as well. After that I travelled, made short films and did some documentary work, then in 2002, jumped into feature filmmaking with Turning Paige, starring Katharine Isabelle and Nicholas Campbell. The process of making this movie solidified the hold that film has over me.

Chokeslam is my fourth feature film. It is a comedy starting Amanda Crew (Silicon Valley), Chris Marquette, Mick Foley (WWE) and Michael Eklund. It has a very different tone from anything else I’ve made and it’s the first movie I’ve done that my kids can see. When most of what you’ve done has been exploring darker themes, it’s a pleasant feeling to do a comedy and make people laugh.

What was the most rewarding part of this filmmaking experience for you?

This was a very tough shoot. My toughest by a long shot. You’re only as good as the team around you and I was fortunate with Chokeslam as the cast and crew pulled together to make it work.

So the most rewarding experience is right about now…where I can finally show the film to people.

What was the biggest challenge that you faced in making the film and how did you overcome it?

Budget limitations would be the toughest aspect of Chokeslam. Having imagery in your head that I wasn’t willing to compromise or cheap out on despite financial restrictions. There’s no small way to do a wrestling sequence. You need a lot of extras, great wrestlers, multiple cameras and the most sought after luxury: time. Trying to juggle all that was trying. Luckily, Amanda Crew (who plays Sheena) had trained before arriving in Regina where we shot. And a variety of real-life wrestlers (Mick Foley, Lance Storm and Chelsea Green) were involved, lending their expertise to the process. In that sense, everyone coalesced otherwise I’d be at the bottom of some lagoon.

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“Be curious about things and other people.”

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What advice would you give to aspiring filmmakers?

Get out now. But seriously, endurance is the key. You will experience hurdle after hurdle, but like wrestling, it’s who is standing at the end who succeeds. Filmmaking is an exercise in joy and futility. Your job is to make it slightly more of the former than the latter. Secondly – keep learning. It doesn’t matter if you’ve made ten shorts or twelve feature films, you can always continue to learn, in prep, in production and in post production. Be receptive to it and acknowledge that you can’t be an expert in every field. Learn from others and hopefully they will learn from you as well. Lastly…be curious about things and other people. Ask people about themselves, their family, their jobs, their frustrations. The better you understand people, the better films you will make. This is an ongoing process that should never end.

From your standpoint, how would you describe the current state of the Canadian film industry?

Every festival I go to has panel session after panel session describing the gloom and doom of the Canadian Film Industry. I tend to be more optimistic. More Canadians than ever are making films. And their films are being seen by more and more people. I see far more people starting out than when I started out, a lot of that here in Calgary. The jump between your first and second feature tends to weed out a lot of filmmakers. But once you’ve made three, I figure you’re enough of a masochist to keep punishing yourself by making more.

What film-related books and authors have been influential in your creative journey?

The Film Director’s Intuition by Judith Weston is a good one, Making Movies by Sidney Lumet and In the Blink of an Eye: A Perspective on Film Editing by Walter Murch.

What other projects are you involved with right now?

I am developing a series as well as three other features in varying genres. I am fortunate in that I love every one of them and don’t have to force myself to get excited about working on any of them. You need to juggle a lot in order to be able to duck and weave should something get held up. I could never stick to the same genre as some filmmakers do. I’m sure it’s nice to be known for something, but I like tackling something completely new each time around.

Where can people find out more about you and the film?

Chokeslam opens in Vancouver, Calgary, Regina and Toronto on April 7th. Despite the success of viewing platforms like iTunes and Netflix, any filmmaker would love you to see his/her work in a theatre setting. I’ve been very lucky to have had theatrical releases on all of my films, so go see this in a theatre. A film has its director’s POV written all over it, sometimes subtle, sometimes not. Ferocious (my last film before Chokeslam) displayed elements of the thriller genre that I love, where as Chokeslam comes very close to mirroring my sense of humour. Dry like Canada Dry. But with less ginger.

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Thanks to Robert Cuffley for speaking with us!

You can see Chokeslam in select theatres in Vancouver, Calgary, Regina, and Toronto now.

The post The Biz Interview: Robert Cuffley appeared first on Biz Books.

With this year’s Gala screening and party happening on February 25th, we spoke to four of the filmmaking teams who managed to make short films in just 8 days: The Affolter Brothers (The Undertaker’s Son), Trevor Carroll (No Reservations), Lelinh Du (Anh Hung), and Mike Jackson (Woodman).

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Can you start by telling us a little bit about you and your film?

The Affolter Brothers: We are the Affolter Brothers, a team of four brothers that share the writer / director / producer credit on all of our projects. We’ve been working together since we were little kids, and in a professional capacity for over 10 years. We’ve shot short films, commercials, music videos and web series, and are working towards our first feature. Our Crazy8s film is called The Undertaker’s Son. It’s a western about a young boy named Christopher who joins his father at work for his first day of learning the macabre family business of undertaking.

Trevor Carroll: I’m a First Nations artist from Sudbury, Ontario. The film is a satirical look at a corporation attempting to install a pipeline under an unsuspecting Caucasian suburb.

Lelinh Du: My name is Lelinh Du and I am the director of the 2017 Crazy8s film, Anh Hung.

I went to Capilano University for the motion picture arts program and went straight into the film industry.

Anh Hung is a story about a young girl growing up in a Vietnamese household as a first-generation Canadian. She discovers the real truth about her brother–someone she looks up to as a hero.

Mike Jackson: I’m a film editor by trade, but over the years I’ve directed a number of short films and music videos. Our Crazy8s project Woodman is by far the biggest and most elaborate film I’ve ever directed. It’s a story inspired by the idea of what would happen if there was no Blue Fairy, and Pinnochio grew up to be a sad, middle-aged man.

Can you tell us about how the idea for your film came to be and what your creative process was like in making it come to life?

The Affolter Brothers: We’re big fans of the western genre, but are always trying to tell character-driven stories and put original spins on tried and true genres. The idea for The Undertaker’s Son came about when we started thinking about westerns in general, and how the focus so often is on violence and deaths, but so often the main repercussion of those actions rarely goes beyond vengeance. We thought it’d be interesting to explore the lives that are affected by the deaths, and take a look at the people responsible for cleaning up all the messes created by the violence and gunplay so often depicted in the genre.

Our creative process for this film was very similar to most of our projects – a team effort. We craft the story together, then one of us will usually put it onto paper, then we rewrite together and go through the script line-by-line as a group. We talk about the intent behind every line in the script, and discuss the tone and visual aesthetic at length just between the four of us, so that by the time we start meeting with our department heads, we as brothers are on the same page about all the details, and therefore crew members can come to any one of us at anytime throughout the process with questions and get the same answer from any brother.

Trevor Carroll: The idea came while I was researching the topic of Standing Rock. I saw there was a lot of negativity towards the First Nations community, based off of claims and secondhand knowledge that people had about the circumstances of how things transpired. I thought it would be interesting to see how things unfolded if the tables were turned, and that was my goal when writing this: changing perspectives.

Lelinh Du: It was inspired by my own upbringing. I myself am a first-generation Canadian growing up with immigrant parents.

With stories from my brother (a person slightly similar to my lead character, Tuan) Frazer and I managed to come up with a story.

Mike Jackson: My good friend and writer of the project, Peter New, came up with the idea of Pinnochio as a grown man several years back, but we could never quite figure out what the story was. When Crazy8s rolled around, I realized that with the internet, Pinnochio could lie all he wants and never be seen, his nose growing longer and longer, becoming a cage that traps him. Peter ran with that, creating a script that really moved and excited everyone involved.

What was the most memorable moment for you in the Crazy8s process?

The Affolter Brothers: We’d say the most memorable moment for us was the 3rd day of shooting. We had two great days in the can already, including some great performances from our leads, and on the 3rd day were shooting our big opening of the film that takes place in the town’s main thoroughfare. It was important for us to create a world that the audience could buy into at the beginning of the film, so we had horses, wagons, 50 background performers, a whole truckload of set dec, we made an entire town come to life, and shot it all as a oner that moves throughout the entire town. It was quite a spectacle on the day, with so many different elements in play, and we rehearsed for hours before we started shooting. When shooting started, everything came to life just as we had hoped it would, and it was such an amazing moment of satisfaction to look around at it all and feel proud of what we had accomplished.

Trevor Carroll: Realizing that my film was being made out of all of the applicants – it was such a great feeling to hear that I was going to make a film I wrote.

Lelinh Du: The support I’ve had in this process is probably something I’ll remember forever. It is amazing how many people are willing to give you as much as they can for free just to help your vision.

Mike Jackson: There’s so many. Assembling a fantastic team, working with such incredibly talented people. Getting to see Peter New in his Woodman make-up the first time; Seeing our set lit for the first time, filled with 600 feet of nose; Watching 10 people raise our 20′ tall rear-projection screen; Actually catching a sunny magic hour after weeks of snow and rain.

What would your advice be for filmmakers considering Crazy8s?

The Affolter Brothers: Make the most of your prep time! Believe it or not, making a film in 8 days isn’t as crazy as it sounds if you’ve used your prep time efficiently and have planned it all out ahead of time. The prep time is what should really be crazy, but if you do it right, you can have all the important elements in place before the 8 days even begin, and at that point it’s just about executing what you’ve planned. As we learned from our film instructor Seanna McPherson at Capilano University, plan the shoot and shoot the plan!

Trevor Carroll: Be flexible. There is a lot of things that can go wrong on set or during the editing process that will require you to think on your feet.

Lelinh Du: Pitch a story that can be made. I know it sounds simple, but it helps. Stay positive and believe in your story.

Mike Jackson: Know that it’s harder than it looks. I’m a veteran of many 48 hour film competitions, so I thought I was prepared, but Crazy8s was so much more challenging. You have JUST enough time and resources to make something truly amazing, with high production values… but it’ll be a mad scramble from start to finish. Make sure you have as many skilled pros on your team as possible – they’ll save your bacon, again and again.

What’s the most important lesson you’ve learned in your career thus far?

The Affolter Brothers: Treat people well whether they’re your boss or a PA on your film! Everything will always be easier and everyone will have a better experience if you just treat them nicely, with courtesy and respect! It’s not hard to do and it makes a huge difference.

Trevor Carroll: ​Be firm but fair. Be generous. Reward loyalty. Give back. Don’t overextend. Take risks. Handle a “no” gracefully. It’s the second best answer to “yes”. Stay excited. No one is entitled to anything. Those that earn their keep go further. Know what you want. Get it. ​Know when to hold em; know when to fold em.

Lelinh Du: Communication is key.

Mike Jackson: It’s all about people. If you’re skilled and fun to work with, your fellow filmmakers will rally around you. And you need to be there for them, too. We’ve chosen one of the hardest professions to get ahead in, and have opportunities to be truly creative in, but we’re all in it together.

What books would be valuable for a filmmaker to have read before participating in Crazy8s?

The Affolter Brothers: Rebel Without a Crew by Robert Rodriguez. It’s got some great advice on how to make a quality project with no time and no money.

Trevor Carroll: I only read comic books.

Lelinh Du: Any books that inspire you.

Mike Jackson: Anything relevant to filmmaking in general, and your particular area of expertise. As an editor, I found Walter Murch’s In the Blink of an Eye invaluable. As a screenwriter, The Elements of Screenwriting by Irwin Blacker. As a director, Film Directing Shot by Shot by Steven Katz, and the follow-up Cinematic Motion. I’m also very fond of the Screencraft series from Focal Press. Each book is about a specific area of film making, with interviews with some of the best artists in the history of cinema.

What other projects are you working on and where can we find out more about you?

The Affolter Brothers: We’ve got a number of projects in development, from animated series to live-action features.

You can find out more about us at: www.affolterentertainment.com

Facebook: Affolter Entertainment

Twitter: @affolterfilms

Instagram: @affolterentertainment

Trevor Carroll: Battlefield Fight League – BC’s Premiere Mixed Martial Arts Organization – we put on 8 events a year and had one the day after we wrapped Crazy8s. Next one is April 29th at the Hard Rock Casino in Coquitlam.

Lelinh Du: As of right now, I am only thinking of Crazy8s. But I hope to continue giving myself as many opportunities as I can to direct and keep practicing what I love.

Practice makes perfect!

Mike Jackson: I recently edited Dead Rising: Watchtower, directed by Zach Lipovsky, and I’m currently doing visual effects on his DisneyXD show Mech-X4. I’m also hoping to put together funding for my first feature, a time-travel comedy. You can find me at www.steampoweredfilms.ca, though my website is long overdue for an update

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Thanks to these filmmakers for speaking with us!

You can see all of these great filmmakers and their films at the Crazy8s 2017 Gala on Saturday, Feb 25^th. For ticket information please visit Crazy8s.film!

The post The Biz Interview: Crazy8s 2017 Filmmakers appeared first on Biz Books.

One of those filmmakers is Scott Parker, who has taken taken his Prairie upbringing and filmmaking ambitions to create The Grasslands Project, a 10-part short film series that chronicles the lives and issues that the core of the Southern Prairies.

With The Grasslands Project now available for viewing on the NFB website, we spoke to Scott Parker to learn more about how this project came to be and his experiences as a Canadian filmmaker.

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Can you start by telling us a little bit more about you and your film?

My name’s Scott Parker and my family has deep roots in the Prairies of Saskatchewan. My father and I still own our family homestead from 1902 (although we no longer farm it). I have been a traveller, adventurer and filmmaker for 30 years. I have been lucky to work on a wide range of projects during that time, and received the benefit of many generous filmmakers’ wisdom. Although I used to work on commercials, television series and music videos, I now focus my efforts on small films for social-change organizations, as well as documentaries.

The Grasslands Project is a series of 10 short documentary films produced through the National Film Board of Canada’s North West Centre in Edmonton. Producer David Christensen wanted his studio to produce a film featuring rural life in the southern Prairies. As we discussed it on a fall morning, I suggested the best way to learn what stories are important to people in the south is to go and ask them. This led us to develop a community engagement tour (of nine communities) in order to determine what the important stories of the Southern Prairies were. We decided we’d create an anthology of short films, giving us the ability to tackle several different story streams. These stories are a gift from the people of the southern Prairies, and they are deeply rooted in that region.

Can you walk us through your filmmaking process from the conception of the film to the completion?

This process is a unique one. During our community consultations, we logged every single idea that was offered (we had hundreds!). We then looked for common themes that emerged. A lot of people spoke about the disappearance of small family farms, the struggle for small towns to remain vibrant, the battle to keep businesses operating. . . We then used the resources and expertise of the National Film Board to tell these stories. I saw myself as less an auteur filmmaker and more as a translator, taking these authentic Prairie stories and turning them in to short films. We needed to make films that would reflect the stories that were so generously given to us.

Another unique aspect of this project was the crew size. It was 1. Originally, we had looked at bringing in small documentary crews (usually 3 people – sound, camera and director), but I had all the contacts with people and had built a lot of trust and goodwill. Bringing in additional people would have been tricky. Because I have been fortunate to have worked with so many generous filmmakers, I have a good knowledge of camera and sound, and I’ve been directing and editing for 30 years. David and I made the decision early on that I would be the sole filmmaker. I did have a lot of help, though. The NFB team at the North West Studio office in Edmonton provided terrific administrative and technical support, and I hired local production assistants when required. Additionally, I had the incredible Kristin Catherwood (prairie girl, folklorist, writer, workshop leader, logistical wrangler, etc. etc.) working on the project. Kristin was primarily our social media writer, but she was invaluable for many other aspects of the project.

I was shooting films while I was editing other films. The Grasslands Project headquartered itself in Eastend, SK, and it was in the living room of a little 60-year-old house that most of the editing happened. Yet another unique process with these films was that nearly every main character saw the films before they were finalized. We wanted to make sure we got their stories right, so we asked for their input. I think because we worked so hard in capturing these stories, and really listened to what people told us was important, that had a big bearing on how subjects originally reacted to the films. They thought we’d done a great job telling their stories, and that was very satisfying.

What should audiences expect from The Grasslands Project?

This is a series of short, intimate sketches of contemporary prairie life. People opened their homes and hearts for these films, and it shows. Audiences can expect to see authentic and powerful stories from a part of Canada that is rarely represented in the media.

What was the biggest challenge for you in making this project and how did you deal with it?

At first, I thought the biggest challenge would be creating authentic stories . . . creating films that would reflect how people felt and how the landscape felt (as the two so strongly influence each other). However, once people got to know what The Grasslands Project was all about, they gave their time and energy to the films and really ensured that each film would be authentic and honest.

In reality, the biggest challenge was shooting 10 films over 160,000 sq. km. When the sun is rising at 5 AM and setting at 11 PM, and you’re shooting and travelling for weeks at a time, the workload catches up to you. We were also holding community filmmaking workshops, and we did 12 of those. So it was a lot of long days, and then there was still all the editing to get done. It was quite stressful sometimes as the workload would get in the way of the creativity, but fortunately I had many colleagues that helped keep me going in the right direction. I wouldn’t trade a moment of the experience!

From your standpoint, what is the current state of the Canadian film industry and how can it be improved?

From my personal standpoint, I think we will see an exciting shift from traditional, linear documentary to more socially active and engaged storytelling. The Grasslands Project is part of that shift, as we worked hard to include our audience in the creation of the films.

Working on films has never been an easy way to make a living in Canada. But amazing people make their lives in this industry and pass on their knowledge to the upcoming generation. We love what we do, we love to tell stories, and I in particular love to tell the little forgotten stories that are hidden away at the end of remote, long roads all across this country. Canada is a story machine.

Who are a few of the Canadian filmmakers and films that you appreciate the most?

Colin Low is my hero. He pioneered community engagement films with his incredible work on Fogo Island in the ‘60s, and is responsible for a library of seminal Canadian work. Gil Cardinal is also an influence and an inspiration, and he really helped me understand some of the nuances of making a compelling documentary. I’ve been fortunate to edit most of Rosie Dransfeld’s films, and have learned the subtleties of cinema vérité . . . Well, I’d say I understand them more than have learned them. I’ve learned a lot from craftspeople too, so many people who have been so generous to me, learning the craft of editing, of shooting, of directing, gripping, lighting, sound. People in this business are generous.

What’s the most rewarding element of being a filmmaker?

I get inside of peoples’ lives. It’s incredible to learn so much about people and their stories when you’re making a film. The process is so open and honest. So many amazing people have let me in to their lives and shared their stories and emotions and trials and victories. The film Life Out Here is a terrific example of that (in many ways ALL of The Grasslands Project films are…). We met rancher Joan Hughson at a community engagement meeting in Foremost, AB, and Joan talked about what it takes to be a rancher out in that landscape. Joan and I worked together to coordinate the filming of Life Out Here, enlisting three other amazing ranchers and farmers, all women. These four women sat down and developed the themes the film would touch on (family, hard work, the future, isolation) and then they interviewed each other. It is incredibly touching that they were all so forthcoming with their stories, and the resulting film (which they and I are very proud of) has brought many people to tears. I can’t imagine any other career where I would make such rewarding connections over a few days, and get to create a record of that connection!

What advice do you have for aspiring documentary filmmakers?

Three things:

• 1^st, there are dozens of great courses and schools that can help you get started in this business. It’s great to learn as much as you can about the process, and get some practical and theoretical experience early on. There’s lots of people looking for work on film crews and in documentary, and having some education (if you don’t have any experience) is very valuable.
• 2^nd, make films, but don’t just make crappy films. It’s so easy to make a little short film now! Back in my day (yes, way back when) we had to buy film and get it processed and everything was really expensive. Now, you can shoot a freaking little film with your PHONE.
• But 3^rd, because technology makes filmmaking so available to the masses, many people make really lousy films. Don’t be that person. Think before you shoot. Think about the story you are telling. Why should your audience take precious minutes or *gasp* hours out of their lives to listen to the story you made? Life is too short to make lousy films. Well, maybe people think my films are lousy, but they can go jump in a lake then.

What film-related books and authors have been influential in your creative journey?

For this project, two books were really important as an esthetic touchstone: Wolf Willow by Wallace Stegner and Sharon Butala’s The Perfection of the Morning.

Wolf Willow reflected the toughness of the Prairies, the battle and the beautiful life lived out there.

The Perfection of the Morning is more about isolation and culture and being out on that massive unforgiving landscape yet feeling like you belong.

Another influence would be Suds Terkel’s Working. This is a masterpiece of taking mundane, unimportant little stories and giving them their moment and really showing that no, our little lives are not mundane and they do matter.

Cinematically, there is In The Blink of an Eye by Walter Murch. This is a treatise on editing that is recommended reading for any serious editor.

Where can people find out more about you and your film?

Easy! Roll on over to nfb.ca/grasslands and watch the films. If you don’t like them though, remember you’ll have to jump in a lake!

Watch Life Out Here in full:

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Thanks to Scott Parker for speaking with us!

For more about The Grasslands Project and other NFB projects, please visit NFB.ca!

The post The Biz Interview: Scott Parker appeared first on Biz Books.

Can you briefly walk us through your creative process for the production from the early stages (initial ideas, writing, etc.) all the way to the theatrical release of Becoming Redwood?

I wrote Becoming Redwood in 1998 while living in Los Angeles. I had written a script prior and felt it wasn’t deep enough and as a writer I needed to go further. So, I decided to delve into my own past and that lead me to Redwood. I had parents that divorced, that had come from the U.S to Canada during the Vietnam war. I had searched for ways of getting them back together and did believe I could beat Jack Nicklaus. Not in the way Redwood believed, but we shared very similar thought processes and the script took off from there. I wrote the first draft that year and received some interest at an agency in Los Angeles. Ultimately however, I felt as a director and writer I wasn’t ready and neither was the script. For the next half decade I spent my time honing my craft as a writer/director as well as an editor and after many re-writes of Redwood I shopped it around with my agent in Vancouver, Barbara Bird.

There was interest again, but the Canadian model’s didn’t make sense to me. The script was too polished to enter the telefilm/development world and the grant system itself was foreign to me. I wanted to follow the private financing model which I believed at the time would give me more creative control. I found out Chad Willett and Joely Collins were going to start a new company (StoryLab Productions) and were looking for a script. They read it and loved it. We agreed on the private financing system and away we went. I happened to be directing a feature documentary (The Good Son: The life of Ray “Boom Boom” Mancini) at the same time the financing came in for Redwood and did both films at the same time. Pre-Production and Casting happened in June/July of 2011 and Redwood went to camera in Late July and all of August. Post Production was great as my ratio was very low and I know the editor very well. Charlie Renfrew is an great friend of mine and we work well together. Schaun Tozer came on board to compose and we work very well together as well. The film was done in December of 2011 and sound/music/color correction was finished by April. The film then hit the festival circuit in September of 2012, opening the Edmonton Film Festival, winning the jury prize, then off to VIFF, winning the most popular film award. Now it’s about to be theatrical released across Canada.

What themes and ideas do you want the audience to think about from watching the film?

That love can change everything. It might not change things the way you thought, but it’s the only positive way forward.

What was the most challenging sequence for you to film?

There were very few, but the 18th hole at Augusta scene was written with the gallery/crowd lifting Redwood onto their shoulders, a big celebratory moment. We didn’t have the money for extras in that scene or any time, so modifying that feeling without visual support was difficult for me, however it worked in the end.

You have a diverse background as a director that has included documentaries, TV series, and dramas. How does your preparation change if you are shooting a drama like Becoming Redwood vs. a documentary like The Good Son or a TV series like Captain Starship?

Preparing for different genres is why I do them. It’s very exciting for me to step into different worlds. However it all goes back to story in whatever your directing. So my preparation for any film, whether it’s fiction or non-fiction is delving as deeply as I can into the story. Knowing it’s elements, it’s characters. For non-fiction these are real people so that preparation is a bit different than the casting process in fiction, however it’s still about finding real moments, real people.

Which accomplishments are you most proud of from each filmmaking experience that you’ve had and what are the most important lessons you’ve learned?

I’m very proud of Becoming Redwood for enduring the many years of that’s scripts growth. It was hard, but I kept going and it’s paid off with a beautiful film that I’ll always be very proud of. For The Good Son, it’s just such an amazing film because of it’s subject matter – Ray “Boom Boom” Mancini. He allowed me to enter his life and was very open during the process, no matter if it was painful to him or not, he was open. I’m very grateful to him for that experience.

The most important lesson I’ve learned is to never panic. Even when you are, never show it. The minute that happens you might as well go home and close shop because it will never show you the way through hard times.

From your perspective, what are the keys to creating effective drama in a film or a documentary?

Well for one thing you need to know where those dramatic moments are and figuring out the best way to present them. With Redwood it was understanding those silent introspective moments with my character Redwood and drawing those moments out properly. To effect drama I decided to break the 4th wall and have Redwood look directly at the audience, sometimes in total silence, sometimes with a line. It was a chance, but I found it to be very effective for his character and heighten the dramatic aspect the film needed.

With The Good Son it was making sure I approached the death of both Ray’s brother and Deuk-Koo Kim with respect. Nothing ever over the top in those moments, so lots of mindfullness as a filmmaker. With documentary it’s different however when it comes to effecting drama. Your job, in my opinion, is to create a comforting environment for them to express themselves and then get out of the way.

Which steps can directors take to build positive working relationships with their cast and crew during the making of a film?

It’s all about trust and creating a safe environment for the actors or your subjects. So for crew it’s for me to lead in that example and make sure that happens. That is just a directors job whether it’s fiction or non-fiction. With actors it’s essential for me to make sure they feel safe to express themselves in their work. With subjects in documentaries, if they don’t trust you, you have no film.

Who and what were your major inspirations for becoming a director?

I found directing through a lot of people. Because I’m a late bloomer and didn’t fully understand early in my life that being an artists is not a choice, I attribute most of my inspiration to my parents who never questioned my own choices. As crazy as they were. Then one day I found my wonderful wife, Jennifer Copping who’s continued that support exponentially, and finally, Francois Truffaut. 400 blows also changed my life.

Are there any authors or specific books that have been influential in your development as a filmmaker?

Walter Murch’s In the Blink of an Eye. Sidney Lumet’s Making Movies. Nikolai Gorchakov’s Stanislavsky Directs.

What is the biggest obstacle facing independent filmmakers today?

I think it’s getting your work seen at the next level. Studios control theatres, have massive P&A budgets and the film festival route has changed. So there’s little room for indie films to truly break through. However, it’s an exciting time as well. Technically equipment has never been better or cheaper and with new distribution channels and funding possibilities via the internet, there is a new world coming. We just have to be patient, open minded and continue doing great work. Great work always shines through.

What advice would you offer to aspiring directors who are looking to get started in the industry?

Learn how to write, find a great editor and get a good lawyer.

Are there any upcoming projects that you’re working on that you’d like to mention?

I’m writing two feature film scripts and starting a re-write on a feature script I’m shooting this summer in the U.S. I’ve also started a new production company called Profile Films with two fellow filmmakers in Vancouver and we have a few projects in development that are starting to find there legs and could go to camera soon as well.

Becoming Redwood opens in Vancouver on April 26th, 2013. For more information on the film, please visit BecomingRedwood.com.

The post The Biz Interview: Jesse James Miller – Director of Becoming Redwood appeared first on Biz Books.