Jun 10: WMW Speaker Phyllis Laing Wins Awards in Manitoba

WEYA+Winner+Group+Photo Jun 10: WMW Speaker Phyllis Laing Wins Awards in ManitobaPhyllis Laing, Buffalo Gal Pictures named Overall Excellence Winner at the 21st Annual Manitoba Woman Entrepreneur of the Year Awards!

Women Business Owners of Manitoba and Premier Sponsor, TD Canada Trust are pleased to announce, Phyllis Laing, Owner of Buffalo Gal Pictures won the Overall Excellence and International Trade awards at this year’s 21st Annual Manitoba Woman Entrepreneur of the Year Award gala, at the Winnipeg Convention Centre on May 16th.

The awards evening is an opportunity to recognize today’s pacesetters, who will stand as inspiring role models to tomorrow’s emerging business leaders.

Each year this gala dinner honours the finalists and winners from across the province, whose energies and creativity represent the best of the entrepreneurial spirit.

We congratulate Phyllis on this very-deserving honour!

May 6: Sponsor Spotlight – Brian Power

 May 6: Sponsor Spotlight   Brian Power

Interview by Sarah Coleman

A misconception about WIFT-AT’s annual Women Making Waves conference is that it’s only for women. Sometimes in the excitement of preparing for the conference, the message that everyone with a passion for arts & media is welcome gets lost. With so many passionate attendees that come back every year, word of mouth helps WMW connect with some brilliant industry people it might otherwise not have.

Lucky for us, it was word of mouth that brought Brian Power to WMW last March. Some of us know Brian as the owner of local sound haven, The Hideout Studios. Others met him during the conference when guests were escorted in stretch hummers to his studio, where he hosted a speakeasy. Stretch hummers aside, Brian’s personality is undeniable and shines even through email, which is how I got in touch with him recently to ask him about his WMW experience &The Hideout.

1. How did you get involved with Women in Film and Television?

I got involved with WIFT-AT after a conversation with Peep Media producer Jessica Brown. I was aware of the conference but had the unfortunate misconception that it was for Women only. Jessica gave me the heads up on the diverse nature of the group and what takes place at the annual conference. I contacted current chair Anita McGee and put the wheels in motion.

2. Why do you think it’s important to support organizations like WIFT-AT and WMW?

I think WIFT-AT is a huge asset for our community as it nurtures development of new talent and enriches the bonds between industry veterans and newcomers. One aspect I found often overlooked, but certainly of great value as a studio owner was the collective purchasing power of those attending the conference.

I thought it only right that someone host an event to say thank you to the organization as well as ensure that most of the delegates got a personal tour of my studio, The Hideout. I am seeing beautiful heartfelt films with strong characters, difficult subject matter and the director’s passion up on the screen. These films were made by women; great, strong, inspiring women, and I simply want to learn, collaborate and share the creative process with them.

Have a look at the region; Barb Doran just wrapped a feature. Teresa MacInnes is at Hot Docs, Shandi Mitchell’s film is opening nationwide, Gia Milani just finished her feature, Andrea Dorfman is getting millions of hits on YouTube and is going to camera, Terry Greenlaw is post on Hard Drive, all the AFCOOP film 5′s are female directors. Wanda Nolan’s script is going to camera, Connie Littlefield is prepping two documentaries that are both wicked, Latonia Hartery is going to camera, Eva Madden just finished a short, and Rebecca Sharratt is in post on Bunker 6.

Need more, how about these amazing producers, Jenipher Ritchie, Georgina Brown, Ginny Duzak, Johanna Lunn, Tracy Jardine, Annette Clarke, Deanne Foley, Moya Walsh, Jessica Brown, Katrina Walsh, Ann Verrall, Janice Evans, Johanna Eliot, Valerie Halman and Ann Bernier. The women named in this paragraph have produced and/or directed projects that are defining our generation. What I realized is that women as well as men are driving this industry forward, smashing the status quo and writing the next chapter. These are exciting times and I for one could not be more optimistic about the direction.

3. What were some of the highlights of this year’s conference for you?

Top Three? Gia Milani’s chat at the brunch on Sunday (very in depth and inspiring). The opening reception (seeing old friends and making new friends, win, win!) The Hideout speakeasy, just have a blast meeting so many filmmakers from all over the region!

4. What brought you to Halifax to set up shop for The Hideout Studios?

Halifax has that small town feel with just enough city to make it worldly. Great community vibe, fresh water lakes to swim in and skate on, the ocean is 2 minutes away!

5. For those unfamiliar with The Hideout Studios, what services do you offer?

The Hideout offers a fresh take on the Sound Mixing experience in Halifax. I do sound and only sound, I am not a “one stop shop” facility, as I truly see the benefit of having an expert being fully focused on the task at hand. If you need DVD dubs, a camera rental or lighting gear, there are many shops in town who do all of that, I do not.

My mix theatre is designed for the best experience for you to see and hear your project. The studio is very laid back, hell; I don’t even have a phone in there! When you are mixing, there is no one booked right after your session; if we run long, so be it, we are making art, not doughnuts. For distraction, there are instruments to play with, Vespas to ride and most importantly, someone to listen to you and your vision.

6. Tell us a bit about what it’s like to create an aural story and how you come up with sounds?

It starts with the director; you have to listen carefully to what they describe the scenes sounding like, even before they have gone to camera. Then, listen again once the editing is underway, hear the story from their perspective, tell the tale, support the narrative sonically. Sometimes it is pulling the sounds out, letting the music drive the scene and often it is a dance between the two. A subtle sonic touch is often the way forward, and as long as we are mindful of our influence on the story, we should be ok. Sound work is a joy and I still cannot believe I get to do this for a living.

Thanks for the opportunity to share my thoughts!

Find out more about Brian and The Hideout Studios at www.thehideoutstudios.com

Newfoundland Feature Film: The Tentacle’s Claw

Tara Manuel 350x469 Newfoundland Feature Film: The Tentacles ClawThe Tentacle’s Claw is a B-Movie creature feature from Corner Brook, NL written and directed by Michael Rigler and produced by and starring Tara Manuel. Board member Ruth Lawrence caught up with Tara after a very successful (and award-winning) fall launch of the film.

R-First of all, Tara, congratulations on the success of your first feature film. I’m pretty impressed that you did that while living and working on NL’s west coast.

T-Thanks for your congratulations. I’ve actually been living in Corner Brook for nearly four years now and that’s where we made The Tentacle’s Claw. We shot the 68-minute film in and around the city (apart from the diner location at a defunct chicken innoculation room at Hammond Farms in the Humber Valley). We edited and marketed in our front room.

R-Tell us a little about the film, what you did, and how you made it.

T-The Tentacle’s Claw is an absurd, black and white family friendly creature feature inspired by the B Movies of the post war era. I raised our $1245.00 budget by staging a Kabarett at the Corner Brook Arts and Culture Centre. We filled the roles with local performers, and we had a tiny crew. We shot guerilla-style and were very organized with scheduling as we were shooting part-time hours around everybody’s work schedules. Producing in this instance meant raising funds, casting, costumes, make-up, scheduling actors and locations, catering, and also starring! Michael Rigler, my husband of nearly 15 years, wrote, directed, shot, edited, and composed the original score.

R-This summer, I saw a fabulous huge puppet you made for the Writers in the Wild at the Woody Point Writers Festival. What’s your background in puppetry and how did that play into the creation of the film?

T-The debut show of our production company, Shadowy Souls, is an original shadow puppetry version of “St. George and the Dragon”, which combines Turkish inspired shadow puppets with digital projection and animation. We designed this show to go on the road, so all the elements break down to fit into and on top of my car. I have toured this show solo to nearly 40 schools on the coast of Labrador, and in northern, western, and southern Newfoundland. I build, tech, perform the show, and teach workshops at each school. Here’s a short clip.

I’m also a singer, and the author of three books. I’ve recently started performing Cabaret with puppets. These are performances that Michael and I collaborate on, and we’re planning more. I performed at The 50th Anniversary Celebrations of The National Theatre School of Canada last year in Montreal, and I’m working on a one-woman, many-puppet cabaret to take on the road. There’s something about performing with puppets that hits me deep in the gut. It’s difficult to articulate, but it’s thrilling, and it’s like a leap into the unknown every time I do it. Clip from Montreal

The Tentacle’s Claw is essentially a puppetry film. The tentacle is a puppet. Michael and I share a love of puppetry, as we were reared on Jim Henson’s creations, and plan to use puppetry in our work as long as we live.

R-How long did the film take to complete and what resources did you have available to you? Were there any particular challenges and if so, how did you overcome them?

T-Michael wrote the script during the winter of 2010. In the spring, we staged our fundraiser show, and we shot the bulk of the footage part-time during the month of July 2010. Michael spent nearly 20 months in post, largely working in the middle of the night, on top of his very busy day job as a director and technical producer for Rogers TV in Corner Brook. We have two young sons, and that commitment was challenging for our family. We own all our own equipment, and as we live nearly 8 hours drive from St. John’s, in isolation from the film industry, it is essential for us to be self-sufficient.

We’d been investing for several years in film and video gear and software rather than eating out and taking trips to Florida! Our editing system needs upgrading, so there were many tense delays, breakdowns, and frustrations. And the rendering for the cheesy effects took so much longer than it would have on an upgraded system. But that was the nature of this project – Resourced Based Filmmaking. And one of our ample resources was the talent in this community. Corner Brook is rich with talented actors and musicians too.

R- You’re an inspiration, I thought it was hard scraping money, people and equipment together in St. John’s but you did an amazing job here. You’ve worked with your husband Michael before and this time, he wrote and directed the film. What was it like to produce a film with him?

T-I love working with Michael. He’s a brilliant artist and a lovely man. We’ve been best friends for 16 years and we love working together. Our skills both complement and overlap each other, and we are adept at living and working together without tension. Michael seeks out and welcomes my input, my directorial ideas, he respects my opinions, and knows how and when to offer me counsel. We are working toward making Shadowy Souls our full time enterprise.

R-No doubt you’re determined enough to make that happen! The film just played in St. John’s at the Women’s Film Festival and you recently won an award in Atlanta. You were in the audience both times, how did you feel about the response to the film and was it different in each place?

T-In the 3 weeks before SJIWFF, we travelled to both Indiana for our screening at The B-Movie Celebration Festival, and to Atlanta for The Atlanta Horror Film Festival. At the American festivals, we had large audiences that seemed to be rich with B-Movie fans, with people who know the films of the era and who really enjoyed the humour of our film. The audiences seemed to know their stuff – that was evident from the questions during the Q and A’s. They were interested in hearing about the process, they laughed a lot, and the reviews have been great! We won Best Foreign Comedy Feature at the Atlanta Horror Film Festival. At the St. John’s festival we were scheduled at midnight on a Thursday night, and there was no Q and A. Many people connected to the cast would have loved to come out to see it, but with having to get into work early on Friday morning, it just wasn’t feasible. We had a tiny audience that laughed a lot, and the tech at the LSPU Hall was great.

R-Have you played it for your hometown crowd yet?

T-We did a wild test screening in May, with a red carpet limousine arrival of the stars, and much insanity! Check it out here:

We’re doing another Carnival screening this weekend. The film will be preceded by Amazonia the Leopard Lady (aka artist Gerri-Lynn Mackey who plays Gunda), live tentacle wrestling and Dame Tara Manuel battling an eight legged dancing beast.

R- I wish I could be there to see that! So what do you have up your sleeve next, can you give us any hints?

T-We’ve actually been encouraged by a Montreal distribution company to add 10 minutes to the film to bring us up to the minimum length requirements for feature films. We’re working through that process now with an executive producer, the distributor, and funding agencies. That would allow us an actual budget to finish the film, pay our people, and would make The Tentacle’s Claw the first feature film made by a local production company in western Newfoundland. We have other original projects in development, I am learning a lot about the business of producing, and am trying to take advantage of professional development opportunities. I have discovered that I LOVE producing films, and that Michael and I work really well together with the dynamic of producer/director.

View the Trailer here:

Some reviews:

Twisted Central
B Movie Nation

R- Thanks so much Tara, it’s particularly great to have so many wonderful video clips and links to share with the Atlantic members. It looks amazing and we wish you the best with the future of the film and your upcoming projects. Be sure to keep us in the loop!

Ruth Lawrence is a St. John’s based filmmaker whose recent film Two Square Feet, starring Jeanne Beker, recently played at the Silver Wave Film Festival in NB.

Is the Cannes Film Festival Shutting Women Directors out?

“Mais, Oui!”

That’s what French Feminist group La Barbe (the beard) are accusing the Cannes Film Festival of. In a  high-profile opinion piece published in the Le Monde this past Saturday, the article,  signed by Baise Moi director Virginie Despentes, filmmaker Coline Serreau and actress Fanny Cottonçon, among others, readily accuses the event of sexism.

“The directors of the 22 films in competition this year are all, by happy coincidence, men. For the 63rd time in its existence, the festival will crown one of its own, defending without fail the virile values which are the nobility of the seventh art….

…why should they (women in film) complain? Is it not enough for them to aspire to be mistress of ceremonies someday during the Festival’s opening night? Bérénice Béjo in 2012, Mélanie Laurent in 2011, Kristin Scott-Thomas in 2010, women are perfect hostesses, who are perfectly happy with a simple, ” you have beautiful eyes, you know ,” or other well-turned compliment. Disturbing icons as well whom you manage to leave where they belong: on display. As you can see from festival posters: this year Marilyn Monroe is the one we celebrate, in 2011 Juliette Binoche, in 2009 Monica Vitti, and in 1989 the Republican Marianne. (A feminine symbol representing the French Nation.)  In 1976 the naked buttocks of a woman were honored. What could our muses complain about? They are celebrated for their essential qualities: beauty, grace, lightness…Let us preserve them from the torments of bossing around a film crew, let us spare them the painful confrontation with the technical puzzles of a film set. Why allow them to bore themselves in the Festival Steering Committee where important decisions are made, where only male presidents have ruled since its creation? Let us go on giving only men the heavy load of repulsive duties. Let us be even better than Hollywood where only 77% men still sit on the Oscars’ Academy.

They have also launched an online petition which by Monday morning had more than 1,000 signatures on it, mostly from women involved in the French film world.

What do you think? Is sexism at play, or are films directed by women just not good enough for Cannes? We want to hear your thoughts – have your say below in the comments.

For more info:


Festival Strategy – Finding the Light

Festival Strategy – Finding the Light
by Joy Loewen

Feature Article 1 150x150 Festival Strategy – Finding the Light
Joy Loewen

Bright lights can continue to shine on your film long after you’ve wrapped production. Film festivals provide a venue to exhibit your film, network with fellow filmmakers and industry professionals, see great films and if you’re really lucky, provide a legit excuse to travel to a part of the country or world you otherwise wouldn’t go.

The key to festival strategy is to begin researching the options early. A common mistake is to wait until your film is complete before thinking about which festivals you want to target. Festival strategy is an integral component of a marketing plan which is created during the development phase of your project.

Fortunately, there are thousands of festivals and they come in many different varieties. Here are a few websites to research the options:

FilmLand Festivals, Markets and Conventions

Telefilm list of accredited festivals (see page 10)

Genie list of eligible festivals

Unfortunately, the number of festivals makes it hard to determine where to begin, hence the need to familiarize yourself with the options early and create a strategy to focus your time, energy and money.

So – how do you develop a strategy?

Step 1 - Identify goals for your film and goals for yourself. Create a tiered approach to festival submission which targets the major festivals first, special interest festivals second and online last. If this your first professional film and foray into the world of festivals I recommend applying to filmmaker friendly festivals such as the CFC’s Worldwide Short Film Festival and Vancouver, Atlantic and Seattle’s International Film Festivals. If you want to get international attention festivals with markets like Clermont Ferrand (for short films), Berlin and Rotterdam are the ones to target. A market is an ideal breeding ground for meeting co-production partners and pitching projects in your development slate.

Or if you want to use this current film to raise your profile consider A-List festivals like Toronto International Film Festival, Sundance, Tribecca and Berlin which are attended by industry movers & shakers from around the world.

Step 2 - Research the possibilities and create a wish list. This is where you can use the wide range and number of festivals to your advantage. Think local AND global. It’s important your neighbours get a chance to see your films and it’s equally valuable for the international industry and audience to see your work and consider you a possible candidate for future collaborations.

Kellie Ann Benz unlocks many festival secrets in a recent 3-part series written in her NSI column. Check it out here and bookmark it as a handy reference.

Programmers of all types attend festivals so screening at one festival will often lead to a invitation to submit to festivals that may not be on your radar. Shelagh Carter’s feature film Passionflower screened at Vancouver International Film Festival in 2011 and as a result, was invited to submit to several festivals in Canada, the US and Australia.

Step 3 – Carefully review the festival entry regulations and forms to ensure you meet the criteria then apply by the deadline. Applying by the early bird deadline affords you the luxury of saving money and can sometimes mean your film isn’t screened with the mass pile of films that come in at the deadline. Premiere status can be a deal breaker so it’s important to spend time figuring out which festivals require either a world, national or regional premiere. Yes it can be difficult to navigate the complicated regulations and somewhat repetitive festival entry forms. Without A Box makes festival submissions a breeze but don’t despair, if you don’t have the time or inclination to walk this road alone, know there are professional supports available. OUAT Media offers a festival submissions service and my company, Exposure Film, provides promotional and exhibition support to independent filmmakers.

Don’t be discouraged if after all your best efforts you get an inbox full of rejection letters. BC filmmaker, Karen Lam applied to 60 festivals with her current short film Doll Parts. She’s already been accepted into 25 but Karen is quick to point out this ratio hasn’t been the same for all her films. “I’ve directed and/or produced three feature films and six short films, and I have a really hard time predicting how anything will do on the festival circuit. Films that I’ve loved received no attention, so I have to say the film festival gods move in weird and mysterious ways.”

Even if your film doesn’t get accepted into competition at a festival, I encourage all filmmakers to attend at least one film festival a year. Always remember this is a business of serendipity and festivals present an opportunity to meet delegates you wouldn’t otherwise have met. I recently
began work with Lara Cassidy & Shauna Hatt to promote their newly completed short film, Fridge Magnet Poetry at Clermont Ferrand. This article is being typed with crossed fingers as we’re all hoping Fridge Magnet Poetry will be accepted into international competition at Clermont. If it
doesn’t, no worries, I’ll be there to provide on the ground promotion support to ensure the film, Lara and Shauna are connected to the appropriate industry professionals from around the world.

Quebec filmmaker, Claude Jutra states “not making the films you want to make is awful, but making them and not having them shown is worse.” So go find your festival spotlight. You owe it to yourself, your film and your audience to complete this final chapter in your film’s journey.

Joy Loewen is a marketing and exhibition producer who lives in Winnipeg, Manitoba and runs Exposure Film. She has previous experience as a broadcaster with WTN and CBC and was the Program Manager of the NSI Drama Prize until March 2011.

As first appeared in Tidings Issue 14, Nov. 28, 2011

Canadian Women Artists Documentary Series at Dalhousie University

The Dalhousie Art Gallery is pleased to present a special series of documentary film screenings that offer intimate portraits of four notable contemporary Canadian women artists: Shuvinai Ashoona, Wanda Koop, Annie Pootoogook and Colette Urban. The films highlight the work of Marcia Connolly and Katherine Knight, Toronto-based filmmakers who frequently collaborate. Marcia Connolly, who is currently teaching for the Fall term at NSCAD University, will be on hand to introduce the films and answer questions following the screenings. This free series runs November 10, 17, 24 at 8 pm.

Thursday 17 November
Pretend Not To See Me, 2009, 48 minutes
Director: Katherine Knight, Cinematographer: Marcia Connolly, Editor Anthony Seck, Producer: David Craig, Katherine Knight, Site Media Inc.
Life and art intersect on a spectacular Newfoundland farm where visual artist Colette Urban mounts thirteen art performances in the fields and barns of her property. Resilient, determined, self aware and funny, Colette embraces the transformative power of art as she restages the significant art performances of her thirty-year career. The film features the astonishing juxtaposition of Urban’s enigmatic art performances set against the rugged beauty of the Newfoundland landscape. She emerges as an empathetic, courageous and visionary character that has achieved artistic excellence through a focused and solitary journey.

Thursday 24 November
Koop: The Art of Wanda Koop, 2011, 47 minutes
Director: Katherine Knight, Cinematographer: Marcia Connolly, Producer: David Craig, Katherine Knight, Site Media Inc. Editor: Jared Raab
Two 30-year career retrospectives at the Winnipeg and National Art Gallery’s are approaching and the visionary Canadian artist Wanda Koop is preparing massive new paintings of archetypal cities and familiar yet disquieting landscapes. Breaking from the demands of the studio she embarks on a journey by freighter boat. Sketches, photographs and moments of observation soon lead to a new group of astonishing paintings and insights into the creative process.

For More information about these films, visit http://sitemedia.ca/

photo020810 01 300x200 Canadian Women Artists Documentary Series at Dalhousie UniversityMarcia Connolly is an award-winning filmmaker, cinematographer and video journalist. In response to Connolly’s documentary on artist Annie Pootoogook, Atom Egoyan stated, “Her camera has found a beautiful way of implicating itself into Pootoogook’s community in Cape Dorset, creating an intimacy and sense of spiritual kinship which is profoundly touching and rare.”

Connolly’s independent films have shown internationally and nationally including at the Galerie nationale du Jeu de Paume in Paris, the Toronto International Film Festival, International Documentary Festival Amsterdam (IDFA), the Edinburgh International Film Festival, the Vancouver International Film Festival, the Smithsonian Institute and at the Margaret Mead Film and Video Festival. Ghost Noise received the 2010 Lodestar Award for Best Canadian or International film at the Dawson City International Short Film Festival and Jury’s Choice First Prize at the Black Maria Film and Video Festival. Since 1999 Connolly has also worked as a Producer and Video Journalist at the Canadian Broadcasting Corporation (CBC). These programs have received multiple Gemini’s, an International Emmy, and the Japan Prize.

knight Canadian Women Artists Documentary Series at Dalhousie UniversityKatherine Knight is Associate Professor, Department of Visual Art, Faculty of Fine Arts, York University. Knight’s photographic work is represented in the collection of the National Gallery, Museum London, Department of Foreign Affairs, and the Art Gallery of Nova Scotia.  Knight, founded Site Media Inc in 2006 to produce documentaries of creative individuals in extraordinary places. Site Media has produced four documentaries on Canadian artists, including “Annie Pootoogook” and “Kinngait: Riding Light into the World.” In 2009 Knight directed, “Pretend Not To See Me,” which received Special Mention at the Ecofilm Festival, 2010 in Rhodos, Greece. Knight’s documentary on artist Wanda Koop, was the gala night selection for Reel Artist Film Festival, Toronto, February 2011. Knight is currently developing a film on the architecture of Todd Saunders.

For more information, please contact:

Dalhousie Art Gallery
6101 University Avenue, PO Box 15000, Halifax, Nova Scotia, B3H 4R2
T 902.494.2403 / E art.gallery@dal.ca / www.artgallery.dal.ca
Hours: Tuesday to Friday, 11 am to 5 pm. Weekends, noon to 5 pm. Free admission.

Melissa Silverstein Breaks Down Breaking Dawn

Breaking%20Dawn%20Bella%20and%20Edward Melissa Silverstein Breaks Down Breaking Dawn

(Melissa Silverstein | November 17) – Well it looks like the Twilight phenomenon has corrupted one who I thought was immune — Manohla Dargis of the NY Times who wrote in her review today that she “had surrendered.”  She also called the love story “ridiculously appealing.”  I can’t say I got on board in the same way, I thought the film was really cheesy, but then I expected it to be really cheesy.  Taylor Lautner can’t act.  The makeup annoys me.

But I’m not really interested in the Twilight phenomenon for the content.  I’m interested in it for the phenomenon.  For the fact that a franchise told from a female’s perspective is again about to take the box office by storm.

And make no mistake about it, this is a movie for girls and women.  I don’t see a lot of dudes going to see a film that spends the first 20 minutes on a wedding and then the next 20 minutes on the married couple having sex for the first time where everything is white and perfect (except for the bruises on Bella).

For those unintiated, this film is about Bella (Kristen Stewart) and her deciding to keep her baby (which is growing at an accelerated rate) even though no one knows if it will be human or vampire or part of both.  She decides to keep the baby even though the baby is literally killing her from the inside out.  It’s kind of half a pro choice and half a pro life story.  And Mr. sparkly vampire himself Edward Cullen (Robert Pattinson) goes off about how they are supposed to be partners and she gave him no choice in this.  Newsflash Edward – it’s her body.  While it is weird to see her literally dying before our eyes, it’s still her choice whether she wants to give birth to a humpire.

But the twihards are already losing their shit (have you seen their tent cities which rival the Occupy movements across the country), and this weekend will be big at the box office for Breaking Dawn Part 1.  Estimates have it grossing upwards of $140 million.  That would equal the opening of New Moon which wound up grossing a bit short of $300 million.  Eclipse which opened lower (because it was the summer with a lot of competition) still managed to make about $300.  And while the studio Summit got more guys to see New Moon for the action sequences, this time I would take a guess that 70% of the ticket buyers will be girls and women and I would also guess that over 50% will be over 25.




Great Accomplishment For Female Director Nadia Tass!

1 211x300 Great Accomplishment For Female Director Nadia Tass!

Matching Jack,” which won best picture at the Milan International Film Festival, will be feted in Los Angeles with a gala screening Wednesday night November 2.

Director Nadia Tass, who is travelling from Australia for the event, will receive the festival’s highest award, the Golden Horse, for Best Director.

“Matching Jack,” a family drama filmed in Australia, has won numerous awards. In addition to Milan, it was Best International Feature at the Edmonton International Film Festival, Best Film Prix du Jury at the Cannes Cinephile, and star Jacinda Barrett received Best Actress Award at the San Tropez Film Festival.

The ceremony and a special screening will be held at the Italian Cultural Center, 1023 Hilgard Ave., Los Angeles. There will be a red carpet entrance at 7:00PM and the awards and screening will begin at 7:30PM. Chaz Bono is expected to attend to accept the award for Best Documentary (“Becoming Chaz”). Also in attendance will be the Consul Generals from Italy, Australia and Greece. Ms. Tass is Greek by birth.

The film’s Director Nadia Tass has previously received a Family Television Award for Best Movie (“The Miracle Worker”), the Humanitas Certificate (“Felicity)” and an AFI Best Film Nomination (“Mr. Reliable”). Her works includes “Pure Luck” for Universal Studios, “The Miracle Worker” for Disney, “Child Star: The Shirley Temple Story” for Disney, “Undercover Christmas” for CBS Network, “Samantha: An American Girl Holiday”, and “Felicity: An American Girl Adventure” for the WB, and “Custody” for Jaffe Braunstein Films. She also directed “Stark”, a mini-series for The BBC/ABC television.


Matching Jack gall1 1024x680 Great Accomplishment For Female Director Nadia Tass!


Are You A Canadian Documentary Filmmaker? Enter to WIN!

docAward webBanner Are You A Canadian Documentary Filmmaker? Enter to WIN!

Are you a Canadian documentary filmmaker who wants to make the leap from producing hour-long broadcast documentaries to producing feature length documentaries for theatrical release?  Super Channel would like to help you make that leap!

The Super Channel Feature Documentary Award will be awarded to two teams to assist in the development of their feature documentaries.  Enter now and you could receive the following:

  • 15-20 hours of mentorship with a senior feature documentary producer
  • $3,000 budget to benefit your project and attend the Hot Docs Forum 2012

The director and producer must each have at least one hour-long television documentary credit, and may not have more than one feature-length (75 minutes +) documentary credit.  The director and producer may be the same person provided that this person meets the above eligibility requirements regarding credits in both roles.  All entrants must be Canadian citizens.

Visit www.superchannel.ca/creativeaward for our Prizes, Guidelines and Terms & Conditions and for details on eligibility, submission and prizes.

Contest closes at 5 pm on November 27, 2011.  Late entries will not be accepted.

New Brunswick Loses Tax Credit

The film and television industry in New Brunswick was punched in the gut recently by the new Conservative government of David Alward. As of March 22, the NBFilm Tax credit has been removed, along with development loans and equity investment. Promotional Travel Assistance and partnering with the NB Film Coop on the Short Film Ventures Program will continue. How ironic, though, that our government will put some money into helping emerging filmmakers with the Ventures program, while, at the same time, killing the industry.

Opposition to the axing of the Tax Credit came fast and from all corners of the province. Mr Donald Arseneault, Liberal MLA for Dalhousie-Restigouche East, is actively pursuing the issue on behalf of those whose livelihoods are already affected. Many in the industry (and related jobs) must consider leaving New Brunswick to keep working.

This bid to help lower the budget will lose much more money for public bank accounts in the long term than it will save in the short term. According to the “Save the NB Tax Credit” online petition, for every dollar invested by the provincial government in the industry, the economy gets $12 added over the long term.

To redirect the industry (or to pacify the opposition), the provincial government has promised to invest in another type of tax credit, related to new media but so far only announced in general terms. Thus many production companies are floating in limbo, not sure whether to continue with plans to move or to wait to see exactly what investments and credits will come.

It’s a sad and stressful time for New Brunswick production companies and related workers.