Heidi Phillips vs. Scott Fitzpatrick

•April 16, 2013 • Leave a Comment

Published April 17th, 2013

Two of Winnipeg’s heavy-weight filmmakers go toe to toe tomorrow night (Apr. 18), in what will undoubtedly be one of the most anticipated Winnipeg underground film events of 2013!

Heidi Phillips, Winnipeg’s avant-garde queen, will be fighting to retain her metaphorical film nerd championship belt from the rip, roaring, direct animation up-and-comer, Scott Fitzpatrick.

In Heidi’s corner is collaborator and sound-art strong-arm Michel Germain. Don’t let him fool ya folks! Those nimble fingers can create some of the strangest and technically innovate sounds in the Winnipeg sound art scene.

Read more below!

And see you at the show!

——————————–

Originally published by the Winnipeg Film Group’s Cinematheque, Spring 2013.

MISSION 22! AN EVENING OF EXPANDED CINEMA

LIVE FILM PERFORMANCE
Heidi Phillips, Michel Germain and Scott Fitzpatrick

Thursday, April 18 at 8:00 PM
Venue: Negative Space, 253 Princess Street

Forsaken
In a collaboration between Heidi Phillips and Michel Germain Forsaken alters images rescued from Klass “A” Auctions before the family run auction house burnt down in Saskatoon. Deep Sea Adventure, Mission 22 Orbits and My Next Door Neighbour are just some of the amazing titles amongst the 40 films. Phillips alters images by using various techniques including by-packing positive and negative to reprint using a contact printer (from Phil Hoffman’s film farm), a method gleaned from Owen Land, a well known avant-garde American filmmaker. Muscle men, machinery, and building climbers become foreboding figures in this darkly apocalyptic film performance. The optical sound reader from the film projectors is adopted to read the image as sound. Germain will manipulate these tones to create a live soundscape for the work.

Shade and Wingdings: The Musical!
Two expanded cinema works by Scott Fitzpatrick, both handmade on 16mm film using experimental, non-photographic animation techniques. Basic hues keep time and improvise a choreographed dance; unexpected conversions rates relate font-size to audible tone (in search of a tune) interested in colour and sound respectively, Shade and Wingdings: The Musical! are exercises in total cinematic reduction.

Heidi Phillips is an experimental filmmaker and installation artist from Manitoba with an affinity for the tactility of the filmic medium. Phillips’ often uses thrifted super 8 films, contact printing and darkroom experiments to push her work into new places. Phillips’ old school process frequently becomes part of the content, as grainy scratched films are merged with images lifted from found footage to create mesmerizing, transcendent works.

Michel Germain is a musician, audio artist and technician based in Winnipeg. His work ranges from improvised, electronic music and rock n’ roll performance to sound design for film, video and installation projects.

Scott Fitzpatrick is a visual artist whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Though primarily a filmmaker; he is also invested in photography, re-photography and collage.

“Land, ho!” at Gimli Film Fest

•April 16, 2013 • 1 Comment

gimli screen

Good news for local filmmakers wanting to be a part of Gimli Film Festival 2013!

The Gimli Film Fest and their partners the NSI announced on April 15th that they would open a “special call” for local films, with an all online submission process that is open until May 15th. The films will be eligible for a special one-hour short film program of “exclusively Manitoba films completed within the last year”, in addition to the other 6 hours of shorts programs that will be culled from the NSI’s Online Film Fest.

The festival’s director said this added “special call” was a response to the recent reaction by local filmmakers to news that Gimli would be closing their short film open call for the first time in the festival’s history.

“It’s an attempt to acknowledge the feedback we’ve received,” said Gimli Film Fest director Cheryl Ashton in a phone interview with Cineflyer.

Ashton said it was money matters that forced the festival to choose between dropping their short film programs entirely, and partnering with an outside organization that could handle the task of programming 7 hours of short films.

“We’re doing this out of necessity, not out of want,” said Ashton, the festival’s sole year-round employee. “This is a year that we’ve kind of had to adjust, and at the same time there is no new funding being announced anywhere. It’s tough times out there. Just hanging onto the sponsors we have had has been tough enough.”

Ashton said it has been challenging to raise money for the festival because it’s currently not eligible for public sector funding because of the cash prizes offered by the festival. Ashton said the organization is hoping to make changes to their structure so they may become eligible for arts council funding in the future.

But for local filmmakers who felt their participation in the festival was seemingly ousted, this announcement is a sweet victory and proof that local stink-raising can pay off.

See more about this ordeal in this previous Cineflyer post.

And if you’re a local filmmaker, why not submit to Gimli Film Fest!

———————
Originally published on the NSI website, on April 15, 2013

Special call for Manitoba-only short film submissions for the Gimli Film Festival 2013

Gimli-Film-Festival

Manitoba short filmmakers – you could win up to $2,000 in prize money at the Gimli Film Festival which takes place from July 24 to 28. Submit your film – which must have been completed after January 1, 2012 – through the National Screen Institute. Submissions are being accepted until Wednesday May 15, 2013 at 4:30 p.m. CT.

Get the submission form and details.

NSI has partnered with the Gimli Film Festival to deliver seven hours of shorts programming for their annual festival in Gimli, Manitoba, 90 kilometres north of Winnipeg.

Six hours of programming, including comedy, drama, animation, documentary and more will be selected from the NSI Online Short Film Festival archives.

The seventh hour will be exclusively Manitoba films made up of submissions received as part of this call.

Entries cannot be longer than 30 minutes – the shorter the better. Drama, comedy, animation, documentary, sci-fi, horror, music video and experimental films are all eligible.

Films must be produced by Manitoba filmmakers, completed after January 1, 2012 and have not previously been programmed at the Gimli Film Festival. There is no submission fee. Your screener must be available online for the jury to review. DVD submissions will not be accepted.

Two $1,000 audience awards are up for grabs – the Shaw Media Audience Choice Award for Best Canadian Short Film, and Shaw Media Award for Best Manitoba Short Film.
About the Gimli Film Festival

The Gimli Film Festival, now in its 13th year, showcases features, documentaries and shorts from Manitoba, Canada and the world, that promise informative, fascinating and riveting entertainment. In addition to the indoor venues, the popular, free on-the-beach screenings will be back for 2013. Gimli, Manitoba is located about 90 kilometres north of Winnipeg, on the west shore of Lake Winnipeg.
About the National Screen Institute

The National Screen Institute is renowned for having given many emerging filmmakers, television writers and producers their first breaks, and for providing training and production support through courses like NSI Totally Television, NSI Drama Prize, NSI New Voices, NSI Features First, NSI Lifestyle Series Producer, Movie Central Script to Screen and NSI Aboriginal Documentary. NSI also offers national exposure through the NSI Online Short Film Festival and provides vast resources and support to those in the film, television, and digital media industry at nsi-canada.ca.

———————
Originally published on the NSI website, on April 12, 2013

NSI partners with Gimli Film Festival

The National Screen Institute – Canada (NSI) is proud to announce its new partnership with the Gimli Film Festival.

NSI is programming seven themed hours of short films for the Gimli fest, which takes place from July 24 to 28, selected from the NSI Online Short Film Festival archives. Comedies, documentaries, drama, animation and more will be presented.

One of the programs will contain exclusively Manitoba films completed within the last year, and NSI is opening a special call for submissions, starting Monday April 15. Details will be available on the NSI website at that time.

“We are very excited to be working with NSI on this year’s festival,” said Gimli Film Festival director Cheryl Ashton. “Their extensive archive from the NSI Online Short Film Festival provides a wide range of films from across Canada, and we also want to give Manitoba filmmakers the opportunity to get their latest and greatest projects on the Gimli big screen.”

A jury will select the Manitoba films chosen for the Gimli Film Festival.

Two $1,000 audience awards are up for grabs – the Shaw Media Audience Choice Award for Best Canadian Short Film, and Shaw Media Award for Best Manitoba Short Film.

“Although NSI is a national organization, it’s very important to us to support regional events in our home province,” said NSI CEO John Gill. “NSI has been attending and participating in the Gimli Film Festival for years and it’s great to see it grow in popularity. This new endeavour is a wonderful chance for us to work with them and extend a specific invitation to Manitoba filmmakers to submit their shorts.”
About the Gimli Film Festival

The Gimli Film Festival, now in its 13th year, showcases features, documentaries and shorts from Manitoba, Canada and the world, that promise informative, fascinating and riveting entertainment. In addition to the indoor venues, the popular, free on-the-beach screenings will be back for 2013. Gimli, Manitoba is located about 90 kilometres north of Winnipeg, on the west shore of Lake Winnipeg.
About the National Screen Institute

The National Screen Institute is renowned for having given many emerging filmmakers, television writers and producers their first breaks, and for providing training and production support through courses like NSI Totally Television, NSI Drama Prize, NSI New Voices, NSI Features First, NSI Lifestyle Series Producer, Movie Central Script to Screen and NSI Aboriginal Documentary. NSI also offers national exposure through the NSI Online Short Film Festival and provides vast resources and support to those in the film, television, and digital media industry at nsi-canada.ca.

Changes at Gimli Film Fest

•April 4, 2013 • 1 Comment

April 4, 2013


**Addendum, April 15, 2013 : As a reaction to a filmmaker outcry regarding the issues discussed in the article below, the Gimli Film Fest and the NSI have opened up a “special call” for local films. For more on this announcement, please see this Cineflyer article.

Interested Manitoban filmmakers can submit their films on NSI’s website before May 15th, with the option to also submit to NSI’s Online Film Fest, or not.

—————–

For the first time in it’s history, Gimli Film Fest will be closing it’s short film open call.

The festival has announced on their website that the National Screen Institute will instead be programming the short film component of their festival, culling exclusively from the films already available on NSI’s Online Short Film Festival.

This means that local filmmakers are blocked out of the festival, unless they successfully submit their films to NSI’s Online Film Festival. Sadly, the deadline for local filmmakers to do so has already expired for the 2013 festival.

This presents a number of problems for local filmmakers who don’t want their films online, added to the fact that neither Gimli Film Fest nor NSI pay filmmakers for the exhibition of their art. Also a source of contention is the fact that Gimli’s new head programmer (in 2012) is Joy Loewen, the former NSI Drama Prize program manager.

Many local filmmakers are also rightly worried that NSI’s Online Film Fest consists mainly of narrative-centric films that are mostly over two years old. I would bet that NSI will be hard-up to find a Manitoban film in their roster that hasn’t already screened at Gimli in previous years.

In the past, Gimli has been the best Manitoban film festival for local filmmakers of ANY genre to get a screening. It was a really fantastic variety, lovingly assembled by programmer Matthew Etches.

Gimli was – in fact – the festival that I first witnessed my own work upon the screen, and was a great stepping stone for many local emerging filmmakers. But in recent years, I have been nervously witnessing a festival steadily sloping towards a family-friendly, politically correct, festival for vacationing cottagers.

And, given the festival’s location, perhaps this is not a bad choice after all. But for filmmakers and film buffs in Manitoba, it certainly leaves a lingering thirst that Blue Hawii and Jaws 2 just can’t quite quench.

Local filmmaker Stéphane Oystryk’s said this about the recent changes to the short film programming:

“It seems to me that short film programs are the heart and soul of film festivals. They’re an opportunity to showcase up and coming talent as well as give a concise glimpse of where cinema might be headed in the future and what kinds of ideas are floating around out there. When a festival refuses to program their own short film programs and instead relies on another festival’s selections, they forfeit the chance to really define themselves as a festival and offer their audience something special and unique. Shorts are where all the fun is. At least in my opinion.”

“This turn by the Gimli Film Festival SMACKS of laziness,” said another Winnipeg filmmaker, Damien Ferland. “To rely on another organization to provide preselected films shows the indifference of the programmers. The diverse regional, national and international short film programming was something that worked well. There is a lot of potential that the Gimli Film Festival has but it’s sometimes plagued with some very bad decision making.”

There has been little reaction from the Gimli Film Festival over criticism of their recent changes, although they did remove the portion of their website that explained their engagement with NSI. I personally wrote Gimli chair and founder, Conservative Senator Janis Johnson, who replied “Thank you for your email re the GFF short film programming changes. You have made some good points but times change and with it film festivals.”

Johnson also recommended I contact Cheryl Ashton, the festival’s director, from whom I received no response.

Local filmmaker Shelaugh Carter won best Manitoba Short Film at the Gimli Film Fest in 2011 with her film One Night. She was a fan of the festival’s past short film programming, and wonders if the changes are a sign of budget constraints.

“[I] loved how they programmed before ( regardless if my films were chosen!!) I saw very creative films from International filmmakers – a wide range in approach ….. curating thru one festival to get to another seems to be happening across Canada…. I’m wondering if it is non profit choice re: tightening budgets and trying to survive,” she wrote via email.

-Aaron Zeghers

How to Apply for Film Funding in Manitoba

•February 9, 2013 • 3 Comments

February 9th, 2013
by Aaron Zeghers

You want to make a film, I get it. So do I. But what now?

Getting a film funded can be tough, especially if you are early in your career. It’s important that you make small, affordable filmmaking attempts yourself, before applying for most grants. And perhaps even more important is knowing the history of your art form – cinema! – and where your work fits into this milieu.

Most Manitoban filmmakers will need an history of exhibition to qualify for grants from the Manitoba Arts Council, Canada Council for the Arts, and I believe the Winnipeg Arts Council grant has this provision as well. Basically, if you haven’t made a film and screened it somewhere (preferably a legit festival or curated screening), you’re going back to the story board. This is proof that distribution is key to your practice as a filmmaker, as troublemaker Clint Enns tackles for Cineflyer HERE!

However the Winnipeg Film Group does have a First Film Fund, that virtually any member can apply for.

There are also a number of alternative or corporate funding sources, like the BravoFACT fund, MTS’s Stories from Home, courses through the National Screen Institute, and additional funds from Manitoba Film & Music.

—————————-

The Application

Most film and video grant applications are similar, though each will have it’s unique specifics that you must be careful to follow. Be sure to carefully read all the rules, regulations and required items. You can expect to include an artistic CV, synopsis, treatment or script, artistic outline, support material and budget in most applications. Other additions like storyboard or shot list, shooting schedule, letters of support, letters of commitment, cover letters, and proof of pre-existing funding may be required.

When writing a grant there is many things to consider, but perhaps most important is “know your audience”. Arts organizations will generally care about different things than, say, BravoFACT. Most arts organizations will want, first and foremost, a project that is artistically valid. Why are you doing what you’re doing? How does this project relate to your greater artistic practice? Do you exhibit a strong understanding of the medium you work in, as an artist?

On the other hand, BravoFACT or NSI jurors will probably be more likely to raise questions like: Is it marketable? Is it entertaining? What kind of audience does this have? Is it funny/cute/scary/thrilling/sexy?

However, all cash-money gate keepers will want to see your previous work. This is very important. Your support material is usually submitted on DVD (or VHS according to many of the guidelines!) and should show a strong relation to the project you’re applying to.

—————————–

The Manitoba Arts Council

MAC is by and far the best funding organization within Manitoba. They have some great grants for local filmmakers from all walks of life, ranging from $6,000 to $20,000. The grants are relatively easy to apply to, and the gestation period after applying to a grant is usually pretty reasonable.

Here are the programs offered via MAC:

Travel / Professional Development Grant

Aboriginal Arts Creative Development in Film/Video // up to $7,500.

Aboriginal Arts Mentorship Training and Development // up to $5,000

Scriptwriting Grant // up to $6,000

Film Project Grant // up to $6,000

Film Production Grant // up to $20,000

——————————

The Winnipeg Arts Council

Twice a year there’s the WAC Individual Artist Grant deadline. Emerging artists can get $2,000 and mid-career or established artists can get up to $5,000. WAC accepts submissions from all artists, but from what I’ve seen filmmakers making tradition films are rarely funded. This is probably mainly due to the fact that a lot of artists apply and there isn’t a lot of money to be had.

However, it is far from impossible to get a WAC grant. I would recommend applying with an idea that you already have some momentum for. It seems like WAC bites when a) the project is semi-underway already, or b) if you will be exhibiting the final product at an art show. And of course you want to have a strong artistic explanation of what you want to do and why you are choosing to do it.

——————————–

The Canada Council for the Arts

Another great place to apply for arts funding, no matter where you are within Canada. Their emerging artist film grants are perfect for those that have a few films and screenings under their belt. Established and Mid-career artists can get a maximum of $60,000.

Scriptwriting Grants // from $3,000 to $20,000

Production Grants // $3,000 to $60,000

Research/Creation Grants // $3,000 to $60,000

Aboriginal Media Arts Program // $3,000 to $60,000

Travel Grants for Media Arts Professionals // $500 to $2,500

—————————-

The Winnipeg Film Group

The WFG has a couple of film funds available to its members.

The First Film Fund is a perfect bet for young, enthusiastic filmmakers. You can get up to $3,000 cold hard cash and $2,000 services from the WFG so it is perfect for a relatively short idea.

The Production Fund is a maximum $2,000 grant available for either production or post-production of a short film. The truth here though is that there is WAY MORE money available for post-production than production. So, if you can get your shoot done this is a perfect grant to apply for some finishing funds!

Finally, there is the Hot House Award offered by the Winnipeg Film Group. Not to be confused with the NFB animation program by the same name that far precedes this award, the Manitoba Hothouse Award offers $10,000 cash and $5,000 services to one established Manitoban Filmmaker every year.

——————————

MTS’s Stories From Home (formerly MTS On Demand)

This local documentary series is a great opportunity for those that have some credible experience in making films. The key is to get in touch with the great folks that run this program, and have your Winnipeg-related doc pitch ready to go. Generally I believe they fund projects from $5,00 to $25,000, but there have been exceptions to this rule. Check out some of these docs on the Stories From Home Youtube channel here.

—————————–

BravoFACT

BravoFACT has been changing the format of its contact pretty drastically and often lately, so be sure to check out their website for details.

Right now they are looking for 7.5 minute “creative, narrative proposals” and they are offering up to $50,000 for it. Not bad bang for your buck!

——————————

The National Screen Institute

NSI doesn’t really provide film funding, it offers education programs through which you MAY be able to create your film. The successful applicants undergo rigorous training, jumping through hoops to the finish line that may or may not contain the funding for their film. I’ve never applied to NSI so it’s probably best for you to just check out their website.

——————————

Manitoba Film & Music

Manitoba Film & Music (MF&M) has two funding programs that can be of varying use to local, independent filmmakers, depending on your situation.

Most useful is the Emerging Talent Grant Program, which is for projects that have “received production funding awards through a competitive, juried process from a recognized industry organization.” In simpler words, if you have received a grant from MAC, WFG, WAC, CCA, or another juried application process, Manitoba Film & Music will match that amount up to $10,000. This is a really great way to beef up your budget, but beware! There is a TONNE of paperwork required by MF&M, and you must have a registered business and bank account for said business to even apply. That being said, don’t shy away from this grant, just be sure to keep very good track of every penny you spend, and perhaps seek out someone that has gone through this process before and get their advice.

There is also the Micro-budget Grant Program, which allows productions of less than $100,000 to get a 10% increase care of MF&M. In nearly every case this grant is useless, especially considering that receiving this grant will grind your Film Tax Credit.

——————————

Manitoban Film Tax Credit

For larger-budget productions it is wise to take advantage of the Manitoban Film Tax Credit which will allow you to get back up to 65% of your labour costs on the project, which can often be a LOT of cash. However, there is a lot of paperwork, dealing with the government, and business skills needed to do this on your own. You also have to have an incorporated production company with a Canadian Revenue Agency registered payroll. Just to incorporate costs $450, plus the costs of hiring an accountant to do your corporate year end taxes ($1000 ballpark). So I would say you’d want to have a budget of around $20,000 before taking advantage of this tax break.

If anyone is interested in this, feel free to message me and I can hook you up with my Film Tax Credit accountant and Corporate accountant!

——————————

Please consider this article a work in progress! If you have comments, additions, please leave a comment and I will add them, or email them to cineflyer at gmail.com

Drugs ‘n’ Bugs : Lowlife in Winnipeg

•November 16, 2012 • Leave a Comment

Found just off the Atlantic coast, it is a strange beast indeed that rears its ugly head. Hopped up on psychedelic starfish slime and haunted by a mud monsters and creepy crawlies, Lowlife is the film to single-handedly coin the term “mudsploitation”.

The horror film’s strange aesthetic seems at home in Winnipeg, with its black and white, gritty, and surreal-at-times aesthetic. The film follows the ever-troubled musician Asa (Darcy Spidle) as he makes floundering attempts to win back his former girlfriend and maintain his addiction to the psychotropic substance he squeezes from the asshole of some unsuspecting starfish.

Lowlife is the first feature collaboration between Dog Day frontman Seth Smith and the non-actor’s actor Darcy Spidle, a big wig at Divorce Records / Obey Convention. Both of these music minded men took a break from their main projects to cast off into the emotional shallows of no-budget feature filmmaking.

But the $5000 gamble of self-financing paid off for director Seth Smith, who went on to win the $10,000 audience award for Best Feature at the 2012 Atlantic Film Festival, in addition to a host of media acclaim.

Vice Magazine called Lowlife “the feel-bad hit of 2012″ and Fantasia Film Festival described the 2012 addition to their festival as “A chaotic labyrinth, LOWLIFE seeks inspiration from extreme narcotic-induced delirium to deliver unconventional visuals that recall ERASERHEAD.”

Lowlife certainly steals a page or two from Lynch, with perhaps some influence from early Cronenberg, Burroughs, and Luis Buñuel. But the final product is uniquely its own, a melange of recognizable if not obscure film fringe tropes and aesthetics.

As part of the film’s insanely ambitious 3-day screening bonanza in every province of Canada, Low Life plays Winnipeg on Nov. 17th at 8:30PM at Frame Arts Warehouse (318 Ross Ave.) care of Open City Cinema, Ghost Town MB, and Big Fun. You can find details about the Winnipeg screening of Lowlife HERE!

For more on this film check out this great feature article and interview with director Seth Smith, written by Fast Forward Weekly’s Josiah Hughes.

-Aaron Zeghers

OCC: “I Shot it on 16″ Screening!

•October 7, 2012 • Leave a Comment

Open City Cinema and the Winnipeg Film Group present:
“I Shot it on 16″ film experiment screening

Tuesday, October 9th, 2012
@ Frame Arts Warehouse (318 Ross St.)
Doors at 7:30 // Pay What You Can!

In one night, Open City patrons will witness twelve new films created by twelve brave Winnipeg souls that ventured out on a 16mm film excursion this summer, via the WFG’s “I Shot it on 16″ experimental film workshop.

Earlier this summer, these eager filmmakers picked up a bolex and a roll of film and – for many of them – shot their virgin frames of 16mm. With some instruction from Mike Maryniuk, Aaron Zeghers and Josh Marr, these celluloid newcomers learnt how to shoot, edit and finally mess with their original footage with various direct animation techniques like scratch animation, tinting, toning and more, much more!

This Tuesday all will be revealed as you get to taste the forbidden fruits of their labor. Find the event on Facebook HERE!

The filmmakers are:

James Dixon
Matheu Plouffe
Jim Pomeroy
Paul Carvelli
Lawrence Bird
Ian Bawa
Omar Velasquez
David Greisman
Fabian Velasco
Rhayne Vermette
Aaron Zeghers
Mike Maryniuk

In addition, Open City Cinema will be presenting an additional special screening of surprise films!! See you there!

-OCC

Greg Hanec’s Downtime, circa 1985

•October 2, 2012 • Leave a Comment

Downtime image cover poster 1985

With the DVD release of Greg Hanec’s Downtime only a few weeks away, I thought it was high time I published these couple Downtime clippings that were passed on to me from the desk drawer of Cinematheque programmer Dave Barber.

The picture above is a Cinematheque advertisement created for a midnight screening of Downtime when the film was first released. It features a high-contrast version of the trademark image — from the same original image that will appear on the Downtime DVD cover, available at the DVD release on October 18th at 7PM at the Cinematheque.

Below is a review of Downtime from City Magazine’s Melissa Steele in the fall of 1985. Steele, for the most part, makes an intelligent critical assessment of Downtime, aptly boiling it down to a story about regular people that are “imprisoned by a suffocating cycle of boredom and isolation.” She continues to praise Downtime as a great achievement for first-time filmmaker Hanec, and for the all-amateur cast.

Steele claims Hanec’s Downtime to be an urban version of Aleksandr Solzhenitsyn’s 1962 novel One Day in the Life of Ivan Denisovich. Despite the vague similarities in pacing, the characters in Downtime are far from the tyrannical hardships of a 1950s soviet labour camp. They drift through life, working at jobs that neither discomfort them or invigorate them, living lives that certainly aren’t hard, just boring. Perhaps saying that Downtime is a first world version of One Day in the Life of Ivan Denisovich would be more apt.

Even more apt would have been drawing comparisons to Hanec’s contemporary Jim Jarmusch, specifically his early works Permanent Vacation and Stranger Than Paradise, neither of which Hanec was able to see until after Downtime’s completion in 1985.

My personal favourite part of the article comes at the end, when we see Greg’s do-or-die attitude as an artist fully illustrated. “If I can’t make it in filmmaking, I don’t think I should go make sitcoms. I’ll go and be a cook in some restaurant or something,” says Hanec.

In her review, Steele attacks the editing of Downtime, specifically the inconsistent nature of the fade outs and cuts. Although I am not sure, I would guess that these inconsistencies were more likely a constrain of the $16,000 price tag of the film than anything. The good news is, since the new DVD was restored from the original negatives, the fades and cuts had to be re-applied by yours truly. As Greg and I re-assembled the film from the HD transfer, we were forced (the transfer had no fade outs) to reassess some of the fades as well as colour correction, with the result being a more succinct, more vivid, tighter edit than ever seen before.

Greg Hanec, actress Maureen Gerbrandt and U of W Film Prof John Kozak will all be at the Cinematheque in person to launch the brand new DVD, and will be speaking after the film. Check out the Facebook event here!

And of course, stay tuned for more on Downtime, coming to Cineflyer in the weeks leading up to the release of this often overlooked masterpiece of regional cinema!

Downtime press city magazine article 1985

downtime city magazine article 1985

downtime greg hanec 1985 article city magazine

 
Follow

Get every new post delivered to your Inbox.