From Bill Brioux of the Canadian Press:
Actor Gregory Smith tries his hand behind the camera on ‘Rookie Blue’
t’s no surprise, really, that Gregory Smith is directing episodes of the series he co-stars in, Rookie Blue. The Toronto-lensed cop drama returns for a fourth season May 23 on Global and ABC. “He’s a particular renaissance man,” says Rookie Blue executive producer and showrunner Tassie Cameron. “He’s one of those guys you discover suddenly that he’s running some tech company out of his trailer, he’s taking award-winning photographs from his travels to Africa … he’s just one of those people.” Read more.
From a media release:
NEW COPS, NEW CASES, NEW COUPLES – ROOKIE BLUE SEASON FOUR RETURNS MAY 23 ON GLOBAL
- Plus New This Season Rookie Blue In Session – An Original Companion Web Series Launches On GlobalTV.com Thursday, May 16
Global is proud to announce the highly anticipated return of Canada’s favourite cop show Rookie Blue season four, in simulcast with ABC on Thursday, May 23 – 10pm ET/PT. Also new this season is Rookie Blue In Session, a dramatic short form web series on GlobalTV.com that will give fans an unprecedented look inside the minds of the police officers from 15 Division.
Faced with huge repercussions, 15 Division seemed on the edge of unraveling at the end of last season. The explosive season four premiere will answer fans’ burning questions and will also welcome two new characters, Marlo Cruz and Chloe Price, who have the power to turn 15 Division on its head.
New and old romantic ties come to light as new rookie recruits Chloe Price (Priscilla Faia – True Justice) and Senior Uniformed Officer Marlo Cruz (Rachael Ancheril – The Listener) join the team. Andy McNally (Missy Peregrym), Dov Epstein (Gregory Smith), Chris Diaz (Travis Milne), Traci Nash (Enuka Okuma), Gail Peck (Charlotte Sullivan) and Nick Collins (Peter Mooney) all return for season four.
Rookie Blue In Session, a 10-part short form original web series, follows the cops from 15 Division as they sit down with the staff psychologist to face their darkest demons, personal and professional struggles and major decisions, leaving them at their most vulnerable.
Fans can catch up now on the past three seasons of Rookie Blue for free on GlobalTV.com or the Global Video App.
Rookie Blue is executive produced by award-winning Tassie Cameron (Flashpoint), Ilana Frank (The Eleventh Hour, Would Be Kings), David Wellington (The Eleventh Hour, Would Be Kings), Russ Cochrane (The Listener) and John Morayniss (Klondike, Rogue). Rookie Blue is a production of ICF Film Inc. and leading indie studio and distributor Entertainment One.
From Jay Bobbin of Zap2It:
‘Rookie Blue’ producer salutes ‘Flashpoint’ as a ‘game-changer’
Tassie Cameron was a co-executive producer and writer of “Flashpoint” — which included Amy Jo Johnson in its cast, and had American runs on CBS and ION — before becoming a creator and executive producer of the Missy Peregrym-starring “Rookie Blue,” which starts its fourth ABC season Thursday, May 23. Read more.
From Jay Bobbin of Zap2It:
‘Rookie Blue’s’ Missy Peregrym: ‘It’s never easy’ to start a new season
The actress starts her fourth round as police officer Andy McNally when the Canadian-made drama resumes its ABC run Thursday, May 23. The season premiere follows through on last year’s finale, with Andy and peer Nick Collins (Peter Mooney) immersed in a dangerous undercover operation. The episode means some rough stuff for Peregrym physically, but she maintains she’s gotten better at not taking the related emotions home with her. Read more.
Tassie Cameron (Rookie Blue, Flashpoint) is one of the speakers at the upcoming Toronto Screenwriting Conference on April 6 and 7. She shared her thoughts on the conference, cross-border diplomacy, and keeping the rookie in Rookie Blue.
What do you want to convey at the Toronto Screenwriting Conference?
I don’t really have anything to convey, beyond the fact that one can actually have a career as a Canadian screenwriter: I’m just happy and proud to be there, in such great company, representing for Canadian content, series and writers.
I’d rather answer questions any day then try and tell people what I think they should hear. But I guess I’m hoping I can help demystify the process — encourage great new writers that it’s possible to get a series on the air that you’re proud of and part of — and help share any shortcuts or helpful hints that might make life as a screenwriter in this country a little easier.
What do you hope to get out of it?
While I’d love to meet the other guest speakers — many of whom are heroes of mine — my only real agenda is to be as honest, open, informative, and helpful as I can be: to give back to the city I love, to the amazing new writers that are out there, and to the community that nurtured me.
Have conferences like this played a role in your career development?
I was lucky enough to go to the Canadian Film Centre — so conferences and speakers like this were part of the daily fare. But yes, every time I got to meet or listen to an honest, interesting human being who was doing this for a living, it both relaxed and inspired me. It’s not brain surgery, right? It’s just cool people, telling stories, fighting the good fight, working insanely hard for what they believe in, and trying not to be jerks along the way.
You’ve had a diverse career in various genres and formats – is that what it means to be a working writer in Canada?
Yes, definitely. Unlike the US, you’ve got to be a jack of all trades up here, if you want to work on a regular basis. And I’m starting to think that’s our national secret super-power. Because you can’t be too specific up here if you want to work consistently, it means you have to be — get to be — pretty solid, fast and informed about a bunch of different genres. Which teaches you new skills, keeps you flexible and open, and gives you tons of different kinds of experiences to draw on. Nothing’s ever wasted — it all just becomes part of your tool-box. Which means you end up with a pretty damn cool tool-box.
You’ve also spearheaded a couple of the major cross-border successes — what do you think it takes to work successfully with an American broadcaster in the mix?
Big, open, diplomatic ears. You need to listen really carefully to what your US partner is looking for — figure out how it aligns with your primary Canadian broadcaster — and then forge whatever creative peace needs to be brokered in between, making sure both networks feel heard and answered to. It’s a delicate dance, but when it works, it’s magic. Ideally both networks are on the same creative page from the beginning, which makes life a lot easier.
What would you say is the legacy of Flashpoint’s success?
Flashpoint opened the doors for all of us working in this country. It was smart, emotional, polished, prime-time storytelling that not only grabbed Canadian viewers, but crossed a bunch of borders and raised a bunch of bars. And it looked and sounded gorgeous. It was huge for Canadian television.
What’s new for Rookie Blue this upcoming season? How do you keep it fresh as the core cast loses some of their rookiness? Has the balance shifted at all in the serialized vs episodic elements?
There’s lots of new stuff in store for this season: new characters, new dynamics, new revelations. We’re trying to keep it fresh by not being afraid to change a little bit as we go along — and we’re trying to keep it honest by changing in the way that our rookies do. They’re growing and learning and shifting, and we’re trying to reflect that growth within the series. We also seem to be adding a new “rookie” every season, which helps refresh our premise.
And I think we’ve maintained a pretty steady balance between episodic and serial storytelling. All our episodes try to tell at least one good crime story, beginning to end; but at the end of it all, we’re a character-driven show, and we let our main characters drive the narratives, as we always have.
Anything else you want to add?
Nope … just excited to see you all at the TSC!