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Awards, Featured

WGC Award nominee Graham Clegg on Murdoch Mysteries’ “Kommando” episode

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Leading up to the Writers Guild of Canada awards tonight, TV, eh? has been posting a series of interviews with some of nominees. Graham Clegg was nominated in the Drama category for the “Kommando” episode of Murdoch Mysteries.

Can you describe the episode “Kommando” and how it fit into the Murdoch Mysteries season?

“Kommando” embroils Detective William Murdoch into the increasingly macabre mystery of who is hunting down and killing an elite squad of Canadian soldiers who have recently returned from a training mission in Africa. The episode is somewhat darker in tone from others in Season 4, but it mirrors Murdoch’s demeanour in the arc of the season; he’s just lost the love of his life, the romance is gone, and yet through it all he proves that truth can help heal almost anyone. Well, almost anyone. Actually, hmmm, one or two people. I mean, hey: given the subject matter it ain’t gonna end all sunshine and roses. That would just be wrong. But there is an upside, believe me.

What about this episode are you particularly proud of?

The episode is set in the year 1898, and yet the story elements can be linked to the “upcoming” Boer War, World War 1 and World War 2, up to modern day and beyond. That’s the great thing about writing for Murdoch Mysteries; you’re writing about the past but the stories can often comment about the present and future.

What does this recognition mean to you?

It’s fantastic to be recognized by my peers and be honoured with my 5th WGC nomination. “Kommando” was my first script for Murdoch Mysteries and I’m grateful for the opportunity to have been included in such an innovative story department and production.

And finally (imagine my best Joan Rivers impression): what will you be wearing to the ceremony?

All I can tell you is that I’m not going “kommando.”

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Awards

Canadian Cinema Editors Award nominees announced

From a media release – see full list here (I’m including TV only):

CANADIAN CINEMA EDITORS ANNOUNCE 2012 AWARD NOMINEES

The Canadian Cinema Editors is honoured to announce the nominees for the 2012 C.C.E. Awards, to be held on May 17th at The Capitol Event Theatre in Toronto. The C.C.E. Awards is the largest event hosted by the organization, focusing on the significance of post-production in cinema.

Best Editing in Long Form Television Series (1 hr. drama, comedy, family program):
Teresa De Luca, C.C.E.  -  Combat Hospital, ep110  “Reason to Believe”
Teresa De Luca, C.C.E.  -  Bomb Girls, ep102  “Misfires”
Vesna Svilanovic  -  Murdoch Mysteries, ep413  “Murdoch in Wonderland”
Wendy Hallam Martin, C.C.E.  -  The Borgias, ep107  “Death, on a Pale Horse”
Gareth C. Scales, C.C.E.  -  Flashpoint, ep417  “Priority of Life”

Best Editing in Television Movie or Mini-Series
Lisa Binkley, C.C.E.  -  Magic Beyond Words: The J.K. Rowling Story
Mike Lee, C.C.E.  -  Wrath of Grapes: The Don Cherry Story 2
Ron Wisman, Sr, C.C.E.  -  Committed
Don Cassidy, C.C.E.  -  The Kennedys Ep 4
David B. Thompson, C.C.E.  -  The Kennedys Ep 7
 
Best Editing in 1/2 hour Broadcast Short Form (under 30 min.)
Matthew Hannam  -  Michael: Tuesdays and Thursdays  Ep 4  “Sleeping with People”
Craig Webster  -  Less Than Kind, Ep 301 “Fugue State”
Jay Tipping  -  Picnicface  Ep 106  “Storybook”
Gordon Thorne  -  Degrassi: The Next Generation   Ep 1107  “Cry Me a River, Part 2”
Brigitte Rabazo  -  Todd & the Pure Book of Evil  Ep 206 “Fisting Fantasy”

Best Editing in Documentary
Kathryn Dickson  -  “Fuelled By Passion: The Return of the Jets”
Roslyn Kaloo  -  “The Mystery of Mazo de La Roche”
Michele Hozer, C.C.E.  -  “West Wind: The Vision of Tom Thompson”
James Blokland  -  “Who’s Sorry Now”
Nick Hector, C.C.E.  -  “Wiebo’s War”
 
Best Editing in Lifestyle/Reality
Jonathan Dowler  -  Undercover Boss, Ep 1003 “1-800 GOT JUNK”
Todd Hallam  -   From Spain with Love, Ep 1002 “Paella: Tradition in a Pan”
Robert Kraus  -   From Spain With Love, Ep 1001 “Basque Country”
Robert Ruzic  -   Fanboy Confessional,  Ep 102 “The Steampunk Edition”
Pete Watson -   Amalfi Getaway”, Ep 101 “Limone ”

Best Editing in Animation
Annellie Samuels  -  Producing Parker, Ep 126 “Parker Prophecies”
Annellie Samuels  -  Producing Parker, Ep 125 “Real Men Eat Parker”
Dan Lee  & Robert Henry  -  Sidekick, Ep 31 “Fortress of Maxumtude”
Kurt Skyers  & Robert Henry   -  Scaredy Squirrel, Ep 22 “Perfect Pickle / Goat Police”
Daniel Palmer  -  Dino Dan  “Where the Dinosaurs Are”

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Awards, Featured, Sanctuary

WGC Award nominee Alan McCullough on Sanctuary’s “Metamorphosis”

AM - Headshot

Leading up to the Writers Guild of Canada awards on April 23, TV, eh? is posting a series of interviews with some of nominees. Alan McCullough was nominated in the Drama category for the “Metamorphosis” episode of Sanctuary.

Can you describe the episode, and how it fit into the Sanctuary season?

“Metamorphosis” was a departure episode for Sanctuary. It was conceived as our version of “The Fly”, but following our mid-season two parter, we were looking to save money (and relieve our VFX department), so we decided to shoot it from a first person POV. This gave the script a uniqueness, but presented a whole host of production challenges. Specifically, we were forced to shoot the episode on three different types of cameras, eating up any savings we were trying to achieve. It also meant no cutaways, so each shot had to be as technically perfect as possible. Truthfully, the entire shoot was something of an experiment, and I credit director Andy Mikita with making it all work.

What about this episode are you particularly proud of?

One of the things I wanted to achieve with the script was to build the story using a series of vignettes. One scene didn’t necessarily lead into the next, and we were constantly jumping forward in time between scenes. My hope was that it would leave the audience scrambling to catch up, which is where the characters are during the story.

What does this recognition mean to you?

It’s always a great honor to be recognized by peers. Also, other awards shows use a DVD of the episode to evaluate writing, which means other factors such as directing, casting, music, etc. can influence the decision. The WGC Awards focus solely on the script.

And finally (imagine my best Joan Rivers impression): what will you be wearing to the ceremony?

Denim has been my fashion friend for years. Also, I bought a Hugo Boss sport jacket a few years ago that I intend to be buried in.

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Awards, Featured, Michael: Tuesdays and Thursdays

WGC Award nominee Matt Watts on Michael: Tuesdays & Thursdays’ “Bridges”

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Leading up to the Writers Guild of Canada awards on April 23, TV, eh? is posting a series of interviews with some of nominees. Matt Watts was nominated in the Comedy category for the “Bridges” episode of Michael: Tuesdays & Thursdays.

Can you describe the episode, and how it fit into the Michael: Tuesdays & Thursdays season?

“Episode 5: Bridges” is the first episode where the season arc really kicks in. At the beginning of the episode, David realizes that he’s allowed his patient, Michael, to become too dependent on him and tries to make the relationship more professional by putting some distance between them. As a result, Michael feels he’s being pushed away, and reacts badly. This forces David to tell Michael the big truth: that he’s been writing a book about him without his knowledge or consent. It’s a huge turning point in the season.

What about this episode are you particularly proud of?

It went through so many drafts. For a brief period, the script was about clothing, and Michael’s inability to remove his hoodie and toque (to tie in more with the b-plot where Michael and Claire are having sexual difficulties) and the exposure scenes had Michael and David in a crowded bar wearing short-shorts. No, really.

There’s so much going on in that episode, I didn’t think we’d be able to pull it off – but we did (Allison MacLean did an amazing job directing it) and we were all involved in it. Don (McKellar) oversaw everything, Bob (Martin) did a pass on it before I did my final pass (and then went back to Bob for the production drafts – as do all the scripts) and it ultimately turned out to be one of my favourite episodes of the season. So yeah, I’m proud of that… That we pulled it off. Although my name is on this script, it was a group effort, it was a monster.

What does this recognition mean to you?

I’ve had such a crazy, fortunate career, meeting these guys when I was really young. They took me under their wing when I was 20 and have included me in so many of their projects, but this is the first time I’ve had a “written by” credit on one of them. It means a lot to me, but it also means a lot to Bob and Don; they’ve told me they’re really proud of me, and this nomination. So that means the world. It’s been a long time that I’ve been vying for their approval. Whether I win or not, I have it. Now I can die.

And finally (imagine my best Joan Rivers impression): what will you be wearing to the ceremony?

Whatever I wear it’ll have to look decent no matter how much alcohol is spilled on it.

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Awards, Dramas and Comedies, Featured

WGC Award nominee Evan Thaler Hickey on Connor Undercover’s “Escape Artist”

ETH-Headshot

Leading up to the Writers Guild of Canada awards on April 23, TV, eh? is posting a series of interviews with some of nominees. Evan Thaler Hickey was nominated in the Children & Youth category for the “Escape Artist” episode of Connor Undercover.

Can you describe the episode, and how it fit into the Connor Undercover season?

Let’s see if I can do this without being too spoiler-y! “Escape Artist” is one of the hinge episodes in Connor’s second season. Up to that point, Connor (our secret agent in training) and Gisela (his protectee) have been working to keep Gisela safe from a faceless adversary bent on capturing her (for what reason, no one knows!). But now, there’s a new player in town who knows who’s behind the entire conspiracy; and he’s playing a major game of cat and mouse with our two heroes as they try to capture him. Oh, and Connor and Gisela are handcuffed together the entire time. It’s a crazy thrill ride and it gives them a big clue into who the big bad of the series is.

What about this episode are you particularly proud of?

I think it’s the overall tone of the episode. Connor’s an action/adventure/comedy and the episodes sort of live or die on finding the right balance between those elements. It’s gotta be funny but not too jokey ’cause that kills the tension and the stakes have to be high but not life-threatening since it’s a kids’ show. I’d already worked on the first season of the series but writing this episode was the first time I felt I really got that. It felt good.

What does this recognition mean to you?

This is really big for me — not just because it’s the first industry award I’ve ever been nominated for but because this award’s all about writers judging writers on their writing. It’s not about what made it to the screen, it’s about the script you wrote and I think that makes it mean more than just about any other award out there. Plus, it’s made my mom really happy.

And finally (imagine my best Joan Rivers impression): what will you be wearing to the ceremony?

A look of anxiety and lots of deodorant.

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