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Awards

Juno Awards plan live chat during broadcast

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On Sunday, April 1, Canadians can join in the JUNO AWARDS Live Chat on Facebook.com/CTV, at JUNOS.CTV.CA or on the CTV iPad App Social Screen to mingle with Bell Media Radio personalities from across the country live during the show.

More on the show from a media release;

Simple Plan Announced as Final Performer for THE 2012 JUNO AWARDS

  • Broadcast Details Announced for Canadian Music’s Biggest Night, April 1 on CTV
  • Bell Media to present 9 encore broadcasts of Canada’s Music Awards
  • Fans can cast their vote in the JUNOS Fantasy Poll on CTV Television Facebook Page

CTV and The Canadian Academy of Recording Arts and Sciences (CARAS) have confirmed 2012 Allan Waters Humanitarian Award recipient Simple Plan as the final performer on THE 2012 JUNO AWARDS. CTV also revealed today broadcast details for the Sunday, April 1 JUNO AWARDS broadcast across the country, including nine encore broadcasts.

Simple Plan has been nominated for eight JUNO Awards over the band’s 10-year career, and won the JUNO Fan Choice Award in 2006. The band joins already announced performers Blue Rodeo, City and Colour, deadmau5, Feist, Hedley, Hey Rosetta!, Nickelback and live ‘mixed tape’ performance of the top dance hits of this year, featuring Alyssa Reid, Anjulie, Dragonette, JRDN, and Mia Martina. Simple Plan will receive the 2012 Allan Waters Humanitarian Award at the JUNO Gala Dinner & Awards on Saturday March 30, 2012.

Hosted by legendary Canadian William Shatner, Canada’s preeminent awards broadcast airs from Scotiabank Place in Ottawa LIVE in Ontario, Québec and Atlantic Canada at 8 p.m. ET/9 p.m. AT; at 8 p.m. in British Columbia, Saskatchewan and Manitoba; and at 9 p.m. in Alberta (full listing of broadcast times below).

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Awards, Featured, Flashpoint

WGC Nominee Aubrey Nealon on Flashpoint’s “Day Game”

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Leading up to the Writers Guild of Canada awards on April 23, TV, eh? will be posting a series of interviews with some of nominees. Aubrey Nealon was nominated in the TV Drama category for the “Day Game” episode of Flashpoint — one of four nominations in the category for the series, and his first ever TV script.

Can you describe the episode “Day Game” and how it fit into the Flashpoint season?

In “Day Game,” Team One is confronted by a bitter ex-cop named Gil whose life went off the rails when Parker rejected him from the force’s top unit, the SRU. Determined to prove himself, Gil orchestrates a heist at a stadium so that he can step in and save the day. Naturally things go violently haywire, and as the Team arrives to restore order, Gil gets Parker in his clutches. As the Team scrambles to rescue their boss, Parker is forced into a tense negotiation with a desperate and vengeful Gil. With his life on the line, the usually unflappable Parker erupts in an outpouring of pain and self-doubt that’s been building all season, leaving him questioning his ability to do his job.

What about this episode are you particularly proud of?

This was the first TV script I ever wrote, so I’m pretty proud that it got made at all. Like, someone put it on TV! That’s really cool.

But in terms of the writing itself, I did enjoy creating the character Gil, a guy who is intimately familiar with the SRU’s techniques and tendencies, and holds a deep, personal grudge against Parker. He makes for a fun and formidable opponent, I think — because it’s almost as if he’s watched the show before. He plays with the Team’s expectations about how critical incidents unfold, which allows me to play with the audience’s expectations about how Flashpoint unfolds — all while staying true to the spirit of the show.

What does this recognition mean to you?

A couple years ago I crashed the WGC awards party (paying the full $100 non-union entrance fee!) so that I could corner the Flashpoint showrunners, Mark and Stephanie, and grovel for a job. This year, thanks to this recognition, I’ll get into the party much more cheaply, and Mark and Stephanie will be obliged to talk to me whether I grovel or not.

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Awards, Dramas and Comedies, Featured

WGC Nominee Derek Schreyer on 18 to Life’s “One Is The Loneliest Number”

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Leading up to the Writers Guild of Canada awards on April 23, TV, eh? will be posting a series of interviews with some of nominees. 18 to Life creator Derek Schreyer was nominated in the TV Comedy category for the “One Is the Loneliest Number” episode.

Can you describe the episode, and how it fit into the 18 to Life season?

This was our season II kickoff, and we wanted to enjoy the characters we created without it feeling like a premiere. Our pilot suffered from a bit of a set-up-itis, so it was fun to write something that was purely character-driven rather than premise-oriented. At one point we had another episode in this slot which focused on a pregnancy scare, but it felt too early to play that card. So we looked for something that would shed new light on Tom and Jessie’s relationship and colour their dynamics for the season.

For me it was important that it was funny but also have a bit of pain underneath. That’s why it touches on sexual insecurity which triggers the need to overcompensate (by which I mean lie). These lies breed misunderstandings which in turn lead to scenes that are both funny and agonizing. Or so I hope. I find it hard to write comedy without drama, or drama without comedy, because they feed off each other.

What about this episode are you particularly proud of?

I like how this episode is clearly about three relationships — not just Tom and Jessie, but also their two sets of parents.

Unfortunately, we were never quite able to shake the misconception 18 To Life was a teen show, probably because of that damn title (oh, hindsight!). If we could rename it, we’d probably call it Love Thy Neighbour to showcase the wider premise. Truth is we were always more a 9pm show (as this episode demonstrates) which is probably why ABC picked up our pilot the same year they ordered Modern Family, even though they passed on the series.

I think we hit our stride here — it’s sexy, adult, painful, and the storylines bounce off each couple organically. It was a treat to watch our awesome cast pull it off, and I’m very proud of how this episode showcases every one of our characters, the core six, plus the two best friends. I also like how in the end we put Tom in a vulnerable place that informs his arc for the season.

What does this recognition mean to you?

There’s only four nominees in this category, but they’re all pretty heavy-hitters. I’m really proud to be in their company.

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

I’m not even sure what I’m wearing right now.

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Awards, Featured

WGC Nominee Craig David Wallace on Todd & The Book of Pure Evil’s “A Farewell to Curtis’ Arm”

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Leading up to the Writers Guild of Canada awards on April 23, TV, eh? will be posting a series of interviews with some of nominees. Todd and the Book of Pure Evil co-creator Craig David Wallace was nominated in the TV Comedy category for the “A Farewell to Curtis’ Arm” episode, which he also directed.

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

“A Farewell To Curtis’ Arm” is the season one finale of Todd & The Book Of Pure Evil. Originally, it was written as the 8th episode of the season, but it was such a game changer for the gang that we had a hard time writing episodes after it, so we moved it to the end of the season. We have a mostly stand alone episode structure to the series, but the last few episodes of each season get more and more serialized and pay off all the little mysteries we have planted from the beginning. In this episode, it’s revealed just how Curtis lost his arm, and Todd’s role in said arm removal. It also sheds light on the Metal Dudes’ plan for Todd, his destiny as the Pure Evil One, and Jenny’s search for her missing father. In 22 minutes! That’s a lot of stuff.

What about this episode are you particularly proud of?

Out of anything I’ve ever written or directed (in this case, I did both), this episode turned out more awesome than I ever expected. For me, it really captured my voice as a writer-director, and I’m so lucky to have had a such a great support system (from the cast, the other writers, the other producers, the crew, and our broadcaster) to make it happen. All the weird jokes, the tricky shots, the mythology of the series, it all comes together in this one big crazy package. I got to do fight scenes with swords and demon arms, reverse shots with a blood canon, satanic senior citizens and an awesome flashback involving really potent marijuana and table saw and lots of blood. Plus I got to feature some of my favourite heavy metal songs. In short, it was heaven.

What does this recognition mean to you?

As the showrunner of the series, it’s great to be nominated for a writing award. I was nominated last year for a Gemini directing award for the same episode, which was great, but now I feel like I’ve proved that I’m the whole package: writer, director, showrunner. But in the end, so much input and inspiration comes from everyone involved in the production, so this award nomination is for all of us who helped build the world of Todd & The Book Of Pure Evil. It’s awesome to make the show you always wanted to make, but it’s even better when other people like it too.

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

If my wife has her way, I’ll probably have to wear at least a suit jacket on top of what I’d normally wear. Jeans and a T-shirt.

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