Everything about Cardinal, eh?

Comments and queries for the week of February 16

I liked this season [of Cardinal] way more than Season 1, partly from the change of season but also because I thought the villain was way better this time. Like a lot of white people in Canada, I’ve been learning what racial appropriation is this year. It’s interesting to see it turn into a serial killer’s pathology. —Wim

Great series, really enjoy the characters of Cardinal and Delorme. I hope there is a fourth series commissioned to complete the books. Looking forward to Season 3, which is hopefully not 12 months away. —Toni

After Season 1 I started looking for Giles Blunt’s John Cardinal novels. The first one I found (and read) was No. 4 in the six-book series, By The Time You Read This which was so gripping! So when Season 2 started, and the “Catherine and John” thread started revealing itself, I knew right away what was coming! At times, it was a little too distracting to watch, seeing actors I’m more familiar with on 19-2 and Orphan Black (is Kevin Hanchard always going to play a cop?). However, you can also look at it from the opposite perspective, e.g. Kris Holden-Ried, who played LaSalle the biker bar owner, but also appeared as a priest consoling a troubled Frankie Drake (Frankie Drake Mysteries). I’ve admired Krist as an actor since I first saw him in Showcase’s Paradise Falls. I think he’s got range! —Stephen

I thought the opening credits for this show were the most beautiful I have ever seen. Anyone who thinks Northern Canada can’t be beautiful needs to view the first two or three minutes of the show. Aside from that, as a fan of Giles Blunt’s books, I was disappointed by the changes made, especially taking out Ray Northwind’s heritage as a Cuban. It makes the whole mysticism much more believable than the way the TV series showed him as coming from Sudbury. —Wendy

Pure quality and totally absorbing. —AnnH

U.S. fan, blew my mind the ending. Loved this season! Great sophomore to a brilliant first season. Characters phenomenal! Landscape gorgeous. There certainly is beauty in pain. Cannot wait for Season 3. —Kim

 

Got a question or comment about Canadian TV? Email greg.david@tv-eh.com or via Twitter @tv_eh.

 

 

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Cardinal: Showrunner Sarah Dodd reflects on Blackfly Season

Spoiler alert! Do not continue reading until you have watched the season finale of Cardinal: Blackfly Season “El Brujo”!!

Well, Cardinal fans, were you shocked by the season finale of Blackfly Season? Although I’ve read the books, Thursday’s climax still left me breathless. My heart went out to John Cardinal (Billy Campbell) when he realized the person who’d jumped to their death was his beloved wife, Catherine (Deborah Hay).

That wasn’t the only stressful moment during “El Brujo.” In true, nail-biting fashion, the fates of Terri (Alex Paxton-Beesley) and Kevin Tait (Jonathan Keltz) were up in the air when it appeared Leon Rutkowsky (Dan Petronijevic) and Ray Northwood (Bruce Ramsay) would get their final sacrifice. As it was, the bad guys were arrested in time—I was secretly hoping they’d be killed—and order was restored.

We spoke to Blackfly Season showrunner Sarah Dodd—who most recently served as a co-executive producer on Motive—to talk about her experience adapting Giles Blunt’s novel for television, the challenges of filming night scenes and what’s next for John Cardinal.

Before we get into specifics about this season and the season finale, can you tell me how you became involved in Cardinal in the first place?
Sarah Dodd: I was working in London, England, on a series called Ransom. And that show has among other production partners, Sienna Films. So, when I was in their story room on Ransom, they were looking for showrunners on Season 2 and 3 of Cardinal. They called me and asked if I would be interested and I jumped at the chance. I’ve always wanted to do a limited-run murder mystery series like this. I’m a big fan of all the Scandi-noir stuff and shows like Happy Valley, Broadchurch and The Killing. So, I said, yes that I would love to. I came back to Canada at the end of the summer in 2016 and read all six books that Giles Blunt wrote and that was how it started.

Was there any nervousness on your part? Giles Blunt established this world in his book and Aubrey Nealon set the stage in Season 1.
It was both terrifying and inspiring. The books are very cinematic. Giles is very good at writing a scene and I was inspired by how much was there in the material. I was definitely daunted by the big shoes I had to fill from Aubrey’s season. I was a huge fan of Season 1, so it was a brass ring. I just had to go for it. But, always in the back of my mind was, ‘I have to be true to it and really honour Season 1 and not disappoint the fans.’ My biggest fear was that everyone who fell in love with Season 1 would be disappointed in Season 2. [Laughs.]

But, at the same time, I was working with a great advantage because I was writing for Billy Campbell, Karine Vanasse, Glen Gould and all of these actors in my head.

What did you learn about the differences between writing a six-episode season and an 18-episode one?
It is less daunting because it’s only six episodes but in other ways, it’s a completely different art form for me. It’s a miniseries, so it’s long-form and I have done so much episodic that this was very new for me to carry one case over the course of six episodes. I had never done that before so writing a new genre, basically, was exciting and scary. We also only had five weeks in the writer’s room to break all six stories and walk out of that room knowing how to write up our outline. We couldn’t have done that if we didn’t have the book. We added a lot of characters and storylines that weren’t in the book and we changed a lot of things and made some adjustments, so it was challenging in that way.

What did working on Cardinal force you to do as a television writer?
I think that Jennica Harper and Alison Lea Bingeman would agree that it was a really fantastic opportunity to dig deep into character. The other noticeable difference for me was less dialogue. The standard one-hour episodic that I’m used to writing is dialogue heavy and with Cardinal we had to find ways of cutting way back. Less was more, especially John Cardinal. He doesn’t say much. Neither does Lise Delorme, really. In their scenes together, so much of what they say passes between their faces. The other big thing is that when we were breaking the episodes we were working on index cards with a colour-coded system. We made sure that we had a specific colour that was the visual card. There was no plot, we just knew we wanted an image there. It wasn’t part of the story. The landscape of Cardinal is character in the show, so we were breaking story, plotting characters and thinking a lot about visuals.

Can you talk a little bit about working with Jeff Renfroe? He directed all six episodes and established a wonderful colour palette and look for Season 2.
I thought that Daniel Grou and Aubrey did a wonderful job in Season 1. Everybody talked about that dark, cold landscape and how much landscape was a part of the show. And my story takes place in the summer, right? The first conversation I had with Jeff was, ‘What will be our birch tree? What will be Cardinal’s mind palace, for lack of a better word? What are we going to see when we are trying to get into the emotion of the characters?’ From a writing perspective, we always thought about cottage country in the summer. Boats, beaches, campfires and going to the bar in the summer when the sun hasn’t even gone down yet. Bugs swarming you. And then I looked to Jeff and Dylan Macleod, our cinematographer to undercut that so that we always have that eerie feeling that things aren’t quite right. Our touchstone was that there was a rot behind the beauty. A decaying quality.

How did you go about choosing your writing team? 
Both Sienna and Bell were very supportive of me finding the right people for my little room. I had just worked with Jennica on Motive and we get along really well. Not only is she a very good one-hour procedural writer but I also know her as a poet so I knew she would be able to bring that lyrical, metaphorical quality to the writing and in the imagery. And she’s also got comedy chops. I had met Alison socially but I had never worked with her before, but we share an agent and Alison has had a project in development with Sienna, so they knew her and she’d done 19-2 with Bell so they knew her. And I knew from my group of writer friends that Alison was good with one-hour procedurals not only with breaking but with serialized storytelling in This Life. We had a telephone conversation and I got to know a great new writer in the process. We also had a fourth person in the room named Gemma Holdway who was our intern at first and then was upgraded to story editor.

Bruce Ramsay played a wonderful bad guy in Ray Northwind.
Casting that character was huge. When we were developing the series and writing the scripts always in the back of our minds was, ‘Who are we going to get to play Ray?’ It can’t be the moustache-twirling stock villain. It has to be someone with some pain and some layers and a bizarre, otherworldly confidence. It was a tall order and we were thrilled to get Bruce.

Terri ends up being a real bad-ass and flat-out saves Kevin in a lot of ways in the finale.
That was another conscious change that we made from the book. She gets a little forgotten about by the end of the book and we thought that because we’ve invested so much time with her and she’s really put her life on hold to come and extricate her brother from a bad situation, we didn’t see her as someone who would just give up. We think she’s a fighter and wanted to have her be active in the finale.

How long did the fight scene between Cardinal and Ray last when it came to filming it?
It was faster than you might think because we had a lot of camera coverage and we covered it from every angle. Every filming day was packed and Jeff had so much to accomplish and that day was no different because we had stunts and underwater work and working in the dark. I had a lot of discussion with Jeff and Dylan in pre-production about motivating light at the camp. In the book, the place is completely off the grid and it would have been all lanterns and candles and flashlights but because we needed some practical lighting to motivate Dylan’s lighting along the walkways and down by the shore so we could see the actors’ faces and know what was going on we said, ‘OK, they have a generator somewhere.’

If anyone has read the books they know Catherine dies at the beginning of the third novel, By the Time You Read This. Why was it decided she would die at the end of Season 2?
There were lots of conversations around that to make sure it was the best choice. For the writers, we thought that if we didn’t end Catherine’s story there that if you looked back over the six episodes of Season 2 you would say, ‘What is Catherine and Cardinal’s story?’ There is a strong beginning because she’s out of the hospital and is well and back at work. Their daughter is doing well in Toronto. But there is always this undercurrent of when is the next time and it’s inevitable there will be a next time. Cardinal is ready to hang it up so that he can be there with Catherine so that maybe there isn’t a next time. That, of course, is a dream.

What did you think of Season 2 of Cardinal? Are you excited to see Season 3? Let me know in the comments and check out the Season 3 teaser trailer!

 

 

 

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Cardinal: Behind-the-scenes with Sienna Films’ Jennifer Kawaja

Are you enjoying Blackfly Season, faithful Cardinal fans? Will Lise Delorme (Karine Vanasse) and John Cardinal (Billy Campbell) keep Terri (Alex Paxton-Beesley) safe Thursday at 9 p.m. ET/PT on CTV, or will Ray Northwind (Bruce Ramsay) track her down?

We’ve certainly loved the new season so far and have Julia Sereny and Jennifer Kawaja of Sienna Films to thank. The production company founders are not only responsible for executive-producing the Cardinal franchise, but the Global/CBS drama Ransom, Global’s excellent military drama Combat Hospital, web series in Riftworld Chronicles and the feature films New Waterford Girl and How She Move.

We spoke to Jennifer Kawaja last summer on the set of Blackfly Season about how the series came to be, the excitement of filming on location and working with stars Billy Campbell and Karine Vanasse.

Give me the origin story. How did Cardinal end up a Sienna Films production?
Jennifer Kawaja: CTV optioned the project and they went looking for producers to work with them. We fell in love with Giles Blunt’s books and his writing and it really felt like it was in our wheelhouse in the sense that it is Canadian, Canada playing Canada, on location—we love the specificity of the little things that happen when you’re on location shooting something—so we really tried to get the project. Once we did get it, we developed it and then [Season 1 showrunner] Aubrey Nealon came on board and wrote two scripts. That’s when CTV greenlit it.

The seasons attracted us as well. Each book is set in a different season. We love how Giles uses the physical environment in his storytelling.

Does being inside a warehouse that’s been converted into a set turn you off?
No. We did that with Combat Hospital in Etobicoke, Ont. That was fun to do. We love creating really specific worlds. Trying to get the feel of what Giles wrote and the feel of the place is important.

What are the challenges, if any, of going from Aubrey in Season 1 to Sarah Dodd as showrunner in Season 2 to Patrick Tarr in Season 3? 
It has been hard. The ice and the snow and the cold gives you a certain feeling right away. The change of season to summer, a completely different story that is much more case-heavy than the relationship between Delorme and Cardinal … but then we saw the dailies and we were excited. It’s Karine Vanasse and Billy Campbell as Delorme and Cardinal and even if the investigation into him isn’t there, there is still that chemistry. There’s simpatico between them and you just want to watch.

Is it important, as a producer, to be on-set during filming?
We’re pretty hands-on producers and always have been. We worked with [director] Podz and Aubrey very closely on Season 1. I really believe that, when you don’t have the budgets that the American shows have, every decision that you make has an effect on the show. You’re trying to create something without the money of a U.S. project so to make the right decision we feel the need to be here and be part of the team.

What can you say about Billy Campbell as John Cardinal?
CTV was very involved in that decision and was definitely encouraging in that way. We feel so lucky with Billy and Karine. Not only are they total pros and beautiful, amazing people—we’ve kept them in minus-40 weather with not enough clothing on and in the middle of bugs—they have never complained. They’ve always been game. It has been an incredible privilege. They have also connected with these characters. I think there is a part of Cardinal that is really Billy. And it’s the same with Karine and Delorme. Yes, they’re incredible actors but I feel they’ve really brought part of themselves to the roles.

Cardinal: Blackfly Season airs Thursdays at 9 p.m. ET/PT on CTV.

Images courtesy of Bell Media.

 

 

 

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Link: Sarah Dodd finds her niche on CTV crime drama

From Jeremy Shepherd of North Shore News:

Link: Sarah Dodd finds her niche on CTV crime drama
“All around us were index cards with plots twist and character moments and visual moments and all six episodes eventually up on those walls. The other offices were inhabited by mainly psychiatrists so we can only imagine what they were thinking. . . . We looked like A Beautiful Mind in there.” Continue reading.

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Cardinal: Alex Paxton-Beesley on Red’s mysterious journey

I’m a big fan of Alex Paxton-Beesley. Not only did she portray kick-butt Mennonite housewife Anna Funk in CBC’s awesome Pure but she’s the spunky Freddie Pink on Murdoch Mysteries.

Now Paxton-Beesley is featured in Cardinal: Blackfly Season in another memorable role as Red. At least, that’s what she’s called on account of her red hair. In truth, we don’t know her real name yet because Red was discovered in an Algonquin Bay bar suffering from a gunshot wound to the head. Det. John Cardinal (Billy Campbell) and Det. Lise Delorme (Karine Vanasse) spent last week’s first episode of Blackfly Season investigating who Red is, who shot her and what ties she has to a headless body found hanging in a cave.

We spoke to Paxton-Beesley about the role and Red’s journey as we head into Thursday’s new episode.

It’s been fascinating to see how Giles Blunt’s books have been translated to the screen.
Alex Paxton-Beelsey: Yes. I’ve read the first three books and the adaptations have been so interesting. They’ve done such a good job of visualizing what those stories are.

How did you get the role of Red? Did you audition in the traditional way or did the producers have you in mind?
It was mostly traditional in that I only auditioned for it once because I think their original interpretation for the character was different. I had worked with [director] Jeff [Renfroe] and almost worked with the producers before on another project that didn’t end up going forward. We all knew each other in the way that everyone does in the Canadian television industry. I went in and auditioned and it was really fun. I didn’t get a full script and the audition came so quickly that I didn’t get to read the whole book so I had to fill in a lot of those gaps myself. Sometimes that’s frustrating but because this was so well-written it was fun to put my imagination in there.

It was pretty fascinating, and creepy, to see your portrayal of Red when she’s discovered. She’s been lobotomized by the bullet and has this childlike innocence about her. Then, during the surgery to remove the bullet, she starts to sing. That was a little disturbing.
The Internet can be a terrible place, but also a font of information. There are some pretty incredible videos on YouTube of awake brain surgery that are just stunning. The is one in particular of this opera singer—you stay awake during some of these surgeries because they need to know if they are affecting something—and he starts singing … and then forgets all of the words. [We think we found the video she’s talking about.] It’s devastating and fascinating. Those scenes, in particular, were really interesting because those were my benchmarks. I got to assign meaning to all of these things that were randomly coming out of her brain. I talked to [showrunner] Sarah [Dodd] and Jeff about it and had conversations about what that could be.

It reminded me of that Heritage Minute…
Yes! ‘Dr. Penfield, I smell burnt toast!’

Yes! I wondered if perhaps you ad-libbed that line during a take or two.
That was definitely a reference. I’m pretty sure I said that between takes but that nobody got it. It’s like, ‘Come on guys, it’s Canadian history!’

There is a reference in this week’s episode that I want to ask about. A nurse walks into Red’s room and Red is looking out the window, recalling something. Can you comment on that scene?
I think that’s something that I would rather leave ambiguous. It’s something left open to interpretation and will be a part of how you read Red as a character.

What was it like working with Billy Campbell?
I love him so much. He and Karine are the most delightful people to work with. Billy is just fantastic. This was a real dream. The first season of Cardinal is one of my favourite TV shows of all time and one of the best things Canada has ever made and I never dreamed I’d get to be a part of it. So, to not only be a part of Season 2 but to show up and have Billy be the most ridiculous, hilarious person and Karine also be the most ridiculous person … they are both so funny and so strange.

This world of Algonquin Bay is a twisted one. We have biker gangs and strange voodoo and an interesting fellow named Ray Northwind, played by Bruce Ramsay.
Bruce plays him so gentle it makes him even more horrifying. The lightest touch of power has the deepest weight.

What can fans expect from this season of Cardinal?
I think Red kind of mirrors the fan experience this season. What she knows and doesn’t know and that feeling of being lost and really trying to be found. I hope people like it. I’m really proud of what we made. It’s beautiful and I’m so glad it’s a Canadian show.

Cardinal airs Thursdays at 9 p.m. ET/PT on CTV.

Image courtesy of Bell Media.

 

 

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