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Ice, Sweat and Tears – A Filmmaker Interview

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Photo of Aaron Hancox (Co-producer) and Judy Holm (Executive Producer) at the Canadian Screen Awards

(Photo by Derek Langer)

 Ice, Sweat and Tears, an hour-long figure skating documentary, is set to air on Thursday, March 7 on CBC’s Doc Zone. The film investigates the dedication, stamina and training that it takes to compete as a figure skater on the world stage, and serves as an introduction to the fiercely competitive and highly athletic world of figure skating.

Ice, Sweat and Tears takes a close look into the journeys of ice dance champions Tessa Virtue and Scott Moir, the young pairs team Paige Lawrence and Rudi Swiegers, and the well known men’s competitor Patrick Chan, among others, with insights from seasoned veterans who’ve retired from the competitive scene, Kurt Browning and Elvis Stojko.

Spouses, family, and fans of other sports often misunderstand the world of the figure skating “super fan” and misjudge the complex sport of figure skating. Where hockey is a team effort with easily definable points, figure skating is intense athleticism hiding demurely under carefully chosen costuming. It is a solo effort with a complicated scoring system, where one athlete spends time in the spotlight performing. Ice, Sweat and Tears opens up the world of the super fan, enlightening others as to why they may hold their breath for 4 minutes and 30 seconds until the artistic performance is completed. The film gets people to understand the relational and personal nature of figure skating, and serves as a great intro to the sport for those who may not quite “get it”.

I had a chance to talk to husband and wife filmmaking team Michael McNamara (not pictured) and Judy Holm about making Ice, Sweat and Tears.

RL: What got you interested in Figure Skating in the first place?

JH: I’m a big fan – I have been for a long long time.

MM: And I live with a big fan.

JH: I would call Michael in to watch specific things, since I came from a dance background; I get really excited and totally “get” it when they do something spectacular.

RL: What was the most surprising thing you learned about skating through the course of the documentary?

MM: I really didn’t realize the level of athleticism that was involved – the speed and stamina that is required of these athletes.  As soon as I realized this, that became the goal, to get the viewers a little closer to the action. When you’re watching on TV you can’t tell how fast these kids are moving.

JH: I don’t think that I really really really understood the depth of the danger that accompanies this sport.

MM: We were able to strap cameras to their arms, chests and skates to give their point of view. A whole different perspective.

RL: How would you say that Canada’s teams and program differ from other world teams.

JH: Canada has always been up there in the top competitors ever since we started. There’s always been a Canadian skater from one or two of the disciplines [singles, pairs, ice dancers] at the top. The interesting thing that is happening lately is the expansion of the disciplines that we’re at the top in.

When Tessa and Scott won at the Olympics it was the first time a North American team had won ice dance – it’s been a category dominated primarily by the Russian teams. It’s a bit more global now as they’re trained by a former soviet star: less political blocks and more global.

RL: What sort of sense did you get from the “retired” skaters?

JH: Kurt Browning and Elvis Stojko are two guys who were fascinated by athleticism and speed. They were just guys out there. Kurt continues to skate with his shows. Elvis is an adrenaline junkie doing go-cart racing.

Competitively skating is a sport that has a limited life span. You’re not doing it by your mid 30s; amateur competition even more so. I’m sure there are all kinds of stories, good, bad, and in the middle. When you’re a champion, that  continues to be a part of you even after you’re done.

RL: What was the biggest challenge in making this documentary?

JH: Remembering to bring our long underwear.

MM: Even in the summer!

MM: I’d say maybe getting the skaters used to our presence. We wanted to be flies on the wall, to capture real honest responses. We were a small team, a small crew. They’re used to cameras but usually the scrutiny begins and ends at the competition. We had to gain their trust, and I think we did.

JH: It’s a fine balance between getting enough film, because they’re distracted and focused on their season. We worked a lot with Skate Canada and did a lot of planning with Barb McDonald to get everything we needed without taking away from the skaters’ focus.

RL: How do you feel this documentary will affect the Canadian public?

JH: I think they’re gonna love it!

Doc Zone and CBC have positioned it so it’s a lead-up to the Worlds. CBC has worked very well with Skate Canada.  We’ve got some preview clips to be shown at the lead-up events.

MM: People who are skating fans can be quite obsessive; they’re a different breed than other fans. When a skater is on the ice, they’re all alone. It’s a very different kind of sport than any other sport. It’s an enormous pressure. The super fans feel very invested in the athletes, like they have a relationship and it’s reciprocal. We hope the super fans will take something away from it, and for people who don’t know anything about it at all that it will make an impact.

JH: I want to convert [more fans]!

 RL: What is your next project, if you have one in the works?

 MM: We have a couple dramas in development at the moment as well as a BravoFACT project – Incident at Lesion Fields that we are co-directing starring Mary Walsh ,Tommy Lee Williams, and Janet Burker.

Thank you Mike and Judy for taking the time to talk to me about Ice, Sweat and Tears.

Ice, Sweat and Tears airs on CBC Television’s Doc Zone Thursday, March 7, 2013 at 9pm (9:30 NT) and repeats Saturday, March 9 at 11pm ET/PT on CBC News Network.

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Interview: Producer Kit Redmond on Prime Time in Ottawa and passion projects

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The Prime Time in Ottawa conference from March 6-8, 2013 will include discussions on global trends and how they will affect Canadian producers, a panel examining the increasing challenge Canadian theatrical films are experiencing in reaching Canadian audiences, as well as a look at lifestyle and reality television.

Kit Redmond, CEO and Executive Producer of RTR Media Inc., will be one of the speakers, and she took time to answer some email questions about the conference and her career as a producer, which has spanned more than 30 years.

She’s created/produced and commissioned a wealth of lifestyle, factual entertainment and documentary series. Her current projects include Income Property on HGTV Canada and US, Mother of the Bride for SLICE, and BBQ Crawl for Travel and Escape.

Kit managed the National Screen Institute’s Totally TV program and the Sparkplug project. In her five years with the program more than ten projects proceeded to be commissioned and broadcast, including HBO Canada’s acclaimed series Less Than Kind, Global’s Da Kink in my Hair and CBC’s drama series GUNS.

Kit developed the Innoversity Open Door Pitch, served twice as the WIFT/Banff/Warner Brothers Mentor and is a past Vice-Chair of the board of Toronto Women in Film and Television (WIFT). She is the winner of the WIFT Mentorship award, The Innoversity Angel Award and the Female Eye, Maverick Award.

Tell us what you hope to convey at the Prime Time in Ottawa conference?

I hope to listen at the Prime Time Conference because every year I learn a great deal about the trends and the issues in our industry. I often come away inspired and motivated.

What you hope to get out of it?

This year I specifically want to learn more about creating new business models for content.

How did you get into producing?

I started my career as a reporter for CBC Television. As a reporter you must self-produce. I quickly grew frustrated with short-form reporting and ventured into longer current affairs pieces. Next I became a host and worked with a producer and I realized how valuable it is to have someone produce you so that you deliver the best content.

I am fortunate to have three children. During their early childhood years, I freelanced a great deal so that I had flexibility and was able to spend more time raising them. During those years, I produced a lot of radio documentaries. That was an invaluable experience because it taught me the importance of clear, strong writing and of sound.

When we moved to Toronto, I had my first opportunity to series produce and to this day, that is one of my favourite jobs. I love building teams and then executing the vision of a show.

Now I am an executive producer and a CEO. Today I produce companies, versus individual shows and many of the skills I acquired in my early producing days still hold true. You need a clear vision, hire the best team, give them the resources they require and then let them shine.

How do you shepherd a project from concept to series?

Wow … that’s a tough question. I use the three P’s: perseverance, passion and patience. It takes a great deal of perseverance, passion and patience to birth a television series.

First it starts with a great idea or a great character. Then you must do the hard work of research. You have to test your idea, work through your craft to see if it is sustainable and if you can execute it.

Good ideas are a dime a dozen. Great concepts you can execute are rare.

Usually if we have a good idea, we’ll trial balloon it with a broadcaster or a client. We don’t want to do a lot of work only to find out that it is already in the works with someone else. If we get initial interest then we work through what we call a “series generator.” My business partner Al Magee created this process. It consists of a series of questions that you must systematically work through to develop your idea into a concept, then a pitch, potentially a bible, then a demo or pilot all the way through to a commission.

My factual company RTR has a development team headed by the brilliant Jenna Keane, so once we have broadcaster interest Jenna and her team work through development. For our scripted company, I work with my partners Al Magee and Carolynne Bell and with writers to develop a project.

Once the project is developed to the pitch point, we pitch it with the objective of securing development financing. Once that is done we work on a bible for the show and potentially a demo or a pilot. We hire a team at this stage. Then we work closely with the broadcaster or client so that when we deliver the development materials we are ready to head into production if and when the project gets a green light. At that point we hire the best team we can find to produce the project. Jenna, in her role of Creative Head, closely oversees the first three episodes to ensure that the concept we developed is executed. Once we have three episodes locked and approved by the network, then Jenna and I check in on a regular basis and heavily when it comes to renewal and plans for a season two.

What do you look for in a project before you’ll get behind it?

I look for a great idea, with great characters, that I can be passionate about and that we can finance and execute successfully. One question I ask myself is will I love this project as much in five years as I do now. It will take five years to create a real hit, which means a series that has the potential to run up to 65 or more episodes and that we can build a brand around as a business model.

What do you think the most important characteristics are of a good producer?

I think you have to be talented, skilled, patient, curious, a good manager and a little bit crazy.

How has the industry changed since you started your career?

Ok … I’m 54 and I started when I was 21 so it’s changed a lot. What hasn’t changed are the stories. They are the same and the way we tell our stories are basically the same. I have a huge appreciation of our craft. We are writers, storytellers. We use pictures, sound, plot, character, worlds, and themes to tell our stories. I love it and that’s why I still do it.

If there was one thing you’d change about the Canadian television industry, what would it be?

I wish we could move faster. We are truly blessed with a supportive and nurturing cultural and tax policy that support our industry and our culture. The downside of it is that it is slow to react and now our industry is changing so quickly, we must be fast in order to maintain a leadership position in the world. So I would like to be able to move faster and with greater flexibility.

What do you consider your greatest career achievement so far?

I often say that I haven’t had my greatest achievement so far. I’m still learning. If pressed, I think my greatest achievement is the joy I take in working with teams to tell stories well that connect with an audience. Whether it was a volunteer video I did with school children, to our YouTube videos on our Coral channel, to our big competitive series, or scripted projects, I get the same thrill, moments of bliss, when story, team and audience all connect. I love it.

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Lost Girl renewed for fourth season

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From a media release:

SHOWCASE RENEWS LOST GIRL FOR A ‘FAETASTIC’ FOURTH SEASON

  • Season three finales on April 14 at 9pm ET/PT exclusively on Showcase

Midway through its daring third season, Showcase orders a fourth season of the homegrown smash hit, Lost Girl. Boasting giant ratings, the Canadian original series begins production on season four this spring, set to air late 2013. Season three continues with new episodes Sundays at 9 p.m. ET/PT.

Consistently delivering stellar ratings, Lost Girl has become a cornerstone series for Showcase and a top-rated specialty drama in Canada. During its first season run, Lost Girl ranked as the number one series on the channel (A25-54) and was the number one scripted series across all specialty channels (A25-54).The sophomore season maintained a strong performance, seeing a 5% audience growth across the 2+, A18-49, and M25-54 demos over season one, and ranked the number one program on Showcase. Un’fae’zed by the competition, Lost Girl trended worldwide on Twitter the night of the season three premiere winning its 9pm timeslot for specialty dramatic programming across multiple key demos, and delivered a top 3 performance for the night. Since the season three premiere began, Lost Girl remains the number one specialty program from 9-10pm on Sundays (A25-54 and 18-49)*.

“Bo’s world is going to be turned upside down. Her beliefs will be challenged and her allegiances will be questioned. Fans can look forward to a roller coaster ride,” said Jay Firestone, Executive Producer, Prodigy Pictures.

Lost Girl follows supernatural seductress Bo (Anna Silk), a tough yet loveable Succubus who feeds off sexual energy. After realizing she is one of the Fae creatures of legend and folklore who live among humans, Bo refuses to choose an allegiance to either the Dark or Light Fae clans, leading her on a personal path of discovery. In a season full of twists and turns, viewers can watch the vigorous drama unfold in the season three finale slated to air Sunday, April 14 at 9 p.m. ET/PT.

Rounding out the cast is Gemini Award-winner Ksenia Solo (Life Unexpected; Black Swan) as Bo’s human confidante and street-smart survivor, Kenzi; Kris Holden-Ried (Ben Hur, The Tudors, Underworld 4) as the Fae homicide detective competing for Bo’s affection, Dyson; Zoie Palmer (The Guard, Instant Star, XIII) as a human doctor and Bo’s current love interest, Lauren; Rick Howland (Billable Hours, Murdoch Mysteries) as the mysterious tavern owner, Trick; and K.C. Collins (Owning Mahowny, Doomstown) as a handsome male “Siren” and acting Ash, Hale. Season three welcomed new cast member Rachel Skarsten (The Vow, Flashpoint) and features guest star Linda Hamilton (The Terminator, Beauty and the Beast).

Lost Girl was developed by Prodigy Pictures, in association with Shaw Media and Showcase. Executive Producers are Jay Firestone, Emily Andras, Paul Rapovski, and Plato Fountidakis. Vanessa Piazza is Producer, and the series is produced by Wendy Grean.

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Lost Girl Season 2 DVD Review

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By Laura Ferejohn

In Season 1, Bo is the “Lost Girl,” a succubus who lives off the sexual energy of others. Raised by humans, she thought she was a freak until she accidently stumbled upon the secret world of the Fae — a species of supernatural creatures with a variety of powers, divided into two sects, the Light and the Dark, and in a temporary truce with one another.

Until that time, she traveled alone and unattached, afraid of her power, feeding only when she had to, mostly on lowlifes. That is how she meets Kenzi, a human pickpocket street kid who was slipped a date rape drug by one of those “lowlifes.” In an ironic twist, Bo rescues Kenzi, dispatching the ass with a kiss, so often used to awaken a princess, putting the “prince” to sleep permanently. And, with that, one of the most important relationships of the show is formed: Bo and Kenzi. Theirs is the one relationship that is unconditional and solid.

Bo’s relationships with her two competing male and female lovers, Dyson, the Fae shape shifter, and Lauren, the human doctor, are in constant flux. This is not a show about “Will they or won’t they?” They will frequently, and then they won’t. The “they” changes constantly and can include any number of outside liaisons. Bo is a succubus after all and monogamy is not her nature or her strength. Lost Girl’s embrace of open sexual expression without judgment is one of its greatest strengths.

Season 1 was about discovery. Bo searches for answers about who she is, where she came from, who she can trust, and where she belongs. Much to the chagrin of Light and Dark, she refuses to align herself with either sect. The Fae leaders’ reactions suggest that Bo’s independence threatens their power by offering an alternative to the masses. Trying to make Bo choose is an ongoing theme throughout the first season.

In Season 2, with no explanation why, the Light and Dark Fae seem to have come to terms with Bo’s refusal to take sides. Both accept her as unaligned and use her ability to move between sides when it suits them.

Season 2 seems less focused, less clear in its purpose. The first half of the season is a series of stand alone episodes with some allusions to a greater danger coming. The second half focuses on the potential impending doom with uneven results.

If this show were solely focused on supernatural events, this might be a problem, but it’s not. The supernatural world is simply the backdrop for the world that Lost Girl inhabits, much as the Old West is the backdrop for Deadwood or Space is the backdrop for Stars Wars or Star Trek. It’s not where they are, but what they do and who they do it with and to.

It is the relationships that make this show worth watching. Lost Girl is about all kinds of imperfect, compelling, sometimes repellant relationships between all kinds: lovers, family, friends, brothers and (sisters) in arms, enemies, frenemies, and more.

Lisa Parasyn and John Comerford have done an excellent job finding the perfect actors as leads, supporting cast, recurring characters and even guest appearances.

Anna Silk as Bo is beautiful, powerful, and yet exudes a vulnerability that is endearing. Her need to find her place and a family in this new and strange world is a constant underlying theme throughout the season.

Ksenia Solo as Kenzi, Bo’s human, fashionista, sometime thief, sidekick is a gift. She is funny, perpetually scamming and repeatedly putting her real as well as her romantic life on the line for Bo. She has the best one-liners in the show and a fashion sense all her own.

Kris Holden-Ried as Dyson, shape-shifter, police detective and Bo’s Fae on-again, off- again lover, is everything you want in a hero: handsome, brave, often communicating more with a look or a gesture than the dialogue offers alone. In an unusual twist, in a show filled with beautiful women, he seems to take his clothes off more than any other character.

Zoie Palmer is Lauren, the beautiful human doctor to the Fae and Bo’s other on-again, off-again lover. Thank God, Zoie Palmer is Lauren. Lauren is supposed to be a formidable romantic rival of Dyson’s for Bo’s affections, but has “spybanged” Bo for the leader of the Light Fae, has hidden important information from Bo and behaves as the classic helpless damsel in distress, a role decidedly out of place in a show that exudes a decidedly feminist tenor. If not for Zoie Palmer’s ability to transcend what we see on the surface and project grace, depth and strength in Lauren, she’d be disposable.

K.C. Collins is Hale, Dyson’s police detective partner, siren, and Kenzi’s comrade in pop culture and fashion.

Rick Howland is Trick, introduced in Season 1 as a world-weary and wise bartender with a past. He handles the thankless task of explaining the unusual characters, the history of the Fae and how it all fits into the world they inhabit with charm and humor. Keep your eye on Trick who is much more than he appears.

In addition, three recurring actors are so good that they must be singled out:

  • Paul Amos as Vex. Introduced in Season 1, Vex is a murdering SOB with the power to force others to do horrific things to themselves or to others such as forcing a woman to kill her children. Vex returns in a surprising role (think Spike in Buffy the Vampire Slayer), but with his own unique style.
  • Emmanuelle Vaugier as the Morrigan, leader of the Dark Fae, is beautiful, sardonic, and commanding.
  • Kate Trotter as the Norn, a wickedly devious being who exemplifies the reason for the saying, be careful what you wish for, has so much fun with what she’s given and makes the most of it.

The Production Design interiors by Ian Brock give the Lost Girl world a distinctive feel, transforming what could be generic into a whole new world. The wardrobe, much of it, custom-made, is striking, sexy and cool – Look specifically to Kenzi and Dyson.

Lost Girl is produced for Canada’s Showcase TV network and broadcast on the Syfy channel in the United States. Lost Girl is rated TV-MA (L, S, V) and may be unsuitable for those under 17 years of age.

The DVD and Blu-ray versions of Season 2 contain the 22 uncensored episodes as shown on Canadian television (Season 1 had 13 episodes). In addition, there is an Extras disc that includes interviews with some of the cast as well as offering glimpses into all that goes into The Making of Lost Girl, including the obligatory bloopers reel. Most noteworthy are the bits on set design and wardrobe, two areas that give the show its strong and unique sense of place and of style.

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Continuum returns April 21 to Showcase

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From a media release:

SHOWCASE SETS DATE FOR HOTLY ANTICIPATED RETURN OF CONTINUUM

  • Season two world broadcast premiere on Sunday, April 21 at 9pm ET/PT

The wait is finally over. Showcase’s number one series, Continuum, returns this spring as announced earlier today by Rachel Nichols in a video released to fans via @showcasedotca. The critically acclaimed drama nominated for five Canadian Screen Awards, including Best Dramatic Series, stars Nichols (Alex Cross) as Kiera Cameron, a cop from the future who finds herself trapped in present-day Vancouver. Featuring 13 hour-long episodes, the second season of Continuum premieres on Sunday, April 21 at 9 p.m. ET/PT exclusively on Showcase.

Debuting to over 1 million viewers (2+)*, the first season of the critically acclaimed series saw Kiera Cameron (Nichols) searching for convicted terrorists from the future, known as Liber8, with the help of Vancouver detective, Carlos Fonnegra (Victor Webster; Castle). With unexpected assistance from teen tech genius Alec Sadler (Erik Knudsen; Scream 4), Kiera desperately tried to bring down the terrorists before they changed the course of history forever in the explosive finale.

In search for answers, the highly anticipated sophomore season continues Kiera’s uneasy alliance with Detective Carlos Fonnegra, and sees her grapple with the big question that closed the first season – why was she sent there? While Alec struggles to understand the implications of the mysterious message he received from his future self, the Liber8 terrorists become more strategic and even more lethal as they seek to ward off what they see as the seeds of a disastrous future.

Rounding out the cast are Stephen Lobo (Smallville, Little Mosque On The Prairie), Roger Cross (Fringe, Arrow), Lexa Doig (V, Stargate SG-I), Omari Newton (Blue Mountain State, Sophie) and Luvia Petersen (The L Word).

To watch the announcement made by Rachel Nichols, viewers can visit showcase.ca. While there, fans can stream the entire first season, join Continuum’s social networks to receive up-to-the-minute series insight and get behind-the-scenes extras along with other exclusive content.

Continuum is created by Executive Producer Simon Barry (The Art of War) while DGC award winner Patrick Williams (Shattered, DeGrassi:The Next Generation) is Executive Producer and Director. Reunion Pictures partners Tom Rowe, Lisa Richardson and Matthew O’Connnor are Executive Producers

Filmed on location in Vancouver, BC, Continuum is developed and produced by Reunion Pictures.

*Source: BBM Canada, PPM Data 5/21/12-8/5/12

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