This week I award Toronto Star journalist Vinay Menon this “prestigious” honour, for this article on Little Mosque on the Prairie’s legacy.
TV, eh?’s Canadian TV Person of the Week: Vinay Menon
Everything about Featured, eh?
WGC Nominee Derek Schreyer on 18 to Life’s “One Is The Loneliest Number”
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.
Jana Sinyor on the Toronto Screenwriting Conference and saying goodbye to Being Erica
Jana Sinyor (Being Erica, Dark Oracle) is one of the speakers at the upcoming Toronto Screenwriting Conference on March 31 and April 1. She tells TV, eh? about her unconventional path to screenwriting, her learning curve on Being Erica, and the project she has in development with ABC now.
First, tell me about the Toronto Screenwriting Conference –- what do you hope to convey there, and what do you hope to get out of it? What role do conferences like this play in career development?
I plan to show up and have an interesting panel discussion with a bunch of people I respect. I hope it will be a lot of fun.
As for what role conferences play in career development, for me, they were extremely important. I remember attending Nuts And Bolts — a weekend conference put on by WIFT-T when I was just starting out — and then later I went to a screenwriting weekend conference that was put together by the WGC. Both events were very important in that they connected me with people I would later work with. I learned a lot from the panels, talked to lots of different people — and felt that attending helped me better focus, better zero in on what I wanted to do and what steps I was going to take to get there.
TV, Eh? Industry Roundup – Saskatchewan television, Redemption Inc., more
Possible sea change for Saskatchewan television?
SCN’s prospective new owner, Rogers Broadcasting Ltd., wants to spend less money on programming, at least according to CBC News Saskatchewan. Rogers wants to put 23 per cent of revenue generated by SCN towards independent films, rather than commit to fixed dollar requirements, as SCN is in “financial stress.”
In a related story, the 2012-13 Saskatchewan provincial budget announces the immediate termination of the Film Employment Tax Credit for film and television productions. Productions already registered by SaskFilm prior to April 1, 2012 will continue to be eligible for the credit, but new productions are ineligible.
The elimination of Saskatchewan’s FETC, according to the budget documents, is tied to a supposedly-heavier future reliance on subsidization. This is coupled with a decline in industry activity, and the fact that the FETC has required a public investment of over $100 million, since its 1998 introduction.
The FETC, an income tax credit equal to forty-five per cent of eligible labour costs, will be fully phased out in 2014. The FETC’s termination is supposed to save up to $3 million by the end of 2012, and $8 million annually.
Statement by the Saskatchewan Motion Picture Industry Association. They’re not fond of the FETC’s termination.
Continue reading TV, Eh? Industry Roundup – Saskatchewan television, Redemption Inc., more
WGC Nominee Craig David Wallace on Todd & The Book of Pure Evil’s “A Farewell to Curtis’ Arm”
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.
