Tag Archives: Anne with an E

CBC, Netflix and APTN greenlight new arctic comedy series

From a media release:

  • Netflix, CBC and APTN have announced they are commissioning a new untitled comedy series that will film in Nunavut (UNTITLED ARCTIC COMEDY).
  • The show was created and will be written by Inuit film and television writer and producer Stacey Aglok MacDonald and Inuit filmmaker Alethea Arnaquq-Baril.
  • Logline: A young Inuk mother wants to build a new future for herself, but it won’t be easy in her small Arctic town where everyone knows your business. 
    • Stacey Aglok MacDonald and Alethea Arnaquq-Baril:  “This series is full of stories that come straight from our hearts and our funny bones. We’ve drawn from our experiences as Inuit women living, laughing, crying and living together while Native. We are so excited to work with all our incredible partners at CBC, Netflix and APTN, and we can’t wait to start filming!”
    • Miranda de Pencier: “I’m thrilled to be teaming up with Stacey and Alethea for our third project together and excited for audiences to see this hilarious, unexpected and essential series that Stacey and Alethea have created.”
    • Susan Coyne: “Stacey and Alethea have created a story that is very funny and clearly comes from the heart. I can’t wait to work with Stacey and Alethea to explore the lives, relationships, and emotional journeys of their amazing cast of characters.”
    • Sally Catto, General Manager, Entertainment, Factual and Sports, CBC: “This vibrant comedy delivers an authentic perspective on personal journeys, friendship and community in the Arctic. We are excited to partner with Netflix and APTN to film in Nunavut and bring Stacey and Alethea’s deeply personal storytelling to audiences across Canada.” 
    • Danielle Woodrow Director, Content – Canada and Tara Woodbury, Director, Content – Canada, Netflix: “As soon as we heard about this show, we knew we wanted to share it with our members around the world. Stacey and Alethea have created a very relatable and funny story that showcases the unique experience of living in Canada’s Arctic regions. We’re thrilled to be partnering with them and working with Miranda and the teams at CBC and APTN.”
    • APTN Spokesperson: “This show is a brilliant and heartfelt gem of a comedy from two of Canada’s most exciting creators. A very short time ago, it would have been impossible to imagine an Indigenous comedy shot in the Arctic, with massive national and international reach,” says Adam Garnet Jones, director of TV content and special events at APTN. “It’s a dream come true for APTN to help bring this story to audiences across Turtle Island and around the world. We know audiences are going to fall in love with the show’s characters, and the production industry in Nunavut is going to receive a huge boost in a way it never has before.”
  • Executive Producers: Stacey Aglok MacDonald (Qanurli, Grizzlies), Alethea Arnaquq-Baril (Angry Inuk, Grizzlies), Miranda de Pencier (Anne With an E, Beginners, The Grizzlies), Susan Coyne (Mozart In the Jungle, Daisy Jones & The Six, Slings & Arrows), Garry Campbell (The Kids in the Hall, Less Than Kind)
  • Production Companies: Northwood Entertainment, Red Marrow Media
Facebooktwitterredditlinkedinmail

Winners: The 18th Annual ACTRA Awards in Toronto

From a media release:

ACTRA Toronto is proud to announce the winners of the 18th Annual ACTRA Awards in Toronto.

Outstanding Performance – Female Voice
Bryn McAuley
as Mavis in Hotel Transylvania: The Series, “Portrait of Mavis as a Young Vampire”
(Corus Entertainment)

Outstanding Performance – Male Voice
Carter Hayden as Klaus in Hotel Transylvania: The Series, “Freakerheads” (Corus Entertainment)

Outstanding Performance – Female
Cara Ricketts as Mary Handford-Lacroix in Anne with an E, “What Can Stop the Determined Heart”
(Northwood Entertainment)

Outstanding Performance – Male
Dalmar Abuzeid as Sebastian ‘Bash’ Lacroix in Anne with an E, “What Can Stop the Determined Heart”
(Northwood Entertainment)

For the second consecutive year, the Members’ Choice Series Ensemble Award went to Schitt’s Creek.

Michaela Washburn presented ACTRA Toronto’s 2020 Award of Excellence to Kim’s Convenience‘s Jean Yoon.

Matt Birman presented the ACTRA Toronto Stunt award to stunt performer Kevin Rushton who passed away last year.

The 18th Annual ACTRA Awards in Toronto were presented at a live show and gala tonight at The Carlu. DJ Salazar Solomon performed the show together with saxophonist Geoff Bournes and trumpeter Howard Leathers. The show was written by David Galeand Diane Flacks and directed by David Gale.

ACTRA Toronto is the largest organization within ACTRA, representing more than 15,000 of Canada’s 25,000 professional performers working in recorded media in Canada. As an advocate for Canadian culture since 1943, ACTRA is a member-driven union that continues to secure rights and respect for the work of professional performers.Facebooktwitterredditlinkedinmail

Link: Anne with an E to end with season three

From Kelly Townsend of Playback:

Link: Anne with an E to end with season three
Northwood Entertainment’s drama Anne with an E is coming to a close with its third season.

CBC and Netflix confirmed the cancellation in a joint statement, saying “we’ve been thrilled to bring the quintessentially Canadian story of Anne with an E to viewers around the world… We hope fans of the show love this final season as much as we do, and that it brings a satisfying conclusion to Anne’s journey.” Continue reading. 

 Facebooktwitterredditlinkedinmail

Anne with an E’s Helen Johns explains Eliza Barry’s world

It would be easy to dismiss Eliza Barry as a stodgy mother who is holding her daughters back—Diana in particular—from their true potential. But actress Helen Johns, who portrays Eliza every Sunday on CBC’s Anne with an E, made me see the light. Eliza is the product of another generation, one of acting just so. She’s caught in two worlds, and is just trying to do her best.

We spoke to Johns about Eliza, and more, ahead of Sunday’s new episode of Anne with an E.

Did you audition for the role?
Helen Johns: I did. I was living in London at the time. I lived and worked in Canada for many years, but I was living in London at the time that the casting breakdown came out. I have a fantastic agent in Toronto and she sent me the details. I did what they call a self-tape in my spare bedroom. It was about 90 seconds long or something. It was very short and I thought, ‘I don’t know.’ It was a scene in which Mrs. Barry, my character, is trying to have a conversation with her husband and her daughter, Minnie May, is misbehaving. And the maid comes in and it’s all a bit frantic and that’s kind of a very similar feel to a lot of what I do in the show in general.

They were able to kind of encapsulate in that 90 seconds the way that they saw the character going. And so that tape then went to the casting director and then the casting director sent it to the head of our show, Moira Walley-Beckett. And she told me that she liked that there was a kind of undertone of something frantic about the way that I did the tape. So, there we go. That’s how it all panned out. I didn’t actually get to meet her until the first day of shooting, but it worked out for the best, thank goodness.

It’s been fascinating to see the way that Moira has taken L.M. Montgomery’s characters and really given a modern spin on them and kind of brought them up to date with some of the story angles.
HJ: After I was cast and before I saw the script, I read the novel. And she doesn’t encourage everyone to read the novels, but I picked it up because I was excited to be joining the show and I wanted to kind of know everything I could. And I was so struck when I picked up the novel at how contemporary it felt and how contemporary Anne felt. I’m still struck by that. I think that Moira has remained really true to the essence of the character and the situations that she keeps finding herself in. And then I love that we’re talking about things that are… I mean, in many cases they’re issues that people had to tackle in the actual period of the novels, but just would not discuss.

For instance, we talk about periods. And I’ve never in my life as a woman, certainly never in my life as a teenager, never did I see any kind of film or TV that talked about it. It’s like this secret and yet 50 per cent of the population experiences it for probably half their lifetime or there about. So, for me it just feels really obvious that people should talk about it. It doesn’t necessarily feel obvious to talk about it in a period show. But for me I think there’s something glorious about the fact that she has taken the story as the starting point and then applied the essence of the characters, choose the kinds of situations that young women and young people face today.

In Season 3, we have this really moving and I think very impressive First Nations story. And we know that the Mi’kmaq community existed in PEI at this time, but again, you don’t often read stories or see film and television that have the lives of a Caucasian community and the lives of a First Nations community given equal weight. You’re usually seeing goodies and baddies and The Last of the Mohicans and all those kind of things. Which is just not representative of what was really going on for teenagers, for instance. I think it’s really powerful. I really admire what she’s doing and I love being a part of it. My character, Eliza, isn’t one of the more modern-seeming characters. She represents the old ways.

In the first season we took a storyline straight out of the novel, which is me catching Diana and Anne having drunk the currant wine. But that exists now, that’s a contemporary issue, it just was ahead of its time in the sense that they weren’t 14-year-old girls getting drunk around the place. But I think that Moira’s doing an amazing job, so I’m all for it.

Mrs. Barry could be easily seen as a villain and is in a lot of ways a villain in the show, because Diana wants to grow and be take advantage of the things that this new world is offering to her. 
HJ: I think it’s just lovely to be part of the show and I think it’s nice to be somebody that brings a bit of push and pull to it. Because there is push and pull in a lot of places. There’s push and pull with Matthew and Marilla. And Mr. Phillips and even with Gilbert, but I think it’s nice to be bringing that kind of tension to things. I think one of the things that I find amusing about a British actor in North America is that you typically are tasked with playing a villain type. Or the stereotypes of being British is that we all are all the expressions, stiff upper lip, uptight. And so we’re often seen as either the professor, the high intellectual or someone who’s very difficult.

I try and take the moments that I can to bring some warmth to her as well. Moira’s been really good about writing for this character to show that actually the reason that she’s a little afraid of Anne’s influence on Diana is that there’s this broader context of the limitations on what life looks like for a young woman at the time. And she expresses in Season 2 some of the longing to have a voice for herself. She wants to be able to contribute to discussions about their family’s financial affairs and their family’s future. She has a vision of her daughter going to Paris to finishing school.

It’s just she’s very protective and she hasn’t had the Anne model laid out before her. There is no one that has gone before her in her life to say there is this alternative path. And I’ve been thinking so much about how Lucy Maud Montgomery was one of the women that set that path out in people’s imagination, way before most people were thinking about that for themself. So, yes, I think that Moira’s been good to me particularly in Season 2 about saying this is the wider context of why Mrs. Barry is behaving as she is. And I think in some ways, certainly season two with Mrs. Barry saying to her husband, ‘I just want us to communicate. I want us to be in this together.’ It’s the same thing that Anne is saying in a lot of ways about Anne’s life and Anne’s future. Wanting just to talk about things and to be involved, to be treated as an adult and to be able to stand up for what is right. So, I’ve been really kind of happy with the development of the character in that respect.

There are also moments of humour. 
HJ: It’s a lovely thing to be able to do, to bring levity to things. And we work with Ryan Kiera Armstrong who plays Minnie May. She’s such a gem to work with and she shows up on set with this fire and you know where she is all the time. And she gets these scripts that are like, ‘Minnie May is misbehaving in the carriage.’ And we have her leaning against the window pushing her tongue out against the glass. It’s just, it’s so fun to work with her and it is so fun to work with Jonathan Holmes who really I think is so smart with comedy.

I’ve done a lot of comedy in my career as well. When you give us an inch we take a mile every single time.

Now that Anne has wrapped, are you working on anything that you can talk about?
HJ: I’ve got a couple of projects that I was able to shoot at the same time, so I wasn’t able to do very much on them. But I was part of a new series called Mrs. America, which stars Cate Blanchett and Rose Byrne, which is about the ratification of the equal rights amendment. And the struggle between the kind of the feminist support for the equal rights amendment versus the backlash of Phyllis Schlafly and the kind of anti-feminist movement. So, I think that’s a really interesting project. And I was directed on that by Anna Boden and Ryan Fleck who directed Captain Marvel, so that was a really lovely experience.

I also worked on a movie called Charlotte, which is a Canadian produced, animated feature film about Charlotte Salomon, who was a German-Jewish woman painter in the period immediately preceeding the Second World War and then during the Second World War.

The pace of her work was very fast and so she was prolific in that moment. And I mean, you only need to look on Google to see that it didn’t end well. It’s a very moving story and I think it will be really interesting to see how the animation comes together with the fact that she was a painter herself. And I think there’s been a few movies of that kind recently. We’ve seen animated movies about Vincent van Gogh. So, I think it will be really interesting the art within the art as it were.

Anne with an E airs Sundays at 8 p.m. on CBC.Facebooktwitterredditlinkedinmail

Miranda de Pencier describes the detail that goes into Anne with an E

I’ve been impressed with Anne with an E from its debut on CBC. The scripts have been amazing, the performances stellar—and scored trophies for Amybeth McNulty, Geraldine James and R.H. Thomson—the sets sublime and the wardrobe incredible.

That’s all by design says executive producer Miranda de Pencier, who along with fellow executive producer and showrunner Moira Walley-Beckett have taken L.M. Montogomery’s creation and truly made it their own. We recently spoke to de Pencier about the importance of being authentic when creating a show like this.

Anne is 16 this season and the hormones are raging. It seems as though all the girls are interested in the boys, but the boys seem to be pretty clueless when it comes to this relationship thing.
Miranda de Pencier: Well, and isn’t that just reality? As we all know, boys develop a little slower than and, eventually, you guys catch up. It’s fun to explore it, and I think there’s going to be a lot of surprises and a lot of relationships blooming and bursting that will be fun for the audience to see.

In the second season of Anne with an E, we had people of colour on the show. In this third season, we’ve got Indigenous characters. Are these are organic things that have been touchpoints for you and Moira Walley-Beckett along the way?
MDP: It has been organic. I think it’s also what’s going on in the world, but also what’s interesting to us. Back in the first season, Moira and I started talking about the idea of Indigenous characters. Then when and how that got introduced came out when it made sense for the story and the show. I think we touch on these things and talk about them in very organic ways and then they need to get executed practically.

According to the press release that CBC sent out earlier this year, it was quite the journey to cast Kiawenti:io Tarbell as Ka’kwet.
MDP: She is amazing. I think, fortunately, I had the experience of finding young Indigenous cast on The Grizzlies, so it was helpful to have gone through that large and challenging process that was so worthwhile. We basically repeated a version of that search to find Kiawenti:io. We wanted to search across the country. We reached out to casting agents from the west to the east. We went everywhere, Quebec, Six Nations and the west coast. Then ultimately from that large search and a lot of submissions, we culled that down to four girls that we brought to Toronto.

Then Melee Hutton, who was the extraordinary acting coach who helped train the young actors in The Grizzlies, also helped out, and still helps out with our younger cast on Anne with an E; she came in and led a workshop over a weekend where those four girls were taken through a number of acting exercises and play, and at the end of that process Kiawenti:io was the actress we felt made the most sense for the role and the other girls in that process we ended up putting into the show in other roles. We were able to give a positive experience and work to all those final actresses.

Sometimes I’ll hear casting agents or producers say, ‘Well, it’s just really hard to find Indigenous actors,’ and it is hard, but it’s not because they don’t exist, and it’s not because there isn’t a lot of talent out there. It’s just because it takes an extra effort and financing to find them, and you’ve got to go to them. You cannot expect to sit back and have those young people already have agents or access to casting directors. So it’s a larger process, but it’s so worth it, and it’s so exciting to find this amazing talent and all these amazing, amazing talents out there waiting to be discovered.

It would have been easy to have the Indigenous peoples speaking English, but you didn’t go that way. 
MDP: From the beginning, our goal has been to create a show that has a documentary level of realism. We’ve maintained that from the very start, whether it’s making sure we’ve got hand stitching on the bottom of the dress because the 4K camera can pick up anything, or whether it’s what would be true and would have been true in that time, socially, visually, economically. [Indigenous peoples in the region were] speaking Mi’kmaq in that time period, so it was important to be authentic. It was a challenge, because Mi’kmaq is a language that that some people would say is moving towards extinction, and there’s a lot of hope and effort in the Mi’kmaq community to bring it back. We were desperately looking for an elder, for instance, to speak Mi’kmaq, and I found one through Jeff Barnaby, who is Mi’kmaq.

A lot of people won’t know about the efforts we made to make sure that the Mi’kmaq was pronounced properly, but it was important for us to get it right. It’s about respect and it’s about being authentic.

The scripts and performances have been top-notch since Episode 1 of Season 1.
MDP: Thank you so much. We were sitting in sound mix. We were looking at the screen and just really in awe of the performances throughout this whole season. It’s been exciting to watch especially the younger actors all grow and start to really get to know their characters in a way that makes them soar. There’s less and less work for the directors to do performance-wise when this cast is just A-plus, and really become who they’re portraying in a way that I think is exciting and extraordinary. Across the board, we work really hard casting the show, each and every role, even if someone’s coming in for just a few lines. We spend a lot of time looking at a lot of actors for each and every part so that the audience is hopefully experiencing a show that feels real, and they’re not ever seeing the acting. That’s something we’re proud of, and I continue to be in awe of all the extraordinary talent in the show.

Anne with an E airs Sundays at 8 p.m. on CBC.

Images courtesy of CBC.Facebooktwitterredditlinkedinmail