What would you do?

[Jeremy Torrie]

OK I'm putting this out there...I'm based in Winnipeg, MB, Canada, and as such I'm lucky to have programs to apply to such as The Featuring Aboriginal Stories Program at Telefilm Canada, administered by The National Screen Institute.

This allows us to go through a couple of phases of development on a given project...so we get paid at WGC standard rates to write our screenplays with the assistance/guidance of professional story editors. When we feel we've got something ready to take to market we get to meet various mainstream stakeholders/financiers of the Canadian feature film model to pitch our projects and see if they will pre-license or distribute or provide interim financing, etc.

The aim of the program was to get more Aboriginal (meaning Native, non-Status Indians, Metis, or Inuit) feature films on Canadian screens that are creatively controlled while also building capacity in our industry among those of us with the desire to be professional feature filmmakers (i.e. make one's living by making films and not working at Starbucks between projects).

Now, we have a very marketable script, and have been approached by a major distributor to take on the film, but with their provisos. They'll let us be the lead producers and I will maintain my writer credit, even though they want another rewrite to suit their distribution needs (i.e. bigger role for A-list star). They will chase the lion's share of financing, and their MG triggers national funds at Telefilm (which are otherwise inaccessible without the distributor trigger).

But, I've been asked to step aside as director in order to facilitate financing from another nation (international co-production). However, this would mean taking a spiritually sensitive and true historical feature film and putting in the hands of a non-Aboriginal filmmaker (something we've been trying to get away from).

If we choose to retain the original idea of me being the writer-director it may get made, but I would still need a distributor to trigger at Telefilm (provided we didn't secure private financing outside of Canada), which traditionally contributes 25-49% of a film's financial structure.

At the end of the day I could walk away with a large producer fee that keeps my family fed for a few years, and possibly add a significant feature credit to the CV (I've written and directed two features, and co-produced an award-winning MOW).

Either way I would be well-paid as we're signatory to the various guilds. Working with this major distrib means it will certainly get made in the next year (and if it doesn't it reverts back to me), whereas with me as writer-director I have complete creative vision, but probably less than half the money they're talking about rounding up for this other director who has the same number of directing credits as I do...and no guarantee that it will get made otherwise.

So the question is posed...do I work as an 'inside the fort Indian' to get the film made, or do I stand firm, confident of my abilities, and hope the stars in the universe align?

 

[PatrickW]

If your still writing and producing, but not the director, so what? As long as your still the show runner with respects to maintaining your vision.

 

[Richard Foster]

How can we really advise you on this? Both are viable options. But you are the creator here, and you do know what would be the best, deep down in your heart. That is the best advice I can give you - follow your heart. It is the only basis of decision you will be comfortable with.

 

[Mark Collins]

And that's why I don't like the Canadian film model...because there;s so many hoops to jump through since your financing comes from a million different places and at so many different times.

From a personal and creative point of view, I would like to not relinquish my directing position, and I would fight that tooth and nail. However, if they flat out refused to have me direct no matter how much pleading and such, then I would step aside in favour of getting the project made.

From a business standpoint, it's a Canadian film, so you need all the stars you can get to help sell the film at the box office, otherwise it'll be a short blip on the radar.

 

[Jeremy Torrie]

It's a funny thing. I had my last feature premiere in Toronto this past Friday, with no visibility from one of the so-called Eligible Distributors that triggers at Telefilm. They couldn't even get me DVDs to hand out to my cast. And no Telefilm either. But we had a good audience and they had a good time.

This feature will have a life at more than a dozen festivals around the world and play on a PAY TV channel (SuperChannel) and then maybe some DVD sales. So, as is the CDN feature model, I make some money in the making of the film, but the worldwide distribution rights are with this distributor for 25 years, and they paid very little for it (again this is how the system works up here).

When I spoke to some smaller distribs and other CDN folks they all said take the money, learn from the industry giant and hope you can have some creative control. When they heard of the plan to INCREASE the budget to around $8 Million and use $1 Million to get a major star who they've got strong ties with, it became a no-brainer to the folks who are not in my position.

That said, given the nature of the festival and it's international reach with shall I say Native sympathizers, when I talked to them it was don't give it up...you've nurtured the story for years, you have gone into ceremony to get permission by the spirits to tell it, and the story is so strong and unique that it could be a breakout film for whoever directs it.

Do I have other stories to tell? Yes of course. But I believe I was the one to tell this story...I have award-winning DOP's and production designers willing to follow my vision, or alternatively, as producer work for the white guy director who's ancestors were directly affected by the history inherent in the story. I have a lot of integrity to lose in my community if I don't get it right with this filmmaker.

But this is a business right? Not an easy decision on my part, and I guess I should be somewhat thankful that a major market force recognizes the potential of the project...

 

[Mark Collins]

Such is the business....

Though spending a fairly sizable chunk of money on a single person is a decision that doesn't make sense to me. I would rather see the money go to production design and the camera/grip department than to the cast. An a-lister may get some exposure, but having good actors and a good looking film I find trumps a known actor any day.

 

[Andrew Luczenczyn]

Tough call.

You can hope that as a producer, you will still maintain a certain sway over the creative vision. Depends on how much voice you have in choice of directors. At the same time, just because its (potentially) a white guy directing doesnt mean he would be insensitive towards the script. I am, by all descriptions, a white male; but I do recognize a strong metis link in my bloodline and am extremely proud of it; so you just wont know until you try.

That being said. This is Winnipeg. Your farther than most people go.
If it was me...... I'd pray a director will be faithful to the project and breath energy into it - and take the risk.

After all - the spirits are with you.

 

[Cliff Hokanson]

You should talk with Cliff Hokanson he is from Winnipeg and he is Metis.
www.cliffswebsite.com

 

[Jeremy Torrie]

Cliff -obviously you haven't read the thread...if I am unable to direct it, the film will be directed by an Aussie because that is where a big chunk of the private money is coming from.

I apologize. This is a hugely complicated issue by virtue of the fact that it is a cultural property...there's been decades of cultural appropriation -i.e. taking our stories in this case and not doing them justice. Yes I am told I will be the lead producer, but I also know they already want to change the protagonist from the Native perspective to a White guy, as it has been done in Little Big Man, Dances With Wolves, and to a lesser degree Thunderheart (he looks White but has Native blood). it's a narrative that has worked before in these examples, so I recognize the distrib wants it to succeed, but I have no idea what the story will look and sound like.

And I've had a chance to research this director...fairly shallow feature with indifferent reviews, and younger than I am so chances are he doesn't have the maturity or wisdom to 'get it'...maybe he won't be the final choice.

Am having another conference call later today.

 

[Andrew Luczenczyn]

well.... I revoke my earlier suggestion.

Although the Aussies have had their own long history with their natives, I dont think it would do the story justice anymore.

We have lots of very strong native actors here in Canada, and strong directors. Maybe it is better off to go domestically, even if will be more difficult.

Native Americans (or Aboriginals across the world in general) are one of the worst represented people in the history of movies. If you feel that this director can respect the story - dont do it.