As a film enthusiast who has spent countless hours immersed in the captivating world of cinema, I find myself deeply inspired by the stories and experiences shared in this article. The dedication, creativity, and sheer determination displayed by these artists are nothing short of remarkable.
Actors and actresses hailing from Ontario have made a significant impact on the silver screen in Hollywood, with talents such as Ryan Gosling, Mike Myers, Rachel McAdams, and Sandra Oh shining brightly.
Just like how the province is now a significant location for big Hollywood studios and streaming services to produce films and shows, these top global producers are also recognizing and utilizing local technical talents to bring their vision to life on set.
When extraordinary shows arrive, loaded with outlandish plots and grand ambition, we rise to the occasion, and it’s rewarding to see,” Shayne Fox, fresh off her third Emmy nomination for her production design on ‘What We Do in the Shadows’, expresses to The Hollywood Reporter, discussing her peak performance within FX’s creative playground.
Talent from Ontario is delivering top-notch performances in major fall releases, such as Francis Ford Coppola’s dystopian epic Megalopolis and Tim Burton’s Beetlejuice Beetlejuice. As the Canadian province and Hollywood’s leading filmmakers are collaborating more closely, this intersection is becoming more frequent and fluid.
An essential contributor to this process is the Ontario chapter of the Directors Guild of Canada (DGC-Ontario). Beyond negotiating the Standard Agreement that regulates pay and working conditions for their members in local and international productions, DGC-Ontario also offers comprehensive training programs for skills development, engages in industry and community outreach, and champions diversity and inclusion initiatives to provide opportunities for their behind-the-scenes talent.
As a gamer, I’ve got some seriously impressive skills that shine once they’re showcased. The challenge lies in making them visible to the right people, as Victoria Harding from Directors Guild of Canada – Ontario explains to THR.
Film editor Cam McLauchlin created a special code with well-known Hollywood directors following his work on Coppola’s “Megalopolis” and Guillermo del Toro’s “Nightmare Alley” and “Cabinet of Curiosities.” As McLauchlin states, “Working with directors like Guillermo and Francis is undeniably a privilege.
He attributes his collaboration with del Toro during the editing process on multiple positions since del Toro filmed “Pacific Rim” in Ontario as being instrumental in securing him a place alongside Coppola for “Megalopolis.” According to McLauchlin, “The city has been inspired by [del Toro’s] filmmaking talents. Many people have stepped up to the opportunity of working with someone possessing such a strong work ethic and creative genius.
Coppola preferred “Nightmare Alley” and assigned McLauchlin to edit his self-financed grand production, which will have its North American premiere at the Toronto International Film Festival (TIFF). Working with Coppola was an intriguing, puzzling, awe-inspiring, thrilling experience – in a word, it encompassed everything under the sky. He is highly collaborative, eager to experiment, and open to giving the editor creative freedom at that stage. McLauchlin has also edited Gia Coppola’s “The Last Showgirl,” another movie set for TIFF.
Since the 1970s, an increasing number of American films and TV shows have been filmed in the Canadian province, leading to a significant surge in the employment of behind-the-scenes workers like cameramen, film editors, and sound technicians. As a result, local talent has been given opportunities on these high-profile projects, and there has also been a rise in homegrown films and TV series.
Besides Ontario’s other notable collaborators, film editor Jay Prychidny is also receiving attention. He started working with Tim Burton on his Netflix series “Wednesday,” having previously worked together on projects like “Batman” and “Edward Scissorhands.” As Burton expanded into television, Prychidny joined him in this new venture. More recently, they collaborated on “Beetlejuice Beetlejuice,” which was warmly received at its Venice premiere.
Working side by side with numerous individuals, Burton seems to develop a psychic-like understanding. He prefers concise communication and collaborates effectively with those who grasp his intentions quickly. I believe it was this shared understanding that led him to want me to carry on working together with him, as Prychidny recollects.
Chris Donaldson, editor for the Oscar-winning film “Women Talking” and David Cronenberg’s “The Shrouds,” a title competing at Cannes and TIFF as well, remarks that the achievements of these Canadian directors who primarily film their movies in Ontario have caught the attention of Hollywood, showcasing the local talent pool.
David played a significant role in establishing the belief that Ontario houses top-tier talent. With Sarah’s and David’s achievements, they now have confidence that the source of their talent lies within Canada when it comes to securing funding outside the country,” Donaldson contends.
Working with Cronenberg proved fortunate for Donaldson, who initially started as an assistant editor to Ronald Sanders, often collaborating with the director. When it came to filming Cronenberg’s 2022 sci-fi horror titled “Crimes of the Future“, Donaldson was chosen to edit the project since Sanders was unavailable at the time. “I could never have imagined working so closely with David. It’s such an exceptional honor, and the experience is incredibly inspiring,” he shared.
This year, Production Designer Zosia Mackenzie is expected to have a bustling TIFF schedule, as she previously collaborated in Budapest, Hungary with filmmakers Guy Maddin and his longtime partners Evan Johnson and Galen Johnson on the absurd comedy titled “Rumours.” The film, featuring Cate Blanchett, includes forest bog zombies and a massive foam brain that disrupts a summit of G7 Nation leaders, causing chaos.
Mackenzie reminisces about striving for a cinematic style similar to Guy Maddin’s during the filming of Rumours, managing to create an atmosphere as if it were shot in a studio, despite being on location. This was accomplished amid various unpredictable factors such as weather conditions, wind, and even a scene involving our pond, where our main character ventured into the water.
At a more familiar level, Mackenzie collaborated with Rachel Morrison, an acclaimed American cinematographer recognized for her Academy Award-nominated projects such as “Mudbound” and “Black Panther”, on her first directorial venture titled “The Fire Inside”. This film was shot in Ontario and is scheduled for a special screening at TIFF.
For Mackenzie, the biographical film about Claressa Shields and her real-life journey to Olympic boxing gold primarily relied on in-studio constructions using archival photos and an earlier documentary titled “T-Rex”. This included a boxing ring from Flint, Michigan and domestic equipment sourced within the U.S. for authenticity, as well as replicating Shields’ childhood home in Oshawa, Ontario. Mackenzie explained that since they had access to many relevant materials, it seemed logical for them to construct as much of it as feasible.
Meanwhile, Joe Bracciale and his crew are nominated for an Emmy for exceptional sound editing due to their contributions to the series Fargo, filmed in Calgary and edited in Ontario. Working under showrunner Noah Hawley provided ample room for creative exploration, as Bracciale remembers, particularly after they received an Emmy for their sound work during the second season.
It’s very significant when you receive recognition, as it encourages other American producers to approach us confidently. I would argue that we’ve received more opportunities since winning the Emmy or even being nominated. Clearly, people recognize that we’re producing something exceptional.” (Bracciale)
Emmy wins and nominations serve as validation for all the hard work and time invested by Emmy.
In this field, everyone often works extended hours, even on weekends, so it’s particularly rewarding to receive acknowledgement that our efforts are valued and unique. It feels fantastic, according to Bracciale.
DGC-Ontario’s Harding contends that the abundance of local talent working in homegrown films and television productions has transformed Ontario into a breeding ground for behind-the-scenes stars, effectively positioning it as a ‘Hollywood from behind the camera.’
He mentions that they enter situations with an open mind, understanding there’s much to gain from learning. Through the passage of time, not only foreign sources but also internal systems have been valuable educators. Even without American work, our domestic industry would still foster talent, allowing it to grow and be refined further.
Harding points out that the assistance DGC-Ontario provides to emerging talent behind the scenes starts from the very beginning, and its effectiveness is certainly evident.
She mentions that our team actively engages in numerous community events, visiting schools across the province, attending job fairs, and even film schools to guide people through what can sometimes be an overwhelming process. She notes that when she first entered this field, it was a specialized niche. However, now it’s a significant industry with substantial requirements.
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2024-09-07 15:25