20 Planet of the Arts / March 1997 V Practice By Jennifer Witvliet he Emily Carr Institute of Art and Design deserves continued funding because it provides an environment where creative people can learn the skills they require to lead a productive and creative work life. For example, Elizabeth Murray studied filmmaking at Emily Carr. Her reason for choosing a fine arts ‘Pauta Mes by Rich Sinclair Life after Emily Carr Institute couldn't be busier for 1996 Film/Video grad C. Paula Vander. In early January she began the pro- duction phase of her latest film project, co-written with Timothy Vander, In The Name of Johnny Seven. | chatted with her recently and got the low-down on details of her filmmaking experience so far. The biggest difference between Johnny Seven and her previous work at Emily Carr, notably her grad film, Eurydice Was Murdered Too, is the scale. Johnny Seven will be approximately fifteen minutes long she says, not a huge jump up from the average five to ten minute grad piece. However, in this much less experimental project, the scale shift is reflected in the transi- tion to professional production standards and less improvisation during shooting. This is also the first film project in which Paula has had to give up camera operation for a thorough focus on direction. For this reason she spent much more time in the production process, and assembled a larger crew. Johnny Seven was shot in Super Brenda McDonald as Aunt Bernice in Eilzabeth Murray’s film Bernice. education was that she needed a learning environment that encour- aged experimentation. She needed to develop her creative side and didn’t think would happen at a university. She wanted to make film rather than to just talk about film. Elizabeth saw the advantages in being able to write, produce and direct her own projects. The advan- tages of working directly with film is that “it gives you a broad base of knowledge and that helps with 16mm to be transferred to 35mm in post. This required a specific camera package and an experi- enced camera crew, lead by direc- tor of photography, Steven Cosens, a 1993 Emily Carr film/video grad ‘student. Paula was fortunate to have had the help of many other talented Emily Carr people. Ling Chiu has put incredible effort and dedication into the producers role, as has Laird McDonald (first assis- tant director and production manager). Other roles were filled as follows: Celine Rich: assistant art director; Sharon Bloedorn and Joao Cordiero: craft services; Aniko Kiss: stills photography; Carmen Pollard, Jeff Davis and Zoran Dragelj: pro- duction assistants; and Rich Sinclair: grip. Consistent with the production standards are high costs. Paula would not have been able to finance this without the help of a ten thousand dollar Kick Start Grant, funded by Telefilm Canada and The Directors Guild of Canada. This grant is based on the submis- sion of previous work, Eurydice Was Murdered Too , which played in the 1996 Vancouver International Film Festival. However charming, the cash only everything- it’s a liability if you don’t have this broad base.” The relationships that Elizabeth established in school with other students in both the Media Division and the Animation Department have been professionally reward- ing. In a lot of cases these former students now work collectively to help one another out. That is the essence of networking. “They help you out because you help them out. It isn’t necessarily about whose covers half the total costs of Johnny Seven (and that includes crew members working for free... so enjoy your time in the Emily Carr bubble, folks.) The shoot went well. Things were organized, the crew worked smoothly and efficiently, and Paula appeared relaxed and focussed. Throughout my time on set, | couldn't help but ponder the focus of my own work at Emily Carr in the film/video program. It seems that our work is aimed at develop- ing writing and directing skills more than anything else, and this is certainly the case with Paula. She says that the program has facilitat- ed her creative development as an artist such that she can rely on her vision as she finds her way through learning the business end of film- making. “It's much better for me this way” she says. “Other film schools teach you the business end of things first. | can learn that on my own.” Paula's aim is to complete /n The Name of Johnny Seven by fall 1997 in anticipation of the next Vancouver International Film Festival. S@ Carainsticute hand they've shaken.” Another part of the networking process is volunteering on low budget and no budget productions. These experiences are part of the process of getting to know people and cre- ating opportunities for yourself. Murray's studies at Emily Carr formed the basis for her work experience, Her career started at the bottom, which gave her the advantage to “get to know the system,” even though this some- times meant putting out the garbage or picking cigarette butts off the street. She admits jobs were at times humiliating but that she “swallowed her pride” and did whatever needed to be done. Things were tough at first, she related, but “poverty is a real moti- vator.” Her education and work experi- ence prepared her for her present position. She is now a successful independent filmmaker. The advan- tage of being an independent film- maker is that she can create her own work. Since graduating, Elizabeth has directed three short dramas. Murmuration has been screened at festivals around the world; Vancouver 37 was presented at the Glass Slipper and Pacific Cinématheque in Vancouver, and Bernice was premiered at the Vancouver International Film Festival and was shown on CBC's Canadian Reflections. Her other most recent film credits include Producer's Apprentice “The Lotus Eaters,” Production Manager “Keepers of the Fire,” and Production Manager “Mischa.” Currently, Elizabeth is Production Co-ordinator for “Champions of the Wild,” a 13 part documentary television series. In addition to her education and work experience, a positive outlook has contributed to her success. In fact, the first thing | noticed about Elizabeth was her positive attitude and openness to people. From talking to her, | learned the business is competitive and funding is endangered but that there are opportunities. In the meantime she advises students to volunteer, network, and to create their own work. There is no time to let yourself become bored. Murray supports an art school education because it “creates opportunities for people with cre- ative ability to use these skills for the benefit of society. It doesn’t take much; you just need a camera and stock.” <@s 20 Planet of the Arts / March 1997 By Jennifer Witvliet he Emily Carr nsitute of Art and Design deserves ‘continued funding because it provides an enviconment where creative people can learn the skills they eequie to lead a productive and creative work ie. For example, Elizabeth Murray studied fmmaking at Emily Car, Her reason for choosing a fine arts by Rich Sinclair Life after Emily Car Institute couldn't be busier for 1996 FilmWvideo grad C. Paula Vander. tn ‘early January she began the pro: ‘duction phase of her lates film project, co-written with Timothy Vander, In The Name of Johnny, Seven. | chatted with her recently and got the low-down on details of her filmmaking experience so far. The biggest difference between Johnny Seven and her previous ‘work at Emily Cre, notably her ‘rad film, Eurydice Was Murdered Too, i the scale. Johnny Seven will be approximately fifteen minutes Tong she sys, not a huge jump up from the average five to ten minute grad piece. However, in this ‘much less experimental project, the Scale shifts reflected in the transi tion to professional production standards and less improvisation during shooting. Ths i also the first film projec in which Paula has hhad to give up camera operation for a thorough focus on direction, For this reason she spent much ‘more time in the production process, and assembled a larger “Johnny Seven was shot in Super {education was that she needed 3 learning environment that encour. aged experimentation. She needed to develop her creative side and didn’ think would happen at 2 University. She wanted to make fim rather than to just talk about film. Elizabeth saw the advantages in being able to write, produce and direct her own projects. The advan: tages of working directly with film is that “it gives you a broad base of ‘knowiedge and that helps with 16mm to be transferred to 35mm in post. This required a specific ‘camera package and an experi: fenced camera crew, lead by direc: tor of photography, Steven Cosens, 2 1993 Emily Carr fllmwideo grad Student. Paula was fortunate to. hhave had the help of many other talented Emily Car people. Ling Chiu has put incredible effort and edication into the produces role, {3s has Laied MeDonal (fist as tant director and production manager) Other roles were filled 3 follows: Celine Rich: assistant art director; Sharon Bloedorn and J020 Cordero: craft services; Aniko Kiss still photography; Carmen Pollard, Jeff Davis and Zoran Dragel: pro: {duction asistants; and Rich Sinclair ori. ‘Consistent with the production standards are high costs, Paula ‘would not have been able to finance this without the help of 9 ten thousand dollar Kick Start Grant, funded by Telefilm Canada and The Directors Guild of Canada, This grant is based on the submis sion of previous work, Eurydice Was Murdered Too , which played In the 1996 Vancouver International Film Festiva However charming the cash only {rend MeDonsl at Aunt Brien Ezbeth Murray fm Bern (WW Practice Carinsticute Film Graal everything: its a liability f you ‘don’t have this broad base, The relationships that Elizabeth ‘established in school with other Students in both the Media Division ‘and the Animation Department hhave been professionally reward: ing, Ina lot of cases these former students now work collectively to help one another out. Thats the essence of networking. “They help you out because you help them ut tant necessarily about whose covers half the total costs of Johnny Seven (and that includes crew members working for free. So enjoy your time inthe Emily Carr bubble, folks) The shoot went well Things ‘were organized, the crew worked smoothly and efficiently, and Paula ‘appeated relaxed and focussed ‘Throughout my time on set, ‘couldn't help but ponder the focus ‘of my own work at Emily Carin the film¥ideo program. tt seems that our work i aimed at develop. Jing writing and directing skills more than anything else, and this is Certainly the case with Paula, she Says thatthe program has faclitat ced her creative development as an artist such that she can rely on her Vision as she finds her way through learning the business end of film: ‘making. “its much better for me this way" she says. “Other film schools teach you the business end Of things fist can learn that on my own, Paula’ aim isto complete In The Name of Johnny Seven by fall 1997 in anticipation of the next Vancouver international Film Festival. hand they've shaken.” Another art of the networking process is Volunteering on low budget and no budget productions. These experiences are part of the process ‘of getting to know people and cre ‘ating opportunities for yourself Murray’ studies at Emily Carr formed the bass for her work ‘experience. Her career started at the bottom, which gave her the ‘advantage to "get to know the system,” even though this some times meant putting out the garbage or picking cigarette butts Off the street. she admits jobs were at times humiliating but that she “swallowed her pride” and did Whatever needed to be dane. Things were tough at first, she related, but “poverty i areal mot Her education and work exper: ‘ence prepared her for er present Position. she is now a successful independent filmmaker. The advan tage of being an independent film maker is that she can create her ‘own work Since graduating, Elizabeth has directed three short dramas ‘Murmuration has been screened at festivals around the world: Vancouver 37 was presented at the Glass Slipper and Pacific Cinématheque in Vancouver, and Bernice was premiered at the Vancouver International Film Festival and was shown on COC’ Canadian Reflections. Her ther ‘most recent film credits include Producers Apprentice "The Lotus Eaters,” Production Manager "Keepers ofthe Fire," and Production Manager “Mischa Currently, Elizabeth is Production Coordinator for "Champions of the Wild” a 13 part documentary television series In addition to her education ‘and work experience, a positive ‘took has contributed to her Succes. In fact the frst thing | noticed about Elizabeth was hee positive attitude and openness to people. From talking £0 her, | earned the busines is competitive and funding is endangered but that there are oppertunities. In the meantime she advises students to volunteer, network, and to create thei own work. There is no time to let yourself become bored Murray supports an art schoo! education because it “creates, ‘opportunities for people with cre ative ability to se these skills for the benefit of society. It doesn't take much; you just need a camera and stock"