TIFF approaches

This week is full of milestones. I just celebrated my 30th birthday yesterday and I am one-week away from finishing the final mix of This Beautiful City. I also just received my first Telefilm development grant for my next film, Three In The Back, Two In The Head (adapted from the play by Jason Sherman). Getting the Telefilm grant makes me feel like I've just been given an official seal of legitimacy as a producer (though one should think that completing a feature film and getting into TIFF would have done that already...but finally succeeding with Telefilm after a number of rejections somehow makes it feel all the more real).


(My current draft of a poster for This Beautiful City)

TIFF is right around the corner and the reality of what the festival can potentially entail is really starting to hit me. We're racing to get a 35mm film print ready in time. Also, TIFF selected TBC as one of a handful of films that would receive an official TIFF advance press screening. While this is awesome, it has definitely accelerated our post-production deadlines. But we are on schedule and while we won't be able to show the press a final 35mm print, we screen the film in HD on an awesome projector (so it should look great).

We are finishing the film with a DI (Digital Intermediate) where they scan the negative at very high resolution, do all of our colour correction, titles etc, and then digitally print the film to 35mm film. It has been an incredible process. What we once thought would look like a dirty little handmade film is suddenly looking rich and elegant (or at least like a dirty little handmade film in a nice fitting suit jacket). Technicolor has spent the past week digitally painting out all of the dirt and hairs that were on the negative...along with a couple of boom mics, some crew in a reflection, a couple of nipples that popped out in scenes where they weren't invited, and (horrifyingly) safety harnesses and cable that we THOUGHT were hidden until we watched the high res transfer on a bog screen and they stood out like an orange jumpsuit. But through the magic of the DI...POOF!...they're all gone.

I picked up and began re-reading Robert Rodriguez's book Rebel Without A Crew during downtime in the mix theatre and it has totally gotten me jazzed for the festival. Not that I expect to have major studios start a bidding war for the movie, but I'm looking forward to immersing myself in the festival and having an audience finally see the film.

And lastly...we now have a confirmed date for the premiere: Tuesday, Sept. 11 at 9:15pm. 3.5 weeks away!

Two undead snakes in the studio

The soundtrack is getting ever closer to completion. Andre Ethier and Andrew Gunn, formerly of The Deadly Snakes, just finished recording a dirty, bluesy, garage rock track called Self Lovin. This was the first time when I specifically asked an artist to write something for a particular scene. Andre had seen an earlier cut of the film and I asked if he could come up with a dirty rock n' roll tune more akin to his work in The Deadly Snakes.

I arrived 45 minutes into the session and they head already finished the bed tracks and vocals. By the time I was ready to take a few pictures they had also finished 2nd guitar track. They were moving at ninja speed! In one take they lay down the keyboards and then we went for lunch at Sneaky Dee's while did a rough mix. After lunch we listened to the mix a few times and voila! It was done.

That was officially the fastest recording session I've ever witnessed.

(Andre Ethier listening to playback while recording Self Lovin')

The soundtrack tracklist (in rough chronological order based on where it appears in the film) looks something like this:

Mountainside by EMILIE MOVER
Big Smoke by BRYAN WEBB (The Constantines)
Kennedy Killed the Hat Re-Mix by BUCK 65
Self Lovin by ANDRE ETHIER
Jane Station by THE GHOST IS DANCING
Flying Cars by THE GHOST IS DANCING
Currently Untitled by SHAD
We Want What's Right by SUNPARLOUR PLAYERS
Feel The Rise by SEBASTIEN GRAINGER & JEWISH LEGEND
Bless This City by SUNPARLOUR PLAYERS
Positive People by BRYAN WEBB

+ two tracks still to be recorded by FEMBOTS and AMY MILLAN.


(Andrew Gunn listening to playback of Self Lovin')

My first press conference

At long last we can finally announce that our film, This Beautiful City, has officially been accepted to the Toronto International Film Festival. And we are absolutely thrilled!

Tuesday was the official press conference announcing the Canadian films at TIFF. I had no idea what to expect and didn't want to get my hopes up. I didn't know if we would get any coverage (especially when David Cronenberg and Viggo Mortensen were on hand for interviews for their film).

But our publicity team (VK) rocked. They ended up getting us 6-7 interviews, far more than I had imagined. I thought we would have been lucky to get 2-3. It was a lot of fun seeing the cast together again in the same room. Aaron was shooting so he wasn't able to attend, but Caroline, Stu, Noam, Caroline, Kat, Lee and myself were there.

It was kind of insane getting a taste for what the festival itself will be like. I really need to make sure I don't get too caught up in free food and booze or I will quickly regain the 20 lbs I just lost!

It's been too long...

At long last, after months of hibernating in my basement hobbit-hole with my edit suite, I am finally finished editing the film. Well technically I still have a couple of time-lapse sequences and inserts left to shoot, but those will just replace placeholder shots already cut into the film. And maybe a couple of tweaks that I won't tell anyone about. But as far as I'm concerned, I'm done. .

The movie is now so tight, clocking in at a compact 84 minutes (down from 100...my very first rough cut clocked in at a lethargic 133 minutes). I've seen in 100 times and still love watching it. I'm chomping at the bit for people to start seeing it, but I've still got 2 months of sound and music work before it's finally done.

We've begun submitting to a few select festivals. We're trying to be strategic about how best to premiere the film. The ideal gameplan is to premiere at a major international festival and then follow up with a major North American fest this fall. Our fate should become clear within the next 3-4 weeks....so we'll be keeping our fingers crossed until then.

The soundtrack is also progressing really well. Posted below is a PRELIMINARY track listing. But there are still a few artists that we are negotiating with as a couple that haven;t recorder yet so it will definitely swell and change...possibly as high as 16 tracks.

THIS BEAUTIFUL SOUNDTRACK (in no particular order)

Big Smoke (BRYAN WEBB)
Mountainside (EMILIE MOVER)
Kennedy Killed The Hat - remix (BUCK 65)
Feel The Rise (SEBASTIEN GRAINGER & JEWISH LEGEND)
Flying Cars (THE GHOST IS DANCING)
Jane Station (THE GHOST IS DANCING)
We Want What's Right (SUNPARLOUR PLAYERS)
Bless This City (SUNPARLOUR PLAYERS)
Positive People (BRYAN WEBB)
untitled (SHAD)

Plus 2 as of yet unrecorded songs by AMY MILLAN and FEMBOTS.

It's really become an embarrassment of riches as I am having to turn down songs I really like...I just can't find a place for them in the film. Maybe I'll have to edit a new film out of the scenes we didn't use and throw the unused tracks in there to create a worked Frankenstein of excellent parts that just don't quite fit together.

Strings n' Things

"A breath-taking and powerful film"
(Recent praise on This Beautiful City from MICHAEL ONDAATJE)
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Last night in the mainspace at Factory Theatre--the ballroom of an Edwardian mansion converted into a theatre space--we recorded a 10 piece choir, trumpet, and drums for Sunparlour Players stunning tune Bless This City as well as cello, viola, and violin for Shad's currently untitled track.

(Erin Brandenburg and Andrew Penner preparing to sing in the Sunparlour choir)

My dad founded Factory Theatre in 1970, left in 1979, then took over again at its current location in 1997. I've worked there on and off since then (and was subsequently fired in 2000) and have grown to know the space well...I've always had a hunch that the mainspace would be a great room for live music and last night was awesome...the acoustics were a perfect match for full, belting voices. It's really gotten me inspired to arrange some live performance in there.


(Dave MacKinnon engineering the session)


When I heard the rough mix today I honestly felt a cold chill down my spine and was on the verge of tears as the choir erupts. I experimented with adding it into the film today and I think I love it...definitely a stark contrast to what I was trying before...but I think it's totally right. I'll live with it for a couple of days then decide for sure.

We're doing a small test screening on Saturday so I will certainly be curious how people respond to the music and the new ending I've cut.

In other news, The Ghost Is Dancing have sent me three demos of songs written for the film. We're suffering from a bit of an embarrassment of riches as I don't know if I can if all this great material in the film or on the soundtrack...I'm hoping one of the tunes can be a collaboration with Amy Millan (I think her voice would be a perfect compliment to The Ghost Is Dancing). And Buck 65 should be sending me some material any day now.

In the next two weeks I'll also be uploading some sample poster ideas that we're experimenting with...and perhaps a streaming version of one of the songs to whet people's appetite.

This Beautiful Book...aka Ondaatje in my edit suite

Last Wednesday was a rather unique day of editing for me. Michael Ondaatje came over to my house to watch a new edit of my film and give me notes. While having an internationally renowned author pay a visit to my humble basement abode is cause for celebration on any day, I was particularly elated because Michael's book The Conversations has had a huge impact on me as an editor and filmmaker.

I had met Michael a number of times over the years and after seeing him regularly while a part of the Talent Lab at TIFF 05 I felt like I should see if he'd be willing to offer some feedback on This Beautiful City. Sure enough, he watched the film and was very enthusiastic. I continued working away and then a month later he came over to watch the new edit.

I first read the Conversations in 2002 while editing my short film Pink...I had been a big fan of the Coppola film The Conversation and was intrigued by the idea of reading a book about the editor of the film. The Conversations is essentially a series of conversations between Michael and editor/sound designer/filmmaker Walter Murch. The topics of conversation, however, run the gamut of art, life, science, music, passion, as well as the art of editing and anecdotal tales about the making of some of the most celebrated films of the 20th century (Godfather, Apocalypse Now, etc).

The book became an inspiring beacon that encouraged and challenged me to aspire to the magnificent possibilities of art and cinema. This book, alongside Walter's book on editing In The Blink of an Eye, became my film school while editing that short film.

When it came time to begin editing my first feature, I thought it would be fun to reread the book that influenced me so greatly when cutting my first short (as editor). Once again, I was amazed at how inspiring and compelling the book was. I was largely working on my own so it became an invisible editing partner with whom I could embark on meaningful and tangential conversations that simply kept my editorial mind fresh and invigorated.

So having a conversation with Michael in my living room about my film that was heavily influenced by conversations he had with Walter Murch about his films...was a rather unique experience. It suddenly felt like I had come full circle (albeit a rather small circle since I'm on ly at the beginning of my filmmaking career...more like an English roundabout than a world tour). After he left, I dove back into the edit suite (basically my living room except with the monitor point towards my desk instead of my armchair) and emerged with a new and improved version influenced in part by a host of keen observations and suggestions.

I have found that one of the most critical parts of editing is knowing which feedback to accept, and which to to go. Everyone has an opinion and everyone is influences by a myriad of sources...and often people's suggestions are far less helpful than the clues that they offer into how they responded to the film emotionally (ie they suggest cutting a scene, but really this is just a clue...the problem is that they feel disconnected from a character and bored but that can be fixed by extending the scene that happened 5 minutes beforehand). It is very similar to the way I feel that half of photography is simply knowing which photographs to select and which to discard.

Michael's comments, however, were concise, effective, and quite effortless to employ. Yay Michael!

(NOTE: Since photography is becoming a consistent part of this blog, I wanted to take a photo of Michael watching my film. But I chickened out. It's not like me to be shy, and I'm sure he would have said yes, but I don't know him very well and....so I just took a snapshot of the book cover instead...hopefully this will inspire someone, somewhere to buy it).

This Beautiful Drum Solo

(Blake Howard warming up on drums)

Today was a fun, odd, and inspiring day at the Junkshop (the FemBots' studio). Rock Plaza Central drummer Blake Howard sat down with us an did a live recording of a 93 minute improvised drum score to the entire film.

As an editor, one of the biggest influences on my creative approach was Michael Ondaatje's book The Conversations. The book is essentially a series of transcribed conversations between Michael and brilliant film & sound editor, Walter Murch (Godfather, Apocalypse Now, The Conversation). I was captivated not only by Murch's ideas about editing, but also by the stimulating tangential conversation he and Michael got up to.

At one point, Murch related how on Apocalypse Now they had a team of kodo drummers perform improvised sets while watching the film. When I saw Rock Plaza Central play Lee's Palace I can honestly say it was the first time I've seen a band and simply been blown away by the drummer. He was so organic and passionate...I instantly thought of the Murch reference to Apocalypse and thought "This is the guy to do a live score to my film".

I gave Blake a copy of the film on DVD to view in advance so he could get a basic feel for the film then invited him into the studio to score the film live, simply responding organically to the scenes before him. He had complete freedom to drown out the dialogue or be subtle and quiet. The results were pretty astounding.

(Blake playing along to a DVD of the film, Dave mixing in the background)

The sounds he was able to wrench from that measly set of drums was utterly impressive. He used everything from sticks to his hands to what looked like a pair of giant cocoa beans.

Although several sections will be completely unusable where they were placed (because the dialogue is, of course, important) what we have captured is an organic percussive response to the film. Even if it is taken out of sync or out of context, at its essence it follows the natural rhythms of the film. So a section could become a the basis for a song or simply an element of score to be manipulated and placed elsewhere. Or it could work perfectly as is. Either way, we've captured something unique, organic, and beautiful...and I'm excited and inspired to start experimenting with how to add it to the film.

To Test or Not To Test

(Ed Gass-Donnelly on set directing the killing of Dirty Steve)

We're getting close to a picture lock. Inching towards it anyway. We originally planned for May 1, but because we need to get feedback from our distributor, it may not be locked until the end of May (which is not big deal, our schedule definitely has padding).

Beyond feedback, one of the things slowing down the process is the possibility of holding a couple of small test screenings. These would be kind of like hybrids between REAL test screenings arranged by large companies (which cost upwards of $5000) and a FRIEND screenings (which is an entirely boased audience). We're trying to find a way to solicit strangers who fall within our potential audience (ie people who actually pay to go see indie fare at theatres) but it can be hard to know for sure what a strangers tastes are. In the same way friends are likely to be more forgiving, a stranger who only likes big Hollywood comedies could offer a disproportionalely negative response.

I have mixed feelings about the whole idea. Obviously if the film screens well I will be happy because that is good ammunition increased marketing/release etc. However, if I don;t hold a negative test with much validity, the same shoudl be said about the postive response.

Ultimately I believe wholeheartedly in the film. Beyond my own ability to offer geneuine critical objectivity, the rsposne from folks n the industry has been phenomenal. I mean there really is no question that the performances are stunning, that the film looks beautiful and unique, and that the connecting storylines are masterfully woven. It really just comes down to now whether an audience will connect with the story on a meaningful level. I certainly think/hope so.

But only time will tell.

Sunparlour in the Studio

(left to right: me, Dave, Andrew)

Another couple of notches were made on the bedpost of our soundtrack today. Sunparlour Players aka Andrew Penner spent the day in studio with Dave MacKinnon and myself, recording two new songs for the soundtrack, Bless This City and We Want What's Right.


(Andrew Penner on banjo and organ)

When I heard the demo of Bless This City a few weeks ago I knew it was a keeper. It has a rich passionate build and will ultimately feature a swell of brass, strings, and a choir (which we'll be recording in Factory Theatre's cavernous mainspace theatre for full effect). We Want What's Right, on the other hand, I was a lot less sure of; the demo felt a little like the ugly kid sister to the epic Bless This City. But once we got into the studio, several of the elements that I had felt were odd or awkward about the song were suddenly thrown centre stage and embraced...and it quickly grew on me. The heavy bass line and bass drum are complemented by the deep churning of the vibraphone, accented by glockenspiel and two interweaving dobro tracks. I can't say for certain whether the track will end up in the film itself, but I'm really diggin the way the song panned out. It's a tight, rich, grooving tune that ends quickly and leaves you wanting more.


(Andrew Penner on bass drum and Tambourine, Dave MacKinnon on the ProTools)

We're back in the studio tomorrow evening to add some harmonies and textures. Once we get some rough mixes I'll find a way to stream short samples of the music to give folks a taste of what we're working on.

OTHER NEWS: I just heard from Sebastien Grainger and Josh Reichman who have been collaborating on a song at Sebastien's East End super studio. The news: the song is done. I'm chomping at bit to hear as I haven't heard anything, not even a demo. So with Josh & Sebastien's track, plus Bry Webb's two, and the two we just recorded with Sunparlour Players...that brings us to a total of 5 tracks. (That's like half an album already!) And we're not even close to being done.

UPCOMING: Blake Howard from Rock Plaza Central is coming in on Friday to do a live improvised drums score to the whole film as an experiment. And next week, hip hop artist Shad should be stopping by the studio as well. Busy busy busy!

Two In The Can

The first two songs from the soundtrack have officially been recorded!

A few weeks back, Bry Webb from The Constantines came by Dave MacKinnon's studio (FemBots) and recorded two new songs, Positive People and Big Smoke. Back in October while we were still in pre-production on the film, Bry sent me a demo of Positive People within 3 days of reading the script. I was blown away. We hadn't even started shooting yet and we already had a theme song. The lyric, "Postures of defeat", became an iconic anthem for the way I viewed several of the scenes.

Over the next couple of months Bry also sent me demos for two other new tunes, Big Smoke and AM Blues (which may also end up on the soundtrack). I liked the demos so much I'm thinking of using a mix of both the demo of Big Smoke as well as the newly recorded version.




(Bry Webb recording Big Smoke at Junkshop)

I'm hoping we'll be able to get The Constantines to write a song for the film as well...we'll have to see how things progress with their new record though.

I plan on shooting Behind The Scenes footage for all of these recording sessions. I have no idea what it will amount to, but the calibre of artists we're working is just stunning...I feel compelled to document it. Maybe it'll end up a DVD or companion to the soundtrack. Who knows.

COMING UP NEXT WEEK: The Sunparlour Players will be coming into the studio to record a great new song, Bless This City, full of revival tent fervour, that Andrew Penner wrote for us. The FemBots are also making progress with the scoring of the film. I just received a demo for a chase scene that was really exciting. We're also doing a bit of an experiment with drummer Blake Howard from Rock Plaza Central. We're going to record him doing a live improvised score to the ENTIRE FILM. Some will be crap. Some will be brilliant. Can't wait to see what's what!

A Train With No Brakes

So this 'little' film we'd been trying to get off the ground has exploded into our lives. A year ago at The Drake we set down and made a blood oath (the blood was figurative but it sounds better that way) that we would move forward, NO MATTER WHAT, on Oct. 16, 2006 with my film called THIS BEAUTIFUL CITY. We were to be a train with no brakes that would (we hoped) build a momentum fueled by our blind determination.

Adapted from a play I wrote years ago called DESCENT, the film is cataclysmic weaving through five lives that connect when a woman plummets from her balcony in Queen West. Not exactly the most marketable fare, but we felt there was an uncompromising truth to the voices of the characters and a unique style and structure that separated from some it's peers.

This is my first attempt at a blog so I'm sure I'll elaborate later about how we pulled it off. In the meantime I hope to use this space to give updates and info about how the film progresses.

But for the here and now, this is where we're at:

The film was shot in Oct/Nov 2006 with an exceptional cast that includes KRISTIN BOOTH, CAROLINE CAVE, STUART HUGHES, NOAM JENKINS, and AARON POOLE.

It was written, directed, edited by myself (ED GASS-DONNELLY)

It was produced by myself, LEE KIM, and AARON POOLE and was beautiful photographed by MICHA DAHAN.

We've also putting together a KILLER original soundtrack of new music by the likes of FEMBOTS, BRY WEBB (The Constantines), BUCK 65, HOLY FUCK, SEBASTIEN GRAINGER (Death From Above 1979), AMY MILLAN (Stars, Broken Social Scene), JOSH REICHMAN, ANDRE ETHIER, SUNPARLOUR PLAYERS, SHAD, and many more.

We plan to premiere the film in the FALL 2007 and have a theatrical release in 2008. The film has been picked up for distribution so hopefully you'll come out to see it in a theatre near you.

YOU CAN FIND MORE INFO AT www.thisbeautifulcity.ca or join or FACE BOOK group at http://www.facebook.com/group.php?gid=2262356579