Screenwriters! You don’t want to miss this workshop with Bill Boyle, direct from LA!

Bill is an award winning screenwriter, screenwriting instructor at UCLA Extensions, and the author of The Visual Mindscape of the Screenplay. He has been involved in the film industry in both Canada and the U.S. for over 25 years as a writer, director, agent, producer, story editor and mentor, and has been rated among the top 10% of Script Analysts and Consultants by Creative Screenwriting Magazine.

Women in Film and Television–Atlantic (WIFT-AT) and the Island Media Arts Coop (IMAC) are very pleased to be jointly sponsoring two days of lectures and conversation with Hollywood producer, director, author, Bill Boyle, during the Island Media Arts Festival.  During the workshop you will learn the fundamentals of the craft of writing the picture perfect screenplay. These sessions are suitable for all levels of writers.

The Visual Mind of the Screenplay with Bill Boyle
Location: The Haviland Club, 2 Haviland Street, Charlottetown, PEI
Date: Friday and Saturday, May 24th and May 25th

Bonus! WIFT-AT members in attendance will be eligible to WIN their $100 registration fee. Draw will take place during the workshop.

Following is the workshop fee structure:
$120 Early Bird Rate (by May 10);
$100 Rate for members of WIFT or any film coop in Atlantic Canada (IMAC, NIFCO, NBFC, AFCOOP);
$150 Regular Rate;
$75 for those who can only attend one day.

Registration:
For more information or to register, visit www.peiscreenwritersbootcamp.net or contact Louise Lalonde (902) 566-1353

Seating is limited, so don’t delay!

Whether you’re thinking about it or you’ve got a couple under your belt, this workshop is a unique opportunity for emerging and professional and writers to develop new skills.  Women in Film and Television–Atlantic and the Island Media Arts Coop (IMAC) are jointly sponsoring two days of lectures and conversation with Hollywood producer, director, author, Bill Boyle, on the craft of writing the picture perfect screenplay.  This workshop is an extension of the PEI Screenwriters’ Bootcamp.

Participants can choose to attend one or both days, as content of day one will reveal the most basic and fundamental truths about cinema and a unique approach to writing for film; and day two will include a recap of day one along with an exploitation of the visual aspects of story and ways to enhance the overall storytelling experience as well as a question and answer session on everything from how to write the kinetic logline to how to sell your script.

This workshop is being held at the Haviland Club, 2 Haviland Street, Charlottetown, PEI from 10 am to 4 p.m. Friday and Saturday, May 24 and 25, 2013.

Suitable for all levels.  Space is limited

Following is the workshop fee is structure:

• $150 Regular Rate;
• $100 Rate for WIFT membersand members of any film coop in Atlantic Canada (IMAC, NIFCO, NBFC, AFCOOP);
• $75 for those who can only attend one day.
• WIFT will be raffling off a seat on the workshop to refund a WIFT member in attendance.
• Payment can be made by cheque, money order & mailed to 23 Granville St., Charlottetown, PE  C1A 2A 1or e-transfer to lmlalonde@yahoo.com

For more information or to register, contact louise@peiscreenwritersbootcamp.net or call (902) 566-1353

Click here more information on Bill Boyle

** All WIFT members in attendance will be eligible to WIN their $100 registration fee **
Draw will take place during the workshop.

WIFT-AT Annual General Meeting in Halifax on June 24

WIFT-AT is pleased to announce that our AGM has been set for Monday June 24, from 6 – 8 pm. The meeting will be in Halifax, NS, with the location to be confirmed. We’re hoping that members from Halifax and from away will be able to join us for a get together/networking event to have some quality and fun time to socialize after a short AGM where will we have a the elections, chair report and year-end financials. It would be fabulous to see as many new/remaining and old board members as well as regular members come out for a chance to bring on the summer!

2nd All Access Pass Award Call for Applications

WIFT-AT is offering its members a chance to experience all of the film festivals Atlantic Canada has to offer, plus a weekend pass to the prestigious Women Making Waves Conference in March 2014. You have until Saturday, June 1^st to submit your application for the All Access Pass Award (AAPA).

This award is given annually to a deserving WIFT-AT member working in the screen-based media whose career will be assisted by the award. (Don’t worry if you’re not yet a member of WIFT-AT, memberships are only $45 and are valid for one year.)

Along with delegate passes to eight festivals, the Award also offers professional development meetings, local accommodations, representatives at each festival to guide the AAPA recipient and $1,400 cash!

The All Access Pass Award is not limited to filmmakers, but is open to any WIFT-AT full member working in the industry whose career has reached the point where she believes the AAPA will be useful in furthering the trajectory of her career.

The application deadline is Saturday June 1^st at 5pm AST. The recipient will be notified of their win by June 21, 2013. The official announcement of the successful candidate will take place June 24, 2013 at the WIFT-AT Annual General Meeting. The award recipient agrees to keep this news confidential until the official announcement. It is recognized the award recipient may not be available for the formal announcement, however we hope the recipient can attend in person.

Please review the complete AAPA Guidelines before submitting an application.  You can submit your online application HERE!

Ready to take your career to the next level? WIFT-AT is offering its members a chance to experience all of the film festivals Atlantic Canada has to offer, plus a weekend pass to the prestigious Women Making Waves Conference in March 2014. You have until Saturday, June 1^st to submit your application for the All Access Pass Award (AAPA).

This award is given annually to a deserving WIFT-AT member working in the screen-based media whose career will be assisted by the award. (Don’t worry if you’re not yet a member of WIFT-AT, memberships are only $45 and are valid for one year.)

Along with delegate passes to eight festivals, the Award also offers professional development meetings, local accommodations, representatives at each festival to guide the AAPA recipient and $1,400 cash!

The All Access Pass Award is not limited to filmmakers, but is open to any WIFT-AT full member working in the industry whose career has reached the point where she believes the AAPA will be useful in furthering the trajectory of her career.

The application deadline is Saturday June 1^st at 5pm AST. The recipient will be notified of their win by June 21, 2013. The official announcement of the successful candidate will take place June 24, 2013 at the WIFT-AT Annual General Meeting. The award recipient agrees to keep this news confidential until the official announcement. It is recognized the award recipient may not be available for the formal announcement, however we hope the recipient can attend in person.

Please review the complete AAPA Guidelines before submitting an application.  You can submit your online application HERE!

Along with delegate passes to eight festivals, the Award also offers professional development meetings, local accommodations, representatives at each festival to guide the AAPA recipient and $1,400 cash!

The All Access Pass Award is not limited to filmmakers, but is open to any WIFT-AT full member working in the industry whose career has reached the point where she believes the AAPA will be useful in furthering the trajectory of her career.

The following will be awarded to the successful female recipient:
- one year annual membership to WIFT-AT for 2014/15
- one delegate pass to the annual WIFT-AT Women Making Waves annual conference (March)

PLUS One delegate pass to every major film festival in Atlantic Canada including:
- Halifax Independent Filmmakers Festival (HIFF) (April)
- Island Media Arts Festival (IMAF) in PEI (May)
- OUTeast Film Festival in Halifax, NS (June)
- Nickel Independent Film Festival in Newfoundland (June)
- Atlantic Film Festival (AFF) in Halifax, NS (September)
- St. John’s International Women’s Film Festival (SJIWFF) in Newfoundland (October)
- Silver Wave Film Festival (SWFF) in Fredericton, NB (November)
- International Festival of Francophone Film and Video in Acadie (FICFA) in Moncton, NB (November)

PLUS Two nights accommodation at the Lord Nelson to be used during the AFF or Women Making Waves

PLUS One-on-One meetings with WIFT-AT representatives at each festival to discuss professional development and $1,400 cash to be used at the recipient’s discretion (recommended as expense money for the festivals).

The deadline for applications is Saturday, June 1st, 2013. Only online applications submitted through www.wift-at.com will be accepted. The recipient will be notified of their win by June 21, 2013. The official announcement of the successful candidate will take place June 24, 2013 at the WIFT-AT Annual General Meeting.

NOTE: Although the WIFT-AT All Access Pass Award does include some nights’ accommodation as outlined above, it does not include airfare or travel. Additional expenses are the responsibility of the award recipient. The cash award should be used to offset expenses.

WIFT, an international organization with 37 chapters and more than 10,000 members, was founded in 1973. It is committed to advancement for women in professional development and achievement in film, video and other screen-based media. WIFT-AT is celebrating its fourth year as the Atlantic Canada Chapter.

Contact:
Jan Miller
Chair, Women in Film & Television–Atlantic (WIFT-AT)
Tel: 902-823-1409
Email: jmiller@lowenbe.ca

Interview by Sarah Coleman

A misconception about WIFT-AT’s annual Women Making Waves conference is that it’s only for women. Sometimes in the excitement of preparing for the conference, the message that everyone with a passion for arts & media is welcome gets lost. With so many passionate attendees that come back every year, word of mouth helps WMW connect with some brilliant industry people it might otherwise not have.

Lucky for us, it was word of mouth that brought Brian Power to WMW last March. Some of us know Brian as the owner of local sound haven, The Hideout Studios. Others met him during the conference when guests were escorted in stretch hummers to his studio, where he hosted a speakeasy. Stretch hummers aside, Brian’s personality is undeniable and shines even through email, which is how I got in touch with him recently to ask him about his WMW experience &The Hideout.

1. How did you get involved with Women in Film and Television?

I got involved with WIFT-AT after a conversation with Peep Media producer Jessica Brown. I was aware of the conference but had the unfortunate misconception that it was for Women only. Jessica gave me the heads up on the diverse nature of the group and what takes place at the annual conference. I contacted current chair Anita McGee and put the wheels in motion.

2. Why do you think it’s important to support organizations like WIFT-AT and WMW?

I think WIFT-AT is a huge asset for our community as it nurtures development of new talent and enriches the bonds between industry veterans and newcomers. One aspect I found often overlooked, but certainly of great value as a studio owner was the collective purchasing power of those attending the conference.

I thought it only right that someone host an event to say thank you to the organization as well as ensure that most of the delegates got a personal tour of my studio, The Hideout. I am seeing beautiful heartfelt films with strong characters, difficult subject matter and the director’s passion up on the screen. These films were made by women; great, strong, inspiring women, and I simply want to learn, collaborate and share the creative process with them.

Have a look at the region; Barb Doran just wrapped a feature. Teresa MacInnes is at Hot Docs, Shandi Mitchell’s film is opening nationwide, Gia Milani just finished her feature, Andrea Dorfman is getting millions of hits on YouTube and is going to camera, Terry Greenlaw is post on Hard Drive, all the AFCOOP film 5′s are female directors. Wanda Nolan’s script is going to camera, Connie Littlefield is prepping two documentaries that are both wicked, Latonia Hartery is going to camera, Eva Madden just finished a short, and Rebecca Sharratt is in post on Bunker 6.

Need more, how about these amazing producers, Jenipher Ritchie, Georgina Brown, Ginny Duzak, Johanna Lunn, Tracy Jardine, Annette Clarke, Deanne Foley, Moya Walsh, Jessica Brown, Katrina Walsh, Ann Verrall, Janice Evans, Johanna Eliot, Valerie Halman and Ann Bernier. The women named in this paragraph have produced and/or directed projects that are defining our generation. What I realized is that women as well as men are driving this industry forward, smashing the status quo and writing the next chapter. These are exciting times and I for one could not be more optimistic about the direction.

3. What were some of the highlights of this year’s conference for you?

Top Three? Gia Milani’s chat at the brunch on Sunday (very in depth and inspiring). The opening reception (seeing old friends and making new friends, win, win!) The Hideout speakeasy, just have a blast meeting so many filmmakers from all over the region!

4. What brought you to Halifax to set up shop for The Hideout Studios?

Halifax has that small town feel with just enough city to make it worldly. Great community vibe, fresh water lakes to swim in and skate on, the ocean is 2 minutes away!

5. For those unfamiliar with The Hideout Studios, what services do you offer?

The Hideout offers a fresh take on the Sound Mixing experience in Halifax. I do sound and only sound, I am not a “one stop shop” facility, as I truly see the benefit of having an expert being fully focused on the task at hand. If you need DVD dubs, a camera rental or lighting gear, there are many shops in town who do all of that, I do not.

My mix theatre is designed for the best experience for you to see and hear your project. The studio is very laid back, hell; I don’t even have a phone in there! When you are mixing, there is no one booked right after your session; if we run long, so be it, we are making art, not doughnuts. For distraction, there are instruments to play with, Vespas to ride and most importantly, someone to listen to you and your vision.

6. Tell us a bit about what it’s like to create an aural story and how you come up with sounds?

It starts with the director; you have to listen carefully to what they describe the scenes sounding like, even before they have gone to camera. Then, listen again once the editing is underway, hear the story from their perspective, tell the tale, support the narrative sonically. Sometimes it is pulling the sounds out, letting the music drive the scene and often it is a dance between the two. A subtle sonic touch is often the way forward, and as long as we are mindful of our influence on the story, we should be ok. Sound work is a joy and I still cannot believe I get to do this for a living.

Thanks for the opportunity to share my thoughts!

Find out more about Brian and The Hideout Studios at www.thehideoutstudios.com

I had the most incredible time interviewing The Disappeared’s writer-director Shandi Mitchell. She blew me away with her passion for this film and the integrity she brings to the industry. This is a woman who knows what she wants and goes for it, all the while keeping her honesty and respect for the people around her intact and leaves any ego at the door. She loves what she does and it shows!

Lita: We really must congratulate you on such a well done film. The reviews certainly speak for it. The Disappeared was so gorgeous in so many ways, and I know you credit your team for this. It looked so minimalist but of course there’s so much that we as the audience don’t see. How did you pull off such a feeling of “aloneness” for such a long duration?

Shandi: The DOP, Christopher Porter, and I did a lot of planning. For six months in advance, we worked on the schedule and design of the film. We used miniature dories and planned out every shot by starting at the beginning of the script, focusing first on the aesthetic and audience experience, and then the technical and logistics. We devised a raft 18X24 and 10 inches high to use as a camera platform and tether for the dories. We had two zodiacs which we used as camera boats and sea dollies. And we placed the cameras (handheld) in the boats. Of course, our plans had to be open to adjust to the weather conditions. We worked with zero lighting, it was all natural daylight. And safety was a huge concern. But we had an incredible marine crew to watch us over us. I had to trust in the people around me and surrender to what the ocean gave us.

L: I have to ask this. How did you manage to shoot this as you did, and with handhelds, and manage to not make the audience seasick?

S: The DOP and editor, Christopher Porter and Christopher Cooper, were the reason for that. Finding a natural rhythm of rocking with the boat and ensuring the audience had a horizon to gauge was key. Keeping things as steady as possible, primarily hand held. We also designed bungee rigs as steadicams and then we just rode the rhythm of the sea. Very innovative things happened on this shoot! Old school filmmaking. Chris Cooper as editor had to unify it all.

L: How did you find this journey as a female filmmaker?

S: To my key creatives, my crew, my cast…I was a director. They embraced me with respect. It was a rare, rare experience, trusting each other in the way we had to for this shoot. There was no distance — we were making the film together. Your team wants to trust you, but you have to prove yourself to gain their respect, regardless if you are female or male. Where it did seem to matter was more in the producing and funding strata. There sometimes seemed to be more proving required in those arenas.

L: Each character in The Disappeared is so rich. How do you tell the story of each journey when you are writing a script?

S: I map guideposts which I try to follow, but I keep the form open to be surprised. I write from character, and try to let them tell me where they want to go and then I do my best to take them there or keep up.

L: Is this based on a true story?

S: This is inspired by a sea captain and seven men. I was standing on a pier once and struck up a conversation with an older gentleman out of nowhere. We started talking about what it must be like out on the ocean and I learned he was a sailor/captain. I asked if he’d ever been afraid. He said “once”. And then told me his story. It inspired me to research more stories like his, and when I started researching I realized there were countless stories; generations of stories from the sea — miracles and tragedies. I wanted to explore who I would be out there in that vastness.

L: For filmmakers out there reading this, could you share with us a bit of your journey from script to screen?

S: First of all: Have patience. Find a story with something that speaks to you personally. You need to find a story that’ll sustain you, it has to be something that matters to you, something you are willing to defend and fight for, for a long time. Choose your team very carefully. Surround yourself with creative people who you can relate to. Ask yourself: do they see what I see? Find what you love and protect your voice. This can be hard. Money and the business do not always bode well for artistic expression. It is tough to make a feature film, understandably it’s a risky financial venture, and the paradox of independent and commercial often collide. We were lucky to have Telefilm, NS Film, the Movie Network and Movie Central, plus the tax credits backing us.

L: As a member of WIFT-AT, what do you find personally that is a good thing about organizations like this?

S: Having an organization like WIFT-AT is a great thing, especially because filmmaking can be a very isolating business. It’s important to come together as a community. To learn from each other, offer solace when there are setbacks, offer advice when we are disheartened—it’s empowering. It’s also important to stay inspired. People ahead of you on this path can offer insight as well as remind us that we aren’t alone. Groups like WIFT-AT and First Weekend Club help create awareness and support the region, and  remind us to celebrate that we made a film! We told our story! No small feat.

L: Is there anything about this film that you would have done differently?

S: I’d like more time, but I think that’s every filmmaker’s wish. But we only had fifteen days! The last shot of the last day, we all came in to shore knowing it was our last time out, and as challenging some moments were, you could feel a mourning period start as soon as we hit the shoreline. As for the film — the film that we have — it’s all there. There’s nothing I would change. I had the most extraordinary creative team and we made the film we wanted, so we can’t look back.

L: Any advice to filmmakers out there?

S: You need to believe in yourself. And ask yourself, why? Why am I doing this? It is not for riches, or for ego. So, why? Choosing a creative pursuit is hard. It’s a struggle, so always learn. Never stop learning, or doing. Never assume you know everything. Stay open. Find yourself in the story that you want to tell. And respect those who help you make it.

At publication, The Disappeared has been held over yet another week in theatres and is staying box office strong. The reviews keep coming in — all very positive. We wish all the best for Ms. Mitchell, and this writer enjoyed every minute with her for this interview. If you haven’t seen the film yet, please contact a theatre near you for showtimes. You can read more about her stunning film The Disappeared at: http://www.thedisappearedthefilm.com/

At an early age, I had decided that I wanted to be many things, including a violinist, a National Geographic photographer, and a scientific illustrator. My first camera was a Kodak Brownie which I received when I was six; by the age of nine I was in the darkroom with my father, and by the age of twelve I had inherited his Nikon. As a teenager, I pursued my varied interests with enthusiasm: music, photography, theatre lighting, and working in the natural history section of the NS Museum. But I always felt the dilemma of having too many interests to make a career choice. I spent several years studying at Dalhousie University and the Nova Scotia College of Art and Design (towards a major in Environmental Communication), while at the same time working in a wide range of diverse jobs, including waitressing, working on the trains, delivery driving, and as a biodiversity technician.

During this time I also became a member of the Atlantic Filmmakers’ Cooperative and started volunteering on a few projects. It is there that I finally solved my predicament of incorporating my various interests into a career. To me, film offered more opportunities than photography to tell a story, to collaborate with others in the creative process, and there was no limit to the stories I could help tell!

In 1984 I got my first contract and began working in the film industry full-time, syncing rushes at the NFB. I freelanced as an assistant picture and music editor, and within two years I finally worked my way into the camera department. For over 15 years I worked primarily as a camera assistant on numerous documentaries (mostly for the NFB), and as a focus puller on TV dramas and independent feature films (with Bill MacGillivray, Michael Jones, and Ken Pittman, among others), shooting a few documentaries, music videos, and short dramas along the way. I traveled extensively, working in Africa, Europe, Australia and across Canada, including the High Arctic.

In 2005 I transitioned to working full-time as a cinematographer shooting music videos and documentaries for various broadcasters and independent producers on a wide-range of topics including the arts, the environment, and human/cultural issues. Some credits include: “Black Mother, Black Daughter” (NFB 1989), “Kink V” (Showcase 2006), “Home Out of Nothing” (2009), “Roméo Savoie – la peinture au corps” (R-C/ ARTV 2010), and “La Petitcodiac – une rivière renaît” (R-C 2011.)

In addition, over the years I always felt the need to contribute to media literacy in young people, and have instructed various workshops and mentoring sessions in basic filmmaking, animation, and cinematography through film Co-ops, schools, and film festivals for ages ranging from toddlers to adults.

After living in Halifax, St. John’s, Toronto, and Montreal, I finally returned to live in the same house where I grew up in Duncans Cove with my husband and two boys, and strive to have a proper garden. I continue to work, albeit closer to home, always looking for opportunities to document and collaborate, and contribute with my interdisciplinary interests.

WIFT-AT Associate Member Chris Pauley has been busy – as owner and operator of Evil Twin Music, he composes musical underscore and sound design for films, commercials, video games, and other visual media, and this year has brought him many varied opportunities.  In addition to his first feature film, Michael Ray Fox’s Roaming  and the short films Irene from Vicki Donkin and Walls from Walter Forsyth (featuring a powerful spoken word piece by Halifax area poet Ardath Whynacht), he has also recently scored WIFT-AT member Dawn George’s film Adaptation and 2013 Wave Award Winner Lisa Rose Snow’s Ghost Walk.  WIFT-AT’s Gretchen Kelbaugh will be amongst the next to work with Chris; Evil Twin Music has been a sponsor of Women Making Waves for the past two years, and this year $1000 worth of services will go to Gretchen’s next animated project.  Chris loves exploring ways collaboration can come about, so drop him a note at chris@eviltwinmusic.ca.

A hearty congratulations to WIFT-AT member Shandi Mitchell for another week held over in the theatres for her outstanding film, The Disappeared.  Mitchell is originally from the Prairies, but after over two decades of living in Nova Scotia, we are happy to call her one of ours now.  This remarkable film has been hailed as “beautiful”, “brutal”, “turbulent”, “unflinching as the sea” and “an emotional powerhouse of a film”.  Mitchell’s writing and directing are getting many accolades as are her cast & crew.  Read more about the film here:

Development news from Telefilm: Production companies looking to finance the development stage of their feature film projects may submit an application between May 7, 2013 and November 7, 2013, the closing date of the Program this year.  Check out the new changes to the program here.

Calling all Atlantic Filmmakers!  The National Film Board is assisting filmmakers and the doors for this opportunity are now open.  The NFB’s mandate is to reflect Canadian values and perspectives through the production and distribution of innovative Canadian audiovisual works accessible in relevant media of today.  The Filmmaker Assistance Program (FAP) is designed to help developing independent filmmakers complete their films by providing financial support for production services. See here for full details

NS Pulse is compiled by Lita Llewellyn who is an actor; having appeared in films such as Snow Angels, Memory Keepers’ Daughter and Open Heart with Megan Follows. Lita was so excited to book her first professional acting gig alongside her childhood icon (Follows) that on the first day of shooting she tripped and broke her front tooth. Life afterwards would never be the same. Lita most recently produced a short film, Omaha Fly By, with CBC and is happy to have recently taken up residence again in Halifax and rejoin WIFT-AT.

Sackville based NB Film Co-op member Linda Rae Dornan has set up her Indiegogo fundraiser to help cover the costs of post production for the doc she’s been editing -Walking with EB. It is now a rather entertaining, quirky and eventful 35 minutes – never a dull moment. It will be part of a compilation CD/DVD to be launched in the fall. The CD is music set to Elizabeth Bishop poetry and sung by Suzie LeBlanc.

In 2008, Suzie and Linda walked across the Avalon Peninsula in Newfoundland together following the 1932 journal of Bishop’s experiences. Linda carried a video camera and documented the landscape, the people and our experiences. They are still talking about it.

They are planning to launch the compilation in Halifax, Toronto and Sackville in the fall, so keep tuned for that!

If you are interested in reading more, or even to donate something, here is the link:

Cat sat down recently to talk to NB Film Co-op member filmmaker/screenwriter and UNB Film Prof Robert Gray. Rob is an associate member of WIFT-AT, and is also very active in the Fredericton film community. He is the driving force behind the very successful 48 Hour Film Competition in Fredericton, and is hoping to carry the success to Moncton as well. Rob is getting ready to shoot his next short film, “zack and luc” this May.

You can read the entire interview here:

Young talented filmmaker Emily St. Pierre was recently hired by Hemmings House Pictures in Saint John (Hemmings House has offices in both Saint John and Halifax). Emily is a recent graduate of the Centre for Arts and Technology in Fredericton, NB and is a full member in good standing at the NB Film Co-op. She does freelance work in film, as well as making her own independent films.

NB Film Co-op members Bunthivy Nou, Britany Sparrow, and Kaleigh Stultz were proud to work with the New Brunswick Heart and Stroke Foundation to create two new videos for their The Heart Truth Fashion Gala. This year, they  were able to tell the story of two women who met in Toronto at Sick Kids Hospital while their young children were battling heart disease. They were honoured to have these women share their stories with them and tell then about what their friendship meant during the difficult times in their lives. The second video allowed the NB Film Co-op team to shoot in the operating room at the Saint John Hospital. With the help of their wonderful editors Nathalie Rayne and Rob Gemmell, this intrepid Film Co-op crew have two videos they were proud to screen recently at The Heart Truth Fashion Gala at Casino New Brunswick in Moncton.

To help them celebrate, Chantal Kreviazuk, Canadian singer, songwriter, and Juno Award winner, joined them to complement a star-studded fashion show, a variety of delightful foods, and much more! All proceeds supported the Heart and Stroke Foundation.

Cat LeBlanc is back in action on her personal video poem Life Signs. Life Signs is the humorous and sad story of one family’s experience with illness and death incorporating, old stills, 8mm footage, digital and HD footage. Cat’s story editor on her project is fellow NB Film Co-op member filmmaker/screenwriter Gretchen Kelbaugh. Cat, in consultation with NB Film Co-op ED Tony Merzetti, hopes to shoot some additional stop motion footage with the Co-op’s intrepid Bolex cameras.

NB Pulse is compiled by Cat LeBlanc. Cat has been membership services director at the New Brunswick Filmmakers’ Co-operative for 17 years and is co-organizer of the annual Silver Wave Film Festival. She also does production management/catering and music for independent shorts for her volunteer work.