SCREENWRITER CANADIAN - Bad Blood leads to good times for Michael Konyves - Writers Guild of Canada
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CANADIAN
CANADA $7 SPRING 2019 VOL.21, NO.2
SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA
Mark Little
Makes Move
to Live Action
Pitching Your
Way Into the
Big League
Bad Blood leads
to good times for
Michael Konyves
PM40011669
CANADIAN
SCREENWRITER The journal of the Writers Guild of Canada
Vol. 21 No. 2 Spring 2019
ISSN 1481-6253
Publication Mail Agreement Number
400-11669
Publisher Maureen Parker
Editor Tom Villemaire Contents
t.villemaire@wgc.ca
Director of Communications
Lana Castleman
Cover
Bad Blood
Canada’s contribution to felonious violence has been
6
Editorial Advisory Board
Michael Amo ignored for years. That was a crime. Michael Konyves
Michael MacLennan and Simon Barry changed that.
Susin Nielsen
Simon Racioppa By Matthew Hays
Rachel Langer
12
President Dennis Heaton (Pacific)
Features
Councillors
Michael Amo (Atlantic) Demons and Laughs
Mark Ellis (Central) Mark Little has swapped his animated demons for
Marsha Greene (Central) live-action laughs in his latest project.
Alex Levine (Central)
Anne-Marie Perrotta (Quebec) By Kendra Wong
16
Andrew Wreggitt (Western)
Design Studio Ours
Pitch Perfection
Cover Photo: Emma McIntyre
Getting the proper tone in your pitch is one of the
Printing Renaissance Printing Inc.
screenwriting craft’s most challenging skills. We get tips
Canadian Screenwriter is
from some of the industry’s most successful scenarists.
published three times a year by
the Writers Guild of Canada (WGC). By Diane Wild
366 Adelaide Street West, Suite 401
Toronto, Ontario M5V 1R9
TEL: (416) 979-7907 W-Files
FAX: (416) 979-9273
WEBSITE: www.wgc.ca Marsha Green — By Cameron Archer 21
Subscriptions: WGC members receive a Kathleen Phillips — By Mark Dillon 23
subscription as part of their membership.
Non-member subscriptions: $20 for
three issues. Columns
Advertising policy: Readers should not From the Editor/Contributors 2
assume that any products or services
advertised in Canadian Screenwriter are Inside/Out — Dennis Heaton 3
endorsed by the WGC. One Last Thing — Jeremy Woodcock 28
Editorial Policy: The WGC neither implicitly
nor explicitly endorses opinions or attitudes
expressed in Canadian Screenwriter. News
Submissions are subject to editing for Beat Sheet 4
length, style and content.
Advertising Sales:
Spotlight 24
Visit www.wgc.ca or contact Lana Money for Missing Writers 26
Castleman at l.castleman@wgc.ca
New Members 27
Letters to the editor are subject to editing
for length. Not all letters are published.
FROM THE EDITOR CONTRIBUTORS
Guild is the solution Spring 2019
to power dilution
Cameron Archer runs the
Canadian television and media site
Power is a beautiful thing. Gloryosky (www.gloryosky.ca), and
You don’t realize how beautiful it is, until it’s gone. is also a freelance arts and media
This winter, we had a wind/snow storm to beat all storms. It was a writer. He currently lives in Eastern
life record for me. The house, which seems solid the rest of the time, was Ontario.
shaking and the roof — well, I was sure at one point it might be pulled off
or suffer severe damage. Mark Dillon is a Toronto-based
And to cap it off, the power went out for 12 hours. freelance journalist and former
editor of Playback magazine. He is
While we were involuntarily off the grid, it made me think about
author of the award-winning Fifty
power, the lack of it, the importance of it and the different ways we have
Sides of The Beach Boys.
and don’t have power. Not just electrical power, of course.
For example, let’s look at the issue of the concentration of own- Matthew Hays is a Montreal-based
ership in the English-Canadian television market. I want to cite part writer, author, and university and
of the submission of the Canadian Media Producers Association, only college instructor. His articles
because they use the word oligopsonistic. A fancy pants word, if there have appeared in the Globe
ever was one. How often do you even see that? Not often, believe me, and and Mail, The New York Times,
if you want to base your estimations of an editor’s column solely on the Maclean’s, The Toronto Star and
number of times you see the word “oligopsonistic,” well, you are proba- many others. His book, The View
bly about to read the very best column of your lives. from Here: Conversations with Gay
and Lesbian Filmmakers (Arsenal
Here’s part of the CMPA’s submission to the Broadcasting and
Pulp), won a 2008 Lambda
Telecommunications Legislative Review (BTLR) Panel. “Given the
Literary Award.
substantial vertical integration and consolidation of broadcasters in
Canada, the oligopsonistic nature of our domestic market, the informa- Emma McIntyre is a staff
tion asymmetry between producers and broadcasters, and the resulting entertainment photographer with
significant buying power yielded by broadcasters, there is a real risk that Getty Images currently based
ownership concentration will reduce the programming options and the in Los Angeles. Her work has
number of distinct creative and editorial voices available to Canadians.” appeared in many publications
If you haven’t looked it up yet, oligopsonistic means a market in which including Rolling Stone, SPIN, The
there are few buyers and many sellers, which results in buyers having the New York Times, PEOPLE, The
power. And if the producers feel that way, imagine how screenwriters feel Hollywood Reporter, US Weekly,
GQ and Pitchfork.
about the dilution of their power. That’s just another reason — maybe the
biggest reason — the Writers Guild of Canada is so vital and important.
Diane Wild is a Vancouver-based
There are so many key issues to address right now, including fair writer, editor and health care
pay and ownership of work, and even schooling the fine folks who buy communicator who founded the
your words about the need to help cultivate a healthy environment in TV, eh? website and gallivants
which screenwriters can also flourish. to work on the Olympics every
If Canadian screenwriters don’t thrive, Canadian stories get couple of years.
short shrift and our culture starts to wane.
The Guild has had some pretty big victories over the last few Kendra Wong is a former
months. That’s thanks to members’ efforts and the leadership at the front. journalist in Victoria, B.C. She has
(We all know who they are and they know who they are and I could list a bachelor of arts from Simon
Fraser University and a certificate
them here, but space is limited and oligopsonistic takes up a lot of room.)
in journalism from Langara
But as the market becomes more concentrated, the need for screen-
College. She has worked at
writers to maintain a unified voice to express their concerns and their newspapers through BC, including
perspective only becomes more important. There’s strength in numbers; Metro, the Tri-Cities NOW,
some might even say there’s power. And power can be a beautiful thing. Smithers Interior News and the
Oh, the lights are back on! Victoria News. She currently works
in communications.
— Tom Villemaire
2
INSIDE/OUT — FROM THE PRESIDENT
Negotiating: When to compromise and
when to draw a line in the sand
I don’t actually remember my first negotiation, but I’ve decided that it
went something like this: I needed one last Star Wars trading card to
complete my collection. It wasn’t even a great card — let’s say it was
the Jawas — but maybe the picture on the back completed the second
picture puzzle. And. I. Simply. Had. To. Have. It.
In this scenario, a classmate What you may not realize is solely about protecting the IPA, it’s
has a duplicate. I start out with a that this could shape up to be one of about facilitating its evolution. The
straight “onesie” trade offer. This our biggest negotiations ever. IPA is a living, breathing document
hypothetical kid isn’t having it. He It’s the first time the Guild that must change to reflect the
wants five of my doubles and two and the CMPA have sat down at change in our industry.
stickers. Unheard of. But he has me the bargaining table in five years, It’s easy — maybe too easy —
over a barrel. I give in, ensuring I having mutually agreed during the to treat these negotiations as an
only ever complete one set of Topps last round to hold off bargaining antagonistic process. After all, we’re
1977 original Star Wars cards. And while we waited for a response to storytellers. We know the anecdote
the next day, I get that same card in a our CRTC petition to keep up PNI about the worst negotiation we ever
new package. Twist ending! spends by private broadcasters at engaged in is infinitely more enter-
But I bet I would have learned historic levels. (We won! And we’ll taining than the one about the even-
this valuable lesson about negoti- always be grateful to then Minister keeled conversation where both
ating: Even when something seems Mélanie Joly for that great victory.) sides respected each other’s stance,
like the only option, there’s always The expectation was that we and listened to what they had to say,
another one. would resume negotiations when before making a counterproposal.
Because I know you all read there was a little more stability and But as my father never said, “If you
every email blast and newsletter certainty for our industry. Oops. walk into a room expecting a fight,
from the Guild, I don’t have to We are currently in the midst you’re partially responsible for
tell any of you that it’s currently of one of the entertainment indus- ensuring that there is a fight.”
preparing for a new round of bar- try’s greatest-ever upheavals — or That’s why — when it comes
gaining with the CMPA (Canadian “disruptions,” as the kids call it. to any negotiation — there are two
Media Producers Association). Technology, social justice and Fed- things I like to keep in mind. One:
For several months now, Exec- eral leadership are all major factors The people on the opposite side of
utive Director Maureen Parker and in reshaping the Canadian — and the table aren’t against you, they’re
our Guild staff have been working global — entertainment industry. for themselves. And two: A negotia-
tirelessly to canvas the membership Every player — writer, director, ac- tion isn’t complete until both sides
in a variety of ways: From writers’ tor, crewmember and producer — is are unhappy.
room visits to membership meet- trying to define their place. I believe in the importance
ings and consultation with Council. Sometimes our interests align. of compromise. And I believe in
They’ve been compiling informa- Sometimes they diverge. This is why the importance of listening. But I
tion and stats, thanks to member the IPA is the cornerstone document also believe that there are hills we
contracts and a recent survey. In of our Guild. It establishes our place do have to die on, and lines in the
short, our Guild is going full bore in this industry and confirms our sand that we do have to draw. And
preparing for negotiations, while great worth to the process of creat- that’s when someone tries to treat
still maintaining their day-to-day ing entertainment. our IPA with less than the respect it
responsibilities of managing our And this is why the Guild goes deserves. Because, at the end of the
Independent Production Agreement to the lengths it does to nurture it day, the IPA is us.
(IPA). When do they sleep?! At night. through these ongoing cycles of ne-
That was a trick question. gotiation. Because negotiating isn’t — Dennis Heaton
3
BEAT SHEET
WGC Weighs in on the
Future of Canadian TV
industry commentators (for more
on that see, “Bringing Home the BA-
CON,” p. 28). A “What We’ve Heard
Report” is expected to be delivered
by June 30, with a final report,
complete with recommendations
to government, due by Jan. 2020.
We’ve got our eyes trained on the
process and will make further com-
ments, on behalf of our position, if
and when the opportunity arises.
The Guild also filed a sub-
mission to the CRTC about its
upcoming Production Report,
specifically looking at what infor-
mation should be collected for this
critical industry data. The WGC
was particularly pleased to see
that the CRTC is proposing to col-
The WGC made its formal sub- services and Internet service lect information on showrunners,
mission to the Broadcasting and providers “under the tent” of and was seeking feedback on a
Telecommunications Legislative broadcast regulation — their definition of the term based on our
Review Panel (BTLR) in January. contribution is crucial to own Showrunner Code. We clearly
The Panel is tasked with making creating a robust and sus- support the CRTC’s recognition of
recommendations to the federal tainable Canadian content this crucial role in the creation of
government on potential changes to production business. Canadian television, and com-
the Broadcasting Act, the Telecom- 2. Canadian creators — partic- mented on its definition, as well as
munications Act, and related legis- ularly Canadian screenwrit- on a number of other issues related
lation that could shape the future of ers and showrunners, who to accurate and effective broad-
Canadian television. provide TV productions with casting data and reporting.
The Broadcasting Act is the a distinct Canadian authorial
foundation for the regulation voice — must be at the core Women Sweep WGC
of broadcasting in Canada, and of a 21st-Century Canadian TV Comedy & Drama Noms
supports more than $2 billion in content ecosystem.
financing to English-Canadian 3. Internet Service Providers As we prepare to hand out the
domestic production annually. (ISPs) and Wireless hardware at the WGC Screenwrit-
Roughly $500 million of that sum Service Providers (WSPs) ing Awards ceremony on April 29,
is being spent on the production must contribute to the we wanted to make mention of a
of the drama, comedy and anima- system, just as traditional competition milestone. For the first
tion series that are predominantly broadcasters do now, time in the Awards’ 23-year history,
worked on by WGC members. to ensure and improve women writers have taken all the
Needless to say, broadcast regula- the financial health of nominations in the TV Comedy and
tion is critical to these productions. the Canadian television TV Drama categories.
The movement of viewers — and industry. Scripts from drama series
revenue — to unregulated Inter- Cardinal (Jennica Harper, Sara
ILLUSTRATION: STUDIO OURS
net-based steaming services is The Panel is currently wading Dodd), Killjoys (Julie Puckrin) and
threatening that support. through 2,200 submissions made Wynonna Earp (Caitlin D. Fryers),
In our submission, we by interested parties, including along with those from comedy
contend that: other key guilds and orgs like the series Letterkenny (Sonja Bennett),
DGC, ACTRA and the CMPA. It has Schitt’s Creek (Rupinder Gill) and
1. New legislation must clearly not made these submissions public, Second Jen (Amanda Joy) are in
bring both online video causing a bit of a kerfuffle amongst the running.
4
Interestingly, this set of nom- The trio gave attendees real November—Gillian Muller, whose
inations may be pointing towards insight into the construction of writing credits includes Travelers,
a larger shift in the Canadian TV the 100% female writers’ room, for her one-hour drama The Blue
industry. According to The TV how they approach writing their Division.
Junkies recent study, “Women particular brand of comedy and Our second round of submis-
Behind Canadian TV: 2019,” while what they’ve learned about the sions closed at the end of Novem-
the number of scripted Canadian process of production over the ber, and we’re happy to announce
shows (2017-18) run by men is hold- past three seasons. Whalen, for our first recipient of 2019. In
ing steady at approximately 63%, a example, stressed how important March, Sabrina Sherif, with writing
survey of those series’ 273 episodes it is to read comedy scripts aloud, credits on upcoming Netflix sci-fi
revealed that a full 49% of them then go back and refine them, as series Another Life, was selected
were written by women. Onward so much changes between how it for her supernatural drama script,
and upward. And congratulations reads on the page to how it’s deliv- Something Wicked. Congratulations
to all 2019 WGC Screenwriting ered verbally. She concluded that to all!
Awards finalists! it’s made her a much better, more
concise writer. And Goodhue not- WGC at Kidscreen Summit
WTTV with Baroness ed that most of the sketch ideas
von Sketch Show emanate from the writers asking More than 40 WGC members de-
just one question: “This thing is scended on Miami for the global kids
weird for me. Is it weird for you?” entertainment industry’s largest
Drilling down on the answer, she gathering, Kidscreen Summit, which
said, usually reveals a relatable took place from February 11 to 14.
truth that can be spun into come- Making a return to the event were
dy gold. We couldn’t agree more. the WGC Suite, which was chock-a-
block with writer-scheduled meet-
Diversity Script of the ings, and the WGC Writers Room.
Month Finalists’ Recap Both were well-received by WGC
members and suite visitors alike.
Created in 2018, the WGC Diversity Additionally, Director of Com-
Script of the Month initiative is munications Lana Castleman, with
designed to help emerging screen- the tag-team of Quebec Region
writer members from diverse Councillor Anne-Marie Perrotta
backgrounds move forward in their and member Lienne Sawatsky,
careers. In 2018, writers and scripts participated in roughly two dozen
(Left to right) Baroness writer
Monica Heisey, showrunner Jennifer
selected for the program were: individual meetings. They met
Whalen, writer Jen Goodhue and with creative executives from
host Jeff Biederman July—Nadiya Chettiar, current some of the world’s largest content
executive story editor on CBS sit- commissioners, including Apple,
Speaking of a group of talented com Life in Pieces, for her half-hour Amazon Studios, Hulu, Netflix,
female screenwriters, the WGC was comedy Love Marriage. Disney, DreamWorks Animation,
pleased to host members of the writ- Hasbro, Mattel and Sesame Work-
ing team from CBC series Baroness August—Ryan Spencer, a writer shop, to talk up the WGC Member
von Sketch Show at its latest edition on Boat Rocker’s tween drama The Directory and the Guild’s amazing
of Writers Talking TV, held on Next Step, for his one-hour drama, talent pool of animation and kids &
March 6 at the TIFF Bell Lightbox Westlake High. family screenwriters.
in Toronto. Fourth-season show- On the subject of the Member
runner, co-creator and cast member September—Jagjiwan Sohal, Directory, don’t forget to update
Jennifer Whalen was joined by long- who’s written for kids series like yours, asap! It will make it much
time Baroness writers Jen Goodhue Dino Dana and Nina’s World, for easier for execs from these types
and Monica Heisey. Fellow WGC his half-hour comedy Seven Deadly of companies to find and hire you.
member and journeyman screen- Singhs. Just login at wgc.ca to get started.
writer Jeff Biederman moderated Remember, the more detail you
the informative — and hilarious — October—Nile Seguin, who has provide in your directory entry, the
conversation before a theatre packed made his name as a comedian, for more search results in which you’ll
with fellow writers and fans. his one-hour drama Deep Water. appear. A win-win for everyone.
5
FEATURE
On the set: Michael Konyves took on the role of showrunner for the first time on Bad Blood
A Family.
Murder.
Revenge.
The Mob.
Bad Blood was a Canadian mafia tale waiting to be
told. How writers Michael Konyves and Simon Barry
turned the epic true crime story into a hit series.
By Matthew Hays
It’s not every day that a writer wakes up to learn that by journalists Antonio Nicaso and Peter Edwards.
Snoop Dogg has tweeted high praise for their show. Bad The pair had covered the trials and investigations into
Blood scribe Michael Konyves says he’ll never forget it. Montreal’s extensive mob violence and activity.
“I couldn’t quite believe it,” he recalls, sounding like he Barry loved the idea of bringing the epic mafia
might still be in shock. “We were certainly glad for the saga to the screen, but he didn’t necessarily have
additional attention it brought the show.” the bandwidth to get it going as he was occupied by
That social media hit led to more attention for writing duties on sci-fi series Van Helsing at the time.
Bad Blood, the series about Montreal’s legendary He turned to Konyves for help, who also immediately
Rizzuto Family and the evolution of the city’s 1990s recognized the incredible possibilities such a concept
mob scene, with all its associated assassinations and presented. As Konyves points out, any Montrealer who
incarcerations. The show, currently in its second lived in the city during the reign of the Rizzutos knew
season, has proven to be a slow burn, launching in 2017 it was an astonishing story. And the book provided a
on Citytv in Canada and FX in the U.S. to solid reviews crucial roadmap to the first season. Barry scripted the
and respectable numbers. The Toronto Star’s Tony pilot and then handed the reins over to Konyves, who
Wong even went as far as to liken it to Cardinal and served as showrunner on both seasons.
The Sopranos. That’s definitely not shabby company “A lot of the critics have thrown around the
to keep, but it wasn’t until Netflix began streaming word Shakespearean when describing the show,” says
it last December that Bad Blood started gaining real Konyves. “Everything is Shakespearean! And frankly,
momentum — the aforementioned Snoop Dogg- everything is a soap opera. You’re writing drama,
attracting momentum, to be exact. and that’s what you have: Everyone needs something.
Simon Barry knew the Rizzuto Family story was Everyone wants something. Someone and something
meant for the screen when production company New is standing in their way. This story provided plenty of
Metric Media approached him with the idea. It had conflict like that to work with and build on.”
purchased the rights to the acclaimed book Business The writers set about breaking down the key
or Blood: Mafia Boss Vito Rizzuto’s Last War, penned events of the saga — Vito’s arrest, the murder of his
7
FEATURE
“Bad Blood needed to
be done, and it needed
to be done in Canada,
by Canadians — and I’m
really glad [Rogers and
Citytv] took the chance.”
- Simon Barry
Simon Barry knew the Rizzuto Family story was meant for
the screen and worked with Konyves to bring it to life
son, the murder of his father, the collapse of the came up in court, but it gave Barry and Konyves a
gangland truce in Montreal and the fallout from better understanding of how the characters actually
that. Those key historical markers were all there in operated in their business and personal lives, and how
the book, and they provided the structure for the the two intersected. It was about behaviour, they point
first six hours. Vito’s arrest and his death were the out, not just facts.
key focal points. It also led Konyves and Barry to Writing about true crime was fascinating, but it
stray from a strict linear storyline, as there was a lot presented unique challenges. “When you’re writing
of room for flashbacks. about that, you have to comply with the law in the place
Barry met with the book’s authors early on and where you’re producing the show,” explains Konyves.
listened to the various anecdotes they had left out of “The American laws are actually much looser. In a U.S.
it, omissions made in many cases for legal reasons. “I show, the writers have more license. We had a lot of
wanted to get more anecdotes from them,” says Barry, stuff we had to pay close attention to. Things had to be
“knowing full well that we would probably never use vetted by lawyers. And that was sometimes tricky — I
them. But those stories can often give you a greater was actually making changes to some scripts the day
idea of how that world works. We didn’t have that spicy before production for legal reasons.”
flavour of how that world worked yet. I knew they had Konyves notes that you have more dramatic
a wealth of knowledge. I asked them to share these license with dead subjects. They’re not going to come
stories. The details were not event-based, but they gave after you, after all. But they couldn’t talk about Vito’s
us a much greater idea of who these characters were.” still very much living wife, for example. “You can’t
For example, the authors told them about make any implications,” he says. “It is on the record
Vito having one of his bodyguards spy on one of his that he had mistresses. There’s a woman sitting next
mistresses, in an effort to confirm that she wasn’t to him that you assume is his wife, but other than
fooling around on him. That’s something that never that, we didn’t depict her.”
8Bad Blood’s all-star cast includes Paul Sorvino (left) and Anthony LaPaglia
As they mapped out the various plot points, I also wanted it to have a lot of heart and emotion.”
Konyves and Barry realized Bad Blood wouldn’t just He refers to a scene that takes place later in the first
be a show about the mafia. Indeed, the gangsters were season, where Declan meets his father in a trailer and
hardly the only bad guys. The show features a world rife the audience learns that dear old dad is a junkie who
with corruption. The police, the government, the mafia abandoned his kids to foster care. “And Declan says,
— everyone manipulates everyone else if they can, ‘I’m here to make you suffer,’” recalls Konyves. “That
making the lines between bad and good extra blurry. was a scene I envisioned right from the beginning,” he
As Barry and Konyves exchanged ideas and adds. The show is about Declan’s pain and suffering
possible scenarios, one question hung over the creative and it’s why he can do the things he does. “This is why
process: Since Vito spends an extended period in an he can betray his father figure, Vito, because of the
American prison and out of the action, from whose pain of his own story,” says Konyves. “That’s what
perspective would they tell the story? The solution the whole first season is about. Even when you reveal
was to create a fictional character, Declan, who was things much later in the story, it covers everything
placed high up in the Rizzuto clan, but was not actually in hindsight. Once I could tap into that, many other
a blood relation — like Robert Duvall’s character in the things fell into place.”
first two Godfather movies. Declan became a composite Writing for a traditional TV network created
of several real-world characters that evolves into the a couple of immediate challenges. It meant that
observer. For the writers, Vito is the headliner, but the language used by the series’ characters had to
Declan is the tour guide for the story. be much, much cleaner than that of their real-life
“Obviously, I was very excited to write a really counterparts. “These guys use the F-word a lot,” says
entertaining gangster show,” says Konyves. “There Konyves. “We couldn’t have them speak that way.”
are all the expectations around shows like that, which And as a Canadian series, Bad Blood’s budget was
I thought would be challenging and fun to meet. But extremely tight. “In Canada, you’re always writing
9FEATURE
“You’re fleshing out those scenes quite literally
with the actors. I’ve said to them on set,
‘You are the ones who own these characters
now.’ If they read the lines with a different
rhythm than you’d imagined, that might bring
something new to a character...”
- Michael Konyves
around budget,” he contends. “The average hour in for fellow writers. “I know taking network notes
Canada is shot for significantly less than in the U.S., so can be frustrating,” he concedes. “But take a big
you’re always factoring that in. But I find that kind of breath before receiving them and try not to take it
enjoyable. If you have too many characters, you have to personally. As writers, we’re getting criticism all the
cut that down. Location is always a big thing. We had to time. Read the notes and try to find a point. Even if
limit the number of locations and we were telling the you don’t agree with it. Maybe they don’t know how
story through characters more than action.” to properly articulate it, but they are pointing to
In fact, writing dialogue-heavy scenes was part something that they find problematic. Try to see it as
of the challenge and fun for Konyves. “I love great another person giving you a perspective. A good idea
dialogue, and what I write tends to be very talky. can come from anyone.”
Scenes are often short in TV, but I like shows like And in technical terms, Konyves is blunt — get
The West Wing that are dialogue heavy. I like scenes a second camera and make sure you have rehearsal
where they’re going about their business, but also time booked prior to shooting. “I’ll never do a
talking about three different things at the same time. show without two cameras again. You will get into
That’s action. That’s movement. And you get to know a budget argument over the second camera, but it
a lot about character through that.” saves you so much time and headache in the editing
Konyves says conversations with actors during room. If you’ve got six days instead of eight to do
rehearsals and on set also really helped with the writing an hour-long episode, the second camera gives you
process. “What a brilliant cast we had!” he exclaims, that extra coverage.” He also insists upon rehearsal
which included Anthony LaPaglia (Vito), Kim Coates time to get the actors comfortable with the rhythms
(Declan) and Paul Sorvino. “I needed to know the of the dialogue and main scene points, and it also
characters’ psychology,” Konyves continues. “And that provides the opportunity to answer any questions
is helped along by talking it through with the actors. For that come up. “You have to set the table so the actors
Declan to turn on Vito is a big fucking deal. So it’s got to can do their best work.”
be something I can believe in. You’re fleshing out those Ultimately, Konyves describes running a
scenes quite literally with the actors. I’ve said to them writers’ room as a lot of fun. “Working with Simon,
on set, ‘You are the ones who own these characters Patrick Moss and Alison Lea Bingeman, we were
now.’ If they read the lines with a different rhythm than exchanging ideas, throwing around dialogue, it was
you’d imagined, that might bring something new to a a blast,” he says. “The fact that Snoop Dogg liked us
character you hadn’t originally thought of. Then you was an unexpected bonus.”
get on set with them and might even end up rewriting Barry recognizes that Rogers and Citytv took
things a bit. They may have a question for you about a leap of faith in commissioning the show, but he
motivation and you have to figure it out. I love that part thinks it’s paid off. “They don’t do a lot of dramatic
— it’s part of working with great actors.” shows, and they took a risk,” he admits. “Bad Blood
As someone who got thrown into writing a needed to be done, and it needed to be done in
series in season one and then showrunning for the Canada by Canadians — and I’m really glad they
first time on both seasons, Konyves does have advice took the chance.”
10Stargate SG-1. Stargate Atlantis. Stargate Universe. Travelers. 500+ hours of TV genius. Congratulations to Brad Wright Recipient of the Canadian Screen Awards 2019 Margaret Collier Award Here’s to the recognition of your exceptional body of work as a showrunner and screenwriter, Brad! Congratulations from the Writers Guild of Canada.
FEATURE
GETTING LIVELY
Cavendish co-creator Mark Little talks about moving from
writing for kids animated series to live-action comedy
— they have more in common than you might think
By Kendra Wong
Some people may question what a kids animated Cavendish is not like other towns. Everyone there is
series could possibly have in common with an adult- obsessed with the local legend of a wolf-like beast that
targeted supernatural comedy/mystery show. But for preys on people at night. Soon Mark and Andy become
Mark Little, they are one and the same — at least in embroiled in many misadventures in this strange place.
how he goes about creating stories for them. For Little, who also portrays Xavier Academy
Little’s formula is simple: Have a character, or science teacher Simon on the CBC sitcom Mr. D,
a group of characters, propose a ridiculous idea or a Cavendish represents his transition from writing
series of ridiculous ideas, then introduce a voice of animated to live-action comedy. But it hasn’t been a
reason to balance things out. Sprinkle in a hint of simple move from one genre to another.
conflict, come up with an exciting climax, and top it Little’s foray into comedy started in high school
off with a heart-warming lesson — et voilà, you get the in New Westminster, B.C. He was involved in improv
laughs you were looking for. before participating in sketch and stand-up comedy,
“It’s super-basic Comedy 101, but I really get a including being part of a Halifax-based sketch comedy
kick out of the one person who is the voice of reason, group called Picnicface, where he met Bush.
or flip that, have a group of people who are the voice of Whereas most people go to school to study
reason,” Little says. “Whatever the combination is, I scriptwriting and the art of crafting a narrative before
find that contrast, which is the foundation of so much trying to break into the industry, Little did it in reverse.
classic comedy, funny.” “With stand-up, sketch, narrative storytelling and
In fact, it’s the same formula Little and Andrew movies, it was all cart before the horse,” he says.
Bush used to write their new original comedy series, After working on a genre parody called
Cavendish. Produced by Boat Rocker Media’s Temple Roller Town, in which the skeleton of the story
Street Productions, the duo are the series’ co- was completely secondary to the jokes and insane
creators, showrunners and executive producers. moments, Little realized how much he didn’t know
Cavendish premiered on CBC in January and about writing a cohesive narrative. But he quickly
revolves around brothers Mark (Little) and Andy realized it was a skill he would need to master.
(Bush) Tennessen, who have returned to their P.E.I. To learn more, Little began reading books like
hometown after almost 30 years away to care for their Save the Cat! by Blake Snyder, while simultaneously
ailing father. However, the pair quickly realizes that juggling other projects, such as Dad Drives and Space
12Mark Little takes a live-action turn as
co-creator, co-showrunner of new
CBC comedy Cavendish
13FEATURE
Little (left) and Cavendish co-creator Andrew
Bush in a scene discovering just how strange
their new hometown is
“I still write jokes that I would
laugh at, I hope. I still try to
write jokes for me.”
- Mark Little
Riders: Division Earth. In addition, he soaked up as overall rating of 8.1 on IMDB, the tale of aging and
much comedy as he could, and participated in online cantankerous demon hunter Gary, who longs to
communities to learn how to implement storytelling retire after spending 30 years doing a job he never
practices in his own work. wanted in the first place, is striking a chord with
Little finally got that opportunity while writing critics. He also wrote eps for kids animated comedy
for kids animated series Winston Steinburger and Sir Cupcake & Dino: General Services, which made The
Dudley Ding Dong. During the stint, he discovered New York Times list of “Best TV shows of 2018.”
that he had an aptitude for writing kid-friendly Then came Cavendish. It was a simple trip to
11-minute episodes. “You really want it to go, go, go,” Canada’s East Coast that sparked the idea for the
he says. “But you also want to weave in elements of series. Bush, who is from Nova Scotia, travelled
heart, growth and especially jokes, usually in an to the real town of Cavendish for family vacations
adventure-based storyline.” while growing up.
And after writing, producing, acting and Situated on the north shore of P.E.I., the small
directing many projects over the years, his hard town is a summertime tourist hotspot primarily
work really began to pay off in 2018. It was a known as the site of L.M. Montgomery’s family home
breakout year for Little. He created and sold and the inspiration for many Anne of Green Gables
adult animated comedy Gary and His Demons to stories — not quite an historical theme park, but close.
CBC’s Gem streamer and several international “I never went to Disneyland when I was a kid, so this
broadcasters, also serving as showrunner. With an was my Disneyland,” Bush laughs.
14Animated series Gary and His Demons helped creator Little hone his comedy chops
After returning from Cavendish with his family storylines to fit the classic sitcom formula. It just
six years ago, Bush proceeded to tell Little all about slowed down the momentum of the overall narrative
his experiences. “He just started describing the too much.
town to me and it sounded amazing. It was weird, That’s when it dawned on Little. Why not apply
idiosyncratic and interesting. I got excited just the same approach he took in writing kids animated
hearing him talk about it,” says Little. “We thought comedies to Cavendish? After all, comedy is the
we should honour that excitement. Clearly this world same across genres, he notes. “In a kids show, you
is speaking to our sense of fun and we thought we don’t want to shy away from that size of storytelling
should pursue that.” — taking a small thing and making it massive. You’re
The show started off as a seed of an idea, telling what sometimes feels like 90-minute movies
before eventually transforming into the half-hour in 11 minutes,” he contends. “We kind of wrote
supernatural comedy series that it is today. “We Cavendish like 11-minute kids cartoon episodes.
inserted more Twin Peaks and Scooby-Doo, to the It was getting comfortable telling these stories in
point where it’s not really Cavendish,” says Bush, who 11 minutes. That made it much easier to do it in 22
notes that although production takes place in N.S. and minutes.”
P.E.I., the show is not meant to provide an accurate At the heart of his work on both animated and
depiction of the town, but instead should be seen as an live-action comedies is the desire all comedians
ode to the Maritimes. have — to make people laugh. It’s a feeling he says
Ultimately, the pair is trying to write the is hard to describe. “The raw feeling of it feels good.
funniest show they can, but let’s face it — comedy There’s a science to how you arrive at it, but once
is tough. From the outset, they tried to stick to the you’re in it, it feels like magic,” Little says of finding
basic formula for a classic sitcom, which included a that comedy sweet spot. “I still write jokes that
main plot (story A), as well as one or two subplots I would laugh at, I hope. I still try to write jokes
(stories B and C). They excelled at coming up with for me. I never try to write down to a perceived
adventures for their main characters. However, audience, ever.”
Little and Bush struggled with transitioning the
story to secondary characters. According to Little, Cavendish is currently available for streaming in
in the end, they couldn’t justify adding scenes and Canada via the CBC Gem app.
15FEATURE
PITCH PERFECT?
Experienced showrunners weigh in on how to nail that
first pitch meeting — and how to keep the faith if it all
goes pear-shaped
By Diane Wild
Brad Wright’s worst pitch experience was also his “I’m not a great performer.” Even then, “I want the
most successful. Not long into his pitch for Stargate- 15 to 20 minutes I’m pitching to seem effortless,
SG1 to the head of Showtime, the fire alarm went off, conversational, concise. I’ve put in two months
and Wright found himself continuing to make his case crafting the pitch then getting off book. It can be fun
in the parking garage with the building’s evacuated once you know your own material — you have space to
occupants milling around. “I don’t remember much riff in the room.”
of what I said, but when the alarm stopped, he told “Read the room,” says Sarah Dodd. “Sometimes
me I didn’t have to come back up. It turned into a a pitch turns into a conversation. You don’t want to be
44-episode order.” ‘stuck on send.’ If your audience wants you to stop, listen
“There’s no such thing as a perfect pitch,” he says. and discuss, then go with the flow. You don’t always need
“The perfect pitch is one that gets bought.” to hold fast to the pre-rehearsed pitch you prepared.”
From writing and memorizing a verbatim pitch “I like to be really, really prepared, but I don’t
script to being prepared enough to improvise in the like to be rehearsed,” Wright says. “You want them to
room, there are as many ways for writers to pitch want to be in business with you as a person, as well as
their series concepts as there are personalities in a your idea. I think that’s what a lot of people get wrong —
ILLUSTRATION: STUDIO OURS
writers’ room. being too rehearsed and not being themselves enough
“As long as you love the story you’re pitching, for the buyers to know who they’re working with.”
you’ll be fine,” Dennis Heaton says. “You need to be
passionate about the story, because that creates an Structuring the pitch
energy in the pitch.”
Conversely, Sheri Elwood completely scripts Wright often writes the script first, and even sends
her pitches, down to every joke and pause, because it before the pitch meeting. “To understand my
16Sheri Elwood
Brad Wright
characters, I need to write them, to give them audience.” She starts with her own connection to the
dialogue, have them interact. I learn more about my material, the premise, and painting a picture of where
characters in the writing process than anything else.” the story begins.
Heaton also prefers to write the full story. “It’s challenging sometimes for a writer not
“Either a full script or an outline or even just an to fall into a laundry list of plot points,” says Dodd.
expanded episode pitch,” he says. “Just so I can “After a really cinematic introduction, it’s time to
make sure the concept will actually result in a full focus on a broader middle and end to the pilot, teasing
story.” After that, he writes a five- to seven-page the listener with a few juicy twists and turns and
pitch document, a five-page verbal pitch script, and emotional moments.” She then moves on to the first
lastly a logline. season’s broad strokes and an indication of the story
“A verbal pitch always starts with an explanation engine for seasons to come.
of an idea’s genesis and why it’s important to me,” says “The most important thing is making the pitch
Heaton. “Then I give the logline and then launch into personal,” Elwood says. “I like to start with an anecdote
the pilot story, describing the characters as I introduce about what inspired me to write it, why I was drawn to
them in the story. I end the pitch when I get to the end the material. There are only so many original ideas, but
of the story and get back to a conversation as quickly what makes it special is the lens you filter it through.”
as possible.” Call Me Fitz, for example, was loosely based on
A Netflix executive once told Dodd that her brother, a car salesman. “I was out to lunch with
Canadians are the only writers on the planet who my grandmother back in his playboy days and she
lead with place, which she does not advise. “Instead, said, ‘That boy needs to have a stiff drink with his
think about the global audience and why this story conscience.’ It became a buddy comedy about a car
has themes that will resonate with the largest possible salesman and his conscience.”
17FEATURE
Sarah Dodd
Elwood organizes her pitches into an Wright has paid for graphics to be created by a
introductory anecdote about why she relates to the production designer in order to convey an idea, though
material, what the concept is, and then she rolls into he believes a writer’s words should stand on their own.
the location and core characters. “For a drama, I often “If you’re good at your job, the words you’re saying are
pitch the whole cold open,” she says. “I give a rough going to paint pictures in their mind — possibly better
flow of season one, even if it’s ‘We’ll begin with X and imagery than you can afford at the pitch stage.”
at the end of the season we’ll find out Y.’ For comedy, “I think some form of visual proof of concept is
I’ll set up episode ideas, just one line each. ‘This is the great,” says Heaton. “But it should be shown either
one where Fitz turns the local daycare into a brothel.’ before as an amuse-bouche to get the room excited,
For a drama, I might give character arcs instead.” or after a pitch to prove that the crazy idea you’ve just
After about 20 minutes of specificity, she wraps up pitched can actually be pulled off.”
by bringing her pitch around to why the concept is
universal, relatable and compelling. Keep the faith
“Never leave materials [printed or otherwise]
behind,” Elwood cautions. “You’re a writer: Those “I’ve had pitches that I didn’t think went well not get
are your words, and there’s a monetary value to that. bought and pitches I thought were home runs that
Leave the pitch in the ether and leave them wanting didn’t get sold,” says Wright. “Sometimes you did a
more. And if they want more, they can buy it.” great job, the people in the room wanted to buy it, but
they went down the hall and the boss said, ‘Meh.’”
Judicious use of props “I really had to learn how to be a successful
pitcher,” says Elwood. “In the early days, I’d have my
“I usually bring visuals,” says Elwood. “I might show crunched-up pages with my notes. You don’t ever
actors to give the tone of a character. I might bring want to be reading from a script.”
location photos to give a flavour of the setting. I bring “Before one meeting I took a Xanax and
an iPad to flip through the photos, and that’s a good job almost fell asleep during my own pitch. That’s
for the non-writing producer.” For Bagel Nation, she frowned on,” she laughs. “It should be noted that
came with bagels and cream cheese. For an L.A. Story I did not sell the Xanax pitch, but I have used
adaptation, she brought a cartoon map of L.A. with that scene in another show. Self-humiliation is an
character faces stuck on particular locations. excellent selling feature.”
18Dennis Heaton
TO LOGLINE OR
NOT TO LOGLINE?
Loglines, it turns out, are a controversial topic. father traded in the family home to buy an inner
While some writers enjoy coming up with a city deli, even though he knew nothing about
winning description, others do not — at all. running a business, restaurant culture — or
Orthodox Jews. This series is Neil Simon on crack.
“A likable but socially awkward teen struggles through A more-diverse Shameless. The tale of a clueless
the trials of adolescence with an unusual source of narcissist who never gives up hope that no matter
advice, inspiration and commiseration: Her future how many times he screws up, easy street is just
self. This was the logline for Out of Touch, about a around the corner and failing that, family will be
genius teenager named Abby who starts getting calls always be there to blame.”
from herself as an adult over a Skype-style time-phone –Sheri Elwood
she invents 20 years into the future.”
–Dennis Heaton “I hate loglines. I let my assistant write them. You
have this great, detailed idea and somehow it’s
“Bagel Nation is a single-camera, dysfunctional supposed to be distilled into one sentence? Never
family comedy inspired by my family’s own Middle give them too much to say no to.”
East crisis. When I was 14, my crazy Lebanese –Brad WrightHelp Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark (t.mark@wgc.ca)
W-FILES
Marsha Greene
Reality background gives
Greene’s writing fresh view
By Cameron Archer
T
ransitioning from the turning point for me was going finding new and inventive ways for
production side of reality to the Canadian Film Centre. the characters to find clues. When
television, Marsha Greene’s After four years of working in we don’t, we get the note, ‘It feels
screenwriting credits include production, I made the decision too easy.’
Global’s medical drama Remedy, that I’d step away from it — even With Mary Kills People, it was
limited-series drama Ten Days though I was making a good living completely different. I remember
in the Valley for ABC, and the — and focus on becoming a writer. once thinking, ‘How would this
first season of Global’s detective I’m grateful for my play out in a medical drama?’ Then
drama Private Eyes. Greene also experience in reality shows I would make a conscious choice to
earned BravoFACT funding for and feel they’ve helped me be do the opposite. We always wanted
her 2015 short film In the Room. successful as a writer. On Big Mary to be an anti-heroine. We
But it’s Cameron Pictures/ Brother Canada, I learned the had a mandate to be surprising,
Entertainment One’s Mary Kills importance of finding transitions not formulaic. We would always
People with which she’s most in and out of scenes. On Hello ask ourselves, ‘What’s the craziest
closely associated to date. She was Goodbye, I got to hear amazing thing that could happen?,’ then
a writer and co-producer for the stories from around the world, find a way to make it grounded
series’ first two seasons, moving which were all about character. and authentic to the show and our
to executive producer and co- The most transferable skill I characters.
showrunner in the third season of learned from production is how
the Global medical drama/black to work with different people. How does a short-season model,
comedy that debuted in 2017. The It might not seem important as used on Mary Kills People,
third season is set for Global’s for a writer, but it’s incredibly differ from the more traditional
spring 2019 schedule. important for a showrunner. model of Private Eyes?
For me, the big difference is the
You moved from producing How do you avoid getting too length of the writers’ room. I
reality series like Big Brother formulaic with procedural found it as difficult to break six
Canada and Hello Goodbye to dramas like Private Eyes and episodes of Mary as it was to
scripted dramas. How do the Mary Kills People? break 10 episodes of Private Eyes,
genres differ and what skills On Private Eyes, I wanted to figure but on the latter, the room lasted
did you take with you from the out the formula. I felt like it was the at least eight months. The Mary
world of reality TV? key to making the show a success. room was roughly two months
There’s not a lot of crossover On the other hand, we wanted to and ended before production
between the two worlds, and play with cop-show formula, so we began. The bulk of the heavy
you’re usually entrenched in one made a decision to limit the number lifting is left to the showrunner.
or the other. Working long hours of dead bodies and look for different That becomes challenging once
in production made it difficult kinds of cases, like identity theft. you’re shooting, still prepping and
to even find time to write. The We are constantly tasked with likely still rewriting.
21MEMBER ALERT!
Unfair Engagers
The Guild has declared the following engagers “unfair” for failing to abide
by grievance procedures or the decision of a joint standing committee. The
WGC’s working rules prohibit members from working with unfair engagers.
Project1:Layout 1 10/25/12 2:26 PM Page 1
All I Want Productions Inc. Lester Beach Entertainment
Principal: Kirk Shaw Principal: Jeff Lester
Battered Productions Inc. Mikisew Keemiwan Productions, Ltd.
Principal: Kirk Shaw Principal: Norman Champagne
Christmas Town Productions Inc. Nikolai Productions
Principal: Kirk Shaw Principal: Cindy Lamb
FOTP Productions Inc. Norfolk International Ltd.
Principal: Richard Rapkowski Principal: William Macadam
Guardian Films Inc./ Numb Productions Inc.
En Garge Films Inc. Principal: Kirk Shaw
Principal: Kirk Shaw
Perfect Stranger Productions Inc.
H & S Films Principal: Kirk Shaw
Principal: Nicolas Stiliadis
Prospero Entertainment Group Inc.
Hiding Productions Inc. Principal: John Lambert
Principal: Kirk Shaw
Richard Lowry Productions Inc.
High Seas Rescue Productions Inc. Principal: Richard Lowry
Principal: F. Whitman Trecartin
She Productions Inc.
Ice Planet (1) Canada Ltd. Principal: Kirk Shaw
Principal: Philip Jackson
Spiritual Productions Inc.
Justice Productions Inc. Principal: Kirk Shaw
Principal: Kirk Shaw
Kangaroo Court Productions Ltd. Please Help Us Find These Writers!
System Productions Inc.
Principal: Kirk Shaw
Principal: Robin Payne The CSCS is holding foreign secondary authors’ levies for writers
T Man Productions Inc.
Les Productions les Plus Belles Routes du Monde Inc. Principal: Kirk Shaw
Principal: Andre Belanger
(not affiliated with Spectra Animation Inc.)
T he Canadian
Zolar Productions Inc.
Principal: Kirk holding
Screenwriters Collection Society (CSCS) is
Shaw foreign secondary authors’ levies for a number of
writers and uncredited productions. As CSCS does not have a
current address for these writers or the productions do not
have complete credit information we have not been able to
forward any monies to the entitled writers. The complete list
of writers and productions is available on the CSCS website at:
Please Help Us Find These Writers!
The CSCS is holding foreign secondary authors’ levies for writers
www.wgc.ca/cscs/hot_news/index.html
If you have any information that would allow us to contact any
of these writers or their agents, or if you are a credited writer
The Canadian Screenwriters Collection Society (CSCS) onatthe
Marisa King listed production, please contact:
m.king@wgc.ca
is holding foreign secondary authors’ levies for a number or call (416) 979.7907 ext. 5231 or
of writers and uncredited productions. As CSCS does not
Marisa King at m.king@wgc.ca
1.800.567.9974 ext. 5231.
or call (416) 979.7907 ext. 5231 or
have a current address for these writers or the productions
1.800.567.9974 ext. 5231.
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Please note that CSCS may require writers to furnish
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theirhisclaim.
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If you have any information that would allow us to contact
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Kathleen Phillips
Phillips living what she’s writing
By Mark Dillon
I
t’s only fitting that Kathleen Both you and Catherine How was the transition from
Phillips is pacing the floor, Reitman are working moms. sketch comedy to kids shows and
bouncing her cooing three- What kinds of discussions do half-hours?
month-old as she discusses Workin’ the writers have? Everything has its learning curve.
Moms. The Toronto writer/ We talk about our strengths as I was keen to do the half-hour
performer and mother of two has mothers, but ultimately about our stuff because I like to spend time
brought real diaper-changing experiences as women. A lot of with people. With sketch comedy
experience to creator and star it is just talking about people we it’s mostly about the gag and you
Catherine Reitman’s CBC comedy know and little anecdotes from really don’t get to spend too much
about friends balancing career, our lives. Drawing from real life time with any one character. I like
friendship and motherhood. makes for the best comedy and getting to the meat of a character
Phillips co-wrote one episode most authentic storylines. Also, — finding all their little quirks and
for season two and wrote two for it’s a heavily serialized show and nuances. That’s more interesting to
season three, which launched in there are a lot of moving pieces. me beyond just jokes.
January. These add to an eclectic It’s a bit of a Rubik’s Cube because
list of credits including sketch things change as you’re writing As a performer, do you act out the
comedy The Ron James Show, 13 episodes, so it’s about keeping roles as you’re writing?
live-action kids show Odd Squad, track of all the moving parts and a If I’m really enjoying a scene I’m
animated series Scaredy Squirrel lot of problem-solving. writing or a new character appears,
and Cupcake & Dino: General I read it back to myself out loud.
Services and offbeat comedy- You got to play opposite your That helps me see if I got the voice
drama Crawford. Her range is no husband Chris Locke on several right. I perform it a little bit for
surprise given her background as a episodes of Mr. D, and in season myself to make sure it sounds right
character comedian, which led her eight you participated in the and the jokes have just the right
to writing and performing a wild writers’ room. How were those amount of words and the timing is
assortment of roles on sketch series experiences? all there.
Sunnyside. And while attending That was a lot of fun. We
to her little one, she talked to played Ted and Emma Terdie, You’ve been busy with a new
Canadian Screenwriter about real- a swinging couple. Season baby. How’s 2019 looking?
life influences and spending quality eight was the last season, so it I am going to be pitching some stuff
time with characters. was bittersweet. I was in the and trying to get my head back in
room during development. I the game. It’s been a big break, but
knew everybody, so it was nice the wheels have been turning. I
having that history, knowing the have a lot of ideas and would like
characters so well and coming up to get back to my computer to work
PHOTO: JESSICA PHILLIPS
with stories with them. We were on them. I’ve spent so much time
hashing out what the final season with babies and little kids I need to
was going to look like, what [star work out my intellect. I also have to
Gerry Dee] was going to get up remind myself to just soak up this
to and wrapping up everybody’s time with my kids because it’s hard
relationships. to come by when you’re working.
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