ARE SUPERHEROES THE NEW GODS? - The Telegraph asked me to write about Man of Steel. I didn’t really want to, because not only had I not seen the film (which had yet to be released in Belg...
7 hours ago
A new day is dawning on the Genie Awards (Canada's version of the Oscars) with a whole new Board of Directors and a new head honcho, the inimitable Canadian Cinema Dynamo: Helga Stephenson. I'm also happy to report that the 32nd Awards ceremony is finally back where it belongs and will be broadcast on Canada's Peoples' Network, the Canadian Broadcasting Corporation (CBC). When the CBC decided a few years ago to stop participating in the Genie Awards I was utterly gob-smacked! Ratings be damned! The CBC is a public broadcaster and has a duty to celebrate homegrown cinema. End of story!Just before we begin,
In keeping with this momentous event, please find below all the Genie Nominee categories I care to cover. Each category will list the official nominees, but will be accompanied with my own picks for films that SHOULD have been nominated and films that SHOULD have won had the Genie Awards bothered to Nominate them. These categories (highlighted below in bold italics) comprise my picks for The First Annual Klymkiw Genie Awards. You'll also notice in a couple of categories my own personal picks for what's best DO correspond to the Genie nominations.
I will also opine on what of the nominated films SHOULD win (as determined pour moi) and my predictions on what WILL win.
The full list of the First Annual KLYMKIW Genie Awards will Be Summarized at the bottom of this piece, so if you don't feel like going through all the other stuff and ONLY want to see what I think represents the best of Canadian Cinema in 2011, just scroll down.
Some of the Canadian films that I chose for my own accolades didn't even bother submitting their films to the Genie Awards for a variety of reasons - either the fees to enter the awards were too high or they just didn't think the Genie Awards were worth entering. I've personally always had a problem with the idea of producers having to submit their films for consideration and PAY for the privilege. Every film released within the Academy's guidelines should be considered and should NOT have fees attached to them. It lacks class. End of story.
During the awards I will report on the actual winners of the awards live from the Genie Awards Press Room and update this column when this information becomes available. I might also present a few quips along the way at the bottom of this piece and occasionally tweet a few thoughts on Twitter (so you're welcome to check in here and/or follow me on Twitter @GregKlymkiwCFC).
As you'll see below, many of my own nominees and winners differ considerably from the Genie nominees, but as James Cagney says in Raoul Walsh's Strawberry Blonde, "Thet's just the kind of hairpin I am."
I left a few categories right off that I have no opinion on (Best Song and all the shorts), but everything else is detailed below. In reality, I can't imagine too many people outside of the Canadian film industry will be watching and/or care, but perhaps the ratings will prove me wrong. In any event, Let's have a blast.
A collection of experts weighed in on "What the Canadian Film Industry Needs Most" via Gayle MacDonald in the March 7, 2012 Edition of the Globe and Mail. On the eve of the 32nd Annual Genie Awards, only one of them directly addressed what I suspect is the real problem. Here then are my responses to some of the comments and my own thoughts on the matter.What the Canadian Film Industry Needs Most Is Less Punditry. That Said, Here's More Pundrity. It's the Canadian Way!
"Quebec is turning out films of ambition and depth that look outward rather than just in. I think there's talent equal to Quebec in the rest of Canada, but maybe somebody needs to throw open a window and let some of that air in."
"Sometimes I just think it needs more balls, more courage. The Canadian industry is so afraid of taking risks. When I took the script for "Inescapable" to the United States, everyone wanted to do it. I got the first support from the States, not from Canada. It’s the Canadian way to hesitate."
"Canadian films need larger budgets to attract bigger international stars to compete in the international market place. There are tax schemes in Britain for private investors to invest in British films. The King’s Speech is a prime example. Without private-equity funding out of the U.K., this movie would never have been made. By creating similar private-investor programs in Canada, we would be able to increase our budgets and compete more effectively in the global marketplace."
"Prime-time access to and meaningful investment from broadcasters, as is the case in France, Germany, Italy, the U.K. and most other countries where films are made."
"What Canadian film most needs right now is a new voice. The voice of a young generation that grew up with the Internet and YouTube and digital cameras and [video editing software] Final Cut Pro. A generation that has been making films since they were children and self-distributing their work on YouTube."
"Exhibition quotas. Our cinemas should be mandated to screen a percentage of Canadian content, just like our television broadcasters and radio. People say, “Theatrical quotas will never happen. It's impossible,” but I say, “People make the impossible happen every day.” Claude Jutra (Mon oncle Antoine) once said, “Not making the films you want to make is awful, but making them and not having them seen is worse.”
"Death ends a life. But it does not end a relationship, which struggles on in the survivor's mind. toward some resolution which it may never find." - Robert Anderson from his play, I Never Sang For My FatherA father's love for his son is a special kind of love. As such, Dads the world over face that singular inevitability - that peculiar epoch in their collective lives, when they must chauffeur the apple of their eye from a police station, for the third time in a month, after said progeny has undergone questioning upon being found in a motel room with a dead man covered in blood, après le bonheur de la sodomie, only to return home after dropping said twink son on a street corner, so the aforementioned offspring of the light-in-the-loafer persuasion, can perform fellatio on old men for cash, whilst Dad sits forlornly in the domicile that once represented decent family values and stare at a framed photo of better times, until he succumbs to unexpected anal rape and when doused with gasoline and set on fire as he weeps, face down and buttocks up, frenziedly tears out into the street screaming and collapsing in a charred heap in front of his returning son who reacts with open-mouthed horror as the scent of old penis wafts from his twink tonsils.