This is a short post to acknowledge my gratitude for yet another day; another birthday; another year of changes ahead… all good things!
This is a short post to acknowledge my gratitude for yet another day; another birthday; another year of changes ahead… all good things!

HM: Why did you choose A Doll’s House as a play you wanted to work on?
KB: I was looking for a scene for an aggressive doll puppet to play in (with a life-sized scene partner). I thought it’d be provocative for this un-Nora-like personality to be making Nora’s “here I’ve been your doll wife” speech. The concept’s changed…a lot! But, because the script I gave the actors left out all of Ibsen’s directives about emotions, I did get some unconventional readings. The pointed “frenemy” relation between Kristine Linde and Nora Helmer is there partly because Erynn Brook explored that edge in Kristine, not just the depressed desperation that’s in the stage directions.
HM: I know you translated the play from the original Norwegian into the English. How long did it take altogether, including drafts?
KB: I began around Christmas 2008, curious about differences in the three translations I’d read, wanting a modern, royalty-free translation, and stuck during the strike at York. The first draft took three weeks. Having to look the same words over and over tuned me in to how Nora loves her favorite words, excessively repeating “excessively,” and how various characters echo and mock one another. As Anthony Burgess, who wrote A Clockwork Orange,said, it’s more interesting to learn a language by throwing yourself into its great works than by learning to ask for a train station. I returned to the translation a couple times in 2009 and in July realized I could pretty well read Norwegian…about duty and daring, anyhow. Then I could polish it up more. It’s a beautiful language with a beauty distinct from that of English. It’s like a deciduous forest in winter – some parts you can see clear through, and other parts where the silhouettes conceal layers of depth.
HM: You’ve decided to set the play in Quebec in the mid 1960’s. Can you share more about your reason for setting it in another place and time besides 1879 Norway?
KB: After some actor friends read the first draft, they said: “Most women who get divorced worry about child support, but Nora’s so rich, she’s got a Nanny, it’s easy for her.” They couldn’t stand her privilege, which is a very different criticism from what Nora received in 1879. This suggested moving her to a time and place in which she’d be less of a heroine would make her more interesting. 1964 Quebec was chosen because that’s when and where all married women in Canada finally won the right to borrow money without their husband’s consent . Not having this right is what leads Nora into the forgery that moves along the plot. Other elements of the script aren’t strongly rooted in time or place, so I don’t think 1964 Quebec is necessarily how the audience heard the story.

HM: What has been the audience’s feedback thus far?
KB: Really positive, with lots of helpful suggestions for the cast and me! The Norwegian Embassy had supported this workshop most generously, so I’m glad to say the guests from the Consulate thought highly of the performances and translation. I loved how though it’s a tragedy, the audience began laughing in the first minute. People were very right in there with the characters’ struggles, flirtations, and dreams. For example, one woman told me she cried at the end because Nora (Lara Martin) leaves her husband (Rahaman Agiri) exactly how she’d left hers 15 years ago. Another person thought our production’s Nora was “really white,” always referring to her father as “Daddy.” Someone wrote how she was surprised to end up feeling sorry for Torvald as “the devoted, rejected” husband. Kristine and Krogstad’s (Adriano Sobretodo Jr.’s) mature, redemptive relationship came in for contrast to Nora and Torvald’s – in one analysis I received, because Nora and Torvald always try to appear ideal, that leads to all their lies. And several people were moved by the heartbreak of Dr. Rank’s (Philip Borg’s) love for Nora…though, hello, he’s hitting on his best friend’s wife.
The format of a reading was new to many. Some audience members said they’d like us to next put on a production in which the actors have more physical options than standing side by side. But others were drawn to the reading format, as in an email about the pleasure of “drawing the pictures of the action in my imagination” and a comment that always seeing our Nanny (Morgan Bargent) sitting at one end of the row of actors led to the hope of seeing more of her comedy with the obnoxious children. That our Maid (Jennifer Robson) became a strong narrating presence was seen as a creative plus.
KB: There are definitely a couple buzzing around! I’ve been speaking with a director who’s a talented performer of both dance and theatre works, about reshaping the “reader’s theatre” format, fully exploring the actors’ physicality and the whole space of the stage. I’ve also been writing back and forth with the South African creators of a remarkable short film of a scene from A Doll’s House and hope to bring our dollhouses together.
We talked for a couple of hours but I’m sharing some of the key things we discussed so you know what to look forward to. Stay tuned from more works by Kathy and Blackcurrant Productions. I enjoyed myself excessively at the reading workshop!
Photo Credit: Alex Naylor.
The 2009 Reel Asian International Film Festival came to a close this past Sunday. It was five days filled with film screenings and industry series. This year’s award winners showcase the vast talent this festival brings to us. Congratulations to all!!!
NOW AUDIENCE AWARD

The favourite feature film was chosen by the audience by secret ballot. (a $500 cash prize)
The NOW Audience Award goes to Yoshihiro Nakamura for FISH STORY (Japan 2009).
An independent jury comprised of distinguished members of the media arts community Michael Fukushima, Kathleen Mullen and Louise Noguchi selected the award winners for the following:
NFB BEST CANADIAN FILM OR VIDEO AWARD
($2,500 production budget prize towards the development of winner’s next project)
For the artful mining of archival material, for great cast and production, and for the inspired multi-Pov structure that looks at how history is interpreted and then re-interpreted. The NFB BEST CANADIAN FILM OR VIDEO AWARD goes to Richard Fung, John Greyson and Ali Kazimi for REX VS. SINGH.
KIM ORR BARRISTERS P.C. BEST NARRATIVE FEATURE FILM OR VIDEO AWARD
All narrative feature works are eligible for this prize. ($1,000 cash prize)
A transformative, visually stunning and heart-rending portrayal of a family’s struggle to survive with their traditional farm in these globalized times, the KIM ORR BARRISTERS P.C. BEST NARRATIVE FEATURE FILM OR VIDEO AWARD goes to Uruphong Raksasad for AGRARIAN UTOPIA.
Jury honourable mention for BEST NARRATIVE FEATURE FILM OR VIDEO AWARD goes to Yoshihiro Nakamura for FISH STORY, because it was both quirkily funny and poignant, and masterfully constructed.
ANIMASIAN AWARD
All animated films and videos are eligible for this prize. Reel Asian thanks Prospero Entertainment Corporation for its continuing support of this award.($500 cash prize)
An innovative performance, using mixed media, overhead projection, video and live sound to create a humorous and heartfelt take on what our elders leave to us, for better or for worse, the ANIMASIAN AWARD goes to Lesley Loksi Chan and Serena Lee for LIVE LONG AND PROSPER.
CENTENNIAL COLLEGE @ WALLACE STUDIOS MOST INNOVATIVE FILM PRODUCTION AWARD
($2,000 in studio time, $300 cash prize towards completion of next work)
Brilliantly shot, with a potent and evocative integration of music and sound with image, the CENTENNIAL COLLEGE @ WALLACE STUDIOS MOST INNOVATIVE FILM PRODUCTION AWARD goes to Randall Lloyd Okita for FISH IN BARREL.
LIFT AND FUJI BEST FILM AWARD
All films made by GTA-based artists are eligible. $280 in LIFT membership dues and services. $500 credit towards LIFT workshops and/or equipment. 2400 feet of Fuji 16mm 64D film.
For its cleverness, great cast and performances, and for its use of humour to examine a young man’s struggle with alcoholism and anger, theLIFT AND FUJI BEST GTA FILM AWARD goes to Mio Adilman for UNLOCKED.
TRINITY SQUARE VIDEO VISIONARY VIDEO AWARD
($650 in TSV membership dues and services, $100 cash prize upon completion of new work All videos made by GTA-based artists are eligible for this prize.
$650 in TSV membership dues and services
$100 cash prize upon completion of new work made at Trinity Square Video
For being a memoir film done exceptionally well and for its haunting poetry by Souvankham Thammavongsa, the TSV VISIONARY VIDEO AWARD goes to Parimita Nath for FOUND.
THE SO YOU THINK YOU CAN PITCH? AWARDS
This year’s pitch competition was a public event hosted by local artist Keith Cole. An audience of over 100 watched as 7 teams competed for more than $28,000 in services from Charles Street Video. The winners were chosen by a panel of jurors, Nobu Adilman, Eileen Arandiga, and Lila Karim.
The CHARLES STREET VIDEO AND REEL ASIAN PITCH PROFESSIONAL ARTIST AWARD goes to Jonathan Ng for REQUIEM FOR ROMANCE.Award has a $5,000 in-kind value (equivalent to $18,000 at industry rental rates).
Breaking up is never easy but when it looks and sounds as good as the pitch presented to us yesterday, we can’t help but want to see more. Fusing together an emotional phone conversation between a couple at the end of their relationship, with a highly stylized animated world,Jonathan Ng’s REQUIEM FOR ROMANCE wins the established pitch award.”
The CHARLES STREET VIDEO AND REEL ASIAN PITCH EMERGING ARTIST AWARD
Award has a $3,000 value (equivalent to $10,000 at Industry rental rates).
For its proposed playful use of multimedia, expanding cinematic vocabulary by transforming theatrical conventions and telling a campy yet emotional tale of forbidden love between two drag queens, we present the emerging pitch award to Sonia Hong, Claire Lowery and Olga Barsky for A DRAGGED OUT AFFAIR.
This is the tag line for the documentary Prom Night in Mississippi by Paul Saltzman. The film premiered at Sundance earlier this year and was also part of Hot Docs here in Toronto. I missed it during Hot Docs but I’m glad that the First Weekend Club presented this film, as part of their Canada Screen Series, this past Tuesday night at the Drake Underground.
Another person that stood out for me was a young man by the name of “Billy Joe”… he didn’t want to be identified. He comes from a white family and disagrees with their attitudes and behaviours towards black people. He wishes things were different. You can tell he’s at odds with and will probably be hard for him to change things… A difficult place to be in these current times. Once we get to the prom, though, it’s nothing but good times. You feel the excitement that the students are feeling; a sense of pride.
The film opens Friday, November 13th at select theatres across Toronto. For more info visit the film’s website.
Photo credit: First Weekend logo thanks to First Weekend Club; R. Crouse, R. Sadlier & P. Saltzman photo taken by Hye!
I am very much looking forward to Reel Asian’s Centrepiece Presentation: Red Heroine. This silent film from 1929 tells the story of Yun Mei, a young woman whose village has been destroyed and whose family has been killed by the military. She is saved by a taoist hermit, who helps train her in the art of hand and sword fighting. Now, if this isn’t enough to hook you in… I have more. The film’s presentation this Friday, Nov. 13th @ the Royal Cinema will be accompanied by a new live score by the Devil Music Ensemble (DME).

Hye: After forming Devil Music Ensemble (pictured right) in 1999, how did you decide to focus on modern classical music?
Jonah/DME: We actually don’t focus on modern classical music. We have always done a variety of different things….improv, rock, modern classical, country, eastern European, other things. We have a love of many different types of music and love exploring it in as many ways as possible. Doing music for film has provided a great medium for exploring different types of music. We did an all original country music score to a silent western. For our Nosferatu score we blended together modern classical sounds with gypsy and rock sounding music. The Red Heroine project allowed us to explore classical and traditional folk music of China as well as the sounds of Kung Fu soundtracks from the 70’s.
Hye: How soon after you had your full ensemble did you realize you were interested in scoring silent films?
Jonah/DME: We came to do live music soundtracks to silent film very randomly…starting as a improv kind of rock band that would sometimes have old silent films projected simultaneously as a background and sometimes thing that would influence of the direction of the improvisation. Later someone asked us to score a silent of our choosing for a festival called “Celluloud” which was rock bands scoring old silent films. We did that show and it was such an inspiration for writing original music, and the show was such a success that the next time we toured, we decided to try to really take some time and write a score for a silent film and see if we could do shows at movie theaters..that went well and we just kept going.
Jonah/DME: The first thing we do is watch the film and take notes on our impression of what kinds of things we’d like to try to do for the music. We never refer to any historical record of music that was used for these particular films. We have this amazing blank slate in which to make our own musical world.We then score the silent film basically second to second and take months collectively composing the music for them. Each scene and cut within each scene is considered when making music for the overall feeling, mood, and action.
Hye: For Red Heroine, how long did it take to complete the score, beginning to end?
Jonah/DME: It took around 3 – 4 months of research, jamming, composing, arranging, and practicing.
Hye: Finally, for someone like myself, who has not seen Red Heroine, what can you share about the experience of the film accompanied with live music?
Jonah/DME: The film really comes to life. The drama, action, comedy, and setting are given an aural context that helps shape the viewing experience. There are pulse quickening rhythmic explosions, and music used to make the action of a scene funnier or more strange, music used to heighten a tragedy that is taking place, or make a scene more tense. So many things. Often the music and the visual become so intertwined that audiences forget that their is a band in the same room performing live. Our music is doing what dialogue and sound design do for a movie with sound.
Hye: I’m very much looking forward to seeing the film and hearing DME play its score live on Friday night. Thanks again for your time and enjoy your time in Toronto.
Jonah/DME: Thanks
As you know, the Toronto Reel Asian International Film Festival begins next Wednesday, Nov 11th. I wanted to know from an insider’s perspective what this year festival will highlight. So I had a short conversation with the Festival’s International Programmer Raymond Phathananvirangoon (pictured left). Here’s what we talked about…


This fundaiser event was brought to my attention by my aunt Ruth… Please read on and share with those who may be interested. We may not live in Guatemala anymore but we can still help those who do.
If you live in the Toronto area, feel free to drop in and find out more.
The translation is not the greatest but its point is succinct. To read more about this crisis, I recommend this story from the Guatemala-Times Website.
Muchas gracias, HM
NO MORE POST-PARTUM
DEATHS IN COBAN-GUATEMALA.
Fundraising
Many women dies in Guatemala after delivery, because of poverty.
The Lanquin proyect
and
Fundación Semillas de Esperanza
November saturday 14th, at 6 p.m.
CUPE 4400 1482 Bathrust St. / St. Clair Ave. West
Suite 200
Audivisual information about “Corridor of Death”
Delicious Guatemalan food, music, Maya’s crafts and raffles.
Come and HELP US TO HELP THEM!!
Free entry.
More information: Maria, 416 537 31 47
They call it “Corridor of Death”
In early October, Toronto Reel Asian Int’l Film Festival had its Press Launch. We got to meet the festival’s programmers as well as some of the local talent/filmmakers that will be part of it this year.
This year’s imagineNATIVE Film + Media Arts Festival ran from October 14-18 with an array of films, workshops, music showcases as well as art exhibitions. These past few days I had a chance to see some of the films in this year’s festival.


