Hailing from Thunder Bay, Ontario, Aurora Browne is one of four creators and stars of CBC’s popular Baroness von Sketch Show, which was renewed for a fourth season on August 23. She spoke with The Mutt about the show’s upcoming season (premiering September 18), going viral and some of her favourite sketches.
THE MUTT: Going into season three, how do you feel the four of you (main cast members Meredith MacNeill, Carolyn Taylor, Jennifer Whalen and Browne) have developed as writers and performers?
AURORA BROWNE: I think that for season three we felt more secure and more confident. When I was looking at the season, I thought, what are all the things I would like to do? Maybe I’m never going to get actually cast as an action star and beat somebody up, but maybe I could write myself in that scene. Other things it was like, yeah we can get this personal or this small, explore this dark little corner of how I look at the future of us as humans on the planet. I think I can share that on a show.
TM: Do you tend to write scenes for your co-stars that you know they’ll be comfortable with, or do you like to put them outside of their comfort zones?
AB: I’ve known Carolyn and Jennifer for a really long time, but that doesn’t mean you’re not discovering that, “Oh, this person is really good at this.” There are lots of times I would I think even, you know, “I’ve never seen Jen do a Russian mobster.” You get a little more playful.
TM: How does the writers’ room on Baroness von Sketch Show compare to other shows that you’ve worked on, especially considering the all-female team you have?
AB: The main thing about it is that it’s really ours. We’ve been given a really amazing amount of creative control across the board. We can hire who we want – of course, the network has final say – but we really get to hire who we’re interested in. For instance, what about this person who is primarily a crime novelist? Because we’re interested in their point of view.
AB: As far as being female, it’s been so long now working on this show that it just seems totally natural. I almost forget that’s not necessarily how it is in the rest of the industry. The other day my son got me into watching Vines, and I was watching this Vine compilation and thought, “Oh, right, guys can be funny too!” I’m so used to sitting here usually laughing with this group I spent almost all of my time with and it was nice to get a reminder that 22-year-olds guys are hilarious. When it’s all women we’re sitting and talking about issues that maybe are a bit personal. Like how many people we’d slept with. I think the discussion was super frank because it was all girls. It can feel like a really personal, nice conversation among the girlfriends and because we can do that in the writers’ room it means we can go to pretty vulnerable places.
TM: You spoke a little bit about discovering new ground in your work. What sketches and topics still feel fresh to you, and what topics do you as a team tend to gravitate towards?
AB: I would say the freshest stuff, sadly, the stuff that feels the most relevant is how do we deal with the terrible dark cloud of what the world has become. Just people dealing with modern life and all the ways it can make you sad and disconnected, in a general term that feels pretty fresh. I would say power dynamics always feel fresh, because I think for most humans power dynamics come up in your everyday life. When we’re exploring being women specifically, a lot of the really subtle interpersonal ways that power is expressed, like between friends in a group at the office, the jockeying for position and a lot of the really subtle ways that happens, that feels fresh. Those weird, private, small stuff that you wonder, “Does anybody else have these things happen?” Small awkwardness never ever, ever, ever fails to be a gold mine.
TM: I think examining those small moments has led to a number of sketches that have really connected, and some that have gone viral. How does that feel when that happens, when things go viral on Facebook and elsewhere?
AB: I don’t think there’s a comedian alive whose ego doesn’t love when that happens. It goes both ways. I think when you see comedy and you think, “Oh good, comedians have expressed something I have experienced, it’s nice.” But for us, when we see all these views on a video about people feeling old when they’re buying wine, it’s kind of nice for us, too. It’s like, “Oh I guess we’re not alone either.”
TM: What were some of your favourite sketches from the past two seasons? Was the buying wine sketch one of them?
AB: That was one of my favourites to do, and also to watch. And the last third of the scene was pretty much improvised. It was super fun to do that one. I love where that scene went.
AB: I love watching everybody’s work too. It’s such a pleasure to watch everybody. The Mad Max one is one that we released first, I loved it across the board. It made me really uncomfortable to do because it was hot. But I loved the costumes, I loved the location and the writing of that one.
TM: As a writer and as you’ve been immersed in the show for some time now, do you find yourself taking notes in your day-to-day life, saying, “Oh that could be a sketch, that could be a sketch…”
AB: Absolutely, absolutely. It’s funny, like there’s no one way a sketch happens. Sometimes I’ll just transcribe incidents that happen. There’s one in the second season when I’m on my bicycle and saying hello to this woman that I pass by. I was on my way to the writers’ room on a Monday morning and I had my list of pitches and while I was biking to work I passed this woman I kind of knew, so I thought I’d yell “hello” at her, but I didn’t have time to stop or I’d be late. So I just awkwardly tried to explain that, “I have to keep going.” Like an asshole. So we ended up writing that into the scene. That kind of stuff. Like many comedians, I’m just riddled with insecurity and anytime you’re aware of that you’re like, “Oh, maybe that’s a sketch.”
TM: What can people expect from season three?
AB: I hope that people keep enjoying it. I hope that we keep it up and maybe exceed it a little bit and that we don’t let them down. That’s the always frightening thing. I just want us to be able to keep people laughing. But if I have any lofty ambitions for the show, I hope that it encourages other networks to give other Canadian creators the opportunity to also be in control and let creators do what they can do. There are so many talented people in this country.
The third season of Baroness von Sketch Show premieres Tuesday, September 18 on CBC.
This interview has been edited and condensed for length.
CUFF 2019: Director Rob Grant on the tension (and dark comedy) of HARPOON
Adrift on the seas on a luxury yacht, three friends find themselves stranded without food or supplies and quickly realize their survival is less than assured. An official selection at International Film Festival Rotterdam 2019, Harpoon will make its Canadian premiere at the Calgary Underground Film Festival (CUFF) April 28.
The Mutt spoke with director Rob Grant prior to the film’s screening at CUFF. This interview has been edited and condensed for length.
THE MUTT: Can you tell me a bit about the genesis of Harpoon?
ROB GRANT: I had a great relationship with my producers (Knuckleball director Michael Peterson and Kurtis Harder) from a film called Fake Blood. I pitched Mr. Peterson on this idea that was a mix between Polanski’s Knife on the Water but by way of Seinfeld characters on the boat. I grew up in Vancouver, and the original idea was, “Well, I spent a lot of time on a boat, we could go take a boat out to the ocean and try to isolate ourselves out there.” Once a budget came into play and the idea grew, suddenly we were shooting the interiors of the boat in a set in the middle of freezing winter in Calgary, and shooting the exteriors on a boat in tropical Belize down south.
TM: Was it difficult for you to balance those comedic elements and still find a way to ratchet up the tension?
RG: It was very difficult, and there were a lot of discussions about that. When you have to give the elevator pitch, you have to say: “This is the genre and this is what it means.” But I subscribe to the logic that in life you can feel in one moment that you’re in a love story and the next minute in a horror movie, and that’s the way real life actually works. But it seems a little more rigid in movies. We were aware of potentially disrupting viewers’ experiences of watching the movie. (We thought) a movie could, or should, be multiple things at once. We’re willing to accept that there’s going to be some audience members that are going to reject that as a movie experience, but we wanted to try it.
TM: Can you tell me more about those influences you mentioned? I’m curious about how you mixed something like Seinfeld with more traditional thriller elements.
RG: Hitchcock’s Lifeboat was definitely in there, as well as Polanski’s Knife in the Water. But I had to still find the dark humour in it, and Seinfeld came up specifically because as much as we all find the Seinfeld characters enduring, they’re very much in it for themselves. They’re worried about their own outcomes. So I tried to use a lot of that. As much as these people like to say they’re looking out for each other, the second it becomes a survival story they’re all kind of in it for themselves. Paul Thomas Anderson’s Magnolia was another one, not only for mixing drama and humour, but definitely because the narration was less focused. It sets up what’s going to happen without speaking to much on the nose about what you’re about to see.
TM: I understand there’s some great gore and effects in Harpoon. What was your approach to that, and what effect do you think that has?
RG: I’ve explored the effects of violence in cinema with Fake Blood, and this was an extension of that. The entire movie, these people speak very casually and aloof about the things that potentially will need to be done without actually considering what that entails until suddenly when it happens. I felt like it would be a good idea to make sure that was extremely violent and horrible, not only because we’ve been teasing up to this moment, but I do believe there’s a certain element that people do not consider the actual realities of having to do something like that. So it’s very shocking, very brutal, it’s like, “ha ha ha this was all funny to discuss” and now that it’s happened it sucks the wind out of you. That was a very intentional decision.
TM: What do you think Harpoon does in a unique way when compared to other similar films? What do you hope the audience walks away with?
RG: I hope when people leave the cinema that it wasn’t the movie they were expecting, that it was a little bit of a different take. I do think it’ll challenge them depending what their expectations are. I just hope they’re expecting something interesting in the genre, and that they’re along for the ride.
Harpoon makes its Canadian premiere at the Calgary Underground Film Festival April 28. For tickets, click here.
Click here to read our roundup of 9 Canadian films playing at CUFF 2019.
CUFF 2019: The story behind Uwe Boll, the so-called “worst filmmaker” ever
Director of the critically-maligned video game adaptations Alone in the Dark, House of the Dead and BloodRayne, Uwe Boll has long held a unfavourable reputation in the film industry not only due to the perceived quality of his films, but also due to his antagonistic response to his online “haters.”
But a new documentary, F*** You All: The Uwe Boll Story, seeks to better understand the firebrand filmmaker, diving into Boll’s past through a series of interviews with colleagues, critics and Boll himself.
The Mutt spoke with F*** You All: The Uwe Boll Story Vancouver-based director Sean Patrick Shaul prior to the film’s Alberta premiere at the Calgary Underground Film Festival April 27. This interview has been edited and condensed for length.
THE MUTT: How did you first become acquainted with Uwe Boll?
SEAN PATRICK SHAUL: I first met Uwe Boll on the set of Assault on Wall Street. I worked as a crew member with him. Seeing him work was so fascinating. The way he directed was like no one I had ever seen before. He was such an interesting guy. That was almost 10 years ago and I ended up working on a TV show that was shooting in his restaurant. That was how I came across the idea for the documentary. The idea was to look at someone who is widely known as the world’s worst director. It was more asking, “Why was he considered that? How did he get that title, and whether or not he was.”
TM: As his persona on the internet developed, did that mesh with what you knew of him? Did you feel he was being portrayed in a way that was inaccurate?
SPS: I had seen some of his movies and I understood the reputation he had. He also fuelled that himself through the internet, engaging with all of these trolls and these critics. He takes it head on, which is fun to watch. But I had no idea what he would say when I pitched the documentary to him. Within five minutes, I realized we had a lot in common. He was excited about the documentary, excited to have that side told of it.
TM: How does Boll feel about being referred to as the “world’s worst director”?
SPS: He thinks it’s very unfair, which I guess I would agree with. Art is subjective, so it’s hard to say whether something is good or bad. But I think he’s also aware of the type of movies he was making. He didn’t think he was making The Godfather. He knew these were video game adaptations movies, so his expectations were low with those. But he has made more personal films (since then), but he already had this black cloud following him around. It stalled his career in that way. I thought that was really interesting – he made 32 movies, but by his fifth movie, people had already written him off.
TM: Why do you think Boll feels the need to respond to his trolls and his critics online?
SPS: I think he’s a very proud guy. He’s aware of his accomplishments and I don’t think he can let a comment like that go. If someone has the motivation to go after him online, he has the equivalent motivation to fire back at them. He hasn’t really calmed down on that too much. I think he’s currently banned from Twitter for going after trolls. It’s kind of tongue-in-cheek for him when he goes after these people. He enjoys it, he likes engaging with them. It became part of his personality. As much as it hurt his career, it also helped his career in a way.
TM: In spending time with Boll, what surprised you about him as you got to know him better?
SPS: Before, I thought he was kind of an asshole, from his online persona, I thought he was just kind of a jerk. Through meeting him, I realized he’s a super sweet guy, he’s a really, really genuinely nice guy. He cares about films, he’s a real film guy. He knows all of the classics, he’s seen all these foreign films – he’s a real cinephile. But there’s something about him not being able to pull that off. All his favourite movies are the classics, but for some reason he can’t make those films himself. He was kind of handcuffed by all these tax loopholes and funding schedules, that he would have to pump these films out in a certain timeframe to get the tax credit. There’s a lot of reasons his earlier films turned out the way they did. They didn’t turn out the way he envisioned.
TM: Given that he knew the documentary wasn’t going to be all positive, why did Boll want to participate?
SPS: I think he just wanted someone who was looking at the larger picture instead of comparing him to a Tommy Wiseau or a Ed Wood. He wanted to explain himself a bit. The articles and the small kinds of podcast interviews don’t really give him enough time to explain himself, or they ask the same five questions. Almost every headline is “world’s worst director” – I think he wanted to look at something deeper. But he wasn’t shying away from that title. I told him early on in production that we’d be definitely looking at that angle and talking about it. He was more than happy to look at it. Most people would want this buried, but he looked at it head on. “I have that title, but let’s look at why.”
F*** You All: The Uwe Boll story plays April 27 at the Calgary Underground Film Festival. For tickets, click here.
Click here to read our roundup of 9 Canadian films playing at CUFF 2019.
Acquainted takes a raw and honest look at modern love
In Acquainted, a new romantic drama from Toronto-based director Natty Zavitz, high school classmates Drew (Giacomo Gianniotti of Grey’s Anatomy) and Emma (Laysla De Oliveria of The Gifted) reunite with each other at a bar and instantly connect, discovering they share some serious chemistry. Problem is, the pair are both in serious, long-term relationships.
The script for the film was partly inspired by the deterioration of Zavitz’s last major relationship, said producer Jonathan Keltz (Entourage, Reign), who also plays Allan in the film.
“(Zavitz) sent me the script almost four years ago and I just connected so deeply and was so blown away by his script,” Keltz said. “(I was blown away) by how defined his voice was. I was completely moved by it.”
Inspired by films such as Richard Linklater’s Before Sunset trilogy, Acquainted is an honest look at relationships and adulthood, exploring the subject matter with introspection. Keltz said the film examines fidelity and infidelity from a judgement-free place.
“The characters are not villains or victims. It’s a raw and honest look at being in relationships, to have these type of things happen and how to deal with that,” he said. “The relationship with the self and the seeking to find out who you really are is really what’s crucial to the building of a relationship with somebody else.
“It’s about taking the time to do that work that puts you in the best position to be a partner with somebody and to be an adult in this world.”
Many of the cast and crew on Acquainted have worked in Toronto’s film community for years, making the set of the film a reunion of its own.
“In front of the camera and behind the camera, (the film involves all) kinds of amazing artists. It’s really a Canadian film and a Toronto film,” Keltz said. “It’s not trying to either hide that or beat you over the head with that.
“I think that’s done in a very unique way, and in a way that is both Torontonian and Canadian but also universally and commercially viable.”
Keltz said he thought the film would be emotionally affecting to audiences, offering perspective that could help to contextualize modern love and relationship.
“I think this is a really raw and honest and beautiful film about what it means to be in love, to be heartbroken, to be devastated, to be inspired and to try and build a life for yourself and figure out what that means,” Keltz said.
Acquainted is now playing at Cineplex Movies Yonge and Dundas in Toronto, International Village in Vancouver and at Landmark Cinemas nationwide.
Next up on The Mutt: With maturity and depth, An Audience of Chairs reflects on mental illness