Since 2012, comedian Gerry Dee has starred in the titular role in CBC’s Mr. D, a sitcom following the hapless and under-qualified high school teacher Gerry Duncan. The final episode, entitled “Parting Gift,” is set to air on Wednesday, Dec. 19 at 9 p.m. on CBC and streaming on CBC Gem.
Dee spoke with The Mutt prior to the finale’s airdate. This interview has been edited for length.
THE MUTT: So Mr. D has been running since 2012, 88 episodes, with the final one set to air December 19. How does it feel to be bringing the show to an end?
GERRY DEE: There are a lot of emotions. Kinda sad, at the end of the day. We’ve all grown up a lot on this show. There are a lot of memories and a lot of friendships. Like anything, when it comes to an end, it’s a bit sad, but at the same time, what a great experience we all had.
TM: Did you just feel like it was time to bring it to a close?
GD: It felt like, you know, people were moving onto other things. Creatively, it felt like we had done all we could. It feels like the show will live on when people start catching up to it. I just felt like it was a good time to wrap it up.
TM: You were, of course, a high school gym teacher yourself before you got into comedy. I’m sure you’re familiar with characters like Larry David on Curb Your Enthusiasm, actors playing versions of themselves – Larry says his character is someone he wishes he could be more like in real life. I’m wondering if that applies at all to Gerry Duncan?
GD: No, I’m not really like him in real life. I did a lot of the little things that he did as a teacher, or thought about doing them sometimes, but I cringe at having to act out all the stuff I do sometimes. It’s just so bad.
TM: You’re kind of a master at that cringe comedy. I remember watching your old Gerry Dee: Sports Reporter segments on The Score. How were you able to play awkwardness like that, at a pro level?
GD: You just really have to commit. The Sports Reporter was live, so I didn’t have a chance to laugh. On Mr. D, I can break and start again. So that was fun to do, the Sports Reporter. It was hard in a sense in that I had to make sure I committed even though the athlete may not like it. I got better at that. When you’re in character, when you’re properly in character, you get into it. You feel like a different person. That’s why it worked – I went into those interviews and turned on the switch. I guess I’m good at playing an idiot because I’ve done that two times now. It was something I would love to do again. I’d love to resurrect that character.
TM: Series finales can be tricky to get right, as they can define how people feel about a show as a whole. Did you feel pressure to find a storyline that would work to bring closure to Mr. D?
GD: I didn’t feel pressure. I work with a great group of writers, and we sat in a room and threw around ideas. I think what we landed on works. We wanted to wrap up everybody’s character, and a half hour is tough to do that. We did our best, and it’s an opportunity to kind of close out the stories. It’s a hard thing to do, and you’re not going to please everybody. But you just write what you as a group think works.
TM: What can people expect from the final episode?
GD: I think closure for everybody. You could obviously do a sitcom on what happens with Lisa, what happens with Robert and Bobbi. You could follow that in a show. Everyone broke off and everybody could have a show now. My character, you don’t have a clue what’s going to happen with him. The last scene everybody is kind of in a meeting and they’re going their separate ways, and you get an update on where everybody’s going.
TM: After the finale, I understand you’ll be heading back out on tour. Is that exciting for you, to be back on the road, or will you miss the routine of filming a sitcom?
GD: I’ll very much miss the routine of the show. That’ll be the toughest part once June rolls around and we’re not going to Halifax to film. But I’m very excited to get back on tour. That’s where this all started for me. I’m going across the country, doing some sets in the spring, and some sets in the fall. But I’m trying to create again and think about what another show could look like. I don’t want the TV side to be done. Until then, I’ll continue to be a stand-up comedian, which I’m lucky to be able to do.
TM: Well, the fact that you talked about the possibility of bringing that Sports Reporter character back is interesting. Even based on your Twitter account, it’s clear you’re a big sports fan. Do you think that the sports world could be home to a future project for you?
GD: Yeah, I mean, there’s already things I’ve written down. I’m thinking along those lines. It’s one thing to have an idea, it’s another to get it on a network. That’s the tough part. The networks have a lot of choices to make. They have a lot of good choices. Sometimes you have to wait, sometimes it’s not the right project. I’m going to keep working at all the ideas I have and see if something else lands. But the Sports Reporter idea certainly is one of them.
TM: On that subject of sports, what leagues or storylines are holding your interest these days?
GD: I’m a big Leafs fan. I’m excited to see where that goes – that’s been a long time coming. The Raptors, same boat. Being from Toronto I’ve followed all those teams closely all my life. I kinda get how Boston felt the last 12 years, 13 years, with all their teams giving it a run. That’s exciting to me. And then my own kids’ sports involvement, they’re getting to the age where they’re getting competitive. I love that, I love going to their stuff. That’s a big part of my life now. So I’m excited for that too. Sports is definitely something that I love having in my life.
The series finale of Mr. D airs Wednesday, Dec. 19 at 9 p.m. on CBC and streaming on CBC Gem.
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