Since 2012, Luke Gordon Field has worked as editor-in-chief on The Beaverton, the online Canadian satirical news site. He’s penned many of the site’s most viral articles (“Local man just wants to have a respectful debate with these Libtards“) and still writes for the website while pulling double-duty as executive producer for The Beaverton on the Comedy Network, which was confirmed for season three on June 7. He spoke with The Mutt on future plans for the series, the challenges (and potential joys) of covering Premier-Designate Doug Ford and the show’s place in the Canadian comedy continuum.
The Mutt: What comedy voices do you think influence The Beaverton and your own comedy writing?
LGF: Obviously, The Onion has been around a lot longer than us and is a huge influence on everyone who tries to write satire, whether it be us or any other TV show. That’s definitely the most direct influence and then beyond that, I’m 31, so like a ton of people my age, Jon Stewart was kind of my hero growing up. When the Colbert Report started, it started when I got old enough to stay up to watch it. So those were my two guys throughout my teenage years because it was perfectly timed for me. Those are definitely huge influences on me as a writer for the show, but also the website. Everything you enjoy influences you in some way or another.
TM: You mentioned Jon Stewart — he always talked about doing a show with intention and a point-of-view. Is that something that you incorporate in your writing?
LGF: Yeah, absolutely. When you’re doing a satirical show, the funniest joke is great. But the jokes I think work the best are obviously funny but also have a very strong point-of-view. We’re so privileged to make the show, so if we don’t use the show to push a positive agenda, an agenda for change and use it to speak truth to power and defend people who are marginalized, then really what’s the point of doing the show? So that’s always the goal, and of course you have to balance that with trying to be entertaining. You can’t just be lecturing people for 22 minutes every Wednesday night. It’s a constant balancing act, but it’s also a lot of fun to do.
TM: With things being so polarized now, especially online, do you find that when you guys do take on a point-of-view, does a kind of vitriol tend to come back at you? Say, when you go after Trump?
LGF: I mean, we’re in an interesting place in Canada because I think Trump supporters don’t know what to do with us. They come across us, they don’t know the name, they don’t know the website, so when that crossover happens it’s usually more confusion than anything else. Certainly, as much as we talk about the vitriol in the United States, Canada’s not immune to that. So when we write pieces about hot-button issues, whether it be abortion or Rebel Media, things that tend to get people very fired up, they definitely come after us and use a certain level of vitriol. At the same time, we dish it out so of course we have to take it. There’s nothing that we can really get upset about. Honestly, I don’t worry about it very much because I have a very strong policy of, I don’t read the comments. So whatever people are saying, I don’t really see it.
TM: Doing 13 episodes per season, you’re in a unique space compared to a Daily Show or even a 22 Minutes. When you guys are talking about what you want to cover content-wise, how do you balance it out? Obviously, Trump tends to take the air out of the room, so how do you balance that coverage against other shows who are covering that news on a daily basis?
LGF: Doing 13 episodes really allows you to find where your priorities are. It allows you to not spend as much time on the day-to-day craziness of, ‘Trump tweeted this’ or ‘Trump said that’ kind of stuff. You can focus more on the issues that are actually important and actually ripe for satire. And focus on the stuff that isn’t necessarily front page of the newspaper or the front page of Reddit that day. Which is the stuff that, not to sound arrogant, but it’s the stuff that matters more to people’s day-to-day lives.
TM: In that way, do you feel like you’re almost in a situation like Last Week Tonight?
LGF: The nice thing is that there have been a lot of weekly satire shows — Last Week Tonight, (Full Frontal with Samantha Bee) — it’s less of a daily thing. Obviously everyone still loves The Daily Show, but there’s also Seth Meyers and Kimmel and all these other people who are in the satire world now. So being a weekly show, we do look more to the weekly shows because like us they’re able to have that kind of broader lens in which they look at the world and not get so focused on what happened that day. I’m also a really big fan of some of the UK shows that popped up, like The Mash Report and the classics like Brass Eye. Those were also huge influences on us.
TM: Coming as a satire show in Canada and following the legacy of some of these Canadian satirical shows, how do you see your place in that continuum?
LGF: Yeah, there’s such a great legacy of satire in Canada. I’m not sure enough young people appreciate that 22 Minutes was doing their thing way before Jon Stewart came along. We certainly want to carry the torch and carry on the great tradition of those shows, including Mercer obviously, but we also thought there was room for something that was a little bit sharper and a little bit younger in outlook. I mean, I’m 31 and my writers make me feel ancient. It’s a nice way to appreciate the tradition that came before and do our own thing. It’s not exactly the same as what came before, but we want to pick up on what the shows that have been so successful have done.
TM: So, I gotta ask you about Doug Ford.
LGF: [Laughs] Oh, god.
TM: Especially considering you’re located in Ontario. Are you excited for the prospect of covering him or are you exhausted already?
LGF: I actually am excited. With Trump especially, who is kind of clearly a parallel for Doug Ford, that first year was so insane that I think what you’re seeing now is a bit of Trump fatigue. I think with Doug, it’s going to be similar in a sense that that first year is just going to be nuts, and then after a while we might get sick of talking about him. But right now, it’s very much in the mindset of, ‘What could happen next? This is exciting! Terrible, but exciting!’ I am excited to satirize him and go after him. Don’t get me wrong, I hope he turns out to be a great premier and there’s nothing really to make fun of, but I think the odds of that are pretty slim.
TM: This new season of The Beaverton, any changes in terms of format? How do you see it evolving?
LGF: I think you always want to keep improving, unless you’ve created an absolutely perfect TV show. I’m very proud of the show and think the best thing we did from season one and season two was made it a more topical show, made it more relevant to the news of the week. I certainly think we can continue improving that while also not forgetting those issues that aren’t necessarily front page but are still very vital. But I think we’re definitely going to introduce new segments, we always want to be on the lookout for new talent and new voices we can add to our writing staff as well as our cast. We’re still in the very early stages of working on season three, but it’ll definitely continue to evolve and grow which I think every show that gets lucky enough to get renewed has a responsibility to do.
Follow Luke Gordon Field on Twitter.
Honey Bee is a revealing look at human trafficking in Canada
Honey Bee director Rama Rau may be known to Canadian audiences mostly due to her acclaimed work in documentary, including League of Exotique Dancers (2015) and No Place to Hide (2015) – the former profiling aging burlesque dancers and the latter taking a focus on the world of cyberbullying.
But though Honey Bee marks Rau’s narrative feature debut, her instincts honed in documentary filmmaking remain essential, as much of the film is shot as though it were a documentary feature.
“I think that was key in telling the story, for me,” Rau said. “The actors were never acting – they were always in that state.”
Much of the film’s dramatic power is supplied by lead actress Julia Sarah Stone, who plays Natalie, an underage truck stop sex-worker on a journey of survival.
“She was literally the crux of the film. She was everything,” Rau said. “When I saw her audition, and I looked at a lot of auditions, I really wanted her to be in my film.”
Rau spoke with The Mutt about Stone, transitioning from documentary filmmaking and the too-infrequently discussed prevalence of human trafficking in Canada. This interview has been edited and condensed for length.
THE MUTT: So tell me about Honey Bee.
RAMA RAU: It’s about a girl groomed from the foster home system and put into a human trafficking ring. She thinks the person grooming her is her boyfriend. That’s how they get young girls from the foster care system in Canada. Then, she’s caught in a police raid and sent to a farm and the movie really begins there, her coming to terms with what has happened. A lot of it is her finding herself.
TM: What were your first thoughts when you initially read the script?
RR: I was a bit shocked, to be honest. I was stunned that these things happen in Canada. I wondered if I wanted this to be my debut feature. But it’s never frightened me to go into the underbelly of society. But films have the power to open up areas that we don’t normally talk about. I also said as a woman director I can bring a certain perspective to it. And I found my way into the story, and said, “This is how I’m going to do it, and if you’re OK with it, I’m happy to work on this film.”
TM: What were those specific elements you wanted to bring to the film?
RR: I knew I wanted it to be totally told from the perspective of Natalie, from her POV. I knew I wanted it to be a very personal film. In documentary, we use handheld cameras a lot. We literally run behind our characters. I wanted that sense of urgency in this film. We kind of blurred the lines between fiction and fact. I wanted to go so deep into the story, so the audience never knows, “Is this a real story, or is this a person acting? Does this really happen in Canada?” [There was a scene where] and we ran behind [Natalie] like we were a camera crew.
TM: This film is obviously so based on character and Natalie’s experience. Do you think approaching things with that documentary mentality, did that help you capture small character moments?
RR: Yes, absolutely. I think that was key in telling the story. For me, the actors were never acting, they were always in that state. I encouraged them to be that way for as long as we were filming. I think they really took that to heart. They really lived their characters, and that was so rewarding for the camera because the camera picked up every little twitch of the cheek and movement of the eyebrow. I think that really lent to the authenticity. I even told Ryan (Steven Love), I want you to not talk too much to the women and I want them to hate you by the end of the film. So it’s really beyond method acting, it’s really living and being that character for that period of time.
TM: Having someone capable in the lead is obviously very important, because you need someone who is able to deliver that authenticity. How important was it having Stone in that role?
RR: Oh my god, she was literally the crux of the film. She was everything. I know she did so much research. I think she really carries the film on her shoulders. That’s why I had to choose such a strong actor like Martha to offset Julia’s stunning performance. I got so lucky in getting such great actors. God knows what I would have done if Julia wouldn’t have been able to deliver, because the film is totally based on every nuance of her face.
TM: Why would you recommend people check out the film?
RR: I think human trafficking in Ontario is not talked about enough. I think people watching this film will find a way into thinking about it. It’s not a news item. It’s more of a story of a girl who has been through the sex trade and has been bartered like a piece of furniture. I think we need to give these girls a voice. Since documentaries on these subjects can’t be made because it brings a lot of danger to their lives, these sort of films based on social issues is what opens up peoples’ minds to these sorts of issues. That’s why I think this film is crucial for people to watch if we have to tackle things like human trafficking in Ontario.
Honey Bee opened in select theatres on Sept. 20 and will be available on Video on Demand on Dec. 10.
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 made its Canadian premiere at the Calgary Underground Film Festival (CUFF) April 28. The film will release on VOD in Canada on October 15.
The Mutt spoke with director Rob Grant prior to the film’s screening at CUFF 2019. 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 will be released on VOD in Canada on October 15.
There Are No Fakes is a shocking journey into the world of art fraud
Some of the best documentaries of the past two decades involve hard left turns – films that begin in one direction but end in another due to events that unfolded during production. There Are No Fakes, directed by Jamie Kastner, joins that select company of documentary as its comedic opening slowly morphs into something much darker.
There Are No Fakes centers on the work of Norval Morrisseau, the Indigenous Canadian artist of the Bingwi Neyaashi Anishinaabek First Nation, sometimes referred to as the “Picasso of the North”. Morrisseau, who died in 2007, sought to remove forgeries of his art from the marketplace, establishing the Norval Morrisseau Heritage Society in 2005.
After Kevin Hearn (of Barenaked Ladies fame) buys one of Morrisseau’s paintings, he starts to doubt its authenticity and discovers a bizarre feud consolidated around Morrisseau. It’s this conflict, and the dark secrets hidden beneath it, that form the backdrop of There Are No Fakes.
Kastner (The Secret Disco Revolution, Free Trade Is Killing My Mother), who was friends with Hearn in high school, learned through conversation about Hearn’s ongoing lawsuit surrounding the Morrisseau paintings. It became clear to Kastner that such a story would be perfect for his next project.
“It was almost unbelievable. There was so much crazy stuff in this story, I couldn’t quite believe it,” Kastner said. “I told him if I was going to proceed with it, though we were friends he would have no editorial control. As a journalist, I would be talking to both sides, and he agreed.
“I went off on my own doing my own kind of digging and research. Lo and behold, everything he told me and then some turned out to be the case.”
As the story unfolded and as Kastner continued to meet a succession of larger-than-life characters, he found himself shocked at what he uncovered. Bringing footage back to his editor provoked a similar reaction.
“He’d say, ‘Holy f***!’ Then I’d do another one, and he’s quite an even-keeled guy, and he’d say ‘holy f***,’” Kastner said. “So it was a series of ‘holy f***’ moments. I tried to recreate that experience for the audience.”
Documentaries can often unfold much as expected, with a known story dictating the outcome of the production. But given the fluid situation surrounding the events of There Are No Fakes, Kastner followed the story as it led him, knowing he had been handed an incredible gift.
“It’s definitely a privilege and a responsibility (to tell this story). You’re dealing with the legacy of one of our most important artists,” he said. “You wind up dealing with very serious issues of abuse of different kinds, so I felt a real responsibility.
“You have to handle it very carefully as a documentary filmmaker. It really is so unique and unusual and special and horrific and inspiring and a whole range of things that you don’t usually get in one film.”
There Are No Fakes made its world premiere at Hot Docs 2019, receiving highly positive reviews. Kastner said the film provided fascinating insight into the legacy of Morrisseau, touching on multiple problems still at play in Canada.
“It’s a very dramatic story. People can’t believe that they’re real people. They seem like characters out of some HBO series or something,” Kastner said. “I think it’s a very entertaining, edge of your seat, jaw-dropping type of story that happens to be a documentary.”
There Are No Fakes will screen at multiple locations throughout Canada in July 2019. For more information, click here.
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