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12 THE LIBERAL, Richmond Hill, Ontario, Thursday, Nov. 29, 1973 Canadian Film Director between takes about a si Richmond Hill and King “Hold it. CUT! Alright let’s try i get ready. ACTION!” A New Era Emergesâ€"Shoot Film Here rolling." - v-._--,,v The plot centres on some money, approximately $4 mil- lion, that the old Mafia leader wants to give to the clergymen for their cause. Now that he is dying. he feels he must undo all his wrongs and get rid of his "bad money". Vincenzo (Dane), the son, wants the money for his cause, though his motives are not as honorable as his father's. However, there is just a little problem that develops. The old man dies before he can disclose where, in his mansion, he has hidden his money. The rest of the story has the three clergymen breaking into the house (Eaton Hall on the Eaton Estate, Seneca), find- ing and stealing the “loot”, and then Vincenzo and his hoods coming to take it back again. using a little “iron” persuasion. The film will culminate with a big chase scene that starts a fire, races through a funeral, and concludes back at the man- sion where the bad guys are inadvertently caught off guard, and end up driving their Cadillac into the lake. I spoke with Peter Pearson and Gordon Pinsent in the courtyard at the Langstaff Penitentiary location. To those who work with Pearson, he is an outgoing, broadminded per- son who always wants to know what the actors think of his ideas and the production. He wants them to be as much'a part of the film's making, as are himself and the crew. He exudes a certain charisma and talent. that earns the respect of all who work with him. He rushed over. after a take, to sit with Gordon Pinsent and myself. He watched the crew busying themselves for another set-up. Was he pleased with how things were pro- gressing? - - u,_.n D- y-..-..=, “Sometimes it's hard to tell. I remember once asked a writer to write something for me. He said, ‘sure. How much will you pay me?‘ I said, ‘how much do you charge?’ And he said. ‘well, I can write you $10,000 scripts. $100,000 scripts or $500,000 scripts.’ That’s what happens with movies. You do the best you can, and you do the best you can with the money you've got. But, sure, I'm pleased." True, there is nothing that can be stablished in such a competitive field. Pearson jogged back to direct another take. Gordon Pinsent turned to me and explained about making the script work on screen. "It was important that the priest. minister, and rabbi not come out looking like the three stooges at summer camp. It mustn't be a burlesque kind of thing, or look like a frivolous escapade on screen. They are involved in a situation with which we are all familiar. They are in charge of. have estab- lished a place called 'Junk House', treating young run-aways. drug addicts. people of this nature. So the comedy is a good counterpart for the reality within the thing. ‘I don’t know about it being a hit here in Canada. It ' Peter Pearson (left) and Canadian film star Gordon Pinsent (right) confer section of the script of the Canadian picture “Only God Knows” being filmed g Township. The crew busy themselves making the set in the background. it again. 0K, everybody '0n/y God Knows " In Action could be. It IS a very entertaining piece. And from what I‘ve seen on screen so far, its all going to work. One thing that it has, that we've been a long time trying to convince ourselves we've needed, is a good, solid hook into markets other than our own." We glanced across the yard at Peter Pearson. standing on the end of a cement bannister, directing his cameramen for' th set-up and explaining to the actors that he wanted more‘ emotion. He was definitely the master of the ceremonies. Everyone listened carefully, then laughed as he pranced in. front of the camera, delivering Larry Dane's speech. Was. there anything about Pearson‘s direction that anyone was dis- pleased with? “Not in the slightest bit,” Pinsent exclaimed. “Peter' Pearson has got a magic touch. He has the ability. the com-II mon sense. the maturity to open up and say, ‘give me all the help you can give me, and I'll give you all my help.’ It’s a; combined thing. Then it becomes everybody's movie. He has a marvellous talent for making you feel that you're part and- parcel of it.“ ‘ v ,_..|.: 2.-.; kl“. ‘1‘. . v. Peter Pearson was jogging back towards us. I could 'see‘__' from where I sat, that he and Larry Dane were in agreemenfi about the changes. How about the change that Canada 15.; going through right now; trying to make a place for itself in; the film industry? Is it possible? .' â€" . LUAAJ a “I think there's no question about thatâ€"1' Pearson gnnucu, _- looked towards the crew, then back to me again. ” 'The Pyx" is making money. Shebib's film “Between Friends" is doing-[ very well. ‘Kamouraska' was sold out over its first two week-., end. and “Paperback Hero' has done quite well since it opened“ I mean, what is happening is there’s an audience out there. We’ve always known there‘s been that audience, but we’re-‘ controlled by an American and British owned exhibition'i system; and we‘re controlled by major American distributors", whn reallv have no interest in developing a Canadian motion}; I mean, what is happening is there's 21‘ We've always known there‘s been that controlled by an American and Briti system; and we‘re controlled by major who really have no interest in developir picture industry. "So it's getting access to the screen. It's shows on NBC and CBS. They don't care. want it. They have their own system, and ‘ lot of money that way. and they don’t give a . room for the Canadians. ~ “What we have to do is kick the . . . out can find a way to get our own films on our 0 get not only that. but they have to be prope vertized and promoted. Canada is putting out more and more year. but is it actually getting an identity th: will recognize? Gordon Pinsent leaned into so we could hear over the shouting and h background. uacnsi Uullu. “I don't think there's anyway you're going to do it in a! general sense, as far as Canada is concerned. Some person said after ‘The Rowdyman' came out, ‘it looks as though we're” not going to have Canadian films, we’re going to have prof: vincial film. That‘s not going to pull any weight. or make, people sit up and take notice. outside Canada! What will. make them notice is the fact that it happens to be a goodl movie. It has to be special. It has to be something new and, original, and it has to be done well. Hopefully, done better; than anything in the States.” A} The crew hustle-hustled around us making preparations, for the next take. Gordon Pinsent excused himself, and strolled away to the make-up van. Is this success? Or is it! a come-down from what these professionals are used to? What) is success for Peter Pearson? ’ “My idea of success, is, to spend the rest of my life in this country. making films." ; A broad. boyish grin exploded on his face. He said good: bye and turned to his assistant director. I moved to anothep bench. from where I could observe all the action. Pearson’ returned to creating and molding ‘Only God Knows’, and in no! opinion. he is one of the many who will be molding Canada's' film future. 1 “Alright. clear the area. Get ready for the getaway soenea Get ready to light the fire. Let’s go!" the screen. It's getting Canadianrl [‘hcy don't care. and they don't') vn system, and they’re making aI mv don’t give a . . . about making' . out of them, until we on our own screens. And be properly exhibited, ad-g J for a brief moment at locations here in more good films each :ity that other countries d into our little circle; and hammering 1n the