Motion picture producers and directors--British Columbia

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Motion picture producers and directors--British Columbia

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Motion picture producers and directors--British Columbia

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Motion picture producers and directors--British Columbia

98 Archival description results for Motion picture producers and directors--British Columbia

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Pacific wave : series no. 2 : no. 03

Documentary. A program from the second "Pacific Wave" television series, featuring BC filmmakers and their work. Includes excerpts from the animated films THE FUNNY COW, THE LITTLE GIRL AND THE MUDDY THING, ANIMALS, and THE SPECIMEN, plus the live-action short AN EGG STORY (shown in its entirety).

Peter D. Jones interview

CALL NUMBER: T4215:0006 RECORDED: Vancouver (B.C.), 1985-08-15 SUMMARY: TRACK 1: Started at National Film Board in Ottawa, 1945. Duties as a sound recordist. Transfer of sound from 35 mm to 16 mm at Crawley Films. Worked way up to editor and writer for the "Eye Witness" t;heatrical newsreel series. Executive producer of Unit D after the NFB moved to Montreal; responsible for sponsored films. Opportunities for advancement at NFB -- part of John Grierson's legacy. The "E;ye Witness" series; intent, audience. Items generated by director/cameramen in the field, including Jack Long and Hector "Red" Lemieux in B.C. "Driving Without Tears" and modern response from feminist;s. Assembly of items into complete films. Item on seal hunting which focused on the hunters rather than the seal slaughter.TRACK 2: The newsreel operations of the NFB and of Associated Screen News. ;Short films popular with schools. Jones' impressions of B.C. and its people as presented in the "Eye Witness" material. Discussion of the portrayal of B.C. in NFB films; the theme of isolation in film;s such as "A Friend at the Door". Unit D films shot in B.C. included "Armed Forces Review", an annual project. Problems of communication between NFB headquarters and cameramen in the field. How sponso;red films were created at Unit D; the sample of Donald Brittain's "Fields of Sacrifice". "Cross-Breeding for Profit". Difficulty of Jones' role at Unit D executive producer. Pre-scripting of documenta;ry films.; CALL NUMBER: T4215:0007 RECORDED: Vancouver (B.C.), 1985-08-15 SUMMARY: TRACK 1: Problems of NFB's initial centralization in the east; the impetus for decentralization. Past criticism of regional films on B.C., including "Where You Goin', Company Town" (1975) and "The Leg;endary Judge" (1958). B.C. productions by the NFB's French-language unit. Jones' contributions at Unit D. The idea of regional production offices; Jones' appointment to start the Vancouver office in 1;965; early functioning of the office and of Jones as local representative. The struggle for regionally-based production. Closing of regional offices in 1969, and the survival of the Vancouver office. ;"Jablonski", the first big NFB production out of Vancouver. Jones' own concept of the regional office, utilizing local film people under contract for individual films.TRACK 2: The contribution of th;e Vancouver film community to local NFB production; John Taylor's role. Effect of feature film production in Vancouver, providing filmmakers with well-paid work. Genesis of "Quo Vadis Mrs. Lumb" (shot; in Toronto). Continuing NFB interest in ethnic communities. NFB relations with CBC Vancouver Film Unit and the CBC in general, affected by bureaucracy and differing mandates. How the various NFB regi;onal production offices differ from one another.; CALL NUMBER: T4215:0008 RECORDED: Vancouver (B.C.), 1985-08-15 SUMMARY: TRACK 1: Contributions of Shelah Reljic and Jack Long. Ray Hall. More on the CBC Vancouver Film Unit. The survival of the NFB office in Vancouver, and the problems at the other regional offices closed; in 1969. The "Pacificanada" film series, produced in the mid-1970s for broadcast on the CBC. The genesis of the series, and discussion between Jones and headquarters. Discussion of individual films i;n the series. Concept of "regionalism" at the NFB, with regard to film subject matter.TRACK 2: More discussion of "regional" subjects. Films shot abroad with sponsorship of Vancouver office. The NFB;'s sponsorship of Al Razutis' "Egypte", an experimental film shot in Egypt. Jones encouraged local composers to write film music. Other films sponsored by the Vancouver office. The "Sixties" culture a;mong filmmakers. "Negotiating a New Canadian Constitution"; "Farm for the Birds"; "Images: Stone: B.C."; "Sauk-Ai". Sandy Wilson. Jones' last film at the NFB, "The Pacific Connection" (with Al Sens). ;(End of interview);

[Phillip Borsos compilation reel : Nov. 18, 1991]

Television commercials. Compilation of 36 television commercials directed by Phillip Borsos. They range in length from 15 to 60 seconds. The sponsors/products include Anacin, Campbell's Soup, Canadian Tire, the Council for Canadian Unity, Choclairs, Dempster's, Eckerd Drugs, General Motors, Kentucky Fried Chicken, Molson, Ocean Spray Cranberry Cocktail, Ontario Hydro, Pepsi, Wardair, and Weston Bakeries.

Phillip Borsos fonds

  • PR-2086
  • Fonds
  • 1970-2010, predominantly 1975-1995

The fonds consists of film, videotape, audio tape, photographs, screenplays, production files, correspondence, company files, and publicity materials documenting the career of Phillip Borsos as a filmmaker from the early 1970s to 1995, as well as some posthumous documentation up until 2010. The fonds contains motion picture elements, files, scripts, and other materials relating to films made by Borsos or considered for production by Borsos and his companies. The film projects chronicled include the documentary shorts "Cooperage", "Spartree", "Phase Three", "Nails", and "Racquetball", and the features "The Grey Fox", "One Magic Christmas", "Bethune", and "Far from Home: The Adventures of Yellow Dog." The fonds also includes Borsos' journals and miscellaneous personal papers.

Borsos, Phillip, 1953-1995

[Phillip Borsos historical reel]

Television commercials. Compilation of about 40 television commercials directed by Phillip Borsos. They range in length from 30 to 60 seconds. The sponsors/products include Canadian Tire, Choclairs, the Council for Canadian Unity, Kentucky Fried Chicken, Ocean Spray Cranberry Cocktail, Ontario Hydro, Wardair, and Weston Bakeries.

[Phillip Borsos tribute]

Documentary. A compilation of excerpts from the films of Phillip Borsos, and from interviews with Borsos himself. Excerpts include: COOPERAGE, NAILS, THE GREY FOX, THE MEAN SEASON, ONE MAGIC CHRISTMAS, Behind the scenes on BETHUNE, various television commercials (for Canadian Tire, Ocean Spray Cranberry Cocktail, etc.), FAR FROM HOME: THE ADVENTURES OF YELLOW DOG, and SPARTREE.

[Phillip Borsos, director]

Television commercials. Compilation of 8 television commercials directed by Phillip Borsos. The sponsors/products include Campbell's Soup, Canadian Tire, Choclairs, Eckerd Drugs, Molson, Ocean Spray Cranberry Cocktail, Pepsi, and Weston's Bakeries.

Rainbow boys -- film crew

CALL NUMBER: T2573:0001 RECORDED: [location unknown], 1972 SUMMARY: TRACK 1: On location with the crew of "The Rainbow Boys"; women with the film crew; film editor [Marlene Fletcher?] discusses her role; actor Don Calfa tells about the filming on location; director Gerald Potterton talks about the film; actors Donald Pleasence and Kate Reid talk about their roles. TRACK 2: Women with the film crew of "The Rainbow Boys" again; more with the film editor; Don Calfa on flying; director Potterton on financing; conversations with Donald Pleasence and Kate Reid.

CALL NUMBER: T2573:0001 RECORDED: [location unknown], 1972 SUMMARY: More interviews with the crew of the film "Rainbow Boys"; helicopter noises; Patrick Spence-Thomas, sound man; Bruno Engler, still pictures and safety; more discussion with Donald Pleasence, Don Calfa.

Richard Colby interview

CALL NUMBER: T3833:0001 SUPPLIED TITLE OF TAPE(S): The Government Travel Bureau and filmmaking PERIOD COVERED: 1929-1976 RECORDED: Victoria (B.C.), 1981-04-07 SUMMARY: TRACK 1: Summary of career, 1929-76. Move from Dept. of Public Works to Government Travel Bureau, Photographic Branch under Clarence Ferris. Working conditions, salary, hours of work, staff activities. Work sites (offices locations). Staff working attitudes. "The Road Home" (1955) on polio: discusses film. TRACK 2: Educational experience of filmmaking. Staff members, organization, responsibilities in office and out in field. Equipment. Distribution of travel films in market areas. Archival preservation of Government Travel Bureau films. Attitude towards Ron Worley's resignation and assumption of post of deputy minister by self. Projects as deputy minister. Tributes to work by ministers of New Democratic Party and Social Credit governments. Retirement. Public response to government promotional films. CALL NUMBER: T3833:0002 SUPPLIED TITLE OF TAPE(S): Government Travel Bureau and filmmaking (part 2) PERIOD COVERED: 1929-1976 RECORDED: Victoria (B.C.), 1981-04-07 SUMMARY: TRACK 1: Distribution of films and public showings by staff. Non-release of film on west coast of Vancouver Island, "West by Nor' West". Bill MacDonald of Travel Bureau: promotional activities in Pacific Northwest and California. "Legend of the West" film. Feedback from public: negative and positive. Impact of television on career and Travel Bureau productions. Public attitude towards the "reality" of film. Story of the Glen Ford fishing film. Story of the U.S. filmmakers accompanied by Colby on successful filmmaking venture. Filmmaking con artists. Clarence Ferris as a person and filmmaker. Travel for filmmaking by car, train and bus. Filmmaking equipment. TRACK 2: Filmmaking equipment. Departure from Dept. of Highways and transfer of their equipment to Travel Bureau. Cameras described. Technological change. Pre- and post- production techniques. Wally Hamilton of Trans Canada Films lab. Films: Kodachrome and Ektachrome. Cameras. Still photography cameras. "Eggs Unlimited" industrial film. "Certified Seed Potatoes" film. "Of Mines and Men" film. "Johnny's Heritage" film on secondary industries. Recreational films: "Tight-lines" (fishing); skiing films by Norm Keziere and Bill Wiley, including "Sounds of Silence"; animal films: "Big Game Holiday" and "Land of the Red Goat"; story of the grizzly bear. First films for Dept. of Highways and Travel Bureau. "The Road Home" film. Lumbering film episode. Concluding statement. (End of interview)

Stan Fox interview

CALL NUMBER: T4349:0001
PERIOD COVERED: 1936-1946
RECORDED: Victoria (B.C.), 1988-06-20
SUMMARY: TRACK 1: Family background. Fox grew up in Kitsilano area, studied English and history at UBC. Interest in photography began 1942; led to job with photographer R.H. Marlow, ca. 1945-48, and interest in film. Drove taxi 1951-53. Studies at UBC. Early movie-going; reaction to films of John Ford. Post-war interest in foreign films, especially Russian and German silents. Vernon Van Sickle. "Reverent" attitude to classics. TRACK 2: Influence of German and Russian silent films; earlier impressed with wartime dramas (especially Russian), British features, NFB documentaries. Films were screened regularly at Kitsilano High School when Fox was there. Silent comedians "resurrected" by critic James Agee. Other critics: Paul Rotha, Lewis Jacobs. Post-war revival of National Film Society's Vancouver Branch. The Film Survey Group of the Labour Arts Guild; screened silent films at John Goss Studio Theatre, starting May 1946. Vernon Van Sickle. John Goss's experimental theatre. Prior history of the film society since mid-1930s. Post-war revival led by Dorothy Burritt, Moira Armour, Jack Shadbolt and Van Sickle. Van Sickle and Peter Varley shot a film at Leon Shelly's film studio. Fox impressed by the studio and quality of 16mm film.

CALL NUMBER: T4349:0002
PERIOD COVERED: 1946-1953
RECORDED: Victoria (B.C.), 1988-06-20
SUMMARY: TRACK 1: Met Peter Varley latter part of 1946, when Varley shooting film with Vernon Van Sickle at Shelly studio. Film was an occult story featuring clairvoyant Nettie Gendall and Van Sickle. Fox shoots and processes his own first footage. Fox met Dorothy Burritt late 1946; she was supportive of Fox's filmmaking interest, and loaned him husband Oscar's movie camera. Her interest in the arts; her qualities, manner; interest in occult; voice; sensitivity. Dorothy and her friends as "early hippies". Fox met Oscar Burritt much later (June 1953) in Toronto. TRACK 2: Oscar Burritt: his interests, appearance, habits, voice. The Burritt's relationship; Dorothy difficult in her last few months. Dorothy brought American avant-garde filmmaker Maya Deren to Toronto [1951]. Oscar's creativity later stifled. The Burritts introduced Fox to modern art, modern music; had John Vanderpant's unusual record collection. Fox's photographic influences. Film society was "run into the ground". Dorothy's influence on Fox. With Merwyn "Binky" Marks, she revived film society in late 1940s with summer screenings at Boilermakers' Hall. Other venues: quonset hut on Burrard Street; Vancouver General Hospital Christmas Seal auditorium. Fox's problems with hospital bureaucracy over society's use of auditorium.

CALL NUMBER: T4349:0003
RECORDED: Victoria (B.C.), 1988-06-20
SUMMARY: TRACK 1: More about film society screenings, venues. Fox's impressions of people in Dorothy Burritt's circle: film librarian Moira Armour, film editor Maureen Balfe, painter Peter Bortkus. Novelist Malcolm Lowry and his wife Margerie attended film society screenings. Fox's impressions of Lowry; his behaviour, reputation, response to film, etc. The film society's membership; other filmmakers, etc., of Fox's age. The young Allan King. Norman Newton. Careers in film not considered feasible. Jack Shadbolt's influence on local creative life. The School of Art crowd. Homer Powell, a film editor who came to Vancouver from Hollywood. TRACK 2: Homer Powell's uncompleted film noir. Powell married a Citanovich girl, as did film director Spence Crilly, who later claimed to have made films in the Eastern Bloc. Frankie and Lena Citanovich. Other professional film people: sound man Shirley Wilson, art director Marguerite Roozeboom (nee Goulding). Wally Hamilton and Trans-Canada Films. Arla Saare. Jack Ammon. Fox's own filmmaking activities: the making of SUITE TWO (June 1947) with Dorothy Burritt. Film screenings at Burritt apartment; preparing "scores" for silent films. SUITE TWO as a historical record. Fox's film GLUB (1947), which satirized the works of Maya Deren; involvement of Tom Baird, Rolph Blakstad, Dorothy Burritt. Fox's unfinished ABELARD BEFORE A MIRROR (October 1948), which employed life masks made by Blakstad and a complex script by Norman Newton. The inspirations behind the film; its story. Derivative effect caused by viewing and re-viewing films.

CALL NUMBER: T4349:0004
RECORDED: Victoria (B.C.), 1988-06-20
SUMMARY: TRACK 1: Continues discussion of ABELARD; the story of Abelard and Heloise. Film intended as symbolic statement; interest in expressive use of realistic masks. Genesis of IN THE DAYTIME (shot May-Sept;ember 1949), a documentary depicting "a day in the life of Vancouver". European influences; the "city symphony" films. Film society president Arthur Lourie convinced society to sponsor film; total cost, 60 dollars. Locations used. Norman Newton's poetic commentary, read by Roy Daniells; recording it. Good and bad points about the film; allusions. Premiere. Collaborating with Peter Varley. Details of shooting, film stock, etc. TRACK 2: Fox's last significant amateur film, THE SUETONIUS VERSION, made in 1953 with Gerald Newman. Film was a silent comedy-drama; Newman's story idea played off British film THE BROWNING VERSION. "Literary influence" on filmmaking ideas. Newman appeared in the film, as did Janet Cates, Fox's future wife; Fox lit and photographed it. 8 minutes, b&w. Musical knowledge from assembling "scores" for silent film screenings. Not much filmmaking activity by Fox 1950-53; people and money unavailable. Economics of amateur production. Knew no other serious amateurs in Vancouver area. (End of interview);

The Borsos collection

Compilation. Comprises seven short films by Phillip Borsos: Goat farm ; Phase three - regeneration ; Fire hazard [television spot] ; Cooperage ; Spartree ; The making of Spartree ; Nails.

The grey fox : artists and their stories

Documentary. "ARTISTS AND THEIR STORIES is a 30 minute documentary profiling the story behind the making of THE GREY FOX. It includes extended interviews with Jackie Burroughs, who plays Kate Flynn, and screen writer John Hunter, as well as archival interviews with director Philip Borsos and star Richard Farnsworth." (Pacific Cinematheque description)

The journal : [The making of a television commercial]

Documentary. At a production house in downtown Toronto, Valerie Pringle introduces an inside look at the making of a television commerical for Pepsi Canada. The commercial is directed by fillmmaker Philllip Borsos of The Partners' Film Company Limited.

The making of SPARTREE

Documentary. Documents the complex logistics and elaborate camera set-ups required in the shooting of Phillip Borsos's award-winning short SPARTREE.

The making of The Grey Fox : [location sound, etc.]

SUMMARY: Location sound, interviews, and other behind-the-scenes material from the production of Phillip Borsos' feature film THE GREY FOX. Includes comments by Borsos, actor Richard Farnsworth, and cinematographer Frank Tidy.

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