SUMMARY: "Sunday Supplement" was a program which offered critical reviews of current work in the arts. The program was first broadcast in October 1965. This episode features a series of interviews taken after; the world premiere of the Vancouver-made feature film "The Master of Images" by Vancouver filmmaker Byron Black. Excerpts from the movie soundtrack are also included. The response to the film is mixe;d. The interviewees include Tim Burge, Allen Clapp, Allen Dickerson and Byron Black.;

Documentary. A program from the second "Pacific Wave" television series, featuring BC filmmakers and their work. The films WIND FROM THE WEST, NINE O'CLOCK GUN, A DAY MUCH LIKE THE OTHERS and TEARING are presented.

Documentary. "On this tape Richard Martin attempts to demonstrate the correlation between what he experiences in life and how closely that is related to what you see on the screen." Includes excerpts from GIVE THAT PERSON THERE A CAMERA, YOUR DAUGHTER IS SLEEPING, DIMINISHED and WINTER LAST JULY.

Documentary. "A filmmaker with an international reputation, David Rimmer shows excerpts from four of his films. He does not appear or make any voice over commentary." Includes excerpts from MIGRATION, VARIATIONS ON A CELLOPHANE WRAPPER, REAL ITALIAN PIZZA and AL NEIL/A PORTRAIT.

Documentary. "Gordon Kidd reveals himself in carefully selected words and pictures. He describes the background-perceptual process, practice-production, and presentation of his films over clips from his films." Includes excerpts from WAVE PRELUDE, GULF OF GEORGIA TOWING, SKETCHES, OLYMPUS, SELF PORTRAIT and LUX PROCESS.

Documentary. "Al Razutis holds a fish-eye lens up to himself, and another fishy-eye on film, video and holography, as he makes statements concerning these techniques and what he is trying to do with them. Between clips from his many films, Al takes us on a tour of his first film studio for optical printing, and to the labs at Simon Fraser University, where he also teaches film. Included is an excerpt from an interview on "The Vancouver Show" (CKVU) reporting on his holography."

Documentary. "This videotape contains excerpts from numerous films to create a sampler album of the films of Peter Lipskis. Many of them were shot originally in 8 mm, which allowed him greater freedom to capture real life images that probably wouldn't be possible in larger formats. Various special-effects techniques (including optical printing) were used to intensify colour, texture and rhythm. Pete describes his work and ideas in a voice-over."

Documentary. "Tom Braidwood, the 'wild west' filmmaker, re-enacts buying his first projector and how that act changed his interest from theatre to film. He shows clips from his jogging film, BOUREE, and WIND FROM THE WEST, and discusses the feature film INTERLOCK, which he co-authored and planned to produce here in B.C."

Documentary. "Chris Gallagher is a man who understands imagery. He races up in a Corvette a la HAWAII FIVE-O, then proceeds to describe his films to us over the phone. He discusses the origin and treatment of SIDESHOW, SANTA, PLASTIC SURGERY and THE NINE O'CLOCK GUN and uses a photographic assemblage to explain the mystery of his film ATMOSPHERE."

Documentary. "Byron Black, a noted performance artist as "The Baron Infinity", whips out his camera and talks, demonstrates, makes popcorn, and shows excerpts from his films THE HOLY ASSASSIN, FLOR FINA PILAPINA and MANGO MAGRITTE."

RECORDED: [location unknown], 1988-10-30 SUMMARY: Mr. Fremlin, whose family owns the Flying U Ranch at Green Lake, B.C., discusses the history of the ranch and the life of rodeo champion Jack Boyd, who owned it ca.1920-1940. Boyd starred in A.D. Kea;n's feature film POLICING THE PLAINS, part of which was filmed around the ranch in 1924. Recorded at Mr. Fremlin's home on the Flying U Ranch.;

Correspondence, newspaper cuttings, typescripts, and production memoranda relating to the life and career of A.D. "Cowboy" Kean. Many of the documents in this collection pertain to the making of "Policing the Plains" (1924-27), a dramatic silent film about the exploits of the North West Mounted Police. The collection also includes newsprint copies of Kean's popular yarns on cowboy and ranch life which appeared in the Toronto STAR WEEKLY (1929-1936), and scripts of some of Kean's radio plays about his experiences in western Canada.

The item is an audio interview on three cassettes, recorded in Toronto on December 10, 1981. In it, Leon Shelly relates the history of his involvement in the British Columbia motion picture industry from 1936 to 1945, and discusses his motion picture production activities in Toronto from 1945 to around 1953.

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.

SUMMARY: "Between Ourselves" was a weekly series of hour-long radio programs that presented Canada to Canadians. It featured aspects of Canadian life in docudramas, plays, music, and interviews, originating from different regions of Canada. The series ran from 1966 to 1979. This episode, "Pacific Door", explores a "west coast" point of view in the arts. Musicians, writers, artists, and filmmakers discuss the impact of the landscape, and how the west coast impacts their art. The voices heard include playwright George Ryga.;

CALL NUMBER: T3855:0001 SUPPLIED TITLE OF TAPE(S): Lew Parry interview RECORDED: West Vancouver (B.C.), 1981-06-11 SUMMARY: TRACK 1: Mr. Parry discusses the Bridge River project films: getting to location, camera equipment, film stock. Public relations film "Dinner for Miss Creeden". Discusses Eric Lazenby: physical appearance, working relationship. Discusses how the Bridge River films were edited and packaged. TRACK 2: Mr. Parry discusses colour correction; his favourite film for B.C. Electric ("Dinner for Miss Creeden"); awards for his best films from local organizations; Ripple Rock project; role of Pat Hunter; getting the blast sounds from Ripple Rock; anecdote about Goat Island.

CALL NUMBER: T3855:0002 SUPPLIED TITLE OF TAPE(S): Lew Parry interview RECORDED: West Vancouver (B.C.), 1981-06-11 SUMMARY: TRACK 1: Parry's role in getting "The Littlest Hobo" off the ground: using local talent instead of Hollywood bigwigs. Anecdotes about filming "The Littlest Hobo": in snowy weather, with certain Hollywood actors, at a suspension bridge, the 'Hobo' himself (a dog named London). TRACK 2: Parry discusses: actors involved in "The Littlest Hobo", Edgar Bergen, Rosemary De Camp; problematic shooting locations, Seymour suspension bridge, Squamish. Parry pleased to have been involved with "Littlest Hobo"; good opportunity for himself and local crew. Problems dealing with unions. Difficulties with scripts for "Littlest Hobo'. Involvement in B.C. Film Industry Association: motivation was from Canadian Film Development Corporation; wanted to take a business approach to the association; growing pains of both CFDC and the B.C. Film Industry Association.

ALL NUMBER: T3855:0003 SUPPLIED TITLE OF TAPE(S): Lew Parry interview RECORDED: West Vancouver (B.C.), 1981-06-11 SUMMARY: TRACK 1: Discusses Trans-Canada Films: anecdotes about staff members, Scotty Young, cameraman; Bill Dix, director; Mrs. Pond, accountant; Lew Weeks, animation work; Art Hundert, cameraman; Jack McCallum, cameraman; Connie Joy, accountant-secretary; Bob Reid, cameraman. TRACK 2: More staff members at Trans-Canada Films: Bob Reid (cont'd); Homer Powell, editor; Dave Pomeroy, sound editor and recording man; Shelah Reljic, editor and actress; Norma "Bim" Jackson, editor; Harry Hooper, cameraman who left to go to CBC; Roy Luckow, cameraman; Spence Crilly; Lloyd Stump, operator; Werner Franz, sound department. Discusses his studio on Capilano Road.

CALL NUMBER: T3855:0004 SUPPLIED TITLE OF TAPE(S): Lew Parry interview RECORDED: West Vancouver (B.C.), 1981-06-11 SUMMARY: TRACK 1: Discusses: Margie Roozeboom taking over art department; Bill Roozeboom as cameraman; Lloyd Stump as businessman; Roozeboom's leaving to form own film company. Jack McCallum and Col. Aikins bought studio and rights to "North of 53". Wally Hamilton as a pioneering technician. Oscar Burritt as a director. Hollywood getting good Canadian talent to come down to the U.S. Parry's company never made any money with TV spots. Starting Panorama Studios. Anecdotes about dangerous and exciting camerawork to do with his films. Kitimat mountain range shoot. TRACK 2: More on blast at Kitimat. Location shoots sometimes very lonely. None of his cameramen or directors ever sustained serious injury while on location. (End of interview)

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.

PERIOD COVERED: ;1913;-;1955 RECORDED: Vancouver (B.C.), [197-?] SUMMARY: In a series of recorded reminiscences, Alfred E. Booth describes his travels on the B.C. coast, and in the Lower Mainland, Nicola and North Thompson regions; the Hope-Princeton Highway and the Boundary region; the Canadian Arctic (March 1955); coastal steamship travel; Kamloops to Calgary via the Big Bend highway; Alberta and N.W.T. oil and fields; Vancouver Island (especially its west coast and interior); the Lower Mainland; the Depression in the B.C. interior, and showing films in the relief camps. Throughout, Booth also discusses his experiences as an amateur and semi-professional filmmaker throughout the province. The second side of tape 5 discusses the senior's residence Booth was living in at the time of the recording, and includes some harmonica music performed by a friend of Booth's.

CALL NUMBER: T4077:0003 SUPPLIED TITLE OF TAPE(S): Interview with Bernard Atkins RECORDED: Victoria (B.C.), 1983-07-06 SUMMARY: TRACK 1: More on early family life in London and his father's background. Father was a photographer, both in England and in Victoria. Father's studio on Pandora Street. Travelling on a boat with his brothers and 87 other children to Canada during WW II. Warm welcome from Canadians across the country. First impressions of Victoria. Schools attended. Living with Major Wilson in Gordon Head. Camera club at Brentwood. Parents coming out to Victoria after the war. Buying a 1928 model A roadster. TRACK 2: Getting first job with Clarence Ferris through connection of his father. Describes working for the ministry, and the people he met there, Dick Colby, Gar Lunney. Anecdotes about Gar Lunney and his ability to attract girls. Anecdote about Bill Currie, the commissioner of the travel bureau. Ed Rowebottom, the deputy minister. Anecdotes about Dick Colby. Describes Wilf Gray, Peter Elkington, Lew Parry. CALL NUMBER: T4077:0004 SUPPLIED TITLE OF TAPE(S): Interview with Bernard Atkins RECORDED: Victoria (B.C.), 1983-07-06 SUMMARY: TRACK 1: Discusses individuals in the film/TV business in the 1950s: Lew Parry, Wally Hamilton (Trans-Canada). Relationships with Trans-Canada, Alpha Cine, other government film units (Agriculture, Highways). Working on Beautiful B.C. Magazine: discusses start-up of magazine in 1959, his preference of keeping magazine as a full four-colour production, costliness of magazine, messages from current minister of Travel Bureau, feedback from readership, innovations in printing/production of magazine. Attitude to potential demise of magazine. (End of interview)

CALL NUMBER: T4077:0001 SUPPLIED TITLE OF TAPE(S): Interview with Bernard Atkins RECORDED: Victoria (B.C.), 1983-06-28 SUMMARY: TRACK 1: Mr. Atkins discusses: childhood in England; moving to Victoria; first interest in photography and first photographic assignment; going up to Alaska to make film on Alaska Highway, 1949; boss Clarence Ferris; work in hard-to-get-to parts of the province; first two films, "Look to the North" and "Land of Tomorrow"; work for civil service, Tourism and Travel Bureau for B.C. government. TRACK 2: More on development of the Peace River and Alaska Highway region. Describes what life was like in the north of B.C. in the '40s and '50s. Lack of funds in Travel and Tourism Bureau. Dealing with Phil Gaglardi at Department of Highways: agreed to make some films for that department. Films on industrial industries. Resignation of Clarence Ferris. Discussion of "Men, Mountains and the Challenge;". Film about Island highway and film about totem poles. CALL NUMBER: T4077:0002 SUPPLIED TITLE OF TAPE(S): Interview with Bernard Atkins RECORDED: Victoria (B.C.), 1983-06-28 SUMMARY: TRACK 1: Further discussion on "The Silent Ones". Going up to the Queen Charlottes with Wilson Duff and others from UBC. Bringing back the totem poles to UBC and the Royal B.C. Museum. Good relationship with Bill Reid and Kelly Duncan. Got along well with Mungo Martin, the Native carver. Feud between Chief Thunderbird and Mungo Martin. Atkins' last film was "Valley of the Swans," about Kootenay Flats being drained. Discusses "Kootenay Lake Holiday" and "Highway Sixteen". Dick Colby and Clarence Ferris anecdote. Describes working conditions at the Ministry of Trade and Industry and his relationship with Ferris. [TRACK 2: blank.]

CALL NUMBER: T3844:0001 SUPPLIED TITLE OF TAPE(S): Motion picture industry in British Columbia (part 1) PERIOD COVERED: 1910-1948 RECORDED: West Vancouver (B.C.), 1981-05-14 SUMMARY: TRACK 1: Family background: Lethbridge, Alberta and Nelson, B.C. Father was movie theatre projectionist. Move to Revelstoke; life there, 1910-1917. Movie viewing as a child in Revelstoke. Move to Vanc;ouver, 1917. Interest in filmmaking began with working at Woodward's as window artist. Voice lessons. Attended Vancouver School of Art at night. Singing lessons. Tap dancing lessons from Dave Denton of the Dumbbells. Vaudeville act. Sheet-metal training with Daily; Vancouver Technical School attendance. Work at Neon Products as artist and art director. Visit to Hollywood, ca. 1930. Leon Shelly, salesman for Neon Products, bought Motion Skreenadz/Vancouver Motion Pictures. Shelly produced two travelogues for B.C. government. Cinecolor process brought from Hollywood by Shelly. Colour correction by Parry on film set. Parry's work on Skreenadz trailers. TRACK 2: Vancouver Little Theatre experience. WWII experiences with Neon Products. Use of film to train workers. Goes to work for Leon Shelly, 1944; production manager. Shelly moves to Toronto; Parry remains in Vancouver. Marriage, 1936. Starts own film company; Trans-Canada Films, 1945. Shareholders of Trans-Canada Films; total financing did not materialize. Only two films produced, at a loss, for Dept. of Veteran Affairs. Steffens-Colmer, Don Coltman, Wally Hamilton buy Trans-Canada Films. Parry continued in films. B.C. Electric film; productions; Bridge River hydroelectric project filmed, 1948. Parry contracted to film all construction projects for B.C. Electric. Filming Kitimat development for Alcan; use of film to get government franchise for Alcan. Trans-Canada Film sold about 1946; Wally Hamilton turned company into sound service and film laboratory. TCF employees under Parry's ownership: Scotty Young, chief cameraman; Bill Dix, trainee director; Mrs. Pond, accountant; Lew Weeks, animator/cameraman. Discusses Marguerite Roozeboom's animation/art work and Bill Roozeboom's camera work. Meeting Marguerite Roozeboom. CALL NUMBER: T3844:0002 SUPPLIED TITLE OF TAPE(S): Motion picture industry in British Columbia (part 2) PERIOD COVERED: 1944-1958 RECORDED: West Vancouver (B.C.), 1981-05-14 SUMMARY: TRACK 1: Further discusses Marguerite Roozeboom story: meeting her at Shelly Films four years later where she was lettering titles. Leon Shelly's background and career. Other salesmen at Neon Products. Shelly's purchase of Harry Rosenbaum's Vancouver Motion Pictures. Parry's brother, Melfyn; work as cameraman for Shelly. Melfyn's career as still photographer. Transition from Trans-Canada Films to Lew Parry Film Productions. Art Hundert and Jack McCallum, cameramen. Connie (Constance) Joy, secretary-accountant. Move to Broadway studio. Bob Reid. Roy Luckow. Harry Hooper (English cameraman). Homer Powell, editor from Hollywood. Spence Crilly, Powell's brother-in-law, became director. Financial aspects. Introduction of TV and effect upon filmmaking: personnel losses to TV. Dave Pomeroy joins Parry as sound man. Bill Roozeboom joins as cameraman. Werner Franz joins as editor, ca. 1954. Studio constructed on Capilano Road, North Vancouver. Panorama Studios built in West Vancouver. "North of 53" TV company formed to produce pilot. Canadian Film Development Corporation idea promoted and conceived by Parry. "Marine Investigator" series proposed. Promotional activities for TV series; financial difficulties and deals. TRACK 2: Continues attempt to sell TV series. Development of "North of 53" using suspense as major plot element. Most successful films. Three hundred and eleven films on order when Parry Films went bankrupt. Industrial film components. Ricky Hyslop. "Challenge in the Rocks" for Mining Association. "Prelude to Kitimat" for Alcan. "No Barriers" for Trans-Canada Airlines. Use of the National Film Board as distributor. Least successful film "Twenty Great Years" (1972) for Social Credit Party. Discusses controversy around this film. Relationship with provincial government on filmmaking. "The Tall Country" (1958), produced for B.C. Centennial Committee. Discusses changes in film industry. Attributes of "the perfect producer". (End of interview)

CALL NUMBER: T3843:0001 SUPPLIED TITLE OF TAPE(S): Interview with Bill and Marguerite Roozeboom PERIOD COVERED: 1933-1946 RECORDED: White Rock (B.C.), 1981-05-07 SUMMARY: TRACK 1: Bill: "Roozeboom" pronunciation and meaning; born Hendrik Willem Bakhuys-Roozeboom in Schin-op-geul, Netherlands, 17 February 1921; immigration of family to Canada induced by C.P.R. land promotion scheme; settled in Alberta. Move to Vancouver, 1934. Marguerite: born 13 February 1923 in Vancouver; Marguerite Ellen Goulding before marriage; desire to be an artist and education at Vancouver School of Art. Family influence on artistic career. Influence of Bert Binning, Charles Scott and Jack Shadbolt. Binning's reaction to her decision to go into filmmaking. Bill: aerial reconnaissance work for Royal Netherlands Air Force in South Pacific during World War II. Childhood film experiences, 1933-34. Projectionist for squadron in WW II; tale of Japanese soldier who came to a movie and was captured. Marguerite: childhood interest in film. Engaged to Gus Roozeboom (1921-1944). Went to work for Vancouver Motion Pictures (1944) owned by Leon Shelly, also owner of Screenadz. Gus killed at Arnhem. Marguerite decided to go into commercial instead of fine art. Went to Los Angeles commercial art school, way paid by Shelly. Shelly Films relocated to Toronto (1946), spent a little time there. Came back to Vancouver, met and married Bill. Oscar Burritt, Wally Hamilton (now in Philippines), other filmmakers in Vancouver in late 1940s. TRACK 2: Marguerite: Wally Hamilton first experienced cameraman in Vancouver; Ernie Kirkpatrick; Hamilton's background. Bill: Hamilton's background. Marguerite: E. Kirkpatrick, cameraman; Ed Taylor from Hollywood gave Marguerite first animation experience on salmon film. Kirkpatrick went back to Toronto; deceased. Helen Semmens, editor. Bill: Lew Parry's entry into filmmaking and personal background. Marguerite: story of trying to get hired at age 14 by Parry, art director at Neon Products. CALL NUMBER: T3843:0002 SUPPLIED TITLE OF TAPE(S): Interview with Bill and Marguerite Roozeboom PERIOD COVERED: 1955-1981 RECORDED: White Rock (B.C.), 1981-05-07 SUMMARY: TRACK 1: Bill: production history of "Take Four Giant Steps" (1958-59). Marguerite: print asked for by National Film Archives. Bill: problems of cold weather motion picture photography. Roy Minter's role in "Take Four Giant Steps" as writer. Entertainment value of "Take Four Giant Steps" and public reception. "Rogers Pass" film, prints for. Marguerite and Bill: "Ripple Rock" film versus "Take Four Giant Steps" as drama. TRACK 2: Bill: production history of "Ripple Rock" film. Marguerite: art work for "Ripple Rock" film. Bill: clarification of loss of ships on Ripple Rock. Marguerite: art work for "Ripple Rock" film and story of feeling Bill had been killed in explosion. Enjoyment of abstract animation and use of in various films. Bill: explanation of broadcast scatter system. Marguerite: continues story of abstract art in telephone film on broadcast scatter system. Art work on film by Bill for government of Saskatchewan. Bill: high cost of animation and art work by Marguerite (satire). Bill: summary of involvement in film; 1955, joined Parry Films permanently; 1958, on his own; signed on Jack Lindsley to do promotion and selling of film; Pageant Productions, incorporated, 1961, made about 12-14 films a year; Werner Franz, Shelagh Reljic, editors; sold about 1965 to KVOS-TV but Bill remained on for three years but departed before contract expired over artistic dispute with Jack Gettles, manager of KVOS-TV. Present (1981) working conditions as Bill Roozeboom Productions. Marguerite: statement on film as communication tool. (End of 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)

SUPPLIED TITLE OF TAPE(S): The Quota Quickies PERIOD COVERED: 1932-1938 RECORDED: Victoria (B.C.), 1980-04-22 SUMMARY: TRACK 1: Mr. Kroeger discusses his involvement in the production of movies in B.C. in the 1930s, with emphasis on the "Quota Quickies". Mr. Kroeger talks about the establishment of Commonwealth Pictures in Victoria by Kenneth Bishop. The financial backing of Mrs. Seldon Humphries (nee Kathleen Dunsmuir). Bankruptcy after production of "Crimson Paradise" and "The Black Robe" [aka "Secrets of Chinatown"]. Mr. Kroeger discusses writing a shooting script for "Harlow Manor" and Miss Dunsmuir's acting ability. The showing of "Crimson Paradise" at the Capital Theatre. Establishment of Northern Films, and subsequent bankruptcy. Central Films is successor. Mr. Kroeger's duties as continuity writer. Salary and working conditions. The Hollywood crew. Hiring of cast. Production schedule, budget. Shooting locations. Scenes of B.C. logging. Local residents involved. Stories of the actors and actresses. Mrs. Kroeger talks about her experiences with the stars. Mr. Kroeger discusses the directors, writers. TRACK 2: Mr. Kroeger talks about the beginning and end of Bishop's movie production in B.C. The change of legislation in Britain that spelled the end of the quota quickies. His first viewing of these movies in 1980. Mr. And Mrs. Kroeger talk about their photo collection of the stars involved in these movies.

RECORDED: Fort Macleod (Alta.), 1988-10-03 SUMMARY: Mr. Edgar, a onetime member of the RNWMP and former mayor of Fort Macleod, Alberta, recalls his involvement as an actor and advisor during the filming of A.D. Kean's POLICING THE PLAINS near Fort Macleod in 1924-25. He also discusses his own career, local personalities and aspects of local history.

Public affairs. Jack Webster's popular weekday morning talk show. Guests and topics for this episode are: Jack interviews Bill Wilson, Vice President of the Native Council of Canada, and Chief Robert Manuel, President of the Union of BC Indian Chiefs, about aboriginal land title, and Native, Inuit and Métis rights and relationships with federal and provincial governments, both historically and under the new Constitution. Film and television director and CKVU Chairman of the Board Daryl Duke talks about his television miniseries "The Thorn Birds". Steve Wyatt presents a special bulletin on Mr. Justice Lloyd McKenzie's decision in the Dawson case on mandatory surgical intervention for Stephen Dawson.

Public affairs. Jack Webster's popular weekday morning talk show. Guests and topics for this episode are: Bill Vander Zalm, Minister of Municipal Affairs; they discuss the Clearwater Mobile Home Park in Matsqui and Larco Development; the Lillian Mann case, a victim of Burnaby expropriation; the Expropriation Act. They discuss Mr. Vander Zalm’s conflict of interest in acting for his brothers in his capacity as Minister of the cabinet of the Province of BC Government; Expo ’86 and the LRT. Jack then speaks Eric Barton, Vice President of Relocation Services at Thorne, Stevenson and Kellogg, about the NFB production entitled, “After the Axe”. Finally, Jack speaks with author Mike Cramond about his book "Killer Bears".

SUMMARY: "Between Ourselves" was a weekly series of hour-long radio programs that presented Canada to Canadians. It featured aspects of Canadian life in docudramas, plays, music, and interviews, originating fr;om different regions of Canada. The series ran from 1966 to 1979. This episode, "The Empty Screen", is an impression of the state of the BC film industry, gathered and compiled by Peter Hay. People co;nnected with the movie industry recount their impressions of working and making films in BC in 1970. Voices heard include: Robert Altman, David Foster, Morrie Ruvinsky, Sylvia Spring, Danny Singer, Al; Razutis, Pat Corbitt, Peter Jones, Cameron Porteus, Gordon Arnal, Art Jones, Pearl Williams, Nip Gowan, and Timothy Baw [sp?].;

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.

RECORDED: Fort Macleod (Alta.), 1988-10-03 SUMMARY: Mr. Dixon discusses his family's property on the Oldman River east of Fort Macleod, Alberta, where he and his brothers erected two stockades for the filming of A.D. Kean's POLICING THE PLAINS in 1924.;