Tag Archives: PTSD

Moving Forward With Short Films: Spotlight on Lisa Anita Wegner

Watching a short film can be a temporary stress reliever. For a little while at least, the viewer can absorb him or herself into whatever short they have selected and their worldly cares quickly go away. String a few of them together and you have made a little short film festival that can help you to relax, have fun and take your mind off of things for the time being.

But, what about those who suffer stress as a disability, such as complex post-traumatic stress disorder (c-PTSD)? What if you are the filmmaker, not the viewer, who needs help with managing this disability? Where and how do you reach out for help? Toronto-based filmmaker, actress, curator and speaker Lisa Anita Wegner can shed some light on this serious matter. Lisa is the founder of Mighty Brave Productions/Haus of Dada and the co-founder of Akhilanda Collaborative. Since using filmmaking as therapy for her c-PTSD, Lisa’s film production has doubled and her career has taken her into new directions with considerable screenings of her films in Arizona.

Short Film Fan reached out to Lisa to learn more about how she has used short filmmaking to manage her c-PTSD. Below, she describes in her own words her personal journey.

 

Short Film Fan: Who or what influenced you to become filmmaker? 

Lisa Anita Wegner: I was a shy kid who lived in Toronto with my German and Austrian immigrant family. I remember not understanding English and being really nervous out in the world. I found comfort first in my dressing up and imagining myself as other characters like Wonder Woman, Laura Ingalls, Mary Poppins and Lil’ Orphan Annie. After a while, I wanted to perform these inner imaginations and started doing plays where I needed more kids and sometimes adult help. I got together a neighbourhood Mary Poppins play in kindergarten. In grade two, I asked my school principal to use part of our class time for rehearsal and arranged it so that we would perform Annie in the auditorium.

When I had a project, I was fearless. Kids who had no interest in me otherwise wanted to be in my plays. It felt like I was doing the right thing. All through school, I continued to produce plays with whatever resources I had. I also acted in school and professional plays, eventually touring nationally as an actor with English Suitcase Theatre. I really felt the most whole when I was performing. I kept acting in film and TV and literally never stopped creating my own projects.

SFF: Can you tell us a little bit about your work in the early days of your career?

LAW: Around the turn of the century, I had a revelation: the filmmaker shows the audience where to look. It’s so intimate because you have the audience’s eyes.  That blew my mind. I wasn’t a kid who grew up with a video camera, so I started looking for film directors to collaborate with when I started Mighty Brave Productions. At that time, I didn’t generate my own content; I needed the input of writers, directors, editors and cinematographers. I had final say on every aspect of a production, usually with the director. I also worked as a TV and film actress in Toronto and Montreal.  I was running a small production company known for my comedic work and I was fiercely proud, I was sure I was on the right path.

SFF: In 2009, something happened to you that affected you and your filmmaking career. Can you describe to us what it was and what challenge or challenges it posed for you? 

LAW: In May 2008, I went to the Cannes Film Festival Short Film Corner with my short, The Gospel of Phi. I had known there was something wrong with me for a while, but I had put 200% effort getting ready for my first European film festival. So, I thought I was just exhausted. Once in France, I found myself completely unable to function or communicate properly. There was something very wrong.  I only left my rental accommodation to unsuccessfully get juice. I flew straight back to Toronto without getting to the festival and thought I just needed a few months rest.

When I got home, things got worse and for over a year I wasn’t able to get out of bed and was overwhelmed by the smallest task. I slept about 20 hours a day and I felt like my brain had gone offline. In 2009, I was diagnosed as having complex post-traumatic stress disorder. Later that year, I started receiving help from Women’s College Hospital and started receiving Ontario Disability Support.

SFF: Who or what encouraged you to make short films as part of your therapy?

LAW: From 2008-2011, I spent most of my time in bed with my dog and my laptop. Communicating anything was really hard, and my friends and colleagues were worried about my silence. I used images of myself shot with my webcam first of all to figure out who I was; I genuinely was not sure who I was at that point. I posted these to feel more real and reach out to my friends on social media. Communicating artistically was my go-to mode of expression and making things out of the footage was how I got through my hours awake. When I was at The Gerstein Centre and Women’s College Hospital’s SPEAK ART program, I was also encouraged to make art and videos to move forward. Artistically, it was pure communication; I was at a loss for words so film images were how I communicated with myself and my friends.  These weren’t originally made to be seen by the public.

One of my social media friends was Steve Weiss, a film programmer who screened my previous work. He invited my short film so who am I anyway to Selections 2011 at The Phoenix Art Museum.

Eva Gets a Better Job was also screened later that year at The Herberger Theatre Centre. This was the ultimate encouragement that people in the film community wanted to see this therapeutic work.

Steve then arranged a screening and a talk for me at Short Film Bar, and it was the first time I spoke publicly about how art saved my life. For the first time, I felt like an artist and not someone who couldn’t get out of bed.

Now I can’t stop making work like this. Without access to film equipment, I use my laptop or my phone. Without power, I paint, draw or collage. There is an unstoppable well of stories in me busting to get out in many formats.  Through all this creating, it’s obvious to me that at heart I’m a performer and a filmmaker.

SFF: How has producing short films helped you with c-PTSD?

LAW: My daily art practise keeps my c-PTSD symptoms at bay. Living with a stress disorder, I must arrange my studio days to be as stress free as possible. I continue the intuitive process of creating on my feet and I film it as I go. Editing is where I find the moments that interest me.  I have used a blue screen studio donated by Mary-Margaret Scrimger (from Akhilanda Collaborative) and most days, I create bite-sized photo and video content.  If there is value in a bite-sized project, I tend to take more bites.

Most of my current work comes out as performance, photo and video sketches; however, some of these turn into full-grown pieces. It’s really the creative output that is my therapy. I work largely on my own or with interns. With my imagination primed and focused, my therapeutic workflow is smooth and familiar and is now turning into a body of work. The producing and getting the work out into the world is a benefit I am now enjoying, but it’s the content creation that helps my PTSD.

SFF: Can you tell us more about your short film, The Way Back Home? 

LAW: Kirsten Leila Edwards curated a MASH UP Art Party for the Hercinia Arts Collective in the winter of 2015. I was matched up with The Aerial Mermaid Clone Army which was Ashley Hurlock and Tamara Arenovich, two aerialists who performed as mermaids.  In a few short collaborative meetings and rehearsals, we had come up with a live multimedia performance of three mermaid sisters getting lost in a storm called The Way Back Home.  We had the privilege of performing it multiple times live in Toronto. With the addition of Pink Moth (Ray Cammaert) making music and a third aerialist artist Mary-Margaret Scrimger, we formed Akhilanda Collaborative.  Mary-Margaret brought the blue screen studio into the mix and donated the space to shoot.  As the project developed, I felt it was strong enough to work as a short film. It premiered at the Mesa Art Centre season kick off in Arizona on September 8th, 2017.

 

SFF: Would you recommend short filmmaking to others in your field who may be experiencing similar health issues?

LAW: The reason it worked for me is because visual storytelling is coursing through my veins. When my regular cognition wasn’t working, this form of communication kicked in. I couldn’t complete a task, shower, dress or eat much, but I could stand up from my sweaty bed, and shoot, edit and post relatively complex video pieces. I recommend any form of expression that feels natural and comes easy to the individual as therapy. Because film is so technically easy to shoot and edit now, it is a viable option for anyone.  I encourage folks not to be overly concerned with the content as then it leaves the therapeutic realm. I know that’s hard but just keep making stuff.

SFF: What new short film projects can we look forward to seeing you in next?

LAW: Last month, I completed my first film commission entitled Life on Mars with Thin(k) Blank Human with Barton Weiss Productions in Arizona. It was created for a particular Phoenix Arizona art installation that has not launched yet. There will be an artist talk in Toronto in the winter and Canadian screenings will be announced. This was the first time that my performance persona Thin(k) Blank Human was written for and directed by anyone else. The creative process started in Arizona with backgrounds created and photographed by Rick Tashi. It was scripted in Phoenix and all the performances were shot by me on the blue screen in Toronto.  A super fun creative project to have the freedom to play on Mars!

I’m also finishing a short documentary, Being Inside the Glacier II: Further Conversation, the second chapter documenting the performer experience in Anandam Dance Theatre’s performance GLACIOLOGY that was in Toronto’s Suit Blanche in 2015. And, I’m starting to edit another Akhilanda Collaborative short film about fed-up aerialist French maids. And my ongoing project The Fictitious History of the Haus of Dada has chapters added on a regular basis.

SFF: What is your most favourite film project that you ever worked on, short or feature?

LAW: If All You Have Is a Hammer, Everything Looks Like a Nail is a triptych film made by Will Kwan for the Reel Asian Film Festival by Gendai Gallery. In 2013, Shannon Cochrane of FADO sent me the audition information about Will Kwan’s film. This was the first time since my diagnosis that I had an audition for a narrative scripted film. Working again with my union, I was cast in a meaty role with 16 pages of dialogue.  Without a rig, I’d be driving myself while doing these monologue style scenes with actor Michael Man.

I used to have a specialty of learning lines quickly. It came easy and I worked really hard at the same time.  I wasn’t sure how my c-PTSD would react to the stressful tasks of memorizing and shooting. The shoot days were scorching hot and we couldn’t have the air conditioner on because we were recording sound.  After a few shots, I realized I still had this acting skill set; I was able to drive the car as needed and deliver take after take with accurate dialogue and craft a character for film.  Once I realized this, I had the most fun with the rest of the shoot and really enjoyed acting again.

If All You Have Is a Hammer, Everything Looks Like a Nail was commissioned for a project called Model Minority. I played a real estate agent who is that kind of privileged white lady who claims “we’re not racist [here in Canada]” while saying a slew of inappropriate things. Embodying this character was interesting, as this is a type of racism here in Canada that needs further examination.

Will’s film has been screening in galleries since opening and is currently running until end of November at the University of Toronto Art Gallery at Hart House.

SFF: Based on your experiences, do you have any advice for any short film producers in Canada?

LAW: Most filmmakers are keen to make one short film as a calling card and move on to feature films.  A body of work that represents the filmmaker is so important to have a lifelong career.  And it is the time without executives, where you have full creative control. Enjoy this! Shorts are an elegant, economical way to tell a story and see the benefit of this medium in our current impatient cultural climate. I’d say, never stop making short films.   Figure out exactly what kind of film it is you love, and then keep making it.  When a filmmaker complains about the industry, saying they have made one short film and nothing happened, I say make twenty short films over five years and I guarantee something will.

 

We thank Lisa very much for sharing her very personal and inspiring story with us. We wish her all the best in her film career. To learn more about Lisa, please visit her blog at www.lisaismightybrave.com . To view more her work, be sure to check out www.mightybraveproductions.com and www.akhilandacollaborative.com 

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‘The Frozen Goose’ (2016) Explores War’s Effect On Rural Canadian Family

Turn to any news source these days, whether it is an app on your smartphone, your television or radio, or even a printed newspaper, grim stories of world war and conflict emanate from them all. Unfortunately, war and conflict are still a part of our daily lives, despite any past efforts or platitudes made to stop them. For example, World War I was touted to be the ‘war to end all wars’ when it occurred between 1914 and 1918. But, as history shows, World War II followed from 1939 until 1945 with countless other conflicts taking place since then.

It is no secret that wars take their toll on people’s lives. Soldiers in the field as well as relatives back home suffer the consequences of the brutalities of war. For soldiers returning home from a conflict, the pain and suffering does not end. In fact, their struggles continue as they try to reintegrate back into regular society. Margaret Lindsay Holton’s short film The Frozen Goose takes a look at one particular family’s attempt at dealing with post-war trauma.

In this 25-minute short, Tom (John Fort) returns to Canada after serving at Vimy Ridge with his friend (David C. MacLean). After his friend dies in battle, Tom promises to take care of his friend’s wife, Helen (Leslie Grey), and his two children, Bella and Charlie (Hannah Ralph and Cameron Brindle). While Tom tries to find his place within the family and in life, Bella and Charlie take matters into their own hands.

The Frozen Goose will be making its Canadian premiere at the Art Gallery of Burlington at 3 p.m. on September 11th. But before this first public screening, Short Film Fan reached out to Lindsay for some of her thoughts about the short, including the challenges experienced while making it and what she hopes the audience will take away from it.

 

Short Film Fan:  What motivated you to make The Frozen Goose?

Margaret Lindsay Holton: I had been shooting short (under 15 minute) documentaries of interesting characters and locations for the past 5 years for local news outlets, and decided I wanted to step up my game and attempt a ‘scripted’ work. To that end, and as I am self-taught, I wanted to be sure I had a ‘good story’ out-of-the-gate.TFG mlh POSTER

My short story, ‘The Frozen Goose’, was first printed as the last story in a well-received WWI anthology in 2014 called ‘ENGRAVED: Canadian Short Stories of World War One’, published by Seraphim Books. This is a very good place to be – the ‘last story’ in any collection is proof positive that it is a ‘good story’; otherwise the editor wouldn’t have placed it there.

On the strength of that, I then scripted The Frozen Goose. After several readers had read the story, and some small adjustments, it was ‘locked’ as a screenplay in August of 2015.  I knew I was ready.

SFF: Where was The Frozen Goose filmed, mainly?

MLH: The film was shot entirely in Southern Ontario, around the Golden Horseshoe region, (comprising Hamilton, Burlington, Milton and a ‘heritage village’, Westfield, in Rockton, Ontario.)

SFF: What were some of the challenges you faced with making this film?

MLH: The most challenging was the capriciousness of the weather. Ten days before the scheduled shoot there was no snow on the ground. There was no ice on the chosen lake. I was frantically considering alternatives:  shooting on fake snow at a nearby ski resort or using large green screens or postponing the shoot altogether.

But luckily, and literally overnight with plummeting temperatures, it snowed for three days straight. It also snowed, remarkably ‘on cue’, while we were shooting our final scenes. Unfortunately, it was not quite cold enough for the lake to freeze up properly given such a short time frame. So, for safety reasons, I opted for an available shallow frozen pond for the last day. We did manage it, but just!

The second challenge was the budget. In retrospect, it was a pretty ambitious period film, done on a mini-micro budget of $11,000.  If I was to remake this work, I’d definitely start with more cash on hand. But, in some respects, I wouldn’t have known that until I tried it. Hindsight is 20/20.

SFF: The recruitment posters definitely gave the film the authentic period look. Where did you find them?

MLH: I researched online, found a number of ‘public domain’ images from the Public Archives of Canada, downloaded them, tweaked them to the right size and dpi, and then printed out 10 for the interior store set. They look ‘new’ and authentic to the period because they were, in fact, freshly printed.  Here’s an example: http://www.archives.gov.on.ca/en/explore/online/posters/big/big_31_war_poster.aspx

SFF: Do you feel that rescue near the end was what Tom needed to finally affirm his place in the family?

MLH: Yes. It was my intent from the onset to have him as a somewhat ambiguous character with audience unsure whether to like or loathe him. (i.e. Did Helen’s husband actually take a bullet so that he could live?) After the war, he was damaged and broken; tormented and locked in a kind of emotional exile. He was suffering a form of PTSD, or, ‘shell shock’ (as it was called back then.) He was trying to adjust, fit in and help. But, he was failing on all fronts.

His redemption comes at the very end when he steps in to save the children. We get a glimmer of the better man that he really is. It is slowly understood that Helen’s hero-husband chose him to look after the family for very good reason. There is hope for all, after all.

SFF: What messages or lessons would you like the audience to take away from The Frozen Goose?

MLH: Initially, warfare may seem ‘glorious’ and ‘heroic’; even fun for some. But, the brutal reality is this: war shatters humanity on every level.

It doesn’t matter if it is World War I, II, or III. Real war – not Hollywood make-believe war, but REAL war that intends to kill others or be killed in the killing – demands far too great a sacrifice from us all. Loved ones die and, really, for what purpose? A momentary ‘killer high’? To just ‘win’? For whose greater glory? Bragging rights? Nationalism? Ideology? A flag? A religion? Territory or resource securement?

Surely, at this point in our combined evolution, we, as one species on this planet, can and should know how to live better amongst ourselves.

War also clearly has reverberating repercussions that extend far beyond the immediacy of a ‘battle field’. In this instance, even though only one of the characters of this story was at the ‘front line’, every character has been damaged. Grief, fear, anger, uncertainty and all the torments of unsettled minds churn in the tail-winds of war.

Peace – true peace of mind and spirit – can only be achieved when the ferocious ‘wolves of war’, real and imagined, are banished forever from our hearts and our minds.

This is not a fairy tale fantasy. It is a choice we can all make about living and life.

 

Short Film Fan Review: The Frozen Goose is definitely a timely film, even though it was set after World War I. Today’s Canadian soldiers returning home from conflicts in Afghanistan face similar issues with PTSD, as recent news reports have uncovered. It is also timely in that April 2017 will mark 100 years since the Battle of Vimy Ridge took place. The Frozen Goose would be perfect to use in educating future audiences about PTSD issues as well as the Vimy Ridge conflict itself. Finally, as previously mentioned, the posters in the shop short were an excellent addition for a post-war look and feel.

If you would like to attend the premiere of The Frozen Goose, click on this link to order your tickets: https://www.eventbrite.ca/e/the-frozen-goose-canadian-premiere-at-art-gallery-of-burlington-ontario-tickets-26037813802

For more information about film and about Lindsay, visit her website at http://mlhproductions.weebly.com/

You can also follow The Frozen Goose on Twitter and Facebook.

All the best to Lindsay and everyone else involved in The Frozen Goose for a successful premiere on September 11!

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