Press Kit Final revised 07-17-2K
"Lycanthropy: transformation from witch to wolf"
Legend of the werewolf is one of the oldest and most primal
of man’s superstitions. It shares with the vampire, the
witch, the phantom and the warlock a history which reaches
thousands of years back in time and which has terrified
generation after generation of people in sophisticated
cities as well as in the world’s most primitive places"
Basil Copper, The Werewolf in Legend, Fact and Art.
upon an original screenplay by Karen Walton ( THE CITY, HEART:THE
MARILYN BELL STORY ) derived from a story by her and John Fawcett,
Ginger Snaps is produced by Steve Hoban ( BLOOD & DONUTS,
CYBERWORLD ) and Karen Lee Hall (HOUSE, OUR HERO ) and directed
by John Fawcett (BOY’S CLUB). Ginger Snaps stars Emily
Perkins ( IT, X-FILES) as Brigitte, a fifteen-year old who is
faced with a horrible task to try and save her sister Ginger,
played with tremendous fury by Katharine Isabelle (DISTURBING
BEHAVIOUR) , from the predatory infection that is threatening
to transform her into an unrecognizable monster.
in the middle ages as ‘a servant of the Devil’ overtaken
by blood lust and uncontrollable desire, the werewolf story was
believed to be true and many individuals were executed for being
werewolves. Taking the myth of the werewolf and translating
it into a dark tale of modern adolescence, Ginger Snaps
plays upon teen-aged fears and isolation by interpreting the curse
of the werewolf as a lethal, biological infection which attacks
the blood and can be sexually transmitted. Herself attacked by
a wild creature in the woods, Ginger goes on to pass on the ‘disease’
to Jason (Jesse Moss), a popular boy at school who suddenly finds
Ginger irresistible. Confused and frightened by the changes happening
to her body, Ginger doesn’t want anyone to learn her secret. This
leaves her loyal sister, Brigitte, no choice but to try and help
with no assistance from anyone other than the loner Sam, played
by Kris Lemche (EXISTENZ, KNOCK AROUND GUYS).
and Brigitte’s mother Pamela is played with delicious humour by
Mimi Rogers (SOMEONE TO WATCH OVER ME, AUSTIN POWERS, X-FILES
). Rounding out the cast are Peter Keleghan as the hapless guidance
cousellor, Danielle Hampton the snotty popular girl who gets more
than she bargained for when challenging Ginger, and John Bourgeois
who suffers in silence as the only male in his particularly estrogen-soaked
true lycanthrope is not only physically changed so that
he comes to resemble the beast of his dementia but his
mind becomes changed so that he thinks and acts like a
beast." Basil Copper
Brigitte Fitzgerald (Emily Perkins) and her nearly-sixteen sister
Ginger (Katharine Isabelle), are a team – best friends and self-styled
outcasts. Obsessed with dying and bound by a childhood pact to
stay together forever, they loathe their mind-numbing existence
in the suburb of Bailey Downs. On the night of Ginger’s first
period, the two girls are heading through the woods on the edge
of the suburb to pull an evil prank on an obnoxious classmate
when Ginger is savagely attacked by a wild creature.
survives as her horrible wounds miraculously heal over, but something
is not quite right. Ginger is irritable and in denial. But to
Brigitte it is obvious that a terrifying force has taken hold
of her sister. She's convinced that the hairs growing from Ginger's
scars and the tail emerging from the base of her spine can mean
only one thing – Ginger is becoming a werewolf.
by a mounting, inexplicable blood lust, Ginger transforms from
a disdainful outsider into an aggressive young woman on the prowl.
Afraid to tell anyone of her suspicions yet desperate to save
her sister from the infection which is slowly overtaking her,
Brigitte has no where else to turn except to enigmatic bad-boy
Sam, the local pot supplier and amateur botanist. Together they
search for a way to cure the otherworldly infection coursing through
slow, horrifying transformation coincides with her battle with
her rationality as she alternately pleads for Brigitte's
help and jealously accuses her of betrayal. Ginger's savage behaviour
escalates. As Brigitte strives to protect Ginger, she becomes
complicit in her violent, uncontrollable crimes.
Halloween night, a violent struggle between Brigitte, Sam and
Ginger leaves Brigitte with little choice but to put an end to
the nightmare which started 28 days earlier deep in the woods
from Ginger Snaps
a goddamn force of nature. I feel like I could do just about
you think our deaths should be a little bit more than cheap
you don't like your ideas, stop having them." (Ginger to
got this ache, and I though it was for sex, but it's to
tear everything to fucking pieces." (Ginger)
one ever thinks chicks do shit like this. A girl can only
be a slut, bitch, tease or the virgin next door. We'll just
coast on how the world works." (Ginger)
in your own little world Henry. This one just confuses you."
(mom to dad)
the situation of the werewolf [is] a most terrible one,
a curse. …The lycanthrope…was doomed to wander the night
until some creature stronger than himself destroyed him
or a silver bullet put an end to his misery. The victim
of lycanthropia had little to hope for, either in this
world or the next… it was no surprise that the victims
sought desperate remedies, ranging from the help of wizards
and witches to drastic and occasionally self-inflicted
surgery." Basil Copper.
January of 1995 John Fawcett approached screenwriter Karen Walton
with a premise for a screenplay. As Fawcett tells it, "I
knew that I wanted to make a metamorphosis movie and a horror
film. I also knew that I wanted to work with girls. That’s basically
how it all started."
recalls "John and I talked a lot about working together.
We just had to try and find an idea that appealed to us both.
Initially, I didn’t want to get involved in writing a horror movie
at all. I generally find them very disappointing as stories and
pretty predictable and frustrating in terms of the depiction of
conversations with Fawcett led Walton to realize that it was a
genre ripe for re-interpretation. "Ginger Snaps presented
an opportunity to make something sophisticated - to create real
characters with real problems, characters that are human beings
whose struggles are based on relationships. [I found the] horror
element in the nightmare of trying to figure out who you are and
who it is that you love. That was attractive to me, the opportunity
to put a twist on the subject matter" explains Walton. "Right
from the start we wanted to make a movie that would entertain."
Independent Financing in Canada
and Walton approached producer Steve Hoban with the story treatment.
Both had worked with Hoban before and he was their first choice
for Ginger Snaps.
was immediately attracted to the prospect of working with John
and Karen on a feature film. I thought we had similar sensibilities
and would make a great team. We were each at similar stages in
our careers and in the Canadian film industry I believe we were
perceived as a solid trio that covered all of the necessary bases
to successfully pull off what is a fairly ambitious independent
Walton completed the first draft of the screenplay the next recruitee
was story editor Ken Chubb, who had previously worked with Hoban.
"I figured Ken would round out what each of Karen, John and
I brought to the story development process," says Hoban.
Chubb had years of story editing experience in film, television
and theatre. But despite his years experience, he was young-at-heart
enough to appreciate the edgy, youth oriented material. "It
was a great story right from the beginning." What followed
was two more years of script work, which to Chubb, was "the
most positive script development process I’ve ever taken part
in". Now the team had a script that was suitable to raise
script spoke for itself. Anyone who read it responded immediately
and viscerally. Everybody recognized the incredible craft of the
script - how well written it was and how well drawn the characters
were. It’s a unique story. So it wasn’t difficult to sell the
script and it wasn’t difficult to sell John. We had a lot of interest
that allowed us to raise more money than is typical for a film
of this size in Canada. " Steve Hoban, producer.
International was the first distributor to commit to the film’s
financing. Jim Murphy was a champion of the project from the beginning,
seeing it as a commercial yet uniquely Canadian film. With Canada
sold, Hoban went after the elusive U.S. market.
April of 1998 it looked as if Ginger Snaps would go into
production that fall with Trimark acquiring world rights excluding
Canada, which were to be held by Motion, and Hoban decided to
bring on producing partner Karen Lee Hall. "In order to make
the movie the right way we needed to maximize the financing available
from all territories and all media. I was comfortable with my
knowledge of the players in the international film world, but
was not as familiar with the Canadian television world. Canadian
television ended up being a critical component to our financing
scenario and Karen, who already knew many of the relevant people,
put that together." Says Hoban. Intense negotiations with
Trimark ensued, with all parties finagling over the details of
Canadian content requirements. An agreement in principal was finally
reached in June, but by that point Telefilm Canada – Canada’s
federal film funding agency, which had also been a keen supporter
of the project for several years – could no longer participate
in that fiscal year, its production budget having already been
committed by then.
Ginger Snaps team made a decision: rather than go ahead
with only 60% financing, they would put off production and wait
for Telefilm’s next round. The decision proved to be a dangerous
one as Trimark underwent internal changes in the fall of 1998.
The film’s champions left the company and Trimark dropped Ginger
adrift, producers Hoban and Hall began another frantic search
for financing. In January 1999 they finally found the financial
partners with whom they would go into production. US distribution
company Unapix Entertainment had done well with the video rights
on BOYS CLUB, Fawcett’s first feature. They loved Ginger Snaps
and when Trimark fell out, they jumped on board.
the meantime, Marie-Claude Poulin and Noah Segal had recently
joined Lions Gate Entertainment. Both had worked with Hoban on
his first feature, BLOOD N’ DONUTS, and they were fans of the
Ginger Snaps team and script. Suddenly, the producers
were in serious negotiations, once again, for US and foreign sales.
The deals closed in less than a month, just making the annual
deadline at Telefilm.
the first big hurdle cleared, the team focussed their attentions
on the two most crucial creative elements: finding the two leads
and sourcing the special effects artist who would design and build
the werewolf creature as well as all the transformation elements.
Jones was brought on as Prosthetic Effects Supervisor and Creature
Designer. The special effects force behind BLADE, BRIDE OF CHUCKY
and HELLRAISER II – IV, Jones talks about why he got involved:
"There were a couple of offers that came up around the same
time I was offered Ginger Snaps, but Ginger Snaps
struck me as a film that would show off what I do for a living
extremely well. It has everything in it. Every aspect of what
I’ve done over the last five years is in this one film: transformed
humans, werewolves, dead animals, prosthetic make-up, sculpting
and animatronics. And from a story point of view, it struck me
as excellent genre story telling. It’s about this young woman
who is going through this horrorific transformation, while going
through personal hell at the same time. I thought the combination
of story and make-up opportunities was great. "
Jones was hired, he threw himself and his shop into production
for there were dozens of prosthetic effects scripted. The most
important thing to design, of course, was the creature itself.
"I wanted it to be more skin and muscle than fur or hair,
" explains Fawcett. "I really wanted to get away from
the guy-in-a-fur-suit trap of other werewolf movies; I was going
for a skeletal look. I wanted it to be more hellhound than werewolf,
actually." Jones hired and flew in artists from London England,
fresh off Lucas’ PHANTOM MENACE to sculpt the creature under his
supervision while he concentrated on all the other effects with
a team of a dozen local Toronto prosthetic artists.
vision for the creature was all there, right from the beginning.
He had sketches he’d done over the years he was developing the
script; he just hadn’t seen anything three-dimensional. So we
talked, he described it to me and I built it. All I had to do
was figure out how it would work, practically, because we wanted
it to do certain things. It’s all fine and well to say you want
an albino werewolf. But if you want it to walk around and jump
onto a table and turn its head and snarl, drool coming out of
its mouth, that’s where I come in. The technical aspect of actually
getting it from point A to B was the hardest part. The cosmetic
look of the thing was fairly easy because John really knew what
he was looking for." Paul Jones, Prosthetics Supervisor
is not a garden variety werewolf," says Fawcett. "It’s
not the mythological creature born under the full moon. Rather,
it’s treated in Ginger Snaps as a biological infection
that grows from the inside out, through the blood stream."
Ginger and Brigitte, the two leads, was a six month long search.
It was April, 1999 and casting in Los Angeles had already begun.
Finding a casting director in Toronto was an entirely different
story. Scripts went out to several candidates, but the horror
elements of the script - along with its particularly vivid
language - generated more than its fair share of reaction.
Hall encountered several casting directors – most of whom freely
admitted they hadn’t read the complete script - who were offended
and declined being interviewed by the production team. Then they
found Robin Cook. Noted for such films as FREQUENCY, THE HURRICANE,
and ANGEL EYES, Cook loved the script, its dark humour and the
risks it took. She jumped on board immediately.
the reaction from the casting community was only the tip of the
iceberg. This was the spring of the Columbine tragedy, as well
as the shootings in Taber, Alberta. Suddenly violent teens and
the movies they watched were the hottest discussions of the day.
Word of the toxic combination of violence and teens in Ginger
Snaps was leaked to the media. A front page article in the
Toronto Star made inaccurate claims that Ginger Snaps
was a teen slasher film while alluding to the recent tragedies
in Columbine and Taber. That article launched an intense frenzy
in the Canadian media – one that involved call-in radio shows,
print articles and ultimately Telefilm Canada having to publicly
defend its funding choices.
Snaps was talked about across the country, both within and
outside of the film community, generating the kind of publicity
unheard-of for a film still in pre-production in Canada.
I’d read the script, when I’d only read a couple of scenes for
the audition, I thought, ‘What is this? This is some kind of semi-pornographic
movie geared towards 15-year-old boys.’ I really didn’t get it
at all. And then I read the entire script and I thought ‘Whoa,
this actually has a pretty high level of consciousness.’ I was
drawn to it immediately." Emily Perkins on first reading
the script for the role of ‘Brigitte’
occurred in Los Angeles, Toronto, Vancouver, New York and, to
a smaller degree, Montreal. Emily Perkins and Katharine Isabelle
both showed up the same day in Vancouver. Their auditions were
taped and sent off to Toronto, where the team was carefully combing
through mounds of videotapes. Everyone stopped when Emily and
Katharine's tape was shown.
like the cast walked right off the page into real life. I remember
meeting Emily and Katie and, almost being in tears, thinking,
‘This is eerie how perfect they are; it gives me goose-bumps’.
Because they are exactly, as individuals, how I’d hoped the performers
who accepted the roles would be. And then, as players representing
Brigitte and Ginger, they hit it right on the nose. We couldn’t
have had a better cast." Karen Walton, writer
Cry of the Werewolf, Nina Foch was the screen’s first
female lycanthrope: the heroine Celeste Le Tour, a gypsy
queen from Hungary, who had the curse passed on to her
by her mother. " Basil Copper
was September by the time Perkins and Isabelle were locked into
the roles of Brigitte and Ginger. With production slated to start
in three weeks, the search was still on to find the next two supporting
leads, bad-boy botanist Sam and the girls’ mother, Pamela.
script went to Mimi Rogers while she was in Toronto producing
a movie of her own. Rogers responded quickly and positively to
the dark humour and comic relief in the role. Rogers elaborates:
"I wanted to play the role [of Pamela] because the script
is really clever, really intelligent and very funny. I enjoy any
chance I get to do something comedic since that’s not usually
the way I’m cast. And Pam is, on the surface, a Mom role, but
it’s really more than that. She’s very comedic, very bizarre in
her own way, and so I enjoyed that opportunity. John was very
open about my interpretation of Pam and pretty much encouraged
me to go wherever I might wander."
producers initially wanted the character of Sam to be an American
star. Asked for her thoughts on the role, Robin Cook immediately
suggested Toronto-based Canadian Kris Lemche, a favorite of hers,
for the role. After Lemche’s first audition, Fawcett knew he’d
surrounded himself with a key creative team peppered with friends
from childhood, a talented group of people with whom he’d been
making films since they were all eight years old. Director of
photography Thom Best (QUEER AS FOLK, BOYS CLUB) and operator
Sean Jensen, second unit director Grant Harvey and composer Michael
Shields have been making Fawcett movies since grade school in
Calgary, Alberta. Another Albertan, Production Designer Todd Cherniawsky
(INSPECTOR GADGET, ARMAGEDON, SPHERE) was introduced to Fawcett
by Karen Walton six years ago. Cherniawsky became a consultant
for Fawcett and Walton throughout the development of the script
contributing several key visual leitmotifs to the project. Even
Fawcett’s wife, Laura Wood Fawcett, served the film as its second
started on October 25, 1999 and was completed six weeks and two
days later on December 6. Locations were in the suburbs of Toronto
– Etobicoke, Brampton and Scarborough all played as the "mind-numbing
suburb of Bailey Downs".
is my hometown and I’ve never shot there. I try never to go back
there, even, so it was very surreal. Going back was very, very
weird. A lot of the locations really reminded me of home. The
whole shoot was very suburban, and I try to stay away from suburban."
Kris Lemche on shooting on location
first day at the main neighborhood location was in fact a pre-production
day used to shoot stills for the opening credit sequence. This
involved staging dozens of gruesome mock suicides outside a suburban
home. Drawing a crowd of neighborhood kids and adults, the crew
was concerned it might wear out its welcome before the first real
day of production. But everyone maintained a sense of humour as
countless elaborately-staged deaths were recorded.
low-budget, independent films have tales of hardship. On Ginger
Snaps, 16-hour days pushed the start of each production day
later and later. The schedule became so off-kilter that by Day
18 the crew was reporting to work at midnight to a greenhouse
location for a day scene. The director of photography resorted
to completely covering the greenhouse in diffusion gel, then blasting
through four 18 k lamps to create the impression of daylight.
Approaching the set in the middle of the night, the light could
be seen in the sky from more than a mile away.
day it was interesting to go to work and have unexpected things
happen. One day I knocked over the set dressing swing set. I thought
it was real and during a break I sat on it and it collapsed around
me. Everyone was freaked and worried I might have hurt myself,
but I just felt like an idiot for not realizing it wasn’t real."
Emily Perkins, ‘Brigitte’
All day long I’m covered in blood. I can’t sit down, I can’t move,
I can’t walk. With the contacts I can’t see, with the teeth I
can’t talk without a lisp, with the hair I have to scrub it out
with Borax and dishwashing liquid. There’s glue on my face and
blood in my ears and my legs and my face are stained pink… it’s
tedious. It looks pretty cool in the end, though, so that makes
it all worthwhile." Katharine Isabelle, ‘Ginger’
Best Adjective I can find to describe Ginger Snaps is ‘viscous’."
production began in December, 1999 with editor Brett Sullivan
[HIGHLANDER III ] having only eight weeks to work with Fawcett
to shape the film. Equally, sound designer David McCallum and
his team at Tattersall Sound had an impossibly short period in
which to achieve the sophisticated sound tracks for Ginger
on in the final five weeks prior to mix was first-time music supervisor
Scot McFadyen. Given the nearly impossible task of finding and
securing licenses for source music for the film, McFadyen took
the task one step further and secured a soundtrack album deal
with the hot indie label Roadrunner Records based in New York.
As a label that features the new metal sounds which are enjoying
a tremendous resurgence in popularity with teens, Roadrunner was
a perfect match for the dark, creepy Ginger Snaps.
werewolf’s impressive European ancestry became focussed
in the Christian era’s dark centuries of superstition
and witch hunting. The old horror tales of those centuries
showed the witches in possession of the shape-shifting
power, conferred on them by Satan." Man, Myth and
PERKINS (Brigitte Fitzgerald)
Perkins is Brigitte Fitzgerald, a 15-year-old late bloomer uncomfortable
in her own skin. Devoted to her older sister, Brigitte is willing
to risk almost everything to cure Ginger of the monstrous infection
that is transforming her into a werewolf.
22, Perkins is an award-winning veteran of stage and screen. Film
performances include PAST PERFECT (Karen Daniels, lead), BROKEN
PLEDGES (Suzanne Stevens, lead) and the movies of the week IT
(Beverly Marsh, lead) by Stephen King, SMALL SACRIFICES (Karen
Downs, lead) with Farrah Fawcett, and IN COLD BLOOD (Kathy Ewalt,
PP). Her television appearances include THE X-FILES, MOM P.I.,
DAVINCI’S INQUEST, THE ODYSSEY and DANGER BAY. She has also appeared
in the stage productions of MYTHOLOGICALLY SPEAKING and KID’S
1990 Perkins was recognized by YTV with a National Youth Achievement
Award in Acting. She has trained with the Company of Rogues, The
Vancouver Youth Theatre Company, the Carousel Theatre and the
Amadeus Children’s Choir.
was drawn to the fact that she doesn’t belong anywhere, I think
teenagers can relate to that. She’s just a strange, strange girl.
I like playing something that’s new, something that hasn’t already
been done a million times." Emily Perkins on the role
ISABELLE (Ginger Fitzgerald)
Isabelle plays 16-year-old Ginger Fitzgerald, an angry young woman
who is discontent with her boring and meaningless life. Everything
changes, however, the night she is viciously attacked by a werewolf.
only 18 years old, Vancouver-based Isabelle is no stranger to
film. Her CV already boasts a daunting list of film credits, including
DISTURBING BEHAVIOUR (Lindsay, co-lead) and SPOOKY HOUSE (Mona,
co-lead). Selected movies of the week include TITANIC (Ophelia,
PP) and BURNING BRIDGES (Emily, PP), while Isabelle's television
appearances include THE X-FILES, GOOSEBUMPS, LONESOME DOVE, DAVINCI’S
INQUEST, MADISON and FIRST WAVE.
a teenage girl who gets bitten by a werewolf and she trips out,
she snaps. Ginger is an exaggeration of my bad side, I would say.
She’s not too much of a stretch for me. Except for all the being-a-werewolf-killing
people stuff. That’s a bit of a stretch." Katharine Isabelle
on the role of ‘Ginger’
ROGERS (Pamela Fitzgerald)
Rogers plays Pamela Fitzgerald, the mother of Ginger and Brigitte.
Pamela is a throwback to a kinder, gentler time - she is a homemaker
who is devoted to her daughters yet completely oblivious to the
reality of their lives. A complex woman, Pamela's cheery and slightly
flakey demeanour masks an unexpected, fiercely determined edge.
internationally-acclaimed actor, Rogers has appeared in numerous
feature films, television movies and episodic television programming.
Known for characters such as Claire Gregory in SOMEONE TO WATCH
OVER ME, Rogers is also instantly recognizable as Mrs. Kensington
in AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY, Special Agent
Diana Fowley on THE X-FILES and Claire in THE MIRROR HAS TWO FACES.
In addition to GINGER SNAPS, Rogers will appear in SEVEN GIRLFRIENDS
think what distinguishes Ginger Snaps from other horror
films is that, on the surface it’s a genre film a horror film,
but the script is much more intelligent than that, much funnier
than that. I think the fact that it is layered and multi-dimensional
makes it different from most horror films made today which are,
kind of, just slasher movies, which I don’t find particularly
interesting. Ginger Snaps is a horror film that works very
much on a psychological level. And, it’s also in many ways, a
black comedy." Mimi Rogers on Ginger Snaps.
Lemche is Sam, a bad-boy botanist who helps Brigitte find a cure
for the infection overtaking Ginger. Although initially tough
and aloof, Sam’s intelligence and vulnerabilities surface as he
becomes more deeply involved with the Fitgerald sisters' plight.
Gemini-Award-winning (Canada’s Emmy Awards) actor has amassed
an impressive list of credits. Lemche was featured in the role
of Noel Dichter in David Cronenberg’s EXISTENZ and appeared as
Emile in the 1999 mini-series JOAN OF ARC. Lead roles include
ST. JUDE and JOHNNY, two Canadian feature films. Coming out in
2000, Lemche can be seen in Lawrence Bender’s KNOCK AROUND GUYS.
Television work includes a recurring role on TWITCH CITY and appearances
on LA FEMME NIKITA, EMILY OF NEW MOON, EERIE, INDIANA: THE OTHER
DIMENSION, GOOSEBUMPS and TEEN KNIGHT. Lemche's theatre credits
include LAUGHTER ON THE 23RD FLOOR, DILATORY RESOLVE
and OPENING NIGHT.
won the 1998 Gemini Award for Best Performance by an Actor in
a Featured Supporting Role in a Dramatic Series for EMILY OF NEW
can guarantee you my parents will not go see this movie, and will
probably deny to anyone who asks that I was ever in it, and that’s
good. I think if you’re offending people, if people are taken
aback, you’ve made an impact. I hope there are people that love
it and I hope there are people that hate it." Kris Lemche
on Ginger Snaps
Moss plays Jason, one of the popular kids at school and the target
of Ginger's first seduction. Her aggressive desire turns violent
and Jason becomes unwittingly infected with Ginger's disease.
He soon begins his own monstrous transformation.
credits include television roles on COLD SQUAD, STARGATE, THE
OUTER LIMITS, HONEY, I SHRUNK THE KIDS and ARE YOU AFRAID OF THE
DARK. He has also appeared in feature films including INCIDENT
AT DECEPTION PASS and GOLD DIGGERS. Moss also has a background
in theatre and has done extensive voice-over work.
Hampton is Trina – the object of disdain for the Fitzgerald sisters.
Pretty, popular and nasty, Trina drives Brigitte and Ginger to
seek their revenge for her mean-spirited taunting.
newcomer to film and television, Hampton is nevertheless an accomplished
dancer and choreographer, Hampton has appeared on stage in many
theatre productions, including ANGELS/TONGUES (Toronto Fringe
Festival), 2 A.M., and COME SAVE TODAY. She was featured in the
music video for "Love Song" by Canadian pop sensations
Sky. Hampton's acting experience includes appearances on CODE
NAME: ETERNITY, CINDERELLA’S REPRIEVE and THE HOOP LIFE.
are several ways to become a werewolf. They include being
given the power of shape shifting through sorcery, being
cursed by someone who you have wronged in some way (called
the Lycaeonia curse), being bitten by a werewolf, and
being born to a werewolf. In each case, the blood becomes
tainted or cursed.
person who becomes a werewolf against his will (birth,
curse or bite) is not completely damned until he tastes
of human blood. Once he does, his soul is eternally damned
and nothing may redeem him. Even without tasting of human
blood, however, as long as the taint lays upon the immortal
soul, it cannot enter Heaven, and will remain chained
to the mortal plane upon death...."
dynamic, talented filmmaker with vision and infectious enthusiasm,
John Fawcett’s experience includes feature films, television,
music videos and commercials. He also has several award winning
short films to his credit, including the festival favorite HALF
made his feature film debut in 1996 with THE BOY'S CLUB, a dark
adolescent drama starring Chris Penn (Reservoir Dogs, Short Cuts).
Released theatrically by Alliance Communications, Variety called
THE BOYS CLUB "an intense, involving drama" and praised Fawcett
for investing the film with "a tough realistic sensibility that
sets this pic apart from the pack" (May 27/96).
BOY’S CLUB went on to receive five Genie Award nominations
(Canada’s Oscars), including Best Direction, Best Actor (Chris
Penn), Best Original Screenplay (Peter Wellington), Best Editing
(Susan Maggi) and Best Production Design (Taavo Sooder). THE BOY’S
CLUB now enjoys wide video distribution and has been sold to broadcast
markets throughout the world.
Snaps is Fawcett’s second feature film.
Canadian creator of fiercely fresh stories, Walton’s toney, often
provocative scripts for film, prime-time series and movie-for-television
productions have enabled her to work with some of her country’s
finest industry talents. A recent poll of television professionals
in The Globe & Mail named her one of the "Top
40 Most Influential People in Canadian Television", while
The Toronto Star cited her as one of the ‘writers to watch’
in the new millennium.
Snaps is her first produced feature film. Also produced in
'99 was Walton's reality-based period movie-for-television HEART:
THE MARILYN BELL STORY, which premieres on CBC later this year.
other television credits include her Gemini-nominated work on
the critically-acclaimed youth series, STRAIGHT UP, and the adult
prime-time drama series, THE CITY – where in addition to writing
in total seven episodes, she served as Executive Story Editor
for its second season.
holds a B.A.Honors in Drama from the University of Alberta, and
is a graduate of the Canadian Film Centre’s Screenwriting Residency
and Professional Screenwriting Programmes. Wielding a peculiar
mix of life experience from both the Maritimes and the Prairies,
she has lived and worked in Toronto since 1994.
Hoban began his career as a feature film producer in 1994 with
BLOOD & DONUTS. Directed by Holly Dale, BLOOD & DONUTS
was the first feature film produced under the auspices of Norman
Jewison’s Canadian Film Centre.
1995 Hoban joined IMAX Corporation, spearheading the creation
of their animation studio and the development of proprietary 3D-animation
technology. The first glimpse of this new technology was unveiled
Christmas 1998 with the international release of PAINT MISBEHAVIN’,
an animated 3D short produced by Hoban with IMAX co-founder Roman
Kroitor. Currently Hoban is producing the first IMAX 3D computer-generated
film CYBERWORLD, which will be released internationally this fall.
He is also developing OWLS IN THE FAMILY a feature film based
on the Farley Mowat best seller, with a screenplay by Brian Morey.
other credits include co-producing two shorts: the critically-acclaimed
ELEVATED (written by Karen Walton) and the award-winning HALF
NELSON (directed by John Fawcett).
to entering the world of film production, Hoban was Vice President,
Business Affairs at Motion Picture Guarantors, where he was responsible
for the financial and contractual dealings on dozens of television
and film productions. During his tenure at MPG, Steve Hoban worked
on productions from all over the world with budgets ranging from
a few hundred thousand to tens of millions of dollars.
LEE HALL (PRODUCER)
Lee Hall worked in film production as an assistant director for
12 years prior to 1992 when she produced three award-winning shorts:
PERSONAL EFFECTS (Lori Spring), COLESLAW WAREHOUSE (Bruce McCulloch)
and THE FAIRY WHO DIDN’T WANT TO BE A FAIRY ANYMORE (Laurie Lynd),
winner of the 1993 Genie for Best Short Film.
Hall is in post-production on OUR HERO a 13 x 30 minute comedic
series airing on CBC starring Cara Pifko. Created by John May
and Suzanne Bolch, OUR HERO is a series featuring a 17 year-old
girl named Kale with a most unique take on life.
1995, Hall completed the theatrical feature HOUSE (also directed
by Laurie Lynd), marking her debut as a feature film producer.
Based upon Daniel MacIvor's award-winning play of the same name,
HOUSE had its world premiere at the 1995 Toronto International
Film Festival. It went on to screen at festivals worldwide including
the prestigious Sundance Film Festival. HOUSE was released theatrically
in 1996 and is currently available on video.
significant credits include serving as associate producer on Deepa
Mehta’s self-produced feature film FIRE and on Shawn Alex Thompson’s
DINNER AT FRED’S for Handmade Films;
of Development at Epitome Pictures and Director of Television
Development at Paragon Entertainment where she put several series
into development including the above-mentioned OUR HERO and the
documentary series TAKE FIVE created by Vanessa Coffey and Jim
Ballantine (REN & STIMPY, RUGRATS) with CBS.
has several properties in development at her production company,
Water Pictures as well as at Heroic Film Company that she co-owns
with John May and Suzanne Bolch.
BEST (DIRECTOR OF PHOTOGRAPHY)
Best is quickly becoming one of the more respected DOPs in Canadian
film. Initially making his mark with music videos, commercials
and dramatic shorts, Best has since moved on to feature films.
His list of credits includes the films GRIZZLY FALLS, HIDDEN AGENDA,
THE BOYS CLUB, 976, MURDER AT THE WAYSIDE and THE INNER VOICE.
Best has also worked as a cinematographer on a number of MOWs,
including RUN THE WILD FIELDS, ONE HEART BROKEN INTO SONG and
SEEDS OF DOUBT. Best is currently in post-production on his own
feature THE ICE MEN and will be lensing the Showtime series QUEER
AS FOLK in the summer/fall of 2000.
CHERNIAWSKY (PRODUCTION DESIGNER)
Cherniawsky’s many film credits include INSPECTOR GADGET (set
designer), ARMAGEDDON (set and industrial designer), SPHERE (set
& industrial designer), HIJACKING HOLLYWOOD (production designer)
and UBERWOLF (production designer).
attended the American Film Institute where he received a Master
of Fine Arts in Production Design. His training also includes
a Bachelor of Fine Arts (Art & Design) from the University
of Alberta and an Honors Diploma in Architectural Design Technology
from the Northern Alberta Institute of Technology.
Gemini-Award winner (Best Picture Editing for PSI FACTOR), Brett
Sullivan’s extensive list of credits includes the feature films
POCAHANTAS – THE LEGEND, HIGHLANDER III, BLOOD N’ DONUTS and CYBERWORLD,
a 3D animated IMAX movie. Sullivan's television work includes
TWICE IN A LIFETIME, PSI FACTOR (Seasons I & II), JENNY AND
THE QUEEN OF LIGHT, DREAM HOUSE and DOOLEY GARDENS. Sullivan also
worked on the short film ELEVATED, which received a Genie nomination
and was nominated for Best Editing at the Yorkton Film Festival.
COOK (CASTING DIRECTOR)
Cook is one of the leading Casting Directors in Canada. She has
been casting films and television series for fifteen years, most
recently on features such as THE HURRICANE (directed by Norman
Jewison), FREQUENCY (starring Dennis Quaid), and ANGEL EYES (starring
Jennifer Lopez). She has also done extensive work in television,
working with director Ken Finkleman on his three television series
- FOOLISH HEART, THE NEWROOM, and MORE TEARS. In between she has
also found the time to lend her talents and expertise to many
independent Canadian productions, CBC television series, and television
JONES (PROSTHETICS & CREATURE DESIGN)
Jones created the prosthetics for every stage of Ginger’s werewolf
transformation. A horror fanatic, Jones established Paul Jones
Effects Studio in 1994 and has since created animatronic creatures
and special make-up effects for countless television shows including
GENE RODDENBERRY’S EARTH: FINAL CONFLICT and F/X: THE SERIES.
Jones has also provided make-up effects for the films BRIDE OF
CHUCKY, BLADE and THE CORRUPTOR.
to 1994 Jones worked with Image Animation in the U.K. Closely
involved in HELLRAISER II and HELLRAISER III, Jones created both
the "Pinhead" and the "Camera Head" make-ups
for HELLRAISER III. Paul Jones was also an Effects Designer on
NIGHTBREED before going on to coordinate animatronic effects for
HIGHLANDER 2: THE QUICKENING and prosthetic effects for WARLOCK:
CARLSON (COSTUME DESIGNER)
Carlson has developed her particular style through working on
many independent Canadian productions, features as well as television
series. Her design credits include acclaimed LAST NIGHT (Don McKellar),
HIDDEN AGENDA and JOE’S SO MEAN TO JOSEPHINE with Sarah Polley.
Her television work includes THE BOWEN MURDER MYSTERIES, EXTERNAL
AFFAIRS, THE NEW GHOSTWRITER SERIES and LIBERTY STREET. Carlson
has earned two craft award nominations for her costume designs:
in 1998 she received a Gemini Award nomination for the
outrageous CBC series TWITCH CITY and in 1994 a Dora Mavor
Moore Award nomination for the theatrical production of CLAUDIUS.
Shields is a composer/singer/songwriter from Calgary, Alberta.
Musically active since the age of five, Shields boasts a diverse
musical career since then. He has written and played with a variety
of pop and rock bands, released two CD’s of his own songs "Grace
Motel" in 1995 and "Stranger Than Fiction" in 1999,
and toured with the acapella group GUILD for two years. One of
Shields main loves, however, is scoring. As music director at
Jet Music, Shields has scored dozens of commercials and television
programs. Shields feature film work includes TWO BROTHERS, A GIRL
& A GUN and AMERICAN BEER. His television work includes FROM
THE HIP and which earned him an IRIS Award, SNOW SAFARI,
and RUNNING ON EMPTY.
COOK (STUNT COORDINATOR)
more than 19 years experience performing and coordinating stunts,
Shelley Cook’s body of work is impressive. She has done stunt
coordination for a myriad of productions, including TWICE IN A
LIFETIME, FLOWERS FOR ALGERNON, PSI FACTOR, ANNE OF GREEN GABLES,
TRADERS, ICE and SILENT ECHOES. As a stunt performer, Cook's credit
list includes 50 feature films and more than 60 television shows.
Shelley Cook also works as a director and an actor.