There has been a huge flurry of activity over the past week and good progress on my Treatment document as well. First, I was delighted to obtain the agreement of CBC news anchor and Carleton U MA history student, Adrian Harewood, to be the narrator for my film. He will make an excellent contribution and lend a little celebrity status, at the same time.
I have also just obtained the agreement of a senior Justice Canada lawyer, named Rose-Gabrielle Birba, to be the voice actor for Mary Ann Shadd. She called the house last December to talk to my husband and I was immediately taken by her voice and commanding tone, and we will meet soon to talk about the role.
Both Adrian and Rose-Gabrielle are African Canadians, and as such, help to offer cultural legitimacy and ground my film within the Black community.
As I typed those last lines, it occurred to me that I wanted to send my Concept Proposal to the four interviewees in Buxton/Chatham for their input. And I’ve crafted the email but will wait until tomorrow to send it. I realized that, according to my Ethics agreement, today is the last day for them to bail out on being in the film, and I don’t want to do anything to jeopardize that involvement. I’ve been inserting portions of their interview transcripts into the Treatment document and really want to keep their contributions.
Regarding interviews, I’ve been to-ing and fro-ing with Adrienne Shadd, archivist Adam Birrell, Dr. Karolyn Smardz Frost and the Media Production Centre at Carleton to arrange to do on-camera interviews on Feb. 6 in Toronto. So far, it’s all looking like it’s a go – fingers crossed.
I have also been able to listen to pianist Jenna Richards’ first crack at “Steal Away (to Jesus).” The music is going to be beautiful. She is going to do a couple of additional things and send me final versions this coming weekend, if all goes well in her busy schedule.
I’ve got a request for information in to Library and Archives Canada about the year when they started collecting Black historical archives. My own research indicates that the first was in 1960, with one additional collections being added in 1964, and others in the 1980s. It’s a bit hard to tell the dates since the Date field has in it the range of dates of the items in the collection – their dates of origin – and the date of collection may or may not be listed within the comments.
I now have a rough but more or less complete version of the Treatment. I need to go back through it to describe the visual imagery, sound and music that will accompany the narrative. And I want to think more about special treatment effects that will make the film more compelling.
This project has many challenges. For one thing, it has a lot of moving parts, and keeping them all moving forward is a bit of a juggling act. Secondly, many of these “moving parts” are people with their own interests, worries and busy schedules, and working within their needs, while keeping people excited about the project is a constant consideration. Both of these “project management”-style challenges must be set aside, however, when I want to get into the historical-theoretical elements of the narrative. I don’t want technical issues to overtake the real messages – the ones that make people think – and that requires a different “hat” to be worn, and a different mindset. And on top of all of that, there is another hat to wear: that of the artist. I want this film to be beautiful and stirring. SOOOOO – a lot to think about, and a lot of hats to wear.
This coming week I hope to meet with Rose-Gabrielle about her role as Mary Ann Shadd, and to obtain some final versions of the music. I will also, likely get some information back from LAC. But most importantly, I need to get the Treatment finalized and submitted.