Canary began as a small script written by Emma Simms while she studied a degree a Staffordshire University. Upon graduating Victoria and Christopher joined the production team so that the story of ‘Canary’ could be told. Director Jamie Weston read the script in October 2016 and jumped at the opportunity to be involved. As the pre-production for the film progressed the team began to expand as crew member joined.

Director/Producer – Jamie Weston

Jamie Weston is an English Director best known for Foxtrap, Darker Shades of Elise & Canary. Born and raised on the east Essex coast his work is often has elements of fine art and the wilderness. He is a massive foodie and can be found nibbling an array of interesting nibbles on set.

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Canary Directors Statement

Having spent years making documentaries before my first feature, I’ve always been drawn to stories with a strong sense of truth. Stories filled with relatable characters that have a heart and soul. Canary is a film which reaches out and grabs you by the collar within the first page and drags you through the emotional and physical turmoil which my parents generations went through in The North during the mid-1980’s. Influenced by John Steinbeck’s ‘Of Mice and Men’, a writer famed for also dealing with social and economic issues, Canary feels equally verbatim, with current films such as “Billy Elliot”, “This is England” and most recently “I Daniel Blake” drawing on similar themes of poverty and anti-establishment motives against a conservative era government.

At its centre, it is a drama about human relationships, a friendship between cousins; Joseph and Ernest who work at the local mine. Ernest suffers from learning disabilities and struggles to understand the bigger choices that have to be made. The story hits hard as these were real events with bleak consequences which resulted in a formidable future unknown to them at the time. This has been only something we can truly look on now with in hindsight. The hardship these characters face highlights the true nature of human spirit with the entire community banding together and helping each other in times of trouble.

This story also defines how the desperate lack of income divided the communities and branded those who had no choice but to feed their families through any means. Something which many who were not familiar with the Miner strikes will be able to relate to at present, with the Syrian refugee migration and the lack of government funding for the low income families. This has resulted in higher numbers of food banks and a record high in homelessness.

This story has a great potential to render the jeopardy each of the miners faced on a daily basis, the sheer perfidy and betrayal they felt Margret Thatcher had done to them and the bond between men. On one side each of them are dealing with the hardship associated with willingly giving up their only source of income, while on the other hand they are uniting to stand against the loss of their occupation as a Miner, as well as hundreds of others like them across the North

Visually, I intend to utilise a natural light look, depicting the realistic colours and flavours of the time by shooting in real locations and using real people native to the affected areas. I want to cover the scenes with the widest scopes to the tightest, while discovering new ideas on set when workshopping the scenes with the actors to create most visceral honest performances.

I feel that this is a very important film to be making right now, as the issues brought up in the film are still relevant today with many businesses going bust and the gap between the rich and poor ever growing. It’s a story which portrays how against all, odds the most important thing we have are family and loved ones around us. In an age where uncertainty is rife and education is becoming once again elitist, it’s important to bring to our attention previous events, so we can draw parallels between history and history in the making.

Jamie Weston, January 2017

Writer/Producer – Emma Simms

Emma Simms is an English writer who is making her producing debut. She has directed the music video ‘Thoughts’ (2015). Currently she is undertaking a Masters in Advertising and Brand Management to further her skills. She can usually be found supporting the director on set.

http://www.imdb.com/name/nm8082094/?ref_=tt_ov_wr

Writer’s Statement – Emma Simms

Inspiration for my screenplay came from John Steinbeck’s ‘Of Mice and Men’ and the films ‘Billy Elliot’ and ‘This is England’. I have a high interest in the period of 1980’s England and have decided to set my screenplay in 1984 during the coal mining strikes of Northern England.

My two main characters, Joseph Cole (Joe) and Ernest Mills (Ernie) moved to the village a year before and worked as coal miners. It is clear from the beginning that Ernie has a childlike mind but a large physical build, Joe cares him for and the knowledge of his mental state is hidden from his employers. The story begins with news of a strike in Yorkshire and a call for action. Joe and Ernie will discover this news in their local Working Men’s Club after work. Food is served by Lillian, wife to Michael the local police chief. The audience will see a close relationship developing between Joe and Lillian but are very aware of Michael. Abuse between the married couple towards Lillian becomes evident with bruises slowly appearing on her, this becomes pivotal later in the screenplay.

Tension develops between miners and the police as the striking surrounding the village escalates. As more towns and villages strike there is pressure for the community to join them or risk becoming SCABS. As fear and anger rises within the village Joe struggles to hide Ernie’s mental condition as he reacts to the emotions around him. Support comes from Robert Shaw (Bertie) and Norman Parish (father of the only black family in the village). The miners decided to picket as they fear the loss of their own jobs however this brings an army of police to their door step lead by Michael. A peaceful protest in the village of Olleston is turned into a violent clash killing Davy Jones (true event) causing Bertie to announce an official strike. The whole community joins in to support the miners. Ernie’s condition worsens without the physical activity of work to occupy him causing violent outbursts, leading to his arrest when he assaults a police officer accidently. Joe and Bertie bail him out as police and miners clash further.

Emma Simms, July 2016

 

Editor – Christopher Taylor

From an editing point of view, the film will require an understanding of the subtle ways that make writing, acting and storytelling powerful even when audiences may not realise that they are there. It is a job that requires understanding the power of simple cutting, pacing and emphasis.

“My role in ‘Canary’ will include the offline edit of the film, as well as other post-production work. I am involved with ‘Canary’ because it will show audiences a moment in time that is under-represented in cinema: the 1984-85 miners’ strikes. Although fictional characters, Joe and Ernie represent the everymen who found themselves trapped and lost in a huge-scale industrial game changer that they had no power over. From an editing point of view, the film will require an understanding of the subtle ways that make writing, acting and storytelling powerful even when audiences may not realise that they are there. It is a job that requires understanding the power of simple cutting, pacing and emphasis. This makes editing ‘Canary’ exciting, because it is a test of understanding storytelling rather than just the technical side of film. If successful, ‘Canary’ will also emphasise to independent filmmakers, film students and film enthusiasts that the line between independent and studio productions has been truly blurred and simply having a good story to tell means more than ever before.” 

Christopher Taylor, January 2017

Art Director – Victoria Charles

The whole concept of seeing how the mining strikes affected the main characters while not focusing on the strikes themselves is what got me interested. As well as the opportunity to work on a film based in the 80’s and get to design costumes that fit in with the time period.

“I’m Vicky Charles, I’m the Production Designer for Canary. I’m doing this feature film as part of my masters degree in Production Design. The main reasons I’m doing this film is because the time period got my interest immediately. The whole concept of seeing how the mining strikes affected the main characters while not focusing on the strikes themselves is what got me interested. As well as the opportunity to work on a film based in the  80s and get to design costumes that fit in with the time period. Getting to do research on the fashion of the time has been an adventure in itself while preparing to do the designs for this film, and I look forward to the chance to create these character’s costumes that stay true to the time period.”

Victoria Charles, January 2017

DOP – Laura Gallop

Graduated with a BA in Film & Digital Cinematography at MET Film School Earling Studios, Laura has gone on to win a number of awards for her cinematography skills including ‘Award of Excellence – Best Women Filmmakers’ for the feature ‘The Schoolboy’ (2015).

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