Cinema Canada (Apr-May 1978)

IRREVERI3 Of Human and Editorial ?) rror... It would be an excellent idea if Cinema Canada were to adopt the practise used universally by newspapers and edit its published letters for glaring factual errors. Squinting at this page through the egg crusted thickly on my face, I speak for that sadly misbegotten breed of which I am obviously a member, the loud-mouthed ignorant. My letter, printed in Cinema Canada no. 45, attacking C.F.I. and at the same time (I shudder to think of it) confusing it with the Canadian Film Institute, while in most other respects remaining a competent confutation, was reduced by the inclusion of the error to the febrile ravings of a well-meaning fool (which perhaps it was, in which case you, as editors, out of human compassion for this misguided soul, ought to have disregarded the letter entirely). I know I am not the first to commit such a blunder, and I doubt I will be the last; by making the necessary editorial corrections and restoring these faulty letters to their intended level of force and accuracy, Cinema Canada _ will spare its writers needless humiliation and improve the quality of the magazine by making it at least appear as though intelligent comment is being submitted by its readers. Now, if you'll excuse me, I’ll just go and wipe this foam from my mouth.... Paul Vitols Right Side Up We heard from Ronan, Howard and Associates Inc. the p.r. people responsible for the Frezzolini-account, who thanked us for the Equipment News item in the last issue. The letter went on: “However, the photo you reproduced lying on its side could, if they feel humorous, make camera operators laugh for hours. Though I’m sure we all need a few laughs, anyway, could you print . some kind of correction in another issue 4/Cinema Canada Frezzi viewfinder standing up for itself. soon. It really isn’t good for cameramen/ women/operators/filmmakers to get the idea my client doesn’t know what it is doing. Frezzolini is really a topgrade professional camera manufacturer with long experience. They produce a top-grade camera.” We don’t doubt it for a minute, and take full responsibility for the laughs. It’s a topsy-turvy business anyway. Ed. Héroux Responds Cinema Canada received a copy of the following letter, addressed to Mme. Francoise Berd. Dear Mrs. Berd; I read your interview published in the March 1978 issue of Cinema Canada with great interest, and I’m forced to state that despite a long career, you don’t seem to understand the different titles and their corresponding functions that are inherent in the structure of making a feature film. As an example, regarding the feature film ‘‘Angela’’, I would like to point out that the functions of Zev Braun and myself were those of executive producer and producer, respectively. Contrary to what you imply, I was working as producer of this film on a permanent, active basis during the entire shooting schedule. It’s unfortunate your statement was made without your having checked all the facts. May I suggest that you refer to the law books for the exact definition of what constitutes a Canadian film. Regarding my film experience as a producer and as an executive producer, I will be most happy, upon request, to forward to you a resumé of my activities. I hope the said resumé will convince you that I am quite qualified to perform the functions I do. Claude Héroux For the Record I was interested to read John Hofsess’ complaint (Cinema Canada no. 45) that he didn’t see any letters in The Globe and Mail about Urjo Kareda’s review of Martin Knelman’s recent book. Just for the record, there was, in fact, such a letter in the Globe of December 15, 1977, in which John Herbert wrote that Kareda is literary manager at the Stratford Festival and that Martin Knelman, whose book he reviewed in the Globe on December 10, is a drama critic for Saturday Night Magazine and reports on Stratford. In his letter Herbert remarked that the review was a case of “you scratch me and Ill scratch you” and added that “It is frightening to me that anyone, however good-willed, could actually take this flimsy little book seriously.” Jaan Pill Toronto, Ontario OMISSION The photos on “I Miss You, Hugs and Kisses” in the last issue of Cinema Canada were taken by Shin Sugino. We regret that we. failed to give him credit. Ed.