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with the rest of us, in directing its development. And that direction should be back to telling our own stories.
“I feel like the Plastic Man of the comic books. I can change shape — our whole industry is going to be changing shape for awhile. But we’ve got to be the landlords, not the tenants. We’ve got to decide what kind of industry we want to have, and then we can get on with the business of becoming part of it.
“I think we'll end up telling good stories again. We started out telling good stories, with The Rowdyman, Goin’ Down the Road, Wedding in White, Who Has Seen the Wind.
“If we go back and pick up some of those values and get on with it again, that won’t be such a bad thing. And think even the quick thinkers, the flash-in-the-panners, are aware that this is going to have to happen again, right around their funny toes.
-+ “I get the feeling that I’ve been walking around here an awfully long time, with a wonderfully expensive knitted sweater with a maple leaf on it. But it’s being ravelled! Somebody's got the goddamn string and it’s being ravelled and I can’t save it! It’s still an expensive sweater, but it’s being ravelled, and some other cat at the other end is knitting an American sweater, with the Stars and Stripes!
_ Sometimes I don’t know whether to pull it back or let it go. But in the end, I’ve got to pull it back and wind it all up again.
“We've got to roll that ball up and start knitting that sweater again — or otherwise, we’re going to be pretty damn cold up here!” Oo
‘3
Above : Linda Goranson and Pinsent in The Rowdyman. Below: The Heat Wave Lasted Four Days — but what perfect weather for shooting !
tion. But we’ve got to work for that — to keep the continuity. But Canadians have always been slow to hold up their hands in class.
I feel like the Plastic Man... KEY TO QUALITY
’ “The solution for the writer is to use the technique that KEY TO CANA DA’S I'm using now. It’s called doing it; finishing it. Send out FINEST OPTICALS
your scripts. When you get your rejections you go into a: dark room and you get on with it. If your rejections have anything useful in them, use it. Use it all. Get it down toa point where no one can reject it — no one with a conscience.”
FILM OPTICALS OF CANADA LTD. growth and development. He prides himself on being able 410 ADELAIDE STREET WEST
Gordon Pinsent’s career in film has been notable for its
to formulate and execute a plan whereby he can maintain . his independence. He sustains the feeling that he is a very TORONTO (416) 363-4987 tts elias ; ‘ a amis MONTREAL (514) 937-2336 is same sense of purpose can be applied to . Canadian film industry. Pinsent is not content to be VANCOUVER (604) 687-449)
merely a part of the industry, he wants to have a say, along
Cinema Canada/23