| By Elliot V. Kotek The lines between theatrical and home entertainment continue to blur, with the advent of Internet downloads being viewable on the small screen home-theatre systems, with the maturation of savvy television production companies producing content that could easily be released in theatres (e.g., HBO's The Life & Death of Peter Sellers, which was, in fact, released theatrically in other markets), with feature-length episodes of iconic idiot-box'ers such as "South Park" and "The Simpsons," and including the re-envisioning of television shows from the past as box-office contenders (e.g., "Batman," "Dynasty," "Starsky & Hutch"). While this year's highest nominated shows run the gamut from movie (Bury My Heart at Wounded Knee - 17 nominations) to mini-series ("Broken Trail" - 16), and the final season of a regular series acknowledged as one of the greatest television programs of all time ("The Sopranos" - 15), in my opinion there remains something unique about that one TV category to which "Broken Trail" belongs, where teams of producers make something that's arguably bigger than a movie in all but screen-size... the mini-series. "Roots" (1977), "Shogun" (1980) and "Lonesome Dove" (1989) set the stage. Since then, mini-series exec-producer extraordinaire Steven Spielberg has been responsible for recent award-winning efforts - "Band of Brothers" (2001), "Taken" (2002) and "Into the West" (2005) - and mini-series have continued to keep wild imaginations alive with topics as diverse as AIDS ("Angels in America") and the mayhem of the monarchy ("Elizabeth I"). This year's critically acclaimed ambassador of the mini, "Broken Trail," was AMC's first foray into original movies. Slated over two nights, the series starring Robert Duvall, Thomas Haden Church and Greta Scacchi earned those actors a Screen Actors Guild nomination each, won Walter Hill an "Outstanding Directorial Achievement" nod from the Directors Guild Association, and was also nominated for three Golden Globes. Its 16 Emmy nominations are enough to seal this work with the label "masterpiece." With scripts that run about 200 pages, anyone familiar with producing a 90-minute flick can empathize with the difficulties inherent in undertaking a valuable four-hour version. Pulled together by producers Stan Brooks and Damian Ganczewski of Once Upon a Time Films (who share producer credit with the folk from Duvall's Butcher's Run Films, as well as screenwriter Alan Geoffrion and Canadian's Chad Oakes and Michael Frislev), it's a testament to collaboration. We took a moment to chat with Damian Ganczewski (Golden Globe and Emmy-nominated producer of "Broken Trail") to explore what makes a movie worthy of the extra effort required by this extended cinematic expression. Moving Pictures Magazine: How's it feel to receive 16 Emmy nominations for "Broken Trail?"
Damian Ganczewski: Well Mr. Kotek, as you can imagine, Stan and I were stunned but ecstatic! The last time a mini-series was awarded this many nominations was in 1977 for "Roots"! I'm so happy that everyone that worked on the mini-series was rewarded for all their hard work. This really was a group effort. MPM: The casting of Robert Duvall, Thomas Haden Church and Greta Scacchi was obviously important to television ratings. They were all nominated for SAG's highest honors for this project and they've each had successes on the big screen. How'd you or your casting director get this calibre of talent interested - do you know whether it was the script, the director or any other particular factor that was important to their determination to commit?
Ganczewski: Good question. Well, Robert Duvall's friend Alan Geoffrion wrote the teleplay, and he committed to the project early on. He was an executive producer as well, and his production company, Butcher's Run, co-produced the project along with Once Upon A Time Films. Robert Duvall is a western icon, so there were many actors that wanted to be part of a western starring alongside Duvall, and Thomas Haden Church was one of them. He campaigned for the part, and after he and Duvall met, along with Walter Hill, everyone felt that he was perfect for the role. Greta was Stan's suggestion. Stan and I have a long-standing relationship with her manager, Susan Smith, and once Greta read the script she was on board as well. MPM: Why did this project call out for the four-hour mini-series treatment rather than get trimmed for the more familiar feature-length?
Ganczewski: The script was originally written as a feature, but couldn't get a studio behind it. It was then suggested to do it as a mini-series for television. MPM: What do you consider to be the main differences between shooting a mini as opposed to a regular feature film, and, if it's a series, why not dissect it further into eight half-hour episodes?
Ganczewski: Page count. No, but seriously, I consider a mini-series to be an extended movie. I think that if the material or story warrants it, length is all relative. Also, a feature film doesn¹t have commercial breaks, or the end of a night and cliff hangers to worry about. You won't necessarily be going to a movie theatre to see half of a movie, then see the other half the next night. MPM: The story itself is set in 19th century America, yet you shot in Calgary, Canada. Bury My Heart at Wounded Knee is also an American tale shot in Canada. New Mexico and Utah both offer significant incentives to bring production to those states, so why, in your opinion, do people continue to shoot north of the border?
Ganczewski: Well, first of all, Calgary, in my opinion has established itself as the only place to shoot a western these days. They have numerous western towns, wranglers, livestock, et cetera. There's a reason why Unforgiven, and Open Range were also shot there. You can get 360 shots with no evidence of modern civilization anywhere. The topography goes from desert to the Rockies in about an hour's drive. Look, there are tax incentives as well, but when you are looking to make a western like "Broken Trail," you first look at where the best places to make a western are. I looked extensively at New Mexico, as well as California and other states, but couldn¹t get all the elements that were needed in order to harness a look for a film that takes you from Oregon to Wyoming anywhere else. Why do people continue to shoot north of the border? Well, if the Canadian dollar continues to grow stronger, there won¹t be much shooting there for much longer. MPM: Were "Lonesome Dove" (to which this series has been honorably compared) and Open Range referred to in the creative process of production of "Broken Trail?"
Ganczewski: If you¹re asking if we set out to make a mini-series like "Lonesome Dove" or make a movie like Open Range, I would say no. The story that is told by "Broken Trail" is unique. It had an Asian influence in the story that, quite frankly, when I read it, was the most intriguing part of the story for me. I had never seen this type of story set against the backdrop of a cattle drive let alone the Old West. Duvall has said in interviews that he considered "Broken Trail" to be the third part of a trilogy of westerns that he has done. All three of these stories are very different. We knew that people would be comparing us to those shows, especially "Lonesome Dove," but we really just tried to make the best western we possibly could. MPM: What's your favorite anecdote from this project?
Ganczewski: I would have to say that it was the first day of local casting with Walter Hill. We auditioned about five girls that could play the part of the Chinese girls, and now it was time to recap who we had just seen. Walter turns to me and says, "Well now, who did you like?" and I said, "Do you really think I am going to tell Walter Hill how to cast a movie?" and he looks at me and smiles, laughs and says, "That¹s what I thought you would say." MPM: What's next?
Ganczewski: At the moment, I am prepping a four-hour mini-series for Lifetime to begin shooting in August. Oh yeah, and I have to go and get my tux cleaned. |
