Weengushk Film Institute nurturing First Nations screenwriters

It has taken five years of patience and perseverance, but all the hard work and networking has paid off for M'Chigeeng First Nation film-maker Shirley Cheechoo. The long held dream of establishing a film industry training institute on Manitoulin Island has finally been realized.
Cheechoo, an award winning actor, writer, director and producer, received the National Aboriginal Award for her work in theatre, film and fine art in March 2008. She was also honoured with a lifetime achievement award for her contributions to Aboriginal filmmaking in June 2008.
The launching of a series of educational workshops in 2009 is ample evidence that the fledgling Weengushk Institute is serious about its mandate. The goal of the Northern Ontario facility is to nurture First Nations actors, script writers, producers, directors, editors and animators.
On the weekend of January 24-25, 2009 Cheechoo invited her long time colleague and collaborator Phyllis Ellis to share her expertise in screenwriting with an eager group gathered at the Ojibwe Cultural Foundation (OCF) in M'Chigeeng. Ellis, an accomplished writer/producer, has earned the distinction of being the only Canadian to premiere two feature films at the Sundance Film Festival in 2000. In addition, she was recognized as New Producer of the Year for her productions Women: Scenes From Life and Detective Fiction. Most recently, she directed a documentary on Wikwemikong success story Crystal Shawanda and created a comedy series called Three Chords From the Truth aired on Sundays on Country Music Television.
Currently, Ellis serves as a consultant to Weengushk Institute and works with Cheechoo to attract First Nations students to a variety of training opportunities. In her view, the institute is a very important addition to Canadian resources.
"It's fantastic to have a place where Aboriginal youth can take these courses and be together. There's something special about being where people get you, where people understand you. The fact that Weengushk exists at all is out of the ordinary because it is here specifically for Aboriginal students. These training opportunities are not as commonplace as you would like to think," she stressed.
During the "Introduction to Storytelling" workshop, co-sponsored by Weengushk and the OCF, Ellis offered tips on script grammar, character analysis, narrative point of view, plot, dialogue and scene development.
"Everyone here is capable of writing a screenplay," she said. "Storytelling is in every one of us. We just have to provide the vehicle for them to tell it. I will introduce the method and the process, but the important thing is for you to believe in yourself and believe that you have a story to tell."
She acknowledged that many unique stories can emerge from the setting of Manitoulin and the North, however, she suggested that students broaden their horizons and not limit themselves to local narrative.
"When you start writing, it's good to write what you know," she said. "But sometimes it's good to just let your imagination play a role and create a new world you have never seen."
She encouraged participants to find their own voice and to express themes that have universal appeal. "Be believable in your storytelling," she advised. "Tell the truth, yet don't be afraid to let your characters have faults. Let your characters be vulnerable, let them have an Achilles heel."
Throughout the session, she emphasized that character development is the key to a powerful script. "It starts with a great character, a character that sweeps you away and makes you feel something or care about them. The character should always be aspiring to achieve something and to overcome obstacles along the way."
Above all, she underscored the reality that film-making is a collaborative art and that writers need to master the skill of thinking visually. After all, actors, directors, producers and editors will all be adding their interpretations to the screenplay.
Students had an opportunity to practise co-operative storytelling during the two day workshop. Ellis led them through a practical exercise on creating back story for a character. The budding screenwriters threw out ideas fast and furious as Ellis recorded the character traits and points of conflict on two flip charts. Slowly a collaborative storyline emerged featuring many of the ingredients of riveting drama: friendship, romance, betrayal, accidents, disfigurement, guilt, secrets, loss and eventual redemption.
Ellis will lead a course on producing techniques February 28, 2009. Similar workshops are scheduled for March, April and May.
The future looks bright for this organization brave enough to start an ambitious enterprise during bleak economic forecasts. The Ojibwe Cultural Foundation has agreed to provide space and equipment for the workshops. And the institute received a welcome financial boost of $35,000 last fall. The funding provided by CTVglobemedia is being used to support the organization's administration and marketing costs.
Contact 705-377-6011 or 705-377-4902 for further information.