Whistler Film Festival - Good Girls Don't
A Filipina-Canadian girl defies her mother's warning that she'll turn into a boy if she plays sports.
Interview with Writer/Director Ana de Lara
Congratulations! Why did you make your film?
I made Good Girls Don’t as a proof of concept to gain further support and funding for my first feature film, The Virgin Mary Had a Little Lamb, which has received its first money in from the BC Arts Council. That’s the practical reason why I made the film.
Artistically, I made the film to satisfy a creative urge to bring an idea to life. I also wanted to test the tone of the humour and to gain more experience working with VFX.
Imagine I’m a member of the audience. Why should I watch this film?
Good Girls Don’t is breaking barriers on many levels. The film offers a Filipino-Canadian perspective that has never been seen on the Canadian screen. While Canada prides itself as a cultural mosaic, one would never know that watching Canadian films.
The under-representation of ethnic roles in leading roles and of women in the director’s chair is at the forefront of criticism and debate in the film industry. Good Girls Don’t showcases what a diverse cast looks like on the Canadian screen and the unique stories that are possible from ethnic female voices.
It is an original heart-warming comedy that leaves you wanting more. But I could be biased.
How do personal and universal themes work in your film?
Good Girls Don’t uses humour and magic realism to address the universal theme of gender inequality. As a female filmmaker of colour nothing can be more personal.
How have the script and film evolved over the course of their development?
I wrote a version of Good Girls Don’t over 10 years ago that was very dark and shelved it. As I tailored the script to be a proof of concept for The Virgin Mary Had a Little Lamb it became comedic and was injected with magic realism.
The script also evolved when the role of Larry, the Colour Commentator in the professional basketball game fantasy, was offered to Lorne Cardinal. The role was initially written as a one liner but I rewrote it to be more fun and appealing for a comedic actor to play.
What type of feedback have you received so far?
My producers and I applied for the 2016 MPPIA Award with the script and won. The award provided tremendous industry in-kind support, along with a cash prize to help us make the film. As part of the award, we are having our world premiere at the 2017 Whistler Film Festival. We are excited to receive feedback from our first audience.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
Exposure and connection to journalists, audiences, and film festival directors.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Journalists, audiences, and film festival directors.
What type of impact and/or reception would you like this film to have?
Aside from entertaining audiences, I want Good Girls Don’t to be part of the conversations around gender inequality in society, proper representation in films, and female directed film projects.
Would you like to add anything else?
Growing up as an immigrant, I can attest to the power that the media has to influence one’s self-esteem. I remember the overwhelming feeling of being an ugly outsider when my family immigrated to Canada in the 70’s because back then, the media depicted “the ideal beauty” as the actresses playing Charlie’s Angels on television. Girls fashioned their appearances on these women and I didn’t have a hope in hell.
In the late 80’s I noticed a positive shift in attitudes towards minorities, as ethnic entertainers became more visible in the media. The diversification of female beauty was starting to become evident in Western culture. Skin colour that was once considered “dirty” was being regarded as “exotic.” That may seem like a trivial change, but not to those who were made to feel inferior for literally being in their own skin.
The scars I have acquired and the barriers I have faced personally and professionally have shaped my career goals. I have made it my mission to tell stories with Filipino- Canadian characters and send the message to Filipino immigrants that our stories matter - that we matter in our adopted country.
It is also my mission to create opportunities for Filipino-Canadian talent to showcase and develop their skills. Typically, Filipino-Canadian actors are cast in small roles, which do not challenge or showcase the depth of their talent; nor do these minor roles provide the opportunity for them to elevate their acting skills, thus further impeding their careers
What other projects are the key creatives developing or working on now?
I am currently producing a BravoFact funded short film, All-In Madonna, and developing my first feature film, The Virgin Mary Had a Little Lamb.
Michele Morris is producing Marie Clemen’s feature film, Red Snow.
And Anita Reilly McGee is developing her feature film, Black Mammy.
Interview: November2017
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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Good Girls Don't
A Filipina-Canadian girl defies her mother's warning that she'll turn into a boy if she plays sports.
Length: 15 minutes
Director: Ana de Lara
Producer: Michelle Morris, Anita Reilly McGee, Ana de Lara
Writer: Ana de Lara
About the writer, director and producer:
ANA DE LARA (Writer, Director, Producer)
Ana has earned over 20 awards including the MPPIA Award for Good Girls Don’t and the Telefilm New Voices Award for her feature script The Virgin Mary Had a Little Lamb.
MICHELLE MORRIS (Producer)
Michelle’s producing credits include the award-winning short films Meet Cute and Good Girls Don't. She is currently developing Red Snow, which won the WIDC Feature Film Award.
ANITA REILLY MCGEE (Producer)
Anita is an award-winning writer, director and producer. Her films have screened at international festivals, including Venice, Toronto, Palm Springs, Sydney, Vancouver.
Key cast: Jane McLean, Evryle Ebora
Looking for: film festival directors, journalists
Social media handles:
Funders: Motion Picture Production Industry Association of BC, Creative BC, Ana de Lara Films, Lily Pictures
Estimated completion date: November 2017