Photography by Shlomi Amiga
We had an amazing interview with Jordan Canning! She shared some exciting new on making filmmaking her career choice. Check out the interview below.
Hi, Jordan! Thank you for granting the interview. When did you realize that filmmaking was not a hobby, but a career choice?
I circled around film in a lot of ways before ever considering it as a career. I spent a fair amount of time alone when I was younger — I watched a lot of movies, wrote stories, made up scenes. I think I always thought I would do something creative, but it wasn’t until after I graduated college that I tumbled into filmmaking in earnest. I had been in Montreal for four years and moved back to St. John’s to regroup and figure out what I wanted to do next. I started working as a writer for a production company, and on a whim, I decided to adapt one of my short stories into a film script that I was then able to make through the First Time Filmmaker’s program at NIFCO (our local film co-op). I think I just wanted to try it out – I had been drawn to filmmaking since I was a kid – but it wasn’t an intentional move towards a career. But once I got a taste for it there was no going back. It filled me with so much excitement and energy – it was all I wanted to do from then on. That’s when I really started focussing on next steps— how can I turn this into something bigger? How can I find a way to do this for the rest of my life?
What was the most important lesson you had to learn to achieve success in your career?
The things that you really want don’t come easily or quickly. Even when you’re ready for them – when you want nothing more for it to be RIGHT NOW – you can’t will them into happening. I felt like I was ready to be directing television probably about four years before I ever got my first opportunity to prove it. The waiting is hard and frustrating. And even when you get what you think you want, it often feels nothing like you expected. We need to let go of the idea of a “big break”. I think for 99% of us, that doesn’t exist. For me, there have only ever been small incremental steps towards what I wanted to achieve. That’s what worked for me. At times all I wanted was to fast forward – to move past the hard part and get to THERE (whatever there is). But the “hard part” is where all the most important stuff happens. You learn how dedicated you are, how hard you can work, what to hold onto and what to let go. You grow and get better, you fail and succeed. You find your voice. As much as I wanted to skip ahead back then, I’m so grateful for the time and experience it took to get to where I am now.
What makes a project great for you? Are there certain qualities that a script should have to interest you in directing it?
There are many things that get me excited me about a project. It could be the creative – the actual script/idea – or it could be the people attached to it. No matter what, I need to be able to find a way into a story. Sometimes that happens unconsciously when I’m reading a script. Images start coming to me – I can see how I would block it or shoot it. Sometimes it’s the writing itself – awesome dialogue or nuanced characters, surprising moments that resonate with me. It’s hard to pinpoint exactly what can win me over- honestly, it’s easier (and more common) to recognize when a project isn’t for you.
Is it a challenge to direct a film to give an audience what they want?
I’m not sure I’ve ever thought about it quite like that. What an audience wants is so subjective. Every person that watches your film is going to have a different reaction to it – some will love it, some will hate it, and for better or worse we have zero control over that. All I can do is make something that I would want to see – work that moves me, that I relate to, that feels truthful. Hopefully, others will feel that as well. Ultimately there will always be audiences left unsatisfied, but such is life. As long as you made the best film you possibly could, that’s all that matters.
What are you most proud of in being a director and filmmaker?
I think what I love most about directing is putting something out in the world and letting it have a life of its own. Even though it’s sometimes hard or painful (see: bad reviews), I love the opportunity to share and communicate with people through film.
Tell us about a typical day on a set.
If I’m really on the ball, I will have gotten up early enough to have a smoothie or some oatmeal before heading to set. Usually, I like to get in about 45 minutes before call so I can go through my game plan for the day – walk the sets, look through my shot list, have a second breakfast maybe! Then once call time comes everyone usually gathers to do a blocking – basically a loose rehearsal where you and the actors figure out exactly what’s going to happen in the scene. Once that’s sorted out, we’ll show the rest of the crew and then everyone kicks into gear. The actors go into hair/makeup/wardrobe. The lighting and grip team light the set. Camera works to rehears the camera moves. Art and props get everything for the scene ready to go. Once the actors are ready, we start to shoot – hopefully within an hour after call time. That’s always a good sign if you can get the first shot off within an hour. And we just keep shooting – moving through the shots I had on my shot list, sometimes adding or adjusting or dropping one – until the scene is in the can. Then you move onto the next one and repeat! The days are so full, usually, it’s like I blink and we’re already heading home to get some sleep before we do it all again.
All directors have their own methods. How do you approach directing talent.?
To me, directing is all about communication and openness. I just try to be as clear and honest with whoever I’m working with, be it crew or cast, and leave ego out of it. I love working with actors. What they do is incredibly vulnerable, and I guess my approach is to make sure they know that I’ve got their back. I want them to feel safe and heard, knowing they will have the time and space they need to get their performance.
When looking at back on previous productions you directed, what resonated with you the most and why?
I think my two feature films – We Were Wolves and Suck It Up – will always stick with me as intensely formative experiences. I was so fortunate to have the most incredible people by my side. Everyone involved was so invested in what we were doing. Every day I was so inspired and grateful for the journey we were on together.
When it comes to likes and dislikes in film, an audience can be fickle. In your opinion, is it important to blow an audience away with a discovery?
I mean, that’s always something we strive for as filmmakers. Obviously, you want your work to resonate with audiences. You want to excite them and surprise them and not have them leave the theatre disappointed. But as I mentioned above, you’ll never please everyone and it’s pointless to try. Just think of all the films and TV shows out there that you don’t like – that you think are actually really, really bad! Well, there’s an audience for them somewhere. And whether they like my work or not is completely out of my control, so why waste time and energy worrying about it? Make work that you believe in and it will find its audience.
What do you enjoy most about the different film sets you worked on?
I always feel most in my happy place when I’m directing on set – when all the preparation you’ve done, the discussions and decisions all come together and you’re finally shooting. But my favorite thing about film is the people you get to work with. The special ones that stick with you, they become your family. If you’re lucky, you get to bring each other along from set to set whenever possible. Getting to make work and create with your friends – there’s nothing better.
Featured Image Credit: Shlomi Amiga.
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