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The Goderich Signal-Star, 1987-11-11, Page 53Cornrnunit•'- News GODERICH SIGNAL -STAR, WEDNESDAY, NOVEMBER 11, 1987—PAGE 3A GODERICH SANTA CLAUS PARADE '87 The Theme this Year is "Christmases, Past, Present and Future" If you wish to enter a float in the parade, the deadline for entries is ... FRIDAY, NOVEMBER 13, 1987 CATEGORIES: Non -Commercial, Commercial, School, The National Film Board of Canada's critically acclaimed movie "Train of Dreams" stars 18 -year-old Montrealer Jason St. Amour. St.Amour plays the part of Tony (centre), a young offender who spends time in an Ontario correctional institution. (photo compliments of the National Film Board) "Train of Dreams" right on track •from page 1 Tony's mother, Christopher Neil as Nicky, David Linesky as Tony's lawyer, Milton Hartman as the crown attorney, and Basil Danchyshyn as the judge), all the characters portrayed at the institu- tion were hired locally, from the Goderich and Clinton, area. Aside from using staff members at Bluewater Centre to portray, in effect, themselves in the movie, the NFB team approached local and area high schools in an effort to gather students interested in acting in the film. Students were audi- tioned by Smith before being hired to play young offenders in the film. "Everyone who watches the film assumes the kids are from the institution. They aren't thinking they are high school kids," Smith said. "Reviews of the film particdlarly pick out the acting and that is a note of tribute to Goderich," he added. Smith credits one local drama teacher in particular with making the casting of students so successful. "We received the biggest help from Phil MacMillan (GDCI drama teacher). He made doing thething possible. He has a remarkable ability to pull out peo- ple for parts. He had developed a whole group of talented students and we built on the work he had already done. He's an absolute gem. A very special man," Smith said. NO WRITTEN DIALOGUE Because Train of Dreams was written as a story,the characters had no lines to memorize prior to filming. They were simply told what the scene was supposed to be like and allowed to say what they felt would best fit the scene. "There was no script. There's a story but no written dialogue," Bochner said. "We simply described the scene or situa- tion and basically the tone of emotion and let them go to it," she explained. In the beginning, the students were a bit nervous about ad libbing lines, Bochner noted, but it did not take lond before the students got into it. "They got to know the characters. Basically they were being character s. It's not as if we were asking them fo.be 90 -years -old. We were asking them to be teenagers," Bochner said. "We think they were able t� relate to residents of Bluewater Centre. It's not just Bluewater Centre kids who have pro- blems dealing with society. The kids at Bluewater Centre, in many ways, are like other teenagers," Bochner added. Making a film where no lines are writ- ten prior to filming means taking a chance. "When you do an improvisation film, it's a real gamble," Grana explained. "The outcome depends on the input from thereal people who play characters. If it works, it's a good sign and when it doesn't you know you have to change the scene. Inexperienced performers do what the director wants and, in -the pro- cess, makes the audience believe it. Us- ing their own words makes the scenes totally believable," he added. MEANINGFUL FILM All three writers admit they were try- ing to make a meaningful film out of a topic that is so prevalent in today's society. "The film tries to deal with a subject matter that is very serious," Grana said, adding that a suprisingly large percen- tage of the population ends up spending some time in a prison. "Canadians seem to be very good at creating repeat offenders," Smith added. Smith noted the filfn had to show in- stitutions could help offenders. "It's important not treat the young of- fenders as criminals and lock them up }and throw away the key. We have to deal with where they came from," he said. In spite of the fact that the movie is purely fictional, it comes off as being a documentary on the life of one young offender. "The movie is successful because it feels real. It feels like a documentary but when the audience sees the casting list at the end and realizes it is fiction, it hits them like a brick wall," Grana said. Although the movie felt like a documentary, it didn't end like one since it had no distinct ending. "The ending is fairly optimistic and fairly open," Grana said. "We had to send Tony back to jail after his tem- porary release weekend pass home to make him face reality. The audience has hope that this kid, when he does get out, stays the shit out of this life." Grana also noted that although the film was not made specifically about or for FEATURE REPORT the residents or Bluewater Centre, it should have some impact on them. "I think the Bluewater Centre kids thought is was meaningful enough for ' them to reflect upon their lives and where they went wrong. It they don't think they went wrong, then it's too bad. But, I think it (the movie) has to make them reflect," Grana said. Smith also agreed with Grana's point. "One film doesn't change lives but it does require ideas you have to deal with. It's worth scratching away at and trying to find some answers," he said. WINS SUPERINTENDENT'S APPROVAL The NFB's Train of Dreams heartily won the approval of Bluewater Centre, Superintendent Carl DeGrandis for its powerful storyline and honest reflection of a young offender. "The movie showed some very impor- tant aspects of young people in trouble with the law, their families and society," he said. DeGrandis noted there were slight ex- aggerations in the movie regarding life in a correctional institution but said it didn't affect the intentions of the movie. "You have to take what is and exag- gerate it to make the point," he said. "Either they told the story as it was and be somewhat boring or they exag- gerate beyond to what would have been incredible. They had to find a point bet- ween the two," DeGrandis added. Grana confirmed DeGrandis' thoughts on exaggeration. "There is just a hint of poetic license," he said. One aspect of the film which *as not exaggerated was the interview by the in- stitution's superintendent (played by DeGrandis) of Tony. DeGrandis confirm- ed he does actually meet with each young offender when admitted to the correc- tional centre and gives the same talk as in the movie. Grana noted this scene was filmed because "It is one of the most important scenes. It is the essence of the whole . movie." In the scene, DeGrandis asks Tony "Why are you here?" Tony's response of "Because I got caught" and his later statement of "I'm here to pay my dues and get the hell out of here" caused DeGrandis to tell him that this attitude leads persons to "go on to places worse than this" and the reason for this is because "they never deal with what brought them here in the first place." The scene is perhaps what makes Tony begin to think about his future. DeGrandis noted Train of Dreams showed three main points about the young offender's life. "It shows the aimlessness of their lives in the community and there not being able to find direction. There are no peo- ple to click into them to help find direc- tidn," he said. He explained it is the fail- ings of young offender himself, the com- munity and the education system that leads the young offender into an aimless situation. "The second thing the filM shows is that there are parents out there who are loving and sincerely interested in the child but who are at a loss as to how to counteract pressures. They lack certain parental skills and don't know where to turn," DeGrandis said. He added, "This is true of most moms and dads, probably 95 to 97 per cent. They really do care but are unable to handle the child and the situation." The third point DeGrandis said the movie made was there were ways to help the young offender. "It's obvious to me and obvious in deal- ing with their case histories that there are numbers of opportunities prior to reaching the level of the courts and in- stitutions where people could click into these kids in the community setting," be said. The film did leave an unanswered ques- tion regarding Tony and the community's role in his life. "Tony sunk to a desperate level, decid- ed to do something about it and got the help he needed from the teacher. But, what happens when he leaves the institu- tion? Will he have someone or will he be left alone? "In real life, it is a very important aspect of helping kids in the system but after ....," he said. DeGrandis noted the young offender Youth Group, Individual. 1st, 2nd & 3rd Prizes will be awarded in each category. This year'sparade will be Sat., Nov. 21, 1987 at 1.00 p.m. *SPECIAL NOTE PLEASE REFRAIN FROM: A) Using a Santa Claus as part of your float. B) Throwing candy or treats from your float. (donations of candy or treats will be gratefully received at the Recreation Office until November 13th,, 1987 and will be included in the goodies given out at Santa's Court following the Parade at the Park Theatre.) does not often fit in a regular classroom setting. This is backed up with Tony's reacting only in the institution's academic setting where the teacher - student ratio is low enough for individual attention. Often, he noted, instead of looking for help, the young offender accepts his failure. "Failure to learn is accepted as their lot but it is remarkable to see them suc- ceed," DeGrandis noted, adding some young offenders do succeed as Tony ap- parently does in the movie. OFFICIAL FLOAT ENTRY FORM (Detach and Mail) Name of Organization or Indidual: r" ddress Phone Category ntering: •Non -Commercial •Commercial 'Youth Group •School •Individual Float Name or Title: Return to: GODERICH RECREATION & COMMUNITY CENTRE BOARD, 166 McDONALD ST., GODERICH, ONT. 524-2125. N7A 3N5 Wellgivcyouuptol0oz. of silver whenyoupurchase one ofNational's superb mvestments byNovember 30. ince the dawn of civiliza- tion, silver has been one of the most precious metals known to man. Even today, investors around the world choose silver for its beauty and permanence. 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