Haida vs. Canada - The Battle of Lyell Island

Christopher Auchter and his team had lots to share about their experience making THE STAND. Have a read of our conversation!

Christopher, please share what inspired you to create this film? Was there a specific event or story that sparked the idea?

Christopher Auchter, Director, Photographed by Brian Van Wyk at the Filmable Portrait Studio

Christopher Auchter (CA): I started out wanting to make this film as a way to honour my Aunty Shelley and Uncle Mike, to say thank you for helping to shape who I am today. I knew in their youth they had done something extraordinary but that was about all I knew.

In 1985, there was a battle between the Haida Nation and Canada, a battle without blood, but a battle all the same.

I was 5 years old when my Aunty Shelley and Uncle Mike left from Queen Charlotte City and traveled to the remote Lyell Island in Haida Gwaai’s southern region. My Aunt snuck on a boat to get there and my Uncle traveled by float plane, both heading for the same cause, to defend the land that has sustained the Haida people for well over 14 thousand years, to save the area from being clear cut logged.

I grew up not understanding what it was they did down there. I didn’t have the perspective to see how large a moment in time that this was for Canadian/Haida history. As their nephew and a Haida, I felt I needed to know more, so I set out to learn and create a film. I like to think that the film is for those that were there to remember and those that were not, to now know.

That’s a deep connection to the story, we’re so interested to learn more! Can you speak to how you developed the characters in the film?

CA: Mouse Woman is a supernatural being in the Haida culture. She's small but feisty and often says “what does size have to do with anything”. She often helps out a human that finds themselves in trouble with another supernatural being through a mistake they made, usually by disrespecting nature in some way.

Did you ever find yourself in trouble with this film? What were some of the biggest challenges you faced?

CA: I had a real desire for the film to unfold like a scripted drama might, only it's real life and the actors are playing themselves in the role of their life.

Until Sarah could edit the footage together I wasn't sure if it would be possible to keep the story only in the present of 1985 and not have to turn to modern day interviews. The first edit of the film was over 4 hours long, but it gave us enough of a glimpse of the film it would become; to know we had enough to keep the film present.

Other rules for the film came later but having it unfold like a scripted drama was the first rule and helped guide the storytelling style.

That’s so many hours of footage! Now that the film has its final form, do you have a favourite scene or moment in the film?

CA: I'm really excited and proud of how the film's opening scene turned out. Sarah Hedar (Editor) and I tried out a number of different openings but it wasn't until Producer Shirley Vercruysse commented about the intro after watching a rough cut; she said "Well I'm here, but I'm not here" Meaning she was sitting there watching the film but she hadn't been pulled into the story yet.

To me that sparked a clear creative challenge and I got to work writing right away and wrote the opening lines for the film, the lines that were to be said in the Haida language by a supernatural being awakened by the sound of a distant chainsaw. I asked Sarah if she could pull together a scene that seemed as though something is very wrong, that nature and those that lived in it were being spooked by something and that something is happening inside the forest. Sarah pulled together the great shots that we now see in the film. All footage that was captured on Haida Gwaii around 1984.

Genevieve Vincent (Composer) took on the same approach when writing the music for the opening of the film. That something is very wrong and it's coming from inside the forest. Her music adds so much drama.

There are other scenes in the film that I think are so powerful and I am equally proud of them, but I felt I wanted to highlight this scene because it was such a tricky puzzle to solve, it's a rewarding feeling to have found a way to draw the viewer in so they can quickly get settled and be pulled into the world of THE STAND.

That sounds like the magic of filmmaking - pure collaboration. Can you describe your process for writing the script?

CA: For this Documentary I wanted it to unfold just like a scripted drama would and if a person was being interviewed it had to be from that day and moment where we are in the film, so even the speaker did not know what was to come the next day. It was a way to keep the film in the moment and not become a retrospective.

How did you go about casting Mouse Woman? Were there any specific qualities you were looking for?

CA: My Aunty Delores is a very strong woman and continues to accomplish. She is a master weaver and teaches the ability to the Haida community. She is an actor (EDGE OF THE KNIFE), and soon to have a published book. She is 94 years old.

In her youth, at a chieftain potlatch for her brother, Oliver Adams, she rose up and gave a speech that galvanized the Haida into taking action against all the timber being taken from the islands. I couldn't find a way to include the speech in the film but by having my Aunt Delores be the voice of Mouse Woman was the perfect fit. In life, Aunty Delores called for the action of the Haida and in the film the supernatural being, Mouse Woman, calls for the action of the Haida.

My Aunt Delores is one of the last remaining fluent Haida speakers.

So incredible! What a special way to work with your Aunty. Directing a documentary is so intimate and very special, how would you describe your directing style?

CA: Well I try to make the space as comfortable as I can. Try to reinforce the good and chip away at the performance that I feel needs some work. I'm still learning myself how to help the actor/talent find their best performance but with every moment I get to direct is an opportunity for me to grow as well, so it's a collaboration.

Is there a specific aspect of the film that you are really excited about and would like to speak more to?

CA: I'm excited about the Supernatural Being element of the film that speaks to part of what the Haida were/are defending and is also there to help guide the story and give the Haida strength. I don't want to say more than that as I want it to be an element of the film discovered by the viewer.

Yes, we’ll have to discover it for ourselves! To shift a little bit, which filmmakers or films have influenced your work the most?

CA: Hayao Miyazaki, Spirited Away and Ponyo- Love how his films are a window into Japanese culture.

Damien Chazelle, Whiplash - The drama, acting and cinematography of this film is just unforgettable for me. That opening shot from a dark hallway, slowly moving in on an obscured figure in a room, Andrew Neiman practicing the drums. It just pulls me in right from the get go; amazing.

Ridley Scott, Prometheus - I was taken away with this film. One of my biggest surprises while watching is that it was from the Alien film universe. That surprise was so incredible and is why I like to try and hold a surprise for the audience in my film, "The Stand". I want to give them that feeling I got when watching Prometheus, that delightful surprise.

How do you think you've evolved as a filmmaker over the years, and how has your approach changed since your first project?

CA: Well I started out as an animation filmmaker and through opportunities with the NFB I have expanded into documentary filmmaking. So for me the way I can tell stories through filmmaking has expanded. I can tell stories through live action and animation and they both can complement each other with the end goal of a compelling film that draws the viewer in.

What is the most important lesson you've learned from making this film? And what are you working on next?

CA: Often the film will tell you what it wants to be, I just have to be willing to accept what it's telling me. I have two scripts that I am currently writing. One is a feature length film and the other I believe will be a short film.

Thanks Christopher for taking the time to share and we look forward to seeing what you do next!

Now over to Music Composer Genevieve Vincent. Music Composition is such an important aspect for a film. How do you think your role influences the overall impact of a film?

Genevieve Vincent (GV): I always think of that Basquiat quote “Art is how we decorate space, music is how we decorate time”. Film is the marriage of these things, and I feel like it’s my job to reflect the story we see in the music as sincerely as possible so that it feels like a part of the overall tapestry.

To create that overall tapestry and find that sincerity. Where do you find inspiration and how did you incorporate it into your work on the film?

GV: I find so much inspiration in nature as a composer in general. I grew up in Vancouver and I loved playing in the woods and all of the sights and sounds. For the film, I was fortunate enough to get to see early edits. I had a very strong sense of how it should sound immediately based on the destruction of the natural beauty in the archival footage provided, the Haida who tell the story, the era in which it took place, and the pacing of the edit. I try to pick up on every detail of what I’m watching so I can find elements to derive the sound of the score from. I heard horns in my head, an analogue synth that had a vintage warble, elements of glass, chimes, and woodwinds, and a gigantic frame drum to ground us. I always felt like the music should feel as if it was breathing as the forest does, and that the drum would carry the protest in its beat. The RCMP in the film inspired a totally different sound, something militaristic, so we landed on a marching snare drum to cut through the serene and eerie nature of the rest of the palette.

As the music composer, how did you work with other departments to ensure a cohesive look/feel/experience?

GV: For several source cues, I had to write 80s theme music for a popular talk show of the time, so I worked closely with the sound designer Luigi Allemano to make the music sound more of the era. Luigi also provided me with his sound design throughout the scoring process so I could play off of what he was adding, which was especially inspiring because the film is entirely archival. I also worked closely with the editor, Sarah Hedar, on getting our cover of "Feeling Good" to fit our protest montage perfectly to amplify our director’s vision of that climactic moment. And, of course, I worked very closely with Director Christopher Auchter the entire time as we navigated the musical landscape of the film together and brought his vision to life musically, Producer Jennifer Roworth, who has excellent ears to bounce a mix off, Production Coordinator Lee Clapp who kept me organized while recording and flew people around for the recording sessions (including myself!), and Executive Producer Shirley Veracuse who made everything happen and kept the wheels on!

Can you share an example of a significant challenge you faced during production and how you resolved it?

GV: In The Stand, there is a climactic moment where the Haida stage a large protest and, because this was such an important moment, the director, Chris, had envisioned a custom cover of the iconic song “Feeling Good,” instead of score. The challenge for me was to produce a version of the song that felt both cinematic for the drama of the scene, but also true to the soul and sentiment of the song we all know, while considering the two contrasting voices of our Haida vocalists, Carsen Gray and Michael Nicoll Yahgulanaas who dueted it.

How I attempted to resolve the challenge was to build everything around the vocals because the storytelling of the lyrics carries it. Then I lifted up those vocals by combining Haida frame drum, to build momentum and give some gravitas to the moment while reminding us sonically who exactly is protesting, strings to make it feel expansive and cinematic, made up of the wonderful players at the VSO lead by Nicholas Wright, orchestrated by the brilliant Danielle Schwob, and a rhythm section to keep us grounded in the soul of the song.

Thank you for the insight Genevive, we’re so excited to hear what you’ve done! Now, from sound to visuals, we’ll take a look at what Visual FX Artist Russell Heyman had to say about the film. Russell, what was your experience like working on the film?

Russell Heyman, Visual FX Artist

Russel Heyman (RH): Working with the NFB and a beautiful film with such an emotional story was an absolute pleasure. I remember these news reports when I was young and it was moving to see it come together with all the layers including how it was presented and how it evolved with the 2D animation.

Can you share an example of a significant challenge you faced during production and how you resolved it?

RH: Animating in 2D over archival footage with shaky cameras. Using the tools in Toon Boom Harmony like pegs to try and remove the shake for basic stabilization.

Where do you find inspiration, how did you incorporate it into your work on the film?

RH: Inspiration came from the story, the character animation and the previous short film from Chris Auchter that I worked on, The Mountain of SGaana, an earlier NFB project.

How did you work with other departments to ensure a cohesive look/feel/experience?

RH: Starting early in the production to do tests to get the shape language and feel of the show, and regular meeting with the director Chris Auchter.

How do you think your role influences the overall impact of a film?

RH: I created some of the magic and depth, adding portals, smoke and energy to name a few, I also helped with some of the 2D integration by adding character shadows and tone.

Now we’ll hear from Eoin Duffy who created the Graphics in the film. Can you speak to the needs of the project and share an example of a significant challenge you faced?

Eoin Duffy, Graphics, The Stand

Eoin Duffy (ED): The amount of graphics needed for the film was daunting. Chris came up with this wild, one-of-a-kind visual style for the on-screen text — whimsical, full of energy, unlike anything I’d seen. I took it and evolved it into my own vector style. The real challenge, though, was technical: with hundreds of lines of text, tons of info cards, credits, and more, I had to find a way to blend the two worlds and create a dynamic animation system that could adapt as the text changed. It was way out of my comfort zone, and while I stumbled here and there, I weirdly loved the nerdy tech puzzle and learned a ton along the way.

Jumping out of the comfort zone is always a bit scary! Where do you find inspiration and how do you incorporate it into your work?

ED: My design and motion graphics philosophy is all about stripping things down to the essentials. I aggressively cut out anything unnecessary, leaving visuals that are clean and easy to digest. I pull a lot of inspiration from the early pioneers of graphic design, like Jan Tschichold and Müller-Brockmann, whose work mastered clarity and structure. At the same time, I love pushing myself on the tech side, as was the case with this project, where I got to geek out and improve my After Effects programming skills.

Thanks for sharing Eoin! We’re really looking forward to see your work in the upcoming screening of THE STAND.