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list price: $19.95
edition:Paperback
also available: eBook
category: Fiction
published: May 2003
ISBN:9780921833888
publisher: Signature Editions

Below the Line

by John McFetridge & Scott Albert

tagged: literary
Description

It's spring in Toronto and the Hollywood movie crews are back. This is where art meets commerce full force. Instant communities are created, like summer camps for adults, with the cast and crews working long hours and always under pressure.

Over the six weeks of production the cast and crew lives, loves, hates, wins and loses together on and off the film set. Inspired by the authors' own experiences, Below the Line goes behind the scenes and tells the the stories of on-set romances, ambitions, cynics and even artists.

We all know the celebs by first name, (even if we don't want to admit it) but who are the other guys? The Canadians working the crew, the the location scouts, caterers, make-up artists, grips, gaffers and armies of assistants. Who are these people who bring the stars their breakfast, park the trucks and paint the set the director's favourite shade? On budget sheets and cost reports they are the "below the line" crew members; these are the forgotten names on the screen after the audience has left the cinema.

Below the Line is a complete film set experience — including script pages, call sheets, camera reports and invoices to really get the reader down and dirty in the trenches of the industry.

About the Authors

John McFetridge co-authored Below the Line with Scott Albert, who, like John, had spent many years working in the film industry. John is also the author of the Toronto Series crime fiction novels Dirty Sweet, Everybody Knows This Is Nowhere, and Swap. He has written the screenplays The Shrew in the Park and The Protector, the CBC radio drama, Champions, as well as episodes for the CBS/CTV television series The Bridge. John lives in Toronto.


A graduate of the Canadian Film Centre's Prime Time TV Writing Program, Scott Albert co-wrote Below the Line with John McFetridge and wrote the feature film screenplay Lab Rats.

Contributor Notes

John McFetridge is the co-author of the CBC radio drama, Champions, the story of Jackie Robinson breaking baseball¹s colour line with the Montreal Royals and the screenplay The Shrew in the Park. He and his wife live in Toronto with their two young sons.

Scott Albert recently graduated from the Canadian Film Centre's Prime Time TV Writing Program and wrote the feature film screenplay Lab Rats. He lives in Toronto, and is looking forward to never working in that town again.

Editorial Review

“Screenwriters Scott Albert and John McFetridge found out the difference between the movie industry and book publishing with their just-released novel, Below the Line, about the unseen, unsung denizens of film sets. “In the ‘about the author’ section, we had a little bit that said Scott wrote the screenplay Lab Rats … and I said, ‘Let’s change this because Scott got fired,’” says McFetridge. “Our editor asked, ‘How could the writer get fired?’ And I realized that it would never have occurred to her to take this book through two or three drafts with us and fire us and bring in somebody else cause they’d like the book to be a little funnier…. But you know, in the movie business, I’ve come to accept that the writer is below the line.” The title of McFetridge and Albert’s book refers to the extras, crew members and legions of assistants who appear on the bottom half of call sheets and cost reports — those uncelebrated people, often Canadian, who labour behind the scenes to create Hollywood cinema. “We were really after the kind of workaday stuff,” McFetridge says, and that’s what the book delivers. The episodic, fast-paced novel takes place over six weeks on a Toronto film set, concerning itself with make-up artists, grips, location managers, set dressers and local talent. Save for a starlet who gets romantically involved with the transport captain, the celebrities — director, producer, lead actor — appear as annoying side characters, like the adults in a Charlie Brown comic strip. As film analogies go, this novel is more Short Cutsthan The Player; a set of not-always-connected short stories that hit a nerve often enough but don’t hang together as cohesively as they might. The authors’ explanation that they wrote the book in 2000 for the 3-Day Novel Contest sponsored by Anvil Press goes some way to explaining its casual structure. “We worked out the movie that they’re working on and some of the characters who are working on that movie,” McFetridge says. “And then we went off on our own and wrote stories that took place on that movie set.” They submitted the completed novel but received no word — “Nothing,” says Albert. “No, ‘Dear sirs, this is the worst thing we’ve ever read.’ Just nothing.” — until a year later, when a bulk-mailed flier asked them to “Please enter the 2001 3-day Novel Contest.” Nevertheless, they felt they had the kernel of a good book, so they rewrote and polished and eventually got an acceptance letter from Signature Editions. Upon entering the publishing world, they found that writers are not only above the line, people actually pay attention to details. On that subject, McFetridge recalls their editor pointing out typos in the call sheets, parking permit, invoices and script fragments interspersed between the chapters just for fun. “We thought, ‘you’re reading this crap?’ Man, most of the people for whom this is vital information don’t even read it. She said, ‘In the book world, we read everything.’” The inclusion of this material helps set the scene but doesn’t deliver enough useful information or subtext to justify the space it takes up. As McFetridge points out, there’s nothing in these trimmings that will advance your understanding of the story. Perhaps this is a case of form matching content. In the book, the film production is disintegrating, with the script being improvised throughout the shoot. McFetridge and Albert have first-hand experience with this, having met on the no-budget vanity project The Protector in 1997, and they are currently rewriting a project called Hunt for the Devil, heeding the producer’s request to include more sex. ”

—Edward Keenan, Eye Weekly

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