This May, we had the pleasure of chatting with filmmaker and television director Holly Dale, one of Canada’s prominent screen industry talents, to discuss her remarkable journey from CFC alum to award-winning creator. For over 25 years, Holly has captivated audiences with her television and cinematic work, including The Thin Line (1977), P4W: Prison for Women (1981), which earned Holly a Gemini Award in 1982 for the Best Theatrical Documentary, and Hookers on Davie (1984).
Highlights of the many extraordinary series Holly has guest directed include Dexter, The Americans, X-Files, Law & Order: SVU, Flashpoint, Cold Case, and the hit CTV medical drama, Transplant, created by fellow alum Joseph Kay. In addition to her television success, Holly has also contributed to respected Hollywood films, alongside notable talents such as Halle Berry’s Extant, Bradley Cooper’s Limitless, Marvel’s Agents of the S.H.I.E.L.D, and Steven Spielberg’s Falling Skies, to name a few.
Throughout her career, Holly has been recognized by industry peers for her impactful storytelling, earning many prestigious awards such as the Canadian Screen Award for Best Picture and Best Director for Durham County, as well as the Canadian Screen Award for Best Director for Mary Kills People. The Directors Guild of Canada has recognized Holly as their Best Director of Drama Series on four separate occasions for her work on the acclaimed series’ Flashpoint, Durham County, Mary Kills People, and most recently for Transplant.
As the CFC prepares to celebrate its annual fundraising gala on May 16th, The CFC Gala: DECADES, paying tribute to the legacy of esteemed filmmaker and CFC founder Norman Jewison, seasoned CFC alumna Holly Dale shares her most cherished memories with the CFC, from participating in the very first cohort of CFC’s film program to her reflections on serving as an observer director on Norman’s film Agnes of God. Read on in the spotlight below.
What inspired you to pursue a career in filmmaking?
I’ve always been interested in telling stories. I’m also extremely fascinated with the human condition under extraordinary circumstances. I originally started with a documentary where I really got an understanding of human nature. When I went to the CFC, I was able to incorporate everything I was learning about human nature in a documentary towards my dramatic work, which brought a great deal of understanding and truth to my storytelling.
How did your experience in the CFC’s film program shape your journey?
The CFC program was pivotal to me moving from documentary to dramatic film. The wonderful thing about the CFC is that they solicit many professionals in the industry to help guide the residents with all the details, from creative to business in film. It was invaluable and absolutely a big part of me finding my voice as a dramatic director and finding out how to maneuver my way through the industry.
How do you think organizations like the CFC contribute to the growth and diversity of the Canadian screen industry?
Many, many extremely talented individuals from diverse communities have gone through the CFC program. It has enabled writers, producers, directors, and more to succeed. It has given audiences the opportunity to hear varied voices and experience fresh stories. It has had a big impact.
Could you share a memorable moment from your time as a director / observer on Norman Jewison’s film Agnes of God? How did this experience influence your approach to filmmaking?
Norman was very generous with his time when I shadowed him on Agnes of God. One of the most interesting things that I remember is that he would ask me to figure out how I would shoot one of the scenes/structure it before telling me what his intent was. So I would break the scene down, and then I would see his plans, and it helped me understand how to shape the scene and how to shoot it. He would also engage me with the actors and crew so that I wasn’t just observing. He was allowing me to be active in the making of the movie.
Since beginning your journey, you have created an incredible body of work that spans from award-winning films like P4W: Prison for Women to groundbreaking series’ like Law & Order. Can you walk us through your process for selecting projects to work on?
In the beginning, I had a film partner, Janis Cole, and we made documentaries together. We were always attracted to marginalized people and gave them a voice. We were also particularly interested in the plight and treatment of women in society. So we gravitated toward making films like P4W: Prison for Women about incarcerated women, Hookers on Davie about cis women and transgender prostitutes, and Calling the Shots about women feature film directors working in a male dominated industry. When we moved into drama, Janis became a writer, and I became a director. Our first joint feature was Dangerous Offender, a CBC movie about Marlene Moore, who was the first woman labeled a dangerous offender in Canada. She was in our documentary, P4W, and had become our friend. When I got into episodic television, I was attracted to directing pilots like Durham County, Being Erica, Mary Kills People, Transplant, Law & Order: Toronto Criminal Intent—shows where I got to set the tone and look and work with producers and show runners who were generating good stories.
Looking back on your career, what do you consider to be the milestones that have shaped your artistic vision and approach to storytelling?
Every show you make, you always learn something and get stronger. I’ve been very fortunate in my career. I’ve had a lot of excellent experiences and have had the opportunity to work with great crews, writers, producers, and actors. Filmmaking is a collaboration, and I have learned something from each of the many people I’ve worked with. Maybe the most important lesson is to be open and embrace collaboration. I would say that’s my approach. There are way too many milestones to list them all.
As a filmmaker whose work has been featured in festivals worldwide, how do you navigate the international film scene while staying true to your Canadian roots?
I feel when participating in festivals worldwide that the festivals embrace the country you’re from. I don’t think it’s hard to navigate and stay true to your roots since they are embraced and celebrated everywhere you travel with your films.
What upcoming projects are you looking forward to?
All of them!
How do you hope filmmakers like yourself continue to push boundaries and inspire future generations of creators?
I think it’s extremely important for us to be supportive of the people that are coming up in the industry as much as we can, to help them by letting them shadow us, and to be open to answering the questions they have. And look at their scripts and films and provide feedback. It is our duty, and for me, it’s a pleasure. After all, there was once a time when people did it for me.
Any words of wisdom for aspiring creators thinking about applying to CFC programs?
I would say that, next to making documentary films, going to the CFC was the most important move I made in my career. It opened a door to the world I’m in now and have spent a good part of my life in. I’ve loved every minute of it. When you’re there, it’s important to be a sponge, to listen to people, and to take everything in. Remember to be open, but never lose sight of who you are and what you want from the CFC. Be tenacious and persevere, and most of all, believe in yourself. If you go to the CFC, I guarantee it will be one of the most memorable times of your life.
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