Arctic Air’s director/producer Gary Harvey on moving forward and giving back

Executive producer and director Gary Harvey has just come off a solid first season for Arctic Air — the most-watched debut season for a CBC drama series in 15 years. While he waits on news of a season two, he answered some questions about his career, his unusual role as a director/showrunner, and how giving back to the industry is a survival mechanism.

What do you think it was about that show at this time that caught the attention of an audience?

(Creator) Ian Weir always meant for Arctic Air to be a bit of a throwback to the classic adventure series. Imminent peril is obviously a big theme throughout and we deliver on those types of stories. There is also the environmental dilemma faced by the north and we touch on that through the relationship between Adam Beach’s character Bobby and the Ronnie Dearman character, played wonderfully by Brian Markinson.

We tend not to hang our stories on sex or violence episode to episode, although we don’t shy away from it when appropriate. I have been surprised by some of the audience’s responses describing the show as family viewing. It always seemed a bit darker than that in my mind but perhaps we’re tapping into something that is counter to our expectation of family viewing today.

Having said that, the show is also fun and doesn’t take itself too seriously. I think all those elements have resonated with audiences.

I also think that opening a window on a physical environment few people “south of 60” have experienced vis-à-vis the NWT has been a big piece of the puzzle. The north is a very interesting place, exotic in many ways. During my first trip to Yellowknife I knew how big it was going to be for the audience to experience as much of the world of the NWT as possible. I think we were quite successful delivering on that promise.

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Next week is season finale week for CBC

From a media release:

Season Finale Week on CBC Television  March 29, 2012

After debuting to record high audiences this winter season, CBC Television’s winter lineup wraps up next week with several finale episodes.On Monday, it is the season finale of CBC-TV’s funny and fresh new comedy MR. D. The show attracted 1.23 million viewers for its season premiere, making MR. D the most-watched show on a Canadian network in the timeslot. DRAGONS’ DEN, Canada’s top-rated entertainment program, reached 2 in 5 Canadians over the course of this season. Its finale airs on Wednesday, followed by REPUBLIC OF DOYLE, which had its best season yet, with more than 1.3 million viewers for the season premiere. And on Friday, MARKETPLACE wraps up another strong season—it averaged 1.157 million viewers, a 31 per cent increase over last year—while the fifth estate caps a season that featured episodes that garnered the show’s largest audience numbers in more than a decade.

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Little Mosque signs off on Monday

From a media release:

LITTLE MOSQUE ON THE PRAIRIE SIGNS OFF AFTER SIX ACCLAIMED SEASONS – MONDAY, APRIL 2 ON CBC-TV

After six seasons of laughter, friendship – and international acclaim – LITTLE MOSQUE ON THE PRAIRIE comes to an end Monday, April 2 at 8:30 p.m. (9 NT) on CBC Television. In the final episode, Amaar prepares for the grand opening of the town of Mercy’s new Mosque, while trying to get Baber to end his boycott.  Charles returns to Mercy with a plan to win Ann. Sarah reaffirms her Muslim faith. Are new beginnings on the horizon? What is in store for the people and the town of Mercy? 

LITTLE MOSQUE ON THE PRAIRIE is the internationally acclaimed comedy about Muslims and Christians attempting to live in harmony with one another in the small town of Mercy, Saskatchewan. The series premiered in January 2007 with record breaking audience numbers with a first season average of 1,253,000 viewers, and has since been seen in over 90 countries.  It has been inducted into the Museums of Radio and Television Science in both New York and Los Angeles; and featured in news coverage in outlets including the BBC, NPR, CNN and the New York Times.

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David Barlow on the Toronto Screenwriting Conference & the past and future of Canadian TV

DBarlow

David Barlow (King, The Border, Seeing Things) is one of the speakers at the Toronto Screenwriting Conference on March 31 and April 1. He tells TV, eh? about his early big break, how storytelling has changed over the years, and his wish list for Canadian television.

First, tell me about the Toronto Screenwriting Conference – what do you hope to convey there, and what do you hope to get out of it? What role do conferences like this play in career development?

Bill Mustos, the moderator for our panel on procedurals, has posed the key question: “What distinguishes your series and makes it different from other procedural series?”

It’ll be interesting to hear four different producer/writers respond to this question. It’s really a fundamental consideration when embarking on developing a procedural series, given the deep history of the genre and the competition with the number of procedurals on air.

I’ll talk a bit about The Border and King, two distinctly different procedurals, and how the creators of those shows tried to create fresh and specific personalities for their series. And I’ll probably throw in my two cents worth about what makes for a successful series.

What do I hope to get out of it? Well, selfishly, I usually learn more than I impart at these conferences. The basics of screenwriting are comparatively simple, it’s the execution that’s complex and demanding. No matter what side of the podium I’m sitting on, I always welcome the opportunity to hear how others address the challenges — what methodologies they use, what questions they ask themselves — it’s like taking a refresher course. What’s more, having to describe my own approach forces me to reflect on my own process. A little self-analysis can be a good thing.

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