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June 22, 2012

Goodbye and Good Luck, Roy Hayter!

 VFS's Film Production graduation ceremonies are always a treat, never mind a great opportunity to network with tomorrow's filmmakers. Today, the 141 class held theirs (Vancity Theatre in downtown Vancouver). Great, innovative stuff from the students in that group. I've been to three of these now over the past year, and the films just keep getting better and better!

It was also Roy Hayter's last day, and he left the graduating class with a few parting pearls of wisdom. Roy has been making films for years and a VFS instructor for fourteen of those. But "filmmaker" and "instructor" only describe what he does. Granted, he does those things very well, but what I (and apparently many others) find truly fascinating about Roy is the person he is.

This past January, I had the chance to meet and work with him on the set of his VFS Compendium VI film, The Flowers, as a stand-in. (Note: Mel got to, as well - just one in a string of opportunities we've had to work together this year!). Having never been on a location before, except as a kid when my mom was a producer for CTV, I spent the day listening, learning, and absorbing. For the first time, I truly understood what an AD, a PA, a grip, and a best boy did - and why it's sometimes okay to "cheat"!

Mostly, though, I watched Roy. Not just because I'd like to sit in that chair one day, but because of the signature way he treats people while never taking his eye off the ball, regardless of the inevitable, enveloping chaos that comes with making a movie. Intelligent, confident and successful, it could be easy for Roy to treat his crew like crap and get away with it. It happens all the time.

But not once did Mel or I felt like a peon or a nuisance. Ever-gracious, Roy kept the atmosphere light and relaxed, even as we all sailed ahead at a hundred miles an hour. He smiled, he got serious; he joked, he reigned us in; he told us what to do but always checked how we were doing. In short, he was a pro at taking the emotional temperature of the room en route to the wrap. He and his crew made our first experience one of our best to date.

Then in the spring, I was brought on board as composer. In the ensuing weeks and months, Roy and I would meet to discuss the tone and feel of the film, and particularly how the music would help tell the story. We talked Stravinsky and Herrmann, Williams and Elfman, what instruments would work best here, what tone would sell the emotion there, until we'd built a map for me to populate with sound. And as before, it was a treat to work with Roy, a man as warm as he his professional. Everyone I talk to at VFS seems to have the same impression of him. I know he'd say I was overdoing it if I said any more, so I'll draw the praise to a close, out of respect. But not because there isn't more to say.

And now he's moving on to devote his full attention to directing once again. Roy, thank you for making my practical introduction to filmmaking so enjoyable. I wish you nothing but success in the years ahead. I know you'll have it!

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