Limited Edition DVD Bundle Now Available

DVD’s are definitely old school technology, but they just won’t go away; so, I have a Limited Edition DVD of “Finding John Lingwood” in production.

It is available bundled with a general admission ticket for the great price of $19.95. You can order right now.

If you’ve already bought your ticket you will be able to buy a DVD at the premiere for $9.95. Credit card purchases ONLY. 

If you would like a sneak peek of the film watch the official trailer:

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How to choose a carpet … Lingwood style

Tickets for the premiere screening of the film are starting to move.
Be sure to order yours online BUY NOW

Anyone who – in their adolescent years – wanted to paint their bedroom walls black knows that putting your mark on a space makes it your own. 

Former president of the Kitchener-Waterloo Record, Paul Motz, had much more to play with when in 1970 his father assigned him to managing the interior details of the new Record building at 225 Fairway Road South.

One of his jobs was selecting the carpet for the space – not measured square yards, but measured in acres.

Although this clip didn’t make it into “Finding John Lingwood”, Paul’s detailed account of the process always fascinates me. Watch it below.

Why this Lingwood building was not demolished

Fairway Press - Personal_71-7916b_005
Photo from the Personal Studio Collection at the University of the Waterloo Library, Special Collections and Archives

In the late 1960s, the City of Kitchener made a deal with the Kitchener-Waterloo Record – an exchange … some property in downtown Kitchener for a chunk of land on Fairway Rd. across from Fairview shopping mall.

Former president of the Kitchener-Waterloo Record, Paul Motz called it “the middle of nowhere.”

The deal was made under the condition that the Record build on the site right way.

Architect, John Lingwood was commissioned by the Motz Family to design and build a new production/office facility for its chain of community weekly newspaper and the Fairway Press building was created.

(You can find out the details at the premiere of “Finding John Lingwood” my documentary about the modernist architect. Details to be announced soon.)

In the late 1990’s after many changes in weekly newspapers ownership or the closing of some, the site was sold to make way for the Best Buy store that now sits on the property.

But, the story of the building doesn’t end there … with demolition.

The building was constructed of prefabricated panels bolted to a steel frame; so, it was sold the Marsland Centre Ltd. of Waterloo, disassembled and moved to 101 Randall Drive, Waterloo where it stands today.

property_101-randall-drive-panoramic

Why I open my heart and head to critiques

I’ve finished the first cut of “Finding John Lingwood” and it’s time to find out if the John Lingwood I’ve come to know resonates with audiences. Over the next month I’ll be screening this version with test audiences to hear what they have to say.

It’s stressful, having your work critiqued, but it’s essential to getting the film ready for a premiere in fall 2018. 

I have had the help of some talented crew members from time-to-time during production, but the micro-budget for this project kept me working in virtual solitude – interviewing, shooting and editing.

Although this suits my nature just fine, this is where problems can start.

No matter how hard you to try to rein in your biases and experiences, their influence creeps into your process, particularly in editing.

You easily become convinced you’ve got it right:

  • The sweet little scene with a subject you’ve really connected with; 
  • The funny moment that makes you laugh each time you see it; 
  • The beautiful drone shot.

They all fight to find their way into your film. As editor you must guard and guide the story, making sure every moment, every cut, every visual advances the narrative. 

The ruthlessness required is simply beyond me.

This is when I depend on members of the test audience. They poke your soft spots, call you back when you wander from the storyline and question every awkward moment. 

Sometimes you just want to bury your head in the sand – pour a glass of wine and ignore the advice. But that is hardly useful. So when I do a screening, I strive to open my heart and head; I take notes; I consider every comment.

For the filmmaker, the challenge is not only to listen, but also to try to understand. Feedback can’t always be taken literally; improvements are often found by changing something other than the specific quibble. 

Here’s the thing: I have never found my work to get worse after a test screening. It has always …  always gotten better.

Not everyone can be part of the test audience so, as a thank you for reading this post, I’ve included a little taste of the first cut of “Finding John Lingwood” – a clip of my work so far on the opening credits.  

I’m hoping to achieve three things:

  • Evoke the period, 1955-1996,
  • Set a tone of the film,
  • Reflect the character of John Lingwood. 

It’ll be hard to judge these criteria without see the entire film, but I would love to hear your thoughts just the same. Please comment below.