Set in the midst of Toronto’s Jamaican community, director Stephen Williams’ Soul Survivor weaves a tale of isolation, identity, making choices… and hope. It’s the first feature film for Williams, whose short, Variation on the Key 2 Life, garnered attention at the 1993 Festival of Festivals in Toronto and shared the Gold Plaque award at the Chicago International Film Festival. Principal photography on Soul Survivor began late last month, and will wrap at the end of this month.

Williams was a resident at the Canadian Film Centre in 1992/93, after working in the industry directing commercials and tv dramas. He had been toying with Soul Survivor for several years – his stay at the Centre and the experience of Key 2 Life gave him a clearer idea of the filmmaking process, and he polished and perfected his script.

Soul Survivor tells the story of Tyrone, a Jamaican immigrant living in Toronto (Williams himself emigrated from Jamaica). In his rapidly changing neighborhood, Tyrone struggles between the exciting but shady world of the local business leader, Winston, and his responsibility to his self-destructive cousin Reuben (who owes Winston money).

Williams’ advisor at the Centre, Louise Clark (formerly with the Ontario Film Development Corporation) introduced him to producer Paul Brown (I Love a Man in Uniform). ‘As a first-time director,’ Williams says, ‘I had to surround myself with people who were stronger than I was in many ways, in their particular areas of responsibility.’ He was confident Brown ‘had proven himself in the industry.’

Brown, on the other hand, was drawn to both the script and Williams’ ‘honesty.’

‘Although the script is set in a particular community, the dilemmas faced by the characters are universal… and I liked the way Stephen would treat it,’ says Brown.

The two hooked up and put together financing for the $1.3 million film. Norstar Releasing came in as distributor; ofdc and Telefilm Canada money followed.

Brown recruited a number of people from I Love a Man in Uniform, including cinematographer David Franco, production manager Armand Leo and casting director Susan Forrest. The team cast in Toronto, Vancouver, London, Eng. and Kingston, Jamaica.

When Williams was writing the script, he had often thought of his brother, actor Peter Williams, in the role of Tyrone. Peter is based out of Vancouver, where, for the last four seasons, he has been a regular on the series Neon Rider. After the casting search, it became apparent to Stephen that Peter was the best actor for the part. Fortunately, their busy schedules coincided and Peter was available.

According to Peter, the project is like a reunion. He recalls Stephen, himself and David Smith (who plays Reuben) sitting in Toronto’s Kensington Market seven years ago (about the time he left for Vancouver), talking about making a film together.

‘It was the realization of a dream,’ he says. The brothers say their blood bond helps the process – ‘Stephen will grunt and I’ll know exactly what he means,’ says Peter. ‘A raised eyebrow will speak volumes,’ Stephen agrees, adding, though, that when it ‘comes down to the nuts and bolts,’ it’s pretty much business-as-usual.

British-based actor/singer George Harris (Prime Suspect ii, Raiders of the Lost Ark) was cast as Winston, Judith Scott (Race to Freedom: The Underground Railroad) plays Winston’s daughter (and Tyrone’s love interest) Annie, and Clark Johnson (Iron Eagle ii) plays Busha. The cast and crew has come together well, says Stephen.

Originally drawn to Brown because of his experience, Williams says he quickly realized that Brown had a real understanding of the script, and was ‘willing to allow me to make the film that I wanted to make.’

He also has great praise for cinematographer Franco. ‘I had the idea in terms of shooting the whole film on wide lenses – an expressionistic visual treatment. David knows what I’m trying to go for – he’s bold and gutsy,’ he says.

With Franco and production designer Sandy Kybartas, Williams has been able to get the rather surreal and otherworldly feel he was aiming for.

Stephen admits it’s tough, especially for a first-time director, to stick to an original script. ‘The chaos of filmmaking is almost antagonistic towards keeping the film with the original material – the goals and visual ideas,’ he says, ‘It’s difficult, but important.’

Williams adds that he has received a lot of support from the black community in Toronto and from all those involved in the project.

Brown and Williams are planning a September launch, but have set no definite dates. They plan both a Canadian and an international theatrical release.