Director: Anne Wheeler * Writer: Linda Svendsen (novelist) * Scriptwriters: Rob Forsyth, Lori Lansens * Producers: Arvi Liimatainen, Jeanne Stromberg * Executive producers: Harold Tichenor, John Delmage * Diary by: Louise Leger

the making of Marine Life, says producer Arvi Liimatainen, Reminded him that ‘feature filmmaking is a labor of love in this country.’

Liimatainen, who has worked extensively in both film and television, in both Canada and the u.s., is referring to the long and complex process of financing the $3.5-million project. With funding coming from the Canadian Television Fund, Telefilm Canada, British Columbia Film, Film Incentive b.c., the Canadian Film or Video Production Tax Credit and cbc, as well as distributor Crescent Releasing, satisfying all parties was like putting together an intricate house of cards.

‘I was not prepared for this long process, which I think is uniquely Canadian,’ says Liimatainen. ‘They make it so difficult for producers – you get trapped in a paper war. On the creative side, though, making the movie was a delight.’

Marine Life, a comedy/drama that features a middle-aged lounge singer trying to hold on to her career, her dysfunctional family and her young lover, boasts many veteran talents: its director is Anne Wheeler (Better Than Chocolate, Bye Bye Blues), it is based on a book by celebrated author Linda Svendsen, and Cybill Shepherd takes the starring role.

Early 1992: Several months before author Linda Svendsen’s novel Marine Life is released, the manuscript is brought to the attention of producer Jeanne Stromberg of Stromhaus Production. ‘I loved it,’ says Stromberg, ‘and immediately felt it should be a film.’

Later that year, the book is nominated for the L.A. Times First Novel Award and Stromberg options the book.

Fall 1992: Lori Lansens and Rob Forsyth begin writing the screenplay for Marine Life.

John Delmage and his company, Toronto-based Decode Entertainment, come on board. Work begins on boosting awareness of the project and raising money.

1993 to 1997: Work on the script continues. It goes through several rewrites and the process is slowed down in part because of the illness (and eventual death) of screenwriter Forsyth.

The producers begin the process of applying for funding to Telefilm Canada and other federal funders.

1997: A mutual friend brings Stromberg together with producer Arvi Liimatainen of Vancouver’s Crescent Entertainment. Stromberg asks him to read the script and asks if he would get involved with the project.

‘I got the script and the book and read it in one night,’ says Liimatainen. ‘I called her the next morning and said ‘Absolutely.’ ‘

Early 1998: Crescent legally acquires the project, taking on the copyright. This means it qualifies for British Columbia provincial funding, which is quickly applied for.

Liimatainen approaches acclaimed filmmaker Anne Wheeler, whom he has worked with before. Wheeler agrees to direct the project, saying, ‘The story is full of humor and music – and moments of revelation. It’s a real gift to be asked to translate all this to the screen.’

Summer 1998: Wheeler’s established reputation helps sell the project to financial sources. Still, ironing out the financing is arduous and the project is delayed for a whole year.

‘Even after the various funding sources had agreed to do the picture, the requirements of each agency had to be worked out and the amount of paperwork was enormous – overwhelming,’ says Liimatainen.

Late 1998: Despite the financial holdup, casting goes ahead. Wheeler had Cybill Shepherd (Cybill, Moonlighting, The Last Picture Show) in mind all along for the lead role of June. To entice Shepherd to take the role, Wheeler sends her Better Than Chocolate and then pays Shepherd a visit.

‘There’s a lot of dysfunction and heartache within this family,’ Shepherd says of Marine Life. ‘The script also has a lot of reality-based comedy, which I really like.’

Mid-1999: With the growing buzz around Better Than Chocolate, the seven backers of Marine Life confidently endorse the film and the funding is finally in place. The rest of the cast is confirmed, including Alexandra Purvis in the role of precocious 12-year-old Adele and Peter Outerbridge (Kissed, Better Than Chocolate) as June’s lover.

September 1999: Six weeks of principal photography begins on Marine Life in Vancouver. ‘It is a very internal story,’ says Liimatainen, ‘and it was exciting to watch [Wheeler] drawing the story outward and giving it visual style.’

Alliance Atlantis Pictures International comes on board as distributor, with Crescent Releasing handling the u.s.

November 1999: Marine Life moves into post-production.

May 2000: All editing, effects and sound mixing are complete.

September 2000: Marine Life debuts at tiff. *