Toronto: It’s a strange move – to rename one’s company just as it’s hitting a high point. If business has been bad or, say, if there’d been PR trouble, it makes sense. (Case in point: SkyDome is now called Rogers Centre.) But Tapestry Pictures has been on something of a winning streak for the past couple of years, thanks to its multi-Gemini-winning Shattered City: The Halifax Explosion and the well-received MOW Prom Queen. Why would co-owners Mary Young Leckie and Heather Haldane rebrand? The pair unveiled their new name, Screen Door, at this month’s CFTPA Prime Time in Ottawa conference.

Leckie says they’ve been meaning to rename since Haldane came on board five years ago, but never got around to it. Also, there’s already a Tapestry Films in the U.S., which has been causing some confusion.

The company has been building its international reach – it has a new output deal with Alchemy and a ‘creative alliance’ with Box TV, both in the U.K. – and will push a new slate of projects to camera this summer, starting with the $10-million mini Everest! for CBC. Penned by Keith Ross Leckie and copro’d with Calgary’s Alberta Filmworks, the drama about the first Canadian team to climb the world’s tallest mountain will shoot in Nepal by August or September, moving to the Rockies after that.

‘Heather is the one who’s not afraid of heights,’ says Leckie, with a laugh. ‘She’ll be the one going to Nepal.’ Screen Door is looking for a director and will make use of a pre-existing CGI model of Everest.

CBC also ordered the two-hour MOW MVP, turning around what had originally been pitched as a racy 13 x 60 series. Leckie hopes the MOW will strike a nerve as a pilot for a possible ’06/07 series.

The company is also in talks with Lea Pool (The Blue Butterfly) to shoot the feature doc Labyrinth of Desire and is moving forward with the six-part war story Maple Leaf Up by writer/director/DOP Glenn Warner.

The prodco also recently wrapped the MOW Spirit Bear for CTV.

Leckie’s pet project right now is The Nut, a Spellbound-esque doc about a local ballet school’s annual production of The Nutcracker. She has been on the school’s board for many years and, a former ‘ballet mom’ herself, wants to spotlight the fierce competition for the show’s best roles.

‘It brings out the best and the worst of parents,’ she says, ‘but that never seems to touch the dance or the children… It moves me to tears every year.’ The Nut is her directorial debut. She’s shot some 70 hours since Christmas.