Coupland goes Green with first script

Vancouver: The comedy feature Everything’s Gone Green, penned by famed West Coast novelist Douglas Coupland, went to camera in early June in and around Vancouver, with delivery scheduled for December. The film marks the scribe’s first feature script written directly for the screen.

A copro between Toronto’s Radke Films and Vancouver’s True West Films, Gone Green stars Ontario native Paulo Costanzo, best known as Michael on the TV sitcom Joey. Supporting cast includes Steph Song (The Long Lunch) and JR Bourne (Ginger Snaps Back). Helming is Paul Fox, a former Playback 10 to Watch finalist whose first feature, The Dark Hours, is due for release this fall.

Gone Green tells the story of Ryan, a good-natured slacker and member of a money-laundering scheme who struggles to find happiness with his ill-gotten gains.

Executive producers are Radke’s Scott Mackenzie and independent Dan Lyon (Twist, Duct Tape Forever), and producers are Chris Nanos, also of Radke, along with Elizabeth Yake (It’s All Gone Pete Tong) and Henrik Meyer, both from True West. The budget is just under $2 million, the majority of which comes from Telefilm Canada, with additional financing from The Harold Greenberg Fund, CHUM Television and distributor ThinkFilm.

While mock-rockumentary It’s All Gone Pete Tong, which opened on domestic screens on June 10, is the second feature for True West, Gone Green is the first foray into features for Radke. The movie has been in development since 2002, when the commercial prodco announced its ‘features and special projects division.’

Nanos says that Radke partnered with True West because of the forward-thinking sensibilities the latter displays in Pete Tong, and that going ahead with Green marks a new stage in Radke’s development, and it is part of a growing critical mass of domestic films with box-office potential.

‘The only way that our film will do well is if other Canadian films do well,’ he says. ‘We also have to support ourselves in the foreign market, and by that I mean we have to make Canadian films sellable.’