Producer/writer/director: Carl Bessai

* Director of photography: John Westheuser

* Diary by: Louise Leger

shot in the style coined ‘Dogma 95’ by Danish directors Lars Von Trier (Breaking the Waves) and Thomas Vinterberg (The Celebration), johnny is Alberta-born Carl Bessai’s first feature film.

‘I have always been fascinated by the power structures between people – how one person can manipulate others into essentially destructive behavior,’ says Bessai. ‘The filmmaker Fassbinder did it – he convinced those around him that without them he was lost. They would do literally anything for him and he could ask for anything because nothing was outside the scope of what he was prepared to do himself. The character of Johnny embodies that terrible, seductive force.’

Johnny is the de facto leader of a gang of disenfranchised squeegee kids living on the streets in Toronto. When the charismatic and manipulative Johnny gets his hands on a camcorder he coerces each of them into filming the increasingly dangerous scenes he masterminds.

‘The subtext of the film is that control can be wielded through the medium – the camera controls things,’ states Bessai. ‘Filmmaking replaces drugs and the camera is the real addiction.’

Filmed in Toronto during the crippling snowstorm of January ’99, johnny was originally budgeted at $900,000 but had to be made for $500,000. It was shot entirely with a hand-held camera and available light. It is the first of four features by Bessai that will focus on characters at crucial turning points in their lives.

January 1998: Bessai is working on a documentary about street kids who are connected to a halfway house. ‘I would talk to these kids who were about 16, and would send them Hi-8 Super-8 cameras. A lot of what they filmed was unusable, with loud Led Zeppelin music in it. But it was interesting what they came up with – the honesty that was there once they got away from social workers and 30-year-old filmmakers.’

This experience fleshes out a story idea Bessai has been turning over in his mind. He begins a script that will explore the themes of power relations and youth on the street with the honesty of the documentary style and the passion of the dramatic form.

June 1998: Bessai continues to work on the script. He teams up with a partner in order to get the film made. A distribution deal is lined up.

June 1998: At the Banff Television Festival, key broadcaster contacts are made.

July 1998: The casting process begins. Gema Zamprogna is signed on and Nick Van Burek agrees to take the lead part. Filming is expected to be in January, during the actors’ down time.

July-August 1998: Citytv, TMN-The Movie Network and Superchannel are all on board. A director of photography also joins the team.

October 1998: The distribution deal falls through. ‘I was screwed,’ says Bessai. ‘Everything depends on the other guy, so now there was no distributor and no Telefilm money. It went from a $900,000 to a $500,000 film.’ Despite the setback, further casting is done.

November 1998: Leading up to prep, Bessai’s partner drops out. Bessai is tempted to throw in the towel.

Early December 1998: At a Christmas party, Bessai runs into John Westheuser, who is also interested in Dogme-style. Since there are problems of availability with the previously chosen dop, Westheuser comes on board.

At the same party, he connects with editor Manfred Becker. Filming is on for January, since that is when the actors are available.

Late December 1998: Lead actor Van Burek gets offered a job in Stratford and can no longer play Johnny. Bessai, desperate, but determined to carry on, talks to casting consultant Julia Tate. Chris Martin is cast as the new Johnny.

‘At first I wasn’t sure about him, but once we sat around and talked about the part, and what we were trying to achieve, I was blown away by him,’ says Bessai.

Production manager Diane Scruton is on board and ready to go.

January 1999: Principal photography begins. While Toronto is preoccupied with a series of record-breaking snowstorms, the film is shot around the city. An ‘ambient glow off the snow’ and the wet, messy, gritty sound of the snow and slush are captured on film. There are no sets, Steadicams, dollys, lighting or other traditional supports.

‘It was quite a challenge. Normally a director will block a scene, but this was done more free-flow,’ says Bessai. ‘We often didn’t do rehearsals, we did a sort of workshop, then just went on location and let the camera loose to see where it would go.’

A week of second unit follows 14 days of principal photography.

The editing process begins and continues until May.

May 1999: Shot on Super 16, the film is blown up to 35mm with the financial help of Telefilm Canada.

September 1999: johnny debuts at tiff.