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TO THE LIFEBOAT.


ential simplicity of that adventure—just a friend, a canoe and the boreal forest. Then I struggled with committing to film my next adventure. I knew that I wanted to use film to show the interconnectedness of life in Lab-


rador, but the all-consuming process of shooting a layered, broadcast-worthy movie about a tough expedition is like adding the logistical complexity of a third person to the canoe. In terms of energy and effort, it’s like bringing a toddler along. On the other hand, films I’ve made in the past have always been deeply rewarding. The tug of war in my mind didn’t end until the morning we left Vancouver for Goose Bay. The third person was coming.


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Labrador is a vast region, the most eastern part of Canada’s mainland, and home to more caribou than people. North of its southern towns there are no connecting roads and the only way up is by plane or ferry. With our canoe on board, we take the MV Northern Ranger on a two-day voyage


along the coast to its terminus at the Inuit village of Nain. This community is my only chance to get the Inuit perspective of the land. Nain is the capital of Nunatsia- vut, the Inuit region that comprises northern Labrador. Filmmaking is a journey that parallels the canoe trip—you have an idea of where


you want to go but never know exactly what, or who, is around the next corner. Unknown twists and turns are where adventure and inspiration arise. Likewise, the camera and the canoe are powerful tools if you have a purpose and mission. Both invite local populations to share ideas and stories they otherwise wouldn’t tell. I im- mediately begin hunting for relevant interview subjects.


66 SPRING 2013


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