A rich impressionistic essay on nothing less than the artist’s place in the universe
Katherine Monk, Vancouver Sun


BONE WIND FIRE is an intimate and evocative journey into the hearts, minds and eyes of Georgia O’Keeffe, Emily Carr and Frida Kahlo—three of the 20th century’s most remarkable artists. Georgia O’Keeffe lived and painted in the sun-baked clarity of the American Southwest; Emily Carr in the lush jungled green of the BC rainforests; and Frida Kahlo in the hot and dusty clamour of Mexico City. Each woman had her own response to her environment; to the people that surrounded her and to the artistic or practical challenges she faced in wringing beauty and truth from her particular time and place. BONE WIND FIRE uses the women’s own words, taken from their letters and diaries, to reveal three individual creative processes in all their subtle and fascinating variety. Playful visual effects pull paintings into the artists’ landscapes creating an evocative tapestry of a painter’s imagination.


Bone Wind Fire grew like the elements of its title. Almost by chance, director Jill Sharpe, who had spent three years developing her skills as a painter in Oaxaca, Mexico, came across a book by Sharyn Udall called Carr, O’Keeffe, Kahlo: Places of Their Own, which managed to yoke the three early 20th century artists together in a way that struck the filmmaker as both unforced and irresistible. She’d been waiting for a project that could synthesize her filmmaking avocation with her love of painting; and by further chance one of the artists involved was associated with the country she’d just come from and the style she’d been immersed in.

The project found a home at the NFB’s Vancouver Studio under producer Yves Ma. It was filmed in three different countries over nine days, using cutting-edge digital technology and extensive post-production visual effects. Much of it was shot, in fact, in the actual locations in which the women had lived.

The visual design of the film was crucial, and was carefully conceived by Sharpe, cinematographer Sylvaine Dufaux and production designer Tony Devenyi. Says Sharpe, “From the very beginning, what Sylvaine and I were talking about, and what I was talking with my production designer about, was this idea of colour palettes for each of the women. And those colour palettes were inspired by the world in which they painted, and from their paintings and their character.

“The primary colours that symbolize each artist are white, red and green,” explains the director. “White is inspired by Georgia’s desert, the light that she loved, the bones and shells that she painted. Emily lived in and was inspired by the deep green rain forest of British Columbia and Alaska, and way up the coast. Her colour palette was this deep green. And Frida, her landscape was mostly her inner landscape. But she was very influenced by Mexico and the rich, saturated colours of that country. Her scenes are punctuated by red, for the pain and the passion she so delicately held in balance.”

Bone Wind Fire is not a traditional documentary; it is, rather, a “creative non-fiction” film, using image, sound and tone to create a portrait of its three subjects. The idea is to engage the viewer on an emotional and aesthetic level rather than merely an intellectual one. Director Sharpe calls it a “hybrid” and a “cinematic cocktail”—it’s fact filmed as fiction, in a highly stylized way. In choosing to concentrate on the bodies and hands of the actors playing the three artists, or else to shoot them from behind, the director denied herself one of a filmmaker’s primary dramatic tools, the human face. “You never connect with the actor by their eyes,” says Sharpe, “you never see their face, just hear these disembodied voices, so we tried to imbue each shot with the personalities of the women.” Sharpe also had intimate writings from each woman’s own hand, a painstakingly prepared visual plan, and a group of ready and able collaborators. With all that, Jill Sharpe has created a lovely and hypnotic portrait of three alike yet vastly different 20th century masters.

It was their differences which most interested the director, in fact. “I was always looking to make distinctions between them,” Sharpe says. “I never wanted to say that these artists were similar. I wanted to uncover, on many levels, their uniqueness.”



Was your initial conception of this film much different than the final result?

I always thought the script would change once we shot it and once it got into the editing room, but actually, other than a few lines changing, every scene held, and the dialogue almost in its entirety held. All we did was switch up the structure a tiny bit.

It must have been quite a process, going through the diaries and letters to assemble your narration.

Yeah, that was a lot of fun, and it was also a lot of work, because I went through 6,000 journal pages and letters. As I went through it I knew that what I was most interested in was their creative process. How their eyes and hearts were seeing; what stirred them. I knew I was really interested in looking at an artist’s emotional relationship with the creative process, or, you could say, muse. I was really curious about that because what I found amazing about these three women was that they [each] had a lifelong relationship with their artistic process. From their early stages of life right up until their deaths, how they were seeing the world, and how they thought about it, they filtered through their art process. So I was trying to extract all these different quotes whenever they would talk in the journals and letters towards that.

What was your primary inspiration for doing this film?

The real, important inspiration for this film idea came through Sharyn Udall, who was the curator of a travelling exhibit that went across the United States and Canada, and who wrote a book called Carr, O’Keeffe, Kahlo: Places of Their Own. I’d missed the travelling exhibit because I had been living at the time in Oaxaca, painting in a shared collective for three years. At that time I was very immersed in Frida Kahlo and going to Mexico City and seeing her museum and home; and of course Oaxaca is known as the place in Mexico that still has the feel of Mexico City in Frida Kahlo’s time. It was just a fantastic place to be.

So when I came back from that trip I came across Sharyn Udall’s book, and I was really moved by it. I had grown up with Emily Carr. I didn’t know Georgia O’Keeffe that well. But it’s an incredible, very dense curatorial book that looks at the artistic styles and influences of these three women, and where they crossed over. It’s a beautifully written book.

I was really inspired by it, but I didn’t know what to do with it. I just knew I wanted to do something around it, around art and painting, and I wanted to do something poetic. At that point I approached Sharyn and got her good wishes, because I just thought I would never do a film about three icons, because how would you ever get the rights and so on – I mean, it’s a huge, daunting task to go through all that work and then face all the things that could go wrong in terms of your access and rights. So with Sharyn’s blessings and good will, knowing that the film would be very different from her book, I felt more confident that, with her connections and her endorsement, I would get the support from the estates. Because she had achieved that.

So Sharyn became a story consultant on the film, and was very influential to me. I started going off on my own journey. As I got into the project I realized that I really didn’t want to talk about their art styles, or art movements. Film is such a different medium, and I wanted to do something much more personal, from their voice. So then it started becoming its own thing.

But Sharyn was an amazing inspiration about putting those three women together, and her book is fantastic. I’d recommend it to anyone who’s interested in these women’s lives.

Did you consider doing straight documentary adaptation of the book at any point?

No, because at that point I was really moving away from documentary. I had loved documentary filmmaking for 15 years, but after spending some time painting, I had really wanted to do something different. I was really interested in using film almost as a canvas. And I wanted to experiment; that’s what’s so terrific about the NFB, because they let me do that.

So this film has been entirely scripted, it’s been entirely storyboarded, all its special effects have been designed to be layered in, so it became a really large playground for me to experiment with form. At that point I was so clear that I wanted a project to experiment with form. I came back from Mexico and made, I think, three more documentaries. But this one was always designed as a hybrid, creative, non-fiction piece.

How did you plan the visual design of the film? Tell me about your collaboration with your director of photography.

Working with Sylvaine Dufaux was such a pleasure, so fantastic. She works as a camera operator on some pretty big films—Darren Aronofsky films, The Red Violin, stuff like that—and she also works as a D.O.P. [director of photography], and once a year she chooses a smaller project to work on. And I was very lucky in that, this year, mine was her smaller project.

We really seemed in sync from the beginning, and she was curious about what I wanted to do, and always a big supporter. She followed me right through development. We shot the film in nine days, which is incredible since we were in four different places and three different countries. But we had a lot of prep time, just thinking through the script and talking about it, so when we went to shoot, our shot list and storyboards were there. And they needed to be there, because we were also working with an animator who was doing the special-effects transitions for us, and we had to have those sorted out prior to the shoot.

But Sylvaine was just a really great champion for the project, and I’d work together again with her in a heartbeat. She was a true collaborator.

As was my production designer [Tony Devenyi]. I had a lot of key collaborators on the film. It was really fun to work with such a big team. And what I really enjoyed as a departure from documentary film was having so much time in the set-up. In documentaries, you’re looking for real-life moments that unfold in front of the camera. A whole different technique. And with dramatic techniques you are constantly creating and controlling those. Nothing has that spark of chance, and yet you’re trying to get some flavour of authenticity.

It was interesting for me how I taught myself dramatic filmmaking. As an associate producer I was involved in drama productions, a long time ago, before I got into documentaries. So I had a bit of experience on drama sets and with drama crews. But it’s actually painting that helped me the most with the visual design of the film, because I spent a year, full time, painting. Before this film got funded. I was working with a mentor, Sheri Bakes, who was really helping my visual eye, pushing and pulling my own canvases and looking at light, and so by the time I was working with Sylvaine, I had a slightly different language. I had a far greater skill, to my surprise, to communicate and have a dialogue with a D.O.P., because of what I had learned from painting. And yet, when I went into painting, I wasn’t thinking about film at all. I just went into it from a personal love; and yet it completely supported me in making the film.

What were your cinematic inspirations in making this film?

There were some really core inspirations for me. When I made Weird Sex and Snowshoes, I got a chance to interview 21 directors across Canada, and one of them was Robert Lepage. Watching all of his films, I loved what he did, which are these incredible visual transitions that are like magic. He uses theatre techniques to create those effects; it’s not all done digitally.

So Robert Lepage’s work was an inspiration, and so was Julie Taymor’s, especially her film Frida, and also Across the Universe, which both had these wonderful seamless transitions. And she has a theatre background too. So they were kind of working the same way. It’s a low-budget way to do visual effects.

But on the other hand, for a painter’s world, we were always going for this feeling of it being handcrafted. Elemental; things that you could touch and feel, just like a painter’s world is made from water and stone: the basis of paint and all its inspirations. We were always reaching to achieve our effects with real photographic shifts in lighting on set, as opposed to doing things in post-production. We do have a lot of effects in the film, but our first choice was always to shoot things in camera.

Narratively, the film that made me think I could pull off something on three lives in 30 minutes, and that you could say more in the short form perhaps than in the long form, was 32 Short Films About Glenn Gould, which I think is one of the most stunning biographical pictures of all time. They give you one little glimmer of all these sides of one man, and in the end the sum of the parts is greater than the whole.

What sort of audience do you have in mind for the movie?

I hope it will appeal to a large audience. Generally it’s going to be people who are interested in art and have some curiosity about art making. It’s already had some comments from professional painters and people in the art world who are quite thrilled with the film. But I hope it will just speak to people who are interested in creativity. My hope with the film is that someone will watch it, and in watching these women’s key experiences with their creative lives, will be inspired in their own creative life.


National Film Board of Canada presents

Bone Wind Fire

A Film by Jill Sharpe


Writer and Director
Jill Sharpe

Yves J. Ma

Idea for Film Inspired by
Sharyn Udall’s book
“Carr, O’Keeffe, Kahlo, Places of their Own”

Director of Photography
Sylvaine Dufaux

Michael Brockington

Production Designer
Tony Devenyi

Costume Design
Enigma Arcana Designs

Design & Lead Animation
Elisa Chee

Sound Design
Velcrow Ripper


Voice of Georgia O’Keeffe: Rebecca Jenkins
Voice of Emily Carr: Shirley Broderick
Voice of Frida Kahlo: Tabitha St. Germain
Georgia O’Keeffe: Jeanne Hertz, Barbara MacFarlane
Emily Carr: Deborah Cameron, Susan Hillman, Kate Robbins
Frida Kahlo: Antoniella Ave Reyes, Ivette Hernandez,
Flamenco Dancer : Rosa Martinez

Production Manager
Suzan Derkson

First Assistant Camera
Kim MacNaughton

Michael Mann


Extras Casting
Annette McCaffrey

Set Decorator
Carla Miranda

Assistant Set Decorator
Roxana Chapela

Painting Mentor
Sheri Bakes

Emily Carr Consultant
Susan Hillman

Wardrobe Assistant
Jo Shotbolt

Kim Kieu

Hair and Make Up
Arrow Tyas
Sanaa Martinez
Gracia Flores
Romana Kovacova
Karly Savisky

Nina Jones

Key Grip
Rick Allen

Dan Bennett
Kyle Seifert
Shawn Sanders

Camera Assistant
Nathan McTague

Sound Recordist
Scott Aitken

2nd Unit Camera Operator
Andrew Coppin

Steadicam Operator
Brad D. Whitlock

Script Supervisor
Claudia Morgado

Cameron Hayduk

Location Managers
Terry Mackay
Clare Hodge
Colleen McLeod

Location Consultants
Robert Murdoch
Kirk Johns
Douglas Franklin

Production Assistant
Steve Calvert

Claudia Molina

Background Performers
Sean Amsing
Wanda Ayala
Miranda Berney
Kaska Calder
Leslie Coude Mathot
Dean Doerfler Hinchey
Paula Elle
Ole Hoyer
Isabelle Maheux
Abraham Martinez Huerta
Chris McBeath
Ken McNicol
Paul Ouellette
Juarez Pawliez Aztlan
Derek Peakman
George Peggi
Victoria Sanchez Suirez
Valentina Vepper


Casting Director
Angelique Midthunder

Location Manager
Leah Slator

First Assistant Director
Marcia Woske

Sean McClellan

Key Grip
Nicholás Ortiz

On Set Costumer
Gordon Tribble

Hair and Make Up
Svetlana Britt

Set Decorator
Ester Kim

Set Dressers
Richard Anderson
Josh Bien

Michael Willey

Assistant Location Manager
Jason Bonnell

Production Assistant
Marti Swanson


Francisco Torregrosa

First Assistant Director
Alejandro Lugo Marin

Casting Director
Marco Antonio Reyes

Set Decorator
Roxana Chapela

Set Dresser
Marcos Demián Vargas Gómez

Steadicam Operator
Gerardo Manjarrez

Ernesto “El Nino” Hernández

Key Grip
Raymundo “Piolin” Curz

Grip/Electric Swing
Fernando “Buzz” Ortiz

Second Assistant Camera
Armando Hernandez

On Set Costumer
Fernanda Vélez

Transportation Coordinator
Jose Antonio Ochoa

Location Services
Emilio Magules

Grip/Electric Driver
David Perez

Hair and Make up
Dianna Byrne

Leon Behar

Coconut Driver
Shamus Hernandez

Plaster Master
Miguel Angel Ramirez

Art Department Interns
Luis Ricardo Ramirez Peña
Stephanie Alton Loera Lafont
Fabián Saldaña Guerrero

Mac Polo Caterers

Production Assistants
Sergio Jalife
Rafael Reyes
Carlos Alberto Escamilla Aguilar


Joel Goodman, “O’Keeffe’s Colors”
Written by Joel Goodman (ASCAP)
Performed by Dan Rosengard & Joel Goodman
Published by Idnar Music (ASCAP)

Zoë Keating "Flying and Flocking"
Written and performed by Zoë Keating
(c) (P) 2010. 020202 Music (ASCAP).
Used by permission. All rights reserved.

Paul Rudy "Oak Knowledge" and "Secret Chronicles of Time"
Written by Paul Rudy (ASCAP)
From 2012 Stories Album No. 3 "Zuvuya."

Lhasa de Sela “El Pajaro”©1997
Written by Lhasa de Sela/Yves Desrosiers
Published by Editions Audiogram/Kaligram
Taken from the album “La Llorona”
Licensed courtesy of Les Disques Audiogramme

Zap Mama “Manège” © 1994
Written by Marie Daulne, Sylvie Nawasadio, and Sabine Kabongo
Published by Kesia Editions Scrl
Administered by EMI Music Publishing Belgium
Taken from the album “Sabsylma”
By arrangement with Crammed Discs
ISRC code: BE-6F5-94-00740

Gotan Project “Paris, Texas”
(P) 2006 XL Recordings Limited
Written by Ry Cooder
Published by Tonopah & Tidewater Music Co.
ISRC No: FR-99S-05-00027
Taken from the album “Lunatico” XLCD 195
Licensed courtesy of XL Recordings Ltd
By arrangement with Beggars Group Media Limited

World Music All-Stars “Kimilmela Sioux: Butterfly” ©[Jan 2008]
Published by Cleopatra Records
Licensed courtesy of Cleopatra Records

Lhasa de Sela “De Cara a la Pared” ©1997
Written by Lhasa de Sela/Yves Desrosiers
Published by Editions Audiogram/Kaligram
Taken from the album “La Llorona”
Licensed courtesy of Les Disques Audiogramme

Lisa Gerrard & Patrick Cassidy “Maranatha (Come Lord)”
(P) 2003 4AD Limited
Written by Lisa Gerrard/ Patrick Cassidy
Published by
Cloverleigh Downs Pty Ltd (APRA)/ Sony/ATV Music Publishing Canada (SOCAN)/ Patrick Cassidy Music
All rights reserved Used by permission
ISRC No: GB-AFL-03-00035
Taken from the album “Immortal Memory” CAD 2403
Licensed courtesy of 4AD Ltd
By arrangement with Beggars Group Media Limited

Additional Music Composed by
Doug Blackley

Supervising Re-recording Mixer
Daniel Pellerin

Foley Artist
Maureen Murphy

Re-recording Mixer
Angelo Nicoloyannis

Sound Services
Post Modern Sound Inc.

Post Production Services

Digital Intermediate Digital Film Central
DI Colourist Andrea Chlebak
DI Producer Chris Davies
DI Coordinator Alley Crawford
DI Editor Alex Taylor
End Credits Eliot Piltz

Finalé Editworks

Kassan, Alaska
Vancouver Art Gallery
Museo Frida Kahlo, Mexico
Casa del Indio Fernandez, Mexico
Carson National Forest, US Department of Agriculture
Vigil House, Historic Santa Fe Foundation, New Mexico
Malcolm Knapp Research Forest, University of British Columbia
State of Alaska, Totem Bight State Historical Park, Ketchikan, Alaska

Music and Archival Clearances
Found Images Research

Archival Research
Elizabeth Klinck

Archival Artworks
Scorned as Timber, Beloved of the Sky, 1935, oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust
Photo: Trevor Mills, Vancouver Art Gallery

Big Raven, 1931, oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust
Photo: Trevor Mills, Vancouver Art Gallery

Wood Interior, 1932-1935, oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust
Photo: Trevor Mills, Vancouver Art Gallery

Forest, British Columbia, 1931-1932, oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust
Photo: Trevor Mills, Vancouver Art Gallery

Zunoqua of the Cat Village, 1931, oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust

Three Totems, 1929-30, oil on canvas
Collection of the Vancouver Art Gallery, Emily Carr Trust

Untitled (formalized tree forms with totemic details), 1929 – 1930, charcoal on paper
Collection of the Vancouver Art Gallery, Emily Carr Trust
Photo: Trevor Mills, Vancouver Art Gallery

Untitled, 1929 – 1930, charcoal on paper
Collection of the Vancouver Art Gallery, Emily Carr Trust
Photo: Trevor Mills, Vancouver Art Gallery

Sombreness Sunlit, c.1938 – 1940, oil on canvas
Courtesy of Royal BC Museum, BC Archives

Kitwancool Sketchbook - Kitwancool, 1928, charcoal on paper
Courtesy of Royal BC Museum, BC Archives

Kitwancool Sketchbook - (totem), 1928, charcoal on paper
Courtesy of Royal BC Museum, BC Archives

The Canadian Blank Drawing Book #1 - Whale Skidigate, c.1928
Courtesy of Royal BC Museum, BC Archives

Nass River Q.C.I. Sketchbook - (totem pole), c.1928, charcoal on paper
Courtesy of Royal BC Museum, BC Archives

Photograph, Emily Carr with her Brussels Griffon dog, c. 193-
Courtesy of Royal BC Museum, BC Archives

Georgia O’Keeffe quotes with Permission from the Georgia O’Keeffe Museum

Georgia O'Keeffe. Cow's Skull: Red, White, and Blue, 1931. Oil on canvas, H. 39-7/8, W. 35-7/8 in. (101.3 x 91.1 cm). The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1952 (52.203) © The Metropolitan Museum of Art
Image copyright © The Metropolitan Museum of Art / Art Resource, NY

Georgia O'Keeffe. Black Iris, 1926. Oil on canvas, H. 36, W. 29-7/8 inches (91.4 x 75.9 cm.). The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1969 (69.278.1)
Photo: Malcom Varon. © The Metropolitan Museum of Art
Image copyright © The Metropolitan Museum of Art / Art Resource, NY

Georgia O'Keeffe. Two Calla Lilies on Pink, 1928. Oil on canvas, 40 x 30 in. (101.6 x 76.2 cm) ©Georgia O’Keeffe Museum/SODRAC (2011)
Photo Credit © Georgia O’Keeffe Museum / Art Resource, NY

Georgia O'Keeffe. Pelvis Series, 1945 (101.6 cm x 121.9 cm)
©Georgia O’Keeffe Museum/SODRAC (2011)
Photo: Private collection, courtesy of Eykyn Maclean

The J. Paul Getty Museum, Los Angeles
Alfred Stieglitz, Georgia O’Keeffe: A Portrait, Detail, 1929, Gelatin Silver Print, Image: 7.9 x 11.7 cm (3 1/8 x 4 5/8 in.)

Frida Kahlo quotes with permission from Banco de Mexico Rivera & Frida Kahlo Museums Trust

La Columna Rota (The Broken Column), 1944
Courtesy of Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust
Photo: Schalkwijk /Art Resource, NY

Raíces (Roots), 1943
Courtesy of Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust
Photo: Courtesy of Mary-Anne Martin / Fine Art, New York

Lo que el Agua me Dio (What the Water Has Given Me), 1939
Courtesy of Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust
Photo: Schalkwijk /Art Resource, NY

Moisés o Núcleo solar (Moses), 1945
Courtesy of Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust
Photo: Courtesy of Mary-Anne Martin Fine Art, New York

El Sueño o la Cama (The Dream), 1940
Courtesy of Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust
Photo: Photographer unknown, photo courtesy of Salomon Grimberg

Autorretrato con Collar de Espinas y Ruiseñor (Self-Portrait with Thorn Necklace and Hummingbird)
Courtesy of Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust
Photo: Harry Ransom Humanities Research Center, The University of Texas at Austin

Frida Kahlo Diary Entry: Alas Rotas (Broken Wings)
Reproduction used with permission from Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust Committee

©2011 Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust. AV. Cinco de Mayo No. 2. Col. Centro, Del. Cuauhtemoc, 06059, Mexico, D.F.

Photograph, Frida with Picasso Earrings
Photo by Nickolas Muray, © Nickolas Muray Photo Archives

Stock Footage:

Stock Footage provided by
Stock Footage provided by MountAiryFilms/
Imagery supplied by Getty Images
Thought Equity Motion
Daniel Zatz/Footage Search

Thanks To
Tom Clearwater – patronly thanks

Adela Fernández
Angel Villalobos, Mexican Consulate
Ann Marie Fleming
Anna Cosentine
Banchi Hanuse
Beatrix Prietro
Cathy Chilco
Cecelia Muñoz Vildoso
Christine Bourquin, VAG
Colin Browne
Cristina Kahlo
Danielle Currie, VAG
David Manson & Didier Le Breton
Deanna Kaulay
Dra. Guadalupe Rivera Marin
Fernando Uriegas, Mexico
Greg Masuda
Heidi Reitmaier, VAG
Heritage Hotels, Ed Pulsifer
Ian Thom, VAG
Jan Ross, Emily Carr House
Jennifer Sorko, VAG
Jonathan Slator
José Luis Pérez Arredondo, Banco de Mexico
Kelly-Ann Turkington, BC Archives
Lewis & Annette Thompson
Liliana Kleiner
Luis Alberto Salgado Rodríguez, Banco de Mexico
Lynn Booth
Lynne Stopkewich
Margaret and Denes Devenyi
Michael Ostroff
Ofelia Medina
Patricia de la Maza
Ranger Ray Martinez
Ronaldo Acuna
Ros Borland
Ruben Alberto Flores de la Torre
Stan & Bea Sharpe
Stephen Maulsby
Su-An Ng
The Red Tree House, Mexico City
Tom Neighan, VAG
Victoria Bruneni, The Inn at Santa Fe
Friends, Family & Colleagues in countless way

Production Coordinators

Technical Coordinator

Production Supervisor

Marketing Manager

Program Administrator


Executive Producer
Tracey Friesen


Actra Logo, DGC Logo, WGC logo, AFof M logo, Dolby Digital Logo
(Logo Card)

(NFB Copyright Card)

Pacific & Yukon Centre – English Program
National Film Board of Canada
© MMXI National Film Board of Canada

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