Best,

Filmprint
Liaison of Independent Filmmakers of Toronto

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Read between the lines

FilmPrint has changed quite a bit since I joined lift four years ago. I've been editing the magazine for two years and one of the first things I did when I started was look at the back issues of lift's magazine in it various forms.

Twenty years ago, the magazine was simply photocopied sheets of paper, featuring news on what was going on in our small community. It eventually evolved into a 'zine that was hip, bohemian and truly representative of lift's free-spirited, "artsy" personality. From 'zine, the publication grew up even more as it took on the form of magazine, which was available on newsstands and was gaining a solid reputation as a magazine that would cover the artists that you wouldn't necessarily see in the mainstream media. That said, we were able to pull in some big names too: Bruce McDonald (p. 18), Clement Virgo, Robert McKee, Anne Wheeler and R. Bruce Elder. This latest incarnation of FilmPrint was further evidence that the independent filmmaking scene was a vibrant and formidable force.

I was constantly being pitched great ideas. Many wonderful writers, artists and filmmakers approached me, wanting to learn how they could be part of FilmPrint. Of course, lift volunteers and friends of lift made the current format of the magazine possible.

Sadly, just as we are gaining momentum, the lift's Board of Directors has decided to put the magazine on hiatus for the time being as part of their deficit plan. This, my last issue, has been the hardest issue that I have ever worked on (harder than putting together the Film is Dead! Long Live Film! special issue, harder than pulling together the issue during the chaotic time after lift's Executive Director Roberto Ariganello's death.) This issue was hard because as I read the various articles and talked with the writers, and worked with Michael Barker, who has diligently and expertly art directed the magazine for three years, I know how much this magazine has evolved and how much the magazine still had to grow.

This issue also made me stamp-my-foot-on-the-floor, pump-my-fists-in-the-air proud. Learning how newbie filmmakers took the plunge and made their first films (p. 4 and 30), dissecting the importance of great dialogue ("What!?' p. 8), and seeing students get seriously inspired by the going-ons of the co-op ("F is for Field Trip, p. 12). I've learned so much about film with each installment of the magazine. Most importantly, I was encouraged by the stories, determination and persistence of the many people that make up this community. I hope you have felt the same way.

Bunmi Adeoye
Editor