Given that were speaking two days after the number of Oscars presented to women (nine) were severely outnumbered by the sexist salvos launched by host Seth MacFarlane, it seems only right to ask Lara Mazur how shes seen attitudes towards women change during her three decades in the film and television industry.
When I first started, I worked with a number of women filmmakers telling womens stories, she says, referring to films such as Martha, Ruth & Edie and American Boyfriends. In the years since those early collaborations with Norma Bailey, Deepha Mehta, and Sandy Wilson, shes seen positive signs in terms of both the increased presence and improved standing of women in the Canadian industry.
There are a lot more writers and directors who have made their mark and become part of the mainstream, she suggests. Hopefully that will continue to change.
Its Mazurs own excellence in the telling of womens stories thats seen the editor singled out by Women in Film & Television 麻豆传媒映画for an Artistic Achievement Award at their upcoming 麻豆传媒映画International Women in Film Festival (kicking off March 7 at Vancity Theatre).
Cutting her teeth with the highly-regarded Winnipeg Film Group before moving to 麻豆传媒映画in 1989, Mazur initially tried her hand at directing a couple of short films.
What I liked most of all about it was the magic of the editing room, she recalls of those dalliances with directing. Rather quickly, she determined that her calling was in the editing bay rather than behind the camera. Its my favourite part of the filmmaking process, she says of her chosen craft. Its where you get to recreate the story.
In filmmaking circles, its generally believed that a film is written three times: once by the screenwriter, again by the director and actors, and finally by the editor. Every editor has his or her own approach to cutting footage.
Of her technique, Mazur says, What I bring is my intuition. Im a person whos curious about people and what motivates people. I think I have a keen eye for an honest performance. I try to look for truth in the material. I like to collaborate with the director. In that collaboration, Im able to be honest and direct.
Her candour, insight, and storytelling acumen have allowed Mazur to forge rewarding creative partnerships that have lasted for decades. The Pastors Wife, her most recent undertaking with the aforementioned Bailey, culminated with both the director and editor earning Canadian Screen Award nominations. (Flashpoint, for which she is an editor, won Best Dramatic Series.)
Mazur admits that receiving an achievement award lends itself to reflection. Looking back at the first three decades of her career, she fondly recalls her early work with Allan Kroeker, whose projects earned her first editing credits and helped her establish a foothold in the industry. I think its the best job. That I get paid for it is incredible, she enthuses. But, I also do projects for love as well. Im about to do a low budget feature with a talented young director.
This new talent would be Ana Valine, whose first feature film Sitting on the Edge of Marlene has been mentored by Denys Arcand (The Barbarian Invasions) and will star Suzanne Cl茅ment, winner of Best Actress at last years Cannes Film Festival.
The passion Mazur feels for Marlene is evident as she praises Valines ability to attract such remarkable talent to her project. Its amazing. I think shes going to be an up-and-comer.
Meanwhile, Valine undoubtedly looks at Mazurs career accomplishments with similar admiration.
The 8th Annual 麻豆传媒映画International Women in Film Festival runs March 7-10. .
