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Week one of production has wrapped successfully, and I am starting to adjust to the demanding schedule and re-settling for the month in Ontario. The Sudbury landscape feels familiar to Yellowknife; exposed rocky Canadian shield, with trees growing out of impossibly shallow amounts of earth. The area has a similar resource-based economy to the NWT, littered with Nickel mines. From the few locals I have met, I am constantly reminded Sudbury's status as the the nickel capitol of the world, flashing me to every conversation I've ever had concerning natural gas extraction and diamond mining in the NWT. Sudbury and its surrounding communities are clearly the best substitutes for Yellowknife and Fort Smith, for the film's budget.

The production has received its Northern presence through the mentorship program sponsored by the Tlicho government and the GNWT, which gave the opportunity for myself, and George Bailey to learn on set. I am based out of Yellowknife, and George is from Behchoko. During the first few days of the shoot, Tony Rabesca, who has long championed the film, came out to culturally orient and bless the production, with two other Tlicho men, Marvin Apples and Archie Rabesca. The greatest Northern triumph for the film was casting the lead from Fort Smith, the town where the story takes place, although disguised as Fort Simmer in the novel. Finding a teenage actor to play Larry Sole from the author's home town was a shining light for everyone involved. So far, those of us who had to travel South to get to Sudbury, have been doing well on set, overcoming the steep learning curve of a bigger production.

A film set is filled with artistically minded and technical people, and I am shadowing the creative leader of this team. Mentorship is a great way to learn, although tricky to navigate because extra bodies tend to be minimized on a film set. Anita and Christina have been very gracious by allowing me access to the front line behind the action, where the integral members of production such as the First A.D., oversee and control the set.

I am learning how Anita's vision is executed. A director is constantly problem solving and being pulled in many directions, guiding performances, and ensuring that all necessary visual elements are covered. Typically, every moment of her day is filled by speaking with the actors, breaking down the scenes with the cinematographer, leading the action, and communicating with the producers. Days on set are much longer than the average work day. Her work it is an incredible feat of endurance which I am gaining an appreciation for.

More to come on the production of the Lesser Blessed over the next three weeks.