"Project Coodinator"

RG – So how did you get involved with Big Soul?

JPT – I was going to Capilano College for the Aboriginal Film and Television Training Program. One of my instructors told me there were people in town who were looking for some production assistants. It was Big Soul. So I started working with them. I shared with Laura that I was really excited to work with them and I wasn’t really happy with the work I was getting in Vancouver. I wanted to know more about the industry and Laura was awesome, she had all this information. I said I’d be willing to travel and work with them in Toronto and she said, “Okay, I’ll check into things.” A couple days later she gave me a call and said, “We got funding for you. Why don’t you come out?” So I had a big garage sale and left!

RG – Can you talk more about your feelings on working in the industry in Vancouver?

JPT- Well there were so many jobs, it was like you could just get in and be a slacker. I wasn’t really into that. I wanted to go where there was more heaviness and where there was that rat race where the bar is higher.

RG – Basically you could only perform a specific job or role as far as the industry was concerned?

JPT – Yes.

RG – I got the feeling from when I talked to Laura that you guys get to wear a lot of hats when working at Big Soul. You get to have your hand in a lot of different things.

JPT – Absolutely. It’s all about that. There’s a lot more responsibility. Sure you could find a job like that in Vancouver, but they’re few and far between and the rat race being a lot thicker here [in Toronto] I thought it would be a better forum for learning.

RG – What made you decide to get in to the media industry initially?

JPT – I first got into the industry as an actor on North of 60. My role was Leonard Sahke. I thought that it was cool and you know, if you can get that work, then right on. But I just really felt like a puppet. [Laughs] I wanted to be more involved and have more to say. Maybe it’s me being a Capricorn or something. But basically I wanted to have more creative control as an artist. I’m not saying that being an actor isn’t creative because it is, but at the moment it’s just something I’m not as interested in.

RG – A theme we’re sticking with for this next edition, is the “Burden of Representation.” We attended a panel at Sundance where filmmakers addressed this issue and it really made us want to keep asking this question in terms of making art. As a production company I think it is equally relevant to what you do. As far as yourself being an aboriginal, and then on a larger level, working for a media company that produces aboriginal programming, do you feel this burden in terms of representing a specific identity to a larger hegemony? And how do you deal with that burden on a personal and professional level?

JPT – That’s a hard one. It’s important to know where you come from and where you’re going. But as an artist, you know, my name’s Judson. That’s how I look at myself. There’s that whole Canadian thing, where in terms of funding, you have to portray that aspect of yourself to get the funds. I think a lot of artists nowadays are trying to balance that in and of itself. So to answer your question, you go through the steps as you have to, but when it comes down to it, the story itself is reflective of you the most, you know? And you are hoping that your audience is getting that from you. I come from different things, my father is a Frenchman and my mother is Cree. And here I am now and we’re in this mixed-salad bowl. Well, you guys are in the melting pot, eh?

RG – [Laughs] Yes.

JPT – You know it’s an open-ended question. It’s still evolving. Twenty years from now hopefully we will have done right in creating a world for artists, no matter what identity, to thrive in. I see myself as an artist, first and foremost, but I am very proud of where I came from.

RG – What has been your most rewarding project to work on?

JPT – I’d have to say Project One Generation. When I first got to Toronto I was thrown into being the Project Coordinator for this. The goal of Project One is to make money for filmmaking workshops in rural centers for aboriginal youth. One of the initiatives is the CD, which had music donated from aboriginal performers across Canada. It was a treat to work and talk with these artists and get the CD made. Ultimately working with this initiative and other projects has enabled me to look at myself and see my strengths and what I need to work on. It’s been neat to see that I can be one of those people who can make things happen.

RG – So, where do you see yourself in five years?

JPT – I’d like to see myself working on something that I’ve done. Everything is collaboration, you know, giving birth to something and then giving it away? Being able to go through that would be nice. Giving a project to a team and then letting it go, giving it its own flight. No matter what it is, whether it be music or a movie. It would be really great to make a movie.

RG – And last certainly but not least, there’s a stereotype in America that all Canadians are really nice. What are your thoughts on this? Are all Canadians really, really nice?

JPT – Except in Toronto. [Laughs] I’m kidding of course. People are people everywhere, you know? You give what you get.