7.2/10
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7 user 1 critic

Inventing Grace, Touching Glory (2003)

An interesting document recording early filmmaking in British Columbia. The story is told by pioneer film workers who began their careers in the 1950s/60s, and it progresses until we see ... See full summary »

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Cast

Credited cast:
Tom Adair ...
Himself
Stuart Aikins
...
Himself (archive footage)
...
Himself (archive footage)
John S. Bartley
...
Himself (archive footage)
Hagan Beggs
Alec Besky ...
Himself
Michael S. Bolton
Phillip Borsos ...
Himself (archive footage)
Bob Bowe
Dillard Brinson ...
Himself
Paul Bronfman ...
Himself (archive footage)
George H. Brown ...
Himself (archive footage)
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Storyline

An interesting document recording early filmmaking in British Columbia. The story is told by pioneer film workers who began their careers in the 1950s/60s, and it progresses until we see what the film industry is like in 2003. A worthwhile journey to witness how the business has changed over the decades. Original B/W footage of Oliver Reed and Rita Tushingham filming The Trap (1966) on Bowen Island. Written by Anonymous

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Documentary

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Release Date:

10 October 2003 (Canada)  »

Also Known As:

The History Film  »

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Budget:

CAD 98,000 (estimated)
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Did You Know?

Trivia

Savage Justice (1967) (Sweet and the Bitter 1967) is considered the first feature shot in British Columbia, however during the 1920s and 30s British productions would use the area to film what was called "The Quota Quickie". British Columbia would double for the United Kingdom.
  • (The Quota): A government enforced requirement for British cinemas to show a quota of British produced films for a duration of 10 years. The Act's supporters believed this would promote the emergence of a vertically-integrated film industry in which production, distribution and exhibition infrastructure were controlled by the same companies. The vertically-integrated American film industry of that era saw rapid growth in the years immediately following the end of the First World War. The idea, therefore, was to try and counter Hollywood's perceived economic and cultural dominance by promoting similar business practices among British studios, distributors and cinema chains. By creating an artificial market for British films, it was hoped the increased economic activity in the production sector would eventually lead to the growth of a self-sustaining industry. The quota was initially set at 7.5% for exhibitors, which was raised to 20% in 1935.


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Quotes

Chris Carter: I was old enough to drive because I remember driving my girlfriend to see a sneak of American Graffiti in 1973 in Lakewood, California. And as we were leaving the showing I remember seeing who must have been George Lucas, Francis Coppola, Willard Huyck and Gloria Katz and all the people involved in the making of this amazing movie. And they were just standing there looking at us wondering what we thought, and if I knew then what I know now I would have stopped and had a conversation with those ...
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User Reviews

 
What a load of Drivel
20 March 2004 | by (Lockport, NY) – See all my reviews

I bought this film to check out other movie making communities, see what's happening abroad... What a load of drivel! I mean, this film is like someone's wishful dream about the business. The filmmaker must be in his own little world if he thinks the industry of show biz is 'happy' and everyone walks around with integrity and good will. There is no reason for anyone to watch this film, it's false and misleading. It makes no sense, and bleeds on and on about people's love for the business... I have no idea how films like this get made, Who finances this stuff?

I'd like to see what would happen to someone like this in Hollywood... Now that would be a great movie!


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