With no major films slated for Canadian production in 2006, the high Canadian dollar has considerably slowed production from a high of ten major films in 2005. As a result, renewed interest and available resources are being made available for the possible development of Canadian television programs.

Our project is based on developing a Canadian-based English-language Soap opera (daytime-drama) intended for the adult, mostly female market segment of age 18-55 viewers. A secondary target market for this soap opera, as with many others, will be college and university aged male and female viewers. The primary theme of this soap opera will focus on romance, passion, forbidden love affairs, intrigue, secret relationships, extra-marital affairs, divorces and disappearances.

With the presence of fierce competition for television ratings, scriptwriters, production teams and actors must form one cohesive group and work together to create an outstanding product. This process begins by understanding audience needs and familiarity with the soap opera television model, as well as other television soap operas.

In our proposed model, from the very beginning point to the end, from research to broadcasting, all the steps in production are important. Scriptwriters will work in close collaboration with other writers, the producer, the director, subject specialists, researchers and a focus group.

1.1.1 A Canadian Daytime Drama

The television industry has recently witnessed many successful crossover elements for UK television to the North American market, including American and Canadian Idol. This is why the time for a Canadian soap opera is now!

Our goal is to capture elements, style, theme and imagery that can compare to popular American soap operas such as General Hospital, Another World, Days of Our Lives and the UK-based Coronation Street.

1.1.2 Finding a Broadcaster

With two main broadcasters in Canada, namely the CBC and CTV, whom regularly air broadcasts of U.S. and UK soap operas, the demand for the soap opera genre appears healthy. With the addition of fulfilling the need for Canadian content, we see a definite opportunity to offer Canadians the familiarity and uniqueness of local content that can produce a stronger connection with Canadian viewers and more loyal viewers. We’ve recently and historically seen this trend with television series such as Corner Gas and Degrassi.

2.0 CONCEPT OVERVIEW

Moments Together, written by Stewart Gray is a television series in the classic soap opera genre that will focus on the complex, dramatic and interwoven lives of its main characters. Viewed through a uniquely Canadian urban lens, the series will explore time-proven universal themes in the soap opera.

Moments Together will be set in Montreal, which is renowned for it’s worldly, European flair, and will serve as an ideal backdrop to showcase and unravel the daily lives its characters, largely consisting of movers and shakers in the world of television, modelling, business, and of course, the independently wealthy. Viewers will follow characters as they build and lose their fortunes, fall in and out of love, meet mysterious strangers, plot deceit and revenge, uncover family secrets, and are driven by excesses, compulsions and obsessions with money, power and sex. These themes of the show can be loosely characterized by Dante’s seven sins, namely Pride, Envy, Wrath/Anger, Sloth, Avarice/Greed, Gluttony and Lust.

In classic soap opera format, the series will enable new and regular viewers to easily follow the storylines as it employs frequent flashbacks to reveal shocking and momentous life events which are key to understanding present predicaments.

2.1 SETTINGS

2.1.1 Montreal, Quebec

The look, feel and world of Moments Together can be characterized by the word Sparkly, which we believe is synonymous with Montreal. While many television series have been filmed in major Canadian cities such as Vancouver (DaVinci’s Inquest) and others in Toronto (Degrassi), Moments Together will benefit from Montreal’s unique and sexy blend of English and French, European influenced architecture, stylish design driven living and the passionate, edgy flair of Montreal which is best portrayed in the weekly series Naked Josh. Moments Together will seek to capture the essence and cultural uniqueness of the city as lived through it’s characters which will also inspire local, national and international audiences to explore their own personal relationships with the city. The fixed indoor settings for Moments Together will consist of a private tennis club, an exclusive bar/lounge, and an upscale fashion house. Montreal will be featured prominently as the backdrop for Moments Together, much in that New York city is the co-star of the now off-air Sex in the City, starring Sarah Jessica Parker.

Examples of other successful Canadian soap operas, albeit not set in Montreal, have included Degrassi (1979-1985, 1986-1988, 1989-1990, 1992, 2001-2005), Edgemont (2001-present), Family Passions (1993-1994), Metropia (2004-present), Riverdale (TV series) (1997-2000), Train 48 (2003-2005) and Francoeur (2003).

2.1.2 Private Tennis Club (15%)

The tennis club set featured in Moments Together will be portrayed as a private club for the wealthy and hangers-on, which is set in the wealthy Montreal neighbourhood of Westmont. The tennis club will feature paneled oak walls, full spa facilities, health-beverages bar, library and a manor house with a large ballroom. The club that is owned by two handsome and wealthy brothers, Ray and Martin, will serve as the set for 15% of filmed episodes.

2.1.3 Trendy Night Club (15%)

The nightclub featured in Moments Together will also serve as a frequent backdrop for the series. The club also owned by Ray and Martin, in contrast to the old money look of the tennis club, will serve as a trendy and fashionable backdrop. This will be the location where the series characters will feel free to explore their hidden sides and indulge in all the excesses that have made Montreal’s nightlife world famous.

2.1.3 Upscale Fashion House (15%)

The upscale fashion house, owned and operated by Elizabeth, is a 21^st birthday gift bought by her father, Ray. This business will serve as the setting for unfolding storylines around themes of glamour, backstabbing, fragile egos and deal-making as Elizabeth seeks to grow her company’s fortune and presence on the international fashion scene.

2.1.4 Other Key Locations (55%)

Other key locations for the series will include outdoor Montreal scenes, the homes and of its main and supporting characters, and rare occasional episodes that will be filmed in the weekend getaway homes of Ray and Martin in the Montreal Laurentiens.

We have spoken to cafe and flower shop owners on Victoria Avenue in Westmount that would more than willing be interested in providing their stores for setting/locations of various scenes at low costs. The Interior and Exterior of The Tennis Club on Grey Avenue (corner of Sherbrooke Street) is a must see for filmmakers. We will be enquiring to the owners this spring.

2.3 COMPARITVE TO OTHER SOAP OPERAS

If one sentence could be used to describe the similarity of Moments Together with other soap operas, it would be the use of multi-episode storylines, extensive character development and interwoven ongoing narratives over the course of its series. Below are some of the series that have made successful and profitable use of these common dramatic threads.

All My Children
(Dan Kroll)

Another World
(Eddie Drueding)

As the World Turns
(Dianne Olsen)

Bold and the Beautiful
(Mary Spencer)

Days of Our Lives
(Dustin Cushman)

General Hospital
(Jeff Jungblut)

Guiding Light
(Cari D. Burstein)

One Life to Live
(Patrick)

Port Charles
(Jeff Jungblut)

Sunset Beach
(SecondCall)

Young and the Restless
(Mary Spencer)

In addition to the more successful and commonly known successes in the work of U.S. based soap operas, Moments Together will also rely on studying some of the dramatic elements used in series such as: Beverly Hills 90210 (1990-2000), Dallas (1978-1991), Dynasty (1981-1989), Desperate Housewives (2004-present) and The O.C. (2003-present).

2.3.1 COMPARATIVE WITH DAYTIME SOAPS

Much like the success of British based Coronation Street, U.S. based General Hospital and other dramatic daytime soap operas, Moments Together will focus on following unfolding adult story lines, although in a uniquely Canadian context. The storylines will provide an examination of the daily lives of its characters, who although bear initial resemblances to viewers, they somehow appear more beautiful, handsome, seductive and conniving than the television viewer.

Since 1976, with the airing of Days of Our Lives, romance, seduction, secret relationships, illegitimate offspring, amnesia, falls from grace, power struggles, catfights and extra-marital affairs have formed the basis for many soap opera storylines. The glue that forms the bond for these storylines has traditionally been an enduring love between two powerful, star-crossed lovers whom marry, feud, divorce and reunite, only to start over again. In addition to the themes introduced above, in the traditional soap opera, as well as with Moments Together, there will be the use of a strong reference to fate, or of the looming fear that transgressions, sins and even crimes committed in the past will re-emerge and threaten to destroy the lives, relationships, and present-day fortunes of characters.

In daytime soap operas, as in Moments Together, the reoccurring use of coincidence will be used. For instance, the sudden unveiling that a character has fallen in love with their half-brother or sister, or that a new and impoverished character is the birth air to a large family fortune. For example, in the soap opera, The Bold and the Beautiful, Dr. Taylor Forrester died on-camera and while her death was followed by a funeral, she later returned to the television show. The explanation provided to viewers was that her character had merely lapsed into a long coma. Many other popular daytime soap operas also make use of the sudden appearance of evil twin sisters, brothers and even cousins whom hold characters hostage or plot murders, only to momentarily assume the lived lives of their intended victims. Other successful themes exploited in the soap opera which will be explored in Moments Together, will include events such as Erica Kane's drug addiction on All My Children, the re-emergence of Viki Lord's Multiple Personality Disorder on One Life to Live, and Katherine Chancellor's alcoholism on The Young and the Restless.

2.3.2 COMPARATIVE WITH NIGHT-TIME OPERAS

Dramatic coincidences shared between night-time soap operas such as Dallas, Dynasty, Knots Landing and Falcon Crest, with Moments Together will include the use of wealthy families, ambitious social climbers and their triumphs and failures. While some daytime soap operas, such as Coronation Street, have chosen to largely focus on the daily lives and relationships of a working class suburb in England, Moments Together will immerse viewers in a fantasy world of private clubs, generational wealth and accustomed privilege. Common characteristics with night-times series such as Dynasty will include overly decorated sets and costumes, and of course, the presence of at least one glamorous bitch-figure and/or handsome villain in its cast of characters. As much as possible, and in-keeping with budget, Moments Together will also use multi-location-shoots in picturesque locales, in and around Montreal and outskirts such as Mont Tremblant and the Eastern Townships of Quebec.

2.4 SPECIAL EDITING EFFECTS & MUSIC

In common with U.S. soap operas, Moments Together will make use of trademark dramatic visual and sound elements to completely immerse the viewer in the make-believe world of its characters. These elements include the use of:

Overhead spotlighting, or back lighting placed directly over the heads of actors in the set foreground that causes a slight haze or shadowing of features. This technique has often been used in extreme close ups of ageing family matriarchs.
The use of deeply stained wood wall panels and furniture, along with many elements of brown leather furniture is a common set decorating technique that has been used to emphasize the feel and look of old money and privilege. This decorating technique will largely be used in Ray and Martin’s tennis club.
Daytime soap operas do not routinely feature location or exterior-shot footage. Often they will recreate an outdoor locale in the studio. Australian and UK daily soap operas invariably feature a certain amount of exterior-shot footage in every episode, this is usually shot in the same location and often on a purpose-built set, however they regularly include new exterior locations for certain storylines

* The video quality of a soap opera is usually lower than comparable prime time television shows of the time, due to the lower budgets and quicker production times involved. This is due to the fact that the shows are recorded on videotape and not on film like primetime productions.

3.0 WRITING TEAM (A-TEAM)

One of the first steps in realizing this project will be to assemble a team of writers to develop the soap opera story structure, plots, characters, and dialog. Stewart Gray, lead writer, will work closely with the series producers to find and select the appropriate seasoned scriptwriters and script editors.

In his role as lead writer, Stewart Gray will decide on the overall story direction, which will be shaped and further refined by brainstorming sessions with seasoned scriptwriters, who will serve as Storyline Writers. The responsibility of judging what ideas work best will be decided with the input of focus group members who match the demographics of our target audience.

The team will work within the confines of actor and set juggling, effective information sprinkling and duplication, as the average soap opera viewer only watches 3 episodes per week.

When the overall story direction and character descriptions have been refined by feedback from focus group members, the entire writing team will work as Episode Writers to produce scripts for each episode. Independent script editors will peer review and edit the scripts produced by the writing team.

According to this idea, the program preparation team has to consist of two groups. The first group is the writers, A-Team who work in collaboration with the B-Team, which consists of the producing-directing team, who are responsible for interpretation of the script for television.

3.1 PROPOSED WORKING MODEL FOR THE WRITING TEAM

Step One: Audience Analysis

The target audience for Canadian soap operas must be analyzed and understood in detail. Program goals have to meet the expectations, needs, cultural background, preferences and characteristics of a Canadian target audience. Conducting such research will make the work of the A-Team highly focused and responsive to the viewer needs. Identifying the variables that make for a successful program will also greatly assist with program development.

Step Two: Program development

In this process, the most important element is script. Starting from the findings of the audience analysis, the Head Writer will devise storylines to combine these elements and develop memorable characters to interpret these themes in a given context. This will provide an overall story direction for each 12-episode series. Notable themes in soap operas have included love, sex, revenge, deceit, rising and falling fortunes, family secrets and revelations, power struggles, kidnapping and murder.

Step Three: Assessing pre-production script

Episode Writers prepare texts in accordance with the direction provided by Storyline Writers. Episode scripts are then read to Team-A, B and C in order to obtain additional suggestions by the pooled talent of these groups. Corrected or previously confirmed scripts are given to producer/director for shooting. The resulting scripts are then the combined collaborative work of our 3 teams.

Step Four: Assessing post-production program

Recorded programs will be viewed by a group of target audience member prior to its broadcasting. According to their responses, there can be changes made starting from script level.

Step Five: Broadcast of program on television

3.2 TELEVISION CREW (B-TEAM)

This summer, subsequent to my communicating with producers, I assembled a group of experienced, prospective talent for the television crew, consisting of a director, location manager, technical director and video editor.

3.2.1 DIRECTOR

The elected prospective director will take responsibility for the artistic aspects of the production and scripts. They will also audition and select cast members for the role in the soap opera and direct the work of the cast and crew. Since the director will conduct rehearsals, they must be knowledgeable about the use of voice, movement, and acting techniques. In rehearsals, they will use their knowledge to achieve the best possible performances from our actors. In our production, our director will also approve scenery, wardrobe, and any mood music. In addition, directors consult with the A and C-Teams of writers and actors.

3.2.2 TECHNICAL DIRECTOR

The technical director selected for our production will coordinate the technical elements of each of the episodes, including audio and camera, in addition to supervising the building of our sets. He will also supervise any rigging that is required, such as hanging scenery to our fly system.

3.3 TELEVISION CREW INTERNS

In communicating with the Mel Hoppenheim School of cinema and the Trebas Institute for film, we have received many expressions of interest from the schools and well as prospective inters concerning our production. Interns would serve to assist the professional staff in their roles as directors, technical directors, writing, and video editing. The interns will begin in their post alongside with the permanent A, B and C-Team staff in order to provide them with the best industry training possible and possibly lend their creativity and fresh perspective to the project.

3.4 TELEVISION ACTORS (TEAM-C)

The casting of a soap opera is one of the most important aspects of such a project. Finding the right actors to play the role of cast members is often a very difficult and time-consuming task.

Last summer, I placed advertisements in local newspapers as a small test and was overwhelmed by the response. I met with prospective actors, some of whose headshots are on the banner of the title page as an example of how I have selected some that I have envisioned for roles.

3.4.1 CASTING TELEVISION ACTORS

While auditioning and performing are two separate skills, we intend to look beyond the initial audition in order to find the ideal actors to fill each role.

The criteria that we intend to use in order to cast the ideal actors for each role consist of the following.

Evaluating the actor’s ability by rating their acting talent and skill

Is the actor sensitive, intelligent, able to listen to direction, are they flexible in the acting range and do they inject reality in their role?
Can the actor properly read lines and make clean transitions, fully and believably?
Is the actor flexible, expressive, and skilled in voice and movement?
Does the actor possess sensibility, taste, good acting instincts and a sense of humour?
Is the actor fearless, committed to the project, possess emotional and physical stamina and have a desire to perform?

Determining the actors suitability for the part

Does the actor understand and connect with characters sufficiently to make the role believable?
Is the actor a physical fit for the role?

Assessing the quality of the working relationship

Can the actor take direction from the crew?
Are they able to communicate well with the crew in order to express their vision for the role?

4.0 SUMMARY

While this project is still in the development stage, I have worked very hard at developing story ideas. I have also taken the time to speak with prospective television crews, interns and actors. The response from all teams mentioned in the proposal has been overwhelming and I am beginning to see the project take shape.

I am extremely committed and enthusiastic about seeing this project take shape into an aired television series. My first milestone will be to obtain the necessary funding in order to bring all of the teams together in order to record one test episode of the series. After screening the episode with focus groups and programming directors of a television network, I look forward to receiving the necessary feedback to transform and shape this program into one that will prove popular and hopefully a memorable chapter in Canadian television history.

5.0 BUDGET ESTIMATE FOR PILOT EPISODE

With about $10,000 – $15,000 dollars we can produce a very polished pilot episode. This amount will cover expenses related to staffing the production and script development in-keeping with a strict production schedule.

$5000 for A-Team (writing team)

- Writer (or team of writers) to finalize complete structure and script of first episode;

- To complete structure of remaining episodes.

$5000 for B-Team (production team)

- To prepare the production schedule for episode one;

- Salary of director and editor.

$5000 for C-Team (cast members)

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