Artists are dangerous; not in a “hold you at gunpoint demanding your wallet or your life” kind of way but rather, they can be highly intelligent people who use their talent to sway both individual and mass opinion/sensibilities. If you upset a writer, they can compose something that addresses you in a subversive way. An actor might deliver the lines in a subliminal tone, guiding you to a feeling that might differ from what is instinctual for you. All that is needed is an Executive Producer to enable them to make it all happen. Combine all three of these with a slightly sarcastic comedic wit and timing and you’ll get Roger Bainbridge…the most interstin…err, dangerous man on Earth…well, at least in Canadian entertainment. Comedians and comic actors get away with saying and displaying some truly awful things by delivering them in a way that shines a light on their ridiculousness. Case in point; Bainbridge had seen many of his friends taken advantage of as unpaid interns. Not only did these people not receive monetary compensation for their toil but, they were quite often not treated with respect. As a writer and an actor with the resources to green light a film, Roger used his role as a part of the Canadian comedy group Tony Ho to create, produce, and present Japan. The film reveals the politics and disrespect (in a very funny way) of the modern office template.
Roger Bainbridge has worn a lot of hats in his career; writer, actor, music video director, executive producer, but he is most commonly associated with Tony Ho (the aforementioned Canadian comedy group). Tony Ho enjoys tackling ideas like threesomes (Wanda), dysfunctional family dynamics laced with time travel (Time), etc. No subject seems to eclectic for Tony Ho. Bainbridge was inspired to write Japan based on the shared office experience many of us have. He explains, “The impetus for writing Japan was seeing a lot of my friends being forced to take unpaid internships at places that really should have been paying them, and seeing how messed up the job market was at the time for people just getting out of school. From there I just thought about what might spurn a change of heart in someone in charge of the hiring. I worked briefly in an office where we did subtitling, so it wasn’t a really traditional office. Everyone had headphones on, pretty cut off from everyone else. No one really spoke to each other, it was all done through email. So I guess I was just left with an impression of people being timid to go talk to anyone, which creates this awkward tension, and tension is really at the heart of comedy.” As the writer of Japan, Roger had the inspiration and the skill to conceive the notes of his comedic sonata and as the EP he could find and reserve the concert hall, he simply needed to proper “musicians” to perform the piece with the delivery and skill that would inspire his trust.
Tony Ho has been creating comedy for over a decade. You don’t stay in any relationship that long unless you have a deep caring and trust of the other(s) involved. Once he had conceived the idea for Japan and written the lines, Bainbridge immediately understood that Tony Ho were the best performers suited to make the film. The trio of Tony Ho has spent more than a decade creating and performing together both live and on screen. Roger refers to Adam Niebergall and Miguel Rivas as two of the funniest and most interesting performers he has ever worked with. Niebergall diverts praise to Bainbridge stating, “He’s a ‘taste maker’ and he’s incredibly compelling. I’ve spent a decade or so working with him in comedy and I still can’t ever see it coming. I’m amazed by Roger’s Vision. He has an unwavering integrity with his comedy. His work is so good because he is always asking himself what he would want to watch and he would never bother making anything that doesn’t pass that test. I think a lot of people write things with the mentality “Oh, this would be good; people are talking about this right now.” and a lot of times that type of thing can come off flat. You can tell when a comedy writer isn’t obsessed with her/his subject matter. Roger knows what he wants to say as a writer and for me that’s always much more compelling to pay attention to. He’s always one step ahead. He thrives on making people think about themselves and it really motivates his work.”
With the writing of Japan completed and Tony Ho set to star in the film, Roger’s job as EP meant he would acquire the production team that would capture the action of Japan. Henry Sansom was the professional that Bainbridge entrusted to be seated behind the camera. DOP Sansom echoes Adam Niebergall’s sentiments, declaring,” In my experience, Roger Bainbridge is one of the most talented and disciplined minds in comedy in Toronto. Not only an incredible actor dedicated to craft and context, he is a star writer of subtlety, relevance, and boldness. Without seeming too fellating, if there was only one artist I could work with for the rest of my career, and know that every project was able to reach the highest standard, that would be Roger Bainbridge.” Inspiring confidence in others is the template of Roger’s career, a worthy attribute for someone whom both creates and enables the filmmaking process. The fact that he is so adept at creating the storylines and situations that take place on camera might divert one’s attention from the fact that Bainbridge is such a respected an accomplished actor. A viewing of his many diverse roles and the temperament of his characters serves as a confirmation that he is truly in his element in front of the camera.
Roger reveals the tone that he wanted for the action on film as he communicates, “In making Japan, we knew we were really pushing ourselves to make something more relatable in tone of comedy, pace, and look, so it was nice to have it be received so well by people who
have seen it. Our stuff can tend to be a bit more challenging, so this was a test to see if we could dip a toe in something a little more mainstream, and people seem to like it.” Centering on the stereotype that the Japanese culture is focused on workplace competition and Karaoke leads Miguel’s character to force Roger and Adam to compete in a sing-off with the winner being awarded a paid position for the company. While Sophie B Hawkins “I Wish I Was Your Lover” has never been so amusing, it’s the flashbacks and narration that empower the performances to have deeper laughs than simply the action might elicit on their own. Japan has a greater level of complexity in terms of the number of sets and number of cast members involved than many of the Tony Ho productions. There is a trait that enables Japan and the theme to be irreverent to the stereotypes that the general public often feels comfortable buying into. Bainbridge agrees, “I think Canadians have a unique take on comedy because we have the benefit of being influenced by both American and British comedy. The British style can be a great deal more subtle and satirical and American stuff can be so in-your-face and broad and angry. I think we have the ability to marry those two influences in an interesting way. I have never been to Japan, and that’s deliberately part of the humor of the piece for me. I like it when people feel like they completely understand a place by just gleaning bits and pieces of their culture as it’s been distorted through media. The larger joke is that these are ideas people may hold about Japan while not actually knowing anything about the place.” Bainbridge is currently in development for TV productions with Tony Ho. With successful comedy albums, his involvement heading films and music videos, Roger Bainbridge is equipped to bring the full package to the home viewing public.
Over the years award-winning screenwriter and producer Mark Satterthwaite has brought laugh out loud comedy to some of Canada’s most beloved television programs.
Satterthwaite is a master wielder of jokes who has doted his ingenious writing upon an array of TV shows ranging from live-action and animated series to awards programs and talk shows.
In 2006 Satterthwaite wrote and produced the highly popular single camera sketch comedy series The Morgan Waters Show. The critically acclaimed series, which aired on CBC and garnered a Gemini Award in 2006, starred Morgan Waters (The Amazing Gayl Pile, Cock’d and Gunns) and featured celebrity guests including stand-up comedian Gilson Lubin, Tyler Kite (Republic of Doyle, Instant Star), actress and musician Alexz Johnson (So Weird, Final Destination 3), Canadian television personality Ed the Sock and many other pop culture icons.
Satterthwaite, who has written several other hit television programs including the animated series Almost Naked Animals, Grojband and The Dating Guy, as well as episodes for MTV Live, CBC’s one-hour special Canada’s Smartest Person, and the second season of the game show Bet Your Ass, has a talent for sniffing out jokes that will stick with whatever audience he is writing for. As the writer, director and producer of the episode “My Brother, My Record” for the series Canadian Comedy Shorts, Satterthwaite’s work earned the award for Best Mocumentary at The World of Comedy Short Film Festival.
While his innovative writing has helped garner countless programs a long list of prestigious awards over the years, he has also written the scripts for some of Canada’s most beloved awards programs.
In 2007 he co-wrote and directed the Gemini Awards, which were televised on CBC and hosted by George Stroumboulopoulos (The Hour, Battle of the Blades, Chelsea Lately, Bystander Revolution). A successful awards program relies on strong comedy moments in order to keep audiences engaged while the hosts announce the awards for each category, and Satterthwaite’s unparalleled writing for the 2007 Gemini Awards kept fans buzzing long after the awards ceremony was over.
To find out more about this exceedingly talented screenwriter’s career and what’s next on the horizon for him, make sure to check out our interview below!
Where are you from and what was it like growing up there?
MS: I was born and raised in downtown Toronto, Canada. I loved growing up there cause it always felt like a *small* big city. Toronto’s super walk-able and is broken up into amazing neighborhoods, so I feel like I spent my youth on tree-covered streets with friends. Pretty good.
How have your early experiences influenced some of the work you create today?
MS: My parents used to take my sister and I to see plays when we were kids. A lot of sleuth-style, whodunit plays, and it was so much fun. I would always figure them out at the act break. Not sure what it means, but that gave me a weird confidence when I was a kid… That I could solve these scripted mysteries.
Growing up in Canada we didn’t have much of a star system so it never occurred to me that I could end up writing television for a living. It just didn’t seem plausible. When I got my first writing gig at 22, I was floored. I really couldn’t believe it.
When and how did you get into the industry as a screenwriter?
MS: Canada’s answer to MTV, a station called MuchMusic, held a yearly competition where one lucky Canuck got to work at Much for a summer, with a free apartment, a new car and $10,000. All you had to do was submit a creative video to show why you deserved it. Long story short, I wrote a short and got second place in the national competition. The next year, I wrote and animated a 3-minute short and got second place again. It was heartbreaking. But the creative director at Much, David Johnson, loved my video and hired me on as a freelancer. I owe my career to David!
What are your favorite genres and audiences to write for?
MS: I love absurdist comedy. I think that’s why I ended up doing a lot of writing in animation, because it’s such an anything goes environment. Want to create a new character? Do it! Blow something up? Sure. Morph anything into anything else? WHY NOT?!?! It’s very liberating.
I actually prefer writing animated shows to writing ALMOST anything else… Other than film. Writing big splashy, Hollywood comedies has my heart. I just finished a 90-minute ridiculous script. I’m really happy with it, and I hope you get to see it soon!
Can you tell us a little bit about some of the projects you’ve written over the years?
MS: Coming up as a freelance writer in the Canadian television system was tough but exciting, because I had to wear many different hats to keep the lights on and to stay creatively challenged. One week I was writing an animated series, the next I was writing jokes for a game show, and after that I was in a writer’s room, scripting a sitcom with a bunch of other writers. It was a great way to figure out what I liked.
I started writing and developing TV years ago with my friend Morgan Waters. The Canadian Broadcast Corporation asked us to put together a sitcom that would work for “tweens.” Something distinctive that could be a starring vehicle for Morgan. We were both very into an American comedy troupe called STELLA at the time (we still are) and we decided to emulate what they were doing, with our own twist, for a Canadian audience with The Morgan Waters Show. Our writing and development process was to push the humor and scenarios as far as we could, so we made sure we were challenging our audience, as opposed to holding their hands. It worked out. The show won a Canadian Screen Award in its first season.
Soon after The Morgan Waters Show ended, I was offered the job of helping to bring MTV to Canada by working on the creative for the network launch, casting the hosts and story editing the live, daily comedy show, MTV LIVE. This was such an incredible experience. We watched audition tapes from hundreds of hopeful hosts from all over Canada, worked on the creative for the launch to make sure that people noticed, and put together a live daily show like no other on Canadian TV. We had amazing leaders in Mark McInnis and Alex Sopinka, and they really trusted me to lead the team of 30 or so creatives, coming up with script ideas every morning. It was a blast. The show was a hit within a year and was doing something for Canadian comedy that hadn’t been done since SCTV.
The Canadian Screen Awards are Canada’s answer to the Golden Globes, honoring excellence in both television and in film. I’ve been lucky enough to work on dozens of projects that have won CSAs, but I also got to work on the other side of the stage when I was approached to write the awards show with a super talented writer named Paul Bates. Our job was to focus on making sure that the show ran smoothly and was super funny. This was at a time when videos were just starting to go viral, so one of our mandates was to come up with edgy sketches that could roll into the show and might get people looking online the next day. I wrote and directed a sketch about what happened to all the puppets from Canadian television shows after their shows ended, a retirement home for puppets sketch. The sketch aired in the middle of the show and the live audience roared with laughter. The sketch became a national news story and even ended up in the New York Times. Mission accomplished.
My break into animation came when a Canadian production company I had done a lot of work for, Marble Media, approached me about re-writing and punching up an entire season of a new animated series called The Dating Guy. The show had good bones but needed a lot of help in the comedy department. I had such a good time peppering in as many original jokes as I could, often pushing the limits of good taste and TV acceptability. I learned a lot from the project- namely, that it’s always better to push as far as you can with your writing and get pulled back by producers. If you come in soft, it’ll be near impossible to edge things up later on. The Dating Guy was my first foray into animated TV, and my writing and contributions were very well received, so soon after, I was getting offers to write on other animated series. I did three seasons of writers’ rooms, punch-ups, rewrites on an international hit kid’s animated series called Almost Naked Animals. It was a great show and I learned so much from it.
After Almost Naked Animals, production companies started coming to me to develop and write pilots and bibles for new animated series. I loved getting involved in the shaping and writing of these worlds early on. One of the shows I got to help bring to television was a kid’s concept called Winston Steinberger and Sir Dudley Ding Dong, a ridiculous absurd show about a kid and his cat in space with their alien guardian. I wrote the pilot and the bible for E1 productions, Sticky Pictures Australia, Teletoon Canada and ABC Australia. After two pilot scripts and a bible, we were green lit to series with me at the helm as head writer and story editor of the show. I worked with over 40 writers on 52 scripts to get the first season done and done well. It’s a distinctive, hilarious show and I think it’s going to be a hit when it hits the airwaves in early 2016.
What made you choose to participate in the projects you’ve done over the course of your career?
MS: Sometimes I would choose projects, and sometimes they would choose me. I always knew that Canadian TV isn’t what it should be. There is a lot of filler in there. And I made a decision early on in my career, not to write for shows that I didn’t care about. That was my goal. And because I could write jokes and scenarios for both kids and adults, I was lucky enough to move around in the business, writing on many different styles of shows. My goal was always to work on something new and different. I think that’s why I like film so much, cause you sweat onto the page for one great story, and then you move on to the next. My ADHD doesn’t allow me to do the same thing over and over.
Do you take a different approach when writing for animation opposed to live action?
MS: If I had my way, I’d be writing the absurdist style I enjoy so much for live action projects, but it really can be a different beast. So I try to inject what I can, where I can. I love that animated, “anything goes” sensibility, and I think live action could use more of it. But I also love dry British humor. I grew up with a British dad holding the remote control, so we were always watching Britcoms. I loved them all. Still do. I think my sensibilities really come from the absurdist styles of STELLA, old 80s flicks like Top Secret and Spaceballs, and dry British comedies like Alan Partridge and The Office. I think there’s a place for animated humor in live action TV. It’s just about finding a balance.
You’ve also written storylines for several commercials, can you tell us about a couple of them and how you came up with the storylines?
MS: Agency 59 came to me about writing and directing a series of PSA commercials about drinking and driving for Labatt Blue. The goal was to deliver a strong message without beating people over the head. It was an interesting challenge to keep the topic light but focused, and I was up to it. I worked with the agency writing over six spots that I think were pretty funny and delivered a strong message. Everyone was happy.
You’ve also produced many of the projects that you’ve written—can you tell us from your perspective, how the roles of screenwriting and producing are different? How do you manage to successfully tie them together?
MS: I never used to understand what producing was in television. But yes, I would often be hired to write and produce on shows. I really enjoy wearing both of those hats cause I don’t always find it easy to write and then give a script away, leaving it up to others to execute/shoot/animate. I really care about the projects that I work on and I like to be able to see them through to broadcast, to try and ensure that they end up being as close to what I had intended when I wrote them. Sounds a little controlling, I’m sure. And I think part of it is. But I really do care and want the best product to hit the screen. I don’t think there’s any point in working in a creative industry if you won’t bleed for what you’re writing.
What have been a few of your favorite projects so far?
MS: My complete favorite project was writing the feature I just finished. Film has always felt like this elusive, glorious mountain peak that I just couldn’t get to. I almost wouldn’t let myself try. So much of writing, for me, is overcoming all the little demons in your head that tell you that you can’t do it. “Hit the couch, fat ass. Just watch some TV. It’s easier”. Being a freelance writer takes so much discipline and you really have to believe that what you’re going to write will be worth someone else’s reading time. The feature I just finished, I think, is super funny and a good heartfelt story.
Other than that, being the head writer on Winston Steinberger and Sir Dudley Ding Dong, story editing a show for MTV when it first came to Canada, creatively helming a commercial shoot in Argentina, writing absurd sketches for Funny or Die and writing award winning sitcoms with your friends is a pretty sweet gig.
What has been your most challenging project?
MS: Writing a feature, by far. It’s so impossibly hard. I’ve been writing television for over 15 years now. I really felt like I had a good understanding of structure. But 90-minute films, the good ones, are beasts. They need to have a good strong structure, characters the audience can get behind, a minimally saggy middle and a nice arc that keeps an audience active. It’s so difficult. That’s why most films aren’t that good. It’s a very difficult proposition. Honestly, writing jokes is by far the easiest part of writing. It’s the structure and guts of a good script that need your focus.
As a screenwriter, where do you get your inspiration for the projects you create?
MS: I get inspiration from so many different aspects of my life. To start, my girlfriend is one of the funniest people in the world and a writing/acting force to be reckoned with. She’s been successful in TV/film for 15 years now, so I’m always bouncing things off of her to see what she thinks. If she likes it, I like it. I also have never been able to turn off the part of me that loved 80s and 90s silly, absurd comedies- Mel Brooks, Zucker Bros, John Hughes. I just loved all of their movies so much. John Hughes found a way to make me laugh so hard but also really care about characters. Planes, Trains and Automobiles is such a perfect example of that- hilarious, heartwarming and redeeming all at the same time.
What do you hope to achieve with the projects you create?
MS: I’d like to make people laugh and feel good, and I’d like to get offers for new, challenging projects from people seeing the work I’ve done. Sometimes I’ll read comments on the Internet from people who have watched episodes of something I’ve written. “This is my favorite episode!” or “This show is the funniest thing on TV” or “WRITE MORE! MAKE MORE!,” and that always makes me feel like a million bucks. Writing scripts is hard work; it’s so nice to know that people like it.
Why are you passionate about working as a screenwriter?
MS: I’m passionate about screenwriting because it’s a huge, huge life test. All of the time. It’s fun and it kills me. Do I have the will to get this script done? Am I confident enough in myself that I can write something that stands out? Am I special enough to write a script? Do I have a point of view that will engage people? Every script is a gut check. I think that’s pretty remarkable. And sometimes the answers to these questions can be very sobering. Other times they can make you feel like a million bucks.
International Entertainment, and the Talents that Leave us Buzzing….