Pop-Culturalist.com

Jordan Canning embodies the adage “hard work pays off.” Originally a writer, her love of directing came after she finished school so she threw herself into making her own projects, putting the time in on production jobs whenever they crossed her path, and truly dedicating herself to achieving her goals. Indeed, all her hard work did pay off.

Jordan Canning has directed a multitude of projects, from TV shows like Schitt’s Creek to feature films like We Were Wolves (which she also co-wrote). And, several of her short and feature films have won awards at various film festivals, including the Canadian Film Festival and the Toronto International Film Festival. Her drive and genuine love for her craft shine through in whatever project she’s working on.

We caught up with her to chat about how she approaches directing, what it’s like working on TV shows, and the best career advice she’s received.

PC: What drew you to directing as a career?
Jordan: I didn’t know I was going to do this right from the get-go. I didn’t go to film school; I did creative writing and sociology. After I graduated, I moved back to Newfoundland and needed to get a job so I applied to some jobs at a production company. I ended up getting a job there writing and, eventually, doing small on set directing jobs. At the same time, I decided to adapt one of my short stories that I had written in college into a short script because we have a great film co-op in St. John’s that had a program called the First Time Filmmaker program. Anyone could apply with an 8-minute short film, and they would help you make it. They’d mentor you, give you a volunteer crew, and help you see it through.

I applied with a fairly simple story. It took place in one room—a bedroom—with two people. I got to love the whole process of it: all of the million details you have to think about before you make the film, being on set with the actors…everything about it appealed to me and my interests at the time. It clicked that this is what I wanted to pursue. So, I put all my effort into making as many short films as I could, continuing on set in different jobs, and building up my experience. Since I hadn’t gone to film school, I wanted to learn by doing.

PC: Does your directing approach differ between medium? For instance, is it different if you’re working on a short film, TV show, feature film, or music video?
Jordan: To a degree. You have a directing tool box. As you direct more and as you make more work and learn things and figure out what your directing style is, you add to this tool box. Then, certain jobs, certain shows, or certain shots draw on different aspects of it.

When you’re making your own feature film, you’re living with that for, sometimes, years. You’re very connected to it; every little detail and every little thing comes down to you, your choice, your aesthetic, and your vision. On the flipside, when you’re hired to direct an episode of television, sometimes you’re not getting the script for your episode until the day before you start prep. Then the script changes five times between then and the time you shoot. So, it definitely draws on a different set of instinctual quick-thinking tools in your tool kit when you’re doing TV because a) you haven’t usually been attached to this project for very long and b) you’re ultimately not the creator, showrunner or producer who has been developing the show for years. You’re dropped in there for two weeks to take the material you’re given and adapt to the show, the style, and to try to leave your mark on the episode without reinventing the wheel entirely.

Ultimately when I’m directing actors or working with a crew, it’s all the same tools. Everyone works differently and has different preferences, strengths, and weaknessess. What makes a great director is learning how you communicate. You’re learning your strengths and weaknesses and leaning into them.

PC: When it’s your own work versus a TV show where, as you said, you’re in and out, do you find one more exciting? Or is one more challenging?
Jordan: They fill different roles I think. Making your own feature is an incredible experience. It’s so all-encompassing, and you’re so in it. You’re passionate and living it and breathing it. You get to decide everything. You pick your crew; you bring your friends on; you build everything from the ground up with your team. There’s something incredible about that…but, also, so much pressure! You are putting so much of yourself into it, and it feels like it’s on your shoulders to make it as great as you can. Even if you make a great film, you’ll always see the flaws in it because you are so connected to it.

On the other hand, a TV show episode is something I love in so many ways because it gets me on set more regularly. Getting into TV directing has been such a blessing because I’ve been able to keep my craft up, stay sharp, learn new things, and work with a lot of different people and crews. Those skills all help me when I go to make my next feature. I’ll have hours and hours on set to draw from. The other thing about TV [is that] because you’re dropped in and the whole show isn’t riding on your shoulders, you do the best job you can do and walk away. The producers, directors, and showrunners will take your director’s cut and maybe change it entirely or maybe they’ll tweak a few things. But, at that point, it’s out of your control. The first couple of times I had to reckon with that I found it a little challenging. My first instinct is to see it through, but there’s something very freeing about being able to walk away from something, knowing you did the best you can do. My boyfriend always says, after I finish a directors cut, “Baby turtles. You just gotta let ’em go and walk away. If they get picked off by a seagull, such is life.” [laughs]

PC: When you’re coming on a TV show that’s been successful and on the air for a while, like Schitt’s Creek which you recently did, do you feel any pressure to get it right?
Jordan: The first TV episode I ever did was for Saving Hope. It was doctor procedural hour-long [show]. I was directing the second-to-last episode of the entire series. I watched every episode of that show before I got to set. Realistically, that might have been overkill, but I wanted to get a sense of the tone, the characters, and how they shot it. I have done that with every show I’ve worked on unless I’ve been told to skip a season.

It can be nerve-wracking, to a degree, because you’re walking into something that has been so well-established. The crew has all been there since day one, and you’re the new kid on the block. You do have a lot to; there’s a pressure to establish yourself and get people behind you and on board with what you’re doing right from day one because you can’t alienate and lose the crew. You’re dead in the water if you can’t get them behind you. That’s always my priority in going into a new show, or a new environment: just to be myself. So far, that has worked for me. Be friendly, let my sense of humor out, and be as competant and confident as I can be.

PC: Do you prefer working on comedies or dramas?
Jordan: I really like both, but I think I have a natural inclination toward comedy. There’s a great energy on a comedic set. Everyone is laughing and having fun. When you’re working twelve hours a day it’s nice not having all heavy stuff.

Some comedies are quite stylized, but what I love about dramas is that you can lean into the atmosphere and the visual aspects of filmmaking sometimes.

PC: Do you have a favorite on set moment from a recent project that has stood out to you?
Jordan: I love the process of making something. I love seeing the pieces come together. The first thing that came to mind is from the most recent season of the Baroness von Sketch Show. It was one of my favorite sketches. It was something that I really wanted to pull off. It had some stunts in it and a lot of moving parts. We had done all the prep; the script was so good; Aurora was so good. So, right from the first take, it all clicked into place. It’s satisfying when things work out. Preparation is so key for filmmaking.

PC: In general, directing is a more male-dominated field. As a female director, have you faced more challenges? If you were talking to a young female aspiring director, what would your advice be?
Jordan: I personally have been fairly fortunate. I’ve spoken to a lot of my friends in the industry who have nightmare stories. Knock on wood, I haven’t had any true horror stories. I’ve never had overt moments of discrimination so I don’t know if me being a woman—or a young woman—had anything to do with how long it took me to get my first directing job in TV. Though it did take a male director dropping out and an episode spot opening up for me to get my first job directing a TV episode even though I had many people on that show pushing for me [previously]. I do know that I was focused on that goal for seven years before it happened. I was working and trying to build a case for myself. That’s kind of what you have to do with your work and your voice.

In terms of advice, I think one thing that needs to get left behind is the idea of “breaking in” to the industry. There is no breaking in exactly. To me, my career has always been a series of strategical steps toward something that I’ve wanted to achieve. I got good advice years ago after the directing lab at the Canadian Film Center. I was gung-ho to get an agent, and I met one in particular—who would later become my agent—and he said, “You don’t need an agent yet. If you want to be making hour-long episodes, you need to make a feature. If you wanna do comedies, you need to make a comedic short.” Basically, [you need] something that makes it so evident to whoever you’re pitching it to that you can do it; you’re building a case. So I took that to heart. I went back to work. I made a web series. I made my first feature. I kept beating at this path until the stars aligned.

It’s hard when you’re so hungry and so passionate and you want it so bad and you see people getting the things you want. You want to jump ahead, but you can’t. If this is what you want to do, you just have to put your head down, focus on making good work, and making a case for yourself.

Pop Culturalist Speed Round

Last TV Show You Binge-Watched
Russian Doll

Favorite Film
The Apartment

Favorite Book
Geek Love

Favorite Place You Have Been
Asheville, North Carolina

Place You Want to Go
Portugal

If You Weren’t Directing, You Would Be…
A large animal veterinarian.

Artist You Could Listen to on Repeat
Ben Folds

Person You Most Want to Meet
Bill Murray

Photo Credit: Kristina Ruddick