For series creator Christa Couture, telling her story became an invitation for others to tell their own. | CBCArts
to explore experiences I'd been singing about in detail. Near the end of the editing process, I was tasked with switching the first chapter from present tense to past tense. This was a powerful exercise: changing each "is" to a "was" meant I had to stand rooted in the present. I began to feel that maybe I had told my stories enough times. Finally, those heartbreaksA still from 'Grape Soda in the Parking Lot' directed and animated by Megan Kyak-Monteith.
— the person, place, potential – and I will remember for you. After so many people had received my story, I wanted to offer the same.What if I asked other writers to respond explicitly to that question? What if one film about loss became five? What if I made work that didn't draw from personal experiences, but supportedstorytellers' journeys through heartache? Was I ready for something like this? Would I like the experience of switching gears or letting go?it.
We invited animators and artists Terril Calder, Chief Lady Bird, bekky O'Neil, Meky Ottawa and Megan Kyak-Monteith to animate those writers' pieces. We brought in composers Cris Derksen, G.R. Gritt, Melody McKiver, and Inge Thomson. The collection and collaboration grew to be something even more beautiful than I could have planned.The opportunity to be able to lift up others' stories fuelled all three years it took to complete this inimitable, intricate project.
For twenty years, I wrote songs alone — my only company a piano or a guitar. I wrote my memoir alone at my computer, with a coffee cup. For twenty years being alone to create was what I needed to do as an artist. But a powerful and freeing turning point occurred in makinginto a series with all of these incredible artists; that hope the journalist had for me years ago came true.How to Lose Everything: A Field Guide Christa Couture lost her leg, her children, and her marriage.
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