From the multi-award winning creators of the hit series Flashpoint,¬†Mark Ellis & Stephanie Morgenstern, CBC and Temple Street Productions (Orphan Black) announce the start of production on the highly-anticipated original series CAMP X, shooting on location in Budapest, Hungary until the end of the October. The eight-episode, one-hour series is set to air in early 2015.
CAMP X is an emotionally driven adventure drama, set in the thrilling and dangerous world of WWII espionage and covert operations. It follows the stories of a team of highly skilled young recruits – Canadian, American and British – torn from their ordinary lives to train as agents in an ultra-secret facility on the shores of Lake Ontario. Inspired by remarkable true stories, CAMP X is about the origin of spycraft.
¬†Teaming up again with Ellis & Morgenstern is Hugh Dillon (Flashpoint, The Killing).The series’ international ensemble cast also includes Evelyne Brochu (Orphan Black, Pawn Sacrifice); Jack Laskey (Endeavour, Hatfields and McCoys); Warren Brown (Luther, By Any Means); Dustin Milligan (Demonic, 90210); Connor Price (Being Human, Carrie); Lara Jean Chorostecki (Hannibal, Copper); and special guest Francois Arnaud (The Borgias).
¬†”CAMP X is a story we’ve been burning to tell for a long time. ¬†It’s incredibly powerful to see it take shape in the hands of so many talented people,” say creators Ellis and Morgenstern.
See the full press release here.
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Hugh, Trent, Tim, Dale.
Hugh Dillon was in Toronto from his home in Los Angeles earlier this summer to talk about Love + Fury, a new album from the Headstones after the punk-hard-rock band re-united 11 years after calling it quits.
But the 50-year-old singer-songwriter wasn‚Äôt able to contain the discussion to the subject of his music or his successful acting career (The Killing, Durham County) boosted by the five-year run of CTV‚Äôs police drama, Flashpoint. This was a conversation that could have been called Darkness + Pain = Redemption + Light. And the lessons he wants to impart can be explained in this equation: Patience + Kindness + Generosity = Possibility + Hope.
The simplicity of the math belies the complexity of the journey, though, which roils behind his eyes, ready to be channelled into an intense, on-screen character. What it required ‚Äì the conversation, that is ‚Äì was the forbearance of his publicist, who sat in an adjacent booth, and several times raised a hand of warning for him to stop, which Dillon gleefully ignored. He flirted with his past as a boy with a crush, recounting the worst bits off-the-record like deliciously sordid sex scenes, all of them delivered in whispered confession between bites of expensive salad.
‚ÄúDarkness and existential angst,‚Äù he explains at one point, holding his fork in mid-air, when asked about his troubled youth spent in Kingston, Ont., the youngest in a family of three children. He was restless and malcontent, rebelling against his conservative upbringing with a mother who was a teacher and a father who worked for a large multinational.
‚ÄúI had a great acting teacher in high school. But I didn‚Äôt like acting because it took too many people to get the job done.‚Äù At this observation comes a snort of laughter before he continues: ‚ÄúYou have to talk to too many people and listen to others‚Äô opinions. With music, you get a few friends together and just make it.‚Äù His parents sent him off to Ashbury, a private boys‚Äô school in Ottawa to try to discipline him.
Did that work? ‚ÄúAre you kidding?‚Äù he replies with boyish impishness. He finished high school and set off for Queens University, where he lasted a year. ‚ÄúI took sociology, history and the study of drugs,‚Äù he deadpans with a devilish smile. He almost landed in jail. His parents were frightened, so his mother sent him packing: he wasn‚Äôt allowed to come back to Kingston for five years. She gave him a passport and $1,000. Off he went to London, England, where he lived in a squat and busked on the street, performing his own songs. When he returned to Canada a year later, he faced two truths. He knew he could make music, but he couldn‚Äôt afford to. His parents refused to help him unless he returned to university. He lived in a cheap Toronto apartment and worked in factories stacking boxes and later, for five years, as an orderly at the Hospital for Sick Kids. Finally, he saved enough money to record a demo tape, which led to a record deal.
‚ÄúYou‚Äôre young, you like to drink beer, smoke a little pot, you get a record deal and incrementally three or four years into it, you drink too much, your nerves were shot, so you take Valium. It kind of slows you down a bit, and then you‚Äôre like, ‚ÄòHey, what does heroin do? Cool!‚Äô And you think you‚Äôre the smartest guy in the room. You drink all night, take a little heroin, which takes the edge off, and you have all these people expecting to see you perform, so it works. Heroin prolongs your drinking until it gets you, too.‚Äù That little passage was delivered as melodically, as seamlessly, as the lyrics of a song he has performed a thousand times.
But then he throws his shiny bald head back and booms with laughter. The romance with his addiction was going to end with something worse than a STD. ‚ÄúOh, I would have died!‚Äù he points out with unexpected enthusiasm. Here‚Äôs another bit of math: 20 detox attempts + 5 rehab stints = 0. ‚ÄúI had to turn my back on [the band],‚Äù he says, explaining that each time he went on tour, he would relapse.
‚ÄúI went up north and was cutting trees down. It wasn‚Äôt romantic and cool. It was $4.10 an hour and I was 40.‚Äù A voice-over job for a Chrysler came along. Then, an award-winning movie, Down to the Bone. (He had been given his first acting opportunity by Bruce MacDonald in 1994 in Dance Me Outside.) He wouldn‚Äôt have spearheaded a reunion of The Headstones if it weren‚Äôt for an out-of-the-blue phone call from Randy Kwan, a friend from high school who had co-written some of his early songs. They had gone separate ways. But Kwan called to tell him two things: he was husband and father, and he was dying from cancer. (He died six months later.) Dillon offered to help by getting the band back together to play a few gigs. ‚ÄúAnd because we spent so much together, we wrote a song, BinThisWayForYears.‚Äù They decided to fund an album through pledges from their fans. (Universal later distributed it.) ‚ÄúIt was great because we were not interested in doing it for vanity.‚Äù
He has been clean and sober for eight years, a period his parents, now in their 80s, have been able to witness. ‚ÄúI am confident in who I am,‚Äù he states. And of course, there‚Äôs his wife of 25 years, Midori Fujiwara. ‚ÄúI‚Äôm here because of her. She didn‚Äôt give up on me when everyone else did and I had given up on myself.‚Äù
And there‚Äôs another woman he credits: Anne Marie La Traverse, the executive producer of Flashpoint, who gave him his breakout role of Ed Lane. ‚ÄúWhat it comes down to, from that Flashpoint experience, is a kindness and generosity and a work ethic that I have taken away with me.‚Äù
No more struggles with meaninglessness?
‚ÄúCheck it out!‚Äù he exclaims. ‚ÄúI have a car waiting for me. My wife is waiting for me. I‚Äôm going to Muskoka. I‚Äôm talking to The Globe and Mail. I‚Äôm connecting to people. And I‚Äôm at a restaurant ordering salad! I love it!‚Äù
It‚Äôs about what you add up, and what you choose to subtract. ‚ÄúLife is too short to spend in negativity,‚Äù he says. ‚ÄúSo I have made a conscious effort to not be where I don‚Äôt want to be.‚Äù
Actor, rocker, and front man of The Headstones, Hugh Dillon, stopped by Studio Q to chat about his band’s new record Love + Fury. It’s their first album in 11 years, and Dillon says time and tragedy have turned the musicians into a different kind of band.
The younger version of himself would sooner spit into the crowd than rehearse for a show, but he now says that Dillon can “eat it.”
“This band could beat the hell out of that band, because the raw talent was there but not the work ethic,” he said.
But this reunion album, which was sparked by a death close to the band, is no cash cow. Take a listen to the interview to hear that story and how the album became the band’s first ever top ten record.
“This guy’s a time bomb and you’re about to see what lights the fuse,” Dillon tells THR of prison guard Francis Becker’s breakdown.
The Killing continues to head into deeper, darker territory.
With Stephen Holder (Joel Kinnaman) and Sarah Linden (Mireille Enos) on the road to solving the season’s mystery of the dangerous serial killer targeting street kids, another story line is just as significant. Death row prison guard Francis Becker (Hugh Dillon) finds himself in “a dark duet” with imprisoned inmate Ray Seward (Peter Sarsgaard), behind bars for allegedly murdering his wife years prior.
STORY: ‘The Killing': Peter Sarsgaard on the Rosie Larsen Case, ‘Contrived’ Endings and Season 3
For Canadian actor Dillon, who appeared on Continuum and starred in Flashpoint, Becker is “giving a master class in dysfunction to tell you the truth,” he tells The Hollywood Reporter. “He’s a product of his environment. He’s emotionally bankrupt. He’s struggling to keep some semblance of humanity.” He likens The Killing to “a poisonous flower: the more it unfolds, the more you’re in it and the more deadly it gets.”
Filming the scenes between Becker and Ray “couldn’t be better,” with the actor recalling a time when Jonathan Demme (The Silence of the Lambs, Rachel Getting Married) was directing he and Sarsgaard ‚Äî an actor Dillon admires. “This isn’t network television. It’s elaborate and so beautifully written and the kind of thing that as an actor you’re waiting to do and hoping you get to do these kind of roles,” Dillon says. “I look for parts and roles on film and shows I’m interested in that are exciting to be a part and this was that.”
Dillon characterizes the Becker-Ray dynamic as remarkably tense. “It’s a dark duel. It’s the antagonist’s antagonist. It’s the bad guy to the bad guy, who’s cloaked as an authority figure,” he says. “[The writing] instilled that kind of tension in the words and the characters.”
STORY: How ‘The Killing’ Came Back to Life
Becker heads into “very dark” places, but Dillon reassures that hints of who this guy is have been inserted along the way. “As the [season] goes on, you see what the psychological baggage he carries with him is and that is his family,” he says. “He is the dark lord in the prison. He is the master of that domain. That’s why he has such a problem with Seward. His home life is, for a guy like that, so dysfunctional, it’s killing him.”
Acting primarily in a stale, static environment such as a prison wasn’t as challenging for Dillon as one might think ‚Äî though he “tended not to” look to past prison documentaries or films in preparation for the role. Having grown up in a town with five penitentiaries, Dillon was “aware of that environment,” instead speaking to correctional officers for research. “Shooting in such a dark, depressing place just helps you in every regard when you’re acting because going on to that set,” he says, “it’s a character in and of itself.”
In a show like The Killing, where every one is a suspect in the season-long mystery, Dillon knows that the light is also being shined on Becker. “There are a few episodes coming up where you go, ‘He’s the guy,’ ” he says.
The seventh episode of the season, “Hope Kills,” “really reveals Becker’s underbelly in terms of his home life and what makes him tick. This guy’s a time bomb and you’re about to see what lights the fuse,” Dillon says. “Ray’s a master manipulator. He chips at Becker to make him comfortable and react.”
How different of a place does Becker end up in at the end of the season? “It’s night and day,” Dillon says. “It comes down to the effect that this kind of job and this kind of lifestyle [has] ‚Äî it’s almost like post-traumatic stress. It affects every element of this guy’s personality, of his emotional life, of his humanity ‚Äî right down to his son and his wife. The end is a beautifully-written piece because it really shows the reverberations of crime and punishment on an individual.”
The Killing airs 9 p.m. Sundays on AMC.
By Nick Patch, The Canadian Press | The Canadian Press¬†‚Äì¬†Wed, 22 May, 2013 6:45 PM EDT from yahoo.com
TORONTO – Headstones snarler Hugh Dillon has never been particularly gentle with fans ‚Äî after all, his habit of spitting indiscriminately into the audience during the band’s notoriously fiery performances has become a key part of the group’s mythology.
But now that the Kingston, Ont., band’s first album in over a decade was made possible by the contributions of their devoted faithful, who in 1,597 separate contributions poured in more than 295 per cent of the band’s budget goal via PledgeMusic.com?
Well, Dillon certainly feels the love ‚Äî and pressure.
“It makes you want to work harder,” the 49-year-old said in a recent telephone interview. “If we’re getting a shot at this, we’re going to give it 150 per cent. We’re going to give it a million per cent. We’re giving it ten bazillion million per cent! It’s like, these people are going out of their way to help you. They’re putting their money where their mouth is, they’re going, ‘We believe in this thing. We believe you guys can do it.’
“It just makes you go: Holy (crap), these people are really expecting something,” he added with a laugh. “It was our baby. This was it. There was one chance. And these people had invested so much and believed in us. It’s like, you can’t disappoint. Disappointment is not an option.”
And, in the eyes of the always-candid Dillon, the Headstones didn’t disappoint. With “Love + Fury,” out now, he says they’ve made the best record of a career that stretches back more than 25 years.
The band ‚Äî known for no-nonsense serrated hard rock ‚Äî had its greatest success in the ’90s, with a stretch of commercially successful records beginning with 1993’s platinum-selling debut “Picture of Health” followed by consecutive gold records with 1995’s “Teeth and Tissue” and 1997’s “Smile and Wave.” After two more albums, the band went on indefinite hiatus following 2002’s “The Oracle of Hi-Fi.”
There were many reasons for the breakup ‚Äî a one-time heroin addict, Dillon relapsed before checking himself into rehab and disbanding the group ‚Äî but they had also become drained by the constant push for airplay and record sales.
“You get the (crap) kicked out of you on the road and playing in a band for a long time, and especially in Canada,” he said. “There were a couple years, a couple decades, that weren’t that … hot.”
They reformed in 2011, brought back together in an effort to help past contributor and longtime friend Randy Kwan, who was dying of cancer and didn’t have insurance. Quickly, the quartet assembled for a tour that generated some money for the cause.
“Out of that tragedy, came nothing but an incredible, positive and creative experience,” Dillon said.
Despite its heartbreaking overtones, the cross-country trek reminded Dillon and co. how much they’d missed one another.
“It’s like lightning in a bottle ‚Äî it’s just that natural chemistry,” he said. “It’s explosive when we hang out. Your senses are just heightened. We laugh a lot. Life just seems exciting, you know?
“It’s very much like a family,” he added. “We’re like brothers. You know, they have very little patience for anything that isn’t 100 per cent honest.”
When it came time to start crafting a new record, they started fresh, not bothering with most of the sketches or ideas that had built up during their break. Co-producing with his friend Chris Osti, Dillon endeavoured to claw back the layers of polish that were typically applied to the band’s white-knuckle rock and roll (he says such older records were so “weirdly polished or weirdly enhanced” that he “would always be vaguely disappointed with the final” product).
Album opener “Change My Ways” establishes the record’s Rottweiler growl, while first single “longwaytoneverland” finds Dillon spewing stylishly over a hard-charging riff. The album rarely lets up the guitar-driven intensity, though stark album closer “Midnight of this Life” is something else entirely, a piano dirge that finds Dillon softly singing some revealing lines: “It’s just the midnight of this life has proven to be the hardest to bear.”
He’s not looking for external validation this time out, he says. The Headstones had the support of their fans, and the band is happy with their album.
“I no longer look at numbers or business,” he said. “That was what killed us ‚Äî we didn’t even realize we were on the treadmill. We were running so fast, and then, bam.
“Life is too short,” he added. “If you can find great people that you like to be around, and a great project that you’re really honestly passionate about and interested in and not wasting your time and not doing (it) for money, your life is infinitely happier.”
And there’s a certain pride Dillon takes in the Headstones’ unwillingness to rest in peace.
“We’re that little pitbull that gets up and survives through decades and through illness and death and destruction and everything else,” he said. “We really love where we’re at right now.”
Of course, during Dillon’s hiatus from the Headstones he established himself as an in-demand actor, having landed regular roles on “Flashpoint” and “Durham County.” Soon, he’ll be featured as a regular player in the third season of the AMC mystery “The Killing,” while he also landed an arc on the sci-fi series “Continuum.”
He’s also about to turn 50, a milestone that he approaches with some enthusiasm.
“I’m lucky to be here,” he said. “I love every second of it. I’m turning 50, I’m shooting two television shows … and I’ve got the best rock ‘n’ roll record I’ve ever made with the guys I’ve grown up with. It’s a testament to great, really exceptional relationships and great friends.”
ATTENTION HEADSTONES FANS!
You have waited a long time for this. We are done making you wait.
The Headstones are making a new record. No bullshit. We‚Äôre cutting out the middleman, and giving you back the band. With your contribution, you will officially kickstart the machine. This will be the most authentic rock and roll experience in terms of recording and releasing a record. Ever.
We have teamed up with Pledge Music to get you involved. Check out our project page and get exactly what you want. Get connected, and we will bring you into our world ‚Äì exclusive updates, videos, streaming of new songs, photos of us in the studio ‚Äì you will be experiencing this right along with us.
This is your fault, so thank you. This is going to rock!
HEADSTONES. hugh, tim, trent, dale
Here’s what you have been waiting for! Hugh Dillon and Enrico Colantoni’s 2011 Toronto International Film Festival, short cuts Canada film ISSUES, can now be viewed outside of the theatre. A big thank you to Bravo!FACT for their immense support in bringing this project to life.