David Wilson

David Wilson had a long and successful career in film, working in London, New York and Montreal as producer, writer and picture editor. Starting in documentaries, he participated in the making of films with a wide range of subject matter: from The Other Side of the Ledger, one of the first films to examine the plight of Canada’s aborigine people to For the Love of Dance , a look behind the glittering facade of the ballet world. Both these films, like many others David worked on, went on to win international prizes and awards

In the 1980s, David helped set up a program at the National Film Board of Canada with the aim of making a very different kind of feature film. The cast was to have no acting experience.  There was to be no script. Although there would be a basic story mapped out, all the dialogue was to be improvised. Using a small crew and documentary techniques the goal was to produce something fresh and spontaneous. It was a dangerous experiment that could have ended in disaster but films from this program – such as 90 Days, Sitting in Limbo and The Company of Strangers – were embraced by audiences looking for something different and have been shown to great acclaim all around the world.

David was nominated four times for a Canadian Academy Award, winning one for The Company of Strangers – a film which also won the prestigious Jury Award at the Venice Film Festival.

After retiring from film, David decided to try his hand writing a novel set in 17th Century England. That was two years ago. Now the one book has become a trilogy, the first of which The Duke is complete while The Queen and The King are works in progress. The books follow characters from different strata of society and though their stories show how they are affected by events often beyond their control: war, social unrest, political intrigue and the ever-growing threat of a revolution, their stories also are about things of more immediate concern: love, sorrow, lies, deception, the pursuit of money, and the desire for personal power.

© 2017 Jane Wilson

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