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So Fawcett was glumly re-evaluating his career path in the fall of 2001 when the call came from an enthusiastic theatre owner in Greenwich Village, New York.
“I wish I knew who it was,” says Fawcett, in an interview with Postmedia from his home in Toronto. “Because he is a really cool part of the story. He owned a little rep theatre in New York City and he had been to TIFF and he really liked Ginger Snaps. He said, ‘I’m working on my Halloween slate of movies and I really want to show Ginger Snaps. Who is your U.S. distributor?’ I said, ‘You’re talking to him. If you want a print, don’t go to them because they are just going to give you the runaround. I’ve got a print of it. If you pay for all the shipping, you can show it and make whatever you can make and try to get as many people to see it as possible and good luck.’ And then I just forgot about it.”
In late October, Fawcett’s New York-based agent called him to report that Ginger Snaps had made the cover of the New York Times entertainment section. Film critic Dave Kehr had written a passionate review, comparing Fawcett to David Cronenberg but also heralding him a “sly, dry satirist, with a distinct sensibility and a promising talent of his own.”
Less than a week later, it was picked up by HBO.
“It was HBO that picked it up and played the sh-t out it, and that was really where our North American audience started,” Fawcett says. “Whatever the Ginger Snaps movie became, it was because people saw it on HBO.”