This chronology goes through not just moments in the history of making the film, but also moments in the Director's activist work regarding EnCana's and OCP's operations. They are both included to give a more holistic picture of what the film process involved and how it was closely linked to activism.

September 2002: Nadja starts a campaign on EnCana and the OCP at the Toronto Environmental Alliance. The campaign tries to reach out to the public, the media, and investment community.

January 2003: Nadja Drost and Nick Galletti, a friend who had also worked on oil issues in Ecuador, go to Ecuador to shoot for 5 weeks. Nadja had taken a weekend course in video camera operation and Nick had never held one. They shoot over 30 hours of footage on a Canon G2 mini-DV camera.

The only funding at this point is as a part of Nadja's campaign budget at the Toronto Environmental Alliance, towards camera equipment. Ecuadorians impacted by oil are eager to share their stories, but many of those living by EnCana's operations or along the OCP pipeline's route are nervous to speak to us. Many peasants along the OCP have experienced abuse and intimidation at the hands of OCP-hired military and police forces for opposing the pipeline. EnCana denies the request for a site tour of their operations due to security concerns in the area.

April 2003: Nadja produces a 10-minute video on EnCana and the OCP pipeline and sends it to EnCana's investors across North America just before EnCana's Annual General Meeting. Nadja raises concerns over EnCana's Ecuadorian operations at the AGM in person. EnCana has prepared their own video on Ecuador to show their shareholders the positive contributions they are making in the country. Media attention and public concern over the controversy growing in Ecuador is generated.

Summer 2003: Nadja starts dedicating more time to the film rather than the campaign. She moves the campaign to GlobalAware, a non-governmental organization in Toronto.

October 2003: Two small grants from Environmental Defense USA and Naomi Klein's Fences and Windows Fund permit Nadja to travel to Ecuador to attend an international campaign meeting on the OCP. She brings Cameron Esler as a camera man and they carry out a second shoot for six weeks. The second shoot allows for a re-visit of various landowners interviewed nine months prior to see how their situation has changed. For the most part, peoples' lives haven't changed for the better. The film is yet again denied a site tour from EnCana. While filming in the area of EnCana's operations, the film crew is followed by EnCana's security guards.

November 2003: Cameron starts working as the film's editor once the two return to Toronto. Nadja has an additional 70+ hours of Spanish footage to transcribe. The project receives two grants from the Toronto Arts Council and the Ontario Arts Council.

March 2004: GlobalAware invites an Ecuadorian featured in the film, Luis Merino, to Canada for three weeks. Luis and Nadja travel throughout Ontario, Quebec, and Alberta to give public speaking events to raise awareness about the Canadian connections to oil development in the Amazon. A couple of scenes from the rough cut are screened at each event. At this point, the film is entitiled "Pipedreams and Chameleons". The tour generates media attention, especially in Calgary, where EnCana's headquarters reside. Nadja runs into EnCana's employees in attendance at the Calgary event.

The tour is topped off with news of a Canada Council grant.

April 2004: GlobalAware invites an Ecuadorian to Canada to attend EnCana's Annual General Meeting. This year, there are 4 of us presenting as proxy holders, and discussion of Ecuador dominates the meeting. There is a small demonstration outside the meeting.

July 2004: A fine cut of the film is completed.

The summer months start seeing work done on the music composition, graphics, narration, sound mix, and translation.

August 2004: News stories report that EnCana is planning on selling its operations in Ecuador, sited as being a "headache" for the company.

December 2004: The Canadian Auto Workers pitch in the final funding needed in order for the film to be on-line edited.

January 2005: The film is on-lined in Toronto and completed.

August 2005: First Run/Icarus Films acquires U.S. rights.