Pitch Development: Build a story that makes waves

Every film or TV project starts with an idea - but getting from concept to screen requires more than
just a good idea. In Canada’s competitive film and television industry, your pitch is your opportunity to showcase not just your story, but also your vision, strategy, and investment-worthiness.

What is a Pitch Deck?
You might have the world’s best idea for a Show or Movie, but can you prove it? A Pitch Deck shares
your concept and how thorough you’ve been, demonstrating your ability to bring your vision to life and captivate an audience.

As much as your Pitch Deck can be a work of art, it also needs to be a dossier of investment viability.
Nobody buys something sight-unseen. You need to show that you’re a good investment for various
funding opportunities and broadcasters, as well as onboard your potential cast and crew. Your
presentation should be equal parts Art and Business.

What should a Pitch Deck include?
When it comes to what your Pitch Deck should include, there really is no maximum - get as creative
and engaging as you can! There are, however, core elements that every Pitch Deck should have to
help kickstart your dialogue with someone interested in your project.

1 - Cover Page; Title and Logline
An attention-grabbing name isn’t the only thing you need. Take your story’s most engaging concept
and create a one-sentence logline that makes the reader more curious. Make it impossible for
someone to ignore; force your reader to crack open your Pitch Deck and start reading!

2 - Technical Information
The brass-tacks info about your project - including format, genre, length, number of episodes (if it’s a TV series), language, country of origin, who it was written by, and who it was created by.
3 - Synopsis
Start with a brief synopsis of your story that is about a paragraph long. Something that can be read
and understood at a glance. If there’s more to tell, you can follow this up with a longer synopsis - the
sort of writeup that gives the reader a high-level view of what to expect. A synopsis is what you are
comfortable telling your audience about the story without spoiling it.
4 - Story Arc
Tell the reader the full arc of your story - the sort of details that you might consider as spoilers for your audience. You need to outline your plot points, themes, and the journey that your characters
experience. If your story is a feature or short film, the story arc would outline your 3-Act structure. If your story is a TV series, the story arc would outline your first season.
5 - Characters
Identify your key characters and dive into their world. Share your characters’ traits, personalities,
drives, and fears, and explain how they take part in your story. It’s ideal to keep your core characters
minimal as it’s more memorable. Follow your main characters with some of your additional characters.
6 - Tone & Comparables
Take the time to describe the tone and environment of your project as best you can. It’s important to
make the reader know what to expect. If your project is a mix of Tarantino Action and Scorsese Wit,
then describe it. The best way to provide the reader with a firm grasp of what you’re going for is to
provide comparables - not only in description but with visuals. Take images from existing TV shows
and Films to juxtapose your tone with relatable content.
7 - Team Information
When looking at the production of your project, who is involved? Include brief bios of the writers,
directors, producers, creators; anyone who is currently attached to the project. Include whatever you
can that is boast-worthy, such as past projects that your team members have worked on.
8 - Contact Information
Whoever is organizing the development of your project should be listed as your point of contact. This might be you or a producer. Provide a phone number and email address. You want to be easily
reachable if someone is interested in your project.

Make your Pitch Deck memorable
When you’re building out your Pitch Deck, remember to focus on user experience. What is it like to be the reader? There are 3 core aspects that you should keep in mind:
1 - Attention Span
Keep the reader engaged and avoid overwhelming them with too much text. Simplicity is memorable.
2 - Make it Easy
Whenever you find yourself referencing something, link to it! When creating your PDF Pitch Deck,
you’re able to hyperlink anything you can find on the internet. Avoid making your reader go and look something up when you can make it a click away.
3 - Show, not Tell
Anything that you can show, you should. Create custom graphics and visuals to help with
world-building, share screenshots from other projects to show your cinematic style, embed video clips to express the tone that you’re aiming for.

Add Pitch Deck bonuses
Look at your Pitch Deck as an opportunity to strut your stuff. There are plenty of ways for you to
augment your pitch - here are some suggestions:
Soundscape
Including a soundscape is a simple but impactful addition. It brings your reader into the story and
helps to solidify your intended tone. Create a playlist on your preferred platform like Spotify or
YouTube and embed it into your Pitch Deck.
Branding
Creating a logo for your project can help it feel more established. It grounds your vision and makes
you consider how the future of your project might look. Design a logo or find the perfect font.
World Building
The most impactful way to place your reader into the world of your story is to show it. Find
photographs or design custom visuals to show the environment your characters live in - include some of the key scenery, and the mundane.
Market Study
Learning about the market for your project is very valuable when trying to pitch it as an investment - in fact, it can be requested by a potential distributor. Get the ball rolling with some initial research and show your reader how your story is connected to the audience.
Multimedia
It might feel as if you are getting ahead of yourself to create a fake trailer or title sequence but don’t
underestimate the value of mock-up material. Use stock footage and your favorite music to make a
sizzle reel, or jump right into creating a short/pilot to establish the foundation for your story.

Creating your Pitch Deck
You don’t need to be a professional designer using tools like Photoshop to create your Pitch Deck;
there are plenty of tools and creative resources to help you get your vision out into the world.
Creative Tools
All you need is a tool that can create a PDF. This can be Photoshop, but it can also be PowerPoint,
Google Slides, Acrobat, Canva, Adobe Express, Gimp, or Affinity to name a few. Use whichever tool
you are comfortable with. If you’re looking for a free, simple, and powerful tool, try using Google
Slides.
Stock Photos & Video
Along with professional paid resources like Envato, Getty Images, and FilmSupply, you can find stock photography and video to support your Pitch Deck creative on free platforms like Pexels, FreePix, and Unsplash.
AI Tools
There are some great AI image generation tools that can help you ideate and present your vision -
tools like OpenAI’s DALL-E or Adobe Firefly. However, be cautious while using AI tools as their use
can deter those with strong opinions against AI in creative industries.

Good luck!
Crafting a pitch deck for film or TV is about more than presenting an idea - it’s about building a
story that resonates and demonstrates your dedication to bringing it to life. Whether you’re
sharing a concise logline, outlining character arcs, or showcasing the world your project inhabits,
each element of your pitch should captivate and inspire.

In Canada’s ever-evolving media landscape, a well-prepared pitch deck is your gateway to
unlocking opportunities, gaining support, and turning creative dreams into reality. So, take the
time to refine your concept, embrace your tools, and build a story that not only makes waves but
leaves a lasting impact on its audience. Good luck out there, and happy creating!

Photo of Kris by Steve MacGillivray

Marketing Your Voice-Over Business in Canada

By Tyler Hanley

Marketing a voice-over business in Canada today presents several unique challenges, given the evolving landscape of media consumption and the competitive nature of the industry. One of the primary obstacles is the sheer saturation of the market. With advancements in technology making it easier for individuals to enter the field, the competition among voice-over artists has intensified. This makes it challenging for newcomers to break into the scene and for established professionals to maintain their visibility.

Moreover, the globalization of the industry means that Canadian voice-over artists not only compete with each other but also with talent from around the world. Clients have a vast pool of options to choose from, which necessitates a strategic approach to marketing to stand out in the crowd.

Another significant challenge is the changing preferences of consumers. With the rise of digital platforms and the decline of traditional media, voice-over artists must adapt their marketing strategies to reach audiences where they are most active. This requires a strong online presence across various platforms, including social media, streaming services, and websites.

Furthermore, navigating the legal and logistical aspects of running a voice-over business in Canada adds complexity. From understanding copyright laws to negotiating contracts with clients, voice-over artists must possess a keen understanding of the legal framework governing their work.

Despite these challenges, there are also opportunities for voice-over artists in Canada. Leveraging technology to showcase their skills through platforms like online marketplaces and audition sites can help expand their reach beyond geographical boundaries. Building strong relationships with clients and continuously honing their craft are also essential strategies for success in this competitive industry.

Actor and Performer Tyler Hanley

Sets and Locations in the Nigerian (Nollywood) Film Industry

By Matilda Sola

As I was scrolling on Instagram the other day, I happened on a colleague’s post who was pouring accolades on her set designer who through his creative thinking was able to help solve a lighting challenge. The Director had a light-bulb moment after the set was dressed, to have light pour in from a high window with bars to enhance the mysterious feel of that scene, alas the location was a warehouse of thick walls and no windows that matched the director’s vision. Thinking quickly on his feet, the resourceful set designer quickly thought to build a false wall with materials he had in his van and some loose logs lying around the warehouse. The Director was delighted and her respect for her colleague grew in leaps and bounds afterwards.

Unlike its Hollywood counterpart with an array of studio complexes, backlots and dedicated specialized sets owned by multi-million-dollar production companies, the Nigerian film industry (Nollywood, as it is fondly called) does the best it can creatively given its limited number of professional studios available. Its directors and set designers have become adept at adapting unconventional spaces into film sets. Whether it’s converting a local warehouse into a high-end office or transforming a street into a vibrant marketplace, their ability to re-imagine spaces enhances the storytelling and brings the script to life.

Due to the scarcity of studios, many Nollywood films are shot on location, often in public or private spaces that are not originally designed for filmmaking. This reliance on natural locations brings about various logistical issues, such as securing permits, controlling the environment and its inhabitants -this I can tell tales for daysssssssssss-, and dealing with unpredictable weather conditions, all of which can delay production and increase costs. I remember a time we were shooting a fight scene on an untarred street and despite the weather forecast saying otherwise, unpredictable Mother Nature decided to turn on the waterworks from the skies. This caused a continuity challenge as the grounds were a light brown and somewhat dusty before the rain and became slightly muddy and quite dark after the showers. We couldn’t slate the shoot for another day as that not only had a huge budgetary impact that would require senior management’s sign-off but also because the lead actor wasn’t available after that day due to family obligations which required him to be out of state the next morning. While the production team was still trying to come to terms with the nightmare unfolding before their eyes, the brilliant set designer alongside the props master came up with a genius solve. There was a sawmill not too far off from which we could purchase sawdust to sandfill the set which would give a similar outlook. Another brilliant save of the day by a dedicated team.

Despite this unique constraint of limited film studios, Nigerian filmmakers have proved to be innovative in their storytelling. Instead of relying on elaborate sets, they focus on strong narratives, compelling characters, and emotional depth. This emphasis on story over spectacle has led to films that connect deeply with audiences, making Nollywood a powerhouse of engaging and relatable cinema. Also, due to its strong communal spirit, filmmakers, actors, and crew members often work together to share resources, locations, and expertise. This collaborative approach helps overcome the limitations of available infrastructure, ensuring that every project benefits from shared knowledge and creative problem-solving. As the industry continues to grow, its future holds exciting possibilities as the industry looks to expand its infrastructure, attract more investment, and embrace new technologies.

Matilda Sola

Is Film School Worth It? - Part 3

By Jenna May Bourque

Whether film school is worth the high costs is hard for me to answer, as it hinges on various factors, including personal disposition, work ethic, and individual goals. While part of me wants to unequivocally say yes, my own experience compels me to acknowledge the nuanced reality.

Ultimately, the value of film school lies in what you make of it, with its pros and cons. Undoubtedly, one of the most glaring drawbacks is the hefty price tag associated with tuition fees. The financial burden can be daunting for many aspiring filmmakers, including myself. Moreover, the quality of the educational experience often hinges on the instructors and the dynamics of the classmates you’re grouped with. 

It’s a crucible where your willingness to immerse yourself in the curriculum and engage with instructors can significantly impact your trajectory. The quality of instruction can make or break the experience, as supportive mentors can elevate your learning journey, while uninspiring ones may leave you feeling disillusioned. The school has a lot of politics, and it’s hard not to notice that they sometimes care more about making money than our actual education or the staff. This is daunting. It is a reminder of the industry you’re trying to get into and foreshadows the shady business you’ll see within the film world.  

The value of film school is deeply intertwined with the individuals you encounter along the way. The instructors you’re fortunate (or at times unfortunate) enough to have can significantly shape your learning journey. Likewise, the collaborative nature of filmmaking relies heavily on the collective talent and dedication of your classmates. Witnessing the culmination of everyone’s efforts in a final project is nothing short of awe-inspiring.

Yet, despite its challenges, film school offers unparalleled opportunities for hands-on practice and experimentation with industry-standard equipment. It’s a playground where you can learn on the job without worrying too much about destroying your reputation immediately and collaborate with peers to bring creative visions to life. The networking potential in film school is the main reason most people attend film school, forging valuable professional connections down the line. Moreover, the chance to accumulate credits on multiple short films can bolster your experience and credibility in the industry. Instructors and other classmates will notice how much work you put in, which can eventually be a potential networking contact once you graduate. Some instructors have been hired by their students, and vice versa.

That said, it’s crucial to recognize that success in the film industry isn’t based on a film school education. It became evident that success was not solely determined by academic achievements but rather by how we showed up, the effort we invested, and the relationships we cultivated. Those who excelled were not necessarily the top scorers on assignments but rather the ones who demonstrated a strong work ethic and garnered respect from their peers and mentors.

However, there were a few students who tested the patience of their peers. These individuals consistently arrived late, contributed minimally to group projects, remained glued to their phones, and frequently missed deadlines. 

It served as a stark reminder that the value of film school extended far beyond the classroom. While some struggled to grasp this concept, others thrived by channeling their energy into real-world projects and professional endeavors. Their ability to succeed despite their disregard for academic performance left me frustrated and envious, prompting me to question why they chose to pursue an education they seemed to undervalue.

For those gifted in networking and possessing natural talent, alternative paths may prove equally practical. However, despite any alternative routes, I remain deeply grateful for my journey through film school. The experiences, lessons, and connections I gained at VFS have undeniably enriched my life in ways I couldn’t have anticipated, despite where my career may take me next. 

When I started the Foundation program, I attended one of Kevin Smith’s talks. Kevin is a famous American director who attended Vancouver Film School. He talks about his success and advocates for the school. He reminds everyone that even though he dropped out, he also teamed up with other alumni and the producer of his projects who had graduated with producing specializations. Everyone has stories of pushing their way into film; many have climbed up, and some have managed to skip the line. It’s not just about learning the technical aspects of filmmaking; it’s about forging connections and nurturing a network that we can lean on and reach out to when needed. Film school can be worth it if you have the money to spend on it and the government can help. Now, there are several film schools if you look for them, so do your research to find what might work best for you. After graduating from the Foundation in Visual Art and Design, I sometimes regret not trying my hand at a different school called In Focus Film School (also located in Vancouver). 

Although the cohort I was placed with was dysfunctional, it was a family nonetheless. They showed their support and showcased their talents, serving as a poignant reminder of why I embarked on the film school journey in the first place. I can’t wait to see the work these amazing people create. I could not have gotten through the year without most of them. I didn’t get to know half of them as well as I would like, and I liked less than half of them as well as they deserved. 

Indeed, the path of a filmmaker is fraught with ups and downs, drama, and gossip. Yet, amidst the chaos, there’s an indescribable thrill that comes with the days of filming. In those moments, all else fades away, and the singular focus becomes the shooting schedule, the creative process, and bringing our visions to life on screen.

Even if my journey in the film industry doesn’t unfold exactly as planned, I remain profoundly grateful for the opportunity to have crossed paths with such a diverse and talented group of individuals. Their creativity, passion, and resilience have inspired me in ways I never could have imagined. As I navigate the uncertainties of this path, I carry with me the valuable lessons learned and the enduring connections forged during my time in film school.

My Journey as a Filmmaker: A Behind-the-Scenes Look at My Recent Project, ‘A Walk in My Moccasins’

by Asha Bear

“A Walk in My Moccasins” is a story about intergenerational trauma and redemption. It follows a complex mother-daughter relationship, showcasing the mother’s struggles with addiction and the daughter’s impending motherhood. A Walk in My Moccasins is a powerful symbol of the strength it takes to break free from intergenerational trauma.

Through this story, I aimed to capture the resilience and determination of Indigenous people as they confront the dark legacies of colonialism and work to create a brighter future for themselves and their loved ones. By exploring the complex dynamics between mothers and daughters, I hope to shed light on generational trauma’s profound impact on individuals and communities.

As a Maliseet and Mi’kmaq woman, I drew from my own experiences and cultural heritage to infuse the story with authenticity and emotional depth. The film is a testament to the strength, love, and sacrifice that defines Indigenous people’s experiences and their capacity for healing, growth, and renewal.

I’m deeply grateful to have worked with an extraordinary team of five individuals from diverse backgrounds, each bringing their unique expertise and perspectives to the project. From Carr, my longtime friend and seasoned filmmaker, who expertly handled camera operations, to Drew, our skilled sound engineer and gaffer, who easily tackled all technical aspects of production. Jocelyn, our assistant director and best friend since my early YouTube days, joined us to share her talents. Brook and Darrius, my trusted production assistants, ensured that every detail was covered, allowing us to focus on bringing the story to life. Our incredible actors brought this story to life with their talent, passion, and dedication. You are the heart and soul of this film, and I’m forever grateful to have had the opportunity to work alongside every one of you.

I sincerely thank our funders, whose generous support has enabled us to make this project. Your trust and investment in this film have been invaluable; thank you to the NB Film Co-op, Jane LeBlanc Legacy Fund, and artsnb for funding this project.

One of the most rewarding aspects of this experience was the opportunity to collaborate with the team and actors. I was thrilled to have the chance to reunite with some of the actors from my first project, ‘Kiwolatomuhsis,’ which added an extra layer of meaning to the experience. It makes me so happy to share my love for film with them again and add new people to the experience.

This collaborative effort was a testament to the power of teamwork and the magic that happens when individuals from different walks of life come together to create something special. I’m deeply thankful for their hard work, dedication, and friendship.

Working on “A Walk in My Moccasins” has been a transformative experience for me as a filmmaker, writer, and director. I am grateful for the opportunity to bring this story to life and look forward to continuing to tell important stories that showcase Indigenous cultures and experiences.

Strike Pictures at the Cannes Film Festival

Strike Pictures was fortunate to spend time on the French Riviera with fellow film producers from P.E.I., Nova Scotia, and Newfoundland and Labrador. This was the first time that Arianna, Gordon, and Lance attended the Cannes Film Festival.

Producers from the four Atlantic Provinces were selected to further enhance the promotion of coproduction, joint-financing, distribution and development opportunities between screen industry producers in the Atlantic Provinces and those internationally. The mission is meant to enhance the group’s knowledge of working with producers on an international scale.

Established in 1959, the Cannes Marché du Film is the largest film market in the world and the commercial platform of the Cannes Film Festival. This year, Canada represented one of 140 countries participating; an unmissable event for 14,000 industry professionals from around the globe.

While in Cannes, Strike met with domestic and international distributors and sales agents. They also networked with many other producers and filmmakers from around the world. Relationship building with industry partners is a key component of building the film economy in New Brunswick.

“It was certainly a life-changing experience. Sometimes in New Brunswick we can feel so siloed from the rest of the country and the world. Being in a place like Cannes with so many other filmmakers was a great reminder that creativity and passion is why we do this - and that New Brunswick film deserves to be shown on an international scale, just as much as anyone else.” says Lance. 

Gordon Mihan’s new stop motion film “Happy Campers” also screened as part of the 8th annual Animation Day in Cannes (ADIC). It was a unique opportunity to see a New Brunswick short film shown at such a prestigious film market.

Of course, a big perk of going to Cannes is the SCREENINGS! Over the week, Strike was able to see films such as Yorgos Lanthimos’ “Kinds of Kindness” and Coralie Fargeat’s “The Substance”. 

Stay tuned for more news as a result of this trip!

Strike Pictures dream team Gordon Mihan, Arianna Martinez, and Lance Blakney at the Cannes Film Festival.

A Film School Journey - Part 2

By Jenna May Bourque

Originally, I planned to kick off my film school journey in 2020.

However, the onset of the pandemic threw a wrench into everyone's 2020 plans, all the colleges and universities forcing all classes online. With a preference for the in-person experience, I went back inside and closed my front door, pushing my start date in hopes that things would eventually return to normal. Yet, as months passed, it became increasingly apparent that the situation wasn't going to improve anytime soon. 

Eventually, I had to make a tough decision and commit to beginning the program, even if it meant attending classes virtually. Finally, in late 2021, I took the plunge, balancing assignments with my job and life in New Brunswick. Six months into the program, as restrictions eased, I hopped on a plane to attend in-person classes in Vancouver. 

The Foundation in visual art and design course included film, animation, and digital design. Over four terms, we delved into each area before picking two specializations in the final two terms. It was a blessing to have such a small class size, allowing for personalized attention from instructors and fostering a supportive environment for learning. We each had the chance to create our own short films and collaborate on various projects in mediums we knew we were not going to specialize in, which provided valuable hands-on experience. The film students got the chance to make their first, and probably last animated flour sack hop. 

As the year drew to a close, I found myself struggling, contemplating whether to pursue further studies in the film production course or if I should return home. My hesitation cost me, the program became full for a year after I graduated, and I had no choice but to settle for the wait. I don’t regret that choice now, I wouldn’t have ended up in my crazy cohort if I made the choice sooner. In the meantime, I stayed in Vancouver anyway, I engaged in volunteer work on indie films and film festivals, supplementing my income with a job in hospitality and weddings.

While some of my foundation classmates already had their plans in line, being international students they did not have the luxury of hesitation. Upon my return to VFS, many of my peers were on the cusp of graduation. 

In retrospect, I realized that the foundation program had equipped me with essential skills and knowledge, laying a solid groundwork for my next year at VFS, even within the industry if I did not pursue the next course. Composition drawing classes (even though I’m not skilled at drawing), helped me with storyboards and envisioning scenes. Motion graphics and 3d program assignments helped me get ready for the intense and quick due dates of film production, proving to myself that I can do anything with a due date even when they’re not my expertise. I still don’t remember how I managed to create the cute wizard animation I put together for one of my assignments. After an intense first year, Film production felt like extra sauce.

A highlight that stands out for me was back in Term 2 of the Film Production course, as we tackled various roles within the industry itself. From pre-production, and building a set from scratch to getting to play every major role on set, each aspect of the process provided invaluable insights and practical skills. It gave us the space to experience every role for ourselves while finding which areas we felt the most comfortable in. 

Throughout the film production program, I had the privilege of working on approximately over 30 productions. With small roles, and big roles like Production Designer and Producer. These experiences, both challenging and rewarding, solidified my passion for filmmaking and prepared me for the journey ahead in the industry.

Being tossed in with the same group of people for a year has been an experience, having to see the same faces every day, drama is bound to happen. Our class had its clicks, they shifted around throughout the year as new people were put in new groups. It's what I imagine working on a movie set for months, or tv shows for years with the same people would look like. 

In film school, the emphasis was consistently placed on the idea that grades would hold little weight in the real world of filmmaking. Beyond the occasional small test or assignment, nobody would be inquiring about our performance in a particular class during a specific term. Instead, what truly mattered were the results we produced, the dedication we exhibited, and the connections we forged within our classes.

Starting in the third term of my film school journey, I embarked on the path of a producer, leaping into the realm of logistics and paperwork. It was a role I never imagined myself embracing, yet as I delved deeper into its intricacies, I discovered a newfound appreciation for the work that Producers do. As a shy and socially awkward person, it was strange how much I loved being in a leadership role, despite everything that I have to do in the future to improve in leading a team. Which I will gladly embark on to improve. 

Collaborating with the writing campus, we crafted stories that we film students would bring to life.  When the opportunity arose to pitch for a producer role, I seized it with determination. Surprisingly, securing the position was easier than anticipated, perhaps because few dared to tread the path of paperwork and budgets. Yet, amidst the pre-production chaos, I found a sense of fulfillment in bringing stories to life. 

Producing a short film in film school isn't just about getting the story onto a screen; it's about making conscious decisions that reflect our values and commitment to sustainability. With each project, I advocated for the inclusion of a Green PEACHY seal in the credits, symbolizing our dedication to environmental stewardship.

As the film industry can be very polluting, navigating the challenges of sustainability in filmmaking proved to be a challenging task, especially when I was a Production Designer on a horror short film for one of the final projects. Yet, through diligence and determination,  the two films I produced, "Wrong Potion" and "Epicedion" and Production Designed “Heirloom”, achieved the coveted Green PEACHY seal, a testament to our commitment to sustainable practices. I am committed to carrying these principles forward into all my future productions, ensuring that every story we tell leaves a positive impact on the planet.

One department of filmmaking that particularly captivated me the most in the realm of film, was production design. From hunting for Easter eggs to exploring character narratives in the sets, I found myself drawn to this craft more than any other department. Although I dabbled in photography, and editing during my youth, I eventually realized the camera wasn't my true calling. Even when the Harry Potter films had less of a charm for me, I remained enamored with the immersive world they built, inspiring me to dream of crafting similar worlds. Production design transcends storytelling; it's world-building.

Term 4 presented the greatest challenge, teeming with pre-production tasks and a deluge of assignments. It's typically advised to take on only one key role during this term to preserve one's sanity. Ignoring this advice, unable to say no, I took on the roles of producer and production designer for two separate short films. In hindsight, I regret not opting for secondary roles and contributing to all six films instead. This term was the most challenging, it proved to be a profound learning experience, not just in terms of assignments and film work, but it was also a huge self-discovery moment for me. I saw my collaborative abilities, learning how to work more effectively with others and identifying areas for personal growth in future projects.

To secure the green light for our short films from our instructors, we underwent two panels to demonstrate our competence and vision. The deadline for submitting the final panels loomed at 9 am one morning, and many crew members had yet to submit their components. The objective was for each member to deliver their part to the producer for compilation into a cohesive panel for submission. I needed to complete the main panels, one for producing and production design, along with annoying my team to collect. With a producing class scheduled that morning, I stayed at the school receiving the final parts and collating all the files until 7 am. One of my fond memories is having spent the night at the computer lab, trying to nap on two wheely chairs. Waking up as the other producer students, also pulling all-nighters, came in for class. We were all rather annoyed that we had to endure a class that morning, in which the instructor was making their appearance Via Zoom. It was three hours of laughing fits during breaks, trying not to fall asleep, and having the patience for the class to finish so we could all head home and sleep. 

Terms 5 and 6 were dedicated to the production and post-production phases of all six final projects, intertwined with additional assignments as well as the term 6 mini/demo shoots. I’m not sure why, but I felt compelled to overwhelm myself in these two terms. In addition to overseeing the three productions of term 5, I would become the post-production supervisor and producer for the final project continuing into Term 6. I also decided to take on the responsibility for all six demos/minis in the sixth term as well. While I played a secondary role in most of them, I also took up one more role as a production designer for the last mini-shoot. Including a project, I also started to help produce with a few of my other classmates who wanted to do a short film once we graduated. Another challenge I got myself through, just barely. 

The mini-shoot I undertook to design was titled "Mari." Our primary challenge was that we were prohibited from shooting on location; everything had to be done within the studio at the school. This short film, a pole dance music video set in a cave, presented its own set of difficulties. Creating fake rocks on a tight budget proved to be exceedingly challenging, and I found myself at a loss initially. Eventually, I made the bold decision to craft these rocks using paper and affix them to the limited number of flats at our disposal. The process of paper-mâché with my small team, mere days before the shoot, was fraught with setbacks. Watching the paper fall off as we attempted to transport them to the studio was disheartening, and I began to doubt whether our efforts would yield anything other than a ridiculous outcome.

However, my director/producer maintained unwavering faith in me and kept my spirits up. Without the encouragement and support from my team, who saw potential in me that I was struggling to recognize in myself, I doubt I could have seen the project through to completion. While I acknowledge the mistakes that persisted in the final product, the team, and most importantly the director/producer, was pleased with the outcome. I was on the verge of tears when a friend, whom I felt I had been letting down in recent weeks, embraced me and expressed her pride in my work for the first time. Those were words I had been longing to hear from her since we embarked on collaborating on a script for our final project.

My classmates played a massive role in helping me believe in myself, inspiring and supporting me through the challenges of the past two years. I will forever be grateful to every one of them. Whenever I find myself plagued by self-doubt in the future, I need only to reflect on what I was able to achieve during my two years at VFS.

It Just Took An HOUR

By Ibrahim Al-Faki

My name is Ibrahim Al-Faki and I am a new Film Co-op member. You’re probably wondering who I am and would like to know about my background. I grew up in Nigeria. Growing up, I was always interested in engineering. I was fascinated by the mechanical aspect of how everything worked especially when I saw the first Iron Man movie. The movie got me interested in robotic engineering and from then on that was my career path, at least that’s what I thought. Unfortunately, Covid 19 hit and, my parents got a divorce. It was a ferocious court battle between the two and there I was a young 15-year-old kid in the middle of all this, wondering if I would be able to achieve my dreams. Can I get through this? It was a very dark moment. I was out of school for about two years due to the lack of money because of the divorce court cases. My daily routine was waking up and watching Law & Order or Bones, until I was finally enrolled in school. It took some time to adjust but  I got my groove back.

It was evening time around 5 pm I was bored, so I picked up my laptop and opened Microsoft Word. I was just playing around writing gibberish until an idea stuck me. It was about a young detective investigating a rundown town called the Everglades where paranormal activities were happening. Then I began writing and you won’t believe it but it just took an hour to write my first 5 pages with this imaginary character. The next day I showed it to my English tutor and he couldn’t believe that I had written it and told me to finish it and if I kept on writing, I could consider making the story into a book. It was at that very moment that I fell in love with writing and I started watching movies to get ideas which resulted in me falling in love with film. The lighting, composition, and suspense; just made me fall in love with it even more. 

Then, in 2023 when I arrived in Canada for high school, I started creating short comedy skits on Tiktok. I made my first one in late March 2023. At first, I was shy being on camera but then after I gave it some time, it got to a point where I didn’t even need to write scripts anymore. As soon as the camera came on the words would flow out of me like a river. After that, I started watching movies with a more creative lens and writing with an introspective view.

Then, January hit, and it was time for me to go to University but all the ones that I applied to were closed for winter admission, except for the University of New Brunswick which I applied to and and was accepted into. I was not expecting anything from it, because Fredericton is a small place with not too much going on and that is where I was wrong. New Brunswick is filled with many creative individuals each with their own unique talents. Upon further research, I found out through my major (Media Arts and Culture) that there is a place called the New Brunswick Film Co-op. I was backlogged with school so I couldn’t check it out until this summer. 

More recently, I walked into the Film Co-op studio where I met Cat who is a very friendly and welcoming person. She gave me a rundown of what the organization is about and, she got me excited when she said I could get involved and someday make a film. I signed up immediately and now my film journey has begun. Along with the help of the Film Co-op member community, I hope we are going to accomplish amazing creative things together.

The Dream Takes Root - Part 1

By Jenna Bourque

From a young age, I found solace and inspiration in captivating stories. Escaping into these worlds, putting myself in these great adventures and finding characters to befriend, I discovered a passion for storytelling that would shape my aspirations for years to come.

In the early days of YouTube, I eagerly embraced the opportunity to express my creativity through fan made videos. With my quirky hobby, I learned basic editing skills to showcase my obsession for my favourite films and series set to mediocre songs. It was during this time that I stumbled upon Felicia Day's YouTube series, "The Guild," which ignited my fascination with the inner workings of the film industry.

My enthusiasm for filmmaking only deepened as I fell down the rabbit hole into behind-the-scenes documentaries and eagerly awaited the credit roll after every movie, always being the last one out of the theatres. Each viewing experience fueled my desire to see my own name grace the screen one day.

As my high school years drew to a close, I found myself yearning to pursue a formal education in film. Researching schools across the country, I set my sights on Toronto Film School, envisioning a future behind set. However, financial constraints and parental expectations dashed my hopes of attending.

I embarked on a different path, working in the customer service industry, eventually venturing across the country and exploring other continents. 

My passion for film remained a lingering thought that refused to be extinguished. It was reignited by a visit to Universal Studios in London. There, amidst the props and sets of beloved childhood films (Harry Potter), I found myself once again captivated by the magic of storytelling.

Returning to Canada, I faced the daunting task of charting a path into the film industry. Battling social anxiety, I struggled to navigate the world of networking, unsure of where to begin. Yet, my desire to connect with fellow filmmakers and immerse myself in the industry led me to reconsider film school, thinking it would be an excellent way to meet people and send me down the right path. 

Choosing Vancouver over Toronto or any other city for film school boiled down to a simple yet profound factor: mountains. Vancouver's stunning natural landscape, dominated by majestic peaks, held an allure that captivated me.

Back in 2016 during the Fort McMurray forest fire we decided to drive across Canada from Alberta to the East Coast since we were not allowed back into the small city for over a month. Having never set foot in Vancouver before, it presented an opportunity for exploration and discovery that I couldn't resist.

My brief visit to Toronto, that I made several years prior, left me underwhelmed. Whether it was the stress of the situation or the less-than-ideal weather, I couldn't pinpoint the exact reason for why I couldn’t enjoy the city. However, what became clear to me was that my decision wasn't swayed by the comparative growth of the film industry in either location.

Instead, it was simply the geographical charm of Vancouver, I wanted to see mountains again, Gandalf! 

In the end, my choice was driven by a desire for adventure of hikes, new horizons and the promise of a more sustainable city. 

With newfound determination, I applied to the Foundation program at Vancouver Film School, eager to embark on a new chapter of my chaotic life’s journey. I packed my bags and stepped foot out, yet, another door. 

A Conversation with Korex

By Cierrah Gibbs

PART ONE

A couple of weeks ago, I had the pleasure of meeting and interviewing NB Film Co-op member Olukorede - “it’s like a song,” he told me as I learned to pronounce his name. However, most people call him “Korex.” Being relatively new to the film community, it was an inspiration to hear the story of someone with such a rich history as a creative in film.

Originally from Nigeria, Korex has been to many countries worldwide, finally arriving in New Brunswick, Canada. He has been a member of the NB Film Co-op since January and has been involved in various activities with the Co-op. As a new member, I was happy to hear the overwhelmingly positive things he had to say about the experience so far.

When asked how he would describe himself, Korex explained, “I am a creative persuader: my work persuades other people to be creative.” Having delved into many aspects of the creative lifestyle throughout his life, Korex told me, “I can say: okay, this is what I am now.”

After a two-hour interview, I can attest that Korex has done it all, which is why I realized that this biography would have to be in two parts to begin encompassing it. “I think it’s best if I just talk about it from how I started being creative and just through all the different paths I took,” he told me - and I agreed. So, let’s start from the beginning.

“As a child, I think the first creative aspect of my life was being able to draw,” Korex said. “That was when I knew; okay, this is me creating something. I used to draw a lot as a kid and created comics in high school. I ultimately made my drawings into movies in my comics because I watched a lot of movies, so I would draw them and give them to my friends who didn’t have the chance to watch movies, so that was kind of my thing. The first movie I drew was Street Fighter because a friend hadn’t watched it, and I wanted to tell him the story.

When I got into school, my mom preferred law for me, as most Nigerian parents prefer either law or medicine for their kids. They gave me linguistics, which I didn’t want: I wanted to take arts. Throughout my entire time in school, all my activities were film related. I got a TV set and DVDs. DVD was new then, it was the big thing - and I spent all my money on movies.

At this point, I had never shot a movie but knew I wanted to do something creative. I started a music company and record label. Before I did that, I went into radio because I needed to learn how music was promoted.

I had a friend who was involved with web design and animation, and he taught me animation. I then shot an animated music video, and while I was rendering the images, I received a call from a friend who introduced me to the BBC World Service Trust. Through them, I was hired as an assistant editor for an HIV awareness campaign for a year and a half, where I learned production and post-production. At the same time, I used the opportunity to finish my animated music video. I released that video, and that was the beginning of my filmmaking journey. The Nigerian Music Awards nominated me for best-animated feature for my project.

Then I worked for Nigeria's most prominent independent TV corporation (Africa Independent Television). I was their motion designer and learned the craft on the job. I kept on adding new skills and combining them all. During that time, I had friends and other people starting a private media company. Their goal was to make everything: sound, music, video, film, and animation. Our first client was Africa Independent Television, and we were hired to rebrand them.

In Africa, there is one major cable service called Multichoice. AIT wanted to create a competitor for Multichoice. They named theirs Darsat. Our job was to make the brand imagery for Darsat and some of the channels. That was our first-ever gig as a private company. We did that for close to 9 years, but as we started getting bigger, I had to start specializing. I couldn’t do all the things I was doing anymore.

After the whole music video thing, I decided I wanted to make films. Then I found out about the cost implications of making films. Initially, I was inspired by Michael Bay, Spielberg, Wes Anderson, and Scorsese, but as a young person, mostly Michael Bay. He knows how to use the camera, and he knows how to move the camera in ways that most filmmakers can’t even imagine - and that’s what I studied. I always wondered, How can I move the camera like this? 

I made a short film called Fight Scene about two guys at a warehouse who talked and then started shooting at each other to find out what I had the skill set to do on a film. I was testing myself by shooting something. They were shooting at each other, and suddenly, one character got a call from his mother and the other character a call from his girlfriend, and the fight was postponed until another time. The film's underlying message was that men are capable of violence, but at the core of it, people have mothers and partners. It was very successful, which launched me into making films."

Korex continued to detail his path through the film industry. From visual effects to his first DOP role - from romantic films to comedies, dramas, and animated films, Korex honed his eclectic repertoire of creative skills. Some of the movies we discussed aren’t out yet, so he had to keep some details to himself. Korex has filmed worldwide, including in tropical, rural areas of Nigeria where there were all kinds of mosquitos and in the UK as a media correspondence for the chief of army staff (who was there receiving an award for his efforts during the Boko Haram crisis). 

Korex has developed creative values throughout his creative journey, and he told me his ideals for his future work and the impact he wants to have on the film industry, internationally and especially in Nigeria. As I listened to him, I found myself connecting with his values. 

Stay tuned for Part Two of my interview with Korex!

An Afternoon Chat with Alison Taylor

By Brenda Purdy

Is New Brunswick ready for this experienced film editor and novelist? Yes. If you want to work with an intelligent, insightful person who is prepared to dive into the next phase of their 20-year film career, you will find Alison writing their second novel in one of the cafes in Fredericton. 

“I am hoping to shift to interesting projects, dramatic, independent, or documentary editing and filmmaking in the future.” Alison.

I met Alison at the Picaroons Roundtable for an interview and enjoyed their affable character and relaxing conversational skills. I was excited, whereas Alison was down to earth and made me feel like I was sitting with someone I had known for years. After reading their first novel, Aftershock, I wanted to know more about the author with a sense of humour, whose imagination created a story where the reader is bound to recognize themselves in the characters and/or relate to the contemporary themes.

[QUESTION] Alison, how would you describe your sense of humour, and how does it imbue your work?

“My sense of humour is very dark and dry; it informs my writing and how I interact with the world. I love a good melancholic film or book, but humour makes everything accessible. What’s the point if you can’t laugh at anything?”

One of the themes in the novel is climate change which mirrors the realities and complexities of the 20th century’s stand-off against the destruction of our planet. Alison is passionate about climate change and infuses it into their novel in a Hemmingway style by making it symbolic. When I read the book, I found it to be a metaphor for the internal struggles of the main character’s somewhat “polluted” life of drugs and alcohol. Alison describes it as “a metaphor for their main character, Jules’ inability to cope with her emotions.” Ironically, Alison saw prescription drug use as “just a whisper” when writing the novel before it became a societal crisis. Their curiosity wanted to take that nugget of people’s attempt to self-medicate and stretch it into the development of the character Jules. In a dramatic and funny story, Alison churned out a main character in deep conflict with herself, her family, and in general with her will to keep living.

What made the novel a page-turner and thought-provoking was Alison’s talent for creating rich, well-developed characters who were not only believable but continued to tantalize the reader into forming a deeper relationship with their struggles. I connected spiritually with Chloe. I wanted more of her dry wit, like the comment she used to describe her half-sister after eating chocolate ice cream, “She looked like a zombie who’d feasted on someone’s chocolate throat.” Alison explained, “In life, as well as in the characters in the novel, conflict informs the characters, enlightens the characters….I wanted to explore how conflict informed Jules and Chloe and how they would change into different human beings.”

Like many authors, Alison tugged on the strings of their own past experiences and tied them into the themes and characters in the book. They have hitchhiked across Europe and the Middle East during their 20s and faced the same reality as their character Chloe, who backpacks across New Zealand. Alison worked, volunteered, and unknowingly wound up in the Gaza Stripe in Israel after the Hebron Massacre, and just like the protagonist Chloe in Aftershock, they found out that the world isn’t always kind or predictable and not always safe. 

Alison isn’t a novice nor a seasoned writer; they are somewhere in between, working on their second book while fending off their 60-70 pounds mischievous yet adorable boxer and three cats, plus collaborating with Tracey Lavigne on developing a number of projects.

I consider myself fortunate to have met Alison, and I encourage New Brunswick filmmakers get to know this talented and warm gem. I to look forward to their next novel with the working title Confessions of a Binge Drinker, which they describe as being “dark and hilarious.”

In Conversation with Saint John Film Co-op member Blaise Thex

NBFC: Why do you like the genre of films that you like?

Blaise: Surreal cinema is the highest possible art form. By applying traditional cinematic techniques while removing the oppressive restraints of objective reality, a limitless range of possibilities exists. And, when anything can happen, a masterful director can put the audience on a roller coaster ride.

Anyone who has ever seen The Holy Mountain by Alejandro Jodorowsky can relate to the kind of giddy excitement which stems from being bombarded with a barrage of psychedelic colours and tapestries, sexuality, violence, and archetypal imagery. Having been banned in most countries almost immediately upon release solidified its status as a cult classic, with an almost religious significance to some fans (the fact that the Beatles paid for the film to be produced is worth noting). This film is my main artistic influence, and I consider surrealism to be the driving artistic force behind modern and future generations.

Years after The Holy Mountain, Jodorowsky tried to adapt Frank Herbert’s Dune. A documentary called Jodorowsky’s Dune recalls the story of this creation. Jodorowsky worked with troves of artists and designers during pre-production, spending $2 million of the $10 million budget on a storyboard the size of a textbook. The totality of his vision would have culminated in a 10-14 hour running time, a detail he wouldn’t budge on, and the studio wouldn’t either. 

The project was canceled, and the designs were recycled and turned into other films. Alien, Star Wars, Flash Gordon, Terminator, and The Fifth Element came from drawings commissioned for Alejandro Jodorowsky. In this way, he has made himself one of the great architects of science fiction.

A painter has no control over what music will accompany their piece. A musician has no control over what their audience will look at while they listen. A filmmaker has control over both of these aspects. Used correctly, this gives the surrealist director seemingly magical powers of artistic expression. In this modern age where advertisers compete for our attention using hypnotic techniques, it is the responsibility of the filmmaker and the artist to use these same techniques to create unforgettable cinema.

Lost Highway by David Lynch makes wonderful use of such powers by constantly defying the audience’s expectations. The score is composed of jazz, industrial metal, and meditative chants.

This music, accompanied by a mind-bending plot, a cast of colourful characters, and anchored to a noir backdrop, creates the atmosphere and universe of a typical fever dream. Unreliable narrators are one thing; Lost Highway has an unreliable setting. Surreal cinema can be beautiful and fantastic, terrifying and hilarious. It can mean different things to different people. Hopefully, the recent commercial failures of Pixar and some superhero movies will inspire people to make movies that make them think.

Blaise Thex

Call for Artists: Cellulose Mentorship Program

Handmade Film Collective Program
 
The Cellulose Mentorship Program takes place on Unama’kik (Cape Breton Island) in Mi’kma’ki, the ancestral and unceded territory of the Mi’kmaq People. 

What: A week-long outdoor mentorship program for emerging film and fibre artists.

Seeking: Six emerging artists; three film artists and three fibre artists, wishing to incorporate plant-based techniques into their art practices. Participants must reside in Atlantic Canada and will be selected by a jury.

Extended Deadline: June 6th, 2023 at midnight ADT
Dates for Mentorship: Aug 20-26th 2023 

Fees: There are no registration fees. Participants will receive an $800 artist fee. 

Submit Here: https://forms.gle/S6s8qnM7NsHUxaJQ8

Submissions Guidelines
Letter of Intent (250 words or 5 min. audio/video file) indicating why you wish to attend the program
Project Idea (250 words or 5 min. audio/video file) describing an idea, project or plant you would like to engage with during the program. 
Artist CV (or 250 words or 5 min. audio/video file) describing your experience with film or fibre arts
Up to 10 images of your work (textile artists) or 5 min. of footage of your work (film artists)

More Details:
Program Description: The Cellulose Mentorship Program is a seven day immersive mentorship program that takes place on Unama’kik (Cape Breton Island) on a property adjacent to the Margaree River Wilderness Area, Inverness County. The program focuses on the theme of cellulose -  reflecting on plants from a conceptual lens, the origins of analogue film, and cellulose fibre. Through the study of this theme, we encourage artists to thread together the mediums of film, fibre, and plants with their own spin.

This program supports six emerging artists - three textile artist participants and three film artist participants. Throughout the week, artists will participate in six plant-based workshops taught by three textile artist mentors and three film artist mentors. Emerging artists will work alongside mentors learning how plants can be used to enhance the sustainability of their respective creative practices.

The program consists of hands-on plant-based workshops, hikes, foraging expeditions, plant identification, collaborative discourse, and independent creation time. Emerging artists will have the chance to engage with their project idea through a supportive learning environment.

Films workshops include How to Operate a Bolex, Plant-Based Developers, Phytography (i.e. plant prints on film) and Tinting Film. Textile workshops include Scouring and Mordanting, Natural Dyes, and Botanical-Printing (i.e. plant prints on fabric). 

Materials: Film and fabric will be provided, however should artists wish to bring additional  materials they are welcome to. 

Location: The Cellulose Mentorship Program takes place in the Margaree Valley in rural Unama’kik (Cape Breton), which borders three wilderness protected areas including the Margaree River Wilderness Area. 

Accommodation: Participating artists and mentors will be camping on site. Should participants not have their own camping gear, camping gear will be provided. Please indicate on the application form whether you require camping gear or rain gear.

Outdoor living conditions: The entirety of the week’s program takes place outdoors and off grid to allow artists to immerse themselves more fully in the landscape in which they will be working. All artists on site should expect camping, pit toilets, studio, darkroom and dining  tents, potable spring water for drinking, bathing in the chilly river or using a camp solar shower. There is limited cell service and we would recommend unplugging for the week if possible to take time in nature. Participants should be prepared to work and live outdoors in the elements.

Meals: Three catered meals a day, including snacks will be provided. Please indicate any food sensitivities or allergies on the application form.

Accessibility: The camping and studio area is 400m from the parking area. The trail includes a dirt road, field of tall grass and a narrow wooded area next to a pond that sometimes is muddy. The camp site and studio tent is located on a flat dry field near the forest overlooking the pond. We will make every effort to accommodate artists with accessibility needs, but cannot change the terrain of the landscape. Should participants have mobility or other accessibility needs, please inform us on the application form so we can best address and meet those needs. Childcare will be provided should the need arise. 

Transportation: There will be a free shuttle from Halifax to the property in Cape Breton on the morning of Sunday August 20th. The shuttle will drive participants back to Halifax the afternoon of Saturday August 26th. Participants can also choose to take their own vehicle or carpool.

The Handmade Film Collective gratefully acknowledged the support of the Canada Council for the Arts.

A Conversation with Filmmaker Nancy Lynch

By Amol Malik

When a writer/director is not actively creating projects, the question, “What are you working on currently?” can be challenging to answer.

In reality, writers never really stop writing. Even if the physical act of pen on paper or clicking keys on the keyboard is not happening, the multiverse of stories keeps running through a writer’s mind with many possibilities and even more endings.

Nancy Lynch is a writer and director based in Fredericton. Her writer’s journey began in 2006 when she felt she had a story and could visualize it. She took multiple screenwriter courses through UCLA to educate herself, preparing for her first film project in 2010 called Hello Ladassia, which she wrote and directed. The film was screened at the Silver Wave and Parrsborro Film Festivals, where it won the Audience Choice Award and was nominated for Best Short Drama Screenplay.

In 2015 and 2016, Nancy was awarded the Jane LeBlanc Filmmaker Award and the New Brunswick Short Film Venture grant to produce and direct her script Side of the Road, which screened at the Parrsboro and Silver Wave Film Festivals in 2017. The film was nominated for several awards and screened at many other festivals. It was a semi-finalist in the 2018 Directors Cut International Film Festival (Vancouver) and received an Award of Commendation from Canada Shorts - Canadian and International Short Film Festival.

In 2011, Nancy completed the year-long online program through UCLA and obtained a certificate in screenwriting.

Nancy’s inspiration for writing is her love of stories. “Everybody has a story to tell,” she says. She likes to base her stories on interesting characters; her scripts are character-driven. She also likes her story endings to be somewhat ambiguous, leaving the audience wondering what happens next with the character. She visualizes her scripts as she writes, based on her love of directing.

Nancy tells new screenwriters to get their scripts read by more experienced writers and consider their notes. Sometimes writers attempt to write what they feel is the popular genre at the time, but Nancy prefers to write what she knows about – drama with a hint of comedy.

As for film festivals and grants, Nancy advises submitting to festivals and applying for grants constantly. You may fail the first time and even the second and third time but keep trying. She was given that advice by mentors over the years. You have to get over the rejections and keep trying. That’s the film biz.

Nancy is currently in a mentorship program with Women in Film and Television – Atlantic. She also has a short film that she hopes to film this summer.

CBC Creator Network to commission pieces to publish for International Women's Day

What does it mean to be a woman in 2023? What does womanhood mean to you? The CBC Creator Network is looking for personal projects by cis-women, transgender women, non-binary and two-spirited people. We'll be looking for a range of stories and personal perspectives.

We’re accepting pitches until Feb. 3.

We're going to commission five pieces on the East Coast.

You'll find out if your pitch has been selected by February 7.

Rough cut/ draft due by February 26.

You'll receive edit notes back by February 27.

Final edits due by March 3.

What’s needed for your e-mail pitch:

1) Write a headline for your project. 

2) Describe your project in three to five sentences. What style will your project take? (Video, essay, etc?). What do you want people to take away from your story? 

Please send your pitch to: natalie.dobbin@cbc.ca

We want projects to be personal, compelling and spark a conversation. Think about your life and the lives of the women around you. Projects could include personal essays, short videos (about 3 minutes), illustrations, animation and photography.

Maybe your story reflects one of these themes: Health, life balance, identity, friendship, connection, invisibility, aging, expectations, demands, challenges, benefits, joys, sorrows, stress, work, careers, leadership, homemaking, motherhood, childfree by choice, dating, marriage, widowhood, discrimination, violence against women, social media, authenticity, growth, equality, equity, representation, sexism, sexuality and sex. 

How do these suggested themes intersect with your life and experiences as a woman in 2023? 

How would you tell a story about that reality? What do you want people to know about the lives of women in 2023? What do you want people to understand about the women in your life, your circle, your community?

Some examples of past personal storytelling:

Personal essay and illustrations: 'I wanted to make my parents happy': How a gay son navigated cultural, parental pressure to have kids

 Personal essay and photography: Being non-binary is my act of resistance, Winnipeg artist says
 Audio essay:Speak to me: How familiar voices bring one writer joy in uncertain times

Comic: The pandemic launched writer Adam Myatt into the space of uncertain

Lar Collicott: An exploration of Filmmaking Through Time

The first movie that I remember seeing inside a theatre was Disney’s “The AristoCats” back in 1970.  I was a first wave Gen X, a naive little 5-year old at the time and I couldn’t stop thinking about that movie for days and days.  I played it back in my imagination over and over again with the absolute certainty that it was real.  That bad butler!  Those poor kittens!  I saw magic, but didn’t know what it was.

Fast forward 8 years and I was still kind of naive.  My immediate family wasn’t overly religious, but a large portion of extended family were definitely on the zealous end of that particular spectrum and they were solidly in the “thou shalt not” crowd. Thou shalt not do this; thou shalt not do that; thou shalt not do all this other stuff.  They weren’t Netflix documentary religious types or anything like that, but I was well informed about the “not” list.  

Thou shalt not go to the movies - which I’m sure you already guessed - was a big one.  That caused me some abject terror when I was told to take my younger brother and our cousin to see “Battlestar Galactica” in 1978, but much to my surprise and relief I did not burst into flames.

A lot of things have happened and a lot of things have changed since then, but I still love “The AristoCats” and I can belt out most of the song “Everybody Wants To Be A Cat”.  “Battlestar Galactica” is awfully dated by today’s standards, but it got a pretty cool remake and I think that somewhere along the line I did too.

I made my first film somewhere around 2010 to give my US coworkers a look into an event I was part of here in Fredericton.  I didn’t really think about it as a half hour documentary at the time, but it was and I loved doing it, so I did it again the following year.

Filmmaking just sort of happened after that.  It was a squirrel with a shiny object and I chased it, eventually arriving at the NB Filmmakers’ Co-op looking for more.

I already have a career, so filmmaking isn’t a job for me or something I have to do to pay the bills.  It began as something I did to have fun, to relax and to be creative, but I eventually came to see it as something else as well.  In a film, I can explore ideas and questions that I am not sure how to articulate otherwise and along the way I have been fortunate to meet some great people who wanted to do some crazy things.  Together we have had a great deal of fun telling scary stories and they became important parts of my life and I love them all very much.

I think I finally laid aside the naivety of my early life although it lasted longer into adulthood than I care to admit.  Some of it I shed on my own and some of it was carved away by others, but when I make a movie I feel connected back to the awestruck little 5-year old boy I used to be.

Lar Collicott

A Conversation with Cinematographer Ashley Phinney

By Jeremy Brubacher

JB: What sparked your interest in film?

AP: The second Lord of the Rings movie was released when I was in elementary school. At the time, my sister and I were very into magazines. One day my mom came home with a magazine that featured some behind-the-scenes photos and stories from the shoot. I must have read that article 50 times. I even brought it to school for 'show and tell.' That was the first time I considered that movies must be made and that they don't just appear out of thin air for me to enjoy. 

JB: What is your favorite film and why?

AP: My preferred genre of film is horror, especially when I am looking to watch something for the first time or with friends. I don't often stray too far from this genre. When I do, I often repeat an old favorite rather than see something new. 

Grizzly Man, Howl's Moving Castle, Spirited Away, The Silence of the Lambs, Across the Universe, Hunt for the Wilderpeople, The Pagemaster, The LOTR trilogy, The Sandlot, and Sweeney Todd have all held regular spots in my rotation for many years. 

JB: What are projects you have crewed on?

AP: At last count, I have worked on 28 member films and many other corporate and outside projects. 

JB: What are the creative roles you filled on the projects?

AP: I've done a bit of everything over the years. PA, AC, Sound, Gaffer, Grip, Producer, AD, Director, Production Design, DOP, you name it - I've tried it. I've even been known to do craft services on occasion. When you want to work in film in a province that doesn't have a booming industry, you learn to do a bit of everything to fill in the gaps.

JB: What is your favorite project that you have worked on, and what is your biggest takeaway from that project?

AP: I have had good experiences on many different projects. One of the more recent projects I was on was Ry O'Toole's feature film Further Than The Eye Can See. This project was a unique and exciting experience with challenges, particularly for the art department. I won't say too much as it hasn't been released yet, but when you see it, you will understand. What I will say is that I am incredibly grateful for all of the knowledge I gained while working on the project. It was a highlight for sure. 

JB: What areas of responsibility have you taken on at the Film Co-op?

AP: I've worked and volunteered at the NB Film Co-op many times for many things. I was an intern there in 2015, worked there as a recent graduate in 2016 and 2017, and went back again in 2019 for a few months to work on a VR project. Since 2015, I have been a member of the NB Film Co-op and have been actively working on member projects. It has been a pretty exciting journey, and I have learned much. 

JB: You started working at Outreach Productions; how long have you been there? What job position do you have at Outreach Productions?

AP: I started working at Outreach Productions in December 2021. I'm the Director of Video Production at Outreach. 

JB: What have you learned since working at Outreach, and how are you enjoying it?

AP: It is hard to describe how much I have learned since I began. As with any new job, there is a learning curve, and this is no different. It is very exciting to be working in video production full-time again. The team is excellent, and I've been enjoying it so far. 

JB: On films, what are the creative roles that you are most likely to take on if members from the Co-op were to reach out to you?

AP: Director of Photography and Key Grip are typically my preferred roles, depending on the project. 

JB: Are you currently working on any projects, and do you have anything in the works?

AP: I recently shot Kaitlyn Adair's short film Oculus for member projects. Other than that, I am focusing on projects through Outreach. 

NB Film Co-op member and cinematographer Ashley Phinney.

How to Write a Logline

By Andrew Spear

A great logline can sell someone in Hollywood on your movie idea and make them want to read your script. Here’s what you need to know about crafting the perfect logline. Common industry practice dictates that loglines are only one sentence long. Some even cap loglines at 30 words.

There are four primary elements of a logline -

1. Protagonist

2. inciting incident

3. protagonist’s goal

4. central conflict

Here are a couple of examples.

Titanic: Two star-crossed lovers fall in love on the maiden voyage of the Titanic and struggle to survive as the doomed ship sinks into the Atlantic Ocean.

Little Miss Sunshine: When a wannabe child beauty queen learns that a spot has opened up in the “Little Miss Sunshine” pageant, she convinces her dysfunctional family to make the cross-country trek, despite her father’s (and society’s) protestations that she may not have what it takes to win.

A good logline clearly and succinctly lays out the dramatic narrative of a screenplay and hooks the reader, enticing them to read the entire script. But remember, never give away the ending.

Use active language that articulate the visual possibilities for the film. Words like “struggles,” “journeys,” and “fights” are intriguing to read.

Identify the protagonist’s biographical and physical information by using the strongest adjectives that best represents who they are.

Now that you know who your protagonist is, what is the thing that turns their life upside down? This is your inciting incident and it is the jolt from the blue that sets your story in motion.

Outline what the hero wants or needs with a few quick words. This aligns the reader with the character's goals, and creates a level of empathy when obstacles stand in the character's way. The hero's goal is the primary motivation for the rest of the action.

Movies are nothing without conflicts getting in the way of your character achieving his or her goal. Select the conflict with the highest stakes and describe this conflict in a few words, like “treacherous journey” or “before the ship sinks.”

A properly written logline allows a reader to make a reliable snap judgment on the prospects of a project. This is one reason why the logline is the most powerful instrument to gauge the quality of a screen story.

Writing A Feature Film Script - Andrew Spear

By Andrew Spear

Okay, you’ve decided to take the leap and write a feature-length script.

I’m going to assume that you will tackle this task with the goal of eventually having it produced. With that in mind, let’s look at some things you should focus on. You might disagree with these points I am going to make because this or that script was made and didn’t follow these guidelines. Don’t start this difficult process with the thought of doing something unique. You can break all the molds you want after you have had a couple of scripts that actually got produced and made producers money.

First, let’s look at what genre you will write in? Just remember, producers, love a clearly defined genre. Their marketing team will know exactly who their target audience is and how to sell to them. One of the biggest mistakes novice writers make is attempting to shove too many genres into their scripts. Some genres are a natural match, like romantic-comedy or even action-comedy, but when you start going beyond that, you risk birthing a mess. If your target audience is “everyone,” then your actual target audience is “no one.”

Remember, it is SHOW BUSINESS, and it is the WRITER’S JOB to worry about budget. A writer does not need to know the exact budget of their script, but they should have a budget range, and that range should be micro-to-low. Ideally, write something that takes place in one or two locations with five or fewer characters. Your script has a much greater chance of being optioned, purchased, and even made if it is affordable to produce. That means no exploding buildings, no wild car chases through the streets of a big city that three city blocks will have to be shut down, no crazy special effects, and no massive scenes that require five hundred extras. Even the length of your script matters. Aim for 90-110 pages. Every extra page means more time added to the shooting schedule, which means $$$.

Okay. You’ve got your idea, rooting in a specific genre that will not break the bank to make. What’s next? Film titles are fun and can be iconic. A good title will help set up your film’s concept, such as The 40-year-old Virgin or The Wolf of Wall Street. On the other end of the spectrum, we have eXistenZ. Any idea what that one’s about? Take the time to think about the title of your film and how an audience will react when they see or hear it. Great titles get attention from producers and executives. Great titles suggest genre and concept. Is it hard to figure out what Wedding Crashers is going to be about?

There is a reason why they give out a golden statue for the best supporting actor and actress, and many times it is these roles specifically that get a film green-lit. Actors are always looking for great roles, even if they are not starring, and producers are no different. Many projects get made simply because an actor is attached. I know a producer that could only afford Gary Oldman for three days, but that didn’t stop him from putting Gary Oldman’s character’s image front and center on the poster.

So you’ve finished your script. Congratulations. But you’re not done yet. Remember, producers and executives receive hundreds of scripts and don’t have the time to read them all. So expect to be judged every step of the way, on every page, and with every word choice. Overworked producers are always looking for a reason to pass on having to read something, and an unprofessional presentation is at the top of the “throw this script in the trash” list. An excellent first impression can open the reader’s mind to your remarkable story. 

Professionalism matters, proofreading matters, and formatting matters. Think of presenting your script as dressing appropriately for a job interview.

Best of luck.

The Importance of Writing Shorts

By Andrew Spear

Everybody thinks they have the next greatest idea for a movie, and most of those people think that they can write the script for that movie. Easier said than done. Screenwriting is difficult. Some of the greatest writers of all-time were brought to Hollywood and failed.

The beginning of a screenwriter’s journey consists of learning the craft. That involves; reading books, studying screenplays, attending seminars, listening to podcasts and of course, writing. Writing and more writing. Less important, the fun part, watching movies. I can listen to a great symphonic performance, and yet have no idea how it all came about.

After all that comes maybe a bigger hurdle to clear, discovering one’s voice. Believe it or not, the most common major fault in scripts is a lack of meaning. A script can have a beautifully-crafted premise, interesting themes and engaging characters on fascinating journeys but the stories that resonate most are the ones which convey a meaning or evoke an emotion. You have to know what it is that you want to write about? What emotions do you want to expose to others? Tarantino puts it this simply, he writes scripts for films that he’d want to watch.

This is where writing shorts can help. A short is a great way for screenwriters to learn the technical complexities of writing a script and its formatting requirements without the burden of structure and writing 112 pages. Not to mention making how much easier it is to express yourself and see if your 6-15 pages, you can evoke the emotion on your potential audience that you were aiming for. Unlike a feature film, shorts can really upend traditional storytelling and take artistic risks. It’s like writing a poem instead of a novel. And as easy as that sounds there are some guidelines to pay attention to.

Introduce characters with goals, show them encountering obstacles and trying to overcome those obstacles. Show us how they or their world has changed. Set up and resolve dramatic questions. If a story feels unfinished, the emotional impact will be diffused, and will feel anticlimactic.

Focus on the decisions, actions, and goals that define who a character is or who a group of characters are. These minutes, hours and days decide everything. It’s okay to start a story that is already in motion. Just make sure to give the audience the important facets of a story by watching a character do or say something.

It’s easy to get carried away with dialogue, or actions you think are essential to the project. Concentrate on that single moment, that single conflict, building up to its resolution and the unfolding of the character’s arc.

Make sure your film has a point. What was it trying to accomplish? And what pulls it all together is the ending. A feature is full of many scenes with many moments and many characters but you don’t have as much room for this kind of content in your short film, which is why the final, lasting impression is so important. It’s largely what your audience will walk away with.

To quote the old joke, “Can you tell me how to get to Carnegie Hall? Practice, practice practice.”

So how many short scripts have you written?

NB Film Co-op member Andrew Spear