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Notes from Silicon Beach: Southern California’s Magnetic Pull for Canadian Startups

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The one-two punch of Hollywood and Silicon Beach provides a powerful magnet for many Canadian startups looking to grow their business – not to mention enjoying Southern California’s weather, beach and lifestyle. As more Canadian companies make the move, we see a variety of approaches fueling cross-border business growth.

“There are just more opportunities here,” says Gavin McGarry, CEO of social media agency JumpWire Media, which moved to Santa Monica a few years after launching in Toronto in 2009.

“When you say you’re from L.A.,” says McGarry, “there’s greater gravitas. Southern California is clearly at the leading edge of the media business,“ and second only to Silicon Valley. “L.A. offers great networking, a chance to see all sorts of interesting stuff and people,” adds McGarry. Proximity to insiders at Amazon, Facebook, Snapchat and Twitter gives JumpWire an edge.

“Canada is a great place for business,” he notes, “but after you’ve worked the handful of gatekeepers, it’s hard to keep growing.” Before long, JumpWire opened an office in Santa Monica while maintaining most employees in Toronto, a market that is “a great place for hiring people.”

Over time, though, the time zone difference and split teams became unwieldy, and JumpWire closed Toronto in favor of its Santa Monica headquarters.


Split Decision

John Hallman, founder of Level Play Sports, an athlete relationship-management platform modeled on Salesforce, is crafting a different model. He splits his team between both the U.S. and Canada, with employees in San Francisco, Las Vegas and Toronto.

Based in L.A., Hallman has partnered with Canadians, many of whom he met while serving as a mentor at the CFC’s IDEABOOST Accelerator. “We recognize that our target market includes athletes across North America, which includes a significant presence for Canadians, says Hallman. “I found a great level of talent in Toronto, where we have the backbone of our technology team. This benefits us economically, but we have found that the talent level exceeds our expectations.”

“When we look at Silicon Valley or Silicon Beach here in L.A., we find that large corporate presence hiring thousands of engineers drives up the price for employees. It is difficult to hire them for early stage companies – the cost of salaries and equity is daunting. In the Waterloo-Toronto corridor, we find comparable technical talent and it costs us less.”


Two men standing and talking to each other.

IDEABOOST mentors John Hallman (right) and Warren Coughlin (left). 
Photo by Brian De Rivera Simon.


Branching Out

Edmonton-based producer/director Dylan Pearce represents another approach, with the opening of a new L.A. office underway for his new company, Northern Gateway. Pearce’s work stands out because of his technical expertise in areas like 3D and VR, both of which he hopes to leverage by creating a presence in the large Southern California market. Here, he not only gains access to dealmakers and collaborators, but also cements his new company’s credibility, with Americans and other Canadians, who he says tend to dismiss smaller markets like Edmonton.

Pearce is active in Alberta’s film and media community, which provides him with the ability to influence government policies, help grow the industry, and enjoy the camaraderie of a smaller media ecosystem.

For other Canadians who may be looking to L.A. for opportunities, however, Pearce cautions, “Understand what you want from it. The industry in L.A. is so massive. Without a clear purpose, you can easily get swallowed up or end up spinning in circles.”


Snowbirding

Montreal-based documentary and VR producer Ina Fichman has been traveling to L.A. to connect with customers and collaborators for much of her 30-year career, but recently she’s begun staying for several months at a time, both to escape the harsh northern winter and to create deeper and more lasting relationships that are difficult to cultivate on short trips.

“What’s important is finding the right working relationships,” says Fichman, who admits that she’s a bit of a snowbird now that her family has grown up.

“I love my life in Canada, and have immense respect for a system that has really nurtured a great deal of talent. But Canada presents a double-edged sword, mainly that there are fewer broadcasting commissioners, and so it’s ever more competitive.”

“L.A. is such a big city with all kind of work being done here,” she says. “Deep pockets, more buyers, a more diverse set of potential partners.” Fichman finds great receptivity among American collaborators to the advantages she offers as a seasoned Canadian producer with access to sources of funding that don’t exist in the U.S.


A woman at a podium and talking into a microphone.

Ina Fisher received the Don Haig Award at the 2018 Hot Docs Canadian International Documentary Festival.


Double-teaming

A few years ago, Toronto-born actor-producer Michael Lazarovitch found himself in limbo while waiting for his green card approval, and thus unable to seek employment in either L.A. or Canada. So he invested his time in developing new content, building teams in both L.A. and Toronto. “I bridge the two countries, using benefits on both sides of the border to move our projects along.”

Lazarovitch says that his team’s track record with Canadian funders like The Alberta Media Fund, Telefilm, CMF and Create Ontario serves to significantly mitigate risk for American partners. The Canadian partners are incentivized to participate when he can bring an American partner and U.S. funding into a project. Like Fichman, he believes that an ongoing presence in the L.A. media market is vastly superior to commuting into L.A. to take meetings. “The relationships I’m building have developed over time,” he says, “as opposed when you fly in for a thousand meetings in a week, I have been able to forge real relationships on a much deeper level that have stood the test of time.”

Lazarovitch also maintains his Canadian roots by operating the nonprofit Actors Workshop Canada Benefit Masterclass Series in five cities across Canada, which provides access to producers, buyers, executives and casting directors from L.A. and New York City. This project was launched with support from the Canadian Film Centre (CFC) and primarily benefits the Actors Fund of Canada (AFC).


Relocating

David Ivkovic and his wife, Renee Percy, are Canadian actors who relocated to L.A. in 2009, and have maintained vibrant connections to other Canadians who migrate here for work. Ivkovic’s real estate business caters in part to Canadians coming to L.A., helping with advice and referrals, as well as navigating the vast set of neighborhoods that comprise the city.

Ivkovic serves as Chairman of Canadians Abroad of Southern California, a non-profit social, cultural and professional advocacy organization. Ivkovic’s blog is summed up by its title, “Canadians Moving to L.A.” Canadians Abroad cultivates local connections between Canadians with mixers all across the giant L.A. ecosystem. Its largest event is an annual Canada Day celebration.

Of the nearly 800,000 Canadians residing in the United States, 16 per cent live in California, with Los Angeles County the home of more Canadians than any other, according to the Migration Policy Institute. Yet, as the engaging blog, “No Enclave,” puts it, “Canadian-Americans are a largely overlooked minority in the vast landscape of Los Angeles‘s diversity. Los Angeles, after all, has no Little Toronto nor a Historic Canuck Town. Whereas immigrants from south of the Rio Grande are celebrated, vilified, romanticized, ignored and pandered too; those from north of the 49th Parallel are practically invisible.”

Moving anywhere is traumatic, but newcomers to Los Angeles have an especially steep learning curve. This handy collection of articles from Curbed provides an orientation to Los Angeles neighborhoods and navigation. For tech companies, two good tech news sources are Built in L.A. and SoCalTech, both of which have events calendars and job boards. Networking may start with some of the many tech meetup groups, for instance, these or the specific Silicon Beach Young Professionals network. Female entrepreneurs can find women-in-tech meetups here.

Other Southern California organizations for Canadians to keep on their radar include:

  • Canadian Trade Commissioner Service: This group provides support to Canadian companies seeking to expand internationally. “In Canada, our market size is not sufficient for our companies to successfully scale,” says Tina Shih, a trade commissioner in Los Angeles. “Canadians are traders by nature, and so we’re committed to helping them explore opportunities here, particularly creative sector companies, since this is Hollywood, the mecca for global entertainment.” She also helps Canadian companies access global trade opportunities, especially in Asian markets. The service assists non-Canadian investors and companies to do business in Canada, as well as to foster innovation by working with researchers, startups and venture capital. Canadian companies interested in these services can begin the process at offices located in major Canadian cities.
  • MAPLE Business Council: An executive-level organization promoting cross-border investment, trade and entrepreneurship between Canada and the United States.

Five people holding up a Canadian flag.

David Ivkovic (middle) at one of many group events hosted by Canadians Abroad of Southern California. 


Immigration Issues

Traveling between the U.S. and Canada for visits (even attending conferences, by some accounts) rarely requires a visa, but over time, individuals and companies travelling regularly for business may require a visa. Canadians enjoy several benefits of Canadian citizenship when entering the U.S., and enjoy a number of exemptions not open to citizens of other countries, as explained here. The U.S. State Department’s full list of visa categories for employment can be found here.

“If activity on U.S. soil is going to generate income for you, either immediate or deferred, you need to be thinking of getting work authorization,” says attorney Lorraine D’Alessio, a Canadian native whose practice includes special focus on Canadian immigration to the U.S.

It may be worthwhile to retain a lawyer with immigration to help assess your company situation, since the specific fact pattern will matter, according to immigration attorney Zoe Kevork. Entrepreneurs should be especially careful, since pitching and signing deals as a Canadian C-suite employee can trigger scrutiny. Border agents may look up social media for big announcements of deals that would normally require approval of a different type of visa. (Kevork is also President of Canadians Abroad). “Usually it’s not a matter of if, but when,” says Kevork.

The consequences can be significant – being banned from reentering the U.S. stands out as a major problem for anyone aspiring to grow their career and business in SoCal. Tech startups will also notice that the U.S. immigration laws are tailored to older models of businesses than startups. Issues like capitalization for an investor visa and types of office spaces/co-working spaces are issues that need to be handled carefully, even at the point when a founder decides to go for a visa.

D’Alessio also cautions growing companies to make sure all of their employees are in compliance with U.S. law, in case competitors seek to sabotage your standing by submitting anonymous tips about you to U.S. Customs. 


CFC Alumni Win 2019 WGC Awards

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The Canadian Film Centre (CFC) is thrilled to share the great news that four of our alumni won Writers Guild of Canada (WGC) Screenwriting Awards at the WGC’s 23rd annual gala on Monday, April 29. The awards ceremony took place at the TELUS Centre for Performance and Learning’s Koerner Hall in Toronto, and celebrates the best Canadian screenwriting talent behind some of the most engaging and powerful Canadian-made TV, films, documentaries and web series.

During the ceremony, the WGC’s executive director Maureen Parker and the CFC’s chief programs officer Kathryn Emslie also announced the new Denis McGrath Bursary Award, a joint award that will annually offer a $5,000 cash bursary to a deserving CFC TV writer in the Bell Media Prime Time TV Program– more details to follow!


A man drives at night, the reflective glare of traffic lights on his windshield.

BEST FEATURE FILM

Jeremy Boxen, for 22 CHASER

This film was also produced by CFC Features, and as part of his speech, Boxen gave a warm shout out to Justine Whyte, Director and Executive Producer, CFC Features, for believing in the project over many years.


Two women sit at a table at night.Credit: Twitter (@BletchleySF).

BEST NEW SERIES SCRIPT

Daegan Fryklind, for The Bletchley Circle: San Francisco, "Presidio"


A fluffy golden-furred cat sits on a table and is groomed by a woman.

Credit: CBC.

BEST DOCUMENTARY

Michael McNamara, for Catwalk: Tales from the Cat Show Circuit


Two people, a man in the foreground and a woman behind him, walk down a hall pointing guns.

Credit: CTV News. 

BEST TV DRAMA

Sarah Dodd, for Cardinal: Blackfly Season 2, "Red"


A warm congratulations to all of our alumni, and to all of the talented writers who were nominated and awarded in the ceremony! Read more about the night’s festivities here.

WGC and CFC Announce New Denis McGrath Bursary Award at the 2019 WGC Awards

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The Canadian Film Centre (CFC) is proud to announce the new Denis McGrath Bursary Award, a joint initiative of both the Writers Guild of Canada (WGC) and the CFC. The award will offer an annual $5,000 cash bursary to a deserving CFC TV writer in the Bell Media Prime Time TV Program. Full bursary details and criteria will be available soon.

The WGC’s executive director Maureen Parker and the CFC’s chief programs officer Kathryn Emslie announced the new award during the WGC Screenwriting Awards, held on Monday, April 29 at the TELUS Centre for Performance and Learning’s Koerner Hall in Toronto.

The WGC and CFC have joined forces to launch this bursary in Denis’s name to celebrate and sustain his legacy as a champion of writers and a significant advocate for storyteller rights here in Canada. In addition, the CFC will design and deliver a one-day bootcamp on advocacy for both its film and television writers — a step towards inspiring generations to engage actively in the evolution of our creative industries.

"This bursary honours Denis’s two passions — writing and advocating for Canadian content and Canadian screenwriters," said Maureen Parker, WGC executive director. "Denis was an exceptional writer and human being and this bursary assures that his extraordinary character and contributions to the industry will not be forgotten."

Many in the industry and our alumni have asked what they can do to honour and remember Denis. The WGC and CFC, with Denis’ loving wife and CFC writer alumna Kim Coghill, created this opportunity to raise funds that will extend this bursary in Denis’ name over many years. We welcome your tax-deductible donations, which you can make here, or by phoning Michelle Johnson, Manager, Annual Giving, at 416.445.1446 x227.


For more information, please contact:

Margaret DeRosia
Communications Specialist / Digital Writer & Editor, CFC
mderosia@cfccreates.com | 416.445.1446 x463

Lana Castleman
Director of Communications, WGC

l.castleman@wgc.ca | 416.979.7907 x5234

CFC Alumni Hit Inside Out Film Festival and Finance Forum

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Multiple CFC alumni will be screening projects in the upcoming Inside Out Film Festival in Toronto later this month. The festival runs from Thursday, May 23 through Sunday, June 2, 2019 at TIFF Bell Lightbox, Artscape Sandbox, and other venues in downtown Toronto.

During the festival, Inside Out also will present the world’s first and only LGBTQ Film Financing Forum, designed to improve the pipeline to production for feature films from LGBTQ filmmakers and those that centre LGBTQ stories and voices. The Finance Forum will take place during the festival on Thursday, May 30 and Friday, May 31.

To select its projects, the forum holds an open submission call and reaches out to international film funds, institutions and festivals to track projects. Of the ten projects selected this year, CFC alumni are attached to these four:

Before I Change My Mind(Canada)
Alyson Richards, producer

Boyfriend (Canada, India)
Anand Ramayya, producer

Tribe (Canada)
Joseph Amenta, director
Alexandra Roberts and Daniel Sedore, producers

What I Call Her(Canada)
D.W. Waterson, director
Kawennáhere Devery Jacobs, producer



Alumni projects screening in the Inside Out festival include:



Drag Kids

Megan Wennberg, director; Warren Jefferies, Editor

Alumna Wennberg wrote and directed this sympathetic look at four remarkable children unafraid to hold their own in the adult world of competitive voguing and lip synching, with Warren Jeffries editing this inspiring story.




Queering the Script

Steph Ouaknine, producer; Christina Jennings and Jay Bennett, executive producers


This new feature-length documentary explores how queer fandoms connect with creators and stars to reshape LGBTQ representation in media. Earlier this year at SXSW, audiences caught an excerpt on an International Women’s Day panel presented by Shaftesbury, Wattpad and Telefilm, but this is the film’s world premiere.


A woman seen from behind rising a bicycle, arms outstretched to the side.

Shorts Program: Local Heroes

This perennially popular shorts program includes several alumni films, including:

  • Haus:Joseph Amenta, director
  • Loretta's Flowers: Brendan Prost, director; Harveen Sandhu and Matthew Gouveia, actors; Neil Haverty, composer; Max Walker, producer; James Tracey, editor
  • Soft Spot: Erin Carter, actor

A transgender man crouched beside a graffiti-tagged wall.Made This Way: Redefining Masculinity

Irem Harnak and Elli Raynai, directors

Composed of photographs and virtual reality volumetric testimonials, Made This Way: Redefining Masculinity is an interactive mixed-media documentary that explores how transgender subjects are challenging gender norms and redefining traditional masculinity. This VR experience will be screening for free throughout the festival in the Festival Lounge at Artscape Sandbox.


After all these films and pitches, get ready to dance! Don’t miss the fun Women’s Gala Party, at which director alumna and DJ Hey! DW spins.

Founder's Spotlight: Jonah Brotman of Monda Forma

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Headshot of a man wearing a purple plaid shirt.Creating memorable moments for people has been Jonah Brotman’s life mission, whether through organizing global travel to more than 20 countries with Operation Groundswell, running memorable events as CEO and co-founder of Toronto’s House of VR, or as business director of IDEABOOST Accelerator Cohort 8 company Mondo Forma, whose flagship product, The Funhouse, opens in Toronto on Saturday, June 1.

Brotman’s vision for The Funhouse is to change the way art and tech interact in the twenty-first century. The Funhouse will be an immersive art experience that welcomes guests to a multilevel, choose-your-own-adventure art maze. In partnership with Universal Music Canada, Mondo Forma has assembled Canada's brightest minds in visual arts and technology to transform a former Buddhist temple on Queen Street West into a multisensory adventure world, one in which guests can interact with digital tech and play inside an art-filled funhouse. Each installation within The Funhouse is co-created by a local Toronto artist, and builds a larger narrative for the overall experience.

Meet Brotman below and hear more about his passion for generating collective experiences, how the IDEABOOST-Network Connect community has helped shape his vision, and why he admires The Wealthy Barber, a former investor of his from Dragon’s Den


You have had quite a varied career. How long have you been interested in creating worlds?

It’s funny you say that, because our slogan for Mondo Forma is “We create worlds.” When I was 20, my first company was Operation Groundswell, which focused on “backpacking with a purpose,” service learning and ethical travel. Our first program was to Ghana in 2007. With positive feedback from that, we expanded into Southeast Asia and the Middle East. Now we’re running programs in more than 20 countries for hundreds of people per year, and it is incredibly rewarding to know that we are changing the lives of several thousand travellers and community partners on the ground.

In all of my work, I seek to create captivating, memorable moments for people. New experiences are what I’m passionate about, and what people crave.

How did you move from Operation Groundswell to House of VR to Monda Forma and The Funhouse now?

I live by the motto, “You can only connect the dots of life by looking backwards.” As such, I have only recently begun to understand that experience design has been at the core of all of my successful businesses. I never would have imagined that my career would span international travel, cutting-edge technology and immersive art, but I’m proud that my entrepreneurial journey has allowed me to follow my passions to create memorable experiences for others.

What was the inspiration for The Funhouse?

At Monda Forma, we aim to change the way people interact with the world, by creating immersion in all the senses. When we read the news these days, it often paints a dreary picture. So we felt it was important to create a sense of escapism – and what better way than an adult funhouse to inspire a childlike sense of play. I don’t know exactly how we landed on all the elements, but given that we have such a large team, the creative juices have been flowing for almost two years. It’s been a real grassroots, collaborative, communal effort. Everyone involved helped shape it into something greater than the sum of its parts.

With a crew of 33 artists, 10 digital tech creatives and 15 production people, of which 80 per cent is female, I am proud of and constantly learning from the many diverse voices.

Many of us are big fans of large-scale events like Nuit Blanche and Burning Man. Probably the closest similar experience to what we’re cooking up at the Funhouse is Meow Wolf in Santa Fe, New Mexico. Our whole team went down last February and we were blown away by the size and scope (I wish we had a 75,000 square foot bowling alley like the one in suburban Santa Fe!). With The Funhouse, we wanted to move past looking at art on a wall and bring it to life in a way that younger generations can enjoy.


A man talking to another man holding a microphone. In front of them is another person holding a camera and filming the man talking.


Describe where the Funhouse is and what the experience will be like?

The Funhouse is located in Toronto, in the the heart of Queen West at 101 Lisgar Street, right around the corner from the Drake Hotel. When guests walk up to the building, they will immediately see the vibrant Art Deco mural on the outside. Upon entering, a surrealist Wes Anderson-styled hotel lobby awaits. Guests will choose between two doors, the elevator and the Narnia wardrobe. From there, guests will descend down the rabbit hole and encounter more than 15 unique inter-dimensional worlds across two floors of an art maze. The final “wow” moment will happen as guests ascend to the Underwater Ballroom on the third floor. Being surrounded by projection-mapped fish, blacklight coral and calming surround-sound music, guests will leave The Funhouse with an overwhelming sense of wonder and magic.

How has your connection with CFC Network Connect and now, as part of the new Cohort 8, IDEABOOST Accelerator benefited your work?

My experience with the CFC has been really positive. It’s opened a lot of doors for us and led us to new business relationships. As House of VR, we joined Network Connect. We become a central hub in the VR/AR ecosystem of Toronto. We also hosted several CFC Media Lab events, including the AR/VR stream for the Elevate Toronto conference in September 2017. Each event brought a slightly different crowd, so given that part of our mission has been to help build the VR/AR ecosystem, we share that with CFC Media Lab. It has been a mutually beneficial arrangement.

We are slightly different from a lot of IDEABOOST-Network Connect companies because most are startups laser-focused on products, but we are launching a location-based entertainment centre. Despite the different business model, our experience has been awesome, with lots of really interesting people and support in the network. Accessing this network has been a key value of working with the CFC.

I would be remiss not to mention IDEABOOST’s managing director and CFC Media Lab’s director Ana Serrano, someone that the entire team from Mondo Forma/House of VR admires. She is a powerhouse. Our team is mostly female, and we think it’s great to see a woman in these leadership positions.

Who else has been an influential or inspirational figure in your journey?

The first person who comes to mind is Dave Chilton, The Wealthy Barber from Dragon’s Den, who funded one of my past companies, Stashbelt. We produced hidden zipper leather money-belts as a social enterprise in Kenya. Dave was great in that he had achieved success, but was also incredibly giving of his time and energy. He supported us and helped us grow to a level we had not thought possible. What was most memorable about him was his ability to jump in and connect with us on our level and be supportive. That’s framed a lot of my desire to work with startups, mentoring and giving them advice, which is something I will continue to do.


A man wearing a blue plaid shirt talking and standing next to a podium.


All photos by Brian de Rivera Simon

Sponsor Profile: Food & Beverage Event Sponsors

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Our Canadian Film Centre’s (CFC) events are memorable, creative and fun because of our talented caterers, restaurants, bakers, brewers, distilleries and wineries. Whether it’s signature cocktails at our intimate Garden Party or fresh-from-the grill burgers at our annual BBQ, the CFC’s food and beverage sponsors go above and beyond to ensure everyone is delighted by the experience and heads home happy.

This month, the CFC extends our heartfelt appreciation to these individuals and businesses. They generously give their time, effort and creativity to make our events memorable and to enhance our mission of accelerating Canadian talent, content and companies in the screen-based entertainment industries.

THANK YOU!


collage of images


City of Toronto Invites IDEABOOST to Its Official Reception for Collision

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North America’s fastest-growing tech conference, Collision, arrived in Toronto on Monday, May 20 through Thursday, May 23 - with plans to return to the city over the next three years as the conference’s home base. On Wednesday, May 22, the City of Toronto held a post-Collision networking reception event, NetworkTO @ Collision, in the City of Toronto’s Council Chambers in its world-renowned City Hall. Members of the Canadian Film Centre Media Lab’s (CFC Media Lab) IDEABOOST community were invited to attend, including Cohort 6 company Masterpiece VR and two CFC Media Lab-produced VR experiences, Small Wonders and Cut-off VR, as demos for guests at the reception.

IDEABOOST joined more than 200 special guests, comprised of international trade delegates, conference attendees and startups, with welcoming remarks from John Tory, Mayor of Toronto, two of the city’s deputy mayors, as well as City Hall support staff and the department of Economic Development & Culture. The reception provided an opportunity for guests to engage with decision-makers, learn more about Toronto’s innovation community, including IDEABOOST, and see firsthand why Toronto’s tech community is the fastest growing one in North America.

“Toronto is home for global leaders. It is the place for innovation,” noted Ana Bailao, Deputy-Mayor for the south area of the city, in her remarks. After experiencing explosive growth in the last five years, Toronto has arrived on the global tech scene. In true Canadian fashion, Mayor John Tory stated that “Collision is not only for Toronto. It is for Canada.” He went on to say that this event offered a chance for us to “showcase our Canadian values against a tide in the world of divisiveness and polarization.”




Garnering more than 25,000 attendees, this year’s Collision delivered on its first milestone:reaching a grand total of 80,000 attendees by 2021, over Collision’s return to Toronto for the conference over the next two years. Deputy Mayor Michael Thompson underscored how much “collaboration is the focus of our intent,” and the purpose of bringing Collision to Toronto is “attracting foreign investment, promoting international trade and demonstrating a thriving ecosystem.”

“I’m here to check out Collision and to stay in Toronto for a few weeks. I want to get to know the tech scene so we could possibly open an office here.” said Koul Kabir, a visitor from India looking to relocate to Canada. “Everyone is so friendly and welcoming in this city.”

Kabir and all guests enjoyed some homegrown technology with IDEABOOST company Masterpiece VR and VR experiences Small Wonders and Cut-off VR exclusively onsite. CFC Media Lab staff and the Masterpiece VR team were on hand to assist guests with their VR and 360 video experiences and to connect with visitors from around the world.


Cohort 8 Goes “Under the Hood” in Sprint Two

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On May 9 and 10, IDEABOOST Accelerator Cohort 8’s mentors and startups gathered at the Watershed Coworking Space in downtown Toronto for their second sprint. In their first session, the companies introduced themselves to the mentors and each other, and discussed what they wanted to achieve through the Accelerator. In this second one, they built on those foundations by identifying areas of growth for their company and working together with mentors to explore solutions. Check out this photo diary below for some highlights of the two-day gathering.


A tv screen between two pull up banners.

The second spring brought us to downtown Toronto’s Watershed coworking space.


Two men standing next to a white board.

Daniel Mathews of Podyssey and Erik Peterson of Origami XR prove that great minds think alike!


Four photo collage. Each photo has a person standing next to a pull up banner and point to a tv screen.

Clockwise from top left: Alannah O’Neill, Barnaby Marshall, Kevin Bache, and Melody Ma present revised pitches based on feedback they received in the first sprint. 


Photo Collage. Top Photo: A man standing with his arms wide in front of him and a woman standing next to him smiling. Bottom photo: People standing in a bright lit room with wooden shelves in the middle.

Our founders and mentors bring expertise from a range of different fields, and the Accelerator’s four sprints give them the opportunity to pool their knowledge and problem-solve together.


Three people sitting and looking down.

“I’ve been really impressed by the quality of the mentorship here and pleasantly surprised by the other cohort members and how we’re giving each other advice. It’s been useful for us to take a bird’s eye view of the company and dissect important things about it,” says Daniel Mathews, co-founder of Podyssey, pictured here (left) with mentors Aaron Williamson and Suzanne Stein.


Three people sitting together next to a white board.

Founders spent most of their time in intensive sessions with mentors who worked with the companies individually to work on helping the companies grow.


Three people sitting on chairs and facing the left.

Mondo Forma founders Jonah Brotman and Stephanie Ngan in a breakout mentor session with Warren Coughlin (far left). 


Four people sitting on chairs and talking.

The mentors’ insights come from years of experience in the industries that the cohort 8 companies are entering. As Erik Peterson explains, “This sprint has really connected us on the ground floor to Canadian business in ways that we haven’t been connected before.” 


Two people sitting on chairs while one person is standing next to a white board.

“This part is exciting and rewarding because we get to go under the hood around achieve the next set of goals for these companies,” explains mentor Mona Minhas (foreground). “It feels tangible because we’ve set very specific objectives and we’re doing deep into going into solving them.”


Two people sitting on chairs and one person standing next to a white board.

Ken Macneil of Capsule media meets with mentors in a breakout session.


CFC Alumni Take Home CCE, LEO, Inside Out Film Festival Awards

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We’re proud and pleased to share the good news that several CFC alumni won awards last week at three sets of recent ceremonies: the ninth annual Canadian Cinema Editors (CCE) Awards at their gala on Thursday, May 31; the 2019 Leo Awards, which honour excellence in British Columbia’s film and television, at three ceremonies on Saturday, May 25 and Sunday May 26, as well as Saturday, June 1; and the juried awards at the end of the Inside Out LGBT Film Festival in Toronto, which honours Canadian and international lesbian, gay, queer and transgender films.

See the winners below!


Five children stand looking skeptically off to the left, with three of them wearing blue suits.

Courtney Goldman won for her editing on the MOW, 'Odd Squad: World Turned Odd' (courtesy of PBS).


The Ninth Annual Canadian Cinema Editors Awards

The CCE Awards honour superior editing in film, television and web series, and included these alumni among the night’s winners:

Best Editing in Documentary: Short Form
Greg Ng - Finding Big Country

Best Editing in Family: MOW, Live Action
Courtney Goldman - Odd Squad: World Turned Odd

Best Editing in TV Comedy
Dev Singh - Little Dog: Ep. 107


Two men stand on either side of a woman in the centre posing for the awards.

Editor Greg Ng (second from right) won both a Leo and CCE award for editing the short documentary, 'Finding Big Country.' (Credit: Leo Awards on Instagram).


The 2019 Leo Awards

The Leo Awards celebrate excellence in British Columbia film and television, and included these alumni winners:

Best Documentary Series
Paramedics: Life on the Line
Erin Haskett (along with non-alumni Louise Clark, Murray Battle, Rudy Buttignol, David Moses, Andrew Easterbrook, Megan Cameron, Ashley Olpherts)

Best Picture Editing: Short Documentary
Greg Ng - Finding Big Country

Best Screenwriting: Music, Comedy or Variety Program or Series
Sonja Bennett Letterkenny

Best Sound: Animation Program or Series
Biidaaban (The Dawn Comes)
Joseph Murray and Lodewijk Vos of Menalon (along with non-alumni Jeneen Frei Njootli, Cris Derksen, Leanne Betasamosake Simpson, Ziibiwan Rivers)


The 2019 Inside Out Film Festival Awards

The Inside Out Film Festival, which ran from Thursday, May 24 through Sunday, June 2 in downtown Toronto, closed with its Annual Awards Brunch, at which two alumni projects received these prestigious juried awards:

Best Canadian Feature
Drag Kids
Director, Megan Wennberg


Two children help each other prepare for a performance by applying makeup.

Courtesy of Awards Watch.


Best Canadian Short
Soft Spot

Several alumni worked on this film, including Erin Carter (lead actor and writing), Ali Mashayekhi (producer) and Aimee Bessada, Spencer Creaghan, Rebecca Everett, Neil Haverty and Chris Reineck (Music).

Spring 2019 Alumni Successes

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Not only are plenty of green things growing and apple blossoms blooming at the Canadian Film Centre – our alumni have also been busy across Canada winning awards, developing projects and sharing insights coast to coast and internationally, as this hit parade reveals.



Awards

Congratulations to our alumni who won awards this spring, including:


A man pumps gas.

Festival Watch



Television & Web Series

Our alumni have been active on and behind the small(er) screens, ranging from wrapping up to gearing up on these projects:

A woman with her face half-painted and "The 410" on right side against a black background.


Film

Several alumni-produced and directed favourites on the fall 2018 film festival circuit – The Grizzlies (which was also CFC's National Canadian Film Day screening), Giant Little Ones, and more recently, Sorry for Your Loss– have been enjoying runs of engagement on Canadian screens this spring, and below are a mix of new or upcoming alumni-produced films that have come out or soon will.

Two women, one standing in back and one sitting in foreground, against mirrors.


Talks, Profiles, Workshops

  • Is all this good news making you want to get cracking on new projects? If so, then sign up for Jeremy LaLonde’s two-day film intensive on July 20 and 21 in Toronto, Kickstart Your Project and Your Career.
  • The WGC is hosting a talk with Mary Kills People showrunners Marsha Greene and Tassie Cameron on June 26 in Toronto; the event is free but requires advance registration.
  • Heading to Banff World Media Festival in June? Don’t miss the Showrunner Super Panel on June 11, featuring a plethora of fantastic talent that includes Shernold Edwards, Sheri Elwood, Marsha Greene and Tassie Cameron.
  • Check out this winsome profile of writer Julia Rowland in The Toronto Guardian.
  • Brenda Terning shared insights on editing The Nature of Things series with the CCE Editors podcast.
  • Charles Officer discussed his new documentary feature, Invisible Essence: The Little Prince in this podcast on Rabble.
  • Congrats to Reza Dahya, who hosted a public table read of his new feature film, Boxcutter, on May 14 in Toronto – and with a cast entirely composed of CBC Actors Conservatory alumni!

Alumni - do you have good news to share? Send it to us at alumni@cfccreates.com!

Notes from Silicon Beach: View From the Television Academy

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The finale of the biggest TV show in the world, Game of Thrones, featured a dragon torching the Iron Throne and its heroes scattering across the known world — a metaphor many in the industry could apply to their own professional lives.

Studios and networks are girding for battle with new competitors — dragons such as Netflix, Amazon, Apple, Google and Facebook – and coping with what David Bloom recently called“the biggest reset in Hollywood economics in at least 70 years.”

Not surprisingly, the impact of all this turmoil has reached the Television Academy, the major organization devoted to the television and broadband screen entertainment industry. With more than 24,000 members in 30 different categories, known as “peer groups” – from animators to writers and everything in between – its public face is the Emmy Awards, which it produces annually.

Leadership of the Academy took a strong turn towards digital by appointing as its chairman and CEO, Frank Scherma, co-founder of Radical Media, a production company with digital and traditional credits. The Interactive Media Peer Group (IMPG) formed in 2000, at the height of the so-called dot-com bubble and in response to calls from activist-creators whom I have dubbed “interactivists” (sidebar: I was one of them). Since the group awarded the first Emmy to HBO’s miniseries Band of Brothers in 2002, the IMPG’s eligibility, awards and mission have been repeatedly updated to reflect the progress of different forms of digital and interactive media and the people who create them.


Collage of celebrates at the Emmy Awards.


One of the fastest growing peer groups, IMPG’s 900+ members make it one of the Academy’s top three or four categories. (For a history of its early days, see my blog post.) I interviewed the two elected governors, Lori H. Schwartz and Chris Thomes, just days before the group’s executive committee began its review of submissions to the five categories for which it can award Emmys, a seven-month process culminating in the IMPG’s Celebration of Excellence and the Emmys in September.

Both Schwartz and Thomes are veterans of the interactive business. Schwartz leads experiential marketing firm StoryTech, which brings together storytellers and technologists and provides executive briefings a major trade shows. She is also a CNN technology contributor and former chief technology catalyst for McCann Worldgroup. Thomes is vice president of marketing strategy for ABC Studios, one of a number of senior roles at Disney-ABC he has held over the past decade, and has also been awarded two Emmys for his interactive and digital work for ABC.

The Place for Change

“This group is change,” says Thomes, a member of the Academy for more than a decade. “Every few years something shifts in the industry, and we’re one of the peer groups most responsive to the industry. More than any other, the IMPG has expanded since its formation in 2000. It’s consistently shifted and re-evaluated its focus.”

“Our peer group in particular is the ‘new stuff’ peer group,” adds Schwartz, now in the second year of her second term as governor. “We’re the people who are always looking at how technology empowers storytelling. New platforms and new modalities for communicating a story to an audience – that’s who our people are.”

Thomes adds, “The people who belong in our peer group work on programming are those directly supporting the program itself through marketing and distribution. If they are doing platform development not tied to a specific program, they are not eligible for our particular group. Historically, engineers are not part of our group.”

The prominence of streaming companies continues to grow within the broader Academy, with an increasing number of Emmy nominations and wins going to digital companies like Netflix, Amazon and Hulu since 2013, when House of Cards was the first.

These trends are driving the IMPG to consider a name change to reflect a new definition of its mission for change. The Academy is also likely to launch a separate peer group to serve as a home for technical and platform personnel.


A group of people standing in a row in front of a large screen.

Nominees for Outstanding Innovation in Interactive Media at The Television Academy's Interactive Media Nominee Reception 2018


Jobs are Changing

One sign of turmoil among the roughly half-million-member entertainment workforce in greater Los Angeles is that 4,000 jobs were lost as a result of the Disney-Fox deal, even as the new digital companies have been posting hundreds of jobs to fill their new Hollywood facilities.

As digital native startups get digested in bigger companies, new realities are emerging. “Companies like Maker, Fullscreen and Machinima have been swallowed whole by their big-media counterparts,” noted Thomes, and “either disbanded or subsumed.” As a result, people who started out in digital may see their livelihood depend more on an ability to fit into larger corporate ecosystems. That is a challenge, as these ecosystems think differently, expect fast results, and use data to inform decisions. Having the brand police and legal departments slow innovation to a halt is challenging for those of us who want to challenge the status quo, iterate, and grow.”

“I think people are shocked by the size of these entities,” adds Schwartz, noting caution. “History has shown us that they cannot move at the pace they need when they are that big, and may wind up getting broken up anyway.”

Opportunities for Startups

The sheer size of these corporations, however, means continuing opportunity for startups – if they have a strategy that cedes distribution to the big players. “I think startups that focus on improving the consumer experience are going to have a huge opportunity,” speculates Thomes. “The consumer doesn’t just want to be heard. They want to be understood. They need a concierge, somebody who actually listens.”

Another area of intense startup activity that Schwartz sees is artificial intelligence (AI), which can help companies with their back office tasks and also improve the consumer’s personalized experience of media. “I’m seeing entrepreneurs who are going to market with practical solutions for real problems. It’s not like VR a few years ago, where people were nutty, crazy, and quitting their jobs to get into VR.” 

Schwartz notes that while every company now generates massive amounts of data, most don’t know how to use it. “They read about AI, but don’t know to get started. If they aren’t actively engaged in developing a data strategy with AI, they are trying to figure it out, because they know they are sitting on great potential.”


A woman wearing a VR headset and holding a controller while standing in front of a computer monitor.

Demos of the nominees at The Television Academy's Interactive Media Nominee Reception 2018


The Tsunami of Digital Media

Ultimately, the tsunami of digital media is driving change in both the industry and its organizations such as the Academy. “The big change came when senior management at the big networks created roles for digital strategists,” recalls Schwartz. “Suddenly there were people within these companies who ‘owned’ digital. They saw that audiences were going to their digital assets. They needed to be competitive and began investing more.”

“Plus, it’s the power of the consumer, the viewer at home,” adds Thomes. “Consumers have the ultimate power now. It started with the remote control, then DVR and VOD and now streaming, where they can watch anything anytime anywhere. Together with the amazing volume of content, the consumer control is driving a whole new paradigm for those of us working in the business.”

“Things really changed in the Academy as a whole when these companies began to monetize digital. So now, it is looking for us to help them understand what’s coming, because the speed of change is so fast, people are struggling to keep up. We’re playing this role of a guide now. It’s not just the headlines, which everyone reads. It’s how these shifts are going to impact people’s jobs, how they do their jobs, or whether they will even have a job,” notes Thomes.

“The Academy is a microcosm of the whole industry,” says Schwartz, “Its boardroom is a mini-version of what’s happening in our world.”

Go to the Television Academy’s webpage to learn how to become a member of the IMPG or any other peer group, here.


Nicholas DeMartino is a media and technology consultant based in Los Angeles. He is chair of the IDEABOOST Investment Advisor Group. Full disclosure: DeMartino has been an IMPG member since its founding and currently serves as an ex-officio member of the group’s executive committee.

​Keep Cool with These CFC Alumni Series Streaming Throughout Summer 2019

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Although it doesn’t quite feel like summer in Canada just yet, the first day of the supposedly sunniest season is just around the corner. As the temperature starts to heat up, it may be tempting to put the remote control down and embrace the outdoors. But don’t forget that summer is also a great time for TV, as evidenced by these series made by and/or starring CFC alumni coming to a small screen – computer, phone, or traditional TV set – near you over the next few months.


Woman with skull makeup on her face pulls up a black hood around her head

THE 410

This new digital original drama comes from talented CBC Actors Conservatory alumna Supinder Wraich. The series, which Wraich wrote and co-produced, follows a young Indian woman named Suri (played by Wraich) who is forced to move back to Brampton after her truck driver father ends up in jail. Other than Wraich, CFC alumni on The 410 include Renuka Jeyapalan (director), Jade Hassouné (actor) and Jeremy Schaulin-Rioux (editor).

You can stream all of Season 1 of The 410 now on CBC Gem.


Blonde woman with pink bow in her hand looks at brunette man in leather jacket as he puts his hand over her shoulder

CORNER GAS ANIMATED

Feel like you could use a fill-up on homegrown hilarity? Well, good news: Season 2 of Corner Gas Animated debuts on Canada Day, with two back-to-back episodes starting at 8 p.m. ET/PT on the Comedy Network. (The first episode is apparently about Brent having nightmares about Canadian treasure Michael J. Fox, so clearly a must-watch.)

Bell Media Prime Time TV Program alumna Diana Frances writes fort his award-winning spin-off of the beloved Canadian comedy, while another alumna, Janice Dawe, has been a consulting producer on it.


Three tweens stand together while looking surprised to see something off-screen

DETENTION ADVENTURE

If you or a tween in your life are looking for a great escape after school’s out, you might want to check out Detention Adventure, streaming now on CBC Gem.

This quirky and colourful action-adventure series is inspired by ‘80s flicks like The Goonies and The Breakfast Club and follows three nerds and one bully as they accidentally discover Alexander Graham Bell’s secret lab. What’s more, it’s executive produced by Cineplex Film Program alumna Lauren Corber and features music from Slaight Music Residency alumni Antonio Naranjo and Erica Procunier!


Two Indigenous folks stand together while holding up their fists in solidarity

FUTURE HISTORY

Summer may often be associated with disconnecting, but it’s also a great opportunity to carve out some time to learn something new about yourself and the world around you. That’s where Season 2 of Future History comes in.

Executive produced by alumnae Jennifer Podemski and Janice Dawe and directed by Podemski, Future History is a documentary series that aims to reclaim Indigenous history by taking audiences into various communities and sharing real-life stories and experiences. Don’t miss it Tuesdays at 8 p.m. on APTN.


White man in black jacket and black gloves sits next to a dog who is appearing to eat a cupcake

HUDSON & REX

No one loves the warmer weather than dogs, so it seems appropriate that Citytv’s Hudson & Rex returns with all-new episodes June 13 at 8 p.m.

This doggone original procedural, which follows a human-canine detective team, first debuted in March. Bell Media Prime Time TV Program alumni John Callaghan and Simon McNabb are writers on the series, while CBC Actors Conservatory alumni Patrick Kwok-Choon and Emily Piggford have small roles in Season 1.


Woman with a nose bleed looks at the camera in shock

KILLJOYS

We hate to be a, well, killjoy, but Killjoys, created by Bell Media Prime Time TV Program alumna Michelle Lovretta, is coming to an end this summer.

The final season of the sci-fi saga begins on Space (Canada) and Syfy (America) on Friday, July 19. Aside from Lovretta, countless CFC alumni have worked on this cross-border hit over the years, so you definitely don’t want to miss the beginning of its end.


Close-up of brunette woman in a beige beret in front of a door

MARY KILLS PEOPLE

Speaking of endings, the last season of Mary Kills People, created by former Bell Media Prime Time TV Program resident Tara Armstrong, is currently airing Sundays on Global, with the series finale set for Sunday June 16 at 8 p.m.

Season 3 of Mary Kills People was executive produced by sister alumnae (and recent CFC Award for Creative Excellence recipients) Amy and Tassie Cameron, with alumna Marsha Greene joining Tassie as a co-showrunner after spending the first two seasons, uh, killing it as a writer, story editor and producer. Other alumni on Season 3 include Jane Maggs (supervising producer and writer), Roslyn Kalloo (editor) and James Genn (director).


Medium close-up of a man and a woman standing next to one another with their arms crossed

PRIVATE EYES

Look out because this hit alumni series (co-created by alumna Shelley Eriksen) is back for Season 3, with fresh sets of episodes heading your way Wednesday nights at 9 p.m. on Global.

This season of Private Eyes, which stars Cindy Sampson and Jason Priestley, welcomes some stellar guest stars including Gordon Pinsent, William Shatner, Jann Arden, CBC Actors Conservatory alumnus Patrick Kwok-Choon and RUDE star Sharon Lewis. Alumnus Alex Jordan is also a producer on the series, while alumni like James Genn, Sudz Sutherland and Gail Harvey directed episodes this year.


Close-up of a red-haired woman wearing a black bonnet sitting in church

PURE

If you’re looking for a drama fix this summer, be sure to check out Season 2 of Pure. Alex Paxton-Beesley stars as Mennonite drug trafficker Anna Funk in the former CBC series, which is now airing Tuesdays at 10 p.m. on Super Channel Fuse.

It’s also worth noting that Ken Girotti directed much of this season, while alumna Waneta Storms penned an upcoming episode.


A figure in all black and a mask with neon detailing on the face stands in the middle of a rave

SLASHER SOLSTICE

What’s scarier than going outside in the middle of the July without sunscreen or a hat? Staying home and watching Season 3 of Canadian horror anthology series Slasher (created by alumnus Aaron Martin)!

Now streaming on Netflix, Slasher: Solstice follows the residents of an apartment complex as they get hunted down by a masked murdered over a 24-hour period. Quite a few alumni worked behind the scenes (or should we say screams?) this season, including Jay Bennett (producer), Ian Carpenter (executive producer/writer) and Matt MacLennan (consulting producer).


Alumni! Did we miss you or your summer series? Please let us know by emailing alumni@cfccreates.com.

Announcing the 2019 Slaight Music Residents

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We’re excited to welcome the six music creators below into the 2019 Slaight Music Residency. These talented and accomplished musicians wear many hats – as songwriters, composers, producers, engineers, performers, sound designers and multi-instrumentalists. They have worked across multiple genres and forms, and their music spans film, television, advertising, animation, art installations and concert halls – and chances are good you’ve already heard their work.

The Slaight Music Residency kicks off on Monday, July 16, when they will join forces with the 2019 Cineplex Film Program and CBC Actors Conservatory residents (to be announced later this month) for an intensive and productive nine-month immersive musical onscreen experience.

“The CFC’s program has had such a positive impact on the professional lives of many talented Canadian musicians,” says Gary Slaight, President and Chief Executive Officer, Slaight Communications Inc. “It’s a unique opportunity, one that I am proud to say is confidently positioning the next generation of screen composers and songwriters on the world stage, and continuing to deliver on my father Allan Slaight’s legacy of supporting Canadian Artists."

Speaking of the world stage, this incoming group will be building on the successes of recent alumni like Spencer Creaghan, who worked with Lesley Barber on the score of buzzy Sundance hit Late Night; Casey MQ, who scored TIFF’s Canada’s Top Ten hit feature Firecrackers; and Sarah Slean, who was recently announced as scoring the new musical theatre adaptation of the award-winning Canadian feature, Maudie.

The Slaight Music Residency offers a complete integration of music creators into the onscreen storytelling process, translating their musical talent to onscreen applications, increasing their professional networks, and expanding their creative and business opportunities.

A collage of six people's faces, three on the top row and three below.

The 2019 Slaight Music Residents, clockwise from top left: Anthony Wallace, Casey Laforet, Iva Delic, TiKA, Simon Poole, Kat Burns.


Meet the 2019 Slaight Music Residents and hear what recent piece of film/television music inspired them!


"I loved the soundtrack for US by Michael Abels so much. I thought he masterfully combined recognizable songs as recurring motifs, and along with his eerie original score, it was very memorable. The instrumental piece, ‘I Don't Feel Like Myself,’ is wonderfully terrifying."

- Kat Burns

Kat Burns is a songwriter, multi-instrumentalist and music producer based in Toronto and Prince Edward County. A Banff Centre for the Arts alumna and leader of dreamy pop project KASHKA and Forest City Lovers, she has recorded many albums and toured internationally. Creating music across various genres with a love for a good strings arrangement, Burns has secured a number of film and television placements and artist co-writes. In addition to her professional endeavours, she works in youth engagement programs (e.g., Girls Rock Camp Toronto and Santa Barbara), leads workshops in writing and production, and teaches community guitar classes at her local adult learning centre.

"The music from the recent TV miniseries, Chernobyl, by Hildur Guðnadóttir, blew me away. She used sounds from an actual nuclear plant to create a score rooted in reality."

- Iva Delic

Iva Delic is a Croatian-Canadian screen composer based in Toronto. Her music has been featured in documentaries, animation and live-action films. Delic works with live and digital instruments in her studio to create story-focussed and character-driven compositions. She has composed for several award-winning films that have toured festivals, including the Toronto International Film Festival’s (TIFF) Canada's Top Ten Film Festival, Raindance, DOC LA, Portland Film Festival and more.

"The score from Netflix’s series, Flowers, is one of my favourite pieces of music in a quite a long time. I found it incredible how perfectly it complemented the shifting tones of the show. Not much can make me cry, but it did."

- Casey Laforet

Casey Laforet is a Juno Award-winning and Polaris Prize-shortlisted songwriter and performer with the Toronto/Hamilton band, Elliott BROOD. He was part of the musicians in residence program at the National Music Centre (NMC) in Calgary and was nominated for Best Original Song at the 2011 Genie Awards. Laforet has contributed music to multiple television, film and video game projects, including scoring his first feature film, Adrianna Maggs’ Goalie, in 2018. He has toured internationally and shared stages with bands such as The Black Keys, The Lumineers and Wilco.

"Nicholas Britell’s score for If Beale Street Could Talk is absolutely gorgeous. The combination of jazz, orchestra and sound design perfectly underscores an equally brilliant film."

- Simon Poole

Simon Poole is a Toronto-based composer and multi-instrumentalist of English and Trinidadian heritage. A graduate of UCLA’s Film Scoring program, he has scored five seasons of Fear Thy Neighbor (Discovery), as well as written theme music for Backyard Inventors (W Network) and Landing on a Comet (Discovery). Poole has also scored national ad campaigns for Mazda, Scotiabank and 20th Century Fox. As a musician, he has toured internationally and performed as a vocalist, saxophonist and guitarist. In his band, The Dying Arts, Poole toured Canada, supported punk legends Anti-Flag and Good Riddance, and played to thousands at Toronto’s final Riotfest.

"I absolutely loved when ‘Oysters’ by Meshell Ndegeocello found its way into Queen Sugar. It’s a beautiful melancholic ballad, but I also adored when Donald Glover used ‘Coronus, The Terminator’ by Flying Lotus for the TV show Atlanta on FX. Fly Lo is one of my favourite producers-composers. I had no idea he made this track and it was magnetic to see it juxtaposed in the scene! What a moment."

- TiKA

TiKA is an artist, actor, DJ, cultural producer, activist and advocate for the empowerment of female artists and creators. Her love and passion for culture and music contributed to her two EPs, and she has opened for major R&B heavyweights like John Legend and Nao. Complex Magazine listed TiKA as “one of the most prolific creatives in Toronto.” She has had song placements on CBC’s Diggstown and Kim’s Convenience, and her music has also been placed in the short films, TONY, directed by Grace Glowicki, and Five Dollars, directed by Reza Dayha. An established music ambassador and creator, TiKA’s image and sound as both a new artist and producer gracefully provides what this generation has been missing musically.

"Jóhann Jóhannsson’s score for Arrival, specifically ‘Heptapod B.’ His ability to weave concepts from the film into his writing style based on language and cyclical patterns was brilliant.”

- Anthony Wallace

Anthony Wallace is a composer, sound artist and producer whose work includes scoring feature films (Red Rover, The Peel Project) and television series (Amplify). His first solo album was released in 2017. Wallace’s music has played on CBC Radio and he has worked on film and television productions for CBC, NFB, APTN and Vision TV. His sound installations have toured nationally, and he has participated in the Chilkoot Trail Artist Residency and Canadian Wilderness Artist Residency. Wallace holds a BFA in composition from York University.

Putting Music Creators Front and Centre on the Big Screen: The 2019 Slaight Music Residency Showcase

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On Monday, June 10 at TIFF Bell Lightbox, six exciting original music creators for the screen were launched. Neither Toronto Raptors crowds nor heavy rainstorms deterred industry insiders, alumni, press, cast and crew, family and friends from celebrating the multi-talented 2018 Slaight Music Residents at this not-to-be-missed annual showcase.

The Slaight Music Residency showcase represents a culmination of nine months of exceptional creativity, collaboration, and disciplined hard work by the program's residents – Suad Bushnaq, Jason Couse, Stephen Krecklo, Antonio Naranjo, and Ashley Jane and Timon Wientzek of the duo In the City. It is designed to show off what they can do for the screen, as Kathryn Emslie, CFC’s Chief Programs Officer, noted in her opening remarks.

CFC CEO Slawko Klymkiw thanked Donna and Gary Slaight and The Slaight Family Foundation for their incredible vision and support, represented well last night by Derrick Ross, President, Slaight Music Foundation, and Ali Slaight, Head of Talent Development, Slaight Music Foundation, noting that “without them we couldn’t do all this, and they care deeply about the musicians and what we do.” Klymkiw also thanked the Government of Ontario and their ongoing investment, which “makes good economic sense given the rapid and ongoing growth of the screen entertainment sector in Ontario.”


Nine people stand posed in a row, smiling.

“They’ve got chutzpah, talent, innovation and nothing but great vistas ahead.” – Slawko Klymkiw, CEO, CFC (sixth from left). The 2018/2019 Slaight Music residents Timon Wientzek, Jason Couse, Suad Bushnaq, Ashley Jane, Antonio Naranjo and Stephen Krecklo, with Slaight Music President Derrick Ross (fifth from left) and Ali Slaight, Head of Talent Development, Slaight Music (third from left). 


Emslie thanked the program’s industry partners, including the Screen Composers Guild of Canada and the Songwriters Association of Canada, “who have been with us on the adventure since day one,” and the entire team at SIM, “for helping us deliver on these showcases.”


Three photos in a gallery, a man in long shot on the top, and two women in close-up on the bottom.

Showcase speakers, clockwise from top: Slawko Klymkiw; Kathryn Emslie, Chief Programs Officer, CFC; Erica Proudlock, Executive in Charge of Programs & Talent, CFC.


The screening kicked off with demos, a dynamic sampler spanning genres and styles. Emslie described the demos as a “selection of original music for the screen that Stephen, Jason, Suad, Antonio, and Ashley & Timon produced during their residency,” a hint of what more they can do and “a taste of their range, voice and incredible abilities."

We then premiered five short cinematic pieces, which as Emslie noted, were productions that featured “original scores and songs,” pieces that were “conceived and driven by the music, and by what each of the residents wanted to explore musically.”

Enjoy (and listen to!) both these demos and their showcase pieces here:


Following the screening, Erica Proudlock, Executive in Charge of Programs & Talent, CFC, invited Derrick Ross and Lesley Barber, Composer Chair, CFC, onstage to present each Slaight resident with their certificate of achievement.

The certificates, as Proudlock noted, “symbolize all that this group has accomplished – their commitment to the work, long hours, multiple rewrites, and stretching and reframing musical boundaries again and again to embrace collaboration across many disciplines."

To cap off the night, all six residents joined forces as a super-group onstage, underscoring that they are accomplished multi-talented musicians and live performers as well as remarkable composers and songwriters for the screen. The performance offered a medley of recent film songs and scores that “left a mark on their musical souls,” as Proudlock noted. The audience enjoyed the entertaining and moving journey from Drive, Phantom Thread, If Beale Street Could Talk, A Ghost Story and The Life Acquatic, while clips from these films played onscreen behind them. They concluded with a special presentation of the original song they pitched Disney for Maleficent II, "I Won't Stop," when they were in their week of industry meetings in Los Angeles during the CFC in LA event last March.


Three rows of photos in a gallery: top row is three close-ups of musicians performing; middle photo is long shot of a group of musicians onstage; bottom three areclose-ups of individual performers. All photos have a pink background because the lighting.

“They represent a generosity of spirit, authenticity, a love of fine wine, and a well of supreme talent.” – Erica Proudlock, on these six talented music creator-performers. 


After that showstopper, the only step left was to head to the after-party to celebrate together, but we had one final (high-C) note to hit. Last night also marked the introduction of the next group selected to participate in the 2019/20 Slaight Music Residency – Kat Burns, Iva Delic, Casey Laforet, Simon Poole, TiKA and Anthony Wallace. They will start on Monday, July 15, when these six individuals will join forces with the 2019 Cineplex Film Program and CBC Actors Conservatory residents (to be announced later this month). Meet the new Slaight Music Residents.

Congratulations to all of the 2018 Slaight Music Residents! We can’t wait to see and hear what they will accomplish next.


Enjoy a selection of the night’s photos on Flickr


All photos by Sam Santos/George Pimentel Photography.

Taking Canadian Talent to New Levels: Introducing the 2019 Cineplex Film Program Residents

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We are excited to share the incredible lineup of 17 talented and unique storytellers – five directors, five producers, four writers and three editors – who will take part in the five-and-a-half-month 2019 Cineplex Film Program at the CFC. The program has been recognized for launching and supporting internationally acclaimed creators producing distinctive work in film, television and digital, such as Kathleen Hepburn, Molly McGlynn, Cory Bowles, Matt Code, Mark Montefiore and Miranda de Pencier.

The Cineplex Film Program nurtures a creator’s artistic vision in an ever-changing global marketplace. An intimate, immersive and intense professional experience, the program champions original voices, entrepreneurism, self-expression and collaboration. It also delivers advanced project development and original content packaging. Films such as Closet Monster, Mary Goes Round, Never Steady, Never Still and Un Traductor were incubated in, and found their creative teams through, this program.

“We look forward to diving into the stories and perspectives these 17 individuals offer," says Kathryn Emslie, Chief Programs Officer, CFC. "They have already proven themselves to be resilient, imaginative, prolific and curious, with something to say about the world we currently live in. These qualities are essential ingredients to not only surviving in this business, but also thriving in it!"

This year’s residents will be working and collaborating with talent from our 2019 Slaight Music Residency, announced last week, and the CBC Actors Conservatory, to be announced next week. All three programs get underway at the CFC on July 15 – and we can’t wait to see what this much talent in one spot creates!

Read on to meet our five directors, five producers, four writers and three editors.


A gallery of shots of five people's faces in close-ups.

The 2019 Cineplex Film Program's Directors' Lab (clockwise from top left): Tricia Hagoriles; Teyama Alkamli; Gillian McKercher; Roney; Andrew Jeffrey.


DIRECTORS

We asked our five incoming directors: what are you excited to explore as a director?


TEYAMA ALKAMLI

“I see people. Their essence, it is transparent to me. I’m interested in exposing people to themselves, in holding up a big mirror and saying, ‘Look.’”

Born in Aleppo and raised in Dubai, Teyama Alkamli is currently a proud Torontonian. Her visually tender and deeply human work deals predominantly with issues of identity, sexuality, displacement and migration. Alkamli’s short films have screened at festivals worldwide, including Doclisboa and FECIBogotá. She is an alumna of DocNomads, the European Mobile Film School, and the Hot Docs Emerging Filmmaker Lab. Currently Alkamli is co-directing the documentary feature, Hockey Mom, which is supported by CBC Docs POV, and developing her narrative feature debut, My Name is Jala.

TRICIA HAGORILES

“I want to play in the messiness that lives in a story, and explore that through a lens that breaks from normative experiences.”

Tricia Hagoriles is an award-winning Toronto-based filmmaker whose work explores themes of connection, displacement, identity and healing. In 2015, she received the RBC Emerging Canadian Artist Award at the Inside Out Toronto LGBT Film Festival for her first short film, Beat. Hagoriles is an alumna of Reel World Film Festival’s 2017 Emerging 20 Mentorship Program, and her most recent short film, The Morning After, has screened in festivals internationally.

ANDREW JEFFREY

“I’m excited to create stories that grip the audience's imagination and ground them in their emotions.”

Andrew Jeffrey is an award-winning Canadian director whose films possess an ambitious scope and precise visual style, and are both entertaining and emotionally engaging. His short films – Hostage, The Time Traveler, Paranormal Radio and Separation – differ greatly in tone and subject matter, but are bound by their shared focus on universal themes of family, identity and love.

GILLIAN MCKERCHER

“I am excited to explore the actions that arise from our basest, oftentimes denied desires.”

With roots in analogue experimental film, Gillian McKercher chose to dedicate herself to cinema after she left a career as an engineer. Most recently, she directed the feature film, Circle of Steel, which won an Audience Award at the Calgary International Film Festival and screened at festivals internationally. Her broadcast work includes music videos, documentaries and the webseries, The Calgary Collection, and she also won a Young Artist Prize from the Alberta Foundation for the Arts.

RONEY

“I want to fail a lot as a filmmaker. So on the days where I succeed as a director, I’ll have the confidence of a woman who earned it because she learned it.”

Roney is an award-winning actor, writer and director based in Toronto. She graduated from the Radio and Television Arts program at Ryerson University, where she won Best Actress at the 2014 Ryerson Film Festival and was nominated for Best Feature Script at the Television Arts and Radio Awards for her dark comedic script, Hey, Dad. After graduating, Roney created a semi- autobiographical webseries, Cheap Whine, and she wrote, directed and produced the short film, Glitter’s Wild Women, which screened at several film festivals in 2018, including the Toronto International Film Festival and Vancouver International Film Festival. Roney is currently developing Glitter’s Wild Women into a feature film.


A gallery of shots of five people's faces in close-ups.

The 2019 Cineplex Film Program Producers' Lab (clockwise from top left): Julie Strifler; Erin Marie Byrnes; Brendan Whelton; Shant Joshi; Lindsay Blair Goeldner.


PRODUCERS

We asked our five incoming producers: which films or television shows have had an impact on you and the work that you want to produce?


ERIN MARIE BYRNES

“Coming from documentary, I love the evocative and often devastating truths revealed in films such as ‘Mustang,’ ‘Rebelle,’ ‘Incendies,’ ‘Polytechnique,’ ‘Dheepan’ and ‘Café de Flore.’”

Erin Marie Byrnes is a filmmaker from Montreal. Her work is informed by her experience covering diverse stories as a foreign correspondent and managing the East Africa operations of a British production company. Byrnes got her start in Canadian film on Roméo Dallaire’s Fight Like Soldiers, Die Like Children, and more recently, worked on two 2018 Canadian Screen Award winners: RISE, about Indigenous resistance and resurgence movements; and TERROR, about the genesis of terrorist groups.

LINDSAY BLAIR GOELDNER

“I am interested in centring marginalized voices within the conventions of genre film. Although there are many influences for me, the recent works of Jordan Peele and Karyn Kusama embody this beautifully.”

Lindsay Blair Goeldner started line producing in Manhattan at an education-technology company before moving to Europe and travelling internationally, while making several short docu-experimental films. In 2017, she transitioned to the advertising world, working as a commercial line producer in Toronto with several top tier production companies, including Cossette and Skin and Bones. Goeldner is now turning her focus towards narrative and documentary filmmaking and music videos, and is currently in production on the documentary feature, There’s No Place Like This, Anyplace and several short narrative films.

SHANT JOSHI

“Watching the illegally-produced Kenyan film ‘Stories of Our Lives’ motivated me to chase and champion stories that depict the perspectives of the other.”

Shant Joshi is a queer Indo-Canadian producer based in Los Angeles and Toronto. His credits include the films, Porcupine Lake (director Ingrid Veninger), Last Car (director John Greyson) and Pink: Diss (also directed by Greyson); the hit webseries, Teenagers; Dekkoo original series, I’m Fine; and more than 15 short films that have traveled the global festival circuit. Joshi co-founded the Future of Film Showcase as a launchpad for emerging Canadian filmmakers, and he previously worked at Buchwald and Madhouse Entertainment.

JULIE STRIFLER

“‘Short Term 12’: tough yet tender, as heartbreaking as it was heartwarming. It inspired grit and drive to tell stories that have the strength to deeply move audiences.”

Julie Strifler is a producer based in Toronto. While studying for her BA in Film at Queen’s University, she produced a short film that screened at the 2011 Cannes Short Film Corner. Since then, Strifler has worked in entertainment marketing for the Toronto International Film Festival, Mongrel Media, and the CBC, creating market and brand strategies for a number of films, TV shows, and initiatives. In 2017, she joined the production company, Wildling Pictures. Recently she worked as an associate producer on two features, co-produced two short films and produced an award-winning music video. In 2018, Strifler produced her debut feature film, Easy Land.

BRENDAN WHELTON

“I strive to make films that explore the joys and frustrations of people we don't often consider, like Jim Jarmusch's ‘Paterson’ and Akira Kurosawa's ‘One Wonderful Sunday.’”

Brendan Whelton is a Toronto-based filmmaker and alumnus of the Reykjavik International Film Festival Talent Lab. His production credits include several features and short films, with his most recent feature, Sebastian, released by Wolfe Video, the world's oldest LGBTQ+ distributor. Whelton’s extensive short film work includes Vertical Lines (Best Men's Short, Boston Wicked Queer Film Festival) and The Indestructible (Best Canadian Short, Fright Night Theatre Film Festival).


The 2019 Cineplex Film Program Writers' Lab (L-R): Georgina Beaty; Nick Kewin; Trevor Christie; Simon Gadke.


WRITERS

We asked our four incoming writers: what kinds of characters, stories or themes are you drawn to?


GEORGINA BEATY

“Off-kilter, darkly humorous stories about people who adapt to the extreme times in which we live in absurd ways. Big hearted characters with big blind spots.”

Originally from the Rockies, Georgina Beaty is a writer and actor. She has co-created five plays that were presented across Canada, and she is the playwright of Extremophiles. Beaty is a Jessie Award-winning actor who has performed in theatres from the West Coast to Montreal, including most recently in Counting Sheep in London, England. Her fiction and poetry have been published in New England Review, The Fiddlehead, Plenitude, Neon and Gush. Beaty holds an MFA in creative writing from the University of British Columbia, and is drawn to absurd, darkly humorous stories about the extreme times in which we live.

TREVOR CHRISTIE

“I’m interested in the outsider, the supporting player, because they have so much to say, and their story is so rarely told.”

Trevor Christie is a writer and producer based in Vancouver. He most recently finished writing an original screenplay for Warner Brothers, and has worked in the film industry for the past 10 years, primarily in production for Zack Snyder on films such as Man of Steel (2004) and 300: Rise of an Empire (2014), and as an associate producer on Batman V Superman: Dawn of Justice (2016). Christie is looking forward to exploring intimate stories with universal appeal, while working primarily in the genre space.

SIMON GADKE

I’m interested in stories that stick dynamite in the cracks between normalcy and the psychopathology underlying everyday life to see if there is a reaction.”

Simon Gadke is a writer from Toronto who after profligate time spent working in antiques, dedicated his life to literature and screenwriting three years ago. Gadke has written several novels. Published none. He has, however, read the major works of Henry James. Gadke’s latest screenplay, A Romantic Comedy, is in development with producer Natalie Urquhart. Currently, he is watching Michael Haneke’s entire filmography and hoping it won’t do for his screenwriting what reading James did for his fiction.

NICK KEWIN

“I’m drawn to stories about ordinary people in extraordinary circumstances.”

Nick Kewin has a proven ability to breathe life into long- and short-form narrative work and client-focused branded content. His narrative work has focused on gritty settings, family dynamics and a smattering of the surreal. Kewin’s short film credits as a writer include Burn the Tapes, Welcome Stranger and Cosmo, all of which garnered online and festival interest. As a producer, he worked on the Telus STORYHIVE-funded short film, The Berg. Kewin is also a musician, writing and recording under the moniker “Old Nick,” which has yielded five albums.


A gallery of shots of three people's faces in close-ups.

The 2019 Cineplex Film Program Editors' Lab (L-R): Rick Bartram; Agnes Dec; Xi Feng.


EDITORS

We asked our three incoming editors: which notable film would you have loved to edit?


RICK BARTRAM

“‘The Fountain’ - I love the way one story is seamlessly told in three distinct eras and jumps between reality and fantasy. For me, it’s almost perfect.”

Rick Bartram is a film editor from Nova Scotia. After graduating from the University of King’s College (BA) in Halifax, he attended Ryerson University’s Film Studies program (BFA). Here, Bartram edited the short film, WORK, which premiered at the Hot Docs Canadian International Documentary Film Festival. He has edited two feature-length films and multiple short films, including Talking Heads, which premiered at the Blood in the Snow Film Festival and won Best Sci-fi/Fantasy at the Windy City Film Festival. He most recently worked as the junior editor on the series, Light Up the Night (CNN).

AGNES DEC

“‘Raiders of the Lost Ark’ - It’s a perfect blend of action, humour and surprisingly intimate character moments.”

Agnes Dec is a Toronto-based film editor with a range of experience in feature films, television, commercials and music videos. She co-edited the Canadian Screen Award-nominated feature film, Full Out, and edited the award-winning short film, The End of War. Dec has also worked extensively in live and unscripted television for clients such as Maple Leaf Sports and Entertainment, Rogers, National Geographic, Vice and Yahoo! Canada.

XI FENG

“‘We Need to Talk about Kevin’ - With a rare originality of storytelling and powerful editing, it weaves past and present into an intense emotional experience.”

Xi Feng is a Chinese-Canadian film editor based in Montreal. Having lived in China, Canada and France, she has cultivated a unique blend of cultures and artistic sensitivity. Feng worked as an assistant editor on several documentary films, including the Emmy Award-winning Last Train Home and the Peabody Award-winning The Apology, and as an editor on several feature-length documentary films, including China Heavyweight, which premiered at the 2012 Sundance Film Festival. A passionate cinephile, Feng is currently expanding her work’s focus to include narrative film editing.


To follow these new residents and stay up to date on all things CFC, sign up for our newsletter and follow us on social – Facebook, Instagram, Twitter.


Honouring Our Heritage, Forging New Futures: The 2019 CFC Annual Garden Party

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In a few weeks, this place is going to be full of talented people. We’re going to have filmmakers, actors, music and TV creators and companies accelerating new technologies. They’re all going to be here for anywhere from five to nine months. We’ll have all these very creative people here in one place – and that’s why we’re here.
- Slawko Klymkiw, CEO, CFC


We were delighted to welcome guests to the gorgeous grounds of the Canadian Film Centre for our Annual Garden Party on Wednesday, June 19. This year’s theme, “Honouring our Heritage,” celebrated beautiful Windfields Estate, built in 1936 and leased to the CFC by the City of Toronto in 1988. For more than 30 years, the CFC has supported 1800 alumni and 200 alumni companies on these grounds. Yesterday, on one of this season’s few sunny days, we took time to reflect on this past, savour our successes, and look ahead to an even brighter future.

Our guests of honour at the Annual Garden Party were the CFC’s Circle of Supporters. These philanthropic individual donors generate contributions that make our work possible and keep us at the vanguard of new industry developments. An extra-special guest was our celebrated founder and chair emeritus, Norman Jewison, who, with his wife, Lynne St. David Jewison, graced our event and shared his insights on our heritage. He also thanked Presenting Sponsor Netflix “for having the vision to support the development of Canadian talent – because that’s what it’s all about."


A gallery of six images, all individuals smiling for the camera in clusers of two or three.

Clockwise from top left: Kathryn Emslie, Chief Programs Officer, CFC, and Magali Simard, Film Sector Development Officer, City of Toronto (Ernesto Di Stefano / George Pimentel Photography); Cheryl Hudson, CFC board member, and Jessika Fink, Toronto Life (Tom Sandler Photography); Erin Burke, Associate Director, Programs & Content, CFC, and Lisa Hamilton Daly, Director, Original Series, Netflix (Ernesto Di Stefano / George Pimentel Photography); Slawko Klymkiw, CEO, CFC, with CFC board members Don Carmody and Steven DeNure (Ernesto Di Stefano / George Pimentel Photography); Emmanuel Kabongo, actor and CFC alumnus (Tom Sandler Photography); Donna Slaight and Gary Slaight, President and CEO, Slaight Communications Inc. (Tom Sandler Photography).


Joining Jewison and our Circle of Supporters were CFC board members and notable program alumni and mentors from our evolving slate of programs, with our industry sponsors and partners, including Presenting Sponsor Netflix and Event Sponsors, A&E and Toronto Life. Guests arrived and mingled on the Deluxe Terrace, in the garden and Northern Dancer Pavilion.

Emcees Christina Jennings, CFC Board Chair, Chairman and CEO, Shaftesbury, and Slawko Klymkiw, CEO, CFC, kept the evening’s speeches entertaining, as did guest Lisa Hamilton Daly, Director, Original Series, Netflix, who flew from Los Angeles for this event.

She shared with the crowd concrete examples of and reasons for Netflix’s investment in supporting and nurturing Canadian talent coast to coastand mentioned a few series projects in production involving CFC alumni: season two of Virgin River, with episodes directed by Gail Harvey, and Tiny Pretty Things, by executive producer Michael MacLennan. Hamilton Daly told guests, “We’re here to nurture Canada’s opportunity to bring their stories to the global stage. We can’t do that without partners like the CFC, so we thank you for allowing us to support events like these. Together with the CFC, we are looking to create opportunities and offer targeted support to a diverse group of Canadian creators as they work to showcase their talent and their narrative film and TV projects internationally."


A gallery of six images, all individuals speaking at a podium.

Speakers at the CFC Annual Garden Party (clockwise from top): Norman Jewison; Slawko Klymkiw; Lisa Hamilton Daly; Christina Jennings; Nichole Anderson; Robert Foster (Ernesto Di Stefano / George Pimentel Photography).


This year as in previous ones, we were especially proud to have Business / Arts join us, an organization that Klymkiw noted, “knows how to marry commerce, entrepreneurship, culture and arts.” Nichole Anderson, President and CEO of Business / Arts, spoke to the impact of both the CFC’s and Business / Arts alliances, which are generating economic prosperity, a flourishing cultural sector and, indeed, our greater well-being.

Anderson introduced Business / Arts Chairman Robert Foster, who announced the three award recipients of Business / Arts’ annual awards: Mrs. Jenny Belzberg CM, AOE, LLD, recipient of the Edmond C. Bovey Award; Antoni Cimolino CM, Artistic Director of the Stratford Festival, recipient of the Peter Herrndorf Arts Leadership Award; and Paul Desmarais III, SVP at Power Corporation of Canada, recipient of the Arnold Edinborough Award.

Stellar musical entertainment followed, with the sweet harmonies from Slaight Music Artists Moscow Apartment and Slaight Music Residency alumni-duo In the City (Ashley Jane and Timon Wientzek) both captivated the crowd.

Tented displays chronicled the history of the CFC’s home and gorgeous grounds on Windfields Estate, featuring photographs of many familiar, illustrious faces over the years. Then, after reliving the past, guests took in the future – at CFC Media Lab’s IDEABOOST Innovation Zone.


A gallery of three images. The top two are of musical performers onstage; the bottom is a woman with a VR headset and controller sits in front of a computer screen.

Top row left to right: Musical guests Moscow Apartment and In the City (Ernesto Di Stefano / George Pimentel Photography); Bottom row: A guest takes in the VR experience, 'Mother of the Forest.' (Tom Sandler Photography).


In our Main house were AR demos from two of our IDEABOOST companies, Pixils and Mondo Forma. As well, director Kylie Caraway, a graduate of OCAD U’s Digital Futures Program, demoed her moving VR experience about ancient sequoias, Mother of the Forest, a CFC Media Lab-OCAD U coproduction and product of the Digital Futures Program.

The late afternoon sun waned, making the evening balmy and beautiful – perfect for strolling the grounds full of blooming peonies and tasty treats. An abundance of delectable delights, courtesy of our food and beverage sponsors, dotted the grounds. Guests relished a plethora of signature cocktails, tantalizing apps, and even flights of fine wine.


A gallery of six images, four of which are platters of food on display, one is a trio of wine bottles, and a third is a metallic rose gold bottle of vodka next to a sign.

A sampler of select treats our food and beverage partners brought to the table (clockwise from top left): Holy Cannoli; Tito's Handmaide Vodka; EDO; No Small Feast; Capital B Wines; Kaiseki Yu-zen Hashimoto (All photos Ernesto Di Stefano / George Pimentel Photography except No Small Feast, Tom Sandler Photography).


Thank you to everyone who joined us last night and to all those who support the CFC year-round. Enjoy a selection of photos from the evening.


Special thanks to all of our 2018 CFC Annual Garden Party Sponsors:

Presenting Sponsor: Netflix
Event Sponsors: A&E and Toronto Life
Food & Beverage Sponsors: Brickworks Ciderhouse, Capital B Wines, EDO, Flow, Gelato Fresco, Holy Cannoli, Kaiseki Yu-zen Hashimoto, Mill Street Brewery, No Small Feast, Pizzaville, Platterz and Tito’s Handmade Vodka


Join the CFC Circle of Supporters today! Get sneak peeks at the best films before they hit theatres. See familiar friends and meet new ones. Best of all, take pride in advancing Norman Jewison’s groundbreaking legacy – the CFC.

IDEABOOST Sprint Three

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On June 6 and 7, the IDEABOOST Accelerator’s Cohort 8 returned to the Watershed Coworking Space in downtown Toronto for their third sprint session. Read on to see photos from the two-day event.


In Sprint Three, our founders were able to take the insights they gained from the previous sprints and put them into practice with guests from a variety of industries, including Justine Whyte, Director and Executive Producer, CFC Features (pictured above, second from right). 


Mentors, guests and founders catch up before a round of insight sessions.


Our Cohort 8 founders began the Sprint by presenting their most succinct pitches - four minutes long each - to their mentors and guests.


Industry guests Leah Zaidi (left) and Rachel Noonan (centre) offered a fresh perspective to Mondo Forma co-founder Jonah Brotman (right).


Daniel Mathews, co-founder of cohort 8 company Podyssey, fields questions from mentors and guests during the individual workshop sessions. 


Kevin Bache of Cohort 8 company Medistream works with external guests during an insight session.


The mentors gather to prepare for the final sprint, which will take place in July.


Industry guest Mark Walker went in depth with our Cohort 8 companies to explore how each of them can improve their sales process.


After the sprint, our mentors and founders took a field trip to The Funhouse Toronto, an interactive art maze created by one of our Cohort 8 companies, Mondo Forma. 

CFC Media Lab: Where Innovation Hits Home

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On June 19, the CFC Annual Garden Party was host to the CFC Media Lab IDEABOOST Innovation Zone. Two IDEABOOST startups, Pixils by AccessAR and The Funhouse by Mondo Forma, demoed AR and immersive media, and the Zone featured a VR project born directly from the strategic partnership between CFC Media Lab and OCAD University (OCAD U), from OCAD U’s Digital Futures graduate program.

“At the CFC Annual Garden Party, we’ve got more than 200 industry guests looking to grow and sustain a media and entertainment community here in Ontario,” says Ana Serrano, Chief Digital Officer, CFC. “We’re showing them how they could actually benefit from so much AR/VR/XR innovation with the work we’re doing at the Media Lab.” 

A sign with six different 'snapcodes' displayed on it.

What can AR do for a corporate brand?

“It can extend your marketing campaign's reach far beyond your immediate target market through viral sharing on social media” says Chrissy Gow, founder and CEO of AccessAR. “We create augmented reality lenses and filters for Snapchat, Instagram and Facebook for that exact reason,” adds Gow, “and we’ve been garnering success for large agencies like the Ad Council and social media marketing teams for diverse clients, such as professional eSports Teams, major music labels and universities across North America.”

Pixils is the new product AccessAR offers, and while it’s only been available for six months, it’s already been sought by top brand names nationally and internationally. "What’s most important to me," adds Gow, "is that this tech means there's no excuse for marketers and advertisers to use outdated, anxiety-inducing tactics reliant on aspirational imagery. AR lens and filter users are transforming followers into influencers, as they are placed front and centre in a campaign."

Two large illustrations of two people in a white room with illustrations on the floor and ceiling.

What do you get when you cross music, art and technology?

Interactive immersive media entertainment and a thriving local arts community. When Jonah Brotman first joined Network Connect he was the founder and CEO of House of VR, a prominent VR arcade venue in downtown Toronto. After a successful two-year run, he is now one of the founding team members of Mondo Forma, a company currently being accelerated by the IDEABOOST Accelerator’s Cohort 8.

Mondo Forma is responsible for Toronto’s hottest new ticketed art attraction, The Funhouse. “We’re interested in growing and sustaining local artist communities. That’s why we partnered with Universal Music Canada to bring a platform for creativity and interactivity to life,” says Brotman. “This is an all-ages event best shared with others, so it’s a natural fit for everything from families to a corporate function.”

A person sitting at a desk wearing a VR headset. On the screen in front her is an image of a forest.

How does VR become an optimal learning tool?

By transporting the viewer into another world, using visual pedagogy to promote experiential learning for environmental advocacy. Kylie Caraway is a recent graduate of the Digital Futures graduate program, presented by OCAD U in partnership with CFC Media Lab. Caraway created Mother of the Forest, a VR experience that brings environmental urgency to the fore as its viewers journey through a sequoia tree’s lifespan. “I was interested in environmental communications and as a storytelling platform,” Caraway noted. “VR really transformed this project from just talking about the environment to experiencing it from different species’ perspectives.”

Guests young and old marvelled at the beauty and synchronicity of the piece and came away spellbound. “Amazing that a student created this,” said one guest. “I really need to step up my game.”

In bridging art and storytelling with commerce, entrepreneurship and learning, CFC Media Lab’s IDEABOOST Innovation Zone showed a cross-section of different types and uses of immersive technologies like AR and VR. The creators also gauged how audiences receive and process this immersive information. It’s a valuable exchange for both creators and guests, and a key part of CFC Media Lab’s mission -- to reveal what these new technologies can do.

Empowering Actors Onscreen: Announcing the 2019 CBC Actors Conservatory Residents

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A dynamic new ensemble of actors will join us for the 11thCBC Actors Conservatory on Monday, July 15.

Welcome to the CFC, Stephanie Costa, Mikaela Davies, Shomari Downer, Ashton James, Ajuawak Kapashesit, Gita Miller, Veronika Slowikowska and Benjamin Sutherland!

These eight talented and versatile actors are coming to the conservatory armed with an impressive range of training from across North America, including the Soulpepper Academy, Stella Adler Studio, Second City, Dawson College, Sundance Institute, Humber College and the National Theatre School. Their credits encompass film, television, theatre, musicals, commercials, video games and more.

"As the home of Canadian storytelling, CBC is committed to providing opportunities for homegrown talent to be discovered, nurtured, developed and ultimately showcased on the national and world stage," said Trish Williams, Executive Director, Scripted Content, CBC. "We are proud to continue our partnership with the CFC on this remarkable program that has produced more than 80 alumni to date, and we look forward to the contributions that the eight actors announced today are sure to make to Canada's film and TV industry in the years to come."

The CBC Actors Conservatory is the only comprehensive on-camera acting program in North America, offering a transformative, creative and professional onscreen experience. It remains a go-to industry source for talented, distinctive and professional actors.

“Over the next six months, these actors will be inspired to reflect, stretch their instrument, refine their artistic process, and elevate their technique,” noted Erica Proudlock, Executive in Charge of Talent & Programs, CFC. “We want them to leave with an awareness of the stories and characters that excite them and the confidence needed to deliver at an international level."

The program has supported and launched 81 exceptional alumni over its 10-year span, many of whom are booking substantial roles on hit TV shows and critically acclaimed features. Just look at alumni such as Annie Murphy in the smash hit Schitt’s Creek, Devery Jacobs in American Gods, Grace Glowicki in the SXSW-awarded film, Tito, Patrick Kwok-Choon in Star Trek: Discovery and Giacomo Gianniotti in Grey’s Anatomy.

When these actors arrive, they will join the writers, editors, directors and producers in the Cineplex Film Program, and the songwriters and composers in the Slaight Music Residency. Rounding out this burgeoning creative community, the incoming actors will play an active role in the storytelling process, lending their spirit and vision to the characters and stories of their fellow residents.

Meet these soon-to-be-familiar faces below and hear who’s inspired them recently onscreen.


A galery shot of four people's headshots.

Clockwise from top left: Ajuawak Kapashesit, Ashton James, Gita Miller, Benjamin Sutherland.


"Louis Herthum as Peter Abernathy in the pilot episode of Westworld was inspiring. The nuance and depth he brought to this one episode sold me on the whole show."

-Ajuawak Kapashesit

Ajuawak Kapashesit is an actor and writer who has been working since 2016. His film credits include the short films Shinaab (Sundance 2017, Toronto International Film Festival [TIFF] 2017) and Shinaab Part II (TIFF 2018, Sundance 2019), both written and directed by Lyle Mitchell Corbine Jr., and Indian Horse, directed by Stephen Campanelli (TIFF 2017). Kapashesit’s television credits include Bad Blood Season 2 and Outlander Season 4, and his plays have been performed in Minneapolis and Los Angeles. In 2018, Kapashesit was chosen as an Indigenous Film Opportunity Fellow with the Sundance Film Institute.

"When They See Us on Netflix inspired me not only as an actor, but also as an individual. Seeing the injustice these boys dealt with was heartbreaking. All this, while never compromising their beliefs, made me deeply reflect on myself. As an actor, the emotional connection to these characters and the depth they went to was great to watch."

-Ashton James

Ashton James was born and raised on the beautiful island of St. Lucia before moving to Toronto. At a young age, he experienced the arts and particularly theatre through his favourite actor, his grandmother, who inspired him to pursue this calling himself. James was professionally trained through Humber College’s Acting For Film and Television program, and he has worked with a range of studios and coaches in the city, including LB Acting Studio with Lewis Baumander and Fraser Studios with Adrian Griffin. His credits include the TV Series, The Boys, the TV miniseries, The Hot Zone, and the short film, Guru. James’ goal is to work on projects that are meaningful, inspiring and fun – experiences that expand his horizons.

"Thomas Shelby in the BBC's Peaky Blinders. He's such a complex character, and Cillian Murphy is able to balance his vulnerability, toxicity and softness in such a captivating way."

-Benjamin Sutherland

Benjamin Sutherland is a Canadian actor originally from Victoria, British Columbia. He was trained in Contemporary Drama at The Royal Academy of Dramatic Art, and in 2016, he graduated from The National Theatre School of Canada. Sutherland is now based in Toronto, where he has appeared onstage with The Tarragon Theatre, Coal Mine Theatre, Young People's Theatre and nearby Hamilton's Theatre Aquarius. Select film and TV credits include Kim's Convenience, Shadowhunters, Love Locks, Saving Hope, Cicada 3301 and Murdoch Mysteries.

"I love Eric from the Netflix show, Sex Education. As the wickedly funny black gay best friend to the lead character, Otis, Eric could have easily been written and performed as a stock character. But Ncuti Gatwa plays him with so much integrity and fearless vulnerability that it just makes his GOLDEN comedic abilities shine all the more."

-Gita Miller

Gita Miller is a bilingual actor from northern Québec and a 2017 alumna of the Dawson Professional Theatre Program, from which she graduated with honours. She participated in the award-winning Artist Mentorship Program with Black Theatre Workshop and Ubisoft’s five-day MOCAP intensive. Miller appeared in On The Basis Of Sex, with television credits that include The Bold Type, Real Detective and My Worst Nightmare. In 2018, she received the Montreal English Theatre Award (META) for Outstanding Supporting Performance – Actress in the Centaur Theatre hit, Successions. Her other stage credits include Balconville (Centaur), Blackout (Tableau D'Hôte Theatre) and Clean Slate (Talisman Theatre). Miller is passionate about telling stories that challenge preconceived ideas of race and femininity.


A galery shot of four people's headshots.

Clockwise from top left: Mikaela Davies, Shomari Downer, Veronika Slowikowska, Stephanie Costa.


"I’m a little obsessed with Easy. I love watching Jane Adams’ complicated navigation of desire and friendship to Marc Maron’s character. Her performance is refreshing and full of beautiful contradictions."

-Mikaela Davies

Mikaela Davies is an actor, director and creator of new work. She performed in eight shows with Soulpepper Theatre productions and spent four seasons at The Stratford Festival, playing Katherine of France in Breath of Kings and the lead Beatrice-Joanna in The Changeling. Davies is the inaugural recipient of the Jon Kaplan Canadian Stage Performer Award and she was nominated for a Sterling for her performance in the titular role of Miss Bennet at The Citadel Theatre. Davies assistant-directed on Robert Lepage’s Coriolanus, and was the associate director to Jill Keiley on The Neverending Story at Stratford. She is directing The Winter’s Tale for the 2019 St. Lawrence Shakespeare Festival.

"Recently I’ve been inspired by the character played by Maggie Siff in Sons of Anarchy, specifically because of the authenticity and commanding presence she brings to the character while still using subtlety as a tool."

-Shomari Downer

Shomari Downer draws from a diverse range of life experiences, realities and communities to bring his characters to life. He is a child between worlds as the son of Jamaican-Barbadian parents, with siblings abroad and as the only Canadian in his extended family. Ranging from stage to television to film, Downer’s passion for authentic storytelling and honest characters has led him to explore a range of emotions and characters, from his start onscreen in John Singleton's film, Four Brothers, to his leading roles in the films, One Angry Juror and Edging. Downer has embarked on a beautiful quixotic journey to discover himself while inhabiting the lives of others – a journey that has only just begun.

"I've recently been obsessed with the show, Barry, which is written, directed and produced by Bill Hader, who also plays the lead. Hader plays Barry, a hitman-turned-actor, who's not all good or all bad. He brings such humanity to an extremely complex, troubled character, all while being hilarious. He's incredible and has raised the bar."

-Veronika Slowikowska

Veronika Slowikowska is a performer and comedian from Barrie, Ontario. Since graduating from Randolph Academy in 2015, she has amassed a number of credits, including Netflix’s Degrassi: Next Class, the short film Viable, and most recently, the buzzy hit show on FX, What We Do In The Shadows, based on the cult film of the same name. Slowikowska is also a Second City Conservatory Graduate, 2017 Tim Sim's Encouragement Fund Nominee, and a 2019 Bad Dog Featured Player.

"Will McAvoy from The Newsroom, because he’s on a mission to civilize ― as a self-appointed Don Quixote ― while also being in charge of office morale. He is a truthsayer on the one hand and a pacifier on the other, and he plays both with a whole lot of style."

-Stephanie Costa

Stephanie Costa has been working as an actor and director for nearly a decade. Her select acting credits include19-2, Eye on Juliet, Street Legal and three seasons in a recurring role on Freeform’s hit TV show, The Bold Type. In addition to her work onscreen, Costa has performed and directed stage work in Montreal, Toronto, New York and Los Angeles. She is a graduate of the Professional Theatre Program at Dawson College, the Stella Adler Studio of Acting and The Art of Acting Studio.

How to Create a Startup Ecosystem: 10 Years of Growth, as Lived by Amplify’s Paul Bricault

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Amplify is a pre-seed fund based in Venice, California. Since 2011, Amplify has backed 80+ companies, which have gone on to raise more than a billion dollars in funding, with exits to Apple, Google and FanDuel, among others. Amplify has taken a strong lead in the Southern California startup ecosystem, not only by investing and nurturing its own portfolio, but also by operating a coworking space and event hub and providing regular data updates, including a blog and quarterly updates called the “LA Seed Report” (to subscribe, go here). Amplify’s 2019 annual roundup of the Los Angeles tech and venture scene provides a great framework for this interview with Amplify co-founder and managing partner, Paul Bricault.


Headshot of a man wearing a blue collared shirt.


Nick DeMartino (ND): Let’s start with your journey, which began in Ontario.

Paul Bricault (PB): Yes, I was born in Ontario, in Sault Ste. Marie. I did my undergraduate at Western University in London, Ontario and then migrated to L.A. because I got a scholarship to the University of Southern California (USC) to do my graduate work at the Annenberg School. After graduation, I decided I would do my optional employment allowed under the F1 visa here with the intent to go back to Canada after. One thing led to another and I never left. Initially I was in finance, then media, and now Amplify.

ND: What drove that change?

PB: I guess my career has been a series of beautiful accidents. It's hard to say whether it was serendipity, skill or intent, but I ended up at the William Morris, a top talent agency here. Before that I worked at a consulting firm that focused on technology and media, as well as in finance focused on digital media. That was my stepping stone to the agency, because at the time they were trying to build a digital media practice. I ended up spending more than a decade at William Morris, serving on the board there and running digital media.

ND: How did you move to venture capital?

PB: While at William Morris I set up a corporate venture fund, actually a joint venture with a firm called Accel Partners that was one of the first investors in Facebook and other companies. We established what was called The Mailroom Fund in 2008, and that's where I found my true passion. After the merger between William Morris and Endeavor in 2009, I left the agency and joined The Mailroom Fund full-time. From there I went to a fund called Greycroft Partners, with operations in New York and L.A. Then I co-founded Amplify.

ND: So you co-founded Amplify with the idea of jumping into the accelerator space. The only models at the time were Y Combinator, TechStars and maybe a few in L.A., but not many. You were pretty early, right?

PB: Yes, we were. There were two other accelerators here when we launched – Launchpad LA and Mucker Labs. Also Science was a third entity, but that was more of an incubator than accelerator. All of them were only about a year old when we started and that was seven and a half years ago. This was a moment when all of a sudden L.A. was in the zeitgeist. All of us were looking at the same thing – promise that had not yet been realized. To catalyze the environment we needed to provide early stage capital and a support ecosystem for startups. Brad Feld of TechStars has written on how to build startup communities. He posits that every city has similar needs, as well as unique needs specific to that city. When we started out, L.A. needed everything. The city was a bit of a venture wasteland. Plus, we needed to offer multifaceted services to really jumpstart the ecosystem.

ND: Can you describe the elements of the model that you created and how it has evolved?

PB: It's a constant evolution, like any business. When we started, Amplify was modeled on the TechStars and Y Combinator model, with slight changes. For example, those accelerators were largely driven, and still are driven, by a cohort-based model. Once accepted, a company is there for a designated period of time, usually three months. They all accept the same venture terms, the same valuation, and the same investment rate from the accelerator. That all culminates in a demo day and they all graduate at the same time.

We didn't take any of those characteristics of a traditional accelerator early on because we decided that the world had changed. Entrepreneurs were no longer looking for a one-size-fits-all model, this factory-like finale, where they are all kicked out on the street at the same time. The startups here in L.A. needed more support than they might otherwise need in Silicon Valley or New York, because the nascent system here was so new. We were afraid that companies kicked out on the street would just asphyxiate and die.

So we decided that we would offer services and help with product, tech, business development and fundraising, not only during a designated period of time, but in a bespoke fashion based on what individual companies needed. We would offer capital based on each company’s needs and how far along they were in terms of their development, traction and product/market fit. So every one of our deals was, and still is, different in terms of how much capital we invest. Each of our companies stays in our building doing business for different periods of time. Now, we even have some companies that are outside of L.A. and the U.S., including Canada, and some of them have never worked inside of our building.

ND: To do all of this work, you obviously must raise capital. Indeed, you’re raising a new fund right now. Can you talk about what it means to raise a fund, how large a pool of capital you raise, and where you get it?

PB: Obviously every fund is going to be different. Andreeson Horowitz is going to raise a billion dollars because that's their focus, to invest in companies at all stages. You raise based upon your focus. We’re a pre-seed-focused fund. We’re usually the first institutional check that goes into a company and we're investing in rounds that are sub-two million dollars in size. We're writing checks of $250 to 500 thousand for that first check and then follow-on capital thereafter.

ND: This is after they've come out of the accelerator? Or as a result of you accepting them?

PB: This is a result of us accepting them. That's why we don't necessarily refer to ourselves as an accelerator, because an accelerator has a lot of trappings based on the perceptions in the venture community. We just refer to ourselves as a pre-seed-focused fund. Every company that comes into our building or takes capital from us, does so on terms that are unique to each company, and does so in that $250 to 500,000 dollar range, where we're generally leading in the round and then syndicating the remainder of the round.

ND: How many funds have you raised?

PB: We're closing our fourth fund currently. Every fund has a two-year investment horizon in which we're making investments over two years in terms of principal investments, and which we will follow on with pro rata rights in subsequent rounds, usually into the Series A round, but generally not thereafter because our fund sizes are small.

When we started out, we were raising largely from high net-worth individuals. Then we started raising from family offices. Now we are raising from funds in this current iteration with the LP base very geographically diverse, meaning Asia and all across North America. Within those different constituent groupings, some investors are interested in making direct investments in companies and some are interested in getting high returns at an early stage, returns that are better than public market returns.


Blue and white wall with 'Amplify' in metal letters.


ND: Traditional accelerators begin to find out whether they're successful after seven or eight years. Are you at a point where your earlier investments are beginning to pay off?

PB: Yes, absolutely. In fact, here's a blog post just yesterday from Fred Wilson, the founding Managing Partner of Union Square Ventures, one of the best performing venture funds. He talks about the seven to 10-year cycle. He doesn't know why it's seven-to-ten-year rather than 10 to 15, or three to five or whatever. He has looked back at all his investments over time, including hundreds of angel investments and venture funds that he's been involved in and the typical sort of maturity and exit timeframe is seven to 10 years. So, yes, our first fund was seven and half years ago that fund is now fully paid off. We had an exit to Google and exit to Apple that resulted in returns for that fund. We just sold our first Fund Two company this week, a music-related company that was sold SoundCloud.

ND: You’ve written that Amplify invests in only one per cent of the companies that you meet. How many companies do you review in a typical year at Amplify and what makes the successful ones stand out?

PB: We look at about 2500 to 3000 per year. That doesn't mean we take extensive meetings with all of the companies. Maybe they submit a deck or company description and then we make a determination of whether we should dig in further and physically meet with the founding team. The first filter is the team. We will look extensively at them, their background, their domain experience, the sector on which they're focused, and what they've done prior.

The second filter is the sector, because we must filter out for the potential of that sector to later stage venture capitalists. For instance, when we started out, ad tech was very hot in the U.S. with 2000 of them in 2012. Now it’s about as cold as it can get because the public market IPOs for ad tech companies did not perform well, and because Google and Facebook sucked all of the revenue through the ad through programmatic.

The third filter is what we call TAM, or Total Addressable Market. So it could be an amazing team and it could be an amazing sector, but if they're only selling red shoes to millennials then that's obviously not a very big TAM. We might have to say to this exciting team working in an interesting sector like e-commerce, “You need to go back to the drawing board on your specific product focus.” Similarly, it could be an amazing TAM and an amazing sector, but if the team isn't great, then that would also be a pass.

ND: What about the entertainment sector? I was surprised to learn from your colleague Richard Wolpert how limited your interest has been in entertainment media tech startups in a location where that industry is so dominant. Why is that?

PB: You’re right, only three or four of our 80 investments have some kind of media connection. Both Richard and I have 15 to 20 years in the media business. That’s both good and bad, right? You have a lot of scar tissue that comes with that kind of history and can see all of the warts on any business in which you know too much about. We avoid any kind of rights-related issue that can be a massive hurdle to try to win in terms of negotiating deals with media companies. Media companies historically are not prone to embracing change. So trying to get traction as a startup with media companies is challenging. This makes it difficult for media-related startups to raise capital; the venture capital firms down the road have the same scar tissue that we do. We just sold the music space company, as I mentioned above, to SoundCloud. That was a great exit for us. We did very well. But that company was extremely challenged in raising capital after they came out of Amplify because the entire venture community considers music to be anathema to them. They will not invest in music-related startups for the most part. So given that we need follow-on capital because we're an early stage-focused firm, we look carefully at other venture capitalists downstream that may invest in this company in a Series A round and beyond.

ND: What are you seeing is as the hottest sectors right now?

PB: It's constantly changing. Like Heraclitus said, you can't step in the same river twice. Venture is an ever-evolving, shifting-sands environment where one day a sector is hot, and then it’s not. Three years ago VR was sizzling hot, and now it couldn't be colder. Blockchain was sizzling hot a few years ago and similarly it's gone extremely cold. Always pay attention to what's happening in any given environment and evolve the strategy accordingly.

When we started there was no one investing in artificial intelligence (AI), the internet of things (IoT), augmented reality (AR), space tech or robotics. Now we have investments across most of those categories. I wouldn’t peg any particular sectors as being hotter than others, though we've spent a lot more time for instance in A.I. than a couple of years ago. We've also made our first investment in food tech, which is a particularly hot category at the moment. We also made an investment in what's called the voice space, like Alexa, Google Home and the businesses sitting on top of that world. Robotics continues to be a hot area, though we have not made any investments there just because it's high cap-ex for us. We tend to avoid areas that require hundreds of billions of dollars since we're early-stage focused.

ND: Amplify constantly ranks high against similar programs. What are the factors that differentiate you from the others?

PB: I think that's a pretty simple answer really, as it's akin to what we tell all of our startups – stick to what you're good at and be hyper-focused. That’s really what we've done over the last seven years. We haven't evolved to be a Series A fund or Series B fund or anything else. We've been hyper-focused on pre-seed: the pattern recognition of finding early-stage teams, understanding what they require, and then evolving the resources and the added value that we bring to those companies to help them be successful. Over the last three years, our graduation rate from pre-seed to seed to Series A funding continually increased, That speaks to how we've gotten better at identifying companies that have the opportunity to be larger, potentially billion dollar companies down the road.


A street with two  buildings at night with a few cars parked along the sidewalk.


ND: Amplify has invested a lot of time and energy in tracking and sharing information about the Southern California startup ecosystem. Why do you do it? What value does this effort provide, as you are so public about the information you amass?

PB: This started off as a tool. We wanted to track internally and locally what was happening in the ecosystem here. We're heavily invested in the success of L.A. since we're based here, and a good portion of our startups are based here. So I think it's important to shine a light on what's happening in your local community, and in your local market. Also, no one else was taking the lead. If you look at Silicon Valley, New York and other venture communities, there has been somebody publishing a ton of data on what's happening, but no one was doing that in L.A. and the perception is as important as reality in venture. Ten years ago, L.A. was perceived as a bit of a backwater in the tech world. Now it's considered one of the fastest growing tech ecosystems not just in the U.S., but in the world. We thought it was important to share that information globally so that people could see that there are opportunities to invest here and, if you're a startup, move here. Now it is a more robust, thriving technology ecosystem than it was five or 10 years ago.

ND: Are you seeing a lot of inbound founders coming to L.A. to take advantage of the things you are documenting?

PB: In the last two for three years there are a lot more companies moving here. We have always had a lot of companies apply from outside the U.S., but most stayed where they were. In the last few years, though, we've had companies move here from Utah, Portland, New York and from others outside the U.S., including Canada. We have even had companies move here from San Francisco over the last two years. Almost monthly I get a call from somebody saying, “We’re moving to L.A. from San Francisco.” I think that's because they're trying to avoid the “monoculture” that has developed in the Bay Area, as well as the skyrocketing cost of living in Northern California. There's an opportunity for people to come down to L.A., where there's more diversity, better work/life balance, and, of course, better weather.

This interview has been edited and condensed for clarity.


Nick DeMartino is a media and technology consultant based in Los Angeles and the chair of the IDEABOOST Investment Advisor Group.

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