® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. SUMMER 2013

PRODUCERS HONE DIGITAL STRATEGIES

INDIE SURVEY SAYS... SPENDING RISING

CONTENT RULES ALL SCREENS

ALSO: EQUITY CROWDFUNDING | MUSE TURNS 15 | FILM SELF-DISTRIBUTION | PROFESSIONAL DEVELOPMENT

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Canadian director Ken Girotti (left) sets up a shot with the crew during the shooting of Vikings, a coproduction involving ’s Take 5 and Ireland’s Octagon Films. For more on how Canadian indie producers are making copros work with international partners, see page 23.

9 Up front 23 Playback Indie List 43 Muse at 15 Format trends, Mike Holmes’ brand Our annual survey of independent The -based, family-run at 10, industry execs turn a page to fi lm and TV production prodco on its growth and new ventures, prop printing, strategic partnerships guerrilla distribution 32 Education evolution How academic institutions and 50 The Back Page 16 Digital disruption training programs are adapting Web series writers Mark De Angelis, Canucks catch the wave to equip the industry’s next generation Naomi Snieckus and Amy Matysio’s no-fail tips for online glory. 18 Changing the stakes 40 Unions and Guilds How crowdfunding for equity stakes The industry’s professional bodies could open doors for new fi lm and are evolving to keep up with the TV fi nanciers demands on their members

® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. SUMMER 2013 The cover of the summer issue features the work of illustrator

PRODUCERS HONE DIGITAL Gary Taxali. An award-winning Toronto-based artist, his work has STRATEGIES been shown in exhibits across Canada and the U.S.; his designs INDIE SURVEY SAYS... SPENDING RISING have even been featured in special edition coins issued by the CONTENT RULES ALL SCREENS

ALSO: EQUITY CROWDFUNDING | MUSE TURNS 15 | FILM SELF-DISTRIBUTION | PROFESSIONAL DEVELOPMENT

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PPB.TOC.2013.inddB.TOC.2013.indd 3 114/05/134/05/13 8:268:26 PMPM PUBLISHER Mary Maddever • [email protected] EDITOR Matt Sylvain • [email protected] NEWS EDITOR Danielle Ng-See-Quan • [email protected] CONTRIBUTORS FACING CHANGE Mirella Christou, Mark Dillon, Etan Vlessing BRUNICO CREATIVE CREATIVE DIRECTOR HEAD ON Stephen Stanley • [email protected] What a difference a year can make. ART DIRECTOR At the inaugural Playback Summit in April last year futurologist Alexander Manu, in his keynote Mark Lacoursiere • [email protected] presentation, used a word cloud based on key terms in news items published at Playbackonline. PRODUCTION & DISTRIBUTION SUPERVISOR ca to demonstrate that the Canadian screen-entertainment industry was behind the curve when it Robert Lines • [email protected] came to the movement of audiences to online and mobile video experiences. Far from beating up Playback for missing major business stories, Manu, senior partner and chief imaginator at Toronto’s ADVERTISING SALES InnoSpa International Partners, argued the point that sectoral rivals, in the form of Facebook, Twitter, (416) 408-2300 and YouTube, were winning audiences with their content. FAX (416) 408-0870 I wager that if Manu constructed a word cloud based on Playbackonline.ca news stories this 1-888-278-6426 spring he would fi nd the domestic industry has caught up to that curve. Indeed barely a day goes ADVERTISING EXEC by – and certainly not a week goes by – that we don’t run a story that a company has pacted with Jessamyn Nunez • [email protected] a digital platform or distribution service, launched an app or interactive second-screen experience; MARKETING CO-ORDINATOR or that industry veterans are evolving their companies or moving on to spearhead digital-specifi c Vakis Boutsalis • [email protected] ventures. As well, thanks to our site’s analytics functions, I can say that those stories are being read closely and Tweeted widely. You, the industry, are hungrily watching these developments. BRUNICO AUDIENCE SERVICES The change is happening quickly. I’ll be the fi rst to admit the rate at which the industry status quo ASSISTANT MANAGER is being upset is breathtaking. I hesitate to say revolutionary, as I’m old enough to remember that Christine McNalley • [email protected] term’s overuse in the 1990s tech boom and to also fi nd it more than a little unsettling. It makes me MANAGER think of things like the revolutions in and Russia: neither ended very well for most people Deborah Brewster • [email protected] involved, whereas I am optimistic that this wave of change will be less bloody. The core experience today, when it comes to consuming fi lms and TV and online content, is the ADMINISTRATION centrality of the audience. OK, that’s not new. But what is new is the dawning realization of what’s PRESIDENT AND CEO known as the sharing economy. In the May issue of Wired magazine, Facebook’s Mark Zuckerberg discussed the sharing Russell Goldstein • [email protected] economy, indeed an economy which Facebook has helped bring about and remains the business’s VP AND CHIEF INFORMATION OFFICER core offering. Zuckerberg noted that at fi rst people shared information online in that lowly form – Omri Tintpulver • [email protected] words. Then, a few years later, in large part because iPhones came equipped with pretty good still VP AND EDITORIAL DIRECTOR cameras, came photo sharing. The next part of the trend is audio and video fi les. He predicts that Mary Maddever • [email protected] “three years from now, people are going to be sharing eight to 10 times as much stuff. We’d better VP ADMINISTRATION & FINANCE be there, because if we’re not, some other service will be.” Linda Lovegrove • [email protected] When I read these words recently, I immediately thought of the Canadian indie production sector. VP & PUBLISHER, REALSCREEN As the results of the 2012 indie production survey illuminate, starting on page 23, domestic Claire Macdonald • [email protected] prodcos are more than ever before thinking internationally and digitally. This year, for the fi rst time, VP & PUBLISHER, KIDSCREEN Playback asked questions on the survey specifi cally focused on digital productions and strategies. Jocelyn Christie • [email protected] While I don’t want to spoil the experience of fl ipping to the section, I will say this: You are facing the change head on.

Matt Sylvain Playback is published by Brunico Communications Ltd., Editor, Playback 366 Adelaide Street West, Suite 100, Toronto, , Canada M5V 1R9 (416) 408-2300; FAX: (416) 408-0870 Internet address: www.playbackonline.ca Editorial e-mail: [email protected] Sales e-mail: [email protected] Sales FAX: (416) 408-0870

© 2011 Brunico Communications Ltd. All rights reserved. Printed in Canada.

Postmaster Notifi cation Canadian Postmaster, send undeliverables and address changes to: Playback PO BOX 369 Beeton ON, L0G 1A0 U.S. Postmaster, send undeliverables and address changes to: Playback PO BOX 1103, Niagara Falls NY, 14304 [email protected] Canada Post Agreement No. 40050265. ISSN: 0836-2114 Printed in Canada.

4 summer 2013 | playbackonline.ca

PPB.Editorial.inddB.Editorial.indd 4 114/05/134/05/13 8:288:28 PMPM PPB.23232.NBCarchives.inddB.23232.NBCarchives.indd 1 113-05-133-05-13 3:313:31 PMPM What’s now. The throne game What’s Being king isn’t easy, as anyone addicted to Game of Thrones can attest. next. Seems “content is king” was coined in the midst of turmoil, almost as a mantra to comfort and reassure producers Playback magazine and of content’s resilient value through media distribution uprisings – from specialties, satellite and internet audience thinning, to OTT and a cloud-full of streaming interlopers. playbackonline.ca cover With each new gamechanger, budgets are challenged and platforms lose clout. But somehow, despite more clutter the whole industry, during the intervening decades than the 500-channel-fearing industry ever imagined, content has regained its watercooler status. From Game of Thrones to The Walking Dead, there is still appointment viewing (whether that from breaking news to appointment is on network time or stream time). Yet every hit and each new distribution opportunity escalates the battle for audience – the oxygen of renewal. So in-depth features. while content is still king, the number of wild cards in the deck (like full seasons of new series such as House of Cards on randomly vying for time, scheduling be damned), mean fewer are choosing to go alone. While the model hasn’t tipped yet, with the growth of alt upfronts vying for advertisers’ media dollars, the Stay in the loop. changing viewing patterns of a streaming audience, and brands’ focus on their own content agenda, Canada’s producers and broadcasters are shifting gears faster. More producers are talking about their SVOD strategy and Every day. All year. there’s more network focus on digital audiences, and more new partners, as this issue shows. At the recent BCON Expo Playback and strategy put on, keynoter Xavier Kochhar talked about how important it For only $12 is to have more connections and to build relationships beyond your industry – saying that you need to take every meeting now, as you never know where the next hit or big social platform will come from. Kochhar, the SVP and a month. managing partner at Los Angeles-based advisory firm MediaLink, also spoke about the appetite and opportunity for “delicate branding” as content producers, media companies and marketers evolve their collaboration to leverage each other’s resources and reach audiences in this hypercompetitive mediascape. A subscription to L’Oréal CMO Marie-Josée Lamothe, who commissioned the digital reality series Canada’s Best Beauty Talent from Buck Productions, explained at BCON the movement of brands from advertising towards content marketing by playbackonline.ca also saying: “You [producers, networks] allow us to talk to communities rather than profiles. The consumer thinks that ensures you will continue way, they look for interests, and they hate to be targeted.” John Young of Temple Street Productions, which produces the Loblaw competition series Recipes to Riches, to receive Playback’s commented on the flip side of that relationship, saying: “Producers don’t know the language of brands, but we understand telling stories,” adding that while producers would like to hear the stories directly from the brands, quarterly print magazines, there’s lots of people in between, such as media agencies. including the upcoming Even finding the right people to have those conversations with is a problem for potential partners looking to explore brands’ growing interest and investment in the content space. If you don’t have relationships already in fall TIFF issue where we the branded content space – or even if you do – it would take an exhaustive number of meetings to explore all the announce the 2013 Playback options to put the best deal together. So Playback and strategy are helping connect Playback’s production and broadcast industry with strategy’s Canadian Film and TV Hall of marketing community by collaborating on a new online platform, BCONxChange. It’s designed to help brands and Fame, as well as the latest media agencies find new projects from Canadian content creators and networks, with an eye to branded content matchmaking. It’s a place to make contacts, it’s a forum for discussion and information, and a database of projects, crop of 10 to Watch. so brands and IP owners with relevant content can find each other. We’re now launching in beta, so if you want to be involved, post your new projects, whether that’s for TV, online or other channels, and would like to help us fine-tune the experience, please be in touch. REGISTER Cheers,mm TODAY FOR YOUR Mary Maddever, Publisher, Playback FREE 14 DAY TRIAL

Subscribe at playbackonline.ca/free or call 416.408.2448 for all the news on the Canadian fi lm & TV industry

6 summer 2013 | playbackonline.ca

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Pinewood Toronto Studios offers national and Pinewood Toronto Studios has also recently begun international producers a modern, purpose construction of three new, state of the art sound stages, built fi lm and television facility which is widely specifi cally designed for small features, television series recognized as one of the leading studio facilities and live television. in North America. With this continued investment in recent years the Studios Part of the Pinewood Studios Group, which is a has become one of the premier hubs for the producers of leading provider of studio and related services creative content in North America. Pinewood is proud to to the global fi lm and television industry, and help nurture the next generation of Canadian talent, this synonymous with world class productions, has included: ’s second feature, the 2012 indie Pinewood offers easy access to the world’s relationship drama, Take This Waltz. most experienced crews and the best quality sound stages, production resources and post Other recent Canadian fi lm and TV productions that have used production facilities. the Studios’ facilities include: veteran director Cronenberg’s cerebral thriller Cosmopolis, which was almost entirely shot The Studios have 250,000 sq ft of production space on one of Pinewood Toronto Studio’s soundstages, Andres on an 11 acre site, based minutes from Downtown Muschietti’s feature debut Mama, from Toronto based De Toronto. All of its eight stages, including North Milo and del Toro’s Toma 78, David Hayter’s Wolves; Jeff America’s largest purpose built soundstage – Renfroe’s The Colony from Canada’s Alcina Pictures, and the 46,000 sq ft Mega Stage, are soundproofed, currently in production, acclaimed Canadian director, Atom clear-span and equipped with ample power Egoyan’s Queen of the Night, alongside Canadian TV content and supporting infrastructure to accommodate such as Pivotal Media’s talent show Zoink’d and Spun Out TV productions of all sizes and budgets. pilot, produced by Project 10 Productions for CTV.

For more information on the Studio facilities and its recently hosted Canadian productions, visit: www.pinewoodtorontostudios.com

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PPB.23328.NATPE.inddB.23328.NATPE.indd 1 113-05-133-05-13 3:333:33 PMPM FANBOYS FORMATS FRENZY BY DANIELLE NG-SEE-QUAN FOR SOAPS? Canada has lately become a hotbed of TV format sales and purchases. While BY DANIELLE NG-SEE-QUAN the local networks have been consistently introducing homegrown versions of Classic serial soaps All My Children and One Life to popular U.S. reality formats, like Big Brother Canada and The Bachelor Canada, Live (pictured) have been revived for daytime network Canadian scripted TV has also gotten a piece of the action recently. Brush up television and digital viewing. Rogers specialty channel FX on the catch-phrases – here’s a look some of these deals. Canada is broadcasting the soaps exclusively in Canada starting at lunchtime (12 p.m. and 12:30 p.m. E.T.), while in the U.S. they are streaming to subscribers through OUT OF CANADA Hulu Plus and being purchased on iTunes. Perhaps more Little Mosque – format sold to Israel’s Armoza surprising than the steamy storylines are the fi ndings International Media, shopped at MIPTV. from a Rogers online survey, which found that Canadian men watch soaps – 48% in fact – with a third saying Cover Me Canada – sold to Beijing’s Enlight they “can’t get enough of the action.” Because everyone Media, brokered by Eccho Rights. likes a side of scandal with their sandwich. – format sold to Russian broadcaster TV-3 by Sony Pictures Television Productions Russia. Panic Button – format sold to TruTV in the U.S., Making it a decade BY MATT SYLVAIN now in production by 11 Television, who produced local version for Space. The long-term success of renovator/inspector/TV personality/one-man Never Ever Do This At Home – Insight Productions’ Canadian adaptation of multi-platform brand Mike Holmes (pictured) highlights an unfortunate dark the Norwegian format sold to Spike TV in the U.S., brokered by DRG. side of the home-building industry: how often homes and other dwellings are shoddily constructed or overhauled in Canada. Indeed, the international success of his programs, which have sold to 83 territories, suggests it’s a worldwide phenomena. Little did HGTV Canada know they’d be hitting the INTO CANADA ball out of the park when they launched Holmes on Homes in 2003. The Bollywood Star – Spinning Plates Entertainment is producing the series, long-running factual series would be followed by equally strong Holmes which has been produced in the U.K. and Australia, for OMNI Television. Inspection and Holmes Makes It Right, and various spin offs, including books, newspaper columns, and branded tools, workwear, training courses Canada – Proper Television is producing the format acquired and inspection services. Behind The Overalls, a tribute special marking from FremantleMedia for OLN. Holmes’ 10 years on the air, was broadcast in April. Amazing Race Canada – Insight Productions is producing the format for CTV, which licensed Canadian format rights from Disney-ABC Domestic Televison, hitting the summer sked July 15. Chopped – Shaw Media struck a format deal with Scripps Networks CLANK UP THE VOLUME Interactive, with Paperny Entertainment producing for Food Network Canada. The Audience – Corus inked a deal with ITV Studios Global Entertainment for BY MATT SYLVAIN -based animation studio Rainmaker is following up a local version of the Brit format for W Network. its 3D theatrical hit Escape from Planet Earth with another CG-powered fi lm, Ratchet and Clank (pictured). The result of Saturday Night Live – En francais! Groupe Fair-Play and Zone 3 a partnership with Los Angeles-based production company acquired rights from Broadway Video in 2011 and are now producing a format Blockade Entertainment, the fi lm unveiled in April is based on a in French for Télé-Québec. PlayStation video game franchise published by Sony Computer Spin Off – CHCH bought the original format from Entertainment America and developer Insomniac Games. The Mark Burnett’s One Three Media, which will then fi lm’s lead investor is China’s CNHK, with whom Rainmaker shop the format and fi nished show internationally. recently signed a fi ve-fi lm deal. Stay tuned for spin offs. Escape From Planet Earth, which was released in February, had earned a cumulative box offi ce of $64.6 million by early Japanizi: Going, Going, Gong! – As a follow up to May, according to information Rainmaker provided to Playback. its internationally successful Splatalot!, marblemedia It was executive produced by Harvey Weinstein and featured is adapting ABC’s I Survived a Japanese Game Show voice work by numerous talent, including Brendan Fraser, Ricky for YTV, via a licensing deal with Small World IFT. Gervais, Jessica Alba and Sarah Jessica Parker.

summer 2013 | 9

PB.23242.IndieProdFund.indd 1 13-05-13 3:35 PM PPB.FOB.inddB.FOB.indd 9 114/05/134/05/13 5:405:40 PMPM From left: A dragon created in black rubber as the lid of a jewellery box; blue head created from a scan with additional animation feature added with software, then printed; Yoda head BY DANIELLE NG-SEE-QUAN printed in ABS thermoplastic. PROPS 2.0 How the 3D printing revolution is The ouroboros – a symbol of a snake eating its tail - is a allows for a physical parallel and complement to today’s impacting the production process. major motif in Hemlock Grove. Partway through the horror VFX-heavy productions. series one of the characters comes into possession of an The manufacturing process can have a prop prototype ouroboros ring. And an episode of another sci-fi series, based on a 3D model or computer-aided design turned Warehouse 13, features an elaborate, geometric puzzle. Both around within 24 hours, thanks to printers running non- items aren’t what you’d fi nd at the local general store. And stop until the prop is completed. with good reason – they’re the products of 3D printing. Mirsky adds that 3D printing can create physical While 3D desktop printing has been around for more manifestations of, for example, digital visual effects and than 20 years, recent innovations have spawned a new animated characters, so a creature created digitally with wave of its use in niche manufacturing, a wave that’s VFX that only exists on the screen can become tactile starting to wash into the fi lm and TV prop industry. and pliable, two things that can help not only actors It won’t fully replace traditional craftsmen to build sets better enliven a moment on screen but can also help get and props, but 3D printed objects can be made quickly and fi nanciers to get onboard a project. cost-effectively. The process also introduces new creative “If you have an idea for a character as an animator, you possibilities into a production. have a drawing on a screen, and you have renderings As points out Laurie Mirsky, the founder of Toronto- – what better way to pitch a project than to print out based 3DPhacktory, a full-service 3D printing and design the character and drop it into a pitch session?” Mirsky studio that has made items for the locally-produced proposes. “I fi nd that people are inspired when they see feature fi lms RoboCop, Mortal Instruments and series like an actual physical manifestation of a drawing or a digital Warehouse 13 and Netfl ix’s Hemlock Grove, 3D printing creation,” he explains.

10 summer 2013 | playbackonline.ca

for Canadian Drama www.cogecofund.ca www.fondscogeco.ca

PB.23241.CogecoFund.indd 1 13-05-13 3:36 PM PPB.FOB.inddB.FOB.indd 1100 114/05/134/05/13 5:415:41 PMPM PB.23180.Mijo.indd 1 13/05/13 4:00 PM From left: Interlocking bracelets for 3D design competition Making It Real at Toronto’s OCAD; Ouroboros ring, positioned in a mechanical piece and 3DPhacktory uses a Connex 500, a 3D printer that processes multiple printed in white gloss, created as a model materials simultaneously. The way Mirsky explains it, the printer prop for Netfl ix’s Hemlock Grove. can use two different elements, like rubber and plastic, that can be combined into 100 different material variations, depending on their ratio. Mirsky says that 3D printing also makes sense for creating really 3D printing provides As well, a single body or structure can include 14 different types of detailed objects or prop pieces. Some examples? Say a 1920’s art a physical parallel those variations, creating texture and fl exibility. deco furniture rental for a movie set is missing two of the knobs. To create these magical objects, the printer reads what’s called a They can be scanned and printed. Or for sets on period dramas that to VFX, animation stereolithography fi le of an object slice by slice. Then, as the printer require very specifi c and detailed architectural molding – instead and other tech- and reads the slices, the print head deposits micron-thin layers of liquid of the painstaking hours it would require a craftsman to create that screen-designed polymers on the tray. Unlike some printers, the Connex 500 also molding, a piece of it could be printed in 3D and then recreated surrounds the structure with support material as it prints, meaning it can through traditional manufacturing methods, saving on time. Costume elements. print any confi guration, like a fi gure with various appendages spread out. designers could also use 3D printing to create specifi c pieces, like 3DPhacktory also uses a second printer for single source materials, buttons, snaps, jewelry or other props. which Mirsky says works best for objects that are to be treated – like “It’s literally a tool that you didn’t have before,” says Mirsky. dying, painting or fi nishing – after printing.

summer 2013 | 11

PB.23241.CogecoFund.indd 1 13-05-13 3:36 PM PB.23180.Mijo.inddPPB.FOB.inddB.FOB.indd 1111 1 13/05/13114/05/134/05/13 4:00 5:415:41 PM PMPM Turning a page... COMPILED BY MATT SYLVAIN Summer is a time for spendingsp languid days at the cottage, but for these screen entertainment industry vets- turned-entrepreneurs who discussed their plans with Playback, the months ahead promise to be busy ones.

DIGITAL HOWARD SALOON MEDIA PICTOPIA PICTURES BASED IN TORONTO BASED IN TORONTO BASED IN VANCOUVER

BACKGROUND: BACKGROUND: BACKGROUND: The launch of Digital When Michael Kot left eOne Television in Karyn Edwards launched her own Howard in May marked March he vacated the senior VP of factual shingle after leaving Vancouver prodco the return to the scene entertainment offi ce with a two-year overall deal Brightlight Pictures, a company where by Jarrett Sherman and for his newly-launched venture. He launches she helped produced 80 projects, Daniel Dales. They founded Saloon with a rolodex full of contacts, as he including director Kari Skogland’s MICHAEL KOT JARRETT SHERMAN DANIEL DALES digital content specialist was previously VP of original factual content KARYN EDWARDS theatrical feature Fifty Dead Men Smokebomb, which was acquired by Shaftesbury in 2008, until last summer, for then Canwest channels Global, History Television, Mystery, National Walking and the CBC TV movie Mr. Hockey. when they left the division. Their credits included the mobile transmedia Geographic Canada and IFC. He was also responsible for overseeing series for teens Totally Amp’d and State of Syn, an online sci-fi project. programming, acquisitions and the general operations of BBC Canada. WHAT IS YOUR BUSINESS MODEL? It is twofold: I’m developing content internally while simultaneously WHAT IS YOUR BUSINESS MODEL? WHY DID YOU GO OUT ON YOUR OWN? looking for opportunities to co-produce, co-venture and undertake We work with TV producers, broadcasters and brands to extend their IP to I love start-ups and building teams – they have been the most service production with U.S. and foreign partners. digital platforms, and work with those same partners on the development rewarding moments in my career. Saloon Media is the next logical of our original slate of 360 content. We have specifi c areas of expertise step and something I’ve always wanted to do. WHAT IS YOUR COMPETITIVE EDGE? we’ll maintain in-house and we’ll bring in partners to the appropriate skill My (ninja-like) skills at closing fi nancing. In my career I have sets where it’s needed. Strategic partnerships will be a critical component WHAT IS YOUR BUSINESS MODEL? closed over half billion dollars of fi nancing on television of our success. We are focusing on our strengths in factual production for domestic and series and feature fi lms. I have a hands-on approach and the international markets, working with like-minded partners to produce top relationships that I have built in Canada, U.S. and internationally WHY DID YOU LAUNCH THIS COMPANY? quality returnable series and high impact specials. are imperative to my success. My peers respect me for being We see viable opportunities that weren’t available to us when we honest, rigorous and hardworking. The business and fi nance launched our previous company. In that venture, we partnered with an WHAT IS YOUR COMPETITIVE EDGE? aspect of any production is the lifeblood of the project. I established TV production company to get the support and expertise With knowledge of broadcast, production and distribution, I can focus on understand complex fi nancing models and the potential sources of experienced players, but realized over time that we need the projects that have a great chance to succeed based on actual market of fi nancing available to producers. fl exibility to respond to opportunities much more quickly than corporate experience. We also have strong and trusted international contacts that environments allow for. We’re trying to capture that fl exibility, so we’re can help on the creative and of course fi nancial aspects of any project. DO YOU HAVE ANY PARTNERSHIPS IN PLACE? setting DH up as a workshop – a place where we can be nimble, iterate, I am partnering with Kim Arnett of Vancouver-based Two 4 the and have the freedom to experiment. HOW DID THE EONE PARTNERSHIP COME ABOUT? Money Media on a number of projects. I also have a relationship I’ve had a great experience with eOne and have some projects with with Double Nickel (Gran Torino) in the U.S. and we have a WHAT IS YOUR COMPETITIVE EDGE? coproduction and broadcaster partnerships that we want to see through number of television and feature fi lm projects on which we are We get digital, we get TV and we understand the needs of all the together – it’s best for the projects. It made sense that Saloon have a collaborating. stakeholders. We think like fans. We respect talent. We speak and think fi rst-look with eOne. differently. As a result we’ve had great success developing digital projects PROJECTS ON THE GO? and getting them fi nanced and distributed. PROJECTS ON THE GO? I have a number of television and feature fi lm projects in I am currently delivering two specials to History with eOne. Saloon has development, including a supernatural thriller (feature), a one- PROJECTS ON THE GO? a couple of projects that are close to fruition, but I can’t talk about hour episodic war drama (television series) and a 13-episode We’re working with Suddenly See More Productions and Mark Burnett’s them as much as I would like to. lifestyle program. One Three Television on a second screen experience for Spin Off - Burnett’s new game show launching on CHCH this fall. Spin Off 360 is the digital extension of the game show format that lets the audience play along with the broadcast episode in real time for a chance to win cash and prizes. In addition they’ll be able to play 24/7 against family and friends. Spin Off 360 is the obvious next phase in game show entertainment and we’re really excited to be the company pushing the envelope with this project.

12 summer 2013 | playbackonline.ca

PB.23240.BellNewMediaFund.indd 1 13-05-13 3:37 PM PB.23195.CFC.indd 1 13-05-13 3:38 PM PPB.FOB.inddB.FOB.indd 1122 114/05/134/05/13 5:415:41 PMPM WELCOME TO CREEPSVILLE In the race to grab viewers, promoters are pitting aliens versus apocalypse survivors versus mass murderers. BY DANIELLE NG-SEE-QUAN

Canadian fi lm and TV marketing is creeping us out. The popularity Meanwhile, as part of its 360-degree promo campaign for of the sci-fi and horror genres has given promoters something Showcase’s U.S. pick-up series Defi ance, Shaw Media set aliens The Colony to work with – experiential campaigns that get the adrenaline loose in Toronto, Vancouver and . The Toronto aliens pumping. Here, a look at some of the latest. infi ltrated high-traffi c areas like Yonge and Dundas Square (shown Ahead of the April theatrical premiere of The Colony, its here), High Park and Yorkdale Mall, and events like Blue Jays, distributor , working with Toronto-based media Leafs and Raptors games. The stunt was planned to leverage the agency Spoke, parked a military truck at the corner of Toronto’s Toronto-shot series’ premise of aliens and humans co-existing Queen and Spadina for a day. The Colony, a domestic feature on a transformed earth, and to drive media coverage and social directed by Jeff Renfroe, is about a frozen, post-apocalyptic world engagement, says Muriel Solomon, head of marketing, specialty in which the survivors fi ght to preserve what’s left of humanity channels and Shaw Media advertising and promotion. against a savage threat. You know that “Don’t turn around” hair-raising feeling that’s The pop-up campaign, which recreated a scene in which evoked by the creepy music in Halloween, Friday the 13th, or pretty Defi ance members of one “colony” try to reach those at another, was much any other horror movie? Here it is in poster form for You’re meant to hype the fi lm’s release the following day, says eOne’s VP Next, distributed by Lionsgate. Some upcoming, and decidedly marketing Joanna Miles. non-horror summer fi lm posters have been overlaid with an image The location was chosen in part because it’s a busy corner with refl ecting a masked killer holding an axe, meant to look like he’s shoppers, young professionals and a mobile lunch time crowd, standing just behind you. In case that doesn’t get people fl eeing and happens to be right around the corner from the Scotiabank upstairs (why do people always run UPstairs in terror?), the fi lm’s Theatre, where the fi lm had its red carpet premiere. Miles says Facebook page also features an image of a newspaper, with a the idea was to create word-of-mouth messaging by having headline touting that rural areas are safe. Just imagine, as you relax You’re Next people come across the installation, take a picture and hopefully and read the paper with coffee, oh look – carved into post it to Twitter and Facebook. the table are the words “You’re next.”

summer 2013 | 13

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PB.23240.BellNewMediaFund.indd 1 13-05-13 3:37 PM PB.23195.CFC.indd 1 13-05-13 3:38 PM PPB.FOB.inddB.FOB.indd 1133 115/05/135/05/13 3:563:56 PMPM funding, tax credits, and $80,000 raised from crowdfunding campaigns. While Ripper has secured Gravitas Ventures as its U.S. VOD distributor, he is selling the fi lm to every territory through his own website. Also on the VOD side, Ripper is working with Yekra, a third-party distributor that lets people become “affi liates” of a fi lm and distribute it socially. “This leverages the huge network of social media –oriented groups,” says Ripper. He also spent $8,500 four-walling New York’s Cinema Village, a staple of the city’s indie-fi lm scene, with a day and date release for theatrical and VOD. To promote the four-wall, he spent $12,000 on ads in the Village Voice, New York Times and Time Out magazine. “The theatrical becomes the driver to your VOD window, and at the same time, it also generates excitement and buzz. It doesn’t necessarily cannibalize your VOD sales because they’re really two different audiences,” he says. Separately, Occupy Love did a theatrical tour to L.A., San Francisco and Seattle using U.S. GUERILLA screening service Tugg. Tugg lets users create a screening event for a particular fi lm, and handles the booking and ticketing logistics for the event. The promotional expenses are basically zero, DISTRIBUTION while Tugg does a standard ticket-revenue split with the fi lmmaker. Determined to get attention for When you make a fi lm you want people to see it. But Ripper credits social media and a large, loyal maybe because it is potentially too tricky to market, group of followers that have been around since their work, fi lmmakers are taking conventional distribution isn’t the way to go. Thanks before the fi lm was made, with the strong matters into their own hands. to social media and services that are breaking up reception the fi lm has received so far. To build the fi lm supply chain’s closed club, there’s the DIY a following during the crowdfunding campaigns route. Here’s a look at three fi lmmakers who are (900 funders supported it), he released 10 to 15 BY DANIELLE NG-SEE-QUAN distributing their own fi lms, demonstrating that short videos on a dedicated YouTube channel – as where there’s a will, there’s a way. of mid-May they had around 925,000 views – and Vancouver director Velcrow Ripper B.C. documentary fi lmmaker Velcrow Ripper is continually interacted with funders and fans. is taking a multiplatform approach to taking a multi-platform approach to Occupy Love, Separately, more than 200 community screenings distributing Occupy Love. the third in his Fierce Love fi lm trilogy, by pursuing of the fi lm in 25 countries have been organized theatrical and digital rollouts simultaneously. by volunteers since mid-February. After the fi lm’s Occupy Love’s budget of about $500,000 initial festival run, the fi lmmakers released the was fi nanced by a license fee from broadcaster fi lm for the cost of a DVD or digital download to SuperChannel, CMF and Rogers Telefund individuals wanting to organize those community

14 summer 2013 | playbackonline.ca

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PPB.FOB.inddPB.23034.Vistek.inddB.FOB.indd 1144 1 115/05/1313/05/135/05/13 3:573 4:00:57 PMP PMM screenings. The largest attendance to date has been in Porto Allegre, Brazil, with more than 1,500 people. Ripper explains that making it accessible to the viewing community fi rst also build a bigger wave of buzz that undoubtedly pushed both the theatrical and VOD sales. He adds that his fi lm in particular was well-suited to a social media approach because it’s about community activism. When it came time for -based Sean Garrity to fi gure out the distribution strategy for his latest fi lm, the psychological thriller Blood Pressure, Mongrel Media, whom he’d worked with in the past, said the fi lm didn’t necessarily have the legs for a domestic theatrical run, so he struck a deal with Mongrel to keep theatrical rights and distribute it himself. After the fi lm had premiered to a sold out weekend at Winnipeg’s Cinematheque, he started calling theatre venues - both chains, like Empire Cinemas and Magic Lantern, and independent - across the country, as well as working the press in each city where theatre operators agreed to show it. As of The writing’s on the wall: Director Sean Garrity self-distributed Blood Pressure theatrically in Canada. early May the fi lm had played for seven weeks in Toronto, at least two weeks in Calgary, and overall hit 23 theatres in around 18 cities. used to receiving his share “maybe years down Canadian theatrical release, so far held over An unexpected perk “It was just a question of asking myself – and this the road, when the second broadcast window multiple times in Vancouver, and having strong of do-it-yourself fi lm is something in the past that I’ve had a different ends.” openings in Toronto and Victoria. opinion than the distributor, about what the best Vancouver-based Hit ‘N’ Strum director, Caouette adds that the mix of positive distribution? Being route forward would be – about what theatre do you writer and producer Kirk Caouette decided to reviews from critics and audience feedback handed a cheque play in what city?” explains Garrity. self-distribute his indie drama because there has further helped to drive interest and ticket from a theatre With limited resources or a small-scale marketing wasn’t an offer on the table from a distributor sales. “The result is a strong word-of-mouth campaign, the answer isn’t the megaplex. he wanted to work with. The fi lm was self- effect that has driven our numbers far past the operator immediately “My goal is to make it play for as long as possible, fi nanced – no tax credits or government tiny amount of money we have spent. By the after the end of the so as many people can see it as possible. Because funding – so he admits he had no remaining end of our run, we hope to break even or even fi lm’s run. it’s a word-of-mouth fi lm and I don’t have a lot of resources for market purposes. make a small profi t,” he says. money for press, the longer it plays, the more people He says that leveraging festivals and Time is the largest investment in self- will come out. And so what are the theatres that I can community relationships was paramount in distribution, the fi lmmakers agree. The put this fi lm in where that’s possible? And it’s not an helping to raise Hit ‘N’ Strum’s profi le in the return on investment includes a greater 800-seat hall where the next DiCaprio fi lm’s knocking marketplace. Having brought Middle Child understanding of the fi lm industry’s back-end at the door,” he says.” He adds that he sold the merits Films’ Tony Wosk on as a producer’s rep and business. Including understanding how tough of the fi lm, particularly in the smaller markets, on its marketing advisor, Wosk applied for funding distribution is. existing buzz and good reviews. from Telefi lm’s Alternative Distribution Fund; Having a cheque personally handed to him from a that money was used to further market it to theatre operator was a pleasant surprise. Garrity, whose festivals and indie theatres. Caouette says he credits include My Awkward Sexual Adventure, says he’s spent approximately $15,000 on the fi lm’s

summer 2013 | 15

PB.23034.Vistek.indd 1 13/05/13 4:00 PM PPB.FOB.inddB.FOB.indd 1155 114/05/134/05/13 5:435:43 PMPM WE NOW DISRUPT THIS Playback aggregates the recent radar-worthy developments in the BY DANIELLE NG-SEE-QUAN global digital content space.

Audience eyeballs remain the prize for screen entertainment businesses, even as digital disruption from OTT services and online distributors change the way viewers consume it. Digital platforms have opened up a global, word-of-mouth and super-fan sharing marketplace for Canadian producers to tap into. Here’s a rundown of some recent content deals and potential opportunities for Canadian producers.

AMAZON STUDIOS It already has its hands in online retailing, an e-reader, and tablet, so why not become a production studio? The Amazon.com division develops fi lm and TV series selected and optioned from submissions by content creators. For fi lms, it has a fi rst-look deal with Warner Bros. Annebots (pictured), from Toronto-based Sinking Ship Entertainment, was recently selected for Amazon’s HULU AND HULU PLUS TV development slate (see page 25 for more). Hulu launched south of the border in 2007 as a free ad-supported service. It’s now pouring its resources into original programming, and also becoming a launch platform for some series in the U.S. market. At MOBILE AND SMARTPHONES MIPCOM last October, Andy Forssell, then Hulu’s senior VP of content Toronto-based VOD aggregator Syndicado struck a deal with Samsung in March and distribution and now acting CEO, told Playback that its subscription that sees Syndicado’s entire library of fi lms, docs and TV series available for rent HuluPlus service’s dual-revenue stream can be lucrative for both Hulu or for sale through Samsung’s Media Hub. Syndicado already has such deals with and content owners alike. He added that despite making the jump into iTunes, Hulu, Vudu, YouTube and ilovedocs.com. Similarly, BlackBerry is launching original programming, Hulu is a distributor, not a network. the Z10 smartphone with content from DHX, , CBC/Radio-Canada, eOne, Forssell said that Hulu wouldn’t be launching in Canada anytime soon, Lionsgate and the NFB available for download or rental in its BlackBerry World hub. instead focusing its efforts on an expansion into Japan. That said, Hulu has picked up through various deals CanCon such as mockumentary series Pure Pwnage, and Thunderbird Films’ drama Endgame, which is broadcast NETFLIX in the U.S. exclusively on Hulu. Whizbang kids’ series The Yard (pictured, In its annual report, Netfl ix said it has increased its which made the New York Times’ Watch List) is also exclusively distributed investments in content available to the Canadian on Hulu. And series Chilly Beach, Little Mosque and the linear version of market, a subscriber base which is reportedly Guidestones are also available on the platform. comprised of 15% of Canadians. Netfl ix has Hulu’s model also sheds light on the fact that a series’ fi rst window also picked up homegrown shows like Todd and doesn’t have to be traditional TV for it to be eventually broadcast there. It’s the Book of Pure Evil, DHX Media’s , proven to be legit. Case in point? Spoilers starring Kevin Smith, Hulu’s fi rst ’s Justin Time and Muse’s Bomb Girls original series, was picked up by Bell Media’s Space last year. And more recently (these are in addition to content partnerships with Canadian companies). Netfl ix’ licensing is time-based, it recently, Hulu announced Canadian-produced animated comedy Mother typically bids for exclusive SVOD rights. Up! as one if its exclusive series. The Eva Longoria-starrer, produced by Netfl ix, who has called out HBO as its biggest competitor, noted recently it is spending roughly $2 billion per year and Breakthrough Entertainment, will bow on City in on originals and licensing content. It says that one advantage of its model over linear broadcasters is it can nurture Canada. Hulu in the fi rst quarter of 2013 reported record revenues, and its series that may take longer to fi nd an audience, and targets its promotions at individual members because it doesn’t Hulu Plus service had four million subscribers. work with time-slot-based schedules.

16 summer 2013 | playbackonline.ca

If you have fi lm elements stored with Deluxe Laboratories or Film House in Toronto please contact one of the people listed below. Deluxe or Film House will not store fi lm elements any longer.

Helen D’Brass 1(647) 621-2095 / [email protected] Bob Bianco 1(323) 960-7035 / [email protected]

PPB.FOB.inddB.FOB.indd 1166 115/05/135/05/13 3:573:57 PMPM PB.23238.Actra.indd 1 13/05/13 4:01 PM PB.23316.Harris.indd 1 13/05/13 4:00 PM PB.23211.Deluxe.indd 1 13/05/13 4:01 PM PROGRAMMING… YOUTUBE YouTube said at its recent digital NewFronts presentation it wasn’t pushing a new agenda. It said, simply, that the future of TV was the internet, and that it would continue to forge ahead to hone its current model. And neither is it news that YouTube has dedicated original channels, and that content creators who are successful in drawing a loyal following can generate some serious coin through the platform’s Partners Program. YouTube typically takes a 45% share of ad revenue in that program. What is new is that in May it confi rmed rumours of a planned subscription video channels by launching several pay channels. Canadian channel suppliers include DHX, ’s Treehouse TV, and Vancouver- based OutTV, which is partnering with Wolfe Video in the U.S. to launch GayDirect. DHX will run three paid channels, DHX Kids, DHX Junior and DHX Retro, charging $2.99 each after a two-week free trial period. The channels will launch in 10 markets, including Canada, the U.S., and the U.K. DHX’s channels will offer content in English, French, Japanese, Korean, Portuguese, Russian and Spanish languages. Not all of the initial 54 paid channels will be available in Canada, including Treehouse Direct. Content providers choose whether their channels are ad- DHX’s channels will feature its library of kids content supported, and set the price for the channels, sharing the revenues with YouTube. and select fi rst-run programming. Stewart

TWITTER YAHOO! CANADA SCREEN With the recent appointment of ex-CBC The web platform launched last August with content from ET exec Kirstine Stewart as managing Canada, Jolted Media, Watch Jojo, Canadian Press, CBC and director of Twitter Canada, Canadian indie News Canada. It also launched Anthony E. Zuiker’s Cybergeddon producers can expect possible opportunities (pictured), a Yahoo-exclusive 90-minute feature shot in Hamilton, to open up for content partnerships on released in sequential segments and created with product the micro-blogging platform. A recent integrations from anti-virus software manufacturer Norton. example of such a deal saw Twitter pact Yahoo! Canada director of video Marie-Helene Savard says it with BBC America on branded in-Tweet is expanding its roster of Canadian-produced original content videos tied to scripted TV series. This by establishing a stable of go-to producers. To fi nd producers followed a partnership announced in April outside of its established network, the company partnered on an experimental online XBOX LIVE with Achilles Media in March to put out a call for submissions, comedy festival. A mixed bag of tech, the Microsoft’s Entertainment and Devices division posted $2.5 billion in receiving more than 100 from commercial and web producers fest included in-Tweet streaming and videos revenue for the third quarter ending Mar. 31. It said revenue in the period and creative agencies. It has been working with some of those carried on Vine. for the Xbox Live platform, which has more than 46 million members producers on development concepts, including a sports- Twitter has also struck deals with various worldwide, increased to $641 million. A gold membership, at about $60 a focused series and an entertainment concept, planned for a content partners to integrate videos and year, gets subscribers access to content via apps on XboxLive. The platform June launch, with production ramping up in Q3 and Q4. audio directly into users’ feeds as recently expanded its Canadian partnerships to include a Hockey Night expanded messages. in Canada app, in addition to its existing pacts with MSN Video Canada, Rogers Anyplace TV and Telus Optik TV. Microsoft is now interested in offering original programs. As of May, it was being reported that it wanted to bring back the Heroes TV series as Xbox original content, taking a cue from Netfl ix with Arrested Development. The series would likely be produced by L.A.-based Xbox Entertainment, a division launched in February to create original programming and interactive content.

summer 2013 | 17

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Crowdfunding has proven to be a boon for many a fi lm Don’t let a little crowdfunding scare you. Director-producer Sean Ontario may let companies use Cisterna raised $17,000 through Hot Doc’s Doc Ignite platform for and digital project, including last year’s Canuck success his doc 30 Ghosts (pictured). crowdfunding sites to offer equity in Indie Game: The Movie and this spring’s record-breaking their projects, opening the door to Kickstarter campaign for a fi lm version of Veronica Mars. It could soon be an even greater money-raising tool for greater fi nancing opportunities. the Canadian content industry if provincial regulators, led such as Indiegogo and Kickstarter are projected to hit a by Ontario, clear the way for a new crowdfunding model – whopping $5 billion in 2013, almost doubling 2012’s total BY MIRELLA CHRISTOU offering equity-stakes in companies and projects online. If of $2.7 billion, according to Los Angeles-based research the change takes place, indie producers could offer more fi rm Massolution. While data on the number of Canadian than just the usual fanboy perks of t-shirts and exclusive transactions is hard to come by, Canada is Indiegogo’s DVDs of the project. Insteady, they can offer a part of the second largest market after the U.S. business or monetizable project itself. However, the very The Ontario Securities Commission (OSC) recently nature of online crowdsourcing – that the money raised completed public consultations on its equity crowdfunding could come from anywhere in the world – could bring with proposal (see page 20 for details). If approved, regulations it negative tax-credit implications for producers. would be put in place to make the practice legal for Crowdfunding, often aided by social media campaigning, Ontario-based indie production companies (and others). is defi nitely on the upswing. Transactions through sites According to director-producer Sean Cisterna, who

18 summer 2013 | playbackonline.ca

PB.22776.WhistlerStripAd.indd 1 13-05-13 3:39 PM PPB.Money.inddB.Money.indd 1818 113/05/133/05/13 4:454:45 PMPM PB.22259.FearlessThirdPg.indd 1 06/11/12 2:39 PM recently raised $17,000 to complete his documentary 30 Ontario Media Development Corporation, the body that helps With the opportunity to use Ghosts using Hot Docs’ Doc Ignite crowdfunding platform, manage Ontario’s tax credits in the media realm. crowdfunding sites to help tap into the proposed OSC changes would exponentially widen The complication is that an infl ux of non-Canadians the potential pool of investors able to participate in his buying stakes in a project puts at risk that project’s ability to potential funds from around the productions. access tax credits. world comes a complication: the The interest is there, he asserts. The Canada Media Fund (CMF) also cautions that if risk a production loses its status as As part of his project-fi nancing work he spoke to industry a project’s crowdfunded shareholders are not mostly veterans and companies to get their input on his crowdfunding Canadian, there is the risk that it loses its Canadian Canadian owned and hence access plans. Some of them would like what they were hearing so ownership. That would be a serious problem. to provincial tax credits. much that they’d want to be involved. “Occasionally they’ll “Applicants to our programs must be Canadian companies want an equity position in the project, as opposed to a t-shirt, under Canadian control,” says Catalina Briceno, the fund’s DVD and autograph combo pack, and I’ll have to forego the director of industry and marketing trends. opportunity,” recounts Cisterna, who also raised $7,000 or Thorne-Stone adds “It’s important to make sure that about 10% of the budget for his feature fi lm Moon Point on if the OSC goes forward with an exemption on equity Indiegogo in 2011. crowdfunding, that we fully understand how it works with When the changes would come to pass is diffi cult to pin tax credits and that we plan for and mitigate any potential down. Though the OSC has made equity crowdfunding one negative consequences before they happen.” of its top priorities this year, it won’t discuss when, or even Using social media to get the crowd interested in project if, the necessary regulatory changes would come about. or company equity can also be a tricky matter. Despite the rise in social media, the Canadian Securities Administrators, JOBS SECURITY a national body of all the provincial fi nancial regulators, has The OSC is closely watching developments south of the no plans to ease the rules that effectively ban using Twitter border, where the Jumpstart Our Business Startups (JOBS) or Facebook to promote equity offerings. However, an OSC Act made equity crowdfunding legal in the U.S. a year representative noted that a common workaround for this ago. However, regulator-level changes there have been problem is to issue a press release about an equity offer, as held up at the Securities and Exchange Commission, the you can use social media to raise attention of the release. body that must make and enforce the rules to allow equity Crowdfunding platforms such as Indiegogo are watching crowdfunding while also safeguarding against fraud. the OSC closely. If Ontario opens the door to equity funding, No doubt the OSC is waiting to take cues from the globally the San Francisco-based company will quickly add features infl uential SEC. Provincial securities regulators in Quebec and functions so Canadian producers can take advantage of and Alberta are also said to be considering making equity it, Indiegogo co-founder Danae Ringelmann tells Playback. crowdfunding possible. The risk of fraud from this kind of crowdfunding appears to be low. In the U.K., Australia and Netherlands, where equity crowdfunding has been legal for several years, no incidents of fraud have been reported. But with the possible opportunity for producers comes a complication, observes Karen Thorne-Stone, the CEO of the

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Here are the main points The issuer of shares must be The equity issue is limited The issuers can in the Ontario Security a Canadian with the business to a total of $1.5 million in a only advertise headquartered in Canada. 12-month period. the share Commission’s equity offering on crowdfunding proposal: their company While directly raising attention for an issue via social media is website or the prohibited, the issuer can direct investors to the funding portal funding portal’s or the issuer’s website using social media. website.

A registered funding portal must The purchaser must sign a risk acknowledgement be used, and it must have fraud- form and has a two-day window to consider prevention safeguards in place. withdrawing from the investment.

A single purchase may not exceed $2,500 and total no more than $10,000 per year in one company or project.

20 summer 2013 | playbackonline.ca

The media is a tough industry

From time to time, you need some muscle. That’s where we come in.

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If you want to get a foot into the branded content space but don’t know where to start, here’s your chance. BCONxChange introduces your project to media agencies, brand execs and broadcasters looking to build content programs, via integration and partnering. To get you the access you need, Playback is leveraging its position as intermediary between the Canadian fi lm and television industry and the Canadian marketing community via our sister publications Media in Canada and strategy. The BCONxChange project library is available to sought after decision makers all year long, ensuring ample exposure for your project. It doesn’t matter if you’re in early development or post-production – if you’re looking to partner with a brand in Canada, this is the place to start.

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PPB.23227.BCONxchange.inddB.23227.BCONxchange.indd 1 115/05/135/05/13 2:142:14 PMPM Three different types of financing. Three different funds. All from one source.

The Rogers group of funds offers support to Canadian independent producers with three different types of funding: Rogers Telefund offers loans to Canadian independent producers; Rogers Documentary Fund, Canada’s premier source of funding for documentary films and Rogers Cable Network Fund, an equity investor in Canadian programs with a first play on a Canadian cable channel. Three different types of financing. Three different funds. All from one source – Rogers. For more information contact Robin Mirsky, Executive Director, at (416) 935-2526.

Application deadline for the Rogers Documentary Fund is Wednesday, August 7, 2013. Application deadlines for the Rogers Cable Network Fund are Wednesday, June 5 and Wednesday, October 2, 2013.

www.rogersgroupoffunds.com

PPB.23185.Rogers.inddB.23185.Rogers.indd 1 113/05/133/05/13 4:024:02 PMPM THE Vikings, a coproduction from Toronto’s Take 5 Productions and Ireland’s Octagon Films, received a second season order in April from PLAYBACK INDIE LIST History Channel Canada and History in the U.S. It was a good one. This is the topline conclusion to be made after pondering the results of COPRO MARKET PLAYS BY ETAN VLESSING The TV coproduction, where Canadian producers insists Breakthrough Entertainment executive Playback’s annual independent production work with foreign partners and universal producer Ira Levy. survey, which appear on the following pages. storylines, is a straightforward idea. That is, until As Levy notes, much depends on the project’s you go deeper into the demands of the evolving material, adding “not everything is destined to be Seen as a whole the lists, along with discussion global market for dramas. a coproduction.” pieces of the most important trends illuminated For coproduction veterans, today’s global Deciding which projects should be fi nanced, drama space brings both daunting risk and and how, takes care. by the data, show an industry that is thriving tempting new horizons. Here, Canada’s recent experience with despite profound structural changes to the TV audiences worldwide have embraced international coproductions like Muse high impact “event” dramas like Vikings and Entertainment’s Pillars of the Earth and marketplace. In particular, indie producers are Pillars of the Earth. Yet Canadian TV producers Entertainment One’s Rogue, offers a pathway entering international coproductions and U.S. inevitably need to work with foreign partners on to follow. international co-productions to assemble budgets Years of educating potential foreign partners co-fi nanced projects like never before. As well, of $5 million per hour or higher and ensemble about the benefi ts of pooling risk and talent producers of all stripes and broadcasters are casts required to make these global dramas for has fi nally drawn a number of American and increasingly cash-strapped broadcasters. British fi nanciers and producers to international responding quickly to the fast rise in online, VOD And for all the rewards of international partnerships with Canadians producers. and social media-driven viewing habits. coproductions – creating high impact TV at a reduced But that boom has raised questions over cost by pooling soft money and talent available to strategies like adopting universal storylines Via an online survey conducted in March, individual producer partners – risk abounds. and pursuing multi-passport TV series that are Playback asked Canada’s producers to provide For starters, making multi-passport dramas anchored in the U.S. market even as they’re has become ever more competitive and complex positioned for strong international sales. in-depth information about their operations in for Canadian coproducers and broadcasters In particular, when to approach the all- 2012, most importantly how much they spent on increasingly entering the space. important U.S. partners, who will likely demand “The whole nature of coproductions is in a creative control in return for their fi nancing and various parts of their businesses. In most sectors state of fl ux. But that’s not a bad thing. With Hollywood affi rmation, occupies the minds of of the industry, spending rose. consolidation and new platforms opening up, Canadians looking to structure next-generation you either see big challenge or new opportunity,” coproductions.

summer 2013 | 23

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The Listener is a copro that includes Bell Media, Fox International Channels and Shine International.

John Weber, CEO of Toronto’s Take 5 Productions, whose It’s not always that seamless. their seventh and fourth seasons respectively. credits include award-winning and widely-sold international Fred Fuchs, who has executive produced a host of More U.S. companies in the coproduction space means projects and The Borgias, notes the perennial multi-passport mini-series, including Camelot for Starz Canadians don’t have to return to the same players in Los Angeles. dilemma in coproduction, as much else in the TV game, is how Entertainment and Transporter for HBO Cinemax, which was Smaller cable players like Participant Media’s Pivot and NGO to line up international partners and in what order. shot in Toronto, says three-way Canadian, U.K. and U.S. Channel are today eyeing collaboration with foreign partners. It’s no surprise the global dramas Canadians these days projects can pose a money-versus-creative control dilemma True, smaller U.S. players may mean smaller license fees, but as participate in divide themselves between minority and majority for participating producers. Jennings observes “cable or smaller networks… can’t just blow co-productions. If you bring the most money to the table, you Veteran British soap producer Tony Wood, who has just off 13 episodes as they don’t have the resources.” have the most creative say. pacted with Cinefl ix Media to form Canadian-U.K.-American That’s unlike bigger U.S. networks, who may quickly cancel And if you bring less money, you have less creative say. partnership Buccaneer Media, notes: “It’s very diffi cult to a series if the early ratings don’t meet expectations. Here’s where personal relationships fi gure large in the square the circle because someone at some point wants the Even as the debate over how to structure partnership coproduction process to balance out competing interests. lion’s share of the editorial vision, and when you factor in a for coproductions continues, local producers are racking Take Vikings, a series Take 5 co-produced with Ireland’s marketplace as tough as the U.S., it’s a singular marketplace.” up wins with foreign partners. In recent months, Take 5 Octagon Films that is spearheaded by The Tudors writer- At the same time, says Christina Jennings, the CEO of secured a second season for Vikings, for example. Elsewhere, producer Michael Hirst and producer Morgan O’Sullivan. Toronto’s Shaftesbury, bringing the Americans on board earlier Bell Media’s Space and Québec’s Cité-Amérique joined First MGM’s involvement was secured as the fi nancier give Canadian producers options. With powerful U.K. and U.S. U.K. prodcos and BBC America on seven-part mini-series for the Canadian-Irish co-production outside of Canada and producers looking to international fi nanciers for the high-end Jonathan Strange & Mr. Norrell for BBC One, while Tricon’s France. Then Take 5 pitched Vikings to Shaw Media for its dramas, “there’s a lot more competition, but also a lot more fi rst planned scripted division project is a 10-part mini-series History Channel in Canada. It helped that Roma Khanna, buyers,” she argues. The Inquisition, to be shot in Spain as an international co- a former Canadian TV executive who now leads MGM’s Shaftesbury does the period drama Murdoch Mysteries with production with a minority Canadian stake. TV division, also helped in the approach to Shaw Media by the CBC, UKTV’s Alibi Channel and international distributor ITV bringing comfort to the Canadian TV executives that they could Studios Global Entertainment and sci-fi drama The Listener collaborate well with the foreign partners. with partners Bell Media, Fox International Channels and Shine Finally U.S. History Channel got onboard. International. Murdoch Mysteries and The Listener are into

24 summer 2013 | playbackonline.ca

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PPB.Indie.inddB.Indie.indd 2424 114/05/134/05/13 8:218:21 PMPM VOD, ONLINE BY DANIELLE NG-SEE-QUAN GAME PLANS TOP PRIORITY Indie producers are expanding their digital No surprise here: indie producers are going digital. made sense for indies to leverage social media even Almost all of the production companies who answered in its simplest (and most inexpensive) forms to build strategies to capitalize on the online the Playback Indie Production Survey say that audience engagement early. content boom their business models changed in 2012 to remain Others, like Montefi ore Films, Muse Entertainment, competitive in the rapidly developing digital marketplace. Apartment 11 Productions and Seven24 Films are Those changes include putting greater emphasis on focusing more resources to digital, like hiring personnel BY DANIELLE NG-SEE-QUAN their social media strategies, developing second-screen specifi cally for maintaining content or social media and content like apps and digital-only videos related to their for managing partnerships with specialized agencies. The development of Sinking Ship properties, and courting digital distribution platforms and Clearly, building brands is the new end game. Doing Entertainment’s kids program OTT services like Hulu, YouTube and Netfl ix. it online makes sense, since the strategy allows for Annebots is being supported by Producers say they turned to social media to boost targeted engagements and immediate audience Amazon Studios. interest in their companies and their projects. At a feedback on content. time when consumers are always attached to at least one screen – mobile, tablet, laptop, set-top box – it (continued on page 28)

summer 2013 | 25

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PB.23236.OIAF.indd 1 13-05-13 3:40 PM PB.23249.JobBoard.indd 1 15/05/13 2:16 PM PPB.Indie.inddB.Indie.indd 2525 115/05/135/05/13 3:593:59 PMPM llistprint.indd 26 i s t p r i n t . i n d d

2 6 The top 50 Canadian production companies INDIE LIST spending in 2012

TOTAL (INDIE PROD. TOTAL INDIE TOTAL SERVICE FEATURE DOC GENRE ANIMATION (INCLUDES KIDS GENRE NON-SCRIPTED COMEDY # COMPANY: DRAMA SERIES DIGITAL PLUS DEV.) PRODUCTION DEVELOPMENT PRODUCTION PRODUCTION TOTAL KIDS AND OTHER) TOTAL GENRE TOTAL GENRE TOTAL

1 Lionsgate * $1,510,000,000 2 Entertainment One $232,221,692 $229,606,016 $2,615,676 $11,716,921 $202,911,090 $4,177,340 3 Muse Entertainment $72,023,945 $71,504,453 $519,492 $2,527,198 $717,475 $49,058,103 $2,540,655 $1,841,483 4 Don Carmody Productions $71,850,000 $70,600,000 $1,250,000 $70,600,000 5 Zone3 $70,900,000 $3,960,000 $7,800,000 $7,100,000 $34,800,000 $15,800,000 $1,400,000 6 Omnifi lm Entertainment $64,249,967 $63,680,028 $569,939 $8,841,839 $54,838,189 7 Take 5 Productions $49,357,250 $49,200,000 $157,250 $49,200,000 $50,000 8 Nomadic Pictures $47,100,000 $47,000,000 $100,000 $15,000,000 $30,000,000 9 Temple Street Productions $45,475,094 $45,095,094 $380,000 $29,030,348 $1,350,000 10 Epitome Pictures $44,100,000 $44,000,000 $100,000 $50,000 $44,000,000 $370,000 11 Shaftesbury $41,319,103 $40,387,807 $931,296 $37,757,000 $2,069,742 12 9 Story Entertainment $38,943,000 $31,943,000 $7,000,000 $28,643,000 $3,300,000 13 Breakthrough Entertainment $30,267,815 $29,763,000 $504,815 $2,183,000 $14,879,000 $12,178,000 $183,000 $340,000 14 SEVEN24 Films $27,800,000 $27,500,000 $300,000 $27,500,000 $450,000 15 Force Four Entertainment $26,160,000 $26,050,000 $110,000 $3,300,000 $1,400,000 $8,750,000 $300,000 16 Odyssey Media $26,000,000 $25,000,000 $1,000,000 $25,000,000 17 Thunderbird Films $25,880,541 $25,790,370 $90,171 $17,100,244 $159,000 18 XII Tribes Entertainment $20,173,748 $19,898,748 $275,000 $2,738,579 $14,789,369 $998,765 19 Tricon Films & Television $17,323,647 $17,223,647 $100,000 $4,522,529 $12,411,118 $290,000 20 Mad Samurai Productions $150,000 $17,000,000 21 marblemedia $16,500,000 $16,175,000 $325,000 $5,250,000 $9,825,000 $1,100,000 22 Darius Films $15,450,000 $15,200,000 $250,000 $10,000,000 $5,200,000 23 Incendo $14,000,000 $12,000,000 $2,000,000 24 Amaze Film + TV $12,763,994 $12,201,669 $562,325 25 Eagle Vision $12,719,260 $12,374,260 $345,000 $6,800,000 $1,474,000 $639,260 26 Paperny Entertainment $12,625,958 $11,914,855 $711,103 $11,814,856 $9,090,620 $2,724,236 $100,000 27 Great Pacifi c Media $10,585,000 $10,375,000 $210,000 $2,400,000 $4,950,000 $7,205,000 $600,000 28 $10,150,000 $10,000,000 $150,000 $3,000,000 $10,000,000 29 Peace Point Entertainment $9,470,000 $9,000,000 $470,000 $1,000,000 $8,000,000 30 Sinking Ship Entertainment $8,800,000 $8,500,000 $300,000 $7,500,000 $1,000,000 31 DHX Media * $8,650,000 $27,680,000 32 Chesler/Perlmutter Productions $8,550,000 $8,250,000 $300,000 33 $8,181,943 $7,883,311 $298,632 $13,716,611 $7,883,311 $483,584 115/05/13 4:29PM 5 / 0 5 / 1 3

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7 34 Buffalo Media Group/Buffalo Gal Pictures $7,928,712 $7,006,484 $922,228 $2,138,254 $2,259,284 $352,475 $3,322,497 $150,000 35 Cuppa Coffee Studios $6,400,000 $6,200,000 $200,000 $2,710,000 $2,790,000 $3,410,000 36 Anaid Productions $5,470,000 $5,400,000 $70,000 37 Topsail Productions $5,350,000 $5,200,000 $150,000 $5,200,000 $100,000 38 Black Walk Productions $5,050,000 $5,000,000 $50,000 $500,000 $5,000,000 39 Aircraft Pictures $5,001,600 $4,439,853 $561,747 $4,203,513 40 Guru Animation Studio $4,800,000 $4,500,000 $300,000 $3,000,000 $4,500,000 41 Worldwide Bag Media $4,652,507 $4,524,638 $127,869 42 Radical Sheep Productions $4,400,000 $4,000,000 $400,000 $4,000,000 43 Chocolate Liberation Front $4,150,000 $4,000,000 $150,000 $600,000 44 Arcadia Entertainment $3,623,033 $3,588,033 $35,000 $3,077,530 $510,504 45 Greedy Productions $3,100,000 $3,000,000 $100,000 $100,000 46 Farpoint Films $3,075,000 $2,985,000 $90,000 $250,000 $2,985,000 47 Lively Media $3,035,000 $3,000,000 $35,000 $3,000,000 48 Markham Street Films $2,850,000 $2,700,000 $150,000 $1,500,000 $1,200,000 49 Eyesteelfi lm $2,700,000 $2,500,000 $200,000 $2,200,000 50 Apartment 11 Productions $2,650,000 $2,550,000 $100,000 $600,000 FULL SURVEY TOTALS $2,632,279,463 $1,173,015,914 $28,763,549 $83,127,603 $162,734,642 $61,855,439 $551,904,099 $111,420,480 $68,856,627 $71,431,956 $33,940,500 $11,334,327

Notes: The totals shown above and in the accompanying top 5 lists are based on all responses to the survey. The full Indie List is available at Playbackonline.ca. * Data on Lionsgate and DHX taken from publicly available fi nancial results.

TOTAL INDIE (PROD + DEV) TOTAL INDIE PRODUCTION TOTAL DEVELOPMENT 2012: $2,632,279,463 (up 36%) | 2011: $1,930,190,000 2012: $1,173,015,914 (up 17%) | 2011: $994,275,000 2012: $28,763,549 (up 33%) | 2011: $21,564,000

Lionsgate ...... $1,510,000,000 Entertainment One ...... $229,606,016 9 Story Entertainment ...... $7,000,000 Entertainment One ...... $232,221,692 Muse Entertainment ...... $71,504,453 Entertainment One ...... $2,615,676 Muse Entertainment ...... $72,023,945 Zone 3 ...... $70,900,000 Incendo ...... $2,000,000 Don Carmody Productions...... $71,850,000 Don Carmody Productions ...... $70,600,000 Don Carmody Productions ...... $1,250,000

2012’S TOP 2012’S TOP 5 Zone 3 ...... $70,900,000 2012’S TOP 5 Omnifi lm Entertainment ...... $63,680,028 2012’S TOP 5 Odyssey Media ...... $1,000,000

WHO LOOKED? Broadcasters, producers, directors, distributors, DOPs, stars, showrunners, deal packagers, funders, regulators, writers, programmers, policy makers, VPs, EVPs, SVPs (& some plain ole Ps), even CEOs & CFOs, as well as editors, composers, techies, students and more. 1181,296*81,296* ADVERTISE WITH ONLINE AND REACH THEM ALL. When you need to raise profi le - to promote, lobby or fi nd new business - Playback’s digital platform means *The number of views playbackonline.ca you’re reaching the whole industry, from show-makers to decision-makers. 115/05/13 4:29PM 5 / 0 5 / 1 garnered last month. Contact Jessamyn Nunez to get your message seen by the audience that matters: [email protected] 3

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list.inddPB.2335 4 1.House.indd 1 15/05/1315/05/13 4:252:15 PMPM INDIE SURVEY

While it may not be able to create the potent visibility of its original series House of Cards, Netfl ix says it can help indie productions get noticed.

episodes and sold to broadcasters. Pursuing alternate digital distribution and fi nancing models is also top of mind for indie producers. An example is Toronto-based Sinking Ship Entertainment’s Annebots pilot that was recently shortlisted by Amazon Studios. The company’s model lets creators submit theatrical fi lms and episodic series for optioning as part of Amazon’s development slate. If it chooses to buy a series, Amazon pays a $55,000 option payment, and pays $10,000 each for two additional option extensions. Sinking Ship partner and online creative director Blair Powers says Amazon’s plan is less about it becoming an OTT service, and instead a main screen destination with high-quality original exclusives. “This is what producers have been waiting for – the promise of real production fi nancing from a totally digital place – and it’s very exciting to be at the start of that process. I think this is just the beginning of many new arrangements between TV producers and truly digital broadcasters,” says Powers. J.J. Johnson, a partner and director at the Toronto- based kids prodco, points out that Amazon’s model (continued from page 25) offers a one-stop shop from a transmedia and “360” ANIMATION IP perspective as well, since the e-commerce company (includes kids and other programming) Online platforms and OTT services can boost already has fi ngers in different parts of the pie, including 2012: $111,420,480 (up 4%) | 2011: $106,974,000 “discoverability” of content and talent, an issue that the e-books and its own tablet. Canadian Media Production Association noted in a recent “In addition to the TV fi nancing, Amazon was a great 9 Story Entertainment ...... $28,643,000 study is a key challenge in the digital age. fi t for us from a business merchandising perspective Breakthrough Entertainment ...... $14,879,000 Being licensed by Netfl ix can help with online discovery, because here you have a company that has unbelievable Portfolio Entertainment ...... $10,000,000 says Joris Evers, the Los Gatos, Calif.-based company’s marketing and online expertise for sales that they can Nerd Corps Entertainment ...... $7,883,311 director of global corporate communications. “Smaller fulfi ll directly to the viewer – and it’s completely in sync

2012’S TOP 2012’S TOP 5 marblemedia ...... $5,250,000 productions that had a limited reach in the festival circuit with the series episode release,” Powers adds. and a small theater run will fi nd a much bigger audience It only makes sense then that with all these shifts on Netfl ix,” he tells Playback. toward non-traditional players and platforms many Beyond Netfl ix, the web is opening doors for additional indie producers say in the survey they foresee a drop COMEDY SERIES and direct revenue streams for content creators. That in broadcast licence fees in the next few years. The 2012: $33,940,500 (up 2%) | 2011: $33,219,000 could include revenue sharing with U.S. VOD provider decrease in fees would make content creators look even Hulu, ad revenue from a YouTube channel, which harder for partners other than traditional broadcasters. Zone 3 ...... $15,800,000 can range from a few thousand dollars to six fi gures As audiences continue to move away from appointment Force Four Entertainment...... $8,750,000 Topsail Productions ...... $5,200,000 annually if you’re a top-rated independent partner, viewing and traditional broadcaster scheduling blocks, Buffalo Media Group ...... $3,322,497 web series, or long-term revenues trickling in via a OTT services are starting to get the upper hand with partnership with a digital aggregator. their original content, like Netfl ix’s House of Cards and 2012’S TOP 2012’S TOP 5 Great Pacifi c Media ...... $600,000 Michael Souther of -producer Amaze Film + Lionsgate-produced Orange is the New Black, in addition Television says the company’s priorities have shifted in the to licensed fi lms and TV shows available for consumption last few years towards digital and away from the traditional at the viewer’s convenience. DOCUMENTARY development model. Specifi cally, the conversation about the Johnson believes Sinking Ship properties like Dino Dan 2012 total: $61,855,439 (down 45%) | 2011 total: $113,423,000 digital components to a project are starting much earlier and Annebots, which he says haven’t always fi t easily into in the production cycle, and more emphasis is being put network schedules, are benefi tting from this new market Entertainment One ...... $11,716,921 on ensuring the digital content integrates better with the reality. “It doesn’t matter who we’re scheduled after or who’s Paperny Entertainment ...... $9,090,620 traditional content. our lead in, the show needs to survive on its own merits, Omnifi lm Entertainment ...... $8,841,839 “We’ve had a good return on our investment when which is a challenge we’re eager to take on,” he says. Great Pacifi c Media ...... $4,950,000 we’ve developed digital content that either enhances When it comes to scripted shows, Amaze’s Souther

2012’S TOP 2012’S TOP 5 Zone 3 ...... $3,960,000 our traditional content or drives people to our traditional agrees. VOD services, with their schedule-free viewing, content,” says Souther. mean audiences are less likely to drift away from a Echoing other producers in the survey, he adds that program, which regularly happens on linear TV if it is Amaze is increasingly developing digital-only content, parked in a bad timeslot. and notes the growing popularity of web series, which “It’s delivery methods like these that help keep people have the potential to also be packaged into longer-form fully engaged with the story,” he adds.

28 summer 2013 | playbackonline.ca

PPB.Indie.inddB.Indie.indd 2828 115/05/135/05/13 4:004:00 PMPM PB.23228.Summit.indd 1 15/05/13 2:14 PM KIDS PRODUCERS DIG IN BY MARK DILLON in an effort to boost its digital strategy in creating a is looking to develop new distribution relationships. branded family YouTube network. Company president and CEO Vince Commisso says A core success strategy in creating kids content is that while TV ad revenue is under pressure in the to develop properties with an IP-fi rst, “content is king” digital age, he sees the upside of the rise of new digital perspective, even as the marketplace evolves, Toronto- outlets, noting the growing importance of the likes of based Nerd Corps says in its indie survey response. Netfl ix for TV studios that sell primetime dramas, and “While television remains our biggest driver and anticipates similar developments in his sector. The is where we start the rollout of any property, mobile major studios, which set the tone for the rest of the and online are providing great opportunities for us to market by their clout, have seen the SVOD window have a direct relationship with our core demos,” the become an integral part of every territory into which company says. they sell, he observes. Nerd Corps, the producers of , Max Steel “They’ll look at a network TV sale – then at SVOD – and Monster High, launched an interactive division a then specialty and digital. There is more demand, more few years ago, which they say has let them build the users of content, and there are more opportunities content themselves and interact directly with audiences to get the content out. They’ll try to weave it into a 9 Story’s live-action program Cache Children’s content producers are striking a to understand what kids like about their properties. windowing situation where you can please everybody Craze lures parents and kids alike. balance between producing what broadcasters “We are constantly evolving our strategy in the and maximize your revenues. As a result, I think you’ll want to buy now even as they look ahead to online and mobile space to adjust to a shifting see the value of content go up signifi cantly,” he says. the next-generation of distributors. marketplace, and shifting revenue models, such as Nerd Corps adds, “There is so much fragmentation If any of the recent digital deals are an the advent of the app store,” the company, which in the market place today that it is hard to reach kids indicator, big-name studios and traditional also launched a preschool division in 2012, adds. in big numbers, and you need make sure you have broadcasters alike are taking note of the value Toronto-based 9 Story Entertainment, which the resources to get to them on multiple platforms. of kids content across platforms. Just one producers the live-action competition series Cache But the rewards are there, if you can make content example is Dreamworks Animation SKG’s recent Craze and thriving animated kids shows like Almost that kids connect to, they want to consume it purchase of YouTube channel AwesomenessTV, Naked Animals (YTV) and () everywhere and they want to consume a lot of it.”

summer 2013 | 29

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PPB.Indie.inddPB.23228.Summit.inddB.Indie.indd 2929 1 115/05/135/05/13 4:0042:14:00 PMPM INDIE SURVEY CTV exploited Motive lead actor Lauren Holly’s social media following to help boost interest in the drama online.

DRAMA SERIES 2012: $551,904,099 (up 44%) | 2011: $382,845,000

Entertainment One ...... $202,911,090 Omnifi lm Entertainment ...... $54,838,189 Take 5 Productions ...... $49,200,000 Muse Entertainment ...... $49,058,103

2012’S TOP 2012’S TOP 5 Epitome Pictures ...... $44,000,000

FEATURE 2012: $162,734,642 (up 0.6%) | 2011: $161,697,000

Don Carmody ...... $70,060,000 Odyssey Media ...... $25,000,000 Mad Samurai Productions ...... $17,000,000 Nomadic Pictures ...... $15,000,000

2012’S TOP 2012’S TOP 5 Darius Films ...... $10,000,000

KIDS (excludes kids animation) BY ETAN VLESSING 2012: $68,856,627(up 77%) | 2011: $38,703,000

Thunderbird Films ...... $17,100,244 Breakthrough Entertainment ...... $12,178,000 FROM BOOB TUBE marblemedia ...... $9,825,000 Sinking Ship Entertainment ...... $7,500,000 TO CHATTER BOX 2012’S TOP 5 Zone 3 ...... $7,100,000 Broadcasters are leveraging social media to get prime time noticed by NON-SCRIPTED viewers amid an ever-expanding buffet of screen entertainment choices. 2012: $71,431,956 (down 68%) | 2011: $220,584,000

Zone 3 ...... $34,800,000 At a time when securing viewers is harder than ever due to cluttered space.” Tricon Films & TV ...... $12,411,118 multi-platform competition and the growing tendency of viewers Here’s an example of how. Reality format Big Brother Canada Peace Point Entertainment ...... $8,000,000 to watch programs based on the recommendations of their in February debuted to impressive numbers on Slice, and would Great Pacifi c Media ...... $7,205,000

online friends, national broadcasters are increasingly using on April 7 hit a rookie series high of 757,000 total viewers. But 2012’S TOP 5 Entertainment One ...... $4,177,340 social media to spread the word about rookie or returning series. well before the debut, Slice took to social media to leverage The push for viral promotion comes as homegrown shows existing fans of the Big Brother franchise to bring them to the like the CBC’s Arctic Air and Showcase’s Continuum are homegrown version. One result was a national casting call that hard to tweet the new digital content to their niche audiences. these days more than holding their own against primetime brought 10,000 people to auditions for the Insight Productions’ CTV exploited lead actor Lauren Holly’s social accounts (she competition, while U.S. imports aren’t the sure things they once show. While only 15 of them became house guests, the rest has 20,000 Twitter followers and more than 10,000 Facebook were for networks. For broadcasters, it;s a new era. were used to help build buzz for the season premiere, in large likes), especially when it came to targeting young viewers. For TV viewers, the new normal of programming competition part due to social media. “They are vested,” Solomon says of “They may not notice traditional advertising on radio and TV, so and choice verges on overwhelming as they have to decide the early series evangelists. you need to come up with a social media campaign,” insists Phil among offerings available on Netfl ix, VOD platforms, For Bell Media, an advantage comes from being able to use King, president of CTV programming and sports at Bell Media. smartphones, tablets and Xbox. its array of media assets to target on-the-go TV viewers with Rogers took the same tact with Seed, an original comedy To promote the season return of its highest-rated unscripted show promos. An example here is crime drama Motive, which from Force Four Entertainment that had cast taking to Twitter show, the CBC piggy-backed on the social media followings for was given a plum post-Super Bowl slot on CTV for its launch. early and often to drum up buzz about the series before it each of the investor personalities on Dragon’s Den, including After CTV’s initial expectations for Motive were realized with an bowed in February. David Chilton, who joined last fall. impressive debut on Sundays – it was pulling in more than 1.2 The network also introduced an interactive app, Seed Baby, “Dragons come with an active social media and traditional million viewers for weeks, according to BBM Canada data – the an online sneak-peek video, and a website with cast bios, media following, so we were cross-promoting with their broadcaster moved the cop drama to Thursdays at 10 p.m., photos and full episodes post-broadcast, to build yet more own fans,” says Bridget Hoffer, executive director for CBC after Grey’s Anatomy. discussion around the property. marketing, communications and brand. Motive was also available on demand across CTV’s digital “People are thirsty to get the extra bits of information and Muriel Solomon, the head of marketing for specialty channels platforms, including CTV.ca and the CTV app, as Bell Media share,” points out Rogers Media broadcast president Scott at Shaw Media, agrees that having a strong social media gambles fans will consume it on those platforms as well. To Moore. “I really believe social media will be one of the saviours strategy is essential. She notes that today it’s all important that end CTV produced digital-only content that went beyond of entertainment content. It really is the water cooler in live “to be in a number of places. You try to break through in a the TV show’s plotlines. The producers and actors then worked time,” he adds.

30 summer 2013 | playbackonline.ca

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PPB.23221.Ryerson.inddB.23221.Ryerson.indd 1 113/05/133/05/13 4:054:05 PMPM ACADEMIC

CONTINUING MEDIA EDUCATION BY ETAN VLESSING From showrunner bootcamps to transmedia hackathons, media schools and centres are

Writer Andrew Malabre is helping to shape the next generation of industry leaders. developing a pilot called The Candidate as part of his Encouraging innovation while also passing of students no longer know with precision what HARD SKILLS work in the CFC’s Bell Media Prime Time TV program. on tradition, the hallmarks of a well-rounded they are going to do upon graduation. Instead, Elsewhere, Toronto’s advanced training facility for education, has always been a balancing act for they are being equipped to be able to effortlessly industry professionals, the Canadian Film Centre, academic institutions. evolve with an industry endlessly on the move. focuses on the need for talent who can tackle the But as schools look to give graduating students An example of this strategy is the RTA School of toughest creative and business challenges. the skills required for long careers, teaching Bite, a new transmedia comedy lab that aims to For Kathryn Emslie, the centre’s director of how to manage current and future media trends go beyond the traditional to discover what fi lms and TV programs, its various content labs is even more of a challenge. Today, they must it takes to make people laugh across multiple and incubators that mentor writers, directors, and do this as the media industry itself increasingly platforms. It’s a partnership that includes Blue Ant producers stress “real, practical skills and activities.” moves far beyond fi lm and TV as consumption Media’s Bite TV and the Bell Fund. She adds, “It’s not academic or theoretical.” platforms to smartphones and tablets, the It sees 10 select participants who are The approach is underlined by the need to train internet and other digital platforms. encouraged to innovate as a group while being Canadian screenwriters to meet a chronic shortage Charles Falzon, the chairman of the RTA School mentored by industry experts, including comics of seasoned showrunners in this country. of Media at Toronto’s Ryerson University, says an and transmedia and gaming professionals. Enter the CFC’s Bell Media Primetime TV industry buffeted by disruption calls for hands-on After a month of preparation and training “they program, which prepares screenwriters for the training of students that encourages especially pitched us as many germs of ideas that they demands of the Hollywood-style writers’ room. nimble thinking. co-created, and out of that process we have fi ve The program takes eight up-and-coming “It’s hands on, but not just from a technical projects that are being piloted,” he adds. writers and prepares them for the high-pressure point-of-view. It’s hands on from a creativity For Bite TV, the incubator provides an role by having an experienced senior creator or and lateral thinking point-of-view,” he explains. opportunity to discover up-and-coming talent and showrunner put them through the story-room For starters, Falzon insists the current crop possible next generation content. experience for three months, she adds.

32 summer 2013 | playbackonline.ca

PPB.Academic.inddB.Academic.indd 3232 113/05/133/05/13 4:424:42 PMPM There is a story to be told here.

How will you tell it? With the largest combination of Media, Arts, and IT programs offered in any college in Canada, you can tell your story through multiple platforms. Certificate, diploma, degree, and postgraduate programs. Highly experiential learning. Internship opportunities. Industry-relevant experience.

Advertising Animation Journalism Public Relations Graphic Design Game Development Radio Fundraising Package Design Interactive Media Television Media Visual Arts IT Film & Video Communications Digital Arts Web Development Photography

mediastudies.humber.ca

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The Canadian Film Centre and the National Screen Institute are working to help the industry meet the chronic need for seasoned showrunners.

“They’re learning story arcs, they’re understanding the mechanics Industry outreach to media students that involves literally hands- of story, and going through and having to create scripts and on skills is also at play at William F. White International. delivering them with a tight turnaround,” Emslie explains. Here Bruce Dale, education and training manager at the Toronto- The National Screen Institute is also hard at work turning based equipment rental giant, shows student fi lmmakers the latest screenwriters into much-needed showrunners, in partnership with in digital technology as they aspire to move into the director’s chair. Falzon Bell Media (again) as part of the NSI Totally Television program. “It complements what the institutions are teaching,” Dale says of As it trains writer/producer teams in TV series production, the workshops and seminars he holds at academic institutions in and NSI program has hot-housed popular shows from around Toronto like Ryerson, Humber College, OCAD University and Breakthrough Entertainment and Buffalo Gal Pictures, and Todd Niagara College. and the Book of Pure Evil by Frantic Films, Aircraft Pictures and An example is WFW’s two-day workshop that has students learn Corvid Pictures. on-set electrical safety and best grip practices. NSI’s senior program manager Brandice Vivier notes that while There’s also a one-day leadership development workshop that Bell Media is the sponsor there are no strings attached. “They allow teaches team and trust building, goal setting and confl ict resolution. NSI to choose the best projects with the best teams, regardless of “This gives them a foundation and helps accelerate the learning whether they are a fi t for one of Bell’s stations,” she adds. process,” Dale insists about the program, which also aims to turn Besides the hands-on series development training, the producer/ students into life-long customers of William F. White. writer teams are also paired during Totally Television with executives Besides supporting students with in-kind grants, WFW’s education from major networks, showrunners and story editors to hone their and training outreach includes WFW’s Tool Belt, an online and show concepts and make them pitch perfect. mobile educational app where students can access technical Canadian academic institutions are also embracing training for information about equipment for possible rental. Emslie next-generation new media content. Back at Ryerson, the RTA is collaborating with the Canadian Media Production Association and the Ontario Media Development Corp. on a transmedia production acceleration program, essentially a workshop and mentorship program that gives students the skills required for transmedia properties. The program combines theorizing with a focus on innovation and mentoring for new forms of story-telling.

TRANSMEDIA To that end, the RTA has brought on board U.S.-based transmedia guru Lance Weiler as a producer-in-residence to teach students how technology combined with the creative process can create immersive storyworlds. Vivier Falzon says Weiler, who was the subject of a Wired cover story in 2010, has helped the RTA’s in-house faculty to develop programs, guest lectured, and led a 24-hour story “hackathon.” The hackathon challenged students to hot-house a story experience that crosses technology platforms and that could work in the real world. “We invited students from all disciplines, including fashion, business and engineering, and had them working with RTA media students to spend two-and-half days to help UNICEF to fi ght polio where it is still left in the world,” Falzon explains of the event which took place last spring.

34 summer 2013 | playbackonline.ca

Are you eager to get involved in the evolving world of Independent Television Production?

The Independent Television Producers’ Program Begins November 2013

Get the essential knowledge required so you can start a new company. Qualified candidates will be fully funded for 10 months. In order to qualify Employment Ontario programs are funded you must meet Employment Ontario criteria to qualify. in part by the Government of Canada

For details visit: centennialcollege.ca/coe/itp

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The Banff Centre - Film & Media PROGRAMS: Artists working in digital fi lm, audio, and interactive media develop projects in all stages, from experimentation to production and post-production. Opportunities for developing artists include residencies, creative workshops, and professional training. Established artists create innovative partnerships with The Banff Centre. DEGREES/CERTIFICATES: Non-degree granting, public post-secondary institution. FACILITIES: Fully equipped facilities for digital fi lm and video, photography, audio, and digital media including: a 2,500 square-foot television studio space; full HD production complement; green screen environment; AVID post production suites; audio facilities including surround sound recording and editing studios; research THE BANFF CENTRE: FILM AND MEDIA DEPARTMENT facilities including collaboration, and visualization labs; access to performance spaces, and access to music, LOCATED: Banff, Alberta visual arts, and animation/graphic design department. FOUNDED: 1933 NUMBER OF STUDENTS: 450 (Film & Media), (4,000 artists across disciplines) TEL: 1.800.565.9989 or 403.762.6180 WHAT’S NEW: Moving forward, The Banff Centre will disseminate content with an emphasis on the FAX: 403.762.6345 development of signifi cant collaborations, co-productions, and cross platform broadcast opportunities. E-MAIL: [email protected] WEBSITE: www.banffcentre.ca CONTACTS: Kerry Stauff er, Executive Director, Film & Media department; Theresa Leonard, Director and Executive Producer, Audio Programs

The Banff Centre: Canada’s creative leader in arts and culture The Banff Centre is the largest arts and creativity incubator on the planet. We support the commissioning and creation of new work by individual artists and arts collectives, and provide resources for collaboration and applied research. Training and professional development is off ered at the post-graduate level in a multi- disciplinary environment: music, theatre, dance, opera, Indigenous arts, literature, ceramics, print-making, painting, papermaking, photography, sculpture, audio engineering, digital fi lm, and interactive media.

PB.23269.Banff.indd 1 Centennial College 13/05/13 4:05 PM PROGRAMS: The Independent Television Producers’ Program - Fully funded for 10 month duration NEXT PROGRAM: November 4, 2013 FACILITIES: South Central Toronto NUMBER OF STUDENTS: 35 WHAT’S NEW: This program is reconstructed every year to insure up to the minute relevant industry information. It is delivered once a year CONTACT: Program Designer, Karen O’Donnell - [email protected]

The ITP Program is delivered by the Centre of Entrepreneurship, Centennial College. It was designed by an active Producer/Director in 1998 to meet the needs of the independent production community seeking practical business knowledge in starting and maintaining a small content creation company. Although many could benefi t from this specialized program, it is supported by the Ontario Government as part of the Self Employment Benefi t Program and therefore candidates must be in receipt of Employment Insurance benefi ts or have received in the past three years and must not be currently employed full time. The program focuses on developing critical business skills blended with up to the minute information about the evolving industry. The fi nal component is the incorporation of practical creative elements that must be refi ned to insure success. A variety of industry specialists participate as guest instructors. Training takes place for 8 weeks in-class with some studio work. Elements include: Business structures, fi nancial management, tax implications, Entertainment law, Insurance requirements, Project pitch package, Building the project budget, Pitching to Prodco vs. Broadcaster, Cross- LOCATED: Toronto, Ontario Platform/Transmedia components and much more. The ultimate product completed by each participant is a FOUNDED: 1966 comprehensive Business Plan for their new company. Beyond the 8 week training component each individual is provided an opportunity to meet and consult with the industry advisor during the remaining 8 months of the PHONE: 416-289-5000 x 7115 program as they launch and maintain their business. If selected to participate, this program is fully funded for E-MAIL: [email protected] the 10 month duration providing a training stipend. Due to volume of requests the Program designer requests that those interested contact [email protected] for more information and to register to attend a WEBSITE: www.centennialcollege.ca/coe/itp mandatory information session. Sessions will commence July 2013 in Toronto.

PB.23262.Centennial.Listing.indd 1 13/05/13 4:06 PM AAdListings.indddListings.indd 1 113/05/133/05/13 4:294:29 PMPM Humber College PROGRAMS: Advertising, Graphic Design, Package Design, Visual Arts, Digital Arts, Animation, Game Development, Interactive Media, IT, Web Development, Journalism, Radio, Television, Film & Video, Photography, Public Relations, Fundraising, Media Communications, and more!

DEGREES/CERTIFICATES/ DIPLOMAS: Certifi cates, Diplomas, Advanced Diplomas, Bachelor’s Degrees, Graduate Certifi cates, Continuing Education and Corporate Training. FACILITIES: digital cameras, fi lm cameras, motion capture studio, motion picture studios, photography studios, Humber College, School of Media Studies & I.T. HD television mobile production unit, digital broadcast centre, radio station (96.9 Radio Humber), industry- standard lighting and grip, certifi ed Pro-tools trainer, certifi ed Final Cut Pro trainer, professional faculty LOCATED: Toronto, Ontario FOUNDED: 1967 NUMBER OF STUDENTS: 22,000 full-time students and 56,000 part-time students TEL: 416-675-6622 ext 4111 WHAT’S NEW: Film & Television Production student’s documentary once again accepted into the Hot Docs festival. E-MAIL: [email protected] WEBSITE: www.mediastudies.humber.ca CONTACT: Offi ce of the Registrar, 416-675-5005

Humber’s School of Media Studies & Information Technology has the largest combination of media-sector programs in Canada providing training in public rela- tions, journalism, advertising, graphic design, digital arts, 3D animation, fi lm and television production, new and web-based media and information technology. Credentials range from degrees, diplomas, certifi cates and postgraduate certifi cates. Our students train with a team of dedicated faculty members who have years of experience in their respective fi elds and maintain strong industry connections. Students learn to tell their story in state-of-the-art facilities including a digital broadcast centre and a mobile broadcast unit. The School of Media Studies & Information Technology keeps the Humber community well informed of current events and campus activities through the award-winning Humber Etc, Humber Radio, Humber TV and the Daily Planet website, all student-run media outlets. We enroll the best, and produce graduates with the skills most sought after by industry.

PB.23260.Humber.Listing.inddLoyalist 1 College PB.23317.Haris.Listing.indd13/05/13 4:09 PM 1 13/05/13 4:10 PM PROGRAMS: The School of Media, Arts and Design off ers: Advertising and Marketing Communications, Animation, Architectural Technician/Technology, Art and Design Foundation, Broadcast Engineering Technology, General Arts and Science, Graphic Design, Journalism – Online, Print and Broadcast, Media Experience, Photojournalism, Radio Broadcasting, Residential Drafting and Design, Television and New Media Production, and post-graduate programs including 3D Video Production, Fundraising and Development, Public Relations, and Sports Journalism. LOCATED: Two beautiful campuses in Belleville and Bancroft, FACILITIES: Bring your design ideas to life in our state-of-the-art building sciences lab where you can create manual, Ontario Computer Assisted Design (CAD), and 3D models using the latest software. FOUNDED: 1967 Work with Mac Final Cut Pro HD editing systems, a motion capture system and studio, 3D digitizing technology and HD broadcast-grade cameras and decks. Use industry software including Autodesk animation software (Softimage and Maya), TEL: 1-888-LOYALIST and the Adobe Master Suite of editing and digital processing. E-MAIL: [email protected] Gain on-air and behind-the-scenes broadcast experience on two radio stations; the College radio station 91X, which serves WEBSITE: www.loyalistcollege.com the local region, and Hot Hits, Loyalist College’s internet radio station. Plus, hone your journalism skills in an innovative integrated newsroom where audio, video, print, traditional broadcast, and online professionals work side-by-side. NUMBER OF STUDENTS: Average class sizes in the School of Media, Arts and Design range from 15 to 30. CONTACT: Please refer to the Loyalist College website for specifi c program contact information. Loyalist College prepares students for a rewarding career by combining rigorous academic standards with hands-on training from industry experts. Programs range from apprenticeships and certifi cates to diplomas and post-graduate studies. Loyalist off ers more than 60 full-time programs and 77 university transfer agreements around the world. The best testament to the College’s value is from students, 97 percent of whom say they would recommend Loyalist to a friend. Loyalist is committed to helping students fi nd great jobs, as well as supporting and enhancing the economic and social development of all individuals in its communities.

PB.23304.Loyalist.indd 1 NAIT Digital Media and IT PB.23237.NSI.indd13/05/13 1 4:09 PM 13/05/13 4:10 PM PROGRAMS: (Career Paths) Video Production, Animation, Game Design & Development, Visual Communications, Web Design & Development, Application Development, Systems Administration, IT Business Analysis

CERTIFICATE/DIPLOMAS: DMIT Diploma with Career Path Designations

FACILITIES: Sony, Panasonic & Canon technologies, Cylorama/GreenScreen production studio, industry standard lighting &

Academic Listings Grip, SGO Mistika software, Adobe Suite labs, full production and colour grading suites 2D/3D

NUMBER OF STUDENTS: Approx. 260 per year

LOCATED: , Alta WHAT’S NEW: The First Transmedia School of its kind in Canada training Digital Content Creators. DMIT is proud to announce FOUNDED: 1959 their partnership with SGO Mistika, making this the only school in North America training students to operate the revolutionary Mistika Software (2D & 3D post production and fi nishing). DMIT is matching this software with Canon’s latest TEL: 780.378.6140 C300 & C500 image capture technologies making it one of the most advanced digital training curriculums of its kind. EMAIL: [email protected] WEBSITE: www.nait.ca/dmit CONTACT: Steve Chattargoon, Chair, Digital Media and IT

A NAIT DMIT graduate of the two-year Digital Media and IT diploma program will become an entry-level professional in one or more technological and creative industries. The graduate will be provided with a unique opportunity to pursue multidisciplinary studies across areas of focus such as video, animation, game design and programming, application development, IT business analysis, systems administration, visual communications, and web design. Students can chart their career path by choosing to major in Web Design and Development, Digital Video Production, 2D and 3D Animation, Game Design and Development, Application Development, Visual Communication, IT Business Analysis, System Administration. In the Digital world all of these career paths intersect and new combinations of skills are providing the much sought after graduates as industry moves into new territories. The digital content creators merge with the Web and Application developers, Business Analysts and Data Management teams as they forge towards convergence in the Transmedia universe in the Entertainment and Branding industries.

PB.23281.Nait.Listing.indd 1 PB.23177.OIART.Listing.indd13/05/13 4:09 PM 1 13/05/13 4:10 PM AAdListings.indddListings.indd 2 113/05/133/05/13 4:294:29 PMPM Harris Institute PROGRAMS: Audio Production Program (APP), Arts Management Program (AMP), Music Business Professional (MBP), Harris International Program (HIP), Professional Development Program (PDP). FACILITIES: The studios include three control rooms for music recording, audio post and electronic music production with labs for Pro Tools, MIDI, Logic Audio, electronics and a variety of isolation spaces. Control Room A features the 2010 TEC Award winning Solid State Logic AWS 900+ SE console, the SSL XLogic X-Rack, the Drawmer 1969 Compressor and Pro Tools HD. LOCATED: Toronto, Ontario NUMBER OF STUDENTS: 90 WHAT’S NEW: Harris Institute and the University of the West of Scotland now off er two college Diplomas and a Master’s FOUNDED: 1989 Degree in 32 months with scholarships and bursaries. “Our innovative partnership with UWS is a timely acceleration of the TEL: 416.367.0178 post secondary system that achieves comprehensive education and signifi cant credentials at less cost in a shorter period of time,” says John Harris, president of Harris Institute. “To achieve equivalent credentials in the conventional postsecondary E-MAIL: [email protected] system takes 8 to 12 years.” WEBSITE: harrisinstitute.com CONTACT: Blair Francey, Registrar, [email protected]

Harris Institute is an internationally recognized leader in audio production and music industry education. Founded in 1989, the college was the fi rst to introduce accelerated one-year Diploma programs taught by active industry leaders. The 64-member faculty includes world renowned media theorist Dr. Eric McLuhan, multi-award winning producer Terry Brown, Gemini Award winning recording engineer Doug McClement, Founder Manta Sound Studios Andy Hermant, six-time JUNO Award winning music Academic Listings executive Bob Roper, MPSE award winning audio post specialist Yuri Gorbachow, seven-time CCMA ‘Album Design of the Year’ winner Patrick Duff y, ‘Unsung Hero Award’ winning publicist Jane Harbury, JUNO Award winning singer/ songwriter Fergus Hambleton, among others. Five-time ‘Studio Designer of the Year’ TEC Award nominee and faculty member Martin Pilchner designed the college’s studios for music recording, audio post and electronic music production featuring the 2010 TEC Award winning SSL AWS+SE console. The college was featured in Billboard Magazine’s 2011 ‘Schools That Rock’, Mix Magazine’s ‘Class of 2012’ and Mix Magazine’s ‘Finest Media Arts Institutions’, the world’s leading audio and music industry publications. Harris Institute graduates are in leading positions in all areas of the music industry including Sony/ATV Music Publishing, Lacquer Channel Mastering, IMAX, Metalworks Studios, Technicolor, Universal Music Canada, Phase One Studios, Pilchner Schoustal International, among others and many graduates have established their own successful companies. In preparation for its 25th anniversary, the college is celebrating graduate accomplishments with a new “Where Are They Now?” section on its website. “Our faculty and staff are thrilled to see so many former students achieving their goals and strengthening Canada’s music industry”, says the college’s president John Harris. See where the graduates are now at harrisinstitute.com.

PB.23260.Humber.Listing.indd 1 PB.23317.Haris.Listing.indd13/05/13 4:09 NationalPM 1 Screen Institute 13/05/13 4:10 PM PROGRAMS: NSI DRAMA PRIZE Emerging writer/director/producer teams develop DEGREES/CERTIFICATES: and produce a short fi lm. NSI provides advanced training and invaluable networking NSI TOTALLY TELEVISION Writer/producer teams develop their opportunities with top industry names through mentorships, case scripted TV series concepts with the goal to secure a broadcast study sessions, intensive bootcamps and informal meet-and-greets as development deal. part of each training course. NSI FEATURES FIRST Writer/director/producer teams develop their fi rst or second feature fi lm. FACILITIES: NSI NEW VOICES Culturally-sensitive training that exposes Aboriginal NSI Aboriginal Training Centre hosts all Winnipeg-based training people aged 18-35 to creative and challenging employment courses. For the remainder, NSI is a ‘school without walls.’ NSI takes its opportunities in fi lm & TV. courses on the road training students in various cities and providing LOCATED: Winnipeg, Manitoba MOVIE CENTRAL SCRIPT TO SCREEN A feature script development mentors in their communities so they don’t have to relocate. course funded by Movie Central and delivered by NSI. Selected writers FOUNDED: 1986 receive a development advance of up to $50,000. NUMBER OF STUDENTS: NSI LIFESTYLE & REALITY SERIES PRODUCER An advanced course Approximately 55-65 annually. TEL: 204.956.7800/TOLL-FREE: 800.952.9307 designed for lifestyle and reality series producers. FAX: 204.956.5811 NSI ABORIGINAL DOCUMENTARY Emerging Aboriginal writer/ CONTACT: director/producer teams develop and produce a short documentary [email protected] See nsi-canada.ca for contact info specifi c to each EMAIL: [email protected] for online and traditional screens. training course. NSI ONLINE SHORT FILM FESTIVAL Screens Canadian short fi lms year- WEBSITE: nsi-canada.ca round. Cash awards are presented four times a year.

The National Screen Institute is the leader in courses NSI Totally Television, NSI Drama Prize, , Virginia Thompson, Michael developing the careers and projects of Canadian NSI New Voices, NSI Features First, NSI Lifestyle MacLennan, Brendon Sawatzky and Michelle writers, producers and directors by delivering & Reality Series Producer, Script to Screen, NSI Latimer – with more being trained all the time. professional, market-driven and innovative Aboriginal Documentary and more. NSI also off ers national exposure through the training that gets results. During training, NSI connects students with NSI Online Short Film Festival and provides vast Renowned for giving many emerging top industry names including Don Carmody, resources and support to those in the fi lm, television, fi lmmakers, television writers and producers their Kit Redmond, Bill Mustos, Kathleen Meek, Rob and digital media industry at nsi-canada.ca. fi rst breaks, the National Screen Institute provides Merilees, Trish Williams, Martin Katz, Aaron Martin, training and production support through its Dan Petrie Jr. and Ilana Frank. Graduates include

PB.23304.Loyalist.indd 1 PB.23237.NSI.indd13/05/13 1 4:09 OntarioPM Institute of Audio Recording Technology 13/05/13 4:10 PM

PROGRAMS: Audio Recording Technology (audio immersion program including music production, live sound, audio for fi lm and television, and audio for video games and the internet)

DEGREES/CERTIFICATES: Audio Recording Technology 11-month diploma program

LOCATED: London, Ontario FACILITIES: Six on-site professionally equipped, multi-track recording studios; an acoustics research lab; a video FOUNDED: 1983 screening and gaming lab; a live sound lab and numerous computer-based audio production workstations

TEL: 866.686.5010 NUMBER OF STUDENTS: 64 maximum per academic year FAX: 519.686.0162 WHAT’S NEW: Waves LKFS Metering, Loudness Standards, Sound Devices 744xt, Yamaha C3x Grand Piano E-MAIL: [email protected] WEBSITE: www.oiart.org CONTACT: Robert Breen, Career Development and Industry Relations; Lynne Dubuc, Admissions Inquires

Over our 30 year history, OIART has established a reputation for producing honest, hard working graduates with the correct skill set for the audio industry. Graduates are employed worldwide in careers including Music Production, Live Sound, Television, Film, Radio and Video Games. Students are taught using industry standard technologies in studios that represent real world facilities. OIARTs world class faculty of industry professionals includes Audio Engineering Society (AES) Eastern US and Canada VP Robert Breen, Gemini Award winner Mark Vogelsang and Producer/Engineer/Mixer Dean Nelson (Buck 65, Beck). Visiting lectures by 30+ adjunct faculty include multiple Juno “Engineer of the Year” winners, and professionals from all audio disciplines. Final student projects for Audio for Pictures are judged by CTV Head of Audio Post Mike Nunan and Technicolor’s Manager of Sound Services, James Porteous. Notable OIART graduates include Rob Nokes, owner of Sounddogs.com and Supervising Sound Editor (Bones); Mark Krupka, Location recordist (Top Chef Canada, Survivor); Danielle McBride, Supervising Sound Editor (Degrassi: The Next Generation, LA Complex); John Hunter, Broadcast Mixer (Leafs TV); Brian Eimer, Re-Recording Mixer (Survivorman, IMAX); and mixers, editors and sound designers at companies such as Wanted! SP, Technicolor, Deluxe, Kitchen Sync, Tattersall Sound & Picture, and more.

PB.23281.Nait.Listing.indd 1 PB.23177.OIART.Listing.indd13/05/13 4:09 PM 1 13/05/13 4:10 PM AAdListings.indddListings.indd 3 113/05/133/05/13 4:294:29 PMPM Ryerson University PROGRAMS: BACHELOR OF ARTS (MEDIA PRODUCTION) Formerly known as Radio and Television Arts, Media Production off ers a creative environment with a broad education in the fi eld, ensuring a perfect mix. This includes advanced creative production, broadcasting, media business and theory. BACHELOR OF FINE ARTS (NEW MEDIA) This fi ne arts program provides students with the opportunity to set their imaginations free through the exciting world of media. Students learn to navigate a rapidly changing media ecosystem by creatively using and integrating media, art and technology. BACHELOR OF ARTS (SPORTS MEDIA) The fi rst of its kind in North America, Sports Media is based out LOCATED: Toronto, Ontario of the Mattamy Athletic Centre at the former Gardens. Through creative production and critical theory, FOUNDED: 1953 students gain the skills to excel in presenting and managing sports entertainment in exciting and engaging ways. TEL: 416-979-5107 MASTER OF ARTS (MEDIA PRODUCTION) Designed to launch the next generation of media innovators FAX: 416-979-5246 through a fl exible series of production and theory courses, culminating in either a major professional EMAIL: [email protected] project or a research paper focusing on aspects of media production. WEBSITE: www.ryerson.ca/rta FACILITIES: www.ryerson.ca/graduate/mediaproduction/ The Rogers Communications Centre (RCC) at Ryerson is a fully interactive and highly adaptable communications world, featuring state-of-the-art computing laboratories and networked media and Established more than 60 years ago as the School of Radio print facilities. and Television Arts, the RTA School of Media at Ryerson University off ers students a highly creative and dynamic NUMBER OF STUDENTS: environment, ideal for developing a strong foundation in BA, Media Production: approximately 700 / BFA, New Media: approximately 240 / BA, Sports Media: media production, art and practice. RTA School of Media approximately 200 / MA, Media Production: approximately 25 off ers four programs in the areas of media production, art and technology. Each program is informed by the school’s CONTACT: network of media leaders and innovators. BA / BFA: Donna Buczkowski ([email protected]) / MA: Aina Arro ([email protected])

PB.23222.Ryerson.Listing.inddSheridan 1 College MEDIA-RELATED PROGRAMS: Media Fundamentals, Media Arts, Technical Production for Theatre and Live 13/05/13 4:10 PM Events, Bachelor of Applied Arts (Animation), Bachelor of Applied Arts (Photography), Bachelor of Design (Hon- ours), Advanced Television and Film, Computer Animation, Computer Animation Digital Character, Computer Animation Digital Visual Eff ects, Web Design

DEGREES/CERTIFICATES: Foundation College Certifi cates, College Diploma and Advanced Diplomas, Bachelor's Degrees, Joint College-University Degrees, University Transfer Credits, Graduate Certifi cates, Apprenticeships, Corporate Training, Workforce Development, Continuing Education

FACILITIES: Four campuses housing state-of-the-art facilities in Brampton, Oakville (2) and Mississauga feature LOCATION(S): 1430 Trafalgar Road, Oakville Learning Commons, Sheridan Centre for Animation and Emerging Technologies (SCAET), Skills Training Centre 7899 McLaughlin Road, Brampton and Centre for Healthy Communities. 4180 Duke of York Blvd., Mississauga TWO STUDENT RESIDENCES: one each at Brampton and Oakville campuses. www.theplace2be.ca FOUNDED: 1967 NUMBER OF STUDENTS: 18,000 full-time students, 35,000 continuing education students E-MAIL: [email protected] WHAT’S NEW: Sheridan was named number one among the world’s top 100 schools for animation, gaming and WEBSITE: www.sheridancollege.ca design by Animation Career Review CONTACTS: Offi ce of the Registrar. 905-845-9430 Oakville/Mississauga. 905-681-4611 Burlington/Hamilton. 905-459-7533 Brampton/Mississauga. Sheridan College provides students with the knowledge and skills to thrive in a rapidly changing world. We serve 18,000 full-time and 35,000 continuing education students at our campuses in Oakville, Brampton and Mississauga. Sheridan off ers an innovative learning environment celebrated for academic excellence, applied research and creativity. Program options range from one-year certifi cates to four-year bachelor degrees in the arts, business, community service and technology fi elds. Our expertise in digital media and fi lm studies has led to the creation of the Screen Industries Research and Training Centre (SIRT), located at Pinewood Stu- dios Toronto. SIRT’s production studios and lab facility is an industry and academic “technology house” dedicated to exploring digital image capture and creation processes for fi lm, television, gaming and other screen-based industries.

PB.21344.Sheridan.Listing.inddSeneca 1 College 16/05/12 4:52 PM PROGRAMS: Animation, Game Art & Animation, 3D Animation, Visual Eff ects for Film and Television, Digital Media Arts, Creative Advertising, Graphic Design, Independent Music Production, Documentary Filmmaking institute, Broadcasting-Radio, Broadcasting- Television, Journalism. FACILITIES: Seneca provides cutting-edge equipment, facilities and teaching skills at eight campuses. Campuses are located LOCATED: Toronto, Canada throughout the Greater Toronto Area, each with academic specialties and unique appeal. FOUNDED: 1967

Academic Listings NUMBER OF STUDENTS: 20,000 + TEL: 416 491 5050 WEBSITE: senecacollege.ca CONTACT: Marianne Marando, Chair, School of Media; Mark Jones, Chair, School of Creative Arts & Animation CREDENTIALS: Ontario College Seneca’s Schools of Media and Creative Arts and Animation off er some of the best creative programming in the country. Graduate Certifi cate, Ontario Programs are off ered across Seneca’s four main campuses, including Seneca@York and the Markham Campus. College Advanced Diploma, Our programs combine practical experience with comprehensive theory, world-class instructors and state-of-the-art facilities. Our graduates are in demand across a variety of fi elds, including animation, graphic design, advertising, gaming, Ontario College Diploma, photography, independent music production, broadcasting, and documentary fi lmmaking. Certifi cate Artists know that individual style is what sets them apart; it’s what turns heads and inspires memorable ideas. At Seneca, we encourage students to nurture their style and combine it with the technical and conceptual skills needed to produce exceptional work. Our experienced faculty engages students using a mix of theoretical and hands-on instruction, and positions them for success in their fi elds. We’re not after just anyone; most of our programs require an audition or portfolio review in order to be accepted. Once accepted, we work closely with students to turn their natural talent into professional skills. We challenge students to distinguish their work through creativity and innovation, and encourage them to make a name for themselves professionally. At Seneca, students benefi t from co-op placements where they can apply classroom learning and gain real life work experience, whether it’s in a radio station, ad agency or recording studio. Graduates can also choose to explore the many pathways to university education off ered through Seneca and its partners.

PB.23286.Seneca.Listing.indd 1 13/05/13 4:11 PM AAdListings.indddListings.indd 4 113/05/133/05/13 4:304:30 PMPM Über in-demand. That’s you.That’s us. We’re good. We’ll admit it. Loyalist College’s Broadcasting programs are in high demand with students from all over Canada. Our faculty has the broadcasting smarts you’ll really learn from. When you graduate, you’ll be in-demand too. Über in-demand. Broadcast Engineering Technology—Loyalist Radio Broadcasting—The College’s full-power has the only program in Ontario. The industry FM station, 91X, makes sure you’re heard. loves us. POST-GRADUATE: Journalism: Online, Print and Broadcast—A 3D Video Production (an accelerated two new state-of-the-art Integrated Newsroom will semesters)—The future of visual technologies inspire you to inform. is here. Learn it, use it and go to the head of Television and New Media Production—Check the hiring line. out the work and people that will put you at Sports Journalism (one year)—Live the sports the top of the hiring list: loyalisttv.com you’re covering—and then inform the world.

Contact us at loyalistcollege.com 1-888-LOYALIST x 2239 | tty: 1(613)962-0633 376 Wallbridge-Loyalist Road, P.O. Box 4200 Belleville, ON K8N 5B9

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ROLE CHANGE BY MIRELLA CHRISTOU With the current revolution in the entertainment business forcing and hence re-joining ACTRA – has boosted its roster. According Canada’s major professional everyone to re-evaluate their places in it, Canada’s screen- to the most recent figures, ACTRA membership increased trade groups are evolving with professional trade groups are tweaking their offerings to better three percent in 2012-13 versus 2011-12, and, following equip their members to deal with the change. three consecutive years of growth, the national membership the times as digital convergence The Alliance of Canadian Cinema, Television and Radio Artists now stands at 22,000. and industry consolidation touch (ACTRA), a union that is unique in that it has a cohort of youth members that are legally able to work as industry professionals, DIGITAL DISRUPTION every corner of the business. has reduced the paperwork needed to gain full membership. On the fl ip side, the Canadian Media Production Association “People want to be full professional members of ACTRA – (CMPA) experienced a drop in member companies to the The Writers Guild of Canada organized a they’re trained, they’re ready to come in, they want to come in,” current 360 from about 400 in past years, according to Michael panel during last year’s Fan Expo in To- says Ferne Downey, ACTRA’s national president. Hennessy, CMPA president and CEO. ronto to help raise the profi le of Canada’s She explains that to that end its so-called six permit rule, which However, this doesn’t daunt Hennessy, who notes that writers. In the attention-getting Count costume is writer Ben Joseph (Doozers, required an aspiring actor to amass six acting work permits producers often let their CMPA membership lapse when they’re Zack & Deuce) with Simon Racioppa before he or she could join the union, has been a reduced to in quiet periods and then rejoin again when they’re busy. He (Spliced, ). three permits. notes that the cohort of narrowly-defi ned fi lm and television This change, plus an unexpected development – an infl ux of producer members is on the decline as the ones that focus on former actors returning to productions, especially in busy Ontario, digital expands.

40 summer 2013 | playbackonline.ca

PB.23289.DocOrgCan.indd 1 13-05-13 3:46 PM PPB.Unions.inddB.Unions.indd 4040 114/05/134/05/13 6:036:03 PMPM “Our existing, traditional members, those companies are changing Collaboration between the unions has also become a necessary step away from broadcast TV and fi lm. They’re also taking account of to achieving goals in the sphere of industry-specifi c public policy. the online space, the mobile space, looking more internationally, “Particularly with the DGC – we are often of one mind on public and even at times getting involved in the distribution of their own policy issues and try to fi nd ways to speak with one voice to the product,” says Hennessy. federal government,” says ACTRA’s Downey. The CMPA also realizes that smaller-scale digital producers with The public policy issues on which ACTRA tends to fi nd common projects that don’t require union labour won’t necessarily see the ground with other guilds and unions include copyright protection benefi t in joining the association, due to its focus on industrial (such as the 2012 Beijing Treaty on Audiovisual Performance, which relations, he explains. hasn’t been ratifi ed by Canada yet), income tax deductions for self- The cornerstone of what guilds and unions do is, of course, employed artists, and stable funding for the CBC, notes Downey. collective bargaining. New independent production agreements are Composers, many of whom are accustomed to working getting done, even if some take a year, or 10, to fi nalize. independently, understand the importance of teaming with like The Directors Guild of Canada recently announced an alliance minded associations for greater impact on policy. “It’s crucial to them with the Screen Composers Guild of Canada, which sees the to feel they have a collective voice,” Dolgay adds. There are over 350 Hennessey creation of a new DGC membership category for composers to members of the composers’ group, a membership that has been help them secure a collective deal with the CMPA. The alliance is steadily expanding. meant to eliminate contract-related confusion for both composers and producers when they enter into a commissioning agreement, HURDLES AND OPPORTUNITIES says Marvin Dolgay, president of the composers’ group. The front-line professionals today are coming across unique hurdles Meanwhile, animation writers received long-awaited good news but also new opportunities as the industry adopts to the realities of when the Writers Guild of Canada (WGC) inked an independent convergence. “The industry is in revolutionary stage now, with digital production agreement with the CMPA and the Association of Film and distribution,” says Bill Skolnik, executive director of the DGC in Ontario. Television Producers of Quebec last fall. “Who knows if in the future there’s going to be TV or fi lm (as we know “We’re the only English-language guild in the world to cover it), or if it’s all going to be online content? We’re constantly asking: ‘Are animation writing – with fees, insurance, retirement and credit we doing anachronistic things?’ ” provisions,” observes Maureen Parker, the WGC’s executive director. The DGC is confi dent it has the right balance of programs in While it may have taken 13 years to negotiate the trailblazing deal that place to help members move their careers along, be it training includes minimum rates for animation writers, in the end, hundreds of in digital technology, editing, in the art department, or in design Downey professionals in Canada will feel the impact, she continues. areas, says Skolnik.

summer 2013 | 41

directors second unit directors first assistant PROUD directors second assistant directors third assistant directors trainee assistant directors SPONSOR production assistants production managers OF THE unit managers assistant production managers production coordinators assistant 2013 production coordinators trainee production BANFF coordinators technical coordinators production designers art directors WORLD first assistant art/set designers second assistant art directors third assistant art MEDIA directors art department coordinators art FESTIVAL department trainees location managers assistant location managers trainee location managers picture editors first assistant picture editors sound editors first assistant sound editors second assistant sound editors trainee assistant sound editors production accountants first assistant www.dgc.ca/ontario accountants second assistant accountants www.dgc.ca accounting clerks trainee accountants

50 YEARS OF ADVANCING CANADIAN FILMMAKERS’ ECONOMIC, CREATIVE AND WORKPLACE RIGHTS

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To remain attractive to current members, the DGC The WGC appears to be effectively helping its continues to offer health and fi nancial benefi ts while members navigate the industry’s ups and downs. One also throwing its support behind the proposed Starlight example concerns the increase in co-ventures between TV Channel, which the guild sees as a way to showcase Canadian broadcasters and U.S. networks, where U.S.- the work of its members. If approved by the CRTC, industry writing vets often seem to be coveted more Starlight would be a specialty channel entirely devoted to than their stay-at-home counterparts. “Financially for broadcasting and funding Canadian feature fi lms. the broadcasters and studios, it works. I can say that To appeal to prospective members, the DGC offers the Guild creatively, our members do like getting a North American Apprentice Program, and, like some of the other associations audience, but we don’t want to be forced to move to L.A. and organizations, reaches out to post-secondary institutions. to work on our own shows,” says Parker. The result is that the DGC has seen a 15% bump up of In that vein, at the Banff World Media Festival the members to 3,800 in 2012 from 3,300 in 2011. WGC is to sponsor an event to encourage Canadian and The membership of the writers’ guild is also on an international broadcasters to hire Canadian screenwriters on upswing, rising three percent in the last year to just shy of co-produced and co-fi nanced programs. 2,200 members. For the CMPA, the biggest concerns are industry Parker attributes this to a number of reasons, consolidation whittling down the buyers for projects, as including an increase in local productions, in part due to well as the new digital transmedia world, which Hennessy broadcaster benefi ts package spending. describes as “disrupting the whole value chain.” Something newly offered last year was a WGC- “It’s a frightening, unsettling period of time and potentially organized opportunity for writers and showrunners a time of tremendous opportunity,’” says Hennessy. “That is, to showcase their work and be in touch with fans at if we recognize the opportunity when we see it.” Toronto’s Fan Expo. The WGC also continues to host craft nights such as Writers Talking TV, where recently Orphan TV vet Graeme Manson discussed his creation during Black creator and TV vet Graeme Manson imparted his a Writers Guild of Canada-organized Writers Talking TV event. insight on how the sci-fi series was made.

42 summer 2013 | playbackonline.ca

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Muse is following controversial 2011 mini-series The Kennedys, which starred Katie Holmes as Jackie Kennedy, with a sequel After Camelot, which is slated to air in 2014.

One of Muse Entertainment’s early service productions was the Paul Newman caper fl ick Where the Money Is. As the Montreal prodco turns 15, it seems to have found the answer to that question: the money’s not so much in service work, but rather in a diverse slate of productions it owns and distributes. The company has grown to the point that it now focuses mainly on getting its own programs off the ground and, as much as possible, holding onto their rights. “We’d been involved in proprietary shows from very early on, but the balance shifted gradually and inexorably towards proprietary productions in the last fi ve years,” explains Michael Prupas, Muse’s founder, president and CEO. “Financially and creatively, it’s much more interesting for us to be involved in the development and creation of projects and the realization of the things we dream about.” Since June 1998, Muse has helped in the realization of more than 170 MOWs, mini-series, TV series and feature fi lms, winning more than 100 awards, including fi ve Emmys. It had $72 million in production and development spending in 2012, plus $2.5 million in service volume, according to this year’s Playback indie production survey. It’s too soon to say how 2013 production numbers will compare. On the positive side, this year U.S. specialty Syfy has renewed Being Human, a remake of the British series about a cohabitating ghost, werewolf and vampire airing locally on Space. “Being Human is a hit for Syfy, both on-air and via digital distribution, as well as in the social media space. It is also one of Syfy’s youngest and most female-skewing scripted dramas,” observes Prupas, who serves as an executive producer on it. On the negative side, Global didn’t renew Bomb Girls, a period drama that tracks female life on the home front during World War II. Muse subsequently announced that a TV movie was in the works “that will allow our characters to continue their journeys and allow our audience to engage with the Bomb Girls’ INSPIRING stories.” It will be transmitted next year. Muse values long-running series above all. When they’re going well they provide the stability to maintain the family-run business’ permanent staff of 30 (the other family members are wife Betty Palik, VP of communications and factual, sons Jesse Prupas, VP of development and distribution, Jonas Prupas, who manages the STORY Toronto offi ce, and Aren Prupas, the director of legal affairs). Established in 1998, Muse Entertainment Prupas points to the fact that long-running dramatic series allow a company to amortize production costs, and give some has risen to be one of Canada’s most stability and the ability to reap the rewards of international recognized producers. Here, Playback and ancillary-platform sales. The company launched its Muse Distribution International division in 2002, and Bomb Girls is one examines its rise and promising future. of the shows to which it controls international rights. More recently, Muse has found a home on CTV for the drama BY MARK DILLON Played, a police procedural created by writer-producer Greg

summer 2013 | 43

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Michael Prupas

Betty Palik with granddaughter

Nelson () that tracks undercover investigators as they infi ltrate In March ReelzChannel in the U.S. began airing the second season criminal organizations. The network believes the series will provide its next of Muse’s Bomb Girls, a period drama produced for two seasons in cooperation with Global. homegrown hit – following the likes of Flashpoint and Saving Hope – and will know for sure after the show bows, perhaps in September. Played is Muse’s latest collaboration with Back Alley Films, which splits its offi ce between a Montreal and Toronto location. With Back Alley “Janis and I decided we didn’t want to form a distribution company it produced three seasons of the acclaimed serial-killer-in-the-’burbs or a huge production company. We wanted to focus our creative drama Durham County, which went to air on Movie Central and The energies on select projects in a very auteur way,” says Mitchell, who is Movie Network in 2007 and subsequently on Global. They re-teamed show-running Played with Nelson. “Muse could give us their creative on Bomb Girls, which premiered early last year to more than 1.4 million and business purview but also allow us the freedom to work very viewers before eventually softening to an average around 851,000 intimately and closely with the projects we wanted to do.” viewers in the latter part of its second season. The series netted three Although drama has been Muse’s bread and butter, its production Jesse Prupas , including best actress for Meg Tilly. slate has become increasingly varied. It took the plunge into animated Global believed in Bomb Girls and, in its second season, moved it kids’ series in 2009 with The Mysteries of Alfred Hedgehog (TVO/TFO/ from its Wednesday 8 pm timeslot to Monday at 9 pm, with popular SRC/France 5). Along with Los Angeles-based Parallel Entertainment, import Bones as a lead-in. In the end, that wasn’t enough to save it. Jesse Prupas is also producing the primetime animated laugher Bounty Although Muse did not drive the series’ creative, Christine Shipton, Hunters, featuring the voice of redneck comedian Jeff Foxworthy. It is the Shaw Media VP original content, insists it wouldn’t have gotten made fi rst original animated series for the U.S.’s CMT channel, and will go to without them. “Sure, Michael doesn’t write the scripts, but it’s so much air there and locally on The Comedy Network this summer. more than that in terms of trying to get a show like that fi nanced and up and running and hiring the right crews. Plus, Michael is a great calming voice in the room.” CHRONICLING AMERICA’S ROYALS Muse’s relationship with Back Alley’s Adrienne Mitchell and Janis Muse is also looking to corner the market on chronicling America’s royal Lundman is a housekeeping deal whereby Back Alley has an offi ce in family. It is actively developing After Camelot, a sequel to its 2011 eight- Muse’s 10,000-square-foot facility and must bring all its TV projects, parter The Kennedys, which was a 6/10 Canadian production made in Jonas Prupas but not necessarily its theatrical ones, to Muse fi rst. association with California-based Asylum Entertainment, starring Greg

44 summer 2013 | playbackonline.ca

TO MICHAEL, IRENE AND ALL OUR FRIENDS AT MUSE ENTERTAINMENT Congratulations on your first 15 years Continued success Louis & His Crew,

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Kinnear, Katie Holmes and Barry Pepper and directed by Jon mini reportedly drew up to 1.9 million viewers per episode, a enough to do it again after what Muse and Michael personally Cassar, the latter two being Canucks. record for the channel, and helped to put the channel on the went through with The Kennedys mini-series, except Michael. That mini-series about the famed New England family upped map. The program had a similar effect on History in Canada, And I’m proud as heck to stand with him as we make this,” the prodco’s international profi le after it weathered tremendous where, as the station’s fi rst major drama, it drew 1.1 million Hubbard tells Playback. Reelz subsequently picked up Bomb controversy. Intended U.S. cablecaster History Channel dropped viewers for episode one, at the time the specialty’s second- Girls and launched its second season in March. it, stating that ultimately it was “not a fi t for the History brand.” highest premiere. It also won four and a pair of In November, ReelzChannel, Discovery and SBS Australia This sent Prupas on a very public scramble for a U.S. broadcaster, Geminis and has sold in more than 150 territories. will air Muse’s documentary JFK: The Smoking Gun, marking striking out with Showtime and DirecTV. Insiders claim Kennedy Now Muse and ReelzChannel are going back to the well on the 50th anniversary of the assassination of John F. Kennedy. family and friends dissuaded the channels from airing the program. After Camelot, based on a book by J. Randy Taraborrelli that Produced with Australia’s Cordell Jigsaw Zapruder, it claims Known primarily for syndicated programming and news tracks the Cape Cod clan following Robert Kennedy’s 1968 to have fi nally uncovered the truth behind the tragedy. It’s the shows about movies, ReelzChannel CEO Stan Hubbard stepped assassination. Slated to air in late 2014, odds are high the fi rst project out of the gate from Muse’s non-scripted division, up and paid an estimated $7 million for the U.S. broadcast production will cause another storm. led out of its new Toronto offi ce by Ann Harbron, Discovery’s rights and spent an estimated $10 million promoting it. The “There’s not one guy in a thousand who would stand tall former director of commissioning and production.

summer 2013 | 45

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Prupas says there are four or fi ve more projects in active development. “We’re looking for the fi rst time at taking a serious plunge into the reality division. We have the resources and it’s a potential growth area,” he says, without providing specifi cs. As in its early years, Muse continues to produce MOWs. It has on the go Christmas with Tucker and Star Spangled Banners (Hallmark Movie Channel/Bell Media), Home Again (ABC Family), the girl- skewing Boys Are Dogs (Disney), and Dead Letters (Hallmark). These projects are generated out of Muse’s Los Angeles offi ce headed by veteran producer Joel S. Rice, whose credits include ABC Family’s Cyberbully, winner of a pair of Kidscreen Awards and a Canadian Screen Award for star Emily Osment. While the overall volume of MOW production has declined, Prupas notes that “Joel has gotten a good share of the business that’s left,” and now Muse is producing as opposed to servicing them, as was often the case in the past.

DEALMAKER Steering a thriving production house is what Prupas dreamed of when, as an entertainment lawyer, he left his corner offi ce at Heenan Blaikie in Montreal. A legal mind is perfectly suited to structuring complex production deals, but Prupas has come to appreciate that the quality of the programs trumps that. BRINGING ANG LEE’S TOUR “The key is the creative, not the business,” he says. “You’ve got to have good shows and good product and people who are able to BY MARK DILLON bring those things to you. We try to create an environment at Muse DE FORCE TO LIFE where we nurture quality creators and move on to creating great shows with them.” While service production has become a relatively small Muse had to shoot the Montreal scenes in Life of Pi again after Prupas launched Muse with the support of shareholders part of Muse Entertainment’s business, sometimes a Rafe Spall (above right, with Irrfan Khan) replaced Tobey Maguire including the U.K.’s Pearson Television (later part of in the supporting role. project so special comes along it’s impossible to say FremantleMedia), which distributed Muse product internationally, no. That was the case when, in 2011, Jesse Prupas and the U.S.’ Jaffe/Braunstein Entertainment, which brought received a call from Kim Cooper, EVP production at 20th One year later, Prupas was surprised to get another productions to Canada for Muse to service, such as the disaster Century Fox. call explaining that it all had to be re-done: the mini-series 10.5 Apocalypse. Pebblehut Productions, headed by “She said, ‘There’s this little project called Life of production was replacing Tobey Maguire in the role of Marilyn Stonehouse, Susan Murdoch, and Edythe Hall, came on Pi – have you heard about it?’ And I said, ‘Yeah, I think the young writer with Rafe Spall. For the reshoot, which board as a subsidiary, and in their three years together they rode I’ve heard of that book,’” laughs Prupas, Muse’s VP of needed to take place in a local studio, a house interior the wave of MOWs shooting in Toronto for broadcasters on both development and distribution. “It was a really charming set was shipped from Taiwan, Lee’s home country sides of the border. project,” he continues. “It was the call you spend your where much of the fi lming was done. The problem was Muse enjoyed a similar arrangement with Vancouver’s Dogwood whole life preparing for and dreaming about getting.” Roland Emmerich’s action thriller White House Down Pictures, led by Lisa Richardson, for six years starting in 1999. Both Canuck Yann Martel’s philosophical novel recounts was dominating Montreal’s studio space. “I was in a ventures ended amicably after they ran their course, Prupas says. the tale of teenaged Pi (Suraj Sharma), who leaves real tight situation,” Prupas acknowledges. These relationships helped Muse prosper, and by 2008, Prupas India for Canada with his family. But their ship goes They ended up shooting at the old Alstom train factory, had bought back the shares from his foreign partners. “Since then, down and only Pi makes it onto a lifeboat – along with which had to be modifi ed to accommodate visual we’ve become more and more driven by the desire to do shows a Bengal tiger. The story had been called unfi lmable, effects shots for the fi lm’s “storm of God” sequence, that we control,” he says. Muse exerted some control early on via but that did not dissuade director Ang Lee from taking incorporating water rigs, a hydro crane and a boat from co-pros, including the fantasy series Tales from the Neverending a stab at it. The adult Pi (Irrfan Khan), telling his story to Taiwan. Muse did 10 shooting days on the project, and Story, made with Germany’s The Movie Factory and which went a young writer in fl ashback, resides in Canada, so the while Prupas insists Muse’s passion is great television, to air in 2001 on HBO. Back home, producer Bernard Zukerman producers shot scenes in Montreal. he says this fi lm gig has been “terrifi c in terms of signed an exclusive deal with Muse that yielded productions Muse already had Hollywood credentials from cementing our reputation.” including the 2002 feature Savage Messiah, which won three servicing features including starring The ultimate payoff came at the , when , and legal comedy-drama This Is Wonderland, which Hugh Jackman and Steven Spielberg’s Catch Me If You Lee, who won for best director, gave a shout-out to the aired for three seasons on CBC starting in 2004. Can and The Terminal. Lee and fellow producers Gil fi lm’s Canadian crew. “That,” says Prupas, “was huge.” Today, Prupas is the company’s majority shareholder, while Netter and David Womark were in a hurry and needed other investors include Irene Litinsky, Muse’s head of Quebec somebody they could trust. productions since 2000, and, as of January, the labour-backed “We were able to assemble a great location team development capital investment fund Fonds de solidarité FTQ. It and pull off those locations despite many obstacles,” may be surprising that the Quebec workers union would have a recalls Prupas, line producer for the Canadian shoot. stake in a company producing English-language shows aimed “Ang was very specifi c about the house he wanted largely at American audiences, but the fund prides itself in having Pi to live in. It just so happened there was a major invested $112 million in Quebec’s cultural sector over the past construction site right across the street from it, which 30 years, which it says has helped create almost 900 jobs. added a huge complication.” Prupas proudly points out that despite not producing French shows, Muse works regularly with Francophone crews and

46 summer 2013 | playbackonline.ca

PPB.Muse.inddB.Muse.indd 4646 113/05/133/05/13 4:374:37 PMPM PB.23165.BackAlley.indd 1 13/05/13 4:12 PM directors including Christian Duguay, Charles Binamé and Paolo Barzman and talent such as , Isabelle Blais and . The company has benefi ted from those culture-spanning projects, says Prupas, a deeply rooted Anglo Quebecker. “It’s always been important for Muse to be able to support the concept of a bilingual Canada.” Although he doesn’t rule out the possibility of further expansion through foreign partnerships, for the foreseeable future Muse will remain 100% Canadian. Prupas says its focus in the next 12 months will be on growing its factual and distribution arms. It is looking increasingly at handling the international sales of its productions, and already owns the rights to Bomb Girls, The Kennedys, Bounty Hunters and Played. “It’s our game plan to hang on to the rights, sell the shows ourselves and build up our distribution capacity,” he says. While Muse is an offi cial supplier to iTunes and deals with Netfl ix in the U.S. and elsewhere on a project-by-project basis, its ability to profi t from digital platforms at home is stymied by Canadian broadcast partners claiming those rights. “My frustration with them is they don’t exploit those rights properly, and the shows don’t actually get seen over the Internet, which is reducing the ability of Canadian audiences to see Canadian shows,” he says. So while he and his colleagues look to navigate the brave new world of content consumption, Prupas says one thing remains constant. “We believe that by producing quality shows, we will get quality responses from networks and other potential buyers and be able to grow that way.”

Cara Pifko played the lead on Muse’s off-beat CBC legal comedy This is Wonderland, which aired from 2004 to 2006.

summer 2013 | 47

Congratulations to MUSE On 15 great years!

– Janis Lundman and Adrienne Mitchell

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MUSE ENTERTAINMENT: TIMELINE 1998 1999

Soon after Michael The Muse-Pebblehut Prupas founded partnership yields Muse, Toronto’s MOW Twice in a Pebblehut Lifetime featuring Productions joined the late Al Waxman. as a subsidiary; Vancouver’s Dogwood they begin work Pictures also on The Legend of becomes subsidiary. Sleepy Hollow. 2002 2003

Producer Bernard Zukerman The legal comedy-drama signs an exclusive deal with This Is Wonderland, Muse, which also opens a co-created by Zukerman, distribution arm. It produces George F. Walker and Savage Messiah, which goes Dani Romain, begins on to win three Genie Awards. production for CBC. It runs for two seasons starting in 2004.

2006 2007

Signs a production Produces feature The deal with Back Alley Deal starring William H. Films and they start Macy and Meg Ryan. producing crime Muse Entertainment series Durham Enterprises USA opens in County for Movie Los Angeles. Central and The Movie Network.

2010 2011

Production begins Another topical subject, on eight-parter The bullying, is at the core of Kennedys and Syfy’s Muse’s award-winning ongoing Being Human ABC Family MOW (pictured). Cyberbully.

48 summer 2013 | playbackonline.ca

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Irene Litinsky joins Coproduces the kids as head of Quebec fantasy series Tales from production and The Hound the Neverending Story of the Baskervilles, fi rst (pictured) and services of four Sherlock Holmes Steven Spielberg’s Catch TV movies starring Me If You Can. Matt Frewer (right), is produced.

2004 2005

The noir-inspired fi lm It co-produces Human Niagara Hotel, starring Traffi cking, which stars Anna Friel, was released and on DVD in the U.S. and . U.K. after a domestic theatrical and broadcast run.

2008 2009

Muse is involved on Co-produces the several mini-series, sword-heavy Ben including Crusoe, a co- Hur, The Pillars fi nanced project with NBC of the Earth and and Rogers Media. The Last Templar (pictured).

2012 2013

Services Montreal Prepares to roll out scenes, twice, for primetime animated CMT Ang Lee’s mega comedy Bounty Hunters hit Life of Pi (see with Los Angeles-based page 46). Toronto Parrallel Entertainment. offi ce opens.

summer 2013 | 49

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WEBISODIC Don’t let money limit your imagination (you have none, so 1 why give it the satisfaction of ADVENTURES winning?). Mark De Angelis, Amy Matysio and Naomi Snieckus are creators of award-winning online comedy series Bill & Sons Think big (keep in mind, most Towing, InSAYSHAble and The Casting Room. Here they people will watch your series on share some hard-won insights about web series. 2 their iPhone; likely while sitting on the toilet).

Remember, the next “big thing” is waiting to be discovered on the Internet (provided you can 3 sift through a million really Mark De Angelis Amy Matysio Naomi Snieckus sh***y ones).

LITTLE KNOWN FACTS:

Web series have become so popular, even Current research suggests 9 out of 10 people your grandmother is familiar with the term at Starbucks are writing a web series. (FYI she still doesn’t consider it “real” work The 10th person is an actor hoping to get and wishes you’d fi nd a nice offi ce job). 10 discovered by someone writing a web series at Starbucks.

Ninety-fi ve percent of teens are watching Word-of-mouth marketing is key; as a result, web series content on their mobile devices. requests for likes, share, subscribe, or com- Not your web series, but still. ment currently outpace junk mail scams by 5:1. Still, not nearly as annoying as a Farmville request.

In the digital realm, the most used buzzword More and more actors are turning to web is “transmedia.” Ninety-eight percent of ( ( series to showcase their acting abilities. % ( ( 98 people still don’t know how to use it in a The defi nition of “acting” is also becoming sentence; two percent take a shot and get much looser. lucky.

In 2012, there were 465 arrests for By 2015, everyone and their mother will be trespassing by guerilla web series crews. making a web series. By the way, if your mom In 99% of those cases, the most common is between the ages of 45 and 60, non-union, excuse offered to police is “C’mon man, it’s 2015 under 5’ 2” and willing to prepare meals for like a student fi lm.” cast and crew, please have her contact the contributors of this article.

50 summer 2013 | playbackonline.ca

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. BUDGETS NOT BLOW MINDS.

BOURNE LEGACY, INCEPTION, HELL ON WHEELS, HEARTLAND, BROKEBACK MOUNTAIN,

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD,

BROKEN TRAIL

. d intereste ou’re y f i oot. yb o b cow est g lar orld’s w the have also We

BIG productions, BIG stars and one BIG thing in common… they were all made in Alberta.

To learn more about Alberta’s film, television and digital media industry, please visit www.albertafilm.ca.

ALBERTA FILM, A BRANCH OF ALBERTA CULTURE, IS A PROUD SUPPORTER OF ALBERTA’S SCREEN-BASED PRODUCTION INDUSTRY.

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