Latest posts from National Screen Institute - Canada (NSI)

From left: NSI Features First producers Amelia Wasserman, Ryan West, Scott Lepp and Christopher Redmond

NSI Features First is presented in association with Telefilm Canada

This year’s NSI Features First producers recently embarked on their own boot camp in Toronto.

Amelia Wasserman (She Smiles Back), Ryan West (Must Kill Karl), Scott Lepp (Wilting Iris) and Christopher Redmond (The Stars Shine in Temperance) participated in sessions to strengthen the business skills related to their feature film projects.

Here’s what our students had to say about the week.

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Amelia Wasserman | Producer, She Smiles Back

As I start to process all the amazing information and wisdom that was shared during the NSI Features First producer boot camp, I am increasingly grateful and honoured to be included in this incredible program.

It’s such a pleasure to be greeted each morning by Shelly Quade [program manager], organizer extraordinaire who keeps us all on track and arranges a remarkable lineup of industry pros as well as Al Magee [program advisor] whose insight and guidance on our projects is truly invaluable.

Admittedly, before participating in the producer’s boot camp, I was a little fuzzy about exactly how films in this country got made. I knew they required money (and lots of it) and I knew of words like ‘distributors’ and ‘financing structures’ but if someone asked me to elaborate I’d probably yell “Squirrel!” and run in the other direction.

Hearing from people like Justin Rebelo and Avi Federgreen about the ways they’ve managed to secure financing (which is no easy feat) for their films was totally eye-opening in terms of how things in this country are changing and how sometimes you have to get creative and think outside the box.

Getting the opportunity to speak with Paula Devonshire about putting together realistic budgets and learning where you can and can’t cut costs was also fascinating. I also learned a ton from Eric Birnberg and Tom Walden about things like working with tax credits, interim financing and other complicated stuff that you probably want to pay someone to do.

The week also taught me things I never knew about the casting process as well as the work that goes into clearances and the kind of scripts broadcasters, distributors and financers tend to be interested in (answer: good ones).

Hearing from Dan Lyon and John Galway about funding in this country really brought home the idea that, at the end of the day, nothing beats a terrific script. But along with a terrific script you need a terrific plan showing how this terrific script is going to get made and the NSI producer’s boot camp week was a great introduction to how that can be done.

Christopher Redmond | Producer, The Stars Shine in Temperance

Nobody grows up dreaming of being a producer (at least no one I know). Probably because no one really knows what a producer does until they’ve done it themselves. But completing this boot camp feels about as close as you can get to the flame before actually jumping into the fire.

At least now I have an idea about all the things that can (and probably will) burn me in one way or another. Financing plans, recoupment schedules, clearance reports, minimum guarantees, bank bonds, repayment corridors, medicals, fringes, contingencies, tax credit grinds, common shares, preferred shares, have I shared enough?

I’m only scratching the surface. Five years ago it would have probably been enough to make me want to crawl into a hole for the rest of my life. But the NSI training came at the right time and these terms are becoming less intimidating. The reality of starting these not-so-little businesses called films is becoming far more comprehensible.

There was a lot to love about the past week, but my favourite takeaway is still the relationships I’m building with my fellow NSI producers. We’ve created a safe space where, once we all nod along trying to look cool to our presenters, we quickly swap notes to make sure we get our MGs, OTTs, P&As and CIPIPs straight.

That said, the ability to also follow up with everyone who came to speak to us truly feels invaluable, since our questions are only going to grow the more we know. But now we have direct access to different resources to get the answers – from lawyers, accountants, bankers, casting agents, insurance brokers, clearance researchers, equipment rental specialists, line producers, post-production houses and pretty much every other category we could hope for.

We even got the treasure map to find gold at the end of the rainbow … yup, it’s all blue skies and sunny days from now. Financing gaps filled forever! *gulp*

Scott Lepp | Producer, Wilting Iris

I wish the writers could have been in Toronto with us for this boot camp. Oh, how I wish. But no, they’re at home, sitting in front of their computers inspired by their week at the first NSI boot camp and probably adding new characters, new locations, lots and lots of outdoor night scenes and more scenes on a boat in the middle of the ocean.

Then there’s us: the producers. Going over our production budgets line by line with Paula Devonshire. “Where’s the water safety, Lepp?” “Um, I, uh, wanted to know how much you would put in for it?” She saw right through me.

But really, it was amazing. This is exactly what I signed up for and it was great to go line by line through all four teams’ budgets and get pages of notes to take home. The best part is I now get to meet up with Sandi (Somers, writer of Wilting Iris) and scrawl red pen all over her script. Right? That’s how it works, isn’t it? Sandi?

The rest of the week was a lot more of this. It was the ‘reality check’ week. Which is good. Business affairs, script clearances, ACTRA and insurance tied up the nuts and bolts and loose ends.

Most of the time my mind wandered off to our first feature, Ice Blue, wondering how much of this I did right the first time and where it can be improved for this project.

It was great to have producers Justin Rebelo and Avi Federgreen join us to talk about financial structures and the reality of putting together all the pieces to close that dang financing gap.

Again, I’m glued to every second of this stuff. I could listen for hours while they relay first-hand stories. And, once again, getting treated to distributors and broadcasters coming to hear about us and our projects is something you just can’t get anywhere else.

On top of the boardroom meetings and learning we were so lucky to get invitations to many functions after we’d done our day’s work – including the Canadian Film Festival (thanks to Bern Euler) and also to Eggplant Picture & Sound (an amazing one-stop shop for post in Toronto).

No, I didn’t plan to go for drinks every night. Yes my arm is easily twisted. We just can’t say no to these opportunities to get out in the film community and meet everyone. And, really, that’s what it’s all been about with NSI so far and I’m pumped to keep going.

Ryan West | Producer, Must Kill Karl

The past week with the NSI producers has been an intense and insightful experience.

It was a rare and invaluable opportunity to analyze the world of feature filmmaking through so many critical perspectives.

Typically the focus is on the more exciting quote-unquote creative side of the process, with the tedium of budgets and legalese tucked by the wayside.

I can’t express how helpful it was to dig in to this side of the producing world, especially with the help of my peers to ensure all perspectives were explored.

The old maxim is that you’ll never truly understand something until you do it, but Al Magee and Shelly Quade really challenged that by arming us with as much information and foresight as they could.

Hearing firsthand about the experiences of producers provided plenty of insight. Peppering those presentations with representatives from the insurance, legal and finance worlds helped ensure we weren’t approaching those complicated topics blind.

Beyond the (occasionally overwhelming) influx of practical information, the week really brought our group together. Not just in our shared terror at some of the horror stories, but also in our support and insight into each other’s projects. Feeling part of the team gives me confidence in the journey on which we’re about to embark, and I hope I can offer the same encouragement to my NSI friends.

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NSI Features First is a development training launch pad for producer/writer teams looking to produce their first or second feature film with strong commercial appeal.

NSI Features First 2018 is funded by Presenting Sponsor Telefilm Canada; Supporting Sponsors Entertainment One, Super Channel, Corus Entertainment and Breakthrough Entertainment; and Service Sponsor William F. White. NSI Core Funders are Manitoba Sport, Culture & Heritage and the City of Winnipeg through the Winnipeg Arts Council.

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Two new films in this week’s NSI Online Short Film Festival from directors Emma Higgins and Navin Ramaswaran.

Currency

Currency | Drama, 7:16, English, ON, 2016 | Director: Emma Higgins

With 50,000 online followers and $10 to her name, Robyn must choose between the instant gratification of social status and the reality of the world around her.

Time Out

Time Out | Drama, 9:59, English, ON, 2017 | Director: Navin Ramaswaran

While on a trip to Milan, a couple pretends to meet as their younger selves to determine their future together.

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The NSI Online Short Film Festival is made possible through the support of Festival Partner Telefilm Canada; Supporting Sponsors Entertainment One, Super Channel, Corus Entertainment, Blue Ant Media, The Brian Linehan Charitable Foundation and Breakthrough Entertainment; Award Sponsors A&E Television Networks, The Brian Linehan Charitable Foundation and Blue Ant Media; and Industry Partner the Academy of Canadian Cinema and Television.

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The Dark from co-producer Laura Perlmutter (NSI Drama Prize) celebrates its world premiere at the 2018 Tribeca Film Festival later this month in New York City.

Undead and hating it, young flesh-eater Mina haunts the woods surrounding her childhood home. When she befriends a physically abused boy, she must figure out why, for once, she isn’t feeling homicidal.

Tribeca will also host the world premiere of Biidaaban: First Light VR from co-creator Lisa Jackson (Featuring Aboriginal Stories Program).

As a work of Indigenous futurism, Biidaaban explores how the languages of native peoples can provide a framework for understanding our place in the world and open up a space for new imaginings of the future.

Tribeca runs from April 18 to 29, 2018.

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