Latest posts from National Screen Institute - Canada (NSI)

NSI Totally Television phase 2 students on their second boot camp

Posted: 07 Oct 2019 12:40 PM PDT

Above from left: Michelle Ouellet, Nicholas Carella, Stephanie Ouaknine, Sarah Goodman

Our NSI Totally Television phase 2 students recently wrapped their second boot camp. Before they head off to the UK for Content London, we asked them to reflect on the program and how their TV series are evolving.

• • •

Michelle Ouellet (producer), Ethics 101

It was great to be back with the other team and staff for phase 2 boot camp with our show Ethics 101. This time we really drilled down into the Canadian and international marketplaces.

Via producer roundtables and case studies we saw firsthand different ways a series can come together from a financing perspective. This was very interesting for me as there are several ways to bring a show to market, largely dependent on the material itself (the type of show/genre, for example), as well as resources the individual producer has.

Everyone’s path is different which was reassuring for me. I think one of the best aspects of phase 2 was getting clear next steps for our show. When we left boot camp we had a clear idea of what we need to do to get our show one step closer to being positioned in the market.

Another interesting and fun aspect of phase 2 was meeting with production companies at their offices. This was an exercise in pitching which is always super helpful. I find pitching a very delicate (and difficult) art form and talking about our project to third parties helped us focus and refine both our pitch materials and the project itself. Questions about where the first season ends or about a particular character’s arc lead to conversations among ourselves about the overall creative of the show.

We also saw which aspects of our show were interesting to people and which aspects need more clarity. Where are the disparities between what we think we’re communicating about our show and what we’re actually communicating? How can we organize our pitch so we put the most interesting aspects at the top of our pitch? Getting to work through these questions was beyond helpful.

I think taking our show through NSI Totally Television was one of the best things we could have done. As a filmmaker and serial entrepreneur it’s my passion to tell stories and create concepts, and I acquired so much knowledge and met so many incredible people. I would highly recommend this program to anyone considering applying.

Nicholas Carella (writer), Ethics 101

We entered phase 2 with a revised pilot for Ethics 101. I was (and am) very happy with the creative aspects of the project.

I was very pleased that phase 2 was more focused on the realities of bringing the project into the market: how to put financing together for a television series, what to do once you have solid creative (like the REAL next steps), who are potential buyers, what’s a strong pitch, etc.

I can say without a doubt I went from being somewhat clueless and afraid to take my project to the market to being on the other side of two successful pitches with established companies (with more to come!)

The industry professionals that were brought in – from active producers, to broadcast buyers, to marketing experts – really painted a picture of the marketplace (and where our show fits) and gave significant feedback on our pitch materials, shedding light on some of the blind spots we had in how we saw our own show.

We were also given a variety of strategies about how to put together the Jenga puzzle that is a television finance plan. This may seem simple, but being armed with [knowledge about] how a show gets financed from the ground up increases my confidence level in a face-to-face meeting with a production company. How do you know what to ask for if you DON’T KNOW WHAT TO ASK FOR?

Going through this program, aside from the knowledge I’ve acquired, has been extremely valuable in terms of industry doors that have been opened for the project. The combination of meeting working decision makers face to face during the program and having been vetted by being selected (essentially being ‘vouched for’ by NSI) has accelerated our development and entree far beyond where I expected to be at this point.

Sarah Goodman (writer), The Golden Mean

I was excited to dive back in our series and figure out the best way to make it a reality. Once again, we met with multiple producers, showrunners, creative executives and streamers – but also production managers and packaging experts. From broadcast to streaming, this is a program with its eye on the international industry, not just Canada.

Our team came to the second boot camp armed with a revised pilot, draft lookbook and series bible, as well as a detailed budget breakdown of the pilot in its current iteration.

Having time to reflect on the series and our strategy since February allowed us to return to the program with fresh eyes and a clearer understanding of the show we want to make.

Pitching the show multiple times, we believe we’ve distilled its essence and found what best ‘hits’ when talking about the show. Whether it’s ‘Jewish Women’s Breaking Bad,’ or ‘Mafia Maisel’ or ‘From matzah-ball queen to mobster,’ the program is a safe space to pitch and keep improving, with constant feedback from our peers and mentors.

Our story editor’s (Noelle Carbone) generosity, brilliance and clarity opened so many doors for us creatively.

Thanks to our mini writers’ room in February, I finished a new draft of the pilot which we believe is a huge step forward. Most importantly, I have a clear idea of who our lead is and why she’s relevant in this day and age.

By pitching continuously we could test drive new title options and see what resonated with the industry folk that heard it for the first (or second) time.

As a writer, we’re not often privy to the behind-the-scenes. It was enlightening for me to be part of the financing strategy, tax credit choices and understanding the various (and often conflicting) paths to market.

This is my message to other Canadian screenwriters: NSI Totally Television is terrific and I encourage you all to apply. If you’ve gone through the CFC television writing program, [the two programs] are complementary and not redundant. NSI Totally Television’s individualized approach and care works for any project and any team ready to move forward.

Stephanie Ouaknine (producer), The Golden Mean

We’ve mentioned this ad nauseum, but it bears repeating: NSI Totally Television is a unique training program because of its extensive roster, year-long length and invaluable ongoing mentorship. One of NSI Totally Television’s unique strengths is its malleability and bespoke approach to every project and team, which is all the more evident in the second phase of the program.

We all suggested which executive producers, production companies and experts we wished to meet with, and NSI is able to make the connections we didn’t have ourselves. This is not restricted to the boot camp days – everyone was available throughout the year which we appreciated immensely.

Our team came into the second phase with the materials we’d worked on since February: a re-broken and, we believe, significantly improved pilot, detailed budget and financing scenarios, as well as a draft lookbook and series bible. We’ve also earmarked some of our development funds to pitch in tandem in Los Angeles prior to attending Content London in December.

Akin to the first phase, the second had case studies, broadcaster talks, market intel and one-on-one meetings with the utmost care and attention to detail. In some of our favourite sessions we had a thorough budget review with a seasoned production manager and frank discussions about executive producers and cast packaging. This stage of boot camp ended with production company generals set up by NSI.

Sarah (Goodman) and I are not precious. We both felt good about making changes to our creative and original path to market. For instance, we realized early on we would be changing the title. Settling on a new one is the challenge, of course, and through boot camp we had the good fortune of pitching the show repeatedly and could take the temperature of new title options.

Connecting with US-based literary managers, packaging experts, learning from CBC Gem and Crave’s strategy and going over our pilot budget line item by line item were all highlights of this second phase.

Programs are as good as the case studies, actionable advice and market intel you receive. NSI Totally Television allowed us to stress-test our development plan, optimize our targets and, of course, pitch non-stop every session.

By honing our verbal pitch and figuring out what ‘hits’ best we can better distill the show and have a clearer idea of what it is, and why the time to make it is now.

While we’ve also received contradicting advice (and we mean total opposite) we realize there is no one-size-fits-all to a greenlight. You’ve got to trust your gut, juggle many balls in the air and shoot your shot. The program has helped me trust myself as an independent producer.

The most valuable takeaway from the program was hammering out a set of concrete, actionable goals – not only for this project, but other ones as well. Through NSI and thanks to it, Sarah and I have developed a shorthand that has led us to working together on various new projects. If any of them move forward, it’ll be due to NSI Totally Television!

I trust you’ll witness our entire cohort urge Canadian writers and producers to apply to this program. There’s nothing like it in (and even outside) the country. It truly prepares you for the international marketplace with a bespoke, tailored way to move forward. Do the thing! And do not hesitate to contact us for more information.

• • •

NSI Totally Television provides customized, hands-on training for Canadian producer/writer teams to develop story ideas into polished packages to present to buyers in the global marketplace. This 12-month distance learning program consists of two phases, each with an in-person boot camp intensive in Toronto. Two teams advance to phase 2 which includes attendance at Content London.

The program has produced 13 series that have been developed: six went to air, one was piloted and another was produced as a feature film which premiered at the Toronto International Film Festival (TIFF).

Both phase 2 projects from the 2018 edition of the program were picked up by production companies for further development.

NSI Totally Television is made possible by Presenting Sponsor Bell Media; Program Partner Telefilm Canada; Supporting Sponsors Corus Entertainment and Breakthrough Entertainment. NSI Core Funders are Manitoba Sport, Culture & Heritage and the City of Winnipeg through the Winnipeg Arts Council.

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STORYHIVE imagineNATIVE 2019 fellowship program participants announced

Posted: 07 Oct 2019 10:54 AM PDT

Above clockwise from left: Diana Parry, Eric Janvier, Kelli Rae Morning Bull, Hayley Morin, Towustasin Mycorrhiza, Shaelyn Johnston, Rylan Friday

Seven filmmakers have been chosen for the first TELUS STORYHIVE imagineNATIVE fellowship program. The National Screen Institute is providing mentorship and market preparation support to the winners.

Congratulations to:

They receive full imagineNATIVE Film + Media Arts Festival registration, including admission to panels, workshops, networking events, screenings and social events, airfare, accommodation and a travel stipend.

In preparation for attendance at the festival, NSI has been working with each fellow to help develop promotional materials. They will also participate in a special webinar, presented by imagineNATIVE, to help fellows navigate the festival once they arrive.

During the festival, fellows will be introduced to industry leaders to advance their projects and further develop their careers.

imagineNATIVE runs from October 22 to 27, 2019.

• • •

Meet the STORYHIVE imagineNATIVE 2019 fellows

Hayley Morin

Hayley Morin is an emerging Indigenous filmmaker from Enoch Cree Nation, a reserve outside Edmonton, Alberta.

Specializing in documentaries, she isn’t afraid to dive into the topics and conversations most people shy away from. She is passionate about collecting real people’s stories and analyzing things from a variety of perspectives.

In 2015 Hayley attended film school in Kelowna, British Columbia, where she produced and directed various short films, including documentaries exploring the city’s homeless epidemic and the strong presence of pro-life and pro-choice groups within Okanagan.

Since graduating in 2017 Hayley has moved back to Enoch Cree Nation and worked on various projects about youth in her nation.

In July 2019 Hayley released a short documentary through TELUS STORYHIVE called The Crying Fields about Enoch Cree Nation’s journey with a land claim with the Canadian Government regarding landmines and other explosive materials which were dropped on the small reservation during World War II by what is now the Department of National Defence.

Diana Parry

Diana Parry is a director of photography based out of Vancouver.

Having graduated from the University of British Columbia’s film production program in 2017 she has continued to shoot short narrative films such as Line of Fire (2018), Zero (2019) and the TELUS STORYHIVE-funded Laura (2019).

She believes every project is only as strong as its script and that cinematography’s first purpose is to support the story.

Diana is excited to create diverse content, especially from unique cultural and feminine perspectives, as she identifies as Mi’kmaq First Nations from Nova Scotia.

Shaelyn Johnston

Shaelyn Johnston is an award-winning Anishinaabe and Irish-Canadian writer from Vancouver, BC.

She writes predominantly for screen but also enjoys creative non-fiction, and uses both genres as a way to explore her culture and the relationships we have with one another.

In 2015 she was a recipient of the Governor General’s History Award for her short story, Anishinaabemowin, which also placed first in Historica Canada’s Indigenous Arts & Stories Contest. Since then she has written for web series Fierce Girls and the second season of Coyote Science (APTN).

In 2019 she won first place in Room magazine’s creative non-fiction contest for her piece Back Home and recently completed the short film The Healing Dance through TELUS STORYHIVE.

This fall she began her MFA in creative writing at the University of British Columbia.

Kelli Rae Morning Bull

Kelli Rae Morning Bull is Blackfoot from Piikani Nation, one of four nations within the Siksikaitsitapi (Blackfoot Confederacy).

Kelli Rae is a graduate of SAIT Polytechnic’s radio, television and broadcast news program and uses her technical skills to create and share stories about her culture.

She recently completed two films, Treaty Money and Innaihtsiiyisinnii (Making Treaty), to educate the public on Indigenous issues and the importance of storytelling from an Indigenous lens.

Kelli Rae has been board secretary for EMMEDIA Gallery and Production Society for the past six years and is the new chair of Making Treaty 7. She uses her positions to advocate for other Indigenous artists and filmmakers to be included in the arts community in Mohkinstsis (Calgary).

Eric Janvier

An award-winning film producer with over 10 years experience in the film industry, Eric got his career start while attending New York Film Academy in Los Angeles. During his time in school he produced two student short films, one of which went on to play at festivals worldwide, as well as several independent commercials and web videos. Eric also spent time as an intern with a respected talent agency.

After leaving film school he worked on an award-winning TV pilot filmed in Canada where he was a shadow producer and director. This exposure lead Eric to branch out and create his own work.

For several years Eric produced and created educational documentaries with a focus on Indigenous issues. He was also co-creator and producer on a very successful web series which had a large audience across Canada.

In 2015 Eric was the producer on the award-winning short film Gods Acre which had its world premiere at Toronto International Film Festival (TIFF) in 2016. Gods Acre screened at festivals across the world, including Edmonton International Film Festival, imagineNATIVE and New Zealand Windu Film Festival, winning several awards.

Eric has worked as a producer on the feature film The Road Behind, scheduled for release in 2020. Other credits include writing and producing a TV pilot, Rent Boys, and the TELUS STORYHIVE web series Reserved. His most recent work includes producing advertising campaigns for Disney’s Maleficent and Marvel’s Endgame in partnership with Stand Up To Cancer.

Towustasin Mycorrhiza

Towustasin is a multi-media artist from Old Massett, Haida Gwaii in BC. He founded his own unique and eclectic style combining knowledge in song and poetry, audio recording, documentary, cinema, music video, photography and post-production.

His work is brought into focus through various areas of study, including cinematography, First Nations fine art, social sciences and humanities.

Projects include Giving back the name with respect (2012), The Golden Spruce (2013), Solar/ Lunar Rhizome (2016), White Ravens (2018), Aboriginal Metaphysical (2018) and In the Wake of the Cedar Tree (2019).

Rylan Friday

Rylan Friday is a multi-media storyteller, curator, writer and producer from Cote First Nation in Kamsack, Saskatchewan.

Rylan got his start in media by graduating from BCIT’s radio broadcast and communications program, producing radio documentaries showcasing various First Nations topics including recovering from colonization and reconciliation with an emphasis on storytelling.

In 2015 Rylan eventually made the leap into film and has directed two short films: This Bright Flash and Spirited Away: A Documentary.

In 2017 he became a founding member of the now-defunct Indigenous International Film Festival based out of Vancouver. His credits include 1491: The Untold Stories of The Americas before Columbus, Indian Horse and The Body Remembers When The World Broke Open.

His goal is to bring LGBTQ2 and First Nations stories to the big screen, sharing hidden truths while encouraging younger generations to be open and express themselves artistically.

Recently, he produced Trevor Mack’s directorial debut, Portraits From a Fire, and helped implement a peer-to-peer mentorship with STORYHIVE for Mack’s film, pairing Indigenous youth with a crew member in northern BC.

Currently he is developing and co-directing Looking For Tiger Lily with Olivia Marie Golosky (Metis).

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Burnt Toast

Posted: 04 Oct 2019 08:47 AM PDT

After accidentally destroying his own toaster, Todd ventures out to purchase a used one from Pascal.

During their rendezvous, Todd encounters a painting that uncovers profound truths about his past, while Pascal gets a second chance at being a father figure.

Creative team

Writers/directors: Aiden Cardei, Aleksandar Popovic
Producer: Aiden Cardei

Filmmakers’ statement

Above all else we aim for truth. Our favorite works of art deal honestly with basic human conflicts and that’s our goal as well. We want our stories to be simple, our performances grounded and our films universal.

In order to produce more cohesive work we handle every aspect of the filmmaking process ourselves from pre- through to post-production. We have a close knit group of collaborators whose hard work and ingenuity make these films possible. We thank them. And we thank you for giving us a shot.

About Aiden Cardei and Aleksandar Popovic

Aiden Cardei is an American actor, writer and director. He’s acted in over 50 national commercials in addition to appearances in pilots, features, short films and theatre productions. He graduated UCLA summa cum laude, a 2017 Thompson Prize winner. In his spare time he writes music and refines the craft of making pasta.

Aleksandar Popovic is a Canadian actor best known for his role as Petar on the STARZ series Power. Most recently he’s completed two pilots and a series of short films that he wrote, directed and starred in.

In addition to acting Aleksandar has collaborated with acclaimed Canadian composer Alice Ho on a piece that pays tribute to Yoko Ono. He also finished production on a folk album and a series of children’s books. In his spare time he cuddles his wife Stephanie, his dog Riley and his cat George.

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A Certain Texture

Posted: 04 Oct 2019 08:33 AM PDT

Alex Unger, aka ELMS, lives a double life: he creates haunting music, and farms cattle.

In this short he explores how one influences the other, what drives his art and how one of these lifestyles is more of a privilege than he thought.

Creative team

Writer/director: Matthew Hayes

Filmmaker’s statement

A Certain Texture is the result of a previous collaboration between myself and Alex Unger who provided the score for my feature documentary Pushback. During that process Alex told me that he wasn’t just an incredible musician, but also a cattle farmer and I was immediately hooked.

How did Alex reconcile doing such different work? Did one inspire or affect the other? I was fascinated with this juxtaposition in his life. I wanted to portray it on screen and have his story speak to larger issues about the arts, precarity and the search for meaning in our lives.

About Matthew Hayes

Matthew Hayes has made over a dozen films which have screened throughout Canada, the US and Europe. He recently completed his debut feature Pushback about homelessness and poverty.

He has a PhD from Trent University for which he wrote a history of Canada’s UFO investigation.

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