Interview with Lori Lozinski, President of Violator Films

Lozinski moved to Vancouver with a project management career in the telecommunications industry, but a week after arriving, the company claimed bankruptcy. Sometimes forced change is a good thing and as she started to look for a new job in a new city, she discovered Vancouver’s booming film industry. “Growing up in Edmonton, I didn’t realize this profession existed. After some research, Lori saw how her project management skills would translate to Producing and she entered the Film Foundation program at the Vancouver Film School to learn how films were made.

Coming out of film school, Lori wanted to work for a female-run company, because in her view, women lead differently. She worked with Screen Siren Pictures where she got to help tell stories of real women. “I realized I wasn’t seeing women on screen who represented how I felt about the world, and I wanted to work with women in control of the stories they’re telling.”

She launched Violator Films in 2007 with a focus on telling character-driven stories with female-identifying creatives. “I’ve worked with male writers and directors, but I feel my real purpose lives in the specific perspective of a woman’s experience – the storytelling looks and feels different and female-identifying folks need to see real authentic representation.

 

“Leadership should be circular, not top-down.”

 


Lori admits it’s not easy being a woman in this industry. “Every woman I know has a long list of the microaggressions they’ve had to endure every day; it’s the way the patriarchal system continues to dominate. Now, I’m in a position where I can choose the filmmakers I support, the stories I put my full energy towards and how I want the sets to be run. And I have the ability to be supportive of every crew member we hire. I don’t believe in hierarchies or exclusion. Yes, structure is needed to get things done, but I like to think of it as circular rather than top-down.” Being a feminist means equality for all and it’s important for me to have a gender-balanced crew. Even though I solely focus on the narratives of women, all genders can collaborate to create powerful and beautiful stories. It’s a slow burn toward change.”

At the end of the day, Lori believes it’s real people telling their stories that will help other people. “The last film I shot here, everyone on the set was changed because of working on that movie, and they will carry that forward with them. It really is a family on set, and it’s important to respect everyone. You don’t make a movie alone. I see it as all of us as hubs in these concentric circles, spinning around one another, with the story in the middle.”

Main Image: The Body Remembers When the World Broke Open

Mark Rabin Believes We Have the Technology to Transform the World

Mark Rabin, Founder and CEO of Portable Electric

As a self-admitted energy nerd, Mark Rabin got into the film industry through the back door. “It started with my passion to understand the energy system we’re in today and how it’s transforming.”

His journey took him from working as a geologist in the oil industry to earning a masters in energy economics, to working in Namibia building off-grid power systems. In 2013, he started to look at portable power when he realized how primitive and inefficient it was. “When I see something that’s broken, I immediately focus on how I can fix it. The generators I was seeing were loud, toxic, inefficient, and you could die if you left them in an enclosed area. I looked at them and knew I could do better.”

 

Image result for mark rabin
Mark Rabin

Mark launched Portable Electric in 2015, primarily working with festivals and events. Soon after, film industry people started poking around, asking him about his VOLTstack units. “They couldn’t believe there could be power with no noise and no emissions, and that they could put it in a vehicle or elevator. They were definitely interested.”

In 2017, Portable Electric sponsored the Crazy8s film competition, and that created a whole wave of film interest. They got their first significant production, The Man in the High Castle, and that was instrumental in understanding what film people needed. Since then, they’ve worked with most of the major studios, and on films like Bond 25 where crews are taking their portable power units around the world, on boats and up in cranes. Mark has seen people use them in ways he could never have initially imagined, and he’s adapting the technology based on how people are using them.

Portable Electric partnered with Creative BC and the Reel Green initiative to implement sustainable solutions across the film and television industry. There’s an accelerating adoption toward clean energy systems, but some people don’t want to rock the boat. “There are people who have been doing it one way for 30 years, and their first reaction is that this won’t work. Once we get in there and show them how it works, it takes three days and they’re sold. The education piece is critical – we need to show them the features, the cost savings, the time savings – all of the ways we can make their job easier and allow them to do things they couldn’t do otherwise.”

 


Portable Electric’s VOLTstack and solar panels in use at Burning Man 2018. (Portable Electric Photos)

 

While Portable Electric is the industry leader, there’s competition entering the market. “There’s a generational shift taking place, and I say bring it on! This will make everybody better. We want to go head-to-head with the best out there so we can all get better. There’s a great term called co-opetition, where we are all competing but also cooperating to advance on similar goals. That’s what Creative BC is championing, and it’s awesome to see that going on.”

For Mark, sustainability is actually about innovation. “It’s so much more than saying you need to be ‘green.’ It’s about changing systems, managing waste, communicating with crews, and making long term decisions. When it comes to sustainability and the environment, doing nothing is no longer an option. We need to be scared, but not paralyzed with fear thinking there are no solutions. It’s about finding bite-sized ways to influence and nudge social behaviours. We have to give people incentives to do the right thing. We have the technology today that’s needed to transform the world around us.”

An Interview With Rachel Leiterman Director of “Man In The High Castle”

“Leadership is about supporting those who have a story to tell.”– Rachel Leiterman

Rachel Leiterman was brought up in a film family. “My father was a director of photography, and early on in my childhood, he was doing groundbreaking films. We were a bohemian, artistic family and there were always actors and directors around. I was brought up in the industry in a way.”

Rachel and her family also travelled a lot growing up. “Instead of canoeing in the Muskokas, we were doing road trips in Morocco. That helped shape my view of the world. I always knew I wanted to tell stories, but I was waiting for that lightning bolt to strike.”

Over 20 years, Rachel worked her way up to become an assistant director (AD). She worked on various films and television shows. and while she loved being an AD, the idea of directing continued to nag her. “There was a moment where I knew that I had to express my own creative vision. But, as a single parent, I had to reverse engineer my transition into directing. I told myself that by the time my daughter was in Grade 12, I would be directing full time.”

Over the years, Rachel worked with over 200 male directors, yet she maybe worked with five female directors. “The example wasn’t right there in front of me. I’d been in the industry for so long that I knew I needed to get out of my comfort zone and challenge myself.”

Her path to becoming a director didn’t happen overnight. She received an opportunity to direct an episode of Motive, a television series she’d been working on, and she knew immediately that she was exactly where she should be. She then went on to direct episodes of Heartland and The Order.

Rachel admits she had to battle her own fear and self doubt. “For me, moving forward was about feeling confident and being grounded. I knew I had to make a commitment to becoming a director, and then I was given the incredible opportunity to direct an episode of The Man in the High Castle. A big part of directing for me is to have trust and belief in myself and the project. I knew if I held out, the right one would come along.”

Rachel joined in on meetings that Creative BC hosted around the #MeToo movement, and was impressed with the support available for women wanting to hone their craft. “We need more opportunities for women to shadow other women, to gain experience and see what it means to be a female director. We also need to help them to go from shadowing to taking that next step.”

Rachel is thankful to the female pioneers who came before her and is grateful that her daughter is growing up in an era where women are beginning to be looked at as equals. These days, Rachel meets with a lot of younger women who are interested in making movies. “My path was from the bottom up, and I’m grateful for that. I know how it all works, but I’m also seeing young women coming right out of the gates with a story they need to tell. It’s so easy now to get some equipment and make your own movie. It’s really dynamic that the world is opening up to being more inclusive of having women at the helm.”

Whistler Film Festival

The the 19th annual Whistler Film Festival (WFF) is taking place December 4th-8th, 2019. This festival features 90 films, inclusive of both Canadian and international productions. WFF provides the opportunity to connect filmmakers, showcase artistic works, feature innovative industry initiatives and honour talent with over $150,000 in cash prizes and commissions. Many local features and shorts from BC, shot in BC, or by BC talent will be presented at WFF 2019. An official list of the BC productions can be found below.

Features shot in BC or by BC talent:

  • FALL BACK DOWN
  • PROMISELAND
  • THUNDERBIRD
  • VOLITION
  • THE GREY FOX (Classic film)

Shorts from BC:

  • SHIN-CHI’S CANOE*
  • TIPPED*
  • IN LOVING MEMORY*
  • DZUNUKWA*
  • THE STATION
  • B-SIDE
  • #NOFILTER
  • SISTERS OF SORROW*
  • IDOLS NEVER DIE
  • BREAKAWAY
  • DON’T WORRY DON’T WATCH
  • MIDNIGHT MAIL
  • OFF WORLD
  • THE ART OF FLAWSOME
  • THE HIDDEN RIVER OF MY LIFE
  • NEW WASHING MACHINE
  • THE PARTY
  • BRAISED PORK BELLY
  • WHEN I GROW UP
  • CALL ME CRAZY
  • NEBULA

More Information

For the official schedule, tickets and more, visit whistlerfilmfestival.com

 *Creative BC Supported 

The 10 Spookiest Movies and TV Shows Filmed in B.C.

By Mathew Parry, Locations Consultant – Creative BC 

Right in time for Halloween, we explored some of the schlocky and scary movies and television shows filmed in B.C. from the spooky town of Greendale in Chilling Adventures of Sabrina to the cult base of The Wicker Man (2005). Grab the candy corn, we’ve got some frightening gems ahead!

 

BCIT’s Aerospace Campus – Photo Credit: Tony Zhou (Vimeo)

 

  1. The Cabin in the Woods (2012) – This thought-provoking, thrillingly-meta and innovative horror flick showcases some of BC’s best natural assets. Woods and forests obviously get a look in as the title would suggest, and who could also forget the lake scene with teenage Thor: “Don’t kill the gorgeous man! We’re endangered!” But also keep an eye out for the high-tech interiors of BCIT’s Aerospace Campus, which were used as the control centre for the underground laboratory that is manipulating the doomed students.

 

 

Photo Credit: Courtesy of Netflix

 

  1. The Exorcism of Emily Rose (2005) – All the best horror films start with “Based on a True Story” and this one even goes so far as to use that very line on its poster. Luckily for us though, those actual sad events happened in Leiblfing, Bavaria, and not on the UBC campus where several scenes were shot – the Buchanan Tower, and HR MacMillan and Douglas Kenny Buildings all feature.

 

 

Photo Credit: Youtube

 

  1. The Fog (2005) – This update of the 1980s John Carpenter classic was poorly received by audiences, despite the abundance of adorable BC locations. Atmosphere abounds though, as is only appropriate in a film with this title, and Tofino, Cowichan Bay and Fort Langley all benefit from swathes of dry ice to hide the horrors in the fog.

Photo Credit: Friday The 13th Clips

 

  1. Friday 13th: Part VIII – Jason Takes Manhattan (1989) – Nah, he doesn’t take Manhattan. He takes the SkyTrain! Various establishing shots would lead you to believe you’re in New York, but no – you’re mostly in Vancouver. Look out especially for the Granville Skytrain station, if you’re getting withdrawal symptoms whilst it’s closed for escalator replacement.

Photo Credit: Movieclips-Youtube

 

  1. Lake Placid (1999) – Not all Halloween monsters have to be supernatural. Why not have a 30ft animatronic crocodile on your lawn with Betty White as a helpful ally!? Or you could just take a paddle across the tranquil waters of Shawnigan Lake, Buntzen Lake or Hayward Lake – a combination of which stood in for the fictional Black Lake of Maine.

 

 

Photo Credit: CraveTV

 

  1. It (1990) – And let’s stay in Maine for the next on our list. So much attention for the more recent iterations of It, but there’s a lot of love out there for Tim Curry’s Pennywise as seen in this mini-series. Burnaby, New Westminster and Vancouver all feature strongly, with appearances from Stanley Park, New West’s Paramount Theatre and the Burnaby Village Museum. Keep passing those storm drains, everyone, but keep an eye out for a documentary about the making of this original It, out in 2020.

 

 

Photo Credit: moviemaps.org

 

  1. Underworld: Evolution (2006) & Underworld: Awakening (2012)Vampires are a pretty essential component of Halloween nowadays, but we don’t typically associate them with SFU… Or do we? So much of Underworld: Awakening was shot at the institution’s Burnaby Mountain campus with the Convocation Mall, WAC Bennett Library and Transportation Centre all featuring. The franchise’s earlier installment, Underworld: Evolution also found a home in the Lower Mainland.

 

 

Photo Credit: Courtesy of Netflix 

 

  1. The Chilling Adventures of Sabrina (2019 – present) – With Sabrina’s own home surrounded by forests, there’s no shortage of weird woods for the production to decamp to in the PNW. But the series has also used its fair share of non-natural locations too, including the Paramount Theatre in New Westminster and the Vogue in Downtown Vancouver, which featured in the show’s opening episode. Meanwhile the program’s “Cerberus Books” is in Cloverdale, and the role of Sabrina’s Baxter High School is played by Lord Strathcona Elementary School in East Van.

Photo Credit: SPN UK

 

  1. Supernatural (2005 – present) – Currently filming their 15th and final season which premiered on 10 October, it’s hard to walk around the Lower Mainland without tripping over somewhere or other that the Winchester brothers have visited. With its great variety of looks and feels, one of their most consistently used spots is UBC. They can also be regularly found in Langley and Fort Langley. This region is going to get a whole lot more haunted once the boys leave town! They will be missed.

 

 

Photo Credit: Thriller Movie Trailers

 

  1. The Wicker Man (2006) – Horror of a different kind here. Sadly, not the classic, Christopher Lee version from 1973, but instead a box office bomb which swaps the Scottish Highlands and Islands for Washington State. Only it’s not Washington State, it’s BC. Both Saturna and Bowen Islands feature, as does Merrit (in the Thompson-Nicola) and, yet again, Langley. One critic described watching this horror as an “excruciating experience”, so view at your own peril. Don’t have nightmares!

An Interview with Diana Donaldson, Unit Manager on Freeform’s “Siren”

“I would love to see more producers…think about how to change old production methods to help alleviate this global crisis” — Diana Donaldson From companies like Screen Siren Pictures to bigger […]

An Interview With Trish Dolman, President and Andrea Feltrin, Office Manager — Screen Siren Pictures

An Interview with Crystal Braunwarth, Unit Publicist and Assistant Business Representative at IATSE 891

“Never wait to be asked, and never be afraid to ask”– Crystal Braunwarth

From appearing as an extra alongside her Grandfather at the age of 4, Crystal Braunwarth always knew that film and television would be the right path for her. As an Assistant Business Representative for IATSE Local 891, Crystal has explored a lot of different avenues in her publicity role, from working on Netflix’s To All the Boys I’ve Loved Before 2 to running her production company Last Train Pictures. Crystal Braunwarth is an also award-winning short filmmaker and has been involved in union and non-union film and television in British Columbia for the last eighteen years.

We spoke to Crystal about her twelve years of experience as a unit publicist in a rapidly evolving motion picture industry in B.C.

How did you get started in the industry?

I was exposed to the entertainment industry quite young.  My Grandfather was involved on the acting side and so I was on my first set as an extra at the age of 4 in a movie that filmed in Alberta, called Betrayed.  I went to Capilano University Professional Film Studies program, graduated and began assisting producers and directors and making my own films. Included in those roles was script coordinating and clearances/product placement, which are a couple of non-union roles that people interested in film can explore to break-in.  From there, I joined the production office via IATSE 891, then mentored under one our wonderful ICG 669 Senior publicists, Lee Anne Muldoon.  I joined ICG 669 and became a Jr. Publicist and moved up to Senior.  That’s a short summary of a 22-year span!

What was it about publicity that sparked your interest?

What immediately appealed to me was the creative aspect of the job.  On some productions, the unit publicist is the first one to do a pass of loglines, synopsis and summaries, along with production notes.  That, and going through the reams of photography and choosing selects based on what best represents the show.  They are the images that will potentially accompany articles, magazines, social media…the list goes on. You get to really contribute in a meaningful way because you know the show intimately. Interviewing producers, directors and actors was a bonus, they have invaluable insight and knowledge of the industry that you don’t get in film school.

What is a semi-typical day like for you working as a Unit Publicist?

Every show is quite different.  Television is a very fast paced environment with changing schedules, block shooting and revisions, so you have to be on your toes.  You have to schedule stills days per episode based on what’s most important to cover, look for good days to have press on set, anticipate where your gallery shoot might fit in, constantly look for opportunities to interview cast and key crew members for production notes,behind the scenes shooting and special marketing requests.  For feature films, it is similar, but normally higher profile actors and producers, a little slower paced but just as intense in its own way.  You really have to experience it to fully grasp the nuanced differences, but those are the basics.

What are some of the differences between working on a domestic vs. foreign production as a publicist?

I find domestically, I have built up firm relationships with producers and content creators, so they often involve me more in a creative way when it comes to coming up with engaging special features/digital/web content and gallery shoot concepts.  I work with a solid team of photographers and shooters so they know whatever we deliver will be top notch.  On Foreign shows, there is a much bigger marketing machine behind the scenes that normally has predetermined the promotion path and it’s a matter of managing and gathering content on the ground during filming.

Could you describe a moment in your career where you felt like you’d reached that happy medium of balancing work with your passion?

I think that’s a constant balancing act as someone changes along with their career.  In 2015 I was able to attend San Diego Comic Con with the wonderful publicity team from AMC, promoting Fear the Walking Dead and The Walking Dead.  As a publicist, it was a wild and crazy few days of interviews and panels with both shows, crossing paths with Quentin Tarantino and the cast of Hateful 8, Jamie Lee Curtis and others.  As a filmmaker, listening to Tarantino give an interview two feet away was an interesting moment of my passion for making films and the career that led me to that moment, running head-on into each other!  Interviewing Ellen Burstyn and Harrison Ford were also two ‘pinch me’ kind-of moments.  A girl from small town Alberta sitting across from iconic, movie legends and having a conversation no less.  As I’ve worked very hard to get to those seats, I also recognize there is a certain amount of privilege that has been afforded me to get there.  I am grateful for the experiences and try to pass along as much knowledge as I can to anyone looking to break in.  As part of that giving back, I also developed the first of it’s kind unit publicity course offered earlier this year via ICG 669, and loved the experience of seeing people eager to get into the field, excited and prepared to go apply their new skills.

What’s a common misconception about your field?

That ‘unit publicists’ handle the actual promoting of the show.  We really handle all the publicity garnered and gathered during ‘unit photography’, which is during the shooting process.  Some of us venture outside of it and join launch teams, and some have their own marketing companies, but it’s really the studio/network marketing engines that handle the splash of campaign pushes, in all aspects.

What advice would you give to people entering this field of publicity?

Be prepared to work hard.  It’s a constant outreach for contacts locally and Internationally and you must be proactive about finding them and keeping connected.  You have to apply that to your work ethic as well.  In most cases, you are a department of one on the ground and so you must be the one asking questions, setting up phone calls and making things happen.  Never wait to be asked, and never be afraid to ask.

Publicity and comms/PR can be notoriously busy industry, what do you do for self-care in such a hectic field?

I make time for my family.  I have a two-year-old now and so it is important not to get caught up in the grind of film hours.  I commit to 8-hour days on shows, and I’ve never had push back.  I think it’s easy to get stuck in film thinking you have to conform to certain structures and in some departments you do.  But in publicity, you have a little bit of flexibility and so I was able to make it fit in with my transition to motherhood. I’ve been fortunate as well to work as the assistant business representative this year at IATSE 891, a union over 9,000 members strong and it’s a role that relies heavily on my past experience and communications skills. It’s also a bit more stability at this time in my life, as production cycles can be a bit up and down when it comes to the demand of who is hiring a local unit publicist and who is using their own, in-house publicists.  Unit publicists are not a ‘mandatory hire’ as other positions are, so we’re not as protected in that sense.  That’s a draw back for sure, for local unit publicists here.

What’s a fun and unexpected bonus of your role?

What’s been truly fulfilling to me is the lasting work and personal relationships I’ve built over the years.  When you work in such a demanding industry, you go through the fire with colleagues from the moment you step on the ladder and move up.  Specific to my role, having the opportunity to work with the incredible talent that comes into this city and talent that resides in this city, in front of and behind the lens has been a tremendous influence on me.  From small art house shows, to big Hollywood films, every production has presented an opportunity for me to grow in all areas of my craft.  Passing that knowledge on to future publicists has been an honour and a privilege.

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VIFF 2019 is Here at Last!

VIFF is back again exposing B.C. to the filmmakers of the world and proving that the motion picture industry here is thriving. With over 320 films spanning across the globe, exclusive masterclasses and creator talks, the integration of music, comedy and theatre this festival is one of the largest industry events in Vancouver.

Kicking this year off with the Opening Gala film “Guest of Honor” a Canadian psychological drama starring David Thewlis, Laysla De Oliveira, Luke Wilson, Rossif Sutherland, Alexandre Bourgeois and Arsinee Khanjian. Start planning your festival schedule now and take a look at the Creative BC sponsored events as well as the five Creative BC supported films we are proud to announce will be screening at this years festival. We look forward to seeing you there!

We’re celebrating B.C. at VIFF! Check out the some of the incredible work our B.C. filmmakers have to offer with over 25 films in this years B.C. Spotlight.

A special shout out to these Creative BC supported films:

The Body Remembers When the World Broke Open

Discovering Rosie (Violet Nelson), a pregnant teenager, sobbing and barefoot on a rainy East Vancouver street, Áila (Elle-Máijá Tailfeathers) swiftly intercedes, initially offering shelter in her own apartment before working feverishly to get the girl access to proper support networks so that she needn’t return to her abusive home. As these two Indigenous women embark on a revelatory odyssey to a safe house, they must confront society’s assumptions about them, overcome their preconceptions about one another, and reflect on their own respective self-images.

My Dads, My Moms and Me

In the 2007 documentary Fatherhood Dreams, Julia Ivanova chronicled the touching and challenging journeys of four gay men who each made the decision to become parents after Canada legalized same-sex marriage. Married couple Randy and Drew adopted baby Jack. Scott connected with a surrogate to have twins Ella and Mac. Stephen decided to co-parent his daughters Jazz and Zea with lesbian couple Coreen and Wendy. In My Dads, My Moms and Me, the filmmaker revisits the lives of these men and their children, now teenagers, with a decade’s worth of insight.

Red Snow

When captured by the Taliban, a Gwich’in soldier (Asivak Koostachin) must confront tormenting memories he believed he’d left behind in the Canadian north. In turn, when he strikes up an alliance with a Pashtun family, he discovers an affinity with these ethnic Afghans beyond their shared bid for survival. Shifting between striking arctic and arid landscapes, and tapping into a universal need for belonging, Marie Clements delivers an enthralling thriller that’s as poignant as it is pulse-quickening.

This Ink Runs Deep

All across Canada, Indigenous artists are reawakening traditional tattoo practices – and sometimes lending them a contemporary twist – as a way to reclaim their cultures and identities.

The Whale and the Raven

Journeying into BC’s Great Bear Rainforest, German documentarian and cultural anthropologist Mirjam Leuze investigates the potential impact of a liquefied natural gas exporting plant and increased tanker traffic on this stunning ecosystem. Not only are we introduced to the remarkable people who call this place home and oppose the plant’s construction, including whale researchers Hermann Meuter and Janie Wray and elders of the Gitga’at First Nation, but also the humpbacks, orcas, and porpoises who use the Kitimat fjord system as a feeding- and playground.

Creative BC sponsored events:

VIFF Immersed

A two-day conference (September 28–29), Immersed features case-studies, roundtable discussions and hands-on workshops with some of the world’s leading immersive content creators.

September 28-29

Pyatt Hall and The Annex

VIFF Immersed Exhibition

VIFF Immersed Exhibition is a public marketplace exhibition featuring the finalists of this year’s International VIFF Immersed Competition and special features from the creative nexus that is British Columbia.

Sunday, September 29

Pyatt Hall

VIFF Immersed – BC 

A day of valuable workshops for producers, directors, technologists and content commissioners wishing to understand multiple aspects of immersive production.

September 28-29

VIFF AMP

Over a three day summit, October 3-5, world-class experts will weigh in on subjects such as diversity in the music marketplace, the art of music supervision and how music rights management victories around the world are benefiting songwriters and composers.

October 3-5

Visit the VIFF website to get your tickets now!

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B.C.’s Motion Picture Industry Remains Steady with $3.2B Contribution to Economy

Creative BC is pleased to report that 384 productions which qualified for labour-based tax credit certifications during the 2018/19 fiscal year have contributed $3.2 billion to B.C.’s economy.

 

British Columbia is world-renowned as a versatile and dependable hub for motion picture production. As a global competitor in visual effects (VFX) and animation, the motion picture industry is estimated to support full time equivalent positions totalling over 71,000 in B.C. [1]

These figures show that production activity levels are holding steady as indicated by the annual total budgeted production spend, which is slightly lower by 6% year-over-year. While the total number of productions certified by Creative BC this year is down by 68 productions year-over-year, the number of productions certified is dependent on certification submissions and timing.

With these production expenditures, direct industry jobs and labour income accounted for approximately $1.67 billion spent in British Columbia. B.C.-based creators accounted for 154 productions, with non-B.C. and foreign companies bringing 230 productions to the province.

A breakdown by program of the 384 tax credit certifications approved by Creative BC during fiscal year 2018/19 includes:

  • 154 tax credit certifications were issued under the Film Incentive BC Tax Credit Program (FIBC) for Canadian owned and controlled productions, with estimated budgeted expenditures in B.C. of $391M;
  • 230 tax credit certifications were issued under the Production Services Tax Credit (PSTC) program for international productions, with estimated budgeted expenditures in B.C. of $2.8B;
  • The Digital Animation, Visual Effects and Post-Production Tax Credit (DAVE), was leveraged by 152 of the total 154 FIBC claims and 218 of 230 of the PSTC claims respectively;
  • 139 productions of the 384 total tax credit certifications, or 36%, leveraged regional tax credits (outside the designated Vancouver area);
  • 61 of the 384 total tax credit certifications, or 16%, leveraged distant location regional tax credits (beyond the regional tax credit zone);
  • 7 FIBC projects accessed the newly established Scriptwriting Tax Credit.

A breakdown by format of the 384 tax credit certifications is below:

  • Feature Films: 95
  • Mini-series: 4
  • Movies of the Week: 84
  • TV Programs: 20
  • TV Series: 148
  • Web-based/other: 13
  • TV pilots: 20

For more information and detailed expenditures by production type, please visit: https://www.creativebc.com/motion-picture-industry-statistics


Highlights from B.C.’s motion picture industry during fiscal year 2018/19 include:

  • Spider-Man: Into the Spider-Verse – Over 80% of the Academy Award-winning animated film was created by animation artists and visual effects teams in the Sony Pictures Imageworks’ Vancouver studios.
  • Ironwood & Fraserwood Studios – In April 2018, Whites Studios announced renovations and expansion for two distinct studios: Ironwood and Fraserwood Studios. Ironwood has 177,000 total square footage, including seven sound stages and office facilities and Fraserwood contains 119,000 total square footage, with four sound stages and a mill shop and paint shop.
  • A Million Little Things – ABC Studios’ A Million Little Things spent over $27M in B.C. in its first season and engaged more than 779 local businesses from 32 communities across the province. The show also used the Pacific National Exhibition (PNE) to stand in for the Boston Garden.[2]
  • Last Kids On Earth – This year, Vancouver-based animation studio Atomic Cartoons signed a worldwide licensing deal for their upcoming Netflix series ‘The Last Kids on Earth”, currently in production.  The studio has also worked on Hilda, the British-Canadian co-production with Netflix, based on Luke Pearson’s graphic novel.
  • Marvel Cinematic Universe – Much of Marvel’s Cinematic Universe has a Vancouver stamp on it with visual effects and post-production companies Industrial Light and Magic, Double Negative (DNEG), Method Studios and Cinesite working on Captain Marvel and Avengers: Infinity War.
  • Game of Thrones – Many British Columbians may have caught the Province’s screen credits at the end of episodes of the final season of Game of Thrones. That is due to the creation of the dragons that were visualized by B.C. studio Image Engine. This high-end creative work is supported by the Canadian Film and Video Production Services Tax Credit and the Province of British Columbia Production Services Tax Credit.
  • Unspeakable – The CBC drama examines the tragic circumstances in which contaminated blood and blood products infected thousands of Canadian patients with HIV. Unspeakable was created and written by BC-producer Robert Cooper and filmed on Vancouver Island and the Lower Mainland.
  • Riverdale – Over three seasons, the Warner Bros. Television show Riverdale spent over $103M in BC, creating 1,785 jobs in the province. In season three alone, the show has spent $43M in B.C.[3]

 

[1] CMPA Profile 2018 estimates of direct and spin-off FTES, Exhibit 2-3

[3] MPA Canada: Economic Impacts of Riverdale, 2019