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Feel in colour with Daniel Code and Graham Kew

Colour Study is a meditative and evocative experimental short film that will entrance you. Writers Charles Demers, Chelene Knight and Shazia Hafiz Ramji take us on a dreamy journey through ROYGBIV, while organizing objects and locations by their exact colour. Eager to share this visual narrative, we touched base with Graham Kew and Daniel Code, the filmmakers behind Colour Study.

 

Watch Colour Study on CBC Gem here

 

Tell us about Colour Study, the inspiration, the people involved, the narrative

Graham Kew: The three narratives in Colour Study were written and narrated by Chelene Knight, Charles Demers, and Shazia Hafiz Ramji. At the outset, we gave the writers basic parameters and shared information about colour theory and colour science, but then we just tried our best to stay out of their way. Reading each of their first drafts was both exciting and daunting. I do love that in film you can hand over control to a writer or a composer or a production designer and then they come back with something so creative that it just blows your mind and elevates the entire project to a whole new level. We got very lucky with the whole team on this project.

Daniel Code: The concept started to take shape after I found a video about scientist Neil Harbisson and his sonochromatic scale, and how he created a camera to transpose light frequencies into sound frequencies to help with his colour blindness. After that I dove deep, listening to pure sound frequencies while looking at different colours. Once I got off my laptop, I noticed that the colours in the room had really popped for me as if my eyes had been through a colour workout or something. I started thinking about the order of colour and creating an art piece based on this experience.

 

C/O Anthem Jackson Productions

 

Tell us a bit about yourselves, your careers and what inspires you

GK: Anthem Jackson is the name of our production company. Dan and I have both worked in the industry for years across a variety of departments, but AJ is our creative outlet. We want to produce innovative and authentic projects that matter to us.

DC: I’ve always been inspired to work on projects that provide a certain level of creative and social fulfilment. I’ve stayed pretty clear of the Hollywood movie machine to focus on smaller projects with friends and people I enjoy collaborating with. Sometimes you have to treat it as a creative lifestyle rather than a job.

C/O Anthem Jackson Productions

What advice do you have for emerging BIPOC filmmakers?

DC: Building a community is important and finding allies in that community can go a long way.  Work with your friends and/or develop relationships with the people you connect with on sets. Network at bars, art galleries, clubs, or places outside of film work environments. I’ve always found the best networking relationships are with people I’ve shared a meal, coffee or drink with randomly in a place people were out just having fun.  Volunteer in the area you want to learn something from and don’t waste your time on areas you don’t need. Learn as much as you can for your goals.  Put some sweat into those areas until you feel comfortable and then let people know with conviction exactly what you do in film.

It’s an uphill battle in the film industry as a BIPOC. Quite often I’ve been surrounded by primarily white creatives and it’s been a challenge to make your voice heard.  Having a more diverse video production can really create a beautiful and comfortable creative atmosphere. It allows room in the project for different cultural perspectives that otherwise wouldn’t be noticed without this diversity.  You would be surprised at how many BIPOC creatives are out there and a lot of them like myself would be willing to help foster their talent or point them in the right direction.

GK: I wouldn’t presume to give advice, but if any emerging BIPOC filmmakers reading this are struggling to break into documentary editing, they can hit me up at graham@anthemjackson.com and I’ll try my best to connect with them.

However, I will give advice to well-established non-BIPOC filmmakers… Reach out and see who you can help get a leg up! The mentors in my career have been incredibly important to me and it’s a relationship you will most likely enjoy and get a lot out of.

 

C/O Anthem Jackson Productions

Do you have any upcoming projects you can share with us?

GK: We are developing a scripted series with Shazia – one of the writers from Colour Study – and we have two documentary projects in the works, one of which is about a legendary 1970s Nigerian Afrobeat music group.

C/O Anthem Jackson Productions

 

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Thunderbird Entertainment wins prestigious Peabody award for ‘Molly of Denali’ series

Thunderbird Entertainment Group announced that their animated series ‘Molly of Denali’ was a Peabody award winner this year in the children’s and youth category. Molly of Denali follows the resourceful Molly Mabray, who has cultural heritage from three Athabascan groups: the Gwich’in, Koyukon and Dena’ina, as she helps her parents run the Denali Trading Post in interior Alaska. She and her friends explore the epic surroundings and rich Native culture that is home. The series is designed to help kids ages 4-8 develop informational text skills through video content, interactive games, and real-world activities. The series is co-produced by WGBH Boston and the company’s kids and family division Atomic Cartoons, for PBS KIDS and CBC Kids.

 

Molly of Denali 

 

Often compared to the Pulitzer Prize for literature, Peabody Award winners represent the most compelling and empowering stories released in broadcasting and digital media. Sixty nominees were announced earlier this year from approximately 1,300 entries across news, entertainment, documentary, children’s, public service, and web/interactive programming. From those 60 nominees, Molly of Denali is one of just 30 productions chosen to receive a prestigious Peabody award.

Since its 2019 premiere, Molly of Denali has been widely recognized as the first nationally distributed children’s series in the United States to feature an Indigenous lead character. More than 60 Alaska Native actors, writers, advisors, producers and musicians are involved across the production, which is designed to help kids ages 4-8 develop informational text skills through video content, interactive games, and real-world activities.

 

 

In Canada, Molly of Denali airs Wednesday and Saturday mornings on CBC and is also available on the free CBC Gem streaming service.

‘Who Am I’, directed by Adhel Arop

‘Who Am I’ tells the story of Adhel Arop’s quest for identity as she reconciles with her mother’s past as a child soldier in South Sudan.

 

Adhel Arop is a two-time award-winning documentary filmmaker residing in Vancouver, BC. Her career began in 2018 when she was awarded the TELUS Storyhive documentary film grant, with additional funding from Creative BC and mentorship from the National Screen Institute, which led her to complete her first 20-minute documentary, ‘Who Am I.”

 

Who Am I (2019) Directed by Adhel Arop

 

The film premiered and sold out in July 2019 in Vancouver, BC, going on to win two awards at festivals for outstanding achievements in the short documentary category. This film provided a platform to showcase the Canadian immigrant experience, something she authentically achieved by embracing her narrative of being a child born in the Kakuma refugee camp and drawing from her own stories of immigrating to Canada at the age of four. Her work aims to explore a social justice narrative, focusing on the untold stories of refugees and immigrants that are a part of Canada’s diverse identity. Through the medium of documentary filmmaking, she captures stories, many close to her heart and home, which would otherwise go untold.

Adhel now aims to pursue a career in filmmaking and advocating for renewable energy options in developing countries.

Please read, share and engage in this content. 

Luke Campbell Knows How to Rally a Network to Help Others

In early April we saw ICG 669’s former treasurer, Luke Campbell, take swift leadership in a DTES meal delivery initiative at the peak of COVID-19. His actions were quickly aided with support from Teamsters Local Union 155, IATSE and DGC members, and every corner of B.C’s motion picture industry.

In concert with the non-profit, Potluck Café Society, Campbell, Teamsters and IATSE members work to supply Downtown Eastside single residential buildings. Luke and his team’s unbelievable determinism and steadfast commitment prove that it takes a village, and the motion picture ecosystem can work together to help when needed.

We spoke to Luke Campbell about the work he’s done to take this initiative off the ground, and his calls for the community to help as funding for the meals on the street have run out effectively today, and the community needs your help. You can donate directly to Potluck Café Society’s Charitable DTES COVID-19 relief fund here to help this initiative successfully distribute 102,000 meals by the end of the month.

 

We love seeing the unbelievable initiatives you are taking recently to deliver meals to the Downtown Eastside. Could you tell us a little bit about getting the initiative started?
I have few friends in Europe that were sharing how bad things were getting so I felt I was a little more prepared mentally that we needed to get into action fast, when our industry closed down on the Friday. I had noticed many of my favourite restaurants were struggling and closing and wondered if we could collaborate to have meals paid for via donation that would help the local restaurants and in turn help feed those in need. On a Monday morning I started by reaching out to the community and my contact at the GRVD Food Bank, Nicole Campbell, and heard back on March 24th. She put me in contact with six other groups in the community, I quickly realized that the need would be greater than what I could easily organize through aggregating meals from restaurants and with 3000 of the 5000 quickly closing, I also worried about the supply chain failing. So I shifted gears, I contacted Lorrie Ward from Teamsters and said there may be a demand for their members in the catering department and their trucks to provide meals, I just put a bug in his ear to get the wheels moving. He informed that membership in all the unions were tasking the offices pretty heavy as all were trying to get on EI, but ultimately the following Monday things should be at hand.

In talking with former board member Crystal Braunwarth Publicity Member at Large who is now the assistant business agent at Local 891, she suggested that we maybe should reach out to Meals on Wheels for logistic advice. I spoke with their executive director to gain some insight, soon after we realized the permanent catering kitchens that were idle just made more sense to use, but she shared that as more than half of her 600 clients had meals delivered by drivers that happened to be seniors and no longer felt comfortable doing the deliveries they had to cut their program down in half. I reached out to my social network and sent volunteers their way including two cinematographers Phil Lanyon and Ian Kerr.

I then reached out to other labour organizations inquiring who was in charge of COVID relief requests with 891, 669, the CLC (Canadian Labour Congress), the BC Fed, and a new group that I was not aware of the Vancouver and District Labour Council. The VDLC and other food bank networking brought me to join a COVID-19 meals program that was being chaired by Steve Johnston, the Executive Director of Community Impact Real Estate Society a social enterprise whom the City of Vancouver sits on their board. They were partnering with Naved Noorani, Executive Director of Potluck Catering Society who wanted to provide meals to those in need too.

Initially from this Friday meeting the request was for a one-tonne truck to pick up 1000 meals on Saturday and Sundays with Mondays to Fridays being delivered by Union Gospel Missions. Goodly, the largest catering partner happened to be close to my office so I jumped on driving those meals myself.

I then attended a logistic meeting while a doctor tended to my “annual” physical and quickly out of this meeting it was asked if we could set up a logistics distribution centre and staff it with six people per day, to which I said absolutely. Shortly after an additional request to provide four delivery vans with drivers 7 days a week was put in. I quickly reached back out to Lorrie at Teamsters 155 and asked for help with an industry special on one truck and four vans, he partnered us up with Miranda Luyten at Discount Cars, and then he proceeded to find a crew of four drivers including a captain.

I reached out to Rhonda Taylor 2nd AD / UPN DGC who we had talked on set months earlier about our skills being transferable for disaster recovery and asked if she could come on board and help run the operation with scheduling the volunteers I was rostering. I was having a hard time getting an onsite production coordinator to come on board, so I turned to my friend Abigale Flint from the commercial world with the “just get it done” attitude.

I then reached out over the weekend and the following Monday morning to three different locations providers for table, chairs, tents, trash bins, cones, and fans to stock the distribution centre. All were supportive but Jason Cox with Whites LES was able to accommodate us and provided everything we need. I had my sole employee who was in travel quarantine reach out to Panavision to borrow a pallet jack and ramp for my weekend deliveries, and they were happy to accommodate.

On Tuesday, March 31st I started moving vans, and then the Teamsters business agent Shawn and another volunteer came to help, I picked up the location supplies and we got the distribution centre ready with the help of Darcy from Potluck. Then we waited for the city to issue the purchase order for the food. Two days came and went and then finally on Thursday morning in early April, the meals started flowing.

Who are your partners, volunteers and supporters that help you carry this out?
Darcy Green, Potluck Café Society Operations Manager
Rhonda Taylor, Directors Guild of Canada BC Team Leader
Abigale Flint, Abigale Flint Commercials, Scheduling and Team Leader
Darla Chibi, Milita Ouellette, Mike Farley, Brandon Tutt Lorrie Ward, Shawn Henter, Teamsters 155
ICG 669 members
DGC and members
IATSE 891 members
Actors Guild
ACFS
Rey Torres, Union Gospel Mission
Navid, Ian, Prashant, Cornelious, Potluck Catering Society
Aart Shuurman Hess and team, Goodly Food
Adriane King and team, HAVE Cafe
Whites LES
Panavision
Discount Cars
and B.C’s commercial film community

 

How many volunteers were able to help you with this?
We have a total of 29 Volunteers, we usually crew 5-6 for the lunch service and a team of 2-3 for the street dinner service. As people’s commitments have changed, or they have moved to be with family, we’ve been training one team member a week to replace outgoing volunteers.

How many meals have you delivered so far?
Approximately 85,575 meals as of May 20th.

What have been some memorable moments working on this initiative?
My weekend pickups from Aart and his team at Goodly, hand-passing the meals at our centre thinking that more than 55,000 meals have personally gone through my hands (I’ve taken four days off). I used to provide a few meals directly on Main Street, it was very heartfelt, I came to know a few members of the community by name. Now that I’ve hired more industry friends to help get my business ready to come back, and we’ve merged our “family units” it’s too high a risk. I’m very thankful for the month that I was able to do this, it was extremely humbling to call strangers sir, or ma’am, offering them a warm meal, and see the joy and true gratitude in their eyes. I’ve gotten so much more from this effort than I could have possibly known, and honestly, it’s going to be very difficult for me to go back to our industry. This has been an awakening for me, I had planned to do more community service and disaster relief in five or so more years when I felt I would slow down in our industry and look for a change, but now I’m going to need to find a way to balance this most important and rewarding work with work within our industry.

Finally, the most important for our film community has been offering the opportunity for others to be of service, to help out, and try to do something meaningful during such strange times, as well as letting them connect with other film members between the rush of the meals.

What would you like everyone to know about this initiative? Are there ways anyone can help?
There are some really caring people in the DTES community, members living on the street, members who were on the street, and those helping to support them, even some of the first responders. You get back so much more than you put in when you help people in your community. Help us deliver meals to the end of the month by donating directly to Potluck Café Society’s Charitable DTES COVID-19 relief fund here.

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Whister Film Festival Announces Finalists for Producers Lab

The Whistler Film Festival (WFF) has selected six Canadian producers, with five hailing from British Columbia, to participate in its seven-month, multi-phased Producers Lab. Designed to prepare Canadian producers to develop, pitch, market, and sell their creative content, the Lab is focused on strengthening original scripted feature projects.

https://whistlerfilmfestival.com/wp-content/uploads/2020/05/2019-Producers-Lab-Participants-Announced-1.jpg

The six producers and projects selected for the 2020 WFF Producers Lab are:

Alex Duong (BC) with BREAKING BREAD
Sibel Guvenc (ON) with LOYA
Camille Hollett-French (BC) with MAN IN PIECES
Kate Kroll (BC) with RED WINGS
Todd McCauley (BC) with THE MEDICINE LINE
Krista Rand (BC) with RE:UNITING

Phase I will take place online throughout June and will be followed by a five-month mentorship program. Participants who complete Phase I will be invited to participate in Phase II, a business immersion experience leading up to and during the Whistler Film Festival and Content Summit from December 2 to 6, 2020.

WFF Producers Lab faculty consists of accomplished experts with extensive production experience and comprehensive knowledge of the entertainment industry. The returning program facilitator is John Galway (ON), President, Harold Greenberg Fund. The Producers Lab faculty includes Producers Lab alumna Lauren Grant (ON), Producer, Clique Pictures (RIOT GIRLS); Jason James (BC), Producer/Director, Resonance Films Inc. (ENTANGLEMENT); and Damon D’Oliveira (ON), Producer/Founder, Conquering Lion Pictures Inc. (BOOK OF NEGROES).

The WFF Producers Lab is presented by Netflix in association with Telefilm Canada, and sponsored by Creative BC and the Canadian Media Producers Association.

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The B.C. Film Industry Adapts to Support Each Other

British Columbians take a collaborative approach and bring heart to every production. Together, the provincial ecosystem of film and television resources is devoted to providing a premier centre for screen production with an unmatchable sense of community. Productions, suppliers, vendors and companies throughout the province are finding creative ways to go above-and-beyond in giving back to the communities in which they film, adapting to support each other and its neighbouring industries during this time. We look at a few local industry companies that have acclimatized to accommodate the health industry.

Vancouver film industry supplier offering battery power for hospital equipment
Portable Electric

Portable Electric, well-known for manufacturing, selling and renting its battery-powered, no noise, no emission generators used on film and television productions has worked to pivot to health services to assist with non-traditional areas that can accommodate health services. Their signature VOLTstack generator unit is powering temporary triage centres, mobile clinics and drive-through testing. Read more in the original article by Business in Vancouver.


Vancouver Mobile Dressing Rooms

Vancouver Mobile Dressing Rooms, a leader in the mobile entertainment company yielding the largest fleet of trucks and trailers in Vancouver set up one of their new eco-friendly cast trailers to support the B.C. Governments Mobile Medical Unit positioned at the Abbotsford Hospital. Their unit will be used as a place for Correctional Officers to shower, and isolate while on and off active duty. Vancouver Mobile Dressing Room continues to collaborate and work with the community to provide safe mobile areas to prevent outbreaks and support those seeking isolation.

 


ABC “The Good Doctor”

The popular ABC series filmed here in B.C. and produced by Brightlight Pictures, “The Good Doctor”, was among the medical productions in North American to contribute by donating masks, gowns and gloves to medical workers and hospitals in need. Brightlight Pictures worked directly with the provincial government to ensure that medical supplies from the series were being distributed where needed and abided by national safety standards.

Have good news to share from B.C.’s motion picture industry? Send us your stories!

Marie Clements captures the beauty of the land and people in Red Snow

 

Red Snow follows Dylan, a Gwich’in soldier from the Canadian Arctic, caught in an ambush in Afghanistan. His capture and interrogation by a Taliban Commander releases a cache of memories connected to the love and death of his Inuit cousin, Asana, and binds him closer to a Pashtun family as they escape across treacherous landscapes and through a blizzard that becomes their key to survival.

 


Marie Clements, Red Snow

 

The British Columbia film written and directed by Galiano Island filmmaker Marie Clements has gained acclaim since its debut at Vancouver International Film Festival in 2019. The award-winning feature opens this Friday, March 13th in Calgary, Ottawa, Toronto and Vancouver.

 

Tell us a little about yourself and your work.
I am Métis/Dene filmmaker with an independent media production company, Marie Clements Media, specializing in the development, creation and production of innovative works that ignite an Indigenous and intercultural reality.


What were the early days of your career like
?
I originally started out as an actor, then writer and producer, and director in theatre and then formed a theatre company to produce works I was committed to bringing to stage. In some ways this has mirrored my transition to documentary, film and television, creating and producing works through my company MCM. Starting in theatre gave me an incredible appreciation for every single part of creation and a kind of single-minded discipline that was crucial to not only survive my own artistic goals but the many challenges that was put in front of me in doing so.

How did you get to where you are now?
We make decisions along the way that will determine the how of it, and ultimately what we want and need to create. There’s a time when these decisions aren’t conscious really but as you evolve in the doing, you begin to understand that your work defines you, and that you define it. I think there is a great responsibility to this but also a clarity that is freeing.

 


Marie Clements

What inspires you as a creator? What are your influences?
I have been impacted by artists that have gone before me, but James Baldwin helped me hang on. He gave witness to his time. His voice was undeniably unique yet inclusive, his perceptions razor-sharp and his humanity unapologetically massive. I found these attributes talked to me when I was younger and that it inspired me to use who I am at this time in history, my family’s history, this country’s history and our present realities as a resource in breaking a story that speaks to me. I am like so many filmmakers in the sense I am propelled into story by the influences of other artists, activists, musicians, current events and untold stories rising. Story is everywhere.


What advice would you give to someone starting out in the industry?
Know what your job is. Know how to start and also finish. Take responsibility when you should and don’t pass the buck.

Align yourself with like-minded and passionate people that hold integrity in the same ways you do. Beware of the posers. Rejection is part of the business. You are one “no” away from yes. Work hard. Be persistent. Lean into it. Take the risk of being extraordinary.


What accomplishments are you most proud of?
Red Snow took nine years to get to the screen, so I am grateful and proud to have it realized with the artists I worked with. I think there is an accomplishment in committing to stories you can’t not tell. This doesn’t always make it easy, but it makes it incredibly worth it on so many levels.

 


Red Snow

Tell us about RED SNOW and your process or influence in the creation of the film?
Dylan, a Gwich’in soldier from the Canadian Arctic, is caught in an ambush in Kandahar, Afghanistan. His capture and interrogation from a Taliban Commander releases a cache of memories connected to the love and death of his Inuit cousin, Asana, and binds him closer to a Pashtun family as they escape across treacherous landscapes and through a blizzard that becomes their key to survival. Filmed on location in Canada’s Northwest Territories and the desert interior region of British Columbia (the Ashcroft Band Lands, Cache Creek and Kamloops). Over a rigorous 20-day production schedule, the Red Snow team worked in temperatures as high as +38 degrees and as low as -40 to capture the beauty of the land and people. Red Snow was filmed in four languages – Gwich’in, Inuvialuktun, Pashto and English.

 

What’s next for Marie?
I am currently working on a slate of projects with my company MCM including Bones of Crows, a mini-series and Tombs, a feature drama.  

 


Red Snow

Heather Perluzzo frees herself through filmmaking

Heather Perluzzo is a film director originally from Montreal, Quebec. Her desire to tell female-driven narratives and reimagine traumatic life experiences through sci-fi brought her to Vancouver Film School in 2017. Since then, she has directed multiple short films, including Girl in the Galactic Sun, which received Best Sci-Fi Short from Women in Horror and was an official selection at Whistler Film Festival.

Late last year, Heather was awarded the MPPIA Short Film Award, presented by Whistler Film Festival and Creative BC in partnership to assist emerging talent to develop their career. Heather is now currently working on the short, Wildflower, which follows a woman who creates an AI version of herself to escape an abusive relationship.

Heather is an advocate for balanced gender representation on and off the screen and prides herself on reinventing her struggles as a woman into strange yet meaningful films.

 


Tell us about yourself and your work

I am a female-forward director and writer from Montreal, though I have moved around quite a bit. I was bullied for being weird as a kid, a true victim of the classic stereotype of pre-pubescent “mean girls”. I’ve never stopped being a weirdo though, and now surprisingly it’s been embraced here in the indie film scene. My work up to this point have been trials and errors of communicating my imagination and mashing it with a dose of personal trauma.

What were the early days of your career like? How did you get to where you are now?

Well, honestly, I still believe I’m in my early days. I have a lot of passion and as someone who has worked hard for everything in my life, I value how important these opportunities are. I don’t want to make another version of a film everyone’s already seen, I want to put myself, my true vision on the screen and I want to talk about the hard things. Even if it doesn’t turn out to be my calling card, I feel happy that I tried something different. And I think that’s why I am where I am now, by stepping out of the box and being real about it.

What inspires you as a creator?

Thus far, most of the inspirations for my films have come from personal experiences. I am rather anti-social and introverted, and most of my life I’ve kept all the bad things that have happened to me in my head. I never really figured out how to communicate and grow from them until I started filmmaking. Film has given me a way to express myself and, in some ways, “free” myself from those negative moments in my life. I’m also very influenced by music; artists like Banks, Allie X and Grimes inspire me to push boundaries and not be afraid to let my freak flag fly.

What advice would you give to someone starting out in the industry?

Surround yourself with an environment that allows you to focus. Don’t be afraid to explore yourself and say yes to your gut, remember this is your perspective. And just put the work in, no one is going to hand you a career. That being said, you’ll do your best work when you make time getting to know yourself, so set time aside every now and then to reconnect with who you are and what you want. And on top of that, unfortunately for us introverts, networking! I know it can be hard when you’re socially awkward, but they’re good people I promise. Vancouver has a wonderful indie scene and we all want to succeed together!

 

 

What accomplishments are you most proud of?

My student film, Girl in the Galactic Sun, is one of my biggest accomplishments. I know that’s strange to say, most people want their student films to go away forever. But for the first time in my life, I was in an environment that encouraged me to be creative and in turn, I made something entirely unique, powerful and proved to myself that I’m worth something. Since film school, I’ve been a part of two Crazy 8s films and just won the MPPIA Short Film Award. I feel so humbled but also proud of myself. I never thought anyone would ever really see value in me, and this community in Vancouver has really helped me grow.

What milestones have you achieved or are you focusing on now?

After Wildflower, my sights are set on a feature. While I love short films, I know the large, gated doors will only truly open once I dive into that new territory. That is the biggest, scariest milestone ahead. I’ve also found an amazing production company, Aimer Films, that have taken me under their wing and are pushing me to better not only my career but myself. I’d always wanted to have that core film family here, and I feel that I’ve found that in them. But yeah, just keep going until I can maybe make a living off of doing what I love.

Are there any upcoming projects we should know about that we can promote for you?

Well my upcoming MPPIA short film Wildflower is something I’ve been waiting to make for a while now. It’s about a woman who creates an AI replica in her image and the two form a romantic relationship, reflecting on how romance is something we can feel for ourselves. I’ve been saying, “This is the one, the last short that I need to make before I make a feature”. And we are making it this year.  My feature, New Places to Hide, is in the script stages. So, if anyone has any advice for someone starting out in the big bad feature-length woods, I’d love to hear it.

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

An Interview with Kim Thé, Booking Representative & Artist Manager at Pebble Star Artists

Kim Thé gives us some incite into Pebble Star Artists, a full-service art management and booking agency for family friendly entertainment and young audiences. With a little help from Creative BC Kim talks about what the future looks like for this family built company and what exciting things we can expect to see from them in the future! Check it out.

How did you or your company get started?

My husband is children’s performer Will Stroet from Will’s Jams on CBC Kids, and I’ve been working as his manager and booking agent since he started performing in 2005. We formally incorporated our company, Pebble Star Productions, in 2012 when we landed a deal with CBC television and got into TV production. Over the years while managing Will, I was also working in marketing and communications in the private and public sectors. In 2013, juggling motherhood, our company work and a communications job became too much, so I started working full-time for our company to handle all the grant writing, event production, bookings, branding, merchandise coordination and marketing. After booking Will for more than 1,500 shows over the years and receiving more requests than I could fulfill, I decided to launch my own booking agency Pebble Star Artists in March 2017.

What accomplishments are you most proud of?

Thanks to the support of Creative BC, I was able to launch a new website and attend a few performing arts showcases for the first time across the country last year to promote my roster. It was great to meet people face-to-face since I’ve only ever communicated by email and phone. I’ve had a successful first year booking shows for my artists.

What milestones have you achieved or are you focusing on now?

One of my artists,  beatboxer and livelooper RupLoops had a great showcase at Arts NorthWest in Oregon and I’m working on booking his first US tours for 2019/2020. Another one of my artists, Bollywood dancer Karima Essa, had a great showcase at ArtStarts, which resulted in a 50-plus show tour in schools this year.  I also worked with Will to build his new Will’s Jams Live multimedia show which has toured in China three times since July 2017. We’ll be working on building Will’s brand in China and Hong Kong to move beyond Canada. Will and I also raised $9,000 through Kickstarter to support  the recording of his new album, which will be launched at the Children’s Festivals in Vancouver, Surrey and Kootenays in May 2019

Are there any projects we should know about that we can promote for you?

Thanks to the support of Creative BC, we’ve been able to produce lots of new video content for Will. We recently  launched a new web series called Will’s World to build Will’s profile online. It’s a fun show for kids and their parents that can be described as “Wayne’s World” meets “Mr. Rogers” with a dad’s sensibility! ” We’ve also just started releasing French lyric videos for French teachers and students as well. I’m also really really excited to be working with local soul singer Krystle Dos Santos. We’ve developed a young audience show called  “A History of Motown,” which she’ll perform at the ArtStarts showcase in March, and will hopefully result in a significant amount of school bookings in the 2019/2020 school year.

If there is a particular individual currently working at your company or with whom your company has worked with in the past who has had notable impact, please tell us more about them…

With Creative BC’s help, we’ve been able to hire Mital Gorman as our marketing coordinator. She is the main producer and videographer for Will’s World who is full of great ideas and has helped me produce two successful Family Day concerts in February 2018 to showcase some of my artists. She also helps us with our social media planning and newsletters. It’s been great to have another person working with us on a regular basis to grow both of our companies.