As a seasoned filmmaker with decades of experience under my belt, I can wholeheartedly empathize with the challenges faced by local Ontario producers today. The shifting landscape of the industry is indeed a daunting one, particularly when it comes to financial risks and international co-productions.
Ontario experienced a timely lift as Amazon MGM Studios established a production center at Pinewood Toronto Studios, following an unforeseen sluggish resumption in Hollywood after the strikes.
In January 2024, the prominent production company entered into a contract with Pinewood Group, granting them exclusive access to five state-of-the-art soundstages and office space amounting to approximately 160,000 square feet. “This move demonstrates a significant endorsement of the province,” said Justin Cutler, film commissioner for Ontario Creates, speaking to The Hollywood Reporter.
Amazon’s MGM Studios had previously produced approximately 40 movies and television shows within the Canadian province. However, the long-term lease of soundstages served as a clear indication that the reemergence of significant film studios and streaming platforms was gaining rapid momentum.
Amazon has been involved in larger productions such as “The Boys” and “Reacher” in Ontario, which have set new standards for their streaming platform. This has greatly boosted the morale of our teams, the locations we use, and our motivation to consider long-term investments in Ontario, according to Cutler.
Certainly, it’s been a concern for many that the major film studios and streaming platforms haven’t quickly resumed production in Ontario following the strikes, and some argue they haven’t returned with as much financial backing compared to before. This shift has had a ripple effect throughout the entire entertainment industry.
Martin Katz, producer of David Cronenberg’s film “The Shrouds,” states that there is a continuous push for budget reductions, and it seems this trend is becoming the norm for him, as he strives to secure funding and commence production on future projects, according to his conversation with THR.
Moving forward, local production companies are counting on Ontario’s inherent benefits for U.S. manufacturers – lucrative film tax incentives, currency savings, top-tier talent and workforce, and well-established infrastructure – as they persist in following Hollywood’s trail. “Our value proposition has never been stronger,” affirms Karen Thorne-Stone, president and CEO of Ontario Creates, who promotes the province to Hollywood and foreign producers alike.
‘The Shrouds’
These modifications made to Ontario’s digital animation and visual effects tax credit aim to streamline the process, enhance regional incentives to distribute productions throughout the province, promote eco-friendly production education via the Green Screen program, foster core workforce training, and continue building film studios.
Guillermo del Toro’s Netflix movie adaptation of Frankenstein, featuring Jacob Elordi and Oscar Isaac, is currently being filmed at Cinespace Studios’ Marine Terminal campus. An eerie ship is moored in a nearby harbor as part of the set. Magali Simard, director of industry and community relations at Cinespace, comments that “it’s a fresh start for everyone.
The studio complex will soon commence construction on additional soundstages and auxiliary spaces at the Marine Terminal site as part of an upcoming expansion. “We’re quite optimistic about the recovery,” Simard expresses. “We’ve felt it every day since early spring, and we anticipate being fully occupied for the next two years. We also hope that the city will be thriving too.
Ontario has the potential to capture its portion of post-strike Hollywood production, as well as more opportunities, due to its long-standing partnerships with U.S. producers. As Simard puts it, “When you examine global production levels, the cities and regions that retain what they have and are capable of expanding are those that boast an ideal mix of incentives, infrastructure, talent, and cutting-edge spaces – elements which we possess right here.
The Fire Inside
Jennifer Liscio, Vice President of Tax Incentives and Business Affairs at Entertainment Partners, a payroll company that also advises Hollywood producers on tax incentives, believes Ontario will not only maintain but expand its market dominance in the future. She notes that “Ontario has taken steps to streamline some of the bureaucratic processes and administrative hurdles involved in obtaining tax credits, which are always appealing to our clients who primarily consist of U.S. productions.
As a gamer, I’m aware that the streaming industry is facing spending cuts, so I know a fairytale ending isn’t likely. However, Paul Bronfman, chairman of Comweb Corp., and senior advisor to Pinewood Toronto Studios, tells THR that it will bounce back, but not to its former glory. It’ll be different this time around.
As a significant contributor to future growth, Hollywood has fueled an unprecedented level of filming activities throughout Ontario before the recent industry halt due to two strikes. However, the province has persistently expanded its facilities with newly constructed studios and a larger, more proficient workforce, honed for top-tier film and television production. As Ontario gears up again, this well-prepared team is ready to deliver high-quality productions.
The region is progressing by implementing additional eco-friendly practices and promoting workforce inclusivity to attract international manufacturers back. It’s worth mentioning that local Ontario manufacturers, who have always emphasized resilience and determination in their business strategies, are well-positioned for expansion following the Hollywood strikes.
Christina Piovesan, an independent film producer and president of First Generation Films, recently collaborated with Elevation Pictures to produce “Bonjour Tristesse,” an adaptation of Françoise Sagan’s coming-of-age novel. This production is scheduled for its world premiere at TIFF.
According to Piovesan, many people admire Canada due to our ability to deliver at lower costs, and this has been facilitated by our geographical location close to the United States.
In addition to assuming higher financial risks when producing their movies and shows, local Ontario creators are also finding it necessary to invest in commercially viable projects intended for global audiences.
A producer named Jennifer Holness is part of director R.T. Thorne’s movie, titled “40 Acres“, a dystopian thriller set to debut at TIFF. This film stars Danielle Deadwyler and focuses on a Black farming family in Canada who originated from the American Civil War era, battling against an armed militia. Holness refers to her upcoming production, filmed in Ontario, as a genre picture that’s been given an extra dimension for an industry typically cautious about taking risks.
She contends that the film offers a unique perspective and leads you on an unexpected journey, rather than merely rehashing familiar tropes as audiences might anticipate. Other films bound for TIFF 2024, which were filmed in Ontario, include José Avelino Gilles Corbett Lourenço’s “Young Werther”, Rachel Morrison’s directorial debut “The Fire Inside” as her first feature, Kaniehtiio Horn’s “Seeds”, Sook-Yin Lee’s “Paying for It”, Sofia Bohdanowicz’s “Measures for a Funeral”, and Jason Buxton’s Canada-Ireland collaboration titled “Sharp Corner”.
Ontario’s domestic production industry, historically serving as the backbone of the provincial industry, has been dealing with a decrease in local broadcasting license fees. As a result, it’s now looking to expand its horizons by seeking out international collaboration partners for co-productions and private investors.
Aircraft Pictures, an independent production company based in Ontario, teamed up with Nolita from France and Film Afrika in South Africa for the six-part family adventure series titled “The Emperor’s Stone: The Search of La Buse’s Treasure“. According to Anthony Leo, co-president of Aircraft, it is no longer feasible for Ontario producers to solely depend on a major streaming platform to fund their projects or the excessive production that was common during the Peak TV boom in the province.
Leo comments that it’s quite unexpected if one isn’t accustomed to collaborative productions, as he’s found himself in numerous discussions with Americans seeking joint venture partnerships with an Ontario producer instead of simply selling a project to a US network.
Elsewhere, former Blue Ant employee Josh Bowen recently established Cutting Class Media, and has entered into an agreement with Lakeside Animation to produce approximately ten adult animated series (a mix of dramas and comedies) for the global market over a five-year period. According to Bowen, he’s not banking on pre-sales but rather placing his bets on the fact that global streaming platforms will require high-quality content as their content offerings become more scarce in the future. (Paraphrased from The Hollywood Reporter)
According to Bowen, if I can step out in two years’ time and people are saying there’s nothing new coming up, and I have an opportunity to secure a first-mover advantage, then paying $5 million instead of the usual $20 million for the commission would be a truly excellent deal.
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2024-09-07 21:56