New production model for Canadian filmmaking seeks different future for CanCon

by Peter D. Marshall

by Laura Beeston.

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“We need a more marketable CanCon that people want to see, not these one-room dramas in the prairies.” J. Joly is a man who does not mince words. The founder of CineCoup, a filmmaking and marketing incubator, is a national adviser to the Academy of Canadian Cinema and Television, sits on the board of the Vancouver International Film Festival – and desperately wants to disrupt the system.

Joly says his new production model is a game-changer for Canadian cinema: For 12 weeks, filmmakers compete to generate audience buzz online, working in “sweat equity” in the hopes of landing a $1-million production budget funded by Clairwood Capital Management and private investors including Cineplex Entertainment and CANON.

One thing Joly hates about the current Canadian film model is “this distance of long maybes,” where filmmakers wait for funding agencies to parse through hundreds of projects every six to eight months, then wait to find a producer to take on their vision, and then wait some more for grants for distribution and post-production. “If you are lucky enough to get the film going, the last thing you think about is audience or marketing,” he says. “This fundamentally has to change. The marketing is even more important than the filmmaking.”

Read the rest of this article from the Globe and Mail.

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